Chapter XV: Part III: The Successors of Pheidias (3)

The subjects represented are: (1) Battle of Lapiths and Centaurs; (2) Battle of Greeks and Amazons. The former subject has 11 slabs of a combined length of 45 feet 6-3/4 inches, while the latter has 12 slabs measuring 55 feet 6 inches. The Centauromachia, therefore, occupied two sides, less the length of one slab, which contained a part of the Amazonomachia.

Several attempts have been made to fix the probable order of the slabs, but except in certain cases we have no evidence. It is probable that the slabs, No. 541 with Heracles or Theseus, and No. 530 with Centaurs and Kaineus, were in the centres of two short sides. They are longer than any other slabs, and are well fitted to form the central groups in the compositions. Slab No. 540 was certainly a corner slab, as is proved by the rebate. Slab No. 532 was probably a corner slab. Slabs Nos. 527 and 528 evidently were next to each other, and No. 528 was probably at a corner. Beyond these fixed points, the order can only be determined by considerations of composition. In the description that follows, the slabs are taken in the present order of arrangement in the British Museum, which is that proposed by Mr. Murray (_Greek Sculpt._ ii. pl. 14) except as regards the position of the slabs of the north side.

The style of the reliefs is somewhat peculiar. Many of the types of combat are familiar in Attic sculpture. Compare the group of Kaineus with the same subject on the frieze of the Theseion, and the Centaur groups with the metopes of the Parthenon. At the same time the style of the work, with its high relief, somewhat florid and coarsely executed, is un-Attic, and it seems probable that the actual production of the reliefs was in the hands of local workmen. There is less certainty as to the designer. Among the artists suggested are Alcamenes (Stackelberg, p. 84), Cresilas (Sauer, _Berliner Philol. Wochenschr._, 1889, p. 583); an artist influenced by the paintings of Polygnotos (Murray, ii., p. 176); an Attic artist (Jahn, _Pop. Aufsaetze_, p. 157), or an Arcadian artist under Attic influences (Overbeck, _Gr. Plast._, 3rd ed., i., p. 457.)

_Literature relating to the Frieze._ Wagner, _Bassorelievi Antichi
della Grecia_. See also works quoted above, and on p. 272. For the
proposed arrangements of the slabs of the frieze, see Cockerell,
p. 56; Ivanoff, _Annali dell' Inst._, 1865, p. 29; Lange, _Ber.
der. K. saechs Ges. d. Wissenschaften_, 1880, p. 56, pl. 3;
Wolters, Nos. 883-905; _Stereoscopic_, Nos. 119, 120, 122.

PHIGALEIAN FRIEZE, WEST SIDE.

[Sidenote: =520.=]

A Centaur carries away a Lapith woman, who stretches out her arm in appeal for help. The woman's headdress is somewhat peculiar, consisting of a cap (_sphendone_) and a narrow taenia, from under which the hair falls in small curls on the forehead. On the right of the slab an unarmed Lapith struggles with a Centaur, whose equine body is wholly unexpressed except for one leg which hardly seems to belong to him.

Length, 2 feet 5-3/4 inches. _Synopsis_, No. 7; _Mus. Marbles_,
IV., pl. 7; Stackelberg, pl. 25.

[Sidenote: =521.=]

On the left of this slab, a Centaur, whose head and lower parts are lost, flings a stone with each hand. The figure is shown to be a Centaur by the lion's skin over the left arm. On the right, a Centaur, who also wears a lion's skin knotted about his neck, treads down an armed Lapith, and grasps his right hand to prevent him striking with his sword. Between the two Centaurs is a Lapith woman, who hastens to her right and holds her mantle about her. The Centaur here and on certain other slabs has a horse's mane, which does not occur on the Centaurs of the Parthenon or of the Theseion.

Length, 4 feet 2-1/2 inches. _Synopsis_, No. 6; _Mus. Marbles_,
IV., pl. 6; Stackelberg, pl. 28.

[Sidenote: =522.=]

On the left a Centaur draws towards himself a Lapith woman who tries to escape. She has a child on her left arm. The face of this figure has a strong resemblance to that of the supposed Amazon of Polycleitos, and the drapery of the breast is treated in the same way as that of some of the statues of Amazons. (Compare the fragment at Woerlitz, engraved _Jahrbuch des Inst._ i., pl. 4.)

On the right, a Centaur, who has a shield and lion's skin, tramples down a Lapith, whose hands are stretched out as if to keep the Centaur away. The Lapith is fully armed, having a cuirass above a chiton, a chlamys, and boots. He has no shield, but perhaps that of the Centaur may be supposed to have been captured from him, as no other Centaur is thus armed on the Phigaleian frieze, the Theseion, or the Parthenon.

Length, 4 feet 1-1/2 inches. _Synopsis_, No. 3; _Mus. Marbles_,
IV., pl. 3; Stackelberg, pl. 23.

[Sidenote: =523.=]

Apollo and Artemis coming to the aid of the Lapiths. Artemis drives a chariot drawn by two stags; she wears the chiton, and large diploidion crossed by bands, which is the dress of charioteers on the Parthenon sculptures. Her right foot is on the ground and she appears to be checking the chariot, while Apollo stands at its side and draws his bow. The bow, arrow, and reins were added in bronze. The chariot is represented three-quarters to the front.

Length, 3 feet 9-1/2 inches. _Synopsis_, No. 11; _Mus. Marbles_,
IV., pl. 11; Stackelberg, pl. 19.

[Sidenote: =524.=]

Two Lapith women have taken refuge at the statue of a goddess, probably Artemis, as she is coming to their aid. One of the women stretches out her arms with a gesture of despairing entreaty. The other embraces the statue, which is a stiff archaic image wearing a polos; with her left hand she clings to her mantle which has been seized by the Centaur. The Centaur is attacked from behind by a Lapith who kneels on his back, has his left arm round the Centaur's neck, and is about to strike with the sword originally held in the right hand. On the right is a tree, with a lion's skin hanging from a bough. The appearance of a deity near his own image is not infrequent. (Cf. _Journ. of Hellen. Studies_, ix., pl. 1; Mueller, _Denkmaeler_, pl. 44, fig. 206; _Arch. Zeit._, 1869, pl. 14.)

The group of the Lapith and Centaur is composed like the Parthenon metope, No. 305.

Length, 4 feet 6 inches. _Synopsis_, No. 10; _Mus. Marbles_, IV.,
pl. 10; Stackelberg, pl. 29.

[Sidenote: =525.=]

A Lapith and a Centaur in combat. The Lapith draws away to the left, and is about to throw a stone, while he stretches out his shield on his left arm. The Centaur rears up, and seems to be throwing a stone held in both hands. The Lapith has only a helmet and small chlamys. He also wore a metal sword belt. On the right of the slab, a woman holding a boy on her right arm, moves quickly to the left. With her left hand she holds a floating piece of her veil.

Length, 4 feet 5 inches. _Synopsis_, No. 8; _Mus. Marbles_, IV.,
pl. 8; Stackelberg, pl. 20.

[Sidenote: =526.=]

A Centaur is about to thrust with his sword at a Lapith, who seizes the Centaur's left foreleg and left hand. The Centaur has a lion's skin; the Lapith is unarmed. On the right of this slab another unarmed Lapith has forced the Centaur down on his knees. He kneels on the Centaur's back, and holds his hair with the right hand, and his wrists with the left hand.

Length, 4 feet 2-1/2 inches. _Synopsis_, No. 5; _Mus. Marbles_,
IV., pl. 5; Stackelberg, pl. 27.

[Sidenote: =527.=]

The Centaur of this slab bites a Lapith in the neck. The Lapith is about to fall with relaxed limbs, but plunges his sword in the Centaur's body. At the same time the Centaur kicks out with his hind legs at a Lapith on the left, who holds out his shield as a defence. A dead Centaur lies on the ground. Both Centaurs have lions' skins. The Lapiths wore metal sword belts.

Length, 4 feet 1 inch. _Synopsis_, No. 2; _Mus. Marbles_, IV., pl.
2 Stackelberg, pl. 21; Brunn, _Denkmaeler_, No. 91.

[Sidenote: =528.=]

A Centaur has been thrown down by two Lapiths. The one drags forward the Centaur by his hair, while the other kneels on his back, and has his hand and sword raised to strike. A Centaur, however, has come from behind and arrests the Lapith's blow, and tries to draw away his shield. The fallen Centaur feebly puts out his right hand behind his back to meet the stroke.

Length, 4 feet 1 inch. _Synopsis_, No. 1; _Mus. Marbles_, IV., pl.
1; Stackelberg, pl. 22.

PHIGALEIAN FEIEZE, NORTH SIDE.

[Sidenote: =529.=]

On the left a Lapith and Centaur are wrestling. The Lapith holds the Centaur's head under his left arm, and the Centaur seizes the thigh of the Lapith, and tries to overthrow him, putting his right foreleg round the leg of the Lapith. The Centaur wears a lion's skin. On the right the Lapith has seized the Centaur by the hair, and is about to strike. The Centaur is helpless and can only stretch out his hands behind his back as a defence.

Length, 4 feet 4-1/2 inches. _Synopsis_, No. 9; _Mus. Marbles_,
IV., pl. 9; Stackelberg, pl. 24.

[Sidenote: =530.=]

Two Centaurs heave a mighty stone to crush the invulnerable Kaineus. Kaineus is half-buried and holds his shield above his head. He probably held a sword in the right hand. Both Centaurs wear lions' skins. The same subject occurs on the frieze of the Theseion. Next on the right is a Lapith armed with shield and helmet, who seems to be dragging the Centaur by the hair. A woman moves to the right, holding her floating mantle with her right hand.

Length, 5 feet 3-1/2 inches. _Synopsis_, No. 4; _Mus. Marbles_,
IV., pl. 4; Stackelberg, pl. 26; Brunn, _Denkmaeler_, No. 90.

[Sidenote: =531.=]

The remaining slab on this side contains a part of the battle of Greeks and Amazons. As the Amazon slabs are longer than the slabs of Centaurs by about 10 feet, it is clear that they must have filled two sides and a part of a third. (See above, p. 278.)

On the left a Greek and an Amazon are engaged in combat. The Greek has a helmet, boots, and a chiton which leaves the right shoulder bare. He advances his left arm with the mantle hanging from it, in the manner of Harmodios in the group of the Athenian Tyrannicides (compare the Panathenaic vase in the Fourth Vase Room, which has this group on the shield of Athene). The Amazon wears a similar chiton, and rushes forward against the Greek, in the attitude of the Aristogeiton in the group mentioned above. On the right a wounded Amazon has sunk to the ground, and is supported by a companion who wears the chiton split at the side (_schistos_), like that of the Iris of the east pediment of the Parthenon.

Length, 4 feet 6-1/2 inches; _Synopsis_, No. 20; _Mus. Marbles_,
IV., pl. 20; Stackelberg, pl. 17.

PHIGALEIAN FRIEZE, EAST SIDE.

[Sidenote: =532.=]

On the left of the slab a Greek tries to drag an Amazon along by the hair. She is now unarmed, and tries to resist with both hands and with the weight of her body. Her shield is seen in the background. On the right an Amazon who has sunk to the ground, but appears not to be badly wounded, is defended by a companion who stands beside her, and stretches out a large shield.

Length, 4 feet 6-3/4 inches. _Synopsis_, No. 12; _Mus. Marbles_,
IV., pl. 12; Stackelberg, pl. 7.

[Sidenote: =533.=]

On the left a Greek makes a fierce attack on an enemy represented in the adjoining slab, which was probably the one just described. He has his sword arm raised above his head for a strong blow.

In the centre is a vigorous combat between a Greek and Amazon. The Greek covers himself with his shield and draws back for a spear thrust. The action of the Amazon appears to be that of thrusting a spear. The shield on her left arm is not expressed. In the tightly stretched skirt of the chiton the sculptor has sacrificed grace for truth to nature and vivid movement. On the right, an Amazon who has just received a mortal wound, is seen falling to the ground, with all her limbs relaxed.

Length, 4 feet 5-3/4 inches. _Synopsis_, No. 13; _Mus. Marbles_,
IV., pl. 13; Stackelberg, pl. 8; Brunn, _Denkmaeler_, No. 88.

[Sidenote: =534.=]

On the left a Greek drags down an Amazon from her horse, grasping her hair with the left hand. He probably held a sword in the right hand. The Amazon tries feebly to loosen his grasp. She wears the split chiton, like the Amazon of slab No. 531. On the right is an Amazon, who draws back a little, extending her shield, and at the same time raising her right hand to strike. Here, as in No. 533, the drapery is tightly stretched. The upper part of the figure of the Greek had been lost when the marbles were being transported from the temple. It was afterwards found in a house near Bassae, and was _presented by J. Spencer Stanhope, Esq., 1816._ (Cf. Stackelberg, p. 23.)

Length, 4 feet 4-3/4 inches. _Synopsis_, No. 17; _Mus. Marbles_,
IV., pl. 17; Stackelberg, pl. 13; Brunn, _Denkmaeler_, No. 87.

[Sidenote: =535.=]

An unarmed Amazon has taken refuge at an altar; a Greek has seized her by the hair, and tries to drag her away. The Amazon resists using her weight, and both arms. The Greek had a sword in his right hand.

On the right a Greek and Amazon are engaged in hand to hand combat, extending their shields and engaged in fence with their swords. The drapery of the Amazon is treated as on the two last slabs.

Length, 4 feet 6-3/4 inches. _Synopsis_, No. 22; _Mus. Marbles_,
IV., pl. 22; Stackelberg, pl. 16; Brunn, _Denkmaeler_, No. 86.

[Sidenote: =536.=]

A large part of the group on the left is wanting. The Greek appears to be dragging the fallen Amazon by the hair, and at the same time to be treading her down with his right foot. With both hands she tries to free herself from the grasp of the Greek. On the right, a Greek has fallen on his knees and holds up his shield as a defence against the victorious Amazon, whose right hand and sword are raised to strike.

Length, 4 feet 6-3/4 inches. _Synopsis_, No. 15; _Mus. Marbles_,
IV., pl. 15; Stackelberg, pl. 12.

[Sidenote: =537.=]

An Amazon is disarmed, and has fallen to the ground. She stretches out her right hand, as if in entreaty to a Greek who treads with his left foot on her knee, and is about to thrust with his sword. A second Greek approaches from the left. On the right an Amazon strides quickly forward to help her companion, and is about to strike the Greek.

Length, 4 feet 4-3/4 inches. _Synopsis_, No. 21; _Mus. Marbles_,
IV., pl. 21; Stackelberg, pl. 11.

[Sidenote: =538.=]

On the left, a Greek who is bearded and heavily armed, has thrown down an Amazon, whom he drags by the hair, while she tries to keep him at arm's length. On the right the Greek has fallen on his knees, and holds up his shield against the attack of the Amazon.

Length, 4 feet 5-3/4 inches. _Synopsis_, No. 19; _Mus. Marbles_,
IV., pl. 19; Stackelberg, pl. 15.

[Sidenote: =539.=]

A Greek who has been killed in the battle, and perhaps stripped, is being borne off the field on a companion's back. Another Greek who has been badly wounded in the right leg, leaves the field, leaning with his right hand on a spear, now wanting. He puts his left arm round the neck of a companion, who supports him round the body. In the centre of the slab an Amazon draws away a shield which belonged to one of the Greeks.

Length, 4 feet 9-1/4 inches. _Synopsis_, No. 14; _Mus. Marbles_,
IV., pl. 14; Stackelberg, pl. 18.

PHIGALEIAN FRIEZE, SOUTH SIDE.

[Sidenote: =540.=]

This slab has a rebate on the left side, proving that it belongs to the left end of a frieze. On the left, a wounded Greek lying on the ground, is partly raised by a companion, who eagerly watches the fight, but for the moment only holds his sword in the left hand, while he uses his right hand to support the wounded man. A similar group occurs on the frieze of the Temple of Nike (No. 421).

On the right a Greek and Amazon are fighting hotly. The Greek presses forward, and the Amazon at the same time draws back, collecting her strength for a blow. The Amazon wears the split chiton.

Length, 4 feet 8-3/4 inches. _Synopsis_, No. 16; _Mus. Marbles_,
IV., pl. 16; Stackelberg, pl. 10.

[Sidenote: =541.=]

The middle of the central slab is occupied by a single combat between Heracles and an Amazon. They are represented drawing back for a blow. The Amazon seems to be making a spear thrust while Heracles raises his club. The Amazon extends her shield; Heracles carries the lion skin on his left arm. The pose of these two combatants who have the most important position in the whole frieze, is very similar to that of the Poseidon and Athene of the west pediment of the Parthenon. In both cases also the central group is bounded by figures of horses. The figure here called Heracles has also been interpreted as Theseus. On the left, a mounted Amazon is victorious, and thrusts with a spear at a wounded and fallen Greek. On the right, the Greek is the victor; he seizes the Amazon by arm and foot and throws her off her horse, which has fallen on its knees.

Length, 5 feet 10 inches. _Synopsis_, No. 18; _Mus. Marbles_, IV.,
pl. 18; Stackelberg, pl. 14; Brunn, _Denkmaeler_, No. 89.

[Sidenote: =542.=]

A young Greek, wounded and fallen to the ground, raises his right hand, as if in defence against the blow about to be struck by the Amazon standing over him. Another Amazon hastily approaches from the left, and stretches out her hands, as if in defence of the Greek. On the right of the slab, an Amazon supports a wounded comrade, who is sinking to the ground with her head drooping and all her muscles relaxed.

Length, 4 feet 2-1/4 inches. _Synopsis_, No. 23; _Mus. Marbles_,
IV., pl. 23; Stackelberg, pl. 9.

FRAGMENTS OF THE TEMPLE STATUE OF APOLLO.

A few small fragments of a colossal male statue were discovered during the excavations. As the fragments found belong to the extremities of the figure, and since they are proved to have been separate pieces attached, by the dowel holes, it is inferred that the statue was _acrolithic_, _i.e._, that the extremities only were of marble, while the rest of the figure was made of wood or other inferior material.

The original statue of Apollo Epicurios had been moved to Megalopolis from Bassae, before the time of Pausanias (Paus. viii., 30, 3). The foundation of Megalopolis took place in 368 B.C., and if the acrolithic statue was made to take the place of that which was removed it must be later than this date.

The two fragments here described are all that are in the British Museum, but four other small pieces were also discovered, and are engraved Stackelberg, pl. 31; reproduced _Exp. de Moree_, ii., pl. 23, fig. 5; Cockerell, pl. 16.

[Sidenote: =543.=]

Fragment of the forepart of a right male foot, wearing a sandal.

White marble; length, 6-1/2 inches. Stackelberg, pl. 31;
Cockerell, pl. 16.

[Sidenote: =544.=]

Fragment with the palm and base of the thumb of a right hand.

White marble; length, 6-1/4 inches. Stackelberg, pl. 31;
Cockerell, pl. 16.

MISCELLANEOUS SCULPTURES, OF THE FIFTH CENTURY.

[Sidenote: =549.=]

Bust of Pericles, wearing a helmet. Inscribed [Greek: Perikles] (fig. 23). Wolters assigns the original from which this fine bust is copied to the end of the fifth century, and suggests that it may have been the work of Cresilas, with reference to which Pliny (_H. N._ xxxiv., 74) states that he made an Olympian Pericles, worthy of the title, and ennobled a noble subject. Plutarch explains the presence of the helmet as caused by the ugly shape of the head of Pericles (Plutarch, _Pericles_, 3). It is, however, more probable that the helmet merely denotes military rank. _Found in the Villa of Cassius, at Tivoli, 1781._--_Townley Coll._

Marble; height, 1 foot 11 inches. Restorations:--Nose, and small
parts of helmet. Stuart, II., p. 42; _Mus. Marbles_, II., pl. 32;
Ellis, _Townley Gallery_, II., p. 3; _Arch. Zeit._, 1868, pl.
2, fig. 1; Wolters, No. 481; Furtwaengler, _Berl. Philol.
Wochenschr._, 1891, p. 286. Another copy, found at the same
time as the present bust, is in the Vatican (Visconti, _Iconogr.
Grecque_, pl. 15).

[Sidenote: =550.=]

Head of Asclepios? Colossal ideal bearded head. The hair falls in heavy masses over the forehead, and on each side of the head. A heavy metal wreath was fastened by numerous rivets, which still remain. The head was formed of three principal pieces of marble, the heaviest piece being so shaped that it kept its position by its own weight. The piece at the back of the head is lost. A small piece, which is now missing, was also attached behind the right ear.

This head would serve as well for Zeus as for Asclepios, and it is possible that this may have been the original intention of the artist. It was, however, discovered in 1828, in a _Shrine of Asclepios, in Melos_. _Blacas Coll._

Parian marble; height, 1 foot 11 inches. _Exp. de Moree_, III. pl.
29, fig. 1; Mueller-Wieseler, _Denkmaeler_, II., pl. 60, fig. 763;
_Overbeck_, _Gr. Kunstmyth._ pl. 2, figs. 11, 12; II., p.
88; Murray, _Greek Sculpture_, II., pl. 11, p. 130; Mitchell,
_Selections_, pl. 13; Rayet, _Monuments_, II., No. 42;
_Stereoscopic_, No. 113; Wolters, No. 1283; Paris, _La Sculpt.
Ant._, p. 221. Two votive inscriptions to Asclepios and Hygieia
were discovered with the head. One of these, with a votive relief
of a leg, is now in the British Museum (No. 809).

[Sidenote: =551.=]

Asclepios? A male draped torso broken off at the knees; the right arm is wanting from below the shoulder, where it has been fitted with a joint. The left arm, which is entirely concealed in the mantle, is placed akimbo. The back is unfinished. The composition is suitable to a figure of Asclepios, an attribution which was probably originally suggested by the fact that this torso was obtained by Lord Elgin from _the neighbourhood of Epidauros_. Two small fragments of the right leg were brought away with the torso.

Parian marble; height, 3 feet 1-1/4 inches. _Mus. Marbles_, IX.,
pl. 5; Ellis, _Elgin Marbles_, II., p. 121; _Synopsis_, No. 327;
_Elgin Room Guide_, II., No. E. 1.

[Sidenote: =552.=]

Female torso from the neck down to the waist. The dress is a chiton with diploidion; part of the tresses of hair which fall down on the back still remains.--_Elgin Coll._

Pentelic marble; height, 1 foot 3 inches. _Synopsis_, No. 281
(146); _Elgin Room Guide_, II., No. F. 15.

[Sidenote: =553.=]

Left breast and part of left side of female figure wearing a chiton girt at the waist.--_Elgin Coll._

Pentelic marble; height, 1 foot 3-1/4 inches. _Synopsis_, No. 277
(147). _Elgin Room Guide_, II., No. F. 16.

[Sidenote: =554.=]

Upper part of the torso of a female figure moving quickly to the left, with the arms raised. She wears a sleeveless chiton which appears to have been unsewn (_schistos_) down the right side. The shoulders are broken, but there are remains of large dowel holes as if for the insertion of wings, and the figure is not unlike the Victories on the balustrade of the temple of Nike.--_Elgin Coll._

Pentelic marble; height, 1 foot. _Synopsis_, No. 321 (79).

[Sidenote: =555.=]

Heads of Pelops and Hippodamia? Heroic heads of colossal male and female figures, turned to the right. The female head is in low relief, and wears a diadem, and a veil falling over the back of the head. Compare the heads in a terracotta relief in the British Museum (_Ancient Terracottas in B. M._, pl. 19, No. 34). The male head is almost worked in the round and wears a close-fitting helmet. Some drapery passes over the left shoulder. These two heads have long been called Pelops and Hippodamia, and it is very likely that the figures belonged to a chariot group. But they may well be the somewhat idealized portraits of a Sicilian despot, and his consort. _Found in the sea near Girgenti (Agrigentum)._--_Townley Coll._

Greek marble, perhaps Parian; height, 1 foot 5-1/4 inches; width,
1 foot 4 inches. _Mus. Marbles_, X., pl. 32; Ellis, _Townley
Gallery_, II., p. 153.

[Sidenote: =556.=]

Head of Odysseus? Male head, with curling hair and short beard, wearing a peaked cap (_pileus_). The surface is much decayed, and most of the chin and mouth is broken away. This head may be from a sepulchral monument.--_Elgin Coll._

Pentelic marble; height, 1 foot 1/2 inch. _Mus. Marbles_, IX., pl.
40, fig. 3; Ellis, _Elgin Marbles_, II., p. 119.

[Sidenote: =557.=]

Fragment from the back of a head. The hair is drawn to a knot at the back of the head, and is confined by two bands, crossing one another.

Pentelic marble; height, 10-1/2 inches.

[Sidenote: =558.=]

Head of a maiden, wearing a closely-fitting cap. The style is characteristic of the fifth century.--_Athens?_ _Elgin Coll._

Pentelic marble; height, 9 inches. _Synopsis_, No. 239 (122).

[Sidenote: =559.=]

Heroic head of a youth, inclined slightly to his left. The hair is very slightly indicated, and the back of the head is worked away, as if for a bronze helmet.--_Obtained in Greece by the fourth Earl of Aberdeen in 1803, and presented by the fifth Earl of Aberdeen in 1861._

Coarse-grained marble; height, 11 inches. The head was found
wearing a bronze helmet, which, however, did not fit, and has been
removed.

[Sidenote: =560.=]

Cast of marble owl. L. Ross (_Annali dell' Inst._, 1841, pl. C., p. 25), supposes that this owl was a votive offering which once surmounted a column found near it, on which is inscribed the name of Timotheos of the deme Anaphlystos. The lower part of the body, which is broken away, has lately been found. The feathers of the wings are set in formal rows, and the treatment throughout is characterised by an archaic severity, as has been remarked by Ross. The feathers have probably been painted.--_Found on the Athenian Acropolis between the Propylaea and the Parthenon._

The original, of Pentelic marble, is in the Acropolis Museum, at
Athens; height, 2 feet 2 inches. Ross, _Arch. Aufsaetze_, I., pl.
14, fig. 3, p. 205; _Elgin Room Guide_, II., No. G. 7; Wolters,
No. 111; Le Bas, _Mon. Fig._, pl. 62, fig. 3.

GREEK RELIEFS.

Most of the single Greek reliefs in the British Museum are described in the present section of the catalogue (Nos. 599-817.) Those reliefs which are known to have belonged to particular buildings, and to have served an architectural function, are catalogued separately. A few reliefs also, principally of the later Attic School, are reserved for a subsequent part.

We deal, in this place, with a number of works of minor importance, and of various degrees of artistic merit. At the same time they are of interest both for their subjects and also as showing the instinctive grace and skill of subordinate Greek craftsmen, even in hastily executed and unimportant work.

The following classification has been adopted, but the classes are not perfectly distinct, as the sepulchral reliefs sometimes partake of a votive character.

_Sepulchral Reliefs._--599-618, Decorative Stelae. 619-680, Scenes
from Daily Life and Animals. 681-686, Plain Vases. 687-710, Vases
and reliefs with figures clasping hands. 711-746, Sepulchral
Banquets, &c. 750-757, Rider and Horse, heroified. 760-766,
Reliefs from Lycia.

_Votive Reliefs._--770-794, Figures of the God or his attributes.
795-812, Figures of the Dedicator, or of the object dedicated.
813-817, Agonistic reliefs.

SEPULCHRAL RELIEFS.

The Greek sepulchral reliefs are of several distinct types, each type having an independent origin and history, though occasionally the different types are blended one with another.

The early Attic examples which are assigned to a period before the Persian wars, have recently been collected by Conze (_Die Attischen Grabreliefs_, Part 1), and we are thus enabled to trace the rise of the different types in Attica, so far as the materials discovered allow. The earliest and simplest form of monument is the plain stone ([Greek: stele]), set up on a mound ([Greek: tymbos]) to mark the place of the grave, and such a tomb is well known to Homer (_Il._ xi., 371, etc.)

Such a stone would naturally bear the name of the deceased, together with the name of his father, or of the persons who erected the monument. The earliest Attic examples are also surmounted by a simple ornament, especially the palmette between volutes, partly in relief, and partly in colour. The treatment of the palmette closely resembles that of the antefixal ornament of the Parthenon (No. 352). At an uncertain period in the fifth century the use of the acanthus-leaf ornament was introduced, and the decoration of the stelae became elaborate and beautiful. It has been thought that the acanthus was developed by the Greeks of Ionia, before the middle of the fifth century, and only made its way slowly in Athens (Furtwaengler, _Coll. Sabouroff_, i., p. 8), but it cannot be proved to have become common before it had been made familiar by the architecture of the Erechtheion, towards the close of the fifth century. The early Corinthian capital of the single column of the Temple at Phigaleia appears to be copied from a stele with volutes and an acanthus.

The smooth surface of the stone below the crowning ornament was used, from an early time, to receive a representation of the deceased person, which was either painted or in relief, the relief being itself painted. Such portraits, in the case of men--and only men's portraits are certainly known to be preserved of the archaic period--take the form either of a simple standing figure, or of a figure engaged in some occupation taken from life. See the figures of the Discobolos and of the spear-thrower (Conze, pls. 5, 7), and as an example of the painted portrait see the stele of Lyseas (Conze, pl. 1). The male portrait is often accompanied by a small figure of a youth riding or leading a horse. On a class of monuments described below (Nos. 750-757) it is not impossible that the figure of the horse may have some special reference to death, but in the early Attic reliefs it seems more likely that the horse indicates the favourite pursuits or the knightly rank of the dead person. Compare Roscher, _Lexicon_, p. 2584, and Aristotle, _Constitution of Athens_, chap. 7, ed. Kenyon, where the horse standing beside an archaic figure of Anthemion, son of Diphilos (_Class. Rev._ 1891, p. 108), is said to prove his knighthood ([Greek: hippas]). (Cf. _Journ. of Hellen. Studies_, v. p. 114; Conze, p. 4; Nos. 1, 14, 15, 16, 17, 19.)

The female figures, of which only uncertain specimens survive, were simple portraits, usually seated, and sometimes accompanied by other members of the family, usually represented on a diminutive scale. (Cf. Conze, No. 20.)

In one early Attic example there is an actual representation of mourners as on Etruscan or Lycian tombs. But in general, allusions to death and mourning are but slightly indicated. (Cf. Conze, No. 19, pl. 11.)

Finally, there is a type of monument, which contains the representation of some animal more or less associated with the grave, such as the cock (Conze, No. 22, pl. 13) or the Sphinx (Conze, No. 16, pl. 10, fig. 1_b_).

The foregoing are the main types of the early Attic reliefs. The British Museum does not contain any specimens of the early period, but the study of the early reliefs enables us to classify the later works, and to distinguish the indigenous Attic types from those that are imported, or of later development.

_Decorative Stelae._--The stelae crowned with the palmette and acanthus acroteria are described below, Nos. 599-618. They are principally derived from Athens, but several specimens (Nos. 611-618) roughly worked in coarse limestone are a part of the collection of sculptures from Kertch. One of the best examples of Attic work of this class in the British Museum, will be found in the Department of Egyptian and Assyrian antiquities, namely the stele of Artemidoros with a bilingual Greek and Phoenician inscription. (Dodwell, _Tour_ i., p. 411; _Greek Inscriptions in Brit. Mus._, cix.)

_Scenes from Daily Life and figures of Animals._--The monuments with portraits and scenes from daily life are catalogued below, Nos. 619-679. The incidents chosen are taken from all parts of life, and in late times are apt to be of a _genre_ character with scenes from children's games, &c.

Reliefs with figures of horsemen, where the scene appears only to be an incident from daily life, and not connected with the heroification of the deceased, have also been placed here (Nos. 638, 661-666).

Examples of the figure of an animal placed on the tomb, of a symbolic or decorative character, are best seen among the archaic sculptures (compare those from Xanthos), but the bull, No. 680, is a specimen of a figure from an Attic stele.

The types which have been described so far, are simple records of the deceased person. We turn now to various classes, which are not represented among the Attic remains of the archaic period, and which are more or less of religious or ritualist significance.

_Vases._--The Sepulchral Vases, which are represented either in relief or in the round, are a common form of monument at Athens, and are connected with the observances paid to the dead. These vases which are sometimes lekythi, and sometimes amphorae or hydriae, may be decorated with patterns, or with subjects in relief, such as appear on other sepulchral stelae. They probably are to be traced from the vessels of pottery in which offerings were brought, to be poured out as libations on the tomb. Compare below the account of the "Sepulchral Banquet."

There is ancient authority for the view that the vase indicates an unmarried person. Eustath. on _Il._ XXIII., 141, p. 1293: [Greek: kai tois pro gamou de teleutosin he loutrophoros, phasin, epetitheto kalpis eis endeixin tou hoti aloutos ta nymphika kai agonos apeisi]. Demosthenes (_in Leochar._ pp. 1086 and 1089, ed. Reiske) speaks also of [Greek: he loutrophoros] (sc. [Greek: hydria] or [Greek: kalpis]), being placed on the tomb of an unmarried person. (Kumanudis, p. 18; _Greek Inscriptions in Brit. Mus._, No. lxxx.)

On the other hand, the tombs of a father, Philoxenos, and of his sons Parthenios and Dion, in the Cerameicos at Athens were all surmounted by stone vases (_C. I. A._, ii., 3191-3193; Conze, p. 16). Perhaps a distinction must be made between the lekythi which represent libations at the tomb, and the hydriae, which have the special meaning mentioned above. An early instance of the Attic sepulchral vase, with painting and relief, is placed by Koehler on epigraphic grounds between 450 and 430 B.C. (_Athenische Mittheilungen_, x., pl. 13, p. 362.)

_Figures clasping Hands._--In Attic reliefs, chiefly of the fourth and subsequent centuries, the two principal persons are often represented clasping right hands together, and such scenes are commonly known as Scenes of Parting. A more correct interpretation may be gathered from a fragment of an archaic sepulchral relief from Aegina (_Athenische Mittheilungen_, viii., pl. 17), in which a female figure, enthroned and holding a pomegranate (compare the Spartan reliefs mentioned below), clasps the hand of a standing figure, which is shown by the scale to be that of another deceased person. In this case the scene is laid in Hades, and the clasping of the hands is significant of affection, not of separation. Hence it has been thought that all subjects with the clasped hands represent the meeting and union in Hades after death (Furtwaengler, _Coll. Sabouroff_, i., p. 46). There is, however, no proof that the artist was always consciously placing the scene in Hades, and in No. 710 Hermes seems about to conduct the deceased person to the nether world. The presence of figures in attitudes of grief, of children and servants, seems to show that these reliefs are symbolic of family affection, though the artist had no very clear and logical conception of the moment depicted.

An early example of the clasping of hands on an Attic monument is supplied by the sepulchral vase above mentioned, of 450-430 B.C. (_Athenische Mittheilungen_, x., pl. 13.)

Such subjects as the foregoing are often placed within an architectural structure, usually consisting of two pilasters and an entablature, sometimes surmounted by a pediment. Various theories have been proposed on the subject. It has been suggested that the architectural ornament indicates the votive character of the relief (_Journ. of Hellen. Studies_, v., p. 111), or the home of the dead person (Pervanoglu, _Grabsteine der alten Griechen_, p. 14), but there is no evidence of any such special significance attaching to the form. (Compare Furtwaengler, _Coll. Sabouroff_, i., p. 52.)

_The Sepulchral Banquet._--From the fourth century onwards, a type of relief commonly known as the Sepulchral Banquet becomes very common in Attica and elsewhere. In a normal example of the fully developed type, the chief figure is that of a man recumbent on a couch, holding a cup. Before him is a table with food. A woman, according to Greek custom, is seated upright at the foot of the couch. Boys or attendants are seen drawing wine. The head of a horse is often seen at the back of the relief. A snake is frequently introduced, and often drinks wine from a cup held by one of the figures. Further, a group of adorant figures, usually on a small scale, may be represented about to sacrifice at an altar, near the foot of the couch.

The meaning of this type has been a subject of long controversy, but it is best understood if the later reliefs are studied in connection with the oldest known specimens of the same subject. A series of archaic reliefs from the neighbourhood of Sparta (_Athenische Mittheilungen_, ii., pls. 20-25; Furtwaengler, _Coll. Sabouroff_, pl. 1; _Journ. of Hellen. Studies_, v., p. 123), contains subjects somewhat of the following character: A male and female figure, represented on a heroic or divine scale, are seated enthroned, holding as attributes a large two-handled cup, or a pomegranate. Figures of worshippers approach, carrying a pomegranate or a cock, and a snake is sometimes present. The sculptures of the Harpy Tomb (No. 94), have been sometimes classed with the works here described, but this has not yet been established.

The transition from the Spartan type to the Sepulchral Banquet type is still obscure, but a connecting link is furnished by a relief from Tegea (_Athenische Mittheilungen_, iv., pl. 7), in which the woman is enthroned, while the man reclines on a couch with a table before him. (Compare also the relief from Mytilene No. 727.) It seems probable that we have in these reliefs symbolic representations of offerings made by living relations or descendants for the pleasure and sustenance of the dead. Such offerings of food and drink made by the living at the tomb are common to all primitive peoples. The Egyptians, in particular, made regular offerings of actual food, and at the same time surrounded the mummy with sculptural representations of offerings, which, it was thought, served to satisfy the incorporeal _double_ of the dead person. The early notion that the deceased was within the tomb, and enjoyed the food and drink offered to him in a material manner, became less distinct in later times. The periodical offerings assumed a more ritualistic and symbolic character, and were celebrated by the Greeks under the name of [Greek: nekysia].

The older archaeologists thought for the most part that the Banquet reliefs were representations commemorative of life on earth, or descriptive of the pleasures enjoyed by the dead in Hades. Dumont (_Rev. Arch._, N.S. xx. p. 247) and Hollaender (_De Operibus Anaglyphis_), interpret them as referring to the periodical offerings made at the tomb. It will be seen that this view is not very different from that which has been adopted above, and which is the view of Gardner (_Journ. of Hellenic Studies_, v., p. 130), and Furtwaengler (_Coll. Sabouroff_, i., p. 28). The reliefs, however, have more force than mere pictorial groups, if we accept the Egyptian analogy, and allow that the sculpture represents, by substitution, the offerings of material food. The snake is naturally associated with the grave, from its rapid mysterious movements, and from living in caves and holes. Compare the story of the snakes that were seen by Polyeidos in the tomb of Glaukos. (Apollodor. 3, 3, 1; Roscher, _Lexicon_, p. 1687). The votive character of the Banquet reliefs is proved in some instances by inscriptions, (_Journ. of Hellen. Studies_, v., p. 116; Roscher, _Lexicon_, p. 2553). It is doubtful, however, whether the artist was always conscious of the meaning of his work, and in some instances, as in the tomb at Cadyanda in Lycia (No. 766), the banquet appears to be merely a scene from daily life, and as such it closely resembles some of the vase paintings. In No. 737 and other late examples, the relief, though of the type of the banquet, is commemorative rather than votive.

In Athens the type of the Sepulchral Banquet was also applied to another purpose, namely, for votive reliefs to Asclepios. The two classes of monuments are completely assimilated in those examples in which worshippers come to sacrifice at the end of the couch. Numerous specimens of reliefs have been found in the temenos of Asclepios at Athens, and it is possible that the sculptures from the Elgin Collection, Nos. 714, 715, belong to this series. In the newly-discovered papyrus fragments of Herodas, the sons of Praxiteles are mentioned as authors of a relief dedicated to Asclepios. A figure of Asclepios, composed like the principal figure of the sepulchral reliefs, has also been found on a vase from the Temple of the Cabeiri at Thebes ([Greek: Ephemeris], 1890, pl. 7). For other examples of the same type on vases of different meanings, see _Athenische Mittheilungen_, xiii., pl. 9; _Arch. Anzeiger_, 1890, p. 89. For the most recent discussion of the whole question, see Roscher, _Lexicon_, p. 2565.

_Hero and Horse._--There is another type of sepulchral relief, somewhat akin to that above described, in which, however, the horse of the hero takes a more prominent position. The hero is seen either riding on his horse or standing near it, and receiving a libation poured out by a female figure, sometimes a Victory. Here also the snake is frequently introduced to mark the sepulchral character of the relief. In the earliest examples the connection between this type and the foregoing is made clearer by the presence of diminutive figures of supplicants bringing offerings, or making gestures of adoration. Compare a Theban relief (_Athenische Mittheilungen_, iv., pl. 16), and a relief in the Sabouroff Collection, inscribed [Greek: Kalliteles Aleximacho anetheken] (_Coll. Sabouroff_, i., pl. 29), and a relief from Cumae (Roscher, _Lexicon_, p. 2555). For a list of reliefs with figures of horsemen, see Furtwaengler, _Coll. Sabouroff_, i., p. 40; Roscher, _Lexicon_, p. 2556. It has been thought that the horse is shown in these subjects on account of its association with Hades, but in some instances, if not in all, it relates to the pursuits and status of the deceased, and is introduced for the use of its master, and not for any Chthonian significance.

_Reliefs from Lycia._--See below, p. 350.

VOTIVE RELIEFS.

A votive offering is, in its essence, a present made to a god or to a superior being, in order to secure some favour in the future, or to avert anger for a past offence, or to express gratitude for a favour received. The last purpose includes offerings made in fulfilment of a vow, the vow being a kind of contract between the individual and the god. Sometimes also objects were offered, nominally as gifts to the god, but in reality in order that they might be secure.

Votive offerings cover the whole field of life including persons, lands, buildings, and, in particular, objects appropriate (A) to the god or his worship, or (B) to the dedicator and the cause of his dedication.

A. Objects appropriate to the god include temples (compare the inscription of Alexander from Priene, in the Hall of Inscriptions); parts of a temple (compare the columns dedicated by Croesus, No. 29); images of the god represented in an appropriate attitude (compare the reliefs, Nos. 770-794); objects connected with the worship of the god and temple furniture (compare the stool in the Hall of Inscriptions, dedicated by Philis to Demeter, and the vases from Naucratis in the First Vase Room); or lastly, attributes of the god, such as the owl of Athene (No. 560), and the pigs found in the shrine of Demeter at Knidos, now in the Mausoleum Room.

B. Objects appropriate to the dedicator or the cause of his dedication include portraits of the dedicator, such as the statue of Chares (No. 14), or of the priestess Nicoclea, found in the temenos of Demeter of Knidos, or the statuette of the hunter of Naucratis (No. 118); spoils won in battle, as the helmet dedicated by Hiero, in the Etruscan Room; figures of victorious horses (No. 814); symbolic offerings such as the dedication of the hair or the down of the beard to Poseidon (cf. No. 798), or to a river god (Paus. viii., 41, 3); offerings connected with remarkable cures (compare Nos. 799-810, and, perhaps, the relief of Xanthippos, No. 628).

Where the object itself is perishable or otherwise unsuitable as an offering, the sculptured representation takes its place, by a natural process. Thus we have a representation of the hair, in place of the actual hair (No. 798), and the reliefs with limbs, mentioned above (Nos. 799-810). It has been already suggested that in the Sepulchral Banquet reliefs, which might be classed as votive reliefs, the banquet is represented in sculpture as a substitute for the actual offerings of food.

A special class of votive reliefs consists of those which are found at the head of decrees, treaties, and similar political documents. An Athenian treaty, for example, is headed by a representation of Athene, and of the patron deity of the other state, which may appear in the attitude of a suppliant or adorant. (Compare Schoene, _Griech. Reliefs_, Nos. 48-53.) Similarly at the head of a decree of citizenship or proxenia, the newly admitted citizen appears as worshipping the goddess (cf. Schoene, No. 93, and p. 20, and below, Nos. 771-773).

+++++++++++++++++

STELAE SURMOUNTED BY DECORATIVE DESIGNS.

For an account of these stelae, see above, p. 296.

[Sidenote: =599.=]

Stele with two rosettes. Above, an acroterion, formed of acanthus leaves and palmette combined (fig. 24).

Inscribed [Greek: Smikylion Eualkidou ek Kerameon]--Smikylion, son of Eualkides, of the deme of the Cerameicos.--_Athens._ _Presented by A. Robinson, Esq., R.N._

Pentelic marble; height, 2 feet 9-1/2 inches; width, 1 foot 5-1/2
inches. _Synopsis_ No. 441. _Greek Inscriptions in Brit. Mus._,
LXXXVI.; _C.I.A._, II., 2139.

[Sidenote: =600.=]

Plain stele of Hippocrates and Baukis; surmounted by an acroterion in low relief, of palmette form.

Inscribed [Greek: Hippokrates, Baukis]. Below the surface of the stele is flat, and probably was painted.--_Athens._ _Elgin Coll._

Pentelic marble; height, 4 feet 1 inch; width, 1 foot 3 inches.
_Mus. Marbles_, IX., pl. 29, fig. 4. _Synopsis_, No. 351 (175);
Ellis, _Elgin Marbles_, II., p. 152; _C.I.G._, 958; _C.I.A._, II.,
3810. _Greek Inscriptions in Brit. Mus._, CXX.

[Sidenote: =601.=]

Fragment of a plain stele, surmounted by an acroterion, in the form of a palmette in low relief, springing from acanthus leaves.

Inscribed [Greek: Assklepiodoros Thrasonos Olynthios, Epikydes Asklepiodorou Olynthios]--Asclepiodoros, son of Thrason, of Olynthos; Epikydes, son of Asclepiodoros, of Olynthos.--_Probably from Athens._ _Elgin Coll._

Pentelic marble; height, 1 foot 5 inches; width, 1 foot 3/4 inch.
_Mus. Marbles_, IX., pl. 29, fig. 2; _Synopsis_, No. 258 (169);
Ellis, _Elgin Marbles_, II., p. 152; _C.I.G._, 879; _C.I.A._, II.,
3243; _Greek Inscriptions in Brit. Mus._, CVI.

[Sidenote: =602.=]

Acroterion in form of palmette from a stele.--_Athens._ _Inwood Coll._

Pentelic marble; height, 1 foot 9 inches; width, 1 foot 10 inches.
_Synopsis_, No. 418.

[Sidenote: =603.=]

Acroterion, from a stele, of palmette form, springing from acanthus leaves.--_Inwood Coll._

Pentelic marble; height, 10 inches. _Synopsis_, No. 414; Inwood,
_Erechtheion_, pl. 31, p. 147.

[Sidenote: =604.=]

Fragment of an acroterion of a stele in form of a palmette springing from acanthus leaves.--_Athens?_ _Elgin Coll._

Pentelic marble; height, 1 foot 8-1/2 inches; width, 11 inches.
_Synopsis_, No. 191 (95). _Mus. Marbles_, IX., pl. 29, fig. 3.

[Sidenote: =605.=]

Stele, surmounted by acroterion. One central palmette, and two half palmettes at the sides spring from acanthus leaves.

Inscribed [Greek: Eumachos Euthymachou [A]lope[k]ethe[n]]--Eumachos, son of Euthymachos, of the deme of Alopeke.

_Athens._--_Obtained by Chandler in his Expedition for the Society of Dilettanti in 1765, and presented by the Society._

Pentelic marble; height, 1 foot 8 inches; width, 1 foot 5-1/4
inches. _Synopsis_, No. 283 (292*); _C.I.G._, 579; _C.I.A._, II.,
1812. _Greek Inscriptions in Brit. Mus._, LXXIX.; _Stereoscopic_,
No. 121; Wolters, No. 1104.

[Sidenote: 606.]

Top of stele, with central palmette and two half palmettes, springing from acanthus leaves. _Found in the side of a mound, near Maritza, Rhodes._

Marble; height, 2 feet 3 inches; width, 2 feet 3-1/4 inches.

[Sidenote: =607.=]

Upper part of stele, surmounted by a central palmette and two half palmettes, springing from acanthus leaves. Similar to last, but in lower relief.

_Probably from Athens._ _Formerly in the collection of Lord Elgin._

Pentelic marble; height, 1 foot 7 inches; width, 1 foot 1-3/4
inches. _Journ. of Hellen. Studies_, VI., p. 42, No. 2.

[Sidenote: =608.=]

Upper part of stele, surmounted by a central palmette, and two palmettes at the sides, broken.

Inscribed [Greek: Chabrias Salyprianos]. Chabrias of Selymbria.--_Athens?_ _Elgin Coll._

Pentelic marble; height, 1 foot 7 inches; width, 1 foot 5-1/2
inches. _Synopsis_, No. 290 (226); _Mus. Marbles_, IX., pl.
30, fig. 1; _C.I.G._, 888; _C.I.A._, II., 3296; Ellis, _Elgin
Marbles_, II., p. 152; _Greek Inscriptions in Brit. Mus._, CVII.

[Sidenote: =609.=]

Top of stele, in form of a capital of a pilaster with a palmette between two volutes springing from acanthus leaves, and an egg and dart moulding. Late work.

_Probably from Athens._ _Formerly in the collection of Lord Elgin._

Pentelic marble; height, 9-3/4 inches; width, 11 inches. _Journ.
of Hellen. Studies_, VI., p. 43, No. 6.

[Sidenote: =610.=]

Top of stele, in the form of the capital of a pilaster; treated in a similar way to the capitals of the Tower of the Winds. (Compare No. 447.) Late work.

_Probably from Athens._ _Formerly in the collection of Lord Elgin._

Pentelic marble; height, 1 foot 2 inches; width, 1 foot 6 inches.

[Sidenote: =611.=]

Upper part of stele, with three rosettes; surmounted by a large acroterion.--_Kertch._

Limestone; height, 3 feet 8 inches; width, 1 foot 11-1/2 inches.
The collection of sculptures from Kertch was obtained by Colonel
Westmacott during the occupation of the town by the British and
French troops in 1856.

[Sidenote: =612.=]

Stele, surmounted by acroterion.--_Kertch._

Limestone; height, 3 feet; width, 1 foot 11 inches.

[Sidenote: =613.=]

Stele, with two rosettes in front and one at each side; surmounted by acroterion.--_Kertch._

Limestone; height, 2 feet 10 inches; width, 1 foot 10 inches.

[Sidenote: =614.=]

Top of stele with rosettes. Originally surmounted by a large acroterion of which only the acanthus leaves at the base remain.--_Kertch._

Limestone; height, 2 feet 6 inches; width, 2 feet 4 inches.

[Sidenote: =615.=]

Upper part of stele. Two rosettes in front and one on each side; above an acroterion, of which the top is wanting.--_Kertch._

Limestone; height, 2 feet 11 inches; width, 1 foot 11 inches.

[Sidenote: =616.=]

Fragment of palmette from the acroterion of a stele.--_Kertch._

Marble; height, 1 foot 7 inches; width, 1 foot 11 inches.

[Sidenote: =617.=]

Palmette from top of stele.--_Kertch._

Limestone; height, 2 feet 6 inches; width, 1 foot 7-1/2 inches.

[Sidenote: =618.=]

Top of stele, with acanthus leaves forming the base of the acroterion. The leaves are only sketched in outline on the front, but have been finished on the right and left.--_Kertch._

Limestone; height, 2 feet 3 inches; width, 2 feet 3 inches.

SEPULCHRAL MONUMENTS WITH SCENES FROM DAILY LIFE.

[Sidenote: =619.=]

Cast of the sepulchral relief of Hegeso. A lady, Hegeso, is seated on a chair, with a foot-stool. She appears to be taking a necklace from a box which is held by a servant standing before her. Hegeso is richly dressed in a chiton with short sleeves, himation and sandals. Her hair is confined by a _sphendone_, or band, broadest in front. The servant has a close-fitting cap, and a plain chiton with long sleeves. The relief is bounded by two pilasters surmounted by a pediment, with acroteria.

Inscribed [Greek: Hegeso Proxeno(u)]--Hegeso daughter of Proxenos.

This relief, which is unequalled for its grace and delicacy, appears to belong to the close of the fifth century B.C. The original, of Pentelic marble, is _near the Dipylon at Athens_, where it was discovered in 1870.