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A CATALOGUE

OF

SCULPTURE

IN THE DEPARTMENT OF
GREEK AND ROMAN ANTIQUITIES,

BRITISH MUSEUM.

BY

A. H. SMITH, M.A.,

ASSISTANT IN THE DEPARTMENT OF GREEK AND ROMAN
ANTIQUITIES, IN THE BRITISH MUSEUM.

VOL. I.

LONDON:
PRINTED BY ORDER OF THE TRUSTEES.
1892.

LONDON:
PRINTED BY WILLIAM CLOWES AND SONS, Limited
STAMFORD STREET AND CHARING CROSS.

PREFACE.

The present volume by Mr. Arthur Smith, Assistant in the Department of Greek and Roman Antiquities, includes the sculptures of the Archaic period: those of the Parthenon and other Athenian buildings; the remains of the temple at Phigaleia; the Greek reliefs, and some other sculptures which, though produced in Roman times, yet represent Greek originals of the great age.

In the section which deals with the sculptures of Athens much has been retained from Sir Charles Newton's Guide to the Elgin Room, Pts. I.-II. While adding the results of more recent research, Mr. Smith has contributed on his part interesting material.

The sculptures of the archaic period have of late years been the subject of much discussion; the results of these discussions, as they apply to the collection of the British Museum, have now been brought together and summarized.

The Greek reliefs, which form an important section of the present volume, belong to a class of sculptures which have produced much difference of opinion as to the subjects represented by them. Mr. Smith has stated briefly the principal views, by way of introduction to the several classes of reliefs.

A. S. Murray

3rd December, 1891.

CONTENTS OF VOL. I.

	PAGE
Editor's Preface	[iii]
Table of Contents	[v]
Table of Abbreviations	[vii]
Introduction	[1]
[PART I.—THE ARCHAIC PERIOD.]
Mycenae, 1-6	[12]
Branchidae, 7-21	[16]
Lydia, 22, 23	[24]
Ephesus, 24-48	[24]
Caria, 49-51	[40]
Rhodes, 52-75	[41]
Xanthos, 80-98	[45]
Naucratis, 100-127	[61]
Delos, 130	[68]
Selinus (casts), 135-139	[69]
Athens and Attica, 150-156	[70]
Aegina (casts), 160-183	[73]
Olympia (casts), 190-192	[80]
Statues of Apollo (?), 200-211	[82]
Miscellaneous Archaic Sculptures, 215-217	[88]
[PART II.—MYRON AND PHEIDIAS.]
Myron, 250	[90]
Pheidias and the Parthenon	[91]
Athenè Parthenos, 300-302	[96]
East Pediment of Parthenon, 303	[101]
West Pediment of Parthenon, 304	[116]
Metopes of Parthenon, 305-323	[132]
Frieze of the Parthenon	[145]
East Side, 324	[152]
North Side, 325	[165]
West Side, 326	[178]
South Side, 327	[181]
Fragments of the Parthenon Sculptures, 328-345	[193]
Architectural Fragments of the Parthenon, 350-358	[213]
[PART III.—THE SUCCESSORS OF PHEIDIAS.]
The Temple called the Theseion	[216]
Sculpture (casts) and Architecture, 400-406	[220]
The Erechtheion	[231]
Sculpture and Architecture, 407-420	[233]
Temple of Nikè Apteros	[239]
Frieze and Reliefs of Balustrade (casts), 421-429	[242]
Monument of Lysicrates	[248]
Frieze (casts), 430	[251]
Monument of Thrasyllos, 432	[257]
The Propylaea, 433-435	[259]
Miscellaneous Architectural Fragments fromAthens and Attica, 436-448	[261]
Agoracritos of Paros, 460	[264]
Polycleitos of Argos, 500-504	[265]
Temple of Apollo at Phigaleia	[270]
Architectural Fragments, 505-509	[273]
Metopes, 510-519	[274]
Frieze, 520-542	[277]
Acrolithic Statue, 543, 544	[288]
Miscellaneous Sculptures of the Fifth Century, 549-560	[288]
Greek Reliefs	[293]
Sepulchral Reliefs:
Decorative Stelae, 599-618	[304]
Domestic Scenes, &c., 619-680	[308]
Sepulchral Vases, 681-686	[324]
Figures clasping hands, 687-710	[326]
The Sepulchral Banquet, &c., 711-746	[333]
Rider and Horse, heroified, 750-757	[347]
Lycian Sepulchral Reliefs (casts), 760-766	[350]
Votive Reliefs, 770-817	[354]
Plates I.-XII.
LIST OF ILLUSTRATIONS
	PAGE
[PART I.—THE ARCHAIC PERIOD.]
Fig. 1 Restored Capital from the 'Treasury of Atreus' (after Puchstein).	[14]
Fig. 2 Relief from Mycenae (?), No. 5.	[15]
Fig. 3 Relief from Mycenae, No. 6.	[16]
Inscription on right leg of chair (No 14.)	[21]
Inscription on flank of lion (No 17.)	[22]
Fig. 4 Relief from Mycenae, No. 217.	[89]
[PART II.—MYRON AND PHEIDIAS.]
Fig. 5 ΥΑΚΙΝΘΟϹ.	[91]
Fig. 6 Plan of the Parthenon. (From Michaelis.)	[93]
Fig. 7 The South End of the East Pediment of the Parthenon (according to Sauer).	[104]
Fig. 8 The North End of the East Pediment of the Parthenon (according to Sauer).	[105]
Fig. 9 Dionysos; utensil.	[108]
Fig. 9 Metopes 308, 309, from Carrey.	[136]
Fig. 10 Slave with seat.	[157]
Fig. 11 East frieze of the Parthenon, Nos. 39-41.	[162]
Fig. 12 North Frieze, slab xix. (46. 47.)	[172]
Fig. 13 Slab xxv. restored from Stuart (from Michaelis).	[176]
Fig. 14 South frieze, slab xvii. (44. 45. 45*.)	[184]
[PART III.—THE SUCCESSORS OF PHEIDIAS.]
Fig. 15 Plan of the Theseion. (From Baumeister.)	[216]
Fig. 16 The disposition of the West Frieze of the Theseion. (From Baumeister).	[222]
Fig. 17 The disposition of the East Frieze. (From Baumeister).	[225]
Fig. 18 Ground Plan of the Erechtheion.	[231]
Fig. 19 Caryatid of the Erechtheion.	[233]
Fig. 20 Plan of the Propylaea and Temple of Wingless Victory.	[240]
Fig. 21 The Choragic Monument of Lysicrates. (After Stuart.)	[250]
Fig. 22 Plan of the Temple of Apollo at Phigaleia.	[272]
Fig. 23 Bust of Pericles, No. 549.	[289]
Fig. 24 Sepulchral stelè of Smikylion, No. 599.	[304]
[PLATES I. - XII.]
Plate I
Sculptured Column from the Archaic Temple at Ephesus. No. 29.	[I]
Plate II
View of the Lion Tomb at Xanthos. No. 80.
(From a drawing by George Scharf.)	[II]
Plate III
View of the Harpy Tomb at Xanthos. No. 94.
(From a drawing by George Scharf.)	[III]
Plate IV
Sectional View of the East End of the Parthenon.
(G. Niemann.)	[IV]
Plate V
Fig. 1. Carrey's Drawing of the East Pediment of the Parthenon. Fig. 2. Carrey's Drawing of the West Pediment of the Parthenon.	[V]
Plate VI
Fig. 1. Iris and Hera. East Frieze of Parthenon. Nos. 27, 28. Fig. 2. Arm. NO. 330.	[VI]
Plate VII
The North Frieze of the Parthenon (Slabs I.-VII.) Restored.	[VII]
Plate VIII
The North Frieze of the Parthenon (Slabs VII.-XIII.) Restored.	[VIII]
Plate IX
Lusieri's Drawing of the Missing Group from the Monument of Lysicrates. No. 430, 5.	[IX]
Plate X
View of the Temple of Apollo at Phigaleia.
(From a Photograph.)	[X]
Plate XI
Fig. 1. Sepulchral Relief. No. 693. Fig. 2. Monument of Xanthippos. No. 628. Fig. 3. Sepulchral Relief. No. 627.	[XI]
Plate XII
Fig. 1. Fragment of a Sepulchral Relief. No. 673. Fig. 2. Fragment of a Sepulchral Relief. No. 672.	[XII]

TABLE OF ABBREVIATIONS.

The following is a list of the works which are most frequently referred to, in this Catalogue, under abbreviated forms:—

Annali dell' Inst. Annali dell' Instituto di Corrispondenza Archeologica. Rome: 1829-1885. [Superseded by the "Roemische Mittheilungen.">[

Antike Denkmaeler. Antike Denkmaeler herausgegeben vom k. deutschen Archaeologischen Institut. Berlin: from 1886. In progress.

Arch. Anzeiger. Archaeologischer Anzeiger. [A supplement to the Archeologische Zeitung, and to the Jahrbuch des Archaeologischen Instituts.]

Arch. Zeit. Archaeologische Zeitung. Berlin: 1843-1885. [Superseded by the Jahrbuch des Archaeologischen Instituts.]

Athenische Mittheilungen. Mittheilungen des k. deutschen Archaeologischen Instituts, Athenische Abtheilung. Athens: from 1876. In progress.

Brunn, Denkmaeler. H. v. Brunn, Denkmaeler griechischer und römischer Sculptur. Munich: from 1888. In progress.

Bull, de Corr. Hellénique. École française d'Athènes. Bulletin de Correspondance Hellénique. Athens: from 1877. In progress.

Bull. dell' Inst. Bullettino dell' Instituto di Corrispondenza Archeologica. Rome: 1829-1885.

C. I. A. Corpus Inscriptionum Atticarum. Berlin: from 1873. In progress.

C. I. G. Corpus Inscriptionum Graecarum. Berlin: 1828-1877.

Gaz. Arch. Gazette Archéologique. Paris: 1874-1888.

Greek Inscriptions in Brit. Mus. The Collection of Ancient Greek Inscriptions in the British Museum, by C. T. Newton, and E. L. Hicks. 1874-1890.

Guide to Elgin Room I. Synopsis of the Contents of the British Museum. Department of Greek and Roman Antiquities. The Sculptures of the Parthenon. Elgin Room, Part I. (Third ed.). 1886.

Guide to Elgin Room II. Synopsis, etc.... The Sculptures in the Elgin Room. Part II. 1881.

Guide to First Vase Room. Synopsis, etc.... First Vase Room. (Last ed.) 1883.

Guide to Graeco-Roman Sculptures I. Synopsis, etc.... Graeco-Roman Sculptures. (Second ed.) 1879.

Guide to Graeco-Roman Sculptures II. Synopsis, etc.... Graeco-Roman Sculptures. Part II. 1876.

Jahrbuch des Arch. Inst. Jahrbuch des k. deutschen Archaeologischen Instituts. Berlin: from 1886. In progress.

Journ. of Hellen. Studies. The Journal of Hellenic Studies. London: from 1879. In progress.

Mansell. Photographs of objects in the British Museum, published by W. A. Mansell, 271 Oxford Street, W.

Michaelis. A. Michaelis, Der Parthenon. Leipsic: 1871.

Michaelis, Anc. Marbles. A. Michaelis, Ancient Marbles in Great Britain. 1882.

Mitchell. Lucy M. Mitchell, A History of Ancient Sculpture. 1883.

Mitchell, Selections. Selections from Ancient Sculpture.... A Supplement to A History of Ancient Sculpture. By Lucy M. Mitchell. 1883.

Mon. dell' Inst. Monumenti Inediti, pubblicati dall' Instituto di Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin, 1891.

Murray. A. S. Murray, A History of Greek Sculpture. 1880-3. [Second ed., 1890. The first ed. is quoted, unless otherwise stated.]

Mus. Marbles. A description of the Collection of Ancient Marbles in the British Museum. 1812-1861.

Perrot & Chipiez. G. Perrot and C. Chipiez, Histoire de l'Art dans l'Antiquité. Paris: from 1882. In progress.

Prachov. A. Prachov, Antiquissima Monumenta Xanthiaca. St. Petersburg, 1871.

Rev. Arch. Revue Archéologique. Paris: from 1844. In progress.

Roehl, I. G. A. H. Roehl, Inscriptiones Graecae Antiquissimae, praeter Atticas in Attica repertas. Berlin: 1882.

Roemische Mittheilungen. Mittheilungen des k. deutschen Archaeologischen Instituts, Roemische Abtheilung. Rome: from 1886. In progress.

Specimens. Specimens of Ancient Sculpture ... selected from different Collections in Great Britain, by the Society of Dilettanti. London: 1809.

Stereoscopic. Photographs of objects in the British Museum, published by the London Stereoscopic Company, 106 Regent Street, W.

Stuart. James Stuart and Nicolas Revett, The Antiquities of Athens. London: 1762-1830. [Second ed., 1825-1830. The first ed. is quoted unless otherwise stated.]

Synopsis. Synopsis of the contents of the British Museum. (Numerous editions.) 1808-1857. [Where a double reference is given, as 189 (284), the number in the parenthesis was used in editions of the Synopsis earlier than 1832.]

Wolters. Die Gipsabgüsse Antiker Bildwerke in historischer Folge erklärt. Bausteine ... von Carl Friederichs neu bearbeitet von Paul Wolters. Berlin: 1885.

INTRODUCTION.

The collection of ancient sculpture in marble, included in the Department of Greek and Roman Antiquities in the British Museum, may be said to represent the efforts of more than two centuries, though the foundation of the Museum itself is of a considerably more recent date.[¹]

The British Museum was established by Parliament in 1753. In that year, by the statute 26 Geo. II. cap. 22, a trust was created to unite and maintain as one collection the Museum of Sir Hans Sloane, the Cottonian Library, and the Harleian Collection of Manuscripts.

Sir Hans Sloane (1660-1753),[²] physician, botanist, and President of the Royal Society in succession to Newton, had formed in his lifetime a very extensive museum, consisting mainly of books, natural history collections, and ethnographical objects. At the same time classical antiquities were represented by bronzes, gems, vases, terracottas, and a few sculptures in marble. The examples, however, of Greek sculpture were few and unimportant, and in most instances they cannot now be recognized with certainty from the brief entries in Sir Hans Sloane's catalogue. Such as they were, they were chiefly derived from the collection of John Kemp, an antiquary and collector early in the eighteenth century (died 1717). The Sloane Collection included the sepulchral vase, No. 682 in the present volume; a small relief with two dogs and a wild boar; a figure of Asclepios, a few heads, busts, urns of marble or alabaster, and a few Greek and Latin inscriptions.

Three of the pieces of sculpture in the Museum are said by Sloane[³] to have been derived from the Arundel Collection, which was the first great collection of classical antiques formed in this country. Thomas Howard, Earl of Arundel (1585-1646), was the first Englishman who employed agents to collect for him in Greece and the Greek Islands, as well as in Italy. The collection thus formed was broken up in the reign of Charles II. The inscriptions were given by Henry Howard, afterwards sixth Duke of Norfolk, to the University of Oxford in 1667. The sculptures were scattered. A part passed through the hands of the Earls of Pomfret to the University of Oxford, while others were lost, or dispersed among private collectors.[⁴] The few examples named above thus found their way into the original collection of the British Museum. A more important fragment, however, from the Arundel Collection was added to the Museum at an early date, namely the bronze head, formerly known as Homer,[⁵] which was presented by the ninth Earl of Exeter in 1760. This head had previously been in the collection of Dr. Richard Mead,[⁶] physician and antiquary (1673-1754), and was sold with his collection in 1754.[⁷]

Between the foundation of the British Museum in 1753 and the accession of the Townley Collection in 1805, the collection of sculpture made but slow progress. The first donor of sculpture was Thomas Hollis (1720-1774), of Corscombe, in Dorsetshire, a collector, and benefactor to several branches of the Museum. In 1757 Hollis gave a collection of antiquities, including several marbles, chiefly small busts and inscriptions.[⁸] In 1764 he gave a Greek relief, which cannot be identified, and in 1765 a marble head of a Faun.

In 1772 Matthew Duane (lawyer and antiquary, 1707-1785) joined in a gift of sculptures with Thomas Tyrwhitt (1720-1786), a scholar, who also bequeathed his library of classical authors to the British Museum. The sculptures in question[⁹] were purchased by the donors at an auction in London,[¹⁰] in order that they might be put in a place of safety.

The year 1772 is also noteworthy as the date of the first Parliamentary grant for the augmentation of the Museum collection. The House of Commons in that year voted a sum of £8410 for the purchase of the valuable museum of antiquities which had been formed by Sir William Hamilton (1730-1803), British Ambassador at Naples, 1764-1800. The vases formed the most important section, but the collection also contained several sculptures in the round and in relief.[¹¹] On the other hand a square altar with reliefs[¹²] was presented by Sir W. Hamilton in 1776, and perhaps also a head of Heracles.[¹³] A colossal foot of Apollo[¹⁴] was given in 1784.

In 1780 an interesting relief, No. 750, was presented by Sir Joseph Banks, and Col. the Hon. A. C. Fraser, of Lovat (1736-1815). Sir Joseph Banks (1743-1820), traveller, botanist, and President of the Royal Society, was a great benefactor to the Library and Botanical collections, but his gifts of sculpture were limited to this relief, and to a relief representing Jupiter and Ceres, presented in 1809.

Charles Townley gave two marble fountains[¹⁵] in 1786, but his main collections were not added to the Museum till after his death. A valuable gift was received from the Society of Dilettanti, about 1795, consisting of the sculptures and inscriptions collected by the expedition to Ionia which had been sent out by that Society in 1764, under the direction of Dr. Richard Chandler. The collection included several Attic reliefs,[¹⁶] and some important inscriptions, among them the well-known report on the progress of the Erechtheion.[¹⁷] In 1870 the same Society presented the fruits of its excavations at Prienè, conducted by Mr. R. P. Pullan.

Two Roman portrait statues, of inferior merit, which had passed into the hands of the British at the Capitulation of Alexandria, in 1800, were placed in the Department of Antiquities, in 1802.

The collection of sculpture which had thus slowly come into existence during the first fifty years of the Museum's history, received its most brilliant accessions during the first quarter of the present century.

The great collection that had been formed by Charles Townley[¹⁸] was purchased in 1805 by Act of Parliament, 45 Geo. III. cap. 127, for £20,000, a sum greatly below the value of the sculptures. Charles Townley (1737-1805), of Townley, in Lancashire, acquired a large part of his marbles, during a residence in Italy, between 1768 and 1772, but continued collecting, after his return to England. The chief sources from which he formed his museum were the following: (1) the older Roman collections, from which Townley made numerous purchases; (2) the excavations carried on by Gavin Hamilton, a Scotch painter living in Rome (died 1797), and by Thomas Jenkins, an English banker; (3) occasional purchases from older English collections. Thus the relief of Exakestes[¹⁹] was derived from the collection of Dr. Richard Mead (see above). The relief of Xanthippos[²⁰] had been brought to England by Dr. Anthony Askew, a physician, who visited Athens and the East, about 1747, and compiled a manuscript volume of inscriptions, now in the British Museum (Burney MSS., No. 402). Several pieces[²¹] were also obtained from the collection formed at Wimbledon by Lyde Browne, a virtuoso and Director of the Bank of England, who died in 1787.

The accession of the Townley Collection in 1805 made necessary the erection of a special building in the garden of the then existing Montague House, and also caused the creation of a separate Department under Taylor Combe, for the custody of the antiquities, which had been previously attached to the Library.

In 1814, the Phigaleian sculptures were purchased of the explorers[²²] in a public auction at Zante, and the Museum thereby acquired its first series of sculptures from a Greek building. A fragment, which had been lost during the transportation of the marbles,[²³] was presented by Mr. J. Spencer Stanhope in 1816.

Thomas Bruce, seventh Earl of Elgin (1766-1841), whose collection was the next and greatest addition to the British Museum, had been appointed British Ambassador to the Porte in 1799. On his appointment, he resolved to make his time of office of service to the cause of art, and accordingly engaged a body of five architects, draughtsmen and formatori, under Lusieri, a Neapolitan portrait painter, to make casts, plans and drawings from the remains in Greece, and more particularly at Athens. While the work was in progress, Lord Elgin became aware of the rapid destruction that was taking place of the sculptures in Athens. The success of the British arms in Egypt having made the disposition of the Porte favourable to the British Ambassador, a firman was obtained which sanctioned the removal of the sculptures. The whole collection, formed by Lord Elgin's agents, was, after long negotiations, and an enquiry by a Select Committee of the House of Commons, purchased of Lord Elgin for £35,000 in 1816. It consists of sculptures and architectural fragments from the Parthenon, the Erechtheion, and other Athenian buildings; casts, which have now become of great value, from the Parthenon, the Theseion, and the Monument of Lysicrates; a considerable number of Greek reliefs, principally from Athens; fragments from Mycenae and elsewhere; drawings and plans.

The marbles and casts of the Parthenon acquired in the Elgin Collection, have since been supplemented, not only by casts of sculptures newly discovered at Athens, but also by the additions of fragments, removed from Athens by occasional travellers, and acquired for the Museum by donation or purchase. The gifts include a head of a Lapith,[²⁴] from the Duke of Devonshire, and pieces of the frieze from Mr. C. R. Cockerell,[²⁵] and Mr. J. H. Smith-Barry;[²⁶] also from the Society of Dilettanti[²⁷] and the Royal Academy.[²⁸]

Lord Elgin was actively assisted in the East by his secretary, William Richard Hamilton (1777-1859), who afterwards became Under-Secretary of State for Foreign Affairs (1809-1822). From Mr. Hamilton the Museum received a few sculptures, including a sepulchral relief from Tarentum.[²⁹]

In 1824 the British Museum obtained by bequest the collections of Richard Payne Knight (1749-1824), a learned but fanciful antiquarian, and a leading member of the Society of Dilettanti. Payne Knight's collection was especially rich in bronzes, gems, and coins, but it also contained a series of marble portrait busts.

The next addition of importance was the collection of sculptures and casts brought at the public expense in 1842 from Xanthos and other sites in Lycia, discovered by Sir Charles Fellows (1799-1860), in the course of his journeys of 1838 and 1840.[³⁰]

In 1846, permission was given by the Porte to the then British Ambassador, Sir Stratford Canning, afterwards Viscount Stratford de Redcliffe (1786-1880), to remove twelve slabs of the frieze of the Mausoleum from Halicarnassos. These sculptures, long known to travellers,[³¹] were taken from the walls of the castle of Budrum, and presented by the Ambassador to the British Museum.

Ten years later the influence of Lord Stratford de Redcliffe was exerted to support Sir Charles Newton in his explorations in Asia Minor. Sir Charles Newton exchanged his position at the British Museum, in 1856, for the post of British Vice-Consul at Mitylene, which he held till 1859, and in that capacity he was able, on behalf of the Trustees, to excavate the sites of the Mausoleum at Halicarnassos, and of the temple of Demeter at Cnidos. He also removed the archaic statues of Branchidae, and collected several minor pieces of sculpture. The excavations on the site of the Mausoleum added four slabs to the series presented by Lord Stratford de Redcliffe in 1840. One additional slab was purchased in 1865 of the Marchese Serra, of Genoa.

While the excavations of the Mausoleum were in progress, the Crimean campaign afforded an opportunity to Col. Westmacott to form a collection of sculptures from Kertch and the neighbourhood, illustrating the later stages of Greek art on the Euxine.

In the years 1860-1861, Captain, now General Sir R. Murdoch Smith, R.E., and Commander E. A. Porcher, R.N., carried out a series of excavations on the site of Cyrenè, and discovered a considerable number of sculptures in marble, and an admirable bronze portrait head, among the ruins of the temples of Apollo, Dionysos and Aphroditè, and elsewhere.

The excavations which were carried on at Ephesus by the late Mr. John Turtle Wood,[³²] for the British Museum, began in 1863, and were continued till 1874, the site of the great temple of Artemis not having been determined before the spring of 1870. Besides excavating the site of the temple, Mr. Wood obtained inscriptions and sculptures from the Odeum, the great Theatre, and the road to the temple of Artemis.

The site of Naucratis in the Egyptian Delta was discovered by Mr. W. M. Flinders Petrie, and was excavated, partly by the discoverer, and partly by Mr. E. A. Gardner, at the cost of the Egypt Exploration Fund in the years 1884-6.[³³] The most important objects found were fragments of pottery, but there were also some architectural remains, and archaic statuettes of interest.

In 1889 and 1891, various sculptures, including a head of Eros from Paphos, and a large capital with projecting bulls' heads from the Cyprian Salamis, have been presented by the Cyprus Exploration Fund.

Besides the proceeds of the systematic researches enumerated above, the collection of sculpture has been frequently increased during the present century with the specimens collected by private travellers in the East. Thus in 1818, H. Gally Knight (1784-1846), an antiquarian and writer on the history of architecture, with N. Fazakerly, presented a statue from Athens.[³⁴] In 1820, J. P. Gandy Deering (1787-1850), an architect who had taken part in the Dilettanti Expedition to Ionia of 1811, presented sculptures that he had discovered at Rhamnus in Attica.[³⁵] In 1839, Colonel W. M. Leake, an eminent traveller and topographer (1777-1860), presented several Greek sculptures.[³⁶] A small collection of reliefs, and of architectural fragments from Athens and elsewhere, was purchased from H. W. Inwood, the author of a treatise on the Erechtheion.

In 1861, the fifth Earl of Aberdeen presented a collection which had been formed in Greece in 1801 by George, fourth Earl of Aberdeen, a connoisseur, known to his contemporaries as "Athenian Aberdeen."[³⁷] In 1864 a collection of sculptures was purchased which had been formed by Percy Clinton Sydney Smythe, sixth Viscount Strangford (1783-1855), formerly Ambassador to the Porte, and which included the "Strangford Apollo."[³⁸]

Amongst purchases that have taken place from time to time we may also mention that of the Apollo[³⁹] from the collection of the Comte de Choiseul-Gouffier in 1818. In 1864 several Græco-Roman sculptures[⁴⁰] were purchased from the Farnese Collection at Rome. The museum of the Duc de Blacas, purchased in 1867, contained the head of Asclepios from Melos, and the relief discovered at the same time.[⁴¹] For the numerous cases not here mentioned in which sculptures have been acquired by donation or bequest, the reader is referred to the pages of the catalogue.

Finally, it may be observed that not a few sculptures in the British Museum have been found under peculiar circumstances in this country. Such specimens have been brought to England by travellers, whose collections have afterwards been broken up, lost or neglected, and have been rescued by chance from warehouses, gardens, or masons' yards.[⁴²]

[¹] For the history of the collections in the British Museum, see Edwards, Lives of the Founders of the British Museum; Michaelis, Ancient Marbles in Great Britain, introduction.

[²] There is a portrait of Sloane in the Mediæval Room, and a bust by Roubiliac in the Ceramic Gallery.

[³] The entries in the Sloane Catalogue are:—"218. A vase of red and grey marble with green veins, with a cover from the Earl of Arundel's Collections. 222. A busto of Tully (?) when young.—Arundel. 223. A small Venus (?).—Arundel."

[⁴] Michaelis, Ancient Marbles, p. 6.

[⁵] Mus. Marbles, II., pl. 39.

[⁶] There is a bust of Mead by Roubiliac in the Ceramic Gallery.

[⁷] Mus. Meadianum, Pars altera, p. 219.

[⁸] Cf. Mus. Marbles, V., pl. 1, fig. 3; pl. 6, fig. 4; pl. 7, fig. 1; pl. 12, fig. 4.

[⁹] Nos. [639], [703], [737].

[¹⁰] Archæologia, III., p. 230.

[¹¹] Nos. [774], [780]; Græco-Roman Guide, I., No. 140b.

[¹²] Græco-Roman Guide, II., No. 53.

[¹³] Mus. Marbles, I., pl. 11.

[¹⁴] Græco-Roman Guide, II., No. 117.

[¹⁵] Græco-Roman Guide, II., Nos. 45, 61.

[¹⁶] Nos. [605], [637], [642].

[¹⁷] Greek Inscriptions in Brit. Mus., No. XXXV.

[¹⁸] There is a bust of Townley in the Department of Antiquities.

[¹⁹] No. [704].

[²⁰] No. [628].

[²¹] Mus. Marbles, III., pl. 6; X., pls. 3, 5; XI., pl. 37.

[²²] See p. [270].

[²³] Part of No. [534].

[²⁴] [342, 3].

[²⁵] [327, 4].

[²⁶] [325, 75].

[²⁷] [325, 50].

[²⁸] [325, 85].

[²⁹] Nos. [446], [712].

[³⁰] See p. [45], for a further account of the travels of Fellows.

[³¹] Antiquities of Ionia, II. (1797), suppl., pl. 2.

[³²] See p. [24].

[³³] See p. [61].

[³⁴] No. [153].

[³⁵] Nos. [154], [460]; cf. also No. [784].

[³⁶] Including Nos. [798], [816].

[³⁷] Including Nos. [632], [633], [644], [710], [802], [808], [811], [812].

[³⁸] No. [206]. See also Nos. [302], [627], [651], [653], [666], [678], [722].

[³⁹] No. [209].

[⁴⁰] No. [401]; Græco-Roman Guide, I., Nos. 33, 45, 109, 132, 134; II., No. 96.

[⁴¹] Nos. [550], [809].

[⁴²] See Nos. [211], [643], [652], [667], [680], [693], [699], [726], [736].

PART I.

ARCHAIC PERIOD.

SCULPTURES FROM MYCENAE.

The sculptures contained in the first section of this catalogue are derived from the site of Mycenae, the first four being fragments of important works of architecture. There is great uncertainty as to the date and origin of the Mycenaean monuments. A theory frequently advanced supposes that they are remains of an old civilization whose centre was Argolis, and which was swept away by Dorian invaders. If this view is accepted, Nos. 1-6 are separated by a long interval of years, and by a time of great political change, from the remaining sculptures in this volume. From No. 7 onwards we have works produced during the historical period; but the remains of Mycenae acquire interest from the consideration that they may be authentic memorials of a dynasty only dimly remembered in the Homeric Poems.

1-4.Fragments of architecture from the building, commonly known as the 'Treasury of Atreus' at Mycenae. This building is a dome-covered tomb (tholos) of beehive shape, approached by a long passage (dromos). It is cut out from the side of a hill, and built of heavy masonry, covered with earth, so as to form a tumulus. It was partially excavated by Lord Elgin, and more completely in 1879 by the Greek Archæological Society. The fragments Nos. 1-4 are parts of an elaborately decorated doorway to the tomb. They have been incorporated in a somewhat fanciful restoration which was made by Donaldson, and which has been much modified by later investigators.

For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with Donaldson's restoration). Dodwell, Pelasgic Remains, pls. 9, 10. Athenische Mittheilungen, IV., p. 177, pls. 11-13 (Thiersch); Mitchell, p. 143. Donaldson's restoration is based on an earlier attempt by Lord Elgin's artists, which is now among the Elgin drawings in the British Museum.

1.Fragment from the 'Treasury of Atreus' at Mycenae. The decoration consists of three bands of the wave pattern, separated by mouldings. Two of these bands are in low relief; the third is in high relief, with a hole bored in the centre of each spiral for the insertion of glass or metal ornaments. Among the tools employed by the artist, the chisel, saw, and the tubular drill, were plainly included. From the fact that the end of the fragment is cut at an acute angle, it is inferred that this fragment was placed above the doorway of the building, in contact with a relief of triangular form. It is also possible that it may have formed part of a triangular slab above the door. A piece of red marble, similarly decorated, which is now at Athens, exactly fits the apex of the triangular opening (Athenische Mittheilungen, iv., pl. 13, fig. 1, a.).—Elgin Coll.

Red marble. Height, 1 foot 4¼ inches; width, 3 feet 2¾ inches. Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5; Dodwell, Tour, II., p. 232; Murray, I., p. 38; Wolters, No. 3.

2.Fragment from the 'Treasury of Atreus' at Mycenae. The decoration consists of a band of the wave pattern, and a band of lozenges in low relief, the bands being separated by mouldings of similar character to those of No. 1. The saw and chisel were used by the artist.

This slab, according to Donaldson, formed a part of the architrave, over the entrance to the building. According to Dodwell, it was 'found by the excavators of the Earl of Elgin, near the Treasury of Atreus.'—Elgin Coll.

Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6 inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell, Tour, II., p. 232; Murray, I., p. 39; Wolters, No. 2.

Fig. 1.—Restored Capital from the 'Treasury of Atreus' (after Puchstein).

3.Fragment from the 'Treasury of Atreus' at Mycenae. This fragment, which is decorated with a portion of a wave pattern enclosed by two mouldings meeting at an acute angle, is a part of one of the columns that flanked the entrance to the building. These columns were decorated with an elaborate system of ornament, composed of zigzag bands of the wave pattern, best understood on reference to drawings of the complete column (cf. fig. 1). The tubular drill has been used as in No. 1.—Presented by the Institute of British Architects, 1843.

Hard green limestone; height, 11 inches; width, 9 inches. For drawings of the restored column, with its capital (formerly taken for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5, pl. 5. Dodwell, Tour, II., pl. facing p. 232; Murray, I., p. 40; Puchstein, Das Ionische Capitell, p. 50. For fragments of the capital, see Gell, Itinerary, pl. 7; Mitchell, p. 145, fig. 70.

4.Fragment from the 'Treasury of Atreus' at Mycenae. This is a part of the lower member of the capital of a pilaster flanking the great doorway (cf. fig. 1).—Presented by the Institute of British Architects, 1843.

Hard green limestone; height, 3½ inches; width, 10 inches. Puchstein, Das Ionische Capitell, p. 50.

5.Fragment of relief. Head and shoulder of rampant lion. From the shape of the fragment it appears to have been a part of a triangular relief filling the space above a doorway. (Compare No. 1 and the Gate of Lions at Mycenae.) The lion's paw is extended as if towards another lion confronting him. A pattern is drawn in fine lines on the shoulder. Behind the lion is a branch of laurel.

Fig. 2.—Relief from Mycenae (?), No. 5.

A part of this relief has been exposed to a corroding influence, which has acted uniformly on the surface, so that the design is sunk, but not obliterated.—Mycenae (?) Elgin Coll.

Limestone; height, 1 foot 10¼ inches; width, 2 feet 2 inches. Synopsis, No. 204 (158). Murray (2nd ed.), I., p. 61.

6.Fragment of relief. Forelegs and part of body of bull standing to left. A joint is worked in the stone, in front of the bull.—Mycenae (?) Elgin Coll.

Green limestone, closely resembling that of No. 5, but not identical with it. Both are composed principally of flakes of mica, which are, however, larger and more abundant in No. 6 than in No. 5. Height, 1 foot 4½ inches; width, 2 feet 5 inches. Synopsis, No. 224 (160).

Fig. 3.—Relief from Mycenae, No. 6.

SCULPTURES FROM BRANCHIDAE.

The temple and oracle of Apollo at Didyma, near Miletus, in Asia Minor, were from time immemorial in the hands of the priestly clan of the Branchidae, whose name came to denote the place itself. This temple was destroyed by the Persians—probably by Darius on the suppression of the Ionian Revolt—about 495 b.c. (Herod. vi., 19. See, however, Strabo, xiv., p. 634; xi., p. 518.) After its destruction, the temple was not rebuilt till the time of Alexander. The temple was connected with the harbour Panormos by the Sacred Way. Along this the sculptures stood at intervals. They are dedicatory offerings made to Apollo, probably by the persons represented.

The following are the materials for fixing the period to which the sculptures of Branchidae must be assigned. It is certain that none of them are later than the destruction of the temple by the Persians, and the latest of them (No. 16) appears a generation earlier than the works associated with that period. On the other hand, there is no reason to place the oldest before the early part of the sixth century b.c. Thus these sculptures cover the period of (say) 580-520 b.c. On epigraphic grounds, the date may be more closely defined. It is believed that the older form for η ⊟ was changed to Η shortly before 550 b.c. By this criterion, Nos. 10, 17, belong to an older group, and No. 14 to a later group. An inscribed base now in the British Museum with the name of an artist, Terpsicles, also belongs to the older group (Roehl, I.G.A., 484). It has been suggested that Chares of Teichioussa (No. 14) was one of the local tyrants who were established after the destruction of the kingdom of Croesus (546 b.c.), and this agrees well with the epigraphical evidence.

The statues of Branchidae are of interest because they exhibit the process by which the grotesque coarseness of primitive work tends towards the stiff and formal refinement that marks the later stage of archaic art. The series in the British Museum breaks off before the second stage has been completely attained, but it can be well supplemented by a seated female figure from Miletus, now in the Louvre (Rayet et Thomas, Milet et le Golfe Latmique, pl. 21).

The sculptures of the Sacred Way were discovered by Chandler in 1765 (Antiqs. of Ionia, 1st ed., I. p. 46; Chandler, Travels in Asia Minor, 1775, p. 152). They were more accurately examined by Gell, and the second Dilettanti expedition in 1812 (Antiqs. of Ionia, 2nd ed., 1821, Part I., p. 29, vignette, and ch. III., pl. 1; Müller, Denkmaeler, I., pl. 9, fig. 33). A more accurate sketch was made by Ross (Arch. Zeit., 1850, pl. 13). Such of the sculptures as could be found in 1858 were removed by Sir C. Newton; Newton, II., p. 527. On the inscriptions see Kirchhoff, Studien, 4th ed., pp. 19, 25.

7.Female figure, seated on a chair, with her hand resting on her knees. The head is wanting, and the upper part of the body is much mutilated. The figure wears a long chiton, with sleeves, and a diploïdion. The feet of this figure (as of all the other figures) are bare. The drapery falls down in front of the legs in stiff conventional folds. The sleeve, however, of the chiton is worked in a more natural manner. There are remains of a key-pattern on the sides of the cushion of the chair.—Sacred Way, Branchidae.

Parian marble; height, 3 feet 9 inches. Mansell, No. 607.

8.Male figure, seated on a chair, with his hands resting on his knees. The head, shoulders, left forearm, and hand are wanting. The figure wears a long chiton with sleeves and a mantle. The lower part of the chiton is entirely conventional, but parts of the mantle, and the outlines of the arms are worked after nature. On the ends of the cushion there is a pattern of zigzag lines.—Sacred Way, Branchidae.

Parian marble; height, 3 feet 11¼ inches. Newton, II., p. 534; Mansell, No. 604 (left).

9.Female figure, seated on a chair with hands resting on her knees. The right hand is wanting, and also the toes and front of the base, which seem to have been attached separately. The figure wears a long chiton and a mantle, which passes over the back of the shoulders, under the right arm, and in both directions across the left shoulder. Neither garment has indications of fold, and the edges are conventionally treated. The face, as far as can be seen, was full and thick. The hair falls in pointed tresses, the undulations of which are indicated in a conventional manner. The right ear is finished with care. This chair has no cushion, the drapery of the figure being seen under the arms.—Sacred Way, Branchidae.

Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd from right); Rayet et Thomas, Milet et le Golfe Latmique, pl. 26 (right); Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11c; Wolters, No. 7.

10.Male figure, seated on a chair, with the right hand resting on the right knee, and the left hand beside the left thigh. The head, and the fingers of the left hand are wanting. The figure wears a chiton with sleeves, and a mantle, which passes round the body, under the right arm, and passes in both directions over the left shoulder, so as to hang down in folds over the knees. The ends of the cushion, the sleeves of the chiton, and a part of the chiton seen on the left knee, are decorated with the key pattern.

On the left arm of the chair is the inscription: Εὔδημός με ἐποίε(ι)ν —"Eudemos made me."—Sacred Way, Branchidae.

Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right); pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, Studien, 4th ed., p. 26; Roehl, I.G.A., 485; Roberts, Greek Epigraphy, p. 162.

11.Male figure, seated on a chair, with left hand on left knee, and right hand, with palm turned upwards, on right thigh. The head, right shoulder, and right hand are wanting. The figure wears a chiton with sleeves, and a mantle. The folds of the lower parts are entirely conventional, but those of the upper part of the chiton are indicated by delicate wavy grooves. The hair falls behind in tresses which are cut off square on the shoulders.—Sacred Way, Branchidae.

Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74 (right); Mansell, Nos. 603 (left), 604 (right).

12.Male figure, seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by right knee. The head, shoulders, and breast, and the right hand are wanting. The figure wears a chiton with sleeves, and a mantle, which passes under the right arm, while the ends cross the left shoulder in contrary directions. The artist has attempted to render the fine folds of the upper part of the chiton.

The four legs of the chair are decorated with a design which appears to be developed from the lotus bud, and is seen on Assyrian reliefs. On the back of the top rail of the chair is the late inscription: Νίκη Γλαύκου, which is either "Nikè, daughter of Glaukos," or, perhaps, a formula of the Christian period, "Victory of Glaukos!"—Sacred Way, Branchidae.

Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II., p. 531, fig. 2; p. 787; Kirchhoff, Studien, 4th ed., p. 20.

13.Male figure seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by the right thigh. The head and the right hand are wanting. The figure wears a chiton, and a mantle which passes round the body under the right arm, and passes in both directions over the left shoulder, so as to hang down in folds before the knees. The artist has attempted to render the fine folds of the upper part of the chiton, and has decorated the front legs of the chair as in No. 12. The statue has been broken and repaired in ancient times with lead cramps.—Sacred Way, Branchidae.

Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from left); II., p. 531, fig. 1; Mansell, No. 605; Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11b.

14.Statue of Chares, a male figure, seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by the right thigh. The head and hands are wanting. The figure wears a chiton with sleeves and a mantle which passes under the right arm, while the ends pass in contrary directions over the left shoulder. The sleeves of the chiton are bordered with a key pattern, which is doubled along the seam.

On the right leg of the chair is the inscription:

Χάρης εἰμὶ ὁ Κλε(ί)σιος Τειχιο(ύ)σ(σ)ης ἀρχὸς . ἄγαλμα το(ῦ) Ἀπόλλωνος.

"I am Chares, son of Kleisis, ruler of Teichioussa. The statue is the property of Apollo."—Sacred Way, Branchidae.

Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left); pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet et Thomas, Milet et le Golfe Latmique, pl. 25; Dieulafoy, L'Art Antique de la Perse, Part III., pl. 15; Wolters, No. 6; Kirchhoff, Studien, 4th ed., p. 19; Roehl, I.G.A., 488; Roberts, Greek Epigraphy, p. 163; Palaeographical Society, Facsimiles, I., No. 76.

15.Male figure, seated on a chair, with left hand on left knee, and right hand by right thigh. The head and right hand are wanting. The figure wears a chiton with sleeves and a mantle which passes under the right arm, while the ends cross the left shoulder in contrary directions. The fine folds of the upper part of the chiton are indicated.—Sacred Way, Branchidae.

Parian marble; height, 4 feet 2 inches.

16.Female figure, seated on a chair, with hands on her knees. The head and feet are wanting. The figure wears a sleeved chiton with a diploïdion and a veil. The sleeves terminate with long folds. The veil falls down over the shoulders, in numerous folds.

In attempting to indicate the legs with greater detail than his predecessors, the artist has rendered them as if they were nude; but in naturalness and freedom this statue is conspicuously the most advanced of the series.—Sacred Way, Branchidae.

Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, No. 603 (right); Rayet et Thomas, Milet et le Golfe Latmique, pl. 26 (left); Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11a; Wolters, No. 7.

17.Lion, recumbent, with right fore-paw passing in front of the body, and with left paw laid over it. The hind quarters are half turned over, the animal lying on the right haunch. The head is wanting. The mane is rendered by stiff pointed locks of hair of conventional form. The pose, however, of the animal shows careful study of nature.

On the flank is the inscription:

1. Τὰ ἀγάλματα τάδε ἀνέθεσαν οἱ Ὠρ-
ίωνος παῖδες το(ῦ) ἀρχηγο(ῦ), Θαλῆς
καὶ Πασικλῆς καὶ Ἡγήσανδρος κ[α]ὶ Εὔ-
βιος καὶ Ἀναξίλεως, δε[κά]την τῷ Ἀ-
5. πόλ(λ)ωνι.

"The sons of Orion, the governor, Thales, Pasicles, Hegesander, Eubios and Anaxileos dedicated these statues as a tithe to Apollo."—Sacred Way, Branchidae.

Marble; height, 2 feet 6¼ inches; length, 7 feet. Newton, I., pl. 97, No. 66; II., p. 777; Kirchhoff, Studien, 4th ed., p. 26; Roehl, I.G.A., 483; Roberts, Greek Epigraphy, p. 161; Mansell, No. 615.

18.Sphinx or lion, recumbent. This figure has been called a Sphinx or a lion-sphinx. The distinguishing marks of a Greek Sphinx are wanting, as the head is lost, and the figure is wingless.—Sacred Way, Branchidae.

Marble; height, 4 feet 2 inches; length, 6 feet 11½ inches. Antiqs. of Ionia, 2nd ed., I., p. 29; Ross, Arch. Zeit., 1850, p. 132; Müller, Denkmaeler, I., pl. 9, No. 33; Newton, II., p. 535; Milchhoefer, Athenische Mittheilungen, IV., p. 50.

19.Beardless male head, from an archaic statue. The left shoulder is preserved. The hair falls in tresses, as in the case of No. 9.—Branchidae.

Marble; height, 1 foot 3 inches; Rayet et Thomas, Milet et le Golfe Latmique, pl. 27.

20.Female head (unfinished (?)) from an archaic statue. The figure wears a veil which covers the whole of the head, except the face. The ears are indicated beneath the veil.—Branchidae.

Marble; height, 9 inches.

21.Relief, with figures moving to the right, in a dance. It is incomplete at both ends, and appears to have been part of a frieze formed of several slabs. On the left are a woman and a man joining hands. On the right is a woman between two men; of the man on the right only the right leg is preserved. The right hand of the woman is seen behind, while her left hand is held by the man before her. The man on the left of this group has some object, perhaps a cup, in his right hand which is stretched out behind him. Between the two groups, and in the background, a woman rushes to the right, holding branches (?) in her raised hands.

The men are considerably larger than the women. The women wear a plain chiton, the men a chiton and mantle. All have bracelets, and long hair, which falls in a peculiar manner over the forehead; one wears a taenia, the remainder have stephanae. All the limbs are indicated under the draperies, even those of the figures in the background, which are seen through their own draperies and those of their companions.—Presented by J. Scott Tucker, Esq., R.N. Karakewi (Teichioussa), near Branchidae.

Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et Thomas, Milet et le Golfe Latmique, pl. 27; Brunn, Denkmaeler, No. 101 B.

SCULPTURES FROM LYDIA.

The following sculptures were found in 1882 by Mr. George Dennis, C.B., in one of the tumuli at Bin Tepè, near Sardes. Perrot (v., p. 904) suggests that they may have been part of a series of reliefs of a hunting scene, decorating the sepulchral chamber. The date is uncertain, but the reliefs may well be earlier than the fall of Croesus.

22.Relief. Three horsemen moving to the right. They wear large helmets and cuirasses, with shoulder plates, and carry spears.

The figures are cut in a narrow panel, and appear to have served an architectural purpose.—Bin Tepè, Sardes.

Marble; height, 7¼ inches; width, 1 foot 5 inches. Perrot and Chipiez, V., p. 903, fig. 535; Murray, Gr. Sculpt., 2nd ed., I., p. 107.

23.Relief. Three deer, moving to the right, grazing. From a panel nearly similar to the preceding.—Bin Tepè, Sardes.

Marble; height, 6¾ inches; width, 1 foot 4 inches. Perrot and Chipiez, V., p. 904, fig. 536; Murray, Gr. Sculpt., 2nd ed., I., p. 107.

SCULPTURES FROM EPHESUS.

The great temple of Artemis (or Diana), at Ephesus, which ranked among the seven wonders of the ancient world, was built in the middle of the 4th century b.c. It was, according to tradition, the latest of a long series of buildings. Not fewer than eight successive temples have been enumerated by Falkener (Ephesus, p. 214; cf. Pliny, H. N., xvi., 213). The excavations, however, have only produced the remains of two temples. The earlier of the two, which is here described, is probably that which was begun early in the sixth century b.c., by the architects Theodoros, Chersiphron and Metagenes, was in course of construction during the reign of Croesus (Brunn, Gr. Künstler, ii., p. 382), and was burnt by Herostratos on the night of Alexander's birth (356 b.c.). The later temple, the remains of which are exhibited in the Ephesus Room, was then built to replace that which had been burnt; and the excavations have proved the interesting fact that the most remarkable features of the later temple were borrowed from its predecessor.

The extant fragments of the early temple were found by the late Mr. J. T. Wood, in excavations which he carried on at Ephesus for the Trustees of the British Museum. These fragments had, for the most part, been used as building materials, and were extracted from certain massive piers which rested against the foundations of the walls of the temple cella. Mr. Wood assigned the piers to the Byzantine period, but only adduced evidence to show that they were later than the walls of the temple. It is therefore possible that they may have been added at an early period, to strengthen the foundations.

Wood, Ephesus, pp. 190, 259. For the reconstruction of the archaic temple, see Journ. of Hellen. Studies, X. (1889), p. 1 (A. S. Murray). The material is a finely-grained marble, with occasional strongly marked blue veins.

Architectural Fragments.

24.Part of a wall-stone from the archaic temple.

Length, 2 feet 7½ inches; width, 1 foot 8 inches.

25.Capital of Ionic column. Several fragments have been discovered, from which it is possible to reconstruct with tolerable certainty the capitals and necking of the columns of the archaic temple.

Journ. of Hellen. Studies, X., p. 8.

26.Fragment of volute from cap of column. The groove between two mouldings is filled with two strips of lead to which gold leaf is attached.

Length, 7 inches. Wood, Ephesus, p. 245; Journ. of Hellen. Studies, X., p. 9.

27.Fluted fragment of column. The drum to which this fragment belonged was 4 feet 3 inches in diameter, and had 40 flutings.

Height, 1 foot 10 inches; width, 3 feet 6 inches.

28.Fragment of the base of an unfinished column, with torus moulding and horizontal flutings only partially carried out.

Height, 1 foot 4 inches; width, 3 feet. Journ. of Hellen. Studies, X., p. 5, part of fig. 3b.

29.Base of sculptured column. The column has necessarily been reconstructed from various fragments, which cannot be proved to have belonged originally to the same column, but the combined fragments serve to give a general idea of the appearance of the column. ([Plate I.])

1.The sculpture is surmounted by an egg and tongue moulding 11½ inches high, which is not shown in the plate, Journ. of Hellen. Studies, x., pl. 3. There are considerable remains of red paint.

2.Immediately below the sculptures is a moulding, which contains fragments inscribed as follows:

ΒΑ ΚΡ ΑΝ ΕΝ,

which have been restored as Βα[σιλεὺς] Κρ[οῖσος] ἀν[έθηκ]εν. 'King Croesus dedicated (the column).' It is known from a statement of Herodotus that Croesus gave most of the columns of the temple at Ephesus [Herod. i. 92, Κροίσῳ δὲ ἔστι καὶ ἄλλα ἀναθήματα ἐν τῇ Ἑλλάδι πολλά . . . ἐν δὲ Ἐφέσῳ αἵ τε βόες αἱ χρύσεαι καὶ τῶν κιόνων αἱ πολλαί]. It is probable that the columns were inscribed with dedicatory inscriptions, of which we here have fragments. The later temple had a similar series of inscriptions. The columns offered by Croesus must be earlier than the date of his fall, 546 b.c. The inscriptions are no doubt of the same age as the columns, and they may have been seen by Herodotus (Hicks, Greek Inscriptions in Brit. Mus., dxviii.).

3.Below the moulding is the restoration of an early Ionic base. (Journ. of Hellen. Studies, x., pl. 3, and p. 8).

The following fragments are inserted in the restoration of the sculptured base:—

4.Upper part of male figure in high relief standing to the right, wearing a close-fitting tunic, with sleeves to the elbows, and having a lion's skin about the body and with long hair. The upper part of the face is broken away. The right arm was bent at the elbow, and crossed the body.

Height, 2 feet. Journ. of Hellen. Studies, X., pl. 3.

5.Lower part of male figure in high relief standing to the right, wearing what appears to be a himation, falling to the knees.

Height, 3 feet 3 inches. Murray, I., p. 112; Journ. of Hellen. Studies, X., pl. 3.

6. Female head, to the right, in high relief. The hair is enclosed by a diadem, and falls down on the shoulders. A large circular earring in the right ear. There are considerable remains of dark red paint in the hair. The chin is broken away.

Height, 1 foot ½ inch. Murray, I., p. 111.

7. Middle part of a female figure, to the right, in high relief. The figure wears a tunic, tied with a narrow girdle, and a diploïdion which fell in long folds at the sides. A key-pattern was painted on the central fold of the dress.

Height, 1 foot 2 inches.

The following fragments from the bases of the columns, are not inserted in the restoration:—

30.Fragment, in high relief, of the head and shoulders of a figure, from the drum of a column. The front surface is broken away, but the figure appears to have looked to the front, with long hair falling on the shoulders, which are draped.

Height, 1 foot 3 inches.

31.Fragment, in high relief, of the right thigh of a draped figure, standing to the right.

Height, 1 foot 1½ inches. Worked above with a bed for another drum.

32.Middle part of a draped figure to the left in high relief. The figure wears a tunic with sleeves and himation. The left hand is pressed close to the thigh.

This fragment is similar in style to the sculptures on the columns, but must have come from a rectangular base, corresponding to the rectangular bases in the later temple.

Height, 1 foot 2 inches. Murray, I., p. 113.

33.Fragment of a head containing the middle of the face. A straight edge is worked along the left cheek.

Height, 8½ inches.

34.Fragment of the left side of a female head, wearing a band across the forehead, a veil, and a circular earring. Some red on the lips.

Height, 9½ inches.

35.Fragment of the upper part of a head, wearing a close-fitting veil, with curls between the veil and the forehead.

Height, 4 inches.

36.Fragment of the right side of a head, containing the cheek, ear, and a part of a veil which falls behind the ear.

Height, 8 inches.

37.Fragment of a head, containing the left ear, and wearing a veil; hair falls down at the back of the head.

Height, 6 inches.

38.Fragment of a head, similar to the last.

Height, 9½ inches.

39.Fragment of the left side of a head, turned to the left, and wearing a veil. It contains a part of the ear and eye.

Height, 6 inches.

40.Fragment from the top of a head, with hair.

Height, 6 inches.

41.Fragment from the right side of a head, with part of the neck, and hair falling down. The hair is coloured red.

Height, 3½ inches.

42.Fragment, from the right side of a head, containing the top of the ear and hair falling over it.

Height, 4 inches.

43.Fragment of drapery, terminating in zigzag folds.

Height, 7½ inches.

44.Fragment of drapery, with the bottom of several folds. It has an incised maeander, as in No. 29, 7, and a palmette ornament painted in red.