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

1

I

THE METROPOLITAN

|i

MUSEUM OF ART

CATALOGUE OF THE

:

COLLECTION

OF CASTS

SECOND EDITION

1

i

!

WITH

SUPPLEMENT

•

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' PRINTED FOR THE MUSEUM

MCMX

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^f^'jid(^VjUtAiit«^,^'<li£S^%*>a>' 'A.

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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

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ROMANESQUE ART

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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.

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LuBKE, W. VON. Ecclesiastical Art in Germany during the Middle Ages. Edinburgh, 1870. Geschichte der deuischen Kunst. Stuttgart, 1890.

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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).

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Jones, O. Plans, Elevations, Sections, and Details of the .Alhambra. 2 vols. London, 1842-45.

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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.

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BoiTo, C. // duomo di Milano e i disegni per la sua facciata. Milan, 1889.

XXVlll BIBLIOGRAPHY

Britton, J. Architectural Antiquities of Great Britain. 5 vols. London, 1807-26.

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Eggert, F. X. Sammlung gothischer l^er^ierunsen. Munich, 1865.

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Freeman, L. J. Italian Sculptute of the Renaissance. New York, 1901.

Gailhabaud, J. L' Architecture du 6' au 17' siecle et les arts qui en dependent ... 4 vols. Paris, 1858.

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Gonse, L. L'Art gothique, l' architecture, la peinture, la sculp- ture, le decor. Paris, n. d.

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Lethaby, W. R. Mediaeval Art from the Peace of the Church to the Eve of the Renaissance, 312-1350. London, 1904.

GOTHIC ART XXIX

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Mackenzie, F. Architectural Antiquities of the Collegiate Chapel of St. Stephen, IVestminsier . . . London, 1844.

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Merivale, C. St. Etheldreda Festival . . . at Ely. Fly, 1873.

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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. Geschichte (i 396-1895) und Beschreibung. Mailand, n. d.

Bezold, G. von. Die Baukunst der Renaissance in Deutschland. Stuttgart, 1900. (Handbuch der Architektur, edited by J . Durm, pt. 2, vol. 7).

Bode, W. Denkmdler der Renaissance-Sculptur Toscanas. Mun- ich, 1 892- 1 905.

Geschichte der deutschen Plastik. Berlin, n. d.

Die italienische Plastik. (Handbuch der Koniglichen Museen zu Berlin). 2nd edition. Berlin, 1893.

RENAISSANCE ART XXXI

UND TscHUDi, H. VON. KonigUche Museen ^u Berlin; Beschrei- bung der Bildwerke der chrisilichen Epoche. Berlin, 1888.

BoscHEN, H. (editor). Die Renaissance-Decke im Schlosse {U

J ever. Leipzig, 1883. Brochure Series of Architectural Illustration. Boston, 1895, etc.

BuRCKHARDT, J. Der Cicerone; eine Anleitung ^uni Genuss der Kunstwerke Italiens. 9th edition. 4 vols. Leipzig, 1904.

Cavallucci, J., ET MoLiNiER, E. Les delta Robbia, leur vie et leur ceuvre d'apres des documents inedits. Paris, 1884.

Clarac, C. O. F. I. B., CoNTE DE. 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,

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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

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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