Chapter XIII: Part III: The Successors of Pheidias (1)

SCULPTURES OF THE TEMPLE CALLED THE THESEION.

The building which is commonly known as the Temple of Theseus, or Theseion, stands about a quarter of a mile to the north-west of the Acropolis of Athens.

The temple is of the kind called _peripteral hexastyle_. Round the _cella_, or central chamber, is a single row of columns, thirty-four in number, of which there are six at each end. The order is Doric, with a frieze peculiarly arranged. On the eastern front are ten sculptured metopes, and there are four on each of the adjacent sides, making a total of eighteen sculptured metopes. The remaining metopes of the temple, fifty in number, are plain slabs, which may possibly have had painted on them figures or ornaments. Of the pedimental groups, which appear to have once existed at each end of the temple, nothing now remains except the marks of the attachment of sculptures. Within the colonnade the two ends of the _cella_ are adorned with a frieze of Parian marble, which is still in position. At the west, the length of the frieze is only equal to the width of the _cella_; at the east, the frieze is continued as far as the epistyle, or beams surmounting the colonnade.

The west frieze is about 25 feet long; casts of 16 feet 4 inches are in the British Museum. The east frieze is about 37 feet long, and casts of 32 feet are in the Museum.

From the Middle Ages till recent times this building has been called the Temple of Theseus, and was supposed to have been dedicated to Theseus by the Athenians in the time of Kimon. That statesman had transferred the bones of Theseus to Athens from the island of Skyros in 469 B.C. The chief arguments for this attribution are:--(1) That labours of Theseus are represented on the metopes, and perhaps on the friezes; (2) that the building is not far from the place where, according to Leake and others, it might be expected from the description of Pausanias (i. 17, 2); (3) that the temple was dedicated as a Christian church to St. George, who corresponds in many ways to Theseus.

Ross, however (_Das Theseion_), tried to prove that this was not the Theseion. He argued that no connection could be traced between the external sculptures and the function of the building. He also argued that the real Theseion cannot have been a complete temple, and that it cannot have stood in the position of the temple now in question. He proposed to call the building a temple of Ares. It has since been suggested that Ares and Theseus may have been joint occupants of the temple, as Athene and Erechtheus held the Erechtheion in common (Murray, i. p. 236). Curtius (_Sieben Carten_, text, p. 53) suggested that the temple may have been that of Heracles in Melite. In this view he has been followed by Wachsmuth (_Stadt Athen_, i. p. 364). Other patron deities have also been proposed, as Apollo Patrooes, or Heracles and Theseus together, or Hephaestos. Doerpfeld, followed by Miss Harrison (_Mythology and Monuments of Anc. Athens_, p. 112), is strongly in favour of the last-mentioned attribution, identifying the building with the temple of Hephaestos mentioned by Pausanias (i., 14, 6).

It is clear, from a comparison of other temples, that no conclusive argument can be drawn from the subjects of the sculptures, especially of the metopes, which may have little connection with the special purpose of the temple. At the same time we know that the Theseion was decorated with paintings relating to the story of Theseus, and, so far as any weight can be attached to the subjects of the sculptures, they favour the attribution of the building to Theseus. It has been suggested that the temple may have belonged to Heracles and Theseus in common--not on the ground that we hear of such a temple, but because the ten metopes on the east front relate to Heracles. But this fact is inconclusive. The Athenians would be content to point out the parallelism of Heracles and Theseus, even if Theseus was made to occupy a subordinate position. The newly-discovered [Greek: Athenaion Politeia] of Aristotle furnishes some new evidence. The disarming of the Athenians by Peisistratos is said to have been effected in the following manner. He caused the citizens to put down their arms in the Theseion, presumably in the temenos of Theseus, that he might address them, and then drew them off to the Propylaea on the pretext that they would be better able to hear him. Meanwhile his agents shut up the arms in "the adjacent buildings of the Theseion" ([Greek: exoplisian en to Theseio] [_sic_ MS.] [Greek: poiesamenos ... ekeleusen autous prosanabenai pros to Propylon tes ackropoleos ... anelontes hoi epi touton tetagmenoi ta hopla auton kai synkleisantes eis ta plesion oikemata tou Theseiou k.t.l.] Aristot. [Greek: Ath. pol.] ed. Kenyon, 15). From this it may be inferred that the Theseion was at no great distance from the Propylaea, though sufficiently removed for the success of the stratagem. Polyaenus (_Strat._ i., 21) tells the story, but states that the disarming took place in the Anakeion, and that the arms were shut up in the sanctuary of Aglauros. These are known sites below the north and north-west sides of the Acropolis. The account of Aristotle thus shows that there was a temenos and shrine of Theseus in existence long before the time of Kimon.

The date of the temple is necessarily uncertain. It cannot be older than the Persian invasion (480 B.C.), but most writers are of opinion that each part is rather older than the corresponding part of the Parthenon, both in the architecture (Julius, _Annali dell' Inst._ 1878, p. 205) and in the sculpture. There are many parallels between the metopes of the Parthenon and the sculptures, both metopes and friezes, of the Theseion. There is also a close analogy between the east friezes of the Parthenon and the Theseion in point of composition; moreover certain figures occur in both works (Murray, i. p. 244). But there is no trace in the Theseion of the low relief of the Parthenon frieze. The whole of the Theseion sculptures are metope-like in the treatment of the high relief. Overbeck states the order in point of time as follows:--Metopes of Theseion; metopes of Parthenon; west frieze of Theseion; east frieze of Theseion; frieze of Parthenon (_Gr. Plast._ 3rd ed. I., p. 349). Doerpfeld, however, followed by Miss Harrison, holds the temple to be later than the Parthenon.

It has been held by Brunn, Julius (_Annali dell' Inst._ 1878, p. 202), and Murray (i. p. 251), that the differences between the sculptures of the two temples are due to the fact that the sculptures of the Theseion were produced by the school of Myron.

Stuart, _Antiqs. of Athens_, vol. III., chap. i.; _Mus. Marbles_,
IX., pls. 12-21; Mueller, _Denkmaeler_, pl. 21; _Kunstarch. Werke_,
IV., p. 1; Ross, _Das Theseion_ (1st ed. 1838; 2nd ed., 1852);
Ulrichs, _Annali dell' Inst._, 1841, p. 74; Leake, _Topography of
Athens_ (2nd ed.), p. 498; Gurlitt, _Das Alter der Bildwerke
des sog. Theseion_; Brunn, _Sitzungsber. der k. bayer. Akad.
Phil.-hist. Cl._ 1874, II., p. 51; Wachsmuth, _Die Stadt Athen_,
I., p. 357; Julius, in _Annali dell' Inst._, 1877, p. 92; 1878,
p. 193; and _Mon. dell' Inst._, X., pls. 43, 44, 58, 59; Overbeck,
_Gr. Plast._, 3rd ed., I., p. 343; Murray, I., p. 235; Wolters,
No. 526; Baumeister, s. v. _Theseion; Elgin Room Guide_, II., B.,
1-16. The British Museum possesses an excellent series of drawings
of the Theseion by Lord Elgin's artists.

CASTS OF THE METOPES OF THE THESEION.

The ten metopes on the eastern front contain nine labours of Heracles, one labour being represented in two groups. The eight metopes at the east ends of the South and North sides represent the following exploits of Theseus:--On the South side--(1) The victory over the Minotaur. (2) The capture of the bull of Marathon. (3) The punishment of Sinis Pityocamptes. (4) The punishment of Procrustes (?). On the North side are--(1) The victory of Theseus over the robber Periphetes, also called Corynetes. (2) His contest with the Arcadian wrestler, Kerkyon. (3) The punishment of Skiron. (4) The capture of the sow of Crommyon.

Of these eighteen metopes the Museum possesses casts of only three, Nos. 1, 2, and 4 on the North side.

[Sidenote: =400.=]

Theseus and the robber, Periphetes. Theseus stands over his adversary, who has been thrown down on the ground, and aims a blow at him. Both arms of Periphetes are stretched out as if to avert a spear-thrust, and it seems probable that the weapon of Theseus was a spear, which he directed with both hands. The left hand of Theseus still remains in front of his breast.

Height, 3 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 20.

[Sidenote: =401.=]

Theseus and Kerkyon, an Arcadian wrestler, who challenged all travellers to wrestle, and slew the vanquished. Theseus has lifted his adversary from the ground, and, clasping his hands together, grips him tightly round the body. Kerkyon is nearly helpless. His right arm passes behind the shoulder of Theseus, but with his left hand he seizes Theseus' right heel. Kerkyon is bearded, but the hair is hardly indicated in detail.

Height, 2 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 21.

[Sidenote: =402.=]

Theseus and the Sow of Crommyon. The sow stands on her hindlegs, resting her forefeet on the thigh and the drapery of Theseus. Theseus advances to the attack. The action of the right hand cannot be ascertained, but the right arm must have been raised above the head, and perhaps brandished a club. The left arm is concealed in the chlamys, which Theseus wears in this metope.

Height, 2 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 21.

CASTS OF THE WEST FRIEZE OF THE THESEION.

The subject of the West frieze of the Theseion admits of no doubt. Here we have represented the Battle of the Centaurs and Lapiths at the marriage feast of Peirithooes. It has been pointed out that this frieze appears to consist of metope-like groups, with a few figures added to give continuity between the different groups, such as is appropriate to a frieze. Thus, compare No. 403, _1_ with the Parthenon Metope, No. 307. In the parts of the frieze, not represented by casts, compare the group engraved Overbeck, _Gr. Plast._ 3rd ed. i., p. 348, No. 2, with Michaelis, pl. 3, xxiv.; Overbeck, No. 6, with Parthenon metope, No. 311; Overbeck No. 8 with Michaelis, pl. 3, xi.

[Sidenote: =403.= 1.]

Combat of Centaur and Lapith. The Lapith is defeated and has
fallen to the ground. He supports his body with the right arm, of
which the hand alone remains. The left hand, which is wrapped in
the chlamys, is raised imploringly to the Centaur, to whom also
the head is turned. The victorious Centaur rears up above the
Lapith, and is about to hurl a great stone, or perhaps a hydria,
with both hands.

Height of this and the following slabs, 2 feet 9-1/2 inches;
length, 2 feet 10 inches. _Mus. Marbles_, IX., pl. 18.

Between Nos. 1 and 2 is a group, of which the Museum does not
possess a cast, representing two Lapiths and a fallen Centaur.

[Sidenote: 2.]

On the left is a group of a Lapith and a Centaur. The combatants
have for the moment drawn a little apart. The Lapith has recoiled
for a blow; the attention of the Centaur seems more directed to
the group on his left. The symmetry of the grouping, which is
apparent in the frieze as a whole, requires us to regard these two
figures as connected, though they may appear somewhat separated.
The Centaur brandishes a branch of a tree, to which his hands are
still attached, though the arms are lost. The Lapith had both arms
raised, and perhaps held a battle-axe. His dress is a chlamys.

We next have a group of two Centaurs, rearing up, and heaving
together a rock wherewith to crush the invulnerable Lapith,
Kaineus, who is half buried in the ground between them, and who
endeavours to defend himself with his shield uplifted on his left
arm. His head is turned towards the Centaur on the right. His
right arm, now wanting, may have rested on the ground. But it is
possible, to judge from indications on the ground of the relief,
that it was bent at the elbow, and pierced with a sword the
abdomen of the Centaur. The Lapith wears a helmet.

On the right of this group is a Lapith hastening to give succour
to Kaineus. His right arm, which was bent back at the elbow, had
been raised to strike. His left arm has been muffled in a
chlamys. He also wore a petasos, part of which is seen behind
the shoulders. On the right of this figure is a group of a Lapith
attacking a Centaur. The Lapith wears a crested helmet; on his
left arm is a shield, within which his chlamys hangs from his
arm. He also wears sandals. He places his left foot on a rock.
The Centaur opposed to him is rearing, with his back turned to
the spectator; his right arm, drawn back, has held some weapon,
probably the branch of a tree; on his left arm and shoulder is the
skin of a lion or panther which hangs down his back.

Length, 10 feet 9 inches. _Mus. Marbles_, IX., pls. 18, 19.

The next group on the frieze, which is not represented by a cast,
contains a Centaur struggling with a Lapith who has fallen on his
knees.

[Sidenote: 3.]

On the left is a Lapith, armed with shield and helmet, and wearing
a chiton and sandals. He seems about to attack a Centaur, who
rears to the right over the body of a Lapith, who has sunk down in
a sitting position.

Length, 2 feet 9 inches. _Mus. Marbles_, IX., pl. 20.

Most of the figure of the seated Lapith, and the whole of the
succeeding group of a Lapith and Centaur are not represented by
casts in the Museum.

CASTS OF THE EAST FRIEZE OF THE THESEION.

On the east frieze is represented a battle in the presence of six
seated deities arranged in two groups. In one part of the frieze
the combatants are hurling vast rocks. Colonel Leake (_Topography
of Athens_, 2nd ed. p. 504), supposed that Heracles and some of
the gods are engaged in a battle with giants, while other deities,
among them some who usually take a leading part in the fray,
merely sit and watch. This, however, is a scheme of Gigantomachia
to which no parallel can be adduced.

Brunn (_Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl._, 1874,
ii., p. 51), supposes the battle here represented to be that
fought by the Athenians under Theseus against Eurystheus in
defence of the Heracleidae. The scene on the left would thus
represent the first rout of the troops of Eurystheus; then would
come the storming of the Skironian pass by Theseus, where we
might expect masses of rocks to be hurled on the assailants. The
kneeling figure on the left of the central group (404, _4_), who
is being bound would, according to Brunn, be Eurystheus, who was
taken prisoner and put to death. The figure on the extreme right
(404, _8_), who is stooping forward, Brunn supposes to be one of
the victors erecting the boundary stone, which, according to the
Attic legend, was set up by Theseus to mark the limits of the
Peloponnese on the side of Attica.

The theory is highly ingenious; but it demands a forced
interpretation of the rocks to suppose them to be lining the two
sides of a pass; and it overlooks the close parallelism with the
east frieze of the Parthenon, where the two groups of gods must
be supposed to form a single background to the scene. Also, the
Skironian pass was a road between rocks and the sea. Moreover, the
vast size of the rocks indicates a giant race, rather than a group
of warriors who are reduced to using stones in an extremity.

If the subject has any connection with Theseus, the theory of
K. O. Mueller seems the best that has been proposed. According to
Mueller (_Kunstarch. Werke_, iv. p. 1) it represents the Athenians
under Theseus attacking the Pallantidae, or sons of Pallas, who
was a son of Pandion, king of Attica. These in Attic legend (Plut.
_Theseus_, 13) formed a league against Theseus. Mueller supposes
them to have been a race akin to the giants. Compare Soph. _Aegeus,
fr._ 19, ed. Dindorf, [Greek: ho skleros houtos kai gigantas
ektrephon Pallas]. See also Mueller (p. 8) on the close connection
between Pallas, son of Pandion, and the Attic Pallene, with Pallas
the giant and the Thracian Pallene, the field of the great war of
the gods and giants.

[Sidenote: =404.= 1.]

On the left of the slab, two armed warriors carrying large shields
on the left arm, and wearing, one a chlamys and one a chiton over
the left shoulder only (_heteromaschalos_), advance to the right.
Before them is a conquered adversary, who has been forced down on
his knees by the victor, who appears to tread down his buttock,
while his hands are engaged binding the hands of the prisoner. The
victor wears a chlamys, but the prisoner is nude. The head of the
prisoner was probably turned towards the victor. On the extreme
right of the slab there remains the right foot of a figure. The
original is extant (cf. Stuart, vol. iii. ch. i. pl. 15), and is a
nude armed figure, moving to the right. The head is lost.

Height of this and the following slabs, 2 feet 9-1/2 inches;
length, 4 feet 6 inches. _Mus. Marbles_, IX., pl. 12.

[Sidenote: 2.]

On the next slab is a group of three deities seated on rocks, of
whom the figure on the right is male and the other two female.
The two female deities wear long chitons, in the one case with a
diploidion, and in the other case with sleeves. The figure on the
left has the right hand, which is still preserved, by her side. It
evidently held a spear. In Stuart's engraving this figure wears a
helmet, but the drawing published by Le Roy (_Les Ruines des
plus beaux Monuments de la Grece_, 1758), though in most
respects worthless, seems to show conclusively that the heads are
conjecturally restored in Stuart, vol. iii. ch. i. pls. 15, 16,
while in pls. 17 to 20 no restoration is attempted. The remains of
the figure make it probable that the goddess here represented is
Athene.

The central figure turns towards Athene, to whom her right arm was
probably extended. Passing over the back of her head is a large
mantle, which is also wrapped about the legs, and falls over the
left arm. The male figure in the group probably looked to the
right at the pair of combatants which follows next in order. He
has a mantle twisted round his lower limbs and passing behind his
back. His left hand rested on a sceptre held vertically, which has
now been broken away. All these three figures wear sandals.

The second Goddess may well be Hera, and in that case her male
companion would probably be Zeus.

Length, 4 feet 6 inches. _Mus. Marbles_, IX., pl. 13.

[Sidenote: 3.]

Combat of two warriors. The nude warrior on the left, armed with
shield and helmet, presses forward to the attack; he probably held
a sword in the right hand. His adversary, whose back is turned
towards us, appears to be in retreat, but to be stopping to
deliver a thrust, probably with a spear held in the right hand.
His left arm must have held out a shield, of the rim of which
a fragment remains, attached to the left thigh. His dress is a
chiton _heteromaschalos_. On the right of the slab is seen the
right foot of a warrior, belonging to the succeeding group, of
which the British Museum possesses no cast. The warrior stretches
out his shield to protect a wounded figure lying on the ground.

Length, 2 feet 10 inches. _Mus. Marbles_, IX., pl. 14. For the
missing group, see Stuart, III., ch. I., pl. 17; Overbeck, _Gr.
Plast._, 3rd. ed., I., p. 348.

[Sidenote: 4.]

Part of the legs of the wounded warrior just referred to remains
on the ground, on the left. Next on the right are two warriors
moving to the right. Both these figures are nude, but very
seriously mutilated. It is doubtful whether the figure on the left
was armed with a shield, like his companion. His right foot is
advanced and he is hurrying forward.

Length, 2 feet 8 inches. _Mus. Marbles_, IX., pl. 14.

[Sidenote: 5.]

A battle scene, in which the combatants, four in number, are
hurling rocks; a fifth, overcome in the fray, lies prostrate on
the ground. In this combat one warrior appears to be fighting
against three. On the left an heroic figure, which may well be
Theseus, is seen advancing. In the confusion his mantle has fallen
off, and only hangs over the left arm. With outstretched left hand
he repels a huge stone hurled against him by his adversary; the
right hand appears to have been stretched out behind the body, and
may have held a sword. There appear to be no means of warding
off the stone which the adversary throws with his left hand.
Confronting the hero, supposed to be Theseus, is first the warrior
just mentioned, who hurls a stone with each hand. Behind him is
a second figure, who appears to be looking in the same direction.
His right hand was probably holding a stone behind his head, while
the left hand is stretched back to pick up another stone from the
ground. The third warrior hurls a great stone with his right hand,
while with his left hand he propels the large stone seen behind
the shoulders of the central figure. The fallen figure lies on
rocky ground in the middle of the group of combatants, his head is
much below the level of his body; his right arm, now wanting, has
been resting on a lower level, his left arm is folded helplessly
across his body.

Length, 5 feet 10 inches. _Mus. Marbles_, IX., pl. 16.

[Sidenote: 6.]

Group of two warriors advancing rapidly to the right, each with
a shield on the left arm. One is nude, the other wears a chiton
_heteromaschalos_. Next on the right is a group of one female and
two male deities seated on rocks, and observing the combat.
The Goddess occupies the centre of the group, her head slightly
inclined forward, and looking to the left. She wears a long
chiton, sandals, and a mantle wrapped about her lower limbs. Both
male figures have similar mantles. It may be conjectured that the
three figures in order from the left are Poseidon, Demeter, and
Dionysos; but it is impossible to attribute names to them with any
confidence.

Length, 6 feet 6 inches. _Mus. Marbles_, IX., pl. 15.

[Sidenote: 7.]

Torso of a warrior armed with a large shield, who moves to the
left front. The head, now wanting, was probably turned to the
group next on the right, which consists of two male figures. The
one on the left is evidently a victor holding a prisoner, who
has his hands tied behind his back. The victor wears a chiton
_heteromaschalos_, while the prisoner wears a chlamys.

Between this group and the next figure is a space, in which should
be a male figure standing, turned a little to the right, and
wearing a chlamys. He appears to be giving an order to the figure
on the right.

Length, 3 feet 8 inches. _Mus. Marbles_, IX., pl. 17. For missing
figure, see Stuart, III., ch. I., pl. 20; Overbeck, _Gr. Plast._,
3rd ed. I., p. 348.

[Sidenote: 8.]

Male figure turned to the left, and bending forward. Both arms
have been extended in front of the body. The figure wears a helmet
and a chiton girt at the waist. The left foot, which is advanced,
rested on a higher level than the right foot. There is some
uncertainty as to the motive of this figure. Stuart restores it
as engaged in the erection of a trophy, and this is accepted by
Schultz, _De Theseo_, p. 26; cf. Overbeck, _Gr. Plast._, 3rd ed.,
I., p. 353. For this however there is very little room. Leake
suggested that the figure was engaged adjusting his greave
(_Topogr. of Athens_, 2nd ed., p. 511).

Length, 1 foot 6 inches. _Mus. Marbles_, IX., pl. 17.

ARCHITECTURAL FRAGMENTS.

[Sidenote: =405.=]

Part of the ceiling, _lacunaria_, of the Theseion with six squares for soffits cut through the marble. See fig. 17.--_Elgin Coll._

Length, 3 feet 11-1/2 inches; breadth, 3 feet 4-1/2 inches.
Stuart, III., ch. I., pl. 8, fig. 2.

[Sidenote: =406.= 1.]

Cover from panel of _lacunar_ of the Theseion.--_Elgin Coll._

Height, 10-1/8 inches; breadth, 10-1/8 inches. _Synopsis_, No. 365
(243); Stuart, III., ch. I., pl. 8, fig. 2.

[Sidenote: 2.]

Similar to last.

Height, 10-1/8 inches; breadth, 9-7/8 inches. _Synopsis_, No. 367
(254); Stuart, III., ch. I., pl. 8, fig. 2.

THE ERECHTHEION.

The Erechtheion is an Ionic temple of a peculiar form, which stands near the north side of the Acropolis of Athens. It embodies in a structure of the end of the fifth century the shrines about which the Athenian religion had centred from time immemorial, and to this fact the anomalous character of the plan must be ascribed.

The building consisted of a central cella divided into three portions, and having a portico of six columns at the east end; a porch of six columns at the north-west corner; and a porch of Caryatids at the south-west. It was built of Pentelic marble, with the exception of the frieze, which had a ground of dark Eleusinian marble.

The temple is known to have been incomplete in 409 B.C. At this time a minute survey of the building was made, by order of the Assembly, and the result was recorded in an inscription which is now in the British Museum. (_C. I. G._ 160; Newton & Hicks, _Greek Inscriptions in Brit. Mus._, xxxv.).

The east half of the building was devoted to Athene Polias, whose archaic statue was placed in it.

The remainder of the building was associated with the cults of Poseidon, Erechtheus, Pandrosos, and others. The arrangement has been a subject of much controversy. The passage at the west of the cella probably contained altars of Poseidon (with Erechtheus), of Boutes, and of Hephaestos; the tokens of Poseidon, namely the salt spring, and the marks of the trident, were either in the west central chamber or below the north portico. The south porch served as an additional entrance, but it also contained the tomb of Cecrops. The Pandroseion, which contained the sacred olive-tree of Athene, and a small shrine of Pandrosos, was annexed to the outside of the west end of the building.

The Elgin Collection contains several specimens of the architectural decorations of the Erechtheion. In the above plan (fig. 18), those parts of the building are indicated by letters from which fragments have been obtained. In some instances the exact position is uncertain.

For a discussion of the Erechtheion, see Harrison, _Mythology and
Monuments of Anc. Athens_, p. 481.

[Sidenote: =407.=]

So-called Caryatid, or Canephoros, [Greek: kanephoros] (fig. 19). One of the six female figures which served as columns in the southern portico of the Erechtheion. In the survey of the building these figures are called _Korae_, "maidens." They have been called Canephori (see p. 149) by Visconti (_Memoirs on the Sculptures of the Earl of Elgin_, p. 122), and others. It is true that the maidens here represented are such as those represented on the Parthenon frieze. But there is nothing that specially connects them with the Canephori, or persons who bore the sacred vessels on their heads. By some writers they have been called Caryatids, on account of a statement of Vitruvius (i., chap. 1) that women of Carya, a town of Arcadia, were represented as architectural supports--a punishment which they incurred for betraying the Greeks to the Persians.

The figure here described wears a long chiton, which is drawn up under the girdle, falling in rich folds, and is fastened on each shoulder by a circular brooch. Attached to this is the diploidion, which falls down before and behind. In front it falls to the waist; behind it would trail on the ground, if a part were not looped up to the shoulders, so as to make a deep fold, falling as low as the hips. The hair from the back of the head falls in a thick mass between the shoulders, tied together with a band. The hair gathered from the forehead is woven into tresses. Two fall on each shoulder; the others are twisted round the head in the form of the _krobylos_ (cf. p. 87). The arms are wanting from above the elbows. The right hand probably hung by the side, where the surface of the drapery is seen to have been protected from corrosion. The left hand has drawn from behind one corner of the diploidion.

The head supports a capital, consisting first of a pad or cushion [Greek: tyle], such as was, and still is, used to support weights. (Compare the east frieze of the Parthenon, Nos. 30, 31.) From this the transition to the square abacus is effected by an egg and tongue and a bead and reel moulding.

This statue is admirably designed, both in composition and drapery, to fulfil its office as a part of an architectural design. While the massiveness of the draped figure suggests the idea that the support for the superimposed architecture is not structurally inadequate, the lightness and grace of the pose suggest that the maiden bears her burden with ease.

The original position of the figure is marked A on the plan. Four figures and part of a fifth still remain on the Acropolis. They are uniform in their general design, but differ slightly in pose and arrangement of drapery.

Pentelic marble; height, 7 feet 7 inches. Stuart, II., ch. II.,
pl. 19. _Mus. Marbles_, IX., pl. 6. Rayet, _Monuments_, No. 40;
Mitchell, _Selections_, pl. 7; Murray, II., pl. 17; Wolters, No.
810; _Stereoscopic_, No. 115.

ARCHITECTURE OF THE ERECHTHEION.

[Sidenote: =408.=]

Ionic column from the north end of the eastern portico of the Erechtheion (B on plan). This being a column from an angle of the building, the volutes occur on two adjacent sides, so as to present themselves both to the east and north view.

Height, 21 feet 7-1/2 inches. _Synopsis_, Nos. 125-7, 110; Stuart,
II, ch. II., pls. 4, 5, 6.

[Sidenote: =409.=]

Capital of one of the pilasters (_antae_) and part of necking or wall-band from the east wall of the Erechtheion (C, C, C on plan). It is to be observed that the frieze on the pilaster, though analogous to that on the walls, differs from it in details which heighten the richness of the effect, and which assimilate the pilaster to the columns of the east portico, while the walls resemble the capitals of the north portico. Moreover, on the pilaster the carving of the frieze is raised above the surface of the courses, while on the wall it is set back from the wall face.

The slab on the right must be from the north-east angle of the Erechtheion. The three slabs next to it might belong to the east, north, or south sides, as regards the form and design. But the excellent preservation of the surface, as compared with that of the unprotected north-east angle, seems to show that these slabs are derived from the east wall, where they were protected by the portico.

It is interesting to note the numerous repairs in the series of slabs. They probably date from the time of the construction of the building, and were meant to make good what was broken by accident in the course of construction. On the north side of the pilaster, seven inches of the bead and reel moulding immediately surmounting the anthemia have been skilfully inserted in a groove and fastened with lead. On the east side of the pilaster one of the beads of the lower bead and reel moulding was attached by a plug, of which the hole remains. On the next slab on the left one bead of the upper bead and reel moulding was similarly added. On the second slab from the left, one tongue of the egg and tongue moulding, one piece of spiral connecting the anthemia and one bead were let into the marble. Traces of red colour remain in the upper part of the frieze on this slab.--_Elgin Coll._

Height, 1 foot 7-1/2 inches. The slab containing the capital of
the pilaster is 6 feet in length. Of the other slabs, two are each
4 feet 3 inches in length. The fourth is broken on the right-hand
joint, and measures 4 feet 1-1/2 inches. _Synopsis_ Nos. 252-255
(127-130). _Greek Inscriptions in Brit. Mus._, I., p. 89, _e_, pl.
3, fig. 8. Stuart, II., ch. II., pl. 5. Inwood, _Erechtheion_, p.
110.

[Sidenote: =410.=]

Fragment of frieze similar to last. Joint on left. Found on the north side of the Erechtheion.--_Inwood Coll._

Height, 6 inches; breadth, 6 inches. _Synopsis_, No. 116. Inwood,
_Erechtheion_, p. 138.

[Sidenote: =411.=]

Fragment of leaf, bead and reel, and egg mouldings from the capital of a pilaster at the west side of the south portico of the Erechtheion (D on plan).--_Inwood Coll._

Length, 1 foot 2-1/4 inches; height, 5-1/2 inches. _Synopsis_, No.
118.

[Sidenote: =412.=]

Cymatium moulding from inner architrave of the south portico of the Erechtheion (E on plan).

Height, 2-1/2 inches; length, 7-1/4 inches. _Synopsis_ No. 403.
Inwood, _Erechtheion_, pl. 20. See also Stuart, II., ch. II., pl.
13.

[Sidenote: =413.=]

Piece of architrave, probably part of the beam from the north angle of the east portico of the Erechtheion (F, F on plan). There is a joint on the left of this slab.--_Elgin Coll._

Height, 2 feet 1 inch; length, 8 feet 2-1/2 inches. _Synopsis_,
No. 220 (85). Wilkins, _Prolusiones_, p. 29.

[Sidenote: =414.=]

Piece of the architrave from the south wall of the Erechtheion, broken at each end (G on plan). It is connected with the preceding by a piece of moulding cast in plaster.--_Elgin Coll._

Height, 2 feet 1 inch; length, 8 feet 5-1/2 inches. _Synopsis_,
No. 219 (291). Wilkins, _Prolusiones_, p. 29; _Greek Inscriptions
in Brit. Mus._ I., pl. 3, fig. 9.

[Sidenote: =415.=]

Piece of corona of cornice, from the north portico of the Erechtheion (H on plan). Although not derived from the same part of the temple, this fragment has been placed in connection with the slabs of the architrave, Nos. 413, 414, in order to show the original effect. The space of two feet between the corona and the architrave was occupied by the sculptured frieze. This consisted of marble figures in relief attached by metal clamps on a ground of black Eleusinian marble. A few fragments are extant at Athens.

Length, 4 feet 7 inches; height, 10-1/2 inches; breadth, 1 foot
1-1/2 inches. _Synopsis_, No. 289 (165). Stuart, II., ch. II.,
pls. 4, 5. For the frieze, see Brunn, _Denkmaeler_, Nos. 31-33;
Overbeck, _Gr. Plast._, 3rd ed., I., p. 361.

[Sidenote: =416.=]

Coffer from the _lacunaria_ of the north portico of the Erechtheion (J on plan).--_Elgin Coll._

Height, 3 feet 2 inches; breadth, 3 feet 5-1/2 inches. _Synopsis_,
No. 108 (299). See Stuart, 2nd ed., II., p. 73, note.

[Sidenote: =417.=]

Part of coffer of east portico of the Erechtheion. Found near the eastern portico (K on plan).--_Inwood Coll._

Height, 1 foot 4 inches; breadth, 1 foot 1-1/4 inches. _Synopsis_,
No. 117. Inwood, _Erechtheion_, pl. 20.

[Sidenote: =418.=]

Part of door jamb, perhaps from the eastern doorway of the Erechtheion (L on plan).--_Inwood Coll._

Height, 1 foot 2-3/4 inches; breadth, 6-1/2 inches. _Synopsis_,
No. 115. Inwood, _Erechtheion_, pl. 20.

[Sidenote: =419.=]

Cast of console, _parotis_, from the doorway in the north portico of the Erechtheion (M on plan).

Height, 2 feet 3 inches. _Greek inscriptions in Brit. Mus._, I.,
p. 98, Sec. 14, _b_. Wilkins, _Prolusiones_, pls. 13, 14. _Journ. of
Hellen. Studies_, XII., pl. 1.

[Sidenote: =420.=]

Necking of Ionic column, copied from the columns of the east portico of the Erechtheion.--_Elgin Coll._

Height, 11-1/4 inches; diameter, 2 feet 2-1/2 inches. _Synopsis_,
No. 120 (306*); _Elgin Room Guide_, II., No. A. 2.

TEMPLE OF NIKE APTEROS.

The temple of Nike Apteros (Victory without wings), or more correctly of Athene Nike, stood on the projecting eminence to the south of the approach to the Propylaea at Athens (Paus., i. 22, 4).

The building had remained uninjured till the close of the seventeenth century, and was seen in 1676 by the travellers Spon and Wheler. But not long after, probably about the year 1685, the temple was demolished by the Turks, and the materials were used to build a bastion on the spot where the temple had stood.

In 1835 Ludwig Ross, and the architects Schaubert and Hansen took down the bastion and reconstructed the temple as it now stands. A sufficient amount of the lower part had remained undisturbed to enable them to proceed with certainty.

The temple consists only of a single cella, opening to the east, but has four columns at each end (_tetrastyle amphiprostyle_). It stood on a podium of three steps. The exterior was surrounded by a small frieze, 1 ft. 5-1/2 in. high, and measuring 26 ft. on its long sides, and 17 ft. 2 in. at the ends. The annexed cut (fig. 20) shows the plan of the temple. The arrangement of the slabs of the frieze has been most fully discussed by Ross, but is still uncertain in parts. The west frieze, according to Ross, consisted of the two slabs, Nos. 421, 422, in the Elgin Collection, and the return faces of two slabs of the north and south sides. Each return measures 1 ft. 7 in. The slabs, Nos. 421, 422, measure respectively 6 ft. 8-1/2 in., and 6 ft. 7-3/4 in. The total length, 16 ft. 6-1/4 in., is thus nearly equal to the estimated length of the side. The distribution of the slabs belonging to the long sides is doubtful. No. 425, cast from a corner stone, certainly belongs to the south side. Ross assigns No. 423 to the south side, No. 424 to the north side, on the hypothesis that the mounted horsemen on the same side proceed in the same direction. Kekule (_Die Balustrade_, ed. 1869, p. 17) places them both on the south side, in an order more probable than that suggested by Hawkins (_Mus. Marbles_, ix., p. 29). The east side consisted of two slabs and two returns arranged similarly to those of the west.

The subject of the east side appears to be a council of Gods. The long sides each contained a battle between Greeks and a series of warriors, mounted and on foot, wearing Asiatic costumes and probably intended to represent Persians. The west side is generally taken to represent a battle of Greeks with Greeks. Several attempts have been made to show that historical battles are represented on the frieze. Overbeck suggests that the three sides on which there are combatants belong to one battle, and he conjectures the battle of Plataea (479 B.C.), when Greeks defeated the Persians and their Greek adherents. Other writers, perhaps with more probability, deny that any definite battle is intended, and hold that we see merely a generalised representation of Athenians, victorious alike over Greeks and Barbarians.

It has been shown by Bohn (_Die Propylaeen_, p. 31) and Doerpfeld on technical architectural grounds that the Temple of Victory was not contemplated in the first plans for the Propylaea, but that the form of the Propylaea was modified during the course of construction on account of it. The earliest date thus obtained for the beginning of the present building is about 432 B.C. There is nothing to show what time the temple took to build. In point of style there is a great resemblance between the sculptures of the frieze, and those of the frieze of the Erechtheion, of which a part was being worked, as we know from the inscription, in 409 B.C. The frieze of Nike Apteros may perhaps be placed between 430 and 420 B.C.

Spon, _Voyage_ (ed. 1679), II., p. 105; Wheler, _Journey into
Greece_, p. 358; Stuart, II., ch. V., pls. 12, 13 (from drawings
by Pars, now in the British Museum); Ross, Schaubert and Hansen,
_Die Akropolis von Athen; Abth. I. Der Tempel der Nike Apteros_,
1839; _Mus. Marbles_, IX., pls. 7-10; Overbeck, _Gr. Plast._, 3rd
ed., I., p. 363; Bohn, _Die Propylaeen der Akropolis zu Athen_,
1882; Murray, II., p. 179; Kekule (and Bohn) _Die Reliefs an
der Balustrade der Athena Nike_; Wolters, Nos. 747-760. For
Doerpfeld's views, see Harrison, _Mythology and Monuments of Anc.
Athens_, p. 356. For further references see Wolters, p. 284. A
photographic view of the temple is given by Baumeister, fig. 1234;
and of Nos. 421 to 424 in _Stereoscopic_, No. 121.

THE WEST FRIEZE.

[Sidenote: =421.=]

The return of a slab of the north side, now at Athens, formed the left end of the frieze, and contains two figures advancing to the right to join the fray (Ross, pl. 11. h.). This is followed by slab No. 421, containing a battle of Greeks. In the first group on the left two warriors are engaged in vehement combat. The warrior on the left supports with his right knee the shoulder of a wounded comrade who has fallen at his feet and leans on his right arm. In the next group are two antagonists fighting over the body of a dead combatant, then a warrior who has overthrown his adversary and treads him down with his left foot. He raises his right hand to inflict the mortal wound, and may perhaps have grasped the victim's right wrist with his left hand. In the background is a trophy which appears to consist of a trunk of a tree, to which a helmet, shield, and cuirass have been attached. On the right of the slab is a warrior pursuing a foe flying to the right.--_Elgin Coll._

Pentelic marble; height, 1 feet 5-1/2 inches; length, 6 feet
8-1/2 inches. _Synopsis_, No. 160 (259); Ross, pl. 11, i.; _Mus.
Marbles_, IX., pl. 9; Baumeister, fig. 1240; Brunn, _Denkmaeler_,
No. 118.

[Sidenote: =422.=]

The first figure on the left of the slab appears to be hastening to the assistance of the flying warrior on the right of the slab just described. Next is a complicated group of five warriors fighting for the body of a wounded man. The latter has sunk helplessly on the ground. He is half raised and clasped under the arms by a friend who attempts to draw him away; a foe tries to seize an ankle, and covers himself meanwhile with his outstretched shield. More in the background two adversaries are engaged in hot combat. The warrior on the left probably had a sword, and that on the right a spear. A friend of the fallen man hastens up from the left. The right thigh of this figure, which is now wanting, is preserved in a drawing by Pars.

On the right are two pairs of combatants. In one of these groups a warrior, who has fallen on his right knee, tries to defend himself with his shield, while with the right hand he seizes a stone. The antagonist has his right arm raised to strike, perhaps with a battleaxe, and seizes with his left hand the shield of the kneeling figure. On the right of the slab one of the warriors flies before the assault of his antagonist, whose arms are both raised to strike him.--_Elgin Coll._

Pentelic marble; height, 1 foot 5-1/2 inches; length, 6 feet
7-3/4 inches. _Synopsis_, No. 161 (260); Ross, pl. 11, k.; _Mus.
Marbles_, IX., pl. 10; Overbeck, _Gr. Plast._, 3rd. ed., I., fig.
81, p. q.; Baumeister, fig. 1239; Brunn, _Denkmaeler_, No. 118.

On the right of the slab described was the return of the corner slab of the south side, with a combat of two warriors.

Ross, pl. 11, 1.; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 81, r.

There is a considerable variety of costumes on the west side of the frieze. Some of the figures are nude; others wear the chlamys only, the chiton only, or the two garments together. The chiton is sometimes worn on both shoulders, and some times only on one shoulder. The warriors are for the most part armed with helmets and large bucklers. In two instances a cap of a flexible material is worn instead of a helmet. None, however, of the costumes are non-Hellenic; and further the attempt made by Overbeck (i. p. 365), to show that the helmet of the figure on the extreme right of the frieze is distinctively B[oe]otian, is untenable (Wolters, p. 284).

THE NORTH AND SOUTH FRIEZES.

[Sidenote: =423.=]

Slab containing a part of the battle between Greeks and Persians. In the first group on the left, a Persian has fallen on his right knee, raising his right arm to defend his head. The antagonist presses his left foot on the right thigh of the Persian, raising his right arm for a spear thrust, and probably seizing the hair of the Persian with his left hand. Next is a group of two Persians and a Greek. One of the Persians lies dead on the ground; his mounted comrade urges his horse against the Greek, who draws back, and raises his arm to strike with a battle-axe.

The next group is composed of two Persians on foot and a Greek. In the centre is a wounded Persian, who has been forced down on his left knee and extends his arms forward in entreaty to the Greek, who drags him along, grasping the head of the Persian with his left hand. The right hand of the Greek must have held either a spear or a sword. On the right the other Persian turns back to defend his fallen comrade against the Greek. Both arms are raised to strike, and probably wielded a battle-axe. At his left side hangs a quiver. On the extreme right is a Greek moving to the right in pursuit of a flying Persian of whom only the leg and part of the drapery round the loins remain. The ground on which this scene takes place is rocky.--_Elgin Coll._

Pentelic marble; height, 1 foot 5-1/2 inches; length, 5 feet
10 inches. _Synopsis_, No. 158 (258); Ross, pl. 12, o; _Mus.
Marbles_, IX., pl. 7; Overbeck, _Gr. Plast._, 3rd ed., I., fig.
81, i-l; Baumeister, fig. 1237; Brunn, _Denkmaeler_, No. 117.

[Sidenote: =424.=]

The first pair of combatants on the left are a Persian, who has fallen on his right knee, and who holds up a shield in the form of a crescent, on his left arm to defend himself, and his antagonist, who advances from the right.

Next is a combat between a Greek on foot and a mounted Persian. The latter draws back his right hand, which must have been armed with a spear aimed at the Greek advancing from the left. The horse of the Persian rears as if to strike down with his forefeet the left arm of the Greek, which is thrust forward, protected by his shield. A dead Persian lies on the ground.

Behind the mounted Persian is a comrade, hastening to the left, and pursued by a Greek of whom nothing remains except part of his shield and of the drapery round his loins. This closes the scene on the right.--_Elgin Coll._

Pentelic marble; height, 1 foot 5-1/2 inches; length, 6 feet 1-1/4
inches. _Synopsis_, No. 159 (257); Ross, pl. 12, fig. g; _Mus.
Marbles_, IX., pl. 8; Overbeck, _Gr. Plast._, 3rd ed., I., fig.
81, m, n; Baumeister, fig. 1238; Brunn, _Denkmaeler_, No. 117. On
the position of these slabs, cf. p. 240.

[Sidenote: =425.=]

A plaster cast from one of the slabs now in position on the temple. On the left is a mutilated group representing a Greek warrior turning to assist a comrade who has fallen on his right knee. Next is a Greek moving forward to pursue a mounted Persian who is flying to the right. On the extreme right a Persian on foot flies in the same direction. A slain Persian lies in the foreground. The position of this slab on the temple at the south-east angle is fixed by the relief on its return face which is part of the composition of the eastern front. This return is not given in the cast here described.

Height, 1 foot 5-1/2 inches; length, 3 feet 11-1/4 inches. Ross,
pl. 12, fig. a; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 81, g,
h; Murray, II., pl. 16, fig. 1.

The dress of the Persians in this frieze is the usual chiton with long sleeves, girt at the waist, and close-fitting trousers, _anaxyrides_. One of them, the kneeling figure in No. 424, wears a quiver and bow case, _gorytos_, from which appears the end of his bow, and two others wear quivers. The only Persian whose face is preserved is bearded, and wears the Persian headdress, the _kidaris_. The heads and weapons of both sets of combatants have been nearly all destroyed. Some of the Greeks are armed with the Argolic buckler. Others have a chlamys wound round the left arm or hanging loose from the body.

CASTS FROM THE BALUSTRADE OF THE TEMPLE OF NIKE APTEROS.

The temple of Nike Apteros stood on a lofty projecting bastion, as may be seen from the model of the Acropolis. This bastion was surrounded for safety with a breast-high parapet, consisting of a frieze of sculpture in relief, facing outwards, surmounted by a bronze screen. Several fragments of the frieze or balustrade were discovered on the site, in 1835. (Ross, pl. 13.) Additional fragments were found by Beule in 1852, and in more recent excavations to the east of the temple of Nike, and on the south slope of the Acropolis. They are preserved in the Acropolis Museum at Athens.

The sculptures are too mutilated to be arranged in one composition. It is evident, however, that the frieze consisted of figures of Victories, variously engaged. Some lead bulls to sacrifice, while others are erecting or decking trophies in the presence of Athene.

There is some uncertainty as to the date of the frieze. It cannot be older than the temple, and therefore not earlier than 432 B.C. Kekule (_Balustrade_, p. 22), and Wolters (p. 289) hold that the frieze was produced immediately after that date. But a more admissible view is that which puts the balustrade at the very close of the fifth century. If the different fragments of the balustrade are examined, they seem to reveal a combination of various schools and methods. No. 426, severely draped in chiton and diploidion, seems to have the somewhat stiff dignity best seen in sculptures of the Temple of Zeus at Olympia, but occasionally suggested by the Parthenon sculptures. The figures of Athene (Kekule, _Balustrade_, pl. ii.), have the spirit of the Parthenon frieze. In No. 427 and No. 428, the artist dwells on and emphasises the nude form, displaying it through transparent drapery in a manner that may well be supposed to have been that of the transition from Pheidias to Praxiteles. Finally, in the figure leading the bull (No. 429), there is a florid wealth of drapery, which, among early works, only finds a partial analogy in the frieze of Phigaleia, and which appears more akin to the Nike of Samothrace than to Attic work of the fifth century. This want of uniformity in style suggests a time of transition in which the traditions of the school of Pheidias were still to some extent operative, while newer tendencies were beginning to make themselves felt. Perhaps also they indicate that the work was spread over a space of several years, such as might be expected in the troubled close of the fifth century B.C.

Height of Balustrade, 3 feet 2 inches. Ross, p. 17, pl. 13 (cf.
ante, p. 241); Michaelis, _Arch. Zeit._, 1862, p. 249. All the
materials are collected by Kekule, _Die Reliefs an der Balustrade
der Athena Nike_ (1881), which superseded Kekule, _Die Balustr. d.
Tempels d. Athena Nike_ (1869). See also Overbeck, _Gr. Plast._,
3rd ed., I., p. 369; Murray, II., p. 186; Wolters, Nos. 761-804.
_Stereoscopic_, Nos. 158-160.

[Sidenote: =426.=]

Victory standing, half turned to the left. She holds a greave in her left hand, with which she was probably decking a trophy. She wears a leather helmet.

Kekule, _Balustrade_, pl. 5, fig. R; Overbeck, _Gr. Plast._, 3rd
ed., I., fig. 82.

[Sidenote: =427.=]

Winged Victory turned to the left stoops forward, raising her right foot in order to adjust or unfasten her sandal. A somewhat similar incident is seen on the Parthenon frieze, (west side, No. 29). There, however, the figure has his foot resting on a rock, while here the Victory balances herself on the left foot with the right leg high in the air, in a position of effort such as does not occur on the frieze of the Parthenon.