eke Path Phew, REAR he oN Car ge 3 THE J. PAUL GETTY MUSEUM LIBRARY a ets ee nie . 4 “e _ ai t ,’ ‘ : ees ; . ' Wa my “ ?; 4 : v rr * i's < , 4% ‘ Seg © 4 ws THE METROPOLITAN MUSEUM OF ART HANDBOOK OF ae eAosi CAL, COLLECTION BY GISELA M. A. RICHTER, Lrt.D. dadguaduse RRR RKO XXX MYO SSS SS = NEW AND ENLARGED EDITION Sw) tite. I oe ee ni SamM= 1% rw] NEW YORK MCMXXVII i; ay COPYRIGHT ® ‘BY THE METROPOLITAN 1 OF ART JANUARY, 192 Pelee Less than ten years ago our classical collections were installed in Wing J and a descriptive handbook was pub- lished. Since then we have so completely outgrown our quarters that an extension into Wing K has become neces- sary. This fifth edition of the Handbook has been rewrit- ten to include additions made since 1917 and to serve as a guide to the collections in their new arrangement. | + : CONTENTS PREFACE . ILLUSTRATIONS INTRODUCTION The Present Collection and Its Arrangement . Value and Appreciation of Greek Art BIBLIOGRAPHY HANDBOOK OF THE CLASSICAL COLLECTION First Room with Annex Prehistoric Greek Period, about 3500-1100 B.C: Second Room Early Greek Period, about 1100-550 B.c. . Third Room Archaic Period, Sixth Century B.c. Fourth Room and Eastern Colonnade of Wing K First Half of V Century B.c. Fifth Room Second Half of V Century B.c. . Sixth Room Fourth Century B.c. . Seventh Room Hellenistic Period, III-I Century B.c. . Eighth Room Hellenistic and Roman Imperial Periods, II] Century B.c.—I Century a.p. . Central Hall of Wing J Greek Sculptures, VI-I Century B.c. PAGE 100 144 107 189 211 230 Viil CONTENTS Court of Wing K: Garden and Northern, Western, and Southern Colonnades Roman Imperial Period, 31 B.c.-Fourth Century A.D. Sardis Gallery . Jewelry Room . INDEX. PAGE 284 321 325 337 PabwolRATIONS FIGURES 1-238 in general reproduce objects in the classical collection and are placed in the text as near to the descriptions of the objects they illustrate as practicable. The cover design, vignette on the title-page, and most of the head-bands and tail-pieces used for decoration in the chapters have been drawn from the objects themselves; the cover design by Lindsley F. Hall of the Museum staff, the others by Edward B. Edwards. The following list of these is printed for the convenience of the student of ornament. Cover DeEsicn: From a Roman fresco Southern Colonnade VIGNETTE ON TITLE-PAGE: From a fifth-century krater meen or eh ases/,e Fourth Room INTRODUCTION Head-band: From a sixth-century kylix Case A, Third Room Tail-piece: From a fifth-century oinochoé Case A, Eastern Colonnade BIBLIOGRAPHY Head-band: From a Roman table Court of Wing K Tail-piece: From the Kybele chariot Case S, Western Colonnade First Room Head-band: From avase found at Pachyam- Re 8 ee, Pedestal X Le DOS REA Ie GOAN Ss Tail-piece: From the Snake-Goddess group Case V SECOND RooM Head-band: From a geometric amphora Case N Tail-piece: From a Corinthian vase. . Case L THIRD Room Head-band: From the inside of an Athenian krater ... . Case |, Dailyiiesxnini Tail-piece: From the Etruscan chariot Case O FouRTH RooM AND EASTERN COLONNADE OF WING K Head-band: From an Athenian pyxis Pedestal P, Fourth Room Tail-piece: From a bronze handle . . CaseA FirTH Room Head-band: From the Erechtheion. . Case L Tail-piece: From a bronze mirror . . Case F SIXTH ROOM , Head-band: From the “Tholos” at Epi- dauros -. . 3 Tail-piece: From an Apulian plate. . Case T SEVENTH RooM Head-band: From a South Italian plate Case H Tail-piece: Antefix . . . On topoP@ases EIGHTH ROOM Head-band: Detail of a fresco from Bosco- reale 2 Se Tail-piece: From an Arretine bowl. . Case N CENTRAL HALL OF WING J Head-band: Cornice of a fourth-century gravestones. ..0 ene Number 48 Miah st RATIONS XI Tail-piece: Akroterion from a sixth-century et eONC te Number 32 CouRT AND COLONNADES OF WING K Head-band: From a fresco from Boscotre- ewe. = 6S * Southern Colonnade Tail-piece: From a fresco from _ Boscotre- oes. S| Outhern Colonnade SARDIS GALLERY Head-band: From a terracotta tile. . Case B Tail-piece: From a terracotta tile . . Case B JEWELRY Room Head-band: From a gold fibula . . CaseM Tail-piece: From a gold ornament . . Case M INDEX Head-band: From a Lydian vase Case A, Sardis Gallery Tail-piece: From a sixth-century kylix Case A, Third Room INTRODUCTION See EOE NT COLLECTION AND ITS ARRANGEMENT BEFORE 1905 the Museum owned only a few pieces of importance'—notably the Etruscan bronze chariot, purchased in 1903; the Boscoreale frescoes, purchased in the same year; a number of bronzes given by Henry G. Marquand in 1897; the Charvet Collection of ancient glass, also given by Henry G. Marquand; and the King Collection of engraved gems, presented by John Taylor Johnston in 1881. Besides these, we possessed only Bucchero vases, Hadra vases, a few pieces of Athenian pottery, and some miscellaneous objects, mostly of minor importance. Therefore our present collection has practically been created within the last twenty years. It has been formed by yearly purchases, mostly with the Rogers and Fletcher Funds, occasionally supplemented by generous gifts and loans. Of the gifts, the most important are a number of Greek bronzes and the Gréau Collection of Roman glass and pottery, given by J. Pierpont Morgan, a Greek marble 1This is of course exclusive of the Cesnola Collection of antiquities from Cyprus, which forms a separate and individual whole. X1V INTRODUCTION head given by James Loeb, and a collection of Cretan sealstones and other antiquities bequeathed by Richard B. Seager.! Originally our classical collections were exhibited ac- cording to material, that is, all marble sculptures were placed together, all bronzes, all terracottas, all vases, and so on. In Wing J a different plan was tried—that of a series of period rooms grouped round a sculptural hall. In each gallery were placed the bronzes, terracottas, vases, glass, gems, beads, and other pieces which belong to one and the same epoch, the only exceptions being the larger sculptures which were put in the top-lighted central hall, and the objects of gold and silver which were segre- gated for reasons of safety. This chronological arrangement has proved such a suc- cess that it has been retained in our new installation. Indeed its advantages are apparent. Not only does the variety of material add to the general attractiveness of the rooms, but the visitor can obtain a more comprehen- sive idea of the gradual development of classical art in all its branches. For as he passes from one gallery to another the story of Greek art unfolds before his eyes. He can watch the successive stages of this art—the early struggles, the full achievement, and the gradual deterioration—in all the objects before him, of whatever material they happen to be. He can see at a glance what special classes of products were in vogue at different times. And more important still, he is able to make comparative studies between the various materials in each room, and trace relations between them. He will find many points of 1The fine bronze portrait-head given by Benjamin Altman and a col- lection of Greek and. Roman pottery and glass given by Edward C. Moore belong to restricted collections and have had to be exhibited with them in Galleries K 33 and H 21 respectively. Pret OD UC TLON XV contact, for instance, between the figures on the Etruscan bronze chariot and those on the vases and the bronze statuettes in the same room, which will show him the de- pendence of Etruscan art on Greek models. He will learn how the bronze helmets and greaves were worn, by merely turning to the reliefs or to the vases in the same room, where warriors are depicted wearing them. He can see how certain fourth-century mirrors were used, by looking at a terracotta statuette in an adjoining case. And so on, in innumerable instances. The reasons why most museums have hitherto exhibited their classical collections by material rather than by period are easy to understand. Most of the important classical collections, those, for instance, in London, Paris, Berlin, and Munich, are so large that the material has become unwieldy. The vases, in particular, even if distributed, would swamp every gallery with their numbers. Some of the smaller collections, on the other hand, particularly in Italy, are often one-sided, being largely derived from special excavations. In our own classical collection, how- ever, conditions for period grouping were highly favorable. Though comparatively small, it is unusually representa- tive, having been formed largely by carefully selected purchases; so that it has been possible to arrange one or two rooms for each important period. The general plan, then, for the arrangement of our collection remains the inclusion of all our originals of Greek, Etruscan, and Roman art,! and the grouping of this material according to periods. But a number of shifts and adjustments have taken place. The Roman material has been moved to Wing K, where it occupies the central court as well as three of its colonnades. This includes the sculpture, glass, pottery, bronzes, and frescoes 1Except, of course, duplicates or careless, unimportant pieces. XVI INTRODUCTION (except those from Boscoreale). The picturesque sur- roundings bring out to a surprising extent the highly decorative character of Roman art. The fourth (eastern) colonnade is devoted to Greek works of the first half of the fifth century moved from the much crowded Fourth Room. Adjoining this colonnade is the new Cesnola Gallery arranged in a way similar to the former grouping, so that J. L. Myres’s handbook can still serve as a guide to the collection. In the northern corner, with a safety door, is our new room of classical jewelry, at last brought into connection with the rest of the department. In Wing J the central hall now contains only Greek sculpture, archaic and fifth-century pieces in the northern half, fourth-century and Hellenistic ones in the southern por- tion. The collection of prehistoric art occupies the vesti- bule leading into the sculptural hall in addition to its old quarters in the adjoining First Room. A few of the ob- jects in the Second Room have been moved to the new Sardis Gallery in Wing K, and some of the objects in the Third Room have been moved to the Fourth Room. The Fifth Room has been made habitable by the removal of the exhibition of Greek and Roman life (installed there since 1924) to makeshift but at least conveniently accessi- ble quarters north of the Eighth Room. The Eighth Room, which has been emptied of most of its Roman con- tents, has shown hospitality to some of the Hellenistic objects in the Seventh Room. A _ new feature is the distribution of the Ward Collection of coins (formerly shown in the old Gold Room) in the period rooms. To the general rule of chronological grouping a few ex- ceptions have had to be made, as before. In trying to divide certain classes of objects according to definite periods, the border lines are sometimes difficult to draw; for there always is some overlapping. Every change is SWOOYU JTVOISSVID AHL AO NV1Td ATA MSL TVOISSVT9 SNUdAD WOU SAILINOILNV AO NOILOATIOD VIONSAD Care eed aay AUMNLNAD HLdId JO JTVH LSUId SAILINGLLNY HITUD, AUMNLNAD HLAld JOAIVH LSUIA, WOO" HLYNOA Goldad NaqUD qomdd doldad ‘OIMOLSIHaUd | | MAINO ATUVI DIVHOUV WOOU LSYIs WOOY GNODAS WOO" GYIHL G SaUNLAINDS g ISNOANV1 [Z ‘e) “TADSIW QB O doludd MaquoO O DIMOLSIHAYd SAYUNLdINOS AFAUD TIVH TVULNAD ROMAN ANTIQUITIES SAILINOILNY NVWOU sgoludd NVWOU goldad AYUNLNAD - aNV MINIS HEA) lsiquys wows SLLSINATIaH DLLSINSTISH HLYNOd dO ATVH GNOOGS | SAILINOLLNV : woou HLHOIF woo’ HLNAAS woOOU HLXIS WoOU HLsld SaILINOILNY NVWOU XVI1L1 INTR ODUCT EON gradual; and often when a new type of vase or mirror or safety-pin has been introduced, the old ones linger on. In all these cases the objects have been placed in the period in which they were most in vogue, and of which they are the natural expression. In the Roman Imperial epoch it became the practice to make copies of Greek works of earlier periods. Though this applies chiefly to statues (see p. 245), it is also true of smaller pieces, especially of bronze statuettes. Where such copies are faithful reproductions of Greek originals, they have been included in the sections to which they stylisti- cally belong; only where the copyist introduced new ele- ments of his own have they been classed with works of the Roman period. | 3 All the objects in our collection exhibited in these two wings are originals. Casts and reproductions are shown in other parts of the building. In only one room was an exception made to this rule—in the First Room, which illustrates Greek prehistoric art. Circumstances make it difficult to obtain any important originals from Crete, where excavations have recently brought to light the remains of a wonderful early civilization. In _ order, therefore, adequately to illustrate this important period of ancient art we have had exact copies made of many of the more remarkable wall-paintings and other objects, and these form the main part of the exhibits in the First Room. To these are added a number of original terra- cotta and stone vases and engraved stones, obtained at various times. To prevent confusion, each case is carefully labeled as containing either originals or reproductions. As stated above, the Cesnola Collection of antiquities from Cyprus has been kept separate from the rest of the classical collections, inasmuch as Cypriote art has an en- Prk OD UGTION X1X tirely local andindividual character. It includes, however, a few important pieces which are clearly products of pure Greek rather than Cypriote art, and which were perhaps imported. [hese have been incorporated with the rest of our Greek collections. eee APPRECIATION OF GREEK ART It may be of interest, before giving specific descriptions of our objects, to consider briefly the value and apprecia- tion of Greek art. Why is it that Greek art occupies a unique position and is even to this day worthy of the ‘most detailed study? First of all, the Greeks, as has been well said, are our spiritual ancestors. It was they among all the ancient peoples that in politics, literature, philosophy, and also in art pointed the way which we have since followed, and thus laid the foundations of our Western civilization. For even though the classical civilization was lost during the Middle Ages, it was its revival in the days of the Renaissance which brought about that wonderful rebirth of culture on which we moderns have built our structure. Therefore, if we wish to under- stand our own civilization, and to know why it has taken the form which it has, we have to go to its originators, the Greeks. It is not only for historical reasons, however, that Greek art is an important study for us today. The Greeks were more than pioneers. In art and literature, at least, they achieved what may be termed perfection; and yet they started at the beginning. So, in seeing Greek art develop from its primitive origins, through many intermediate stages, to final excellence, we study the evolution of art; and this constitutes an artistic training of the first order. XX LDN TER'O DAG rehoOmN The chief value of Greek art, however, lies in its inherent beauty. The Greeks were one of the most artistic peoples the world has known, and there is no better way for the training of eye and taste than to spend some time in their company. They will supply a standard which will make us enjoy not only their art, but other arts, and which will help us to cultivate that discrimination between good and: bad which is essential in the training of both artist and student. Moreover, their conception of beauty is one of which we are much in need today. The calm remoteness which distinguishes their best works is in such contrast to the restlessness of modern life that it affects us like the quiet of a cathedral after the bustle and confusion of the streets. In order properly to appreciate Greek art we must also understand the Greek spirit. This is not difficult; for there is an essential likeness between the Greeks and our- selves. No such adjustment is necessary as in the study, for instance, of an Oriental and alien civilization. There are, however, certain differences which it is important to bear in mind. Perhaps the most prominent and far- reaching characteristic which distinguishes the Greek from us is that he was a “humanist.”” He humanized his religion and created his gods in human shape, of like passions to himself. He humanized nature and peopled the winds and rivers and fountains with creatures of human form. And he humanized life. In other words, to him “man was the measure of all things.” In his art this attitude is reflected in the importance siven to the representation of the human body and in the full realization of its beauty. It became the chief theme of the artist, and for several centuries its representation captivated his interest to the exclusion of almost all else. But this interest in physical beauty was not in any way PNERODUCTION XX1 material. The Greek conception of a good life was a harmonious, many-sided existence, in which mind and body found full scope for rich development; so that beauty of body and beauty of mind and character were to the Greeks almost inseparable. Kavos xayados, “ beautiful and good,” is their expression for what we should call a gentle- man. What a fine blending of physical and mental beauty this ideal produced we can see in the types preserved us from the Greek art of the best period. For here the Greek sense of beauty found full expression. It showed itself not only in the unsurpassed loveliness of its productions, but in the elimination of all that is abnormal and extrava- "gant. It is in’ this sense that the Greek artist was an idealist. He felt that in art, which to him was the creation of beauty, everything extraneous to this object must be avoided. Hence also the restraint and sense of fitness which pervade all his works. Another important quality in which the Greeks differ from us is their directness. Their representations are al- ways straightforward and simple. If they wished to rep- resent the birth of the goddess of wisdom from the brain of their chief god, they depicted Hephaistos cleaving the head of Zeus with an axe, and Athena emerging, fully armed. When they conceived their heroes fighting evil powers, they showed them in combats with lions, boars, bulls, and monsters. To try to explain Greek representa- tions on metaphysical grounds, and to read our own more complicated thoughts and emotions into them, is to mis- understand the directness and spontaneity of Greek imagination. And this directness saved the Greeks also from sentimentality. The conciseness of their epitaphs and the quiet scenes on their tombstones can teach us how deep feeling can be adequately conveyed by a restrained expression. ‘We are lovers of beauty without extrava- XXII IN TRODBUGTrLOm gance,’ is what Perikles said of the Athenians in his fa- mous Funeral Speech.! It is this ardent and yet sober love of the things of the spirit which is so exhilarating to us today. !'Thukydides, 11, 40. Pi HOw ISERIES STENT BIBLIOGRAPHY THIS BIBLIOGRAPHY IS NOT INTENDED TO BE IN ANY SENSE EXHAUSTIVE,IT INCLUDES ONLY THE MORE IMPORTANT BOOKS OF INTEREST TO THE GENERAL READER. ADDITIONAL IN- FORMATION ON OBJECTS IN OUR COLLECTION WILL BE FOUND IN THE MUSEUM BULLETINS PERIODICALS American Journal of Archaeology. From 1885. Annual of the British School at Athens. London, from 1894. Annual of the British School at Rome. London, from 1902. Antike, Die. Berlin and Leipzig, from 1925. Antike Denkmaler. Berlin, from 1801. Athenische Mitteilungen des deutschen archdologischen Instituts. Athens, from 1876. Ausonia. Rome, from 1906. Bulletin de correspondance hellénique. Paris, from 1877; Athens, from 1885. Dedalo. Milan, from 1920. Fondation Piot. Monuments et mémoires publiés par l’académie des inscriptions. Paris, from 1894. Jahrbuch des deutschen archaologischen Instituts. Berlin, from 1886; with Beiblatt, Archaologischer Anzeiger, from 1889. XX1V BIBLIOGRAPHY Jahreshefte des k. k. oesterreichischen archaologischen Instituts in Wien, with Beiblatt. Vienna, from 1808. Journal of Hellenic Studies. London, from 1881. Journal of Roman Studies. London, from 1911. Monumenti antichi pubblicati per cura della reale Ac- cademia dei Lincei. Rome, from 1890. Monumenti inediti dell’ Instituto di Correspondenza ar- cheologica. Paris, 1829-1885. Notizie degli scavi di antichita. Accademia dei Linceli. Rome, from 1876. Revue archéologique. Paris, from 1844. Romische Mitteilungen des deutschen azchaologischen Instituts. Rome, from 1886. LEXICONS Daremberg, C., Saglio, E., & Pottier, E. Dictionnaire des antiquités grecques et romaines. Paris, 1877-1918. Roscher, W. H. Lexikon der griechischen und rémischen Mythologie. Leipzig, from 1884. (In progress.) Smith, W. Dictionary of Greek and Roman Geography, I-II. London, 1880. Dictionary of Greek and Roman Biography and Mythology, I-III. London, 188o. Dictionary of Greek and Roman Antiquities. Third edition. London, 1890. Walters, H. B. Classical Dictionary of Greek and Roman Antiquities, Biography, Geography and Mythology. Cambridge, 19106. Wissowa, G., & Kroll, W. Pauly’s Real-Encyclopadie der klassischen Altertumswissenschaft. Stuttgart, from 1894. (In progress.) BEB LIOGRAPHY XXV GENERAL WORKS Baumeister, A. Denkmaler des klassischen Altertums, I-III. Munich, 1884-1888. Baur 2 Yo... Centaurs in Ancient Art. . Berlin, 1912. Blimner, H. Technologie und Terminologie der Gewerbe und Kiinste bei Griechen und Roémern, I-IV. Leipzig, 1875-1887 (I, second edition, 1912). Cambridge Ancient History, The, I-IV. Cambridge, 1923-1920. Ducati, P. L’Arte classica. Turin, 1920. Fowler, H. N., & Wheeler, J. R.. A Handbook of Greek 7 Archaeology. New York, 1900. Gardner, P. The Principles of Greek Art. New York, IQI4. Harrison, J. E., & Verrall, M. deG. Mythology and Monuments of Ancient Athens. London and New York, 1890. Jex-Blake, K., & Sellers, E. The Elder Pliny’s Chapters on the History of Art. London, 1896 Livingstone, R. W. The Greek Genius and Its Meaning to Us. Oxford, 1912. Loewy, E. The Rendering of Nature in Early Greek Art, translated by J. Fothergill. London, 1907. Martha, J. L’Art étrusque. Paris, 1880. McClees, H. The Daily Life of the Greeks and Romans. New York, 1924. Michaelis, A. A Century of Archaeological Discoveries, translated by B. Kahnweiler. London, 1908. (Sec- ond German edition, Leipzig, 1908.) Minns, E. H. Scythians and Greeks. London, 1914. Overbeck, J. A. Die antiken Schriftquellen zur Geschichte der bildenden Kinste bei den Griechen. Leipzig, 1868. Griechische Kunstmythologie. Leipzig, 1871-1880. XXVI BIBLIOGRAPHY Perrot, G., & Chipiez, C. Histoire de l’art dans I’anti- quité, I-X. Paris, 1882-1914. Springer-Wolters. Handbuch der Kunstgeschichte. Twelfth edition. Stuttgart, 1921-1924. Tarbell, F. B. A History of Greek Art. Sixth Edition. New York, 1907. Van Hook, La R. Greek Life and Thought. New York, 1923. Walters, H. B. The Art of the Ancient Greeks. London, 1900. ——The Art of the Romans. London, 1911. Zimmern, A. E. The Greek Commonwealth. Oxford, IQII. The official publications of excavations, especially those of Aegina, Delphi, Ephesos, Epidauros, Olympia, Perga- mon, Priene. PREHELLENIC. GRE iter Baikie, J. The Sea-Kings of Crete. London, 1910. Blegen, C. W. Korakou, A Prehistoric Settlement near Corinth. Boston and New York, 1921. Bossert, H. T.. Altkreta. Berlin, 1920) Burrows, R. M. The Discoveries in Crete. London, 1907. Cambridge Ancient History, Il. Cambridge, 1924. Chap- ter XVI, Crete and Mycenae, by A. J. B. Wace. Dorpfeld, W. ‘Troja und Ilion. Athens, 1901. Dussaud, R. Les Civilisations préhelléniques dans le bassin de la mer Egée. Second edition. Paris, 1914. Evans, Sir A. J./ Scripta Minoa, I. Oxford, 1909. The Palace of Minos at Knossos, I. London, 1921. Excavations at Phylakopi in Melos, in Journal of Hellenic Studies, Supplementary Papers, No. 4. London, 1904. BIBLIOGRAPHY XXVIl Hall, E. H. Excavations in Eastern Crete, Sphoungaras, in University of Pennsylvania, The Museum, An- thropological Publications, III, 2, 1912, pp. 43ff. Hall, H. R. Aegean Archaeology. London, 1915. Hawes, C. H. & H. B. Crete, the Forerunner of Greece. London and New York, 1909. Hawes, H. B. Gournia, Vasiliki, and Other Prehistoric Sites on the Isthmus of Hierapetra, Crete. Philadel- phia, 1909. Maraghiannis, G. Antiquités crétoises, I-III. Candia, 1907-IQI1. Reisinger, E. Kretische Vasenmalerei vom Kamares-bis zum Palast-Stil. Leipzig, 1912. Rodenwaldt, G. Tiryns: Die Ergebnisse der Ausgrabung- en, II. Athens, 1912. Schuchhardt, C. Schliemann’s Excavations, translated by E. Sellers. London and New York, 1891. Seager, R. B. The Cemetery of Pachyammos, Crete, in University of Pennsylvania, The Museum, Anthro- pological Publications, VII, 1, 1916, pp. 1ff. Excavations on the Island of Pseira, Crete, in Uni- versity of Pennsylvania, The Museum, Anthropologi- cal Publications, IIl, 1, 1910, pp. 1ff. —FExplorations in the Island of Mochlos. Boston and New York, 1912. Tsountas, C., & Manatt, J. I. The Mycenaean Age. Boston, 1897. Wace, A. J. B., & Thompson, M.S. Prehistoric Thessaly. Cambridge, 1912. For reports on the Italian excavations at Phaistos and Hagia Triada, see Monumenti antichi, VI ff. XXVIII BIBLIOGRAPHY ARCHITECTURE AND TOPOGRAPHY Anderson, W. J., & Spiers, R. P. The Architecture ot Greece and Rome. Second edition. London, 1907. (A new edition in two volumes is announced, the Greek portion rewritten by Dinsmoor, W. B.) Benoit, F. L’Architecture, 1. Antiquité. Paris, 1911. Butler, H.C. Sardis, I], part 1. The Temple of Artemis. The American Society for the Excavation of Sardis. Leyden, 1925. Collignon, L. M. Le Parthenon: I’histoire, l’architecture et la sculpture. Third edition. Leipzig, 1910. D’Ooge, M. L. The Acropolis of Athens. New York and London, 1908. Durm, J. Die Baukunst der Griechen. Second edition. Darmstadt, 1802. Frazer, J. G. Pausanias’ Description of Greece, I-IV. London, 1808. Gardiner, E.N. Olympia: Its History and Remains. Ox- ford, 1925. Goodyear, W.H. Greek Refinements. New Haven, 1912. Hambidge, J. The Parthenon. New Haven, 1924. Harrison, J. E., & Verrall, M. deG. Mythology and Monuments of Ancient Athens. London and New York, 1890. Judeich, W. Topographie von Athen (Miller, I. Hand- buch der klassischen Altertumswissenschaft). Mu- nich, 1905. Koldewey, R., & Puchstein, O. Die griechischen Tempel in Unteritalien und Sicilien, I-II. Berlin, 1899. Lechat, H. Le Temple grec. Paris; 1602) Marquand, A. Greek Architecture. New York and London, 1909. BIBLIOGRAPHY XX1X Mau, A. Pompeii: Its Life and Art, translated by F. W. Kelsey. New York, 1904. Noack, F. Die Baukunst des Altertums. Berlin, 1g1to. Penrose, F. C. Principles of Athenian Architecture, Second edition. London, 1888. Poulsen, F. Delphi, translated by G. C. Richards. Lon- aon, 1920. Rider, B. C. The Greek House. Cambridge, 1916. Solon, L. V. Polychromy. The Architectural Record. New York, 1924. Vitruvius. The Ten Books on Architecture, translated by M. H. Morgan. Cambridge, Mass., 1914. Warren, H. L. The Foundationsof Classical Architecture. New York, 1919. POwise PK Arndt, P. Griechische und romische Portrats. Munich, from 1909. (In progress.) Arndt, P., & Amelung, W. Photographische Einzelauf- nahmen antiker Skulpturen. Munich, from 1893. (In progress.) Bernoulli, J. J. Griechische Ikonographie, I-I]. Munich, 1901. Romische Ikonographie, I-IV. Stuttgart, 1882- 1894. Brunn, H., & Arndt, P. Denkmaler griechischer und romischer Sculptur. Munich, from 1888. (In prog- ress.) Bulle, H. Der schdne Mensch, I. Im Altertum. Third edition. Munich, 1922. Chase, G. H. Greek and Roman Sculpture in American Collections. New York, 1924. Collignon, L. M. Histoire de la sculpture grecque. Paris, 1892-1807. XXX BEB b1O G RAP rex Conze,A.C.L. Die attischen Grabreliefs. Berlin, 1890-- IQI1. Delbriick, R. Antike Portrats. Bonn, 1912. Déonna, W. Les Apollons archaiques. Geneva, 1909. Dickins, G. Hellenistic Sculpture. Oxford, 1920. Fowler, H.N. A History of Sculpture. New York, 1916. Furtwangler, A. Masterpieces of Greek Sculpture. Edited by E. Sellers. London and New York, 1895. Gardner, E. A. Handbook of Greek Sculpture. Second edition. London and New York, 1915. Six Greek Sculptors. London, 1910. Gardner, P. Sculptured Tombs of Hellas. London, 1800. Hekler, A. Die Bildniskunst der Griechen und Romer. Stuttgart, 1912. (English edition. London, 1912.) Jones, H. Stuart. Select Passages from Ancient Authors Illustrative of the History of Greek Sculpture. Lon- don, ‘1895. Kekulé von Stradonitz, R. Die griechische Skulptur. Berlin, 1906. Lange, J. H. Darstellung des Menschen in der 4lteren eriechischen Kunst, translated from the Danish by M. Mann. Strassburg, 1890. ; Lechat, H. Au Musée de 1l’Acropole d’Athénes: étude sur la sculpture en Attique. Lyon, 1903. Lermann, W. Altgriechische Plastik. Munich, 1907. Lippold, G. Griechische Portratstatuen. Munich, 1912. Loewy, E. La scultura greca. Torino, 1911. (German edition, Leipzig, 1911.) ——Typenwanderung, in O6esterreichische Jahreshefte, XII, Vienna, 1900. Picard, C. La Sculpture antique des origines 4 Phidias. Paris, 1923. Poulsen, F. Greek and Roman Portraits in English PrLeLioOGRA PHY XXXI1 Country Houses, translated by G. C. Richards. Oxford, 1923. Reinach, S. Receuil de tétes antiques. Paris, 1903. —Répertoire de la statuaire grecque et romaine, I-IV. Paris, 1897-1904. ——Ré€pertoire de reliefs grecs et romains, I-III. Paris, 1909-1912. Robert, K. Die antiken Sarkophagreliefs, II-III. Berlin, 1890-1910. Schrader, H. Pheidias. Frankfurt a. M., 1924. Smith, A. H. The Sculptures of the Parthenon. London, 1910. _ Strong, Mrs. Arthur. Roman Sculpture from Augustus to Constantine. London, 1911. (Italian edition, I-II, Florence, 1923, 1920.) Wace, A. J. B. The Evolution of Art in Roman Por- traiture, in the Journal of the British and American Archaeological Society of Rome, III, Session 1905-1906. Waldmann, E. Griechische Originale. Second edition. Leipzig, 1923. Wickhoff, F. Roman Art, translated by Mrs. Arthur Strong. London, 1900. TERRACOTTAS Déonna, W. Les Statues de terre cuite dans l’antiquite. Paris, 1908. Hutton C. A. Greek Terracotta Statuettes. London and New York, 1890. Pottier, E. Diphilos et les modeleurs de terres cuites erecques. Paris, 1900. -_—lLes Statuettes de terre cuite dans l’antiquité. Paris, 1890. Pottier, E., & Reinach, S. La Nécropole de Myrina, I-II. Paris, 1887. XXXII BIBLIOGRAPHY ——Terres cuites de Myrina. Paris, 1886. Winter, F. Die Typen der figiirlichen Terrakotten, I-II. Berlin and Stuttgart, 1903. VASES Beazley, J. D. Attic Red-figured Vases in American Museums. Cambridge, 1918. ——Attische Vasenmaler des rotfigurischen Stils. ‘Ttubin- gen, 1925. Brauchitsch; J. von. Die Panathendischen Preisampho- ren. Leipzig and Berlin, 1910. Buschor, E. Greek Vase Painting, translated by G. C. Richards. London, 1921. (German edition, Munich, 1913.) : Caskey, L. D. Geometry of Greek Vases. Boston, 1922. Corpus Vasorum Antiquorum. Paris, 1922—. (In progress.) Dragendorff, H. Terra Sigillata, in Jahrbiicher des Vereins von Alterthumsfreunden im _ Rheinlande (‘Bonner Jahrbiicher’’), 96, 1895, pp. 18-155. Fairbanks, A. Athenian White Lekythoi with Outline Drawing in Matt Color on a White Ground. New York, 1914. Furtwanegler, A., & Reichhold, K. Die griechischen Vasen- malerei, I-IJ, III (in progress). Munich, 1900— Hambidge, J. Dynamic Symmetry: The Greek Vase. New Haven, 1920. Hartwig, P. Die griechischen Meisterschalen des strengen rothfigurischen Stils. Stuttgart, 1893. Hoppin, J. C. Handbook of Attic Red-figured Vases, I-Il. Cambridge, Mass., 1919. ——Handbook of Greek Black-figured Vases, Paris, 1924. : Prelioc RAPHY XXX] ——Euthymides and His Fellows. Cambridge, Mass., 1QI7. Klein, W. Die griechischen Vasen mit Meistersignaturen. Second edition. Vienna, 1887. ——Die griechischen Vasen mit Lieblingsinschriften. Second edition. Vienna, 1808. Kretschmer, P. Die griechischen Vaseninschriften ihrer Sprache nach untersucht. Giutersloh, 1894. Langlotz, E. Zur Zeitbestimmung der strengrotfiguri- schen Vasenmalerei und der gleichzeitigen Plastik. Leipzig, 1920. Mayer, M. Apulien vor und wahrend der Hellenisirung. Leipzig and Berlin, 1914. Metropolitan Museum of Art. Shapes of Greek Vases. New York, 1922. Pfuhl, E. Malerei und Zeichnung der Griechen, I-III. Munich, 1923. Masterpieces of Greek Drawing and Painting, trans- lated by J. D. Beazley. New York, 1920. Pottier, E. Douris and the Painters of Greek Vases, translated by B. Kahnweiler. New York, 19106. Reinach, S. Répertoire des vases peints, I-II. Paris, 1899-1900. | Riezler, W. Weissgrundige attische Lekythen, nach Furtwanglers Auswahl, I-II. Munich, 1914. Walterss=ti bb. History of Ancient Pottery, - I-11. London, 1905. GEMS Furtwangler A. Die antiken Gemmen, I-III. Leipzig, 1900. Osborne, D. Engraved Gems, Signets, Talismans, and Ornamental Intaglios, Ancient and Modern, New York, 1912. XXXIV BIBLIOGRAPHY COINS Gardner, P. Types of Greek Coins. Cambridge, 1883. Head, B. V. Historia Numorum. Oxford, 1911. Hill, G. F. A Handbook of Greek and Roman Coins. London, 1899. Regling, K. Die antike Miinze als Kunstwerk. Berlin, 1924. PAINTING Berger, E. Die Maltechnik des Altertums. Munich, 1904. Breitschedel, O. Zur Technik der roémisch-pompeyjani- schen Wandmalereil. Munich, 1911. Eibner, A. Entwicklung und Werkstoffe der Wandmalerei vom Altertum bis zur Neuzeit.. Munich, 1920. Gerlich, F. Die Technik der roémisch-pompejanischen Wandmalerei, in Neue Jahrbiicher fiir das klassische Altertum, X XI,.1908, pp. 127-147. Herrman, P. Denkmaler der Malerei. Munich. (in progress.) Laurie, H. P. Greek and Roman Methods of Painting. Cambridge, 1910. Mau, A. Geschichte der decorativen Wandmalerei in Pompeji. Berlin, 1882. Poulsen, F. Etruscan Tomb Paintings, translated by I. Anderson. Oxford, 1922. Reinach, S. Répertoire des peintures grecques et romaines. Paris, 1922. Rodenwaldt, G. Die Komposition der pompejanischen Wandgemialde. Berlin, 1900. Swindler, M. H. Ancient Painting. New Haven. (In press.) Daeo LOG RA PH Y XXXV GLASS Dillon, E. Glass. New York, 1907. Kisa, A. C. Das Glas im Altertume. Leipzig, 1908. Richter, G. M. A. The Room of Ancient Glass, Met- ropolitan Museum of Art. (A brief account of the chief varieties.) New York, 1916. FURNITURE Koeppen, A., & Breuer, C. Geschichte des Mobels. Berlin and New York, 1904. Richter, G. M. A. Ancient Furniture. With an appen-~ dix by A. W. Barker, Oxford, 1926. Williams (Ransom), C. L. Couches and Beds of the Greeks, Etruscans, and Romans. Chicago, 1905. ATHLETICS Alexander, C. Greek Athletics. New York, 1926. Gardiner, E. N. Greek Athletic Sports and Festivals. London, 1910. Jiithner, J. Antike Turngerathe. Vienna, 1806. Krause, J. H. Die Gymnastik und Agonistik der Hel- lenen. Leipzig, 1841. MiaPALR Es Bieber, M. Denkmaler zum Theaterwesen in Altertum. Berlin and Leipzig, 1920. Flickinger, R. C. The Greek Theater and its Drama. Chicago, 1918. DRESS Abrahams, E. B. Greek Dress. London, 1908. Heuzey, L.A. Histoire du costume antique. Paris, 1922. XXXVI BIB LPOG RoAYPRSy ~ RELIGION AND MYTHOLOGY Cook, A. B. Zeus: A Study in Ancient Religion, I-II. Cambridge, 1914-1925. Fairbanks, A. A Handbook of Ancient Religion. New York, 1910. Fairbanks, A. The Mythology of Greece and Rome. New York, 1908. Gardner, E.A. Religion and Art in Ancient Greece. London and New York, 1910. Harrison, J. E. Themis: A Study of the Social Origins of Greek Religion. Cambridge, 1912. Nilsson, M. P. History of Greek Religion, translated by F. J. Fielding, Oxford, 1925. CATALOGUES A. MUSEUMS AUSTRIA Vienna Masner, K. Die Sammlung antiker Vasen und Terracotten. Vienna, 1892. DENMARK Copenhagen Arndt, P. La Glyptothéque Ny-Carlsberg, les monuments antiques. Munich, 1912. EGYPT Cairo Edgar, C.C. Catalogues of the Greek Bronzes, Greek Vases, Greek Moulds, and Graeco- Egyptian Glass in the Cairo Museum. Cairo, 1903-1911. Bap LIOGRAPHY XXXVII ENGLAND London Smith, A. H. A Catalogue of Sculpture in the British Museum, I-III. London, 1892- 1904. Walters, H. B. Catalogue of the Bronzes in the British Museum. London, 1899. —-Select Bronzes, Greek, Roman and Etruscan, in the British Museum. London, 1915. — Catalogue of the Terracottas in the Depart- ment of Greek and Roman Antiquities, in the British Museum. London, 1903. Catalogue of the Greek and Roman Lamps in the British Museum. London, 1909. Forsdyke, E. J. Catalogue of Prehistoric Aegean Pottery, [, 1. -London, 1925. Walters, H. B., & Smith, C. H. Catalogue of the Greek and Etruscan Vases, I, 2, II-IV. London, 1893-1912. Walters, H. B. Catalogue of Engraved Gems and Cameos in the British Museum. London, 1920. Marshall, F. H. Catalogue of the Finger Rings, Greek, Etruscan and Roman, in the British Museum. London, 1907. Catalogue of the Jewellery, Greek, Etrus- can and Roman, in the British Museum. London, 1911. Oxford Gardner, P. Catalogue of the Greek Vases in the Ashmolean Museum. Oxford, 1893. FRANCE Paris Froehner, C. E. L. W. Notice de la sculpture antique du Louvre. Paris, 1860. ’ XxXVIll BIBLIOGRAPHY FRANCE (continued) Paris (continued) Ridder, A. de. Les Bronzes antiques du Louvre, I-II. Paris, 1913-1915. | Heuzey, L. Les Figurines antiques de terre cuite du musée du Louvre. Paris, 1883. Pottier, E. Catalogue des vases antiques de terre cuite du Louvre, I-III. Paris 1896- 1900. Babelon, E. Le Cabinet des antiques a la Bib- liothéque nationale. Paris, 1887. Babelon, E., & Blanchet, A. Catalogue des bronzes antiques de la Bibliothéque natio- nale. Paris, 1895. Ridder, A. de. Catalogue des vases peints de la Bibliothéque nationale, I-II. Paris, 1901- 1902. GERMANY Berlin Conze, A. C. L. Konigliche Museen zu Berlin, Beschreibung der antiken Skulpturen. Ber- lin, 1891. Friedrichs, C., & Wolters, P. Die Gipsabgiisse antiker Bildwerke. Berlin, 1885. Furtwangler, A. Beschreibung der Vasensamm- lung im Antiquarium, I-II. Berlin, 1885. K6nigliche Museen zu Berlin, Beschreibung der geschnittenen Steine im Antiquarium. Berlin, 1806. Cassel Bieber, M. Die antiken Skulpturen und Bronzen der koniglichen Museum fridericianium in Cassel. Marburg, 1915. BIBLIOGRAPHY XXXIX GERMANY (continued) Karlsruhe Schumacher, K. Grossherzogliche vereinigte Sammlungen zu Karlsruhe, Beschreibung der Sammlung antiker Bronzen. Karlsruhe 1800. Winnefeld, H. Grossherzogliche vereinigte Sammlungen zu Karlsruhe, Beschreibung der Vasensammlung. Karlsruhe, 1887. Mainz Behm, F. Romische Keramik mit Einschluss | der hellenistischen Vorstufen. Mainz, 1910. Munich Furtwangler, A. Beschreibung der Glyptothek. Second edition. Munich, 1910. Sieveking, J., & Hackl, R. Die konigliche Vasen- sammlung zu Minchen, |. Munich, 1912. GREECE Athens Stais, V. Guide illustré du Musée National d’Athénes: la collection mycénienne. Athens, 1909. — Guide illustré du Musée National d’Athénes: Marbres et bronzes. Second edition. Athens, 1909-1910. Collignon, M. L., & Couve, L. Catalogue des vases peints du Musée National d’Athénes. Paris, 1902; Supplement by G. Nicole. Haris, 1911. Dickins, G. Catalogue of the Acropolis Museum, I: Archaic Sculpture. Cambridge, 1912. Casson, S. Catalogue of the Acropolis Museum, I]: Sculpture and Architectural Fragments, — xl BRE LIOGrArA GREECE (continued) Athens (continued) with a section upon the Terracottas by D. Brooke. Cambridge, 1921. Schrader, H. Auswahl archaischer Marmor- skulpturen im Akropolismuseum. Vienna, 1913. Graef, B. Die antiken Vasen von der Akropolis zu Athen. Berlin, 1911. Ridder, A. de. Catalogue des bronzes de la Société Archéologique d’Athénes. Paris, 1894. ——Catalogue des bronzes trouvés sur l’Acropole d’Athénes. Paris, 1926. Svoronos, J. N. Das athener Nationalmuseum, Germanedition by W. Barth, I-III. Athens, 1908-1913. ITALY Bologna Pellegrini, G. Catalogo dei vasi greci dipinti delle necropoli felsinee. Bologna, 1912. Florence Amelung, W. Fuhrer durch die Antiken in Florenz. Munich, 1897. Milani, L. A. Il Reale Museo archeologico di Firenze. Florence,191 Naples Guida illustrata del Museo Nazionale di Napoli, I. Naples, 1911. Heydemann, H. Die Vasensammlungen des Museo Nazionale zu Neapel. Berlin, 1872. Northern Italy Ditschke, H. Antike Bildwerke in Oberitalien, I-V. Leipzig, 1874-1882. BIBLIOGRAPHY xll ITALY (continued) Rome Amelung, W., & Holzinger, H. The Museums and Ruins of Rome, I-II. English edition. New York, 1900. Amelung, W. Die Sculpturen des Vaticanischen Museums, I-III. Berlin, 1903. Helbig, K. F. W. Fuhrer durch die 6ffentlichen Sammlungen klassischer Altertiimer in Rom. Third edition. Leipzig, 1912-1913. Jones, H. S. (editor). A Catalogue of the Sculp- tures of the Museo Capitolino. Oxford, 1912. RUSSIA Petrograd Kieseritzky, G. von. Sculptures in the Hermit- age (in Russian). St. Petersburg, 1901. Stephani, L. von. Die Vasen-Sammlung der kai- serlichen Ermitage. St. Petersburg, 1869. SPAIN Madrid Alvarez-Ossorio, F. Vasas griegos, etruscos é italo-griegos que se conservan en el Museo arquelogico nacional. Madrid, 1og1o. Leroux, G. Vases grecs et italo-grecs du Musée archéologique de Madrid. Bordeaux, 1912. TURKEY Constantinople Mendel, G. Catalogue des figurines grecques de terre cuite aux Musées Impériaux-Ottomans. Constantinople, 1908. Catalogue des sculptures: grecques, romaines et byzantines aux Musées Impériaux-Otto- mans, I. Constantinople, 1912. xii BIBLIOGRAPHY UNITED STATES Boston Caskey, L. D. Catalogue of Greek and Roman Sculpture in the Museum of Fine Arts. Cambridge, Mass., 1925. Chase, G. H. Catalogue of Arretine Pottery in the Museum of Fine Arts. Boston and New York, 19106. Robinson, E. Catalogue of Greek, Etruscan and Roman Vases in the Museum of Fine Arts. Boston, 1893. New York Myres, J. L. Handbook of the Cesnola Collec- tion of Antiquities from Cyprus. New York, 1914. Richter, G. M.A. Greek, Etruscan, and Roman Bronzes in the Metropolitan Museum of Art. New York, 1914. Catalogue of Engraved Gems in the Metro- politan Museum of Art. New York, 1915. Ward, J. Greek Coins and Their Parent Cities; with a Catalogue of the Author’s Collection by G. F. Hill. London, 1902. | B. PRIVATE COLLEGTig CHARVET COLLECTION Froehner, C. E. L.W. La Verrerie antique: description de la Collection Charvet. Le Pecq, 1879. COLLECTION DE CLERCQ Ridder, A. de. Catalogue de la Collection de Clerg, ITI-IV, VI-VII. Paris, 1904-1911. BO BLIOGRAPHY xiii GREAT BRITAIN Michaelis, A. Ancient Marbles in Great Britain, translated by C. A. M. Fennell. Cambridge, 1882. | Tillyard, E. M. W. The Hope Vases. Cambridge, 1923. GREAU COLLECTION Froehner, C. E. L. W. Collection Julien Gréau, ap- partenant a J. P. Morgan. Paris, 1903. LoEB COLLECTION Sieveking, J. Die Bronzen der Sammlung Loeb. Munich, 1913. Die Terrakotten der Sammlung Loeb, I-II. Munich, 1916. Chase, G. H. The Loeb Collection of Arretine Pot- tery. New York, 1908. MorGAN COLLECTION Smith, Sir C. H. Collection of J. P. Morgan. Bronzes: Antique Greek, Roman, etc. Paris, 1913. Wicd Sa ieeallinl ale — SAS “ ioe See @ 2.2% O49 FIRST ROOM WITH ANNEX PREHISTORIC GREEK PERIOD! ABOUT 3500—I 100 B. C. IER excavations of the last half-century have revealed a civilization of great antiquity in Greek lands, an account of which will henceforth always have to form the opening chapter of any history of Greek art. Before these dis- coveries, the study of Greece was confined to the classical periods during the first millennium B.c.; and this history seemed complete in itself, for it recorded the primitive beginnings, the gradual rise and flowering, and the sub- sequent fall and disintegration of a homogeneous culture. But now we know that before the Hellenic people de- veloped the civilization we know as Greek, another people had dominated the Aegean world for more than two thou- sand years, and had evolved an independent culture and art of high standing. Our knowledge of this earlier Greek civilization we owe almost entirely to the work of the archaeologist. ‘There is no literature to help us, for the only written records are as yet undeciphered. And the classical Greeks knew 1My best thanks are due to A. J. B. Wace, who has read this section of the book in Ms., and who has helped me bring it up to date. 4 FIRST ROOM little of their predecessors; only a legend here and there harks back to this distant past. For this reason the gradual unfolding of that long-forgotten civilization is one of the most sensational as well as one of the most important feats of archaeology. The story of this feat reads like a romance. It has often been told, so we need only repeat here the salient points. The first actor in the drama was Heinrich Schlie- mann (born in 1822 in Mecklenburg-Schwerin), who con- ceived the idea of digging for the city of Troy. He had heard of Homer’s heroes, and had become convinced that Troy had really existed, and that its ruins must still be standing. He spent a youth of poverty and hardship, but afterwards amassed a fortune, and when of middle age was free to realize the dream of his life. After a few years of preparation, in spite of the skepticism of contemporary archaeologists, he started excavations in 1871. His faith and his enterprise were rewarded. He found not only Troy but, later, Mycenae and Tiryns. His discoveries, especially the famous shaft-graves at Mycenae, with their treasures of gold, astonished the world. The “heroic age”’ of Greece, heretofore regarded as a mere myth, became a reality. Soon other discoveries belonging to the same epoch were made at Vaphio and elsewhere by Professor Tsountas; and the chief concern of archaeologists then became to find the original home of this civilization. Un- mistakable clues pointed to the island of Crete. Since legends had proved to be such useful pathfinders, the stories of the sea-king Minos, with his Minotaur and Labyrinth, and of the birth of Zeus in the cave of Dikte, assumed a new aspect. Isolated discoveries on the island pointed in the same direction. For some time, however, no excavations could be undertaken, for Crete was under Turkish rule and in a constant state of revolution. As Piao ORC GREEK PERIOD 5 soon as conditions were more favorable, Dr. A. J. Evans (now Sir Arthur Evans), of Oxford, and Dr. Federigo Halbherr, of Rome, started on their quest. In 1900 Sir Arthur Evans began excavations on the site of Knossos, which he had secured some years before. His results were even more fruitful than the most sanguine expected. Within a few years he unearthed a large palace with spa- cious courtyards and numerous living-rooms, bathrooms, magazines, and staircases, of a plan so complicated that it might well be called a Labyrinth! In its finished appointments and its advanced methods of sanitation it furnished many surprises to those who had pictured _ to themselves the prehistoric Greeks leading a primitive existence. But more important yet was the harvest of art objects—the paintings from the walls of the palace, the colored reliefs and statuettes, the pottery and seal- stones, which all bore testimony to the originality and artistic sense of these early Cretans. In the meantime the Italian expedition under Halbherr had discovered two palaces at Phaistos and Hagia Triada in southern Crete. The finds, especially at Hagia Triada, were of great interest, confirming and enlarging the knowledge obtained at Knossos. Since then, other work- ers have continually added to our store of knowledge, notably Miss Harriet Boyd (now Mrs. C. H. Hawes) in her excavations of the town of Gournia, D. Hogarth and R. C. Bosanquet in the excavations of the British School at Zakro and Palaikastro, and R. B. Seager in his dis- coveries at Mochlos, Pseira, and other sites. More re- cently excavations in Greece proper, especially those by 1The word Labyrinth may not improbably be derived from labrys, double axe, which is a symbol frequently found at Knossos. In that case the first meaning of Labyrinth was House of the Double Axes, and later, on account of the intricate plan of the palace, it became synony- mous with a maze. 6 FIRST ROOM the American School under Carl W. Blegen at Korakou, Zygouries, and the Argive Heraion and by the British School under A. J. B. Wace at Mycenae, have made clearer the connections between Greece and the mainland. And since the soil of Crete, of the Greek mainland, and of the Aegean Islands has by no means been exhausted, we may expect a great extension of our knowledge in years to come; especially should a bilingual inscription be found, which would enable us to read the Cretan script. But we have enough at hand now to reconstruct on broad lines this civilization in its various stages. The Cretan civilization is essentially a product of the Bronze Age, that is, of the epoch when implements were no longer of stone, and not yet of iron, but were all of bronze. Its beginnings can indeed be traced to the Neolithic or Late Stone Age (see, e.g., the fine stone celts in Case U), but when it emerged into the daylight of a less primitive existence, the Bronze Age had been reached; and it was dur- ing the two thousand years covered by that era that this civilization had its rise, its culmination, and its fall; by the time the Iron Age was introduced, at the end of the second millennium B.c., Cretan civilization had played its part and disappeared. The objects in our collection illustrating this early epoch have been assembled in the First Room and in the adjoin- ing Annex (the vestibule leading into the Sculptural Hall). In examining these objects we must carefully distinguish between originals and reproductions, because here, for reasons stated above (see p. xvill), an exception has been made to our regular practice, and originals and reproduc- tions are exhibited together. The reproductions, which form by far the greater part of the collection, are the work of E. Gilliéron, of Athens, and of H. Bagge. The originals, consisting chiefly of vases, vase-fragments, and objects in Peers ORC’ GREEK PERIOD fi stone and bronze, have been acquired from various sources by gift or exchange. Recently an important bequest by Richard B. Seager of engraved sealstones and hand- carved stone vases has given distinction to our collection. It is important to realize that, like every other nation which has gained eminence, the Cretans passed through several stages of growth before reaching the culmination of their civilization. The chief characteristics of these periods have now been fairly well established by the careful work of the exca- wee valores. oir, Arthur Evans’s_ classifica- |@ — | tion into three main FIG. I. STONE VASES FROM MOCHLOS epochs, Early, Middle, and Late Minoan,! each with three subdivisions, is a convenient skeleton on which to recon- struct the history as we knowit. The following dating is 1The word Minoan, derived from the name Minos, is, strictly speaking, only appropriate for the Late Minoan period, during which King Minos lived. But since his brilliant reign typifies for us what we understand by “Cretan,” it would be difficult, in spite of this obvious anachronism, to find a more suggestive term. Recently, as excavations of prehistoric sites outside Crete have multiplied, the term Minoan is being restricted to objects found in Crete and the terms Helladic and Cycladic are being applied to the finds of the Greek mainland and the islands respectively. During the earlier periods the Helladic and Cycladic civilizations were of a much more primitive nature than the Cretan, until by the end of the Middle Minoan and the beginning of the Late Minoan period the Cretan culture spread over the whole Aegean world. Since most of the objects in our collection are Cretan we have adhered to the Minoan phraseology. 8 ELRSTO ROOM based on the minimum system of Egyptian chronology, now endorsed by most Cretan excavators: Early Minoan | About 3500-3100 B.C. Early Minoan I] About 3100-2600 B.C. Early Minoan II] About 2600-2200 B.C. Middle Minoan | About 2200-2000 B.C. Middle Minoan I] About 2000-1800 B.C. Middle Minoan III? About 1800-1600 B.C. Late Minoan | About 1600-1500 B.C. Late Minoan II? About 1500-1400 B.C. Late Minoan III About 1400-1100 B.C. EARLY MINOAN PERIOD ABOUT 3500-2200 B.C, The most important remains of the Early Minoan period (roughly synchronous with the Old Kingdom of Egypt) have been found in the eastern part of Crete, especially at Gournia, Vasiliki, Palaikastro, Pseira, and Mochlos. Con- ditions were by no means as primitive then as was once thought. The people were rich and prosperous, lived in comfortable houses, and apparently had communications with the outside world, especially with Egypt. In their crafts, some of which are of surprising technical or artistic excellence, we already notice certain marked characteris- tics, which were to distinguish Cretan work throughout its history. Such are, on the one hand, a tendency to experi- ment, observable especially in their pottery, and, on the other, a readiness to utilize foreign products and transform 1On some sites, the distinction between the later part of Middle Minoan Il and the early part of Late Minoan | is almost impossible to draw. *Late Minoan II is the special product of Knossos and elsewhere its place is taken by varieties of Late Minoan I. Peete oriC GREEK PRERIOD 9 them into their own independent creations. The latter quality can be seen in the beautiful stone vases found by Mr. Seager at Pseira and Mochlos, of which reproductions are exhibited in Case Y (fig.1) and several originals in Case P. These show marked Egyptian influence, in technique and occasionally in form, and yet are essentially different from their models.. Not only are a majority of the shapes Cretan, but the choice of color in the stones used shows a much greater variety than in similar stone vases from Egypt. (Compare the examples in the First FIG. 2.5 BARLY MINOAN POTTERY Egyptian Room, Cases I and L.) An interesting piece ts the steatite lid with the handle in the form of a dog (Case B). | Another class of artistic products found at Mochlos was gold jewelry. A selection of reproductions is shown in Case G and a few original pieces in Case U. They consist of hairpins in the shape of daisies and crocuses and sprays of leaves, of plain bands, delicate chains and pendants, not as a rule of very fine workmanship, but displaying a charming naturalism distinctive of Cretan work. A number of original pieces of pottery (fig. 2)—-vases and vase-fragments—belonging to this epoch are shown in Case S and the drawers of Case F. Four definite styles can be distinguished: (1) pottery of reddish clay, covered with a more or less lustrous black slip in imitation of the black, hand-polished neolithic ware; (2) dark-on-light geo- Stone Vases Cases.)