UC-NRLF *B 3S3 7ab Digitized by the Internet Arcinive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/descriptivecatalOOmuserich p I "0^^^ OF THE IVERSITT OB* ^ZIPO ■ L_— _J_J_ -*— * o 1 ^ < UJ — UJ X UJ 2 ^ ss s ^ CD ■■1 ■■■ *(/) ^^■i c/) UJ i<: UJ cr UJ UJ 2 UJ 1- -1 CO j^ II ^ -J < o p ^ ■■■BH ^■■■1 II z < z < !^ h £ UJ ^ UJ .1 > ^ s O O UJ ■■Bi '1 1; ■ ■■ " tj7 "1 J ' ' J ■ , - II 1 1 < ■ .1 1 I ii 1 ■" _ „ HlHH ■■^ VBBHH m ■ ^^BJi II z 1 ' 1 «c - — CO Z OC UJ <: Q- — -' o >- t CO o :d cc ^ ^ ^ ■ ^ UJ "I H- Cu ^; .t^ i*J UJ UJ 3e cc < UJ •n q; . Ir a: 3 ■■■■ 1- O r B Q. -1 ' 1 i ^ - 3 2 7 < CO CO 1- o < ' CO CO 15 (0 o ' UJ oc oc ■■■■■ I •sisvo nvan±03±iHoav ' q: MUSEUM OF FINE ARTS. Descriptive Catalogue OF THE CASTS FROM GREEK AND ROMAN SCULPTURE. BY EDWARD ROBINSON, Curator of Classical Antiquities. y OP THB >^ (Ui riVBIlSITY l BOSTON: PRINTED FOR THE MUSEUM BY ALFRED MUDGE <5r» SON, 24 Franklin Street. 1887. 1 jrff/ p INTRODUCTION. Since the publication of the former catalogue, the col- lection of casts has increased to such an extent that the Trustees of the Museum have found the continued issue of supplements impracticable, and have therefore ordered the preparation of a new catalogue. Advantage has been taken of this opportunity to offer what it is hoped may be both a guide for general visitors, and a useful handbook for students, for whom especially the notes following the title of each object are intended. The statements regard- ing restorations are based upon those of archaeologists who have made especial studies of the respective objects, com- pared with photographs and with the author's notes. No attempt has been made to give the complete literature of each object, as this would have increased the size of the catalogue unnecessarily. The referenced are generally either to the best illustrations of the work described, or to one or two of the most important essays upon it, and are given partly as an assistance in identifying the casts with their originals, and partly for the benefit of those who may wish an exhaustive description of some particular work. In general histories and manuals of ancient sculpture stu- dents can easily find the allusions to the objects of which casts are here exhibited. A list of the more important of these histories is given below, INTRODUCTION. With few exceptions, the Greek names of deities and heroes are given, in preference to their Roman synonymes. For the convenience of those familiar only with the latter, the following table is appended : — Greek. Roman. Greek. Roman. Zeus is Jupiter. Hestia is Vesta. Hera Juno. Dionysos (( Bacchus. Poseidon " Neptune. Eros <( Amor {Cupid) Demeter " Ceres. ASKLEPIOS u ^SCULAPIUS. Persephone ) . _ KORA |.S PROSERPINE. Hades Eos Pluto. Aurora. Artemis is Diana. Nike K Victory. Hephaistos " Vulcan. Herakles « Hercules. Athena " Minerva. Polydeukes " Pollux. Ares " Mars. AlAS a AjAX. Aphrodite " Venus. Odysseus a Ulysses. Hermes " Mercury. The following-named works on Greek and Roman sculp- ture are recommended to those who wish to gain a general knowledge of the subject. The list is arranged alphabet- ically : — ^ Beule, M. L'Art grec avant Pericles. Brunn, H. Geschiehte der griechischen Klinstler, 2 vols. Braunschweig and Stuttgart, 1 853-1 859. CoLLiGNON, Max. Manuel d'archeologie grecque. Paris, 1882. The same, translated by Prof. John H. Wright. New York, 1886. Friederichs, K. Bausteine zur Geschiehte der griechisch- romischen Plastik. New edition by Paul Welters, printed as the official catalogue of the collection of casts of the Berlin Museum. Berlin, 1885. LiJBKE, W. History of Art, vol. I. Translated from the Ger- man by Clarence Cook. New York, 1878. I iMTRODt^CTION, Mitchell, Lucy M. A History of Ancient Sculpture. New York, 1883. This book is especially recommended for the amount of information it contains. MuLLER, K. O. Handbuch der Archaologie, 3d edition, by Welcker. Stuttgart, 1878. Ancient Art and its Remains. A translation of the above, by John Leitch. London, 1852. Murray, A. S. A History of Greek Sculpture, 2 vols. Lon- don, I 880-1 883. OvERBECK, J. von. Geschichte der griechischen Plastik ; 3d edition, 2 vols. Leipzig, 1881-82. Perry, W. C. Greek and Roman Sculpture. London, 1882. Reber, Franz. History of Ancient Art. Translated and aug- mented by J. T. Clarke. New York, 1882. The Museum subscribes to the art and archaeological periodicals named below, which are kept in the Library for the use of those who may wish to consult them : — Baltimore. American Journal of Archaeology. London. The Portfolio. Paris. Gazette des Beaux Arts. UArt. Gazette Arch^ologique. Berlin. Jahrbuch des deutschen archaologischen Instituts. Jahrbuch der preussischen Kunstsammlungen. Antike Denkmaler. Repertorium fiir Kunstwissenschaft. Leipzig. Zeitschrift fiir bildende Kunst. Rome. Bulletino della Commissione Archeologica Municipale. Mittheilungen des deutschen archaologischen Instituts, romische Abtheilung. Athens. Mittheilungen des deutschen archaologischen In- stituts, athenische Abtheilung. Bulletin de Correspondance Hellenique. FIRST GREEK ROOM. ASSYRIAN RELIEFS. A few Assyrian Reliefs are of necessity placed in this room for the present. A is an original slab added to the collection since the publi- cation of the former catalogue. The description of the others is re- printed from that catalogue. The differences noticeable in the treatment of Assyrian reliefs mark three distinct periods, the first of which extends from the latter part of the tenth century (B. C.) to the beginning of the eighth ; the second from the beginning of the eighth to the middle of the seventh (B. C. 721-667) ; and the third from the middle of the same to about forty years before its close (B. C. 667-640). The first, to which the casts in the Museum belong, are simply treated with plain backgrounds. In the second, landscape accessories, such as rivers, lakes, date-palms, etc., are freely introduced ; swimming fish abound in the water-courses, and rustic scenes of all kinds are represented. These were executed during the reigns of Sargon, Sennacherib, and Esarhaddon. The third class of reliefs, sculptured while Sardanapalus II. (Asshur-ben-i-pal) sat on the throne of Assyria, is easily distinguishable from the other two by its extreme minute- ness of detail, more sober treatment of landscape in back- grounds, and less conventionality of vegetable forms. An examination of the first and second series of the plates in Sir Henry Layard's Monuments of Nineveh (atlas folio, 1853) will enable the student to appreciate the treatment of relief peculiar to each of the three periods referred to. FIRST GREEK ROOM, A. An original Assyrian Relief. From Nineveh. Of alabaster. Ht, M. 2.30; width, 1.307; thickness, o.ii. Pur- chased by Mr. W. T. Shaw, of Saa Francisco, at Kouyunjik (Nineveh), about 1874. Sold at auction in New York, 1880, to G. L. Feuardent, of whom it was purchased by the Museum in February, 1881. This relief, which is a part of a series, contains but one figure — a deified king, winged, standing in profile to the left, his right hand raised before him, the left grasping a sceptre or rod at his side. He is draped in a long, heavily fringed robe, and adorned with ear-rings, a necklace, arm-bands and bracelets, the last decorated each v/ith a large rosette. The treatment of hair, beard, muscles, and drapery is an excellent example of the conventional style of Assyrian sculpture. Crossing the slab horizontally is a cuneiform inscription of twenty-one lines, which is also carried across the right edge of the block, showing that the original composition ended at this point, as otherwise this part of the inscription would be covered by the adjoining slab. The inscription recounts the deeds of the king who is represented, and shows that he is Assur-nazir-pal, king of Assyria, B. C. 885-860. B. Bas-relief (Plate 7 [A], first series, Layard) , Winged Figures Kneeling before the Sacred Tree, the special emblem attached to the worship of Asshur, the Assyrian Jupiter. As on emblem it recalls the Tree of Life in Gen- esis, the Sacred Tree of the Hindoos, and the Zoroastrian Homa. This tree was the cedar, called the Tree of Para- dise, whose pyramidal top represented a flame. In the Assyrian sculptures the arrangement of the flower petals resembles the Greek honeysuckle ornament. C. Bas-relief from Nimroud, representing the Interior OF A Castle, ground plan, and a pavilion or tent, under which some horses are drinking ; and a groom is represented as in the act of currying a horse, whose natural action under the operation is faithfully rendered. "This bas-relief," says Mr. Layard (see Plate 30 and page 3, first series, of Descrip- ASSYRIAAT RELIEFS. mow of the Plates in the Monuments of Nineveh), *' probably represents the return home after battle." The general plan of the castle is divided into four compartments, in each of which is a group of figures, either engaged in domestic occu- pations or in making preparations for a religious ceremony or sacrifice. At the door of the tent stands a eunuch receiv- ing four prisoners led by an Assyrian warrior. No explana- tion is given in the text of the lion-headed figures and their keeper in the upper right-hand corner of the relief. D. Return of a King from a Lion Hunt, not engraved in Layard's Monuments. The king, with attend- ants and horses, stands offering a libation over four dead lions lying at his feet. Another victim of the chase is brought in by some of the royal followers. E. Five Horses and three Riders, one leading. From a slab in the British Museum, which represents a hunt of wild asses. Found by Mr. Layard at Kouyunjik. F. Wounded Lioness, bas-relief in the British Museum of a lion hunt, from Kouyunjik, Nineveh; date, about 700 B. C, reign of Sardanapalus III. This is a typical exam- ple of the Assyrian sculptor's wonderful ability to represent wild animals. Struck by an arrow in the spinal column, the dying lioness howls with rage and pain as she drags her paralyzed hind legs along the ground. G. Bas-relief (Plate 56, second series, Layard), Sculp- tured Pavement from Kouyunjik, in alabaster, between the winged bulls at entrance c of Chamber XXIV. Many of the entrances at Kouyunjik had similar slabs. H. Stone, with the Figure of a King in Relief, and record of the sale of a field in the reign of Merodach Adan Akhi, king of Babylon, about 1150 B. C. L Four Assyrian Lion Weights, from the British Museum. At p. 601, Vol. TH of Layard's Nineveh, the author says, " It is also highly probable that the curious FIRST GREEK ROOM. series of bronze lions discovered at Nimroud during my first researches were used for a like purpose, as weights. The heads show that wonderful power of representing ani- mal rage and suffering in which the Assyrians were unsur- passed. Their human figures are conventional, stiff, and unnatural, but their animals are living." CASTS FROM GREEK SCULPTURE. I.* The Leukothea Relief, so called, in the Villa Albani, Rome. Of Parian marble. Restorations : On the sitting figure the nose, lips, and part of right hand. On the small figure held by her, the right hand, left lower arm, and hand. On the large standing figure opposite, the face, both hands, and part of the object lield. Published: Zoega, BassirilieviiVo\.ly\>\ XLI; Winckelmann, Monunienti Inediii^ No. 56; etc. On a large chair at the left sits a goddess or woman with long flowing hair, clothed in the long-sleeved Ionic chiton, over which is an himation or shawl. With both hands she holds on her knee a small, full-draped figure, the right hand of which is stretched affectionately towards her. Facing these two at the left stands another large female, in a similar garment, holding a round object which is pos- sibly a fillet. At her right stand two smaller figures, also full-draped. From the time of Winckelmann, who first published this monument, explaining it as Leukothea nursing the infant Dionysos, the subject has been a matter of dispute. His interpretation is obviously wrong, the small figure in the lap of the seated one being evidently female, as indicated by the head-dress and the bands crossing the breast. Comparison with archaic grave monuments discovered since Winckelmann's time shows that the relief belongs to that class of works, but whether the representation has a mythological or an every-day significance is not easily determined. It is often explained as a family picture, in which the deceased mother is represented playing with her 1,2. ARCHAIC RELIEFS, II child, her family about her. An objection to this theory is that the husband and father is not present. The small figure, too, appears to be not only female but an adult. It seems more probable, therefore, that the two large figures are goddesses, distinguished from mortals by their size, as is usual in early Greek art, and that the relief represents the reception of a woman into the lower world by the Great Goddesses, Demeter and Persephone. At Athens and elsewhere in Greece, Demeter was worshipped with Persephone as a power of the lower world, and sacri- fices were made to her at funerals. If this explanation is correct, Demeter is the seated figure, wearing the sphendone^ a form of coronet, and Persephone stands opposite her. The smaller figures are mortals, members of the family who bring offerings. (Cf. the Spartan reliefs on the adjoining wall, Nos. 7-12.) The date of the relief is probably about 500 B. C., and its style is that of the early Ionic schools, which flourished along the coast of Asia Minor and among the islands of the yEgeanSea, whence they extended to Athens, their in- fluence being predominant in the development of Athenian sculpture up to the early part of the fifth century, B. C. 2. Figure Mounting a Chariot, in the Akropolis Museum, Athens. Of Parian (?) marble. The principal portion, with the figure, found near the Klepsydra, at the N. W. corner of the Akropolis, in 1822. The smaller block, with horses' tails, noted by Newton on the Akropolis in 1852. There are no restorations. Pub- lished: Mliller-Scholl, Archdologiscke Mittheilungen aus Griechenland, pi. II, fig. 4; Overbeck, Geschichte der griech. Plastik, I, p. 153; etc. The theory has often been advanced, but without suffi- cient proof, that this relief was part of the frieze of the older Parthenon. We have no indication that the older building had a frieze, beyond the existence of this slab and one or two small fragments (cf. the head of Hermes, No. 31), and it is therefore more reasonable to suppose that this was an independent work, possibly the votive offering of a victor in the chariot races. The long flowing robe FIRST GREEK ROOM. gives the figure a feminine appearance, but this costume is equally characteristic of male charioteers, as the paint- ings on vases testify, and the line of the breast, which is visible just below the arm, shows none of the marked ful- ness by which early artists distinguished female from male figures, as illustrated in the relief from the Villa Albani, No. I, or the Harpy Monument. Probably, therefore, the figure is that of a youth mounting his chariot, and the fragment (No. 31) alluded to above, which unquestionably belonged to this group, shows that Hermes accompanied him, as he is often represented on early vases accompany- ing chariots. This is a work of the Attic school, which, as mentioned above (No. i), was largely under the influence of the Ionic, but differed from it in this, that while the Ionic sought to avoid the necessity of modelling the human figure by cloth- ing it heavily with drapery, the Attic artists at an early date strove to emancipate themselves from this weakness, and to show the form through the drapery. Comparison of this relief with the one described above, or with those from the Harpy Tomb, will illustrate this point. 3. Herakles and the Stag, bas-relief in the British Museum. Of marble. Bought for the Towneley collection between 1 770-1 7S0. Passed with that collection to the British Museum. Restora- tions: part of each thigh. Published: Ancient Marbles in the British Museum^ II, pi. 7 ; Mliller-Wieseler, Denkmdkr der alten Kunst, I, pi. 14, No. 49. See also Keil in the Annali delV Instituto, 1844, P* I75ff'> Gtc. This is a representation of one of the labors of Herakles, that of capturing the stag or horned hind which roamed about Mt. Keryneia, between Achaia and Arkadia, or ac- cording to other accounts, on Mt. Mainalos in Arkadia. The animal was sacred to Artemis, to whom it had been dedicated by the nymph Taygete, and Herakles secured it only after long wandering and toil. Although treated in the archaic manner, especially the head of Herakles, the freedom in the action and the skill of the modelling indicate that this is not a genuine archaic I 3, 4, ARCHAIC RELIEFS. 13 work, but an imitation, probably of the Roman epoch. The size of the block, and the presence of the moulding about the edge, suggest that it may have been inserted as a panel in an altar or pedestal. 4. Pedestal of a Tripod, in the Museum of Antiquities at Dresden. Of Pentelic marble. Formerly in the Chigi collection, in the Pa- lazzo Odescalchi, Rome. Since 1728 in Dresden. There are no restorations. Published: Becker, Augusteum^ pi. 5-7; Ilettner, Bildwerke der Antikaisanimlung zti Dresden^ 1881, p. 76, No. 80 ; etc. Each of the three sides of this pedestal is decorated with a relief of a religious significance, two referring to the sa- cred character of the tripod, and the third a subject diffi- cult to explain. The first panel represents Apollo recover- ing the Pythian tripod from Herakles, who stole it from its place at Delphi. The scene of action is indicated by the omphalos., the cone-shaped object between them, which is symbolic of Delphi, the omphalos or navel of the earth, as it was regarded by the Greeks. A stone of similar shape stood there. The second scene is the consecration of an object usually explained as a torch, which is placed upon a tall pillar by a priest and priestess. The significance of this ceremony is by no means clear. It is still open to question whether the consecrated object be really a torch, though this ex- planation of it is pretty generally accepted, and the bowl below it is said to be for the reception of embers that fall when the torch is lighted. The ritualistic character of the ceremony is shown by both priest and priestess stand- ing on their toes, and by the manner of holding their hands {J>rwre digito in erectiim pollicem residentc). On the third side is the consecration of a tripod, which, placed upon a pillar, is decorated with a fillet by a priestess, while a priest stands by holding the besom, or broom, used to purify the temple. Although the figures are modelled with the stiffness of primitive art, this is not a genuine archaic work, as some of the details, and especially the elaborate decorations at the 14 FIRST GREEK ROOM. top and base, show more freedom and command over the material than was possible in real archaic sculpture. The imitation of archaic art was cultivated at Rome during the early part of the empire by the priestly orders, who thus preserved the old types of divinities, and by many fashion- able amateurs, who affected the simplicity of early Greek art. To this period the pedestal probably belongs. The subjects represented point to a hieratic purpose, and the presence of Sileni, grapes, etc., in the decoration suggest that the tripod which it supported may have been erected in honor of a Bacchic triumph. 5. Archaic Head, in the British Museum. Of marble. There are no restorations. Published : Ancient Marbles ift the British Museum ^ pt. 9, pi. ii, fig. 4. An example of the early Doric style, similar to the Apollo statues from Thera (No. 20), and Orchomenos (No. 21). Like them it is beardless, and the face has the archaic smile. The hair, which is bound by a fillet, falls in symmetrical curls behind the ears. 6. Reliefs from the Harpy Monument. In the British Museum. Of white marble. Ht., M. 0.90 ; br. on east and west sides each 2.37, north and south each 2.15. Discovered by Sir Charles Fellows at Xanthos in Lykia, 1838. Carried to England 1842, and placed in the British Museum. There are no restorations. Published: Fellows' yournal of an Excursion in Asia Minor^ London, 1839, p. 231, hisZyrzVz, 1841, p. 170; Rayet, Monuments deVArt Antique I, pis. 13-16; etc. Colors: At time of discovery colors on the reliefs were noted as follows : on the background traces of blue ; on the crest of the warrior, and the sandals of some of the figures, red ; and on the chair of the figure on the north side, traces of a pattern of rosettes, etc., in color. The monument from which these reliefs were taken is a solid rectangular block of limestone, measuring about 8 ft. 4 in. on its longest side, and, with the base upon which it stands, about 20 ft. in height, surmounted by a low, broad cornice and a flat, square top. Just below the cor- nice was placed this marble frieze, encompassing the four 6. THE HARPY MONUMENT, 15 sides of the monument, with a small opening on the west side (see below), through which the remains of the dead were passed into a chamber cut in the rock. The tomb itself, deprived of its frieze, is still standing in its original position. Beginning the description on the left, we have first the three blocks of the South side. At the two corners of this are flying figures, each with the head, breast, and arms of a woman, the claws, \\ings, and tail of a bird, and an oval body. Each bears in its arms a small human figure, full-draped. Between these a seated figure, probably male, though the face is much destroyed, holds in each hand a pomegranate, perhaps just taken from the figure opposite, who holds a bird as though in the act of offering it. Following this is the West side, in which is the small opening alluded to above, and over it a cow suckling a calf. To the left of this block sits a female holding out a patera in the attitude of a goddess accepting a libation ; to the right three female figures approach a seated female, who holds in her right hand a flower, in the other a pomegran- ate. Next comes the East side. The central figure here is a male, bearded, seated on a large throne, holding a flower in his right hand, the left leaning against a long sceptre. Two large male figures approach the throne from behind, while in front a smaller one holds out a cock and an ^^g (?) as an offering to the seated figure. In the right corner stands a large figure facing the others, holding a staff in one hand, and an unrecognizable object in the other, accompanied by a dog. Finally the North end, similar to the south, except that the central group is that of a young warrior delivering up his helmet to a seated male divinity, under whose throne is a bear. In the lower right-hand corner is a figure in an attitude of grief gazing at the group above it. Without doubt the subjects of these reliefs relate in some manner to death and the divinities connected with it, but a satisfactory interpretation of the figures and scenes has not yet been reached. It can only be presumed that the larger figures are divinities of the lower world, and the smaller figures mortals in the act of sacnficing, but with our present limited knowledge of the Lykian religion or 1 6 FIRST GREEK ROOM, its adaptation of Greek forms, a closer identification is not possible. Although this monument derives its name from the figures on the two narrower sides, it may be questioned whether these are really Harpies. In spite of the fact that they have generally been accepted as such, it is much more probable that they are Sirens. In Greek lit- erature Harpies do not appear as creatures of the under- world. They are beings of the storms and rushing winds, and therefore were sometimes supposed to have carried off people who disappeared suddenly or mysteriously; but this cannot be regarded as a necessary association with death. Sirens, on the other hand, are intimately connected with Persephone and Demeter, and appear as beings of the lower v^^orld in the service of the former. The tradition was that they received the very form in which they are represented on this monument, either to enable them to fly over the sea in search of Persephone, or as a punishment for not pre- venting her capture. Moreover, we know both from ex- isting monuments and from ancient writers, that they were often represented on grave monuments, as for example, on those of Sophokles, Isokrates, and Hephaistion, and many now preserved in the museums of Athens and other cities. The small figures they carry are not to be regarded as infants, the difference in size being a common way of distinguishing mortals from divinities in archaic art (cf. the "Leukothea'* relief. No. i and the Spartan reliefs Nos. 7-12), and it is probable that these groups represent the transport of souls to the lower world. In style, these reliefs correspond so well with early Ionic works that we may suppose them to have been the work of Greek sculptors of that school, which, as mentioned above (p. 11), spread its influence along the Asiatic shores as well as into Greece itself. This explains the resem- blance between this work and the archaic reliefs found in Athens. At this early period, neither Attic nor Lykian art was dependent upon the other, but both were under the influence of a third school, the Ionic, whose principal seats lay between the two. Comparison with other Ionic works indicates the end of the sixth century B. C. as the probable date of the Harpy Monument. 7-12. SPARTAN GRAVE RELIEFS. 1? 7-12. Spartan Grave Reliefs. Found at various times in and about Sparta. No. 8 was purchased by Count Saburoff, formerly Russian minister to Greece, and bought of him in 1884 by the Berlin Museum, in which it now is. The others are in Sparta. Material, a coarse bluish gray marble found in the locality. 7, ht., 0.29, br., 0.37. 8, ht., 0.87, br , 0.65. 9, ht., 0.28-30, br., 0.22. 10, ht., c.25, br., o 24. II, ht., 0.60, br., 0.64. 12, ht , 0.36, br., 0.35. There are no attempts at restoration. Published; Mittheilungen des deut- sc/ien Ittstituts in Athe7iy II (1877), pp. 303 ff. and pi. xx-xxv ; Furtwangler, Die Sammlmtg Saburoffy pi. I ; etc. As Nos. 7, 8, II, 12 are variations of the same type, a description of No. 8, the best preserved, will answer for all. On a throne wrought with considerable elaboration sit two persons, who from their size, as compared with that of the other two figures in the relief, are doubtless divini- ties. The outer of these, a male with a slight beard, regards the spectator with a look intended to be expressive of good-will. In his right hand, extended, he holds akan- tharos, or drinking cup. His left, also extended, is open, perhaps to receive the offerings brought to him by the smaller figures. At his left sits a female in profile, holding in her right hand a pomegranate, and with the left drawing aside her veil to disclose her face. Of the smaller figures, evidently mortals, the foremost brings a cock and an ^g^^ the other a pomegranate and a flower. Behind the throne stands erect a serpent, his tail curled under the seat, and his head coming over the back. Nos. 9 and 10 are frag- ments of grave monuments : No. g, a woman with a flower; No. 10, a figure turned towards the left with the right hand raised. The remains of another hand adjoining it indi- cate that a corresponding figure stood on the other half of the relief. These slabs were originally erected over graves, and on some of them we can still see remains of the rough-hewn bas^s by which they were set up. The subject represented is an offering either to the deceased, or to the deities of the lower world, to whom the pomegranate was especially dear ; the cock and egg also occur frequently in represen- tations of offerings to them, as, for example, on the Harpy Monument. It is a suggestive fact that among the Greeks these also symbolized the reproductive powers of i8 FIRST GREEK ROOM. nature. The serpent was believed to possess mysterious connection with both the upper and the lower world. In these reliefs we have some of the earliest existing monuments of Lakedaimonian art. They are not all of the same epoch, as will be seen by a comparison of Nos. 8 and 12, the latter of which, though not so well preserved, is much more developed in style. This may date as late as the fifth century B, C, though the others belong in the sixth. A striking peculiarity in the earlier examples is the manner of their execution. It will be noticed that the upper surface is quite flat, and the edges instead of round- ing off as in most stone reliefs even of the archaic period (cf. Harpy Mon., relief in Villa Albani, No i, etc.), is cut away sharply, in a manner more characteristic of primitive wood-carving, where the nature of the material would ren- der it to a certain extent necessary. This is a very inter- esting circumstance, because we know that the early Spartan sculptors, the pupils of Dipoinos and Skyllis, worked only in wood, gold, and ivory. These slabs there- fore probably reproduce in stone, the earlier with mechan- ical exactness, a type that was traditional in wood. 13. The Stele of Aristokles, in the Theseion, Athens* Bas-relief of Parian marble. Found 1838 near a tumulus in the vil- lage of Velanideza, on the coast of Attika, east of Hymettos. There are no restorations. Published : Laborde, Athines^ atlas, pi. 7 ; Mus. of Class. Afttiq.^ T, p. 252 ; etc. Colors upon it, still brilliant in parts, are as follows: on background traces of red, hair and beard brown, helmet and cuirass a very dark color (black }) on which are patterns in brighter colors, a star on the shoulder-plate, meander under the shoulder, zigzag girdle about the waist, etc. On the flesh slight traces of a rather dark color particularly in the ears and about the finger-nails. On the chiton red. The stele of Aristokles, as it is called from the name of the artist inscribed below the figure, is one of the oldest Greek grave monuments yet discovered. The form of the letters in the inscription shows it to be an Attic work of the time of the Peisistratids, i. e., the latter half of the sixth century B. C. The figure is intended as a portrait of the man to whose memory the stone was erected, represented as a warrior in full armor. The name Aristion inscribed 13, 14- Archaic grave stelal 19 on the base of the stele — not shown in the cast — is prob- ably that of the deceased. An idea formerly prevalent, that this monument com- memorated one of the Athenians who fell in the battle of Marathon, has been dispelled by the fact that the inscrip- tion places the monument much earlier than the battle, as well as by the site of the discovery, which was in quite another part of Attika. This is an interesting example of the constant upward tendency of early Greek art. Obliged to crowd his figure into the limits of a form of monument that was probably traditional, the sculptor had little opportunity to display freedom of action, and in pose the figure is quite as stiff as those of a still earlier epoch. Yet with this stiffness is combined an earnest effort to arrive at the truth of nature in the shape of the figure. In the arms and legs we can see how the artist has endeavored to represent muscular development. He has spared himself no pains to repre- sent faithfully every small detail ; and though in this instance success was not achieved, it was this unflagging care and thought, of which every early Greek monument is a witness, that finally resulted in the perfection of the Parthenon frieze. 14. Grave Stele from Boeotia, in the National Mu- seum, Athens. Of gray Boeotian marble. Date of discovery unknown. Seen by Dodwell at the beginning of this century in the village of Petro- Magula, close to the site of Orchomenos. Afterwards carried to Rhomaiko, about an hour distant, and in 1880 placed in the National Museum, Athens. There are no restorations. Pub- lished : Conze, Beitrdge, p. 31 ff., pi. xi, fig. i; Korte, in Mittheilungen des Instituts in Athen^ III (1878), p. 315 ; etc. The deceased, clothed in a long mantle (himatiofi)^ and leaning upon a staff, is represented in an every-day act, playing with his dog, who springs to catch a grasshopper from his hand. On the base of this stele — not shown in the cast — is a metrical inscription, which, translated, reads, " Alxenor the Naxian made this ; only look at it ! " Although this invitation may not excite in us the admiration which is evi- dently expected, the inscription is valuable because it 50 FIRST GREEK' ROOM. shows that the sculptor belonged to the Ionic school, Naxos being an Ionic state. The relief therefore bears important testimony to the extent of the influence of that school in early Greek art, being an instance of the employ- ment of an Ionic sculptor in the heart of Greece, and in an un-Ionic locality. As mentioned above, p. ii, the chief seats of the school were on the coast of Asia Minor and the adjacent islands. Of Alxenor nothing is known, but we see that in his treatment of the human figure he followed the character- istics of his school, as described on p. 12. In contrast to the stele of Aristokles, this relief exhibits little effort to display the form itself; beneath the folds of the himation there is no suggestion of modelling, and only in the stiff line of the left leg is there a hint of the figure. Com- pare this with an example of the early Attic style, the chariot relief, No. 2, where the lines of the whole body are easily traceable through the drapery. The date of this monument is not later than the first part of the fifth century B. C. 15. Grave Stele, in the Museum at Naples. Of Greek marble. Formerly in the Borgia collection, beyond which nothing is known of its history. Restorations: End of the nose, the right hand, a piece on the right arm, greater part of the left hand and nearly all the ring on the left wrist, and a piece of the stick above left hand. Published : Rayet, Mon- uments de V Art Antique, I, pi. 19 (Martha); Museo Borbonico^ XIV, pi. x; Conze, Beitrdge^ p. 34, pi. xi, fig. 2 ; etc. Subject similar to the preceding, but the style more advanced, and the relief bolder. The man is clothed in an exomis, a short tunic which leaves much of the body nude, and holds nothing in his hand. His dog, seated at his feet, looks up at him affectionately. Although the composition is awkward, especially in the clumsy manner in which the man's left shoulder is brought forward, and in the anatomically impossible setting of the dog's head upon his shoulders, the nude parts are modelled with much more knowledge and feeling than in the work of Alxenor (No. 14). In this respect the relief has some affinity to the Stele of Aristokles (No. 13), but the high relief and the muscular proportions of the figure are more I i6 A-0. SCULPTURES FROM yEGINA. characteristic of early Doric than of early Attic or Ionic sculpture. Notwithstanding the impossibility of tracing the history of this stele beyond its presence in an Italian collection, its technical characteristics prove that it is a genuine archaic Greek work, dating not later than the first half of the fifth century B. C. i6 A-O. Sculptures from the Temple of Athena in .ffigina, in the Glyptothek, Munich. Found in a very fragmentary condition by a company of English and German explorers, in the vicinity of a temple on the east side of the island of iEgina, in 1811. Bought for Ludwig I., of Bavaria, then Crown Prince, in the following year. Of Parian marble. The fragments were put together by Thorwaldsen, who also made the following extensive Restorations: A, end of nose, right forearm, most of the left hand, right leg from knee to ankle, and toes of both feet. B, crest of helmet, end of nose, right hand, left forearm and most of hand, left foot, and fore-half of right. C, head, left forearm, right arm, from middle of upper arm, and hand, most of the pendants on front of armor, and left leg from knee down. D, head, right shoulder with adjoining parts of breast and ribs, fingers of right hand, and ends of the fingers of left, greater part of shield, piece on right leg from ankle half way up to knee, front part of right foot, toes of left foot. E, neck, right shoulder and piece of breast, lower part of right hand, fingers of left, the toes except the great ones, pieces in the crest. F, nose, thumbs, right hand, ends of two fingers of left, small pieces in drapery, also in aegis, crest, and shield. G, end of nose, crest, half of right forearm, end of left thumb, one third of shield, and both legs. H, point of cap, nose, end of chin, parts of fingers of both hands, front half of left foot. I, head, right shoulder, fingers of right hand, left arm from just above elbow, right leg from knee down, left knee with part of thigh, and front part of foot. J, head, left arm, parts of right arm and hand, both legs from knee down. K, head, right arm, greater part of left arm, including elbow and shield, the entire right leg, left leg from knee down, and piece of greave which pro- jects above knee. L, head, both hands, including wrists, entire left leg, right thigh, shield, except where it touches shoulder and lower arm. M, nose, both arms, greater part of right foot, left foot with ankle. N, end of nose, piece on the back under left shoulder, several pendants of the armor, left hand, right forearm, half of right foot, left leg from lower half of knee »down. O, crest, part of nose, several fingers and toes, right leg from middle of thigh down. Publtshfd : Cockerel], Jem- pies of ^^ina and Bassae ; Blouet, Expedition Scientifique de Moree^ III, pi. 58, ff . ; etc. Described in detail in Brunn's Besckreibung der Glyptothek^ Miinchen, 1879, from which are taken the facts stated above. FIRST GREEK ROOM, These statues formerly adorned the pediments of the temple near which they were found. A-J are from the western pediment, K-0 from the eastern. Although the former group is the more complete of the two, smaller fragments discovered in the immediate vicinity show that originally it contained still more figures, especially one corresponding to M in the eastern pediment, the lower parts of whose legs have been found. The scene represented in the western pediment is a battle, which takes place in the presence of Athena. The pointed Asiatic cap suggests a scene from the Trojan war, and the interpretation of the group as the contest over the body of Achilles is generally accepted. If this is the subject, the figure (E) lying at the foot of Athena is Achilles, while over him Aias Telamonios (D) and ^neas (G) engage in a combat which is shared by all the others. Names have been assigned to all, but as these are simply conjectural they are not repeated here. The archer (H) is possibly Paris. The attitudes of the five figures, K-O, and the character of the smaller fragments discovered, among them a head of Athena, indicate that a similar scene was represented in the eastern pediment. As the figure N is evidently Herakles, distinguished by his heavier proportions and by the lion-skin cap, this battle is supposed to be that fought over the body of Oi'kles, in which tradition assigned parts to Herakles and Telamon, an ^ginetan hero. These figures exhibit the climax of ^ginetan art. In the early development of Greek sculpture, particularly in bronze, ^gina occupied a foremost position among the Doric schools, Kallon and Onatas, both ^ginetans, being regarded among the greatest masters of those schools. Soon after the Persian wars, in the early part of the fifth century B. C, the island lost its independence, and its school gave way to the two more powerful growing up on either side of it, — those of Athens and Argos. It was principally in the Doric schools that skill in representing the nude body was developed. While the Ionic artists sought to avoid the necessity of modelling the form by covering their figures with drapery, the earliest Doric works extant (cf. the metopes from Selinus, Nos. 26 17-19. TERRA-COTTA RELIEFS. 23 and 27, and the " Apollo " statues Nos. 20 and 21) show that from the very beginning these artists struggled for the truth of nature ; and the sculptures from ^gina show how far they had advanced by the beginning of the fifth century, the probable date of the temple being about 479 B. C. Freedom of action, a great stumbling-block to the early sculptors, is here attained with considerable success, even without the tree-stumps and other artificial supports to which even later sculptors resorted. Each figure rests easily and firmly upon no other support than the feet, even when the weight of a shield is added on one side. Archaism is most apparent in the treatment of the heads. The hair is stiff and wiry, the eyes are expressionless, and the faces wear the proverbial " ^ginetan smile. '^ In the history of the development of Greek sculpture, the head was the last member that received perfect treatment, a circumstance due to the fact that Greek artists regarded the body, not the face, as the chief vehicle of expression, and until the beginning of the fourth century B. C. were more or less indifferent to the latter. The proportions, also, are characteristic of the archaic style, the shoulders being broad and the hips narrow ; and the modelling still lacks the free handling of a confi- dent master. The manner in which the figures are treated is strongly suggestive of early bronze work, in which the ^ginetan sculptors excelled. 17.19. Three Terra-cotta Reliefs, in the British Museum. Nos. 17 and 18 from the island of Melos, No. 19 of uncertain pro- venance. Published : Nos. 17 and 18, Millingen, Ancie7it Un- edited Monuments ^ II, pis. 3, 2 ; No. 19, Welcker, Alte Denkma- ler^ II, pi. xii, 20 ; Overbeck, Geschichte der griech. Plastik, I, fig. 32 ; etc. These are specimens of what are commonly known as " Melan " reliefs, because many examples of this class have been found in the island of Melos. It does not follow that they were made there, as similar reliefs are found in other places, but the name serves as a convenient designa- tion for a very distinct style of technique, the chief char- 24 FIRST GREEK ROOM. acteristic of which is that the relief is made djour, that is, without background, the outUnes of the figures being cut through the material. The relief itself is Hat and the plates are thin, probably affixed originally to some other material such as wood, and used decoratively. The round disks which serve as a background for the casts are not part of the originals. No. 27 represents Bellerophon and the Chimaera; No. 18, Perseus beheading Medusa, from whose neck springs not Pegasos, as according to the common legends, but Chrysaor ; and No. 19 is usually explained as Alkaios and Sappho, though this interpreta- tion is not certain. These reliefs are of an advanced stage of archaic art, and probably date from the first half of the fifth century B. C. 20, 21. Statues of Apollo. (?) No. 20, of marble, found about 1830 in the vicinity of some rock- graves on Mt. Exomytis in the island of Thera. Carried to Athens, 1835. Formerly in the Theseion, now in the National Museum, Athens. The neck is repaired with plaster. Pub- lished : ^Q'^iQW^ Antiquities at Athens, 18; Overbeck, /V^j//>^, I, p. 89, fig. 9; etc. No. 21, of grayish BcEotian marble. Formerly in Skripii (Orchom- enos). Discovered there about 1850; brought to Athens, 1880, and since then in the National Museum. There are no resto- rations. Published : Collignon, in the Bulletin de la Corr. HelL^ V (1881), p. 319, and pi. iv ; Korte, Mittheilungen des Inst, in Atheny III (1878), p. 305; etc. These are i^o of the earliest Greek works existing, and undoubtedly date not much later than the beginning of sculpture in stone. We see in them the struggle of the prim- itive artist to represent the human form, hindered both by his lack of training and his ignorance of the possibilities of the material in which he worked. The arms cling firmly to the sides, and lest even in this way they should not be strong enough, only a small portion, at the elbows, has been freed from the body. To give some life to the fig- ure, one foot is advanced a little. The muscular surfaces are indicated with more feeling than knowledge, especially in the Theran statue, in which the body has a certain soft- ness in spite of its extreme archaism. It was evidently in the face of this figure that the sculptor had the most diffi- so, 2L ''APOLLO'' STATt/ES. 2S culty. The eyes are scarcely sunk at all, the hair on the brow is indicated by a series of spirals traced with a pointed instrument in the stone, and the attempt to give individuality to the features has resulted in the bland smile which characterizes nearly all archaic Greek works. It is, however, in the effort to express individuality that works of this class differ radically from similar Egyptian statues. The Theran and Orchomenos figures are two of a considerable number of statues reproducing the same type, which have been found in various parts of Greece and the islands ; they are Doric works, and not improbably products of the school of the Daedalids, which travelled all through Hellas. This school originated in Crete, and therefore came under the influence of Egyptian art, whence it is easy to account for the canonical form of these statues ; yet, while Egyptian heads through all epochs preserve the same passionless features, we see in the two figures before us how early the Greek sculptors broke away from this canonicism, and strove to attain individu- ality. The Daedalid school, to which we have referred the type of these two statues, was chiefly noted for its works in wood, and these figures may well represent a wooden type transferred to stone. Of the two, the Theran is un- doubtedly the older, as the other, although more roughly executed, displays a greater advance in knowledge, espe- cially in the muscles of the torso. Both date probably from the first half of the sixth century B. C. Whether the statues of this class, which is quite nu- merous, really represent Apollo is difficult to determine, because it is evident that the early Doric type of Apollo was very similar to that of athlete statues, both being characterized by nudity and by the long, flowing locks. Pausanias (VIII, 40, i) describes an archaic statue of a boxer which he saw in Phigaleia as having the feet slightly parted and the arms close to the sides ; from which it has been argued that this was the common athlete type in early Doric art, and that these *'Apollos" are merely statues of athletes erected over the graves of victors in the Olym- pic and other games, a number of them having been found in or near ancient cemeteries. But on the other 26 FIRST GREEK ROOM, hand it must be remembered that several have also been found in sanctuaries of Apollo, and that the archaic statues of him which stood in the temples of Delos and Miletos are shown by extant reproductions to have been of pre- cisely the same type as these, though differing slightly in action. It may be concluded, therefore, that as Apollo represented the ideal of manly youth to all the Greeks, and especially to the Dorians, their early artists, who were unequal to subtle distinctions, used the type of one to represent the other as it suited their purpose. 22. Male Figure carrying a Bull. Statue in the Akropolis Museum, Athens. Of bluish marble, supposed to be from the quarries of Nausa, on the island of Paros. Found on the southeast part of the Akropolis, the upper part 1864, lower part the following year. There are no restorations. Published : Overbeck, Plastiky I, p. 148, fig. 25 ; Veyries, Les figures Criophoresy Paris, 1884, pp.4, 16 f. ; etc. This figure has been variously interpreted as Apollo Nomios (/. ^., guardian of the flocks) and Hermes Mos- cophoros (the bull-bearer). The beard and the shape of the cap are more in conformity with the type of Hermes, though there are a few examples in archaic art of Apollo with a slight beard. In spite of the fact that it was found on the Akropolis, the statue is evidently not a work of Attic art, being decidedly Doric in style ; and, as has been suggested, is probably the dedication of a colony or another state. Its style is considerably more developed than that of the two statues Nos. 20, 21, and shows con- siderable knowledge in the treatment of the muscles. The artist has been so careful to represent the form faith- fully that the drapery which covers it is perceptible only on close inspection, though undoubtedly it was originally made plainer by color. The middle of the eyes was of another material set into the marble. The existence of this statue, the date of which is proba- bly the second half of the sixth century B. C, and of others similar to it, equally ancient, shows how much older than Christian art is the type of the " Good Shepherd." 24. LIONS PROM THE GATE OF MYKENM. 27 23. Fragment of a Male Statue, in the Museum at Sparta. Marble of a rather fine grain. There are no restorations. Pub- lished: Mittheilu7igen des Inst, tn Athen, II (1877), p. 298, No. 2. This small figure, so much worn as to be of little value for purposes of study, belongs, like the statues Nos. 20, 21, to the Doric school, and is probably a product of Spar- tan art of the early part of the sixth century B. C. 24. The Lions from the Gate of Mykense. Of a fine, smooth, greenish gray limestone, probably from quarries in the neighborhood. The heads were affixed, perhaps of metal. Published : Archdolog. Zeitung 1865, pi. 193 ; Schliemann*s Mycencs, p. 32 ff., and pi. Ill ; etc. This, the oldest sculptured work in Greece, dates from the pre-Homeric epoch, and represents a civilization ear- lier than the Hellenic. The slab decorated by these lions was inserted in a triangular opening over the principal city gate, the uneven line of the bottom showing where it fitted the top of the lintel, a huge block of breccia. That the slab and its relief are coeval with the walls about them, which rank among the oldest in Greece, there can be little doubt ; and it was probably placed there with some armo- rial significance, like the escutcheons on mediaeval build- ings. Although all traces of the walls of many cities built in later epochs have disappeared, this gate and the wall about it still stand firmly, and the lions above still guard the entrance. The under part of the gate, with its thresh- old, was cleared and brought to light by Dr. Schliemann in 1876, but the upper part, including the lions, has proba- bly been always above ground. In 1874, Prof. Ernst Curtius, writing of this monument, spoke of its strongly marked Asiatic character, which had been noticed by other archaeologists, and prophesied that investigations in Asia Minor would bring to light other similar monuments. The prophecy was fulfilled in 1881 by the discovery, by Prof. W. M. Ramsay, of a large grave monument in the heart of Phrygia bearing a reHef of pre- ^.^^^ 28 P'IRST GREEK ROOM, cisely similar design (see Journal Hellenic Studies, III, pi. xvii, p. 19 and 256 if.). This discovery was of great importance regarding the lions of Mykenae, because it proves that the old tradition, that Mykenae was founded by a race coming from Asia Minor, had some foundation in fact, and explains the presence in Mykenae of a type that is foreign to Greece. This and other recent discoveries have proved that civilization came from the East to Greece not only by sea along the southern shores of Asia Minor, but also overland, throught the great Phrygian country. 25. Head of Medusa. Relief in the Museum at Argos. Published : Milchhofer in Mittheilungen des Inst, in Athen, IV (1879), P- 156 d. This is a piece of very late and coarse decorative work, probably architectural. 26, 27. Two Metopes from Selinus, in the Museum at Palermo. Of brown tufa, found in the locality. Discovered by the English archi- tects, Harris and Angell, in the winter of 1822-23, and carried to Palermo. Restorations: Perseus Metope, on the female, almost the whole neck, larger part of breast and of the knees; Perseus, middle part of sword, and parts of hands and arms. Herakles Metope^ small bits in hair, and in thighs of Herakles. Colors: When discovered slight traces of color were noted as follows: Perseus Metope, background red; female, brownish black on brows, lids and pupils, red on borders of garment, yellow on garment. Perseus, green in garment, red on belt and cap, blue on belt. Medusa, yellow in face, red in eyes. Eyes of Perseus and wings of Pegasos had also indications of color. Herakles Metope^ red on background; Herakles, red on right thigh, on arm directly under shoulder, on sword, belt and scab- bard ; also red on the bands, shoulders, and upper arms of the Kerkopes. Published : Benndorf, Die Metopen von Selinujtt, Berlin, 1873, ^"^^ authorities there quoted. These two metopes are from the oldest of seven temples the ruins of which still exist at Selinunte, on the south coast of Sicily. This town, the ancient Selinus, was • founded by a Greek colony from the eastern part of the 26, 27- TJVO METOPES FROM SELINUS. 29 island, probably in the year 628 B. C. The temple to which these metopes belonged was built soon after, so that the year 600 may be considered an approximate date for the sculptures, which are therefore among the oldest surviving works of Greek art. The first represents Perseus slaying Medusa, while a female, possibly his protecting goddess, Athena, stands by. Both conception and compo- sition display the childishness of primitive sculpture. Without regard to the action, all three faces are turned toward the spectator, and the lower parts of the figures are in profile. Perseus seizes the monster's hair with one hand, and with his sword severs her head from her body. Medusa is conceived with all the hideousness that charac- terizes representations of her throughout archaic art Ac- cording to the legends, Pegasos sprang from the throat of the Gorgon when her head was cut oS, and the artist, de- siring to remind the spectator of this fact, has placed the horse in her arms. Attempts of this kind to combine two successive stages of an event in one scene are very com- mon in early Greek art. The subject of the second metope is Herakles bearing the Kerkopes, a pair of rascally gnomes who disturbed and robbed him when asleep, in return for which he caught and bound them, and carried them off. The Kerkopes are here represented bound, hand and foot, and suspended, heads downward, from a pole borne by Herakles on his shoulders. Selinus was a Dorian colony, and both the architecture and sculptures of this temple are Doric in style. The characteristics of early Doric sculpture have been described above, p. 22 ; and these reliefs testify to the very early date at which the effort to represent the nude body in action was begun in that school. The figures all show a strong appreciation of muscular play, rudely as it is ex- pressed, and are executed with such careful endeavor to indicate the modelling of the body that one hardly realizes that every figure is clothed. In this characteristic, and in the boldness of the relief, the figures being almost entirely free from the background, these metopes present a very strong contrast to the early works of the Ionic school. (Cf. Nos. I and 6.) so FIRST GREEK ROOM, 28 A-E. Reliefs from the Temple of Assos. A in the Louvre, B in our Museum, C-E in the Museum of the Tchinly-Kiosk, Constantinople. Of the dark gray trachyte of which the temple was built. A, carried from Assos to Paris, 1838, by Raoul Rochette; the others dis- covered during the excavations in 1881. Published: A, Monumenii delV Inst.y III, pi. xxxiv; Clarac, Musee de Sctdp- turey pi. 116 A, Texte, vol. II 2, p. 1149; etc. B-E, Joseph Thacher Clarke, Report of Investigations at Assos, 188 1, Boston, 1882 ; B, pi. 16, C, pi. 19, D, pi. 17, E, pi. 21 ; Wolters* Fried- erichs, Nos. 8-12 ; etc. The temple of Assos possesses an especial interest for Americans as the scene of the first organized work of our country in the field of classical archaeology. The site of the town is on the southern coast of Mysia, in Asia Minor, opposite the island of Lesbos. It was a Greek town, un- doubtedly of great antiquity, as its remains testify, but al- though several eminent travellers have described the place during the present century, and a party sent out by France in 1838 carried away a number of monuments lying about the surface, no systematic excavations were undertaken there until 1881, when the Archaeological Institute of America despatched an expedition for the purpose, under the leadership of Mr. J. T. Clarke. During the first sea- son the site of the temple and many of its members, in- cluding the reliefs in the Entrance Hall of the Museum, and those of which B-E are casts, were discovered. With the exception of E, which is a metope, all these reliefs decorated the architrave of the peripteros ; that is, they were sculptured on the beam directly over the outer col- umns, as is proved by the presence of regulce and other distinctive peculiarities on the blocks. This is the only instance of sculpture applied to this member in all known examples of Doric architecture, and apparently bespeaks an epoch before the principles of that style became estab- lished, as the extremely archaic character of the sculpture also indicates. The temple is, therefore, a most important monument in the history of the early development of Greek architecture, combining as it does the elements of both Eastern and Western art. The building was Doric, a style whose chief seats were in the western parts of Hellas, but 28 A-E. BELIEFS FROM TEMPLE OF ASSOS. 31 the sculptures show unmistakably the influence of Asiatic art. Semper (Stil, I, p. 404 if.) thinks the idea of deco- rating the architrave thus was borrowed from the Oriental practice of covering exposed wooden parts of buildings with metal, decorated with repouss^ work. A represents a banquet at which four bearded men are reclining in the Asiatic fashion, which was intro- duced into Greece after the Homeric age. A youth pours wine into the cup held by one, and in the foreground are a number of vases of an archaic type. B, two sphinxes, couchant, face to face, one paw of each upon an indeterminable object between them. This group probably ha^ an armorial significance, and is believed by Mr. Clarke to have formed the centre of the composition on the front of the temple. C is a fragment of a design similar to the above, the second figure of which is among the sculptures in the Louvre. D represents a lion attacking a boar, biting him in one of his hind quarters. This group and the sphinxes show that, like the Assyrians, the early Greek sculptors had much better appreciation of animal than of human life. Both of these figures are well drawn, although in their action there is less vigor than in most archaic representations of wild beasts. E, as stated above, is a metope. Two figures are represented ; one is pursu- ing the other, whom he catches by the elbow. As the pursuer is bearded, there can be no doubt of his sex, but that the other is a female, as described by Mr. Clarke (Report, p. 117), does not appear certain in the cast. It was apparently beardless, and wore a garment which ap- pears to have reached to the knees. Mr. Clarke (ubi supra ^ p. 104) places the temple and its sculptures in the epoch following the Persian wars, /. ^., later than 479 B. C, and attributes the numerous archaic characteristics of both to provincialism. This opinion, which is contrary to that generally accepted, is based upon the resemblance of certain features of the architecture to that of the Theseion at Athens, and the temple of Sunion, both buildings of about the middle of the fifth century. That an architect familiar with a style so de- veloped as theirs, should have retained, in many important particulars, the defects of a much earlier period, seems 32 FIRST GREEK ROOM. improbable ; as does also the assumption that a city situ- ated pn the highway between the great Ionian cities and their northern colonies should be so provincial as to re- main nearly a hundred years behind the rest of Greece in the development of its sculpture. Until, therefore, more convincing evidence of the late origin of the reliefs is offered, they may be judged according to the rule usually followed in estimating the date of such works. Their technique and composition are extremely primitive, the type of the figures resembles that on the earliest Greek sculptures extant, and in one of the reliefs in the entrance hall Herakles appears without the lion-skin, which be- came a characteristic attribute of him as early as the end of the seventh century B. C. These characteristics render the sixth century B. C. the latest date that can safely be assigned to the reliefs, and it is not improbable that they may have originated in the early part of that century. 29. Fragment of a bas-relief, in the Museum at Sparta. Of the local bluish stone resembling marble. Published : Mitthei- lungen des Inst, in AtheUy II (1877), p. 313, No. 4. A nude youth stands by his horse, in profile towards the left. Touching the horse's head is that of another horse, apparently standing opposite. The relief when entire, therefore, probably represented the Dioskouroi, Kastor and Polydeukes, who are often thus represented, and were worshipped at Sparta, where this fragment was found. 30. Bas-relief in the Museum at Sparta. Not archaic. Of coarse white marble. Published : G. Hirschfeld in Bulletino dell Inst., 1873, P- ^^2 ff. ; Dressel and Milchhofer, in Mittheilungen des Inst, in Athen^ II (1877), p. 418, No. 259. At the left a youth (Orpheus ?) sits in a cave, holding a lyre. About him are four animals, a horse, bull, sheep, and stag. Opposite, a man, bearded, appears to be read- ing from a scroll. Behind is perched on the rocks a large bird, and in a small niche at the right is a figure, clothed 31, 32. ARCHAIC RELIEFS. ZZ in a mantle, carrying a shield on the breast and two lances in his hand. The cave and the group of animals suggest that the chief figure is Orpheus, represented in his Thra- cian grotto, and that the relief is the dedication of a poet to him. The presence of such a votive offering at Sparta, however, is somewhat surprising, as no sanctuary of Orpheus is known to have existed there. 31. Head of Hermes. Fragment of a bas-relief in the Akropolis Museum, Athens. Of Parian ( ? ) marble. Found 1859, near the wall on the south side of the Akropolis. Published : Conze, in the Nuove Memorie deir Institiito, pi. XIII; etc. This fragment has already been spoken of in connection with No. 2, to which it originally belonged. Although it bears the stamp of archaism, it is modelled delicately and with a sure hand. Hermes is represented bearded and wearing the petasos, a kind of hat worn by shepherds and travellers, which is one of his distinctive attributes. It will be noticed that his hair is arranged in the same man- ner as that of the figure mounting the chariot in No. 2, an argument for the sex of the latter. 32. Relief from Samothrake, in the Louvre. Of white marble. Found 1790 on the island of Samothrake. For- merly in the possession of Count Choiseul-Gouffier, and since 1817 in the Louvre. There are no restorations. Published: Millingen, Ancient Unedited MonumeitiSy ser. II, pi. i ; Clarac, Musee de Sculpture^ pi. 116, No. 238; Wolters' Friederichs, No. 34 ; etc. Although the edges of this relief show that it is but a fragment, the purpose it served and the object of which it formed a part are difficult to conjecture. It is apparently not an architectural decoration, and the scroll on the right side is suggestive of the arm of a seat, but there is nothing to prove just what it was. The subject, however, is more easily determined, as the name of each figure is inscribed at its side. The seated figure is Agamemnon. Behind him stands his herald Talthybios, bearing the herald's staff ; and the third figure is Epeios, who built the wooden horse. 3 34 F/I?ST GREEK ROOM. The scene was continued to the left, and probably repre- sented a council of the Greek chiefs before Troy. This relief is an interesting example of early art in the northern part of the ^gean Sea. Its date is probably not later than the second half of the sixth century B. C. 33. Bas-relief in the Museum at Sparta. Of the local bluish stone resembling marble. Found in Sparta. Below it, on the same stone, is part of an inscription. Pub- lished : Conze and Michaelis, in the Afmali delV Inst., 1861, p. 39, B, and pi. D, 2 ; Dressel and Milchhbfer, in the Mitthei- lungen des Instituts hi Athen, II (1877), p. 385, No. 203; etc. In the middle of the relief is a female image of extremely archaic style, holding in each hand a fillet, such as were used on festal occasions for the decoration of the images of divinities. At either side stands a youth, nude, wearing a cap, and holding a sword and spear. Both are in profile, facing the middle. As noted above, this relief served as the heading of an inscription of a public character, and the fig- ures represented are probably the Dioskouroi, Kastor and Polydeukes, standing before an image of Helen, their sis- ter. All three were worshipped as divinities at Sparta, their reputed birthplace. 34. Seated Athena. Statue of Parian marble, in the Akropolis Museum, Athens. The date of discovery not known, but the statue was formerly among the debris of the Akropolis below the north wall, where it was seen and sketched by Gell. Carried up to the Akropolis about 1840. There are no restorations. Published : CoUig- non, Archiologie Grecque, p. 129, fig. 38; Overbeck, /%?j//>^, I, p. 145, fig. 24; etc. One of the earliest Athenian sculptors of whom we have any account, Endoios, was remembered in later times as having made a number of seated figures of Athena. One of these Pausanias saw in the Erechtheion, identified by an inscription. It has often been argued that this is the very figure described by Pausanias, but the fact that 34,35- STATUES OF ATHENA. 3S another statue, very similar in style, has also been found on the Akropolis, weakens the claim to that distinction on the part of either. At all events, this statue accords very well in style with the epoch in which Endoios is supposed to have lived — the latter part of the sixth century B. C. — and is undoubtedly an Attic work. The goddess is repre- sented in the type common in early art, a distinguishing feature of which, aside from the stiffness, is the large size of the aegis, which covers the whole bosom, and hangs very low behind (cf. also the Dresden Pallas, No. 35). The holes along the edge of the aegis indicate that the serpents which fringed it were affixed, and probably of metal. 35. The Dresden Pallas, in the Museum at Dresden. Statue of marble. Formerly in the Chigi Collection, in the Palazzo Odescalchi, Rome. Sold with that collection to the king of Saxony (August II.), and carried to Dresden, 1728. Resto- rations: Both feet, where they project from the drapery. Published : Becker, Atcgusteum, pi. 9 ; Overbeck, Plastik, I, p. 195, fig. 46 ; Hettner, Bildwerke der A7ttikensammlung, Dres- den, 1881, p. 6^, No. 61 ; etc. This is a pseudo-archaic statue, as is shown by the studied stiffness of the folds of the drapery, too elegantly executed for genuine archaic work, and still more by the free style of the reliefs on the stripe running down the front of the garment. It represents Athena Promachos (/. " statue of a Doryphoros, or spear-bearer, which was cele- brated throughout antiquity for its magnificent propor- tions. It has long been thought that copies of this were to be recognized in several marble statues of similar type, the best examples being in the museums of Naples (a photo- graph of which hangs under the relief) and Florence ; and with these the youth on this relief, found in the town where Polykleitos lived, corresponds in all essentials. The origi- nal dated from about the middle of the fifth century B. C., but this relief is a much later, possibly Roman, production. 115. Jason, so called, in the Louvre. Statue of Pentelic marble. Formerly in Rome, in the Palazzo Savelli, later in the Villa Montalto (?). Purchased of Cardinal Savelli for Louis XIV., in 1685, and by him placed at Versailles, whence it was subsequently removed to the Louvre. Restora- tions : The head, which is antique but does not belong to the statue, the end of the nose, the lower lip, chin and occiput ; also the left shoulder and arm, half the right forearm and the hand, the right leg down to ankle, and parts of the left leg. On various parts of figure and drapery small pieces are inserted to fill up fractures. Published : Clarac, Musee de Sculpture^ pi. 309, No. 2046 ; Froehner, Sculpture Antique du Louvre, No. 183, p. 210 ; etc This statue, of which there are several extant replicas, is probably a copy of a work of the latter part of the fourth century B. C. Its motive, that of a figure with one foot raised upon a rock, was a favorite one among the sculptors of that epoch, and probably originated with Lysippos. Winckelmann was the first to give the statue the name by which it is popularly known, but which rests upon in- sufficient evidence. More probably the statue is simply that of an athlete tying his sandal, the attitude being chosen because of the opportunity it afforded for giving variety to the play of the muscles in different parts of the figure. 116. Inscription, in the British Museum, from Orcho- menos. It records the payment, by the town of Orchomenos, of two sums of money to one Euboulos of Elateia, on account of a loan made by him to the city, and gives him the right 76 THIRD GREEK ROOM, to pasture 220 oxen and horses and 1000 sheep upon its land for a term of four years. Published: Greek Inscriptions in the Brit. Mus,, pt. II, No. CLVlli ; Elgin Inscriptions, No. -TtJT* 117. Inscription, in the British Museum. A fragment, the beginning of which is lost. It appar- ently contains the names and tribes of Athenians who fell in some battle of the Pelopponesian war. Its date is 425 or 424 B. C. Published : Greek Inscriptions in the Brit, Mus,, pt. I, No. xxxviii ; Elgin Inscriptions, No. 173. 1 18. Bronze Tablet, in the British Museum. Found at Olympia, whence it was carried to England by Sir Wm. Gel], 1813. Published: Greek Inscriptions in the British Museum, pt. II, No. CLVii, and pi. i, fig. 3. This is the record of a treaty of alliance, for a period of one hundred years, between the Eleans and the people of Heraea, a town in Arkadia. The date of the treaty, as indicated by the character of the inscription, is probably the latter part of the sixth century B. C. 119. The Pourtales Apollo, in the British Museum. Head of Parian marble. Formerly in the Giustiniani collection, Rome, from which it passed into the possession of the Comte de Pourtales, and was purchased for the British Museum at the sale of his collection in 1865. Restorations : The nose, part of the lips, the lobes of the ears, and a small piece in the neck. Color: In the hair are traces of red. Published: Galleria Giustiniaita, II, pi. 42 ; Miiller-Wieseler, Denkmdler d, alten Ku7ist,\\,^V xi. No. 123; etc. The resemblance between this head and that of the Apollo Belvedere shows it to be a work of the same period and school, and it dates therefore probably from the third or second century B. C. The manner in which the hair is treated, and the sharp lines of the brow and eyes, indicate that it is a copy from a bronze. That the head originally belonged to a statue is evident, and Newton thinks it likely to have been an Apollo Kitharoidos (playing on the lyre), which would account for the sentimental expression in the face. 1 17-122. INSCRIPTIONS, ETC. 77 120. Head of Apollo, in the British Museum. Of Parian marble. Formerly in the possession of Cardinal Albani, from whom it was acquired by Towneley in 1773, °^ ^^^ removal from a figure of Bacchus, to which it had been wrongly at- tached. Restorations : The nose, the knot of hair above fore- head and that on the back of the head. Published : Ancient Marbles in the British Museum^ pt. XI, pi. iv. From its resemblance to the head of the "Apollino" of Florence, and those of similar statues in the Louvre and Capitoline Museum, this may be supposed to have belonged to a statue like them, which represented the god of music leaning against a tree in the " Praxitelean " attitude, with the right arm resting on his head. If that be the proper restoration, the original would probably be a work of the latter part of the fourth century B. C, with which period the type of this head corresponds. In the face there is the softness characteristic of the younger Attic school, while the hair is treated in a less exaggerated manner than in works of the following epoch, like the Pourtales Apollo (No. 119) and the Apollo Belvedere (No. 215). 121. Statuette of Aphrodite, in the Museum at Argos. Of white marble. Found near the ancient theatre of Argos. There are no restorations ; Published : Conze in the Archdolog, Anzeiger, XVI, 1858, p. 198; Milchhofer in the Mittheilungen d. Inst, in A then, IV, 1879, p. 150, No. 489. In this little figure we have a variation of the type that is best known through the Venus of Melos, representing the goddess with one arm raised and the left foot resting upon an object which varies with the different examples. In this case it is a swan, one of the attributes of Aphrodite. The figure is of slender proportions, the lower half being particularly good, the upper part less so. The drapery is light and gracefully managed. The statuette is probably a copy of a larger work of the fourth century B. C. 122. Grave Stele, in the Berlin Museum. Of Parian marble. Found at Karystos in Eubcea. Formerly in the possession of Count Saburoff, ex-minister of Russia to Greece, and by him sold to the Berlin Museum in 1884. There 78 THIRD GREEK ROOM. are no restorations. Published : Furtwangler, Die Sammlung Saburoff^ pi. vi ; Berlin Museum, Ancient Sculptures No. 736. The figure of a bearded man, clothed in an himation, stand- ing in profile to the left, his right hand raised to the chin. This is one of the most beautifully executed grave monu- ments that exist. The relief has the character of the best period, and reminds one of the figures on the Parthenon frieze. The hair is treated easily and naturally, the head is of a fine type, and the drapery is remarkable for grace and simplicity. This is probably a work of the Attic school of the second half of the fifth century B. C, and is an inter- esting monument of the period of transition between the earlier style of grave stelai, like those in the First Greek Room, Nos. 13-15, and that of the fourth century (Nos. 178-188, Fourth Room). 123. Inscription, in the British Museum. On the original from which this cast is taken, the inscrip- tion is engraved on both sides of the stele. It is from Oropos in Boeotia, a public decree enacting the appointment of three special commissioners to examine the gold and' silver articles in the temple of Amphiaraos, with a view to recasting those found unfit for service. Published : Greek Inscriptions in the Brit. Mus.^ pt. II, No. CLX j Elgin Inscriptions^ No. 378. 124. The Borghese Achilles, so called, in the Louvre. Statue of Parian marble. Formerly in the Borghese collection, Rome, from which it passed to the Louvre in 1808. Restorations ; Half of the right hand, left arm from deltoid, three toes of the right foot, big toe of the left foot. Published : Clarac, Musk de Sculpture^ No. 2073, pi. 263 ; Wolters' Friederichs, No. 1298; etc. The name Achilles became attached to this statue because of the ring above the right ankle, which was thought to indicate the vulnerable part of Achilles, and to have been placed there as a sort of defence to the heel ; but the right explanation of the ring is probably that giv^n by Ravaisson, — that it is " nothing else than a kind 1 23-1 25. STATUES OF ACHILLES AND ATHENA, 79 of pad worn by Greek warriors on the leg to receive the weight of the greave, and to protect the ankle from contact with it." Thus all attributive significance disappears, and we have simply the figure of a warrior, wearing an Attic helmet, and holding a spear in his left hand. The name Ares (Mars) has also been applied to the statue ; and with the rough, sturdy character of the god of war, the heavy proportions correspond better than with that of the active, lithe Achilles. The square, thick frame, the short, pow- erful legs, and the general character of the muscular devel- opment, as well as the type of the face, are suggestive of the style of Polykleitos, and it is possible that this statue, of which several copies exist, — especially a fine head in Munich, — may be a late replica of a work of his school. 125. The Giustiniani Minerva, in the Braccio Nuovo of the Vatican. Statue of Parian (?) marble. Found close by the church of Santa Maria sopra Minerva, Rome (not, as according to popular tradition, in the temple of Minerva Medica). Date of dis- covery unknown. In the beginning of the 17th century, it was in the possession of the Giustiniani family, from whom it passed to Lucien Bonaparte, and was bought of him by Pius VII. for the Vatican. Restorations: The right forearm with the hand holding the spear, and fingers of the left hand. Pub- lished : Miiller-Wieseler, Denkmdler d. alten Kunst^ II, xix, 205 ; Gerhard, in the Beschreibung der Stadt Rom^ II 2, p. 91, No. 23 ; etc. This was formerly thought to be a reproduction of the type of Pheidias' Parthenos statue, but the statuettes Nos. 112 and 113 show that to have been of quite a different style. Not only is the face of a different type, but the helmet is of another variety. The drapery is much more elaborated in the Giustiniani figure ; and the aegis, which on the Parthenos covered both shoulders and was made a prominent feature, is here comparatively insignificant, be- ing entirely hidden on the left shoulder beneath the folds of the himation, — a garment which the Parthenos statue did not wear. The type to which the Giustiniani Minerva belongs is of a decidedly later origin, though just when and in what school it originated is not known. The over- elaboration of the drapery is characteristic of the virtues- 8o THIRD GREEK ROOM. ity of the sculptors of the Roman epoch, who attempted to make up what they lacked in originality by elegance of detail. The fact that the statue was found in the im- mediate vicinity of the church of Santa Maria sopra Mi- nerva, which was built over the ruins of the temple of Minerva Campensis, has led to the opinion that this may have been the temple-image of the goddess. The attitude and the inclination of the head correspond with the char- acter of such an image, and the execution is quite in keep- ing with the art of the first century B. C, in which the temple was built. The presence of the serpent has been thought to indi- cate that this is a figure of Minerva Medica, as the serpent is closely associated with the divinities of health ; but in the present instance it is evidently the symbol of Erich- thonios, as he is thus represented in the Parthenos statu- ettes. This is a distinctively Attic attribute of Athena (Minerva), and indicates that although the statue itself may have been executed in Roman times, the type origi- nated in Greece. 126. Colossal Bust of Athena, in the Glyptothek, Munich. Of Pentelic marble. Found near Tivoli, and formerly in the Villa Albani. Restorations . The head of the serpent on the hel- met, and the points on front of same ; the nose, part of the under lip, and some of the serpents in the aegis. Published : Bouillon, J/wj-/^ des Antiques^ I, 66; Miiller-Wieseler, Z>^«/^- mdler d. alien Kunst^ II, xix, 198 ; Brunn, Beschreibung der Glyptothek, p. 115, No. 92 ; etc. The head of this bust is of the same type as that of the Giustiniani Minerva (No. 125), characterized by the Corin- thian helmet, the long, oval face and the arrangement of the hair. As in that, the aegis is small and partially con- cealed beneath the himation on the left shoulder. The treatment of the under surface shows that this was never part of a statue, but made as a bust. The execution in- dicates that it originated in the Roman epoch, but like the Giustiniani and other similar statues, it probably repro- duces a Greek original, which was possibly as early as the fourth century B. C. 126. BUST OF ATHENA. 127. DIADUMENOS. 81 127. The Farnese Diadumenos, in the British Mu- seum. Statue of Pentelic marble. Date and site of discovery unknown. In the i6th century in the Villa Madama, Rome (pub. by Cavu- lieri, 1585) ; afterwards in the Farnese Gardens on the Pala- tine, and later in the Palazzo Farnese. Acquired by the Brit- ish Museum, 1864. Restorations : The nose. Published: Michaelis in the Annali delV Inst.^ 1878, pi. A and p. 20 ; etc. Polykleitos, the Argive contemporary of Pheidias, made two statues which were famous throughout antiquity. One of these was called the Doryphoros (see No. 114), the other the Diadumenos. Of the latter, this figure is among the best of a number of rephcas. It represents an athlete binding his hair with the broad band that indicated a victor in the games. Evidently this copy reproduces but little of the spirit of its original, as it has the technical characteristics of ordinary Roman workmanship ; yet it is useful because it gives us an idea of the proportions and the general style of Polykleitos' statues. The original having been of bronze, the tree-stump against the right leg was probably absent, and the figure rested firmly and easily upon that leg without artificial support. The frame is pov/erful and of rather heavier proportions than the athlete statues of the Attic school. This appears espe- cially in the development of the muscles of the chest and shoulders. There is no attempt to idealize the human figure, such as characterized the art of Pheidias, and in this respect the statue well illustrates v/hat we know of the art of Polykleitos from the statements of ancient writers, — that it was scholarly rather than poetic ; and that in statues of athletes his style was characterized by fidelity to nature at her best, but without the realism of later epochs. Among the replicas of the Diadumenos there is con- siderable variation in the head. Which of them comes the nearest to the original it is impossible to deter- mine, but the large eyes and the almost sentimental ex- pression in the face of this figure are characteristic of a later epoch than that of Polykleitos, and indicate that the head is a free rendering of the original. 82 THIRD GREEK ROOM, 128. Inscription, in the British Museum. A gravestone, recording the names of Aristophose, mother of Amphenor, and others. Believed to be a forgery. Pub- lished : Greek Inscriptions in the Brit, Mus.^ I, No. CXXXV*, Elgin Inscriptions^ No. 266. 129. The so-called Germanicus, in the Louvre. Statue of Parian marble. Date and place of discovery unknown, but in Italy, and probably during the last half of the i6th century. In 1685 it was sold by Cardinal Savelli to Louis XIV., together with the so-called Jason ; and placed first at Versailles, afterwards in the Louvre. Restorations : The thumb and forefinger of left hand, and some pieces in the drapery. Published: Ktl^ tty Monuments de T Art Antique ylly pi. 69, 70; etc. This Statue is an illustration of the custom, very general at Rome, of representing individuals in the form and with the attributes of divinities, the types of which were copied from well-known statues. Thus there are many existing ex- amples of Roman ladies having their heads and features represented on figures of the type of the Venus de' Medici. The head of the ** Germanicus " — a name which rests upon no foundation whatever — is probably that of some Roman orator, combined with a statue of Hermes Logics, the god of speech and patron divinity of orators, as statues of Hermes in precisely the same attitude exist in several museums, apparently reproductions of some famous original. (The best of these is in the Villa Ludovisi, pub- lished in Miiller-Wieseler Denkmdier d. alien Kunst, II, 318, and represents the god as youthful, wearing the winged cap.) In this statue the features are too individual for those of a divinity, and the manner in which the hair is worn indicates the Roman. The action of the fingers of the left hand shows that it held some long object, which may well have been the caduceus, or wand of Hermes. Identi- fication with this god is emphasized by the presence of the turtle on which the drapery rests, — the distinctive at- tribute of Hermes and Aphrodite. On its shell is an inscription which translated reads, " Kleomenes, the son 129. GERMANICUS. 130. LUDOVISI JUNO. ^Z of Kleomenes, of Athens, made this." Of this artist we know nothing, but the character of the inscription and style of the sculpture warrant our placing him in the first century B. C, and he was probably one of the many Greek artists who found employment in Rome at that time. The proportions of the figure are fine, and its preserva- tion remarkable. Excepting the thumb and forefinger of the left hand, which are restored, it has survived without a blemish. 130. The Ludovisi Juno, in the Villa Ludovisi, Rome. Head of coarse Greek marble. Date and place of discovery un- known. It was formerly in the Villa Cesi, and was acquired by Cardinal Ludovico Ludovisi in 1622. Restorations The end of the nose and part of right nostril, the curls on right side of the neck, and all but small fragments of those on the left. Also smaller pieces in various parts of the head. The surface has been worn by over-cleansing and rubbing of the marble. Published: Kekule, /f''^?^^, Leipzig, 1867, pi. II; Overbeck, KunstmytJiologie^ III (Hera), p. 83 ff., and Atlas, pi. IX, 7, 8 ; Schreiber, ^;///>^^ Bildwerkeder Villa Ludovisi^ No. 104; etc. This head was formerly considered the grandest of all existing types of Hera (Juno), and thought to reproduce the head of the colossal statue made by Polykleitos for the tem- ple of Hera at Argos, a work which ranked second only to the great creations of Pheidias in the estimation of antiquity. That idea has long since been abandoned, because the style of treatment could not be older than the century fol- lowing that of Polykleitos ; and the origin of the heacj is now a matter of dispute, some authorities dating it as early as the fourth century B. C, others at various subse- quent epochs, even as late as the Roman. In technical characteristics it has a strong affinity with the sculpture of the early empire, and we are inclined to place it among the works done by Greek sculptors in Rome about the beginning of our era. It may also be questioned whether Hera is the correct appellation. The authenticated figures of the bride of Zeus represent her according to the Homeric descriptions, rather matronly in both face and figure, with a sternness about the mouth suggestive of her disposition. To these 84 THIRD GREEK ROOM. descriptions the Ludovisi head does not correspond. It is dignified, but neither stern nor matronly, and appears to be that of a maiden-divinity. The stephane or crown is not a distinctive attribute of Hera, while the veil by which she is usually distinguished is wanting here. The cutting of the under surface of the neck shows that the head once formed part of a statue. 131. Inopos, so called. Fragment of a statue, in the Louvre. Of Parian marble. Found in the island of Delos, in the i8th cen- tury, and carried to Marseilles as ballast. There acquired by an^artist named Gibelin (1739-1814}, from whom it passed to the Louvre. Restorations : Part of the nose, and small pieces in the cheeks. Published : Reinach, in the Gazette Archeolo- gique^ 1886, p. 186 ff., and pi. 22 ; etc. What remains of the torso of this statue shows it to have been in a reclining posture, a fact which, in connection with the flowing hair and youthful face, gave rise to the idea that it was a personification of the river Inopos, which flows through Delos. It has also been considered a member of a pediment composition, like the so-called Kephisos of the Parthenon (No. 105), but the recent excavations in Delos have disclosed no temple large enough to include such a figure in its pediment groups. The style of the sculpture shows it to be a work of the Hellenistic epoch (B. C. 332-150, see p. 131). This is indicated by the heavy masses in which the hair is treated, and by the detail in the modelling of the face, both distinc- tive characteristics of that epoch. The figure is executed with breadth and power, displaying the technical skill which distinguished the sculpture of the period to which it is assigned. (Compare with the relief from Pergamon, Fifth Room, No. 247.) M. Reinach, in the article quoted above, attempts to establish this as a portrait of Alexander the Great, but its resemblance to authenticated portraits of him is not suffi- ciently close to make the identification unquestionable. This cast was presented to the Museum by the late Mt. Stephen H. Perkins. 131. INOPOS, 132. SOPHOKLES. 85 132. Sophokles, in the Lateran Museum, Rome. Statue of Greek marble. Found at Terracina, a town on the coast between Rome and Naples. The exact date of discovery is not known, but it was a few years before 1839, when the statue was presented by Count Antonelli of Terracina to Pope Gregory XVI., who at once placed it in the Lateran Museum. Restorations : the nose, small bits in the hair, beard, and face, the right hand, both feet with the base, the lower part of the garment behind, and the Scrinium, or box of rolls. These by Tenerani. Published : Welcker in the Annali, 1846, p. 129 f., and Monumenti delV Inst., IV, pi. xxvii ; Benndorf and Schone's Bildwerke des Lateran. Museums , No. 237 ; and pi. xxiv; etc. The attempt has been made to see in this figure the copy of a bronze statue of Sophokles erected in the Dionysiac Theatre by the Athenian Lykourgos, which we know from allusions by one or two ancient writers, though no descrip- tion or indentified copy of it exists. It is much more prob- able that this is itself an original work of the same pe- riod, — the latter half of the fourth century B. C, — as the movement has all the life, and the execution all the fresh- ness, of an original work ; the technique, too, has all the dis- tinctive characteristics of pure marble treatment, in contrast to the reproduction of bronze work, as may be seen espe- cially in the hair and beard. (On this point compare the Amazon, No. 90, which, though of marble, is evidently a copy of a bronze original.) The face has been identified as that of Sophokles by comparison with several antique busts on which the name was inscribed, — especially a small head in the Vatican, published by Visconti in the Museo Pio Clem,^ VI, pi. 27, and in the Iconographie Grecqtte, I, pi. iv. A study of the Demosthenes (No. 138) in comparison with this statue is instructive, showing the fine apprecia- tion by their sculptors of the distinction between the orator and the declaimer. The object of the one is to convince, of the other to move, his audience. In the attitude of the Demosthenes we see the careful balancing of thoughts before utterance, while that of the Sophokles is thoroughly dramatic ; the words are committed, and the object of the speaker is to deliver them with proper effect. S6 THIRD GREEK ROOM. 133. The Praying Boy, so called, in the Berlin Museum. Statue of bronze. Probably identical with a statue that was in Venice in the i6th century. In the 17th century, the " Praying Boy " was in France, the property of the Surintendant Foucquet. By his son it was sold to Prince Eugene of Savoy at Vienna, 1717, after whose death it passed into the possession of Prince Wenzel Liechtenstein, by whom it was sold to Frederic the Great in 1747. It was then placed at Potsdam (Sans-Souci), and later in Berlin. Napoleon I. carried it to Paris, whence it was subsequently restored to Berlin. Restorations : Both arms to the shoulders, the second toe of the right foot, second and third of left foot, and the plinth. Published: Verzeich- niss der Antiken Skulpiuren im kgl. Museunty Berlin, 1885, No. 2, and authorities there quoted; Archdolog. Zcitung^ 1885, pp. 73 and 76; Conze, in the jfahrbuch des deutschen archdolog. In- stitutSf 1886, pp. I ff. ; etc The investigations into the history of this statue which have been made recently by the authorities of the Berlin Museum have stripped it of its most distinctive feature, by showing that the uplifted arms, in which many generations have seen and admired the Greek attitude of prayer, do not belong to the original figure, but are a very skilful modern restoration, which is thought to have been made while the statue was in France, during the reign of Louis XIV., and to indicate merely what was the restorer's idea of the original motive of the statue. Of that motive there is little indication, except that the action of the shoulders shows that both arms were raised. It has been suggested that the work was of a genre or decorative character, and that the hands held some object, such as a large vase, but this is merely one of a number of possible restorations, including that which has actually been made. Apart from the disposition of the arms, however, this is one of the most beautiful ancient bronzes that have come down to us. The attitude is graceful and easy, giving the figure a charming outline from every point of view ; the proportions are ideal rather than realistic, in contrast to the " Spinario " (No. 136), and the modelling displays the delicacy and refinement of works of the second half of the fourth century B. C. In these qualities and in the type of the head there is a resemblance to the style of Lysippos, in whose school the statue may have originated. 133-135- PRAYING BOY, OTRICOLI ZEUS, ETC, 87 134. The Otricoli Zeus, in the Vatican. Bust of Carrara marble. Found at the end of the last century, dur- ing the excavations of Pius VI. at Otricoli, in Central Italy. Restorations : Only the mask is antique, and of this the fol- lowing-named parts are restored : the end of the nose, nearly all the hair on the left side of the face below the level of the eyes. On the right side the hair next to face is original, the outer part modern, also bits set into the beard. Published : Visconti, Micseo Pio C/d'/w., VI, i ; Miiller-Wieseler, Denkmdler d, alteft Kunsty II, i ; etc. Although this may be considered one of the most majes- tic of extant heads of Zeus, the theory that it reproduced the Pheidian type has been generally abandoned. It is evi- dently the creation of a later epoch. If we can judge of the head of the Pheidian Zeus by reproductions of it on coins, its character was purely intellectual ; the hair was treated simply, and the face was impressive by reason of its intrinsic dignity. In the Otricoli head, the animal pre- dominates over the intellectual. It owes its impressive effect principally to exaggeration of physical qualities, — the extraordinary projection of the brow, the mane-like locks that frame the face, and the heavy, rugged masses of the beard. This attempt to produce effect by means of a sort of trickery, is a method of treatment characteristic of the art of the Hellenistic epoch (332-150 B. C), in which the type of the Otricoli head probably originated. The head itself was executed not earlier than the time of Augustus, in whose reign the marble of Carrara (Luni), of which it is made, was first quarried. 135. Female Head, in the Berlin Museum. Of Pentelic marble. Found at Eretria, in the island of Euboea, and formerly in the collection of Count Saburoff, ex-minister of Russia to Greece, by whom it was sold to the Berlin Museum in 1884. There are no restorations. Published : Furtwang- ler, Sammlung Sabu7-off, pis. xii-xiv ; Berlin Museum, Ancient Sculptures No. 743. This beautiful head is from a grave relief, of the style of Nos. 178-188, in the Fourth Greek Room. It is a work of the Attic school of the fourth century B. C. SS THIRD GREEK ROOM. 136. The ** Spinario/' in the Palazzo dei Conserva- tori, Rome. Statue of bronze. Date and place of discovery not known. As early as the end of the 1 5th century the statue was in a Roman collection. Carried to France after the treaty of Tolentino, and subsequently returned. There are no restorations. Pub- lished : Rayet, Monuments de VArt Antique^ I, pi. 35 ; Brizio in the AnnaliddP InstUuto, 1874, P- 49» P^- ^^) ^"d Monumentiy X, pi. ii; Robert, Annali, 1876, p. 124 f. ; Furtwangler, Der Dornauszieher^ Berlin, 1876 ; etc. This is one of the most interesting specimens of Greek genre sculpture that we possess. A purely decorative work, without either mythological or historical significance, it represents a boy wholly absorbed in drawing a thorn slowly and carefully from the sole of his foot. His spare form and slender arms and legs are rendered with more realism than the bronze boy in Berlin (No. 133), but the face is as devoid of expression as those of the statues of the early period. Several replicas of the figure exist, the best being the "Castellani" Spinario, of marble, in the British Museum (published by Rayet uhi stip.^ pi. 36). In all of these the head is treated with as much realism as the figure ; the hair is short and curly, and the face, with wrinkled brow and parted lips, expresses both the pain and the delicacy of the operation. This difference from the more general type has made the Roman Spinario the subject of much discussion as to its date, the principal authorities who have made special studies of the figure differing from one another to the extent of 450 years. By some it is considered a work of the Attic school of the middle of the fifth century B. C. ; by others it is placed as late as the beginning of the Chris- tian era, when there was at Rome a school of sculptors who affected the simplicity of early Greek art, just as some artists of our tim.e follow the methods of the pre- Raphaelite painters. While it is not possible to decide the question as to when the statue was actually made, its style is unquestionably that of the period preceding Phei- dias. At that time there were at Athens sculptors who represented the human figure with all the realism of this statue ; and the shape of the skull, high at the crown and 136-138. SPIN A RIO, ETC. 89 declining towards the forehead, the type of the face, and the treatment of the hair, are in exact accord with many existing sculptures of that epoch. 137. Bust of Zeus (?), in the British Museum. Of Pentalic marble. Formerly in the collection of Mr. Towneley, who bought it at the sale of the Duke of St. Albans* collection. Beyond this its history is unknown. Restorations: The nose, greater part of neck, and a piece in the left cheek. Pub- lished : Ancient Marbles in the Brit. Mus., pt. X, pi. i ; Over- beck, Kunstmythologie, II (Zeus), p. 229, Atlas, pi. II, No. 17; etc. Although this is quite generally regarded as a head of Zeus, it has certain distinctive characteristics in which it resembles the common type of Asklepios, the god of health, more than that of Zeus. (Compare, for example, the Otricoli Zeus, No. 134.) These are, first of all, the youthfulness of the face and its mild, placid expression. The formation of the head, also, varies somewhat from that of Zeus in most representations of him, the forehead being lower and broader, the brow less prominent, and the face rounder and shorter. The hair and beard, though disposed in the same manner as those of Zeus, are treated in lighter masses, the general effect being decidedly less majestic. In all these peculiarities the bust corresponds to the ideal of Asklepios in the fourth and following centuries B. C, when sculptors distinguished him from Zeus by just such minor details. 138. Demosthenes, statue in the Vatican. Of marble. Formerly in the Villa Aldobrandini, Frascati. Resto- rations : Both wrists and hands, with the scroll. Published : Wagner, in the Annali delV Instituto, 1836, p. 1 59 f. ; Michaelis, in the Archdolog. Zeitung, 1862, p. 239, f. ; etc. See also Michaelis, Ancient Marbles in Great Britain, p. 417 f. It is easy to believe that this statue is an excellent por- trait of the greatest of Greek orators. The combination of resolution and weariness in the face, the peculiar con- formation of the mouth, and the slight, weak body, corre- spond to Plutarch's description of Demosthenes, who is here represented in the latter part of his life, yet with features 90 THIRD GREEK ROOM. wrinkled more by toil and trouble than by age. The atti- tude is characteristically simple and dignified ; the drapery is treated in the same spirit, and the face, especially the eyes, is thoroughly expressive of the tremendous earnest- ness of the man. Polyeuktos, an Athenian sculptor, made a bronze statue of Demosthenes, which was erected at the public expense about the year 280 B. C. That is the only portrait of him mentioned, and as the Vatican statue and all other extant portraits are evidently replicas of one original, there is good reason for supposing this original to have been the statue of Polyeuktos, especially as the extremely realistic treatment of the face and nude portions of the figure, which is noticeable in our copy, is quite characteristic of the art of his time. His statue, however, had the hands clasped, as we know from an anecdote in Plutarch's life of Demos- thenes (Chap. xxxi). The hands of the Vatican statue are modern, but that the restoration is correct is proved by a similar statue in the collection of Lord Sackville at Knole in Kent (described by Michaelis, Anc, Marbles^ cited above), on which hands and scroll are original. In his description of that statue, Michaelis explains this divergence from the original type by supposing the extant figures to have been executed at a later epoch, when Demosthenes was admired more as an author than as a patriot, and therefore the scroll was substituted for the clasped hands. 139. Head of Demosthenes. In the garden of the Royal Palace, Athens, where it was found. Published : Mitchell, History of Aficient SculJ)ture, p. 547 f., fig. 223. From a statue similar to the preceding. 140. The Venus of Melos. Statue in the Louvre. Of Parian marble. Found 1820, probably in April, by a peasant, in a grotto about five hundred yards from the ancient theatre of the town of Melos, on the island of the same name. From its shape and character the grotto is supposed to have been a grave in which the statue was hidden. Bought for about 6,000 fr. by M. de Marcellus for the Marquis de Riviere, then French ambassador to the Porte. Carried to Paris, where it arrived 138-140. DEMOSTHENES. VENUS OF MELOS. 91 in February, 1821, and was presented by de Riviere to Louis XVIII., who placed it in the Louvre. Restorations : The end of the nose, part of the lower lip, the left foot with the edge of the drapery covering the upper part, the big toe of the right foot, and various small pieces inserted to fill up small fractures in the body and drapery. On the original these res- torations are in plaster. Publications : Of the inexhaustible literature on the subject of this statue, the essays by Goler von Ravensburg, Die Venus von Milo^ Heidelberg, 1879, ^"^^ Felix Ravaisson, La Venus de Milo, Paris, 187 1, may be especially recommended. From almost the very year in which it was discovered, this, the most famous and most beautiful of all female statues, has been the object of incessant controversy among scholars and critics respecting its name, its date, and its original motive. Those who first saw the statue called it a Venus, and as such it was carried to Paris ; but a few years after its arrival there the correctness of this ap- pellation was disputed, and successive attempts have since been made to prove it the Protecting Nymph of Melos, a Muse, Elektra, Nemesis, Nike, Athena-Nike, Sappho, and even Phryne. In spite of these assaults, however, the original name remains both the most popular and that which is supported by the strongest evidence. The superb moulding and majestic proportions indicate that the figure is not only ideal, but of one of the greater divinities. Among these the disclosure of the form by the falling drap- ery is characteristic of the goddess of love, while the dig- nity of the bearing and the nobility of the countenance dis- tinguished Aphrodite Urania, the heavenly Venus, from the vulgar goddess of the same name. The inspirer of the highest form of love, she is herself exquisitely lovely, yet with no suggestion of sensuality in her beauty. The splendor of her form is displayed with neither shame nor coquetry. Her face is as pure as it is beautiful, proud, yet sympathetic, combining in its expression the tenderness of the woman with the majesty of the goddess. These are the distinctive qualities of Aphrodite Urania, and their expression in sculpture is characteristic of the art of the fourth century B. C. in which this conception of the god- dess undoubtedly originated. Although its type may be confidently assigned to that 92 THIRD GREEK ROOM. period, the date of the statue itself is a matter of uncer- tainty, being dependent upon its connection with an in- scription found in the same place and carried to Paris at the same time, which read, " Agesandros [or Alexandros] son of Menides of Antioch on the Maeander made this." Many competent judges who saw the inscription believed the fragment containing it to be part of the base of the statue; others affirmed that there was no connection between the two. Before the matter was determined, the fragment disappeared from its place in the Louvre, and the diligent searches which have been made at different times since, have failed to recover any trace of it. If this inscrip- tion belonged to the statue, it would prove the latter to be the work of an otherwise unknown sculptor, who lived not earlier than the third century B. C, since Anti- och on the Maeander was not founded before the year 281. As every thing possible was done by not over-scrupu- lous authorities to prove the Venus a work of Praxiteles or his time, the suppression of such weighty testimony to the contrary is not difficult to understand. The very fact of its disappearance at the time when it was so important is a strong argument for the connection between the in- scription and the statue ; and though absolute certainty is no longer attainable, it is extremely probable that the two did belong together. The argument that the execution of the Venus is too fine to have been the work of such a late period has been refuted by the recent developments in our knowledge of the art of the Hellenistic epoch (332-150 B. C). The excellence of the sculptures discovered at Pergamon (see Nos. 217 and 247, Fifth Greek Room) and other Hellenistic sites, shows that the Venus might have been executed as late as the sec- ond century B. C. For, although the creative power of the preceding centuries was gone, the sculptors of that epoch still possessed marvellous technical skill, and their works display great power and refinement of execution. Among the extant works of the period are many fine reproductions of older types, especially of the higher divinities, which are marked by much greater sympathy with the spirit of the original, and more freedom in the treatment of details, than the mannered works of the Roman copyists. To this THE VENUS OF ME LOS, 93 class of monuments the Venus of Melos probably belongs. It is probably a Hellenistic reproduction of an original that dated from the fourth century. The many attempts at restoration of the arms and determination of the original motive of this statue may be divided into three groups. The first represents the goddess as a Venus Victrix, holding the apple of Paris in the uplifted left hand ; the second as grouped with Ares (Mars), her left hand on his shoulder ; the third as supporting a shield on the left knee and holding it with the left hand. The first of these is based upon the frag- ments of a hand holding an apple, and of an arm, said to have been found in the same grotto two years after the discovery of the statue, but of doubtful connection with it. Each of the others is derived from the analogy of extant representations of Aphrodite, in which the attitude of the figure and the disposi- tion of the drapery are precisely similar to those of the statue. Each of these three restorations has much evidence in its favor, but none is so absolutely satisfactory as to receive general acceptance to the exclusion of the others, and the motive of the statue is still a riddle which defies the ingenuity of those who try to solve it. 141. Model of the Akropolis of Athens, showing the relative position and size of its various monu- ments. The names of these, with their corre- sponding number, will be found on the key. Of the casts in this room, Nos. 100-103, 105, 112, 116- [120, 127, 132, 136, and 138 were purchased from the [bequest of Charles Sumner. Nos. 125, 126, 130, 134, 137, 140, are the property of Ithe Boston Athenseum. No. 107 is the property of the Institute of Technology. No. 131 was presented to the Museum by Mr. Stephen te. Perkins. FOURTH GREEK ROOM. On the wall above the door leading to the entrance hall,— 150. The Wedding of Poseidon and Amphitrite, in the Glyptothek, Munich. Relief of Parian marble. Formerly in the Palazzo Santa Croce, Rome, later in possession of Cardinal Fesch. Bought in Paris, 1 8 16, by von Klenze, and transferred to the Glyptothek. Resto- rations : " Many small pieces, including the ends of nearly all the noses, the left arm and hand of the woman on the bull, arms and head of the Eros behind her, the horns of the lyre, the shell and both forearms of the front Triton, part of the vase in the left hand of one of the Nereids, the left arm and wing of the Eros behind her, the whole of the floating Eros next to the pillar, except the lower half of the wing, the head and half of the neck of the sea-dragon, the three heads of the last group, with parts of the right arm of both females. " — Brunn. The remains on the background of the relief were the basis of these restorations. Published : Jahn, in Berichte der Sachischen Gesellschaft^ 1854, p. 160 ff., pis. III-VIII ; Brunn, Beschreibung der Glyptothek, 1879, p. 146 ff. ; Perry, Greek and Roman Sculpture^ p. 395 ff., figs. 168 A-F; etc. • The subject of this relief is the wedding of Poseidon and Amphitrite, or more exactly, the conduct of the bride to her new home by the bridegroom, one of the most im- portant features in the Greek marriage ceremony. In a chariot, the back and arms of which are draped, sit Poseidon and Amphitrite, the latter wearing the bridal veil. The chariot is drawn by two Tritons, one blowing a sea-shell, the other playing upon a lyre. In front of and opposite the bridal couple, Doris, the mother of Amphitrite, rides upon a sea-horse, carrying the two nuptial torches, in accord- ance with a Greek custom dating from the earliest times, ISO, 151. RELIEFS IN MUNICH AND LONDON. 95 that the mother of the bride should accompany the pair as far as their new home, with torches lighted at the parental hearth. These figures form the principal group, at either side of which is another composed of three females riding upon fantastic beings of the sea, and carrying objects which are presumably the bridal gifts. The women may be Nereids, or possibly, since each group is composed of three, the Hours and Graces, who took part in the wed- dings of the gods. Pliny (N. H., xxxvi. 26) describes a work by Skopas which in his time stood in the Temple of Domitius at Rome, representing Poseidon, Thetis, Achilles, Nereids, etc., and Brunn has attempted to establish the Identity between that and this frieze. His opinion has been widely followed, but it rests upon evidence which is far too conjectural to prove that the two are identical. Of Skopas^ work we do not even know whether it was a frieze or group, and of his style our knowledge is very imperfect. The character of this frieze is of a much later epoch than that of Skopas. Its style resembles that of the decorative work of the Hellenistic epoch, earlier than which it can hardly have originated. On the adjoining and opposite walls, — 1151. Selection from the Frieze of the Temple of Apollo at Phigaleia, in the British Museum, Of Pentelic marble. Discovered among the ruins of the Temple in 181 1, 181 2, by Cockerell, Haller, Lynckh, Stackelberg, etc., and acquired by the British Museum in 1814. There are no restorations. Published: Stackelberg, Apollo-Tempel zu Bas- sae, Rome, 1826; Blouet, Expidition Scientifique de Moree, vol. II, pis. 20-23 ; Combe, Anc. Marbles in Brit. Mus.^ IV, pis. 25-28; Cockerell, Temples of Aegirta and Bassce; etc. The temple of Apollo Epikourios (the Succorer), from : which this frieze was taken, was built by the people of ; Phigaleia, a town in the southwest corner of Arkadia, in [recognition of their deliverance from a plague. It stood [some distance from the town itself, on a spur of the [neighboring Mt. Kotylios, at a place called Bassae. The architect was Iktinos, the same who built the Parthenon. g6 FOURTH GREEK ROOM. The date of the construction of the temple is not known, but it was probably after the completion of the Parthenon (438 B. C), and the plague referred to may have been that which visited Athens soon after the outbreak of the Peloponnesian war. The temple was of the Doric style, but with Ionic half- columns in the interior; and it was over these, not on the outside of the building, that the frieze was placed, thus forming a decoration of the cella, the four walls of which it encircled. With unimportant exceptions the entire frieze has been found; it is about loi ft. long, divided unequally into two subjects, the battle of the Greeks and Amazons, and that of the Kentaurs and Lapithae, the former being the longer of the two. A selection from this is on the inner wall of the room, while the battle of the Kentaurs and LapithiB is represented on the wall next the Third Greek Room. Unlike that of the Parthenon frieze, these two sub- jects are represented without continuity. The battles are not followed from beginning to end, but each is depicted at its height, with no indication as to which is to be the victorious party. Among the Kentaurs, some are brought down by the powerful Lapiths ; others have the advantage over their adversaries, and one is represented as killing his foe by biting his neck, kicking at the same time with both hind legs the shield of another Lapith who approaches from behind. The fate of the women is equally uncertain. From one the clothes are torn as she clings to the image of a divinity. Her companion, with outspread arms and upturned face, implores the aid of the gods, and another is seized by a Kentaur as she attempts to escape v^ith her child. At the inner end of the wall is a chariot drawn by two stags, and bearing Apollo and Artemis, the former in the act of shooting. The battle of the Amazons is represented with equal spirit, and the same uncertainty of result. Both of these subjects are treated not merely in the Attic style, but with actual imitations of works in Athens, and undoubtedly origi- nated in the Attic school. There is the same ease and fertil- ity in the composition that is noteworthy in all Greek works of this class and epoch, an infinite variety in the lines, all of 1 51-153- FRIEZE FROM PHIGALEIA, ETC. 97 which are vigorous, and fulfil the architectual object of the frieze by giving life and activity to the more serious mem- bers about it. The quality of the execution varies, often displaying a marked contrast to the excellence of the con- ception ; yet it has the characteristics of the work of the fifth century, the faces lacking pathetic expression, and the proportions of the men less slender than in reliefs of the following century. (Compare the reliefs from the Mau- soleum, Nos. 191-195.) 152. Helios and his Chariot. Metope from Ilion, in the Ethnographical Museum, Berlin. Of white marble. Found by Dr. Schliemann during his excavations in 1872. There are no restorations. Published : Schliemann, Ilios, fig. 1479, pp. 622-625; the same, Troja^ fig. 109, p. 202; etc. The original of this cast is an architectural fragment, combining a metope and two triglyphs, from a temple erected on the site of the ancient Troy. In the metope Helios, the Sun-God, is represented driving his four-horse chariot. Of the chariot itself nothing is to be seen, a fact which indicates that originally it was represented in color only. The design is spirited, the action of the horses showing unmistakably the Greek chisel, but the sculpture is not of the best period, and probably dates later than the year 300 B. C. 153. Fragment of a Relief, in the Vatican. Of marble. Found near Praeneste; date unknown. Published: Visconti, Museo Pio Clementino, IV, pi. 9. p. 56 ff. The relief of which this is a fragment contains in all six figures, arranged in pairs in the attitudes of these two, and, like them, wearing helmets and carrying shields. In their right hands were originally swords, probably of metal. The character and subject of this monument are explained by a similar one, more complete, in Athens (Beule, L'Acropole, II, 314 and pi. iv), on which is an inscription showing it to be the pedestal of a statue dedicated by a victor in the Pyrrhic dance. In that relief the figures are arranged in two groups of four each ; otherwise they are 98 FOURTH GREEK ROOM. precisely like these, so that there can be little doubt that this was also portion of a pedestal, and that the dance represented is the Pyrrhic, not, as Visconti supposed, the wild, noisy dance of the Korybantes or priests of Kybele. 154. Niobe and her Youngest Daughter. In the Uffizi Gallery, Florence. Group of Pentelic marble. Found 1 583, near the Lateran, Rome. Purchased by Cardinal Ferdinand de' Medici, and placed in the Villa Medici. In 1775, removed to Florence. Restora- tions : On the Niobe, the nose, parts of lips, left lower arm with the piece of garment attached, and the right hand with half the lower arm Daughter, the right arm, left hand, hair, nose, lower lip, left foot Published : Stark, Niobe^ Leipzig, 1863, pp. 225 ff. and Plate X ; Overbeck, Plastik^ 3d ed., II, pp. 52 £f.; Clarac, No. 1260, pi. 583; etc. These two figures were found with twelve others, at least seven of which evidently formed part of a group of which the Niobe was the centre. Since their discovery, statues in various museums have been identified as of the same group, so that there are now in all thirteen figures estab- lished as belonging to it, and several others about which there is still controversy. The subject represented is the climax of the well-known story of Niobe, and the moment chosen is that in which the slaughter is at its height. About Niobe are her sons and daughters, some already dead, some wounded, and some trying to escape. The haughty mother, punished for her arrogance, clasps her youngest daughter, still unharmed, to her knees, and with her mantle vainly tries to screen the child from the flying arrows, looking imploringly, yet despairingly, towards heaven. The fact that the execution of these figures, which is hard and mechanical, is greatly inferior to the conception, warrants the belief that they are Roman copies of a Greek original ; and that this was a famous work is indicated by the number of replicas of these same figures that have been discovered, both statues and reliefs. (See, for ex- ample, the sarcophagus. No. 173, in the same room.) Of the Niobe there is a head precisely similar to that of the statue, but of finer execution, in the collection of 154, 155- THE NIOBE GROUP. 99 Lord Yarborough, at Brocklesby Park. It is, therefore, probable that the original was the group of which PHny (N. H., XXXVI. 28) speaks as standing, in his time, in the temple of Apollo Sosianus at Rome, and about which there was doubt as to whether it w^as the work of Skopas or Praxiteles. As no other ancient writer mentions the group, and we have not enough existing works of the two sculptors to enable us to make a decisive comparison of their styles, it is impossible to determine to which of them this is to be assigned. Moreover, the doubt existing in Pliny's time indicates that the work was not signed, and therefore there is no proof that it was by either of them. Whoever the artist may have been, the original was un- doubtedly a work of the first half of the fourth century B. C, as all the existing copies bear resemblances to the general characteristics of that epoch. 155. Niobid, in the Vatican. Statue of Greek marble. Discovered possibly in Hadrian's Villa in the i6th century. Formerly in the papal gardens of the Quirinal. There are no restorations. Published : Stark, Niobe, p. 265 ff. and pi. XII; Murray, History of Greek Sculpture^ II, p. 315 f. and pi. xxviii ; etc. This statue represents one of the elder daughters of Niobe fleeing from the arrows of Apollo and Artemis, and is a copy of a figure from the group mentioned above (No. 154), as famous in antiquity. The same figure is re- produced in one of the statues in Florence, though that is greatly inferior to this, which is by far the finest of all the extant Niobids, and doubtless reproduces much of the spirit of its lost original. In contrast to the stiff, mechan- ical action of the Florentine statue, which suggests the original in little more than attitude, this is full of life and excitement. The drapery is cut in deep, vigorous folds, that express all the rush of the movement, and is treated with a grace and power suggestive of the Parthenon sculp- tures, although the original of the group, as stated above (No. 154), was probably a work of the century following the completion of the Parthenon. 100 FOURTH GREEK ROOM. 156. Colossal Head of Kastor. From the statue on the Monte Cavallo, in front of the Quirinal Pal- ace, Rome. Of marble. Formerly stood in front of the Baths of Constantine, from which it was removed to present position by Sixtus V., in 1589. There are no restorations on the head. Published: Fogelberg in the Annali deW Instituto^ 1842, p. 194 ff. ; Clarac, MusSe^ pi. 812 A, No. 2043 J ^*^c. The statue from which this head is taken is one of two which formerly served as decorations to the entrance of the Baths of Constantine, representing the Dioskouroi holding in check their prancing horses. The figures are not mounted, but lead the horses by the bridles, and Kastor looks back at his horse, who rears behind and a little to the left of him. This explains the action of the head and the excitement in the countenance. On the chin there still remains one of the sculptor's measuring points, show- ing that the statue was left incomplete. Upon the pedestal of this statue is the inscription, " Opus Phidiae " ; on that of the companion, " Opus Prax- itelis," which Pope Sixtus V. had copied from the earlier pedestals when the statues were removed. That the statues are the work of these masters, however, is impossi- ble. I'hey evidently date from the Roman Empire, but are possibly copies of works of the Hellenistic epoch. 157. Head of Demeter, in the British Museum. Of Parian marble. Discovered, with the statue to which it belongs, by Newton at Knidos in 1858. (The statue had been noted by Cell and his associates in 181 2, headless and nearly covered with earth.) There are no restorations. Published: New- ton, Halicarnassus^^. 375 ff. and pis. Llli-LV; Brunn, in the Transac. Royal Soc. of Literature^ new series, Vol. XT, pt. I, p. 80 ff. ; Rayet, Monuments de VArt Antique^ II, pi. 49; etc. This head is from a statue, probably of the fourth cen- tury B. C, representing Demeter seated upon a throne, her figure fully enveloped in drapery, and wearing the veil indicative of a matron. Between the head and that of the Venus of Melos, there is great resemblance in the treat- ment of the hair, the general character of the sculpture, and most of all in the manner in which a number of quali- 158. STANDING DISKOBOLOS. ties are combined in the expression of the face. Demeter is here conceived in her relation to Persephone, the shrine in which the statue was found having been dedicated to both. A mother, she has not yet passed the bloom of womanhood, but is still beautiful in spite of the long mourning over her lost child. Grief has left its traces in the face, but only to soften the lines, and give ex- pression to the submission with which her sorrow has been endured. There is also the kindliness which is born of resignation, making the countenance as tender as that of the Venus, in marked contrast to the stony face of mourning of the Niobe (No. 154). "It has been truly said that the coun- tenance of this Knidian Demeter is, in expression, the most Christian work in ancient sculpture." — Newton, 158. Standing Diskobolos, in the Vatican. Statue of Pentelic (?) marble. Found, 1792, by Gavin Hamilton, amid the ruins of an ancient villa on the Appian Way, and bought of him by Pius VI. for the Vatican. Restorations : The fingers of the right hand, and a few other unimportant pieces. Published: Visconti, Museo Pio Clem., Ill, pi. xxvi ; Kekule, in the Archdologische Zeitung, 1866, p. 169, £f. and pi. ccix, 1,2; etc. This statue represents an athlete about to hurl the dis- kos, a favorite subject among the sculptors of the fifth century B. C, as the game of the diskobolia or diskos- throwing was one of the most popular among athletes, and formed part of the contests for which prizes were awarded at the great festivals. The diskos was a round object, sometimes lens-shaped, sometimes fiat, and if we may judge by one found at ^gina, now in the British Museum, was of bronze, about eight inches in diameter, weighing a trifle less than four pounds. The object was to throw it the greatest possible distance, in a definite direction, but with- out regard to a goal. The action of this figure is instantaneous. His feet firmly planted, and the right hand raised, the youth is esti- mating the ground preparatory to swinging himself into an attitude like that of the neighboring Diskobolos (No. 161). As is usual with works of the fifth century, the face expresses none of the excitement of the action. FOURTH GREEK ROOM, Visconti, in describing this statue, considered it a copy of a Diskobolos by Naukydes, a pupil of Polykleitos, and therefore of the Argive school ; but, although it is still often referred to as the " Diskobolos of Naukydes," there is no authority for the assumption that it is a work of that sculptor. In type and style it has more affinity with the Attic than the Argive works, and it may be a copy of some Athenian statue of the fifth century B. C, though to what sculptor it is to be assigned we do not know. Both Alkamenes and Myron have been suggested, but there is not sufficient evidence for ascribing it to either. The clumsy character of the support necessitated by the marble is disturbing to the effect of the action. The original was probably of bronze, in which material the statue would require no artificial support whatever. 159. Large Oval Sarcophagus, in the Vatican. Of marble. Found 1777 in digging the foundations for the Sacristy of St. Peter's, Rome. (In it were two skeletons.) Placed by- Pius VI. in the Vatican. Restorations : The head of the female in the middle group, lower part of faces of both lions, and the mask lying by the altar. Published : Visconti, Musco Pio Clem.y IV, pi. xxix ; Gerhard, in the Beschreibuiig der SiadtRom.y II 2, p. 133, No. 37. As is frequently the case with Roman sarcophagi, the subject represented here has the least possible connection with death or the purpose of the sarcophagus. The object of the relief is simply that of decoration, without especial significance, and the subject chosen is one of great popu- larity in decorative works of late Greek and Roman art, — a dance of Satyrs and Maenads or Bacchantes. Beginning at the extreme right, a Satyr, holding a thyrsus in his right hand, dances up to a Maenad, offering her a tambourine. At his feet leaps a panther in the same direction. Next are another Satyr and Maenad, dancing, she holding some sacrificial object in her left hand, while with her right she grasps her flying drapery. The Satyr holds a thyrsus in one hand, and stretches at full length his panther-skin gar- ment with the other. His club has fallen at his feet. Under the two lion-heads on the front are Erotes (Cupids) riding on panthers, and holding wine-cups. In the centre 159, i^o- BACCHIC RELIEFS. 103 is the most beautiful group, a graceful Maenad and Satyr swinging in a circle. Between them is a panther with one paw upon a goat's head, another Bacchic emblem. To the left another group of two dance about a small altar, on which is a Silenus mask. The manner in which the Maenad's drapery flies shows that she is whirling in the perfect abandonment of the Bacchic frenzy, while her com- panion dances around her. Finally, the last group repre- sents a Satyr who for a moment stops piping to dance, and a Maenad playing the cymbals and apparently singing. It is worthy of note that although this scene exhibits all the wildness of the Bacchic dance, of which the utmost liberty of gesture and movement was characteristic, it is yet abso- lutely free from coarseness or vulgarity. As becomes the devotees of the god of wine, the fun is boisterous, but it is always graceful and without an element of brutality. 160. Bacchanalian Vase, in the British Museum. Of marble. Found by Gavin Hamilton, on the site of the Villa of Antoninus Pius at Lanuvium. Formerly in the Towneley col- lection. Restorations : Of the Maenad adjoining Pan, every- thing except the feet ; of the Satyr next to her, everything except the right leg, left foot, left arm, and part of the panther's skin; the face of the youth leaning upon a Maenad; the left arm and head of Pan, except his beard, and the greater part of the amphora which he carries. Published : Ellis, Towneley Gallery., II, pp. 210-12 ; Ancient Marbles in Brit. Mus., I, pi. 7. The subject, like that of the preceding, is a Bacchana- lian festival. Among the figures, the most easily recog- nizable is that of Pan, under the right handle, with long beard and goat-legs. Next him to the left, and leaning upon a bearded Satyr, is probably Dionysos, the short chiton and tall shoes with overlapping tops being charac- teristic of that divinity in later Greek art. The remaining figures are Satyrs, youthful and bearded, and Maenads whose flying drapery denotes the wildness of their move- ments. Around the base is a decorative border of fantastic female figures, winged, joined to one another by the paterae held in their hands. The character of the rim, handles and base of the vase, indicates that it is a reproduction of metal work. I04 FOURTH GREEK ROOM. i6i. Diskobolos, after Myron, in the Vatican. Marble statue. Found in Hadrian's Villa, 1791, and placed by Pius VI. in the Vatican. Restorations : The head, left arm, left leg from knee down, and the greater part of the diskos. Pub- lished: Bouillon, Musee des Antiques, II, pi. 18; Welcker, Alte Denkmdler, I, p. 417 ff. ; Collignon, V Archeologie Grecque, fig. 45; etc. Myron of Athens, pupil of Ageladas, and contemporary of Pheidias and Polykleitos, was one of the most famous sculptors of his age. Few of his works have survived even in copies, but the numerous allusions to him in an- cient writers show his tendency as a sculptor to have been realistic, in contrast to both the ideality of Pheidias and the quiet scholarliness of Polykleitos. His favorite theme appears to have been the human figure in intense action, and one of his most celebrated works was a bronze statue of an athlete in the act of throwing a diskos, in the game described under No. 158. Lucian {Philopseudes^ 18) de- scribes the statue as " bent in the attitude of throwing, looking back at the hand which holds the diskos, and with one leg slightly contracted, as though to recover his balance after the throw." The statue in the Vatican is in point of execution one of the best of the numerous extant copies of this figure. Lucian's description places the identity beyond doubt. The attitude of the head, which is modern, does not cor- respond with the original, but the muscles of the neck show that the restoration is incorrect, and that the head was originally turned in the direction described. Another marble copy, in the Lancellotti Palace, Rome, still retains its original head, which is so turned. A photograph of that statue hangs upon the pedestal. These marble copies can hardly be regarded as anything more than suggestions of the original. They were ex- ecuted during the Roman Empire, and while they show the type and attitude of the figure, they undoubtedly give but a poor idea of the modelling. The presence of the tree-stump, necessary for support in the marble, but not required in the bronze, seriously hinders an appreciation of what must have been the most striking feature of the original, — the wonderful balance in the pose. Fortu- i6i. DISKOBOLOS, 162. MARBLE LEKYTHOS, 105 nately, a small ancient copy of the statue in the material of the original has been preserved, and is now in Munich. A cast of it is in the case of small casts in the Greek Vase Room. That figure has no extraneous support what- ever, yet contorted as the body is, the line of equilibrium falls perpendicularly through the centre from whatever point of view the statuette is seen, and gives a perfectly satisfactory sense of support in spite of the instantaneous character of the action. 162. Large Lekythos as Grave Monument, in the National Museum, Athens. Of Pentelic marble. Found 1849 i^ the eastern part of Athens, and formerly in the Theseion. There are no restorations, Color: Below the relief traces of red are still very distinct, and in the relief itself are numerous indications of the appli- cation of colors no longer distinguishable. Published : E. Cur tins, in Archaolog. Zeitung^ 1864, p. 145 ff., pi. 183 ; New- ton, Travels and Discoveries^ I, p. 24; Mitchell, History of Ancient Sculpture, fig. 215, p. 505; etc. This Lekythos, or oil-jug, belongs to a class of monu- ments described below (Grave Monuments, Nos. 178-188). It reproduces on a colossal scale the oil-jugs which were used at funeral sacrifices and placed on the graves by friends of the deceased. Grave monuments of this type were introduced in Athens as early as the middle of the fifth century B. C., but this example probably dates from the beginning of the fourth. The relief represents a youth riding upon a spirited horse, the easy and graceful action of which is an indica- tion of a fine period. Before him are two young warriors clasping hands. On the back, below the handle, another subject has been sketched, representing a woman seated in profile towards the left, behind and leaning upon whom is a girl. This sketch, although hasty, is extremely fine in spirit. Probably the monument was erected to the memory of a youth, and the subsequent burial of a female member of his family in the same place was thus com- memorated, as the sketch was evidently inserted after the completion of the relief, with which it has no connection. The color still existing on the vase, and the neglect to io6 FOURTH GREEK ROOM, represent in the sculpture accessories, such as the bridle, reins, and tail of the horse, the shoe and left foot of the rider and the spears of the warriors, indicate that the sur- face was extensively if not entirely painted. 163, 164. Two small Fragments from the Frieze of the Temple of Nike Apteros, at Athens. These two fragments give but a meagre idea of the frieze to which they belong. The first represents two warriors in hand-to-hand combat, their shields pressed closely against one another. The second represents a female standing half in profile towards the right, her right hand resting on her hip, the left holding by the hand Eros who stands between her and another female. Of him scarcely anything is left except the large wings, the muti- lated torso, and one leg. He bends towards the second female, who, turned from him, stands in a meditative atti- tude, her left foot upon a rock. The beautiful manner in which the drapery of these two females is treated is espe- cially worthy of study. 165-171. Reliefs from the Balustrade of the Tem- ple of Nike Apteros, Athens, in the Akropo- lis Museum, Athens. Of Pentelic marble. Found 1835-38 by Ludwig Ross and others, during excavations at the site of the Temple. There are no restorations. Published: Ross, etc., Z>^r Tempel der Nike ApteroSy BerUn, 1839; and Kekule, Die Reliefs an der Balus- trade der Athena Nike, Stuttgart, 188 1, where they are illus- trated as follows: 165, pi. IV, fig. O; 166, pi. I, fig. A; 167, pi. IV, fig. M ; 168, pi. IV, fig. N; 169, pi. Ill, fig. I; 170, pl.V,fig. R; 171, pi. II, fig. E. The situation of the little temple which these reliefs adorned is shown by No. 8 on the model of the Akropolis in the Third Room. It was at the extreme western end of the Akropolis, on a bastion projecting from the south side of the Propylaia. Around the edges of this bastion, en- closing the temple on three sides and part of the fourth, ran a marble balustrade, decorated with reliefs on its outer side, so that these were seen as one passed up the approach 163-171. TEMPLE OF NIKE APTEROS. 107 to the Propylaia, while the inner side, facing the temple itself, was unsculptured. As the temple was that of Athena Nike, — that is, of Athena in her quality of goddess of victory, — the reliefs bore reference to that fact, representing figures of Nike in various acts of sacrifice and triumph. As will be judged from the specimens here exhibited, the sculptures are in a very mutilated condition, but enough remains to show that no continuous subject or procession was represented, the figures being divided into groups like that of the two Nikes with the cow or bull, No. 166. Greek art has left us no more delicate and graceful sculptures than these fragments, which combine many of the characteristics of the best work of both the fifth and fourth centuries B. C. In conception and composition they display the qualities of the period immediately following Pheidias, while in execution they show the refinement of the fourth century. No. 170 has the quiet spirit of the Parthenon figures ; she stands firm and erect, her drapery falling in simple, straight folds, through which the form is not apparent. In strong contrast to this is the figure of the Nike untying her sandal. Through her soft, clinging drapery all the graceful lines of her form are displayed with the exquisiteness of technique which characterizes the art of Praxiteles, and renders the figure one of the most wonderful specimens of Greek art that survive. The date of the temple and its decorations is still a matter of conjecture, as neither historians nor inscriptions have given any clue to it. Examination of the substructure shows that the building was begun later than the Propylaia (437 B. C.), and the style of the sculptures points to the end of that century or the beginning of the following as the date of their origin. Kekule (cited above) thinks 407 the latest date that could be assigned them, in which year Alkibiades returned from his victories in Asia Minor ; but their association with that event is purely conjectural, and it is very doubtful whether Athens was in a condition dur- ing the few years following to undertake a work of this kind. On both historical and artistic grounds the begin- ning of the fourth century is a more probable date for the origin of the balustrade. io8 FOURTH GREEK ROOM. 172. Fragment of a Sarcophagus, in the Museum at Sparta (except the piece containing the head of the boy playing on the cymbals, which is in the National Museum, Athens). Of marble. Found in the village of Plagios Johannes, in the vicinity of Sparta. There are no restorations. .Published : Archaolo- gischc Zeihing, 1880, pi. 14 ; Dressel and Milchhofer in the Hit- theilungen des Ijtstitiits in Athen^ II, p. 401, No. 228. Nine small genii are engaged in a Bacchic scene, all in various stages of intoxication. In the middle, one pours wine from a long, slender amphora into a krater. On either side of him is a musician, one playing a full blast upon the double pipes, the other striking the cymbals. At the right is a jolly group of three, two staggering in affectionate embrace, the third with his right hand pressed against his head, as though the after-effects of his merri- ment were beginning to be felt, his empty cup hanging from his left hand. At the left is a group whose faces wear a more serious expression, and whose legs move more heavily. Evidently they have passed the joyful stage, and he with the torch is vainly trying to escort the other two. The conception and grouping of these figures is charming, and the execution, though not of the best, is such as to warrant our dating the sarcophagus in a period earlier than that of the Roman dominion in Greece. 173. The Death of the Niobids. Roman Sarcopha- gus in the Vatican. Of marble. Found during the second half of the iSth century, out- side the Porta S. Sebastiano, Rome, in a vineyard belonging to the Casali family. Presented by Cardinal Casali to Pius VI., and by him placed in the Vatican. Restorations : The left arm of Apollo with the bow, and the right arm of Artemis with the arrow. Published : Visconti, Museo Pio Clem,, IV, pi. xvii ; Stark, Niobe, p. 179 £f. ; etc. The relief on the sarcophagus represents Apollo and Artemis slaying the children of Niobe. Both divinities are introduced in the composition rather awkwardly, being brought into too close proximity with their victims, whose faces are turned upwards, as though the arrows came from 173. NIOBID SARCOPHAGUS. 109 above, not as we see them, from the same plane. At the left is Artemis, next to whom Niobe endeavors to protect a daughter fallen over her knee, while the smallest daughter runs to her mother from the other side. Following this f^^roup, the old nurse supports another daughter who has sunk to the ground; and still another, probably the eldest, rushes forward in an attitude of despair. The faithful l^edagogue or tutor clasps the smallest boy in one arm and looks as though for aid toward the largest of the sons, who, armed with two spears like a huntsman, his cloak wound about his left arm, rushes into the scene from the back- ground. Between them another son has fallen to his knees and with one arm screens his face. Finally, next to Apollo, one of the daughters is writhing in mortal pain, and a son lies dead upon the ground. The subject is continued on the sides of the sarcophagus, — on that adjoining Artemis, by two daughters with upraised arms and flying garments ; and on the other, a son supporting his falling brother, from whose side a horse rushes away. This sarcophagus belongs to a very numerous class (see Nos. 176 and 198), dating from the second and third cen- turies after Christ, characterized by their decorations in high relief of scenes mostly from Greek and Roman my- thology. It is rather on account of the representations than from intrinsic value as works of art that these sarcophagi possess interest, the execution being as a rule mediocre, although the figures are often conceived with such spirit as to suggest that they have been copied from more im- portant works. Several well-known statues have been identified with figures on these reliefs, which has led to the belief that the makers of the sarcophagi reproduced upon them famous groups, the treatment of which they modi- fied and adapted to their own abilities and requirements. The story of Niobe was evidently a favorite theme with them, as it appears on several extant sarcophagi, and calls to mind the famous group described under No. 154, which doubtless served as a model for some of these designs. The figure of Niobe on this and other similar sarcophagi bears quite a striking resemblance to the large statue, and probably was studied from the same original. no FOURTH GREEK ROOM. 174. Marble Vase, in the British Museum. Formerly in the Towneley collection. Restorations : The greater part of this vase is modern, the original parts being the Maenad and two of the Satyrs, the legs and part of the left arm of the Satyr playing on the cymbals, the head of one of the swans, and the greater portion of the neck of the vase. Published : Ancient Marbles of the Brit. Mus.^ I, pi. 9 ; Ellis, Towneley Gal- lery y II, pp. 215-16; Guide to GrcecO'Roma7t Sculptures of Brit. Mus.y part II, No. 2. A Bacchic scene, in which most of the figures are in attitudes familiar in representations of Satyrs and Maenads. The style of the vase shows it to be an imitation of a bronze type. 175. The Vase of Sosibios, in the Louvre. Of Parian marble. Formerly in the Villa Borghese. Restora- tions: The base of the vase. Published: Clarac, Musie de Sculpture, pi. 126, No 332, and pi. 130 ; Frohner, Sculpture An- tique du Louvre, No. 19, p. 50 ff . ; etc. This amphora derives its name from the inscription, scarcely legible on the cast, on the base of the altar which forms the centre of the relief, " Sosibios the Athenian made this." Towards the altar, on which is a sacrificial fire, comes from the left, Artemis, followed by a figure in long dra- pery playing the lyre, and a Satyr playing the double pipe. From the right Hermes, with pointed beard and holding the caduceus, is followed by a dancing Bacchante, behind whom comes a warrior in the movement of the Pyrrhic dance. On the back are two dancing Bacchantes, one v/ith a thyrsos, the other playing a tambourine. The date of the vase is probably not earlier than the first century B. C. 176. The Murder of Aigisthos and Klytaimnestra, Roman sarcophagus in the Vatican. Of marble. Formerly in the Palazzo Barberini. Restorations : The head of Orestes at the right end. Published : Visconti, Museo Pio Clem., V, pi. 22, p. 141 ff. ; Gerhard, in the Beschrei- bung der Stadt Rom, 11 2, p. 254, Nos. 33, 34 ; Wolters' Frieder- ichs, Nos. 1825, 1826; etc. This sarcophagus belongs to the class described under No. 173. As often happens on these sarcophagi, the sub- 174-177- ORESTES SARCOPHAGUS, ETC. m ject is divided into several scenes, without any indication of the division. In the centre, Orestes, with drawn sword, stands above the prostrate form of his murdered mother, Klytaimnestra ; and Pylades, also with drawn sword, moves towards him from behind. Aigisthos, who was murdered on his throne, has dragged it over with him in falling. To his left the old nurse of Orestes turns in horror from the scene. To the right of Orestes, a youth, probably a slave, cowers behind a household altar, which he has lifted from the ground and holds before his face as though to screen himself from the impiety that is being committed. Behind him two Furies, bearing a curtain, approach Orestes. The serpent and torch of one are visilDle. The above-named figures form one group and scene, while at the two ends of the front of the sarcophagus Delphi is represented, and the end of Orestes' wanderings. At the left he clings with one hand to the tripod of Apollo, holding his sword in a defiant attitude with the other ; at his feet sleeps a Fury, about whom is coiled a serpent. At the other end is a group of three sleeping Furies, sig- nifying that Apollo's promise has been fulfilled, and their pursuit of Orestes has ceased. On either side of the sar- cophagus is a sphinx. 177. Large Female Head, in the Custodians' House at the entrance to the Akropolis, Athens. Of Pentelic marble. Found 1876 during the excavations on the southern slope of the Akropolis. There are no restorations. Published : Julius, in the Mittheilungett des Instituts in At/ien, I, p. 269 ff., pi. xiii; Mitchell, History of Ancient Sculpture, p. 484, and Selections, pi. X. This is probably the head of some female divinity, al- though its identification is difftcult, owing to the absence of distinctive attributes, and because no fragment of the statue to which it belonged was found. The execution shows that it dates from a good period, and it is probably the original work of an Athenian sculptor of the fourth century B. C. 112 FOURTH GREEK ROOM, irs-iss. GRAVE MONUMENTS OF THE FOURTH CENTURY B. C. The reliefs which decorated the graves of private indi- viduals at Athens and elsewhere in Greece form one of the most interesting groups of the surviving monuments of Greek art, because they enable us to appreciate the skill and taste of common artisans during the epochs of the great masters, and to form some conception of the extent to which the artistic impulse pervaded all classes in those times. During the last twenty-iive years these reliefs have been found in great numbers, chiefly in and about Athens, but also in other parts of Greece. Most of them are inscribed with the names of the persons they commemo- rate, and of those hitherto found not one bears a name of historical celebrity, — a fact which, taken in conjunction with the circumstance that they are never signed by the artist, shows that they were the common form of grave monument of their time, and were not regarded as impor- tant works of art. As might be expected in works of this kind, the quality of the execution varies greatly in the dif- ferent reliefs, yet even the rudest of them shows great delicacy of feeling ; and the simple treatment of the dra- pery, as well as the idealized type of the faces, illustrates the influence of the great sculptors upon the minor works of their age. Beyond this, these monuments possess an especial inter- est as illustrations of the manner in which death was regarded by the Greeks. Naturally such works would be executed in accordance with the taste of the people by whom they were ordered, and would therefore reflect the common sentiment concerning death and the separation caused by it. The last parting between the deceased and his or her family is a favorite subject, and one cannot fail to be impressed by the peacefulness of these scenes. Applied to sepulchral subjects, the tranquillity which char- 178-188. GRAVE MONUMENTS, 113 acterizes the great sculptures of the fifth and fourth centu- ries becomes extremely pathetic. While grief is apparent in every figure, it is never represented in a vehement or extravagant manner, but subdued and restrained, so that resignation is the feeling most forcibly expressed. Of the horrors of death or the grave there is never a suggestion. A comparison of these reliefs with the primitive grave monuments in the First Greek Room (Nos. i, 7-15) shows what an enormous development even the minor forms of sculpture underwent in the century following the Persian wars. The stele of Aristokles (No. 13), for example, shows the type of grave monument prevalent in Attika up to the period of the Persian invasion ; and although the simple shaft or stele continued to be popular in subsequent epochs, a variety of other forms grew up around it. The type illustrated in Nos. 178-188 probably originated about the middle of the fifth century B. C, but did not attain its full development before the beginning of the fourth cen- tury, to which our specimens belong. Note. — No. 162, described on p. 105, belongs to this group. See also Nos. 196, 199, below. 178. Head of a Woman, in Lansdowne House, London. Of Pentelic marble. Published by Michaelis in the Archdolog. Zei- tung^ 1880, p. 81, pi. 9 ; and Ancient Marbles in Great Britain^ p. 437, No. I. This remarkably beautiful fragment is from an Athe- nian grave monument of the first quarter of the fourth century, and is one of the finest examples of its class. The woman's mantle was drawn over her head like a veil, and her wavy hair bound by three fillets. The manner in which grief is expressed in the countenance is especially worthy of note. 179. Monument of Dexileos, in the cemetery outside the Dipylon Gate, Athens. Of Pentelic marble. Found 1863, ^yi^g by its original site, on which it has been re-erected. There are no restorations. Pub- lished: Wescher in the Revue Archeolngique, N. S., VIII, pi. 15, pp. 82 ff. and 351 ff. ; Wolters' Friederichs, No. 1005; Sybel, Katalogy 3312; etc. 114 FOURTH GREEK ROOM. This is one of the few Attic grave monuments which give us their exact date. On the pedestal of the relief, not shown in the cast, is an inscription which shows that Dexileos died in the battle of Corinth, B. C. 394, in the twentieth year of his age. The relief, which shows the influence of Pheidian art, represents the youth in a moment of triumph over an enemy, who, fallen on one knee, and leaning upon his shield, is trying to ward off the thrust of Dexileos* lance with his sword. The marble shows that color was applied, and that bronze was used for the reins and bridle, also for a wreath on the head of Dexi- leos, for his lance, and for the sword of his opponent. 180. Fragment of a Stele, with Akroterion, In the Theseion, Athens. Of Pentelic marble. Found in Salamis. Published : Exped. Set- entif. de Moree^ III, pi. 23, i, 2 ; Wolters' Friederichs, No. mo; Sybel, Katalog, No. 3370 ; etc. The inscription states that this is the monument of one Epikrates. This simple form of stele, surmounted by an akroterion, was a common grave decoration during all periods of Greek art, and especially during the fifth cen- tury B. C. 181. Grave Monument, in the National Museum, Athens. Of white marble. Date and place of discovery uncertain. (In 1829 it was in ^gina, in the possession of an Englishman named Dawkins, and said to have been found there. Cf. Anitali, 1829, p. 135 ; but Sybel, Katalog^ No. 76, gives Lamia as the probable place of discovery.) There are no restorations. Published: Exped. Scientif. de MorSe, III, pi. 41, 1-3; Wolters' Frieder- ichs, No. 1012; etc. The significance of this representation is not clear. A youth wearing an himation, the right half of his body bare, holds in the left hand a small bird ; the right hand is raised to what appears to be a bird-cage, at which he is looking. Below this is a square pillar, on which is an ani- mal somewhat resembling a cat. Leaning against the pillar is a small boy, who from the analogy of similar 178-188. GRAVE MONUMENTS. 115 representations we know to be the slave of the youth. Along the cornice above the relief runs a honeysuckle ornament. 182. Monument of Damasistrate, daughter of Poly- kleides. In the National Museum, Athens. Of white marble. Formerly in the Piraeus. Date and place of dis- covery not known. There are no restorations. Published: Mitchell, History of Ancient Sculpture, fig. 208, p. 497 ; Sybel, Kaialog, No. 71 ; etc. Damasistrate, whose name appears in the inscription above the relief, is seated in an arm-chair, her feet resting upon a stool. With her left hand she holds her veil, and with the right clasps the hand of a man who stands oppo- site her, probably her father or husband. Between the two stands a woman, her left hand to her face, which is turned towards the man with an expression of sorrow. Behind the chair of Damasistrate is a smaller woman, whose head-dress and costume indicate that she is a hand- maid. 183. Monument of Phainippe, in the National Museum, Athens. Of Pentelic marble. From Salamis. There are no restorations. Published : Expid, Sciefttif. de Moree, III, pi. 42, 2 ; Wol- ters' Friederichs, No. 1047 J Sybel, Katalog, No. 75; etc. Seven figures are crowded into this representation, the subject of which, like that above, is the parting between the deceased and her family. As is usual in these groups the principal figure is seated, and wears a veil over her head. She gives her hand to a woman standing in front of her. Against her knee leans a small boy. Between the two women, in the background, stands a bearded man leaning upon a staff. At the extreme left, in flat relief, is the head of a young woman ; another stands above the chair of Phainippe, and the head and shoulders of a young girl appear at the back of her chair. This relief is obviously the production of an ordinary workman, and betrays the common origin of these grave- *5tones better than any other of our series. The figures Il6 FOURTH GREEK ROOM. are awkwardly jammed into the given space, and are rudely chiselled ; but in spite of these facts, the composi- tion has caught some of the spirit of the art of its time, which gives it a charm and renders it both interesting and instructive. On the cornice above the relief are the names, Phainippe, Smikythion, Kleo. 184. Gravestone, with low relief, in the National Museum, Athens. Of white marble. Date and place of discovery unknown. There are no restorations. Published : Sybel, Katalog, No. 85; etc, A woman seated on an armless chair, with footstool, holds her veil in her left hand, the right resting on her lap. Before her stands another woman, who with the left hand draws her mantle forward from her shoulder. On the cor- nice above is a honeysuckle pattern of a simple type. Below, the stone is left rough for insertion in a base. 185. Monument of Hegeso, daughter of Proxenos. On its original site outside the Dipylon Gate, Athens. Of Pentelic marble. Found, 1870, on the spot where it now stands. There are no restorations. Published: Mitchell, History of Ancient Sculpture , fig. 212, p. 502 ; C. Curtius in the Archdolog. Zeitung^ 187 1, pi. 42, pp. 19, 34; Sybel, Katalog, No. 3332 ; etc. This is the most beautiful of these grave monuments that has yet been discovered. It dates from the beginning of the fourth century B. C, and might well be the work of a man who had been employed on the Parthenon frieze, to which it bears a great resemblance, both in the character of the relief, and the excellence of the execution. Hegeso, her head partially covered by a light, thin veil, sits on a chair of very graceful design, looking at an object she has taken from the casket held by her hand- maid, who stands before her. The object, held in the raised right hand, was indicated wholly by color, as there is no trace of it in the relief. The subject is orie of abso- lute simplicity, and is treated in that spirit. Delicacy and 178-188. GRAVE MONUMENTS. I17 elegance characterize the execution of every detail ; the management of the drapery and the contrast between that of the two figures, the one broken into small graceful folds, the other severely simple, are especially admirable. Farther along on the same wall, — 186. Monument of Mynnion, in the National Mu- seum, Athens. Of white marble. Found in Athens, 1858. There are no restora- tions. Published : Wolters' Friederichs, No. 1027 ; Sybel, Kaialogj No. 99 ; etc. Two women standing, the one on the left larger and ap- parently older than the other, whom she touches affec- tionately under the chin. Possibly mother and daughter. Date, the first part of the fourth century B. C. 187. Large Grave Monument, with figures in high relief. In the yard in front of the National Museum, Athens. Of Pentelic marble. Found, 1861, outside the Dipylon Gate, Athens. There are no restorations. Colors were noted at time of discovery as follows : Red on the background, blue on the garment of the seated figure. Published: Wolters* Friederichs, No. 1050; Sybel, Katalog, No. 2614; etc. On the left sits the principal figure of the group, a bearded old man. His garment falls from his right shoulder, leav- ing the breast bare. With his right hand, now miss- ing, he grasped the hand of a younger man who stands before him. The latter is clad in a coat of mail, and holds in his left hand a scabbard. Between them, in the back- ground, stands a matronly woman whose face expresses deep sorrow. The figures are all life-size. In the conception of the group there is much dignity, but the execution is careless, many details being treated in a very sketchy manner. On the adjoining wall, — 188. Grave Stele, in the Pir^us Museum. Of marble. Published : Martinelli's Catalogue^ No. 282. On the stele is represented in low relief an amphora, only the upper half of which is preserved. The neck is very iiS FOURTH GREEK ROOM. long and slender. On either side of it are the handles, in the form of long volutes, and into each handle is intro- duced the figure of a man dancing, with one hand raised, j The shoulder of the vase is covered with scales, below i which are other forms of decoration. 189-195. SCULPTURES FROM THE MAUSOLEUM. The Mausoleum was a tomb at Halikarnassos, on the southwest coast of Asia Minor, built by Artemisia, Queen of Karia, in memory of her husband and brother Mauso- los, who died about 353 B. C. What little is known about the splendid edifice is described at length in Mrs. Mitchell's History of Ancient Sculpture^ p. 453 ff., and need not be repeated here. Four of the leading sculptors of Athens were engaged upon its decorations, Skopas, Bryaxis, Leo- chares, and Timotheos, and though Artemisia died while it was yet incomplete, the sculptors finished the building for their own satisfaction. It was soon regarded as one of the seven wonders of the world, which position it main- tained for ages. It was preserved in substantially its original condition until the twelfth century of our era, about which time it was destroyed, probably by earthquake. In 1402, the Knights of St. John took possession of the place, and used the fragments of the tomb for the construction of a castle. A great part of the beautiful frieze was used as building material, and remained walled into the fortress until 1846, when it was removed, through Viscount Strat- ford de Redcliffe, then British ambassador to Constanti- nople, and transferred to the British Museum. In exca- vations conducted by Mr. C. T. Newton, in 1857, the base of the structure and many architectural and sculptural fragments, including all those exhibited here, were dis- covered by him. The results of his discoveries were pub- lished in his History of Discoveries at Halicamassus, Cnidus and Brafichidce^ London, 1862 ; and the smaller Travels and Discoveries in the Levant^ London, 1865. All the sculptures are now in the British Museum. i89~i9S- SCULPTURES FROM THE MAUSOLEUM. 119 iBg. Statue of Mausolos. Of white marble. Put together from sixty-five fragments. Restora- tions : the left foot. Published : Newton, Travels and Discov- erieSf II, p. 114 £f., pis. 6, 9, 10. From Pliny's description of the Mausoleum we know it to have been forty cubits (about one hundred and forty feet) high, its roof pyramidal and surmounted by a colos- sal chariot drawn by four horses. As fragments of that chariot were found with those of this statue and its com- panion (No. 190), Newton supposed that the two figures stood in the chariot, an opinion still maintained, but not without opposition. Mausolos, whose portrait this is generally admitted to be, is represented in middle life, and with a resemblance to Lucian's description of him, — '' tall, handsome, and formi- dable in war." The hair rises from the forehead, and originally fell nearly to the shoulders. The face is short and broad, and indicative of both intelligence and firm- ness. The drapery is skilfully handled, but not in the broad, simple masses of earlier sculpture. 190. Statue of Artemisia (?). of white marble. Restorations : The face, forearms, the veil on both sides of the head, and the left foot. These restorations are not on the original, but on a cast of it restored by Mr. Wil- liam W. Story, and placed at the side of the original in the British Museum. Mr. Story presented this copy of the re- stored figure to our Museum. Published : Newton, Travels and Discoveries y II, p. 1 1 5 ff., and pi. 10; etc. This statue is the companion of No. 189, with which it i was found. Its identification is not so easily established as that of Mausolos, as it may represent Artemisia, or with equal probability, a tutelary goddess. The figure is ma- tronly, the drapery carefully arranged to offer contrast to that of Mausolos, the mantle being longer and in simpler folds; and the hair is represented in stiff, symmetrical curls across the forehead, an inartistic method of treat- ment which may possibly be explained by the height at which it was to be seen, though it compares most unfavor- ably with the head of Mausolos. .^.--2-s==:=:s=*-*^_ f/TTSIVERSITYl 120 FOURTH GREEK ROOM. In spite of their colossal size these two statues are less impressive and less interesting than those of Sophokles (132), Demosthenes (138), and others of that class, whose vitality and originality they lack. The attitude of both figures is constrained, and in their conception the artist has displayed neither the vigor nor the grace that charac- terize the best works of the fourth century. igi-195. Selection from the Frieze. Of a coarse white Asiatic marble. The blocks in this selection are those discovered by Newton, in 1857. There are no restora- tions. Colors were noted at the time of discovery as follows : *'the ground of the relief was a blue equal in intensity to ultra- marine, the flesh a dun red, and the drapery and armour picked out with vermilion, and perhaps other colors. " — Newton, Travels.W, p. 131. Published : Newton, Discoveries at Hali- carnassuSf etc.^ I, pis. 9, 10 ; Travels and Discoveries^ II. p. 128 ff., pis. 13, 14, and No. 194, pi. 5. With the exception of No, 194, the blocks in this selec- tion form a continuous subject, and should be arranged in the following order, beginning from the left : 193-192-195- 191. At the right end of No. 193 may be seen the heel of the first man of 192, and at the end of this block the heel of the horse, No. 195, showing the connection between the blocks. The subject is the favorite one of the battle of the Greeks and Amazons, which is treated with great spirit. As was stated above, page 118, the decorations of the Mausoleum were by four of the leading Athenian sculptors of the fourth century B. C, and in the treatment of this frieze we recognize the distinctively Attic style of that period. The proportions of the figures are more slender than in works of the fifth century (cf. the Phigaleian frieze, above these blocks), and the execution more deli- cate ; but the composition is not less easy or graceful, and shows that the inventive power of the sculptors was still fresh. tg6, 197. RELIEFS IN THE VILLA ALBANI, ETC. 12 1 196. Large Relief in the Villa Albani. Of Pentelic marble. Found about 1764 in Rome, in a vineyard belonging to the Duca di Caserta, near the Arch of GalJienus. Restorations : The nose of the standing figure, a piece in his left forearm, also a piece in the face and the right ear of the horse. Published : Winckelmann, Monumenti Inediti, No. 62 ; etc. Although this relief was found in Rome, it is unques- tionably an original Greek work of the finest period of Attic sculpture, its date being probably not far from the year 400 B. C. In the type of the faces, which do not have the pathetic expression of the later sculptures, in the proportions of the figures, and in the character of the execution, the style of the Pheidian age and the influence of his school are evident. In shape and action the horse resembles closely the beautiful animals of the Parthenon frieze. The character and object of this slab are difficult to determine, as its large size makes it unique among extant reliefs of its period. That it formed part of a frieze is unlikely, because the representation appears to end at the two sides of the block, and the subject is complete in itself. Its resemblance to the monument of Dexileos (No. 179) has led to the theory that it is, like that, a funeral monument, which is quite probable. It represents a warrior, who has leaped from his horse to deal a last blow at his enemy, who lies at his feet with one arm raised in supplication. An unusual feature in relief- work of the period to which this belongs is the introduction of landscape effect in the background, such as the rocks at the left side of the slab. 197. Portion of the Amazon Sarcophagus, in the Cabinet of Antiquities, Vienna. Of white marble. Said to have been found in Greece. Formerly in the possession of the Fugger family. There are no restora- tions. Published : Sacken, Die antiken Skulpturen des k. k. Miinz und Antiken-Cabinets, pi. 2, 3. Wolters' Friederichs, No. 1822 ; etc. This fragment is of importance because it belongs to one of the few genuine Greek sarcophagi that are known. The 122 FOURIII GREEK ROOM. contrast which it offers to the Roman sarcophagi (of which Nos. 173, 176, and 198 are typical examples) is very striking, as regards both the quality of the execution and the character of the relief. The subject is the favorite battle of the Greeks and Amazons, which is continued in the same style of workmanship on all four sides of the sarcophagus. The sculptor may have copied his fig- ures from some more important work, dating not earlier than the second half of the fourth century B. C. The slender proportions and the expression in the faces give the relief a general resemblance to the frieze of the Mauso- leum (see Nos. 1 91-195), which is, however, of much better execution. As in all Greek battle scenes, the interest of the spectator is held by the indecisive nature of the con- test. The number of disabled is the same on both sides, and the mastery of one Amazon over her opponent is bal- anced by the seizure of another by a Greek. The action of the figures is well distributed, and is spirited throughout. 198. Rape of the Daughters of Leukippos. Front of a Roman sarcophagus. In the Uffizi Gallery, Florence. Of Greek marble. Date of discovery unknown. Came into the possession of the Medici family 1584, and formerly in the Villa Medici, Rome. Nearly every figure in the relief has been extensively restored. Published ; Winckelmann, Monumenti Ineditty fig. 61 ; Diitschke, Antike Bildwerke in Oberitalietiy Vol. Ill, p. id, No. 74. The story illustrated in this relief is that of the rape of the daughters of Leukippos, a king of Messenia, by the Dioskouroi, Kastor and Polydeukes. Leukippos had two beautiful daughters, Phoebe and Hilasira, whom the Dioskouroi met in their wanderings, and, fascinated by their beauty, seized and carried them forcibly from their home and parents, slaying the two youths to whom they were betrothed, and afterwards married them. The details of the story are not sufficiently known to enable us to iden- tify the different figures in the scene, except those in the two principal groups, by which the subject is identified. This monument is of Roman origin, and belongs to the 199- ORPHEUS, EURYDIKE, AND HERMES. 123 class described under No. 173, p. 109. The reliefs have been so extensively restored that a judgment of the merit which the sculpture originally possessed is hardly possible. The figures are distributed with a symmetry suggestive of Greek design, and it is not unlikely that the relief may have been copied from some earlier and better work. 199. Orpheus, Eurydike arfd Hermes. Bas-relief in the Villa Albani, Rome. Of Pentelic marble. Restorations : Both feet of Orpheus, the right foot of Eurydike, right hand and half the forearm of Hermes. Published : Zoega, Bassirilievi delta Villa Albani, I, pi. xlii, p. 193 ff. ; Wolters' Friederichs, No. 119S; etc. This relief represents the tragic moment in the story of Orpheus when he turns to look at Eurydike as she is led out of Hades. At the left is Hermes, the conductor of souls, who has accompanied Eurydike, and now takes her hand to lead her back. Affectionately and regretfully she places her hand upon the shoulder of Orpheus, who raises one hand to hers, while in the other he holds his lyre. This is a most instructive example of the quietness of Greek art in its greatest epoch, to which allusion has been made in the introduction to the grave monuments, p. 112. Although the moment depicted is the most terrible in the lives of the two principal characters, there is a total absence of sensationalism in their attitude and expression. A calm resignation to fate characterizes all three figures, yet it will be noticed that this *^ frozen sorrow " appeals more directly and forcibly to the mind than the wildest manifestations of grief, because its truth and depth are undisturbed by emotional extravagance, which appeals to the senses rather than the intellect. The purpose which this slab originally served is not known. Possibly it may have been part of a grave monu- ment, as its subject has a sepulchral significance. There are two other copies of the same relief, one in the Museum of Naples, the other in the Louvre. All three are probably Roman replicas of a work of the Attic school, and their style indicates that the original dated not far from the year 400 B. C. 124 FOURTH GREEK ROOM, 200. The Apoxyomenos. Statue in the Vatican. Of bluish-white marble. Found by Canina in September, 1849, in Trastevere, Rome. Restorations : The fingers of the left hand. (This restoration, by Tenerani, was made in accordance with a misinterpretation of Pliny, N. H., xxxiv. 62. The die should be omitted.) Published : Collignon, in Rayet's Moit- uments de f Art Antique^ II, pi. 55; E. Braun in the Annali delV Instituto^ 1850, p. 223 ff., etc. On the occupation in which he is engaged, see especially Kuppers, Der Apoxyo- mejios des Lysippos, Berlin, 1874. This statue represents a Greek youth cleaning himself after the exercises of the palaestra. To keep the skin and muscles in fine condition it was the custom of Greek athletes lo rub themselves thoroughly with olive-oil before they began to exercise, and also after bathing. As this would have prevented wrestlers from grasping and holding each other, they sprinkled fine sand over the oil. After the exercises, the athlete scraped from his body the oil, sand, and dust with an instrument called the strigil, which is represented in the left hand of the statue. This is a fine copy of a famous statue by Lysippos, the greatest sculptor of the period following that of Skopas and Praxiteles. He was not of the Attic school, but a native of Sikyon, where he inherited the traditions of the art of Polykleitos (see Nos. 114 and 127). Pie was the con- temporary and favorite sculptor of Alexander the Great. The original of this statue was of bronze, and in the time of Pliny stood in the Baths of Agrippa at Rome, where it was such a favorite with the people that when the Emperor Tiberius carried it to his palace, leaving a copy in its place, they forced him by their clamor in the theatre to return it. So far as we are able to judge, this replica reproduces the original much better than is usual among Roman copies. It is an excellent illustration of the descriptions of Lysippos' style, which was marked by a most careful elaboration of details, and by the peculiar proportions of his figures, the heads of which were smaller, and the legs longer, than those of the works of his prede- cessors. 200-203. APOXYOMENOS, ETC, 125 201. Head of Herakles, in the town of Dimitzana, Greece (midway between Tripolitza and Olympia). Of grayish marble. Formerly in the village of Magula, near Sparta. There are no restorations. Published: Mittheihingen des Inst, in Atkeny 1878, p. 80, and 1879, p. 127, No. 3. This is evidently an architectural decoration, of a late epoch, and served possibly as the key- stone of an arch. Herakles is represented as beardless, and wearing the lion-skin cap. 202. The Rondanini Medusa. Head in high relief, in the Glyptothek, Munich. Of Parian marble. Formerly in the Palazzo Rondanini, Rome. In Munich since 1808. Restorations: The block to which the head is affixed, the end of the nose, the heads of the serpents above the forehead, and pieces in the hair and serpents. Pub- lished: Brunn, Beschreibung der Glyptothek^ p. 161, No. 128; Wolters' Friederichs, No. 1597; etc. In contrast to the early type of the Gorgon, of which there is an example in one of the metopes from Selinus (First Room, No. 26), and which lasted at least until the second half of the fourth century B. C, this mask shows the ideal of later Greek art, in which Medusa was con- ceived not as a monster who created terror by her ugliness, but a being possessed of beauty, whose dread power came from her coldness and want of all feeling or compassion. She is therefore represented as beautiful, but with an ele- ment of cruelty in her beauty that shows itself most of all in the coarse, sensual mouth, which is partly open, and displays the upper teeth. The date at which this type originated cannot be deter- mined with exactness, though it was probably not earlier than the end of the fourth century B. C. The relief itself is of Roman workmanship. 203. Marble Vase, in the Villa Albani. Published : Zoega, Bassirilievi della Villa Albani, II, pi. Ixxxiv, p. 177 ff. ; Wolters' Friederichs, No. 2116. Around the body of the vase are represented six Maenads in long flowing drapery, in various attitudes of the Bacchic dance. They carry thyrsi, or Bacchic staves, wreaths, sacrificial animals and knives. 126 FOURTH GREEK ROOM, 204. Square Pedestal, or Altar. In the Augusteum at Dresden. Of Parian marble. Formerly in the Chigi collection, in the Palazzo Odelscalchi, Rome. Purchased by Augustus II. of Saxony, and carried to Dresden, 1728. Published: Becker's Angus- teumypls. 33, 34; Hettner, Bildwerke derkgl. Antikensammluitg zu Dresden, 1881, No. 194, p. 105. This was probably the pedestal of a candelabrum, in- tended to be placed against a wall, as one side is not sculptured. On each of the other three sides are niches for images ; and at the base, a griffon projects at each corner, serving as a support for some small figure or ob- ject, all four of which have disappeared. The decoration is in the over-wrought style of the Roman Empire. 205. Sleeping Satyr, called the Barberini Faun. Statue in the Glyptothek, Munich. Of Parian marble. Found in the time of Urban VIII. (Barberini, 1623-1644), buried in the moat of the Castle of S. Angelo (the Mausoleum of Hadrian). Until 1813 in the possession of the Barberini family. Then acquired by Ludwig I. of Bavaria, at that time Crown Prince, and placed in Munich, 1820. Resto- rations: The end of the nose, the left forearm, the right elbow and fingers of the right hand, the entire right leg, part of the left from the middle of the thigh; also part of the animal's skin and of the back of the seat. Published : Clarac, Musee de Sculpture, pi. 710 A, No. 1723; Brunn, Beschreibung der Glyptotheky No. 95, p. 120; etc. A Satyr is represented sleeping off the effects of a revel, sprawled over a rock on which he has laid his panther- skin. The cause of his heavy slumber is suggested by the Bacchic wreath on his head, and more forcibly by the ungraceful but characteristic attitude in which he reposes. The contrast between this Satyr and those of the Praxi- telean type (see in Second Greek Room, No. 82) is very striking. The aim of Praxiteles and his school was to idealize the satyric nature, representing only its most attrac- tive, poetic side, and reducing its animal qualities to the least possible suggestion, by carefully concealing the tail and pointed ears. Here, on the contrary, the art is thoroughly realistic, The Greek artist could not be brutal, 204-207. BARBERINI FAUN, ETC. 127 and that phase of realism is therefore avoided ; but in the conception of this Satyr, naturahsm is the chief feature. This appears first of all in the posture of the figure, and is worked out even more carefully in the sensual, half-savage face. The expression of the open mouth is strongly sug- gestive of sonorous breathing. As an example of naturalistic Greek sculpture, this work ranks very high. The apparent ease with which the sculptor has carried out his conception, and the rugged freedom of the execution, indicate that it is an original Greek statue, not a copy, its probable date being the early part of the Hellenistic epoch (B. C. 332-150). 206. Head of Hypnos, of bronze, in the British Museum. Found near Perugia, 1855. Published: Brunn, in t\iQ Monumejtti deir Instittito, VIII, pi. 59, and A7inali, 1868, p. 351 ff. ; Mur- ray's History of Greek Sculpture, II, pi. xxi, p. 259; etc. This exquisite head of the god of sleep, wearing the wings of the night-hawk, is the only surviving fragment of a statue of which several copies, in bronze and marble, exist. The best of these, a marble statue in Madrid, shows that he was bending far forward, with one arm out- stretched as though pouring slumber over some person upon whom he is looking down. The relief on a sar- cophagus in Pisa (published in the ArchdoL Zeltung, 1862, pi. 159, fig. i), groups a similar figure of Hypnos with the sleeping Endymion, and possibly the statue to which this head belonged may have been a member of such a group. This is probably a work of the fourth century B. C, of the school of Praxiteles. 207. Round Altar, of marble, in the Louvre. Discovered on the site of the ancient Gabii about 1792. Formerly in the Borghese collection, Rome. Restorations (begin- ning with the Bacchante carrying the vase and plate of fruit as No. i) : " No. i, the whole figure with the exception of the left foot; No. 2, almost the whole figure, except the two legs, the upper part and paws of the panther-skin, and the end of one of the flutes ; No. 3, a piece in the middle of the dra- pery ; No. 4, a few insignificant bits ; No. 5, almost the whole dancer, except the left leg and arm, and part of the drapery; 128 FOURTH GREEK ROOM, No. 6, the legs" (Fiohner). Published : Clarac, Musee de Sculp- ture, pi. 140, No. 140, and pi. 258, No. 18; Frohner, Sculpture Antique du Louvre^ No. 3. This is evidently an altar consecrated to Dionysos, and its decoration is the familiar dance of Satyrs and Bac- chantes. The composition is graceful and pretty, and like all Greek Bacchic reliefs, gives full expression to the mer- riment of its subject. The figures have been largely re- stored, but what remains of the original parts enables us to see that the restorations are carefully and intelligently done. 208. The Borghese ^A^^arrior. Marble statue in the Louvre. Found during the pontificate of Paul V., Borghese (1605-1621), at Capo d' Anzo, the ancient Antium. Formerly in the Villa Borghese, Rome, whence it was carried to Paris, 1808. Resto- rations : The right arm from just below the shoulder, and the right ear. Published : Rayet, Monuments deVArt Antique, IT, pis. 64, 65 ; Bouillon, Musee des Antiques, II, pi. 16 ; Wolters' Friederichs, No. 1425 ; etc. The action of this figure has been variously interpreted, but most probably the statue represents a warrior in a position of combined defence and attack, in close combat with an opponent above him, perhaps a horseman or Ama- zon. The tension of the muscles shows the posture to be that of an instant only. With his body bent forward to the utmost extent, and firmly supported on the right leg, he stretches out his left arm to receive on his shield the blow of a sword or axe directed from above ; while with his own weapon clutched in his right hand; and the left leg just about to recover its spent force, he is ready to swing about and thrust the moment his shield is struck. The contracted brow and eager, weary face indicate that the combat has been long and fatiguing, and has now reached its most desperate point. This explanation of the motive is the most generally ac- cepted, and by far the most satisfactory of the many that have been offered. At the time of its discovery the statue was thought to represent a gladiator, and thus the name of the " Borghese 2o8, 209. BORGHESE WARRIOR, ETC. 1 29 Gladiator " became attached to it, nothwithstanding its origin in a Greek school of art, in which gladiators were unknown. Recently M. Rayet (cited above) has attempted to revive an old theory that the subject represented is a runner in the armed race (Hoplitodromos) just reaching the goal. In spite of the ingenious arguments by which this theory is supported, the figure cannot be said to have either the character or the action of a racer. Like the " Barberini Faun" (No. 205), this statue be- longs to the epoch when naturalism had taken the place of ideality in the tendency of Greek art, and is therefore a characteristic example of the Hellenistic period (seep. 131.) Not only is the greatest attention given to the expression of the face, about which the earlier sculptors were indifferent, but the broad simplicity which characterizes the modelling of athlete statues of the fifth and fourth centuries is here replaced by a most elaborate display of anatomical knowl- edge. As an illustration of the muscular action of the human figure the work is masterly, yet this technical skill and knowledge do not compensate for the greater intel- lectual power which the earlier sculptures exhibit. The inscription on the tree records the name of Agasias, son of Dositheos, of Ephesos, as the sculptor. He be- longed to a family of Ephesian sculptors, and lived probably during the last half of the second century B. C. 209. Marble Vase, in the Museum of Naples (?). The body of the vase is decorated with curved flutings, on which are two Bacchic groups in relief, each of three figures. That on the front represents Dionysos walking towards the right, followed by two nymphs. He is bearded, and clothed in a long mantle. In his right hand he holds a wine-cup {kantharos) , and in the left a thyrsos. The nymphs join hands, and the foremost holds in one hand a corner of the god's mantle. On the back Dionysos is also represented, followed by two nymphs. The god is clothed in a Thracian costume, with a large hat, tight-fitting chiton, and high boots. One of the nymphs following carries flowers in her mantle ; the other is tightly wrapped in her garments. I 130 FOURTH GREEK ROOM, Of the casts in this room the following numbers were purchased from the bequest of Charles Sumner : Nos. 150* 151. 154, 3C58, 160, 161, 165-171, 174, 175, 198, 199, 202-204, 209. Nos. 156, 200, 205, are the property of the Boston Athenaeum. Nos. 153, 197, are the property of the Institute of Technology. No. 190 was presented to the Museum by Mr. William W. Story. FIFTH GREEK, OR HELLENISTIC, ROOM. HELLENISTIC ART. The casts in the first four rooms illustrate the progress of Greek sculpture from its rude beginnings through its efforts first to represent the human figure, then to use that figure as the embodiment of an idea. We have followed the art through the age of perfection, the age in which the noblest ideals were created, and then through the period in which refinement more than sublimity was the sculptor's aim. Now we come to the last epoch of Greek sculpture, — an epoch created under the influence of Alexander the Great, and lasting from his death, B. C. 332, to the rise of the Roman dominion in Greece, 146 B. C. This, known as the Hellenistic epoch (in distinction to the pure Hel- lenic) presents a series of characteristics unknown in earlier art, which are to be accounted for by the political and social conditions of the age. With the triumph of Philip of Macedon the political greatness of Athens fell. At the same time, and probably for the same reasons, her intellectual, and especially her artistic, activity declined. The schools of Skopas and Praxiteles carried out the ideas of these masters, but there was no great Athenian sculptor to succeed them. Yet the seed which Athens had sown spread over the whole ancient world. Alexander, in his eastern conquests, carried the language and the influence of Athenian civilization through the East, and both in his time and after his death schools of art sprang up in Asia Minor and in Egypt, which looked to Athens and her works for their inspiration. Sculpture, together with the other arts, having become 132 FIFTH GREEK ROOM, the servant of the sovereign rather than the state, was put to service she had never known before. Alexander called upon every form of art for the display of his own magnifi- cence. His example was followed in a constantly in- creasing degree by his successors, who erected magnificent temples, altars and monuments, in all of which the personal element was more conspicuous than that of adaptability to the purpose for which the works were intended ; and the desire for display more apparent than the sentiments of religion and patriotism, which had been the inspiration of earlier art. Under such conditions sculpture naturally lost its old ideals. The creative power of sculptors, though not actually crushed, sank almost to insignificance. In the numerous statues and reliefs of this period which are now known, one of the most striking features is the absence of new types. In representations of divinities the types of the fifth and fourth centuries were adapted to the needs of the time (for instance the Otricoli Zeus, No. 134), but so far as we know no new ideal was created to replace them. This lack of originality was recompensed to a cer- tain extent by extraordinary skill in technique. The Hel- lenistic was pre-eminently a scientific age. Aristotle as well as Pheidias had left his heritage, and the Hellenistic sculptors show more of the academic element in their works than any who preceded them. There can be little doubt that anatomy, of which the sculptors of the Hellenic age knew no more than may be studied from a well- developed athlete in action, was thoroughly familiar to the sculptors of the Borghese Warrior (No. 208) and the Laokoon (No. 250). The chief characteristics, then, of the sculpture of the Hellenistic age, illustrated in this room, and in Nos. 205 and 208 of the Fourth Room, may be summed up as a love of display and sensationalism, an absence of creative power, and marvellous technical perfection. The princi- pal schools of the epoch were those of Pergamon, Alex- andria, and Rhodes. 215. The Apollo Belvedere. Statue in the Vatican. Of white (Carrara?) marble. Found near the end of the 15th cen- tury at Capo d' Anzo (AntiumJ. Bought by Julius II., then 215- APOLLO BELVEDERE. 133 Cardinal, and placed in his apartment in the Palazzo Colonna. When he became Pope (1503), removed it to the Belvedere of the Vatican. Restorations : By Montorsoli, the left hand and wrist, and the fingers of the right hand. Published: Vis- conti, Museo Pio Clem.y I, pi. 14; Miiller-Wieseler, Denkmd- ler d» alien Kunst, II, pi. xi, No 124 ; Mitchell, History of Ancient Sculpture, p. 621 ff ; etc. As restored by Montorsoli, this statue represents Apollo watching the effect of an arrow just discharged, the stump in the left hand suggesting his bow. This restoration suits the attitude and character of the figure so well that proba- bly it would never have been questioned but for the exist- ence of a small ancient bronze copy of the same figure in the Stroganoff collection, St. Petersburg, of which the left hand is original. This, instead of holding a bow, grasps the folds of some soft material, only a fragment of which remains. The object thus held is believed by many to have been an aegis, and according to their theory, both statuette and statue represented Apollo repelling his enemies by holding before them the terrible shield of his father Zeus, on which was the Medusa head that turned beholders into stone. Many eminent authorities have adopted this theory, which nevertheless remains a matter of conjecture. The object in the hand of the statuette has never been proved an aegis, and may have been nothing more than the end of the cloak, as has been suggested. Moreover, for technical reasons it is difficult to believe that the outstretched arm of the statue could have sus- tained the weight of such a mass. That Apollo was rep- resented in his character of archer is indicated by the quiver strap across the breast ; and until some more incon- testable restoration than that of the aegis is proposed, it is wiser to retain the present. This statue is probably a replica of a bronze original of the Hellenistic epoch. The studied elegance of the form, the theatrical pose, the unnaturally slender proportions, all of which show a striving for effect, are characteristic of the third and second centuries B. C, and the head shows the remodelling, according to the taste of that time, of an older type of considerable power and beauty. The face expresses the same haughty scorn that is indicated in the 134 FIFTH GREEK ROOM, Apollo of the Zeus Temple at Olympia (Second Room, No. 59). Comparison between these two statues of the same divinity is extremely instructive, as illustrating the wide difference between early and late sculptors in their aims and aspirations. The former struggled to give expression to great thoughts in a material over which they had not gained complete mastery, while the latter endeavored to make up in elegance of execution what they lacked in power or originality of conception. 216. Bacchic Relief, in the British Museum. Of marble. Found by Gavin Hamilton, 1776, on the site of the ancient Gabii. Formerly in the Towneley collection. Pub- lished: Ancient Marbles m the Brit, Mus ^ pt. II, pi. 12; Ellis, Towneley Gallery^ II, p. 109. This relief forms part of a Bacchic procession, such as are frequently represented in later Greek sculpture. A Bacchante in the wild frenzy of the Bacchic dance, playing upon a tympanum^ leads two Satyrs, one of whom plays the double flute, the other dances, swinging in his right hand a thyrsos and on his left arm his nebris, or panther- skin. At his side walks a panther. The work itself is of Roman execution, probably of the early years of the Empire, but is copied from an earlier relief, which undoubtedly originated in the Hellenistic epoch, probably soon after its beginning. 217. Head from Pergamon, in the Berlin Museum. Of Parian marble. Found among the ruins of the great altar, during-the German excavations, in the spring of 1880. There are no restorations. Published: Zeitschrift fUr bildend-t Kunst, 1880, XV, p. 161 ff. ; Murray, History of Greek Sculpture, II, pi. xxxii, No. 2 ; etc. This is one of the most beautiful fragments of sculpture discovered at Pergamon. It is supposed to have belonged to a statue of Aphrodite, but of the figure nothing has been found. A resemblance has been traced between this head and that of the Venus of Melos as regards the style of treatment. This may be observed especially in the two faces, though the hair of the Pergamon head is treated in 2i6-2i8. ARTEMIS OF VERSAILLES, ETC. 135 larger, heavier masses than that of the Venus of Melos, — an indication of a later origin. If this head is a work of the Pergamenian school, it is distinguished from the other works of that school with which we are familiar by the extreme softness with which the flesh is modelled. The figures in the relief from the great altar (No. 247), and the statue of the Dying Gaul (No. 261), which are characteristic examples of the Per- gamenian style, exhibit a realism in treatment entirely lacking in this head, which, in both its refinement and its ideality, resembles the Athenian works of the fourth cen- tury B. C. 218. The Artemis of Versailles (called " Diane \ la Biche "), in the Louvre. Statue of Parian marble. Date of discovery not known. Was carried from Rome to the chateau of Meudon, France, in the first half of the i6th century. Then moved to Fontainebleau, afterwards to Paris, and from Paris carried to Versailles by Louis XIV., where it remained until the French Revolution, and was finally placed in the Louvre, February 16, 798 (18 pluviose, an VI). Restorations: The nose, both ears, a piece of the neck, the right hand and half the forearm, the left hand and arm as far as the deltoid, the end of the large toe of left foot, the right foot and upper part of the leg, the two ends of the quiver, and small pieces in hair, drapery, etc. Of the hind, the nostrils, ears, horns (except the base), and the greater part of the legs. (Frohner.) Published: Clarac, Musee de Sctiipture, pi. 284, No. 1202 ; Bouillon, Musie des Antiques, I, pi. 20; Frohner, Sculpture Antique du Louvre, No. 98; etc. Artemis is represented as a huntress, wearing a short chiton like those of the Amazons, around which is wound her chlamys, or cloak, as a sort of sash. The animation of both face and figure shows that she is in the full move- ment of the chase, and just about to draw an arrow from her quiver. At her side leaps a stag or horned hind, which some writers have supposed to be the animal pursued by Herakles on Mt. Keryneia, though more probably it is introduced simply as an attribute of Artemis, without reference to any especial myth. This statue bears a striking resemblance to the Apollo Belvedere (No. 215), not only in the elegance of the 136 FIFTH GREEK ROOM. execution and the unusually long and slender proportions, but even in details, such as the pattern of the sandals, and the family likeness in the faces, which is so strong as to render it most probable that the originals of the two statues were works of the same sculptor. The attempt has been made (see Overbeck, Flastik, II, 317 ff.) to identify those originals with a group erected at Delphi to commemorate the repulse of the barbarian invaders at that place, 279 B. C. This attempt is unwarrantable, however, because beyond the fact that the date of that group corresponds with the period in which these statues may possibly have originated, there is no ground for establishing the identity. The type of Artemis which represents her as a huntress, in the Amazon costume, dates as far back as the middle of the fifth century B. C, but was modified with the succes- sive changes of style of that and the following centuries, and is shown here in one of its latest forms. This variety of the type does not date earlier than the third or second century B. C. 219 and 220. Two Figures from the Group of Attalos. Of marble. No. 219, in the Museum of Naples. Formerly in Rome, in the Farnese collection. Restorations : Both arms, the right leg from knee down, and part of the scimitar. Pub- lished : Monumenti delV Inst., IX, pi. xxi, No. 7 ; Clarac, Musee de Sculpture, pi. 871, No. 2217 ; etc. No. 220, in the Museum of the Marciana, Venice. Formerly in Rome, in the possession of a Cardinal Grimani, who bequeathed it to the Republic of Venice, 1523. Restorations : The right arm and some of the toes of the right foot. Published : Monumeniiy IX, pi. xix, No. 2 ; Clarac, Musee^ pi. 868, No. 2211. Both figures and the rest of the group are discussed by Brunn in i\\Q Antiali delV Inst.^ 1870, pp. 292-323. Attalos I., King of Pergamon (B. C. 241-197), dedicated on the Akropolis of Athens four groups of statues, in commemoration of his victories over the Gauls of Mysia. These groups were erected on the southern wall of the Akropolis, and represented the battles respectively of the Gods and Giants, the Greeks and Amazons, the Greeks and Persians at Marathon, and Attalos and the Gauls. 219,220. THE ATTALOS GROUPS. 137 To Professor Brunn belongs the credit of identifying with these groups a number of small statues now scattered among various museums of Europe, but all traceable to Rome. Although the evidence in favor of this identifica- tion is circumstantial, it is so strong as to amount almost to demonstration. Of those figures, Nos. 219 and 220 are characteristic specimens. The former is evidently from the group representing the battle of Marathon, as the costume, especially the long trousers (anaxirides) and the scimitar, are distinctively Persian. No. 220 is probably from the group of the Gauls, the face being of barbaric type. The execution of these figures is thoroughly character- istic of the Hellenistic style of sculpture, and particularly of the Pergamenian school, as may be seen by comparison with the relief from the great altar of Pergamon, No. 247. The action of the bodies is emphasized by the expression of the faces, in which the pathetic element is developed to its greatest extent. The prominence given to representa- tion of the muscles is another point of resemblance to the figures of the altar and the sculptures of that epoch gen- erally. Whether these are the original statues erected by Atta- los, or copies of them, must, of course, remain a question. The modelling shows a free and vigorous handling, which gives considerable ground for the former opinion, which is held by Brunn and others. If this be correct, the year 200 B. C. may be assumed as the date of these figures, as the dedication of the groups on the Akropolis took place about that time. 221. Small Herma of Herakles, in private posses- sion in Sparta. Of red {rosso antico) marble. There are no restorations. Pub- lished in the MiUheilungen d. Inst, m Athen, II, p. 343, No. 83. A small, decorative piece of sculpture of a late epoch, representing Herakles, bearded, his shoulders wrapped in a lion's skin. 138 FIFTH GREEK ROOM. 222. The Torso of the Belvedere, in the Belvedere of the Vatican. Of marble. Found probably in the Campo del Fiore, a Roman street on the site of the Theatre of Pompey, during the pon- tificate of Julius II. (1503-15 1 3). There are no restorations. Published: Visconti, Museo Pio Clem., II, pi. x, p. 66 ff . ; Collignon in Rayet's Monuments de I' Art Antique, II, pi. 63. This magnificent fragment represents Herakles, distin- guished by his powerful frame and the lion^s skin on which he sits, resting upon a rocky seat. The right leg was bent so that the foot rested against the rock, on which a trace of it is still observable. The left leg was extended. In what manner the arms were occupied, there is almost nothing to show. Evidently the action of the figure was directed towards the left, and the right arm was extended in that direction, more than which is not determinable. Lysippos is said to have made, for Alexander the Great, a small bronze statuette of Herakles in a similar position. According to the descriptions of that statuette, the hero was seated upon a rock that was almost hidden by the lion's skin. In his right hand he held a wine-cup, while the left grasped his club, the head being turned somewhat up- wards. It is often supposed that the Torso may be an enlarged copy of that bronze. This figure was one of the chief promoters of sculpture during the Renaissance. Michelangiolo regarded it with enthusiastic admiration, and declared himself its pupil. Its influence has not declined with the development of modern knowledge of Greek art, as it still retains its place among the grandest statues of Rome. The inscrip- tion on the pedestal states it to be the work of Apollonios son of Nestor, of Athens, an otherwise unknown sculptor, whom the character of the inscription shows to have lived during the first century B. C, about the time of Sulla. Although the execution possesses much of the quality of original work, it is scarcely credible that such a sublime conception should have been created at so late an epoch. More probably the work of Apollonios is a very skilful copy of an Athenian statue of a much earlier period. It will be noticed that the modelling of the muscles is much 222-225 THE BELVEDERE TORSO, ETC, 139 less elaborate than in the Pergamenian and other Hellen- istic sculptures, and has more resemblance to the treatment of the Parthenon statues, though possibly more refined. In both the treatment and the majestic spirit of the con- ception, the influence of the Pheidian school is strongly felt. It is, therefore, very probable that the original of the figure was made even before the epoch of Lysippos, to which it is usually assigned, and its date may have been as early as the end of the fifth, or beginning of the fourth, century B. C. 223. Fragment of a Statuette, in the Museum at Sparta. Of marble. There are no restorations. Published : Mittheilungen d. Inst, in Athe7t^ II, p. 341, No. 79. The powerful muscles of this little figure indicate that it represents Herakles, although there are no other attri- butes by which to identify it. The execution has the aver- age character of works of a late Greek period. 224. Small Torso of Herakles, in the Museum at Sparta. Of marble resembling Pentelic. There are no restorations. Pub- lished: Mittheilungen d. Inst, in A then, II, p. 341, No. 80 ; Bulletino delV Inst., 1873, P- ^^4 (Hirschfeld). The attitude and proportions of this fragment are simi- lar to those of the Belvedere Torso, though the arms and shoulders are turned in the opposite direction. The mod- elling is careful and delicate, and displays considerable skill. 225. Torso of Marsyas, in the possession of Mrs. Hiland, at Concord, N. H. Of red marble {pavonazetto). Found at Alexandria, 1879, by Lt. Com. Gorringe in clearing the foundation of the obelisk known as " Cleopatra's Needle," preparatory to its removal to New York. Brought to America with the obelisk, 1880, and be- queathed to its present owner by Lt. Com. Gorringe at his death, in 1885. 'Inhere are no restorations, and the figure is unpublished. (The site of the discovery is shown in Gorrmge's Egyptian Obelisks, N. Y , 1882, pi. viii, and the figure is one of the ''several fragments of statuary " referred to on p. 12.) Ht, of the fragment, M. 0.548. I40 FIFTH GREEK ROOM, The subject of this little torso, which is just half life- size, has been made familiar by a considerable number of larger and more complete copies of the same original, existing in various European collections. It is the Satyr Marsyas bound and hung by his hands to a tree, about to be flayed by Apollo, — the penalty of his having ventured to engage in musical competition with the god. Enough of this fragment remains to show the beginning of the left arm, the thighs, and the lower end of the beard, which rested against the breast. Although the outlines of the loins and breasts are indicated in a somewhat hard and mechanical manner, the modelling is generally good, and shows the realistic characteristics of the Hellenistic age. The realism of the figure is heightened by the dull red color of the marble. This cast was presented to the Museum by the late Lt. Com. Gorringe. 226. Zeus or Asklepios, Head of Parian marble, in the British Museum. Found, 1828, in the island of Melos. Afterwards in the collection of the Due de Blacas. There are no restorations. Published: Collignon, in ^3.yQt^s Monuments de VArt Antique^ I, pi. 42; Mitchell, Hist, of Anc. Sculpture^ Selections^ pi. xiir ; Overbeck, Kunstmythologie, vol. II (Zeus), p. 88, Atlas, pi. II, Nos. 11 and 12; etc. The fact that this head was discovered among the ruins of a sanctuary of Asklepios, gave rise to the opinion that it represented that divinity, although it has more affinity with the types of Zeus. The differences between the types of these two gods have been pointed out in connection with a head in the British Museum (Third Room, No. 137), from which it will be seen that this is more probably a head of Zeus. Less stern than the Otricoli Zeus (Third Room, No. 134), the face is equally majestic, and suggests the tremendous power that belongs to the father of gods and men. The projecting brow, the deep, sharp angle at v/hich the eyes are set, the dignity of the mouth, and the thick heavy masses of hair are all peculiarly characteristic of Zeus. This is probably a work of the Hellenistic epoch; it is certainly not older than the fourth century B. C. 2^6-229. RELIEFS, kTC. 141 227 and 228. Terra-cotta Reliefs, formerly in the Campana collection. Published in \\\q Museo Campana^ No. 227, pi. lx; No. 228, pi. LXI. These two reliefs are from an architectural decoration, probably a frieze, the subject of which is the marriage of Peleus and Thetis. In No. 227 Peleus receives his bride, who comes to him heavily veiled and draped, according to Greek custom, attended by a companion. No. 228 repre- sents Herakles and one of the Hours or Seasons, bringing gifts. Herakles bears a bullock on his shoulders, and his companion carries in her left hand a staff from which are suspended a hare and a brace of birds. In the right hand she carries a pig. These reliefs belong to a very large class of terra-cottas found principally in Rome, and prob- ably the products of the early Empire, during, which they served as decorations in the houses of the wealthy. As in this case, the reliefs of this class usually show great skill in treatment, and bear the unmistakable stamp of Greek workmanship. They may therefore be presumed to be the work of Greek artisans in Rome. 229. Votive Relief, in the British Museum. Of marble. Formerly in the possession of Cavaceppi (about 1768), later in that of the Duke of Bedford, and presented by him to Mr. Towneley in 1805, with whose collection it passed to the British Museum. Restorations: Slight and unimportant. Published: Ancient Marbles in Brit. Mus., pt. II, pi. 5; Guide to Grczco-Rom. Sculptures in Brit. Mus., pt. I, No. 200; etc. The slight remains of an inscription on the base of this relief show that it was dedicated to Apollo, who is repre- sented at the right sitting upon the omphalos.^ a stone which marked Delphi as the centre of the world, his right hand raised and holding some object. In the centre stand two females, whose size indicates that they are goddesses, and therefore probably Leto and Artemis, the mother and sister of Apollo. At the left are three mortals, probably father and two sons, who approach the divinities, and doubtless represent the family of the dedicator. Each wears a coat of mail under his cloak. t42 FIFTH GREEK ROOM, 230 and 231. Dionysos received by Ikarios. Two marble reliefs. No. 230 in the Museum at Naples. From Capri. Restorations : The head of the last figure on the right. Published: Guida del Museo Nazionale di Napoli, 1884, No. 6713. No. 231 in the British Museum. First published by Lafreri, 1549. Placed by Sixtus V. in the Villa Montalto, now Grazioli ; later in the Towneley collection, with which it passed to the British Mu- seum. Restorations : The left arm and top of head, including the wreath, of Silenos ; the head and right arm of the Satyr fol- lowing him, the head, upper part of body and part of the dra- pery of the last figure at the right, and part of the column under the herma at the left. Besides these restorations, there has been much retouching of the whole. On the couch was a female figure which has disappeared, and her drapery has been worked over to form part of that of Ikarios. The last Satyr to the right supported a Bacchante in his arms, traces of whom are visible. Published : Ancient Marbles in the Brit. Mus.y II, pi. 4 ; Guide to Grceco- Roman Sculptures^ pt. I, No. 176; etc. The name here given to these reliefs is that by which they are generally known, although their interpretation is a matter of dispute. Ikarios was a mythical Athenian, who, according to tradition, received Dionysos with hospi- tality on the god's first visit to Attika. In return for this reception Dionysos initiated him into the secrets of wine making. Whether the reliefs, of which these two are but examples of a numerous class, illustrate this event, or are merely a form of votive tablet to Dionysos, is difficult to determine. At all events, the scene represents the recep- tion of Dionysos by a mortal. In the background is a house, separated by a high wall from a court in which the action takes place. On a couch covered with cushions and rugs recline a man and a woman (in No. 231 the latter has been erased, as noted above). Before them is a table, on which are a kantharos, or wine-cup, and sundry articles of food. The man, his right arm extended, turns his head as though in surprise towards the gate, where stands Dionysos, bearded, clothed in a long mantle, and leaning, as though heavy with wine, upon a small Satyr who supports him from behind, while another remove? his sandal. Fol- lowing Dionysos through the gateway comes a jolly Bacchic group : first a Satyr, dancing, with a long thyrsos in his arm, next a drunken Silenos playing the double flute, then a sec- 231-233. BACCHIC RELIEFS,-^ MENANDER, 143 ond Satyr with right arm upraised, and finally a Bacchante supported by a Satyr (in No. 231 the Bacchante has disap- peared, though traces of her drapery worked over into that of the Satyr are apparent). In their main features these two reliefs correspond perfectly, but there are some slight differences in detail ; as for example, in No. 231 the Satyr decorating the house with flowers, the trees and pillar in the background, and the masks on the footstool at the left, none of which appear in No. 230. Whether the originals of this class of reliefs had a votive significance or were merely ^^/^r^ representations, it is proba- ble that the considerable number now extant, in marble and terra-cotta, served a decorative purpose only. Their style is that of the Hellenistic epoch, but it is doubtful whether the works themselves are earlier than the Roman Empire. 232. Bacchic Scene. Relief in the Museum at Naples. Of marble. Formedy in the Palazzo Farnese, Rome. There are no restorations. Published: Museo BorbonicOy III, pi. xl ; Winckelmann, Monumenti Inediti^ part I, head-piece of the Indicazione. Dionysos is escorted by his companions through a grove, to the music of pipes and cymbals. In the centre is the god, represented as youthful, heavy wdth wine, his arm about the shoulder of a supporting Satyr. Both of them carry thyrsi. Before them go a Satyr carrying a large krater of wine, and a Bacchante playing the cymbals high above her head. Behind follows another playing the double pipe. Betw^een Dion3'SOS and his supporter is a pan- ther, and on either side of them a small Satyr. This is a decorative work of a common type, the origin of which is not earlier than the Hellenistic epoch. 233. Menander, seated statue in the Vatican. Of Pentelic (?) marble. Found during the pontificate of Sixtus V. (i 585-1 590), near the church of S. Lorenzo in Panisperna, on the Viminal, Rome, and placed in the Villa Montalto, now Grazioli. Purchased by Pius VI., and removed to the Vatican. Restora- tions: The left hand, with the scroll. Published: Visconti, Museo Pio Clem., Ill, pi. xv, p. 65 ff. ; Gerhard in the Besch- reibung der Stadt Ro??t, II 2, p. 169; etc. i44 PIPTI/ GkEEiC ROOM. This statue was established as a portrait of Menander by Visconti, who pointed out its resemblance to a small head inscribed with the poet's name, and thereby disposed of the popular tradition that it represented the Roman general Marius. Pausanias, in his description of the Dionysiac Theatre in Athens (I, 21, i), mentions a statue of Menan- der which he saw there, and it has often been supposed that the statue in the Vatican might be the very one referred to; but this is impossible, because the pedestal of the statue seen by Pausanias was discovered some years ago in its original position, with the name Menander upon it, and is too small for the base of this figure. While it cannot, therefore, be the original statue erected to the poet's honor in the place where his plays were pro- duced, this is one of the finest examples of Greek portrait- sculpture that survive, especially on account of the marvel- lous ease and naturalness of the pose. The manner in which energy and force of character are made to manifest themselves even in this attitude of repose, is remarkable. The head is modelled with great power, and an especial regard for individuality of expression, while the figure is treated rather carelessly as to details. Menander died in 291 B. C, at the age of fifty-two, and this portrait evidently represents him in the last years of his life. It is therefore a work of the Hellenistic epoch, in which portraiture was a favorite theme among sculptors, doubtless because of the opportunity it afforded for the display of virtuosity in the representation of individual traits and distinctions. The contrast between this style of portraiture and the more ideal style of the preceding epoch may be studied by comparing this statue with that of Sophokles (Third Room, No. 132). 234. Crouching Aphrodite, statue in the Vatican. Of Carrara marble. Found, 1775, on the Sal one estate, at Prato Bagnato, on the Via Prasnestina, about six miles from livoli. Bought by Pius VI., who placed it in the Vatican. Restora- tions: The hair, right hand, fingers of left hand, fore half of right foot, and first two toes of left. Also the greater part of base. Published : Visconti, Museo Pio Clem.y I, pi. x, p. 58 ff.; Clarac, Musie de Sculpture^ pi. 629, No. 1414; etc. ^34- APHRODITE. 235. BOY AND GOOSE. I4S Aphrodite is here represented in the style of late Greek art, which used the name of the goddess merely as an ex- cuse for displaying the nude female form in a variety of graceful poses. Of religious significance, or of the nobler ideal of Aphrodite, as embodied in the "Venus of Melos" (Third Room, No. 140), there is no suggestion. The fig- ure is simply that of a pretty woman bathing, her occu- pation being indicated by the waves on the base, and the hydria (water-jar) on which she rests. There are many extant replicas of this statue, all of which date from the Roman Empire. They probably served no higher purpose than decoration, being especially appropriate as fountain-figures. That they reproduce some famous statue is quite probable, though the attempt to identify the original with the statue mentioned by Pliny (N. H., xxxvi. 35) as the work of a sculptor named Daidalos, has not been successful. 235. Boy and Goose, marble group, in the Louvre. Found at Roma Vecchia, the ancient Pagus Lemonius. Restora- tions : The head of the boy and that of the goose. Pub- lished : Clarac, Musee de Sculpttire, pi. 293, No. 2226 ; etc. See, especially, a paper by E. A. Gardner, in the Journal of Hellenic Studies, VI (1885), p. i ff., on the different types of this subject. This group, which formerly served as decoration for a fountain, is a characteristic example of the genre style of the Hellenistic period. A sturdy little boy, scarcely more than an infant, is trying to hold a goose nearly as tall as himself, and in his struggle almost chokes the poor bird, whose neck is clutched in both hands. Both boy and goose are cleverly and charmingly executed, particularly the chubby figure of the former, which is modelled with great skill and feeling. The spirit of the action would be better appreciated were it not for the support under the body of the goose. The presence of this, and the character of the technique, indicate that the original of which this is a copy was of* bronze. In that material no such support would be required, and the effect would be increased accordingly. 146 P'IFTH GREEK ROOM. On the statement of Pliny (N. H., xxxiv. 84), that a sculptor named Boethos made a child strangling a goose, this group has for many years been regarded as a copy of that work, in spite of the fact that we know nothing more about it than this mention. Since there are not less than fifty- two extant representations of boys with geese, which cannot be reduced to less than six distinct types, of nearly the same period, it is certainly not advisable to attempt to iden- tify any one of these with a work of which we know so little. Whoever may have been its sculptor, the original of this group was probably a work of the early part of the Hellenistic period, and of bronze, as stated above. 236. Nike, Apollo, Artemis, and Leto. Marble relief in the Villa Albani. Published: Zo^gdi, Bassirilievif II, pi. xcix, p. 239 ff. ; Morcelli, etc., Descr. de la Villa Albani (1S6)), No. 1014, and Appendix II, p. 174. In the background is a Corinthian temple decorated with a frieze of racing chariots, and separated from the foreground by a high wall. In front of this, at the right, stands Nike at the side of a round altar, pouring from a wine-jug into a patera held by Apollo, who approaches from the left followed by his sister and mother, Artemis and Leto. Apollo carries a large lyre, upon which he plays with his left hand. Artemis catches the garment of Apollo in her right hand, holding in the left a large torch. On her shoulder is her bow. Leto carries a long sceptre in her left hand, and with the right holds an end of her himation or shawl. While the temple and other accessories are of a late style, all four figures are executed in imitation of archaic types, with the drapery arranged in stiff zigzag folds. The manner of clasping objects with the thumb and fore- finger is also characteristic both of genuine archaic art and its late imitations. The relief belongs to the class of works described above, p. 13. 236-238. LVDOVISI ARES, ETC, 147 237. The LfUdovisi Ares, statue in the Villa Ludovisi, Rome. Of fine Greek marble. Found near the Palazzo Santa Croce, Rome. Date of discovery unknown, but earlier than 1633, ^^ the statue is entered in the inventory of the works of art of the Villa Ludovisi, dated Jan. 28 of that year. Restorations : On the Ares, the greater portion of the nose, the right hand, except the piece against the knee, end of thumb and forefinger of left hand, with the handle of the sword and a piece of the sheath, and the right foot except the heel. On the Eros, head, neck, left arm with the quiver, right forearm, right foot and part of the lower leg. Published: Raoul-Rochette, Monu- ments IneditSy pi. XI, p. 49; Schreiber, Antike Bildwerke der Villa Ludovisi, p. 82, No. 63 ; etc. Ares, the god of war, sits meditatively upon a rock, his left knee clasped in both hands, one of which holds his sword. Upon the ground at his side are his helmet and shield, and just in front of the seat, under his right leg, sits a small Eros. The mantle of the god has fallen about his waist, leaving the figure nearly nude. A mark on the left shoul- der and the remains of a support on the same side show that originally another statue was grouped with this, of which unfortunately nothing remains. A theory that has received very general acceptance is that the second figure may have been Aphrodite, standing by Ares, and endeav- oring to divert his thoughts from war to love. While such a restoration would suit the statue w^ell, and explain the introduction of Eros, it is based upon nothing but con- jecture, as we possess neither the example nor the descrip- tion of an analogous work from which to learn how the statue was grouped. The long slender limbs of this figure, its athletic body and fine head bear such resemblance to the Apoxyomenos of Lysippos (Fourth Room, No. 200) as to warrant the belief that its original was a work of either that artist or his school, dating therefore from the second half of the fourth century B. C. 238. Large Double Herma, in the National Museum, Athens. Of the pillar only a section is given in the cast. Found in the Stacfion, Athens, 1869. There are no restorations. Published : Sybel, Katalog, No. 36; etc. 14^ FtFTI^ GREEK ROOM, A Herma is a quadrangular pillar surmounted by a head, which in early Greek art was usually that of Hermes, whence the name. Originally they had a religious sig- nificance, and throughout historical times were especially venerated at Athens, as is shown by the alarm and indigna- tion felt at the mutilation of them on the night before the Sicilian expedition was to sail, described by Thucydides. These hermae were erected in all kinds of public places, before temples, tombs, gymnasia, etc., and were placed along roads, with distances marked upon them. They were also used to mark the boundaries of lands, and in Athens there was one at the door of every house. In later times they were used for decorative as well as religious purposes, and while the former class underwent great variety of form and type, especially in the treatment of the bust, the religious hermae retained their simple archaic character. It is to this class that our example belongs. The heads preserve a type much older than the period of their execu- tion, which may have been as late as the Roman dominion in Greece. The bearded face is probably Hermes, the other Dionysos, or possibly Apollo. This Herma formerly stood in the Stadion at Athens, among the ruins of which it was found. 239, 240. Two Bacchic Reliefs. No. 239 represents a Bacchic dance of a type familiar through a number of examples in the preceding room. The group consists of two Satyrs and a Maenad, all in dancing attitudes. The original is the Villa Albani, Rome. No. 240 is in the gallery of the Uffizi, Florence. It repre- sents a Bacchic orgy, and shows the followers of the god of wine in various stages of frenzy. The tripod on the column locates the scene at Delphi, where Dionysos was worshipped in the winter months, and Apollo in the summer. Dionysos himself leans against the tree, a long thyrsos in his hand. Published: Welcker, Alte Denkmd'er, IT, pi. v, 9; Diitschke Antike Bildwerke in Oberitalien, III, No. 516. I 239-245. APOLLO KITHAROLDOS, ETC. 149 241, 242. Busts of Comedy and Tragedy, in the Vatican. Found at Hadrian's Villa during the pontificate of Pius VI., and placed by him in the Vatican. Published : Visconti, Museo Pio Clem.f VI, pi. XX, 1,2; Gerhard in the Beschreibung der Stadt Rom, II 2, p. 224, Nos. I and 2. These two busts, which personify Comedy and Tragedy, were found at the entrance to the theatre of Hadrian's Villa, which they formerly decorated. They are works of the Roman Empire, and date probably from the time of Hadrian. 243. Apollo playing on the Lyre, statue in the Vatican. Of Carrara marble. Found, 1774, in the so-called Villa of Cassius near Tivoli, and placed by Pius VI. in the Vatican. Restora- tions : The end of the nose, the chin, right hand and arm from above the elbow, left hand and part of the arm which projects from the drapery, the visible portions of both feet, and pieces in the drapery. Also the upper half of the lyre, including the upper part of the Marsyas on it. Published: Visconti, Museo Pio Clem.y I, pi. xv, p. loi £f. ; Clarac, Musee de Sculp- iurey pi. 496, No. 967 ; Stephani, in the Compte Rendu de St. Fetersbourg^ 1875, pp. 122-153; etc. Apollo, crowned with a laurel wreath, is represented as the god of music, moving with stately step to the accom- paniment of his lyre, his head raised as though in the act of singing. His musical victory over Marsyas is brought to mind by the figure of the latter on the lyre. The cos- tume, which gives the figure rather a feminine appearance, is that of a Kitharoidos or lyre-player, consisting of a long, flowing chiton which reaches to the feet, and is girded considerably above the waist by a broad band. Over this is a chlamys, or cloak, much longer than that usually worn by men. (Cf. for example, that of the Apollo Belvedere in the same room.) Augustus, after his victory at Actium, which he believed due to the intervention of Apollo, dedicated to him a tem- ple on the Palatine, in which was placed a statue of the god playing upon the lyre, the work of Skopas. It is pos- sible that the figure before us is a replica of that statue, 150 FIFTH GREEK ROOM, which the poet Propertius describes as '* Apollo in a long garment playing songs '' {Fythius longa carmina veste sonat), and which is represented on coins of Augustus and the fol- lowing emperors with a general resemblance to this figure. The coin-types, however, differ so much from one another in regard to the action of the arms as to teach little more of the original than that it was erect, in the long costume described, and carried the lyre on the left side. Apart from the question of the connection of this statue with the Palatine Apollo of Skopas, the type of head, the character of the drapery, and the style of the execution point to the fourth century B. C. as the date of its origi- nal. 244. Thalia, statue in the Vatican. Of Carrara marble. Found with Nos. 243 and 245 in 1774 at Tivoli, on the site of the so-called Villa of Cassius. Placed by Pius VI. in the Vatican. Restorations : The Satyr's staff, except a fragment on the upper arm, both forearms, and nearly the entire tympanum, of the original presence and position of which there were traces on the figure. Published: Visconti, Museo Pio Clem.y I, pi. xviii ; Gerhard, in the Beschreibung der Stadt Roniy II 2, p. 214, No. 10 ; etc. Thalia, the Muse of Comedy, clothed in long, full dra- pery, is seated upon a rock. On her head she wears an ivy wreath, an emblem of Dionysos, the patron divinity of the theatre. At her side is a comic mask, by which she is dis- tinguished from Melpomene, the Muse of Tragedy. In her right hand she holds a staff such as are carried by Satyrs in Bacchanalian representations, and on her knee rests a tympanum, a favorite instrument of the Bac- chantes. These symbols are probably introduced because of the importance of the dance of Satyrs and Bacchantes as a feature of the comic drama. This statue is undoubtedly the product of a Roman chisel, as it possesses all the characteristics of a Roman copy, notably the hard, mechanical manner in which the drapery is treated. That it reproduces a Greek original is most probable, but of that work or its sculptor we have no knowledge. Mention is made in ancient writers of groups of Muses by several eminent sculptors of different epochs. 244-246. THE MUSES. 151 245. Clio, Statue in the Vatican. Of Carrara marble. Found with Nos. 243 and 244 in 1774 at Tivoli, on the site of the so-called Villa of Cassius. Placed by Pius VI. in the Vatican. Restorations: The nose, neck, right breast, right forearm, the left arm from above elbow, with part of the scroll, the right knee, and extremity of the left foot. Published: Visconti, Museo Pio Clem., I, pi. xvi; Clarac, Musee de Sculpture^ pi. 500, No. 985 ; etc. As noted above, this statue was found with the Apollo, No. 243, Thalia, No. 244, and statues of several other Muses. It is perhaps the best of the group, displaying in its conception remarkable charm and beauty. The pose is graceful and easy, and expresses perfectly the reflective nature of the Muse of History. The execution, however, like that of the Thalia, is hard and dry, indicating that the statue is a Roman copy of a better work. 246. Statue restored as Euterpe, in the Louvre. Of Pentelic marble. Formerly in the Villa Borghese, Rome. Res- torations: The head is ancient, but does not belong to the statue. The nose, mouth, and chin are modern. Also the neck, the right hand and portion of the arm which projects from the drapery, the left hand and arm, including the sleeve and the part of the pilaster covered by it, both flutes, and the left foot. Published: Clarac, Miisie de Sculpture^ pi. 295, No. 1016; Frohner, Sculpture Antique du Louvre^ No. 379; etc. A female figure in full drapery stands with feet crossed leaning upon a tall square column. On the front of this, near the base, is a bird standing upon a palm branch, and on the side an olive-tree, both sculptured in low, flat re- lief. Upon what ground the statue is restored as Euterpe it would be difficult to say, there being nothing upon the original figure to justify the flutes and the two hands, which are the distinctive attributes of that Muse. The drapery is treated easily and with a considerable degree of merit. 247. Combat between Zeus and the Giants. Selec- tion from the reliefs of the Great Altar at Pergamon, in Asia Minor. Now in the Berlin Museum. Of bluish white marble, probably of an Asiatic variety. Found July 21, 1879, during the excavations undertaken by the German government, under the management of Karl Humann. It had 152 FIFTH GREEK ROOM. been built into a rude wall east of the altar. There are no restorations. Published : Rayet, Monuments de VArt Antique, II, pi. 61; Ilumann, etc., Ergebnisse der Ausgrabungen zu Per- gamon^ I, 1880, p. 27, pi. iii ; Brunn, Pergamenische Giganto- mackief Berlinf 1884; etc. The monument to which this relief belonged was one of the most magnificent and most characteristic works of the Hellenistic age. Eumenes II., king of Pergamon, B. C. 197-159, to whom the city owed its famous library and many other public institutions, was probably the one who dedicated to Zeus Soter (the Saviour) this altar, of such magnitude and splendor that it is unique among the Greek edifices known to us. As with other works of the age, its purpose was evidently one of display rather than the mere fulfilment of religious needs, the object being to place the altar proper, which was used for sacrifices, in as magnifi- cent a setting as possible. To this end it was raised upon a platform or substructure about 16 ft. high and nearly square in plan, measuring about 123 ft. 7 in. by 113 ft. 6 in. This was erected in a most imposing situation, a terrace near the top of the lofty Akropolis, seven hundred feet above the surrounding plain, the site being that of the agora, or market-place, of the city. One side of the plat- form was pierced by a broad staircase leading up to the altar, which stood in the centre, surrounded, except at the head of the staircase, by an Ionic colonnade. The most important feature of this structure, artistically, was the broad band of sculpture which encircled the walls of the platform, taking its start at either side of the stair- case. This was a single composition, about seven feet six inches in width, and probably not far from four hundred feet long, representing the battle of the Gods and Giants. Although the altar has long since been destroyed, and its decorations scattered, the German excavations have brought to light the fragments of over 350 feet of the relief, which now adorn the Museum of Berlin. Of this No. 247 is a characteristic specimen. Zeus is engaged in combat with three giants, one of whom, at the left, is struck down by a thunderbolt which pierces his left leg ; another, fallen to his knees, grasps his left shoulder as though in agony, and his left arm is swollen and somewhat contracted. There 247- THE ALTAR AT PERGAMON. 153 being no trace of any weapon which has caused this, it has been supposed that the artist intended to represent him as paralyzed by the sight of the aegis, which Zeus bran- dishes above his head. The third giant prepares to defend himself against the thunderbolt Zeus is about to hurl. He is older than the other two, bearded, and with legs that end in serpents, one of which springs at the eagle of Zeus above his left arm. The qualities of this work which first impress the spec- tator are its spirit and power. Through the entire compo- sition runs the same animation, the same feeling of rush and noise, displayed in this group. In the figures with which the relief is crowded from beginning to end, there is neither repetition of motive nor any sense of effort in the grouping. The whole subject is composed with the utmost facility. The merit of the modelling varies in different sections, showing that many hands were employed upon it, yet it is always vigorous. No extant work of Greek art exhibits greater technical perfection. The dignified torso of Zeus, the forms of the giants, the deep cutting of the folds of the drapery, all show marvellous skill. The types are not new or original ; but those of the best periods have been chosen, and worked over with a love of detail, especially in the anatomy, which has already been men- tioned as a characteristic of Hellenistic sculpture. Its perfection in these qualities, however, makes this relief an excellent example of one of the chief lessons of Greek art — that cleverness alone will not suffice to make a work really great. Behind the technical power there must be ethical qualities which this work lacks. However spirited the composition may be, it lacks the true religious feeling which the earlier sculptors would have given it. Their great mythological representations were inspired by piety; this by the love of display. It is evidently an attempt to make as gorgeous a composition as possible ; and while it has succeeded in this, the endeavor for startling effect is constantly apparent, resulting in a restlessness and con- fusion which present a strong contrast to the quiet sim- plicity of the sculptures of the best period. It embodies in their full development the virtues and the faults of what may be called the Barocco period of Greek art. 154 FIFTH GREEK ROOM. 248. Pseudo -Archaic Relief, in the Villa Albani. Of marble. Restorations : According to Zoega, the only part of this relief which is original is the lower left-hand corner, in- cluding only a portion of the seated figure, — the top and back of head, both hands with the objects they hold, the legs from the middle of the thigh, and the front leg of the seat being re- stored, — and the remainder of the relief is modern. Pub- lished: Raffei, Saggio di OsservazionCy Rome, 1773, frontis- piece ; Zoega, Bassirilievi, II, pi. cxii, No. I ; Miiller-Wieseler, Denkmdler der alien Kunsty II, No. 257 ; etc. This relief is so extensively made up of pieces which, whether ancient or modern, do not belong together, that it does not merit detailed description. The right and left halves do not belong together, and of the latter, the altar, the upper part of the temple, and the attributes held by the sitting figure, are of extremely doubtful authenticity. This figure is identified as Aphrodite by the rabbit or hare under her seat, both animals being sacred to that goddess. The figure at the right is Athena. The style of the relief is that of the Roman imitation of archaic Greek sculpture. 249. Mask of a Satyr, in the collection of antiquities, Dresden. Of marble. Found at Pompeii, and bought of Prof. Zahn, in 1841. Colors, in traces, are still preserved : on the eyes reddish brown and blue, and in the hair yellow and reddish brown. Published : Hettner, Bildwerke der kgl. Antikensammhtng zu Dresde7ty 1881, p. 90, No. 124. See also Treu, Sollen wir unsere Statuen bemalen ? Berlin, 1884, p. 33. A decorative piece of sculpture, the chief interest of which lies in the preservation of some of the colors in the original. These are noted above. 250. The Laokoon Group, in the Vatican. Of Greek marble. Found during the pontificate of Julius II., in 1506, among the ruins of the palace of Titus, on the Esquiline, Rome, and purchased by the Pope. Restorations : The right arm of the father, with the portion of the serpent extended along it, the right arm of the son on the left, with the coil of the serpent at the top, the right hand and part of the forearm of the son on the right. There are also a number of minor restorations. Published : Visconti, Museo Pio Clem., II, pi. 248-250. THE LAOKOON, ETC. 155 39; Mitchell, History of Ancient Sculpture, p. 601 ff., fig. 243, etc. Of the controversial literature regarding the date, etc., of the group, the list is very long ; much of it is given in Bliimner's second edition of Lessing's Laokoon. See also Kekule, Laokoon^ Berlin, 1883, and Trendelenburg, Laokoottgrtippe, Berlin, 1884. Laokoon, a Trojan priest, is a character that figured prominently in the post-Homeric legends of Troy. To us he is best known by the story of his death in the second book of the ^neid, but this was also described by many earlier writers, among them Sophokles, in works now lost. As we are able to judge from fragments, the story varied in different authors. According to that illustrated by this group, and also followed by Virgil, Laokoon warned and urged the Trojans to have nothing to do with the wooden horse left by the Greeks outside the city when they pre- tended to sail away ; but the people, rejoicing at what they thought their final delivery from war, determined to carry the horse into the city amid sacrifices and feasting. Laokoon as priest, aided by his two sons, was about to sacrifice a bull at the altar of Poseidon, when two enor- mous serpents rushed from the sea, and entwined them- selves first about the sons, then about Laokoon himself, who came to the rescue, and all three were killed. The legends agree that the monsters were the instrument of some divinity, but differ as to which one, and as to the reason of the punishment. It is easy to understand how such a subject, the repre- sentation of which required the greatest technical skill, should have attracted the sculptors of the Hellenistic age, which, as mentioned above, p. 132, was distinguished for its virtuosity. Pliny (N. H., xxxvi. 37) describes as one of the most wonderful works known to him {opus omnibus et picturce. et statuaries artis prceferenduiTi) a marble group of Laokoon and his sons, that stood in the palace of Titus on the Esquiline, the work of the Rhodian sculptors, Agesan- der, Polydoros, and Athenodoros. As the Vatican group, of which the cast is before us, was found on the site of the palace mentioned, and is the only known group repre- senting the subject, there can be little doubt that it is the identical work to which Pliny alluded. It was evidently the cleverness of the execution that excited his admira- 156 FIFTH GREEK ROOM, tion, as he mentions that the father, sons, and serpents were all cut from a single block of marble, — though mod- ern examinations have shown that the group was composed of several closely fitted pieces. The modern restorations of the figures are incorrect in several particulars, especially the right arm of the father. A mark on the back of his head shows that this arm was not outstretched, but bent sharply at the elbow so that the hand, or the serpent grasped by it, came in contact with the head. Thus the pyramidal character of the composi- tion was preserved, and the harmony between the main and subordinate lines maintained. The right arm of the son on the left is also an incorrect restoration. In the conception of this group there is no attempt to go below the surface. The sculptors have not given ex- pression to an idea. It is simply the representation of physical agony of the most wearying kind, which fatigues the spectator as well as the sufferer. The contrast in con- ception between the Laokoon and the Dying Gaul is pointed out below (p. 157). The former does not stop with suggestion ; every circumstance of the torture is elaborately represented in faces and limbs. It appeals to the senses only, because the suffering is that of the senses only. Of mental or moral distress there is not a suggestion. Technically the group displays a studied perfection. The composition, evidently the result of thought rather than in- spiration, is carefully managed so as to avoid awkwardness, and the action of the human figure in pain is represented with academic exactness. The modelling is refined to the point of over-elaboration, details being wrought with such minuteness that the effect of the whole is weakened, in con- trast to the free, bold treatment of the Pergamon relief (No. 247). In technique it bears the relation to that relief of a later, imitative style, but whether this is due to direct study of the relief itself or to the powerful influence of the Pergamenian school over those of subsequent epochs, is a matter of dispute. The date of the Laokoon has long been the subject of controversy, for the determination of which there is not sufficient material. Opinions range between the year 300 B. C. and the reign of Titus, in the first century of our 250. LAOKO'ON. 251. DYING GAUL. 157 era. Judged by its style alone, the most probable date of its origin is midway between these two, between 150 and 100 B. C. 251. The Dying Gaul, statue in the Capitoline Museum, Rome. Of Asiatic (?) marble. Found in Rome in the i6th century. For- merly in the Villa Ludovisi, from which it was carried to the Capitol by Clement XII. (1730-1740). Restorations: The end of the nose, the right hand and arm, part of the left knee, the toes, and part of the plinth, including the sword and a por- tion of the horn. Published : Bouillon, Musee des Antiques^ vol. II, pi. XX ; Nuova Descrizione del Miiseo Capitolino^ 1882, p. 231 ff. ; Wolters' Friederichs, No. 141 2 ; etc. The opinion, formerly prevalent, that this statue repre- sented a dying gladiator, has long since been proved falla- cious, partly by the fact that it is undoubtedly a product of Greek art, which knew nothing of gladiators, — a pecul- iarly Roman institution, — and partly by the strong re- semblance of face and figure to the descriptions of the ancient Gauls, or Galatians, the barbarous people who invaded Greece and Asia in the third century B. C., and were finally restrained by Attalos I., king of Pergamon. The ring or torque about the neck was a distinctive decora- tion of these men, and the thick, mane-like hair, and habit of wearing no beard except the moustache, which the Greeks regarded as barbarous, were also peculiar to them. Beyond doubt, therefore, we have here a Gaul who, defeated in battle, is dying from a wound either received from an enemy, or, as some think, inflicted by himself in order to escape slavery. There are few statues in which pathos is expressed in so high a form as in this, an effect produced chiefly by the quiet, restrained manner in which the artist has sug- gested rather than expressed the emotions of pain and despair, thus stimulating the spectator's imagination and appealing to his sympathy. This quality will be better appreciated by comparison with the Laokoon (No. 250), in which physical suffering is expressed in the wildest and most vehement form, both in faces and figures, with an t58 FIFTH GREEK ROOM. amount of detail which leaves no room for the imagination. In the Gaul pain is indicated by the wound, which is clearly mortal, yet this is subordinated to the mental anguish pro- duced by defeat. The face is not distorted, the limbs are not violently contracted, and even in his humiliation the warrior maintains a dignity which renders this statue one of the noblest expressions of pathos in Greek art. The characteristic virtuosity of the Hellenistic epoch is dis- played in the treatment of the flesh, which is represented as hard and tough, in contrast to the soft, supple skin of athlete statues, the object being to distinguish the barba- rian from the Greek in this as well as in other particulars. The general resemblance in style between this and the figures of the Attalos group (see Nos. 219 and 220), and the fact that it represents a Gaul, point to Pergamon as the place where the statue originated. It probably belongs among the earlier works of the Pergamenian school, dating about the end of the third century B. C. 252. Round Altar, in the Villa Albani, Rome. Of Pentelic marble. There are no restorations. Published : Zoe- ga, Bassirilievi delta Villa Albania II, pi. xcvi; Overbeck, Kunst- mythologiey II, Demeter, pp. 487 ff. ; Wolters' Friederichs, No. 2144; etc. Against a tree, which may be taken as the centre of the representation, leans a male figure, whose cloak falls in such a way as to leave the body exposed. At the other side of the tree are two female figures, one of large, ma- tronly proportions, and clothed in heavy drapery ; the other, smaller and more lightly draped. Around the other side of the altar are three females thickly draped and veiled, who walk in procession, catching hold of one another's garments. From its resemblance to a common type of that divinity, the male figure may be assumed to be Dionysos, in whose service the altar was probably used, but of the subject represented or the names of the other figures no satisfac- tory explanation has ever been given. The altar is probably a work of the early Empire, the relief reproducing types of the Hellenistic epoch. HELLENISTIC ART, 159 Of the casts in this room Nos. 229-232, 234, 236, 243- 246, 248, 252, were purchased from the bequest of Charles Sumner. Nos. 215, 218, 233, 237, 250, 251, are the property of ^ the Boston Athenaeum. , No. 225 was presented by Lt. Com. Gorringe. ROMAN ROOM. 265. Young Satyr, marble statue in the British Mu- seum. From the Maccarani Palace, Rome. Formerly in the Towneley collection. Restorations : The arms from the elbows, the legs from knees down, and the trunk supporting the left side. The staff in the left hand is correctly restored, as a portion of the original is attached to the upper part of the arm. Pub- lished: Ancient Marbles in Brit. il///j., II, pi. 24 ; Guide to GrcBco-Roman Sculptures, I, No. 183, p. 96; etc. A Satyr of the late Hellenistic type, with elfish face, pointed ears, and horns protruding from the brow. He wears the nebris or fawn's skin, characteristic of Satyrs, and carries their favorite staff or crook. The great num- ber of figures of this type, in various attitudes, discovered in and about Rome, attest their popularity among the Romans, by whom they were used to decorate houses and villas. 266. Heads and Figures from the Column of Trajan. On this and other walls. The column of Trajan stands in the Forum designed by that Emperor, in Rome. Its purpose was to commemo- rate his victories over the Dacians, a barbarous people of the Danube country, and also to serve as the sepulchre of his ashes. It is composed of a square base from which rises a tall round shaft, surmounted by a capital. Above this is a pedestal on which stood originally the statue of the Emperor, now supplanted by one of St. Peter. The height from the ground to the upper surface of the capital is 117 ft. 7 in., and the pedestal rises about 17 ft. above 265-268. TRAJAN'S COL this. The diameter of the shaft at the bottom is a trifle less than 12 ft., at the top about 10 ft. The whole is of Parian marble. The most characteristic feature of the column is a spiral relief, which, beginning from the bottom, illustrates Tra- jan's two wars against the Dacians. This relief, about 2 ft. wide at the bottom, gradually increases in width, until at the top it measures 4 ft. The increase, however, is not regular, some places being wider than those above them. Its length is about 660 ft., and into this space are crowded over 2,500 human figures, divided, according to Pollen (see below), into 109 subjects, illustrating all the incidents of the wars. Examination has shown that the entire surface of the marble was covered with colors and gilding, by which the details were made much clearer than they are at present. Our selections show the general character of the sculp- ture. Artistically it does not rank high, being in concep- tion nothing more than a faithful record of facts, without an element of ideality ; and the execution is, as a rule, mediocre. But as an historical document it is of the highest value, because of its fund of information regarding not merely the events of the campaigns, but the types, cos- tumes, weapons, methods of warfare, etc., of the people represented upon it. In the history of art it is important, because it is the last great monument of classic sculpture. The column and its reliefs are fully illustrated in the great work of Frohner, La Colonne 'Jrajane, They are also described by J. H. Pollen, The Trajan Column^ London, 1874 (So. Kensington Handbooks) ; S. Reinach, La Colonne Trajaite; etc. 267. Bust of Cicero (?), in the Museo Chiaramonti, in the Vatican. This bust belongs to the rather numerous class of doubt- ful portraits of Cicero. 268. Satyr. Statue in the Capitoline Museum. Of red marble {rosso aiitico). Found in Hadrian's Villa, near Tivoli, and placed in the Capitoline Museum by Benedict XIV., 1746. Restorations : The end of the nose and chin, the right arm 1 62 ROMAN ROOM, with the bunch of grapes, the left hand with the staff, the legs, except the front half of the right foot and nearly all the left, the tree-trunk and syrinx, the head of the goat, with part of the neck and the fore feet. Published : Bottari and Foggini, Museo Capitolino, I, pi. 34 ; Nuova Descrizione del Museo Capitolino, 1882, p. 292, No. I ; etc. This, like its neighbor (No. 265), is a piece of decorative sculpture, of the class of subjects popular in the time of the Roman Empire. A Satyr, of the late Hellenistic type, smiles at the emblem of Dionysos, which he holds in his right hand. In the fawn's skin which he wears as a gar- ment are other fruits, and the basket at his side is filled with grapes. The goat standing by him typifies the favorite animals of the Satyrs, which are also sacred to Dionysos. The material of this statue, rosso antico, shows that it was executed during the Roman Empire, and probably in the time of Hadrian, — in whose villa it was found, — as the adoption of this material for statues is believed to have begun during his reign. 269. Apotheosis of Homer, marble relief in the British Museum. Found at Bovillae, on the Via Appia, about twelve miles from Rome, as early as the middle of the 17th century. Formerly in the Palazzo Colonna, Rome, and purchased for the Brit- ish Museum, 1819. Restorations: Part of Homer's right foot, the left hand of Mythos, with the patera, the heads of Sophia, Apollo, the Delphic priestess, the poet on the base, Terpsichore, Urania, Calliope, Erato and Euterpe. Also both upper corners, with the left arm and end of the peplos of Thalia. Published : Mitchell, History of Ancient Sculpture^ p. 668, fig. 276 ; Guide to Grceco-Roman Sculptures in Brit, Mus., 1879 I, PP- 73-80 ; etc. Although artistically this work is of small value, being a rather clumsy attempt to make sculpture irurelief trespass upon the province of landscape painting, it is interesting because of its subject, and because it is one of the few allegorical representations which classic art has left us. Beginning with the lowest row, at the left is Homer throned, receiving the adoration of those who approach from the right. Inscriptions, nearly obscured in the cast, 269, 270. APOTHEOSIS OF HOMER, ETC. 163 give us the names of all the figures in this row. Behind Homer are Chronos (Time), the winged figure, and Oikou- mene\ (the World, — humanity ?) crowning him. The throne is supported by two small kneeUng figures, personifying the Iliad and the Odyssey. Before Homer is an altar, by which stands a Karian bull, about to be sacrificed. The bull is led by a boy, Mythos (the genius of Myth). The altar- flame is kindled by Historia (History), behind whom come Foiesis (Poetry), with two torches ; Tragodia (Tragedy) ; Komodia (Comedy), and a ^A&^Fhysis (Nature). In the corner is a group of four, personifying Virtue, Memory, Faith, and Wisdom. The principal figure in the second row is Apollo, standing in a cave with his lyre. The cone- shaped object at his right, on which is his quiver, fixes the locality of the scene, being the omphalos or symbol of Delphi. The mountain represented is therefore Parnassos, and Apollo is standing in the Korkyrian cave. The other figure in the cave may be a priestess or a nymph. The other female figures on the mountain are the nine Muses, — to the left of Apollo, Polyhymnia, next her Urania, with her globe, and Terpsichore, seated, playing upon a lyre. Beginning at the left of the row above, we have Clio, Calliope, Erato, Euterpe, Thalia, and on the ledge above, Melpomene. Some of these names are conjectural, but most probably belong to the respective figures. At the top is seated Zeus, holding a sceptre, and accompanied by an eagle. On the right of the relief, between the second and third row, is an isolated figure difficult to name. Goethe, who wrote a memoir on the subject, suggested that this might represent the statue of the poet by whom the relief was dedicated. Directly below Zeus is an inscription recording the name of Archelaos, son of Apollonios, of Priene, as the sculptor. His date is unknown, but the character of the inscriptions indicates the first century B. C. as the probable date of the relief. 270. Statuette of an Amazon, in the Augusteum at Dresden. Of Pentelic marble. Found in the island of Salamis, 18 13. For- merly in the collection of Baron Stackelberg, from which it 1 64 ROMAN ROOM. passed to the Dresden Museum in 1845. Restorations, by Thorwaldsen : The head, neck, a small piece on right breast, the left forearm, the right hand, with greater part of the axe, both legs from knees down, and the lower part of the mantle, with the base. Published : Clarac, MusSe de Sculpturcy pi. 810 A, No. 2031 B; Hettner, Bi7i/7ver^e der Antikeiisammhmg zu Dres- deny 1 88 1, p. 62, No. 40; Wolters' Friederichs, No. 518 ; etc. This little figure, found in Greece, is undoubtedly the work of a Greek artist, and most probably a reduced copy of a large statue. It represents an Amazon in repose, and is especially interesting because it presents a decided contrast to the common type of Amazon, which is that of No. 90 in the Second Greek Room. That type represents them as wearing simply a short chiton, while this figure wears, in addition to that garment, a cloak and high boots. The head, as noted above, is modern, and the addition of a helmet is conjectural, as well as the shield on the left arm ; but for the attitude of the head and of both arms, traces of the original furnished the indications, so that these are correct. The treatment of the figure shows that it was intended to be seen only from the front. Its original probably dated not far from 400 B. C. 271. Bust of Cicero .(?), in the Capitoline Museum, Rome. This head, like No. 267, is one of the doubtful portraits of Cicero. Visconti thought it a portrait of Caius Asinius Pollio. Of the bust only the head is ancient, both the drapery and the pedestal being modern. 272. Portrait Bust, formerly thought to be Seneca, The. individual whose features are here reproduced is represented in more extant busts than any other man of antiquity, with the single exception of Sokrates ; yet his identity still remains a mystery. It was formerly thought that these heads, the finest of which is a bronze bust from Herculaneum in the Museum at Naples, were portraits of the Roman philosopher Seneca ; but a head in the Berlin ill-i^'S' CAPITOLINE VENUS, ETC, 165 Museum, which is established as a portrait of him by the name inscribed upon it, shows a very different type of face, and proves that the name which has been ascribed to this and others like it rests upon no foundation. 273. The Venus of the Capitol. Statue in the Capi- toline Museum, Rome. Of Greek marble. Found in Rome, between the Viminal and Quir- inal hills, and placed in the Capitoline Museum by Benedict XIV., 1752. Restorations: The nose, the forefinger and a small piece of thumb of the left hand, the fingers of the right hand. Published: Bouillon, i^//^/^, I, pi. 10; Clarac, Musie de Sculpture^ pi. 621, No. 1384; Nuova Descrizione del Mtiseo CapitoHnOy 1882, p. 148 ff. ; etc. Like the crouching Aphrodite in the Fifth Greek Room (No. 234), this statue represents the goddess without any religious significance whatever, and with no attempt to express the higher qualities of her nature, such as are shown in the Venus of Melos (Third Room, No. 140). Both face and form are those of an extremely pretty woman, but with no suggestion of divinity in either expres- sion or proportions. The sentiment of shame, indicated by the action, while appropriate to a woman, is unworthy of a goddess, and shows that the sculptor used the name of Aphrodite, or Venus, merely as a pretext for the representation of a beautiful female figure, a characteristic of the degenerate epoch in which the statue originated. That its motive was very popular with the later Greek and Roman sculptors is attested by the many similar statues of those epochs in the various European museums. Of these the Venus of the Capitol and the Venus de' Medici (of which there is a marble copy in the entrance hall) are the most famous examples. The attitude of both is the same, but the Capitoline displays an older, maturer form than the other, and in point of execution is the finer of the two. The original exhibits a remarkable elasticity and suppleness of texture which the cast fails to reproduce. The date of this statue is a matter of conjecture. It is certainly not older than the Hellenistic epoch; and the elegance which is aimed at in the treatment offers reason for believing that it is a work of the Roman Empire. i66 ROMAN ROOM, 274. Lucius Junius Brutus (?). Bronze bust in the Palazzo dei Conservatori, on the Capitol, Rome. Presented to the city of Rome by Cardinal Rodolfo Pio da Carpi in the i6th century. Restorations : Only the head is an- cient. The nude bust on which this rests was made for the cast, the original being on a much larger bust, modern, draped as a toga. Published : Visconti, Iconographie Grecque, I, pi. ii, figs. I and 2 ; etc From a general resemblance which this head bears to that of Lucius Junius Brutus on certain Roman coins, Visconti and others have taken it to be a portrait of him, and it is generally so considered, although the resemblance is not so exact as to make the identity unquestionable. It is a fine example of Roman portrait sculpture, showing a face of strong individuality, expressive of a serious and determined character. 275. Diogenes. Statuette in the Villa Albani, Rome. Of Carrara marble. Restorations : Both arms from above the elbows, almost the entire left leg, and the right from knee down. Also the dog and the tree trunk. Published: Clarac, Musk de Sculpture^ pi. 842, No. 2111 ; Wolters' Friederichs, No. 1323; etc. Of Diogenes there is no authenticated portrait, but the name has been given to this figure because it so well illus- trates the characteristics of the chief of cynics, as tradi- tion has preserved tLem. There are a number of instances of ancient sculptors having represented famous men ac- cording to their mental or moral traits, without regard for — or more probably without a knowledge of — their actual appearance in life, and this statuette is probably of that class. 276. Klytie, so called. Marble bust, in the British Museum. Purchased by Towneley of Prince Laurenzano, at Naples, 1772, and formerly in the Towneley collection. Restorations : Two leaves of the flower. Published : Ellis, Towneley Gallery ^ II, p. 20; Guide to GrcEco- Roman Sculptures in Brit. Mus,^ 1879, ^» p. 68, No. 149; Wolters' Friederichs, No. 1648; etc. 274-277- STATUES AND BUSTS. 167 The name by which this bust is popularly known was given to it by its former owner, Mr. Towneley, because he thought the flower which forms its base represented the sunflower into which Klytie was changed. It is more probably a portrait, as the face is of an individual type ; and the character of the scu:pture, as well as the manner in which the hair is arranged, suggests the reign of Augustus as its most probable date. The attribute of the flower has no especial significance, being used merely as an ornamental termination of the bust. The motive of a head rising from a flower is common in late Greek art. Examples of it occur on the frieze. No. C 19, in the Architectural Room, and on a vase in the large case (E) of the Room of the Greek Vases. 277. Statue of an Orator, called the Arringatore, in the Museo Archeologico, Florence. Of bronze. Found, 1 566, at a place called Pila, near Lake Thrasy- mene. Published : Muller-Wieseler, Denkmdler der alien. Kunst^ I, pi. Iviii, No. 289; Dennis, Etruria^ II, p. 95 ; etc. Although the Etruscans were famous in antiquity for their works in bronze, excavations in Etruria have thus far yielded very few statues in that material which are un- doubtedly of Etruscan origin. This statue of an orator is therefore an important monument, as the inscription on the edge of the garment is in the Etruscan language, and shows the statue to be the portrait of one Aulus Metellus, of an Etruscan family. He is represented in the act of speak- ing, his right arm raised, and the left covered by the /^Z- &;;? which he wears over his tunic. Owing to the small number of works with which to insti- tute a comparison, the date of this statue is not easily determined. It shows a strong affinity to Roman sculpture in style, and probably belongs to the period of Roman domination in Etruria, when Etruscan aft was gradually being merged'in that of Rome 3 that is, about the begin- ning of our era. l68 ROMAN ROOM. 278. Head of a Youth (Alexander the Great ?), in the British Museum. Of Parian marble. Found in Alexandria. Since 1872 in the British Museum. Published : Murray, History of Greek Sculpture^ II, pi. xxxii, p. 345; Wolters' Friederichs, No. 1602 ; etc. This head is regarded by the authorities of the British Museum as a portrait of Alexander, but its resemblance to other extant portraits of him is so slight as to render this identification questionable. With the Hellenistic manner of representing Oriental youths, such as Mithras and Paris, it has much more affinity, and may well have belonged to a statue of one of them. 279. Aktaion attacked by his Dogs. Marble group, in the British Museum. Found by Gavin Hamilton, 1774, among the ruins of the Villa of Antoninus Pius near Civita Lavinia. Formerly in the Towneley collection. Restorations: The head (which is ancient, but does not belong .to the figure), the right arm and left hand, fore part of the head and both ears of the leaping dog, and a por- tion of each ear of the other. Published: Ancient Marbles in Brit. Mtts.y II, pi. 45 ; Wolters' Friederichs, No. 457 ; etc. Aktaion was a famous mythical huntsman who was trans- formed by Artemis to a stag and devoured by his own dogs, the cause of the punishment being, according to one legend, that he boasted himself a better hunter than the goddess ; according to another, that he had seen her bath- ing. This group represents him at the moment when the transformation is beginning, and already his hounds are at- tacking him. A similar group is represented on a sarcoph- agus in the Louvre (Clarac, Miisce^ pi. 113-115), which makes it probable that both are copied from a larger work. 280. Bust of Antinous, from the colossal statue in the Vatican. Of marble. The statue v/as found by Gavin Hamilton, at Palestrina, towards the end of the last century, and was placed first in the Palazzo Braschi, Rome, having been presented to the Duke Braschi by Pius VI. It was later removed to the Lateran and thence to the Vatican. Published: Levezow, Antinous^ pis. 7, 8, p. 85 ; Wolters' Friederichs, No, 1660; etc. 27S-2S1. AUGUSTUS, ETC, 169 Hadrian's extravagant attachment for the beautiful Anti- nous is attested by the many portraits of him, statues, busts, and reliefs, which have been discovered in all parts of the Roman Empire. Of these, this head is one of the finest, and represents the Emperor's favorite in the char- acter of Dionysos, crowned with a chaplet of ivy. "When discovered, the statue to which the head belongs was nude, but marks upon the marble showed that originally it had worn some kind of a garment of bronze, and in restoring the figure this was substituted by a long mantle of marble. Antinous died A. D. 122, and the statue dates from about that time. The extraordinary combination of a mar- ble statue with metallic drapery is characteristic of the taste of Hadrian's epoch. 281. Augustus. Marble statue, in the Vatican. Found, 1863, in the ruins of the Villa of Livia at Porta Pia, a town on the Via Flaminia, about nine miles from Rome. Restora- tions : Part of one ear, the forefinger of the left hand, and the sceptre. Published : Martha, in Rayet's Monuments de VArt Antique, II, pi. 71 ; Monumenti delP Instituto, vol. VI-VII, pi. Ixxxiv, and Annaii, 1863, P* 43^ ff* * ^tc. This statue is a noble witness to the technical excellence of sculpture in the Augustan age. It represents Augus- tus as commander-in-chief of the Roman armies, wearing his armor and military cloak, and probably holding the sceptre, as restored. The pose of the figure is not only easy and natural, but thoroughly majestic, harmonizing finely with the dignity of the face ; and the execution is masterly, displaying in its best aspect the elegance pecul- iar to Augustan sculpture. In the modelling of the head, power is combined with an extreme delicacy, especially in the sensitive lines about the mouth. The draping of the mantle, though somewhat too elaborate, is skilfully man- aged. The reliefs on the cuirass show a painstaking method of treating details v/hich detracts from the effect of the work as a whole, a characteristic fault of the best Roman sculpture as well as that of the Hellenistic epoch. In the conception of the statue there is a mixture of realism and idealization ; for while the face has the individ- 17^ ROMAN ROOM. ual traits of a fine portrait, and the armor is represented with minute fidelity to nature, the feet are unshod, as in statues of gods and heroes, and the Cupid and dolphin are accessories of an ideal character. Doubtless these are introduced as an allusion to Venus, the ancestress of the Julian family. The reliefs on the breastplate enable us to date the statue almost exactly, since the group in the centre represents a Parthian giving up to a warrior in Roman uniform one of the standards captured from Crassus. This subjugation of the Parthians took place B. C. 20, when Augustus was forty-three years of age. The statue repre- sents him as about that age, and was probably made soon after the conquest. The other figures on the relief are, at the top Ccelus, a personification of heaven ; below him the Sun in his chariot, preceded by the goddesses of morn- ing. At either side of the central group is a captive barba- rian ; below, Apollo on a griffon and Diana on a stag, and at the bottom Tellus, the earth. This statue gives valuable testimony as to the polychromy of ancient sculpture, as colors were noted on it when discovered, and are still distinguishable in parts, as follows : "The tunic of Augustus is crimson^ the msintle purJ>/e,thQ fringe of the armor yellow ; on the nude portions of the body no traces of color are noticeable, except the indication of the pupils with 2i yellowish tint; and the hair no longer shows color. But the relief decorations of the cuirass are painted with especial care, although the flat surfaces are left without color. The god of heaven, rising from blue waves or clouds, holds a purplish garment in both hands ; the chariot of the sun-god is crimson ; before him soars a female with outspread dlue wings; the goddess of the earth wears a wreath of wheat in her blo7id hair. Apollo in a crimson mantle rides upon a griffon with <^/«^ wings; the light-haired T>\2in?i^ in a crimson garment, is borne by a reddish brown stag. In the middle stands a Roman commander in blue and red armor, crimson tunic and purple mantle, with a blue helmet. A bearded warrior in crimson tunic and blue trousers holds up a Roman standard with insignia painted blue. The barbarir.n on the right, with auburn hair, in a pur- ple mantle, holds a war-trumpet; the figure on the left is likewise light-haired^ and clothed in a blue mantle." — Translated from Jahn, Atts der Alterthumswissenschaft, p. 260. (It must be remembered that the colors here described are those which always last longest, and it is by no means to be supposed that they were the only ones originally applied.) 282-310. ROMAN SCULPTURES. 17 1 282. A Roman in the act of Sacrificing. Statue in the Vatican. Of Pentelic marble. Said to have been brought from Greece to Venice, where it stood in the Palazzo Giustiniani ; and was bought for the Vatican by Pius VI. Restorations : The head, which is ancient, but does not belong to the statue, and both hands, with the patera. Published : Visconti, Museo Pio Clem., Ill, pi. 19; Wolters' Friederichs, No. 1677 ; etc. A Roman citizen in his character of priest is represented as pouring a libation from the patera in his right hand, presumably upon the sacrificial fire. Although both hand and patera are modern, the restoration is undoubtedly correct. The sacred nature of the act is indicated by the veiling of the head in the toga, as required in sacrifices by the Roman ritual. The head, it is true, does not belong to the figure, but the lines of the toga about the neck and shoulders show that the original head was similarly cov- ered. This statue is an excellent model for the study of the Roman citizen's costume, especially the arrangement of the toga, the abundant folds of which present a striking con- trast to the simplicity of Greek garments. The drapery is, in general, well managed, but in the plaster has an unpleasant effect of heaviness and solidity. 283-310. Busts of the Roman Emperors, Twenty-seven busts of emperors and one of Agrippa, from originals in various museums. The name and date of each are given on the labels. It will be seen that the faces of these men well illustrate their characters as described by Suetonius and the other historians and satir- ists of Rome. Excepting those of Vitellius and Nerva, each bust may be considered as contemporaneous with the person represented, and thus the course of portraiture through the decline of Roman art may be followed. Only the heads from which these casts are taken are ancient. The busts themselves, as shown in this collection, are either from the modern ones upon which the heads are now set (Nos. 304, 306, 308), or made expressly for the casts, without regard to the originals. i?^ ROMAN- ROOM. 311. Statue of a young Roman lady, in the Louvre. Of Pentelic marble. Found in Rome towards the end of the last century. Restorations: The right arm and hand, with the corner of the garment which it holds, and the left hand. Pub- lished : Clarac, Musee de Sculpture^ pi. 300, No. 2265; Wolters' Friederichs, No. 1686; etc. This statue is evidently a portrait, and its style indicates it to be that of a young patrician of the early Empire. The pose of the figure is pretty and graceful, except about the feet. The arrangement of the drapery here, which neither shows nor suggests the right foot, produces a stiff effect. As a whole, the statue is rather above the average of Roman portrait figures. 312. Relief from the Arch of Titus, Rome. Still in its original position. There are no restorations. Published ; Mitchell, History of Ancient Sculpture^ fig. 283, p. 677 f. ; W. Knight, The Arch of Titus and the Spoils of the Temple ^ London, 1867 ; etc. The arch to which this relief belongs was erected in the year of Titus' death, A. D. 81, to commemorate his victo- ries over Judaea, and especially the capture of Jerusalem, A. D. 70. That event forms the subject of the relief, the position of which on the arch is shown in the photograph that hangs on the wall. Through a richly decorated archway, apparently the gate of a city, march the Romans, their brows crowned with victorious wreaths, leading their captives, and bearing the sacred symbols of the Jewish religion — the table of the shew-bread, and the golden seven-branched candlestick. The representation of objects so often mentioned in the Old Testament, and the fact of the commemoration on a Roman monument, of an event of such importance in the history of our religion, give this relief an interest consid- erably in excess of its artistic value. It is a characteristic example of the realistic, matter-of-fact manner in which Roman sculptors treated historical subjects, k 311-314. ROMAN SCULPTURES. 173 313. Satyr playing the Scabellum. Statue in the Gallery of the Uffizi, Florence. Of Greek marble. Restorations : The greater part of the head, both arms, and toes of the right foot. Published : Maffei, Raccolta di Statue Aittiche, pi. 34, p. 38 ; Clarac, Musie de Sculpture y'^X. 715, No. 1709; etc. The scabellum (Gr. kroupesia^ lit. a wooden shoe) was an instrument played by the feet, producing the same clat- tering sound as castanets. It was used by flute-players, and in theatres by the leader of the orchestra, to beat time. Probably this Satyr is represented as performing that office for some Bacchic dance. The figure is spirited and well modelled. The thick, bushy hair, the horns projecting from the brow, and the type of the face indicate the Hellenistic age as the earliest date at which the statue could have originated. It is prob- ably an original work of that epoch, dating between the year 300 B. C. and the foundation of the Roman Empire. An exact date for works of this class it is impossible to fix. This cast was presented to the Museum by M. Denman Ross, Esq. 314. Pudicitia, so called. Marble statue in the Vatican. Formerly in the Villa Mattei. Placed in the Vatican by Pius VI. Restorations : Most of the face and coronet, the right hand, with the part of the veil held by it, and part of the forearm. Also part of the left hand, several of the toes of both feet, and pieces of the drapery. Published : Venuti and Amadutio, Monumenta Mathceiana^ I, pi. Ixii ; Clarac, Musie de Sculpture^ pi. 764, No. 1879 ; etc. This Statue derived its name from the long, full drapery and the veiled head and shoulders, which were considered appropriate attributes of the goddess of modesty. The name has been questioned, however, the statue being con- sidered by some authorities as a portrait of Livia, wife of Augustus. Most probably neither appellation is correct. A possible key to the proper interpretation of the figure is the unmistakably sepulchral character of both attitude and drapery. As a considerable number of replicas of this type have been discovered, the majority evidently products 174 ROMAN ROOM, of artisans rather than artists, it is not impossible that they were all erected as ideal figures over the graves of matrons. The execution of the statue shows it to be of Roman origin, not earlier than the Empire. 315. Agrippina the Younger. Marble statue, in the Museum at Naples. Formerly in the Farnese collection, Rome. Restorations : The nose, both hands, the front half of the feet, the legs of the chair, and the footstool. Published: Museo Borbonico, III, pi. 22 ; Clarac, Musie de Sculpture^ pi. 929, No. 2363 ; etc. Cf. an article by von Duhn in the Annali delV Instituto, 1870, p. I76ff. The younger Agrippina, it will be remembered, was one of the most notorious women in the history of imperial Rome, a typical character of that heartless and licentious age. She was the daughter of Germanicus and Agrippina, the wife of Claudius, and the mother of Nero. This statue was recognized as her portrait by Visconti, who identified it by the resemblance of the features and the mode of wearing the hair to a head of the empress on a coin of Claudius. The identity is not absolutely certain, but has found general acceptance. The attempt has been made to show that in the expres- sion of the face and the clasped hands the sculptor had a moral object, as of wishing to represent her reflecting with repentance upon her past life, but it is extremely question- able whether any such thoughts are expressed in the figure. The striking contrast between the wrinkled face and the youthful freshness of the form is explained by the fact that the motive of the statue is not original, being bor- rowed from a much older type which is reproduced with slight variations in several extant statues, examples of which are given in the two pictures on the pedestal. One is a photograph of the well-known " Agrippina the elder," in the Capitol, a Roman portrait statue of the same class ; the other a drawing by Mr. C. H. Walker of a statue in the Torlonia Museum, Rome. The latter is undoubtedly a Greek work, several centuries older than the other two, and brings us nearer the original of the type, which was probably a product of the last part of the fourth century B. C. 315. AGRIPPINA, 316. BRONZE WOLF. 175 This statue is therefore an interesting example of the Romans' practice of adapting Greek ideal statues to their own portraits. Another instance has already been noted in the Third Room, No. 129, but the Agrippina is the more instructive of the two, showing how, for the sake of flatter- ing, the sculptor did not hesitate to combine an old and ugly face with a young and beautiful figure. 316. The Wolf of the Capitol, in the Palazzo dei Conservatori, on the Capitol, Rome. Of bronze. Has stood on the Capitol since 1473 ; before then was in the Lateran. (A monk of the loth century writes of a part of the Lateran palace as being called the " place of the wolf, which is the mother of the Romans," etc., — a probable refer- ence to this statue. — Annali, 1877, P- 379-) Restorations: Both children, the work of Guglielmo della Porta (?), a sculp- tor of the 1 6th century. Published : Rayet, Monujtients de VArt Antique^ I, pi. 27 ; Stevenson, in the Annali deW Insti- tutOf 1877, PP* 375~38i ; Burckhardt, Cicerone^ 5th ed., vol. I. Livy (X, 23) and Dionysios of Halikarnassos (I, 79) describe a bronze group of a she-wolf suckling Romulus and Remus, that stood in the Lupercal, the traditional spot where the founders of Rome were nurtured ; and Cicero in several passages refers to a similar group that stood on the Capitol, where it was struck by lightning. Whether the original of this cast is identical with one of these wolves, is a much-disputed question, which there is unfor- tunately no means of deciding. The fact that the right hind leg has been broken open from within, as though by the effect of lightning, offers a dangerous temptation to accept it as the one mentioned by Cicero, and the notes above show that it was regarded as an ancient image as far back as the tenth century. On the other hand, Burckhardt {ubi supra) and a few other German writers claim that it is not older than the early part of the Middle Ages, because of its stylistic affinity to the wolves of Siena, the lion of Brunswick, the animals of the Pisan sculptors, and other mediaeval works. But this resemblance does not neces- sarily preclude the antiquity of the statue, which may be an example of an equally primitive school of sculpture, of 176 ROMAN ROOM. a much earlier age. There is good reason to regard it as a genuine specimen of early Etruscan art, and therefore to admit the possibility of its being one of the famous "Mothers of Rome." On the landing of the main staircase : — 317. Sleeping Ariadne. Marble statue, in the Vat- ican. Date and place of discovery unknown. Bought by Julius II. (1503-1^), and placed by him in the Belvedere of the Vatican, whence it was subsequently removed to the Gallery of Statues. Restorations: The nose, upper lip, some fingers of the left hand, the right hand, and some parts of the drapery. Pub- lished: Visconti, Af//j^^ Pio Cle?n., II, pi. 44, p. 280 ff ; Clarac, Musie de Sculpture^ pi. 689, No. 1622 ; Wolters' Fried- erichs. No. 1572; etc. The fact that the band upon the left arm has the form of a serpent was formerly considered an indication that this was a statue of Kleopatra, but a twisted serpent was a favorite design for jewelry among Greek and Roman women, and has no attributive significance. A number of reliefs on Roman sarcophagi and elsewhere, in which the figure of Ariadne occurs in precisely this attitude, show that she is the subject of the statue, and that she is represented in the troublous sleep during which she was deserted by Theseus at Naxos, and in which she was found by her future husband, Dionysos. The attitude suggests the un- comfortable nature of her repose, the head, very much inclined, resting heavily upon the right hand, while the left arm is supported in a manner anything but restful. That this statue is not an original work is attested partly by the number of similar figures, mostly in reliefs (there is one statue like it in Madrid), and partly by its technical characteristics, the execution displaying the life- less, mechanical qualities of an ordinary Roman reproduc- tion. Its original may have been a work of the last epoch of Greek art, but more probably was executed, like this copy, during the Empire. The conception shows a want 317. SLEEPING ARIADNE, 177 of the freedom which distinguishes the spirit of Greek sculpture ; both figure and drapery are evidently " posed " with a studied effort for grace and elegance. The careful manner in which the drapery is arranged so as to expose a portion of the body below the girdle, is characteristic of Roman taste. Nos. 269, 270, 273, 277, 279, 280, 311, 315, 317, were purchased from the bequest of Charles Sumner. Nos. 283-289, 291-303, 307, 310, were given to the Museum by Dr. Jacob Bigelow. Nos. 290, 309, were given to the Museum by the heirs of Dr. Jacob Bigelow. No. 313 was the gift of Mr. M. D. Ross. No. 266 is the property of the Institute of Technology. SUPPLEMENT. CASTS FROM GREEK AND ROMAN WORKS IN THK ARCHITECTURAL ROOM. The casts in this section of the architectural collection are marked C, — classic. Owing to the crowded condition of the room, it has not been possible to place them together, or in chronological order. On the eastern wall and on screen No. i : — C 1-16. Details from the Erechtheion, Athens. As the Parthenon illustrates the dignity and grandeur of Greek architecture at the highest point of its development, so the Erechtheion demonstrates its capacity for grace and elegance of design. Less than a third the size of the Parthenon, almost under whose shadow it stands, the aim of its builders seems to have been to avoid all possibility of comparison with its imposing neighbor, by giving it an entirely different shape, by adopting another style of archi- tecture, and by contrasting the simple masses of the larger building with a profusion of exquisite detail upon the smaller. The relative position and size of the two are shown on the model of the Akropolis in the Third Greek Room, where it will be seen that the axis of the Erechtheion varies just enough from that of the Parthenon to emphasize the absence of relation between the two. The unique plan of the Erechtheion is partially due to its peculiar position. It was built against the wall of a terrace, Ci-i6. DETAILS FROM THE ERECHTHEION. 179 in a location dictated by the traditions of Athens, according to which this was the site of the house of Erechtheus, the first hero of Attika, and also the scene of the contest be- tween Athena and Poseidon for dominion over the city. (See p. 70 ) Here, moreover, had stood from the earliest times the shrine of Athena Polias, the guardian deity of Athens, which, with the other buildings on the Akropolis, was destroyed by the Persians B. C. 480. That the Athe- nians could have neglected their principal shrine more than fifty years is incredible, yet up to the present no record or remains have been found of a building erected on this site between the date of the Persian invasion and that of the Erechtheion, which we may presume to have been begun after the completion of the Parthenon (B. C. 438), since the famous inscription recording the report of the commis- sioners appointed to examine its condition in the year 409 shows that it was then incomplete. The terrace on which it stands is of a form that brings the eastern and southern sides of the building upon a higher level than the northern and western. The main portion of the edifice is oblong in plan, measuring about 66 ft. 7 in. X 36 ft. 9 in. (M. 20.30 X 11.21). The archi- tecture is Ionic, treated with a variety and luxuriance un- equalled in any other example of that style. At the east END is a portico of six columns, rising from a base {krepi- doma) of three steps. Of this portico we possess casts of but two details : — C I , section of the base of a column, and C 2, " '' " an anta. Both of these are at the base of the Porch of the Maidens. At the western extremity of the north wall is another portico, also of six columns, four on the front and two on the sides. In refinement of design and elegance of execu- tion the decoration of this portico surpasses that of all other ancient buildings, and it may be considered the most beautiful structure of its kind in the world. Perhaps no work of Greek art loses so much of its effect by repro- duction as the details of this decoration, because the vigor and crispness of the carving, which are very striking in the marble, cannot be reproduced in plaster. ARCHITECTURAL ROOM, The casts from this portico are : — C 3 and 4, on the wall. Two casts of one of the corner capitals, C4 showing the manner in which the corner volute curves outward so as to present a face on each side. C5. Base of the same column (at the base of the Porch of the Maidens) . C 6, 7, 8 (C 8 on screen No. i, the others at the base of the Porch of Maidens). Details from the door opening from the portico to the interior of the building. C 9. Decoration from the capital of an anta. C 10, II, 12, 13. Same decoration, from the walls of the building. This decoration, the famous " honeysuckle ornament " of the Erechtheion, was carried along all four walls just below the frieze, which was doubtless one of the most charming members of the building, being of a polished black limestone, to which figures of white marble were attached. This is, unfortunately, in such fragmentary con- dition, the greater part being lost, that neither subject nor composition is any longer recognizable. So little is known of the arrangement ot the interior that it will not be discussed here, and we come finally to C 14. The Porch of the Maidens, or Karyatides, as they are more commonly called. The latter name was used in the time of Vitruvius to designate figures of this kind, and he ascribes its origin to the capture and destruction, by the Athenians, of the town of Karya, in the Peloponnesos, the women being sold into slavery. That any such event is commemorated in this porch is extremely improbable. The inscription referred to above (p. 179) speaks of these figures simply as " maidens," and their resem- blance to figures on the Parthenon frieze makes it most probable that the type is that of the Athenian maidens of the time. This portico is on the south side of the Erechtheion, look- ing towards the Parthenon. In the original there are six figures, two at the sides as well as the four on the front. So much has been said and written about the marvellous manner in which architecture and sculpture are blended in these figures that it will suffice here to call attention to the skill with which each is treated as freely as a statue, yet without sacrificing any of its character as a sup- C3-17. THE ERECHTHEION, ETC. 181 porting member. The burden is borne firmly, yet with perfect ease ; the feeling of support is carried through the straight lines of the drapery ; that of repose is suggested by the curved lines and by the bent knee. The reproduction of this portico was presented to the Museum by the late George B. Dorr, Esq. C 15. Section of the entablature above the figures. This entablature, it will be noticed, is made as light as possible by the suppression of the frieze which runs along the other walls of the building. C 16 (on screen No. i). Detail from the decoration of the antae behind the maidens. The Erechtheion is described in all handbooks of Greek art. It has been made the subject of especial studies and illustrations by Inwood, The Erechtheion of Athens^ folio, London, 1827; von Quast, a translation of the same into German, with corrections, Potsdam, 1843 » Beule, VAcropole d^A/h^nes, ist edition, Paris, 1853-4, vol. II, chaps. VII-IX ; etc. For the latest investigations concerning the building see the Mittheilungen des deutschen Instituts in Athen, passim. C 17. Throne of the Priest of Dionysos, in the Dionysiac Theatre, Athens. This chair, of Pentelic marble, was discovered during the excavation of the theatre in 1862. It still stands in its original position, in the centre of the front row of the auditorium. On either side of it, occupying the entire row, are ranged the seats of the other religious dignitaries of the city, each inscribed with the title of the official to whom it belonged. As dramatic representations formed part of the worship of Dionysos, in whose honor they were always given, his priest occupied the post of honor at the perform- ances, and had a seat of more elaborate construction than the others. On the back is a decorative design, in low relief, representing two Satyrs, back to back, separated by a grape-vine. Below the seat is a smaller relief, Assyrian in style, the significance of which is not clear. Two men, kneeling, attack two griffons. Under this relief is the inscription, " Of the Priest of the Eleutherean Dionysos." On the outside of each arm is a winged youth pitting one cock against another, probably an allusion to the cock- l82 ARCHITECTURAL ROOM, fights that took place in the theatre annually. The form of the letters in the inscription shows that the date of the throne is not earlier than the first century after Christ. The throne is published in the Revue Archeologique 1862, pi. 20, p. 350. An excellent description of the theatre and the thrones in it is given in Dyer's Ancient Athens^ pp. 307-344. The situation of the theatre is shown on the Model of the Akropolis, in the Third Greek Room. G 18. Marble Seat. Found at the eastern end of the Parthenon, 1836, between the outer and inner row of columns. Now in the Akropolis Museum, Athens. Published: Sybel, Katalog^ No. 6153; Wolters' Friederichs, No. 1332. The ornamentation of this seat has probably nothing more than a decorative significance. Its style is that of the late Greek or Roman period, the figure on the back being an imitation of the archaic style. C 19. Terra-Cotta Relief. Italo-Greek. Found at Capua, 1869, and now in the Museo Gregoriano of the Vatican. See Wolters* Friederichs, Nos. 2249-50. Both the site of its discovery and the style of the deco- ration show this to be a product of the schools of Magna Graecia. This peculiar form of scroll-work, and the intro- duction of the heads, is a design often met with on the vases of Southern Italy, specimens of which may be seen in case E, in the Room of Greek Vases. The date of the relief is not earlier than the year 300 B. C. C 20. Candelabrum. Roman. Formerly in the Far- nese collection, Rome ; now in the Museum at Naples. Published: Museo Borbonico^ vol. I, pi. xliii. C 21. Upper half of the body of an Amphora, used as decoration of a grave. Found, outside the Dipylon Gate, Athens, and now in the National Museum there. Athenian work of a good period. Martinelli's Catalogue^ No. 188. CiS-23' ARCHITECTURAL DETAILS. 183 On the wall adjoining the Porch of the Maidens : — C 22. Figure from a Roman pedestal, resembling a figure in the relief No. 216 in the Fifth Greek Room. Published : Righetti, // Campidoglio^ II, pi. 30. C 23. Bas-relief, of terra-cotta, used as an architectural decoration. Roman. Published : Museo Campanat pi. Ixxxvii. C 24. Decoration of a pilaster. Roman. In the Villa Medici, Rome. Published : Piranesi, Raccolta di Vast, pi. 40. C 25 (on the steps of the Porch of the Maidens, at the side). Scroll from the Monument of Lysikrates, Athens. Cf. No. C60. C 26. Ionic capital and base, with a portion of the shaft. From a temple at Daphne, near Athens. Roman epoch. The following numbers are on screen No. i : — C 27. Section of a cyma, with lion's head as water-spout. From Metapontum. Italo-Greek. C 28, 29. Sections of Greek stelai, showing handle of an amphora in relief. Cf. No. 188, Fourth Greek Room. Athens. C 30. Scroll decoration, from a temple at Rhamnos. Greek. Published : Von Quast, Das Erechtkeion, pt. Ill, pi. xxiii. C31. Head of an animal. In the Vatican. Roman. C 32. Small triglyph frieze. Roman. C 33. Fleuron, from the temple of Vesta at Tivoli. Roman. 1 84 ARCHITECTURAL ROOM", C 34. Akroterion, from a Greek grave stele, in Athens. C 35. Akroterion, from a Greek grave stele, in the Louvre. C 36. Akroterion, from a Greek grave stele, in Athens. C 37. Akroterion, from the Parthenon, Athens. C 38. Leg of a seat or bench, Roman style, from the ficole des Beaux Arts, Paris. C 39-41. Three pilaster capitals, style of the Roman Empire, from the ficole des Beaux Arts, Paris. C 42. Ionic volute, from the Temple of Apollo at Phiga- leia. Greek. Second half of the fifth century B. C. C 43-49. Akroteria, Roman style. No. C 44 in Rome. C 50. Roman moulding, from Athens, in the British Museum. C51. Roman Ionic volute, from Athens, in the British Museum. C 52. Akroterion, Roman, from Athens, in the British Museum. C 53. Palmetto decoration. Greek style, from the ficole des Beaux Arts, Paris. C 54. Detail from the pedestal of Trajan's Column, Rome. C 55. Corner fragment, with decoration. Athens. C 56. Table leg. Roman style. C 57. Table leg. Roman style. C 58. Leg of a chair or bench. Roman. In the Vatican. 6*34-60. MONUMENT OF LYSIKRATES, ETC, 185 C 59, Sphinx, which served as the central support of a table. From Pompeii, in the Museum at Naples. Published : Museo Borbonko, vol. IX, pi. xliii. The following numbers are on the round pedestal in the middle of the room : — C 60, encircling the pedestal. Frieze from the Mon- ument of Lysikrates, Athens. Erected B. C. 335-4. This monument, a photograph of which hangs upon the pedestal, is the sole survivor of many that stood along the famous " Street of Tripods," commemorating musical and dramatic victories. It was erected by Lysikrates, a citizen of Athens, to celebrate his vit:tory as choregos — that is, provider and supporter of a chorus — in a musical contest. The inscription recording these facts says further that the chorus was of boys, and that the year was that of the archonship of Euainetos (B. C. 335-4). The primary object of the graceful little edifice, the total height of which is not quite thirty-four feet, was to serve as an appropriate support for the tripod received as a prize. Its architecture is Corinthian — the earliest extant example of that style in Athens. The photograph shows the position of the frieze, which is still in situ. Its subject is taken from a popular legend concerning Dionysos, according to which he once sailed, in the form of a beau- tiful youth, with a band of Tyrrhenian pirates, who, at- tracted by his beauty, attempted to capture him and sell him as a slave. Suddenly the cords with which they bound him loosened themselves, the sea turned the color of wine, the masts were transformed to serpents, and Dionysos assumed the shape of a lion. The pirates, terrified, jumped into the sea, only to be changed into dolphins. In the relief Dionysos is not alone, but surrounded by Satyrs, young and old, who assist in the punishment. The scene is the sea-shore. The god himself is seated upon a rock, caressing . his favorite animal, the panther. On either side are young Satyrs and large kraters of wine. Beyond these the action begins, and is carried easily and l86 ARCHITECTURAL ROOM, gracefully around the monument, suggesting the story, rather than representing it with literal fidelity. Both in the selection of the theme, which is more comic than tragic, and in the charm of the composition, the frieze shows the characteristics of the younger Attic school of sculpture. The figures have the slender proportions of the larger sculptures of the period, and the influence of the masters of the school is felt especially in the delicacy with which the details are modelled. This monument is fully illustrated in a series of twenty-six plates in Stuart and Revett's Aiitiquities of Athens^ vol. I, chap. IV. It is also described and illustrated in Mitchell's History of Ancient Sculpture^ p. 485 ff., figs. 203, 204 ; etc. At the top of the pedestal : — C 61. Greek Vase, in the Campo Santo, at Pisa, with relief representing a Bacchic scene. The vase is probably of Roman workmanship, the types of the figures being borrowed from earlier works. "Apart from its artistic beauty, this vase is interesting on account of its connection with the revival of sculpture in the 13th century. That it was one of the antique objects studied by Nicholas of Pisa, which led to the regeneration of what was then well-nigh a lost art, is certain, as he repeated one of the groups upon it — namely, that of the Indian Bacchus supported by Ampelos — in his bas-relief of the Presentation in the Tem- ple, which forms one of the series of reliefs around his cele- brated pulpit in the baptistery at Pisa. Trained by the Byzantine workmen who were employed about the Cathedral at Pisa, and surrounded by men of his own profession, who were nothing more than stone-cutters, and whose highest idea of sculpture was the carving of bas-reliefs and ornaments for the portals of churches, he had the genius to recognize, in the antique vases and sarcophagi which had lain neglected and despised about the streets of Pisa since the days when she was a Roman col- ony, and had been used as building material for the walls of her cathedral, the true objects of study for one who, like him- self, knew nothing of the treatment of draperies, the grouping of figures, or the principles of composition. He accordingly took them as his masters, and in due time produced those bas- reliefs of the pulpits of Pisa and Siena, which are as superior to the works of his contemporaries as the bas-reliefs of the Par- thenon are superior to his own." From the former catalogue. C6I-73. ARCHITECTURAL DETAILS, 187 The other casts on this pedestal are from small friezes and other architectural decorations, mostly of terra-cotta, all except No. C77 dating from the early Roman Empire. Most of them have much of the feeling of fine Greek work, and are doubtless the products of Greek artisans employed at Rome. C62 and 63. Dancing Satyrs. 62 isifrom an altar in the Villa Albani, Rome. C64. Figure resembling those in the relief No. 153, in the Fourth Greek Room. It is from a vase in the Vatican. Published : Pistolesi, // Vaticano, VI, pi. 47, 3. C 65. Section of a frieze, of terra-cotta, — Paris and Helen (?). In the Museo Kircheriano, Rome. C 66. Section of a frieze, of terra-cotta. In the Museo Kircheriano, Rome. C67. Ditto. Dionysos and a Satyr. In the British Museum. Cf. Museo Campana^ pi. xxxiii. C 68. Section of a frieze, terra-cotta. In the centre a Victory. In the Villa Poniatowski. C 69. Bas-relief. A griffon. In the Vatican. C 70. Ditto. A pastoral group. From a sepulchral altar in the Vatican. C 71. Ditto. Section of a frieze. A Nike sacrificing a bull. Terra-cotta, in the British Museum. C 72. Ditto. Dionysos and Satyrs. C73. Ditto. Satyr and Maenad dancing, holding the infant Dionysos in a basket. Terra-cotta, in the British Museum. Published : Museo Campana, pi. 1. l88 ARCHITECTURAL ROOM, C 74. Bas-relief. Two " Seasons." In the Villa Albani. Published : Zoega, Bassirilieviy II, pi. xcv. C 75. Ditto. Hermes and Aphrodite (?). C 76. Ditto. "Achilles and Penthesilea." Published : Museo Campana^ II, pi. Ixii. C 77. Akroterion, of terra-cotta. Archaic Etruscan. C 78. Stem of Lilies. Modern. C 79. Akroterion. C So. Fragment of a Greek inscription, of the Roman period. C81. Moulding. C 82. Prow of a vessel. From the relief of the " Embar- cation of Helen," in the Palazzo Spada, Rome. C83. Bas-relief, architectural decoration. Two Satyrs drinking. Published : Museo Campana^ pi. xlii. C 84. Front of a Roman cippus. In the Capitoline Mu- seum, Rome. The following numbers are on screen No. 2 : — C 85. Roman moulding. From the Temple of Jupiter Tonans. C86. Roman moulding. In the Vatican. C 87. Roman moulding. Time of Nero. C 88. Roman moulding. C 89. Roman moulding. From the Pantheon, Rome. C74-I06. ARCHITECTURAL DETAILS. 1^9 C 90. Roman moulding. C 91. Roman moulding. C 92. Roman moulding. Temple of Jupiter Tonans. C 93. Section of a Roman frieze. C 94. Large rosette, Roman style, from the ficole des Beaux Arts, Paris. C 95. Patera, architectural, from the Temple of Jupiter Tonans. C 96. Rosette. C97. Guilloche moulding. From the ficole des Beaux Arts, Paris. C 98. Fleuron. From the Basilica of Antoninus. C 99. Lion's head. C 100. Rosette. Roman. C loi. Rosette. C 102. Fragment, Acanthus leaf. From the ificole des Beaux Arts, Paris. C 103. Detail from a frieze, Roman, in the Villa Medici, Rome. C 104. Acanthus leaf. C 105. Boss, Roman. C 106. Stucco decorations of the ceiling of a Roman house of the time of Augustus; discovered, 1879, in digging the banks of the Tiber for the new embankment, in the grounds of the Villa Far- nesina. i9<^ ARCHITECTURAL ROOM. C 107. Acanthus capital. C 108. Rosette. C 109. Rosette, from the tomb of the Scipios, B. C. 298. C no. Scroll, from the tomb of the Scipios. Cm. Rosette, from the tomb of the Scipios. C 1 1 2. Rosette, from the tomb of the Scipios. C113. Rosette. C 114. Detail, Roman. From the Villa Doria-Pamfili. C 115. Ornamental Roman base. From the Villa Gius- tiniani. C 116. Roman Eagle. In the Vatican. C3, 8, II, 12, 13, 16, 19, 22, 25, 27-49, 53-58, 60, 62-75, 80, 85-96, 98-105, 108-114, 116, are the property of the Massachusetts Institute of Technology. C 14 was given to the Museum by Mr. George B. Dorr. C 76, 77, 78, 79, 81, 83, were given to the Museum by Mr. C. C. Perkins. INDEX. Note. — Except where otherwise specified, the numbers in this index refer to the numbers of the casts, not to the pages. Those numbers which have C prefixed to them are in the Architectural Room, described pp. 178-190. Achilles, Borghese, so called, in the Louvre, 124. Achilles and Penthesilea, so called, relief from the Campana collection, C 76. Actseon, see Aktaion. iEgina, statues from the Temple of, in Munich, 16 A-O. iEsculapius, see Asklepios. Agamemnon, archaic relief from Samothrake, in the Louvre, 32. Agrippa? bust in the Capitoline Museum, 309. Agrippina the Younger, statue in Naples, 315. Aigisthos and Klytaimnestra, the murder of, sarcophagus in the Vatican, 176. Aktaion attacked by his dogs, group in the British Museum, 279. Akropolis of Athens, model of, 141. Alexander the Great? head in the British Museum, 278. Alkaios and Sappho ? terra-cotta relief in the British Mu- seum, 19. Alpheios, figure from the east pediment of the Zeus Temple at Olympia, 57. Altar, in the Louvre, 207. round, in the Villa Albani, 252. the Great, at Pergamon, 247. Amazon, statue in the Capito- line Museum, 90. statuette in Dresden, 270. Amazon Relief, so called, in the Villa Albani, 196. Amazon Sarcophagus, in Vienna, 197. Amazons, on the frieze of the Temple of Apollo at Phigaleia, 151. onithe frieze of the Mauso- leum, 191-195. Amor see Eros. Amphitrite and Poseidon, relief in Munich, 150. Amphora, upper half of, marble, in Athens, C 21. Antinous, bust from the colossal statue in the Vatican, 280. Antoninus Pius, bust, 301. Aphrodite, statuette in Argos, 121. t92 INDEX. Aphrodite, of Melos, in the Louvre, 140. statue in the Capitoline Museum, 273. crouching, in the Vatican, 234. and Hermes (?), bas-relief, C7S- Apollo? statue from Thera, in Athens, 20. ? statue from Orchomenos, in Athens, 21. — — in the west pediment of the Zeus Temple at Olympia, 59; Sauroktonos, statue m the Vatican, 83. ? and the Omphalos, in Athens, 86. the Pourtales head, in the British Museum, 119. head in the British Museum, 120. slaying the Niobids, on a sarcophagus in the Vati- can, 173. Belvedere, in the Vatican, 215. - votive relief to, in the Brit- ish Museum, 229. on a relief in the Villa Albani, 236. playing on the lyre, statue in the Vatican, 243. in the Apotheosis of Ho- mer, 269. Temple of, at Phigaleia ; selection from the frieze, Apotheosis of Homer, relief in the British Museum, 269. Apoxyomenos, statue in the Vat- ican, 200. Arch of Titus, relief from, 312. Architectural details, Greek and Roman, pp 178-190. Ares, in tlie Villa Ludovisi, 237. or Achilles, Borghese» in the Louvre, 124. Ariadne, statue in the Vatican, 317. Aristokles, the stele of, in Athens, " Arrmgatore," the, bronze statue in Florence, 2']-]. Artemis, on a sarcophagus in the Vatican, 173. on the vase of Sosibios, 175. of Versailles, in the Louvre, 218. on a votive relief to Apollo, 229. on a relief in the Villa Al- bani, 236. Artemisia, statue from Halikar nassos, in the British Museum, 190. Asklepios .<* head in the British Museum, 137. ? head from Melos, in the British Museum, 226. Assos, archaic reliefs from,28A-E. Assyrian reliefs, pp. 7-10. Athena, seated ; archaic statue in Athens, 34. pseudo-archaic statue in Dresden, 35. statue from the temple at yEgina, 16 E. Parthenos, Lenormant stat- uette, 112, Parthenos, Varvakeion stat- uette, 113. Giustiniani, in the Vatican, 125. colossal bust in Munich, 126. Athens, Model of the Akropolis, 141. Atlas and Herakles, Metope in Olympia, 66. Attalos group, figures from, in Naples, 219; in Venice, 220. Augustus, statue in the Vatican, ^ 281. bust, 286. Bacchic relief, in the British Mu- seum, 216. — - in the Museum at Naples, 232. INDEX. 193 Bacchic relief, in the Villa Al- bani, 239. in Florence, 240. sarcophagus, in the Vatican, 159. Bacchus, see Dionysos. Barberini Faun, in Munich, 205. Bassae, temple of Apollo at, selec- tion from the frieze, 151. Bellerophon and the Chimaera, terra-cotta relief in the British Museum, 17. Belvedere Hermes, in the Vati- can, 92. Belvedere, Apollo of the, in the Vatican, 215. Torso, in the Vatican, 222. Borghese Warrior, in the Louvre, 208. Boy, praying, in the Berlin Mu- seum, 133. drawing thorn from his foot, in the Palazzo dei Con- servatori, Rome, 136. - and Goose, in the Louvre, 235- Brutus, Lucius Junius (?), bust in the Capitoline Museum, 274. Bull, figure carrying a, m Athens, 22. Caesar, Julius, bust in Florence, 283. — ? bust in the Villa Ludovisi, 284. — ? bust in the Capitoline Mu- seum, 285. Caligula, bust, 288. Campana collection, terra-cotta reliefs from, 227, 228. Candelabrum, Roman, in Naples, C20. Caracalla, bust, 307. Caryatides, see Erechtheion. Castor, see Kastor. Centaurs, see Kentaurs. Ceres, see Demeter. Chariot, figure mounting a, ar- chaic relief in Athens, 2. Cicero ? bust in the Vatican, 267. ? bust in the Capitoline Mu- seum, -271. Claudius, busts, 289, 290. Clio, statue in the Vatican, 245. Clytie, so called, bust in the Brit- ish Museum, 276. Comedy, bust in the Vatican, 241. Commodus, bust, 303. Cupid, see Eros. Damasistrate, monument of, in Athens, 182. Demeter, on the Eleusinian slab, 88. head of, from Knidos, in the British Museum, 157. Demosthenes, statue in the Vati- can, 138. head of, in Athens, 139. Dexileos, monument of, in Ath ens, 179. Diadumenos, Farnese, in the British Museum, 127. Diana, see Artemis. Diogenes, statuette in the Villa Albani, 275. Dionysos, infant, and Silenos, in the Louvre, 84. infant, and Hermes, in Olympia, 75. infant, carried by a Satyr and a Maenad, in the British Museum, C 73. received by Ikarios, relief in the Museum at Na- ples, 230; in the British Museum, 231. on a relief in Naples, 232. on a relief on an altar in the Villa Albani, 252. _in the frieze of the choragic monument of Lysikrates, C60. on a relief in the British Museum, C 67. throne of the priest of, in the Dionysiac Theatre at Athens, C 17. 194 INDEX. Dioskouroi archaic reliefs in Sparta, 29, 33. on a sarcophagus in Flor- ence, 198. Diskobolos, standing, in the Vat- ican, 158. after Myron, in the Vatican, i6r. Domitian, bust, 297. Doryphoros, relief in the Mu- seum at Argos, 114. Dresden Pallas, 35. Eirene and Ploutos, group in Munich, 85. Eleusis, large relief from, in Athens, 88. Epikrates, stele of, 180. Erechtheion, description of, pp. 178-181. the Porch of the Maidens, C 14. details of the architecture and decoration, C 1-16. Eretria, female head from, in the Berlin Museum, 135. Eros, torso in Sparta, 89. Eurydike, on a relief in the Villa Albani, 199. Euterpe ? statue in the Louvre, 246. Farnesina, stucco decorations from the, C 106. Fates, so called, from the east pediment of the Parthe- non, 102. Faun, the Marble, 82. the Barberini, in Munich, 205. see Satyr. Furies, on a sarcophagus in the Vatican, 176. Galba, bust, 292. Gaul, dying, statue in the Capito- line Museum, Rome, 251. Gaul, from the Attalos group, in Venice, 220. Germanicus, so called, in the Louvre, 129. Gladiator, the Borghese, so called, in the Louvre, 208. dying, formerly so called, in the Capitoline Museum, Rome, 251. Grave monuments of the fourth century, introduction to, p. 112. from Sparta, archaic, 7-12. of Aristokles, archaic, in Athens, 13. from Boeotia, archaic, in Athens, 14. in Naples, archaic, 15. from Karystos, in the Ber- lin Museum, 122. large marble lekythos, in Athens, 162. Head of a woman in Lans- downe House, London, 178. - of Dexileos, in Athens, 179. of Epikrates in Athens, 180. from ^gina, in Athens, 181. of Damasistrate, in Athens, 182. ^ of Phainippe, 183. with two women, in Athens, 184. of Hegeso, in Athens, 185. of Mynnion, in Athens, 186. large, with figures in high relief, in Athens, 187. in the Piraeus Museum, 188. amphora, marble, in Athens, C 21. sections of, C 28, 29, 34, 35, 36. Hadrian, bust, 300. Halikarnassos, sculptures from, in the British Museum, 189-195. Harpy Monument, reliefs from, in the British Museum, 6. INDEX. 195 Head, of a youth (Alexander the Great?), in the British Museum, 278. archaic, in the British Mu- seum, 5. female, from Eretria, in the Berlin Museum, 135. large female, in Athens, 177. of a woman, in Lansdowne House, London, 178. from Pergamon, in the Ber- lin Museum, 217. Hegeso, monument of, in Athens, .85. Helios, metope from Ilion, in Berlin, 152. Hellenistic Art, pp. 131 f. Herakles and the Stag, relief in the British Museum, 3. - and the Kerkopes, metope from Selinus, in Paler- mo, 27. on a relief in Dresden, 4. and Atlas, metope in Olym- pia, 66. - head, in Dimitzana, Greece, 201. small herma in Sparta, 221. torso of the Belvedere, 222. statuette in s'^parta, 223. Hercules, see Herakles. Herma, double, in the National Museum, Athens, 238. Hermes, head of, aic'iaic relief in Athens, 31. statue by Praxiteles, at Olympia, 75. statue from Andros, in Athens, 91. statue in the Belvedere of the Vatican, Rome, 92. on the vase of Sosibios, 175. on the Orpheus relief, in the Villa A'bani, 199. on a herma in Athens, 238. and Aphrodite (?), bas- relief, C 75. Hippodameia, torso from the east pediment of the Zeus Temple at Olym- pia, 51. Homer, apotheosis of, relief in the British Museum, 269. Horse's head, from the east ped- iment of the Parthenon, 104. Hypnos, bronze head in the Brit- ish Museum, 206. Ikarios receiving Dionysos, relief in the Museum of Na- ples, 230 ; in the British Museum, 231. Ilioneus, so called, statue in Mu- nich, 93. Inopos, so called, fragment in the Louvre, 131. Inscription from Orchomenos, in the British Museum, 116. Attic, in the British Mu- seum, 117. bronze, from Olympia, in the British Museum, 1 18. from Oropos, in the British Museum, 123. genuine t in the British Mu- seum, 128. Inscriptions found at Olympia, 77-81. Jason, so called, in the Louvre, Jerusalem, capture of, relief from the Arch of Titus, Rome, 312. Juno, see Hera. Ludovisi, 130. Jupiter, see Zeus. Karyatides, so called, porch of the Erechtheion, C 14. Kastor, colossal head of, in Rome, 156. see Dioskouroi. Kentaurs, in the western pedi- ment of the Zeus Temple at Olympia ; see 59 ff. on the Parthenon metopes, 108-111. 196 INDEX, Kentaurs, on the frieze of the Temple of Apollo at Phigaleia, 151. Kephisos, so called, from the west pediment of the Parthenon, 105. Kladeos, figure in the east pedi- ment of the Zeus Temple at Olympia, 56. Klytaimnestra, on a sarcophagus in the Vatican, 176. Klytie, so called, bust in the Brit- ish Museum, 276. Lansdowne House, head in, 178. Laokoon, group in the Vatican, 250. Lapith head, from the Zeus Tem- ple at Olympia, 64. Latona, see Leto. Lekythos, of marble, used as a grave monument, in Athens, 162. Lenormant statuette of Athena Parthenos, 112. Leto, on a votive relief to Apollo, 229. Leukippos, rape of the daughters of, sarcophagus in Flor- ence, 198. Leukothea relief, so called, in the Villa Albani, i. Lions on the gate of Mykenae, 24. heads, in Olympia, 68-72. Ludovisi Juno, 130. Ares, 237. Lysikrates, monument of, descrip- tion of, p. 185. frieze from, C 60. scroll from, C 25. Marcus Aurelius, bust, 302. Mars, statue in the Villa Ludovisi, 237- see Ares. Marsyas, torso of, in the Gorringe collection, 225. Mausoleum, sculptures from the, in the British Museum, 189-195. Mausolos, statue in the British Museum, 189. Medusa, head in relief, in Argos, 25- Rondanini, head in Munich, 202. " Melan " reliefs, of terra-cotta, in the British Museum, 17- 19. Melos, the Venus of, in the Louvre, 140. Menander, statue in the Vatican, 233- Mercury, see Hermes. Metope, Helios, from Ilion, in Berlin, 152. from Selinus, 26, 27. from Assos, 28 E. from the Zeus Temple at Olympia, (^6^ 67. from the Parthenon, 108-1 1 1 . Milo, see Melos. Minerva, Giustiniani, in the Vat- ican, 125. see Athena. Mykenae, the lions of, 24. Myron, Diskobolos of, in the Vatican, 161. Muses, in the Apotheosis of Homer, 269. Neptune, see Poseidon. Nero, bust, 291. Nerva, bust in the Capitoline Museum, 298. Nike, from the east pediment of the Parthenon, 103. of Paionios, statue at Olym- pia, 'j'^i ; inscription on the same, 74. on a relief in the Villa Al- bani, 236. sacrificing a bull, terra- cotta relief in the British Mu- seum, C 71. A p t e r o s, temple of, in Athens, small fragments from the frieze, 163, 164; reliefs from the balus- trade, 165-17 1. INDEX, 197 Niobe, in the Uffizi Gallery, Florence, 154. and her children, relief on a sarcophagus in the Vati- can, 173. Niobid, statue in the Vatican, 155. Oinomaos, fragment from the east pediment of the Zeus Temple at Olympia, 52. Olympia, sculptures from, 50-81. introduction to, pp. 37-40. Orator, the " Arringatore," bronze statue in Florence, 277. Orchomenos, archaic grave relief from, in Athens, 14. Orestes, on a sarcophagus in the Vatican, 176. Orpheus ? relief in Sparta, 30. . Eurydike and Hermes, re- lief in the Villa Albani, 199. Otho, bust, 293. Otricoli Zeus, 134. Paionios, Nike by, at Olympia, 73- Pan, on a marble vase in the Brit- ish Museum, 160. Paris and Helen (?), relief in the Museo Kircheriano, Rome, C 65. Parthenon, introduction to, pp. 64 f. sculptures from, 100-113. frieze, 100. metopes, 108-111. statues from the pediments, 101-106. Pedestal of a tripod, in Dresden, 4. Pedestal, in Dresden, 204. Peirithods, head and fragments, from the Zeus Temple at Olympia, 62, 63. Peleus and Thetis, marriage of, terra-cotta reliefs from the Campana collection, 227, 228. Penelope ? statue in the Vatican, 36. Pergamon, the great Altar of, p. relief from the same, 247. head from, in Berlin, 217. Persephone, on the Eleusinian slab, 88. Perseus and Medusa, terra-cotta relief in the British Mu- seum, 18. Metope from Selinus, in Palermo, 26. Persian, from the Attalos group, in Naples, 219. Pertinax, bust, 304. ? bust, 305. Phainippe, monument of, in Athens, 183. Phigaleia, temple of Apollo at; selection from the frieze, 151. Ionic volute from, C 42. Pollux, see Dioskouroi. Polykleitos, Diadumenos, Far- nese, 127. Doryphoros of, see 114. Poseidon and Amphitrite, the wedding of; frieze in Munich, 150. Praxiteles, the Hermes of, in Olympia, 75. Satyr after, in the Capito- line Museum, 82. Apollo Sauroktonos, after, in the Vatican, 83. Praying Boy, so called, statue in Berlin, 19. Proserpine, see Persephone. Pudicitia, so called, statue in the Vatican, 314. Pyrrhic Dance, relief in the Vati- can, 153. Relief, large, in the Villa Albani, 196. Roman, statue of a, fragment at Olympia, 76. lady, statue in the Louvre, 3"- iqS INDEX, Roman priest, sacrificing ; statue in the Vatican, 282. Rondanini, Medusa, in Munich, 202. Samothrake, archaic relief from, in the Louvre, 32. Sarcophagus, Amazon, in Vienna, 197. death of the Niobids, in the Vatican, 173. murder of Aigisthos and Klytaimnestra, in the Vatican, 176. rape of the daughters of Leukippos, in Florence, 198. Satyrs and Maenads, in the Vatican, 159. in Sparta, 172. Satyr, statue in the Capitoline Museum, Rome, 82. statue in Dresden, 87. statue, called the Barberini Faun, in Munich, 205. statue, in the British Mu- seum, 265. statue, of rosso antico, in the Capitoline Museum, 268. playing the Scabellum, statue in Florence, 313. mask, in Dresden, 249. Satyrs in reliefs, see Bacchic re- liefs. Scipios, Tomb of the, details from, C 109-112. Seasons ? relief in the Villa Al- bani, C 74. Seat of the priest of Dionysos, in the Dionysiac Theatre, Athens, C 17. marble, found in the Par- thenon, C 18. Selinus, metopes from, in Paler- mo, 26, 27. Seneca, formerly so called, bust, 272. Severus, Alexander, bust, 308. Septimius, bust, 306. Silenos carrying the infant Dio- nysos, in the Louvre, 84. Sirens on the Harpy Monument, p. 16. Sophokles, statue in the Lateran Museum, Rome, 132. Sparta, archaic reliefs from, 7-12, 29, 33 archaic statue in, 23. relief in, Orpheus ? 30. sarcophagus in, 172. torso of Eros in, 89. " Spinario," the, bronze statue in the Palazzo dei Conser- vatori, Rome, 136. Sphinx, Italo-Greek, in the Mu- seum of Naples, C 59. Thalia, statue in the Vatican, 244. Theseus, so called, statue from the east pediment of the Parthenon, loi. Throne of the priest of Dionysos, in the Dionysiac Thea- tre, Athens, C 17. marble, found in the Par- thenon, C 18. Tiberius, bust, 287. Titus, bust, 296. the arch of, relief from, 312. Torso of the Belvedere, in the Vatican, 222. Tragedy, bust, in the Vatican, 242. Trajan, bust, 299. Trajan's Column, heads and fig- ures from, 266. Tripod, pedestal of a, in Dres- den, 4. Varvakeion statuette of Athena, in Athens, 113. Vase, marble, in the British Mu- seum, 160, 174. of Sosibios, in the Louvre, 175- INDEX. 199 Vase, in the Villa Albani, 203 ; in Naples ? 209. in the Campo Santo at Pisa, C61. Venus of Me]ps, in the Louvre, 140. of the Capitol, in Rome, 273- Venus, see Aphrodite. Vespasian, bust, 295. Victory, see Nike. Vitellius } bust in the Capitol, 294. Votive relief to Apollo, 229. Warrior, Borghese,in the Louvre, 208. " Weber " head, so called, from the west pediment of the Parthenon, 106. Wolf of the Capitol, 316. Zeus, torso from the temple at Olympia, 50. Otricoli, head, 134. ? head from Melos, 226. t head in the British Mu- seum, 137. on a relief from the altar at Pergamon, 247. in the Apotheosis of Ho- mer, 269. Temple at Olympia, p. 39 £f. sculptures from, 50-7 1. I . viT - '^^-itssac^'saa^^ii^ RETURN TO dfI?^^ USE i ^1 y "^^^ BORROWED LOAN OEPT or'o^VtJL'^ °n-eTe-? Sr^V-- — — --------~J-Jl/__^ ^^^^^ recall. MmR I g 197; (■P200lsl0)476A4-32