THE METROPOLITAN MUSEUM OF ART CATALOGUE OF THE COLLECTION OF CASTS ^Mi^%^f/j THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES IN MEMORY OF MRS. VIRGINIA B. SPORER ^^F' CATALOGUE OF THE COLLECTION OF CASTS THE METROPOLITAN MUSEUM OF ART CATALOGUE OF THE COLLECTION OF CASTS SECOND EDITION WITH SUPPLEMENT NEW YORK PRINTED FOR THE MUSEUM MCMX COPYRIGHT, 1908, IQIO BV THE METROrOLIIAN MUSEl'M OF ART Of this Catalogue an edition of one thousand copies was printed December, 1908. The second edition, with corrections and a supplement, was printed June, 1910. 3fn i^etnoriam Hetii Ipale millatD mien 1883 (George aj^asftington Cullum 2E>ieD 1892 3lo!)n Caplor Jotjngton SDicD 1893 ^entp 6utDon ^arquanD SDifD 1902 (generous Bonors to tf)t Colleettou of Casts; 2040739 PREFACE THE following catalogue has been prepared under the super- vision of the Assistant Director of the Museum. The Egyptian section is by Albert M. Lythgoe, A.M., Curator of Egyptian Art; the Oriental and Greek and Roman sec- tions are by Gisela M. A. Richter, M.A., Assistant in the Depart- ment of Classical Art; and those of all post-classical periods by Ethel A. Pennell, of the cataloguing staff of the Museum. The object of the book is merely to provide students of the collection with a handbook in which they will find each cast accurately identified, with the brief- est possible statement of the subject and date of the original, the place where it is at present, and the artist, school, or period to which it belongs. Doubtless a more extended account or discussion of the qualities of many of the works, and their significance in the history of art, would have been desirable, but the size of the collection and the immediate need of a complete catalogue of it, including the architectural as well as the sculptural casts, have prevented such an undertaking, at least for the present. Consequently this has not been attempted except in connection with a few monuments of the first importance, such for example as the Parthenon. In the Greek and Roman section a statement of the restorations, com- piled from the most careful authorities, has been added where sculptures have been restored, as it is often of importance to stu- dents to have these pointed out; and in the same section each sub- division opens with an Introduction giving a brief resume of the period or the characteristics of the sculptures that are included in it. For further or more detailed information regarding any spe- cific work, the student is recommended to consult the reference or references cited in connection with it, and also the bibliography at VI PREFACE the beginning of the book, which has been prepared by the respec- tive authors, especially with a view to the needs of teachers and advanced students. As a rule, but one reference has been given in connection with each cast, this being selected, where a choice was possible, as the most useful to those for whom the book is primarily intended. Where scientific catalogues of collections exist, preference has gen- erally been given to them rather than to more elaborate essays, , because they state the facts or theories regarding the sculptures with which they deal in a succinct and easily accessible form, and they also contain a list of references or earlier publications through which a given subject may be pursued by those in search of further material in regard to it. in introducing illustrations into the book, the purpose has been not to give pictures of the casts themselves, as good illustrations of the more interesting originals may be readily found in popular histories of art, but to heighten interest in the collection as a whole, and in the arts which it represents, by showing some of the orig- inals in their proper settings, either as they appear now, or by res- torations of monuments which have disappeared, or by illustrating the conditions under which they were discovered. Thus the visitor will find it of interest to turn from the restored pediments of the Temple of Zeus at Olympia, at the two ends of the large hall, and see in Plate VII all that remains to-day of the building they once decorated. And with the interest which has been aroused in Her- culaneum during the last few years, the plan of its famous villa, still buried, showing where each of its bronzes was found in the eighteenth century, will prove of value. Only two of the casts of the collection are here reproduced — the models of the Parthenon and the Pantheon — and these are included because of their importance and also because the models themselves are unique. The arrangement of the collection unfortunately leaves much to be desired, but for the present this shortcoming is unavoidable, owing to the inadequacy of space in the galleries into which it is necessarily crowded, as well as the poor conditions of light and lim- itations of wall-surface in these galleries. Until a further extension PREFACE Vll of the building shall afford the proper quarters for the installation of the collection, a more systematic or effective arrangement is not possible; and hence the visitor who makes use of this catalogue will occasionally be subjected to the annoyance of finding casts that are described in connection with one another separated by consid- erable intervals, and sometimes even by several rooms. So far as practicable this annoyance has been averted by a partial rearrange- ment of the collection, in connection with the preparation of the catalogue, but the result is by no means as satisfactory as could be wished. The history of the collection is as follows. Its foundation was laid upon a splendid scale by Levi Hale Willard, who upon his death, in 1883, bequeathed to the Museum a large sum for "the purchase of a collection of models, casts, photographs, and other objects illustrative of the art and science of architecture." In accordance with the terms of his will this collection was made under the direction of a commission chosen by the New York chapter of the American Institute of Architects, and consisting of Napoleon Le Brun (nominated by the testator), A. J. Bloor, and Emlen T. Littell. Pierre Le Brun was appointed its Purchasing Agent. Its work of collecting continued until 1894, when its final report was made to the Trustees of the Museum. During that time it brought together nearly all the architectural casts that are now exhibited in the large hall, including the rich assortment of details of all styles and periods, the full-sized sections of the Parthenon, the temple of Vespasian and other Roman temples, the cast of the Monument of Lysikrates, and the models of the Hypostyle Hall at Karnak, the Parthenon, the Pantheon, and the Cathedral of Notre-Dame, which were made expressly for this collection, under the direction of Charles Chipiez, by A. Joly, of Paris. The collection of sculptural casts was not begun until 1886, when Henry G. Marquand gave a fund for the beginning of such a collection, being of the opinion, as he stated in a letter accompany- ing his gift, that it was the greatest need of the Museum at that time. A considerable number of the casts from Greek and Roman sculp- ture were purchased with his gift; and a few years later certain Vlll PREFACE friends of the Museum, including several of its Trustees, determined to develop the collection upon a large scale, by funds to be raised by private subscription. For this purpose a special committee was organized, under the authority of the Trustees, at the beginning of the year 1891. This committee consisted of Henry G. Mar- quand, chairman, Edward D. Adams, George F. Baker, Robert W. de Forest, John S. Kennedy, Pierre Le Brun, Howard Mansfield, Allan Marquand, A. C. Merriam, F. D. Millet, F. W. Rhinelander, Augustus Saint-Gaudens, Louis C. Tiffany, J. Q. A. Ward, William R. Ware, and Stanford White. The undersigned was appointed its Purchasing Agent. The appeal for subscriptions met with a liberal response, and under the direction of the committee the col- lection grew rapidly during the next four years, the committee re- ceiving its discharge in May, 1895. While the labors of this committee were in progress the Museum received two bequests which were of especial benefit to the collec- tion. The first was that of George W. Cullum, who died in Febru- ary, 1892, leaving it a fund "with which to furnish casts of famous statuary and works of architecture, to be known as the Cullum Collection." The second was a legacy from John Taylor Johnston, to which were added a large subscription made by him before his death, in 1893, for the work of the special committee, and a further sum contributed by his children, in order to make the total thus given sufficient to pay for all the casts of the Italian Renaissance period ordered under the direction of the committee, and to pro- vide for the maintenance and growth of this branch of the collec- tion, upon the understanding that it should be known as the John Taylor Johnston Memorial Collection. Another valuable contribution to the undertaking of the same committee was the gift of its treasurer, Edward D. Adams, of a complete series of reproductions, in bronze, of the bronze sculp- tures found in the villa at Herculaneum referred to above, the orig- inals of which are now in the Museum of Naples. These are de- scribed in a special section of the catalogue. In 1895 the collection of casts attained practically its present size, and the space which could be given to it in the Museum was already more than comfortably filled. The most notable additions which PREFACE IX have been made since that time are the Colleoni statue, and the reproductions of objects found in Crete in recent years, the latter forming the beginning of what it is hoped may become an important representation of the art of prehistoric Greece. Edward Robinson, Assjsiavt Director. New York, July, 1908. CONTENTS PAGE Preface --__.v Table of Contents xi List OF Illustrations xv Bibliography xvii EGYPTIAN ART Miscellaneous Egyptian Works ----- 3 ORIENTAL ART Chaldaean ---13 Assyrian --- 14 Persian 17 Cypriote and Phoenician -------20 GREEK AND ROMAN ART PREHISTORIC ART IN GREECE Casts and Other Reproductions of Prehistoric Art - 25 GREEK AND ROMAN SCULPTURE Archaic Period (Seventh century to about 480 B. C.) - - 35 Schoolsof Asia Minor and the Aegean Islands - - 37 Schools of Greece proper (excluding Attica), the ad- jacent islands, Magna Graecia, and Sicily - - - 43 The Attic School --------49 Transitional Period (about 480-450 B. C.) - - - 52 The Great Period (about 450-380 B. C.) - - - - 60 The Parthenon --- 6\ Sculptures from other Temples in Attica and elsewhere - 71 Sculptures illustrating the Style of Myron - - - 74 Xll CONTENTS PACE Sculptures showing the characteristics of the Attic School of the Period ------ ■^^ Sculptures related to Polykleitos and his School - 78 Miscellaneous Sculptures of the Period - - - 81 Grave Monuments of the Fifth and following Cen- turies --85 The Period of Praxiteles, Skopas, and Lysippos - 97 The Transition between the School of Pheidias and tliar of Praxiteles -- 98 Sculptures related to Praxiteles and his School - - 99 Sculptures illustrating the Style of Skopas - - - 104 Sculptures illustrating the Style of Lysippos - - 106 Miscellaneous Sculptures of the Period - - - - 107 Portraits of the Period - - - - - - ••3 Hellenistic Period (from the Death of Alexander, 323 B. C, to the Fall of Egypt, 30 B. C.) - - - 116 Sculptures of the School of Pergamon - - - ''7 Miscellaneous Sculptures of the Period, excluding Portraits - - - - - - - -121 A: Groups and Statues ----- 121 B: Heads -------- 128 C: Reliefs - - - - - - - - 130 Portraits - - - - - - - - - 135 Votive Reliefs of various Periods, illustrating religious Customs of the Greeks - - - - - - 138 Roman Period (First Century B. C.-Fourth Century A. D.) 143 Statues other than Portraits 144 Reliefs --------- 145 Portraits - - - 149 Archaistic Sculptures - -'54 Miscellanea -- - - - - - -156 The Adams Collection of Herculankum Bronzes - 161 Statuettes and other objects 168 Archaic Period -- - - - - - -168 Later Periods, classified according to types - - •?! CONTENTS Xlll GREEK, ETRUSCAN AND ROMAN ARCHITECTURE PAGE Archaic Greek and Etruscan . . _ . _ [go Greek, Fifth and Fourth Centuries B. C. - - - i8i Late Greek -.. i88 Roman 190 EARLY CHRISTIAN ART Miscellaneous Early Christian Works . _ _ 207 BYZANTINE ART Miscellaneous Byzantine Works ----- 208 ROMANESQUE ART Italian ---------- 210 French -- - - - - - - - -2ir German ---------- 214 Flemish ---------- 217 English ---------- 217 Saxon - - - -217 Norman ____ 218 SCANDINAVIAN ART Norwegian _-_ 220 Icelandic -- 221 SARACENIC ART Arabian - 222 Hispano-Moresque -- ------ 225 GOTHIC ART French ---------- 229 Italian ---------- 237 German ---------- 241 Flemish ---------- 242 English 243 Spanish 247 XIV CONTENTS RENAISSANCE ART RENAISSANCE ARCHITECTURE AND ORNAMENT PACE Italian _.._ 253 French - -- 257 German ---------- 265 Flemish --- 268 English 270 Russian -- 270 RENAISSANCE SCULPTURE Italian 272 Tuscan School --- 272 Lombard School -----._ 298 Roman School -------- 300 Venetian School -------- 301 French --- -- 305 Seventeenth and eighteenth centuries _ _ . ^09 German -- - - - - - - - -311 Flemish ---------- 316 Modern Sculpture -------- 317 Index by Places -------- 321 General Index 344 LIST OF ILLUSTRATIONS FACING PLATE PAGE I The Model of the Parthenon, restored- - title II Plan of the Galleries of Casts i III The Palace of Darius at Persepolis, restored i8 IV The Ruins of the Palace at Knossos in Crete - 28 V The Harpy Tomb in its present condition - - 40 VI The Inscription of Gortyna in situ - - - - 50 VII The Ruins OF the Temple OF Zeus AT Olympia - 58 VIII A Corner of the Parthenon, restored- - - 62 IX The Nereid Monument, restored ----- 74 X The Ruins of the Heraion at Olympia - - 100 XI A Corner of the Temple of Artemis at Ephesos, restored 106 XII The Mausoleum at Halikarnassos, restored - 108 XIII The Great Altar at Pergamon, restored- - 120 XIV The Sitting Boxer, as discovered - - - - 128 XV Plan of the Villa at Herculaneum- - - - 161 XVI The Doric and Ionic Orders compared- - - 180 XVII The Model of the Pantheon, restored - - 190 XVIII The Cloister of San Giovanni in Laterano, Rome ----.-------_-2io XIX The Church at St. Gilles ------- 212 XX The Central Porch of Amiens Cathedral - - 230 XXI The Nave of Laon Cathedral ------ 232 XXII The Central Doorway in Rheims Cathedral - 234 XXIII Orcagna's Tabernacle in Florence - - - - 238 XVI LIST OF ILLUSTRATIONS FACING PLATE PAGE XXIV Window on the Palazzo Cancelleria, Rome - 256 XXV Choir Stalls from the Chateau of Gaillon - 260 XXVI Donatello's Altar in Sant' Antonio, Padua - 278 XXVII Singing Gallery by Donatello, Florence - - 280 XXVIII Donatello's Pulpit on Prato Cathedral - -282 XXIX Michelangelo's Design for the Tomb of Julius II- - _.-.-..- 284 XXX The Doorway of San Petronio, Bologna - - 290 XXXI The Ospedale del Ceppo, Pistoia ----- 292 XXXII The Visconti Tomb at Pavia 300 XXXIII The Fountain OF the Innocents, Paris - - -304 BIBLIOGRAPHY NOTE THE BIBLIOGRAPHY HERE GIVEN IS NOT INTENDED TO BE EXHAUS- TIVE, BUT HAS BEEN PREPARED WITH A VIEW TO PROVIDING STUDENTS WITH A LIST OF THE MORE IMPORTANT BOOKS ON THE SCULPTURE AND ARCHITECTURE OF THE PERIODS REPRESENTED IN OUR COLLECTION OF CASTS, INCLUDING BOTH GENERAL HISTOR- IES AND MONOGRAPHS ON INDIVIDUAL MONUMENTS OR ARTISTS. EGYPT Breasted, J. H. History oj Egypt. New York, 1905. Erman, a. Life in Ancient Egypt, translated by H. M. Tirard. London, 1894. Maspero, G. Manual oj Egyptian Archaeology, translated by A. B. Edwards. 5th edition. London and New York, 1902. Perrot, G., et Chipiez, C. Histoire de I'art dans Vaniiquite, L Paris, 1882. History oj Art in Ancient Egypt: translation of the above by W. Armstrong. 2 vols. London, 1883. Petrie, W. M. Flinders (editor). A History oj Egypt. Vols. I- \\\, From the Earliest Times to the end of the XXXth Dynasty, by the Editor; London, 1899-1905. Vol. IV, Under the Ptolemaic Dynasty, by J. P. Mahaffy; London, 1899. Vol. V, Under Roman Rule, by J. G. Milne; London, 1899. Vol. VI, In the Middle Ages, by S. Lane-Poole; Lon- don, 1 90 1. Wiedemann, A. Religion oj the Ancient Egyptians. London, 1897. THE ORIENT Babelon, F. Manual oj Oriental .Antiquities. (English edition). New York, 1880. XVlll BI BLIOGRAP H Y DiEULAFOY, M. L'Ait antique de la Perse. 5 vols. Paris, 1884-89. L'Acropole de Suse. Paris, 1890-92. Flandin, E., ET CosTE, P. Perse ancienne. i vol. of text, 4 vols, of plates. Paris. Layard, a. H. The Monuments of Nineveh. 2 vols. London, 1853. Nineveh and its Remains. 2 vols. London, 1849. Perrot, G., et Chipiez, C. Histoire de I'art dans I'aniiquite. Vols. 11, III, V. Paris, 1884-90. Place, V. Ninive et I'Assyrie. 3 vols. Paris, 1867-70. Sarzec, E. de. Decouvertes en Chaldee. Paris, 1885-91. Stolze, F. Persepolis. 2 vols. Berlin, 1882. GREECE AND ROME PREHISTORIC GREECE Burrows, R. M. The Discoveries in Crete. London, 1907. DoRPFELD, W. Troja und Ilion. Athens, 1902. Drerup, E. Homer. Die Anfange der hellenischen Kultur. Munich, 1903. Evans, A. J. Cretan Pidographs. Mycencean Tree and Pillar Cult. (Reprinted from the Journal of Hellenic Studies, XXI, 1901, pp. loi fF.) Prehistoric Tombs of Knossos. London, 1906. Furtwangler, a., und Loschcke, G. Mykenische Thongefdsse. Berlin, 1879. Mykenische Vasen. 2 vols. Berlin, 1886. Hall, H. R. The Oldest Civilisation of Greece. London and Philadelphia, 1901. Hawes, Harriet Boyd. Gournia, Vasiliki and other Prehis' toric Sites on the Isthmus of Hierapetra, Crete. Philadelphia, 1908. Lang, A. Homer and his Age. London, 1906. Mackenzie, D. The Pottery of Knossos. (In the Journal of Hellenic Studies, XXI II, pp. 157-205.) Maraghiannis, G. Antiquites cretoises. i^ serie. Cinquante planches avec texte de L. Pernier et G. Karo. Candia, 1907. GREECE AND ROME XIX Mosso, A. The Palaces of Crete and their Builders. New York and London, 1907. Murray, G. The Rise of the Greek Epic. Oxford, 1907. NoACK, F. Homerische Paldste. Leipzig, 1903. Perrot, G., kt Chipifz, C. Histoire de I'art dans I'antiquite. Vol. VL La Grece primitive. Paris, 1894. Phylakopi in Melos, Excavations at; conducted by the Brit- ish School at Athens. London, 1904. RiDGEWAY, W. The Early Age of Greece. Vol. I. Cambridge, 1901. ScHLiEMANN, H. lUos. New York, 1881. Mycenae and Tiryns. London, 1878. Tiryns. New York, 1885. ScHUCHHARDT, C. Schliemann s Excavations. (English edition). New York and London, 1891. Seymour, T. D. Life in the Homeric Age. New York, 1907. TsouNTAS, C., AND Manatt, J. S. The Mycenaean Age. Bos- ton, 1897. The final publications of the various Cretan excavations have not yet appeared, but preliminary accounts appear in the following periodicals: — Annual of the British School of Athens, from 1899. (Accounts of the English excavations at Knossos, Praesos, Palaikastro and Zakro). Monumenti antichi puhhlicati per cura della reale Accademia dei Lincei, from 1901. (Accounts of the Italian excavations at Phaestos and Hagia Triada). Transactions of the Department of Archaeology of the University of Pennsylvania. (Accounts of the American excavations at Gournia, Vasiliki, and Kavousi). Journal of Hellenic Studies, passim. 'EcpT)[X£piq 'Ap^acoXoytXT], passim. GREEK AND ROMAN SCULPTURE Baumeister, a. Denkmdler des klassischen Altertums. 3 vols. Munich and Leipzig, 1885-88. Benndorf, O. Die Metopen von Selinunt. Berlin, 1873. XX BIBLIOGRAPHY Bernoulli, J. J. Aphrodite. Leipzig, 1873. Die erhaltenen DarUeUungen Alexanders des Grossen. Mu- nich, 1Q05. Griechische Ikonographie. 2 vols. Munich, 1901. Romische Ikonographie. 3 vols. Stuttgart, Berlin, Leipzig, 1882-91. Brunn, \\. Geschichte der griechischen Kihutler. 1 vols, Brunswick, Stuttgart, 1853, 1859. Brunn-Bruckmann. Denkmciler griechischer und romischer Skulpiur. Munich, 1900, etc. Catalogues: Athens. Kavvadias, P. PXuxTa tou 'EOvtxoJ Mouaet'ou. (Sculptures of the National Museum). Athens, 1890- 92. Stais, V. Marhres el bronzes du Mnsee National. Vol. L Athens, 1907. Svoronos, J. N. Das athener N ationalmuseum. Parts 1-8. Athens, 1906. MvYj^eta T-^g 'EAAaooq lxoto6tJ.sva jzb tt)^ Iv 'AOiQvat;; ap^atoXoytx"^? eiatpstac;. 'I'o^oq L PXuxTa ex, toj [xoucrslou T-^i; 'AxpoxoXsco?. {Monuments 0} Greece, published by the Archaeological Society at Athens. Volume i: Sculptures of the Akropolis Museum). Athens, 1906. Berlin. Beschreihung der antiken Shilptiiren. Berlin, 1891. Friederichs-Wolters. Die GipsahgUsse antiker Bdd- werke. Berlin, 1885. Friederichs, C. Gerathe und Broncen im Alten Mu- seum. Diisseldorf, 1871. Beschreibung der Skulpturen aus Pergamon. \,Giganto- machie. Berlin, 1895. Boston. Robinson, E. Catalogue of the Casts from Greek and Roman Sculpture in the Museum of Fine Arts. Bos- ton, 1900. Florence. Amelung, W. Fiihrer durch die Antiken in Floren^. Munich, 1897. London. Smith, A. H. Catalogue of Greek and Roman Sculpture in the British Museum. 3 vols. London, 1892, 1900, 1904. GREECE AND ROME XXI Walters, H. B. Catalogue of the Greek, Roman, and Etruscan Bronzes in the British Museum. London, 1899. Catalogue of the Greek and Roman Terracottas in the British Museum. London, 1903. Madrid. Hubner, E. Die antiken Bildwerke in Madrid. Berlin, 1862. Munich. Furtwangler, A. Beschreibung der Glyptothek. Munich, 1900. Paris. Frohner, W. Notice de la sculpture antique du Musee National du Louvre. Paris, 1884. Babelon, E., et Blanchet, J. A. Catalogue des bronzes antiques de la Bibliotheque Nationale. Paris, 1895. Reinach, S. Bronzes figures de la Gaule romaine au Musee de Saint-Germain-en-Laye. Paris, 1894. Rome. Amelung, W. Die Skulpturen des vaticanischen Museums. Vol. I. Berlin, 1903. Amelung, W., and Holtzinger, H. The Museums and Ruins of Rome. 2 vols. (English edition). New York, 1906. Benndorf, O., und Schone, R. Die antiken Bildwerke des lateranensischen Museums. Leipzig, 1867. Barracco, G., et Helbig, W. La collection Barracco. Munich, 1892. Helbig, W. Guide to the Public Collections of Classical Antiquities in Rome. 2 vols. (English edition). Leipzig, 1895. Matz, F., und von Duhn, F. Antike Bildwerke in Rom. 3 vols. Leipzig, 1881-82. Sparta. Tod, M. N., and Wage, A. J. B. Catalogue of the Sparta Museum. Oxford, 1906. CoLLiGNON, M. Histoire de la sculpture grecque. 2 vols. Paris, 1892, 1897. Conze, A. Die attischenGrahreliefs. Berlin, 1890- 1906. Defrasse, a., et Lechat, H. Epidaure. Paris, 1895. Dutschke, H. Antike Bildwerke in Oberitalien. 5 vols. Leip- zig, 1874-82. XXll BIBLIOGRAPHY FuRTWANGLER, A. Acgina. Das Heiligtum der Aphaia. 2 vols. Munich, 1906. Masterpieces 0} Greek Sculpture. (English edition by E. Sellers). New York, 1895. Frazer, j. G. Pausanias's Description of Greece. 6 vols. Lon- don, 1898. Gardner, E. A. A Handbook of Greek Sculpture. 2 vols. New York, 1896-97. Gardner, P. Sculptured Tombs of Hellas. London, 1896. Hamdy Bey, O., et Reinach, T. Une necropole royale h Sidon. Paris, 1892. Hauser, F. Die neu-attischen Reliefs. Stuttgart, 1889. Jex-Blake, K., and Sellers, E. The Elder Pliny's Chapters on the History of Art. London, 1896. Jones, H. Stuart. Ancient Writers on Greek Sculpture. Selec- tions. With a translation and notes. London and New York, 1895. JouBiN, A. La sculpture grecque entre les guerres mediques et I'epoque de Pericles. Paris, 1901. Kekule von Stradonitz, R. Die griechische Skulptur. Ber- lin, 1906. Lech at, H. La sculpture attique avant Phidias. Paris, 1904. Phidias et la sculpture grecque au V* siecle. Paris, 1906. Au Musee de V Acropole d'Athenes. Etudes sur la sculpture en Attique. Lyons, 1903. Lermann, W. Altgriechische Plastik. Munich, 1907. Michaelis, a. Ancient Marbles in Great Britain. Cambridge, 1882. Der Parthenon. With atlas. Leipzig, 1870-71. Springer's Handhuch der Kunstgeschichte. 1, Das Altertum. Leipzig, 1907. OvERBECK, J. Die antiken Schriftquellen. Leipzig, 1868. Griechische Kunstmythologie. 3 vols, and atlas. Leipzig, 1871-89. Perrot, G. Praxitele. Paris. Perrot, G., et Chipiez, C. Histoire de I'art dans I'antiquite. Vols. Vn and VIII. Paris, 1898, 1903. Pontremole, E., et Collignon, M. Pergame. Paris, 1900. GREECE AND ROME XXlll Rayet, O. Monuments de I'art antique. Reinach, S. Repertoire de la statuaire grecque el romaine. 2 vols. Paris, 1897. Robert, K. Die aniiken Sarkophagreliefs. Berlin, 1890-1904. ScHONE, R. Griechische Reliefs aus athenischen Sammlungen. Leipzig, 1872. ScHREiBER, T. Die Athena Parihenos des Phidias und ihre Nach- hildungen. Leipzig, 1883. Die hellenistischen Reliefbilder. i^eipzig, 1890-1894. Studien iiber das Rildniss Alexanders des Grossen. Leipzig, 1903. Stark, K. B. Niobe und die Niobiden. Leipzig, 1863. Strong, E.(Mrs. Arthur). Roman Sculpture from Augustus to Consiantine. London and New York, 1907. Studniczka, F. Kalamis. Ein Beitrag ^ur griechischen Kunst- geschichte. Leipzig, 1907. Tarbell, F. B. a History of Greek Art. Meadville, Penn., 1896. Waldstein, C, etc. The Argive Heraeum. Boston, 1902-05. Essays on the Art of Pheidias. Cambridge and New York, 1885. Walters, H. B. The Art of the Greeks. London, 1907. Wood, J. T. Discoveries at Ephesus. London, 1877. GREEK AND ROMAN ARCHITECTURE Anderson, W. J., and Spiers, R. P. The Architecture of Greece and Rome. London, 1902. Borrmann, R., und Neuwirth. Geschichte der Bauhmst. I, Altertum. Leipzig, 1904. Choisy, A. Histoire deV architecture. Vol. i. Paris, 1899. DuRM, J. W. Baukunst der Griechen. 2nd edition. Darm- stadt, 1892. Baukunst der Etrusker und der Romer. 2nd edition. Stutt- gart, 1905. Koldewey, R., und Puchstein, O. Die griechischen Tempel in Unieritalien und Sicilien. 2 vols. Berlin, 1899. Xxiv BIBLIOGRAPHY Lechat, H. Le temple grec. Paris, 1902. Penrose, F. C. Investigation of the Principles of Athenian Afhi- tecture. 2nd edition. London, 1888. PERIODICALS American Journal of Archaeology. Baltimore and Boston, 1885, etc. Annali dell' Instituto di corrisponden^a archeologica. Rome, 1829- 85. Annual of the British School at Athens. London, 1894, etc. .Antike Denkmdler, herausgegehen vom kaiserlich deutschen Institut. Berlin, 1887, etc. Archdologische Zeitung. Berlin, 1843-85. Aihenische Mitteilungen. Athens, 1876, etc. Ausonia. Rome, 1907, etc. Berliner philologische IVochenschrijt. Berlin, 1 881, etc. Bollettino d'arte. Rome, 1907, etc. Bonner J ahrhiicher. Bonn, 1842, etc. Bulletin de correspondance hellenique. Athens and Paris, 1877, etc. BuUettino della commissione archeologica comunale di Roma. Rome, 1873, etc. BuUettino dell' Instituto di corrisponden^a archeologica. Rome, 1829-85. Comptes-rendus de la commission imperiale archeologique. St. Petersburg, 1859-88. 'EfTQpLspls 'ApyacoXoytXTj. Athens, 1883, etc. Gazette archeologique. Paris, 1875-89. Gazette des Beaux-Arts. Paris, 1859, etc. Jahrhuch des kaiserlich deutschen archdologischen Instituts. Berlin, 1886, etc. Journal of Hellenic Studies. London, 1880, etc. Monumenti inediti dell' Instituto di corrisponden^a archeologica. Rome, 1829-85. Monuments grecs. Paris, 1872-98. Monuments Piot. Paris, 1894, etc. Noti^ie degli scavi di antichita. Rome and Milan, 1876, etc. Revue archeologique. Paris, 1844, etc. Romische Mitteilungen. Rome. 1886, etc. EARLY CHRISTIAN ART, ETC. XXV EARLY CHRISTIAN AND BYZANTINE ART Cattaneo, R. Architecture in Italy from the Sixth to the Eleventh Century. Translated by I. Curtis-Cholmeley. New York, 1896. Garrucci, p. R. Storia delta arte cristiana nei primi otto secoli delta chiesa. 6 vols. Prato, 1875-81. MoTHES, O. Geschichte der Baukunst und Bildhauerei des Mittel- alters in Venedig. Leipzig, 1859. Ongania, F. (editor). La basilica di San Marco in Venecia. 16 vols. Venice, 1881-92. Robertson, A. Venetian Discourses drawn from the History, Art and Customs oj Venice. New York, 1907. RusKiN, J. Stones oj Venice. 3 vols. London, 1851-53. ROMANESQUE ART Adamy, R. Die jrdnkische Thorhalle und Klosterkirche {u Lorsch an der Bergstrasse. Darmstadt, 1891. Archaeologia cantiana, being Transactions of the Kent Architec- tural Society. London, 1858, etc. Baudot, J. E. A. de. La sculpture fran^aise au moyen age et a la renaissance. 2nd edition. Paris, 1884. Bergner, \\. Handbuch der kirchlichen Kunstaltertiimer in Deulschland. Leipzig, 1905. Britton, J. Architectural Antiquities of Great Britain. 5 vols. London, 1807-26. Cathedral Antiquities; Historical and Descriptive Accounts of English Cathedrals. 5 vols. London, 1836. Cattaneo, R. Architecture in Italy from the Sixth to the Eleventh Century. Translated by 1. Curtis-Cholmeley. New York, 1896. Caveler, W. Select Specimens of Gothic Architecture . . . in England. 2nd edition. London, 1839. Dartein, M. F. de. Etude sur I' architecture lombarde et sur les origines de V architecture romano-by^aniine. 2 vols. Paris, 1865-82. DoHME, R. Geschichte der deutschen Baukunst. Berlin, 1887. Fleury, G. Etudes sur les portails images du XII' siecle, leur iconographie et leur symbolisme. Mamers, 1904. XXVI BIBLIOGRAPHY FoNTANA, G. Raccolfa delle migliori chiese di Roma e suhurhane. 4 vols. Rome, 1855. Gauthiez, p. Milan. Paris, 1905. (Les villes d'art cel&bres). LuBKE, W. VON. Ecclesiastical Art in Germany during the Middle Ages. Edinburgh, 1870. Geschichte der deuischen Kunst. Stuttgart, 1890. AIarcou, p. F. (publisher). Album du Musee de sculpture com- paree (Palais du Trocadero). 5 vols. Paris, n. d. MoLLER, G. Denhmdler der deuischen Bauhmst. 3 vols, in one. Leipzig, 185 1. Der Neubau des hayerischen N ationalmiiseums in Miinchen. Munich, 1902. Paris, Palais du Trocadero. Le Musee de sculpture comparee du Palais du Trocadero du XI' au XV' siecle . . . jusqu a nos jours. 3 vols. Paris, n. d. Reber, F. History of Mediaeval Art. London, 1887. RuHL, J. E. Gebaude des Mittelaliers ^u Gelnhausen. Frankfurt- am-Main, 1831. Van Ysendyck, J. J. Documents classes de I'art dans les Pays- has du X' au XV I IP siecle. 3 series in 5 vols. Antwerp, 1880-89. ViTRY, P., ET Briere, G. (editors). Documents de sculpttire jran^aise du moyen age. Paris, 1904. Wheatley, H. B. (editor). London Past and Present . . . based upon the Handbook of London by Peter Cunningham. London, 1891. Wilson, E. Cathedrals of France; Popular Studies of the most Interesting French Cathedrals. New York, 1900. Winkles, H., and B. PVinkles' Architectural and Picturesque Illustrations of the Cathedral Churches of England and IVales. 3 vols. London, 1836-38. SCANDINAVIAN ART DiETRicHSON, L. H. S. De Norske Stavkirker. Kristiania, 1892. and Munthe, H. Die Hol^baukunst Norwegens in Ver- gangenheit und Gegenwart. Berlin, 1893. ROMANESQUE ART, ETC. XXVll Murray, J. (publisher). Handbook for Travellers in Denmark. 6th edition. London, 1893. Seesselberg, F. Die jriih-mittelalterliche Kunst der germanischen Vblker, mit hesonderer Beriicksichiigung der skandinavischen Baukunst. Berlin, 1897. SARACENIC ART Calvert, A. F. Toledo, an Historical and Descriptive Account of the "City of Generations." London, 1907. (The Spanish Series). CosTE, V. P. Architecture arabe; ou, Monuments du Kaire, mesures et dessines de 1818 a 1826. Paris, 1839. GiRAUi.T DE Prangey. Monuments arabes et moresques de Cor- dove, Seville, et Grenade . . . Paris, 1836-39. Jones, O. Plans, Elevations, Sections, and Details of the .Alhambra. 2 vols. London, 1842-45. JuNGHAENDEL, M. Die Baukunst Spaniens in ihren hervorragend- sten JVerken. 2 vols. Dresden, 1891-93. Uhde, C. Baudenkmdler in Spanienund Portugal. 2 vols. Berlin, 1892. Ward, J. Historic Ornament; Treatise on Decorative Art and Archi- tectural Ornament. 2 vols. London, 1897. GOTHIC ART Adams, G. L. Receuil de sculptures gothiques dessinees et gravees d'apres les plus beaux monuments construits en France depuis ron^ieme jusqu'au quin^ieme siecle. 2 vols. Paris, 1856. Baudot, J. E. .A. de. La sculpture franfaise au moyen age et a la renaissance. 2nd edition. Paris, 1884. Bentham, J. History and Antiquities of the Conventual and Cath- edral Church of Ely. 2 vols. Cambridge, 1771. Bloxam, M. H. The Principles of Gothic Ecclesiastical Architec- ture. London, 1846. BoiTo, C. // duomo di Milano e i disegni per la sua facciata. Milan, 1889. XXVlll BIBLIOGRAPHY Britton, J. 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L Manual of Italian Renaissance Sculpture as illus- trated in the Collection of Casts at the Museum of Fine Arts, Boston. Boston, 1904. Gonse, L. L'Art gothique, l' architecture, la peinture, la sculp- ture, le decor. Paris, n. d. GusMAN, P. Venise. Paris, 1904. (Les villes d'art cdlebres). Hauberrisser, G. ]. Das neue Rathhaus in Miinchen. Munich, 1883. Havard, H. (editor). La France artistique et monumentale. 6 vols. Paris, n. d. . Hi ATT, C. M^estminster Abbey; a short History and Description of the Church and Conventual Buildings with Notes on the Monuments. London, 1902. (Bell's Cathedral Series). Hymans. H. Bruges et Ypres. Paris, 1901. (Les villes d'art celebres). Lethaby, W. R. Mediaeval Art from the Peace of the Church to the Eve of the Renaissance, 312-1350. London, 1904. GOTHIC ART XXIX Westminster Abhey; the King's Craftsmen, a Study of Med- iaeval Building. London, 1906. Mackenzie, F. Architectural Antiquities of the Collegiate Chapel of St. Stephen, IVestminsier . . . London, 1844. Marcou, p. F. (publisher). Album dti Musee de sculpture com- paree {Palais du Trocadero). 5 vols. Paris, n. d. Masse, H.J. L. J. The City of Chartres, its Cathedral and Churches. London, 1900. (Bell's Handbooks to Continental Churches). Merivale, C. St. Etheldreda Festival . . . at Ely. Fly, 1873. Neale, J. P. History and Antiquities of Westminster Abbey and Henry the Seventh' s Chapel; their Tombs, Ancient Monuments, and Inscriptions. London, 1856. Nesfield, W, E. Specimens of Mediaeval Architecture . . . of the Twelfth and Thirteenth Centuries in France and Italy. London, 1862. Notre-Dame de Paris, Monographic de. Paris, n. d. Paoletti, p. L'architettura e la scultura del rinascimenio in Veneiia; recherche storico-artistiche. 3 vols. Venezia, 1893. Paris, Palais du Trocadero. Le Musee de sculpture comparee du Palais du Trocadero du XI^ au XV siecle . . . jusqu a nos jours. 3 vols. Paris, n. d. Perkins, T. The Churches of Rouen. London, 1900. (Bell's Handbooks to Continental Churches). Phipson, E. Choir stalls and their Carvings; Examples of Miseri- cordes from English Cathedrals and Churches. London, 1896. Ree, P.J. Nuremberg. Paris, 1905. (Les villes d'art celebres). Reymond, M. La sculpture florentine. 4 vols. Florence, 1897- 1900. RusKiN, J. The Stones of Venice. 3 vols. London, 1851-53. Schneider, F. K. W. Der Dom pi Main^, Geschichte und Be- schreibung des Baues und seiner Wiederherstellung. Berlin, 1886. Schubring, p. Moderner Cicerone. Mailand und die Certosa di Pavia. Stuttgart, i8go. Shaw, H. Encyclopedia of Ornament. London, 1842. Statz, v., und Ungewitter, G. G. Gothisches Musterbuch. Leipzig, 1856. XXX BIBLIOGRAPHY Van Ysendyck, J.J. Documents classes de I'art dans les Pays-has du X" au XVIII" sihcle. 3 series in 5 vols. Antwerp, 1880-89. Verein fur Kunst und Alterthum in Ulm und Oberschwa- BEN. Ziir Architektur und Ornamentik des deutschen Mit- telalters aus dem Miinster ^u Ulm. n. d. Vitry, p., et Briere, G. (editors). Documents de sculpture fran(aise du inoyen age. Paris, 1904. Ward, J. Historic Ornament; Treatise on Decorative Art and Architectural Ornament. 2 vols. London, 1897. Waters, W. G. Five Italian Shrines. London, 1906. Wild, C. History and Antiquities of the Cathedral Church of Lincoln. 2nd edition. London, 1837. Wilson, E. Cathedrals of France; Popular Studies of the most interesting French Cathedrals. New York, 1900. RENAISSANCE ART Anderson, W. J. The Architecture oj the Renaissance in Italy. 2nd edition. London, 1898. Architecture, peinture, et sculpture de la Maison de Ville d' Amsterdam. Amsterdam, 17 19. Balcarres (Lord). Donatella. London, 1903. B ALDUS, E. D. Palais du Louvre et des Tuilenes; motifs de de- coration interieure et extcrieure. 3 vols. Paris, 1875. Baudot, J. E. A. dh. La sculpture franfaise au moyen age et a la renaissance. 2nd edition. Paris, 1884. Beltrami, L. La Certosa di Pavia. Milan, 1891. Die Certosa von Pavia. 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Adusee de sculpture antique et moderne. 12 vols. Paris, 1826-53. Cruttwell, M. Luca and Andrea delta Robbia and their Suc- cessors. London and New York, 1902. Daly, C. D. Motifs historiques d' architecture et de sculpture d'or- nement. 2 series in 4 vols. Paris, 1870-80. Daun, B. p. Vischcr und A. Krafft. Bielefeld and Leipzig, 1905. (Kiinstler-Monographien, No. 75). Veit Stoss. Bielefeld and Leipzig, 1906. (Kiinstler-Mono- graphien, No. 81). Desjardins, a. La vie et I' ceuvre de Jean Bologne. Paris, n. d. Deville, J. A. Comptes de depenses de la construction du Chd- teau de Gaillon. Paris, 1851. DuRELLi, G., E F. La Certosa di Pavia descritta ed itlustrata. Milan, 1863. EwERBECK, F., UND Neumeister, A. Die Renaissance in Bel^ gien und Holland. 2nd edition. 2 vols. Leipzig, 1891. Gauthiez, p. Milan. Paris, 1905. (Les villes d'art celebres). Gebhart, E. Florence. Paris, 1906. (Les villes d'art c^l^bres). Geffroy, G. La sculpture au Louvre. Paris, n. d. (Les musees d' Europe). GiLMAN, B. I. Manual of Italian Renaissance Sculpture as illus- trated in the Collection of Casts at the Museum of Fine Arts, Boston. Boston, 1904. GoNSE, L. Les chefs-d'oeuvre des musees de France. Sculptures, dessins, objets d'art. Paris, 1904. La sculpture franfaise depuis le XIV^ siecle. Paris, 1895. GuiFFREY, J. AL J. Les Caffieri, sculpteurs et fondeurs-ciseleurs. Paris, 1877. XXXll BIBLIOGRAPHY GusMAN, P. Venise. Paris, 1904. (Les villes d'art celebres). Haupt, a. Die Bauhund der Renaissance in Portugal, von den Zeiten des Emmanuels des Gliicklichen bis ^u dem Schlusse der spanischen Herrschajt. 2 vols. Frankfurt-am-Main, 1890- 95- Havard, H. (editor). La France ariislique et monumental. 6 vols. Paris, n. d. Hefner-Alteneck, J. H. Etsenwerke oder Ornamentik der Schmiedekunst des Mittelalters und der Renaissance. 2 vols, in I. Frankfurt-am-Main, 1885-86. Heywood, W., and Olcott, L. Guide to Siena; History and Art. London, 1903. HoLROYD, C. Michael Angelo Buonarroti. London, 1903. Jones, O. Grammar of Ornament. London, n. d. Knapp, F. Michelangelo, des Meisters IVerke in 166 Ahhildungen mit einer biographischen Einleitung. Stuttgart, 1906. (Klas- siker der Kunst in Gesanitausgabcn, vol. 7). Lachner, K. Die Hol^architectur Hildesheims. Hildesheim, 1887. Law, E. p. A. History of Hampton Court Palace. 2nd edition. 3 vols. London, 1903. Marcou, p. F. (publisher). Album du Musee de sculpture com- paree (Palais du Trocadero). 5 vols. Paris, n. d. Meyer, A. G. Canova. Bielefeld and Leipzig, 1898. (Kiinst- ler-Monographien, No. 36). Donatella. Bielefeld and Leipzig, 1903. (Kiinstler-Mono- graphien. No. 65). Oheritalieni^che Fruhrenaissance; Bauten und Bildwerke der Lombardei. 2 vols. Berlin, 1897-1900. Munich, Bayerisches Nationalmuseum. Ornamente der Hol^- sculptur von 1450 bis 1820, geordnet und beschrieben von J. H. von Hefner-Alteneck. Frankfurt-am-Main, 188 1. Muntz, E. Florence et la Toscane, paysages et monuments, mceurs et souvenirs historiques. Paris, 1897. Histoire de I'art pendant la Renaissance. 3 vols. Paris, 1891-95. (publisher). Le musee d'art . . . depuis les origines jnsquau XIX" sihcle. Paris, n. d. RENAISSANCE ART XXXlll Neale, J. P. History and Antiquities of IVesiminster Abbey and Henry the Seventh' s Chapel, their Tombs, Ancient Monuments, and Inscriptions. London, 1856. Oakeshott, G. J. Detail and Ornament of the Italian Renaissance. London, 1888. Palustre, L. La Renaissance en France. 3 vols. Paris, 1879-85. Paoletti, p. L'architettura e la scultura del rinascimenio in Veneiia; recherche storico-artistiche. 3 vols. Venice, 1893. Paravicini, T. V. Die Renaissance-architektur der Lombardei. Dresden, 1877-78. Paris, Palais du Trocadero. Le Musee de sculpture comparce du Palais du Trocadero du XI' au XV siecle . . . jusqu' a. nos jours. 3 vols. Paris, n. d. Perate, a. Versailles. Paris, 1904. (Les villes d'art celebres). Perkins, C. C. Historical Handbook of Italian Sculpture. New York, 1883. Pfnor, R. Monographiedu palais de Fontainebleau. 2 vols. Paris, 1863. Reveil, a. L. L'CEuvre de Jean Goujon. Paris, 1844. Reymond, M. Les delta Robbia. Florence, 1897. La sculpture florentine. 4 vols. Florence, 1897- 1900. Robinson, j. C. Italian Sculpture of the Middle Ages and Period of the Revival of Art. (South Kensington Museum). London, 1862. RoussEL, P. D. Histoire et description du Chdteau d'Anet. Paris, 1875. RouYER, J. E. UArt architectural en France depuis Francois /"" jusqu a Louis XIV; motifs de decoration interieure et exterieure. 2 vols. Paris, 1863-66. ScHUTZ, A. Die Renaissance in I tali en; eine Sammlung der werth- vollsten erhaltenen Monumente in chronologischer Folge geordnet. 3 vols. Hainburg, 1886. Strack, H. Baudenkmdler Roms des XV -XIX Jahrhunderis. Berlin, 1891. Symonds, J. A. Life of Michelangelo Buonarroti, based on studies in the archives of the Buonarroti family at Florence. 3rd edition. 2 vols. London, 1899. XXXIV BIBLIOGRAPHY Topical Architecture . . . edited by W. R. Ware. 4 vols. Boston, 1901-05. Vachon, M. L'ancien Hotel de Ville de Paris 1 533-1871. Paris, 1882. Van Ysendyck, J. J. Documents classes de I'art dans les Pays-has du X' au XV I W siecle. 3 series in 5 vols. Antwerp, 1880-89. ViTRY, P. Tours et les chdteaux de Touraine. Paris, 1905. (Les villes d'art celebres). Wilson, E. Cathedrals of France; Popular Studies of the most interesting French Cathedrals. New York, 1900. Yriarte, C. E. Sculpture italienne, 15' siecle; Matteo Civitali, sa vie et son ceuvre. Paris, 1886. PLAN OF THE GALLERIES OF CASTS EGYPTIAN ART EGYPTIAN ART (in gallery i8) I, 2, 3 WOODEN PANELS, in low relief , from the tomb of Hesy, at Sakkara. Ill dynasty. In the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 445. 4 WOODEN STATUE of an official, popularly known as the Sheikh el Beled. The eyes are inlaid, and are of opaque white quartz surrounded by a rim of bronze to represent the lid. The iris in each case is of transparent rock crystal. IV dynasty. Found by Mariette in a mastaba-tomb at Sakkara. Now in the Cairo Museum. Restorations: The right foot and the left leg entire. Maspero, Guide to the Cairo Museum, 1906, p. 39. 5 SIDE OF THE SARCOPHAGUS OF KHUFU-ANKH. IV dynasty. Of red granite. In the Cairo Museum. Perrot & Chipiez, History 0} Art in Ancient Egypt. (English translation.) Figs. 123 and 124. 6 SEATED STATUE OF KING KHAFRA, the builder of the Second Pyramid at Gizeh. IV dynasty. Of basalt. This statue, together with parts of eight other similar ones, was found by Mariette in the so-called Temple of the Sphinx. In the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 37. 7-19 RELIEFS FROM THE TOMB OF TI. Scenes in low relief from the walls of the offering-chambers of the mastaba-tomb of Ti, at Sakkara. Ti held the positions of royal architect and builder 4 EGYPTIANART of the pyramids of Kings Nefer-er-ka-ra and User-en-ra, of the V dynasty. "7 Domestic Geese and Cranes. 8,9 Procession of Offering-Bearers. 10 Donkeys Laden with Grain. I I Donkeys Driven through a Stream. 12, 13 Oxen Led to the Sacrifice. 14 Peasants Tilling the Ground. 15 Antelope and Gazelle. 16 Cattle Driven through a Stream., 17 Oxen Led to the Sacrifice. 18 Milking Scene. 19 Flock of Domestic Cranes. 20 HEAD FROM A PORTRAIT STATUE of an official or dignitary. V-VI dynasty. Of limestone. In the Cairo Museum. 21 LIMESTONE OFFERING-STELA OF ANTEF, an offi- cial of the reigns of Amenemhat I and Sesostris I. XI 1 dynasty. Found at Abydos, and now in the Cairo Museum, 22 SEATED STATUETTE OF AMENEMHAT, an official described as " royal friend and overseer of the royal chamber." Of granite. XI 1 dynasty. In the British Museum. British Museum, Synopsis, No. 462. 23 HEAD OF A PORTRAIT-STATUETTE. Of basalt. XII dynasty. Found at Karnak, and now in the Berlin Mu- seum. Konigliche Museen zu Berlin, Ausfuhrliches Verieichnis der aegyptischen Altertiimer, zweite Auflage, No. 83. 24 HEAD FROM A COLOSSAL STATUE of an unknown king. Formerly ascribed to the Hyksos period, but now EGYPTIANART 5 attributed with greater probability to the end of the XII dynasty. Of black granite. Found at Bubastis, and now in the British Museum. E. Naville, Bubastts. London, 1891. Pis. I and X. 25 AMENHETEP I. Upper part of a statuette. Of limestone. XVIII dynasty. In the Turin Museum. Petrie, History of Egypt, 1 1, p. 50. 26 PORTRAIT OF THE QUEEN OF PUNT. A fragment from the scene on the walls of the temple at Der el-Bahari, commemorating an expedition to Punt undertaken during the reign of Queen Hatshepsut. XVIII dynasty. Of painted limestone. Now in the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 124. 27 THOTHMESIII. Head from a statue. Ofgranite. XVIII dynasty. In the Turin Museum. 28 AMENHETEP II. Head from a kneeling statue. Of granite. XVIII dynasty. In the Turin Museum. Petrie, History of Egypt, II, p. 161. 29 SEATED STATUE OF AMENHETEP III. Of black granite. XVIII dynasty. Found by Belzoni in the temple of Amenhetep III, on the west bank, at Thebes, In the British Museum. Belzoni, Narrative, p. 291. 30 PROW OF A BOAT with head of the goddess Hathor, and inscribed with the names of Amenhetep III and his mother Mutemua. Of black granite. XVIII dynasty. In the British Museum. Arundale & Bonomi, Gallery of Antiquities, pi. 34. 31 RECUMBENT LION. Of red granite. Originally set up by Amenhetep III, in the temple at Soleb, Nubia, and later removed to the Ethiopian capital, Napata, where it was found. XVI II dynasty. In the British Museum. 32 HEAD OF A QUEEN of the XVIII dynasty. There is no evidence as to its identification. Of limestone. Found at Kamak, and now in the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 124. b EGYPTIANART 33 SQUATTING STATUE of the "hereditary prince, the royal treasurer, the royal friend, Ken-nekht." Of black basalt. XVIII dynasty. In the British Museum. 34 HISTORICAL RELIEF FROM KARNAK, representing Seti I waging war against the Bedouins of Southern Pales- tine at the fortress of Canaan. XIX dynasty. From the northern wall of the great Hypostyle Hall of the temple. 35 RAMESES II. Head from a seated statue. Of black granite. XIX dynasty. In the Turin Museum. Petrie, History of Egypt, HI, p. 8i. 36 RAMESES II. Upper part of a colossal statue. Of red granite. XIX dynasty. From the Ramesseum at Thebes, and now in the British Museum. Arundale & Bonomi, Gallery of Antiquities, pi. 39. 37 RAMESES II. Upper part of a statue. Of red granite. XIX dynasty. From the island of Elephantine, and now in the British Museum. Arundale & Bonomi, Gallery of Antiquities, pi. 40. 38 LIMESTONE STELA, with scene in low relief, representing Rameses II before the goddess Hathor. XIX dynasty. In the Turin Museum. 39 SEATED STATUE OF SETI II, holding on his knees the emblem of the ram-headed god Khnum. Of sandstone. XIX dynasty. From Karnak, and now in the British Mu- seum. Arundale & Bonomi, Gallery of Antiquities, pi. 43. 40 RAMESES III. Portrait in sunken relief. Detail from a scene on the walls of his tomb, in the valley of the Kings, at Thebes. XX dynasty. 41 ASIATIC CAPTIVES taken by Rameses HI in his foreign campaigns. From scenes in sunken relief, on the Second Pylon of the Temple of Medinet Habu, at Thebes. 42 STATUE OF QUEEN AMENERTAIS. XXV dynasty. The statue is of alabaster, and the base of gray granite. Found at Karnak, and now in the Cairo Museum. Maspero, Catalogue of the Cairo Museum, 1906, p. 183. EGYPT lANART 7 43 TAHARKA, the Ethiopian conqueror. Head from a statue of black granite. XXV dynasty. Found at Luxor, and now in the Cairo Museum. Maspero, Catalogue cj the Cairo Museum, 1906, p. 185. 44 UNFINISHED STATUETTE of a kneeling figure holding a shrine. Of gray serpentine. XXVI dynasty. Found at Mit Rahineh, on the site of the ancient Memphis, and now in the Cairo Museum. 45 EGYPTIAN SARCOPHAGUS, from which the name of the original possessor had been effaced, and which was after- ward appropriated for Eshmunazar, King of Sidon. About XXVI dynasty. Found at Sidon, and now in the Lx)uvre. 46 HEADOF A PRIEST. Of green basalt. XXV I-XXX dy- nasty. In the Berlin Museum. Konigliche Museen zu Berlin, Ausfiihrliches Ve^eichnis der aegyptischen Altertumer, zweite Auflage, Abb. 6i. 47 SIDE OF A SMALL OBELISK bearing a dedicatory in- scription of King Nekht-hor-heb to the god Thoth. Of black basalt. XXX dynasty. From Memphis. In the British Museum. Petrie, History of Egypt, III, p. 378. 48 GROUP representing the goddess Hathor, in the form of a cow, protecting Psamtik, an official of the reign of Nectanebo I. Of serpentine. XXX dynasty. From the tomb of Psamtik at Sakkara. Cf. also Nos. 49 and 50. In the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 333. 49 OSIRIS. Seated statuette of green basalt. From the tomb at Sakkara, of Psamtik, an official of the reign of Nectanebo 1. XXX dynasty. Cf. Nos. 48 and 50. In the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 331. 50 ISIS. Seated statuette of serpentine. From the tomb at Sakkara, of Psamtik, an official of the reign of Nectanebo 1. XXX dynasty. Cf. Nos. 48 and 49. In the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 332. Q EGYPTIANART 5 I STFXA, representing the god Horus overcoming the powers of evil. Of black basalt. Ptolemaic period. Found at Alexandria, and now in the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 367. 52 LIMESTONE STELA, inscribed with a trilingual decree, known as the Decree of Canopus. The decree was pro- nounced by an assembly of the priests in 238 B. C, in the reign of Ptolemy 111, Euergetes I, instituting new honors for the king, the Queen Berenice, and in memory of their daughter Berenice. It appears above in hieroglyphics, be- low in Greek, and in the margins in the popular dialect of Egyptian written in the demotic characters. Found at Tanis in 1866, and now in the Cairo Museum. Maspero, Guide to the Cairo Museum, 1906, p. 192. 53 BASALT STELA, known as the Rosetta Stone, bearing a trilingual decree of the Egyptian priests, issued in 196 B. C, in honor of Ptolemy V, Epiphanes. The decree is inscribed above in the hieroglyphic form of the Egyptian language; then in the popular form of Egyptian in demotic characters; and finally it is repeated in Greek. This inscription gave the first clue to the decipherment of hieroglyphics, when it was ascertained that the name of Ptolemy, which occurred in the Greek copy of the decree, was to be found in the group of hieroglyphic signs enclosed in the oval or cartouche. The stela was found in 1799, near Rosetta, and is now in the British Museum. 54 MODEL OF THE TEMPLE OF KARNAK. This model represents the central aisles of the Great Hypostyle Hall of the Temple of Amen. Restoration by Charles Chipiez, architect, Paris. Inscriptions and colored relief restored by Professor Gaston Maspero. Model made by Abel Poulin, sculptor, Paris, for the Willard Collection. The fundamental form of an Egyptian temple consisted of: (i) The Pylon, or Fafade, two large towers of masonry flanking the entrance-door. Beyond this, (2) a broad, open Court, surrounded by colonnades. Further on, (3) the Hy- postyle Hall, consisting of a nave and side aisles, the nave be- ing considerably higher than the aisles, and lighted by clere- story openings. And fmally, at the rear, (4) the Sanctuary proper, surrounded by chambers for the performance of re- ligious rites and for the storage of temple property. This great Hypostyle Hall at Karnak, much of which is still EGYPTIANART 9 standing, is undoubtedly the most imposing example of Egyptian temple-construction that has been preserved to us. The hall was begun by Seti I and completed by his son Ram- eses II, of the XIX dynasty, but several of their successors have also recorded their names in the decorative inscriptions and reliefs. It measures 338 feet in breadth, 170 feet in depth, and has an area of 5,450square yards — an area spacious enough to accommodate the entire church of Notre Dame at Paris, a model of which is shown in the large hall of casts. No. 1723. The roof of the Hypostyle Hall is supported by 1 34 columns arranged in 16 rows, of which the two higher cen- tral rows consist of papyrus-columns with open-flower cap- itals, while the smaller columns have bud-capitals. The col- umns are built up of a series of drums, and are of reddish sandstone. The twelve columns in the two central rows are 69 feet in height and 11^ feet in diameter, while the re- maining 122 columns are 42^ feet in height and 6^ feet in diameter. The walls of the hall, the columns, and the archi- trave are covered with inscriptions and reliefs, many of which still retain their coloring, enumerating the names and titles of Seti and Rameses, and representing them in adoration before the various gods of Thebes. ORIENTAL ART CHALDAEAN (in gallery 19) IOI-I06 SCULPTURES OF GREEN DIORITE, discovered by M. de Sarzec during his excavations of the palace of Gudea (between 3,000 and 2,000 B. C.), at Tello, in Southern Chaldaea, and now in the Museum of the Louvre. 101 SEATED STATUE OF GUDEA as an architect, witL the plan of a fortress. Sarzec, Decouvertes en Chaldee, pi. 18. 102 SEATED STATUE OF GUDEA as an architect, with a measuring rule. Sarzec, pi. 14. 103 STANDING STATUE OF GUDEA (larger size). Sarzec, pi. 11. 104 STANDING STATUE OF GUDEA (smaller size). Sarzec, pi. 20. 105 MALE PORTRAIT HEAD, with a turban. Sarzec, pi. 13. 106 MALE PORTRAIT HEAD. Sarzec, pi. 12. /4 ORIENTALART 107 BOUNDARY STONE. Of black basalt, erected to re- cord a sale of land, the conditions of which are described in the inscription on the back of the stone. It dates from the reign of Merodach-idin-akhi, who was King of Chaldaea in the twelfth century B. C. The relief in front probably represents the king. In the British Museum. 108 STELE OF KING SARGON. Found at Kition (Larnaka). in the island of Cyprus, and now in the Museum of Berlin. ASSYRIAN (in gallery 19) I2I-I43 ALABASTER RELIEFS found in the ruins of the palace of Ashur-nasir-pal, King of Assyria (885-860 B. C.), in the mound of Nimrud, and now in the British Museum. 121 TWO FIGURES from the left of a relief representing the king with attendants and winged figures. Layard, Monuments of Nineveh, 1, pi. 5. 122 THE KING, ASHUR-NASIR-PAL. Layard, Monuments, I, pi. 34, 2. 123 THE KING, eagle-headed figures and the sacred tree. Victor Place, Ninive et VAssyrie, 1 1 1, pi. 46, Nos. i and 3. 124 THE KING and other figures before the sacred tree. Layard, Monuments, I, pi. 25. 125 FIGURES KNEELING before the sacred tree. Layard, Monuments, I, pi. 7A. 126, 127 TWO RELIEFS representing lion-hunts. Layard, Monuments, I, pis. 10 and 30. 128 THE KING pouring a libation over a dead lion. 129 A BULL HUNT. Layard, Monuments, I, pi. 11. ASSYRIAN 15 130 THE KING pouring a libation over a dead bull. Layard, Monuments, I, pi. 12. 131 THE KING besieging a city with a battering ram. Layard, Monuments, I, pi. 17. 132 THE KING receiving prisoners. Layard, Monuments, I, pi. 23. 133 PRISONERS brought before the King. Layard, Monuments, I, pi. 24. 134 THE KING besieging a city with a scaling ladder. Layard, Monuments, I, pi. 20. 135-138 FOUR RELIEFS representing battle scenes. The king and his warriors are in chariots and on horses; the enemy fight on foot. Layard, Monuments of Nineveh, I, pis. 26 and 27. Layard, Nineveh and its Remains, I, p. 337. 139-141 THREE RELIEFS representing the return after a vic- tory; a procession of chariots is approaching the castle and pavilion of the king. Layard, Monuments of Nineveh, I, pis. 21, 22, 30. 142 THE KING receiving an envoy. 143 THE KING in a chariot. Layard, Monuments, I, pi. 18. 144 BLACK ALABASTER MONOLITH, known as the " Black Obelisk," set up by Shalmaneser II, king of Assyria (860- 825 B. C.), in the central building at Nimrud. Inscribed on its four sides with an account of the expeditions under- taken by Shalmaneser during the thirty-one years of his reign, and with scenes representing the paying of tribute by the kings whom he had conquered. In the British Museum. Layard, Monuments of Nineveh, I, pis. 53-56. l6 ORIENTAL ART 145 FRAGMENT OF A THRESHOLD from the palace of Sargon, king of Assyria (722-705 B. C), at Khorsabad. In the Museum of the Louvre. Perrot et Chipiez, Hisioire de I'Art, 11, p. 251, fig. 96. 146 FRAGMENT OF A THRESHOLD. Of alabaster. From the palace of Sennacherib, king of Assyria (705-681 B.C.), at Kouyunjik (Nineveh). In the British Museum. Layard, Monuments of Nineveh, II, pi. LVI. 147-154 SCULPTURED LIMESTONE SLABS from the palace of Ashur- bani-pal, king of Assyria, 668-626 B. C, at Kouyunjik (Nineveh), Now in the British Museum. 147 A LION HUNT. Victor Place, Ninive et VAssyrie, pi. 50 bis i, pi. 53. 148 A HUNT OF WILD ASSES. Victor Place, pi. 54, i and 2. 149 A WOUNDED LIONESS. Victor Place, pi. 55, 2. I 50 THE KING pouring a libation on the return of a lion hunt. Victor Place, pi. 57, i. 151 ASHUR-BANI-PAL and his queen feasting in a garden. Victor Place, pi. 57, 2. 152 COMPOSITE CREATURE of a man and lion. Perrot et Chipiez, Histoire de I' Art, II, fig. 278. 153 MUSICIANS. British Museum, Assyrian Saloon, No. 124. 154 OFFICIALS leading dogs. British Museum, Assyrian Saloon, No. 78. ASSYRIAN 17 155-159 DETAILS FROM ASSYRIAN RELIEFS, unidentified. I 55 Horses' Heads. I 56 Nose and Mouth from a colossal human figure. I 57 Beard from a colossal human figure. I 58 Head of a bearded male figure in profile. 1 59 Fragment of a small relief with a chariot and part of a horse. PERSIAN (in gallery 16) 1 8 1 - 1 96 SCULPTURES FROM PERSEPOLIS and the neighborhood, illustrating the art of the Old Persian Empire, 560-340 B. C. (The descriptions and translations of Nos. 181-192 are based upon those in Cecil H. Smith's Catalogue oj Casts oj Sculptures from Persepolis, London, 1892.) 181 RELIEF OF KING CYRUS (559-529 B. C), represented as a winged figure, wearing an Egyptian headdress. The inscription which stood over the figure has been broken away. The original slab is on the plain of Murghab (Pas- argadae). Flandin et Coste, Perse ancienne, IV, pi. 198 and 199D. 182 ONE OF THE ROYAL BODY-GUARDS. Relief from the fafade of the stairway on the southeast side of the Palace of Darius (521 B. C), at Persepolis. Flandin et Coste, Perse ancienne, III, pis. 1 14, 1 15, and 122. 183 KING STABBING A LION. Relief decorating one side of a doorway on the northeast side of the Palace of Darius (521 B. C). Flandin et Coste, Perse ancienne, III, pi. 116. l8 ORIENTALART 184 KING STABBING A MONSTER. Relief decorating one side of a doorway on the southwest side of the Palace of Darius (521 B. C). Flandin et Coste, Perse ancienne, 1 1 1, pi. 1 16 and 123. 185 FRIEZE decorating the passage leading to a stairway on the north side of the Great Hall of Xerxes at Persepolis, and probably erected by that king (485-469 B. C). Five depu- tations, each escorted by an officer, are bringing offerings (chariots, horses, camels, donkeys, woven fabrics, vessels, and money?) to the great king, who held his levee in this hall at the annual festival of No Ruz (the New Year), at the vernal equinox in April. Flandin et Coste, Perse ancienne, II, pi. 91, 105 and 109. 186 PROCESSION OF FIGURES, perhaps officials of the court, holding flowers. Part of a frieze belonging to the same series as No. 185, but from the other side of the stairway. Flandin et Coste, Perse ancienne, II, pi. 95. 187 RELIEF decorating the side of a doorway on the south side of the hall of the Hundred Columns at Persepolis. The king, perhaps Xerxes (485-469 B. C), is seated on a throne, with an attendant behind him holding a fly-whisk. Above is a canopy decorated with two friezes of animals, over which is a winged disk with the image of the god Ahumar- azda. This group rests on a dais in the form of a colossal chair, the rails and seat of which are supported by figures symbolizing the various subject nationalities of the great king. This relief is exhibited in two sections. Flandin et Coste, Perse ancienne, III, pi. 155. 188 INSCRIPTION OF XERXES (485-469 B. C), in the earlier (Babylonian) characters. Found beside the stair- way leading from the Palace of Darius to the southeast palace. The translation reads: "A great god is Ahura- mazda, who created this earth, who created this heaven, who created men, who bestowed honor on men, who be- stowed the dominion on Xerxes as the only one among many kings, the only one of many rulers. I am Xerxes the Great King, the king of kings, the king of lands, the collection of tongues, the king of this great wide earth (?), the son of king Darius, the Akhaemenid. Xerxes, the OL > o H -1 <J) o Ol > ai (/) w _i ~--k o «o B. ■'a UJ 11 K Qi Cl ft. ■i.' H a: < - I/) UJ 13 ^ Oi X < U D H u. LU O H C) tu ai (,' oi UJ < S O H PERSIAN 19 great king saith: that which 1 have here done, and that which I have done in another place, all, so far as I have done, have I in the protection of Ahuramazda completed. Me may Ahuramazda protect in company with the other gods, and my dominion, and that which I have made." This inscription affords an interesting comparison with the later one in the stairway of Artaxerxes Ochus (No. 189), which is written in the true Persepolitan characters. 189 RELIEFS decorating the fafade of a double stairway on the southwest side of the Palace of Darius at Persepolis, and, according to the inscription, constructed by Artaxerxes Ochus (358-340 B. C). In the side angles are convention- alized palmette ornaments. A group of a lion attacking a bull flanks the central portion on each side. Above these, fig- ures are represented ascending the staircase, bringing offer- ings to the king. In the centre are four rows of figures, probably symbolizing subject provinces with offerings, and between them a panel containing a long inscription in Persian cuneiform characters, which reads: "A great god is Ahuramazda who created this earth, who created yonder heaven, who created men, who created pleasure for men, who made me Artaxerxes for the king, the one and only king of many, the one and only master of many. "Thus saith Artaxerxes the Great King, the king of kings, the king of lands, the king of this earth. I am (Arta- xerxes) the son of king Artaxerxes, Artaxerxes the son of king Xerxes, Xerxes the son of king Darius, Darius the son of Vishtaspa (Hystaspes), Vishtaspa the son of (a man) named Arshama, an Akhaemenid. "Thus saith the king Artaxerxes: This stone high building have I made for myself. "Thus saith the king Artaxerxes: Me may Ahuramazda and the god Mithras protect, and this land and what I have made." Flandin et Coste, Perse and enne, 1 1 1, pis. 120 and 125. 190 KING STABBING A MONSTER. Relief from one side of a doorway. Found on the site of the southeast palace at Persepolis. Stolze, Persepolis, I, pi. 4. 191 LION. From a frieze of lions decorating the architrave over the doorway of one of the tombs of the kings. Flandin et Coste, Perse ancienne, III, pis. 164 and 164 bis. 20 ORIENTALART 192 BASE OF A COLUMN dug up at Persepolis. A similar base is given in Stolze, Persepolis, 1 1, pis. 58 and 61 . 193 FRAGMENT OF A FRIEZE. Three warriors in process- ion to right. In the British Museum. 194 FRAGMENT OF A RELIEF. Upper part of a warrior walking to left. Above, three rosettes as ornaments of a gable. In the British Museum. 195, 196 TWO SECTIONS OF NARROW FRIEZES. The first has three bullocks walking to right, a row of rosettes below them; the second, three lions and part of a fourth walking in the same direction; rosettes above and below. From casts in the British Museum. 197, 198 TWO FRIEZES of enamelled brick from the palace of Artaxerxes II, Mnemon (404-358 B. C), at Susa. Dis- covered by M. Dieulafoy during the French expeditions of 1 884- 1 886, and now in the Museum of the Louvre. (a) Marching Lions between two richly ornamented bands. (h) Procession of Advancing Archers between orna- mented bands. These have been identified as the famous "Immortals," the body-guard of the Persian king. Ferret et Chipiez, Histoire de I'Art, V, pis. XI and XI I. CYPRIOTE AND PHOENICIAN (in gallery 38, ALCOVE l) 211 CYPRIOTE CAPITAL. Found in Cyprus, and now in the Museum of the Louvre. Perrot et Chipiez, Histoire de I'Art, 1 1 1, p. 116, fig. 51. 212 CYPRIOTE CAPITAL. Found in Cyprus, and now in the Museum of the Louvre. Perrot et Chipiez, Histoire de I'Art, 1 1 1, p. 116, fig. 52. 213 CAPITAL FROM CYPRUS in Egyptian style. On it is represented a head of Hathor, rising from a lotos-flower, and surmounted by a small shrine. In the Louvre? CYPRIOTE AND PHOENICIAN 21 214 ALABASTER SLAB, with a sphinx and other decorations in relief. Phoenician. From Arad. Now in the Museum of the Louvre. Perrot et Chipiez, Hisioire de I'Art, 1 1 1, p. 129, fig. 73. 215 ALABASTER SLAB, with architectural decorations in relief. Phoenician. From Byblos. Now in the Museum of the Louvre. Perrot et Chipiez, Hisioire de VArt, 1 11, p. 132, fig. 77. 216 STELE, representing part of a fafade. Phoenician. From Hadrumetum in Africa. Now in the Museum of the Louvre. Perrot et Chipiez, Hisioire de I'Ari, III, p. 461, fig. 337. 217 FRAGMENT OF A TABLET containing a Himyaritic in- scription, surrounded by a grape-vine border, with dentels above. In the British Museum, No. 21. GREEK AND ROMAN ART PREHISTORIC ART IN GREECE (in gallery 20) THE Greeks had a very vague knowledge of the his- tory of the people who inhabited Greek lands before their own arrival from the North, that is to say, dur- ing the second and third millenia B. C. A certain tra- dition lingered on, as embodied in Homer and Hesiod, and re- ferred to occasionally by the Greek historians Herodotos and Thucydides; but the stories told by these writers clearly take us back to "prehistoric," legendary times. It is one of the chief triumphs of modern scientific archaeology that we have at the present day a more exact picture of this early civilization, and know more of the social customs, religion, politics, and art of these prehistoric peoples than did the Greeks themselves. This flood of light has come from the excavations of the last thirty years at sites which from the writings of Homer were known to be the chief centres of that civilization. First, Heinrich Schliemann, by his epoch-making excavations at Troy, Mykenae, and Tiryns, opened up new vistas to students of Greek history. His researches were followed by other explorers in Attica, the Peloponnesos, Boeotia, the islands of the Aegean, Egypt, Rhodes, and Cyprus. Though Crete was felt to be the great centre of this important civilization, for a long time excavators were prevented by Turkish restrictions from carrying on systematic excavations. It was not until 1900, when a stable government was established in the island, that the work of excavating could begin. In the comparatively short per- iod of eight years not only have two vast palaces been unearthed at Knossos and Phaestos, by Dr. Evans and Professor Halbherr, but a number of smaller towns or villas have been brought to light at Zakro, Palaikastro, Gournia, and Hagia Triada by English American, and Italian excavators. The Minoan civilization, as it has been called by A. J. Evans, 26 GREEKANDROMANART after King Minos, the chief ruler of Knossos, is coincident with the bronze age in the Mediterranean. The dating of the various periods, being dependent on the much disputed chronology of Egypt, can be only provisional. Roughly speaking, it covers the period from the third millennium to about i lOO B. C. Mr. Evans has conveniently introduced three divisions which he calls the Early Minoan period (before 2200 B. C), Middle Minoan period (2200-1600 B. C.), and Late Minoan period (1600-1 100 B. C.) each of which in its turn he subdivides into three smaller periods, I, II, and III.* The great climax in this civilization was reached in the Late Minoan period. It was then that Knossos became the great ruler of the Aegean, and that the full development of Minoan civili- zation was reached. The art of the first Late Minoan period (1600-1500 B. C.) is marked by naturalism and delicacy; that of the second (1500-1350 B. C.) by precision and grandeur; in the third stage (c. 1350 B. C), with the decline of political power, due to foreign invasion, conventionalism and decadence set in. Crete no longer holds the leadership, and Mykenae and Tiryns now rise to power. The advanced state of culture of the people of prehistoric Greece has been a surprising revelation to archaeologists. In- stead of leading a primitive existence these "Minoans" lived in palaces almost modern in appointments and comforts; their arts and crafts were highly developed, and they had an advanced system of writing. In comparing their art, at least during the best period, with classical Greek art of the fifth and fourth centuries B. C., what strikes us at once is the "modern" spirit of the work of these earlier artists. It lacks indeed the severe dig- nity and serenity of the Pheidian age; but in their representations of bull-fights, boxing matches, or scenes from animal life, there is a buoyant spirit which makes a strong appeal to our imagination. Moreover, their decorative instinct was strongly developed, as is shown by the delicate shapes and ornamentation of their vases, and by the designs of their architectural friezes. 251 MALE FIGURE, with fleur-de-lis crown; perhaps one of the priest-kings of Knossos. Fragments of a painted re- lief of gesso duro, restored. The missing parts are indi- cated in a lighter color. Late Minoan II, about 1500-1350 B. C. From the southern wing of the Palace of Knossos. In the Museum at Candia, Crete. A. J. Evans, British School Annual, VI I, p. 17, and X, p. 2. * The dates given are those recently (1909) adopted by Mr. A. J. Evans. PREHISTORICARTIN GREECE 27 252.253 FRAGMENTS OF RELIEFS in painted gesso duro. 252 Male Left Arm holding a pointed vase. 253 Male Right Shoulder and upper arm. Late Minoan II, about 1 500-1 350 B. C. From the area near the room of the olive press in the Palace of Knossos. Now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VII, p. 89. 254 THE "HARVESTERS VASE." Upper part of a steatite vase, decorated in relief with a procession of harvesters or warriors. At the head is a man clad in what looks like a wicker-work cuirass. His followers bear curious pronged objects, which are interpreted as winnowing forks by Eng- lish archaeologists, and as spears by the Italian archaeol- ogists who discovered the vase. They carry short knives (sickles?) in their girdles, and wear pads (reapers' pads?) on their thighs. Half-way is a man singing and playing a sistrum of the simple early Egyptian form, while those be- hind accompany his strains. Late Minoan I, about 1600- 1500 B. C. It is probable that this vase was originally plated with gold. Found in the Palace of Hagia triada, near Phaestos, and now in the Museum at Candia, Crete. F. Halbherr, Monumenti antichi puhhlicati per cura della Reale Accademia dei Lincei, XIII, 1903, pp. i6ff, pis. I-III. L. Savignoni, Monumenti antichi, XIII, 1903; pp. 78-132. 255 FRAGMENT OF A STEATITE PYXIS, with a relief rep- resenting an altar, and a fig-tree within a sacred en- closure (?). Late Minoan II, about 1 500-1350 B. C. Found on the slope of the hill Gypsades. near the Palace of Knossos, and now in the Museum at Candia, Crete. A. J. Evans, Mycenaean Tree and Pillar Cult, in the Journal of Hellenic Studies, XXI, 1901, p. 10 1. 256 FRESCO representing a scene from the Palace Circus. A girl toreador in cowboy costume is caught under the arm- pits by the horns of a charging bull, and is evidently in the act of being tossed. A youth who seems already to have been thrown into the air is turning a somersault on the animal's back, while a girl behind, perhaps intended to be standing in the middle of the arena, holds out both hands as if to catch the flying figure. Late Minoan II, about 1 500- 1350 B. C. From the chamber overlooking the court of the 28 GREEKANDROMANART olive spout at the Palace of Knossos. Now in the Museum at Candia, Crete. A.J. Evans, British School Annual y\\, p. 94, and VIII, p. 74. 257-278 CULT OBJECTS and ornaments in faience (or native porcelain) and stone,* found in the temple repositories in the Palace of Knossos. Middle Minoan III, 1850-1600 B. C. Now in the Museum at Candia, Crete. 257 SNAKE GODDESS. In this goddess we may have either a chthonic aspect (as suggested by the snakes) of the cult of the same mother goddess whose worship is so well illus- trated in Knossos, or she may be an associated divinity, a au|JL^{)J[JLO(;, having a shrine of her own within a large sanc- tuary. Parts of the apron, with the lower curve of the snakes that ran over them, and the greater part of the skirt are restored. A. J. Evans, British School Annual, IX, p. 75. 258 ATTENDANT or Votary. The head and parts of the flounced skirt are restored. British School Annual, IX, p. 77 259 REMAINS OF A THIRD FIGURE, probably also a vo- tary or attendant. British School Annual, IX, p. 78. Other fragments found with the above show that there were originally more figures. 260, 261 Votive Robes. British School Annual, IX, p. 82. 262, 263 Votive Girdles. British School Annual, IX, p. 82. 264, 265 Votive Shields. 266 Marble Cross. British School Annual, IX, p. 91. 267 Marine Subjects (flying fish, cockle-shells, nautili, rocks). British School Annual, IX, p. 69. *UnIess otherwise stated these objects are in faience. PREHISTORICARTIN GREECE 29 268 Cup, with fernlike sprays on exterior, and rose leaves in relief above. British School Annual, IX, p. 74, figs. 53a and b. 269 Cup, with fernlike sprays. British School Annual, IX, p. 74. 270 Vase with spirals, (restored). 271 White and Brown Bowl, with shields. British School Annual, IX, p. 72, fig. 49. 272 White and Brown Bowl. British School Annual, IX, p. 72, fig. 50. 273 Two-Handled Bowl, with cockle-shells in relief, (restored). British School Annual, IX, p. 73, fig. 51. 274 Two-Handled Bowl, with two lips, (restored). British School Annual, IX, p. 73, fig. 52. 275, 276 Steatite Libation Bowls. British School Annual, IX, p. 41, fig. 20b and d. 277 Relief, representing a cow suckling a calf. British School Annual, IX, p. 71. 278 Relief, representing a wild goat suckling her young, (re- stored). British School Annual, IX, p. 72, pi. III. 279 HEAD OF A BULL. Part of a life-size relief in painted gesso duro. Late Minoan II, about 1500-1350 B. C. From the Palace of Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 52. 280 MARBLE HEAD OF A LIONESS (?), probably used as a spout of a fountain. The eyes and nostrils were filled with inlays of jasper. Late Minoan II, about 1 500-1350 B.C. 30 GREEKANDROMANART Found in the stone vase room in the Palace of Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 281 THRONE FROM THE PALACE OF KNOSSOS, in Crete. Of gypsum. About 1600-1400 B. C. Still in its original position in the council room of the palace. A. J. Evans, British School Annual, VI, pp. 35flF. 282 STONE AMPHORA decorated with spiral bands. Late Minoan II, about 1 500-1350 B. C. Found in a sculptor's workroom in the Palace of Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VII, p. 90. 283 ALABASTER VASE, of squat shape, decorated with spiral reliefs, and having handles in the form of Mycenaean shields. Found in the northeast corner of the Throne Room at Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 41. 284 PORTION OF A FRIEZE of porphyry-like stone, from the northwest angle of the west wall of the Palace of Knossos. Late Minoan II, about 1 500-1 350 B. C. In the Museum at Candia, Crete. A. J. Evans, British School Annual, VII, p. 55. 285 PART OF A LIMESTONE FRIEZE, or cornice, with rosettes in relief. Late Minoan II, about 1500-1350 B. C. From the southern Propylaeum of the Palace of Knossos. and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 14. 286 LAMP. Of purple gypsum. About 1400-1300 B. C. The pedestal imitates the form of an Egyptian column, but the design on the rim is purely Minoan in character. Found in a room of the last period of the Palace of Knossos. In the Museum at Candia, Crete. The lower part of the pedestal is restored. A. J. Evans, British School Annual, VI, p. 44. 287 SMALL COLUMN of purple gypsum. Perhaps part of a pedestal lamp. Late Minoan II, about 1 500-1350 B. C. PREHISTORIC ART IN GREECE 3I The decoration recalls that of certain painted vases of the close of the first Late Minoan period. From the northeast house at Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, IX, p. 8. 288 WEIGHT of purple gypsum, with an octopus in relief on each side. Probably a Minoan standard. Late Minoan II, about 1500-1350 B. C. Found in one of the West Maga- zines of the Palace of Knossos. In the Museum at Candia, Crete. A. J. Evans, British School Annual, VII, p. 42. 289 TRITON SHELL. Of alabaster, with small perforations around its mouth for metal attachment. Late Minoan II, about 1 500-1 350 B. C. From the stone vase room of the Palace of Knossos. In the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 290 VASE OF VARIEGATED MARBLE (restored). Late Minoan II, about 1500-1350 B. C. From the room of the stone vases in the Palace of Knossos. Now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 291 MARBLE RHYTON OR FILLER, with a perforation be- low, and the upper part in a separate piece (restored). Late Minoan II, about 1 500-1350 B. C. The fluting recalls the abacus of the Treasury of Atreus. From the room of the stone vases in the Palace of Knossos, and now in the Mu- seum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 292 MARBLE RHYTON OR FILLER, of funnel-shaped form, with a perforation below (restored). Late Minoan II, about 1500-1350 B. C. From the room of the stone vases in the Palace of Knossos. Now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 293 RHYTON OR FILLER, of variegated marble (restored). Late Minoan II, about 1500-1350 B. C. Found in the hall of the double axes, in the Palace of Knosses, and now in the Museum at Candia, Crete. 32 GREEKANDROMANART 294 RHYTON OR FILLER. Of variegated marble, with a small perforation below, (restored). Late Minoan II, about 1 500-1350 B. C. From the room of the stone vases in the Palace of Knossos. Now in the Museum at Candia, Crete. A. J. Evans, British School Annual, VI, p. 31. 295 STEATITE LIBATION TABLE, inscribed with charac- ters belonging to the linear type of Cretan writing. After 2000 B. C. From the Diktaean Cave in Crete, and now in the Museum at Candia. Only the right-hand corner has been preserved. In the cast the missing portions have been restored. A. J. Evans, Journal of Hellenic Studies, XVII, p. 352. 296 TABLET WITH LINEAR SCRIPT. Of sun-baked clay. Only a few characters of this writing have as yet been in- terpreted. From the frequency of ciphers on these tablets it is evident that a great number of them refer to accounts relating to the royal stores and arsenal. The numerals show a certain parallelism with the Egyptian. Thus the upright lines stand for units, the horizontal lines for tens. The curvature which the latter sometimes show may per- haps point to a derivation from the Egyptian form. From the Palace of Knossos, and now in the Museum at Candia, Crete. 297 TABLET WITH LINEAR SCRIPT. Of sun-baked clay. On this tablet two ox-heads are combined with a vase of the Vapheio type, recalling the ox-heads and vessel of similar type that occur among the Keft offerings in Egypt. Fif- teenth century B. C. From the Palace of Knossos, and now in the Museum at Candia, Crete. A. J. Evans, British School Annual, IX, p. 58. 341 THE LIONS OVER THE GATE OF MYKENAE. Of greenish gray limestone. The relief represents two lionesses resting their forepaws on an altar-like base, in the centre of which is placed a column of characteristic Mycenaean type, with the shaft larger at the top than at the bottom. The heads of the lionesses, which were turned towards the spectator, were made separately, and have disappeared The composition has the character of a heraldic design. Perrot et Chipiez, Histoire de I'Art, pp. ygQflf, pi. XIV. PREHISTORIC ART IN GREECE 33 342 A. B, THE COLUMNS FROM THE FACADE OF THE TREASURY OF ATREUS, the most important of the so- called beehive tombs at Mykenae, as restored in the British Museum. About 1500 B. C. These restorations are com- posed of the original fragments (or casts of the original fragments) of the two columns which are in the British Museum and other collections, the missing parts being filled out in plaster. On the surviving fragments the scheme of the decoration is indicated with sufficient clearness to make it possible to reproduce the complete pattern, as has been done. These columns show the characteristic shape of the columns of the Mycenaean age, the shaft being of larger diameter at the top than at the bottom. The bases of the columns are still in situ. Most of the fragments are in the British Museum, but there are smaller pieces in Athens. Berlin, Munich, and Karlsruhe, In gallery 38. Perrot et Chipiez, Histoire de I'Art, VI, pp. 6o8ff. 343, 344 FRAGMENTS FROM THE "TREASURY OF AT- REUS," at Mykenae, and now in the British Museum, 343 Fragment of Red Marble, decorated with three bands of wave pattern, separated by mouldings. Its orig- inal position was probably above the doorway of the build- ing. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. i, 344 Fragment of Green Limestone, decorated with a band of wave pattern, separated by mouldings, and a band of lozenges. It probably formed part of the archi- trave, over the entrance to the building. A. H. Smith, Catalogue of Greek Sculpture in the British Mu- seum, 1, No. 2. 345 FRAGMENT from the "Treasury of Minyas " at Orchom- enos. About 1500 B. C. Still in the interior of the Treas- ury. Perrot et Chipiez, Histoire de I'Ari, VI, pp. 54off, figs. 220-221. Of the foregoing the colored reproductions, Nos, 251-253, 34 GREEKANDROMANART 256, 279, 280, 284-294. were made by Helvor Bagge; Nos. 257-278 by E. Gillieron. In the same room are exhibited some original vases, vase- fragments, and a few bronzes, from the excavations conduct- ed by Mrs. Harriet Boyd Hawes, at Gournia and Vasiliki, in Crete. The electrotype reproductions of gold and silver objects from Mykenae will be included in the catalogue of metal reproductions. GREEK AND ROMAN SCULPTURE ARCHAIC PERIOD SEVENTH CENTURY TO ABOUT 480 B.C. (in GALLERY 2l) THE beginnings of Greek sculpture may be placed in the seventh century B. C; the sixth century is one of con- tinuous and rapid progress; the lower limit of the archaic period is marked by the close of the Persian wars (about 480 B. C). We are fortunate enough to possess numerous statues and reliefs, which form a fairly complete series illustrating the gradual development of early Greek sculpture. With the help of these we can follow this growth step by step, observe the con- ditions which fostered it, and trace the struggle of the workman with his material and with tradition, which kept him confined within narrow limits until he was able to strike out his own line. The rude types from which the development started can generally be traced to foreign not Greek origin. It was only natural that the ancient civilizations of the Orient should exercise a certain influence on a young art just starting on its path. The Phoeni- cians, the great traders of the Mediterranean in these early times, were continually bringing wares from Egypt and Assyria to Greece; The Greeks themselves had founded a colony at Naukratis upon the Delta of the Nile. Such intimate contact at a period of great receptivity could only result in some borrowing on the part of the Greeks. But this fact in no way detracts from the originality of Greek sculptors. Their inventiveness and innate artistic sense are sufficiently attested by the perfecting of the rude and primi- tive figures which served them as models. Thus, of the two chief types which everywhere occupied the Greek sculptor during this early period — the nude male figure and the draped female figure — the former was certainly borrowed from Egyptian art. But the Greek artist only took over this ready-made type in order, one 36 GREEK AND ROMAN SCULPTURE by one, to solve the problems which it presented. Gradually the figures lose their rigid attitude, the modelling of the human body is more and more truthfully rendered, and an animation is imparted to the face, though at first this was attained only by the stere- otyped "archaic smile." In this catalogue the casts illustrating archaic Greek art have been classified in three main divisions — first, the works of the schools of Asia Minor and the Aegean islands; second, those of the schools of Greece proper (excluding Attica), the adjacent is- lands. Magna Graecia, and Sicily; and third, those of the Attic school. This is not merely a convenient geographical division, but it is indicative of the different artistic currents which seem to have formulated themselves in the second half of the sixth century B. C. On the one hand we have works of severe and sober style, of sturdy types, bold and almost harsh lines, dis- tinguished more for their strength and precision than for their charm. These belong to the "Doric" style, which chiefly dom- inated the western part of the Greek world, particularly the Peloponnesos. The "Ionic" style was developed in Asia Minor and the Aegean Islands. Here we find more harmonious com- position, full, rounded forms, a flow of lines and delicacy of treat- ment, coupled with want of precision in details. The best results in Doric art are seen in the nude male figures, which afforded good opportunity for the exercise of vigorous and accurate modelling. The draped female figure with the rich complication of the folds of its garments, offered the fullest scope to the Ionian artist. To understand archaic Greek sculpture we must bear in mind these two different tendencies, without, however, insisting too much on the sharpness of their dividing line. Though a char-' acteristic product of either the Doric school or the Ionic will bear out the distinctive qualities mentioned, there are many inter- mediate works which show traces of both trends, and thus serve as links between the opposing styles. The relation of Attic sculpture to these two schools is of special interest. At first, it develops along lines of its own; but in the second half of the sixth century it is strongly influenced by the rising Ionic school, and the chief object of the Athenian sculptor is to attain elegance in drapery, grace of gesture, and delicacy of finish. The best examples of this period in Attic art are the series of female draped statues found on the Akropolis of Athens. Owing to the remnants of paint on these statues, they cannot be cast, and we have, therefore, unfortunately, no examples in our collection. At the beginning of the fifth century Peloponnesian influence is felt, and the Athenian artist now learns vigorous drawing, firm contours, and powerful composition. Instead of ARCHAICPERIOD 37 the smiling draped figure, the male athletic type becomes his ideal. But through both stages, Attic sculpture retains its own individuality, and this enables it to fall subject to neither school, but, as we shall see later, to blend the different traits into one harmonious whole. SCHOOLS OF ASIA MINOR AND THE AEGEAN ISLANDS 349 PRIMITIVE STATUE OF A WOMAN, found at Delos. According to the inscription which is engraved on the garment, it was dedicated by Nikandre of Naxos to Artemis. Seventh century B. C. In the National Museum, Athens. Th. Homolle, Bulletin de correspondance helUnique, III, 1879, pi. I, p. 3 and 99. 350 STATUE OF HERA (?) of an extremely primitive type, though the inscription on the garment shows that the fig- ure itself cannot be earlier than the middle of the sixth cen- tury B.C. The inscription reads: X^jpa^uY]*; ^'avs6(TQ)x(e)v TTjpiQt ayaX^a, "Cheramyes dedicated me as a statue to Hera." Found in the temple of Hera at Samos, and now in the Museum of the Louvre. P. Girard, Bulletin de correspondance hellenique, IV, 1880, pis. XIII, XIV, p. 483. 351 NIKE. The earliest extant statue of the goddess of vic- tory. Perhaps by Mikkiades and his son Archermos of Chios. Early sixth century B. C. Found in the island of Delos, and now in the National Museum, Athens. Perrot et Chipiez, Histoire de l'Art,V\\\, pp. 298ff, figs. 122-125. 352 FIGURE OF APOLLO (?). Sixth century B.C. Found in the island of Melos, and now in the National Museum, Athens. Perrot et Chipiez, Histoire de I'Art, VI 1 1, p. 320, fig. 134. 353 STATUE OF CHARES, inscribed: XapY]q zl\iX 6 K\e(i)aioQ Tstxto(ij)a(c;)T]<; apyhq ayaXtxa io(i)) 'AxoXXwvo?. " I am Chares, son of Kleisis, and ruler of Teichioussa, The statue belongs to Apollo." Middle of the sixth century B. C. 38 GREEK AND ROMAN SCULPTURE Found at Branchidae, near Miletos, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 14. 354 SEATED FEMALE FIGURE. Found at Branchidae, near Miletos. Sixth century B. C. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, No. 9. 355 BEARDLESS MALE HEAD from an archaic statue. Sixth century B. C. Found at Branchidae, near Miletos, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 19. 356 RELIEF WITH DANCING FIGURES, probably part of a frieze. Sixth century B. C. Found at Karakewi (Tei- chioussa), near Branchidae, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 21. 357-369 SCULPTURES FROM THE TEMPLE OF ASSOS IN MYSIA. Gray trachyte. Sixth century B. C. METOPES. In the Museum of the Louvre. 357 Two Sphinxhs confronted in an heraldic scheme. 358 A Cfntaur. 359 A Grazing Boar. Monumenti dell' Instituto, III, pi. XXXIV, and Collignon, Histoire, I, p. 182. FRAGMENTS OF THE FRIEZE which decorated the architrave. Nos. 362 and 369 in the Museum of Fine Arts, Boston; the others in the Museum of the Louvre. 360 Banquet Scene. ARCHAICPERIOD 39 361 Contest of Herakles and Triton in the presence of the Nereids. 362 Herakles and Iolaos pursuing Centaurs. 363 Three Centaurs. 364 Two Centaurs. 365 Two Bulls. 366 A Lion Attacking a Bull. 367 A Lion Attacking a Hind. 368 A Sphinx. 369 Two Sphinxes confronted in an heraldic scheme. For 362 and 369 cf. Joseph T. Clarke, Report of Investiga- tions at Assos, 1881, Boston, 1882. For the others, cj. Monumenti dell' Institute \\\, pL XXXIV, and Collignon, Histoire, L PP- i82flf. 370 ARCHAIC FEMALE HEAD, found at Delos. In the Na- tional Museum, Athens, No. 123. Th. Homolle, Bulletin de correspondance hellenique, 1879, pl. VIII, and 1880, p. 36, No. 2. 371 RELIEF FROM SAMOTHRAKE. This probably dec- orated the arm of a chair, and represents Agamemnon with his herald Talthybios and Epeios (the builder of the wooden horse). The names are inscribed. Second half of the sixth century B. C. Found on the island of Samothrake, and now in the Museum of the Louvre. Collignon, Histoire, I, pp. i84flF, fig. 87. 372-375 FRAGMENTS OF RELIEFS from the base of a sculp- tured column of the early Temple of Artemis at Ephe- sos, and now in the British Museum. This temple, which was discovered by J. T. Wood, was probably begun early in the sixth century B. C. by the architects, Theodoros, Chersiphron and Metagenes. It was burned in 356 B. C, 40 GREEKAND ROMAN SCULPTURE and another temple was built to replace it. (For remains from this later temple see Nos. 736-738.) 372 Upper Part OF A Male Figure. 373 Lower Part of a Male Figure. 374 Head of a Female Figure, 375 Middle Part of a Female Figure, It is not certain whether these fragments originally belonged together. In the original, immediately below the sculp- tures, are fragments of a moulding inscribed with letters which have been restored as Ba(ijiA£u<;) Kg(ol(Joq) av(e6T)x)£v, "King Croesus dedicated (the column)." It is known from a statement of Herodotos(l,92) that Croesus gave most of the columns of the temple of Ephesos, and it is probable that they were inscribed with dedicatory inscriptions, of which we here have fragments. The columns dedicated by Croesus must be earlier than the date of his fall, which occurred in 546 B. C. A. H, Smith, Catalogue of Greek Sculpture in the British Museum, 1, No, 29, 4, 5, 6, 7. 376-382 SCULPTURES FROM XANTHOS, Lycia, now in the British Museum. 376 RELIEFS FROM THE HARPY TOMB. They represent funerary scenes, offerings to deities, winged beings bearing away the souls of the dead, and mourning survivors. Second half of the sixth century B. C. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 94. 377 FRIEZE WITH A PROCESSION, consisting of a chariot and a group of draped figures. It probably belonged to a tomb, and represents a funeral procession. Second half of the sixth century B, C. F"ound built into a wall on the Akropolis of Xanthos. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, No. 86. H 5 z' ARCHAICPERIOD 4I 378 A-C SLABS FROM A FRIEZE OF ANIMALS AND SATYRS. A. Satyr in combat with a wild boar (in two pieces). B. Lion Devouring a Deer. C. Lynx. Of limestone. End of the sixth century B. C. Found built into the wall of the Akropolis at Xanthos. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 81. 379 FRIEZE OF COCKS AND HENS. Of limestone. End of the sixth century B. C. Found built into the wall of the Akropolis at Xanthos. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 82. 380 A-D RELIEFS FROM A SEPULCHRAL CHEST (soros). A. (South Side) Lion struggling with a bull. B. (East Side). A Horseman, with an attendant, and a warrior. C. (North Side) Lioness playing with her cubs. D. (West Side) A Man struggling with a lion. Of limestone. Sixth century B. C. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 80. 381 A, B GABLE OF A TOMB, with sphinxes and lions in re- lief. Of limestone. Sixth century B. C. This relief is exhibited in two sections. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, Nos. 89, 90. 382 GABLE OF A TOMB. Ionic capital, surmounted by a siren, between two male figures. Of limestone. Sixth century B. C. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 93. For later sculptures from Xanthos see Nos. 554-559. 383 THE "LEUKOTHEA RELIEF." Grave monument with a domestic scene. About 500 B. C. In the Villa Albani Rome. ' Restorations: On the sitting figure, the nose, lips, and part of the right hand. On the small figure held by her, the 42 GREEK AND ROMAN SCULPTURE right hand, left lower arm and hand. On the large stand- ing figure opposite, the face, both hands, and part of the object held. Helbig, Guide, II, No. 762. 384 GRAVE STELE BY ALXENOR. The deceased is re- presented playing with his dog. The inscription on the base of the stele (not shown in the cast) reads: 'AX^i^vwp lx(o) IT) j£v 6 Na^tog, aXX' eatO£a(6£) ("Alxcnor the Naxian made this, only look at it!")- Beginning of the fifth cen- tury B. C. Found at Orchomenos, Boeotia, and now in the National Museum, Athens. Collignon, Histoire, I, p. 255, fig. 124. 385 GRAVE STELE, representing a girl holding a dove. Be- ginning of the fifth century B. C. Found on the Esquiline, and now in the Palazzo dei Conservatori, Rome. Helbig, Guide, I, No. 590. 386 TERRACOTTA RELIEF, representing Bellerophon, mount- ed on Pegasos, slaying the Chimaera. First half of the fifth century B. C. Found in Melos, and now in the British Mu- seum. H. B. Walters, Catalogue of Terracottas in the British Mu- seum, B 364. 387 TERRACOTTA RELIEF representing a man and woman conversing (Alkaios and Sappho?). First half of the fifth century B. C. Found in Melos, and now in the British Museum. H. B. Walters, Catalogue of Terracottas in the British Mu- seum, B 367, pi. XIX. 388 TERRACOTTA RELIEF representing Perseus riding off after slaying Medusa. First half of the fifth century B. C. Found in Melos, and now in the British Museum. H. B. Walters, Catalogue of the Terracottas in the British Museum, B 365. 389 FRAGMENT OF A TERRACOTTA VOTIVE RELIEF, representing Hermes standing opposite Aphrodite, on whose right arm stands a small figure of Eros. Early fifth century. Found near Rosarno, Calabria. Now in Munich. Michaclis, Annali dell' Institulo, 1867, p. 93, pi. D. ARCHAICPERIOD 43 SCHOOLS OF GREECE PROPER (EXCLUDING ATTICA), THE ADJACENT ISLANDS, MAGNA GRAECIA, AND SICILY 390 BRONZE RELIEF of the seventh century B. C. The decoration is in four bands, and consists of (i) three eagles, (2) two griffins, (3) Herakles attacking a Centaur, (4) the "Persian Artemis." Found at Olympia, and now in the National Museum, Athens. Olympia, Die Bronien, text p. 100, No. 606, and Atlas d1 XXXVIII. ^' 391 BRONZE STATUETTE OF A EUMENID (?) holding a serpent. Of very archaic style. Seventh century B. C. It probably served as the support of a tripod. Found at Olympia, and now in the Museum there. Olympia, Die Bron^en, Atlas, pi. VI 1, 74; text p. 23. 392 UPPER PART OF A FEMALE HEAD (perhaps Hera), wearmg a kalathos, or crown. Of terracotta. Seventh century B. C. Found at Olympia, and now in the Museum there. Olympia, Die Bildwerke, Atlas, pi. VII, i. 393 FRAGMENTARY FEMALE HEAD, probably from the image of Hera worshipped in the Heraion at Olympia. Of yellowish white limestone. End of the seventh century B. C. Found in the neighborhood of the Heraion at Olym- pia, and now in the Museum there. Olympia, Die Bildwerke, Atlas, pi. I, text pp. iff. 394 PERSEUS CUTTING OFF THE HEAD OF MEDUSA. Metope, of tufa, from temple C at Selinus. About 600 B. C. In the Museum of Palermo. Restorations: On the female figure, most of the neck, breast and knees; on Perseus, middle part of the sword,' parts of the hands and arms. Benndorf, Die Metopen von Selinunt, pi. I, pp. 44ff. 395 FIGURE OF APOLLO (?). Early part of the sixth cen- tury B. C. From Greece, probably from Boeotia. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 205. 44 GREEK AND ROMAN SCULPTURE 396 APOLLO OF TENEA. Early part of the sixth century B. C. Found on the site of Tenea, near Corinth, and now in the Glyptothek, Munich. Furtwangler, Beschreibung der Glyptothek, No. 47. 397 HEAD OF APOLLO (?). Sixth century B. C. From the Temple of Apollo Ptoos, in Boeotia In the National Mu- seum, Athens. Kavvadias, Catalogue, No. 15. 398 HEAD OF A YOUTH. Sixth century B. C. Found at Epidauros, and now in the National Museum, Athens. Kavvadias, Catalogue, No. 63. 399 FEMALE HEAD, found in the temple of Apollo Ptoos, Boeotia. Sixth century B. C. In the National Museum, Athens. Kavvadias, Catalogue, No. 17. 400 BRONZE HEAD OF A YOUTH (or Aphrodite?). Sixth century B. C. Found at Kythera, and now in the Berlin Museum. Collignon, Histoire, I, p. 240, fig. 116. 401 PEDIMENT OF THE TREASURY OF THE MEGAR- lANS at Olympia. The subject is the contest of gods and giants. Of limestone. Sixth century B. C. In the Mu- seum at Olympia. The inscription MEr[AP]EQN was found with the frag- ments of the Treasury, but belongs to a much later (Hel- lenistic) period. Olympia, III, Die Bildwerke, Atlas, pis. II, HI, IV. 402 GRAVE STELE, of pyramidal shape. Of bluish marble. The upper part is broken off. The interpretation of the reliefs is doubtful. Sixth century B. C. Found at Sparta, and now in the Museum there. Tod and Wace, Catalogue of the Sparta Museum, p. 132, No. I, figs. 26 and 27. 403 GRAVE RELIEF, representing either the deceased, in heroized form, or deities from the lower world, and wor- shippers bringing offerings to them. Sixth century B. C. ARCHAICPERIOD 45 Found at Chrysapha in Laconia, and now in the Berlin Mu- seum. Berlin Museum, Beschreibung der antikenSkulpturen.No. 731. 404 BRONZE RELIEF, representing a kneeling archer (Her- akles?). Sixth century B. C. Found at Olympia, and now in the Museum there. Olympia, Die Bron^en, Atlas, pi. XL, 717. 405 BEARDED HEAD, from a statue, probably of Zeus. Of bronze. Found during the excavation of the temple of Zeus at Olympia, and now in the Museum there. Olympia, Die Bron^en, Atlas, pi. i. 406 HEAD OF A BEARDED WARRIOR. About 500 B. C Found at Olympia, and now in the Museum there. Olympia, Die Bildwerke, Atlas, pi. VI, i and 2. 407 COLOSSAL HEAD OF A GODDESS, from the Ludovisi Collection. Early part of the fifth century B. C. In the Museo delle Terme, Rome. The front of the nose is restored. HeMg, Guide, II, No, 883. 408-427 SCULPTURES FROM THE PEDIMENTS OF THE TEMPLE AT AEGINA. Until recently the temple was thought to have been that of Athena, but inscriptions found in 1901 show that it was dedicated to Aphaia, an Aeginetan goddess. The sculp- tures were found in 181 1 by C. R. Cockerell and Haller von Hal- lerstein, in the vicinity of the temple, and were bought for Lud- wig I, of Bavaria, then Crown Prince, in the following year. The statues being in a very fragmentary condition, they were put together and restored by Thorwaldsen prior to their install- ation in the Glyptothek, Munich. The present arrangement of the casts follows his restoration, which, however, has been proved incorrect by the discoveries made during the excavations of Professor Furtwangler, in 1901, when other important fragments were brought to light. Furtwangler worked out another ar- rangement as the result of his discoveries, which is shown in the small models in the same room (Nos. 426, a,b). That arrange- ment is also somewhat conjectural. The date of the statues is about 490-480 B. C. At that time the Aeginetan sculptor 46 GREEK AND ROMAN SCULPTURE Onatas was at the height of his activity, and it is probable, therefore, that it is to him and his school that the sculptures are to be attributed. It will be noticed that the figures from the Eastern pediment are somewhat larger and of more advanced style than those of the western. They are probably cither of a slightly later date, or by the hand of a more skilful artist. STATUES FROM THE WEST PEDIMENT. The subject is probably a battle of the Trojan war. Beginning from the left end, and following in order, the figures are as follows: 408 FALLEN WARRIOR (Glyptothek, No. 79). Restorations: The end of the nose, the edge of the hair under the right ear, the right forearm, most of the left hand, the right leg from the knee to the ankle, a piece on the under side of the right heel, the toes of both feet. 409 KNEELING WARRIOR. (Gl. 78). Restorations: The crest of the helmet, the end of the nose, the right hand, the left forearm and tips of the fingers, the left foot and the fore-half of the right. 410 KNEELING ARCHER (Gl. 77). Restorations: The head, the left forearm, the right arm from the middle of the upper arm, the right hand, most of the pendants on front of the armor, the edge of the chiton, and the left leg from the knee down. 41 I ADVANCING WARRIOR (Gl. 76). Restorations: The head, the right shoulder with the ad- joining parts of breasts and ribs, the fingers of the right hand, the ends of the fingers of the left hand, the greater part of the shield, a piece on the right leg from the ankle halfway up to the knee, the front part of the right foot, the toes of the left foot. 412 FALLEN WARRIOR (Gl. 75). Restorations: The neck, the right shoulder and a piece of the breast, the lower part of the right hand, the fingers of the left hand, most of the toes, pieces in the crest. 413 ATHENA (Gl. 74). Restorations: The nose, the thumbs, the right hand, the ends of two fingers of the left, small pieces in the drapery, in the aegis, crest and shield. ARCHAICPERIOD 47 414 ADVANCING WARRIOR (GI. 80). Restorations: The end of the nose, the crest, half of the right forearm, the right hand, the end of the left thumb, one third of the shield, both legs. 415 KNEELING ARCHER, with Phrygian cap, possibly Paris (GI. 81). Restorations: The point of the cap, the nose, the right half of the chin, parts of the fingers of both hands, the front half of the left foot. 416 KNEELING WARRIOR (GI. 82). Restorations: The head, the right shoulder, the fingers of the right hand, the left arm from just above the elbow, the right leg from the knee down, the left knee, with part of the thigh, the front part of the foot, a small round piece in front of the shoulder. 417 FALLEN WARRIOR (GI. 83). Restorations: The head, the left arm, parts of the right arm and hand, both legs from the knee down. STATUES AND FRAGMENTS FROM THE EAST PEDIMENT. The subject is probably the contest of Herakles and Telamon against Laomedon of Troy. 418 HERAKLES (Glyptothek, No. 84). Restorations: The end of the nose, a piece on the back under the left shoulder, several pendants of the armor, the left hand, the right forearm, half of the right foot, the left leg from the lower half of the knee down. 419 FALLEN WARRIOR (GI. 85). Restorations: The crest, part of the nose, several fingers and toes, the right leg from the middle of the thigh down. 420 ADVANCING WARRIOR (GI. 86). Restorations: The head, both hands including the wrists, the entire left leg, the right heel, the shield, except where it touches the shoulder, and the lower arm. 421 WARRIOR FALLEN ON HIS BACK (GI. 87). Restorations: The head, the right arm, the greater part of the left arm including the elbow, the shield, the entire 48 GREEK AND ROMAN SCULPTURE right leg, the left leg from the knee down, the piece of the greave which projects above the knee. 422 STOOPING FIGURE (Gl. 88). Restorations: The nose, both arms, the greater part of the right foot, the left foot and ankle. 423 HEAD OF ATHENA, from the figure of the goddess, which probably stood in the centre of the pediment (Gl. 8g). The tip of the nose restored. 424 HELMETED HEAD, probably from an archer (Gl. 90). 425 HELMETED HEAD from a fallen warrior (Gl. 92). 426 A, B MODELS OF THE GROUPS FROM THE EASTERN AND WESTERN PEDIMENTS, as restored by Prof. A. Furtwangler. These restorations were made after his ex- cavations on the site of the temple, and are based partly on the results of these and partly upon a careful study of the fragments in Munich, as well as the notes and sketches left by the earlier explorers. They are undoubtedly much nearer the original composition of the groups liian Thorwaldsen's restorations, but are still somewhat conjectural, notably that of the eastern pediment. 427 GRIFFIN. Akroterion from one of the corners of the temple. In the Glyptothek, Munich. The only original portions of this figure are the hind part of the body, the fore paws (not including the feet, of which only two claws are ancient), the end of the tail, and some pieces of the left wing. Furtwangler, Aegina, pi. 98, 157 (Gl. 96). 428 HEAD OF A YOUTH. Probably an Aeginetan work of the beginning of the fifth century B. C. In the Barracco Museum, Rome. Barracco and Helbig, Collection Barracco, pi. XXIX. 429 THE "STRANGFORD APOLLO." First half of the fifth century B. C. In style this work bears some resem- blance to the Aeginetan sculptures. Said to have been found in the island of Anaphe. In the British Museum. ARCHAICPERIOD 49 A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 206. 430 HEAD OF A WARRIOR. Roman copy of a Greek work of about 490-480 B. C. Similar in style to the Aeginetan sculptures. Probably from Italy. In the Glyptothek, Munich. Restorations: The nose, the lower part of both ears, the point of the beard, the hair, and almost the whole helmet. Furtwangler, Beschreibung der Glyptothek, No. 50. ATTIC SCHOOL 43 I H HAD OF DION YSOS, from a colossal statue {cf. No. 432). Sixth century B. C. Found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, p. 461, fig- 43- 432 HAND HOLDING A KANTHAROS. Part of a colossal statue, to which probably the head, No. 431, also belongs. Sixth century B. C. Found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, p. 466, fig- 45- 433 HEAD OF THE "APOLLO" TYPE. Sixth century B. C. Perhaps from Athens. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 150. 434 FRAGMENT OF A GRAVE RELIEF, representing a seated woman clasping the hand of another woman. Middle of the sixth century B. C. Found in Aegina, and now in the Museum there. A. Furtwangler, Athenische Mitteilungen, VIII, 1883, pi. XVII 2, p. 375. 435 GRAVE STELE OF ARISTION. The deceased is re- presented as a bearded warrior. On the lower border is in- scribed "Epyov 'Aptc7T0xXeouq ("the work of Aristokles"), and on the base (not shown in the cast) the name of the de- ceased 'Apiaxt'ojvos, in the genitive. The character of the 50 GREEK AND ROMAN SCULPTURE letters of the inscription shows that this is an Attic work of the latter part of the sixth century B. C. On the original are extensive traces of coloring. Found at Velanideza in Attica, and now in the National Museum, Athens. Conze, Attische GrabreJiefs, I, pi. 11, i, p. 4. 436 GRAVE STELE OF A WARRIOR. Fnd of the sixth cen- tury B. C. Found at Ikaria, Attica, and now in the Na- tional Museum, Athens. C. D. Buck, American Journal of Archaeology, V, p. 9, pi. 1. 437 DRAPED FEMALE TORSO. End of the sixth century B. C. Found near Stamata, Attica, and now in the Na- tional Museum, Athens. C. D. Buck, American Journal of Archaeology, V, p. 424, pi. XIL 438 HEAD OF ATHENA. Fragment of a group representing the battle of the Gods and Giants, which decorated one of the pediments of the old temple of Athena (Hekatoinpedon) on the Akropolis of Athens. End of the sixth century B. C. Found on the Akropolis, and now in the Museum there. Perrot et Chipiez, Hisioire de I'Art, VIII, p. 556, fig. 281. 439 FRAGMENT OF A GRAVE RELIEF representing a youth carrying a disk on his shoulder. End of the sixth century B. C. Found near the Dipylon Gate, and now in the National Museum, Athens. Conze, Attische Grahreliefs, 1, pi. IV, p. 5. 440 BASEOF A GRAVE STELE, The deceased is represented as a young horseman. On the sides are two women and a bearded man. End of the sixth century B. C. Found at Lambrika, Attica, and now in the National Museum, Athens. Conze, Attische Grahreliefs, pi. XI. 441 PORTRAIT OF A BEARDED MAN. About 500 B. C. Found in either Athens or Aegina, and now in the Berlin Museum. Berlin Museum, Beschreihung der antiken Skulpturen, No. 308. H ."S O ARCHAICPERIOD 5I 442 YOUTH MOUNTING A CHARIOT. Fragment of a vo- tive relief. About 500 B. C. Found on the Akropolis, Athens, and now in the Akropolis Museum. Collignon, Histoire, I, p. 377, fig. 194. 443 HEAD OF HERMES, from the same relief as the preceding, and also in the Akropolis Museum. Collignon, Histoire, I, p. 378, fig. 195. 444 THE BIRTH OF ERICHTHONIOS. Terracotta relief of the first half of the fifth century B. C. From Athens, and now in the Berlin Museum. Friederichs-Wolters, No. 120. 445 STATUETTE OF A WOMAN, from the Polledrara tomb, Vulci. Of tufa. Archaic Etruscan. In the British Museum. Dennis, Etruria, I, p. 459. 446 LAW CODE OF GORTYNA. This inscription was dis- covered by Dr. F. Halbherr in 1884, cut directly on a stone wall of Gortyna, Crete, where it still remains. The letters are written in houstrophedon style, that is, they go from left to right and right to left alternately. The alphabet is the oldest known to us of the Greeks, and the forms of the letters are very archaic. The date of the inscription is not certain, but it probably belongs to the beginning of the sixth century B. C. The subjects dealt with in the laws are rights of property, payment for offences, rights of inherit- ance, the ownership of slaves, divorce, etc. In Gallery 22. A. C. Merriam, American Journal oj Archaeology, \, 1885, pp. 324ff, and the references given on p. 328f. D. Comparetti, Monumenti anticbi, pp. 93!?. TRANSITIONAL PERIOD ABOUT 480-450 B. C. (in gallery 22) WE have seen that up to the Persian wars the history of Greek sculpture is one of hard struggle and slow growth. In all parts of Greece the initial prob- lems of sculpture in relief and in the round have been attacked and variously solved. Just at this time of ap- proaching maturity, the Persian army threatened Greece with destruction, and had it been successful, Greek art would probably have stopped at its most promising period. But the unexpected happened, and the small army of the Greeks defeated the invad- ing hordes of the enemy. The enthusiasm at the deliverance from this danger resulted everywhere in unprecedented activity. Besides serving as a general impetus, the Persian invasion affected art in another way. The Greek cities of the East, less fortunate than their western sisters, fell a prey to the Persians, and, as a consequence, we observe a reflux of Greek civilization from East to West. The systematic development of the Ionian School is broken off, and though the current of Ionian art can be traced down to the fourth century B. C., Ionian works are in future merely of sporadic occurrence. It is in the Greek mainland it- self that art now centres, and that the fruits of the long period of early training are gathered. But though progress is rapid, art cannot proceed by sudden leaps. Forming a connecting link be- tween the archaic period and that of the great masters, came a time of transition, which may be approximately dated from 480 to 450 B. C. During this period the sculptural works begin to show the great spirit of the new epoch, and only a lingering stiff- ness and occasional faultiness in execution remind us that com- plete mastery has not yet been attained. TRANSITIONALPERIOD 53 447,448 THE TYRANNICIDES HARMODIOS AND ARIS- TOGEITON. Roman copies of a group erected at Athens to commemorate the overthrow of the tyrants (514 B. C). That group was the work of Kritios and Nesiotes, and was set up in 477 B. C. to replace an older one by Antenor, which was removed by Xerxes. In the Museum of Naples. Place of discovery unknown. Restorations: On Harmodios, both arms, the left leg from the knee down, the right leg, the plinth, the tree-trunk; on Aristogeiton, the head, which is ancient, but does not belong to the statue, the left hand, three toes of the left foot, some small pieces in the drapery and plinth. The original head was bearded, and probably resembled the so- called Pherekydes head in the Museum at Madrid (c/. No. 449). Frazer's Pausanias, II, pp. 92-99. 449 HEAD CALLED "PHEREKYDES." Roman copy of a work of the early part of the fifth century B. C. This head has been supposed to be a copy of the Aristogeiton in the group of the Tyrannicides (Nos. 447, 448). Found at Tivoli, and now in the Royal Museum at Madrid. Restorations: The nose, the right part of the moustache, the left ear, half the right ear, the whole bust from the neck, including the inscription. HiJbner, Antike Bildwerke in Madrid, p. no. No. 176, and F. Hauser, Romische M itteilungen, XIX, 1904, p. 176. 450 STATUE OF A BOY. About 480 B. C. Style of Kritios and Nesiotes. Found on the Akropolis, Athens, and now in the Akropolis Museum. Lechat, La sculpture attique avant Phidias, p. 452, fig. 38. 45 I APOLLO AND NYMPHS, HERMES AND THE GRACES. Reliefs found in the island of Thasos, and probably from an altar erected in a sanctuary. Inscription over the door: "To the Nymphs and to Apollo leader of the Nymphs, sacrifice whatever female or male victims thou wilt, but neither the sheep nor the pig is lawful. The paean is not sung." Above this, in letters of much later type: "Aris- tokrates, the son of Eros." Inscription below Hermes: "To the Graces neither a goat nor a pig may be offered." 480-460 B. C. In the Museum of the Louvre. Rayet, Monuments de I'art antique, I, pis. XX and XXI. 54 GREEK AND ROMAN SCULPTURE 452 HEAD OF AN ATHLETE. About 470-460 B. C. Found at Perinthos, Thrace. In the Albertinum, Dresden. P. Herrmann, Athenische Mitteilungen, XVI, 1891, p. 313, pis. IV, V. 453 GRAVE STELE OF A WOMAN. About 460 B. C. Found on the Esquiline, and now in the Palazzo dei Conservator!, Rome. Bullettino comunale, XV, 1887, p. 109, pL VL 454 GIRL STARTING IN A RACE. Roman copy of a statue of the middle of the fifth century B. C, which was prob- ably erected in honor of the victor in a girls' race. In the Vatican. Restorations: The nose, and both arms from above the elbows. Helbig, Guide, I, No. 378. 455 SO-CALLED "PENELOPE." Probably a grave mon- ument. Roman copy of a statue of the middle of the fifth century B. C. In the Vatican. Restorations: The drapery surrounding the head and ex- tending down the left half of the back, the right hand and knee, both feet, and the rocks on which the figure is seated. The face (nose restored) is ancient, but does not belong to the statue. Helbig, Guide, I, No. 92. 456 THE "SPINARIO." Bronze statue of a boy extracting a thorn from his foot. 460-450 B. C. Place of discovery unknown, and possibly the statue was never buried. In the Palazzo dei Conservatori, Rome. Helbig, Guide, I, No. 617. 457 THE SO-CALLED "ESQUILINE VENUS." Probably a Roman copy of a statue of the fifth century B. C. Found on the Esquiline, Rome, and now in the Palazzo dei Con- servatori. Helbig, Guide, I, No. 566. 458 GRAVE STELE representing the deceased with his dog. First half of the fifth century B. C. Provenance unknown. In the Museum of Naples. TRANSITIONALPERIOD 55 Restorations: The end of the nose, the right hand, a piece in the right arm, the greater part of the left hand, nearly the whole of the ring on the left wrist, and a piece of the stick above the left hand. Perrot et Chipiez, Histoiredel'Art, VIII, p. 132, fig. 73. 459 HEAD OF APOLLO. Roman copy of a work of about 460 B. C. Found near the Olympieion in Athens, and now in the National Museum there. No. 47. R. Kekule, Athenische M itteilungen, I, 1876, pis. 8-10, p 177. 460 THE "CHOISEUL-GOUFFIER APOLLO." Roman copy of a statue of about 460 B. C. From the Choiseul- Gouffier Collection. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 209. 461 HEAD OF APOLLO, derived from the same original as the Apollo of the Choiseul-Gouffier Collection (No. 460). Found in the temple of Apollo, at Kyrene. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Mu- seum, I, No. 210. 462 THE CHARIOTEER OF DELPHI. Of bronze. The fragments found with the statue make it probable that the charioteer was driving a chariot drawn by four horses. - On a stone belonging to the base (not shown in the cast) is the fragmentary inscription: (x)oXul^aX6? ^' avsGiQxs". . . . . ov as^' suwvu^ "AxoX(X6v). The word 'Ko'ku'C,(xk6q was at first taken to be a proper name, and it was thought that the monument was dedicated by Polyzelos, the younger brother of the tyrants Gelon and Hieron of Syracuse. This word, however, was found to have been substituted for another which had been erased, and there are now various theories as to its significance and the origin of the group. The latest of these is that it is an adjective meaning "much beloved." The word for which it was substituted has with some probability been reconstructed as Arkesilas, the name of a Cyrenaic king (c/. Washburn, Berliner Philologische IVochenschrijt, 1905, 1358, and Svoronos, the same, 1549). This makes it 56 GREEK AND ROMAN SCULPTURE possible that the monument is identical with that described by Pausanias, X, 15, 5, as dedicated by the Cyrenaeans at Delphi, representing Battos, and the work of Amphion of Knossos. Pindar in his fourth and fifth Pythian odes cele- brates the victory of the last Cyrenaic king in a horse-race which took place in 462 B. C. If the above conjectures are correct, this would give us the approximate date of the statue. The statue was found at Delphi in 1896, during the excavations of the French, under the direction of Th. Homolle. It is now in the Museum at Delphi. Homolle, Monuments Plot, IV, pis. XV, XVI, pp. 169!?. 463 THE SO-CALLED "MOURNING ATHENA." 460- 450 B. C. Votive relief to Athena, erected on the Akropolis, Athens, and now in the Akropolis Museum. Restorations: The upper left hand corner of the slab, and part of the left forearm. E. A. Gardner, Journal of Hellenic Studies, X, p. 268. 464 THE "MANTUAN APOLLO." Roman copy of a statue of the middle of the fifth century B. C. In the Museum of Mantua. Restorations: The left forearm and hand, the upper half of the tree, and the head of the serpent. Dutschke, Antike Bildwerke in Oberitalien, IV, No. 872, 465 APOLLO OF THE "MANTUAN" TYPE {cf. No. 464). Roman copy of a statue of the middle of the fifth century B. C. Formerly in the Mazarin Collection, and now in the Mu- seum of the Louvre. Monuments grecs, pi. 13. 466 TERRACOTTA RELIEF, representing the hunt of the Kalydonian boar. Middle of the fifth century B. C. Found in Melos, and now in the Berlin Museum. Inventarium der Terrakoiten des Berliner Antiquariums, No. 5783. 467 YOUTH HOLDING HIS HORSE. Roman (?) imitation of a relief of about 460 B. C. Said to have been found in Hadrian's Villa, Tivoli, and now in the British Museum. Small bits are restored. The genuineness of this relief has been doubted. A. H. Smith, Catalogue oj Greek Sculpture in the British Museum, HI, No, 2206. TRANSITIONALPERIOD 57 468-474 THE TEMPLE OF ZEUS AT OLYMPIA. This temple was be- gun probably about 470 B. C. The exact date of its completion is not certain, but it must have been in a fairly finished state in 457 B. C, as we read of the Spartans placing a golden shield on the apex of the eastern pediment after the battle of Tanagra, which took place in that year. The temple was excavated first on a small scale by the French, in 1829, and later by the Germans in 1875-81. The sculptural decorations of the temple consist of: A. THE GROUPS FROM THE TWO PEDIMENTS. The statues of these groups were found during the German excava- tions, in a mutilated condition and with many parts missing. They are now exhibited in the Museum at Olympia. Our casts show them as complete, following the restorations and arrange- ment which were made under the direction of Professor Georg Treu, in the Albertinum at Dresden. 468 EASTERN PEDIMENT (At the eastern end of Hall 38). The subject of this group is the preparation for the chariot- race between Pelops and Oinomaos, for the possession of the latter's daughter, Hippodameia. Both contestants appear before Zeus to take the oath for fair play, such as was re- quired of all competitors at Oympia before they entered the games. In the centre stands Zeus, his head slightly turned towards Pelops, whom he favored in the contest. At the side of Pelops is Hippodameia, and on the other side of Zeus are Oinomaos and his wife Sterope. Beyond the contestants, on each side, are their two chariots, with their charioteers, and minor figures which have not been identi- fied, though Pausanias tells us that the reclning figure on the extreme left was a personification of the river Alpheios, and the corresponding one on the right the river Kladeos, the two streams which bounded the sacred enclosure of Olympia. According to Pausanias, this group was the work of the sculptor Paionios, of Mende in Thrace, but his attri- bution has been disputed by modern investigators. 469 WESTERN PEDIMENT. (At the western end of Hall 38.) This group represents the contest between the Lapiths and the Centaurs, at the wedding feast of Peirithoos and Deida- meia, where the drunken Centaurs attempted to carry off the bride and the other women. The struggle is represented 58 GREEK AND ROMAN SCULPTURE at its lieiglit, with the issue still uncertain. In the centre stands Apollo the ancestor of the Lapiths, who has come to aid them in suppressing the disorder. In the direction towards which he is pointing, a youth, probably Peirithoos, rushes forward to attack a Centaur who holds a struggling woman in his grasp. If the youth is Peirithoos, this woman is probably the bride, Deidameia. On the other side of Apollo a second youth, usually explained as I hcseus, the friend cf Peirithoos, starts in the opposite direction, brand- ishing an axe in both hands. The remaining figures are Centaurs and Lapith men and women, to whom it is not possible to ascribe definite names. The sculptures from this pediment have been ascribed by Pausanias to the artist Alkamenes, but this attribution has also been dis- puted. The most complete description and illustrations of the sculptures in these two pediments are in the German work on the results of the excavations, entitled (9/j'wp?a — Text Vol. Ill, pp. 44-137; Atlas, Vol. Ill, pis. IX- XXXIV. The account of them in Frazer's Pausanias, 111, pp. 504-522, which includes an extensive bibliography, is also recommended. B. THE METOPES. The metopes surrounding the exterior of the temple were not sculptured, as they were in the Parthenon, this form of decoration being restricted here to the metopes of the friezes which ran above the inner porches at the front and rear of the building. In each of these friezes there were six metopes, making twelve in all, which had for their subjects the twelve labors of Herakles. Our selection of these consists of five, as follows: From the East End: 470 HERAKLES AND ATLAS, with the apples of the Hesper- ides. Olympia, Atlas, III, pis. XL, 10 and XLI. 471 HERAKLES CLEANING THE STABLE OF AUGEIAS. Olympia, Atlas, III, pis. XLI 1 1, 12, and XLIV, i and 2. From the West End: 472 HERAKLES AND THE STYMPHALIAN BIRDS. Olympia, Aths, III, pis. XXXVI, 3, and XXXVII, 1,2. 473 HERAKLES CAPTURING THE CRETAN BULL. Olympia, Atlas, III, pis. XXXVI, 4, and XXXVII, 3. TRANSITIONALPERIOD 59 474 HERAKLES AND THE NEMEAN LION. Olympia, Atlas, III, pis. XXXV, i, and XLII, i, 3. Nos. 470, 471, 474 are in the Museum of Olympia; the frag^ ments of Nos. 472 and 473 are partly in the Museum of Olympia, partly in the Museum of the Louvre. THE GREAT PERIOD ABOUT 450-380 B. C. (in galleries 22-24) IN the second half of the fifth century B. C. Greek art reached its highest development. This is the period of Athenian ascendancy. No city in Greece was so vitally affected by the Persian wars as Athens. It was chiefly owing to her courage and intellect that Greece had been saved, and from this fact she naturally derived a great stimulus. Moreover, the Per- sian invasion influenced her materially. The city had been sacked, her temples and public halls burned, and therefore great building operations had to be undertaken. However, the Athenians had not the leisure to carry these out at once; the walls of the city were erected in all haste, to ward off a second invasion; but the erection of temples had to be postponed until the political situa- tion was cleared. Thus came about one of the splendid coinci- dences of history. For in the meantime Athens became the head of the Confederacy of Delos, formed for the safeguarding of Greece against Persia, and when the danger was over, she appropriated the funds of this league for her own uses. Hence, at the time when Athens set to work to rebuild her temples and porticoes, she had both the finances to undertake them on a mag- nificent scale, and the men of genius who could perform the task thoroughly well. Had the work started immediately after the battle of Salamis, Athens would not have had the same material resources, and since Greek art had not then reached its full ma- turity, the Parthenon sculptures would have represented the same stage of development which is shown by theAeginetan and Olym- pian pediments. As it is, the monuments which within twenty years changed the appearance of the Akropolis are of such fin- ished perfection that, even in their mutilated and fragmentary condition, they are still accepted as the highest standards of art, both in architecture and in sculpture. THEGREATPERIOD 6l In Pheidias the great promise of Greek art found its complete fulfilment. He expressed in his work the high idealism of his age, and to dignity and simplicity of conception he added perfection of technique. Fortunately his genius was recognized in his own age. During the administration of Perikles he was made chief overseer in all artistic undertakings. Thus the most important works planned in Athens at this period were entrusted to him and his assistants. The result was that Pheidias' influence became wide- spread, and we can see a reflex of it even in such modest works as the grave monuments. This is the more fortunate since we possess no extant sculptures made by Pheidias himself. The Parthenon sculptures indeed were probably designed by him, but he cannot have found time to execute them with his own hands. We are thus dependent for our appreciation of him either on more or less inferior Roman copies of his works, or on contemporary sculptures produced under the influence of his genius. This period is distinguished not only for its monumental sculp- tures, but also for its single statues. Besides Pheidias, two names of sculptors stand out among the rest, — Polykleitos of Argos and Myron of Athens. With the Greeks themselves, other sculptors, Alkamenes for instance, were held in almost equal estimation; but in the absence of their works, or, at least of au- thenticated copies from them, we cannot judge of their activities. Polykleitos is the representative of the Peloponnesian School, who, true to his traditions and training, devoted himself to the perfecting of the athletic type. Myron made the action of the human body in motion his chief study, and thus worked out the Doric direction which Athenian art had taken during the first half of the fifth century. THE PARTHENON The Parthenon, or temple of the goddess Athena, on the Akropolis of Athens, was probably begun about 447 B. C., and finished soon after 438 B. C. The architects were Iktinos and Kallikrates; the sculptural decorations were planned and executed under the sup- erintendence of Pheidias. In the fifth or sixth century A. D., the building was converted into a Christian church, and later into a mosque. In spite of these changes, it remained in good preservation down to the seventeenth century, except that the centre of the eastern pediment was lost. This we know from the account of travellers, Spon and Wheler, who visited Athens in 1676, and from the drawings generally said to be by Jacques Carrey, though their attribution to this artist is by no means cer- tain (c/. H. Omont, Athenes au XV lie Siecle, p. 4). The real 62 GREEK AND ROMAN SCULPTURE work of destruction was done during a siege of the Akropolis by the Venetians in 1687, when a bomb fell into the Parthenon and burst it asunder. In 1802 Lord Elgin removed a large part of the surviving sculptures to England, where they were soon afterwards bought by the British government, and set up in the British Museum. Michaelis, Der Parthenon. Frazer's Pausanias, II, pp. 304ff. Penrose, Principles of Athenian Architecture, 2nd edition. 475 MODEL OF THE AKROPOLIS of Athens in its present condition (In Hall 38). This model was made expressly for the Metropolitan Museum, by Heinrich Walger, of Berlin, under the direction of Professors Curtius, Kaupert, Dorpfeld, and Kawerau. It was completed in 1895, and represents as accurately as possible the details of all the various terraces and buildings on and around the Akropolis, as they appeared in that year. All the important monuments have their names inscribed. The scale is 1:425. 476 MODELOFTHE PARTHENON, restored. (In Hall 38, see Frontispiece.) This model, which is one twentieth the full size, was made for the Willard Collection, by A. Jolly, of Paris, under the direction of Charles Chipiez, whose theory regarding the lighting of the interior it follows. This theory has not been generally accepted, because there is no evidence among existing monuments of an opening in the roof of the kind here illus- trated. The system of coloring which has been adopted is almost wholly conjectural so far as the Parthenon itself is concerned, for while there are places in which the weather- ing of the marble shows that patterns were applied in colors or gilding, there are practically no remains of color on the building. Something, however, may be deduced from a comparison of the traces of color surviving on other Doric temples of about the same period, from which it would appear that in the color-scheme of their buildings the archi- tects of the Doric style followed certain general principles with as much regularity as they did the characteristics of the architecture itself. These traces are at best but scanty, and all that has yet been definitely determined from observation is the following: The use of color in the decoration seems to have been con- fined to the upper parts of the structure, the plane sur- A CORNER OF THE PARTHENON, RESTORED FROM FENCER, Dorische Polychromie THEGREATPERIOD 63 faces of the walls and the shafts of the columns having been left white, — the natural color of the marble in the Parthenon and other buildings of that material, and of the stucco with which those of a coarser stone were coated. For the upper members, red and blue were the principal colors employed, though patterns were picked out with other colors, and with gilding. The only part of the Doric capital which is known positively to have been painted is the channels between the rings encircling the base of the echinus. These, at least at Olympia, were red. Of the same color were the string-course above the architrave, the band above the triglyphs, and the lower member of the corona, including the spaces between the mutules. The triglyphs, the regulae, and the blocks of the mutules were painted either blue or bluish black; the guttae were usually red, but some- times white, and occasionally even yellow or gilt. The metopes appear to have been colored only when they served as the background for reliefs, when they were painted either red or blue, otherwise they remained white. The background of sculptured friezes was always colored, either red or light blue, as was also the tympanum or background of the pedi- ments. Cymas, wherever applied, were usually if not always decorated with a leaf-pattern in colors. On the facts noted above see especially R. Borrmann in the Berliner Philologische IVochenschrijt, 1895, pp. 49, 50, quoted also by Perrot et Chipiez, Histoire de VAri, VII, p. 580. The best illustration of this scheme of color is given in the work on the results of the excavations at Olympia — Olympia, Atlas, II, pi. CXI I. See also the atlas to L. Fenger's Dorische Polychromie. (E. R.) As regards the Sculptures of the temple, it is certain that colors were applied, but no traces of the actual colors used were found, and therefore the scheme of coloring adopted on the model is entirely conjectural. Of the eastern pediment, only the five figures at the left end and the four at the right end are actually preserved; all the others have entirely dis- appeared, and there is no evidence for the restoration here adopted. Although but few of the figures of the western pediment survive, and these in a very much mutilated con- dition, the general character of the composition is well known through drawings made in the seventeenth century, when the sculptures were still in position (see above, the history of the Parthenon). It is upon these drawings that the restoration of this pediment is based. The photographs on the pedestal of the model show the 64 GREEK AND ROMAN SCULPTURE extremely mutilated condition of such of the metopes as survive at the present time, and these offer all the data we have with regard to them. Many of those on the north and south sides have been lost. Conjecture has necessarily en- tered into the treatment of the restoration here. The same is true, though to a much smaller extent, of the frieze, it should be noted that the shields on the architrave were dedicated in Roman times during a visit of Nero to Athens. On the Parthenon itself only the traces of these now remain. The sculptures of the Parthenon consisted of: Two Pedimental Groups. Metopes on the four sides of the exterior of the temple. A Continuous Frieze, running round the upper part of the cella, inside the colonnade. The casts of these are in Gallery 24. THE EASTERN PEDIMENT. Though the central group of this composition is lost, we know from a brief record made by Pausanias that the subject represented was the Birth of Athena. The reconstruction of the missing figures is a matter of some difficulty. It is not likely that the subject was treated as it is on vase paintings, where Athena is represented as a diminutive figure emerging from the head of Zeus. It is more probable that she stood full-grown before Zeus. A puteal in Madrid (No. 508) has been supposed, with good reason, to reproduce the scene some- what as it was treated on the Parthenon. All the surviving fig- ures of this pediment are included in the following casts. Begin- ning at the left they are: 477 HELIOS (THE SUN) in his chariot rising from the sea. There were originally four horses' heads; of these two still remain in position on the temple, at the back of the pediment. 478 MALE FIGURE, variously interpreted as Theseus, Dion- ysos, Mt. Olympos, etc. 479 DEMETER AND PERSEPHONE. Two female figures seated on square seats. 480 IRIS? 481,482 THREE FEMALE FIGURES, variously interpreted as the Three Fates; the Clouds; Hestia, Gaia, and Thalassa; Hestia, Peitho and Aphrodite; etc. THEGREATPERIOD 65 483 SELENE (THE MOON) in her chariot, sinking into the sea. Only the torso of Selene and the head of one horse have survived. Nos. 477-482 are in the British Museum. Of No. 483, the torso of Selene is in the Akropolis Museum, Athens, the head of the horse in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 303, THE WESTERN PEDIMENT, The subject was the contest of Athena and Poseidon for the dominion of Attica. The interpre- tation of some of the individual figures is not certain. From left to right: 484 KEPHISSOS OR ILISSOS, a river-god. From the angle of the pediment. 485 TORSO OF HERMES. 486 UPPER PART OF THE BODY OF ATHENA. Part of the central group. 487 TORSO OF POSEIDON. Part of the central group. 488 TORSO OF A WINGED DIVINITY. Unidentified (not Nike). 489 TORSO OF AMPHITRITE. 490 FRAGMENT OF A MARINE GODDESS, seated. (Leu- kothea?) Only the lower limbs are preserved. 491 THALASSA. Fragment representing the right thigh of a draped female figure, seated on a rock. 492 ILISSOS OR KEPHISSOS (?). Torso of a male figure. Nos. 484-491 are in the British Museum, except a piece of No. 487, which is in the Akropolis Museum, Athens, where is also No. 492. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 304. Besides these figures the following fragments have been identified as probably belonging to the pedimental sculptures: 493 THE "LABORDE" HEAD, a colossal female head, thought 66 GREEK AND ROMAN SCULPTURE to belong to the Victory driving the chariot of Athena in the western pediment. It was found built into a wall of the house of the San Gallo family, in Venice, and is now in the possession of the Laborde family, in Paris. Restorations: The nose, a small piece in the upper lip, the middle of the lower lip, the chin, antl a part of the back of the head. Michaelis, Der Parthenon, pi. VIII, fig. 6, p. 195. 494 Fragment of a Colossal Female Head, which used to be associated with the Athena of the western pediment. it is said to have been found built into a Turkish house at the west front of the Parthenon, but there is no other ground for the attribution, and the conventional style is very unlike the pediment figures. Michaelis, Der Parthenon, pi. VIII, 14. 495 Two Feet Attached to a Plinth. Michaelis, Der Parthenon, pi. VIII, 4. 496 Fragment of Drapery. A. H. Smith, Catalogue of Greek Sculpture in the British Mu- seum, I, No. 337. 497 Part of a Serpent. Michaelis, Der Parthenon, text p. 194. 498 Forearm. Michaelis, Der Parthenon, pi. VIII, 29. 499 Fragment of a Left Arm with drapery. Michaelis, Der Parthenon, pi. VIII, 26. 500 Fragment of a Right Arm. Michaelis, Der Parthenon, pi. VIII, 30. 501 Fragment of Drapery. Michaelis, Der Parthenon, VIII, 25. 502 Part of a Flight Foot. Michaelis, Der Parthenon, pi. VIII, 32. 503 Fragment of a Right Arm. Michaelis, Der Parthenon, pi. VIII. 40. THEGREATPERIOD 67 504 Left Forearm. Michaelis, Der Parthenon, pi. VIII, 28. 505 Fragment of an Arm. Michaelis, Der Parthenon, pi. VIII, 27. 506 Fragment of a Left Thigh. Michaelis, Det Parthenon, pi. VIII, 39. 507 Fragment of an Arm. Michaelis, Der Parthenon, pi. VIII, 35. Nos. 494-507 are in the British Museum, except No, 501 which is in the Akropolis Museum, Athens. 508 PUTEAL, or well-curb, with reliefs representing the birth of Athena in the presence of the Three Fates. The group with Athena may be an adaptation from the central group of the eastern pediment of the Parthenon. In the Mu- seum of Madrid. Friederichs-Wolters, No. 1862. 509-51 I COPIES OF STATUES ON THE WESTERN PED- IMENT OF THE PARTHENON. They probably formed part of a group which reproduced the entire composition on a small scale, perhaps for a shrine or votive monument. The original of No. 509 is still extant, in its original po- sition on the Parthenon, and has been identified with some probability as Kekrops and one of his daughters. The originals of Nos. 510, 511 are lost. In the drawings made in the seventeenth century the group No. 509 corresponds to the second and third figures on the left; No. 510 is the fourth figure on the same side, and perhaps represents another daughter of Kekrops; No. 511 is prob- ably the third figure beyond the break on the right. These figures were found at Eleusis, and are now in the National Museum, Athens. Kavvadias, Catalogue, Nos. 200-202. 512-529 METOPES. {a) From the south side (Nos. 512-528): They represent scenes from the battle between the Centaurs and Lapiths at the marriage-feast of Peirithoos and Deidameia. Michaelis, Der Parthenon, pi. 3, I-X, and XXVI-XXVIII; pi. 4, XXIX-XXXII. 68 GREEK AND ROMAN SCULPTURE No. 512 is still in its original position on the Parthenon, No. 521 is in the Museum of the Louvre, and the others are in the British Museum. (b) From the North Side (No. 529): Part of a metope representing a draped woman seated on a rock. This is the best preserved metope from the north side; the rest are so fragmentary that the subject represented is doubt- ful. This one is still in position on the Parthenon. Michaelis, Der Parthenon, pi. 4, XXX 11. ^30 THE FRIEZE. The subject of the frieze is the Panathenaic procession, which was one of the chief features of the games held every fourth year in honor of Athena. On this occa- sion the peplos or sacred robe of the goddess was brought to adorn her ancient image on the Akropolis, and was accom- panied by offerings and victims for sacrifice. The chief magistrates of the city and a select company of young men and maidens took part in the procession. In the frieze the procession is conceived as starting from the western end, and advancing along the north and south sides, until the two lines converge upon the east. In the casts here exhibited (Gallery 24) only a selection of slabs from each of the four sides is included, and they there- fore do not give a complete idea of the composition. For this the student is referred to the atlas of Michaelis's Der Parthenon. West Side. On this were represented the preparations for the procession. Our casts include the following slabs: Michaelis, pi. 9, Nos. I-IV, VI, Vlll-X, Xll. On the North Side was represented a part of the process- ion itself, including horsemen, chariots, the elders of the city, musicians, youths carrying jars (sphondophoroi), others carrying trays (skadephoroi), and cows and sheep being led to sacrifice. Our casts include Michaelis, pis. 12 and 13, Nos. 11, IV-VI, XIV, XVll, XVlll, XXVI, XXVIll XXIX, XXXI, XXXII, XXXIV-XLI. The South Side also contained a portion of the procession, consisting of practically the same elements as that on the north, except that the musicians and the sheep led to sacri- fice were not included here. Our casts include Michaelis, pis. 10 and II, 111, V, VI, IX-Xlll, XV-XVII, XXII, XXV, XXIX, XXX, XXXVIll-XLIV. On the East Side the two parts of the procession which extended along the north and south walls came together. THEGREATPERIOD 69 the climax of the composition being the central group, di- rectly over the main door of the temple. This group prob- ably represents the delivery of the new peplos to the priest of Athena. On each side of it is a group of seated divinities, supposed to be present on the occasion; those on the left, beginning at the centre, are Zeus, Hera, Iris or Nike, Ares or Triptolemos (?), Artemis or Demeter (?), Apollo (?), and Hermes. Those on the right are Athena, Hephaistos, Po- seidon, Dionysos (?), Demeter or Peitho(?), Aphrodite and Eros. Beyond these divinities, on either side, are five men standing and conversing. These have usually been explained as the archons of the city, waiting for the arrival of the procession at the Akropolis, but recently it has been suggested that they are personifications of the ten tribes of Attica. Then follow priests or other officials, and maidens bringing the sacrificial vessels, the latter forming the head of the procession itself. Of this portion of the frieze our selection includes Michaelis, pi. 14, IV, parts of V and VI, VII, and part of VIII. The West Frieze is still in its original position on the Par- thenon, with the exception of the two slabs at the left end, which are in the British Museum. The rest of the frieze, from the north, south, and east sides, is for the most part in the British Museum, but there are a number of slabs in the Akropolis Museum, at Athens, and one in the Museum of the Louvre. 531-540 SCULPTURES ILLUSTRATING THE STATUE OF ATHENA PARTHENOS. The colossal statue of Athena, of ivory and gold, which Pheidias made for the interior of the Parthenon, and which was dedicated in the year 438 B. C, disappeared during the dark ages. For our knowledge of it we are dependent upon the de- scriptions of ancient writers, and upon copies of it, mostly upon a very small scale, which are scattered through the museums of Europe. The information to be gathered from both these sources is summarized by Frazer, in his Pausanias, Vol. II, pp. 3i2fF. The casts in this collection illustrating the statue may be divided into two classes, — figures in the round, all of which are of late date, and by inferior sculptors; and representations of the goddess on re- liefs of various periods. These illustrations show considerable variations; moreover, there are discrepancies between all of them and the descriptions, in one or more details. This shows that none of them is to be relied on for more than a general suggestion of the original. yO GREEK AND ROMAN SCULPTURE 531 THE "VARVAKEION" ATHENA. Found near the Varvakeion in Athens, and now in the National Museum there. Lange, Athenische Mitteiliingen, V, 1880, p. 370, and VI. 1881, p. 56, pis. 1 and II. 532 THE "LENORMANT" ATHENA. Found near the Pnyx in Athens, and now in the National Museum there. Fr. Lenormant, Gaiette des Beaux- Arts, i860, pp. 129, 203, and 278. 533 BRONZE STATUETTE. Found near Stradella, and now in the Museo di Antichitk, Turin. Diitschke, A-ntike Bildwerhe in Oheritalien, IV, No. 296. 534 MINERVE AU COLLIER, so called. Formerly in the Villa Borghese, and now in the Museum of the Louvre, No. 91. Restorations: The nose, the mouth, the heads of the sphinx and the griffins, some pieces of the hair and the aegis, both arms, the lance, and the shield. Th. Schreiber, Die Athena Parihencs des Phidias, p. 567. 535 RELIEF HEADING A DECREE. It represents Athena with a male divinity, probably the patron god to whom the inscription had reference. Ihe figure of Athena is copied from the statue of Athena Parthenos. Second half of the fifth century B. C. Found near the Propylaia, Athens, and now in the Akropolis Museum. Schone, Griechische Reliefs, pi. XII, No. 62. 536 RELIEF, PROBABLY THE HEADING OF A DECREE, representing Athena, a worshipper, and a shield-bearer. The figure of Athena is copied from the statue of Athena Parthenos. Second half of the fifth century B. C. Found on the Akropolis, Athens, and now in the Akropolis Museum. Schone, Griechische Reliefs, pi. XIX, No. 85. 537 VOTIVE RELIEF TO ATHENA. Fragmentary relief representing worshippers about to sacrifice a pig to Athena. The figure of the goddess resembles the statue of Athena Parthenos. In the Akropolis Museum, Athens. Michaelis, Der Parthenon, pi. XV, 17. THEGREATPERIOD *]l 538 FRAGMENTARY RELIEF, PROBABLY THE HEAD- ING OF A DECREE, representing Athena crowning a mortal, perhaps a Colophonian. The part of the inscrip- tion which is preserved contains the name KoAo4'wv((ou). The figure of Athena is copied from the statue of Athena Parthenos. Latter part of the fifth century B. C Found on the Akropolis, Athens, and now in the Akropolis Mu- seum. Schone, Griechtsche Reliefs, pi. XXII, No. 96. 539 RELIEF, PROBABLY THE HEADING OF A DECREE, representing Athena carrying a small Nike (Victory) who is in the act of crowning a priestess. The figure of Athena is a free copy of the statue of Athena Parthenos. Fourth century B. C. From Athens. In the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 881. 540 FRAGMENT OF A COPY OF THE SHIELD OF THE ATHENA PARTHENOS. The reliefs represent the battle of Greeks and Amazons. The great interest of this scene lies in the fact that both Perikles and Pheidias are introduced among the combatants, the former brandishing a spear in front of his face, and the latter as a bald old man grasping an axe with both hands. We know their identity from a description of the shield by Plutarch, in his life of Perikles (XXXI, 25, 26). The fragment was found in Athens, and is now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Mu- seum, I, No. 302. For architectural details from the Parthenon, see Nos. 1 196- 1202. SCULPTURES FROM OTHER TEMPLES IN ATTICA AND ELSEWHERE 541, 542 METOPES OF THE SO-CALLED THESEION (Tem- ple of Hephaistos?), Athens. Middle of the fifth century B. C. They represent : 541 Contest of Theseus and Kerkyon, 542 Contest of Theseus and Skeiron. Both are still in their original position. Baumeister, Denkmdler, 111, figs. 1864 and 1865. 72 GREEK AND ROMAN SCULPTURE 543-552 RELIEFS FROM THE TEMPLE OF NIKE APTEROS on the Akropolis, Athens. Latter part of the fifth century B. C. 543. 544 TWO SLABS FROM THE NORTH AND SOUTH FRIEZES, representing a battle between Greeks and Per- sians. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, Nos. 423-425. 545 TWO WINGED VICTORIES ABOUT TO SACRIFICE A COW. From the Balustrade of the Temple. Kekul^, Die Reliefs an der Balustrade der Athena Nike, pi. I, A. 546 A VICTORY BINDING HER SANDAL. From the same. Kekul^, pi. IV, O. 547 A VICTORY CROWNING A TROPHY. From the same. Kekule, pi. IV, M. 548 A VICTORY HOLDING A GREAVE. From the same Kekule, pi. V, R. 549 ATHENA SEATED ON A ROCK. From the same. Kekule, pi. II, E. 550-551 TWO FRAGMENTSOF VICTORIES. Fromthesame. Kekule, pi. 1 1 1, J, and IV, N. Nos. 545-551 are in the Akropolis Museum, Athens. 552 DECORATION OF A HERMA. Roman relief, with fig- ures copied from those on the Nike Balustrade. Said to have been found near Naples. Now in the Glyptothek, Munich. Principal Restorations: Of the woman on the left, the face, the right arm, and fingers of the left hand; of- the one on the right, the nose, ear, and part of the hair above the forehead. Also the face and other parts of the herma. Furtwangler, Beschreibung der Glyptothek, No. 264. For the Maidens from the Porch of the Erechtheion, see the casts from the Erechtheion in the architectural sec- tion, Nos. 1 203- 1 225. THEGREATPERIOD 73 553 THE FRIEZE OF THE TEMPLE OF APOLLO EPI- KOURIOSAT PHIGALEIA.in Arkadia. (In Hall 38, under the pediments of the Temple of Zeus at Olympia.) The date of the construction of the temple is not known. It was built in recognition of the deliverance from a plague, which may have been that which visited Athens soon after the out- break of the Peloponnesian War (431 B. C). The architect was Iktinos, the same who built the Parthenon (completed 438 B. C). The frieze, which originally encircled the four walls of the cella, on the inside, was discovered among the ruins of the temple in 181 1, 1812, by Cockerel!, Haller, Lynckh, Stackelberg, etc., and soon afterwards acquired by the British Museum. It consists in all of twenty-three slabs; of these nine on the west side and two on the north side represent the battle of Lapiths and Centaurs; one on the north side, eight on the east side, and three on the south side represent the battle of Greeks and Amazons. The order of the slabs is not certain. The one here followed is that adopted in the British Museum. Besides individual con- tests of Centaurs and Lapiths, and Greeks and Amazons, there are represented Apollo and Artemis coming to the aid of the Lapiths; two Lapith women taking refuge at the statue of a goddess, probably Artemis; two Centaurs lifting a rock to crush the invulnerable Kaineus; Herakles and an Amazon in single combat. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, pp. 277-287. 554-559 SCULPTURES FROM THE "NEREID MONUMENT," at Xanthos in Lycia. Discovered by Sir Charles Fellows, and now in the British Museum. End of the fifth or beginning of the fourth century B. C. In Gallery 25. 554-557 FOUR FIGURES OF NEREIDS which occupied the intercolumniations of the structure. Michaelis, Monumenti dell' Insiituio. X, pi. XI, Nos. I, II, IV, V. 558 A-D FOUR SLABS FROM THE FIRST FRIEZE, which probably surrounded the lower part of the base The sub- ject is a contest of Greeks and barbarians. Monumenti, X, pi. XIII, A, pi. XIV. L, N, Q. 74 GREEK AND ROMAN SCULPTURE 559 A-D FOUR SLABS FROM THE SECOND FRIEZE, which probably surrounded the upper part of the base. They re- present battle-scenes round a walled city. A. Marching Hopi.ites. {Monnmenti, X, pi. XV, G.) B. Assault on a Gate of the City. {Monumenti, X, pi. XV, H and I.) C. Sortie from the City. {Monumenti, X, pi. XV, P.) D. Surrender of the Garrison to the victorious gen- eral. {Monumenti, X, pi. XV, V.) A. H. Smith, Catalogue oj Greek Sculpture in the British Museum, II, pp. iflF. SCULPTURES ILLUSTRATING THE STYLE OF MYRON 560 DISKOBOLOS (Disk-thrower). Roman copy of a statue by Myron. About 450 B, C. The head, which is restored, is wrongly attached; in the original it was turned toward the hand which holds the disk {cf. No. 561). Found in Had- rian's Villa at Tivoli, and now in the British Museum. Restorations: The head, both hands, a piece under the right arm, the right knee, a small piece in the right leg, parts of the toes, part of the disk. A. H. Smith, Catalogue oj Greek Sculpture in the British Mu- seum, I, No. 250. 561 DISKOBOLOS. Conjectural restoration of the statue by Myron. About 450 B. C. This is a composite cast, made under the direction of Professor Furtwangler. The body is reproduced from the statue in the Vatican, and the head from that in the Lancellotti Palace, Rome. Helbig, Guide, I, No. 333, and Collignon, Histoire, 1, pi. XI. 562 MARSYAS. Roman copy of a statue by Myron. About 450 B. C. The original formed part of a group representing Athena throwing away the flutes before Marsyas. Found on the Esquiline, and now in the Lateran Museum, Rome. Restorations: Both ears, both arms from the shoulders, the left leg from knee to ankle, the front half of the right foot, the plinth, excepting the part which belongs to the left foot. Helbig, Guide, I, No. 661. THE NEREID MONUMENT, AS RESTORED BY SIR C. FELLOWS FROM THE BRITISH MUSEUM CATALOGUE, VOL. II. THEGREATPERIOD 75 563 ATHLETE POURING OIL INTO HIS HAND. Roman copy of a statue of the school of Myron. The head, however, is treated in the style of Praxiteles (first half of the fourth century B. C). Place of discovery unknown. In the Glyptothek, Munich. Restorations: The right arm with the shoulder, the left forearm with the hand, parts of both knees, the left shoulder- blade, the greater part of the right half of the back. Furtwangler, Beschreibung der Glyptothek, No. 302. 564 ATHLETE POURING OIL INTO HIS HAND. Roman copy of a statue of the same type as No. 563. Here the body is treated in the style of the fourth century B. C. Formerly in the Chigi Collection, and now in the Albertinum, Dresden. Friederichs-Wolters, No. 463. SCULPTURES SHOWING THE CHARACTERISTICS OF THE ATTIC SCHOOL OF THE PERIOD (At the beginning are placed those that belong to the circle of Pheidias.) 565 THE"LEMNIAN" ATHENA OF PHEIDIAS? Com- posite cast, made up from a head in the Museo Civico of Bologna, and parts of two statues in the Albertinum, Dres- den, under the direction of Professor Furtwangler. Furtwangler, Masterpieces, pis. I-HI, and pp. 3ff. 566 COLOSSALSTATUEOFDEMETERORHERA. Roman copy of a statue of the second half of the fifth century B. C. Formerly in the court of the Cancelleria, Rome, and now in the Vatican. Restorations: The end of the nose and the adjoining part of the upper lip, the lower lip, part of the chin, the edges of the ears, both arms, the right foot, with the end of the chiton, four toes of the left foot, various fragments on the robe, most of the plinth. Helbig, Guide, I, No. 297. 567 ATHENA, KNOWN AS THE "MINERVA MEDICI." Copy of a statue of the second half of the fifth century B. C. Place of discovery unknown. In the Ecole des Beaux-Arts, Paris. Furtwangler, Masterpieces, fig. 6, pp. 27ff. 76 GREEK AND ROMAN SCULPTURE 568 "VENUS GENETRIX." Probably a replica of a statue by Arkesilas (first century B. C), which may have been a copy of the "Aphrodite of the Gardens," by Alkamenes, a pupil or younger contemporary of Pheidias (latter part of the fifth century B. C). Found at Frejus, France, and now in the Museum of the Louvre. G)llignon, Histoire, II, p. 118, fig. 57. 569 FEMALE HEAD. Roman copy of an Attic work of the latter part of the fifth century B. C. Same type as No. 568. The place of discovery is unknown. In the Berlin Museum. Berlin Museum, Beschreihung der antiken Skulpturen, No. 608. 570 HEAD0FTHE"BARBERIN1 HERA." From a statue which is a Roman (?) copy of a work of the second half of the fifth century B. C. Said to have been found on the Viminal, Rome, and now in the Vatican. Restorations: The nose, the right arm, the left forearm, various fragments in the mantle, and most of the plinth. Helbig, Guide, I, No. 301. 571 ATHENA, The So-called "Pallas GiusTiNiANi." Roman copy of a statue, probably of the end of the fifth or beginning of the fourth century B. C. Found on the site of an an- cient temple of Minerva, in Rome, of which it was probably the sacred image. In the Braccio Nuovo of the Vatican. Restorations: The sphinx on the helmet (except its fore feet), the right forearm with the hand holding the spear, the greater part of the spear, pieces in the fingers of the left hand, the head of the serpent. Htlhig, Guide, I, No. 51. 572 ATHENA FROM VELLETRI. Roman copy of a work of the latter part of the fifth century B. C. This statue has been ascribed by Furtwangler to the sculptor Kresilas. but without sufficient authority. Found at Velletri, and now in the Museum of the Louvre. Restorations: Both hands and parts of both feet. Furtwangler, Masterpieces, pp. 14 iff. 573 BUST OF ATHENA. Roman copy of a work of the second half of the fifth century B. C. For the type cf. No. 572. Found near Tusculum, and now in the Glyptothek, Munich. Furtwangler, Beschreihung der Glyptothek, No. 213. THEGREATPERIOD 77 574 BUST OF PERIKLES. Roman copy of a Greek work, possibly by Kresilas, of the end of the fifth century B. C. Found at Tivoli,. In the British Museum. Restorations: The nose and small bits of the helmet. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, No, 549. 575 HORSEMAN. Fragment of a relief. Of Boeotian lime- stone. Second half of the fifth century B. C. Brought by Prince Giustiniani from Greece to Italy, and now in the Vatican. Restorations: The nose of the man, pieces in his wrist, the tip of the horse's ear, and the right half of the upper edge. Amelung, Die Skulpturendes vaticantschen Museums, I, No. 372A. 576 HEAD OF A YOUTH. Attic. After 450 B. C. Found on the Akropolis, Athens, and now in the Akropolis Museum. Lechat, La sculpture attique avant Phidias, p. 482, fig. 44. 577 THE "ELEUSINIAN SLAB." Relief representing De- meter, Persephone and Triptolemos. Second half of the fifth century B. C. Found at Eleusis, and now in the National Museum, Athens, No. 126. The cracks between the fragments composing the slab have been partially filled with plaster; otherwise there are no restorations. Svoronos, Das athener Nationalmuseum, pis. XXIV, XXV. 578 RELIEF REPRESENTING MEDEA AND THE DAUGH- TERS OF PELIAS. Probably an original work of the second half of the fifth century B. C. Found on the site of the old French Academy at Rome, and now in the Lateran Museum, Rome. Helbig, Guide, I, No. 635. 579 ORPHEUS, EURYDIKE AND HERMES. Roman copy of a relief of the second half of the fifth century B. C. In the Villa Albani, Rome. Restorations: Both feet of Orpheus, the right foot of Eurydike, the right hand and half the forearm of Hermes. Helbig, Guide, II, No. 790. 580 RELIEF WITH A SEATED FEMALE FIGURE, perhaps a divinity. Second half of the fifth century B. C. Found 78 GREEK AND ROMAN SCULPTURE at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, i88g, p. 468; VIII, 1892, pi. XIII. 581 ASKLEPIOS OR ZEUS. Roman copy of a statue of the second half of the fifth century B. C. Found at Antium, and now in the Albertinum, Dresden. Restorations: The nose, the upper lip, the left arm (not including the hand), the right forearm, both feet, the plinth, tree-trunk, and sceptre. Olympia, III, Die Bildwerke, Text, p. 226. 582 STATUETTE OF AN AMAZON. About 400 B. C. Found on the island of Salamis, and now in the Albertinum, Dresden. Restorations: The head, the neck, a small piece on the right breast, the left forearm, the right hand, with the great- er part of the axe, both legs from knees down, the lower part of the mantle, and the base. Friederichs-Wolters, No. 518. 583 BUST OF ALKIBIADES (?). Roman copy of a work of the end of the fifth century B. C. In the Vatican. Restorations: The tip of the nose, part of the left ear. Helbig, Guide, I, No. Qi. 584 BUST OF HEPHAISTOS. Roman copy of a work of the second half of the fifth century B. C. Found in the Piazza di Spagna, Rome, and now in the Vatican. Restorations: The front of the nose, portions of the hair, part of the breast. Helbig, Guide, I, No. 89. SCULPTURES RELATED TO POLYKLEITOS AND HIS SCHOOL 585 DORYPHOROS (Spear-bearer). Roman copy of a statue by Polykleitos, of Argos, which was executed in the second half of the fifth century B. C. Found at Pompeii, and now in the Museum of Naples. The statue was broken in several places, but it is believed that with unimportant exceptions the repairs have been made with the original pieces, though considerably retouched. Collignon, Histone, \, pi. XII, pp. 488ff. THEGREATPERIOD 79 586 DIADUMENOS (Youth binding his head with a fillet as a sign of victory in the games). Roman copy of a statue by Polykleitos. Found at Vaison, France, and now in the British Museum. Restorations: The nose, the fingers of the right hand, parts of the left thigh, the left shin and heel; also the upper part of the stump. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 500. 587 DIADUMENOS. Another copy of the same statue, with slight variations in the head, etc. From the Farnese Col- lection. In the British Museum. Restorations: The nose and parts of the band. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, I, No. 501. 588 HEAD OF THE DIADUMENOS. From a Roman copy (c/. No. 586). Formerly in the Chigi Collection, and now in the Albertinum, Dresden. Restorations: The nose and the upper lip. Furtwangler, Masterpieces, p. 240, pis. X and XI. 589 WOUNDED AMAZON. Roman copy of a statue (by Polykleitos?) of the second half of the fifth century B. C. Found in the Vicolo di S. Nicolo di Tolentino, Rome, and now in the Berlin Museum. Restorations: The nose, right arm, left forearm and hand, both feet, the pillar and small pieces, chiefly in the drapery. Berlin Museum, Beschreibung der antiken Skulpfuren, No. 7. 590 WOUNDED AMAZON. Another Roman copy of the same statue. Provenance uncertain. In Lansdowne House, London. Restorations: Half of the nose, the half of the right arm turned towards the spectator, the tip of the thumb and four fingers of the right hand, half the left forearm, including the hand, both legs from below the knee, and most of the column. Michaelis, Ancient Marbles in Great Britain, p. 462, No. 83. 591 HEAD OF A WOUNDED AMAZON. From a Roman copy of the same statue. Formerly in the Townley Col- lection, and now in the British Museum. 80 GREEK AND ROMAN SCULPTURE Restorations: The tip of the nose, the throat, and the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 503. 592 THE "FARNESE HERA." Roman copy of a work of the second half of the fifth century B. C. The type was probably derived from the Argive statue of Hera, by Poly- kleitos. Formerly in the Farnese Collection, and now in the Museum of Naples. Restorations: The end of the nose, and a piece on each side of the bust. Baumeister, Denkmdler, HI, p. 1353, fig. 1506. 593-595 FRAGMENTS OF SCULPTURES FROM THE HER- AlON NEAR ARGOS. 593 Head of Hera (?). From one of the pediments. Argive Heraeum, pi. XXXVI. 594 Helmeted Head (Athena?). From a metope. Argive Heraeum, pi. XXXIII, i and 2. 595 Head of an Amazon. From a metope. Argive Heraeum, pi. XXXI, 3. School of Polykleitos, about 420 B. C. In the National Museum, Athens. 596 THE "IDOLINO." Bronze statue of a boy, probably in the act of making a libation in recognition of his victory in an athletic contest. School of Polykleitos; second half of the fifth century B. C. Found at Pesaro, near Ancona, and now in the Museo Archeologico, Florence. W. Amelung, Fuhrer durch die Aniiken in Floren^, No. 268. 597 YOUNG PAN. Roman copy of a statue of the school of Polykleitos. By Marcus Cossutius Cerdo (first century A. D.). Inscribed on the stump [Maajpy-o? [Koj]-oij[':t]o(; Kepcwv exot'et. In the British Museum. Restorations: Both arms, the legs from the knees down, the base, the lower part of the support. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1666. THEGREATPERIOD 8l 598 STATUE OF AN ATHLETE. Roman copy of a work of the second half of the fifth century B. C. Style of Poly- kleitos. In the Albertinum, Dresden. Restorations: The left part of the upper lip and the nose. Furtwangler, Masterpieces, p. 265, pi. XII. 599 DIONYSOS. Roman copy of a statue of the school of Polykleitos (end of the fifth or beginning of the fourth century B. C). Found in Hadrian's Villa, Tivoli, and now in the Museo delle Terme, Rome. Restorations: The front of the nose, a piece on the chin, the hoofs on the nebris, some of the fingers of the left hand, the left foot and leg from below the knee, most of the tree- trunk, and the plinth. Helbig, Guide, II, No. 1022. 600 BRONZE HEAD of a victorious athlete. Second half of the fifth century B. C. Found in the neighborhood of Naples, and formerly in the Villa Albani. Now in the Glyptothek, Munich. Restoration: The bust. Furtwangler, Beschreibung der Glyptothek, No. 457. MISCELLANEOUS SCULPTURES OF THE PERIOD 601 THE NIKE OF PAIONIOS. Votive offering of the Mes- senians and Naupaktians at Olympia. The inscription on the base reads: Mscadcvtot xal NauxaxTioi cilvs6sv Ail Ilatcjvtoi; IxocTjas Msvoatoq xal TaxpcoTTTjpta xotuv szl xbv vabv Ivcxa. "The Messenians and the Naupaktians dedicated this statue to the Olympian Zeus with a tithe of the spoils taken from their enemies. Paionios of Mende made it; he was also victorious in the competition for the akroteria on the temple." The campaign referred to is probably that of Sphakteria, B. C. 425, and the date of the statue is therefore probably about B. C. 420. It was found at Olympia, near its original site, east of the temple of Zeus. In the Museum of Olympia. Olympia, III, Die Bildwerke, Atlas, pis. 46-48. 82 GREEK AND ROMAN SCULPTURE 602 BRONZE STATUE OF A BOY. About 400 B. C. Found in the sea, probably near Eleusis. In the Berlin Museum. Berlin Museum, Beschreihuvg der antiken Skulpturen, No. i. 603 H EAD OF KRONOS. Roman copy of a work of the end of the fifth or the beginning of the fourth century B. C In the Vatican. Rf.storations: 'ihe nose, the lower part of the garnienl hanging from the head, the bust. Helbig, Guide, 1, No. 239. 604 HEAD OF HERA (?), said to have been found at Girgenti. Roman (?) copy of a work of the second half of the fifth century B. C. The genuineness of this head has been doubted, in the British Museum. A. H. Smith, Catalogue of Creek Sculpture in the British Museum, I, No. 504. 605 THE BORGHESE ACHILLES OR ARES, so called. Roman copy of a statue of the end of the fifth or beginning of the fourth century B. C. Formerly in the Borghese Col- lection in Rome, and now in the Museum of the Louvre. No. 866. Restorations: Half of the right hand, the left arm from the deltoid, three toes of the right foot, the large toe of the left foot. Friederichs-Wolters, No. 1298. Furtwangler, Masterpieces, p. 89, note 8. 606 THE "MATTE I AMAZON." Roman copy of a statue of the second half of the fifth century B. C. Wrongly restored as in the act of taking off her bow. The original motive is uncertain. Formerly in the Villa Mattei, and now in the Vatican. Restorations: The neck, both arms, tiie right leg from the knee to the ankle, the crest of the helmet, the upper half of the quiver, the upper half of the tree-trunk, with the shield and axe upon it. The head is ancient, but does not belong to the statue. Helbig, Guide, I, No. 195. 607 AMAZON. Roman copy of a statue of the second half of the fifth century B. C. reproducing the same type as No. 606. Formerly in the Villa d'Este, at Tivoli, and now in the Museum of the Capitol, Rome. THEGREATPERIOD 83 Restorations: The neck, the right arm, the left upper arm, the index finger, middle finger and end of the thumb of the left hand, the bow, the right foot, the left leg from the middle of the thigh to below the knee, the toes of the left foot, the upper part of the stump, the plinth and the helmet. The head is ancient, but does not belong to the statue. Helbig, Guide, I, No. 530. 608 STANDING DISKOBOLOS. (disk-thrower). Roman copy of a statue of the end of the fifth century B. C. Ascribed by some archaeologists to the sculptor Alkamenes, but with- out suificient foundation. Found on the Appian Way, and now in the Vatican. Restorations: The fingers of the right hand, and a few unimportant pieces. Helbig, Guide, I, No. 331. 609 COLOSSAL BUST OF HERA OR DEMETER. Roman copy of a work of the second half of the fifth century B. C. Formerly in the Ludovisi Collection, and now in the Museo delle Terme, Rome. Restorations: The end of the nose and a piece of the neck. Helbig, Guide, 11, No. 880. 610 SO-CALLED DIOMEDES. Roman copy of a statue of the second half of the fifth century B. C. In the Glypto- thek, Munich. Restorations: The nose, parts of the chlamys and the sword. The cast shows the figure without the legs and forearms, which have been restored on the original. Furtwangler, Beschreibung der Glyptothek, No. 304. 61 I STATUE OF A YOUTH in the act of crowning himself (?). Roman copy of a work of the end of the fifth century B. C. In the Barracco Museum, Rome. Barracco and Helbig, Catalogue of the Barracco Collection, pis. XXXVllI, XXXVIIIa. 612 NIKE (VICTORY) SACRIFICING A BULL. Roman copy of a fifth century type. Found in the Villa of Antonin- us Pius, near Lanuvium, and now in the British Museum. Restorations: On the Nike, the wings, the neck, the right 84 GREEKAND ROMAN SCULPTURE arm from the shoulder, parts of the drapery, and the right foot. On the bull, the left fore leg and some minor parts, including a portion of the plinth. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1699. GRAVE MONUMENTS OF THE FIFTH AND FOLLOWING CENTURIES (in galleries 22 AND 23) IN the sculptured grave stelae of the fifth and fourth cen- turies B. C, the favorite subject is the representation of the person on whose grave the relief was placed, surrounded by the people and things associated with him in his life on earth. There is never an attempt to show the departed in his future existence, and only in rare cases do we find a death-bed scene. The hunter appears with his dog (No. 637), the athlete with his oil flask (No. 620), the warrior fighting (No. 630), and the lady of the house is waited on by her maid-servant (No. 618). In others we find a family group, sometimes of two, often of more figures. Here there is generally an indirect reference to death. An indescribable sadness pervades the scene, as though the shadow of coming sorrow was upon the group; often this feel- ing of approaching departure is further emphasized by represent- ing the two principal figures as clasping hands in a long farewell. Such groups were doubtless erected over family graves. The names of the deceased are frequently inscribed. It is important to realize that these stelae were the works not of eminent sculptors, but of simple artisans, and were turned out in large quantities, just as tombstones are to-day. The execu- tion in them is therefore often superficial, and the figures cannot be regarded as individual portraits, but rather as general types. A number of them were probably kept in stock, and the names in- scribed as occasion arose. The chief charm of these reliefs is their perfect simplicity; if we compare them with some modern productions, this quality is very noticeable, and teaches us that in Athens restraint and good taste did not remain the peculiar possession of distinguished artists, but pervaded all classes of the community. 36 GREEK AND ROMAN SCULPTURE 613 STELE OF VEKEDAMOS. The relief represents a young man, and is inscribed Fsy.lca;xos. Middle of the fifth cen- tury B. C. Found at Larissa, in Thessaly, and now in the National Museum, Athens, No. 734. Friederichs-Wolters, No. 39. 614 STELE OF POLYXENE. Inscribed, on the edge, no>.u- ^evai'a i^[j.'., " 1 am Polyxene.'" Middle of the fifth century B. C. Found at Larissa, in Thessaly, and now in the National Museum, Athens, No. 733. Friederichs-Wolters, No. 40. 615 HEAD OF A YOUTH. Fragment of a grave relief, of the middle of the fifth century B. C. Said to have been found at Megara, and now in the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 735- 616 STELE OF A YOUTH, represented as carrying a hare and an apple. Middle of the fifth century B. C. Found in Thessaly, and now in the National Museum, Athens. Kavvadias,C^/^/o^M^, No. 741. 617 STELE OF PHILIS. Inscribed an')aq Tasotxscoj;, "Philis, daughter of Kleomedes." The relief represents a girl hold- ing a casket. Middle of the fifth century B. C, Found in the island of Thasos, and now in the Museum of the Louvre, No. 766. Prachov, AnnalidelV Instiluto, 1872, pi. L, p. 185. 618 STELE OF HEGESO, representing an Athenian lady waited on by her attendant. inscribed: 'Hvyjcto) IIco^Ivoj. " Hegeso, daughter of Proxenos." Attic ; second half of the fifth century B. C. On its original site in the KerameiUos. Conze, AUische Grabreliefs, No. 68, pi. XXX. 619 FRAGMENT OF A STELE, representing a bearded man holding a staff. Second half of the fifth century B. C. Found at Ikaria, in Attica, and now in the National Mu- seum, Athens. C. D. Buck, American Journal of Archaeology, V, i88g, p. 467. VII, pi. XI, 2. GRAVEMONUMENTS 87 620 THE AGATHOKLES STELE. Stele representing a young athlete with his dog, strigil, and oil-jug. Second half of the fifth century B. C. The inscription ' A.fy.')iy.'K(] '/mze, "Aga- thokles farewell," is several hundred years later than the monument itself. Found at Thespiae, in Boeotia, and now in the National Museum, Athens. Kavvadias, Catalogue, No. 742. 621 FRAGMENT OF A STELE, representing a woman stand- ing. Second half of the fifth century B. C. Found at Mantineia, and now in the National Museum, Athens, No. 226. G. Fougercs, Bulletin de correspondance hellenique, XII, 1888, pi. IV, p. 376. 622 UPPER PART OF A STELE, representing a youth with his slave and pet animals. Second half of the fifth century B. C. Found at Aegina, and now in the National Museum, Athens. Conze, Aitische Grahreliejs, No. 1032, pi. CCIV. 623 UPPER PART OF A STELE, representing a bearded man in a himation. Attic; second half of the fifth century B. C. Found at Karystos, in Euboea, and now in the Berlin Mu- seum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 736. 624 STELE OF MYNNO. Inscribed Muvvw. The relief repre- sents a young girl spinning. Attic ; fifth century B. C. Found between Athens and the Peiraieus, and now in the Berlin Museum, No. 737. Conze, Attische Grahreliejs, No. 38, pi. XVII. 625 STELE OF A GIRL (AMPHOTTO). Of Boeotian stone. Inscribed 'Atj-coxTo. Fifth century B. C. Found at Thebes, and now in the National Museum, Athens. Kavvadias, Catalogue, No. 739. 626 FRAGMENT OF A STELE, with the head of a woman. Latter part of the fifth century B. C. In Lansdowne House, London. Conze, Attische Grabreliefs, No. 586, pi. CXVI. 88 GREEK AND ROMAN SCULPTURE 627 LARGE RELIEF IN THE VILLA ALBANI. This is perhaps a grave stele, and represents a young warrior killing his foe. Attic; about 400 B. C. Found near the arch of Gallienus, Rome, and now in the Villa Albani. Restorations: The nose of the standing figure and a piece in his left forearm; also the right ear and a piece in the face of the horse. Helbig, Guide, II, No. 759. 628 STELE OF XANTHIPPOS, representing a bearded man holding either a foot, perhaps as a votive offering to com- memorate a cure, or a last, to indicate the trade of the de- ceased. Inscribed Sa:v8txxo<;. Attic ; end of the fifth cen- tury B. C. Found in Athens, and now in the British Mu- seum, No. 628. Conze, Atiische Grahreliejs., No. 696, pl. CXIX. 629 STELE REPRESENTING A GIRL, carrying a casket. End of the fifth century B.C. Formerly in the Palazzo Giustiniani alle Zattere, Venice, and now in the Berlin Mu- seum. Friederichs-Wolters, No. 241. 630 STELE OF DEXILEOS representing a young warrior killing his foe. The inscription, which is on the base and is not shown in the cast, reads: As^tXecoq Auaavfou ©op^xioi;. 'EyevETO sxl TetJavopou ap^^ovTOc;, axsOavs ex' Eu^ouXfoou ly Kop(v6(i)i Twv xevTS ixxiwv, "Of Dexileos, the son of Lu- sanios, of the deme of Thorikos. He was born during the archonship of Teisandros [B. C. 414] and died during that of Euboulides, at Corinth, one of the five knights." The reference is to the battle of Corinth, which took place in 394 B. C. The stele is in its original position in the Kera- meikos in Athens. Conze, Attische Grahreliejs, No. 1 1 58, pl. CCCX LVI 1 1. 631 GRAVE MONUMENT IN THE FORM OF AN AKRO- TERION, with the figure of a girl against a background of palmettes and volutes. Attic; beginning of the fourth century B. C. Found at Trachones, Attica, and now in the National Museum, Athens, No. 744. Conze, Attische Grahreliejs, No. 852, pl. CLXV. GRAVEMONUMENTS 89 632 STELE OF ARCHESTRATE, in Athens. Subject, a do- mestic scene. Inscribed: 'EvSaoe tV dya^V xal cw^pova yac 'ey.dXinl^sv 'Ap^eJTpdTrjv dvopt xoOsivoxd-rr^v, "Here earth conceals the good and wise Archestrate, most beloved by her husband." Attic; fourth century B. C. Found in Attica, and now in the National Museum, Athens, No. 722. Conze, Attische Grabreliejs, No. 290, pi. LXVIll. 633 STELE OF ARCHESTRATE, in Leyden. The inscription, which is not shown in the cast, reads: 'Apxe^xpaTYj 'AXssou Souvtewq, "Archestrate, the daughter of Alexos of Sunium." The relief represents a seated woman with two other women. Attic; fourth century B. C. Found at Aixone, in Attica, and now in the Museum of Leyden. Friederichs-Wolters, No. 1049. 634 STELE OF AMEINOKLEIA. Inscribed: 'A;j,£ivr5xXsta 'Av3po[JLlvous Ouyd-cTjp A . . ., "Ameinokleia, daughter of Andromenes." The relief represents a lady having her sandals adjusted by her attendant. Found in the Peiraieus, and now in the National Museum, Athens, No. 718. Conze, Attische Grahreliefs, No. 901, pi. CLXXVIL 635 STELE OF KORALLION, with a farewell scene in relief. Inscribed: KopdXXiov 'AydOwvoq yuvv], " Korallion, wife of Agathon." Attic; fourth century B. C. Found in the Ke- rameikos, and still in its original position. Conze, Attische Grahreliefs, No. 41 1, pi. XCVIII. 636 STELE OF DEMETRIA AND PAMPHILE. The relief represents two women inscribed AY)[xr/Tpia and Ilajj-cpfAY). Their inscriptions are not shown in the cast. Attic; fourth century B. C. Found in the Kerameikos, and re-erected on its original position. Conze, Attische Grahreliefs, No. 109, pi. XL. 637 STELE REPRESENTING A YOUNG HUNTER with his father and slave. Attic; fourth century B. C. Found in the bed of the Ilissos, and now in the National Museum, Athens, No. 869. Conze, Attische Grahreliefs, No. 1055, pi. CCXI. 638 STELE OF PHILINO, representing a farewell scene. The inscription, which is on the epistyle, is not shown in the cast. 90 GREEK AND ROMAN SCULPTURE Attic; fourth century B. C. Found near Athens, and now in the National Museum there, No. 832. Conze, Attische Grabreliejs, No. 337, pi. LXXXV. 639 STELE WITH A FAREWELL SCENE. Attic; fourth century B. C. Found in the Kerameikos, Athens, and now in the National Museum there, No. 717. Conze, Attische Grabreliejs, No. 322, pi. LXXX. 640 STELE REPRESENTING A WOMAN carrying an oino- choe. Fourth century B. C. Found in the Kerameikos, Athens, and still in its original position. Conze, Attische Grabreliejs, No. 805, pi. CLIL 641 FRAGMENT OF A STELE, with the head of a woman. Attic; fourth century B. C, Found at Eretria, and now in the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen.No. 743. 642 GRAVE RELIEF, probably of a theatrical personage. Fourth century B. C. The inscribed names 'Dionysos' and 'Paideia' are of a later date than the relief. Found in the harbor of the Peiraieus, and now in the Museum there. In Gallery 27. C. Robert, Athenische Mitteilungen, VII, 1882, p. 389, pi. 14. 643 MOURNING HANDMAID. A grave monument of the fourth century B. C. Found near Menidi, in Attica, and now in the Berlin Museum. Berlin Museum, Beschreibung der aniiken Skulpturen, No. 498. 644 MONUMENT IN THE FORM OF A MOLOSSIAN HOUND. Attic; fourth century B. C. In its original pos- ition in the Kerameikos, Athens. In Gallery 25. V. Sybel, Katalog der Skulpturen {u Athen, No. 3325. 645 GRAVE RELIEF, KNOWN AS THE "DEATH OF SOKRATES." It represents a sepulchral banquet, prob- ably a symbolic representation of offerings made to the dead. Attic; fourth century B. C. Found in the Peiraieus, and now in the National Museum, Athens. Friederichs-Wolters, No. 1052. GRAVEMONUMENTS 9I 646 STELE REPRESENTING A SEPULCHRAL BANQUET (c/. No. 645). Attic; fourth century B. C. Found in the Peiraieus, and now in the Museum there. Friederichs-Wolters, No. 1053. 647 STELE REPRESENTING A SEPULCHRAL BANQUET (cf. No. 645). Attic; fourth century B. C. Found in the Peiraieus, and now in the National Museum, Athens. Friederichs-Wolters, No. 1058. 648 STELE OF ARISTOGEITON, with a loutrophoros in re- lief. Inscribed: 'ApcJToyscTWv Ntxt'ou 'AXa)7U£y.f)6sv, "Aristo- geiton, the son of Nikios, of the deme of Alopeke." Found in Goudi, near Ambelokipi, and now in the National Museum, Athens, No. 941. Conze, Attische Grahreliejs, No. 1350, pi. CCLXXXIII. 649 GRAVESTONE IN THE FORM OF A LARGE LE- KYTHOS, with reliefs representing warriors and a group of women. The latter must have been added later, and by a different hand from that which executed the warriors. Attic; about 400 B. C. Found in Athens, and now in the National Museum there. Conze, Attische Grahreliejs, No. 1073, CCXVIII and CCXIX. 650 GRAVESTONE IN THE FORM OF A LARGE LE- KYTHOS (the upper part is missing), decorated with reliefs representing two female figures clasping hands, between two bearded figures. Inscribed with the names: Mys, Philia, Metrodora, Meles. Perhaps from Athens. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, No. 688. 651 GRAVE RELIEF OF EXAKESTES AND HIS WIFE METREIS, represented as clasping hands. Above is an inscription referring to some honor conferred upon each of them by the Athenians: 'O cf][xoq 'EiavicTTTiv 'Avopo^o'j- Aoj. '() :fj'fj.o; AFf^TpsIv 'EpfjLtTCxou, 'EHa-zi'TOj cl yuvac/.a. Perhaps from Smyrna. In the British Museum. In Gallery 29. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 704. 92 GREEK AND ROMAN SCULPTURE 652 STEl.E OF ARCHEvDEMOS. with a sepulchral vase in re- lief, on which is represented a farewfll scene. Inscribed: 'Apx£OT][jLo<; 'Apxeot/.ou 'A9[j,ov3u(s). 'Apxeoi/.o<; 'ApxeSiQ- ^JLOU. Xaipeai; 'Apx^^W^(^)> "Archedemos, the son of Archedikos, of the deme of Athmonia. Archedikos, the son of Archedemos. Chaireas, the son of Archedemos." On the mouth of the vase: 4>tXla lIavTa/.)v£o(Li(;) 'AOt^ovetos. "Philia, the daughter of Pantakles of the deme of Athmo- nia." Found at Marousi, near Athens, and now in the Mu- seum of the Louvre, No. 783. Conze, Griechische Grahreliejs, No. 1 136, pi. CCXXX. 653 FRAGMENT OF THE STELE OF KALLIAS, with a loutrophoros in relief. Inscribed: KaXAt'as ^I'lXsTatpou 4^a>vY]p£uc, " Kallias, the son of Philetairos, of the deme of Phaleron." Formerly in the Stoa of Hadrian, and now in the National Museum, Athens, No. 757. Conze, Attische Grahreliejs, No. 1369, pi. CCLXXXVllL 654 SARCOPHAGUS, found in a tomb at Sidon, in Syria. End of the fourth century B. C. In the Imperial Museum, Con- stantinople. Cast presented by Edward D. Adams. This is No. 6 of the sarcophagi described by Hamdy Bey and Theodore Reinach in One Necropole royale a Sidon. 655 PORTION OF A SARCOPHAGUS, representing the battle of the Greeks and Amazons. End of the fourth century B. C, Said to have been found in Greece. Formerly in the pos- session of the Fugger family, and now in the Imperial Mu- seum, Vienna. In Hall 38. Robert, Die aniiken Sarkophagreliefs, II, pi. XXVII, Nos. 68, 68b, pp. 78fT. 656 STELE OF A WARRIOR. The relief represents a warrior and a woman standing by a trophy. The inscription, which is probably earlier than the relief, commemorates persons belonging to various parts of the Peloponnesos, northern Greece, Thrace, and Macedonia. In the British Museum. In Gallery 27. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 1, No. 750. GRAVEMONUMENTS 93 657 STELE OF JASON, representing a physician examining a boy. Inscribed with the names of Jason, a physician of the Acharnian deme, called also Decimus, and other mem- bers of his family ('Idco-wv 6 y.at iHy.\j.oq 'A)^apv£L)q tatp6>; %. X. X.) From Athens. In the British Museum. In Gallery 27. A. H. Smith, Catalogue of Greek Scutpture' in the British Museum, I, No. 629. 658 STELE OF ARTEMIDOROS. Of limestone. The relief is in two panels. The upper part is broken away; on the lower panel is a horseman. The inscription reads: 'ApTs^j.t'cwpe Atoya exl ty];; xtva/.ccooq, xatps, "Hail, Artemidoros, son of Diogas, officer in charge of the list." Found at Kertsch, in the Crimea, and now in the British Museum. In Gallery 27. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 664. 659 STELE OF ARISTOKLES, representing a horseman. Inscribed: IloXXa ^sO'T^Xtxia? o^orfkixoq TQola xat'aaq ex. yataq ^Xaaxwv yala xaXtv ylyova. Eti^l OS 'ApiiToxXriq Decpatsus, ralq oh Mevwvoi;. "After many pleasant sports with my comrades, I who sprang from dust, am dust once more. I am Aristokles, ofthePeiraieus, sonof Menon." FromAthens. IntheBritish Museum. In Gallery 27. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 638. 660 SHOULDER OF AN AMPHORA. Detail from an Attic grave monument. Fourth century B. C. In the National Museum, Athens. Conze, Attische Grahreliefs, No. 1721, pis. CCCLXIX and CCCLXX. 661 FRAGMENT OF A STELE, showing the section of the upper part of a loutrophoros. 662 AKROTERION OF A STELE, erected for the Athenian knights who fell at Corinth and Koroneia, during the Cor- inthian war (394 B. C). Below the ornament are cut the 94 GREEK AND ROMAN SCULPTURE names of those who perished; these were arranged in col- umns of which only the upper parts remain. Found in the Kerameikos, and now in the National Museum, Athens, No. 754. Conze, Aitische Grahreliefs, No. 1 1 57. 663 AKROTERION OF A STELE, restored. Attic; fourth century B. C. The original, unrestored, is in the Museum of Fine Arts, Boston. Cast presented by Edward D. Adams. Boston Museum of Fine Arts, Annual Report, 1904, p. 55. 664 AKROTERION. It has been described as an antefix from the temple of Demeter at Eleusis, but it is more prob- ably the ornament of a grave stele. In the British Museum, No. 438. Conze, Attische Grahreliefs, No. 1 537, pi. CCCXX. 665 AKROTERION OF THE STELE OF ONESICHA. Found in the Peiraieus, and now in the National Museum, Athens, No. 928. Conze, Attische Grahreliefs, No. 1645, pi. CCCXLVIII. 666 AKROTERION OF A STELE. In the British Museum, No. 607. Conze, Attische Grahreliefs, No. 1599, pi. CCCXXXIX. 667 AKROTERION OF THE STELE OF NIKE, the daughter of Dositheos. Third century B. C. Found at Tenos, and now in the National Museum, Athens. V, Stais, Marbres et hron^es du Musee National, No. 1028. 668 AKROTERION OF THE STELE OF THE BROTHERS AGATHON AND SOSIKRATES. In the Kerameikos, Athens. Conze, Attische Grahreliefs, No. 1 535. 669 UPPER PART OF THE STELE OF DEINIAS AND HIS SON PHILOKRATES. Found near Velanideza, and now in the National Museum, Athens, No. 858. Conze, Attische Grahreliefs, No. 1540, pi. CCCXX 11. GRAVEMONUMENTS 95 670 UPPER PARTOF THE STELE OF MNESISTRATE. In- scribed: MvrjJccjTpaTTj. Found at Salamis, and now in the National Museum, Athens, No, 826. Conze, AUische Grabreliefs, No. 1556, pi. CCCXXV. 671 UPPER PART OF THE STELE OF EUMACHOS. In- scribed :E'j[xaxo<;'EuOLiiJ.a7ou('A)Xa)X£(7.)Tlf)£(v),"Eumachos, the son of Euthumachos, of the deme of Alopeke." In the British Museum, No. 605. Conze, Attische Grabreliefs, No. 161 1, pi. CCCXLII. 672 UPPER PART OF THE STELE OF SMIKYLION. In- scribed ^[xtxuXtwv 'EuaXxtoou h, Kspa^lwv, "Smikylion, son of Eualkides, of the deme of the Kerameikos." Found in Athens, and now in the British Museum, No. 599. Conze, Attische Grabreliefs, No. 1624, pi. CCCXLIV. 673 UPPER PART OF THE STELE OF THEOPHILE. In- scribed: (dzo:fi'A.ri AtoxXsoj-; 'Pa^voucrc'ou, "Theophile, daugh- ter of Diokles, of the deme of Rhamnus." In the National Museum, Athens, No. 916. Conze, Attische Grabreliefs, No. 1623, pl. CCCXLl 1 1. 674 UPPER PART OF THE STELE OF EPIKRATES. In- scribed: 'ExtxpaxT]? Kr^iptrt'ou 'Iwvcos?, " Epikrates, the son of Kephisios, of the deme of lonidai." From Salamis. In the National Museum, Athens, No. 862. Conze, Attische Grabreliefs, No. 1563, pl. CCCXXIX. 675 UPPER PART OF THE STELE OF ERINE. Inscribed with the names Eutychos, Erine, Nikon. The first and third are later additions. From the Stoa of Hadrian, Athens, and now in the National Museum, No. 868. Conze, Attische Grabreliefs, No. 161 5, pl. CCCXLII. 676 UPPER PART OF THE STELE OF MIKINES. In- scribed: Mtxcvr^q MsXiiiotsuq, "Mikines of Meliboia." Found at Lochas, in Attica, and now in the National Museum, Athens, No. 852. Conze, Attische Grabreliefs, No. 1578, pl. CCCXXXV. 677 UPPER PART OF THE STELE OF PHILIPPOS. In- scribed: <J>[XtTCxo; HxpaTajvoc; MsAcxsu*;, and lower down 96 GREEK AND ROMAN SCULPTURE (<I»t>0t~7:oi; <^t/a:^ " Philippos the son of Straton, of the deme of Melite." " Philippos, Philia." Formerly on the Akropolis, and now in the National Museum, Athens, No. 866. Conze, Aitische Grabrcliejs, No. 1617, pi. CCCXLll. 678 TWO GOATS BUTTING. Probably the akroterion of a stele. In the National Museum, Athens. Friederichs-Wolters, No. 1706. 679 AKROTERION OF A STELE. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 746. 680 AKROTERION OF A STELE, with palmette and scrolls. THE PERIOD OF PRAXITELES, SKOPAS AND LYSIPPOS ABOUT 380-323 B. C. (in galleries 25 and 26) THE fifth century had been a period of high ideals both in politics and in religion. To promote the welfare of the state and the honor of the gods was the highest am- bition of each citizen, and as a consequence at no other time in Greek history did the political power of Greece stand so high. However, before long, internal jealousies arose, and the Peloponnesian war between Sparta and Athens (431-404 B. C.) broke up the strength of the great Athenian Empire, which had to give place to the military supremacy first of Sparta, and then of Thebes, and at last to the dominion of Philip of Macedon. The political unity of the fifth century is succeeded by individ- ualistic tendencies, and this change of spirit is clearly reflected in fourth-century art. Each sculptor begins to work out his own path, and takes for his theme the individual man or woman rather than the type. In the fifth century the statues of the gods embodied the deeply religious conceptions of the age; their impersonality, immutability, and power are the qualities which impress us most. The critical spirit of the fourth century could no longer in good faith produce such works. The Olympic gods and goddesses now assume a more human character and are dis- tinguished from ordinary mortals by the perfection of their beauty rather than by their lofty idealism. This change is chiefly notice- able in the treatment of the face; the impersonal character of the former age gives place to a more individualistic conception, in which varying moods and phases of emotion are expressed. In this respect the art of the fourth century is perhaps closer to our modem spirit, which delights more in just such subtle dis- tinctions of personality than in abstract idealism. 98 GREEK AND ROMAN SCULPTURE The three sculptors who stand out as leaders during this per- iod are Praxiteles, Skopas, and Lysippos. Praxiteles excelled chiefly in the exquisite grace and refinement of his figures. Skopas surpassed all others in the rendering of passionate emotion and vivid expression. Both sculptors had their chief period of ac- tivity during the first half of the fourth century. Lysippos was the principal representative of the second half. His most prom- inent characteristics are vigor, manliness, and realism; he brings about a revival of heroic subjects, many of his statues being of heroes and athletes, though his representations of deities are also frequent. Lysippos stands on the threshold of the Hellen- istic period, on which he undoubtedly exercised a powerful in- fluence. THE TRANSITION BETWEEN THE SCHOOL OF PHEIDIAS AND THAT OF PRAXITELES 681 EIRENE WITH THE INFANT PLOUTOS. Roman copy of a statue by Kephisodotos, probably erected at Athens in commemoration of the victory of Timotheos over the Spartans at Leukas, in 375 B. C. Formerly in the Villa Albani, and now in the Glyptothek, Munich. Restorations: On the Eirene, the lower part of the nose, the right arm, the fingers of the left hand, the vase, pieces in the folds of the drapery; on the child, both arms, the left foot, the fore part of the right foot, the neck. The head of the child is ancient, but does not belong to the figure. Furtwangler, Beschreihung der Glyptothek, No. 219. For an attempt to date the statue towards the end of the fifth century, see P. Ducati, Revue archeologique, 1906, I, pp. 1 11-138. 682 THE INFANT PLOUTOS. Fragment from another rep- lica of the group of Eirene and the infant Ploutos, by Kephis- odotos {cj. No. 681). Found in the Peiraieus, and now in the Museum there. Friederichs-Wolters, No. 121 1. 683-687 SCULPTURES FROM THE TEMPLE OF ASKLE- PIOS AT EPIDAUROS. 380-375 B. C. We know from an inscription discovered at Epidauros that the sculptor Timotheos, perhaps of the Attic School, furnished models for the sculptures of the temple, and the akroteria of one of the gables. PERIODOF PRAXITELES, ETC. 99 FROM THE WESTERN PEDIMENT, which represented the battle of Greeks and Amazons: 683 Amazon on Horseback. 684 Fragment of an Amazon. 685 Head of an Amazon. In the National Museum, Athens, Nos. 136, 137, 140. Defrasse et Lechat, Epidaure, pp. 64, 66.2, 67. AKROTERIA FROM THE EASTERN PEDIMENT. 686 A Nereid on Horse-back. 687 Fragment of a Nike carrying a bird. In the National Museum, Athens, Nos. 157 and 155. Defrasse et Lechat, Epidaure, pp. 74 and 77. 688 NIKE. Akroterion from the temple of Artemis at Epi- dauros! 380-375 B. C. In the National Museum, Athens. Defrasse et Lechat, Epidaure, p. 168. 689 ASKLEPIOS SEATED ON A THRONE. Relief found in the sanctuary of Asklepios at Epidauros. In the National Museum, Athens, No. 173. Svoronos, Das aihener Nationalmuseum, pi. XXXI. 690 IDEAL FEMALE HEAD, perhaps of a goddess. Original work of the Attic school of the early part of the fourth cen- tury B. C. In the Museum of Fine Arts, Boston. Unpublished. For a notice of its acquisition see Boston Mu- seum of Fine Arts, Annual Report, 1896, p. 22. SCULPTURES RELATED TO PRAXITELES AND HIS SCHOOL (IN GALLERY 26) 691 THE HERMES OF PRAXITELES. Hermes is repre- sented as the messenger of Zeus, carrying the infant Dion- ysos to the Nymphs. Middle of the fourth century B. C. Found lying near its original pedestal in the ruins of the Heraion, at Olympia, and now in the Museum there. Olympia, III, Die Bildwerke, Atlas, pis. XLIX-LIU. 100 GREEK AND ROMAN SCULPTURE 692 HERMES WITH THE INFANT DIONYSOS. Relief copied from the Hermes of Praxiteles. Roman, Imperial period. Of sandstone. Found near Landau, and now in the Antiquar- ium at Mannheim. A. H. Smith, Journal of Hellenic Studies, III, 1882, p. 89. 693 HEAD OF EUBOULEUS (?). Possibly an original work of Praxiteles. Found at Eleusis, and now in the National Museum, Athens, No. 181. Furtwangler, Masterpieces, pp. 33ofT, pi. XVI. 694 HEAD OF EUBOULEUS (?). Of the same type as No. 6q2, but of inferior execution. Found at Eleusis, and now in the National Museum, Athens. 695 THE APHRODITE OF ARLES. Roman copy of a statue of the fourth century B. C. Style of Praxiteles. Found at Aries in France, and now in the Museum of the Louvre, No. 439. Restorations: The tip of the nose, the right arm, the left forearm, both hands, the apple, a large number of pieces in the drapery, the large toe of the right foot, the back part of the plinth. Frohner, Notice de la sculpture antique du Louvre, No. 137. 696 THE APHRODITE OF OSTIA. Roman copy of a statue of the fourth century B. C. Style of Praxiteles. Found at Ostia, and now in the British Museum. Restorations: The tip of the nose, the arms, a piece of the left thigh, some of the toes, the drapery over the right arm. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 1574. 697 APHRODITE OF KNIDOS. Roman copy of the famous statue of Aphrodite by Praxiteles, which was erected at Knidos, Asia Minor. In the Vatican. Restorations: The neck, the left arm from the bracelet, the left foot and leg from a little below the knee, the right foot and ankle, part of the base supporting the hydria, the plinth. The head is ancient (except the end of the nose), but does not belong to the statue, though it is from a copy of the same original. Helbig, Guide, I, No. 316. PERIODOF PRAXITELES, ETC. lOI 698 APHRODITE OF KNIDOS. Same type as No. 697. Formerly in the Palazzo Braschi, Rome, and now in the Glyptothek, Munich. Restorations: The upper part of the head, the nose, half of the right forearm, the greater part of the left forearm, both feet, pieces of the vase and the drapery. Furtwangler, Beschreibung der Glyptothek, No. 258. 699 HEAD OF APHRODITE. Copy of the head of the Knidian Aphrodite of Praxiteles. It is said to have been found on the site of Tralles, and is now in the possession of the heirs of Professor von Kaufmann, Berlin (died 1908). Conze, Antike Denknidler, I, pi. XLI, p. 30. 700 APOLLO SAUROKTONOS. Roman copy of a statue by Praxiteles. Found on the Palatine, Rome, and now in the Vatican. Restorations: A large fragment on the top of the head, the left side of the face, the right forearm, three fingers of the left hand, the right leg from the middle of the thigh, the left leg from the knee down, part of the trunk, with the upper part of the lizard, the plinth. Helbig, Guide, I, No. 194. 701 APOLLO SAUROKTONOS. Small bronze statue of the same type as No. 700. Found near the church of S. Bal- bina, Rome, and now in the Villa Albani. Restorations: The tree and the lizard. Helbig, Guide, II, No. 749. 702 SATYR. Hawthorne's Marble Faun. Roman copy of a statue of the middle of the fourth century B. C, prob- ably by Praxiteles. Found near Civita Lavinia. In the Capitoline Museum, Rome. Principal Restorations: The nose, the right forearm, most of the left forearm, the right foot. Helbig, Guide, I, p. 525. 703 TORSO OF A SATYR. Replica of the same statue as No. 702, but of superior execution. Found on the Palatine, Rome, and now in the Museum of the Louvre, No. 664. Friederichs-Wolters, No. 12 16. I02 GREEK AND ROMAN SCULPTURE 704 THE EROS OF THE VATICAN. Perhaps an adaptation of a statue by Praxiteles, but dating probably not earlier than the second century B. C. Found at Centocelle, near Rome, and now in the Vatican. Rf.storation: The end of the nose. Helbig, Guide, I, No. 185. 705 A-C. RELIEFS FROM MANTINEIA, representing the contest of Apollo and Marsyas in the presence of the Muses. These three reliefs probably decorated the pedestal of a group representing Leto with .Apollo and Artemis, which was executed by Praxiteles. The design for the reliefs may have been made by Praxiteles, but their execution was probably left to his assistants. Found at Mantineia, Arkadia. In the National Museum, Athens, Nos. 215-217. The cracks in the surface have been filled in with plaster; otherwise there are no restorations. Svoronos, Das athener National museum, pis. XXX and XXXI. 706 THE ARTEMIS OF GABII. Roman copy of a statue of the fourth century B. C, perhaps the Artemis Brauronia of Praxiteles. Found at Gabii, and now in the Museum of the Louvre, No. 529. Restorations: The nose, a piece of the left ear, the right hand, the left elbow, the left hand, with the corner of the drapery, part of the left leg, the left foot, part of the right foot. The head is ancient, but does not belong to the statue. Frohner, Notice de la sculpture antique du Louvre, No. 97. 707 HERMES FROM ANDROS. Hermes is here represented in his character of conductor of the dead to Hades, as is shown by the snake which is coiled round the tree-trunk. The statue may have been erected originally over a grave, since it was found in the neighborhood of one, in the island of Andros. Style of the fourth century B. C, and possibly an original work of that period. The type resembles that of the Hermes of Praxiteles. In the National Museum at Athens, No. 218. Restorations: The lower half of the left leg to the ankle. Friederichs-Wolters, No. 1220. 708 HERMES OF THE BELVEDERE. Roman copy of a statue of the same general type as the Hermes of Praxiteles PERIOD OF PRAXITELES, ETC. IO3 (No. 691), and the Hermes of Andros (No. 707). Probably found near the Castle of S. Angelo. In the Vatican. Helbig, Guide, I, No. 145. 709 SMALL HEAD OF APHRODITE. Fourth-century type. Style of Praxiteles. Found at Olympia, and now in the Museum there. Olympia, HI, Die Bildwerke, Atlas, pi. LIV, i and 2; Text, p. 206. 710 SATYR, in the act of pouring wine into a cup (?). Roman copy of a statue of Praxitelean type. Said to have been found at Antium. In the Albertinum, Dresden. Restoration: The left hand. The face has been worked over. Furtwangler, Masterpieces, p. 310, figs. 131, 132. 711 THE "APOLLINO." Roman copy of a statue of the fourth century B. C, perhaps of the so-called Apollo Ly- keios by Praxiteles, which stood in a gymnasium in Athens. Formerly in the Villa Medici, Rome, and now in the Uffizi Gallery, Florence. Restorations: The nose, the left hand, half of the left forearm, the edge of the base. W. Amelung, Filhrer durch die Antiken in Floren^, No. 69. 712 HEAD OF APOLLO. From another copy of the same statue. Found at Laurion, Attica, and now in the National Museum, Athens. Kavvadias, Catalogue, No. 183. 713 BUST OF APOLLO. From another copy of the same statue. Formerly in the Villa Albani, and now in the Brit- ish Museum. Restorations: The nose, part of the plait, and the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 1550. 714 THE SO-CALLED "ILIONEUS." Possibly one of the children of Niobe. Second half of the fourth century B. C. School of Praxiteles. Found in Rome, and now in the Glyptothek, Munich. Furtwangler, Beschreibung der Glyptothek, No. 270. I04 GREEK AND ROMAN SCULPTURE 715 HEAD OF APHRODITE. Fourth century type, lor- merly in the Villa Borghese, Rome, and now in the Museum of the Louvre, No. 203. Restorations: The nose and the bust. Frohner, Notice de la sculpture antique du Louvre, No. 164. sculptures illustrating the style of skopas (in gallery 25) 716-721 FRAGMENTS OF SCULPTURES FROM THE TEMPLE OF ATHENA ALEA AT TEGEA, in Arkadia. According to Pausanias, Skopas was the architect of this temple, which took the place of an earlier building destroyed by fire in 395 B. C. It is therefore very probable that the sculptures which decorated it were executed either by Sko- pas himself, or under his supervision. FROM THE EAST PEDIMENT (Contest of Telephos and Ach- illes). 716 Head of a Youth. 717 Head of a Youth, Helmeted. 718 The Same, Restored. FROM THE WEST PEDIMENT (Kalydonian Boar Hunt). 719 Head of a Boar. UNCERTAIN WHETHER FROM THE EAST OR THE WEST PEDIMENT. 720 Fragment of a Right Leg. 721 Fragment of a Left Arm. In the National Museum, Athens, Nos. 178-180. Treu, Afitike Denkmiiler, I, pi. 35, p. 21. 722 MELEAGER WITH HIS DOG. Roman copy of a statue which was perhaps by Skopas. First half of the fourth century B. C. Found in Rome (?), and now in the Vatican. Restorations: The end of the nose of Meleager, and the ears of the dog. Helbig, Guide, I, No. 133. PERIODOF PRAXITELES, ETC. I05 723 HERAKLES. Roman copy of a statue in the style of Skopas. First half of the fourth century B. C. Found in Hadrian's V^illa.Tivoli, and nowinLansdowne House, London. Restorations: The tip of the nose, parts of the left forearm and the club, a piece inserted on the right forearm, the right thumb, the left leg between the knee and ankle. Michaelis, Ancient Marbles in Great Britain, p. 45 r. No. 61. 724 COLOSSAL FEMALE HEAD. Latter part of the fourth century B. C. Found at Priene, on the site of the temple of Athena Polias, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Mu- seum, n, No. 1 151. 725 APOLLO PLAYING THE LYRE. Probably a copy of the statue by Skopas which was placed by Augustus in the temple of Apollo on the Palatine, in commemoration of his victory at Actium. Found near Tivoli, now in the Vatican. Restorations: The end of the nose, the chin, the lips, the right hand and arm from above the elbow, the left hand and part of the arm, parts of both feet, pieces in the drapery and wreath, and part of the lyre. Helbig, Guide, I, No. 267. 726 NIOBE AND HER YOUNGEST DAUGHTER. Part of a group in Florence representing the slaying of the children of Niobe by Apollo and Artemis. Pliny mentions a group in Rome of the death of Niobe's children, about which there was doubt whether Skopas or Praxiteles made it. It is generally assumed that the Florentine figures are copies from that group, though this is by no means certain. The statues show some of the characteristics of the style of Skopas. Found near the Lateran, Rome, and now in the Ufifizi Gallery, Florence. Restorations: On the Niobe, the nose, parts of the lips, the left forearm with a piece of the garment, the right hand with half of the forearm; on the daughter, the hair, the nose, the lower lip, the right arm, the left hand, the left foot. W. Amelung, Fuhrer durch die Antiken in Floren^, No. 174. 727 N JOB ID. Figure from the same group as No. 726. Found near the Lateran, Rome, and now in the Uffizi Gal- lery, Florence. W. Amelung, Fuhrer durch die Antiken in Floren^, No. 184. I06 GREEK AND ROMAN SCULPTURE 728 THE "CHIARAMONTI" NIOBID. Replica of a figure in the group from which Nos. 726, 727 were copied. Per- haps found in Hadrian's Villa, at Tivoli, and now in the Braccio Nuovo of the Vatican. Helbig, Guide, 1, No. 73. 729 RELIEF REPRESENTING THE DESTRUCTION OF THE CHILDREN OF NIOBE. Formerly in the Campana Collection, and now in the Hermitage, St. Petersburg. Restorations: On the first boy from the left, a part of the left leg; on the second, the left arm; on the fourth girl, the left hand. Friederichs-Wolters, No. i866. 730 HEAD OF A YOUTH. Style of Skopas. Fourth cen- tury B. C. Unidentified. sculptures illustrating the style of lysippos (in gallery 26) 731 THE APOXYOMENOS (youth scraping his body with a strigil). Roman copy in marble of a bronze statue by Lysippos. Second half of the fourth century B. C. Found in Trastevere, Rome, and now in the Vatican. Restorations: The fingers of the right hand, the end of the left thumb, the strigil, all the toes. Helbig, Guide, I, No. 31. 732 THE LUDOVISI ARES. Roman copy of a statue of the latter part of the fourth century B.C., belonging probably to the school of Lysippos. Found in Rome, between the Santa Croce and Campitelli palaces. Formerly in the Ludovisi Collection, and now in the Museo delle Ternie, Rome. Restorations: On Ares, the nose, the right hand, the right foot, the handle of the sword; on Eros, the head, the left arm with the quiver, half of the right arm, the right foot. Helbig, Guide, II, No. 883. 733 WARRIOR RESTING. Fourth-century type. Formerly in the Ludovisi Collection. Now in the Museo delle Terme, Rome. The head is ancient, but does not belong to the statue. A CORNER OF THE TEMPLE OF ARTEMIS AT EPHESOS, RESTORED FROM THE BRITISH MUSEUM CATALOGUE, VOL. II. PERIOD OF PRAXITELES, ETC. IO7 Restorations: The left forearm, several fingers of the right hand, pieces in the chest and the right hip, the left foot, the right foot except the heel, most of the sword, a large piece in the front part of the plinth. Helbig, Guide, II, No. 874. 734 HERMES TYING HIS SANDAL. Roman copy of a statue of the style of Lysippos. End of the fourth century B. C. Found in Hadrian's Villa, and now in Lansdowne House, London. Restorations: The nose, part of the back of the head, a narrow strip connecting the head with the body, the left arm from the shoulder to the elbow, the left hand, the right forearm, the right foot with the sandal, the lower part of the left leg between the knee and the ankle, the rock, the ploughshare, the support, parts of the chlamys, and the greater part of the plinth. Michaelis, Ancient Marbles in Great Britain, No. 85, p. 464. 735 THE PRAYING BOY, so called. Of bronze. It is doubt- ful whether the action of the arms has been correctly re- stored, and hence the interpretation of the statue is un- certain. Fourth or third century B. C, and style of Ly- sippos, though its attribution to Boedas,the son of Lysippos, does not rest upon sufficient authority. In the Berlin Museum. Restorations: The eyes, both arms to the shoulders, several toes, the plinth. Berlin Museum, Beschreibung der aniiken Skulpturen, No. 2. MISCELLANEOUS SCULPTURES OF THE PERIOD (IN GALLERIES 25 AND 26) 736-738 SCULPTURES FROM THE TEMPLE OF ARTEMIS AT EPH- ESOS, and now in the British Museum. This temple, which was discovered by J. T. Wood in 1871-1872, was built shortly af- ter the year 356 B. C, to take the place of an older structure, which was burnt in that year {cj. Nos. 372-375). The new temple was erected on a magnificent scale. It ranked among the Seven Wonders of the ancient world, and is identical with the great temple of "Diana of the Ephesians," referred to in the Acts of the Apostles, chapter XIX. According to Pliny, it had 127 Io8 GREEK AND ROMAN SCULPTURE columns, "each made by a king," of which 36 were sculptured, one by Skopas. The reading in the MSS., "una a Scopa" (one by Skopas), is doubtful, but it is not impossible that Skopas was actually employed at Ephesos. 736 RELIEF FROM A QUADRANGULAR BLOCK, perhaps the pedestal of a column. The subject represented is uncer- tain; the figures appear to be Herakles and a woman. A. H. Smith, Catalogue of Greek Sculpture in the British Museum. II, No. 1200. 737 SECTION OF A SCULPTURED DRUM of a column. The relief probably represents Hermes delivering Alkestis to Thanatos (Death). A. H, Smith, Catalogue, 11, No. 1206, pi. XXIII. 738 SECTION OF AN IONIC CAPITAL. A. H. Smith, Catalogue, 11, 1224. 739-744 SCULPTURES FROM THE MAUSOLEUM AT HALIKAR- NASSOS, the monument built to Mausolos, prince of Caria, by Artemisia his wife, after his death in 351 B. C. The sculptures have been ascribed by Pliny and Vitruvius to Skopas, Bryaxis, Leochares, and Timotheos. In the British Museum. 739 COLOSSAL STATUE OF MAUSOLOS. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1000, pi. XVI. 740 SEVEN SLABS FROM A FRIEZE, representing the contest of the Greeks and Amazons. A. H. Smith, Catalogue, 11, 1011-1017. 741 FIGURE OF A CHARIOTEER, from a frieze represent- ing a chariot-race. A. H. Smith, Catalogue, II, No. 1037. 742 STATUE OF A LION. A. H. Smith, Catalogue, 11, p. 129. 743 TORSO OF AN EQUESTRIAN FIGURE. A. H. Smith, Catalogue, 11, No. 1045, pi. XIX. THE MAUSOLEUM, RESTORED BY W. B. DINSMOOR FROM THE AMERICAN JOURNAL OF ARCH/EOLOGY, IQqS PERIOD OF PRAXITELES, ETC. IO9 744 BEARDED PORTRAIT-HEAD. Subject unknown. A. H. Smith, Catalogue, II, No. 1054, pi. XX, i. 745 THE VENUS OF MELOS. Statue of Aphrodite, probably of the fourth century B. C, though some authorities place it in the Hellenistic period. The original motive of the statue has been the subject of much contro- versy, the missing arms having been variously restored in attitudes which would imply that the goddess was {a) writing upon a shield, {b) grouped with Ares, (c) leaning upon a column. None of these attempts meet all the re- quirements, and in spite of years of experimentation the problem has not yet been solved. Found in the island of Melos, and now in the Museum of the Louvre. Principal Restorations: The end of the nose, part of the lower lip, the large toe of the right foot. For the history of the statue, see Ravaisson, La Venus de Milo, Paris, 1892. 746 THE VENUS OF CAPUA. Roman copy of a fourth-cen- tury type of Aphrodite {cj. No. 745). Found at Capua, and now in the Aluseum of Naples. Restorations: The lower half of the nose, both arms from below the shoulders, part of the drapery. Bernoulli, Aphrodite, p. 160. 747 THE NIKE (VICTORY) OF BRESCIA. Probably a Ro- man variation of a fourth-century type, resembling the Venus of Melos (No. 745), and the Venus of Capua (No. 746), made principally by the addition of the wings. Of bronze, originally gilt. Found near a temple built by Vespasian, in Brescia, and now in the Museo Patrio there. Restorations: The eyes (on the cast only), the helmet, shield, stylus, and plinth. Diitschke, Antike Bildwerke in Oheritalien, IV, p. 153, 748 APHRODITE ANADYOMENE. She is represented in the act of wringing the water from her hair. End of the fourth century B. C. In the Vatican. Restorations: Both arms and hands, the hair grasped by the latter, part of the left breast, fragments in the drapery, most of the plinth. The head is ancient, but does not be- long to the statue. Helbig, Guide, I, No. 254. no GREEK AND ROMAN SCULPTURE 749 SEATED STATUE OF A DEMETER. First half of the fourth century B. C. Found in the sanctuary of Demeter at Knidos, Asia Minor, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1300, pi. XXIV. 750 SMALL STATUE OF DEMETER. Fourth-century type. Found at Carthage, and now in the Musde du Bardo, Tunis. Cast presented by Henry W. Cannon, 1906. G. Perrot, Revue de Vari ancien et moderne. VI, pp. iff. 751 SO-CALLED PSYCHE. Fragment of a statue, probably of the fourth century B. C. Found at Capua, and now in the Museum of Naples. Restoration: The lower part of the nose. The peculiar angular breaks are due to the fact that the surface of the fractures was planed down; the head was probably origin- ally composed of several pieces fitted together, otherwise it could hardly have broken as it has. Friederichs-Wolters, No. 1471. 752 FEMALE FIGURE possibly a Muse or Kore. Type of the fourth century B. C. Formerly in the Villa Mattei, and now in the Galleria dei Candelabri of the Vatican. Restorations: The left hand, with the ears of com, and both elbows. Helbig, Guide, \, No. 380. 753 A YOUNG GODDESS. Roman copy of a statue of the fourth century B. C. Found at Cumae, and now in the Hermitage, St, Petersburg. The head is ancient, but does not belong to the statue. On the original the arms are restored, holding torches. Stephani, Compte-rendu de la commission archeologique, 1881, pp. I3iff, pi. VI, I, 2. 754 STATUE OF A MATRON. Roman adaptation of a fourth- century type. Found at Herculaneum, and now in the Alber- tinum, Dresden. The restorations are insignificant. Furtwangler-Urlichs, Denkmdler griechischer und romiscber Skulptur, No. 55. PERIODOF PRAXITELES, ETC. Ill 755 RAPE OF GANYMEDES. Probably a Roman copy of a bronze group executed by Leochares, in the fourth century B. C. In the Vatican. Restorations: The head and wings of the eagle; of Ganymedes, the nose, chin, lower lip, neck, right forearm with the stick, the left arm, the right leg from the knee down, the left leg from the knee to the ankle; of the dog, everything above the paws. Helbig, Guide, I. No. 400. 756 SMALL BRONZE STATUE OF APOLLO. Fourth cen- tury type. In the British Museum. H. B. Waiters, Catalogue of Bronres in the British Museum. No. 987. 757 STATUE OF APOLLO RESTING. Fourth century type. In the Museum of the Louvre, No. 61 ?. Restorations: The left hand, wrist, and elbow, a piece of the right knee. Overbeck, Apollon, p. 216, No. 26. 758 STATUE KNOWN AS THE YOUTH FROM SUBIACO. Perhaps one of the children of Niobe. Probably end of the fourth century B. C. Found in the Villa of Nero, Subiaco, and now in the Museo delle Terme, Rome. Amelung und Holtzinger, Museums and Ruins of Rome (Eng. Trans.), I, p. 280. 759 HEADLESS STATUE OF A BOY. Early fourth century B.C. Found on the Akropolis, Athens, and now in the British Museum. The right ankle is restored. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1672. 760 STATUE OF A YOUTH in the act of crowning himself (?). Fourth century B. C. The general tvpe is derived from the original of which No. 61 1 is a copy. Found at Eleusis, and now in the National Museum, Athens, No. 254. 'E^TQiisplq 'ApxatoXoytxY^, 1890, pis. 10, 11, pp. 2o8ff. 761 HEAD OF ZEUS. Fourth century type. In the Hermi- tage, St. Petersburg. 112 GREKK AND ROMAN SCULPTURE Restorations: The nose, parts of the eyebrows, the pupil of the right eye, the greater part of the neck, and the bust. Compte-rendu de la commission archeologique de St.-Peters- bourg, 1875, pis. VI, VI I, 1. 762 HEADOF ASKLEPIOSOR ZEUS. Original work of the fourth century B. C. Found in the island of Melos, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 550. 763 HEAD OF HYPNOS, the god of Sleep. Fragment of a bronze statue. Found near Perugia, and now in the British Museum. H. B. Walters, Catalogue 0} Bronies in the British Museum, No. 267. 764 HEAD OF AN ATHLETE. Copy of a work of the end of the fourth century B. C. In the Glyptothek, Munich. Restorations: The nose, a piece of the chin, the bust. Furtwangler, Beschreihung der Glyptothek, No. 272. 765 HEAD OF ATHENA. Probably from a monument by the artist Euboulides, who lived at the beginning of the second century B. C. The type goes back to an original of the fourth century, B. C. Found in Athens, and now in the National Museum there, No. 234. In Gallery 23. L. Julius, Athenische Milteihmgen, VI I, 1882, p. 91. pi. 5. 766 FEMALE HEAD, found in the sanctuary of Demeter at Knidos. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum., II, No. 13 15. 767 FEMALE HEAD. First half of the fourth century B. C. Probably found at Ostia, and now in the Glyptothek, Munich. Restorations: Most of the top and back of the head, the nose, chin, left half of the lower jaw, the neck and the breast. Furtwangler, Beschreihung der Glyptothek, No. 210. 768 FEMALE HEAD, found at Delos, and now in the National Museum, Athens, No. 185. PERIOD OF PRAXITELES, ETC. II3 Th. Homolle, Bulletin de correspondance hellenique, III, 1879, pi. XVI, and IV, 1880, p. 38. 769 HEAD OF A MAIDEN, possibly Hygieia. Attic. In the National Museum, Athens, No. 191. F. Koepp, Athenische M itieilungen, X, 1885, p. 255, pi. 9. 770 FEMALE BUST, called "the Oxford Bust." Type of the fourth century B. C. From the Arundel Collection; now in the Ashmolean Museum, Oxford. Michaelis, Ancient Marbles in Great Britain, p. 555, No. 59. 771 RELIEF OVER AN INSCRIPTION, recording a treaty, probably between Athens and Kios in Bithynia (377 B. C). Athena is represented clasping the hand of " Kios." Found near the Propylaia, and now in the Akropolis Museum, Athens. In Gallery 23. Schone, Griechische Reliefs, pis. 9, 53, p. 27. 772 RELIEF FROM THE HEADING OF A DECREE between Athens and Kerkyra (375 B. C). At the left, seated on a rock, is the Demos, or People, of Athens, facing whom stands a personification of the island of Kerkyra, while at the right Athena watches the agreement which is made between the two. Found on the southern slope of the Akropolis of Athens, and now in the Akropolis Museum. In Gallery 23. A. Dumont, Bulletin de correspondance hellenique, II, 1878, p. 559, pi. XII. 773 RELIEF IN IMITATION OF ORIENTAL STYLE. Above, a man in oriental costume between winged and horned lions; below, a lion devouring a deer. Probably fourth century B. C. Said to have been found on the hill of the Mouseion, and now in the National Museum, Athens. Perrot, Bulletin de correspondance hellenique, V, 1881, p. 19, pi. I. PORTRAITS OF THE PERIOD (IN GALLERY 26) 774 STATUE OF AISCHINES. Roman copy of a work of the fourth century B. C. Found at Herculaneum, and now in the Museum of Naples. 114 GREEK AND ROMAN SCULPTURE Restorations: The end of the nose, the fingers of the right hand, pieces in the drapery. Friederichs- Welters, No. 1316. 775 STATUE OF SOPHOKLES. Perhaps a copy of the bronze statue made for the Dionysiac theatre at Athens, between 350 and 330 B. C. Found at Terracina, and now in the Lateran Museum, Rome. Restorations: The nose, small bits in the hair, beard and face, the right hand, both feet with the base, the lower part of the garment behind, the scrinium. Helbig, Guide, I, No. 662. 776 BUST OF SOPHOKLES (?). Fourth-century type. Dis- covered near Genzano, in the neighborhood of Rome, and now in the British Museum. Restoration: The tip of the nose. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1832, pi. XI 1. 777 BUST OF EURIPIDES. In the Vatican (Hall of the Muses). Only the face, from the forehead to the upper lip, is ancient. Bernoulli, Griechische Ikonographie, I, p. 152, No. 9. 778 DOUBLE HERMA OF HERODOTOS AND THUCY- DIDES. Place of discovery unknown. Formerly in the Farnese Collection, now in the Museum of Naples. Friederichs- Wolters, No. 485. 779 BUST OF PLATO. Roman copy of a work which prob- ably dated from the fourth century B. C. This is the only extant portrait of the philosopher which is identified by an inscription. Formerly in the collection of Alessandro Castellani, and now in the Berlin Museum, No. 300. Helbig, Jahrbuch des archiiologischen Instituts, 1886, pp. 7 iff, pi. 6, L 780 BUST OF PLATO. Roman copy, probably of a work of the beginning of the fourth century B. C. In the Vatican. The nose is restored. Helbig, Guide, I, No. 265. PERIODOF PRAXITELES, ETC. II5 781 HEAD OF SAPPHO. Type of the fourth century B. C, or later. In the Villa Albani, Rome. Restorations: The end of the nose, the lower part of the neck, the herma. Helbig, Guide. H, No. 789. HELLENISTIC PERIOD FROM THE DEATH OF ALEXANDER (323 B. C.) TO THE FALL OF EGYPT (30 B. C.) (IN GALLERIES 27-29) WE have seen in the preceding periods how directly the art of each epoch is influenced by political events. The thoughts and tendencies of every age are mirrored in its artistic productions; and therefore, to understand the latter we must bear in mind con- temporary history, just as to appreciate history fully we must go to art to supply us with vivid illustrations. The conquest of Greece by Philip of Macedon has already been alluded to, but the loss of independence of the several Greek states was relatively unim- portant as compared with the Oriental campaigns of Alexander the Great, in which he conquered the East, and threw its gates open to Greek civilization. Hence we find that after the death of Alexander, the centre of gravity has been pushed from the main- land of Greece eastward to Asia Minor. Athens and other cities of Greece still produce artists -of minor importance, but the best work of the period comes from the vigorous offshoots of Asia Minor and Egypt: Pergamon, Ephesos, Tralles, Rhodes, and Alexandria. The ideals of the Hellenistic Age — so called in distinction to the true Hellenic — are, as we should expect, totally different from both those of the fifth century and those of the fourth. It is neither idealism nor beauty that now forms the chief aim of the sculptor: he has become a man of science, as well as an artist. Anatomy interested him for its own sake, and the faithful representation of what earlier artists would have regarded as unimportant details of nature has to some extent replaced the desire to create pure beauty. This is shown not only in the treatment and execution, but also in the choice of subjects. We need only compare the " Barberini Faun" (No. 830) or the Seated Boxer (No. 842) with the sculptures of the Parthenon fully to appreciate this dif- HELLENISTICPERIOD II7 ference. Moreover, we often find a love of display which was foreign to the art of the preceding ages. However, though in con- ception Hellenistic works do not reach the former high standard, they often exhibit extraordinary vigor of treatment, thorough understanding of the human figure, and consummate skill in exe- cution. In its spirit Hellenistic art is independent. Though it sometimes borrows types from earlier sculptures, it transforms them so completely as to make them its own. The marvellous fertility of invention shown in the Altar of Pergamon is evidence enough of the spontaneity of artistic imagination during this period. SCULPTURES OF THE SCHOOL OF PERGAMON (IN GALLERY 28) 782 TH E D Y ING GAU L, formerly called The Dying G ladiator. Probably a contemporary copy of a bronze statue dedicated by Attalos I, king of Pergamon (241-197 B. C.), on the Akropolis of Pergamon, in commemoration of his victory over the Mysian Gauls. Found in Rome, and now in the Museum of the Capitol. Restorations: The end of the nose, the right hand, part of the left knee, the toes, and part of the plinth, including the sword and a portion of the horn. Helbig, Guide, I, No. 533. 783 GAUL AND HIS WIFE. Like No. 782, probably a con- temporary copy of a bronze group erected by Attalos I of Pergamon, in commemoration of his victory over the Mysian Gauls. Place of discovery unknown. Formerly in the Ludovisi Collection, and now in the Museo delle Terme, Rome. Restorations: Of the man, most of the right arm, with part of the sword, the lower half of the nose, the left forearm and forefinger, part of the cloak; of the woman, the nose, the left arm from above the elbow, the right hand and wrist, four toes of the right foot, and a piece of the garment; also the supports between the two figures. Helbig, Guide, I, No. 884. 784-790 FIGURES FROM THE GROUPS OF STATUES DEDICATED BY ATTALOS I, king of Pergamon (241-197 B. C), on the Akro- polis of Athens, in commemoration of his victories over the Gauls. Il8 GREEK AND ROMAN SCULPTURE The four groups of which these figures formed part, or are at least contemporary copies, date from about 200 B. C, and repre- sent respectively: The Battle of the Gods and Giants. The Battle of the Greeks and Amazons. The Battle of the Greeks and Persians at Marathon. The Battle of Attalos and the Gauls. Baumehter, Denkmdler, II, pp. 1241-1248. 784 DYING GAUL. The pose is like that of the famous statue (No. 782), reversed. Found in Rome. Formerly in the Farnese Collection, Rome, and now in the Museum of Naples. Restorations: The left arm, some fingers of the right hand, the right foot, the toesof the left foot. The head is ancient, but perhaps does not belong to the figure. 785 ELDERLY GAUL, fallen on one knee, defending himself with his sword. Found in Rome, and now in the Museum of the Marciana, Venice. Restorations: The right arm and some of the toes of the left foot. 786 YOUNG GAUL, kneeling, wounded in his right thigh. In the Louvre, Paris. Both arms are restored. 787 DEAD PERSIAN. Found in Rome. Formerly in the Farnese Collection, Rome, and now in the Museum of Naples. Restorations: Both arms, the right leg from the knee down, part of the scimitar. 788 YOUNG PERSIAN, kneeling and warding off a blow with his right arm. In the Vatican. Restorations: The nose, both arms, the right leg from the knee down, half of the left foot, the upper part of the cap, the plinth. 789 PERSIAN, kneeling and defending himself with his shield. At Aix in Southern France. 790 DEAD AMAZON. Found in Rome. Formerly in the Farnese (Collection, Rome, and now in the Museum of Naples. The left foot is restored. HELLENISTICPERIOD II9 791-802 REI lEFS FROM THE GREAT ALTAR ON THE CITADEL OF PERGAMON, built probably by King Eumenes H, 197-159 B. C, and dedicated to Zeus and Athena. The remains of this altar were discovered 1879-1880, during the excavations conduct- ed by the German government, under the direction of Karl Humann. It consisted of a large base or platform, about 16 feet high, 123 feet 7 inches long, and 113 feet 6 inches broad, on which stood the altar proper, surrounded by an Ionic colonnade. One side of the platform was pierced by the staircase by which the altar was approached; its walls were encircled by a frieze about 7 feet 6 inches wide, representing the Battle of the Gods and Giants. Originally this must have been nearly 400 feet long. Over 300 feet of it were recovered by the Germans, and a res- toration of the structure, with these reliefs in place, has been made in the Pergamon Museum at Berlin. The selection in our collection includes the following: 791-801 SLABS FROM THE LARGE FRIEZE which en- circled the walls of the substructure of the altar, repre- senting the Battle of the Gods and Giants. From the West Side : 791 THE SEA DEITIES, Nereus, Doris, Okeanos, and Tethys? in contest with giants. 792 WINGED GIANT, inscribed Bpo Slabs Nos. 791, 792 are cut into by the steps of the broad staircase which led up to the great platform on which stood the altar. 793 DIONYSOS WITH TWO SATYRS. From the South Side : 794 KYBELE riding a lion, and Adrasteia? 795 EOS, the goddess of Dawn, riding a horse (or mule). From the East Side : 796 THE GIANT KLYTIOS. Only the upper part is pre- served. 797 THE GIANT AIGAION bitten by the dog of Artemis. Only the upper part of the giant is preserved. 1 20 GREEK AND ROMAN SCULPTURE 798 APOLLO. 799 ZEUS in contest with three giants. 800 ATHENA seizing the giant Alkyoneus; Gaia interceding for her son. Irom the North Sidp : 801 NYX, the goddess of Night, in contest with a giant. 802 SLAB FROM THE SMALLER FRIEZE, which deco- rated the inner face of the wall of the colonnade on the plat- form of the altar. On this frieze were represented scenes from the life of Telephos, the legendary founder of Per- gamon. The subject of the slab shown here is Herakles finding the infant Telephos under a plane tree, suckled by a hind. Berlin Museum, Beschreihung der Skulpturen aus Pergamon, I, Die Gigantomachie. 803 FEMALE HEAD. Found among the ruins of the Great Altar at Pergamon, and now in the Pergamon Museum in Berlin. Pontremoli et Collignon, Per game, p. 204. 804 HERMAPHRODITE. Found at Pergamon, and now in the Imperial Museum, Constantinople. Pontremoli et Collignon, Pergame, p. 205. 805 WARRIOR FROM DELOS. This statue evidently formed part of a group, and represented a fallen warrior defend- ing himself against an enemy. Near it was found a pedestal large enough to accommodate such a group, inscribed with the name of Nikeratos as the sculptor. If, as is probable, the two belonged together, the statue would be a work of the school of Pergamon in the time of Eumenes II (197-15Q B. C), to which the inscription shows Nikeratos to have belonged. Found in Delos in 1882, during the excavations of the French School. In the National Museum, Athens, No. 247. P. Wolters, Athenische Mitteilungen, XV, 1890, pp. i88fT. 806 HEAD OF A GIANT, formerly called the Dying Alex- ander. Probably second century B. C. In the Uffizi Gallery, Florence. H E L L E N I S T I C P E R I O D 121 Restorations: The bust, the top and back of the head, the lower part of the nose. W. Amelung, Filhrer durch die Aniiken in Floren^, No. 151. 807 HEAD OF A DYING PERSIAN. Pergamene type. Found on the Palatine, and now in the Museo delle Terme, Rome. Helbig, Guide, II, No. 1025. 808 MALE HEAD. Roman copy from a Pergamene original. Found in Hadrian's Villa, Tivoli, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. i860. MISCELLANEOUS SCULPTURES OF THE PERIOD EXCLUDING PORTRAITS GROUPS AND STATUES 809 THE NIKE OF SAMOTHRAKE, a statue of the goddess of Victory on the prow of a ship. (In Hall 38). It was erected as a votive offering to commemorate a naval vic- tory, probably that of Demetrios Poliorketes, king of Mace- donia, over Ptolemy I of Egypt, off Cyprus, in 306 B. C. Found in the island of Samothrake, and now in the Museum of the Louvre, No. 2369. No restorations, except the pieces by which the fragments of the wings are joined. Conze, Hauser, und Benndorf, Untersuchungen auf Samo- thrake. II, pi. LXIV. 810 STATUE OF THEMIS, the Goddess of Justice. First half of the third century B. C. On the base is inscribed the name of the sculptor Chairestratos, the son of Chairedemos. of Rhamnus. Found in the temple of Themis at Rhamnus, and now in the National Museum, Athens, No. 231. Collignon, Histoire, II, p. 461. 811 POSEIDON. Probably third century B. C. Found in the island of Melos, and now in the National Museum, Athens, No. 235. 122 GREEK AND ROMAN SCULPTURE Restorations: The nose, the left upper part of the head, part of the mantle, and the trident. Collignon, Histoire, II, p. 481. 812 TORSO OF A TRITON. Roman copy of a statue of the Hellenistic period. Found at Tivoli, and now in the Vatican. Restorations: The point of the nose, parts of the ears and hair, and nearly all the body below the navel. Helbig, Guide, I, No. 187. 813 THE APOLLO OF THE BELVEDERE. Probably a Roman copy of a statue of the third century B. C. Said to have been found at Antium. In the Belvedere of the Vat- ican. Restorations: The left hand, the right forearm and hand, the upper parts of the tree and the quiver, small pieces in the drapery and legs. Helbig, Guide, I, No. 160. 814 THE ARTEMIS OF VERSAILLES. Probably a Roman copy of a statue of the third century B. C. Formerly at Versailles, and now in the Museum of the Louvre, No. 589. Restorations: The nose, both ears, a piece of the neck, the right hand and half the forearm, the left hand and arm as far as the deltoid, the end of the large toe of the left foot, the right foot and upper part of the leg, the two ends of the quiver. Of the hind, the nostrils, the ears, the horns (ex- cept their base), the greater part of the legs. Collignon, Histoire, II, p. 320. 815 UPPER PART OF A STATUE OF ASKLEPIOS. Found in the Peiraieus, and now in the National Museum, Athens. Kavvadias, Catalogue, No. 258. 816 APHRODITE CROUCHING IN THE BATH. Perhaps a Roman copy of a statue by Daidalos of Bithynia, of the third century B. (>, Found at Vienne, France, and now in the Museum of the Louvre, No. 2240. Rayet, Monuments de I'art antique, pi. 53. 817 APHRODITE CROUCHING IN THE BATH. Same type as No. 816. Found in the neighborhood of Tivoli, and now in the Vatican. HELLENISTIC PERIOD I23 Restorations: The hair, the right hand, the fingers of the left hand, the front half of the right foot, two toes of the left foot. Helbig, Guide, 1, No. 252. 818 THE VENUS OF THE CAPITOL. Late Greek or Roman. Found between the Viminal and Quirinal hills, Rome, and now in the Museum of the Capitol. Restorations: The tip of the nose, the forefinger and part of the thumb of the left hand, the fingers of the right hand. Helbig, Guide, I, No. 458. 819 TORSO OF APHRODITE. Said to have been found at Antium. In the British Museum. The left thigh is restored. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1583. 820 GROUP OF THE THREE GRACES. Roman copy of a composition created probably in the Hellenistic period. Found on the Quirinal in Rome, and now in the Opera del Duomo, Siena. Brunn-Bruckmann, Denkmdler der griechischen und ro- mischen Skulptur, No. 259. 821 824 THE LYKOSOURA FRAGMENTS. Fragments of colossal statues from the temple of Despoina (Persephone) at Lykosoura, in Arkadia, and now in the National Museum, Athens. 821 Head OF Demeter. 822 Head of Artemis. 823 Head of Amytos. 824 Fragment of Drapery with decorative designs in relief. Damophon of Messene is named by Pausanias as the sculptor of these statues. Their date has long been a matter of dispute, the fourth century B. C, the second century B. C, and the time of Hadrian having all been suggested by different authorities; of these dates the second century B. C. is the most probable. Frazer's Pausanias, V, pp. 622ff. 1 24 GREEK AND ROMAN SCULPTURE 825 EROS STRETCHING A BOW. Roman copy of a statue, probably of the end of the fourth century B. C. Formerly in the Villa d'Este at Tivoli, and now in the Museum of the Capitol, Rome. Restorations: Both arms with the bow, the wings, the lower half of the legs, the tree-trunk. Helbig, Guide, I, No. 429. 826 EROS AND A DOLPHIN. Ornament of a fountain. The place of discovery is not known. Formerly in the Far- nese Collection, and now in the Museum of Naples. Restorations: Of Eros, the head, the feet and the fingers of the left hand; of the dolphin, the tail. Friederichs-Wolters, No. 1581. 827 DIONYSOS. Third century B. C. Found at Sikyon. In the National Museum, Athens. Kavvadias, Catalogue, No. 256. 828 DANCING MAENAD. End of the fourth century B. C. The place of discovery is unknown. Now in the Berlin Museum. Restorations: The left foot, a piece of the left shoulder, the front part of the plinth. Berlin Museum, Beschreibung der antiken Skulpiuren, No. 208. 829 SILENOS AND THE INFANT DIONYSOS. Roman copy of a statue of the end of the fourth century B. C. Found near the gardens of Sallust, Rome, and now in the Museum of the Louvre, No. 922. Restorations: Of the Silenos, the end of the nose, parts of the hair, both hands, three toes of the right foot; of the Dionysos, the nose, chin, arms and legs; also pieces of the nebris, part of the tree-trunk, the back of the base, with the plant. F"riederichs-WoIters, No. 1430. 830 SLEEPING SATYR. The so-called Barberini Faun. Probably third century B. C. Found in the moat of the Castle of S. Angelo, Rome, and now in the Glyptothek, Munich. Restorations: The end of the nose, the left forearm, the HELLENISTICPERIOD I25 right elbow, the fmgers of the right hand, the right leg, part of the left leg, part of the animal's skin and the back of the seat. Furtwangler, Beschreibung der Glyptothek, No. 218. 831 THE BORGHESE SATYR. Found at Monte Calvo, in the Sabine country. Formerly in the Villa Borghese, and now in the Museo delle Terme, Rome. Restorations: Both arms, a part of the left thigh, the greater part of the animal's skin and of the tree-trunk. Friederichs-Wolters, No. 1427. 832 SATYR PLAYING THE SCABELLUM. The place of discovery is unknown. In the Uffizi Gallery, Florence. Restorations: The greater part of the head, both arms, the left heel, the toes of the right foot, the tail (?). W. Amelung, Fiihrer durch die Antiken in Floren^, No. 64. 833 THE SO-CALLED "ARROTINO" or knife-sharpener. Originally part of a group representing the flaying of Marsyas. Probably second century B. C. Found in Rome, and now in the Uffizi Gallery, Florence. Restorations: The end of the nose, the right edge of the mantle, the right wrist, the forefinger of the right hand, with the handle and part of the knife, the thumb, the forefinger and middle finger of the left hand, pieces on the edge of the base. W. Amelung, Fuhrer durch die Antiken in Floren^, No. 68. 834 TORSO OF A STATUE OF MARSYAS bound to a tree. Roman copy of a statue of the third or second century B. C. Found on the Palatine, Rome, and now in the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 213. 835 SATYR AND GOAT, group in rosso antico. Hellenistic type. Found in Hadrian's Villa, near Tivoli, and now in the Museum of the Capitol, Rome. Restorations: Of the satyr, the tip of the nose, the end of the chin, the right arm, with the bunch of grapes, the left hand, both legs except part of the feet, the staff, the stump, the syrinx; the head, the hind legs and the left fore leg of the goat, parts of the plinth. Helbig, Guide, I, No. 520. 126 GREEK AND ROMAN SCULPTURE 836 SLEEPING ARIADNE. Probably a Roman copy of a statue of the Hellenistic period. The place of discovery is not known. Now in the Vatican. Restorations: The nose, the upper lip, some fingers of the left hand, the right hand, parts of the drapery. Helbig, Guide, I, No. 214. 837 SLEEPING ARIADNE. Probably a Roman copy of a statue of the Hellenistic period. Same type as No. 836. Eormerly in the Museo Odescalchi, Rome, and now in the Museum of Madrid. Restorations: The forehead, nose, mouth and chin, pieces from both arms, both knees and the left foot. Temporarily retired for lack of space. Eriederichs-Wolters, No. 1573. 838 ANTIOCHEIA, patron goddess of the city of Antioch, which was founded in 300 B. C. She is seated on a rock, and rests one foot on the river Orontes. Copy of a bronze group by Eutychides, a pupil of Lysippos. Found outside the Porta S. Giovanni, Rome, and now in the Vatican. Restorations: Of the goddess, the mural diadem, parts of the drapery, the nose, upper lip, and right forearm. The head was broken, but probably belongs to the figure. Of the river-god, both arms. Helbig, Guide, I, No. 376. 839 SMALL BRONZE FIGURE OF HERAKLES resting. From a villa near Boscoreale. In private possession. Unpublished. 840 HERAKLES WITH THE APPLES OF THE HESPER- IDES. Roman copy of a Hellenistic type. Small bronze statue. Found at Gebail, the ancient Byblos, in Phoenicia. In the British Museum. On the original the tree stands behind the figure, with bran- ches and fruit, and around it is coiled the serpent Herak- les has slain. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 827. 841 THE TORSO OF THE BELVEDERE. Fragmentary statue of Herakles, inscribed with the name of the sculptor Apollonios, son of Nestor, of Athens (first century B. C). HELLENISTICPERIOD 1 27 According to some authorities the lost original of which this work is a copy, dates as far back as the fifth century B. C. It is more generally placed in the Hellenistic period. The place where the torso was discovered is not known. It is now in the Belvedere of the Vatican. Helbig, Guide, I, No. 126. 842 BOXER RESTING. Bronze statue found under the Col- onna gardens, Rome, among the foundations of Aurelian's Temple of the Sun. Now in the Museo delle Terme, Rome. Restorations: The end of the left thumb, a piece in the right thigh, the seat. Helbig, Guide, II, No. 1051, 843 THE LAOKOON GROUP. Probably identical with a group mentioned by Pliny as standing in the palace of Titus on the Esquiline, the work of the Rhodian sculptors Agesander, Polydoros, and Athenodoros. Probably second century B. C. Found among the ruins of the palace of Titus on the Esquiline, Rome, and now in the Vatican. Restorations: The right arm of the father, with the ad- joining portion of the serpent; the right arm of the son on the left, with the coil of the serpent on the top; the right hand and part of the forearm of the son on the right. Helbig, Guide, I, No. 153. 844 AKTAION ATTACKED BY HIS HOUNDS. Probably a Roman copy of a larger work of the Hellenistic period. Found near Civita Lavinia, and now in the British Mu- seum. Restorations: The hands, the neck, the occiput, part of the nose and of the horns of Aktaion; the front part of the head and the ears of the dog leaping up; the ears of the second dog; part of the rocky plinth. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1568. 845 TWO WRESTLERS. Group found near the Lateran, Rome, and now in the Ulfizi Gallery, Florence. Restorations: Both heads, which are ancient, but do not belong to the figures; of the under figure, the left arm and hand, the left leg from the middle of the thigh; of the upper figure, both arms and hands, the lower left leg, both feet. W. Amelung, Fiihrer durch die Antiken in Floren^, No. 66. 128 GREEK AND ROMAN SCULPTURE 846 THE BORGHESE WARRIOR. The figure must prob- ably be thought of as in close combat with an opponent. It is inscribed with the name of the sculptor Agasias, son of Dositheos, of Ephesos. Last half of the second or early part of the first century B. C. Found at Antium, and now in the Museum of the Louvre. Restorations: The right arm, the right ear. Friederichs-Wolters, No. 1425. 847 FIGURE FROM A GROUP OF TWO BOYS quarrelling over the game of huckle-bones (astragali). Of the other boy, only the forearm is preserved, which this one is biting. Formerly in the Barberini palace, Rome, and now in the British Museum. Restorations: The tip of the nose, the left arm, the right wrist, both feet, the arm of the adversary to the wrist, all the base except a small part underneath the body. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, III, No. 1756. 848 GIRL PLAYING HUCKLE-BONES. Found in the Villa Verospi, near the Salarian Gate, Rome, and now in the British Museum. Restorations: The head, the left shoulder, the right hand and wrist, parts of the fingers of the left hand, both feet. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, III, No. 1710. 849 BOY STRUGGLING WITH A GOOSE. Early part of the Hellenistic period. Formerly in the Palazzo Braschi, Rome, and now in the Glyptothck at Munich. Restorations: Of the boy, the knot of hair over the fore- head, the tip of the nose, parts of the lips, and minor pieces; of the goose, the head, the ends of the wings. Furtwangler, Beschreihung der Glyptoihek, No. 268. HEADS 850 COLOSSAL BUST OF SERAPIS. Of basalt. Roman copy of a work of the third or second century B. C. For- merly in the possession of the Mattel family, and now in the Vatican. 842 — THE SITTING BOXER, AS DISCOVERED FROM A PHOTOGRAPH TAKEN AT THE TIME HELLENISTIC PERIOD I29 Restorations: The nose and numerous fragments of the hair and beard. Helbig, Guide, I, No. 241. 85 I THE "POURTALES APOLLO." Roman copy of a head of the third or second century B. C. in the British Museum. Restorations : The nose, parts of the lips and ears, a piece of the neck. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1547. 852 COLOSSAL BUST OF HERAKLES. Found at the foot of Mt. Vesuvius. In the British Museum. Restorations: The nose, part of the right cheek, the right ear, the lobe of the left ear, the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1736. 853 HEAD OF MENELAOS. From a group representing Menelaos with the body of Patroklos. Roman copy of a work dating probably from the third century B. C. Found in Hadrian's Villa, Tivoli, and now in the Vatican. Restorations: The nose and part of the upper lip, a por- tion of the lower lip, most of the right eye, fragments in the left cheek, the brow, the hair, the helmet, and the bust. Helbig. Guide, \, No. 240. 854 HEAD OF A SLEEPING ERINNYS (Fury). Probably from a colossal group. Formerly in the Ludovisi Collection, and now in the Museo delle Terme, Rome. Restorations: The nose, the right half of the under lip, the piece of the breast and shoulders, parts of the hair, the whole background. Helbig, Guide, II, No. 866. 855 HEAD OF DIONYSOS. Hellenistic type. Found near Rome, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 1627. 856 HEAD OF MARS Y AS. In the Museum of the Capitol, Rome. The bust is restored. Helbig, Guide, I, No. 430. 130 GREEK AND ROMAN SCULPTURE 857 HEAD OF A YOUTHFUL SATYR. Of bronze. Hellen- istic period. Formerly in the Villa Albani, and now in the Glyptothek, Munich. Restorations: The neck and the bust. Furtwangler, Beschreibung der Glyptothek, No. 450. 858 HEAD OF A SATYR. Hellenistic type. Found about four miles from the Porta Maggiore, Rome, and now in the British Museum. Restorations: The tip of the nose, parts of the right ear and of the hair. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 1661. 859 HEAD OF A GAUL. Third century type. Found in the Forum of Trajan, Rome, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1770. 860 HEAD OF A YOUTH. Of terracotta. End of the fourth or beginning of the third century B. C. Found at Taren- tum, and now in the Berlin Museum. The tip of the nose is restored. Deonna, Revue archeologique, 1906, p. 402. 861 FEMALE HEAD. Type of the third century B. C. From Athens. In the Berlin Museum. Berlin }A\\?<e\xxx\,Beschreihing der aniikenSkulpturen,No. 616. 862 FEMALE HEAD. Probably of the second century B. C. Found in Cyprus, and now in the Berlin Museum. Berlin Museum, B e schreihung der antiken Skulpturen, No. 617. 863 CAST FROM A TERRACOTTA MOULD of a female head, surrounded by akanthos leaves. In the Museo Arche- ologico, Florence. RELIEFS 864-870 FRAGMENTS OF A FRIEZE FROM PRIENE, representing the Battle of the Gods and Giants. They were found on the site H E L L E N I S T I C P E R I O D I3I of the Temple of Athena PoHas, and probably formed part of a balustrade. Middle of the second century B. C. (?). In the British Museum. 864 Upper Part of a draped Female Figure (Gaia ?). A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1175. 865 Group of a Giant (?) and a Female Figure (?). B. M. Catalogue, II, No. 1165. 866 Fragment of a Giant. B. M. Catalogue, 11, No. 1166. 867 Group of Dionysos (?) and a Giant. B. M. Catalogue, II, No. 1 169. 868 Torso of a Draped Female Figure. B. M. Catalogue, II, No. 1174. 869 Draped Female Figure. B. M. Catalogue, II, No. 1171. 870 Kybele Seated on a Lion. B. M. Catalogue, 11, No. 1170. 871 THE WEDDING PROCESSION OF POSEIDON AND AMPHITRITE. These reliefs probably once decorated the three sides of an altar erected in Rome by Cn. Domitius Ahenobarbus, 35-32 B. C., in front of the temple of Nep- tune. The relief which decorated the fourth side is in the Louvre. The types from which the figures in the composi- tion are copied belong for the most part to Hellenistic times. In the Glyptothek, Munich. Restorations: Many small pieces, including the ends of nearly all the noses, the left arm and hand of the woman on the bull, the arms and head of the Eros behind her, the horns of the lyre, the shell and both forearms of the front Triton, part of the vase in the left hand of one of the Nereids, the left arm and wing of the Eros behind her, the whole of the floating Eros next to the pillar, except the lower half of the wing, the head and half of the neck of the sea-dragon, the three heads of the last group, and parts of the right arms of 132 GREEK AND ROMAN SCULPTURE both females. These restorations were made from the traces left on the background of the relief. Furtwangler, Beschreibung der Glyptothek, No. 239. 872 HELIOS DRIVING HIS CHARIOT. Metope from a late Greek temple on the site of Troy (Hissarlik). Found by Dr. Schliemann in 1872, and now in the Ethnographical Museum, Berlin. Schliemann, Troja, fig. 109, p. 202. 873 DIONYSOS RECEIVED BY IKARIOS (?), the mythical Athenian who entertained the god on his first visit to At- tica. Hellenistic type. Formerly in the Villa Montalto, and now in the British Museum. Restorations: The left arm and the top of the head of Silenos; the head and the right arm of the satyr following him; the head, the upper part of the body and part of the drapery of the last figure at the right; part of the column under the herma at the left; the drapery at the foot of Ikarios. On the couch was a female figure which has been erased. The last satyr to the right supported a Maenad in his arms, traces of which are visible. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, 111, No. 2190. 874 DIONYSOS RECEIVED BY IKARIOS (?). Similar to the preceding. From Capri. In the Museum of Naples. Restorations : The heads of the last two satyrs on the right, and the upper right-hand corner of the block. Schreiber, Hellenistische Reliejhilder, pi. XXXIX. 875 DIONYSOS AND ARIADNE. Relief in three sections. The two side panels represent statues in niches. In the middle is a group representing Ariadne forsaken by Theseus, and Dionysos approaching her. Said to have been found in Hadrian's Villa at Tivoli, and now in the Vatican. Restorations: The left part of the slab, with almost the whole of the statuette in the left niche, parts of the torsos of both male figures in the central relief, the right arm of the statuette in the right niche, the column to the left of this statuette, various parts of other columns, the greater part of the hunting scene above. Helbig, Guide, I, No. 216. HELLENISTIC PERIOD I33 876 DIONYSOS AND ARIADNE. Relief in the Vatican. Restorations: Of Dionysos, the whole upper part, both arms, the top of the sceptre; of Ariadne, both arms and the left foot; the upper half of the Silenos. Helbig, Guide, \, No. 192. 877 DIONYSIAC SCENE. Relief in the Uffizi Gallery, Flor- ence. Diitschke, Antike Bildwerke in Oheritalien, III, p. 226, No. 516. 878 DIONYSIAC PROCESSION. Relief formerly in the Far- nese Collection, and now in the Museum of Naples. Museo Borbonico, III, pi. XL. 879 SATYR AND MAENAD. Relief in the Villa Albani, Rome. Restorations: The lower part of the Maenad, the left leg of the satyr from the knee down, the legs of the panther. Helbig, Guide, II, No. 752. 880 STELE WITH A CROWN OF IVY. It served as a base for a small statue. The inscription reads: 'Extjj.sATqTat ttJs Ipyajt'a; tou ayaAjxaToq avsOsjav T(I)t Atovujwt. "The over- seers of the making of the statue dedicated it to Dionysos." Found at Ikaria, and now in the National Museum, Athens. C. D. Buck, American Jotirnal of Archaeology, V, 1889, p. 316, No. 12. 881, 882 DANCING GIRLS. Two reliefs, each representing a dancing girl enveloped in a long mantle. Found on the site of the theatre of Dionysos, in Athens, and now in the National Museum there, Nos. 259, 260. Svoronos, Das aihener Nation almuseum, pi. XXXII. 883 THE APOTHEOSIS OF HOMER. On the lowest row is: Homer receiving the adoration of History, Poetry, and other allegorical figures (identified by inscriptions). On the second row: Apollo and the Muses. On the top row: Zeus. The name of the sculptor Archelaos, son of Apollonios, of Priene, is inscribed in letters of the first century B. C. Found at Bovillae on the Via Appia, near Rome, and now in the British Museum. 1 34 GREEK AND ROMAN SCULPTURE Restorations: Part of Homer's right foot, the left hand of Mythos, with the patera, the heads of Sophia, Apollo, the Delphic priestess, the poet on the pedestal, and of several of the Muses; also both upper corners. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 2 191. 884 DAIDALOSAND IKAROS. Relief in rosso antico. Found in The neighborhood of Naples, and now in the Villa Albani, Rome. Restorations: The upper part of the slab, with the point of the wing standing on the ground, the head and the right hand of Ikaros, and the upper part of the wing on which Daidalos is working. Helbig, Guide, II, No. 807. 885 NINE WINGED FIGURES, holding candelabra, thymia- teria, and vessels. Two blocks from a frieze, in low relief. In the National Museum, Athens. Sybel, Katalog der Sculpturen lu Athen, No. 304. 886 SCENE FROM A COMEDY. Relief from the Farnese Col- lection. In the National Museum, Naples. Schreiber, Hellenistische Reliejhilder, pi. 83. 887 ATHENIAN CALENDAR. Reliefs representing the an- imals of the zodiac and the Attic festivals of each month. The frieze is now built into the Old Cathedral at Athens. The crosses which are worked into it at intervals date from the time when it was first used for its present purpose, as the decoration of a church. Friederichs-Wolters, Nos. 1909, 1910. 888 SECTION OF A ROUND ALTAR decorated with festoons and niasks. Second century B. C. Found in the Dionysiac theatre at Athens, and still in its original position. The dedicatory inscription reads: IltiTOxpczTTj^ y.aX 'AxoXXoSto- poq Haxupou 'Aupc'oat xo^zoiJToXiQsav'iSs ^^ct' ap^ovxes yevo- [j.svot Toij ysvous xou Bay.ytacuv dcveOTjy.av, " Pistokrates and Apollodoros the sons of Satyros of the deme of Auridai, and of the race of the Bacchiades, while they were conductors of the procession and archons, dedicated it." In Hall 38. Schone, Griechische Reliefs, pis. V, VI, 47, 47a. H E L L E N I S T I C P E R I O D I35 889 SARDONYX CAMEO. The identification of the two heads is uncertain; they are apparently idealized portraits, possibly of Alexander and Olympias. Hellenistic period. In the Hermitage, St. Petersburg. Furtwiingler, Antike Gemmen, pi. LHl, 2. portraits (on south wall of gallery 26) 890 statue of DEMOSTHENES. Perhaps a copy of a bronze statue of Demosthenes by Polyeuktos, erected about 280 B. C. Formerly in the Villa Aldobrandini, Frascati, and now in the Vatican. Restorations: Both wrists and hands, with the scroll. Helbig, Guide, I, No. 30. 891 SEATED STATUE OF A POET, formerly called Ana- KREON. Roman copy of a Hellenistic work. Found at Monte Calvo. Formerly in the Villa Borghese, and now in the Ny-Carlsberg Glyptothek, Copenhagen. Restorations: The right arm from the elbow (except the hand, on which only the thumb is restored), the fingers of the left hand, the greater part of the lyre. Friederichs-Wolters, No. 1305. Bernoulli, Griechische Ikonographie, I, p. 79. 892 SEATED STATUE OF MENANDER (?). Third century B. C. Place of discovery unknown. In the Vatican. Restorations: The tip of the nose, the left hand, the scroll, part of the right foot. Helbig, Guide, I, No. 201. 893 SEATED STATUE OF POSE I DI PROS (name inscribed). Place of discovery unknown. Now in the Vatican. Restorations: The end of the nose, the left thumb. Helbig, Guide, I, No. 200. 894 ARISTIPPOS(?). Greek portrait-statue, popularly known as Aristotle. The head is Roman, and does not belong to the statue. In the Palazzo Spada, Rome. Restorations: The nose, ihe right forearm with the elbow 136 GREEK AND ROMAN SCULPTURE and part of the upper arm, the left lower leg, half of the left foot, a piece of the himation. Helbig, Guide, II, No. 954. 895 PORTRAIT-STATUE OF A MAN leaning upon his spear. Of bronze. Found together with No. 842 under the Colonna gardens, Rome, among the foundations of Aurelian's Temple of the Sun. In the Museo delle Terme, Rome. Restorations: Half of the left forefinger, half of the right middle finger, a piece in the left thigh, the staff, the plinth. Helbig, Guide, II, No. 1052. 896 AESOP. Head and torso of a statue. In the Villa Albani, Rome. Restorations: The front of the nose, the right shoulder. Helbig, Guide, 11, No. 756. 897 STATUETTE OF DIOGENES. In the Villa Albani, Rome. Restorations: The nose, both arms from above the el- bows, the left leg, the right leg from the knee down, both feet, the dog, and the tree-trunk. Helbig, Guide, II, No. 753. 898 BUSTOFHERMARCHOS. the pupil of Epicurus. Found at Athens, and now in the National Museum there. No. 368. Friederichs-Wolters, No. 1625. 899 BUST OF SOKRATES. In the Galleria dei Candelabri of the Vatican. Restorations: The neck and the back of the head. Bernoulli, Griechische Ikonographie, I, p. 186, No. 5. 900 BUST OF HOMER. Replica of a type created in the Hellenistic period as an ideal portrait of the poet. Found at Baiae. In the British Museum. The tip of the nose is restored. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, 111, No. 1825, pi. X, i. 901 BUST OF HOMER. Same type as No. 900. In the Castle of Sanssouci at Potsdam, near Berlin. Restorations: The nose and pieces in the hair and beard. Friederichs-Wolters, No. 1628. HELLENISTIC PERIOD \yj 902 BUST OF EPICURUS. Found in the Villa Casali, Rome, and now in the British Museum. Restorations: The nose, part of the left ear, part of the bust and drapery. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1844, pi. XI. 903 HEAD OF PERIANDER(?), tyrant of Corinth. For- merly in the Villa Montalto, Rome, and now in the British Museum. Restorations: The nose, the edges of the ears, the termi- nal bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum. Ill, No. 1827, pi. XI. 904 ALEXANDER THE GREAT. The "Azara" bust. Copy of a portrait executed probably during his reign (336-323 B. C.). Found near Tivoli, and now in the Muse- um of the Louvre, No. 436. Restorations: The nose, the shoulders and a piece in the lips. Bernoulli, Darstellungen Alexanders des Grossen, pi. I, p. 21. 905 HEAD OF A YOUTH, (Alexander the Great?). Prob- ably end of the third century B. C. Found in Alexandria, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1857, pi. X, fig. 2. 906 HEAD FROM THE STATUE OF A PUGILIST, set up to commemorate his victory in the Olympic games. Of bronze. Third century B. C. Found at Olympia, and now in the National Museum, Athens. Olympia, Die Bron^en, Atlas pi. II, text pp. 10 ff. 907 UNKNOWN PORTRAIT, formerly called Seneca. In the Uffizi Gallery, Florence. Restorations: The nose, part of the lips, the bust, and the greater part of the neck. Dutschke, Antike Bildwerke in Oberiialien, III, p. 22, No. 58. VOTIVE RELIEFS OF VARIOUS PERIODS ILLUSTRATING RELIGIOUS CUSTOMS OF THE GREEKS (IN GALLERY 27) 908 VOTIVE TABLET TO ZEUS MEILICHIOS, worshipped in the form of a serpent. Fourth century B. C. Found near the harbor Zea in the Peiraieus, and now in the Berlin Museum. Berlin Museum, Beschreibungder antiken Skulpturen, No. 723. 90C) VOTIVE RELIEF TO ZEUS HYPSEISTOS. representing two eyes. Inscribed Ebtoorr) Ail '1*c};[jtw. "Eisidote (dedicated this) to Zeus the highest." Roman period. Found on the northern slope of the Akropolis, Athens, and now in the Berlin Museum. Berlin Museum, Beschreihung der antiken Skulpturen, No. 720. 910 VOTIVE RELIEF TO ZEUS HYPSEISTOS representing a female breast. Inscribed, EuTU^ta T^sc'jto) sijxtqv, "Eu- tychia (offers this) prayer to the Highest." Roman period. Found on the northern slope of the Akropolis, Athens, and now in the Berlin Museum. Berlin Museum, Beschreihung der antiken Skulpturen, No. 7.8. 911 VOTIVE RELIEF TO ASKLEPIOS, representing Askle- pios with his followers and worshippers. Fourth century B. C. Found at Thyrea, and now in the National Museum, Athens. Friederichs-Wolters, No. 1 1 50. VOTIVERELIEFS 1 39 gi2 HERMES BRINGING A VOTARY TO ASKLEPIOS in the presence of the three Graces. (Modern?). The group of the Graces is similar to that in Siena (No. 820). In the Museo Pio Clementino of the Vatican. Visconti, Museo Pio Clementino, 4, pi. XIII, p. 103. 913 PAN, HERMES AND THE NYMPHS. Votive relief inscribed: Trfkecfxxvriq Ilavl v.a\ N6[jtcpat<;, "Telephanes (dedi- cates this) to Pan and the Nymphs." Found in a grotto on Mount Parnes, and now in the National Museum, Athens. Friederichs-Wolters, No. 1839. 914 APOLLO. ARTEMIS, AND A WORSHIPPER. Votive relief inscribed: HuOataTT)? rieutxpaTr;^ 'AxpoTt'fxou av£6Y]y.cv, "The Pythaist Peisikrates, son of Akrotimos dedicated this." Fourth century B. C. Found at Ikaria, Attica, and now in the National Museum, Athens. , C. D. Buck, American Journal of Archaeology V, 1889, p. 471. XI- 915 APOLLO, SEATED ON THE OMPHALOS, AND TWO MUSES (?). Relief found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, 1889, p. 473, XII and pi. XI, i. 916 DRAPED FIGURE (A MUSE?) leaning on a pillar. Fragment of a relief found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, 1889, p. 473. xm. 917 HERAKLES AND THE MUSES. Relief, in two slabs, found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, 1889, p. 470. X, fig. 48. 918 VOTIVE RELIEF TO KYBELE, representing Kybele and Hekate(?). Beginning of the fourth century B. C. Found in the Peiraieus, and now in the Berlin Museum. Berlin Museum, Beschreihung der aniiken Skulpturen, No. 691. 140 GREEK AND ROMAN SCULPTURE 919 VOTIVE RELIEF REPRESENTING HEKATE(?) with a horse and a dog. Found at Kramnon, Thessaly, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 816. 920 VOTIVE RELIEF TO THE NYMPHS AND ALL THE GODS. Inscribed: 01 xXuvf)(; Nu^^atq eu^ajJievot xal ©eolq xaatv Zwayopac Z(.)y.uxpou, Zwxuxpoc; Zcoayopou, ©aXXoc, Aeuy.T], Sw/.pKTY]? Ylo'kuy.piiouq, 'AxoXXo^avYj*; 'Euxoct'wvoq, S(.)c(axpaT;oi;, Mavr^r, MuppfvY], Ho^at'a?, HwatvevTjc, Alfoa^. "The washermen Zoagoras the son of Zokypros, Zokypros the son of Zoagoras, Thallos, Leuke, Sokrates the son of Polykrates, Apollophanes the son of Euporion, Sosistratos, Manes, Myrrine, Sosias, Sosigenes and Midas dedicate this to the nymphs and all the gods." Fourth century B. C. Found in the Stadion at Athens, and now in the Berlin Mu- seum. Berlin Museum, Beschreibung der antikcn Skulpturen, No. 709. 921 OFFERINGS TO EILEITHYIA(?). Relief from Sigeion in the Troad. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 789. 922 PORTION OF A RELIEF. The largest of the four fig- ures probably represents a divinity. Found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, 1889, p. 469, XI, fig. 47. 923 A MAN AND A BOY ADORING A SERPENT. Votive relief of the fourth century B. C. Found near Eteonos in Boeotia, and now in the Berlin Museum. Berlin Museum, Beschreihung der antiken Skulpturen, No. 724. 924 THE "APOBATES" RELIEF, so-called. Votive offering for a victory in a chariot-race. In the "Apobates" race the contestants were obliged to mount and dismount dur- ing the progress of the race. Latter part of the fourth cen- tury B. C. Found built into the so-called "Beule Gate" of the Akropolis, and now in the Akropolis Museum. In Gallery 24. VOTIVERELIEFS I4I Collignon, Bulletin de correspondance hellenique VII, 1883, pi. XVII, and p. 458. 925 VOTIVE RELIEF DEDICATED BY THE VICTOR IN A CHARIOT-RACE. Found near the Skala of Oropos. In the Berlin Museum. In Gallery 24. ^ Berlin Museum, Beschreihung der antiken Skulpturen, No. 725. 926, 927 TWO RELIEFS FROM THE BASE OF A STATUE, dedicated in commemoration of victories in the games, 926 A Cyclic Chorus. 927 A Pyrrhic Dance. Found on the west side of the Akropolis, Athens, and now in the Akropolis Museum. Friederichs-Wolters, No. 1330, 1331. 928 TWO HORSEMEN FACING EACH OTHER. Fragment of a limestone relief. Found at Kertsch in the Crimea, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 665. 929 RELIEF REPRESENTING A BULL-FIGHT. Perhaps a votive tablet. Found in Naxos, and now in the British Museum. In Gallery 29. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2167. 930 RELIEF REPRESENTING A SECTION OF A TRI- REME. Perhaps from the pedestal of a votive statue erected by a victor in a trireme-race. Probably fourth century B. C. Found on the Akropolis, Athens, and now in the Akropolis Museum. Baumeister, Denkmdler, III, p. 1627, fig. 1689. 931 RELIEF REPRESENTING SURGICAL INSTRU- MENTS. Found in the Asklepieion, Athens, and now in the National Museum there, No. 1378. Svoronos, Das athener Nattonalmuseum, pi. XLVIL 1 42 GREEK AND ROMAN SCULPTURE 932 FRAGMENT OF A VASE-SHAPED OBJECT which probably stood on the top of a column. Found at Ikaria, Attica, and now in the National Museum, Athens. C. D. Buck, American Journal of Archaeology, V, 1889, p. 178, fig. 30. 933 VOTIVE TABLET REPRESENTING TOILET ARTI- CLES. In the centre is a bowl with the inscription KXau- (cta) 'Avr^Ta 'Av-rt-dcTpou, llpeta, "Claudia Ageta, the daughter of Antipatros, a priestess, (dedicated it)." Found at Slavochori in Laconia, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 812. 934 VOTIVE TABLET REPRESENTING TOILET ARTI- CLES, inscribed 'AvOou'yj Aa;j.aiv£Tou U7:oc--raTpta, "An- thousa, the daughter of Damainetos, a minister in the temple, (dedicated it)." Found at Slavochori in Laconia, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, \, No. 8i 1. 935 VOTIVE RELIEF REPRESENTING TWO TRESSES OF HAIR. Inscribed: •J>tX6^6coTo? 'A(pOov7]TO(; A£tvo{Ji.axou, riorstcoJvt, "Philombrotos and Aphthonetos the sons of Deinomachos (dedicate this) to Poseidon." Found at Thebes in Thessaly, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 798. ROMAN PERIOD first century b. c. to fourth century a. d. (in gallery 29) AFTER the conquest of the East by Alexander the Great, the chief centres of Greek art were to be found, as we have seen, in Asia Minor and Alexandria. When Greece in her turn was conquered by Rome, Hellenism spread to the West, and there began a new lease of life. Thus, both as conquerors and conquered, the Greeks imposed their culture on the people with whom they came in contact. Nevertheless, their relations with the Romans were distinctly different from what they had been with the people of the East. To the East they had gone with the prestige of conquest, and the art which flour- ished in their wake was vigorous and independent. To Rome, on the other hand, Greek artists went with the purpose of supply- ing the needs of their masters, who wished to fill their public places, villas, and gardens with sculptural decorations. The great majority of statues in every museum date from this time. Though they do not stand very high artistically, they are invaluable to us, since they reproduce works of the preceding centuries which would otherwise be utterly lost. Whenever these statues were faithful copies of such originals, they have been classed in this catalogue within the period to which the originals belong. Only in cases when the artist, instead of making a copy of one work, has combined the styles of various epochs to produce a new, heterogeneous whole, has the statue been classed as belonging to the period in which it was actually made. Such statues, however, do not reflect the real Roman instinct in art, which was of a more literal nature. The Romans were first of all conquerors, and their ambition was to represent their conquests, not in an ideal way, as had been done by the Greeks, but by the literal representation of historical events. Hence their triumphal arches, their columns, their fora were decorated 144 GREEK AND ROMAN SCULPTURE with processions, incidents from campaigns, and sacrificial scenes, in all of which individual portraits of the emperors and their fol- lowers were introduced. Another phase of this instinct was the love of realistic portraiture, in which Roman art is preeminent. in the early years of the Empire decorative art also attained a high level, as is shown by such works as the Ara Pacis, the ex- tensive remains of which have recently been brought to light, the delicate stucco reliefs from the Farnesina Villa, and the tombs of the Via Latina. STATUES OTHER THAN PORTRAITS 936 GROUP BY THE SCULPTOR MENELAOS, of Rome. This group is popularly known as Orestes and Elektra, but it more probably was a grave monument representing a mother with her son. The inscription on the pillar reads MsvlXaog 2lTe9avou p,a0-r]TY]<; exot'st, "Menelaos the pupil of Stephanos made this." This Stephanos is probably the one mentioned on No. 937. First century B. C. The place of discovery is unknown. Formerly in the Ludovisi Collection, and now in the Museo delle Terme, Rome. Restorations: On the youth, the end of the nose, a piece in the top of the head, the right arm from above the elbow, part of the fingers of the left hand, the front half of the right foot; on the woman, the end of the nose, the front half of the top of the head, the left arm below the sleeve, part of the fingers of the right hand, the end of the large toe of the left foot, unimportant pieces in the drapery. Helbig, Guide, II, No. 887. 937 STATUE OF A YOUTH, BY STEPHANOS of Rome. On the tree is the inscription: ^xicfocwq riaitTeXout; \).(xQrjTri(; Ixoet, "Stephanos pupil of Pasiteles made this." First century B. C. Found outside the Porta Salaria, and now in the Villa Albani, Rome. Rhstorations: The back of the head, the left forearm, the right arm, the front half of the right foot, some of the toes of the left foot. Helbig, Guide, II, No. 744. 938 STATUE OF A YOUTH. Found in the Olympieion, Athens, and now in the National Museum there. Kavvadias, Catalogue, No. 248. ROMAN PERIOD I45 039 A CAMILLUS, or boy employed in the religious cere- monies in Rome. Of bronze. In the Palazzo dei Conserva- tori, Rome. Helbig, Guide, 1, No. 607. 940 KARYATID. Second century A. D. In the British Museum. Restorations: The right forearm, three fingers of the left hand, the left foot, small parts of the kalathos on her head, and of the drapery. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1746. 941 FEMALE FIGURE CARRYING A VASE. Said to have been found in Hadrian's villa, Tivoli, and now in the Museum of the Capitol, Rome. Restorations: The cover of the vase, the lower part of the figure from the knees. The head is ancient, but does not belong to the statue. Helbig, Guide, I, No. 528. RELIEFS 942 RELIEF ON THE ARCH OF TITUS in Rome, which was built to commemorate the victories of the Emperor Titus over Judaea, and his capture of Jerusalem, A. D. 70. On the relief are represented Roman soldiers with their cap- tives bearing the table of the shew-bread and the golden seven-branched candlestick. S. Reinach, L'Arc de Titus, 1890. 943 RELIEF ON THE COLUMN OF TRAJAN in Rome. representing Nike (Victory) writing on a shield. A. D. 104- 1 14. For the type compare the Nike of Brescia, No. 747. Brunn-Bruckmann, Denkmdler, No. 398, i. 944 A QUADRIGA, driven to left, the horses galloping at full speed and preceded by a running youth. Neo-Attic relief. In the possession of the Due de Louie at Lisbon. HomoIIe, in the Bulletin de correspondance hellenique, XVI, 1892, p. 325, pi. VIII. In Gallery 25. 1 46 GREEK AND ROMAN SCULPTURE 945,946 RELIEFS WHICH PROBABLY FORMED PART OF THE DECORATIONS OF THE MAUSOLEUM OF THE GENS HATERIA, a distinguished Roman family of the Flavian period (A. D. 69-96). 945 Part of the Via Sacra, showing five of the buildings near its eastern end. These are: The temple of Jupiter Stator, with a seated statue of Jupiter inside; the Arch of Titus, inscribed arcvs in sacra via svmma, "the arch at the top of the Via Sacra," with a statue of the goddess Roma below the archway; a second arch, unidentified, with a quadriga on top, and a statue of Cybele below; the Colosseum; and a third arch, inscribed arcvs ad ISIS, "the arch near the temple of Isis," with a figure of Minerva in the central arch. All these divinities had shrines near the Via Sacra. 946 The Representation of an Elaborate Tomb, prob- ably the mausoleum of the Hateria family, its walls richly decorated with pilasters and sculptures. The figures on the top are probably supposed to be inside. At the left is a huge derrick, with which the hoisting is done by a tread-wheel worked by men, probably introduced as an indication that, the tomb was not entirely completed. These reliefs, with others from the same tomb, were found on the Via Labicana, about five miles from Rome, and are now in the Lateran Museum. Helbig, Guide, I, Nos. 671, 672. On the construction and use of the derrick see Blumner, Technologic und Termino- logie der Gewerbe, III, pp. i i8ff. 947 THE DYING MELEAGER being carried to his home. Relief from a Roman sarcophagus of the second century A. D. Formerly in the Vatican, now in the Museum of the Capitol. Restorations: The lower half of the legs of all the figures and the right hand of Meleager. Robert, Die antiken Sarkophagreliefs, III, 2, pi. XCVII, No. 2Q2. 948. 949 TWO RELIEFS FROM A ROMAN CIPPUS: 94S Centaurs with youths riding on their backs. ROMAN PERIOD I47 949 A Man and a Woman watching a Hind suckling her young. In the Vatican. Ecole des Beaux-Arts, Sale Catalogue of Casts, Nos. 545 and 546. 950 RELIEF FROM A SARCOPHAGUS representing a pro- cessional car (thensa or carpentum) in which sacred ob- jects were carried from the Capitol to the Circus during the games. On the car is a relief of Zeus and the Dioscuri. Probably third century A. D. In the British Museum. Restorations: The wheel of the car, the right end of the relief, parts of the horses. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2310. 951 FRIEZE OF AMAZONS. Part of the cover of a sar- cophagus. In the British Museum. Other parts of the same sarcophagus are in the Vatican and in the Palazzo Salviati, Rome. Restorations: The lower part of all the faces; of the individual figures, from left to right, on (i) the right arm, the right knee, and the toes of the right foot; on (2) the toes of the right foot; on (3) the toes of the left foot; on (4) part of the right shoulder, both legs from the middle of the thighs; on (5) the left arm. Also parts of the mould- ings above and below. It has been asserted that the whole of the figures (5) and (6) are new, but this does not appear to be correct. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2299. 952 A MARRIAGE CEREMONY. Part of a relief from a sarcophagus. Second century A. D. In the British Mu- seum. Restorations: The head of the figure on the left, the upper parts of the heads of the other figures, and six inches at the bottom, with the feet and draperies of the figures. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2307. 953 CENTAUR AND EROS. Relief in the Museum of the Capitol, Rome(?). Ecole des Beaux-Arts, Sale Catalogue of Cast's, No. 858. 1 48 GREEK AND ROMAN SCULPTURE 954 PREPARATIONS FOR THE SACRIFICE OF A GOAT. Relief in the Vatican. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2749. 955 DANCING MAENAD playing the cymbals. Neo-Attic relief in the Villa Albani, Rome. Hauser, Die neu-attischen Reliefs, p. 13, No. 11. 956 FRENZIED MAENAD. Relief probably inserted as a panel in some object of decorative character. Neo-Attic. In the British Museum. The lower right-hand corner is restored. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2194. 957 A TRAGIC AND A COMIC MASK. Relief in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2448. 958 OBLONG PANEL, revolving on a pivot, sculptured on one side with four masks. Such panels were used in Ro- man houses to admit air or light. In the British Museum. Restorations: Parts of the ground, and the top of the thyrsos. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2454. 959 WREATHS AND FILLETS; Roman military insignia. Flat relief built into the southeast corner of the Old Ca- thedral at Athens. P. Steiner, Bonner J ahrhuch, Heft 114. 960 FARNESINA RELIEFS. Twenty details from the stucco reliefs which adorned the ceiling of one of the bed- rooms of a Roman house which was discovered in the gar- den of the Villa Farnesina. Augustan period. In the Museo delle Terme, Rome. Helbig, Guide, II, p. 220. Lessing und Mau, iVand und Deckenschmurh eines romi- schen Hauses aus der Zeit des Augustus. Berlin, 1891. ROMANPERIOD 1 49 PORTRAITS 961 BUST KNOWN AS LUCIUS JUNIUS BRUTUS, who expelled King Tarquinius from Rome. The identification rests upon slender evidence. Of bronze, in the Palazzo dei Conservatori, Rome. The drapery is restored. Helbig, Guide, \, No. 610. 962 BUST OF MARCUS JUNIUS BRUTUS(?). 85-42 B. C. In the Museum of the Capitol, Rome. Restorations: Ihe tip of the nose, pieces of the forehead, and the left half of the chin. Helbig, Guide, I, No. 518. 963 BUST OF CICERO (106-42 B. C). It is inscribed m. CICERO an[norum] lxiii, Stating the age at which Cicero died, an indication that the bust was made after his death. In the Museum of Madrid. The right shoulder is restored. Bernoulli, Romische Ikonographie, I, pl. 10, p. 135. 964 BUST OF P. CORNELIUS SCIPIOAFRICANUS. Of late Roman workmanship. The inscription on the base reads p. cor. SCI pig APR. In the Museum of the Capitol, Rome. Restorations: The nose and the ears. Bernoulli, Romische Ikonographie, I, p. 36, pl. i. 965 HEAD OF JULIUS CAESAR (100-44 B. C). In the British Museum. (According to Furtwangler this head is modern). A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1870. 966 PORTRAIT-GROUP OF HUSBAND AND WIFE. Prob- ably placed in a recess on the faf ade of a Roman tomb. First century, B. C. Formerly in the Villa Mattel, and now in the Vatican. Helbig, Guide, I, No. 235. 967 PORTRAIT-STATUE OF A ROMAN. First century B. C. The body is a replica of the type reproduced in the "Hermes Logios" of the Museo delle Terme, Rome, which 150 GREEK AND ROMAN SCULPTURE is probably a copy of a fifth-century work. The inscrip- tion, on the tortoise, reads: KXeo^lvTQqKXsoixlvoui; 'AOryvaloq eTCofrjjev, "Kleomenes, the son of Kleomenes, the Athenian, made it." Found on the Esquiline, Rome, and now in the Museum of the Louvre, No. 1207. Restorations: The thumb and the forefinger of the left hand. Frohner, Notice de la sculpture antique du Louvre, No. 184. 968 HEAD OF YOUNG AUGUSTUS (63 B. C- 14 A. D.). Found at Ostia, and now in the Vatican. Restorations: The tip of the nose, pieces in the ears, the bust. Helbig, Guide, 1, No. 223. 969 STATUE OF AUGUSTUS (63 B. C.-14 A. D.) as com- mander of the Roman armies. The breastplate is adorned with reliefs: Above is Coelus, the personification of Heaven. Below him, the Sun with the goddesses of Morning, Dew, and Dawn. The central group consists of a Parthian giving up one of the standards captured by Crassus to a Roman soldier, thus symbolising the subjugation of the Parthians. On each side of this group is a captive barbarian (Hiberia and Gallia?). Beneath are represented Apollo and Diana, and Tellus, the Earth. The date of the statue is about B. C. 20, that is to say when Augustus was forty-three years old. Found on the site of the Villa Livia on the Via Flaminia, near Rome, and now in the Vatican. Restorations: Part of one ear, several fingers, probably the right arm, the sceptre. Helbig, Guide, I, No. 5. 970 PORTRAIT-STATUE WEARING A TOGA AND RE- STORED AS AUGUSTUS. The head is an ancient por- trait of Augustus, but does not belong to the statue. Formerly in the Vatican, and now in the Museum of the Louvre, No. 121 2. Bernoulli, Romische Ikonographie, II, p. 36, No. 51. 971 HEAD OF AUGUSTUS (63 B. C.-14 A. D.). In the British Museum. A. H. Smith, Catalogue oj Greek Sculpture in the British Museum, HI, No. 1876. ROMANPERIOD I5I 972 BUST OF MARCUS VIPSANIUS AGRIPPA (B. C. 63-12). Found at Gabii. Formerly in the Borghese Collection, and now in the Museum of the Louvre, No. 1208. Bernoulli, Romische Ikonographie, \, p. 255, fig. 38. 973 DOUBLE BUST OF SOKRATES AND SENECA. The names are inscribed. This is the only authentic portrait of Seneca we possess. Found in the grounds of the Villa Mattei in Rome, and now in the Berlin Museum. Restorations: On Seneca, the nose with part of the brow, part of the left eye, and several small pieces; on Sokrates, the end of the nose, a piece of the moustache. Berlin Museum, Beschreibung der antiken Skulpturen, No. 391. 974 BUST OF KLYTIE, so called. Perhaps a portrait of Antonia, mother of Germanicus. Said to have been found near Naples, and now in the British Museum. Restorations: Part of the left ear, two leaves of the flower. A. H. Smith, Catalogue oj Greek Sculpture in the British Museum, ill. No. 1874. 975 BUST OF THE EMPEROR NERO (A. D. 37-68). From Athens. In the British Museum. Restorations: The tip of the nose. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1887. 976 THE "HERA LUDOVISI," so called. Colossal Roman head representing probably a member of the Claudian family. Formerly in the Ludovisi Collection, and now in the Museo delle Terme, Rome. Restorations: The end of the nose, part of the right nos- tril, the curls on the right side of the neck, and most of those on the left side. The surface has been worn by over-clean- ing and rubbing of the marble. Helbig, Guide, l\, No. 872. 977 HEAD OF AN EMPRESS (?). It has been variously identified as Messalina, Agrippina the wife of Claudius, and Domitia. Found on the Esquiline, Rome, and now in the British Museum. 152 GREEK AND ROMAN SCULPTURE Restorations: The nose, part of the left cheek and upper lip, the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 2005. 978 PORTRAIT-STATUE OF A ROMAN GIRL. Found in Rome, and now in the Museum of the Louvre, No. 481. Restorations: The right arm and hand, with the corner of the drapery it holds, and the left hand. Friederichs-Wolters, No. 1186. 979 VESTALIS MAXIMA. Upper part of the portrait-statue of a chief of the Vestal Virgins. Discovered in the House of the Vestals, and now in the Museo delle Terme, Rome. Lanciani, Ancient Rome in the Light of Recent Discoveries, plate opposite p. 138. 980 PORTRAIT-STATUE OF A ROMAN LADY, seated. Formerly called Agrippina the Elder. The motive of the statue is probably borrowed from a fourth-century work, in tiie Museum of the Capitol, Rome. Restorations: The tip of the nose, the fingers of the left hand, three fingers of the right hand, pieces of the plinth. Helbig, Guide, \, No. 460. 981 .SO-CALLED PUDICITIA. Portrait-statue of a Roman lady. Formerly in the Villa Mattei, and now in the Vati- can. Restorations: The head, the right hand, some of the toes, pieces in the drapery. Helbig, Guide, I, No. 8. 982 BUST OF HADRIAN (76-138 A. D.). Formerly in the Villa Montalto, and now in the British Museum. Restorations: The edge of the right ear, and part of the right breast. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, \\\, No. 1897. 983 PORTRAIT-HEAD OF A ROMAN LADY. Possibly either Sabina, the wife of Hadrian, or Matidia, the mother of Sabina. Second century A. D. In the British Museum. ROMANPERIOD 1 53 Restorations: The nose, the ears, parts of the headdress, the neck, and the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1898. 984 STATUE OF ANTINOUS, the favorite of Hadrian. Sec- ond century A. D. Found in Hadrian's Villa, near Tivoli, and now in the Museum of the Capitol, Rome. Restorations: Some of the fingers of the right hand, the left hand and forearm, the left leg from the knee down, the right foot, the tree, and the plinth. Friederichs-Wolters, No. 1659. 985 HEAD OF ANTINOUS with the attributes of Dionysos. Second century A. D. Found on the Janiculum, Rome, and now in the British Museum. Restorations: The tip of the nose, part of the chin, parts of the hair and the wreath, the bust. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, ill. No. 1899. 986 FRAGMENT OF A RELIEF OF ANTINOUS. Time of Hadrian. Found in Hadrian's Villa, near Tivoli, and now in the Villa Albani, Rome. Restorations: Several fingers of the right hand, almost the whole of the left hand, with the wreath, part of the drapery. Helbig, Guide, II, No. 775, 987 BUST OF ANTONINUS PIUS (138-161 A. D.). Found in the Augusteum at Kyrene, and now in the British Mu- seum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1463. 988 BUST OF MARCUS AURELIUS (161-180 A. D.). Found in the Augusteum at Kyrene, and now in the British Mu- seum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 1464. 989 HEAD OF FAUSTINA THE YOUNGER (?), the wife I 54 GREEK AND ROMAN SCULPTURE of Marcus Aurelius (about 130-175 A. D.). In the British Museum. Most of the bust is restored. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 1905. 990 PORTRAIT-HEAD OF A YOUTH. Found in Rome, and now in the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 399b. ARCHAISTIC SCULPTURES (ROMAN IMITATIONS OF THE GREEK ARCHAIC STYLE) 991 ATHENA PROMACHOS, the Dresden Pallas. The statue is a Roman adaptation of a Greek work of the early part of the fifth century B. C. The reliefs on the peplos represent the Battle of the Gods and Giants, in the Al- bertinum, Dresden. Restorations: Both feet where they project from the drapery. Friederichs-Wolters, No. 444. 992 HERMA OF PAN. Found at Civita Lavinia, and now in the British Museum. Restorations: The tip of the nose, the right arm, the left hand, the mouth-piece and lower end of the pipe, the lower part of the herma. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1745. 993 BUST OF ZEUS. From the collection of Prince Talley- rand. Now in the Museum of the Louvre, No. 640. Restorations: Most of the diadem, and the two locks that hang over the ears. Baumeister, Denkmdler, 1, p. 255, fig. 261. 994 THE BORGHESE ALTAR, so called. Probably the pedestal of a tripod. On the upper band of the reliefs surrounding the three sides are the twelve Olympic divini- ties; on the lower, the Graces, the Hours, and possibly the Fates. The individual groups are as follows: On the side facing Room 29, upper row, Zeus, Hera, Poseidon, ROMANPERIOD 155 Demeter; lower row, the Graces. Second side (to the right), upper row, Apollo (restored as a female figure), Artemis, Hephaistos or Vulcan (restored as a female figure), Athena; lower row, the Hours. Third side, upper row. Ares, Aphro- dite, Hermes, Hestia or Vesta; lower row, the Fates (?). Formerly in the Borghese collection, and now in the Mu- seum of the Louvre, No. 672. Restorations: The upper half of the figures of Poseidon, Demeter, Apollo, Artemis and Hephaistos; of Athena, everything except the right breast, the feet, with the lower part of the legs, and a portion of the lance; of Ares, the upper end of the lance, the upper part of the helmet, and the thighs; of Aphrodite, the top of the head; of Hestia, the head, the breast, the left arm, and both feet. There are also unimportant restorations in the figures of the lower row. Froehner, Notice de la sculpture antique du Louvre, No. i. 995 PEDESTAL OF A TRIPOD OR CANDELABRUM. The reliefs consist of three panels : (a) The contest of Apollo and Herakles for the Pythian tripod; (b) The consecration of a torch (?); (c) The consecration of a tripod. Formerly in the Chigi Collection in Rome, and now in the Albertin- um, Dresden. In Hall 38. Friederichs-Wolters, No. 423. 996 NIKE POURING A LIBATION TO APOLLO in the presence of Artemis and Leto. Relief, formerly in the Villa Albani, and now in the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 921. 997 NIKE POURING A LIBATION TO APOLLO. Relief in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 774. 998 RELIEFS FROM A PUTEAL, or well-curb. They prob- ably represent an assembly of deities. Found at Corinth. The present location is unknown. Michaelis, Journal of Hellenic Studies, VI, 1885, pis. LVI, LVII. For archaistic reliefs on a candelabrum see No. 1014. I 56 GREEK AND ROMAN SCULPTURL MISCELLANEA 999 THE WOLF OF THE CAPITOL. Of bronze. Probably an Etruscan work of the fifth century B. C. The place of discovery is unknown, and possibly it was never buried. In the Palazzo dei Conservatori, Rome. Restorations: The figures of the twins, which were added probably about the year 1509. The wolf itself has been considerably repaired and restored. Helbig, Guide, I, No. 618. 1000 A, B. TWOOFTHE FOUR HORSES ON THE FACADE OF ST. MARK'S, Venice. (In Hall 38). Of gilt bronze. They are said to have been part of a quadriga which was carried from Chios to Constantinople in the reign of Theo- dosius the younger (fifth century A. D.), and erected in the Hippodrome there. After the Latin conquest of Constantinople, in 1204, they were carried to Venice and placed in their present position. In 1797 Napoleon re- moved them to Paris, where they were erected in front of the Tuileries Palace, but they were returned to Venice after his fall. Giusti, in Ongania's Basilica di San Marco, pp. 423flF. 100 1 HEAD OF A BRONZE HORSE. From Rome. For- merly in the Palazzo Riccardi, in Florence, where it served as a fountain; after 1825 in the Uffizi, and now in the Museo Archeologico, Florence. Amelung, Fuhrer durch die Antiken in Floren^, p. 276. 1002 THE VASE OF SOSIBIOS. It is decorated with reliefs representing an altar approached on the right by Hermes, followed by a bacchante and a warrior, and on the left by Artemis, followed by a bacchante and a satyr. On the back are two bacchantes. The inscription on the base of the altar gives us the name of the sculptor: Swat'Btoi; 'Af)Y]va;rj<; ETuot.., "Sosibios, the Athenian made this." Prob- ably first century B. C. Formerly in the Villa Borghese, and now in the Museum of the Louvre, No. 442. The foot of the vase is restored. Hauser, Die neu-attischen Reliefs, No. i. 1003 THE BORGHESE VASE, so called. It is decorated with reliefs representing a Dionysiac scene. Neo-Attic. ROMAN PERIOD I57 Formerly in the Villa Borghese, and now in the Museum of the Louvre, No. 86. Restorations: The nose and the front part of the left foot of the dancing satyr; the right calf of the satyr supporting Silenos; the right hand of Silenos; the nose of the Maenad playing the cymbals; the foot of the vase. Frohner, Notice de la sculpture antique du Louvre, p. 306, No. 316. 1004 RELIEFS FROM THE SO-CALLED MEDICI VASE. They probably represent Kassandra surrounded by Greek heroes. Formerly in the Villa Medici, Rome, and now in the Uffizi Gallery, Florence. Restorations: The statue of the goddess (the original was probably Athena, not Artemis); on the running man on the left side (the second from the centre), the tip of the nose, the elbow, part of the chlamys; on the man with the right arm on his back, perhaps the right arm and the upper part of the body; on the youth next to Kassandra on the right side, both feet, the lower part of the right thigh; on the bearded man (the second from the centre on the right side), the lower end of the sceptre; on the man with the mantle over his head, perhaps the whole upper part of his body. Dutschke, Aniike Bildwerke in Oheritalien, III, No. 537. 1005 KRATER, with decorations representing a Bacchic orgy. Neo-Attic. Found on the site of a Villa of Anton- inus Pius at Monte Cagnolo. In the British Museum. Restorations: The left arm, most of the head, and the amphora of Pan; the face of the youth carrying an in- verted torch; the Maenad and satyr to the right of Pan, with the exception of the feet of both figures and the left arm of the satyr; the foot of the vase. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2500. 1006 COLOSSAL VASE, with a Dionysiac scene. Neo-Attic. In the Campo Santo, Pisa. Hauser, Die neu-attischen Reliefs, p. 15, No. 17. 1007 ALTAR FROM OSTIA. (In Hall 38). The subjects of the reliefs are: On the front. Mars and Venus united by Cupid; on the back, Romulus and Remus nursed by I 58 GREEK AND ROMAN SCULPTURE the Wolf near the Tiber (personified by the reclining figure of an old man), with shepherds above; on one side, Cupids playing with the chariot of Mars; on the other, Cupids playing with his arms. The inscription on the plinth shows that the altar was dedicated to Silvanus and other deities in the year 124 A. D. In the Museo delle Terme, Rome. Mrs. Arthur Strong, Roman Sculpture, pp. 24iff, pis. LXXllI, LXXIV. 1008 ROUND ALTAR, decorated with reliefs representing dancing satyrs and bacchantes. Found on the site of the ancient Gabii, and now in the Museum of the Louvre, No. 1541. Principal Restorations: The figure of the bacchante carrying the vase and plate of fruit (except the left foot); the satyr with the panther's skin (except the two legs, and minor details); the dancer playing the tambourine (except the left leg, arm, and part of the drapery); the legs of the satyr carrying a vase on his shoulder. In Hall 38. Frohner, Notice de la sculpture antique du Louvre, No. 3. lOOQ SQUARE ALTAR, or pedestal of a candelabrum. For- merly in the Chigi Collection, and now in the Albertinum, Dresden. In Hall 38. Becker's Augusteum, pis. XXX 111, XXXIV. loio FRONT OF THE SEPULCHRAL CHEST OF COR- NELIA SERVANDA. The inscriptions read: CORNELIA ONESIME. DIS MANIBUS SERVIUS CORNELIUS DIADUMENUS CORNELIAE SERVANDAE CONIU(GI) SUAE CARIs(sIMAe), VIX(it) ANN(is) LX, ET CORNELIAE ONESIME VERn(a)e SUAE, VIXIT ANn(is) Villi, MEn(sIBUs) V DIe(bUs) XXVIII. "Cornelia Onesime. To the Manes. Servius Cornelius Diadumenus to his beloved wife Cornelia Servanda, who died at the age of sixty, and to Cornelia Onesime, his home-born slave, who died at the age of nine years, five months, and twenty-eight days." Found in the Villa Pellucchi, near the Pincian Gate, Rome, and now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2363. ROMANPERIOD 1 59 1011 SEPULCHRAL CHEST OF VERNASIA CYCLAX. The inscription reads: VERNASIAE CYCLADI CONIUGI OPTIMAE VIx(it) ANn(is) XXVII, viTALis aug(usti) l(ibertus) scrib(a) CUBICULARIS. "Vitalis, the freedman of Augustus and scribe of the bed- chamber, to his excellent wife Vernasia Cyclax, who died at the age of twenty-seven." In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 2379. 1012 SEPULCHRAL CHEST OF SILIA ATTICA. The inscription reads: d(is) m(anibus) siliae atticae fecit p(ublius) silius abascantus matri pientissimae. "To the Manes. Publius Silius Abascantus made it for his most devout mother." In the British Museum. Restorations: The cover and the plinth. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, HI, No. 2376. 1013 CANDELABRUM, with a relief of four Maenads. Found near Naples, and formerly in the Vatican. Now in the Museum of the Louvre, No. 500. Restorations: Pieces of the claws, the inverted akanthos leaves, several pieces of the shaft, the mask, and the right hand of the Maenad carrying the plate of fruit; half the left foot of the one behind the panther; the mask and the left foot of the one with the thyrsos; the bowl and the flame of the candelabrum. In Hall 38. Frohner, Notice de la sculpture antique. No. 297. 1014 CANDELABRUM, with reliefs representing Herakles carrying off the Delphic tripod, pursued by Apollo and his priest. Archaistic style. Found in the Vigna Verospi, on the site of the Gardens of Sallust. In the Galleria del Candelabri of the Vatican. Restorations: Almost the entire base, the only ancient portions of the reliefs being the head, the arm with the club, and the breast, of Herakles; the head, the breast and the upper right arm, of the priest. The figure of Apollo l6o GREEI\ AND ROMAN SCULPTURE is entirely modern. Of the upper part, the basket at the top of the shaft and the dish above are restored. In Hall 38. H el big, Guide, I, No. 377. 1015 ONE OF A PAIR OF CANDELABRA, with reliefs of Erotes ending in arabesques, formerly in S. Agnese, and now in the Vatican. The ends of the leaves are restored. In Hall 38. Helbig, Guide, I, No. 366 or 367. 1016 TRIANGULAR BASE OF A CANDELABRUM. On each side is represented a flying Cupid, bearing respec- tively the helmet, sword, and shield of Mars. First cen- tury, A. D. In the British Museum. Restorations: One of the sphinxes projecting from the angles, and the heads of the two others; one of the rams' heads at the corners of the base, and parts of the other two rams' heads. In Hall 38. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2509. 10 1 7 THE PARIS CAMEO, representing the Emperor Ti- berius, enthroned as Jupiter and surrounded by members of his family, with the attributes of various divinities. Of sardonyx. In the Bibliotheque Nationale, Paris. Furtwangler, Antike Gemmen, pi. LX. , 1018 THE VIENNA CAMEO, known as the gemma augustea. It represents (a) Augustus enthroned as Jupiter at the side of the goddess Roma, and surrounded by other divinities; (b) Roman soldiers erecting trophies. Of sardonyx. In the Imperial Museum at Vienna. Furtwangler, Antike Gemmen, pi. LVI. UNEXCAVATED PORTION OF THE VILLA 030 Youth Youth Unknown Portra Demosthenes "Suila" Demosthenes "Sutla- 043 Metrodoros 044 "A^rippina" Bearded Satyr ... Bearded Satyr 067 Bearded Satyr 060 Cupid 061 Cupid 063 Cupid 068 Bearded Satyr o6q Young Satyr 063 Cupid 064 Cupid r THE ADAMS COLLECTION OF HERCULANEUM BRONZES GIFT OF EDWARD DEAN ADAMS, 1893 ( IN GALLERY 25) THIS collection consists of reproductions in bronze, by Sabatino de Angelis, of the bronze sculptures found in the famous villa at Herculaneum, and now in the Mu- seum at Naples. This villa was discovered in 1750, when excavations at Herculaneum had been going on about forty years. The original discovery of Herculaneum seems to have been accidental. We are told that in the year 1684 a baker, in digging a well near the town of Resina, came upon Roman remains, which were afterwards found to belong to the theatre of Herculaneum. Regular excavations were not begun until 1709 by Prince d'Elbeuf, and resumed later, in 1738, by Don Carlos, afterwards Charles 111 of Spain, who took up the scheme with new enthusiasm. The work was at first entrusted to Roque Joachim de Alcubierre, an ignorant and imperious man, who proved himself quite unworthy of his task. From 1750, however, Karl Weber carried on the work, though Alcubierre still exercised a general control and continually hampered his subordinates. Weber took up the task in a thoroughly scientific spirit, which was in great contrast to that of his predecessors. Fortunately the villa was found and excavated during his supervision. He kept elaborate notes and descriptions of his discoveries and also made plans of the excavated portions. A great portion of Weber's excellent materials have been lost, since they were not valued by his superiors, and were never properly published. His plan of the villa, however, and some notes with regard to it, have hap- pily been preserved. The plan is here reproduced from de Pe- 1 62 GREEK AND ROMAN SCULPTURE tra's La Villa ercolanese. On it is shown the site of the discovery of each of the bronzes, as determined by de Petra from Weber's plan, and from other documents. It is important to realize that, owing to the great depth at which the finds at Herculaneum were made, and the hard- ness of the lava below which the town is buried, all the ex- cavations were carried on entirely underground, by means of tunnels which have since been closed up. They are indicated on the plan in pale green, it is fortunate that during the first eruption of Vesuvius only mud and water, but no lava, covered Herculaneum; the lava which buried it to such a depth came down during subsequent eruptions. The fact that they were thus packed in mud accounts for the good preservation of the bronzes, which are not fused, and show no serious damage such as would have resulted from contact with hot lava. The ex- cavators came first, at a depth of 88 feet, upon a small circular terrace which afterwards proved to be a belvedere or observa- tory of the villa proper. From this the work was continued until first the garden and then the villa itself were discovered. The excavation of the villa continued from 1750 to 1761; after that it was abandoned, owing to the constant emissions of noxious gases which rendered work impossible. The entire length of the excavated portion is about 830 feet, but a large part of the domestic quarters of the house had to be left unexplored. In 1765 Weber retired, and was succeeded by Francesco La Vega. He was also a competent man, but was transferred to Pompeii in less than a year, and from that time little work was done at Hercu- laneum until 1780, when it ceased altogether. In 1828 the open excavations along the Vico di Mare were begun, with the aim of uncovering a portion of the ancient town. They were continued, with various interruptions and delays, until 1885, since which time the site has remained untouched; but there is a prospect that it will be further explored by the Italian government in the near future. The bronzes discovered in the villa constitute the richest dis- covery of classical bronze sculptures ever made. The copies given by Mr. Adams to the Museum include practically the complete series, reproduced as accurately as possible in the material, size, and color of the originals. The originals are probably all of Roman execution, except the bust of Apollo (No. 102 1 ), which may be an archaic Greek work, and the bust of a youth (No. 1037), which probably dates from the Hellen- istic period. With regard to the restorations which were made on the bronzes we have no definite information, except slight statements about the condition of some of the pieces when first HERCULANEUM BRONZES 1 63 found. What is known from this source is indicated below in connection with each number. The names attributed to the portrait-busts on their discovery were entirely conjectural. Archaeologists of that day suffered from the necessity they felt themselves under of giving a definite name to every bust or statue, no matter how slight the evidence supporting it. In the follow- ing list identification has been attempted only where there was a conclusive reason for it, but the former names have been re- tained, since the sculptures are still in many cases popularly known by them. BUSTS 1019 PORTRAIT OF AN OLD MAN, subject unknown; formerly called Seneca. Late Greek type. No restorations. Comparetti e de Petra, La yUla ercolanese, pi. V. 1020 PORTRAIT, subject unknown. The hair is arranged in curious, conventionalized ringlets. Both the date and the sex of this head are matters of dispute, which it has thus far been impossible to determine. The type of the face and the character of the modelling are Greek, but the arrangement of the hair is Roman. The arrangement of the hair also gives the head a feminine aspect, though without the ringlets its lines and those of the neck are distinctly masculine. The ringlets in front are restored. La Villa ercolanese, pi. VI. 102 1 ARCHAIC HEAD OF APOLLO. Probably from a statue. Style of the first quarter of the fifth century B. C. The eyes are restored. La Villa ercolanese, pi. VII, i, 1022 BUST OF BEARDED DIONYSOS, formerly called Plato. Roman copy of a work of the fifth century, B. C. Slight restorations in the neck. La Villa ercolanese, pl. VII, 2. 1023 BUST OF A YOUTH. Roman copy of a fourth-century work. Lysippian type. La Villa ercolanese, p]. VII, 3. 1 64 GREEK AND ROMAN SCULPTURE 1024 BUST OF A YOUTH. Roman copy of a Polykleitan work of the fifth century B. C. No restorations. La Villa ercolanese, pi. VII, 4. 1025 BUST OF AN AMAZON. Roman copy of a Polyklei- tan work of the fifth century B. C. No restorations. La Villa ercolanese, pi. VIII, 1. 1026 BUST OF THE DORYPHOROS. Roman copy of the head of the famous statue by Polykleitos (fifth century B. C). It is inscribed 'AxoXXwvto? 'Ap^fou 'AOT}vaIoc IxofTQae, "Apollonios the son of Archios of Athens made it." No restorations. La Villa ercolanese, pi. VIII, 3. 1027 MALE PORTRAIT-BUST, formerly called Archytas. Late Greek or Roman. No restorations. La Villa ercolanese, pi. VI II, 2. 1028 MALE PORTRAIT-BUST, called Herakleitos. Roman. Found broken in many pieces. La Villa ercolanese, pi. VI II, 4. 1029 MALE PORTRAIT- BUST, called Demokritos. Roman. Found in pieces. La Villa ercolanese, pi. IX, 1. 1030 PORTRAIT-BUST OF A YOUTH. Late Greek or Roman. La Villa ercolanese, pi. IX, 2. 1 03 1 PORTRAIT-BUST, called Ptolemy Alexander. Late Greek or Roman. La Villa ercolanese, pi. IX, 3. 1032 PORTRAIT-BUST, called Ptolemy Lathyros. • The eyes are restored. La Villa ercolanese, pi. IX, 4. 1033 PORTRAIT-BUST, called Ptolemy I, Soter. No restorations. La Villa ercolanese, pi. X, i. HERCULANEUMBRONZES 165 1034 PORTRAIT-BUST, called Ptolemy Philadelphos. La Villa ercolanese, pi. X, 2. 1035 BUST OF A WOMAN, formerly called Berenice. Ro- man copy of a Greek work of the fourth century B. C. La Villa ercolanese, pi. X, 3. 1036 BUST OF A WOMAN, formerly called Sappho. Roman copy of a Greek work of the fourth century B. C. Restorations: The eyes and part of the neck. La Villa ercolanese, pi. X, 4. ' 1037 BUST OF A YOUTH, originally wreathed. Third cen- tury B. C. La Villa ercolanese, pi. XI, i. 1038 PORTRAIT-BUST of Scipio Africanus (?). Roman. Found somewhat broken. La Villa ercolanese, pi. XI, 2. 1039 PORTRAIT-BUST, formerly called Sulla. Roman. La Villa ercolanese, pi. XI, 3. 1040 PORTRAIT- BUST, formerly called Sulla. Roman. La Villa ercolanese, pi. XI, 4. 1041 SMALL BUST OF DEMOSTHENES. Roman. The name is inscribed. La Villa ercolanese, pi. XII, 4. 1042 SMALL BUST OF DEMOSTHENES. Roman. La Villa ercolanese, pi. XII, i. 1043 SMALL BUST OF METRODOROS. Roman. La Villa ercolanese, pl. XII, 2. 1044 SMALL PORTRAIT-BUST OF A ROMAN LADY, formerly called Agrippina. La Villa ercolanese, pi. XII, 3. 1045 SMALL PORTRAIT-BUST OF EPICURUS. Roman. The name is inscribed. La Villa ercolanese, pi. XII, 7. 1 66 GREEK AND ROMAN SCULPTURE 1046 SMALL BUST OF EPICURUS. Roman. La Villa ercolanese, pi. XII, 6. 1047 SMALL BUST OF HERMARCHOS. Roman. The name is inscribed. La Villa ercolanese, pi. XII, 8. 1048 SMALL BUST OF ZENO. Roman. The name is inscribed. La Villa ercolanese, pi. XII, 9. STATUES 1049 DRUNKEN SATYR. Roman copy of a Hellenistic work. When found, the right hand and left arm were detached. La Villa ercolanese, pi. XIII, i. 1050 HERMES RESTING. Roman copy of a Greek work of the fourth century B. C. When found, three of the wings on the ankles were missing, the head was broken into several pieces, one arm was broken, and one thigh was cracked. La Villa ercolanese, pi. XIII, 2. 1051-1055 FIVE STATUES OF DANCERS (?). Roman copies of Greek works of the middle of the fifth century B. C. La Villa ercolanese, pi. XIV, i, 2, 3, 5, 6. 1056 YOUNG GIRL in a praying (?) attitude. Roman copy of a Greek work of the middle of the fifth century B. C. When found the head was broken off and one hand was missing. La Villa ercolanese, pi. XIV, 4. 1057 SATYR RESTING. Roman copy of a Hellenistic work. The head and right hand were found separately, the latter in two pieces. La Villa ercolanese, pi. XV, i. 1058-1059 TWO YOUNG ATHLETES (wrestlers?). Ro- man copies of Greek statues of the fourth century B. C. La Villn ercolanese, pis. XV, 2 and 3. HERCULANEUM BRONZES 167 STATUETTES 1060-1064 FIVE CUPIDS OR GENII. Roman. La Villa ercolanese, pi. XVI. 1065-1068 FOUR BEARDED SATYRS. Roman. La Villa ercolanese, pi. XVI. 1069 YOUNG SATYR leaping, with a thyrsos. La Villa ercolanese, pi. XVI, 6. STATUETTES AND OTHER SMALL OBJECTS ARCHAIC PERIOD (in case I, GALLERY 2l) 1070-1072 THREE PRIMITIVE FEMALE STATUETTES. Of marble. In the Albertinum, Dresden. Fiedler, Reise diirch Griechenland, II, pi. 5, fig. i, 2, 3a. 1073 ZEUS, standing. Archaic Greek bronze statuette, found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. VII, 40. 1074 ZEUS. Archaic Greek bronze statuette in Arolsen. Gadechens, Die Antiken des Museums {u Arolsen, p. 34, 13. 1075 ZEUS hurling a thunderbolt. Archaic Greek bronze statu- ette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bronien, pi. VII, 45. 1076 APOLLO. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bronien, pi. VI 1, 48. 1077 APOLLO. Archaic Greek bronze statuette. Found at Olympia. and now in the Museum there. Olympia, IV, Die Bronien, pi. VIII, 49. 1078 APOLLO. Bronze statuette. Archaic Greek; sixth cen- tury B. C. The inscription, scarcely visible on the cast, reads: AstvayopT); [j,' avIOTjy.sv sxtjSoXw 'A';coXA<.)vt, "Deinagores dedicated me to far-darting Apollo." Found at Naxos, and now in the Berlin Museum. M. Frankel, Archiiologische ZeiHmg, 1879, p. 84 and pi. 7. STATUETTES 169 1079 APOLLO. Archaic Greek bronze statuette. From Greece. In the Berlin Museum. Overbeck, Kunsimythologie, 111, Apollon, p. 35, fig. 7. 1080 APOLLO. Archaic Greek bronze statuette. Perhaps a copy of the Apollo Philesios, of .Miletos, by Kanachos. In the British Museum. H. B. Walters, Catalogue of Bron{es in the British Museum, No. 209, pi. L 1081 HERMES KRIOPHOROS (carrying a ram). Archaic Greek bronze statuette. Found at Capua, and now in the Berlin Museum. Moniimenti dell Instituto, XL pi. VF, 3, 3a. 1082 HERMES KRIOPHOROS (carrying a ram). Archaic Greek bronze statuette. Found in Crete, and now in the Berlin .Museum. Milchhofer, Annali dell' Instituto, 1880, p. 213, pi. S. 1083 HERMES KRIOPHOROS (carrying a ram). Archaic Greek bronze statuette. In the Berlin Museum. Friederichs, Kleinere Kunst und Industrie, No. 1823. 1084 ATHENA. Archaic Greek bronze statuette. From the Akropolis, Athens, and now in the Berlin Museum. Archdologische Zeitung, 1873, pi. 10. 1085 ATHENA. Etruscan bronze statuette. In CasseL Friederichs-Wolters, No. 205. 1086 ATHENA. Archaic Greek bronze statuette. Found in the debris of the Parthenon, and now in the Oppermann Collection, Paris. Friederichs-Wolters, No. 108. 1087 ARTEMIS. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there, Olympia, IV, Die Bron^en, pi. VII, 55. 1088 APHRODITE. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. VII, 74. lyo GREEK AND ROMAN SCULPTURE 1089 ARCHAIC ETRUSCAN GODDESS, inscribed on the back PHLEXRU. Bronze statuette from Perugia. In the Berlin Museum. Friederichs, Kleinere Kunsi und Industrie, No. 2155. 1090 WINGED FIGURE. Bronze statuette which formed part of the decorations of an archaic Etruscan chariot discovered in Perugia in 1812. The fragments of this chariot are now scattered among the Museums of Perugia, Munich, London, and Berlin. This statuette is in the Berlin Museum. Friederichs, Kleinere Kunst und Industrie, No. 2! 53. 1091 HERAKLES. Archaic Greek bronze statuette in Cas- sel. Friederichs-Wolters, No. 235. 1092 HERAKLES AND THE NEMEAN LION. Small bronze group. Archaic Greek. In Arolsen. Gadechens, Die Antiken des Museums lu Arolsen, No. 228. 1093 YOUTH RECLINING. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. VII, 76. 1094 WARRIOR. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. VII, 42. 1095 ATHLETE. Archaic Greek bronze statuette in Cassel. Friederichs-Wolters, No. 234. 1096 WARRIOR. Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. VII, 41. 1097 ETRUSCAN WARRIOR. Bronze statuette in the Museo Archeologico, Florence. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 161 1. 1098 WARRIOR. Bronze statuette of the first half of the fifth century B. C. Found at Dodona, and now in the Berlin Museum. Engelmann, Archdologische Zeitung, 1882, pi. I, p. 23. STATUETTES I7I 1099 DISKOBOLOS (disk-thrower). Archaic Greek bronze statuette. Found at Olympia, and now in the Museum there. Olympia, IV, Die Bron^en, pi. XXVI 1, 616. I 100 CHARIOTEER. Bronze statuette of the first half of the fifth century B. C. In the Museum at Tubingen. Friederichs-Wolters, No. 90. I 10 1 KANEPHOROS (basket-bearer). Bronze statuette. About 500 B. C. Inscribed: TaBava 4>cXX(j) XapfxuXtoa csy.aTav. "Phillo, the daughter of Charmylides, dedicated it as a tithe to Athena." From Paestum. In the Berlin Museum. Restorations: The basket, and the column below the capital. Curtius, Archdologische Zeitung, 1880, pi. VI, p. 27. I 102 FEMALE FIGURE, which served as a mirror-support. Bronze statuette of the middle of the fifth century B. C. Found near Olympia, in the valley of the Kladeos, and now in the Olympia Museum. Olympia, IV, Die Bronien, p. 27. I 103 GRIFFIN'S HEAD. Of bronze. Probably the handle of a large bowl. Archaic Greek. Found at Olympia, and now in the Museum there. In Gallery 21. Olympia, IV, Die Bronien, pi. XLVI 1, 806, and text, p. 122. 1 104 HANDLE OF A BRONZE JUG, in the form of a nude youth, holding a lion on each shoulder. Sixth century B. C. In the Louvre. LATER PERIODS, CLASSIFIED ACCORDING TO TYPES (in case 2, GALLERY 24) I 105 ZEUS, standing. Bronze statuette in the Antiquarium, Munich. Baumeister, Denkmdler, III, fig. 1541. I 106 ZEUS, seated. Bronze statuette. Formerly in the Denon and Pourtales Collections. £cole des Beaux-Arts, Sale Catalogue of Casts, No. 1 578. 172 GREEK AND ROMAN SCULPTURE I 107 ZEUS. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 8. 1 108 ZEUS. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 6. I 109 ZEUS OR POSEIDON. Bronze statuette. Unidentified. I I 10 POSEIDON (?). Bronze statuette, probably of the school of Lysippos. From Paramythia in Epeiros. In the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 274. I I I I SERAPIS. Small bronze head in Cassel. Friederichs-Wolters, No. 15 14. I I 12 ATHENA. Bronze statuette in the Bibliotheque Nation- ale, Paris (?). Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1582. I I 13 ATHENA. Bronze statuette in the Museum of Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2606. I I 14 APOLLO stringing his bow. Bronze statuette. Found at Paramythia, Epeiros, and novi^ in the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 272, pi. V. I I 15 APOLLO, in an attitude similar to that of the Apollo Sauroktonos (No. 700). Bronze statuette in Arolsen. Gadechens, Die Antiken des Museums {u Arolsen, p. 45, 45. I I 16 APOLXO. Bronze statuette in the British Museum. The column is modern. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 993. I I 17 ARES. Bronze statuette in the Museum of the Louvre. Bronzes antiques du Louvre, No. 97. STATUETTES I73 I 1 18 HERMES. A later modification of the type of the Hermes from Andros. Bronze statuette in the Biblio- theque Nationale, Paris. Babelon et Blanchet, Bronzes antiques de la Biblioiheque Nationale, No. 316. I I 19 HERMES. Bronze statuette in the Museum of the Louvre. Bronzes antiques du Louvre, No. 219. I 1 20 HERMES, seated. Bronze statuette in Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1043. I 121 HERMES. Bronze statuette in the Museum of the Louvre. Bronzes antiques du Louvre, No. 221. I 122 HERMES WITH THE INFANT DIONYSOS. A modi- fied replica of the statue by Praxiteles. Bronze statuette in the Museum of the Louvre. C. Waldstein, Journal of Hellenic Studies, HI, 1882, p. 107. 1 123 HERMES resting. Bronze statuette of Lysippian type. In the Berlin Museum. Friederichs, Kleinere Kunst und Industrie im Altertum, No. 1833. I 124 HERMES. Bronze statuette, perhaps derived from an original by Lysippos. Found at Pierre-en-Lueset, near Huis, France, and now in the British Museum. H. B. Walters, Catalogue 0} Bronzes m the British Museum, No. 825, pi. XXIV. (in case 3, GALLERY 24) I 125 NIKE OR APHRODITE. Bronze statuette in the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 1559. 174 GREEK AND ROMAN SCULPTURE I 126 DIONE OR APHRODITE. Bronze statuette from Paramythia, Epeiros. In the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 279, pi. VI. 1 127 APHRODITE adorning herself. Bronze statuette from Trier. In the Berlin Museum. M iscellanien-Inventar des Berliner Antiquariums, No. 7032. 1128 APHRODITE. Bronze statuette from Alexandria. In a private collection in Berlin. Archdologische Zeitung, 1870, pi. 38, p. 91. I 1 29 APHRODITE. Bronze statuette in the British Museum. H. B. Walters, Catalogue 0} Bronzes in the British Museum, No. 1 103. I 1 30 APHRODITE arranging her hair. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 140. I 131 APHRODITE. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 138. I 132 APHRODITE unfastening her left sandal. Bronze statuette from Paramythia. In the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 280, pi. VII. I 133 APHRODITE unfastening her left sandal. Bronze statuette, found at Herculaneum, and now in the Mu- seum of Naples. Friederichs-Wolters, No. 1477. I 134 APHRODITE unfastening her left sandal. Bronze statuette in the Antiquarium at Munich. Modern. I 135 APHRODITE arranging her hair. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 145. 1 136 APHRODITE drying her hair. Bronze statuette at Arolsen. Gadechens, Die Antiken des Museums lu Arolsen, p. 53, 76. STATUETTES 1-75 I 137 APHRODITE arranging her hair. Bronze statuette at Arolsen. Gadechens, Die Antiken des Museums {u Arolsen, No. 78. I 138 APHRODITE drying herself. Bronze statuette at Arol- sen. Gadechens, Die Antiken des Museums ^u Arolsen, No. 66. I 139 APHRODITE girding herself. Fragmentary bronze statuette in Florence. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1834. I 140 SMALL MARBLE HEAD OF APHRODITE. In the possession of Alfred von Sallet, in Berlin. Friederichs-Wolters, No. 1465. I 141 HERAKLES. Bronze statuette in the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 1298. I 142 HERAKLES. Bronze statuette in the Louvre. Bronzes antiques du Louvre, No. 350. I 143 YOUNG HERAKLES. Bronze statuette in the Museum of Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2610. 1 144 HERAKLES wreathed with poplar. Bronze statuette in the Museum of the Louvre. Bronzes antiques du Louvre, No. 353. I 145 HERAKLES resting. Bronze statuette of Lysippian style, in the Museum of Lyons. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1 586. 1 146 THE INFANT HERAKLES with a serpent. Bronze statuette in the Berlin Museum. Friederichs, Kleinere Kunst und Industrie im Altertum, No. 1849. 1 147 ONE OF THE DIOSKOUROI. probably Kastor. Bronze statuette from Paramythia, Epeiros. In the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 277, pi. VI. \y6 GREEK AND ROMAN SCULPTURE I 148 A SATYR, or a young Pan, in the attitude of the Dory- phoros of Polykleitos. Bronze statuette of the Hellenis- tic period, in the Bibliotheque Nationale, Paris. Babelon et Blanchet, Bronzes antiques de la Bibliotheque Nationale, No. 428. I 149 SATYR. Bronze statuette in the Museum of the Louvre. Louvre, Sale Catalogue of Casts, No. 1 57. I 150 SATYR. Bronze statuette in the Berlin Museum. Friederichs, Kleinere Kunst und Industrie im Altertum, No. 1835. I 151 SATYR. Bronze statuette from Pergamon, of the Hel- lenistic period. In the Berlin Museum. I'urtwangler, Der Satyr aus Pergamon, 1880. I I 52 SATYR starting back. Bronze statuette in the British Museum. H. B. Walters, Catalogue of Bronzes in the British Museum, No. 1388. I 153 SATYR drawing a thorn fnjm his foot. Bronze statuette in the Antiquariuni at Munich. (in case 4, GALLERY 27) I I 54 KEPHALOS sitting on a rock. Bronze statuette of the fourth century B. C. In the Bibliotheque Nationale, Paris. Babelon et Blanchet, BroH(es antiques de la Bibliotheque Nationale, No. 802. 1135 DISKOBOLOS, after Myron. The face is of a later type. Bronze statuette in the Antiquariuni at Munich. 1156 DANCT'R. Bronze statuette of the Alexandrine period. In the Musee de Saint-Germain-en-Laye. S. Reinach, Bronzes figures du Musee de Saint-Germain- en-Laye, No. 191. 1 1 57 ATHLLTES WRESTLING. Small bronze group in the Morel d'Arleux Collection, Paris. STATUETTES 1 77 S. Reinach, Bronzes figures du Musee de Saint-Germain- en-Laye, No. 124. I 1 58 YOUNG ATHLETE. Bronze statuette in the Berlin Museum. Friederichs, Kleinere Kun<:t und Industrie im /lltertum No. 1852. I I 59 WARRIOR. Bronze statuette of the Hellenistic period. Found at Vienne, France, and now in the Bibliotheque Nationale, Paris. Babelon et Blanchet, Bronzes antiques de la Bihliothhque Nationale, No. 815. I 160 ROMAN PRIEST. Bronze statuette in the Bibliotheque Nationale, Paris. Babelon et Blanchet, Bronzes antiques de la Bibliotheque Nationale, No. 869. 1 161 SMALL MARBLE HEAD OF A GIRL. Found in a tomb near the village of Karanta, and now in the Museum of Thebes. Friederichs-Wolters, No. 1282. I 162 CHILD. Bronze statuette of the Roman period. In the Museum of the Louvre(?). Louvre, Sale Catalogue of Casts, No. 156. I 163 SLEEPING BOY. Bronze statuette from Sparta. In a private collection at Dortmund. Dressel und Milchhoefer, Athenische Mitieihmgen. II, 1877, p. 361, No. 139. I 164 TRAGIC ACTOR. Bronze statuette of the Roman period. In the Bibliotheque Nationale, Paris. Babelon et Blanchet, Bronzes antiques de la Bibliotheque Nationale, No. 979. I 165 SEATED DOG. Terracotta statuette from Asia Minor. In the Berlin Museum. Inventarium der Terrakotten des Berliner Antiquariums, No. 6317. 178 GREEK AND ROMAN SCULPTURE I 166 BULL. Bronze statuette in Arolsen. Gadechens, Die Aniiken des Museums lu Arolsen, No. 494. 1167 ONYX VASE, known as the Mantuan Vase. The reliefs refer to the cult of Ceres. Roman, first century A. D. In the Museum at Brunswick, Germany. Furtwiingler, Antike Gentmen, 111, p. 339. 1168 THE "PORTLAND VASE." The figures of the relief are cut in cameo style from a thin coating of white biscuit laid over the dark blue glass of the vase itself. No satis- factory explanation of the subject has been reached. It is sometimes referred to as Peleus and Thetis. The vase, which dates from the Alexandrine period, or the beginning of the Roman Empire, was found in a sarcophagus of the third century A. D., in a tomb about three miles from Rome, on the ancient road to Tusculum. It was first placed in the Barberini palace, then passed into the posses- sion of Sir William Hamilton, who sold it to the Duchess of Portland. Since 1810 it has been in the British Museum. The vase was smashed to fragments in 1845, but has been so successfully repaired that the damage is scarcely per- ceptible. Josiah Wedgwood, Description of the Portland Vase. I 169 SARDONYX VASE, with reliefs representing the lustra- tion of a new-born prince. Roman, Augustan period. In the Berlin Museum. Furtwangler, Antike Gentmen, HI, p. 337. 1170 GOLD BRACELET, in the form of a serpent. From Pedescia. In the Berlin Museum. M i scellaneen-Jnventar des Berliner Aniiquariums, No. 7043. I 171 BRONZE LAMP, in the form of a ship. Found in the Erechtheion. In Athens. 'EcprjjjLepti; 'Ap^atoXoytxiQ, 1862, p. 91. I 172 BOWL, with scenes in relief. In the Antiquarium, Munich. 1173 BRONZE LAMP-STAND, in the form of a Silenos. In the Museum of Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1802. STATUETTES 1 79 I 174 BRONZE LAMP-STAND, in the form of a seated Silenos. In the Museum of Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1801. ARCHITECTURE archaic greek and etruscan (in hall 38) I 175 CINERARY URN, of limestone, in the shape of a house. Etruscan. From the so-called tomb of Porsena near Chiusi. The cinerary urns are interesting as illustrating the primitive form of dwelling in Italy. In the Berlin Museum. Berlin Museum, Beschreibung der antiken Skulpturen, No. 1242. I 176 CINERARY URN, of limestone, in the shape of a primi- tive hut. Italic. From Monte Albano, and now in the Berlin Museum. Furtwangler, Berliner Vasensammlung, No. 1335. I 177 CINERARY URN, in the form of a hut. Italic. I 178 HALF OF A DORIC CAPITAL, from the temple of Assos in Mysia, Asia Minor. Greek, sixth century B. C. Now in the Museum of the Louvre. I 1 79 HALF OF A DORIC CAPITAL, from temple D at Selinus, in Sicily. Greek, sixth century, B. C. I 180 HALF OF AN ATTIC-IONIC CAPITAL. Sixth century B. C. Found in the bed of the llissos, and now in Athens. Inwood, Erechtheion, pis. 2.4 and 25. 1181 LION'S HEAD, from the cornice of the archaic temple of Artemis at Ephesos. Greek, sixth century B. C. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 46. THE DORIC AND IONIC ORDERS COMPARED ARCHAIC GREEK AND ETRUSCAN ibl 1 182 TERRACOTTA ANTEFIX, in the form of a Gorgon's head. Greek, sixth century B. C. Found at Olympia, but it is not certain to which building it belonged. In the Olympia Museum. Olympia, 111, Die Bildwerke, pi. VIII, 8. I 183 TERRACOTTA ANTEFIX, in the form of a Gorgon's head, from the Hekatompedon on the Akropolis, Athens. Greek, latter part of the sixth century B. C. Found south of the Parthenon, and now in the Akropolis Museum, Athens. Michaelis, Der Parthenon, pl. 11, 7. I 184 CORNICE FROM AN ALTAR erected by Peisistratos, grandson of the tyrant Peisistratos, between 525 and 510 B. C. The inscription, part of which is now lost, is re- ferred to by Thucydides (VI, 54), who quotes it as follows: MvYi[xa Toos -^i; ap^fjq IIsiacJTpaTOs 'Ixxtou utb<; 6-^y.ev 'AxoXXwvoq riijStOL) Iv T£;jivst, "Peisistratos, the son of Hippias, erected this as a memorial of his archonship in the sanctuary of the Pythian Apollo." Found near the temple of the Olympian Zeus on the banks of the Ilissos, Athens, and now in the National Museum there. Corpus Inscripiionum Atiicarum, IV, 373e; Friederichs- Wolters, No. 1 26. 1 185 FRAGMENT OF A LACUNAR FROM A CEILING (?), with two panels in low relief representing (a) a horse gal- loping to the right, (b) a griffm seizing a stag. Of green limestone (?). In the British Museum. A. H. Smith, Catalogue 0} Greek Sculpture in the British Museum, I, No. 215. I 186 FRAGMENT OF A LACUNAR (?), similar to the preced- ing. The upper panel is wanting. Of green limestone (?). In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 216. GREEK, FIFTH AND FOURTH CENTURIES B. C. I187 TERRACOTTA WATERSPOUT in the form of a lion's head. On this cast the colors of the original are repro- duced in restored form. First half of the fifth century B. C. 1 82 GREEK AND ROMAN ARCHITECTURE From Metapontum, and now in the Bibliotheque Nationale, Paris. Perrot et Chipiez, Histoire de I'Art, VII, pi. IX. I188-II94 SEVEN WATERSPOUTS in the form of lions' heads, from the cyma of the temple of Zeus at Olympia. Of these Nos. 1 188-1 190 date from the erection of the temple (about 460 B. C). Nos. 1191-1194 are later imitations. In the Museum of Olympia. Olympia, I, Die Baud enkmdler, pi. XVII; text, p. 22fr. I 195 AKROTERION of a building. Middle of the fifth cen- tury B. C. From Sunion, and now in the National Mu- seum, Athens. Furtwangler, Aegina, p. 293, fig. 248. 1 196-1202 DETAILS FROM THE PARTHENON (447-438 B. C). For an account of the Parthenon see pages 61 fT.; for the model of the building, restored, see the frontispiece and No. 476; and for the sculptures, pp. 64!?. 1 196 UPPER CORNER, restored. This is a full-size model, and includes the left end of one of the pediments, with the cornice, mutules, triglyph-frieze, architrave, and the upper parts of two columns. The four metopes represented are not those actually on any of the corners of the building, but were selected because of their good state of preserva- tion. (Temporarily retired for lack of space.) 1 197-1200 Fragments of the Akroteria which surmounted the two pediments. See frontispiece. Michaelis, Der Parthenon, pi. 2, 10. 1201 Lion's Head from the cyma. Still in situ on one of the angles of the pediment. See frontispiece. 1202 Antefix. These antefixes were placed in a row along the edges of the roof, at the sides of the building. See frontis- piece. Michaelis, Der Parthenon, pi. 2, 8. GREEK AND ROMAN ARCHITECTURE 1 83 I2O3-I225 DETAILS FROM THE ERECHTHEION. The Erechtheion was probably begun after the completion of the Parthenon (438 B. C), since the famous inscription recording the report of the commissioners appointed to examine its condition in the year 409 B. C. shows that it was then incomplete. 1203 THE PORCH OF THE MAIDENS, on the south side of the building. This reproduction of the porch gives only the general effect of the original, which is about twice as deep and has six figures of maidens, two at the sides in addition to the four in front. In the cast the sec- ond figure on the right is a duplicate of the one on the corner, but in the original there are differences between the two. Moreover, the coffers are incorrectly repro- duced, for while the originals vary slightly in size, there are no such marked differences between them as are here rep- resented. 1204 Section of the Architrave of the northern portico. 1205 Anta Capital and Portion of the Frieze from the northern portico. 1206 Corner Capital from the northern portico. 1207 Section of the Base of an Anta of the northern portico. 1208 Upper Left Corner of the Door in the northern portico, including the console and cornice. 1209 Part of the Cornice of the Door in the northern por- tico. 12 10 Egg-and-Dart Moulding from the inner side of the archi- trave of the northern portico. 121 I Egg-and-Dart Moulding from the beams in the northern portico. 1212 Coffer from THE Ceiling of the northern portico. 12 1 3 Section of the Base of the north wall. 184 GREEK AND ROMAN ARCHITECTURE 1 2 14 Sfxtion of the Entablature of the Porch of the Maidens. 121 5 Detail from the Entablature of the Porch of the Maidens. 1216 F.r.c;-AND-DART Moulding from the inner side of the archi- trave of the Porch of the Maidens. 12 17 Egg-and-Dart Moulding from tiie base of the Porch of the Maidens. 12 18 Coffer from the Ceiling of the Porch of the Maidens. 12 19 Corner of an Anta from the l^)rch of the Maidens. 1220 Engaged Column from the west wall. 1 22 I Capital of an Anta of the eastern portico. 1 222 Capital of a Column of the eastern portico. 1223 Section of the Base of a column from the eastern por- tico. 1224 Detail FROM the "Honeysuckle Ornament" (palmette- and-lotos frieze) which extended along the four walls of the building. 1225 Detail from the Architrave of the main building. For large scale drawings of details from the Erechtheion see li. Inwood, The Erechtheion, 18^1 ; von Quast, Das Erech- theion in Athen, 1840, (a German reprint of Inwood's work with additions). For an account of the building see Frazer's Pausanias, 11, pp. 330 ff. and the references there quoted (p. 338). 1226 LESBIAN (WATER-LEAl) MOULDING. Of terra- cotta. Middle of the fifth century B. C. Found near the Bouleuterion at Olympia, and now in the Aluseum there. Olympia, \\,Die Baudenkmiiler, pi. CXX, 3. 1227 FRAGMENT OF THE CAPITAL of one of the Ionic col- umns from the interior of the cella of the temple of Apollo at Phigaleia. About 430 B. C. GREEK AND ROMAN ARCHITECTURE 185 A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, No. 508. 1228 HALF OF AN IONIC CAPITAL from the temple of Nike Apteros on the Akropolis. Second half of the fifth century B. C. 1229 VOLUTE OF AN IONIC CAPITAL. The building to which it belonged is not known, it was found near the site of the temple of Nike Apteros, and was formerly incorrectly described as belonging to this temple. Now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, I, 444. 1230 PORTION OF THF CYMA MOULDING of the Heraion, near Argos. About 420 B. C. In the National Museum, Athens. Argive Heraeum, p. 124, fig. 61. 1 23 1 SECTION OF A DORIC CAPITAL AND ANTA COM- BINED. From the gateway of the Pelopion at Olympia. End of the fifth or beginning of the fourth cen tury B. C. Olympia, I, Atlas, pi. XLII; text, II, p. 56. 1232 IONIC COLUMN from the Nereid Monument at Xanthos, in Lycia. End of the fifth or beginning of the fourth century B. C. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 932, i. 1233 DOUBLE EGG-AND-DART MOULDING from the Ner- eid monument at Xanthos, in Lycia. End of the fifth or be- ginning of the fourth century B. C. In the British Museum. A. II. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 931 and pi. II. 1234 THE TOMB OF PAYAVA. Payava is probably to be identified with Autophradates, a Persian satrap of Lydia, who perhaps reigned at Xanthos about 375-362 B. C, The construction of this tomb, which is of limestone, is in imitation of a wooden building. The ends of beams are seen projecting on the sides and the mortices are in 1 86 GREEK AND ROMAN ARCHITECTURE some cases made firm with wedges. Both the arched roof and the tomb proper are adorned with reHefs. On the Roof, East Side: a quadriga and combats between horsemen and foot-soldiers. The Lycian inscription here probably means: " Payava built this monument." West Side: A quadriga and hunting scenes. South Side: A male figure, a female figure, and two seated sphinxes. North Side: Similar reliefs to those on the south side, but in a fragmentary state. On the Tomb Proper, East Side: Battle of horsemen against foot-soldiers. Above, a Lycian inscription: "Pa- yava built this monument" (not shown in the cast). West Side: A seated Persian with an attendant and other male figures. Above is a Lycian inscription containing the name " Autophradates, Persian satrap" (not shown in the cast). South Side: Two armed figures standing. On the side is a Lycian inscription : " Payava, son of Ad . . ,' secretary of A . . . rah, by race a Lycian," etc. North Side: A bearded figure and a youth. This tomb was discovered by Sir C. Fellows in 1838, and is now in the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, W, No. 950. 1235 DETAIL OF LYCIAN ARCHITECTURE, in limestone, showing a cornice supported on a row of poles in imitation of wood construction. Fourth century B. C. From Xan- thos, and now in the British Museum. A. H. Smith, Catalogue oj Greek Sculpture in the British Museum, II, No. 952. 1236 SECTION OF THE CYMATIUM of the Mausoleum at Halikarnassos. About 350 B. C. In the British Museum. Newton, Halikarnassos, pi. 24. 1237 CHORAGIC MONUMENT OF LYSIKRATES. This was erected, according to the inscription, by Lysikrates of Athens, to celebrate his victory as choregos (provider and supporter of the chorus) in a musical contest of boys, in the year of the archonship of Evainetos (B. C. 335-334). On the frieze Dionysos is represented with his satyrs, turning GREEK AND ROMAN ARCHITECTURE 1 87 the Tyrrhenian pirates who had captured him into dolphins. This cast is the full size of the original. The right half shows the monument in its present condition, the left half is a restoration, with the exception of the frieze, the whole of which is shown as it appears at present. In Athens. Friederichs-Wolters, No. 1328. 1238 Small Model of the above, restored; one-tenth the full 1239 The Frieze of the above. 1 240- 1 245 FRAGMENTS FROM THE TEMPLE OF APOLLO AT DI- DYMA near Miletos. About 334-320 B. C. 1240 Capital of one of the interior pilasters. For a similar one cf. Texier, Description de I'Asie Mineur, II, pi. 139b. 1 24 1 Panel between the volutes of one of the interior pilasters. Texier, II, pi. 139a. 1242 Half Panel between the volutes of one of the interior pilasters. For a similar one cj. Texier, 1 1, pi. 139b. 1243 Section of a Capital decorated with winged figures ending in arabesques. Texier, II, pi. 141. 1244 Dodecagonal Base of a column. Anderson and Spiers, The Architecture of Greece and Rome, second edition, p. 116, fig. 98, p. 96, fig. 64. 1245 Round Base of a column. 1 246- 1 247 FRAGMENTS FROM THE TEMPLE OF ARTEMIS AT EPH- ESOS. Latter part of the fourth century B. C. In the British Museum. (See also Nos. 736-738.) 1246 Fragment of an Akroterial Ornament with interlaced akanthos scrolls. ibQ GREEK AND ROMAN ARCHITECTURE A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1237. 1247 Fragment of the Corona of the Cornice. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, II, No. 1233. For a capital from the same temple see No. 738. 1248 LEG OF A BED. Detail from a grave monument repre- senting a funerary couch. End of the fourth century B. C. Found at Pydna, in Macedonia, and now in the Museum of the Louvre, No. 765. C. L. Ransom, Ancient Furniture, p. 29, fig. 12. 1249 GREEK ANTEFIX. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 805. 1250 SECTION OF A DORIC CAPITAL. Unidentified. 1 25 I FRAGMENT OF THE NECK OF A DORIC COLUMN. Unidentified. LATE GREEK 1252 RELIEF, TWO HALF WREATHS. Detail from the Choragic Monument of Thrasyllos, which, according to the inscription, was dedicated hy him to commemorate the victory gained by his tribe in the dramatic contest in which he was himself choregos, in the archonship of Pythagoras, 271 B. C. Still in its original position below the southern wall of the Akropolis, Athens. Stuart and Revett, Antiquities of Athens, chap. IV, pi. XXXVIIl. 1253 RELIEF REPRESENTlNc; A TEMPLE. Detail from the relief of the Death of Archcmoros. Found at S. Ag- nese fuori le mura, and now in the Palazzo Spada, Rome. Schreiber, Hellenistische Reliefbilder, pi. VI. 1254 RELIEF SHOWING A GROUP OF BUILDINGS. De- tail from the relief of Paris and Oinone. Found at S. Agnese fuori le mura, and now in the Palazzo Spada, Rome. Schreiber, Hellenistische Reliefbilder, pi. X. GR E E K AN D ROM AN A RCH ITECTUR E 189 1255 RELIEF SHOWING THE SECTION OF A TEMPLE. Detail from the relief of the Rape of the Palladium. Found at S. Agnese fuori le mura, and now in the Palazzo Spada, Rome. Schreiber, Hellenisiische Reliefhilder, pi. VII. 1256 HALF OF AN IONIC CAPITAL. Found, 1862, in the interior of the Erechtheion. In Athens. Puchstein, Das lonische Capitell, fig. 18. 1257 IONIC CAPITAL, said to have been found at Thebes, von Quast, Das Erechtheion ^u Athen, II, pi. \. 1258 CAPITAL from the colonnade of the great Altar of Per- gamon. 197-159 B. C. Die Aliertumervon Pergamon, II, i, and pi. XII, i. 1259 SECTION OF A LATE DORIC CAPITAL. Third or sec- ond century B. C. From Olympia, and probably from the court of the Palaestra. Olympia, II, Atlas, pi. LXXV, 9; text, p. 113. 1260 SECTION OF THE BASE of an Ionic or Corinthian column. Unidentified. 1 261 SCROLL DECORATION from the monastery of Syriani on Mt. Hymettos. In the Berlin Museum, No. 1016. von Quast, Das Erechtheion lu Athen, II, pi. 23. 1262 MOULDING decorated with a floral design similar to that on the Erechtheion, but of inferior workmanship. Late Greek. In Athens, to the south of the Akropolis. 1263 SECTION OF A CORNICE decorated in the style of the Erechtheion mouldings. Unidentified. 1264 TERRACOTTA FRIEZE, with two heads among scroll- work and fiowers. Said to be part of a terracotta sarco- phagus found at Capua in 1869. In the Museo Gregor- iano of the Vatican. Helbig, Guide, II, p. 269, Nos. 154-157. 1265 FRAGMENT OF A FRIEZE, from a wall with a concave surface (an exedra?). The decoration is a band of palm- 1 90 GREEK AND ROMAN ARCHITECTURE ettes and lotos-flowers, with a fragmentary inscription above. Now among the ruins on the south side of the Akropolis, Athens, where it was probably found. ROMAN 1266 MODEL OF THE PANTHEON at Rome, restored. The building was erected, as the inscription on the entablature states, by Marcus Agrippa, in the third year of his con- sulate, that is 27 B. C It was, however, entirely recon- structed by the Emperor Hadrian in 120-124 A. D. This model, which is on a scale of one-twentieth, was made for the Willard Collection by Abel Poulin, of Paris, under the direction of Charles Chipiez. On the pedestal are photographs showing the present condition of both the exterior and interior of the building, from which the visitor can see how much is restored in the model. Most of the architectural additions may be regarded as warranted by the evidence of what remains. "It may be pretty safely assumed that above each of the six lower lateral recesses there were semi-circular openings — lunettes, closed perhaps by gratings. On the lower part of the wall there is little that the mind's eye need alter. Here the decoration of columns and pilasters, with their frieze, is as it was from the first. Here, between the recesses, rise still the upper parts of the altars — the aediculae, as they were called — • the columns supporting alternately triangular and rounded pediments The principal recess rises impressively opposite to the entrance; its columns have been placed sideways in front of the wall in order to present the full height and breadth, and their entablature projects." — Holtzinger, The Museums and Ruins of Rome, 11, p. 147. The sculptures, however, as shown on the model, are purely conjectural, and were intended merely to give an idea of the general effect of the structure as it originally appeared. An account of the Pantheon and the discussions regarding disputed points in the history of the building will be found in Lanciani's Ruins and Excavations of Ancient Rome, p. 473- 1267 MODEL OF THE ARCH OF CONSTANTINE, erected to commemorate the victory of the Emperor Constantine GREEK AND ROMAN ARCHITECTURE I9I over Maxentius, at the Pons Milvius, in 311 A. D. The inscription, which is repeated on each front, reads: IMP. CAES. FL. CONSTANTINO MAXIMO P. F. AUGUSTO. S. P. Q. R. QUOD INSTINCTU DIVINITATIS MENTIS MAGNITUDINE CUM EXERCITU SUO TAM DE TIRANNO QUAM DE OMNI EIUS FACTIONE UNO TEMPORE JUSTIS REMPUBIICAM ULTUS EST ARMIS ARCUM TRIUMPHIS INSIGNEM DICAVIT. "To the Emperor Caesar Flavius Constantiniis, the Great and the Pious, the Fortunate, the t-xalted, — inasmuch as by divine inspiration and the greatness of his mind, with the help of his army, he avenged the state with righteous arms on the tyrant and his whole faction — the Senate and the people of Rome dedicated this arch adorned with triumphs." The arch is decorated with sculptures which in a great measure were taken from earlier monuments. The eight rectangular panels adorning the attic on the north and south fronts are from a monument of the period of Marcus Aurelius (161-180 A. D.). They represent the Emperor entering the gates of Rome, addressing his people, receiving the submission of conquered peoples, and pouring a liba- tion. The slabs of the attic on the east and west sides, and the two slabs of the central gateway are from the Forum of Trajan (98-117 A. D.). The subjects represented are battle-scenes. The medallions of the pylons were taken probably from a Flavian monument (69-96 A. D.). They represent the Emperor in hunting-scenes, pouring incense, pouring libations, and offering sacrifice. The two medallions on the sides date from the time of Constantine. On the west is represented the sun in a chariot with rearing horses; on the east the moon with her sinking chariot. Below the medallions on all four sides are friezes, which are mostly contemporary with the erection of the arch. On each of the two shorter sides is represented a triumphal procession. On the left frieze of the south fafade is the battle and siege of Verona (312 A. D.). On the right frieze of this side is the battle of the .Milvian Bridge (311 A. D.). On the left frieze of the north facade is the Emperor on 192 GREEK AND ROMAN ARCHITECTURE the rostra addressing his people; on the right frieie of this side is represented a congiarium or distribution of gifts by the Emperor to citizens. The two reliefs from the north front and that of the west side were transferred perhaps from the Arch of Diocletian (284-305 A. D.). The rest of the sculptural decorations all date from the time of Constantine. in the spandrels of the main arch- way are flying Victories and the genii of the seasons; in the spandrels of the side arches are reclining river-gods. On the bases of the columns are Victories with captives. On each front the keystone of the central arch is decorated with a figure of the goddess Roma, and those of the smaller arches with figures of standing warriors. This model was made by Messrs. Trabacchi and Cencetti, of Rome. Mrs. Arthur Strong, Roman Sculpture, pp. 328!?. 1268 SECTION OF THE ENTABLATURE AND CAPITAL of the temple of Castf)r in Rome. This temple was originally built to commemorate the battle of Lake Re- gillus (496 B.C.), and was dedicated in 484 B. C. It was extensively reconstructed at the beginning of the second century B. C, and the remains of the columns and entab- lature date from that reconstruction. Anderson and Spiers, Architecture of Greece and Rome, second edition, figs. 142, 147, 148, 167. 1269 MODELS of a capital and base of a column from the same temple. 1270 SECTION OF THE ENTABLATURE from the side of the Temple of Vespasian and Titus, in Rome (81 A. D.). The frieze is decorated with the insignia of the priest (the cap, sprinkler, pitcher, sacrificial knife, saucer, ladle, and axe). Hiilsen, Forum Romanum (English translation), fig. 41. 1 27 1 SECTION OF THE ENTABLATURE of the temple of Concord in Rome, which was dedicated by the dictator Marcus Furius Camillus after the settlement of the con- test between the patricians and plebeians in 366 B. C. The present remains date from the reconstruction by Tiberius in 10 A. D. Hiilsen, Forum Romanum (English translation), fig. 43. GREE K AND ROM AN ARCH ITECTU RE I93 1272 SECTION OF THE ENTABLATURE AND PODIUM, and half a capital and base of a column, of the temple of Vesta at Tivoli. Probably Augustan period. The section of the podium has been retired for lack of space. Anderson and Spiers, Architecture of Greece and Rome, second edition, figs. 177 and 145. 1273 SECTION OF THE ENTABLATURE of the Baths of Agrippa in Rome, built in 19 B. C. Durm, Baukunsi der Romer, p. 254, fig. 228. 1274 SECTION OF THE ARCHITRAVE of the temple of Mars Ultor, dedicated during the battle of Philippi, in 42 B. C. In the Forum of Augustus, Rome. Anderson and Spiers, Architecture 0} Greece and Rome, second edition, fig. 168. 1275 SECTION OF A CORNICE from the temple of RomuIus(?), son of Maxentius, in Rome. A. D. 309. 1276 FRAGMENT OF A CORNICE decorated with palmettes, leaf-pattern, etc. In the Palazzo Fiano. Rome. 1277, 1278 MODELS, one-fourth the full size, of the architraves, capitals, and bases of columns, of the Theatre of Marcellus, in Rome, which was built by Augustus in 13 B. C, 1277 From the Lower Tier, Doric order. 1278 From the Upper Tier, Ionic order. M. Desgodetz, Les Edifices de Rome, pl. 124. 1 279 HALF A CAPITAL, from a pilaster of the base of the Mau- soleum of Hadrian in Rome. A. D. 136. In the Museo delle Terme, Rome. Lanciani, Ruins and Excavations of Ancient Rome, p. 553. 1280 COLOSSAL HEXAGONAL CAPITAL from the smaller Propylaia at Eleusis, built by Appius Claudius Pulcher, in the first century B. C. In the temple of Demeter at Eleusis. Anderson and Spiers, Architecture of Greece and Rome, second edition, fig. 71. 194 GREEK AND ROMAN ARCHITECTURE 1 28 1 PART OF AN ANTA CAPITAL from the Smaller Propy- laia at Eleusis. In the temple of Demeter at Eleusis. The Unedited Antiquities of Attica, III, pis. 4-6. 1282 QUARTER OF AN IONIC CAPITAL in the Church of Santa Maria in Cosmedin, Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2393. 1283 IONIC CAPITAL found in the Forum of Trajan, and now in the Lateran Museum, Rome. Anderson and Spiers, The Architecture of Greece and Rome, second edition, fig. 144. 1284 IONIC CAPITAL with animals in the volutes. In the Church of S. Lorenzo, Rome (?). 1285 HALF OF A BELL-SHAPED CAPITAL surrounded by long petals. In the Church of S. Pudenziana, Rome (?). 1286 HALF OF A CORINTHIAN CAPITAL. Found in the Forum of Trajan, and now in the Lateran Museum, Rome, 1287 CORINTHIAN CAPITAL (reduced model), from the por- tico of the Pantheon, Rome, built by Agrippa, 27-25 B. C, and entirely rebuilt by Hadrian, 120-124 A. D. Whether the columns used by Hadrian were those originally erected by Agrippa is not known, hence the date of this capital is uncertain. 1 288 SECTION OF THE BASE OF A CORINTH IAN COLUMN in the temple of Concord, Rome. The present remains of this temple date from the reconstruction by Tiberius in the year 10 A. D. Anderson and Spiers, Architecture 0} Greece and Rome, second edition, fig. 144. 1289 SECTION OF THE BASE of a column, decorated with inverted akanthos leaves, leaf-patterns, and a guilloche. Late Roman. In the Villa Giustiniani (?), Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1530. 1290 SECTION OF THE BASE of a column decorated with in- verted akanthos leaves, guilloche ornament, and rosettes. GREEK AND ROMAN ARCHITECTURE 1 95 1 29 1 BASE OF A PILASTER (?). The front is decorated with two griffins with a tripod between them; each of the sides with an Eros and a palmette. Late Roman. In the Galleria Lapidaria of the Vatican. W. Amelung, Die Skulpturen des vatikanischen Museums, No. 82a. 1292 SMALL FRAGMENT of the base of a column containing an akanthos leaf. 1293-1298 SIX ROMAN CONSOLES of the Imperial period. No. 1293 is in the Vatican, in the hall of the Greek Cross. The others are unidentified. 1299 CONSOLE with the figure of a Victory. It served perhaps to support the cornice of a doorway or to mask the key- stone of a triumphal arch. Second century A. D. (?). Found near Frascati, and now in the British Museum. Restorations: The left hand and forearm of the Victory. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 2608. 1 300- 1 302 FRAGMENTS FROM THE FORUM OF TRAJAN, 1 12-1 14 A. D. 1300 Frieze with palmettes and scrolls. From the Basilica Ulpia, and now in the Lateran Museum, Rome. Lanciani, Ruins and Excavations of Ancient Rome, fig. 120. 1 30 1 Two PIECES FROM A Frieze, with Cuplds giving drink to griffins, from the Basilica Ulpia, and now in the Lateran Museum, Rome. Lanciani, Ruins and Excavations of Ancient Rome, fig. 121. 1302 Section of a Frieze with foliated scrolls. Canina, Gli edifi^i di Roma antica, pi. CXIX, i. 1303 ENTABLATURE, from a temple at Byblos in Phoenicia, of the Roman period. The decoration shows a mixture of classic and Oriental motives. In the Museum of the Louvre. Perrot et Chipiez, Histoire de I'art, III, fig. 48. 1 96 GREEK AND ROMAN ARCHITECTURE 1304 PART OF A ROMAN DORIC FRIEZE consisting of a tri- glyph with a vase in relief and a metope with a filleted bucranium. Perhaps from the Eleusinion in Athens. Now built into the south wall of the Old Cathedral of Athens. P. Steiner, Athenische Mitteilungen, 1906, pi. XXI, 2, 41, and Beilage, pi. 16; text, p. 338, 14. 1305 DETAIL from a Roman frieze with foliated scrolls. From Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 157. 1306 SECTION OF A ROMAN FRIEZE with cornucopia. In the Ecole des Beaux-Arts, Paris. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 62. 1307 DETAIL from a Roman frieze. Two griffms with a vase between them. In the Museum of the Louvre. Clarac, Musee de Sculpture, pi. 193, No. 754. 1308 SECTION OF A FRIEZE with a filleted bucranium. In the Maison Carrie at Nimes. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 149. 1309 SECTION OF A FRIEZE decorated with a floral scroll with a lion's head emerging from a flower. Unidentified. 1310 SECTION OF A NARROW FRI EZE decorated with a ser- pent, a laurel tree, and half a palmette on a scroll of which an owl is perched. Unidentified. 131 I SECTION OF A FRIEZE from the Forum Romanum. 1312 SECTION OF A FRIEZE with a floral design. Not on exhibition. 1313 A, B, C. FRAGMENTS, with scroll and akanthos decora- tion, from the Ara Pacis of Augustus, 13 B. C. In the Museo delle Terme, Rome. M. E. Cannizzaro, Ara Pacis Augustae, in the Bollettino d'Arte, October, 1907. For a general account of the Ara I^acis see Mrs. Arthur Strong, Roman Sculpture, pp. 39-68. GREEK AND ROMAN ARCHITECTURE 1 97 I314 "THE ROSE PILLAR." First century A. D. In the Lat- eran Museum, Rome. Mrs. Arthur Strong, Roman Sculpture, p. 124, pi. XXXV. 13 I 5 PART OF A ROMAN RELIEF showing a section of a round temple. In the Palazzo Spada, Rome. L. Canina, Gli edifiii di Roma antica, pi. LXIV. 9, 13 16 DECORATION OF A PILASTER. In the Villa Medici, Rome. D'Espouy, Fragments d' architecture antique, I, pi. 82, i. 13 17 CANDELABRUM. Detail from the same Roman frieze as No. 1307. In the Museum of the Louvre. Clarac, Musee de Sculpture, pi. 193, No. 754. 13 18 DECORATION OF A PILASTER, with a candelabrum in relief. Unidentified. 13 19 FOLIATED SCROLLS, Relief from a door-post. In the Ecole des Beaux-Arts, Paris. Ecoledes Beaux-Arts, Sale Catalogue of Casts, No. 156. 1320 PART OF THE LEFT ARM OF A COUCH. The lower half is decorated with pine branches, rose leaves, and thy- miateria (incense-burners); the upper with a Pan, an Eros, and a squirrel among vine leaves. In the Museo Chiara- monti of the Vatican, W. Amelung, Die Skulpturen des vatikanischen Museums, pi. 69, No. 516 c. 1 32 1 PART OF A PANEL, with a conventionalized ornament consisting of the trunk of a palm tree surmounted by a volute capital. Unidentified. 1 322-1 326 SMALL DETAILS from various reliefs. Unidenti- fied. 1327 SECTION OF A MOULDING from the upper part of the base of the column of Trajan in Rome. 113 A. D. Anderson and Spiers, The Architecture of Greece and Rome, second edition, p. 190. 198 GREEK AND ROMAN ARCHITECTURE 1328 SECTION OF A MOULDING from the lower part of the base of the column of Trajan in Rome. 1 1 3 A. D. Anderson and Spiers, The Architecture of Greece and Rome, second edition, p. 190. 1329 MOULDING FROM A SARCOPHAGUS found in Crete. Probably second century A. D. In the British Museum. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, 111, No. 2296. 1 330 SECTION OF A MOULDING, with scrolls and a floral de- sign. Unidentified. 133 I SECTION OF A MOULDING of a base, decorated with in- verted akanthos leaves. Unidentified. 1332 SECTION OF A MOULDING, with a guilloche surmount- ing a leaf-pattern. Unidentified. 1333 HEAD OF A LION between palmettes. Section of the cymatium of the temple of Antoninus and Faustina in I^ome. A. D. 141. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 388. 1334 FRONT OF A PODIUM, with slightly curved surface. The face is divided into three panels, in the middle one of which is a festoon caught with ribbons or fillets, and in each of those on the sides a bucranium decorated with a knotted fillet. Above the central panel is a band with a conven- tionalized floral pattern, and below it are two dolphins with a circle between them. In the Lateran Museum, Rome, No. 716. 1335 SECTION OF A PANEL, showing half a festoon, probably from a podium in the Lateran A4useum, Rome. 1336 SEPULCHRAL CI FPUS in the form of an altar. The deco- ration consists of a wreath suspended from the horns of two rams' heads. In the centre is a shell in which is placed the bust of a youth. The lower corners are oc- cupied by griffins. The inscription reads: d. m. cae- SENNIAE PLOCE M. LIVIUS JUCUNDUS CONJUGI OPTIMAE POSUIT. "TotheManes. Marcus Livius Jucundus erected this to his excellent wife Caesennia Ploce." In the Cortile of the Belvedere of the Vatican, No. 63. GREEK AND ROMAN ARCHITECTURE 1 99 1337 FUNERARY CI FPUS of P. Fundanius Velinus. Sec- tion showing one side, with the two corners. In the Mu- seum of the Louvre, No. 516. Clarac, Musee de Sculpture, pi. 252, No. 559. 1338 RELIEF, A PATERA with a Gorgon's head surrounded by akanthos leaves. From the frieze of the temple of Vespasian and Titus at Rome. 81 A. D. Durm, Baukunst der Romer, fig. 444, 1339 ROMAN ROSETTE. In the Museum of the Capitol, Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 288. 1340 WATERSPOUT, in the form of the homed mask of a man, with ivy leaves in his hair and a shell in his mouth. Un- identified. 1341 SMALL ROMAN MASK. 1 342 SMALL PI LLAR, to which the figure of a Siren is attached. Probably from Attica, and now in the National Museum, Athens. Friederichs-Wolters, No. 2168. 1343 THRONE OF THE PRIEST OF DIONYSOS in the Dionysiac theatre, Athens. First century A. D. Dis- covered during the excavation of the theatre, and still in its original position. The decorative designs represent: (a) two satyrs, (b) two men attacking griffins, (c) winged youths pitting cocks against each other. Below the seat is the inscription: tscsw; Atovij::oj 'EXsuOspsuc;, "Of the priest of Dionysos Eleuthereus." Revue archeologique, 1862, pi. XX, p. 350. 1344 TABLE-SUPPORTS, found in the house of C. Cornelius Rufus at Pompeii, and still in their original position. First century A. D. Overbeck, Pompeii, p. 422. 1345 FRAGMENT OF A TABLE-SUPPORT in the form of two sphinxes. In the Lateran Museum, Rome. Benndorf und Schone, Die antiken Bildwerke des laieran- ensischen Mttseums, No. 376. 200 GREEK AND ROMAN ARCHITECTURE 1346 SPHINX. It perhaps served as the central support of a table. Found in the ruins of a villa of Antoninus Pius at Lanuvium. In the British Museum. Restorations: Part of the wings, legs, and tail. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 1719. 1347 TABLE-LEG formed by the combination of a lion's head and leg. From Pompeii, and now in the Museum of Naples. Friederichs-Wolters, No. 2154. 1348 TABLE-LEG formed by the combination of a panther's head and leg. In the Museum of the Louvre. Louvre, Sale Catalogue of Casts, No. 652. 1349 TABLE-LEG. The upper half of a figure of Eros holding a shell, combined with a lion's leg. From the Dipylon, and now in the National Museum, Athens. Friederichs-Wolters, No. 2158. 1350 TABLE-LEG formed by the combination of a lion's head and leg attached to a pilaster. In the British Museum. Restoratk)ns: The lower part and the capital. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2530. 135 I TABLE-LEG formed by the combination of a panther's head and leg. Of Italian marble, veined red and yellow. In the British Museum. Restorations: The greater part of the panther's leg and the bracket. A. H. Smith, Catalogue of Greek Sculpture in the British Museum, III, No. 2529. 1352 TABLE-LEG. The upper half of the figure of a Silenos combined with the leg of a lion. Unidentified. 1353 UPPER HALF OF A TABLr:-LEG or bracket, showing the fore-part of a winged lion. In the Ecole des Beaux-Arts, Paris. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 120. 1354 BRONZE CANFJELABRUM in the Museum of Naples. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2287. GREEK AND ROMAN ARCHITECTURE 201 1355 SMALL MODEL of the sarcophagus of Lucius Cornelius Scipio Barbatus, 298 B. C. Of peperino. Found in the tomb of the Scipios, on the Via Appia, and now in the Vatican. Helbig, Guide, \, No. 127. 1356-1375 TERRACOTTA MURAL RELIEFS 1356 NIKE (VICTORY) SACRIFICING A BULL. Terra- cotta mural relief in the British Museum. H. B. Walters, Catalogue of Terracottas in the British Mu- seum, D 569. 1357 DIONYSOS AND A SATYR. Terracotta mural relief in the British Museum. Somewhat repaired. H. B. Walters, Catalogue 0} Terracottas in the British Mu- seum, D 528. 1358 SATYR AND MAENAD carrying the infant Dionysos in a basket. Terracotta mural relief in the British Museum. H. B. Walters, Catalogue of Terracottas in the British Mu- seum, D 525. 1359 "MENELAOS AND HELEN." Terracotta mural re- lief. The interpretation is doubtful. In the Museo Kircheriano, Rome. 1360 "PELOPS AND HIPPODAMEIA," so called. Terra- cotta mural relief in the Museo Kircheriano, Rome. Helbig, Guide, II, p. 429. 1 36 1 TWO CANEPHORI before a candelabrum. Terracotta mural relief. Archaistic style. In the British Museum. H. B. Walters, Catalogue of Terracottas in the British Mu- seum, D 640, pi. XLIH. 1362 SATYRS drinking from a large basin. Terracotta mural relief. From the Campana Collection, and now in the Museum of the Louvre. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. i loi. 202 GREEK AND ROMAN ARCHITECTURE 1363 TWO GENII holding a garland. Terracotta mural re- lief. Modern (?). From the Campana (collection, and now in the Museum of the Louvre. £cole des Beaux-Arts, Sale Catalogue of Casts, No. 2041. 1364 FIGURE OF VICTORY among arabesques. Terracotta mural relief. From the Campana collection, and now in the Museum of the Louvre. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1 5 16. 1365 TWO SEATED WOMEN among arabesques. Terra- cotta mural relief. From the Campana Collection. G. P. Campana, Antiche opcre in plastica, I, pi. XIII. 1366 CONVENTIONAL DESIGN, a man giving drink to two winged monsters. Terracotta mural relief. F>om the Cam- pana Collection, and now in the Museum of the Louvre. £coIf; des Beaux-Arts, Sale Catalogue of Casts, No. 1926. 1367 h WINGED FIGURE among arabesques. Terracotta mural relief from the Campana Collection. G. P. Campana, Antiche opere in plastica, I, pi. XIV. 1368 SPHINX. Small terracotta relief in the Labordc Col- lection in Paris. £coIe des Beaux-Arts, Sale Catalogue of Casts, No. 815. 1369 BEARDED MASKS AND DOLPHINS. Section of a terracotta frieze from the Campana Collection. G. P. Campana, Antiche opere in plastica, pi. VII. 1370 HEADS AMONG SCROLLS AND PALMETTES. Sec- tion of a terracotta frieze from the Campana Collection, and now in the Museum of the Louvre. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1935. 1 37 1 PALMETTES AND SCROLLS. Section of a terracotta frieze from the Campana Collection, and now in the Mu- seum of the lojuvre. Ecolc des Beaux-Arts, Sale Catalogue of Casts, No. 2042. 1372 A WINGED HEAD. Fragment of a terracotta frieze in the British Museum. Ecole des Beaux Arts, Sale Catalogue of Casts, No. 2150. GREEK AND ROMAN ARCHITECTURE 203 1373 TWO WINGED LIONS. Section of a terracotta frieze in the Ecole des Beaux-Arts, Paris. Ecoledes Beaux-Arts, Sale Catalogue of Casts, No. 100. 1374 MEDUSA HEAD among scrolls and palmettes. Section of a terracotta frieze. Unidentified. 1375 SECTION OF A TERRACOTTA CORNICE with fluted cyma and a band of lilies on the face. In the Berlin Mu- seum. Boetticher, Tektonik der Hellenen, pi. 6, 12. 1376 TERRACOTTA ANTEFIX with a head surrounded by akanthos leaves, surmounted by a palmette. From theCam- pana Collection, and now in the Museum of the Louvre. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1933. 1377 THREE TERRACOTTA ANTEFIXES decorated with palmettes. Found at Olympia, and now in the Museum there. Friederichs-Wolters, Nos. 387 and 389, and Olympia, II, Baudenkmdler, pi. CXIX, No. 5. 1378 THREE TERRACOTTA ANTEFIXES decorated with female heads and ornaments. Etruscan. Formerly in the Campana Collection, and now in the Museum of the Louvre. Ecole des Beaux-Arts, Sale Catalogue of Casts, Nos. 2038, 2039, and 2045. 1379 TERRACOTTA ANTEFIX decorated with sphinxes and a palmette. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 402. 1380 TERRACOTTA ANTEFIX decorated with a female head. Panofka, Terracotten des koniglichen Museums in Berlin, pis. 52 and 53. 1381 FACE OF A CORNER ANTEFIX. In the Villa Pam- phili, Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2323. 1382 TERRACOTTA ANTEFIX decorated with a head of Athena. From Athens. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 2120. 204 GREEK AND ROMAN ARCHITECTURE 1383 ROMAN ANTEFIX, from Rome. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 1900. 1384 TERRACOTTA ANTEFIX decorated with the figure of a Nike (Victory). Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 403. 1385 TERRACOTTA ANTEFIX decorated with a female head surmounted by a palmette. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 404. 1386 TERRACOTTA ANTEFIX decorated with a female head. Ecole des Beaux-Arts, Sale Catalogue of Casts, No. 420. 1387 ANTEFIX decorated with a palmette. 1388 ANTEFIX decorated with a palmette and fore-parts of griffms. 1389-1392 FOUR TERRACOTTA MASKS. Etruscan. In the Antiquarium in Munich. 1393 TOP OF A CI FPUS, in the shape of a roof with female heads in the gables and angles. Unidentified. 1394 INSCRIPTION from a stele of limestone which stood in the Temple of Herod at Jerusalem. The inscription reads: MrjOeva aXXoyevr) sJaxopeuscrOat hzhq tol) icepl to lepbv Tpu(pa/.TOU xal TceptSoXou. 81; S' av Xtq^Gt) eaux(ji aixioq hi(xi Bta to e^a/.oXouOeIv 6avaTov. "Let no stranger enter within the balustrade around the sanctuary and the sacred enclosure; whosoever is caught in doing so will have to answer to himself for the penalty of death that follows." Josephus, in his History of the Jewish JVar, V, 5, 2, and his Jewish Antiquities, XV, 11, 5, says that on the stone bal- ustrade which separated the inner from the outer sanctuary, in the temple of Herod, were placed stelae with Greek and Latin inscriptions forbidding strangers to enter within the second sanctuary. The stele from which the above in- scription is taken was doubtless one of these. Its date must be a few years before the Christian era. It was found about fifty metres distant from the temple of Herod, and is now in the Imperial Museum of Constantinople. C. Clermont-Ganneau, Une sthle du temple de Jerusalem, in the Revue archeologique, 1872, XXI I, pp. 21 4fT. and pp.209ff. EARLY CHRISTIAN, BYZANTINE, ROMAN- ESQUE, SCANDINAVIAN AND SARACENIC ART EARLY CHRISTIAN ART i-viii centuries (in gallery 38) 1 40 1 END OF A SARCOPHAGUS, with a vase and scroll-work, framed by two twisted columns and a pediment. In the Chapel of St. Aquilinus, Milan. Of marble. Fifth century. 1402 TYMPANUM, from the end of the sarcophagus which partly supports the pulpit in the Church of Sant' Ambro- gio, Milan. Of marble. Fifth (?) century. Garrucci, Storia, V, pi. 328, No. 3. 1403 ARCHITRAVE of the main doorway in the Church of Santa Pudenziana, Rome, dating from the eighth century, and restored in 1598. Of marble. Topical Architecture, I, No. 35. 1404 CARVED WOODEN DOOR, with panels representing: (i) the Prophet Habakkuk transported by an angel to Daniel; (2) (much restored) the Ascension of Elijah, and his mantle falling on Elisha; (3) Christ before Caiaphas. in the Church of Santa Sabina, Rome. Fifth century. Garrucci, Storia, VI, pi. 499, Nos. 8, 10, and B; pi. 500, No. III. 1405 PART OF THE DOORWAY FRAME in the Church of Santo Stefano Rotondo, Rome. Of marble. Fifth century. 1406 RELIEF from the end of a sarcophagus, representing Moses smiting the rock, and Christ healing the woman with an issue of blood. In the Lateran Museum, Rome. Of marble. Fourth or fifth century. Garrucci, Storia, V, pi. 323, No. 6. BYZANTINE ART ix-xi centuries (in gallery 38) 141 I HALF CAPITAL from the exterior of the apse of the Cathedral of San Donato, at Murano. Of marble. Tenth century. Ruskin, Stones of Venice, W, pi. VII, No. 7. 1412 FRAGMENT OF CORNICE from the same. Ruskin, Stones of Venice, II, pi. V. 141 3-141 5 THREE SQUARE PANELS. In each is a circle of bead-and-fillet ornament, enclosing in 141 3 a griffin, in 1414 an eagle, in 141 5 two winged beasts feeding. From Rome. 1416 CAPITAL from the nave of the Cathedral of Santa Maria, at Torcello; rebuilt 1008. Of marble. Cattaneo, Architecture in Italy, p. 330. 1417-1420 DETAILS FROM THE BASILICA OF ST. MARK, VENICE. 977-1071. 1417 Fragment OF A Capital in the interior. Of marble. Ongania, La basilica di San Marco, Pf. V, pi. 203, No. E3. 1418 Circular rllilf with a peacock; detail from a pan- el made in 976 for a parapet, and now set into the wall on a stairway. Of marble. Cattaneo, Architecture in Italy, p. 321. 141 9 Panel, with two griffins, a vase, and ornament, at the base of the south facade. Of marble. Ongania. La basilica di San Marco, Pf. V, pi. 137. BYZANTINE ART 2O9 1420 Panel with an arch and columns enclosing a cross and ornament, in the Baptistery of St. Mark of the Par- ticipazi. Of stone. A relic of the older church of 829, Cattaneo, Architecture in Italy, p. 294. 1 42 I CORBEL, with a griffin and akanthos ornament. In the Museo Civico, Venice. 1422 A, B. WELL-HEAD IN THE CORTE GATTEI. VEN- ICE. About 1 105. One side, and a fragment of the border at the top. Of stone. Mothes, Geschichte der Baukunst, pi. 3. Robertson, Venetian Discourses, p. 140. 1423 A, B. FRAGMENTS OF A FRIEZE, with animals in or- nament. In Venice. Royal Architectural Museum, London, Sale Catalogue of Casts, Nos. 100, 10 1. ROMANESQUE ART MAINLY XI-XIII CENTURIES ITALIAN (in gallery 38) 1430-1432 MILAN, CASTELI.O SFORZESCO. Lombard (Capitals from the Church of Santa Maria d' Aurona, Milan, now destroyed. Of stone. Eleventh cen- tury. Dartein, L'Archiiedure lomharde, p. 105, A, B, C. 1433-1436 MILAN.CHURCHOFSANT'AMBROGIO. Found- ed in the fourth century, and rebuilt in the ninth, eleventh and twelfth centuries. Lombard style. 1433 Byzantine Fragment of the jamb of the main doorway. Of stone. Ninth century. Cattaneo, Architecture in Italy, p. 230. Gauthiez, Milan, p. 9. 1434, 1435 Two capitals of engaged columns. No. 1435 is in the lower gallery of the narthex. Of stone. Eleventh century. Dartein, L' Architecture lomharde, pi. 40, No. 2. 1436 A, B. 'i"wo Sides of the Pulpit, sculptured with animals and ornament. C)f marble. Second half of the eleventh century. Dartein, L' Architecture lomharde, p. 112, pi. 36. Gauthiez, Milan, p. 11. 1437, 1438 ROME, BASILICA OF SAN GIOVANNI IN LATERANO. Founded in the fourth century, and several times rebuilt and restored. I T A L I A N A N D F R E N C H 211 1437 One Bay of the Cloister Arcade; built by Vassa- lettus, in the thirteenth century. Of stone, with Cosmato work. In Gallery 17. Fontan3i, Chiese, III, pi. 15. 1438 Double Capital from the Cloister. Of stone. In Gallery 17. Fontana, Chiese, 111, pi. 16. 1439-1442 UNIDENTIFIED. 1439 Small Bracket, or pendant, with eagles. Lombard style. Pierotti, Sale Catalogue of Casts, No. 15. 1440 Narrow Cornice with ornament. Lombard style. 1 44 1 Small Half-Capital with a seated figure. Lom- bard style. Pierotti, Sale Catalogue of Casts, No. 15. 1442 A, B. Fragments of a Frieze, with animals in ornament. Lombard style. Pierotti, Sale Catalogue of Casts. FRENCH (in gallery 38,1 1443-1445 ARLES, CHURCH OF ST. TROPHIME. Twelfth century. 1443 Model of the Porch. Wilson, Cathedrals of France, p. 3. 1444-1445 Capitals from the Cloister. Of stone. Marcou, Album, I, pi. 16. Wilson, Cathedrals of France, p. 4. 1446 AUTUN, cathedral of ST. LAZARE. Twelfth century. Capital of a pilaster in the nave. Marcou, Album, 1, pi. 3. 212 R O M A N E S Q U E A R T 1447 BRIVES, CHURCH OF ST. MARTIN. Twelfth century. Capital of an engaged column in the nave. Marcou, Album, I, pi. 34. 1448 CHALONS-SUR-MARNE, CHURCH OF NOTRE- DAME. Twelfth century. Capital of a pilaster of the nave. Of stone. Marcou, Album, I, pi. 54, No. 3. 1449 CLERMONT-FERRAND, CHURCH OF NOTRE- DAME-DU-PORT. Close of eleventh and beginning of twelfth century. Doorway of the south transept. In the tympanum are the Madonna and Child and the three Magi, the Presen- tation in the Temple, and the Baptism of Christ; above are God the Father and two cherubim, and, at either side, indistinguishable figures. In Gallery 30. Marcou, Album, I, pi. 9, pi. 74, No. 25. 1450, 1451 CORBEIL, CHURCH OF NOTRE-DAME. Early twelfth century. Corbels with animals' heads. Ecole des Beaux-Arts, Sale Catalogue of Casts, Nos. 284, 285. 1452 DONZY, CHURCH OF NOTRE-DAME-DU-PRE. Twelfth century. Capital of an engaged column in the nave. Of stone. Marcou, Album, I, pi. 51, No. 3. 1453-1462 MOISSAC, CHURCH OF ST. PIERRE. Of the twelfth century; rebuilt in the fifteenth century; the Clois- ter dates from i loo-i 108. 1 453- 1 456 Four Columns, with capitals, from the ar- cades of the Cloister. Of stone. Baudot, La sculpture jranfoise, 12' si^cle, pi. 6, Nos. I, 2. Vitry and Briere, Documents, pi. 7, No. 7. I457-I461 Abaci of capitals in the Cloister. Of stone. Marcou, Album, I, pis. 21-23.