Chapter XIV: Part III: The Successors of Pheidias (2)

Ross, pl. 13, figs. B, Bb; Kekule, _Balustrade_, pl. 4, fig. O;
Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Murray, II., pl. 16,
fig. 4; Brunn, _Denkmaeler_, No. 35. The meaning of the subject is
not known. In the ritual inscription of Andania the initiated are
ordered to have bare feet, and possibly the Victory is supposed
to be removing her sandals before entering a shrine. Dittenberger,
_Syll._, 388, 15, cf. _ibidem_, 357, 25.

[Sidenote: =428=]

Winged Victory standing turned to the left, the right arm advanced. The right hand and all the left arm being broken away, the motive of this figure has not been ascertained, but probably the Victory was decking a trophy.

Kekule, _Balustrade_, pl. 4, fig. M; _Arch. Zeit._, 1862, pl. 162;
Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Brunn, _Denkmaeler_,
No. 35.

[Sidenote: =429.=]

Two winged Victories about to sacrifice a bull, which one of them is holding back as it springs forward. The other Victory leads the way, moving to the right.

Ross, pl. 13, fig. A; Kekule, _Balustrade_, pl. 1, fig. A;
Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Murray, II., pl. 16,
fig. 3; Brunn, _Denkmaeler_, No. 34.

THE CHORAGIC MONUMENT OF LYSICRATES.

The Choragic Monument of Lysicrates is a small edifice which presents one of the earliest examples of the use of the Corinthian order in Greek architecture. It may be thus described. On a square basement is a cylindrical structure resting on six Corinthian columns. Between them are six equal panels of white marble closely joined; at each vertical joint a Corinthian column has been fitted, so as to project more than half its diameter. Between the capitals were figures of tripods in relief, of which only one now survives. Above the colonnade is the entablature and a cupola or _tholos_; this is in the form of a tiling of laurel-leaves richly decorated round the circumference with a double row of projecting ornaments. From the apex of the roof rises a mass of foliage arranged in a triple form, on the three most projecting leaves of which was placed a bronze tripod, dedicated by a choragos, who had provided a victorious chorus. An inscription on the architrave immediately below the figure of Dionysos furnishes the name and date of the dedicator. It runs,[*] "Lysicrates of Kikynna, son of Lysitheides, was Choragos. The youths of the tribe Acamantis were victors, Theon was the flute player, Lysiades an Athenian was the instructor of the Chorus, Euainetos was Archon." The mention of this magistrate fixes the date of the monument to B.C. 335-4.

*: _C. I. G._ 221; _C. I. A._, II., 1242. [Greek:
Lysikrates Lysitheidou Kikynneus echoregei. Akamantis paidon
enika. Theon eulei. Lysiades Athenaios edidaske. Euainetos
erche.]

The building still stands in its original position at Athens, below the eastern side of the Acropolis and a little to the north-east of the theatre of Dionysos. In antiquity it stood in a street called "the street of tripods" (Paus. i. 20, 1), because of the number of tripods which were there dedicated to Dionysos. At least as early as the 15th century the building was popularly known as the Lantern of Demosthenes. In the 17th and 18th centuries it was built into the wall of the French Capuchin monastery, and the interior served as the library of the Superior. The monastery was burnt in 1821, and the only trace of it is in a few tombstones of French citizens lying near. The monument now stands in an open square. Lord Elgin's casts are the best record of the frieze, as the sculptures, which are of Pentelic marble, have suffered considerably in the last ninety years.

The subject of the frieze here described is the victory of Dionysos over the Tyrrhenian pirates who had kidnapped him from Chios with the intention of selling him as a slave. The God revenged himself by transforming the pirates into dolphins, a myth which is to be found in the Homeric Hymn to Dionysos (No. vi.) and elsewhere (Ovid, _Met._ iii. 650; Nonnus, _Dionys._ xlv. 102; Philostr. _Im._ i. 19, &c. Cf. _Gaz. Arch._ 1875, p. 7). In the frieze the moment is represented when this transformation took place. According to Homer and most other writers, the event happened on board the ship, and the pirates were first terrified by a miraculous appearance of vines and wild beasts. The sculptor has preferred to represent the scene as passing on the rocky shore on which the pirates found Dionysos (_Hom. Hymn_, vi. l. 2) and has made Satyrs help in the vengeance. The subject is thus made to adapt itself to the requirements of sculpture. For a vase with a representation of the literary form of the legend, see Gerhard, _Auserlesene Vasenbilder_, i., pl. 49; Harrison, _Mythology and Monuments of Anc. Athens_, p. 251. An intaglio, with a pirate half transformed, as on the frieze, is engraved in the _Gaz. Arch._ 1875, p. 13.

It is convenient to take the architectural remains of Athens consecutively, and the monument of Lysicrates has therefore been inserted in this place. But the accurately ascertained date (335 B.C.) is a century later than the Parthenon, and it is easy to discern the change that has taken place. The form of Dionysos is becoming softer and more effeminate. The Satyrs on tip-toe belong to a scheme not introduced in the 5th century sculpture; more free play of humour is admitted. At the same time Attic schemes of composition present themselves, which had already come into use in the time of Pheidias.

This frieze is a remarkable example of the Greek power of combining variety and symmetry. On the right and left of Dionysos the groups correspond with great accuracy, but the correspondent groups always differ one from another. On each side of the God we have an attendant Satyr; a Satyr with a crater; a Satyr watching the conflict; a Satyr hastening to join it; a Satyr kneeling on a pirate; a Satyr about to strike a pirate thrown to the ground; a Satyr breaking off a branch from a tree; a pirate, half transformed, leaping into the sea. The remainder of the frieze is less exactly symmetrical.

Wheler, _Journey_, p. 397; Spon, _Voyage_ (ed. 1679), II., p.
132. A view of the monument from the monastery garden is shown in
Stuart, I., chap. IV., pl. 1. The view from the street is in Le
Roy, _Ruines_, pl. 13. A view of the interior used as a library,
Dodwell, _Tour_, I., pl. facing p. 289. A view subsequent to the
destruction of the monastery is given, _Exp. de Moree_, III., pl.
96. For the present state of the monument see Harrison, _Mythology
and Monuments of Anc. Athens_, p. 245. The original frieze is of
Pentelic marble; height, 10-1/2 inches. Stuart, I., ch. IV., pls.
1-26. Stuart's drawings which are freely restored are the basis of
the inaccurate plate in Stuart, 2nd ed., Vol. I., ch. IV., pl. 30.
The illustrations in most of the text-books are derived from the
latter plate; e.g., Mueller, _Denkmaeler_, pl. 37; Overbeck, _Gr.
Plast._, 3rd ed., II., p. 91. These works all repeat an erroneous
order of the two groups of No. 8, which spoils the symmetry of the
frieze; cf. Murray, II., p. 333. An independent and more accurate
publication is that in _Mus. Marbles_, IX., pls. 22-26, taken from
the Elgin casts. See also Ellis, _Elgin Marbles_, II., pp. 79-87.
The British Museum also possesses a careful series of drawings
from the sculptures, by Lord Elgin's artist, Lusieri. _Report of
the Elgin Committee, appendix_, p. xli.; Wolters, No. 1328.

[Sidenote: =430.= 1.]

In the centre of the composition is Dionysos turned to the left,
reclining on a rock over which drapery is thrown. He leans on his
left elbow; with his right hand he caresses a panther which fawns
on his knees. In the left hand Dionysos appears to have held a cup
and a thyrsos, of which traces appear behind his left shoulder.
This figure is now entirely destroyed on the original. There is
a considerable resemblance in the pose of Dionysos to that of the
so-called Theseus of the east pediment of the Parthenon. On either
side of Dionysos is a Satyr, seated on lower rocks. The Satyr
on the right clasps his left knee with both hands. (Compare the
figure on the east frieze of the Parthenon No. 26). His head was
probably turned towards Dionysos. The Satyr on the left of the God
rests his left hand on the rock behind him; his right knee is bent
and the right leg drawn up under it; in his right hand he holds a
thyrsos; his body and head are turned to the right.

_Mus. Marbles_, IX., pl. 24.

[Sidenote: 2.]

Next on the left is a Satyr advancing over rocky ground towards a
large crater; in his right hand he holds an oinochoe, with which
he is about to take wine from the crater; in his left hand
has been a phiale; a fawn skin, _nebris_, hangs from his left
shoulder. His head appears to have been turned towards Dionysos.
On the opposite side of the vase stands a Satyr turned to the
left, resting his elbows on the stump of a tree, over which is
thrown a panther's skin; the top of a thyrsos appears above his
right shoulder. He appears to have been bearded.

This figure looks on at the destruction of the pirates which is
represented in a series of groups on the left, and which we must
suppose to have taken place on a rocky shore overlooked by the
higher ground on which Dionysos reclines.

_Mus. Marbles_, IX., pl. 24.

[Sidenote: 3.]

A Satyr advances to the left with a burning torch, with which he
is about to assail the fallen pirate of the next group. This Satyr
is nude and bearded. His head is bound with a diadem. The head and
left leg are now lost on the original. The next group on the left
represents a pirate thrown on his hands and knees upon the rocks.
On his back kneels a Satyr whose right arm is upraised to strike
his prostrate foe with some weapon which is not clearly shown in
the relief, but which was probably a pedum, or perhaps a branch.
The Satyr has a panther's skin floating in the air, at his back.
Between the legs is a lump of plaster, which is due to a fault in
the moulding.

_Mus. Marbles_, IX., pl. 23.

[Sidenote: 4.]

Next on the left is a bearded Satyr, who draws back to the right,
to collect his force for a blow, with his thyrsos. Meanwhile he
looks back at a pirate on his left, who kneels with his hands tied
behind him, and looks round towards the Satyr in helpless terror.
A panther's skin, hanging from the left shoulder of the Satyr,
floats in the air at his back.

_Mus. Marbles_, IX., pl. 23.

[Sidenote: 5.]

The next figure on the left is a bearded Satyr who turns to the
right kneeling on his left knee, set in the fork of a tree close
to the edge of the sea; with both hands he is breaking off a
branch. His panther's skin floats in the air behind his back. His
right foot stands in shoal water, which is indicated by curling
waves. Behind him on the left is a pirate, whose body to the waist
is transformed into a dolphin, and who leaps head foremost into
the sea.

_Mus. Marbles_, IX., pl. 23.

Between No. 5 and No. 6 is about a yard of frieze, wanting in
the cast. This is given, freely restored, by Stuart. An accurate
drawing by Lusieri is preserved in the Museum (Plate ix.). A
bearded Satyr holds out a torch and pursues a pirate who runs away
at full speed. A hole has been cut between them for the insertion
of a beam. A rock and tree separate this group from the following,
No. 6.

[Sidenote: 6.]

This group is rather better preserved in the drawing of Lusieri
than in the cast. A young pirate is seated on the ground leaning
on his left arm. The right hand is extended in supplication to the
bearded Satyr, who is dragging him seawards by the foot. A hole
has been cut through the figure for a beam. The Satyr stands in
the waves. Behind him a pirate, half transformed, is in the act of
leaping into the sea. This figure is now almost destroyed in the
original. As it is leaping to the right, it belongs strictly to
that part of the circular frieze which represents the scene on the
right of Dionysos.

_Mus. Marbles_, IX., pl. 22.

[Sidenote: 7.]

On the right of the central group (No. 1) is a bearded Satyr
moving to the right towards a large crater. In his right hand he
holds up an oinochoe or wine jug. His left is extended over the
crater and holds a phiale. This figure appears to be bearded,
though it is drawn as beardless by Lusieri; the head is now
wanting. Next on the right are two Satyrs, each wearing a panther
skin. The Satyr on the left turns to the right and extends his
right hand towards the second Satyr, as if giving him an order.
The latter looks round to the left, as if to receive the order,
while he is hastening to the right with both hands raised, as if
pointing.

_Mus. Marbles_, IX., pl. 25.

[Sidenote: 8.]

Next on the right is a prostrate pirate, on whose buttock a
bearded Satyr is kneeling with his left knee, while he holds the
pirate's hands, as if to tie them behind his back. The pirate
kneels on the rock, with his head pressed upon the ground and
turned towards the spectator.

The next group on the right is composed of a Satyr, who has thrown
a pirate backward on the rock, and is about to strike him with a
pedum or club. The pirate has his left knee bent under him, and
leans back on his right elbow: he advances his right foot and left
arm to defend himself. He is drawn by Lusieri with a negro face
and pointed ear. The ear seems pointed, but it is manifest that
the features are wrongly drawn. The head is now wanting on the
original. The Satyr has his body facing to the front and inclined
to the left with the right leg advanced: his right hand is raised
to the level of his head. The action shows that he is about to
swing his body round to give effect to the blow which he is aiming
at the pirate. On his left arm is the panther's skin, worn as a
shield.

_Mus. Marbles_, IX., pl. 25.

[Sidenote: 9.]

In the next group are a Satyr and a transformed pirate, separated
by a tree which marks the edge of the rocky shore, as at the
opposite side of the frieze. The Satyr stoops forward, breaking
off with both hands a branch of the tree, which he is about to use
as a weapon. He is bearded. The right leg is now wanting on the
original. The pirate darts head foremost into the water, pressing
his feet against the trunk of the tree.

_Mus. Marbles_, IX., pl. 26.

[Sidenote: 10.]

On the right of the transformed pirate is a group representing a
Satyr about to strike with a branch of a tree a pirate seated
on the ground, whose head he draws back with his left hand,
brandishing in his right hand the branch held behind his neck;
from the left arm of the Satyr hangs his panther's skin. He
is bearded. In the drawing of Lusieri he has an ivy wreath and
pointed ears. On the original this group is mutilated almost
beyond recognition. The last group on the right is composed of a
Satyr darting forward with a lighted torch, which he is about to
apply to a pirate seated on a rock with his hands tied behind his
back. A large serpent behind the pirate has fastened its fangs on
his right shoulder, and has one coil between his right arm and his
back. The pirate looks round in agony towards his assailants. The
serpent suggests the form of the legend usually current, in which
Dionysos is assisted by strange monsters. According to Nonnus,
_Dionys._, xlv., 1. 134, the ropes of the rigging of the ship
turned to serpents.

[Sidenote: =431.=]

Cast from the capital of a column of the Choragic Monument of Lysicrates.

Height, 2 feet 3/4 inches. _Synopsis_, No. 360*. See Stuart, I.,
ch. IV. pl. 6, fig. 1.

THE CHORAGIC MONUMENT OF THRASYLLOS.

[Sidenote: =432.=]

The statue of Dionysos, here described, originally decorated a choragic monument, of which some scanty remains may still be seen below the southern wall of the Acropolis of Athens, and immediately above the Dionysiac theatre. The monument was in the form of a portico, the architrave of which rested on three pilasters which masked the entrance to a cavern in the rock. Until removed by Lord Elgin the statue stood above the facade. Since the removal of the statue the portico itself has been destroyed, and at present only the base and lower portions of the pilasters stand in position, while fragments of the inscription lie close at hand. We learn from the inscription on the centre of the face of the monument that it was dedicated by Thrasyllos to commemorate the victory gained by his tribe in the dramatic contest in which he was himself choragos, in the archonship of Neaichmos (320 B.C.); _C. I. G._, 224; _C. I. A._, ii., 1247. On the right and left were inscriptions recording the dedication of tripods by Thrasycles, son of Thrasyllos, who was agonothetes in the archonship of Pytharatos (271 B.C.); _C. I. G._, 225, 226; _C. I. A._, ii., 1292, 1293. At some date intermediate between these two, probably about 310 B.C., the state had assumed the burden of providing the chorus, and the agonothetes or director of the contest took the place of the choragos, or provider of the chorus. (Hermann, _Lehrb. d. Griech. Antiq._, Mueller's ed., iii., pt. ii., p. 339.)

It has commonly been supposed that the statue belongs to the dedication of Thrasyllos. Stuart made the infelicitous conjecture that it held the votive tripod on its lap. The most recent writer on the subject, Reisch (in the _Athenische Mittheilungen_, xiii., p. 383), conjectures that the monument of Thrasyllos was originally surmounted by a pediment on which was a tripod; and that the pediment was removed by Thrasycles, who placed the statue in the centre, and bases for his tripods at the sides. It is left unexplained what became of the tripod of Thrasyllos. From the style of the statue we cannot decide between the two dates. Reisch well points out that in composition and spirit there is an attempt, only partially successful, to preserve the manner of Pheidias as seen in the Parthenon pediments. The figure is majestic, but the drapery is rather heavy. The influence of the younger Attic school hardly makes itself felt.

The statue is that of a colossal seated figure, the head, arms, and right foot to the instep wanting. The body is clad in a talaric chiton, over which is a panther's skin, passing like a scarf from the left shoulder to the right side, and bound round the waist by a broad girdle, under which is seen the panther's face and teeth; an ample mantle passes from the back of the figure over the lower limbs, falling in rich folds across the lap. The head and left arm of this statue were of separate pieces of marble, and were originally morticed to the body. The head was wanting as early as the visit of Spon and Wheler to Athens in 1676. On the left thigh is a sinking about 6 inches deep, 5 long, and 1-1/2 wide, in which some object may have been inserted, but which may have been used when the statue was being placed in position. On the drapery of the left shoulder there is a hole for a rivet. It seems probable that the God was represented with a lyre, the base of which rested on his left thigh. This instrument was the attribute of Dionysos Melpomenos (see Gerhard, _Ant. Bildwerke_, text, p. 240), and the costume of the figure seems assimilated to that of a citharist.--_Elgin Coll._

Pentelic marble; height, 6 feet 3 inches. The stone is roughly
hewn out at the back to lighten the figure. Wheler, _Journey_, p.
368; Le Roy, _Ruines_, pl. 8; Stuart, II., ch. IV., pls. 3, 6;
_Mus. Marbles_, IX., pl. 1; Ellis, _Elgin Marbles_, II., p. 90;
Overbeck, _Gr. Plast._, 3rd ed., II., p. 94; Reisch, _Athenische
Mittheilungen_, XIII. (1888) pl. 8, p. 383; _Stereoscopic_, No.
114; Brunn, _Denkmaeler_, No. 119.

THE PROPYLAEA.

The Propylaea, or gateways to the Acropolis, were constructed by Mnesicles under the administration of Pericles, in the five years 436-431 B.C.

The main portion of the building consisted of two Doric portions, facing respectively inwards to the Acropolis and outwards. These were connected by a series of Ionic columns. The entrance was flanked on each side by wings (see the plan, fig. 20). The Elgin Collection contains a few architectural remains from the building. A portion of the cedar dowels which connected the drums of the columns of the Propylaea may be seen in the Bronze Room.--_Presented by A. W. Franks, Esq._ Cf. Dodwell, _Tour_, I., p. 313.

[Sidenote: =433.=]

Capital of Doric column from the Propylaea. It is impossible to tell from the dimensions whether this capital is derived from the internal or external portico.--_Elgin Coll._

Pentelic marble; width of abacus, 5 feet 5-1/2 inches. _Synopsis_,
No. 130 (206). Stuart, II., ch. V., pl. 7, fig. 1. Penrose,
_Athen. Architecture_, ch. X., pl. 31; Bohn, _Die Propylaeen_, pls.
11, 13, fig. 2.

[Sidenote: =434.=]

Piece of drum of Ionic column from the inner order of the Propylaea.--_Elgin Coll._

Pentelic marble; height, 1 foot 4-1/2 inches; diameter, 3 feet 1/8
inch. _Synopsis_, No. 129. Penrose, _Athen. Architecture_, ch. X.,
pl. 32.

[Sidenote: =435.=]

Part of band for supporting the beams of the ceiling in the central hall of the Propylaea. There are considerable remains of the painted mouldings.--_Elgin Coll._

Pentelic marble; height, 1 foot 7-1/4 inches; length, 3 feet
10-1/2 inches. _Synopsis_, No. 131 (308). Stuart, II., ch. V., pl.
8, fig. 1; Bohn, _Die Propylaeen_, pl. 12, fig. 6.

MISCELLANEOUS ARCHITECTURAL FRAGMENTS.

[Sidenote: =436.=]

Capital of one of the antae from the small Ionic temple near the Ilissos seen by Stuart, but destroyed since his time in 1780.--_Elgin Coll._

Height, 1 foot 1/8 inch; breadth, 2 feet 1/2 inch. _Synopsis_,
No. 170 (174). Stuart, I., ch. II., pl. 8, fig. 1. See also Leake,
_Topography of Athens_, 2nd ed., p. 250.

[Sidenote: =437.=]

Moulding with anthemion, plait, maeander, and leaf, bead and reel patterns. Found near the south-east _anta_ of the Erechtheion. --_Inwood Coll._

Height, 8-1/4 inches; breadth, 6-3/4 inches. _Synopsis_, No. 407.
Inwood, _Erechtheion_, pl. 26, p. 138.

[Sidenote: =438.=]

Antefixal ornament or acroterion from the temple of Demeter at Eleusis. For a similar ornament see Kinnard in Stuart's _Antiquities of Athens_, 2nd ed., iii., pl. 1, p. 53.--_Elgin Coll._

Pentelic marble; height, 3 feet 7-1/2 inches. _Synopsis_, No. 169
(173); Laborde, _Le Parthenon_, pl. 27.

[Sidenote: =439.=]

Ornament of roof-tile, _kalypter anthemotos_. Purchased by Inwood at Athens.--_Inwood Coll._

Pentelic marble; height, 8-3/4 inches. _Synopsis_, No. 417.
Inwood, _Erechtheion_, pl. 28, fig. 3, p. 144.

[Sidenote: =440.=]

Ornament of roof-tile. Probably purchased by Inwood at Athens.--_Inwood Coll._

Pentelic marble; height, 10-3/4 inches. _Synopsis_, No. 412.
Inwood, _Erechtheion_, pl. 28, fig. 2, p. 144.

[Sidenote: =441.=]

Ornament of roof-tile, found "on the gable of a small Greek church, that appears to have been on the site of a temple" "in the gardens at Athens, beyond Mount Anchesmus."--_Inwood Coll._

Pentelic marble; height, 8-1/2 inches. _Synopsis_, No. 411.
Inwood, _Erechtheion_, pl. 23, p. 131.

[Sidenote: =442.=]

Ornament of roof-tile found built into a modern house near the Choragic Monument of Lysicrates.--_Inwood Coll._

Pentelic marble; height, 11 inches. _Synopsis_, No. 413. Inwood,
_Erechtheion_, pl. 28, fig. 5, p. 144.

[Sidenote: =443.=]

Capital of Ionic column discovered by Inwood built into the wall of a small Greek chapel called Agia Marina on the left bank of the Ilissos at Athens. This is probably the site of the temple of Artemis Eucleia mentioned by Pausanias (i., 14, 5, and compare ix., 17, 1). Roses are sculptured in the eyes of the volutes. Inwood remarks (p. 136) that the central enrichment over the cymatium between the volutes is unusual. From the absence of mortices by which the capital could be secured to the architrave or to the shaft, he infers (p. 133) that this capital may have belonged to some sepulchral stele or other work, where great strength of construction was not required. Boetticher, who engraves this or a similar capital, is of the same opinion. The opposite face of the capital is nearly all broken away.--_Inwood Coll._

Pentelic marble; width from centre of volute to centre of volute,
12-3/4 inches. _Synopsis_, No. 398. Inwood, _Erechtheion_, p. 132,
pls. 24-25. Boetticher, _Tektonik_, pl. 30, fig. 7, text, p. 299.

[Sidenote: =444.=]

Volute of Ionic capital. Inwood (p. 128) states that it was found near the site of the temple of Nike Apteros, and that from its scale it probably belongs to that temple. This, however, is not the case, as may be seen by comparing this fragment with the capital of the temple of Nike Apteros in Ross, _Akropolis von Athen_, pls. vii., viii. The pulvinus of this capital is ornamented with leaves, as in the example from Athens in Boetticher's _Tektonik_, pl. 31, fig. 5, text, p. 299.--_Inwood Coll._

Pentelic marble; height, 1 foot; breadth, 9-1/2 inches.
_Synopsis_, No. 404, where it is incorrectly described as a
capital from the temple of Nike Apteros. Inwood, _Erechtheion_,
pl. 21.

[Sidenote: =445.=]

Volute of Ionic capital, which, according to Inwood (p. 127) was found in a wall below the north side of the Acropolis at Athens. In the eye of this volute a rose is sculptured in relief. In the capitals of the Erechtheion there was a similar rose of bronze gilt, for which a recess is carved in the marble.--_Inwood Coll._

Pentelic marble; height, 7-3/4 inches; breadth, 9 inches.
_Synopsis_, No. 410. Inwood, _Erechtheion_, pl. 20; Boetticher,
_Tektonik_, text, p. 299.

[Sidenote: =446.=]

Fragment of the shaft of a column which was fluted with twenty-four flutes, the diameter being about two feet two inches. The dimensions differ from those of the columns of the Erechtheion.--_Greece._ _Presented by W. R. Hamilton, Esq._

Marble; height, 1 foot 7 inches; width, 1 foot 6 inches.

[Sidenote: =447.=]

Capital of Corinthian column, from one of the porches of the building at Athens, commonly known as the Tower of the Winds, or more correctly as the Horologium of Andronicus Cyrrhestes (built probably in the 2nd century B.C.).--_Formerly in the Elgin Collection._

Marble; height, 1 foot 4-1/2 inches. Stuart, I., chap. III., pl.
7.

[Sidenote: =448.=]

Unfinished Ionic base.--_Formerly in the Elgin Collection._

Marble; height, 9 inches; diameter, 1 foot 10-3/4 inches.

AGORACRITOS OF PAROS.

[Sidenote: =460.=]

Fragment of colossal head, showing the right cheek, right eyelid and right side of the head as far as the ear. The hair is waved. On the crown of the head eleven holes are pierced in the marble, evidently for the attachment of a wreath or other ornament. The left side and back of the head have been cut or broken away. So far as can be inferred from the little original surface remaining, this head was in a fine style of the fifth century B.C.

The style and material of this work, and the place of its discovery, give good grounds for thinking that it is a fragment of the famous statue of Nemesis by Agoracritos of Paros. The exact date of Agoracritos is not recorded, but he is said to have been a favourite pupil of Pheidias. The statue of Nemesis is described as a colossal figure of the type of Aphrodite, holding in her hands an apple branch and a phiale, on which were figures of Aethiopians. She had no wings, and stood on a base, sculptured with subjects relating to the birth of Helen and the Trojan war. The figure wore a diadem, adorned with deer and figures of Victory of no great size. Compare the diadem of Pandora, described by Hesiod, _Theogony_, 581; the diadem of Hera of Polycleitos (Paus., ii., 17, 4); the Cypriote terracottas, in the Terracotta Room, wall cases 1 and 27; and the Cypriote sculptures in the Cyprus Room. The numerous holes mentioned above must have served for the attachment of an ornament of some weight, and so confirm the proposed identification.

According to tradition the statue was made of a block of Parian marble, which was brought by the Persians, before the battle of Marathon, to be erected as a trophy for the capture of Athens. (Paus., i., 33. 2; _Anthol. Pal. App. Plan._, iv., 221, 222, 263). Found on the site of the _Temple of Nemesis at Rhamnus_.--_Presented by J. P. Gandy Deering, Esq., 1820._

Parian marble; height, 1 foot 4-1/2 inches. _Uned. Antiquities of
Attica_, p. 43; Leake, _Athens and Demi of Attica_, II., p. 108;
_Synopsis_, No. 325 (273); _Elgin Room Guide_, II., No. E. 4;
Six, _Num. Chron. 3rd. Ser._, II., p. 94; _cf._ coin of Cyprus,
_ibidem_, pl. 5; Gardner, _Journ. of Hellen. Studies_, VIII., p.
47; Rossbach, _Athenische Mittheilungen_, XV., p. 64; Overbeck,
_Schriftquellen_, 834-843.

POLYCLEITOS OF ARGOS AND THE PELOPONNESIAN SCHOOL.

Polycleitos of Argos was, as has already been observed (p. 90), one of the great pupils of Ageladas of Argos, who was also the master of Myron and perhaps of Pheidias.

Nothing is recorded as to the life of Polycleitos; his age, as compared with that of Pheidias, is not accurately known. It is probable that he was rather younger than Pheidias, as he was working at a later date. Pliny gives the 90th Olympiad, or 420 B.C., as the date of Polycleitos. This may be the date of his great statue of Hera at Argos, the older temple of Hera having been burnt in 422 B.C., and it was probably near the end of the sculptor's life.

No original works by the hand of Polycleitos survive, but several sculptures are known which can be shown with probability to have been copied more or less directly from originals, of which the character is thus ascertained.

Polycleitos was famous in antiquity as the author of a methodical system of proportions for the human form. One in particular of his figures, the Doryphoros, was known as the _Canon_, and was adopted as the ideal type of a youthful male figure by later sculptors. This figure, and its companion the Diadumenos (see below, Nos. 500, 501), are known to us from copies. They are of vigorous make and square build, but somewhat heavy when compared with the graceful youths of the Parthenon frieze. But the words of Quintilian, who says (_Inst. Orat._, xii., 10, 7) that some critics objected to the works of Polycleitos as being wanting in weight and unduly elegant, suggest that the extant copies do not convey an accurate impression of the bronze originals, and in fact some of the numerous Doryphoros heads which have been found in Italy present a profile which strikingly recalls the profiles of the youths on the Parthenon frieze. Polycleitos was also noted for his technical skill and perfect workmanship.

The works that have been associated with Polycleitos, in the British Museum, are here described (Nos. 500-503). A fragment, however, of a group of two boys playing with knuckle-bones (_Mus. Marbles_, ii., pl. 31), which was ascribed by Winckelmann to Polycleitos (_Hist. de l'Art_, Bk. vi., chap. 2; Pliny, _H. N._, xxxiv., 10), is no doubt of a later period, and is therefore omitted.

[Sidenote: =500.=]

Graeco-Roman copy of the Diadumenos of Polycleitos. Statue of a nude youth, tying a band (taenia) about his head. He stands principally on the right leg, resting lightly on the left leg, and has both hands raised. The left hand is lost. The band was made of bronze, and holes remain for its attachment. The left side of the face has been very much rubbed down. By the side of the figure is a tree-stump.

That this figure is the Diadumenos of Polycleitos is indicated by its close resemblance in style to the figure at Naples, believed to be a copy of the Doryphoros (see No. 502). It would be a remarkable coincidence if we had two companion statues representing respectively a Diadumenos and a Doryphoros, known from the number of replicas to be copies of important works, and agreeing in style with what would be expected of the art of Polycleitos, but yet derived from independent sources.

The head was found at a distance of two-thirds of a mile from the torso. The torso was found in 1862 in the _Roman Theatre, at Vaison (Vaucluse)_.

Marble; height, 6 feet 1 inch. Restorations:--Nose, fingers of
right hand, parts of left thigh and of left shin and heel; also
the upper part of the stump. The figure should perhaps be set
with the ancient surface of the base horizontal, and so lean less
forwards. _Mon. dell' Inst._, X., pl. 49, figs. 1-3; _Annali dell'
Inst._, 1878, p. 11 (Michaelis); Rayet, _Monuments_, I., No. 30
and text; Overbeck, _Gr. Plast._, 3rd ed., I., p. 388; Murray, I.,
pl. 10, p. 274; Wolters, No. 508.

Other examples more or less nearly reproducing this type
are:--(_a_) A bronze from the De Janze Collection in the French
Bibliotheque Nationale. _Annali dell' Inst._, 1878, pl. B, p. 11
(Michaelis); Rayet, _Monuments_, I., No. 31; Babelon, _Le Cabinet
des Ant. a la Bibl. Nationale_, pl. 13. (_b_) A terracotta
statuette in an English private collection. _Journ. of Hellen.
Studies_, VI., p. 243, pl. 61. (_c_) A sepulchral relief from
Praeneste, in the Vatican, commemorating one Tiberius Octavius
Diadumenus, and having a relief of a Diadumenos, in allusion to
the name. Pistolesi, _Vaticano_, IV. 84. (_d_) A gem. _Journ. of
Hellen. Studies_, II. p. 352. See also No. 501.

[Sidenote: =501.=]

Graeco-Roman statue of a Diadumenos. Statue of a nude youth standing, tying a band (taenia) about his head. Both arms were raised, but the left is lost. This figure, like the Diadumenos of Vaison (No. 500), stands principally on the right leg, but the left leg is differently placed, and the whole pose is thereby altered. By the side of the figure is a stump of a palm.

The hair falls in curls, and the figure is more youthful than the Diadumenos of Vaison. Except in the similarity of subject these statues have little in common, and if the Vaison figure represents the statue of Polycleitos, this figure would appear to be either an independent rendering of the same subject, or only remotely derived from Polycleitos. It was, however, for a long time regarded as a copy of the work of Polycleitos, and this view has been held by several writers, after the discovery of the Vaison Diadumenos.--_Farnese Coll. 1864._

Pentelic marble; height, 4 feet 10-1/4 inches.
Restorations:--Nose, parts of band. The right leg appears to be
ancient, but worked over. In the earliest publications (Cavalieri,
&c.) the left arm is drawn as if restored. The statue is first
known in the Villa Madama, near Rome (Cavalieri, _Ant. Stat. Urb.
Romae Liber_, 1569, pl. 97). It was afterwards in the Farnese
Gardens, in the Farnese Palace, and at Naples. Guattani, _Mem.
Encicl._, V., pl. facing p. 83; Gerhard, _Ant. Bildwerke_, pl.
69, p. 311; Mueller-Wieseler, _Denkmaeler_, I., pl. 31, fig. 136;
Clarac, V., pl. 858 C, 2189 A; _Annali dell' Inst._, 1878, pl. A,
p. 20 (Michaelis); Murray, I., pl. 9, p. 273; Rayet, _Monuments_,
text to No. 30; Mitchell, p. 388; Wolters, No. 509; Mansell, No.
726.

The Polycleitan origin of the Farnese statue is supported by
Winckelmann (_Hist. de l'Art_, Bk. VI., chap. 2), Guattani (_loc.
cit._), Newton (Rayet, _loc. cit._), Brunn (_Annali dell' Inst._,
1879, p. 218), Murray (_loc. cit._).

[Sidenote: =502.=]

Statuette copied from the Doryphoros of Polycleitos (?). Figure of youth having the arms broken off from the shoulders, and the legs from above the knees. The head is slightly bent forwards, and turned to the left of the figure. The left leg was advanced in front of the right leg.

The figure, like a bronze statuette at Athens (_Mon. dell' Inst._, viii., pl. 53), which it nearly resembles, may perhaps be a modified rendering of the Doryphoros of Polycleitos. The Doryphoros (spear-bearer) was a figure of a nameless athlete, which carried a spear, and which was the Canon or typical model of later sculptors (see above). The type was first recognized by Friederichs in a statue from Pompeii, now in the Museum at Naples, and other copies have since been identified.--_Athens._

Marble; height, 9 inches. Unpublished. The principal examples of
the type are:--(_a_) Figure at Naples (Friederichs, _Doryphoros
des Polyclet_; Rayet, _Monuments_, I., No. 29; Overbeck,
_Gr. Plast._, 3rd ed., I., fig. 84). (_b_) Relief from Argos
(_Athenische Mittheilungen_, III., pl. 13; Mitchell, p. 386).
(_c_) Bronze bust from Herculaneum, at Naples, found with a
companion bust of an Amazon (Comparetti, _La Villa Ercolanese_,
pl. 8, fig. 3). (_d_) Gem at Berlin (Overbeck, _Gr. Plast._, _loc.
cit._). For other copies, see Michaelis, _Annali dell' Inst._,
1878, p. 6; Wolters, Nos. 506, 507.

[Sidenote: =503.=]

Head of Amazon, slightly inclined to the left and looking down, with an expression of pain on the face. The hair is parted in the middle, and drawn back over the ears to the back of the head, where it is gathered in a bunch. The sharp parallel lines in which it is worked suggest that the head is copied from a bronze original.

Pliny relates (_H. N._, xxxiv., 53) that four artists, Polycleitos, Pheidias, Cresilas and Phradmon, made statues of Amazons which were placed in the temple of Artemis at Ephesus. Polycleitos was accounted to have won the competition, as he obtained the second vote of each of his rivals. This account of the contest has the appearance of a late invention. There are, however, many statues and busts of wounded Amazons which appear to be copies, more or less exact, of three types, different one from another, but yet so far alike that they may have been produced by artists working on one plan.

The present head belongs to the type which various archaeologists (Kluegmann, _Rhein. Mus._ 1866, p. 327; Michaelis, _Jahrb. des Arch. Inst._, i., p. 40) have assigned to Polycleitos. The complete figure is that of a wounded Amazon, leaning with the left arm on a pillar, and having the right hand resting on the top of the head.

_Brought to England by Lyde Brown. Purchased by Townley, 1774._--_Townley Coll._

Greek marble; height of ancient portion, 10-1/4 inches.
Restorations:--Tip of nose, throat and bust. _Mus. Marbles_, X.,
pl. 5; _Guide to Graeco-Roman Sculptures_, I., No. 150; Murray, I.,
p. 280; _Jahrbuch des Arch. Inst._, I., 1886, pl. 3, No. 2; p. 16,
_K_, (Michaelis). There is a drawing by Cipriani in the British
Museum (_Add. MSS._ 21,118, No. 12).

The best examples of the type are:--(_a_) A statue at Lansdowne
House, London. _Specimens of Ant. Sculpture_, II., pl. 10.
_Cat. of Lansdowne Marbles_, No. 83. (_b_) A bronze head from
Herculaneum, now in the Museum at Naples. Comparetti, _La Villa
Ercolanese_, pl. 8, fig. 1. (_c_) Compare the Amazon on the
Phigaleian frieze (No. 522). For further literature and examples,
see Michaelis, _loc. cit._

[Sidenote: =504.=]

Head of Hera (?). Ideal female head wearing a lofty diadem. The hair was brought to the back of the head, where it was tied in a knot, now lost.

It is thought possible that this head may be derived from the Argive statue of Hera by Polycleitos, for which the coins of Argos may be compared (_Journ. of Hellen. Studies_, vi., pl. 54, Nos. 12-15).--_Girgenti._

Marble; height, 1 foot 4 inches. The lower part of the back of the
head on the right side, which had been broken, has been in modern
times roughly carved on the fractured surface to represent hair,
and the end of the diadem. The surface of the face has also
suffered from being worked over. The genuineness of the sculpture
has been questioned, without reason. _Mon. dell' Inst._, IX.,
pl. 1; Helbig, _Annali dell' Inst._, 1869, p. 144; Overbeck, _Gr.
Kunstmyth._, pl. 9, figs. 4, 5; II., p. 81, 3; Murray, I., p. 268;
Wolters, No. 501; Furtwaengler, _Arch. Zeit._, 1885, p. 275, fig.
A; Murray, _Roemische Mittheilungen_, I., p. 123.

THE TEMPLE OF APOLLO AT PHIGALEIA.

The Temple of Apollo Epicurios, at Phigaleia, in Arcadia, stands in a slight depression on the bare and wind-swept side of Mount Cotylion, above the valley of the river Neda. It was discovered towards the end of the eighteenth century, but on account of its remote position it was seldom visited before 1811. In that year the party of explorers, who had previously discovered the pedimental sculptures of Aegina, began excavations which were completed in 1812. The party included Cockerell and Haller in the first season, and Haller, Stackelberg and Broendstedt in the second season. The sculptures found were removed to Zante, and were purchased by the British Government in 1814.

The temple was visited by Pausanias, who describes it as being situated at the village of Bassae on Mount Cotylion, about five miles from Phigaleia. Pausanias states that the temple and its roof were alike built of stone, and that it might be counted among the temples of the Peloponnesus, second only to that of Tegea, for beauty of material and fineness of proportion. He adds that the temple was dedicated to Apollo Epicurios (the Helper), because the god had stayed a plague at Phigaleia in the time of the Peloponnesian war. The architect was Ictinos, the builder of the Parthenon (Paus. viii., 41, 5). The date of the temple is therefore about 430 B.C., although it is doubtful whether the plague in Arcadia was connected with the more celebrated pestilence at Athens.

The temple is built of the light grey limestone of the surrounding mountains. The sculptures, tiles, lacunaria, and capitals of the interior architecture were all of marble, which was probably obtained in the neighbourhood. The form of the building is that known as amphiprostyle peripteral hexastyle. The temple consisted of a central cella with a pronaos and opisthodomos, and was surrounded by a Doric colonnade, having six columns at the ends and fifteen columns at the sides. The pronaos and opisthodomos were each bounded by two Doric columns between antae, surmounted by metopes. The cella contained ten Ionic columns engaged in buttresses which connected them with the side walls. Towards the south end of the cella was a single Corinthian column, of remarkable form, which is now lost. Beyond it was the temple image, which by a peculiar arrangement is thought to have looked to the east, towards a side door, the orientation of the temple being nearly north and south. It has been thought that this arrangement may show that an ancient shrine was embodied in the later temple. (Curtius, _Pelop._, i., p. 329; Michaelis, _Arch. Zeit._, 1876, p. 161). The frieze was internal, and passed round the cella, with the exception of that portion which is south of the Corinthian column. (Compare the ground plan, fig. 22, and the view, plate xi.)

The temple was discovered by a French architect, Bocher, in
November, 1765 (Chandler, _Travels in Greece_, 1776, p. 295). For
descriptions of the architecture and sculpture, see Stackelberg,
_Der Apollotempel zu Bassae, in Arcadien_, 1826; Donaldson, in
Stuart, 2nd ed., vol. IV.; Blouet, _Expedition scientifique de
Moree_, II; _Museum Marbles_, IV.; Leake, _Travels in the Morea_,
II., chap. xii., p. 1; Ellis, _Elgin and Phigaleian Marbles_, II.,
p. 175; Cockerell, _The Temple of Jupiter Panhellenius at Aegina,
and of Apollo Epicurius at Bassae, near Phigaleia, in Arcadia_,
1860; Overbeck, _Gr. Plast._, 3rd ed., I., p. 449; Murray, II., p.
169; Wolters, Nos. 880-912. For literature specially relating to
the frieze, see below, p. 279. Views and plans of the temple are
exhibited in a table case.

ARCHITECTURAL FRAGMENTS.

[Sidenote: =505.=]

Two fragments of the cymatium cornice, with a pattern of palmettes alternating with palmettes of a plainer form, springing from acanthus leaves as on the cornice of the Erechtheion. The member to which these fragments belong surmounted the pediments.

Marble; height, 1 foot 1/8 inch; width, 4 feet 2-3/4 inches. The
left-hand fragment is engraved in _Mus. Marbles_, IV., vignette.
_Synopsis_, Nos. 26, 27; Cockerell, _Phigaleia_, pl. 6; Ellis,
_Elgin and Phigaleian Marbles_, II., p. 212.

[Sidenote: =506.=]

Fragment of a Doric capital, from a column of the external colonnade.

Limestone; height of fragment, 1 foot 5 inches; width. 1 foot 9
inches. _Mus. Marbles_, IV., pl. 25, fig. 4; _Synopsis_, No. 24;
_cf._ Cockerell, _Phigaleia_, pl. 6.

[Sidenote: =507.=]

Fragment of the capital of one of the Doric columns of the pronaos or opisthodomos, including the lower part of the echinus, and the upper part of the flutings.

Limestone; height, 5-1/2 inches; width, 1 foot 6-1/2 inches.

[Sidenote: =508.=]

Fragment of the capital of one of the Ionic columns of the interior of the cella, with a part of the fluting. These capitals are of peculiar form, each column being connected at the back by a cross wall with the wall of the cella (see plan). The three exposed faces of the capital had each a pair of Ionic volutes. In the centre of the volute is a stud of marble separately made. The hole for it was prepared by a series of drill holes placed so as to form a ring-like depression, the centre of which was afterwards worked out. The profile of the side pairs of volutes was somewhat different to that of the front pair, whence it can be ascertained that the fragment in the British Museum contains a part of the front and right side of the cap.

Marble; height, 1 foot 6 inches. _Mus. Marbles_, IV., pl. 25, fig.
3; _Synopsis_, No. 25; Cockerell, _Phigaleia_, pl. 14.

[Sidenote: =509.= 1.]

Roof tile, with antefixal end, with a palmette in relief above two
volutes springing from an acanthus.

Marble; height, 1 foot 3-1/4 inches; length, 1 foot 8-1/2 inches. _Mus. Marbles_, IV., pl. 25, fig. 1; _Synopsis_, No. 39; _Exp. de Moree_, II., pl. 19, fig. 1; Cockerell, _Phigaleia_, pl. 7.

[Sidenote: 2.]

Part of roof tile from the ridge of the roof of the temple.
The central portion is not worked with palmettes, as shown by
Cockerell.

Marble; height of fragment, 1 foot 4 inches; length, 1 foot 6 inches. The complete length was about 2 feet 3 inches. _Mus. Marbles_, IV., pl. 25, fig. 2; _Synopsis_, No. 40; Cockerell, _Phigaleia_, pl. 7, figs. 5, 6.

PHIGALEIAN METOPES.

The following fragments belong to a series of metopes in high relief, which were placed over the entrance to the cella of the temple, in a position similar to that occupied by the metopes of the Temple of Zeus at Olympia. In the Parthenon the frieze takes the place of the internal metopes, of which however a trace remains in the _guttae_ which occur at regular intervals below the frieze, and which imply triglyphs.--Cockerell, _Phigaleia_, pl. 5.

The fragmentary state of the metopes makes the subjects uncertain, in most instances.

For a general view of the metopes, see _Stereoscopic_, No. 122.

[Sidenote: =510.=]

Figure wearing a helmet with a projecting tail-piece (compare Parthenon frieze, south side, No. 4), a sleeveless chiton girt at the waist, and a small cloak. The figure wears a Gorgoneion on the breast; and with the left hand seems to be playing on a lyre, which is partly expressed in relief, and must have been further indicated in colour. The Gorgoneion suggests Athene, but it is more likely that it is merely worn as an amulet, and the figure may be that of a Thracian citharist (cf. Wolters, p. 301). The dress is nearly the same as that of Orpheus on the well-known relief in the Villa Albani--(Zoega, _Bassirel. Ant._ i., pl. 42).

Marble; height, 1 foot 6 inches; width. 1 foot 4-1/2 inches. _Mus.
Marbles_, IV., pl. 24, fig. 1; Stackelberg, pl. 30, fig. 2; _Exp.
de Moree_, II., pl. 23, fig. 2; _Synopsis_, No. 28; Cockerell,
_Phigaleia_, pl. 8; Ellis; _Elgin and Phigaleian Marbles_, II, p.
213.

[Sidenote: =511.=]

A mutilated male head, inserted in the same metope as last. It appears to have been bearded, but this is doubtful.

Marble; height, 5-1/2 inches; width, 9 inches. _Synopsis_, No. 33.

[Sidenote: =512.=]

Torso from the breasts to the knees of a female figure, wearing a fine clinging chiton and a mantle. The right hand holds two objects, perhaps _crotala_ or possibly flutes, and the left hand was extended.

Marble; height, 1 foot 3 inches; width, 1 foot 5-1/2 inches. _Mus.
Marbles_, IV., pl. 24, fig. 2; Stackelberg, pl. 30, fig. 1; _Exp.
de Moree_, II., pl. 23, fig. 1; Ellis, _Elgin and Phigaleian
Marbles_, II., p. 213.

[Sidenote: =513.=]

Lower part of a nude male figure from the waist to the ankle of the left leg, standing. The right leg is wanting. The figure stands to the left with drapery wrapped about the left arm.

Marble; height, 1 foot 10 inches; width, 9-1/4 inches.

[Sidenote: =514.=]

Right knee of a draped female figure standing to the right.

Marble; height, 10 inches, width, 11 inches. _Synopsis_, No. 37.

[Sidenote: =515.=]

Fragment with the upper moulding of a metope, and with a circular object in relief, which has a round depression in the centre. This object has been interpreted as a cymbal held up by a dancing figure. Perhaps, however, it may be a ring from the top of a tripod of Apollo, such as is frequently seen. Cf. Furtwaengler, _Bronzen von Olympia_, pl. 34.

Marble; height, 4 inches; width, 6 inches. _Synopsis_, No. 31.

[Sidenote: =516.=]

Figure of Apollo Kitharoedos? A male figure, wearing the dress of a citharist, with a long tunic falling to the feet, confined by a belt and by bands crossing the breast. The figure also wears a flowing mantle, and has long hair falling on the shoulders. The figure is half turned to the right, and looks back to the left. If the preceding fragment is, as suggested, a part of a tripod, Apollo may be supposed to have been standing beside the Delphic tripod.

Marble; height, 2 feet 7-1/2 inches; width, 1 foot 3 inches.
The two main portions of the figure of Apollo, which have only
recently been joined, give the height of the metopes. _Synopsis_,
Nos. 36, 38.

[Sidenote: =517.=]

[Sidenote: 1.]

This metope, though in a fragmentary state, appears to represent
the rape of a woman by a nude male figure. A woman wearing a
sleeveless chiton and a mantle, raises her right hand wrapped in
the mantle to her head. Of the ravisher we only see the fingers of
the right hand grasping the neck of the woman, and a part of his
arm below the woman's right elbow, and behind her drapery.

[Sidenote: 2.]

On the second fragment, which may be assumed to belong to the same
metope, we see a part of the feet of the woman, the toes of the
man's right foot, and doubtful traces of his left foot. He was
probably represented as seizing the woman by the neck and the
knees.

Cockerell suggests that the subject is Apollo pursuing Daphne, who
was a daughter of the neighbouring river Ladon, but he is mistaken
in thinking that the man's fingers are stretched out straight, and
have no grasp of the woman's neck.

Marble. Fragment 1: height, 1 foot 4-1/2 inches; width, 1 foot
3 inches. _Synopsis_, No. 30; _Exp. de Moree_, II. pl. 23, fig. 3;
Stackelberg, pl. 30, fig. 3; _Mus. Marbles_, IV., pl. 24, fig. 3;
Ellis, _Elgin and Phigaleian Marbles_, II., p. 213. Fragment 2:
height, 8-3/4 inches; width, 1 foot 4 inches. _Synopsis_, No. 35.

[Sidenote: =518.=]

Upper part of body of draped female figure standing to the front.

Marble; height, 8 inches; width, 10 inches. _Synopsis_, No. 32.

[Sidenote: =519.=]

Torso of an obese bearded figure, from the neck to the waist. The figure appears to have been seated, leaning back, and having a staff and drapery under the left arm. Cockerell restores it as a figure standing and leaning on a staff.

Marble; height, 1 foot 3/4 inch; width, 8-1/2 inches. _Synopsis_,
No. 34; Cockerell, _Phigaleia_, pl. 5, Stackelberg, pl. 30, fig.
4; _Exp. de Moree_, II., pl. 23, fig. 4.

THE PHIGALEIAN FRIEZE.

The frieze of the Temple of Apollo Epicurios consists of 23 slabs of marble, somewhat resembling Pentelic. The slabs are each 2 feet 1-1/4 inches high, and they have a combined length of 101 feet 3/4 inch. The frieze formed an internal decoration, above the colonnade within the cella, and had two long sides measuring 35 feet 9 inches, and two short sides measuring 14 feet 2-1/8 inches. The excess in the measured length of the slabs is explained by the fact that they overlapped at the angles. The slabs are about 3-1/2 inches thick, and rested on the edge of the architrave, being fastened with bolts to the ground behind.