Chapter VII: Part 7

He may usefully recapitulate the points of his present visit. He has been travelling for hours amongst the wrecks of the remote past. Over vast tracts of land, where now the Turk lazily dreams away the hours, or moves only to destroy the remains of the ancient civilisation of his Asiatic provinces. Throughout this, his third visit, the visitor has been exploring the revelations of the past, written upon the face of Turkish provinces. The bigotry with which the explorers of Thebes, Nimroud, and Xanthus had to contend, is written in their histories of their labours. How when the human-headed bull was disclosed by the pick-axes of the Chaldaeans, the Arabs scampered off, and how all the natives thought that Nimroud himself--the mighty hunter--was rising grimly from the earth, are points in the discovery of this treasure which all should read. The vigour with which English and French explorers have possessed themselves of the treasures of ancient Egypt, the master-pieces from the Parthenon, the strange stone revelations of Lycia, and the majestic colossi of ancient Assyria, contrasts forcibly with the indolence of the Turk, who sat at hand to wonder at the enthusiasm of his Christian visitors. No more pitiful exhibition of a national character could be furnished by any passage in the history of the world than that which describes the ignorant and superstitious Turk grinding the sculpture of the Parthenon into mortar for his dwelling house. Truly, in all respects, is this a matter to be pondered by the general visitor, as he retreats from the national Museum for the third time. He has not passed an idle day here, wandering amid sphinxes, and tombs, and temples, and ancient gods. From the confusion he may gather something that shall not be altogether a useless subject for reflection as he wanders homewards. He may link himself with the remote past, recognise the elements of modern society in these stone revelations of the remote history of the world, feel the vibration of the great human heart coming to him even from the bowels of Egypt's pyramids. There he has their family histories written on their tombstones by weeping relatives; their religion, with all its debasing idolatry, strong in death, exhibiting pleasantly the firmness of their faith; splendid sarcophagi tardily wrought from massive rock, yet perseveringly accomplished in the strong conviction that the dead would shake off the mummy bandages, discharge the natron from their pores, reclaim their scattered intestines, pass the brain back through the nose into the skull, and once more feel quickening blood in the veins. Proudly men of the passing century look back upon all this worship of animals, upon the Egyptian Anubis, and the intestine genii with their animal heads; but even here, in this field of speculation, where the historian's hand wanders unsteadily about his page, and all wears a mythical air, pulses of human emotion are felt that assure us of the remote past. Strange that the chief chapters of ancient Egypt's history should have been written for moderns by her undertakers!

END OF THIRD VISIT.

VISIT THE FOURTH.

The visitor will now enter the museum to complete his inspection of its contents. His way lies once more to the west on entering the great hall, into the first Sculpture Gallery, or that which he will recognise as leading into the great central saloon. Here, as he pauses on the threshold of a noble room filled with splendid specimens of Greek art, he may recur to the historical points which these works illustrate. Throughout this, his last visit, he will be occupied with the examination of the works of the ancient Greeks. These works, as he will notice, are of various degrees of excellence. Already has he examined the rude labours of the Greek sculptors of Xanthus; and to-day his journey will be amid those more modern and perfect labours, performed when the talent of the Greeks was chiefly concentrated upon European ground. Although these glories of remote antiquity are here mostly in an admirable state of preservation, historians are generally lost in contradictions when they attempt to point to any particular piece of statuary as the labour of any known sculptor. The sculptor of the Venus de Medici is not known; and the Apollo Belvedere is a masterpiece, the author of which lies shrouded in the depths of the past. Rude and harsh were the early performances of the Greeks. We have histories of Greek sculptors who flourished many hundred years before our era; and of these the mythical Daedalus is the oldest and most renowned. This sculptor is reported to have flourished fourteen centuries before the Christian era. He is said to have fashioned colossal wooden statues; and Pausanias mentions his statue of Hercules in the possession of the Thebans, and his wooden Venus in the possession of the Delians. His Hercules, however, appears to have been considered his masterpiece; and Flaxman, commenting upon the antiquity of the figures of Hercules found on some coins, seems to think that we may not unreasonably conjecture that these are copies from the masterpiece of Daedalus. Other sculptors of the same name, appear to have flourished in the Achaic period of Grecian history. Indeed it is shrewdly conjectured that Daedalus derived his name from wooden statues called Daedala; and that amongst the ancient Greeks, Daedalus meant nothing more than one skilled in making Daedala. The earliest sculptures of the Greeks were fashioned of materials easily worked, as plaster, clay, and wood. Later they worked ivory, and began to understand the value of metals in statuary; and about five centuries before the Christian era, marble was used by sculptors for detached figures. In the infancy of Greek art, when sculptors were gradually acquiring the skill to fashion their creations out of the most durable material, many combinations of wood, stone, and metal were used, which would sadly shock the modern sculptor's eye;--wooden figures burnished with gold, and with painted vermilion faces, were fashioned in the age of Phidias; and it is believed by some, that this immortal sculptor helped to produce a statue of Jupiter, the face of which was of ivory and gold, and the body of gypsum and clay. Phidias may be fairly acknowledged as the first great Greek sculptor, of whose career and whose works we have indisputable accounts. He founded, and represents all the excellencies of the highest school of Greek art. The sculptors who came after him, as Lysippus the favourite of the great Alexander, paid greater regard to graces of detail and to finish; but of those sublime effects, those forms of gods in human shape which really impress the modern spectator with their almost superhuman beauty, Phidias was the creator. The sculptures known to the public as the Townley collection, are sculptures generally of a more modern date than those in the Elgin and Phigaleian Saloons. The collection has undoubtedly many specimens of the rudest eras of Greek art: but its most striking groups, to the general visitor, will be undoubtedly those finished statues and compositions which represent the ages when Greece was a great European power, and that subsequent period when the Greek sculptors plied their chisels under the patronage of Roman conquerors. In this room the visitor will once more remark, how large a proportion of these priceless relics have been gleaned from ancient sepulchres. Even as he enters the room, he may perceive on the right, the front of a tomb from Athens, carved in high relief; and on the left, the front of another tomb, also sculptured, from Delos.

The room is divided into compartments which the visitor should examine in their regular order of rotation. He will begin therefore, of course with the

FIRST DIVISION.

Before the first pilaster let the visitor notice at once a small seated statue of Cybele or Fortune, from Athens, presented to the nation by J.S. Gaskoin, Esq. Other remarkable objects to be examined before the visitor fixes his attention upon the contents of the case deposited here, are a bust of Demosthenes; a sepulchral altar or cippus, ornamented with sphinxes, etc.; and a sepulchral stêle, inscribed with the name of the son of Artemidorus, who is reclining upon a couch, and crowning himself. Over the case are deposited the end of a sarcophagus ornamented with a Bacchus reclining on a satyr; a bust of Julius Cæsar; a sepulchral cippus; and a Greek stêle. On the case are a head found near Rome, probably of Mercury: and the bust of a Muse crowned with a laurel wreath.

Having examined these objects, the visitor should occupy himself with the contents of the case. Here are some beautiful specimens of Greek art--some mere fragments, others in a wonderful state of preservation. Here are one of those funeral masks anciently used to cover the face of a corpse; the votive mask of a bearded satyr; a votive patera with bas-reliefs representing Silenus and a satyr, another with the head of a bearded Bacchus, and a panther; various heads of Hercules; a Venus attended by two Cupids; a bust of Vitellius; a head of Vulcan; a bust of Caracalla; a head of Juno; a head of the daughter of Titus, Julia; a mutilated figure, about the neck of which a scarabaeus is suspended; the torso of a satyr; a variety of fragments, here an arm holding a butterfly--there two lions' paws--there a gladiator's foot--there the fragment of a serpent. Having noticed these scraps of ancient art, the visitor may direct his attention to the lower shelf, where he will observe some beautiful busts. These include one supposed to be of Sappho; a Minerva with a Corinthian helmet found at Rome; Bacchus; Apollo; a Parian marble bust of Diana from Rome; a queenly Juno wearing the splendone; terminal busts, joined back to back, of Hercules and Omphale. The upper shelf now remains for inspection. Here are three sepulchral tablets, and the fronts of two sarcophagi. The tablet from Crete, within a wreath, contains an inscription descriptive of honour conferred by the inhabitants of Crete upon an individual named Alexander, the gift to him being a golden crown. Having noticed the gay Cupids enacting Bacchanalians upon the first front of a sarcophagus, the visitor should pass on at once to the

SECOND DIVISION.

Here, in front of the pilaster, the visitor should remark a curious square altar, with Silvanus, to whom the altar is dedicated by the farm servant of Caius Coelius Heliodorus, Callistus; and a trophy discovered on the plains of Marathon.

Grouped in this division, are some fine works. First let the visitor remark two white marble Victories discovered in the ruins of the villa of Antoninus Pius, at Monte Cagnuolo. The first Victory is kneeling upon a bull which she is about to sacrifice; and the second also is kneeling upon, and about to stab, a bull. Then a fine bust of a laughing satyr will arrest the attention of the visitor; then a colossal foot in a sandal, under the front of a sarcophagus; then the votive torso, supposed to be that of an Athelete; then a red marble swan found in a vineyard near the Villa Pinciana; then a terminal statue of a satyr; then a bust of Diogenes; then a bust, conjectured to be part of the figure of a dying Amazon; then a bust of Atys. Turning to the upper shelf of this division, the visitor should notice the front and ends of a sarcophagus deposited there. Upon these Bacchus and Ariadne are represented in a chariot, heralded by Bacchanals, and drawn by Centaurs; and in other parts Pan is being castigated by a satyr, and carried off by two Cupids aided by a satyr. Turning to the lower shelf the visitor should examine several antique busts. First there is a bust, conjectured to be that of Achilles; then there is an old Hercules; then a Bacchante; then a bust of Aratus; a female head; and a tragic mask from the lid of a sarcophagus. With the examination of this shelf the visitor closes his inspection of the second division, and should at once advance into the

THIRD DIVISION.

First, let the visitor notice, placed in front of the third pilaster, a celebrated copy of the statue of Praxiteles, of Cupid bending his bow. This celebrated copy is four feet, three and a half inches, in height. It arrived in this country originally as a present to Edmund Burke, from Rome, by Barry, the painter. Numerous copies of this Cupid exist, and the one before the visitor is not the best.

In this compartment or division, the visitor should also remark several sepulchral urns with figures in relief. Amid other sepulchral monuments are, an altar inscribed by Annia Augustalis, to the manes of M. Clodius, his brother Felix, and to Tyrannus; and a bas-relief discovered near the mausoleum of Augustus, representing a Muse standing before a dramatic poet. Hereabouts also the visitor should notice an altar, ornamented with bas-reliefs, dedicated by Aurelius Timotheus to Diana; a small figure of Neptune from Athens; a veiled Ceres bearing a torch, from Athens; a draped Muse in terra cotta holding a lyre; and a cippus, with a representation of Silenus riding a panther. On turning to the lower shelf, the visitor will at once be struck with the sarcophagi. Here are three Etruscan sarcophagi, two of alabaster, and one in peperino. On all three are recumbent female figures, and in front of the first the hunt of the Calydonian boar; of the second, Scylla; and of the third, a bas-relief representing Achilles dragging Penthesilea from her chariot. On this shelf also are, a bas-relief showing Luna encompassed by the signs of the Zodiac, and a sun-dial supported by the claws and heads of lions. Turning now to the upper shelf, the visitor should examine the bas-reliefs deposited thereon. Upon the first, the visitor will notice a funeral car, shaped like a temple drawn by four horses, with Jupiter and the Dioscuri on the sides of the car; upon the second, the bas-relief represents Ulysses and Diomedes detecting Achilles disguised as a female among the daughters of Lycomedes; and the subject of the third relief is a marriage in the presence of Juno Pronuba, showing the bridegroom taking the bride's hand, and holding the marriage contract. Having glanced at these objects, the visitor's way lies forward to the

FOURTH DIVISION.

Here, in front of the pilaster, the visitor must at once examine the torso of a statue, supposed to be of Mercury; and a curious Greek circular altar, ornamented with the heads and fillets of bulls and stags, and inscribed with the names of Agathemeris and her son Sosicles of Tlos. Having examined these two prominently placed objects, the visitor should proceed at once to the general contents of the division. He will be probably attracted first to two terminal statues; or statues, of which the lower parts are not developed. They occur frequently among the remains of Greek sculpture. These terminal statues were held in great veneration; and they were found placed at the corners of streets, at the doors of private dwellings, and before temples. The custom of representing Mercury with a head upon a plain column, appears to have been the origin of a fashion which the Greeks subsequently extended to their representations of other deities. The terminal figure in this division, with the winged cap, illustrates the generality of these Hermae; it was found near Frascati, in the year 1770. The next remarkable object that will probably attract the visitor's attention is the figure, found at Rome, of an Egyptian tumbler, going through his performances on the back of a tame crocodile, a barbarous species of entertainment undoubtedly, but not more repulsive than that of the French aerönaut of last year, floating over Paris on the back of an ostrich. Hereabouts are placed also a small statue of the three-fold Hecate, a Diana found in the Giustiniani Palace at Rome; a bust of Jupiter, conjectured to be a copy from the work of the celebrated sculptor Polycletus, and a sphinx. Here, too, are some interesting bas-reliefs. Upon one a Bacchante (supposed to be a copy from Scopas), is represented with a knife in her hand, and holding part of a kid; upon another (part of a sarcophagus), Priam is represented praying to Achilles to give up Hector's body; upon a third (a cippus) birds are drinking; and upon a fourth (a fountain) are Pans and satyrs. Before turning to the lower shelf, the visitor should also notice in this neighbourhood a beautiful group of two dogs, found on the Monte Cagnuolo; a votive foot, with a coiling serpent, and one or two sepulcral urns with inscriptions. Upon the lower shelf are deposited an interesting series of busts, including one of the Emperor Septimius Severus, found on the Palatine Hill; one of Hadrian, found at Tivoli, on the site of Hadrian's Villa; one from Athens, of the Emperor Nero; and one of Caracalla, found in the Nunnery Gardens at the Quatro Fontane, on the Esquiline Hill. Upon the upper shelf are two busts in relief, and the front of a sarcophagus, with elaborate representations of the Muses. Here is Terpsichore with the lyre of dancing, Thalia with the mask of comedy. And now the way lies once more forward, into the

FIFTH DIVISION.

Before the fifth pilaster is a notable piece of sculpture found in the villa of Antoninus Pius--an erect figure of the youthful Bacchus clothed in the skin of a panther; and here also is a square altar ornamented with sphinxes in bas-relief, Apollo, Diana, and various religious symbols. A colossal toe attracts considerable attention in this division. It may have been an ornament in the rooms of an Eisenberg of the ancients, but more probably has been lost by a god. Let the visitor pause here before the terminal bust of Aeschines the orator, who impeached Demosthenes out of jealousy for his popularity with the people of Athens, and sullenly retired, after losing his cause and being mulcted of a thousand drachmas as the accuser, to Rhodes, where he occupied himself in teaching rhetoric. Other terminal statues occur in this division. Among these, in a glass, are small terminal busts, joined back to back, of Bacchus and Libera; three yellow and red marble heads of Libera; a yellow marble bearded Bacchus; and the bust of a Greek poet discovered at Bitolia. Hereabouts also are, a female head, the eyes of which have traces of inlaying; a bas-relief of Antinous; a curious female head, with the hair of a distinct block of marble, fitted upon it; the head of a child from Rome; the head of Jupiter from the corner of a sarcophagus; busts of Hercules and Serapis; a remarkable altar in the Egyptian style, curiously carved with the bull Apis, and Harpocrates drawn in a car by a hippopotamus. Turning to the upper shelf, the visitor will notice a satyr playing on a flute; six Amazons carved upon the fragment of a sarcophagus; and a sarcophagus found at Tusculum, with representations of Cupids bearing away the arms of Mars. A series of busts are deposited upon the lower shelf. These include busts of the wife of the Emperor Domitian; bust of Olympia; bust of the wife of Hadrian, Julia Sabina; bust of Tiberius; and a bust of Augustus. Before leaving this room the visitor should not fail to notice a few antiquities which should particularly interest him. These form a group of relics found in this country. They illustrate the doings of the Romans in this country.

ANTIQUITIES OF BRITAIN.

The first of these objects which the visitor will remark, is a curious cylindrical sarcophagus, discovered in the neighbourhood of St. Alban's, so lately as the year 1831. It contained some Roman vases. Another sarcophagus found at Southfleet, in Kent, is also included in the collection. In this sarcophagus several interesting relics were discovered, including a vessel containing burnt bones; and purple leather shoes embroidered with gold, and in the same neighbourhood other relics, including an earthern vessel, also containing bones, were found. The next object to which the visitor should direct his attention is the old cistern of a blacksmith, which had been found at Chesterford, in Essex, which turned out to be an ancient relic sculptured in high relief with figures of Jupiter, Mercury, Mars, and Venus. Three or four Roman altars found in various parts of the country, one to AEsculapius; a bas-relief of a Roman standard of the second legion; and pigs of lead inscribed with the names of Roman emperors. Having examined these objects, the visitor should pass at once westward into the

PHIGALEIAN SALOON.

He may here take a seat for a few moments and read the points of history which belong to this saloon, before he commences his examination of it. One year, while the present century was young, fifteen gentlemen encamped round about the ruins of a temple, known to the neighbouring inhabitants as the "columns." These columns were those believed to be the ruins of a temple of Apollo Epicurius, built by the citizens of ancient Phigaleia, in Arcadia. These "columns" were situated upon a shelf of land, high up the side of Mount Cotilium, and surrounded by a rich and various landscape. Lying scattered about were the shattered fragments of the sculptured frieze of the temple; and, with infinite labour the camp of explorers succeeded in gathering together and arranging the slabs which are now deposited in this, the Phigaleian saloon. To the sound of Arcadian music, workmen excavated in the neighbourhood of these ruins; and in 1814 the Prince Regent obtained a grant of 15,000£. to purchase them for the British Museum.

The subjects represented by these sculptures are, the battle of the Centaurs and the Lapithae, and the war between the Amazons and Athenians--mythical struggles upon which Greek sculptors were fond of exercising their imagination. THE BATTLE OF THE CENTAURS is the first to which the visitor should direct his attention. The origin of this myth is thus described by Sir Henry Ellis: "The story of the Centaurs, it is remarked, is of Thessalian origin. The people of Thessaly were remarkably expert in horsemanship, and were supposed to be the first in Greece who practised the art of riding on horseback. Pelion, and other mountains in this part of Greece, abounding in wild bulls, these ferocious animals were frequently hunted by the people of the country on horseback, and when overtaken were seized by their pursuers, who caught hold of them by the horns, in a manner not less dexterous than daring. Hence, these hunters acquired the name of Centauri and Hippocentauri. The novel sight of a man seated on a horse, and galloping over the plains with more than human velocity, might easily suggest to the minds of an ignorant peasantry, the idea of an animal composed partly of a man and partly of a horse; and it was from this simple origin, according to some explanations, that the fable of the Centaurs sprung. We must remark, that we place no confidence in the proposed etymology of the word Centauros, and almost as little in the explanation of the story. The centaur Chiron in Homer was a model of justice, and the poet appears to have had no idea of the monstrous combination of two animals. Pindar, in his second Pythian Ode, first makes us acquainted with the Hippocentaur, or half horse and half man. Though it cannot be imagined that the Greeks ever regarded this tradition otherwise than as a fable, so far as the double nature of the animal was concerned, yet it is curious, to observe, with what care and devotion they recorded the particulars of this fiction in their poems, sculpture, paintings, and other monuments of art. The Centaurs were invited to the nuptials of Pirithous, king of the Lapithae. During the marriage feast, one of the Centaurs, named Eurytion, or Eurytus, with the characteristic brutality of his nature, and elated by the effects of wine, offered violence to the person of Hippodamia, the bride. This outrageous act was immediately resented by Theseus, the friend of Pirhitous, who hurled a large vessel of wine at the head of the offender, which brought him lifeless to the ground. A general engagement then ensued between the two parties; and the Centaurs not only sought to revenge the death of their companion, Eurytus, but likewise attempted to carry off the females who were guests at the nuptials. In this conflict, sustained on both sides with great fury, the Centaurs were finally vanquished, and driven out of Thessaly; after which they took up their abode in Arcadia, where they provoked the anger of Hercules, who completely destroyed the whole of their race. Such is the general outline of the mythic history of the Centaurs."

Bearing this outline of the classical story in his mind, the visitor may at once proceed to examine the first eleven slabs upon which the incidents in the story of the Centaurs and the Lapithae are elaborated. The visitor will, of course, begin with tablet No. 1, and proceed to the others in the regular order in which they are marked.

On approaching the first slab (1) the visitor will perceive a Centaur overcome by two Lapithae, and about to be dispatched. Another Centaur from behind, however, arrests the uplifted arm of one Lapitha. The battle proceeds fiercely on the second slab (2). A Centaur is tearing the shoulder of a Lapitha with his teeth, while the Lapitha drives a stout sword direct into his assailant's body. A dead Centaur lies in the foreground, and the heels of the stabbed Centaur strike against the shield of a second Lapitha. The origin of the battle begins to appear on the third slab (3), where a woman is represented with a child in her arms resisting the violence of a Centaur, while another Centaur at the further end of the slab is getting the better of a kneeling Lapitha. The fourth tablet would be probably unintelligible to the general visitor without special explanation. Here the Centaurs are endeavouring to crush an enemy with huge blocks of stone. This particular enemy is the Caeneus of Greek fable, whom Neptune had rendered invulnerable to the effect of swords and clubs, and whom Centaurs are endeavouring to overcome by crushing his body with masses of rock. The fifth slab (5) presents a more cheerful view of the battle for the Lapithae; here two Centaurs are being overcome by two of their enemies in revenge for their brutal conduct at the bridal banquet. The sixth tablet (6) again illustrates the hazards of war. Here a female is between two of the brutal Centaurs, one of whom has felled a Lapitha to the ground; but the left hand part of the slab is so mutilated that the merits of the sculpture are here hardly appreciable. The seventh (7) slab also represents the Lapithae losing ground. Here, it has been shrewdly conjectured the chief personages of the battle are represented. The female in the arms of the Centaur is supposed to be Hippodamia; and the figure struggling from the grasp of another Centaur, that of King Pirithous fighting for his outraged bride. The next tablet (8) is in a very dilapidated condition. The central figure is that of a muscular Centaur, with his mantle flowing from his neck, in the act of hurling something at a Lapitha who stands stoutly on the defensive, while in the further corner a female with her child is flying from pursuers. The ninth tablet (9) discovers two vanquished Centaurs, and Lapithae in the act of dispatching their mongrel enemies. The battle is represented at its climax on the next slab (10). Here, as the wicked Centaur, Eurytion, is disrobing the King's bride, and her bridesmaid is indulging in exaggerated attitudes of despair, a figure supposed to be that of the renowned founder of Athens, Theseus, springs upon the Centaur's shoulders, and drags back his head, that the brute may not gaze upon the charms he would pollute. The figure behind the bride is supposed to represent Diana, the goddess of Chastity. It is a pity that the leg and arm of the Theseus, and one arm of the bridesmaid are fractured. The last slab of those sculptured with the battle of the Centaurs, represents Apollo and Diana in a car--Apollo the deliverer; Diana the guardian of female chastity. Having fully examined these beautiful specimens of Greek art of the time of Pericles, the visitor should turn at once to the remaining slabs, which are devoted to the illustration of

A BATTLE WITH THE AMAZONS.

Plutarch gives a graphic account of those dissensions between Theseus and the Amazons, which terminated in the famous war here celebrated. "Philochorus," he says, "and some others relate, that he (Theseus) sailed in company with Hercules into the Euxine Sea, to wage war with the Amazons, and that he received Antiope as the reward of his valour, but the greater number, (among whom are Pherecydes, Hellanicus, and Herodotus,) tell us, that Theseus made the voyage with his own fleet alone, some time after Hercules, and took that Amazon captive, which is indeed the more probable account; for we do not read that any other of his fellow-warriors made any Amazon prisoner. But Bion says, he took and carried her off by a stratagem. The Amazons (he informs us) being naturally lovers of men, were so far from avoiding Theseus when he touched upon their coasts, that they sent him presents. Theseus invited Antiope, who brought them, into his ship, and, as soon as she was aboard, set sail. But the account of one Menecrates, who published a history of Nice in Bithynia, is that Theseus, having Antiope aboard his vessel, remained in those parts some time; and that he was attended in this expedition by three young men of Athens, who were brothers, Enneos, Thoas, and Solon. The last of these, unknown to the rest, fell in love with Antiope, and communicated his passion to one of his companions, who applied to Antiope about the affair. She firmly rejected his pretensions, but treated him with civility, and prudently concealed the matter from Theseus. But Solon, in despair, having leaped into a river and drowned himself, Theseus, then sensible of the cause, and the young man's passion, lamented his fate, and in his sorrow recollected an order of the priestess, which he had formerly received at Delphi; that when, in some foreign country, he should labour under the greatest affliction, he should build a city there, and leave some of his followers to govern it. Hence, he called the city which he built Pythopolis, after the Pythian god, and the neighbouring river, in honour of the young man, Solon. He left the two surviving brothers to govern it, and give it laws; and along with them Hermus, who was of one of the best families in Athens. From him the inhabitants of Pythopolis call a certain place in their city Hermus's House, and, by exchanging an accent, transfer the honour from the hero to the god (Mercury). Hence the war with the Amazons took its rise: and it appears to have been no slight or womanish enterprise, for they could not have encamped in the town, or joined battle on the ground about the Pnyx and the Museum, or fallen in so intrepid a manner upon the city of Athens, unless they had first reduced the country about it. It is difficult, indeed, to believe (though the story is told by Hellanicus) that they crossed the Cimmerian Bosphorus upon the ice, but that they encamped almost in the heart of the city, is confirmed by the names of places, and by the tombs of those that perished there." The Amazons, according to fabulous history, were a warlike race of women, who reared only their female children, and lived as a nation apart from the male sex. They are said to have founded many cities in Asia Minor, to have been expert horsewomen, and to have amputated their left breast the more easily to use their bows. Greek sculptors delighted to avail themselves of this mythic war between men and women, in which the heroes do not appear to have used their weapons lightly, in consideration of the sex of their opponents. The splendid group by Kiss, casts of which are now in many English homes, shows that the capacity to deal with the classic subject has not altogether faded from the world. The Amazons themselves bid fair to accomplish a resurrection across the Atlantic. Rumours reach us here in England of female societies associated to make war upon the tyranny of the opposite sex, and to adopt certain eccentricities of costume. It is not improbable that these agitators will soon constitute themselves into a distinct nation, and defy the valour of the masculine Yankee.

The visitor, on turning, thus far informed, to the slabs upon which the war with the Amazons is represented, will notice that these mythic females present no appearance of the rumoured amputation. The weapons that should be in the hands of most of the figures are lost, but it is believed that they were of bronze, and the holes by which they were fastened to the hands of the figures may yet be traced. On presenting himself before the first slab (12), the visitor will see the figure of an Athenian dragging an Amazon to the ground by her hair, while another Amazon is protecting a fallen sister in the corner. This scene will shock the gallantry of the unprepared visitor, who should, nevertheless, compose himself to explain to his partner the kind of women with whom the Athenians had to deal. The second slab (13), represents a wounded Amazon sinking to the earth, and an Athenian and an Amazon in full combat, but upon the third (14), the visitor will remark the havoc which the Amazons could make. Here, on the right, an Athenian protecting himself from attack with his shield, is leading a wounded man from the field, and to the right a male figure is bearing off a body, from which a central Amazon is snatching a shield. On the next slab (15), two Amazons are engaged with two Athenians. To the left, where the head of the vanquished Amazon remains, the slab is much injured; but to the right the Athenian felled by the Amazon is clearly distinguishable. A wounded Athenian lies in the left corner of the next slab (16), supported by a companion; while another Athenian is endeavouring to beat off a lusty Amazon, who appears determined to fight for every inch of the ground. For the first time an Amazon occurs on horseback on the next slab (17). Here a sturdy Athenian is dragging her from her seat, while another Amazon is warding off a blow, and preparing to strike one at the same time, in the right corner. The central figure of the next slab (18), (the longest in the collection,) is the hero Theseus, recognisable by the lion's skin about him, the huge paw of which lies against his left leg. Theseus, who is about to deal a deadly blow at a mounted Amazon (whose body is effaced), is prevented by an interposing Amazon, while an Athenian, who is trampled upon by the horse, is preparing to do severe work with his sword. To the right, an Athenian is unceremoniously removing a wounded Amazon from her fallen horse. The next group (19) represents two couples fighting: an Athenian, protected by a helmet and cuirass, has thrown an Amazon, and on the right of the slab an Amazon has thrown an Athenian. The next slab (20) is severely mutilated; but an Amazon attending to a wounded companion, and others fighting in the left corner are distinguishable. The next tablet represents two Athenians and two Amazons; the central figure (an Athenian) has his foot upon the knee of a fallen Amazon, who appears to be asking mercy. The last slab but one (22) represents an Athenian dragging an Amazon from an altar, while to the right an Amazon is vigorously assailing another Athenian. Upon the last slab (23) are four Amazons and one wounded Athenian, who is endeavouring to ward off an impending blow from the central figure. Having noticed these slabs, the wondrous workmanship of which must surprise the most indifferent and ill-informed observer, the visitor should at once turn to the other fragments arranged and numbered in the saloon. The fragments marked successively from 24 to 40, are parts of the temple to Apollo, from which the Phigaleian slabs were taken. Having cursorily examined these, the visitor should at once turn to the fragment of a bas-relief, marked 41, which properly belongs to the Elgin collection. Here Hercules is represented holding Diomed, King of Thrace, by the head, and is about to strike him. Further on are some interesting relics, collected by Colonel Leake. First, there is a headless female statue, draped, from Sparta (43); then the torso of a naked Apollo from the Peloponnese; then a small, shattered Hercules, without head, arms, or feet, found on the coast of Laconia. Proceeding with his examination of the miscellaneous objects in the saloon, he may notice successively, the head of Jupiter, from Phrygia (47); a curious sepulchral inscription from Halicarnassus (48), forbidding any one, except relations, from occupying the tomb to which it belonged; a bas-relief from Thessaly (51) representing a dedication of hair to Poseidon: an alto-relievo torso of Triton (56); and the pedestal of the statue of Jupiter Urius (55), which stood in the temple of that god, at the mouth of the Euxine.

Directing his attention to the fragments which occupy the wall space below the Phigaleian frieze, he will find eleven fine bas-reliefs from the celebrated tomb erected at Halicarnassus, in the year 353 B.C., in honour of Mausolus, King of Caria, by Artemisia, his wife. Here the power of the later Greek sculptors is employed upon the battles of the Athenians with the Amazons. Above the Phigaleian frieze, against the walls are placed two pediments, copied from those which ornamented the western and eastern ends of the temple of Jupiter Panhellenius, in AEgina.

Among the miscellaneous fragments in the saloon, the visitor has yet to notice a fine torso of a nude Venus; a statue of Discobolus, who is throwing a quoit, found in Hadrian's Villa Tiburtina; part of a statue of Hymen; and at the ends of the saloon the visitor should notice some specimens from the old temple of Selinus, which are valued as probably representing some of the earliest extant specimens of Greek art. Among the subjects represented are Perseus killing the Gorgon Medusa, and Hercules and the Cecrops. Having examined these objects, the visitor has brought his examination of the Phigaleian Saloon to a close, and he should forthwith enter upon the great labour of his fourth visit, by proceeding to the west into the noble room devoted to the

ELGIN MARBLES.

These marbles have become celebrated throughout the civilised world, and the name of Elgin is inseparably connected henceforth with the finest extant specimens of the power of Phidias. The artistic excellencies of these relics of a remote civilisation have been so frequently explained to the public, and their beauties are so generally felt, that it suffices to introduce the general visitor to the room, and to guide him about it, without bidding him halt to learn the estimation set upon these works by great art authorities. After he has received the natural impression which these works cannot fail to produce on his mind, he may wish to know something of the times and men which these represent; he may be glad to learn so much as is known of Phidias. No man even with the poorest sense of the beautiful can, we apprehend, wander about this saloon without being touched. Therefore we proceed at once to guide the visitor on his journey. But it is necessary that he should know something of the building, of which these fragments formed parts:--"The Parthenon," says Colonel Leake, "was constructed entirely of white marble, from Mount Pentelicus. It consisted of a cell, surrounded with a peristyle, which had eight Doric columns in the fronts, and seventeen in the sides. These forty-six columns were six feet two inches in diameter at the base, and thirty-four feet in height, standing upon a pavement, to which there was an ascent of three steps. The total height of the temple above its platform was about sixty-five feet. Within the peristyle at either end, there was an interior range of six columns, of five feet and a half in diameter, standing before the end of the cell, and forming a vestibule to its door. There was an ascent of two steps into these vestibules from the peristyle. The cell, which was sixty-two feet and a half broad within, was divided into two unequal chambers, of which the western was forty-three feet ten inches long, and the eastern ninety-eight feet seven inches. The ceiling of the former was supported by four columns, of about four feet in diameter, and that of the latter by sixteen columns of about three feet. It is not known of what order were the interior columns of either chamber. Those of the western having been thirty-six feet in height, their proportion must have been nearly the same as that of the Ionic columns of the vestibule of the Propylaea, whence it seems highly probable that the same order was used in the interior of both those contemporary buildings. In the eastern chamber of the Parthenon, the smallness of the diameter of the columns leaves little doubt that there was an upper range, as in the temples of Paestum and AEgina. It is to be lamented that no remains of any of them have been found, as they might have presented some new proofs of the taste and invention of the architects of the time of Pericles.

"Such was the simple construction of this magnificent building, which, by the united excellencies of materials, design, and decorations, was the most perfect ever executed. Its dimensions of two hundred and twenty-eight feet by a hundred and two, with a height of sixty-six feet to the top of the pediment, were sufficiently great to give an impression of grandeur and sublimity, which was not disturbed by any obtrusive subdivision of parts, such as is found to diminish the effects of some larger modern buildings, where the same singleness of design is not observed. In the Parthenon, whether viewed at a small or at a great distance, there was nothing to divert the spectator's contemplation from the simplicity and majesty of mass and outline, which forms the first and most remarkable object of admiration in a Greek temple; and it was not until the eye was satiated with the contemplation of the entire edifice, that the spectator was tempted to examine the decorations with which this building was so profusely adorned; for the statues of the pediments, the only decoration which was very conspicuous by its magnitude and position, being enclosed within frames, which formed an essential part of the design of either front, had no more obtrusive effect than an ornamented capital to a single column."

Bearing this outline of the building in mind, the visitor may at once proceed to examine the ruins of this fine monument of ancient genius, which are deposited in the Elgin Saloon of our National Museum. First, he may notice those alto-relievos, known as the

METOPES[9] OF THE PARTHENON.

The subject of these sculptures has been familiarised to the visitor in the Phigaleian marbles. Here, again, is the war of the Athenians, on behalf of the Lapithae, with the Centaurs, the sculptor's subject. On entering the room, the visitor will notice various numbers on each marble: THE RED NUMBERS are those to which we refer throughout.

The first metope to which the visitor will, in natural order, direct his attention, is that marked 1. Here an Athenian has his knee upon the back of a Centaur and one arm round his neck, while the other (which is broken off) was evidently represented raised to strike a fatal blow into the Centaur's body. The second metope (2) also represents an Athenian subduing a Centaur. This group is much injured, the head of the Athenian and that of the Centaur being missing; but the Athenian has his knee firmly planted upon his brutal enemy's hind quarters, and his arm (strongly developed) was evidently firmly clutching the Centaur's hair. The third metope (3) shows an Athenian under very disadvantageous circumstances. Here a Centaur is about to deal a tremendous blow with a wine vessel at the head of his crouching enemy, who is endeavouring to ward off its effects with his ample shield. The heads of these figures are casts from the originals, which are in the Royal Museum at Copenhagen. The fourth metope (4) has been so mutilated that the figure of the Athenian, which was once upon it, is wholly effaced, and the Centaur has the head, part of two legs, and both arms, wanting. Originally the Centaur was holding an Athenian by his hair. The fifth metope (5) is also much mutilated; but here both figures were evidently represented mutually confident of victory. A vigorous action is represented upon the sixth metope (6), where an Athenian is seizing a Centaur by the throat, while, with the right hand, he is prepared to deal a fatal stroke. The seventh metope (7) is much mutilated; but the figure of an Athenian thrown, and a Centaur trampling upon him, are clearly discernible. There is fine action in the eighth metope (8), where the Centaur has seized his adversary by the foot, and is hurling him backwards to the earth. Under the Athenian the visitor will notice a circular drinking vessel, indicative of the revel at which the cause of quarrel originated. The next metope (9) (or rather a cast from the metope in the Louvre at Paris) represents a Centaur in the act of seizing a female, who is resisting him: both heads are wanted. The drapery about the female is beautifully executed. Matters have arrived at a desperate pitch with the combatants represented on the tenth metope (10), where the Centaur, with starting eyes and uplifted arms, is about to strike a determined Athenian, who has planted his foot against the Centaur's breast, and is determined to do his work. The next metope (11) is a fine specimen of sculpture. Here an Athenian has seized a Centaur by the jaw, from behind. The drapery that falls from the fine form of the Greek is exquisitely folded, and the figure itself is finished with masterly skill. A victorious Centaur holding forth a mantle of lion's skin, is the central figure of the next metope (12). Below lies the dead body of an Athenian: all the muscles marked and rigid. It is supposed that the following metope (13) represents the Centaur Eurytion carrying off Hippodamia. The drapery of the female figure is exquisite. The fourteenth metope (14) represents an Athenian thrown by a Centaur. The Athenian, however, is not idle, having buried a weapon in the left side of his adversary, and attempting to seize a stone with his left hand. The fifteenth metope (15) represents a Centaur holding an Athenian; while the Athenian has revenged himself by planting that decisive kind of blow known in pugilistic circles as "a bruiser" upon the Centaur's cheek. This metope is more angular in execution than the other metopes; and was probably executed, under the guidance of Phidias, by one of the old school of Greek sculptors. The last, or sixteenth metope (16), is supposed to have been executed by the same inferior hand as that employed upon the fifteenth. Here the contest between the Centaur and the Athenian is undecided. Metope 16c has been recently discovered at Athens.

Having fully examined these fine specimens of Greek sculpture, the visitor may at once turn to other parts of the great temple, examining now and then, to guide his impressions, the restored model which stands near the south-east corner of the room. His business is now with the frieze that ran round the building behind the columns, and upon which a series of bas-reliefs were sculptured; of which Sir Henry Ellis gives the following clear outline:--

THE FRIEZE OF THE PARTHENON.

"One of the richest objects with which Phidias embellished the outside of the temple of the Parthenon, was, without doubt, that uninterrupted series of bas-reliefs which occupied the upper part of the walls within the colonnade, at the height of the frieze of the Pronaos, and which was continued entirely round the building. The situation afforded to the work only a secondary light, and, so far, prescribed to Phidias the manner in which he was to direct the execution of the figures.

"From the position intended for it, it was evident that the direct rays of the sun could never reach the Panathenaic frieze. Being placed immediately below the soffit, it received all its light from between the columns, and by reflection from the pavement below. The flatness of the sculpture is thus sufficiently accounted for; had the relief been prominent, the upper parts could not have been seen; the shade projected by the sculpture would have rendered it dark, and the parts would have been reduced by their shadows. The frieze could only be seen in an angle of forty-two degrees and a half.

"The subject represented the sacred procession which was celebrated every fifth year in honour of Minerva, the guardian goddess of the city, and embraced in its composition all the external observances of the highest festival of the Athenians.

"The blocks of marble of which the frieze was composed were three feet four inches high; they were placed about nine feet within the external row of columns; and occupied, slab after slab, a space of five hundred and twenty-four feet in length. As a connected subject, this was the most extensive piece of sculpture ever made in Greece. The images of the gods, deified heroes, basket bearers, bearers of libatory vessels, trains of females, persons of every age and sex, men on horseback, victims, charioteers--in short, the whole people were represented in it conveying, in solemn pomp, to this very temple of the Parthenon, the sacred veil which was to be suspended before the statue of the goddess within.

"Meursius, in his Panathenaea and Reliquiae Atticae, has collected from ancient authors many particulars concerning this Peplus. It was the work of young virgins selected from the best families in Athens, over whom two of the principal, called Arrephorae, were superintendents. On it was embroidered the battle of the gods and giants; amongst the gods was Jupiter hurling his thunderbolts against the rebellious crew, and Minerva, seated in her chariot, appeared as the vanquisher of Typhon or Enceladus. In the Hecuba of Euripides, the chorus of captive Trojan females are lamenting, in anticipation, the evils which they will suffer in the land of the Greeks. 'In the city of Pallas, of Athena, on the beautiful seat in the woven peplus I shall yoke colts to a chariot, painting them in various different coloured threads, or else the races of the Titans, whom Zeus, the son of Kronos, puts to sleep in fiery all-surrounding flame.' The names of those Athenians who had been eminent for military virtue, were also embroidered on it. This will explain the following allusion in the Knights of Aristophanes, where the chorus says--'We wish to praise our fathers, because they were an honour to this country and worthy of the _peplus_: in battles by land and in the ship-girt armament conquering on all occasions they exalted this city.' When the festival was celebrated, this peplus was brought from the Acropolis, where it had been worked, down into the city; it was then displayed and suspended as a sail to the ship, which on that day, attended by a numerous and splendid procession, was conducted through the Ceramicus and other principal parts, till it had made the circuit of the Acropolis; it was then carried up to the Parthenon, and there consecrated to Minerva." This splendid series of sculptures forms the gem of the Elgin collection. The museum possesses no less than two hundred feet of the original frieze, in addition to upwards of seventy feet in casts. The wonderful variety, the perfect drawing, the classic grace, and the unity of conception displayed in this work, entitle it to rank as the most precious relic of antiquity saved to moderns from the wrecks of time. Starting from the left side of the entrance door to the south, the visitor begins his inspections of

THE EASTERN FRIEZE,