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ANCIENT GREEK ART 
 
Burlington Fine Arts Club 
 EXHIBITION 
 
 OF 
 
 ANCIENT GREEK ART 
 
 LONDON 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
 1904 
 
CH1SW1CK PRESS: CHARLES WHITT1NGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
COMMITTEE FOR THIS EXHIBITION 
 
 EARL BROWNLOW. 
 
 ROBERT H. BENSON, ESQ. 
 
 EDWARD DILLON, ESQ. 
 
 G. F. HILL, ESQ. 
 
 D. G. HOGARTH, ESQ. 
 
 LT. -COLONEL CROFT LYONS. 
 
 C. NEWTON-ROBINSON, ESQ. 
 
 S. ARTHUR STRONG, ESQ. 
 
The Committee desire to record their sense of obligation to 
 
 Mrs. Arthur Strong, LL.D., 
 
 without whose knowledge and energy this Loan Collection of 
 Greek Art could not have been brought together, nor the 
 difficulties of its installation surmounted. 
 
 Also to Sandford Arthur Strong, M.A., 
 prematurely removed by death since the close of the Exhibition, 
 whose long illness overshadowed, while his unerring critical 
 instinct lightened these labours of his wife in the cause of 
 Greek Art. 
 
 The thanks of the Committee are also due to Mr. Cecil Harcourt 
 Smith, LL.D., Assistant Keeper of Greek and Roman Anti- 
 quities at the British Museum, also to Mr. G. F. Hill, M.A., 
 Assistant in the Department of Coins and Medals, for invaluable 
 critical work in their own provinces. To Mr. Cecil Smith special 
 acknowledgment is due for having revised the illustrated Cata- 
 logue and prepared it for the press. 
 
LIST OF CONTRIBUTORS 
 
 Contributors whose names are marked thus * are Members of the Club. 
 
 H.R.H. THE DUCHESS OF CONNAUGHT. 
 
 # Lord Aldenham. 
 
 Dr. Paul Arndt. 
 
 Rt. Hon. Evelyn Ashley. 
 
 La Comtesse de Bearn. 
 *F. Bennett-Goldney, Esq. 
 
 Miss Phyllis Benson. 
 
 Le Comte Biadelli. 
 
 j. d. botterell, esq. 
 
 Signor A. Canessa. 
 
 Royal Museum, Canterbury. 
 
 Earl of Carlisle. 
 # Sir Thos. D. Gibson Carmichael, 
 Bt. 
 
 Christ Church, Oxford. 
 
 Mrs. Frederick Pepys Cockerell. 
 
 Mrs. Rennie Cockerell. 
 
 Mrs. Wm. Cockerell. 
 
 S. P. Cockerell, Esq. 
 
 Sir Frederick Cook, Bt., M.P. 
 # Wyndham F. Cook, Esq. 
 
 The Duke of Devonshire, K.G. 
 
 Mrs. Hornsby Drake. 
 
 Monsieur d'Eichthal. 
 
 Earl of Elgin, K.G. 
 # George Eumorfopoulos, Esq. 
 
 Arthur Evans, Esq., F. R.S., Litt.D. 
 # Sir John Evans, K.C.B., F.R.S. 
 
 J. H. Fitzhenry, Esq. 
 Norman Forbes-Robertson, Esq. 
 John Ford, Esq. 
 J. Fulleylove, Esq., R.I. 
 # Professor Adolf Furtwangler. 
 Professor Percy Gardner, Litt.D. 
 Girton College, Cambridge. 
 Mrs. Godfrey. 
 
 Monsieur Leopold Goldschmidt. 
 Lord Ronald Sutherland Gower. 
 Rt. Hon. Sir Mountstuart Grant- 
 Duff, G. C.S.I. 
 T. W. Greene, Esq. 
 Mrs. Hall. 
 
 The Governors of Harrow School. 
 *The late Alfred Higgins, Esq., 
 C.B. 
 
 Miss Henriette Hertz. 
 # A. C. Ionides, Esq. 
 # S. E. Kennedy, Esq. 
 *Sir James Knowles. 
 
 Marquess of Lansdowne, K.G. 
 
 Lord Leconfield. 
 
 Charles Loeser, Esq. 
 * Hamilton McCormick, Esq. 
 
 George A. Macmillan, Esq., D. Litt. 
 
 Louis Mallet, Esq. 
 
viii 
 
 List of Contributors 
 
 P. W. Mallet, Esq. 
 # C. Brinsley Marlay, Esq. 
 *M. H. Nevil Story-Maskelyne, 
 Esq., F.R.S. 
 
 Mrs. C. W. Mitchell. 
 # Ludwig Mond, Esq. 
 
 Mrs. Mond. 
 *J. Pierpont Morgan, Esq. 
 
 Philip Nelson, Esq., M.D. 
 *C. Newton- Robinson, Esq. 
 
 Mrs. F. Lothian Nicholson. 
 
 The Marquess of Northampton. 
 
 Henry Oppenheimer, Esq. 
 # Alfred A. de Pass, Esq. 
 * Henry J. Pfungst, Esq. 
 # Claude Ponsonby, Esq. 
 
 Le Docteur Pozzi. 
 
 W. Talbot Ready, Esq. 
 
 C. Ricketts, Esq. 
 
 Herbert A. Rigg, Esq. 
 *Sir Charles Robinson, C. B. 
 *Wm. Rome, Esq. 
 
 Monsieur R. de Saint-Marceaux. 
 *George Salting, Esq. 
 
 Monsieur Gustave Schlumberger 
 (Membre dc r Institut). 
 
 C. H. Shannon, Esq. 
 
 Dowager Countess of Shrewsbury. 
 
 Cecil Harcourt Smith, Esq.,LL.D. 
 
 His Honour Judge Snagge. 
 *Edgar Speyer, Esq. 
 
 Wm. Barclay Squire, Esq. 
 
 Mrs. Sterling. 
 *S. Arthur Strong, Esq. 
 
 Mrs. S. Arthur Strong, LL.D. 
 *John Edward Taylor, Esq. 
 
 Lady Tweedmouth. 
 
 The Right Hon. Lord Tweedmouth. 
 
 Victoria and Albert Museum. 
 # Sir Edgar Vincent, K.C.M.G., M. P. 
 # Henry Wallis, Esq. 
 *John Ward, Esq. 
 # T. Humphry Ward, Esq. 
 
 E. P. Warren, Esq. 
 
 J. W. Waterhouse, Esq. 
 
 Sir Herman Weber, M.D. 
 
 C. Stuart Welles, Esq., M.D. 
 
 The Earl of Wemyss. 
 
 Mrs. Woolner. 
 *The late Rev. S. A. Thompson 
 Yates. 
 
 Mrs. Michel Zarifi. 
 
PREFACE 
 
 ^W^^HE present Exhibition has been planned to illus- 
 trate the history and the range of Greek art from 
 the close of the sixth century B.C., when it may be 
 said to have assumed its leading characteristics, 
 down to the Augustan age, when, according to 
 current opinion, it finally passed into the service of Rome. 
 
 Such limits, however, are as difficult to fix precisely in an 
 Exhibition as in history. Types attain classical maturity in certain 
 branches of art earlier than in others. In certain branches, again, 
 archaic types once established are traditionally repeated, even within 
 the confines of the classical epoch. Thus it is that a small number of 
 archaic objects have been selected or accepted for exhibition which 
 might at first glance appear to fall outside its scope. On the other 
 hand, not only did the Greek tradition persist in its purity in 
 Roman times longer than is generally supposed, but there were 
 conscious Greek revivals to which we owe much fine late work, 
 which is not entirely unrepresented in this Exhibition. Further, 
 both the upper and lower limits of time have been transcended once 
 or twice in order to show interesting or rare objects : from the 
 archaic period, for instance, the splendid little head in poros stone 
 found at Sikyon, which is lent by Mr. E. P. Warren (Case F, 
 No. 49) ; and from Roman Imperial times the great cameo, be- 
 longing to Mr. Claude Ponsonby, which would be remarkable for 
 its size alone, and which is evidently composed according to the 
 
 b 
 
X 
 
 Exhibition of Ancient Greek Art 
 
 Greek tradition (Case D, No. 90) ; or, again, the winged Hermes 
 of bronze from the Wyndham Cook Collection, in which a Roman 
 artist has so adroitly adapted a Greek type of the fifth century to 
 a late complicated religious conception (Case B, No. 41). Should 
 the accusation of inconsistency be brought against the Exhibition 
 Committee, it can be met by the question, "Greece or Rome?" 
 which formulates the problem still lying unsolved at the root of 
 all investigations of antique art in its later phases. Professor 
 Wickhoff, in a brilliant essay, 1 tried to show that the art of the 
 West after the first century is eminently and solely the art of 
 Rome, which then flows back to the East, where it imposes ideals 
 and methods which later again inspire the whole of the Middle 
 Ages. But this view has been combated by Professor Strzygow- 
 ski, who finds the origin of much that is taken by Wickhoff as 
 Roman, directly in the Hellenized Orient. 2 The organizers of this 
 Exhibition may be forgiven if they have occasionally taken ad- 
 vantage of this divergence of opinion among the learned to admit 
 under the sheltering epithet of " Greek " — or at any rate of " Hellen- 
 istic" — what others would banish as being " Roman." 
 
 In earlier periods also, it is difficult to define what geographical 
 limits should be observed in the selection of objects which are to 
 figure as Ancient Greek Art. The difficulty has been greatest in 
 the case of smaller objects, such as terra-cottas and little bronzes, 
 which were not only largely made in Greece for purposes of 
 export, but also imitated abroad, notably in Etruria, where at 
 one time, at any rate, there apparently flourished a school which 
 was no mean rival of the Greek. Yet the old naive method of 
 assuming the existence of a "school" wherever a find of objects 
 of art took place is gradually disappearing in the light of fresh dis- 
 covery. We have long admitted, for instance, that, in spite of its 
 Etruscan inscription, the splendid Chimaera of Florence is as purely 
 
 1 "Die Wiener Genesis," Vienna, 1895; English translation with the title 
 " Roman Art," 1900. 
 
 2 ' Orient oder Rom?" by Josef Strzygowski, 1901. 
 
Preface 
 
 xi 
 
 Greek as if it had been found on the Athenian Akropolis, and that 
 the " Etruscan " vases found on Etruscan and Italian soil are mainly 
 Attic is now a matter of ancient history. May not the same be the 
 case to a certain extent with the numerous bronzes which are 
 labelled " Etruscan" because of their provenance} If it be urged 
 that the finds on the soil of Greece proper have not — as was in- 
 variably the case with the vases — always yielded bronzes similar 
 in subject and character to those from Etruria, it may again be 
 asked whether certain classes of objects were not made in Athens 
 for export only, to meet the taste and demand of foreign clients ? 
 In the majority of cases it is futile to pronounce definitely on 
 artistic as opposed to local provenance, so long as many classical 
 sites, in Asia Minor in particular, remain unexcavated and unex- 
 plored. The artistic predominance of Attica and Athens becomes 
 clearer daily. We have seen within the last ten or fifteen years the 
 " Northern Greek School " of Brunn and the famous " Aeginetan" 
 School disappear with the recognition that Athens had produced 
 the same artistic phenomena and was the parent of them all. In 
 the same way it will doubtless come to pass that many objects, 
 though found in Etruria and put to Etruscan usage, prove to be 
 Greek, and perhaps Attic in their origin. Meanwhile, it has seemed 
 wise and even scientific to admit side by side with works of art (in 
 this case mainly bronzes and a few terra-cottas, since vases are 
 happily no longer in question) found in Greece or in the avowedly 
 Greek colonies of Asia Minor, Egypt, and Magna Graecia, a number 
 of the so-called Etruscan bronzes, provided always that these bore 
 unmistakable traces of direct or indirect Greek influence. 
 
 In bronzes found on Greek soil, the human figure does not 
 appear as a support after the archaic period (from 450 onwards); yet 
 who will deny the Greek spirit of the Satyr that supports the stem 
 of the candelabrum lent by Mr. J. E. Taylor (Case A, No. 28), or 
 of the winged figure that supports the mirror belonging to Sir 
 Thomas Gibson Carmichael (Case A, No. 22)? A Lasa is an 
 Etruscan daemon, but this little enchantress, who so daintily smells 
 
Xll 
 
 Exhibition of Ancient Greek Art 
 
 the fingers she has just dipped in her alabastron, whether made 
 in Etruria or for Etruria is, like the Satyr of the candelabrum, 
 Greek in the harmony of the pose, the elegance of the gesture, the 
 sobriety of the workmanship. Presumably in some years from now, 
 when the results of recent discoveries are more clearly formulated, 
 and further discoveries still have been made, we shall be able to 
 differentiate precisely between four classes of work: 
 
 (1) Made in Greece proper and for Greece. 
 
 (2) Made in Greece for foreign export. 
 
 (3) Made abroad by Greek artists. 
 
 (4) Made in foreign schools, but under Greek influence. 
 Meanwhile, in an exhibition which aims at showing the range not 
 only of Greek work but of Greek influence, it has been thought well 
 to illustrate both — as far as space permits — in their complexity and 
 infinite variety. 
 
 The Exhibition is fairly representative, though on a necessarily 
 restricted scale, of Greek sculpture, bronzes, terra-cottas, vases, 
 gems and coins. Except for a few stray objects gathered together 
 in Case D, I am responsible only for the four classes first named. 
 It has been the good fortune of the Club to be able to entrust the 
 gems to one of its own members, the well-known collector and con- 
 noisseur, Mr. Charles Newton-Robinson ; while for the coins the 
 help of a distinguished specialist, Mr. G. F. Hill, of the Department 
 of Coins in the British Museum, has been secured. Owing, however, 
 to lack of space, there have fallen to my charge some six gems, two 
 of which deserve an honourable mention even by the side of the treas- 
 ures gathered together by Mr. Robinson. These are the Ponsonby 
 cameo already alluded to (the identification of which as Claudius 
 and Agrippina is due to Mr. Cecil Smith and Mr. G. F. Hill), 
 and that wonderful rock-crystal scaraboid, which is like a slab of 
 the Parthenon in miniature, brought from Greece nearly a century 
 ago by the celebrated architect and traveller C. R. Cockerell. It 
 is exhibited by Mrs. Frederick Pepys Cockerell, and has found a 
 place in the sixth tray of the case of gems which Mr. Arthur Evans 
 
Preface 
 
 xiii 
 
 has so kindly lent and catalogued (Case L, No. 153). Just at this 
 moment, when the discoveries in Crete are fresh in our minds, 
 and when the resumption by Professor Furtwangler of the excava- 
 tions in Aegina has brought back to us the name of Cockerell, 
 there is a felicity in the accident that links together, in so rare a 
 work of art, the names of one of the earliest and of one of the most 
 recent of English excavators on Greek soil. 
 
 Because of this renewed interest in exploration, the Committee 
 believe that the water-colour sketches made by Cockerell of sites 
 in Greece, his architectural reconstructions of Greek buildings, and 
 his drawings of the Aegina marbles, which are shown downstairs 
 in the Members' Writing Room, will form a welcome addition to 
 the Exhibition. The beautiful pencil drawing by Ingres of Cockerell 
 as a young man will be found by the door. Here too are placed 
 three casts of the decorations of the Palace of Knossos discovered 
 by Mr. Evans. 
 
 A few words remain to be said, perhaps, as to the general 
 artistic character of the Exhibition and the impression which it 
 may be supposed to make upon the public. 
 
 For something like three-quarters of a century we in England 
 have been accustomed to take the marbles of the Parthenon as our 
 standard in all our judgements of antique art. Except for a small 
 section of students in the Universities, the great discoveries of 
 recent years — even those carried on by English explorers — have 
 somehow been practically fruitless of new artistic or aesthetic ideas, 
 in our estimate of Greek art at least. If ideas are hard to implant 
 in the mind of the general public, they are equally hard to uproot. 
 For us Greek art is still synonymous with "beauty" ; it is an art 
 of which we wilfully ignore the beginnings and despise the "de- 
 cadence." All we ask of it is a regular prettiness in the vacuity of 
 which the " ideal " is supposed to reside. Our estimate is based 
 on a long literary tradition, rather than on any ascertained fact. 
 This literary tradition begins in the lucubrations of the ancient 
 
xiv Exhibition of Ancient Greek Art 
 
 rhetors, and glows with a fresh flame in the pages of Winckel- 
 mann. It so happened that its ready-made phraseology fitted the 
 " Elgin marbles " like a glove, when once we had been cudgelled 
 into recognizing that among other merits they also possessed pre- 
 cisely that " beauty " which is most commonly approved of. But 
 beauty of art — which is the beauty and the strength of line and 
 movement — and beauty of subject do not always go thus happily 
 hand in hand. The art of the Gothic cathedrals, that of the Renais- 
 sance, of China, of Japan, has taught us this by now. Yet for 
 Greece we remain unchanged; there our constant and irrational 
 demand is still for "beauty" and for beauty only, of subject even 
 more than of form. There is something pathetic in the pertinacity 
 with which most of us cling to this idea. There is also something 
 of risk in trying to substitute sober fact in its place. Yet in an 
 exhibition within a confined space, more than elsewhere, we can 
 realize the falsity of the notion so dear to us, and appreciate that 
 Greece had to create a type — so splendid artistically, though not 
 "beautiful" in our commonplace sense — such as the bronze horse- 
 man lent by Signor Canessa, before her artists could attain to the 
 combined freedom and subtlety of the horsemen of the frieze of 
 the Parthenon. That Greece too had her Rembrandts and her 
 realists is shown in a superb portrait of " Menander" lent by Mr. 
 Ludwig Mond. It is childish and futile to try to condemn such a 
 portrait as not Greek because it is not " beautiful," when we should 
 give it unstinted admiration as a work of art were it presented to us 
 as a product of the Italian Renaissance or of the French eighteenth 
 century. 
 
 In view, then, of the novelty or difficulty which some of the 
 objects exhibited may offer to visitors, rather fuller descriptions 
 are given under each heading than is generally the case in the 
 Catalogues of these Exhibitions. At the same time, the idea of a 
 general Introduction has been abandoned, and only a short sum- 
 mary, pointing out the objects of greatest excellence, has been pre- 
 fixed to each section. 
 
Preface 
 
 xv 
 
 Seeing how great the weight is of even a single marble head, 
 and how fragile are terra-cottas and vases and even bronzes owing 
 to their patina, it is little wonder that many owners have shunned 
 the risk of transport. The Exhibition Committee thus have to 
 deplore the fact that the great collections of Woburn Abbey, of I nee, 
 of Wilton, of Holkham, and of Margam remain unrepresented. 
 As for the rich and varied collection at the Deepdene, in Surrey, 
 it has unfortunately been entirely inaccessible for several years. 
 Owing to Lord Lonsdale's absence from England, it has not been 
 possible to secure the magnificent Attic stele at Lowther Castle, 
 while the regrettable fact that owners persist in inserting reliefs 
 and fragments into walls has prevented another Attic stele, the 
 " Girl with a Dove " at Brocklesby, from being sent to this Exhi- 
 bition. A similar, though smaller relief — brought from Athens by 
 Lord Elgin — was only eighteen years ago noted by Michaelis in 
 London in the house of a well-known sculptor, but all efforts 
 to trace it have been in vain. Since, however, the Exhibition 
 room is so full that as many as eight marble heads have to be 
 shown in the Members' Writing Room downstairs, these disap- 
 pointments will perhaps not seem of so much consequence to the 
 public as they have to the Committee. The treasures of this 
 country are such that three or four more exhibitions of twice the 
 size of the present could easily be arranged, and this without 
 reference to large statuary, which forms after all the bulk of our 
 older English collections. 
 
 Chatsworth, Lansdowne House, Petworth, the former Bess- 
 borough Collection (part of which now belongs to Mr. Claude Pon- 
 sonby), Broadlands, are all represented by statuary of the first order; 
 Castle Ashby by a selection of fifteen vases from its unique collec- 
 tion. By the side of our great country houses, where the taste is 
 naturally that of the days of the "grand tour," and where therefore 
 a good deal of discretion must be exercised to select objects which 
 shall suit modern taste or serve modern archaeological science, we 
 must not forget more recently formed collections. Although Greek 
 
xvi 
 
 Exhibition of Ancient Greek Art 
 
 art has been somewhat out of fashion of late years, there are 
 welcome signs of a revival of interest, when we consider the 
 admirable antiques — mainly bronzes, terra-cottas or vases — lent 
 by Mr. Salting, Mr. John Edward Taylor, Sir Thomas Gibson 
 Carmichael, Mrs. Hall, Mr. Fitzhenry and Mr. Oppenheimer ; 
 the gems and coins lent by Mr. Arthur Evans, Mr. John Ward, 
 and other collectors; the " Menander " and other objects lent by 
 Mr. Ludwig Mond ; the Attic reliefs that come from Doughty 
 House, and the bronzes of Mr. Wyndham Cook. From his 
 now famous collection at Lewes Mr. E. P. Warren sends no 
 fewer than three original Greek works, the splendid statuette of 
 Herakles (No. 12), four bronzes of undoubted Greek provenance, 
 not to speak of his valuable gems and minor bronzes. One 
 fault alone his collection, like that of Mr. Pierpont Morgan, 
 has in English eyes. It is its transitory character so far as 
 this country is concerned. A few foreign collectors also appear 
 among our contributors ; the Comtesse de Bdarn, as exhibiting 
 the fine inscribed statuette of an Apollo of Argive type (Case B, 
 No. 33), the bronze head of a panther (Case C, No. 84), and two 
 fine gems (Case O, Nos. 53 and 62) ; Dr. Paul Arndt, of Munich, 
 who contributes, inter alia, the graceful head of a girl (on the 
 mantelpiece, No. 20) and the "dancer" (No. 33) that is placed as 
 pendant to the group of Aphrodite and Eros from Christ Church, 
 Oxford (No. 28). The Comte Biadelli exhibits the fine Medusa 
 (No. 47), which promises to rival in interest the famous Medusa 
 Rondanini. 
 
 Owing to lack of space and also to the difficulty of obtaining 
 genuine specimens, no attempt has been made to exhibit Greek 
 jewellery. In the same way the idea of showing any glass had to be 
 abandoned — to my relief, be it said, since glass introduces one 
 of the most vexed questions of origin and artistic provenance. 
 An exception, however, has been made in favour of the remarkable 
 little collection of antique glass objects belonging to Mr. Henry 
 Wallis, which he has himself catalogued and which he exhibits 
 
Preface 
 
 xvii 
 
 by itself in Case N. Only five specimens of silver are shown 
 (Nos. 88, 100*, 104, 115 and 119 in Case D). 
 
 In conclusion, I would wish to record my personal thanks to 
 the Exhibition Committee, and first and foremost to Mr. R. H. 
 Benson, who welcomed the idea of an Exhibition of Greek art 
 in London, drawn mainly from our English collections, and who, 
 moreover, brought the proposal before the Committee of this 
 Club in a manner so kind to myself that the flattering offer was 
 made me that I should organize the Exhibition and catalogue it. 
 My acceptance of so arduous a task might seem unwarrantable 
 were it not for the help which I counted on and have received 
 beyond my expectation. I have already referred to the fact that 
 Mr. G. F. Hill and Mr. C. Newton-Robinson have respectively 
 undertaken the coins and the gems, two branches which require 
 the minute knowledge of specialists. Within my own province I 
 have had the invaluable and generous assistance of Mr. Cecil Smith, 
 who, although his numerous duties did not allow him to become 
 a member of the Exhibition Committee, yet found time to visit 
 with me a number of collections, and who after Museum hours has 
 helped me repeatedly to catalogue or arrange the objects, and has 
 often decided, in the light of his extensive experience, difficult ques- 
 tions of authenticity in all the branches represented. Not only 
 so, but his good taste and practical knowledge of arrangement 
 have repeatedly been appealed to in the matter of installation. 
 He likewise had the trouble of visiting several collections of gems 
 — Mr. Claude Ponsonby's, for instance, and the one at Apsley 
 House — before this section was definitely taken up by Mr. Robin- 
 son. Another great debt is to Professor Adolf Furtwangler, who, 
 with his usual devotion to his subject, came to London straight 
 from the scene of his labours in Orchomenos, to spend the last six 
 days of his holiday in studying the Exhibition critically. It would 
 be impossible to note here all the discoveries and attributions that 
 he made in that short time, and the light which he was able to 
 
 c 
 
XV111 
 
 Exhibition of Ancient Greek Art 
 
 throw on a number of problems. Nor can we forget here that the 
 initiative of this Exhibition is mainly due to a revival of interest 
 in our English collections of Greek art, which may be traced back 
 to the appearance, in 1893, of his great work, " Die Meisterwerke 
 der Griechischen Plastik." Mr. D. G. Hogarth, who has been away 
 in Egypt during the spring, was able before his departure to go to 
 Castle Ashby in order to make a selection from the splendid vases 
 preserved there ; he was also largely instrumental in obtaining from 
 Mr. Evans the magnificent loan of gems referred to above. Colonel 
 Lyons, another member of the Exhibition Committee, has, by his 
 courtesy, kindness, and unfailing help, made light for me the other- 
 wise tiresome work of practical organization. 
 
 Eugenie Strong. 
 
 May 1903. 
 
 Since the above was written the Exhibition has taken place, 
 with a success which must be gratifying to those who are eager 
 to promote the study of Greek art. Of the many tributes received 
 by the Committee none perhaps is more welcome than the article, at 
 once critical and appreciative, by Professor Conze in the " Anzeiger " 
 to the " Archaologisches Jahrbuch " for 1903. Conze's generous 
 recognition of the high merit not only of known works such as 
 the Lansdowne stele, the Ponsonby and the Leconfield heads, and 
 the great Devonshire Apollo, but also of comparative " novelties " 
 such as the Morgan bronze, the Chios head, the subtle portrait 
 called by some " Menander," and the portrait of a boy from the 
 Wyndham Cook collection, shows sufficiently that the Committee 
 were wise in trying to make the Exhibition as far as possible 
 representative of the range of Greek art, without regard to indi- 
 vidual idiosyncrasies on the subject of " beauty." It must be 
 flattering to collectors and owners to find that Conze lays repeated 
 stress upon the magnificent quality of the specimens of Greek 
 bronze work — the antique ars statitaria — of which our English 
 collections can boast. 
 
Preface 
 
 xix 
 
 As the Committee naturally desire to make the Illustrated 
 Catalogue a fitting memorial of the Exhibition, the attempt has 
 been made to include nearly every object shown, giving greater 
 prominence of course — by assigning greater space to them — to the 
 more important works. In this way it is hoped that the wishes of 
 scholars and students who ask for scientific completeness, and of 
 those dilettanti who care only for the artistic isolation of the 
 "beautiful," may alike be satisfied. It has of course been impossible 
 to do justice singly even to the masterpieces among the vases. 
 Two or three salient, or little known, examples have been awarded 
 single plates; the rest have been reproduced in groups according 
 to a method now generally adopted in the best foreign catalogues. 
 The shape and subject of the vase are thus at least recorded, before 
 it sinks back into the seclusion of a private collection, and students 
 may be grateful for an illustrated " note " in addition to the bald 
 words of a catalogue. In the case of coins and gems, however, 
 considerations of space alone have compelled selection. Moreover, 
 Mr. Arthur Evans reserves the whole of his gems and certain of 
 his coins for future separate publication (cf. p. 128), while lack of 
 space again prevents the inclusion here of the fine series of 
 Cockerell's drawings. 
 
 Thus of the 394 1 objects enumerated in the first part of the 
 catalogue some twenty only have been omitted. Ten of these are 
 mainly terra-cottas or vases of ordinary or well-known type, and 
 therefore of slight importance. In the ten other instances, unfor- 
 tunately, the owners, faithful to promises made previous to the 
 Exhibition, have felt compelled to reserve the reproduction. Ac- 
 cordingly the Argive Apollo, lent by the Comtesse de Beam, 
 together with her " Head of a Panther" and her gems, are reserved 
 for the catalogue of her whole collection, which M. Froehner is pre- 
 paring. For similar reasons, out of the nine bronzes lent by Mr. 
 
 1 The actual numbers are: 70 larger marbles and bronzes, 127 smaller bronzes 
 and other objects, 109 terra-cottas and various fragments, and 88 vases. 
 
XX 
 
 Exhibition of Ancient Greek Art 
 
 E. P. Warren, only four appear here; but these, which include the 
 superb archaic figure on plate LI 1 1., 1 are of the first class. Mr. 
 Warren further generously allows us to illustrate the famous Chios 
 head and his Herakles (No. 12); in the last-named case the thanks 
 of the Committee must also be extended to Dr. Paul Arndt for 
 allowing them to share a privilege which he had secured on behalf 
 of the " Brunn Denkmaler," now edited by him for Messrs. Bruck- 
 mann. To say, however, that the illustrated catalogue is a heavy 
 loser by the omission of the unrivalled head of Homer (No. 39), 
 the little poros head so rightly admired by Conze (F. 49), and three 
 bronzes such as the " Diver" (B. 37), the archaic statuette (B. 30), 
 the Hermes (B. 35) and the Kentaur (C. 71), will not, we hope, appear 
 ungracious to Mr. Warren. It is intended only to emphasize once 
 more the value of the exhibits from Lewes House. Finally, the 
 remarkable terra-cotta head of Zeus (No. 46) is to be published by 
 Professor Furtwangler in the "Transactions of the Royal Bavarian 
 Academy," where details can be discussed at a length inadmissible 
 within the compass of a catalogue. 
 
 Much interesting information and criticism have been com- 
 municated by various visitors to the Exhibition. Dr. Jacobsen 
 of Copenhagen tells us that the relief of a girl with a dove — once 
 belonging to Mr. Woolner — the disappearance of which is noted 
 on p. xv, is now in his collection at Ny Carlsberg. I have to 
 thank M. Salomon Reinach and Mr. John Marshall of Lewes for 
 a number of criticisms and corrections; when not inserted in the 
 revised text, these are dealt with in the Addenda, where also I 
 have given the comments of Dr. Franz Studniczka, who visited 
 several English collections this autumn, on the head apparently 
 misnamed " Menander," and on the Chios and Leconfield heads. 
 In the Addenda too are noted the main points raised by Professor 
 Conze in the article already referred to, and by Mr. Cecil Smith in 
 
 1 Both this bronze and the beautiful statuette (B. 56 on plate LIV.) have been 
 'ndly photographed for this catalogue by Mr. J. R. Fothergill. 
 
Preface 
 
 xxi 
 
 the admirable review contributed to the "Burlington Magazine" 
 for July, 1903, which is likely to remain, in English at least, the 
 most instructive comment on the Exhibition. M. Reinach has also 
 had the kindness to allow me the use of the proofs of the Supple- 
 ment to his " Repertoire" where the provenance of several of the 
 objects exhibited is noted by him. Although the bulk of foreign 
 learned opinion upon the Exhibition will only be available after the 
 appearance of the illustrated catalogue, yet every effort has been 
 made to bring the present revision up to date, a task which has 
 been greatly facilitated by the unfailing help of Mr. Cecil Smith. 
 In this way it is hoped that this catalogue may in some measure 
 serve as a supplement to the monumental work of Adolf Michaelis 
 in his " Ancient Marbles in Great Britain " which must ever remain 
 the basis for all study among the English collections of antiques. 
 Only last year Professor Michaelis opened up fresh lines of research 
 in this direction. 1 That these can be followed up with success has 
 been amply proved by the many fine hitherto unknown or forgotten 
 works which found their way into the Exhibition. 
 
 E. S. 
 
 January, 1904. 
 
 In the " Allgemeine Zeitung" (Beilage 295), of Munich, for 1902. 
 
ADDENDA 
 
 LARGER BRONZES AND MARBLES 
 
 No. 2 HEAD OF A GODDESS: see Conze, " Archaol. Anzeiger," p. 144, in " Jahr- 
 buch des K. deutschen Arch. Instituts," 1903, pp. 143-145. In an article on 
 the Exhibition that appeared in the "Times" for May 18th, 1903.it is stated 
 that in certain archaic heads from Selinos in the Museum of Palermo, the top 
 of the ear is allowed to peep through the hair in the manner noted in the 
 present head. 
 
 Nos.7,11 ARCHAIC FEMALE HEADS, from Lansdowne and Cook collections; 
 
 see Conze, loc. cit. The Lansdowne head will appear shortly in the " Arndt- 
 Brunn-Bruckmann Denkmaler." Dr. Amelung, in describing the Chiaramonti 
 replica (" Skulpturen des Vaticanischen Museums," 1903, p. 549, No. 363), 
 compares the type with a terra-cotta head from Tarentum published by 
 Furtwangler in " Sitzungsber. der Bayer. Akad. d. Wissensch.," 1897, plate 
 VII., in which Amelung agrees with Furtwangler in seeing a proof of the 
 influence of the school of Hagelaidas upon Tarentine art. 
 
 No. 8 BRONZE HEAD OF APOLLO: see C. Smith in "Burli ngton Magazine " 
 for July, 1903, pp. 243 f.; Conze, "Arch. Anzeiger," 1903, iii., pp. 11 f. 
 
 No. 12 STATUETTE OF HERAKLES. Conze, loc. cit., considers that in its general 
 motive and in its main forms this statue faithfully represents an older work. 
 
 No. 13 STATUETTE OF A BOY. Amelung (" Skulpturen des Vaticanischen 
 Museums," 1903, p. 665, No. 536), in commenting on the Chiaramonti replica, 
 sees in the style a mingling of the Polykleitan and the Attic, with preponder- 
 ance of the latter. The statue has also been interpreted as Adonis (by 
 Furtwangler). 
 
 No. 15 BRONZE PORTRAIT HEAD OF A BOY. Well characterized by Conze, 
 loc. cit. : " The life-size portrait bust of a Roman boy with the delicate, thin 
 little mouth, and the hair so individually arranged behind the ears, the pro- 
 perty of Mr. Wyndham Cook, ranks among the bronzes in the exhibition 
 which any museum would prize." He is doubtless right in adding that the 
 head should probably be tilted more forward than it is at present. 
 
 No. 17 STATUETTE OF APHRODITE : cf. A 10. For the type see also Furt- 
 wangler, " Coll. Sabouroff," text to plate 37. A number of late statuettes like 
 the " Aphrodite Euploia" from Cyrene in the Ephesos room of the British 
 Museum (No. 1417) do, it is true, give the motive of the sandal. But this is 
 a late adaptation which in no way disproves what is said in the catalogue 
 concerning the meaning of the type in an earlier period of art. Its fre- 
 quency is well shown by S. Reinach, "Repertoire," ii., pp. 347-349; also 
 
xxiv 
 
 Addenda 
 
 "Suppl. Rep.," p. 107; cf. also the interesting comments on this type by 
 Jean de Mot in "Rev. Arch<k>L," 1903, ii., pp. 10-20, who errs, however, I 
 believe, in assuming with Klein and others that the sandal is part of the 
 original motive. 
 
 No. 18 FRAGMENT FROM THE FRIEZE OF THE PARTHENON : C. Smith 
 in " Burlington Magazine," p. 244 (plate I.), gives further interesting par- 
 ticulars concerning this fragment. 
 
 No. 19 STATUETTE OF APHRODITE. See Furtwangler, « Aphrodite Diadumene 
 und Anadyomene " ( in " Monatsbericht liber Kunstwissenschaft und 
 Kunsthandel," Munich, 1901), where he attributes the original of these later 
 Alexandrian motives to some sculptor contemporary of Apelles — Euphranor 
 or one of his school. Cf. also Th. Schreiber in " Berlin. Philol. Wochenschrift," 
 1903, P- 301; and S. Reinach in "Revue Archeol.," 1903, i., p. 388, who 
 publishes another interesting variant which was to be seen in the spring of 
 1903 at Messrs. Spink's in Piccadilly. 
 
 No. 22 HEAD OF APHRODITE. Of this head C. Smith writes in "Burlington 
 Magazine," p. 249: "This head, which is in the catalogue boldly described 
 as ' an original by Praxiteles ' in acceptation of a suggestion originally due to 
 Payne-Knight, and later adopted by Furtwangler . . . ," a statement that 
 scarcely represents the facts fairly. It implies that Furtwangler adopted a 
 current, even if not universally accepted, opinion about a work of art which was 
 perfectly well known and there for everyone to see. Not only is it doubtful 
 whether in the days of Payne- Knight, or at any time before the discovery of 
 the Hermes, the attribution to Praxiteles could have had any scientific value 
 or been regarded as anything more than the happy guess of a clever con- 
 noisseur; but it remains a fact that this superb head disappeared totally from 
 the archaeological repertoire in the latter half of last century. Conze visits 
 Petworth, Michaelis catalogues its antiques; neither of them sees the head. 
 Mrs. Lucy Mitchell, always eager to quote monuments outside the well-worn 
 examples of handbooks, knows nothing of it. Whether it was in the Picture 
 gallery, or merely obscurely placed in the Sculpture gallery, the head was 
 lost so far as artistic purposes are served. After its publication in the " Meis- 
 terwerke" in 1893, the head emerges once more from obscurity to the front 
 rank. It immediately finds a place in Collignon's " Histoire de TArt Grec," 
 and in every book of importance that treats of Praxiteles and his period. 
 The author of the " Meisterwerke " therefore, far from merely " adopting " a 
 view, had the merit of reinstating in the place it deserves one of the most 
 glorious works of antiquity. Conze, loc. cit., while not accepting the Praxi- 
 telean attribution "literally," gives, with great fairness, the credit of the 
 discovery where it is due. 
 The present writer had thought that the yellow polished surface of the marble 
 was antique, and represented the circumlitio. This error was first pointed 
 out to me by S. Reinach, who pertinently asked how the modern nose came 
 to have precisely the same surface. Further the cast of this head in the 
 Louvre, taken before the present restorations, shows from its deep pitted surface 
 
Addenda 
 
 XXV 
 
 that Furtwangler was right in asserting (" Masterpieces," p. 343) that " the 
 whole face, except for a few small portions, had been rubbed smooth, so that 
 the freshness of the ancient surface is lost." Mr. John Marshall, in sending 
 me the photograph of the cast, writes: "Some of the deeper pit marks show 
 still, though far shallower now, in the marble. Furtwangler's judgement 
 was wonderfully acute." This judgement is further confirmed by Dr. Franz 
 Studniczka, who examined the head this autumn. He writes: "The head 
 appears much rubbed over. The actual incrustation-stains (Sinterflecken) 
 seem to me to be only the remains of an extensive incrustation. The polish 
 which would be credible in the case of the face (on the analogy of the 
 Hermes) extends, though in a less degree, right over the hair, where it is 
 not at all in keeping (again on the analogy of the Hermes). Further, the 
 cheeks show a dark and deeper patina, although no genuine patina is preserved. 
 The eyes also appear to me more liquid {yerschwommener) than is com- 
 patible with the character of the head." Mr. Cecil Smith appears to have 
 shared the error of the catalogue when he says, loc. cit. : " The hair is appar- 
 ently roughly finished and almost sketchy, but offers an admirable contrast 
 to the highly polished surface of the flesh, and, even without the colour which 
 certainly once covered it, is magically successful in its rendering of texture." 
 Some good points in connection with this head are made by Mr. Marshall in an 
 article on the Chios head shortly to appear. The head will also be pub- 
 lished in the " Arndt-Brunn-Bruckmann Denkmaler." 
 
 No. 24 This head has now been published in the "Revue Archeologique," 1903, i., 
 p. 428, by S. Reinach, who first told me of its existence. Reinach points to 
 an affinity with the head of an ephebos in Berlin (" Coll. Sabouroff," i., plate 
 38) considered by Furtwangler to be Attic. 
 
 No. 26 Conze (" Arch. Anz.," loc. cit.) considers this " remarkable speaking portrait 
 head of a beardless man with sharp features " to be of the Hellenistic period. 
 Dr. F. Studniczka, who has lately examined the head, while expressing 
 himself admiringly as to its artistic quality, thinks that it cannot represent 
 Menander. 
 
 No. 29 IDEALIZED FEMALE PORTRAIT: cf. C. Smith, "Burlington Maga- 
 zine," p. 250 and plate III.; Conze, loc. cit. 
 
 No. 30 LARGE STATUETTE OF WINGED EROS: C. Smith, "Burlington Maga- 
 zine," p. 250, gives an interesting account of the statuette; Conze, loc. cit.; 
 cf. S. Reinach, " Suppl. R£p.," p. 129. The Eros will be published in the 
 " Arndt-Brunn-Bruckmann Denkmaler." 
 
 No. 44 HEAD OF A YOUNG GIRL from Chios. With Whistlerian humour Mr. 
 
 John Marshall (" Burlington Magazine" VI., vol. ii., August 1903) confronts 
 the severe attack upon this beautiful work of art made by C. Smith, loc. cit., 
 p. 250, with the eulogy bestowed on it by M. Rodin, which is well worth 
 putting on record here: "I have seen at the B. F. A. C. an antique head of 
 
 d 
 
xxvi 
 
 Addenda 
 
 great beauty. It is life itself. It embodies all that is beautiful, life itselj, 
 beauty itself. It is admirable. Those parted lips! I am not a man of letters ; 
 hence I am unable to describe this truly great work of art. I feel, but I cannot 
 find words that will give expression to what I feel. It is a Venus. I cannot 
 tell you how interesting that Venus is to me." The great sculptor went on to 
 say in enthusiastic tones: "It is a flower, a perfect gem. Perfect to such a 
 degree that it is 1 aussi deroutant que la nature elle-meme.' It defies description." 
 (From an interview with M. Rodin reported in the " Morning Post," May 28, 
 1903.) When one work can give rise to opinions so extreme and so conflict- 
 ing, we can only exclaim with the prophet: Multi pertransibunt et augebitur 
 scientia ! 
 
 Conze, loc. cit., who keeps a middle course between Rodin's enthusiasm and 
 Mr. C. Smith's severity, says of the head: "Scarcely older [i.e., than the 
 Hellenistic period] is the dainty little head of a girl from Chios . . . the 
 treatment is of the utmost delicacy, though its charm is doubtless enhanced 
 by the damaged condition (Zerstd'rungszustand) of the surface." He con- 
 jectures that the head is from a figure on a grave. 
 
 The aesthetic value of the head, which Mr. Marshall interprets as an Aphrodite, 
 and attributes to Praxiteles, must remain a matter of opinion ; but it certainly 
 has not been, as Mr. C. Smith maintains, "so rubbed down that it now looks 
 like a model in partly melted loaf sugar." I had occasion to ask Dr. Stud- 
 niczka's opinion, which has special interest, as he was one of the first to know 
 the head in its old home in Chios, and has studied it again this year in its 
 new quarters in Lewes. While denying to the head any higher aesthetic 
 quality than prettiness and charm, he too is convinced that, though it has 
 been cleaned, it has not been rubbed. 
 
 No. 45 HEAD OF AN ATHLETE : cf. C. Smith in "Burlington Magazine," p. 244, 
 and plate III. 
 
 No. 46 HEAD OF ZEUS OR OF ASKLEPIOS. Pending the appearance of Furt- 
 wangler's promised paper, it would be out of place to try to meet the objec- 
 tions brought forward by Mr. Cecil Smith, who condemns this head as a 
 forgery, or the disparaging allusions made to it by Prof. Conze. 
 
 No. 47 THE MEDUSA BIADELLI: Dr. Conze expresses himself somewhat severely 
 on the Biadelli head. Dr. Sieveking, in the article quoted in the Catalogue, 
 describes the head from the cast, without having seen the original, to which he 
 does scant justice. But he has no doubts as to the genuineness of the piece. 
 
 No. 53 MOUNTED WARRIOR : see C. Smith's further excellent analysis of this 
 bronze, " Burlington Magazine," p. 243, where he suggests that it may be of 
 Corinthian workmanship. The error repeated from " Monumenti," v. 50, is 
 now rectified by S. Reinach, " Suppl. Rep.," p. 149, 2. 
 
 No. 56 STELE OF ARCHIPPOS: Conze ("Arch. Anz.," loc. cit.) in commending 
 the excellence of this stele and its preservation, calls it a typical example of 
 the late Hellenistic sepulchral reliefs from Asia Minor, adding that it might 
 come from Smyrna 
 
Addenda 
 
 xxvii 
 
 SMALL BRONZES (Cases A-D) 
 
 On this subject one cannot refrain from quoting Professor Conze, loc. cit: "The 
 small bronzes can only be mentioned summarily, but with all the more in- 
 sistence on their value. Here the selection has nearly always been a lucky 
 hit. If we take as an instance only the second [B] of the four glass cases 
 allotted to the smaller bronzes, with its contents of some thirty pieces, how 
 great is the variety of motives and forms out of the infinite crowd of what has 
 vanished — how poor must we confess ourselves here in explaining or in 
 determining time, place and artist — yet how almost every single piece offers 
 something fresh and individual for our knowledge and for our delight." A 
 number of the smaller bronzes are also discussed by Mr. Cecil Smith, 
 "Burlington Magazine," p. 250 (Nos. 34, 92, 20, II, 62, 113 and 50). 
 
 A 16 This charming bronze (from Tortosa in Syria) is reproduced by S. Reinach, 
 "Suppl. R£p.," p. 135, 6, after " Catal. Serrure," plate IV., 195. Reinach sug- 
 gests that the animal may be a young wolf? 
 
 A 28* Appears to be identical with S. Reinach, " Suppl. R£p.," p. 116, 4, from " Catal. 
 Bourguignon," plate VIII., 243. 
 
 B 34 S. Reinach, " Suppl. Rep.," p. 18, 5. 
 
 B 38 For a statuette almost identical, save for the absence of the mitra, see S. Reinach, 
 "Repertoire," ii., p. 544, 5 (at Capua; afterwards Tyszkiewicz and Dutuit 
 collections; cf. "Suppl. Rep.," p. 153, 5). From this and other similar 
 examples collected by S. Reinach, loc. cit., the motive does not appear as 
 uncommon as Michaelis supposes. 
 
 B 50 With regard to this bronze, which has generally been taken to represent a sick 
 man, Mr. Smith in the article already cited has the following suggestion: 
 " The careful workmanship, however, and the fact that it is inscribed with the 
 name of the personage represented, seem to militate against this view [i.e., that 
 it is a votive offering from a sick person]; moreover, the figure does not seem 
 to represent actual suffering so much as austerity. The excessive emaciation, 
 the pose and the fixed, abstracted expression, appear to me to indicate rather 
 the smTa&ii of the mystic, the Pythagorean anchorite who, like the Brahmin, 
 has learnt by mortification of the flesh to project his soul into the unseen . . ." 
 This seductive theory would be more nearly confirmed had the bronze been 
 found at Pella, as Mr. Smith states by inadvertence, for he acutely recalls the 
 interest that Alexander took in the Indian Yogins; however, in spite of the 
 provenance of the bronze (Soissons) the new interpretation is not improbable, 
 seeing how widespread in the period after Alexander were the religious ideas 
 emanating from the " Hellenized Orient." 
 
 B 55 From the action of the arm the child might be Harpokrates; cf. the similar 
 statuettes, S. Reinach " Repertoire," ii., p. 486. 
 
 C 61, 86 For similar handles of cistae cf. S. Reinach, " Repertoire," ii., p. 521. 
 
 C 62 A similar plaque is given by S. Reinach, "Suppl. Rep.," p. 35, 5, from "Catal. 
 Santini," plate II., 168. 
 
xxviii 
 
 Addenda 
 
 C 69 These feet of a cista have now passed, I believe, into the collection of Mr. 
 Oppenheimer. 
 
 C 73 S. Reinach, " Suppl. Rep.," p. 17, 5. 
 
 C 76 For similar reclining Seilenoi cf. S. Reinach, " Repertoire," ii., p. 61. 
 
 D 101 Mr. Cecil Smith reminds me that in " Romische Mittheilungen," 1901, xvi., p. 92 
 (Petersen), it is pointed out that the Emperor who in apotheosis rides on an 
 eagle is usually Titus. The fact is worth noting, though owing to the con- 
 dition of the gem no satisfactory identification is possible. 
 
 TERRA-COTTAS (Cases E, F) 
 
 E 24 TERRA-COTTA DOLL: it is interesting to observe an identical doll in 
 the hands of the standing lady on an Attic stele: Conze, " Griechische Grab- 
 reliefs," plate CLXX. (No. 880). 
 
 F 82 Mr. John Marshall kindly informs me that the type occurs in two sizes, the 
 Louvre example 20 cm. high, and the example at Athens in the Central 
 Museum (4050) 14^ cm. high. Mr. Marshall, who has also examined the terra- 
 cotta, thinks it " is perfectly genuine throughout, except for the restored nose 
 and the colour on the face and arms. There seems a break across the leg under 
 the knees, and some of the white in the lower part may be modern." I may add 
 that the genuineness of the piece, which was doubted by one or two visitors 
 to the Exhibition, is also maintained by Professor Furtwangler. 
 
 VASES (Cases G-J) 
 
 H 44 KELEBE WITH CONTEST OF KENTAURS: C. Smith, loc. at.: "In its 
 strong firm line and spirited composition, which is yet kept in subordination 
 to the decorative effect of the vase as a whole, this work stands out instinct 
 with the combination of strength and self-control which are the leading 
 characteristics of the best works of Hellenic art." 
 
 I 63 BLACK CUP, signed by Canuleios: Mr. C. Smith kindly furnishes me with the 
 following additional note: "The Calene signatures alternate between — VS and 
 — OS, showing that they belong to a transitional period, which is assigned 
 to the end of the third century. This is the view of Forster (' Annali,' vol. lv. 
 1883, pp. 74, 75) and Garrucci (' Sylloge,' p. 23). On the other hand, C. Robert 
 (in 'Pauly Wissowa,' iii., p. 1500) considers that, from the character of the 
 epigraphy, the fabrication of these vases cannot have begun before 234 B.C., 
 and seems to have been at its height in the second century B.C." 
 
 I 75 KYLIX: Mr. C. Smith suggests that, if the scenes on the exterior are parodies 
 of races, the scene on the interior may be a parody of the victor with 
 his prize. 
 
 83 (p. 121) By a mistake of the photographer only the less interesting side of this 
 vase is reproduced; owing to the lamented and sudden death of Mr. Higgins, 
 it has not been possible to rectify the error. 
 
LIST OF ILLUSTRATIONS 
 
 PLATES 
 
 I. Bronze Statuette of Winged Eros (No. 30). Frontispiece. 
 
 II. Bronze Head of Apollo (No. 8). {To face page 3.) 
 
 Ill, IV. Head of a Goddess (No. 2). 
 
 V. Sepulchral Stele, from Lansdowne House (No. 4). 
 
 VI. Bronze Helmet and Bronze Shield (Nos. 5, 6). 
 
 VII. Archaic Female Head (No. 7) and Head of Nymph (E 45). 
 
 VIII, IX. Bronze Head of Apollo (No. 8). 
 
 X. Three Marble Heads (Nos. i, 9, 10). 
 
 XI. Archaic Female Head, from Lansdowne House (No. ii). 
 
 XII. Large Statuette of Herakles (No. 12). 
 
 XIII. Three Marble Statuettes (Nos. 13, 17, 19). 
 
 XIV. Head of Meleager, from Castle Howard (No. 14). 
 XV. Bronze Portrait Head of a Roman Boy (No. 15). 
 
 XVI. Three Greek Reliefs (Nos. 16, 31, 41). 
 
 XVII. Fragment from the Frieze of the Parthenon (No. 18). 
 
 XVIII. Three Female Heads (Nos. 20, 35, 37). 
 
 XIX. Torso of Aphrodite (No. 21). 
 XX-XXII. Head of Aphrodite, from Petworth (No. 22). 
 
 XXIII. Bronze Candelabrum (No. 23), Bronze Bowl (No. 54), and 
 
 Marble Urn (No. 55). 
 
 XXIV. H ead of a Youth (No. 24), Head of Hermes (No. 25), and 
 
 Bust of an Athlete (No. 40). 
 
 XXV. Portrait of Menander(?) (No. 26). 
 
XXX 
 
 List of Illustrations 
 
 PLATES 
 
 XXVI. Portraits of an Old Man (No. 27), of Demosthenes (No. 
 68), and Double Terminal Bust (No. 57). 
 
 XXVII. Statuettes of Aphrodite (No. 28) and of a "Dancer" 
 (No. 33). 
 
 XXVIII-XXXVIIIa. Idealized Female Portrait, from the Ponsonby 
 Collection (No. 29). 
 
 XXIX. Bronze Statuette of Winged Eros (No. 30). 
 XXX, XXXa. Head of Dionysos, from the Wemyss Collection (No. 
 32). 
 
 XXXI. Three Torsoes (Nos. 34, 38, 42). 
 XXXII. Head of a Girl, from Chios (No. 44). 
 
 XXXIII. Head of an Athlete (No. 45), Head of Apollo, from 
 
 Broadlands (No. 49), Head of a Girl, from Lansdowne 
 House (No. 52). 
 
 XXXIV. The Medusa Biadelli (No. 47). 
 
 XXXV. Relief of Athena, from Lansdowne House (No. 50). 
 
 XXXVI. Bronze Krater (No. 51). 
 
 XXXVII, XXXVIII. Mounted Warrior, of Bronze (No. 53). 
 
 XXXIX. Stele of Archippos (No. 56), Fragment of Attic Relief 
 (F 108). 
 
 XL. Eight Marble Heads (Nos. 58, 59, 61, 62, 63, 64, 69, 70). 
 
 XLI. Bronze Statuettes of Athena-Neit (A 1) and of Har- 
 pokrates (A 4). 
 
 XLI I. Statuettes of Harpokrates (A 2, 3, 6 # ), of Seated Baby 
 (A 6), and of Young Satyrs (A 16, 17). 
 
 XLI 1 1. Bronze Lid of a Mirror Case (A 5). 
 
 XLIV. Bronze Statuettes of Athena (A 7) and of Aphrodite (A 9). 
 
 XLV. Mirror with Stand in the Form of Aphrodite (A 8) 
 and Statuette of Athena (A 25). 
 
 XLVI. Statuettes of Aphrodite (A 10, 11, 12), of Tyche (A 21), 
 of Artemis (A 23), and of Nike (A 28*). 
 
 XLVI I. Two Statuettes of Aphrodite, from the Salting Col- 
 lection (A 14, 15). 
 
 XLVIII. Bronze Medallions (A 19, 26, 27), and Archaic Statuettes 
 of Women (A 18, 20, 24). 
 
List of Illustrations 
 
 XXXI 
 
 PLATES 
 
 XLIX. 
 
 LI. 
 
 LII. 
 LIII. 
 
 LIV. 
 
 LV. 
 
 LVI. 
 LVII. 
 
 LVIII. 
 LIX. 
 
 LX. 
 LXI. 
 
 LXII. 
 LXIII. 
 LXIV. 
 
 LXV. 
 LXVI. 
 
 Bronze Mirror (A 22) and Candelabrum (A 28). 
 
 Votive Bull (B 29), Seilenos (B 32), Discobolos (B 38), Apoxyo- 
 menos (B 47), Winged Eros (B 48), Archer (B 54), Seated 
 Child (B 55), Half Figure of Eros (B 58). 
 
 Seated Man with Basket (B 31), Satyr Crouching (B 34), 
 Bronze Mask (B 39), Apollo (B 40), Dancing Faun (B 42), 
 Fragment of Drapery (B 45), Dioskouros (B 57), Statu- 
 ettes of Artemis (B 49, 60). 
 
 Statuette of a Sick Man or Mystic (B 50). 
 
 Archaic Statuette of a Youth, from the Warren Collection 
 (B 36). 
 
 Statuette of Composite Divinity (B 41), of Nude Athlete 
 (B 56). 
 
 Statuettes of Hermes (B 43, 44), of " Bonus Eventus " (B 46), 
 of Zeus (B 51, 52, 53). 
 
 Handles of Cistae (C 61, 86), Statuettes of a Woman (C 72), 
 
 of a Young Man (C 74), of Herakles (C 82* 86*). 
 Plaque with Design of Reclining Eros (C 62), Three Feet 
 
 FROM A ClSTA (C 69). 
 
 Wild Boar and Lion (C 63, 65), Head of Ibex (C 70). 
 
 Statuette of Pygmy (C 64), Reclining Seilenos (C 76), 
 Prancing Horse (C 77), Comic Actor (C 79), Barbarian 
 (C 80), Medallion of Artemis (C 81), Vase Handle (C 82), 
 Striding Herakles (C 85), Seated Dionysos (C 87). 
 
 Mirror with Incised Design (C 66). 
 
 Lids of Mirror Cases (C 75, 78), Statuettes of Lares (C 67, 
 68), Boy with Lotus Flower (C 83). 
 
 Statuette of Seilenos with Wineskin (C 73). 
 
 Small Marble Heads (D 89, 91); The Cockerell Gem (L 153). 
 
 Heads in Blue Chalcedony, and Cameos, from the Ponsonby 
 Collection (D 90, 99, 101, 114). 
 
 Bronze Amphora Handles (D 92, 93), Girdle Clasp (D 94), 
 Mirror Case (D 96), Handle of Patera (D 98), Part of 
 Left Foot (F i 10). 
 
 Bronze Jug inlaid with Silver (D 95). 
 
XXX11 
 
 List of Illustrations 
 
 PLATES 
 
 LXVII. 
 
 Busts of Young Male and Female Faun (B 59, D 106), 
 Balsamarium in form of Bust of Antinous (66), Handle 
 of Patera (D 118). 
 
 LXVIII. Bronze Kantharoi (D 97, 112), Handles of Vases (D 
 103, 107, 111). 
 LXIX. Silver Objects (D 88, ioo # , 104, 115, 119). 
 
 LXX. Buddhist Head (D 121), Bronze Portrait (D 105), 
 Bronze Masks (D 102, 113, 120). 
 
 LXXI. Bronze Jugs (D 108, 109, 117). 
 
 LXXI I. Iron and Bronze Coffer (D i 10), Graeco-Egyptian Statu- 
 ettes (65, 67), Small Statuette of Woman (D 100). 
 
 LXX 1 1 1. Terra-cotta Statuettes, from Case E. 
 
 LXXIV. Seventeen Terra-cotta Heads, from Cases E and F. 
 
 LXXV-LXXVIII. Terra-cotta Statuettes, from Case E. 
 
 LXXIX. Terra-cotta Mirror Case (E 32) and Mask of Dionysos 
 (E 38). 
 
 Head of Dionysos (43) and Seven Heads from Cases E 
 and F. 
 
 Sepulchral Masks (F 51, 54). 
 LXXXII-LXXXV. Various Terra-cottas, from Case F. 
 LXXXVI. Fourteen Terra-cotta Masks, from Case F. 
 LXXXVII. Fragments from Cases E and F. 
 LXXXVI 1 1. Two Fragments of an Inscription (F 109). 
 LXXXIX, XCII, XCV, XCVI, XCVII, XCIX. Groups of Vases. 
 XC, XCI. Ionic Amphora, from Castle Ashby (G 12). 
 
 XCII I. Nine Attic Lekythoi, from the Elgin Collection. 
 XCIV. Attic Lekythoi, from the Salting Collection (H 34, 35, 
 36, 37)- 
 
 XCVI II. Oinochoe, from the Mond Collection (I 62). 
 
 C. Bridal Scene from a Pyxis (I 56); Lekythos with Selene 
 (I 58). 
 CI-CV. Coins. 
 
 CVI, CVII. The Agate Vase, from the Wyndham Cook Collection 
 (D 88 # ). 
 
 CVIII-CXII. Gems. 
 
 LXXX. 
 
 LXXXI. 
 
PART I 
 SCULPTURE AND BRONZES 
 
 3 
 
SCULPTURE AND BRONZES 
 
 INTRODUCTORY 
 
 FIRST glance round the gallery will reveal the fact that 
 ranged along the four walls are at least three works of the 
 first order of artistic beauty and archaeological import- 
 ance. To begin with the entrance wall, to our left we find 
 the beautiful head in Parian marble (No. 2), belonging to 
 Mr. Humphry Ward — an original of the Attic school just 
 before the period of its full efflorescence. As a counterpart, since it belongs 
 approximately to the same period, has been placed the grand bronze head 
 of Apollo, belonging to the collection of the Duke of Devonshire at Chat- 
 worth (No. 8). To find as perfect a piece of bronze technique, and on so 
 large a scale, belonging to an early period, we should have to go to the 
 Museum of the Akropolis or to the Museum of Delphi to study the famous 
 charioteer. The details show that the school to which the Apollo belongs 
 is not Attic ; but the general characteristics are, in spite of the difference of 
 subject, the same for the Ward and the Chatsworth heads. Between them 
 is a work of the Pheidian period, the stele — well known from casts and 
 photographs — showing the head, nobly composed and treated, of a seated 
 woman, lent by the Marquess of Lansdowne (No. 4). In Athens itself it 
 would hold a distinguished place among the reliefs gathered in from the 
 Kerameikos. On the right, by the mantelpiece, is placed the head which is 
 in a sense the cynosure of the whole Exhibition — the much talked-of though 
 hitherto little seen head of Aphrodite from Petworth, recognized by Pro- 
 fessor Furtwangler as an originally the hand of Praxiteles (No. 22) — an 
 opinion which has gained general acceptance. Nor, after the first shock of 
 what seems "too good to be true," will this attribution be disputed by any 
 who have really studied the group by Praxiteles of " Hermes and Dionysos " 
 in the original. It is the same flesh texture, the same polish and finish, the 
 same amazing treatment of hair, above all, precisely the same method of 
 
Exhibition of Ancient Greek Art [Part I 
 
 drawing and modelling the features. 1 If there is anything in a comparison 
 of details as applied to Greek sculpture, then the Leconfield Aphrodite 
 must be by the hand that sculptured the Hermes of Olympia. The analytic 
 method herein is at one with the higher criticism in recognizing a master- 
 piece. Later by fifty or perhaps a hundred years than Praxiteles, and yet 
 strongly reminiscent of his art, is the lovely bust of a girl lent by Mr. E. P. 
 Warren (No. 44) ; but for the present, till a paper long promised on the 
 subject by Mr. Marshall has appeared, we must be content to label her 
 " La Femme Inconnue" of the Exhibition. On the mantelpiece stands the 
 noble fragment showing a horseman and a head of a horse from the frieze 
 of the Parthenon, lent by Mr. J. D. Botterell, in whose garden in Essex it 
 was recently recovered (No. 18). Immediately on its left is the fine relief 
 of a Maenad in the Neo-Attic style, lent by Sir Frederick Cook (No. 16) ; 
 on the extreme right is the charming head of a girl of the fourth century, 
 already alluded to, belonging to Dr. Paul Arndt (No. 20). 
 
 Beside the fragment from the frieze of the Parthenon, another relief of 
 the Pheidian period is that of a " Girl showing a bird to a little child " 
 from the Cook Collection (No. 31, under the Morgan Eros); while the fine 
 Attic relief of Athena contemplating her helmet, from Lansdowne House 
 (No. 50), if not actually of the fifth century is closely imitated from a model 
 of that time. 2 
 
 In the recess of the wall opposite the entrance is the Eros springing 
 forward with his torch (No. 30), lent by Mr. Pierpont Morgan, a piece of 
 bronze work as remarkable for its period as the Chatsworth Apollo is for 
 the early fifth century. The subject is so familiar, that at first glance the 
 impression might be that here we have the ordinary putto of Roman art. If 
 we look closer we shall see that this bronze far surpasses in beauty and in 
 dignity the later conceptions of Eros. As I have attempted to prove in the 
 catalogue, however late the date, the head and the modelling, the movement 
 and the line recall the great models of the Lysippian epoch. On the left of 
 the Eros is the fine original head of a woman, presumably a portrait, lent by 
 Mr. Claude Ponsonby (No. 29). 
 
 Hellenistic art was famous for its portraiture ; two examples of the first 
 order are shown in the " Menander" from the Mond Collection (No. 26), 
 and in the Homer (No. 39) lent by Mr. E. P. Warren. The heads are 
 interesting to compare and to contrast, one as being a realistic portrait, 
 the other a purely ideal conception. 
 
 - What is said here and on p. 17 of the texture and polish has been modified in the 
 Addenda p. xxiv. 
 
 2 As a fact, since it has been possible to examine it in a better light than at Lansdowne 
 House, certain "New Attic" traits in the treatment of the drapery, etc., have become apparent. 
 
Part I] 
 
 Sculpture and Bronzes 
 
 5 
 
 It might be urged that when so many originals have been obtained, it must 
 be unnecessary to exhibit copies or replicas. But there are copies and copies 
 in antique as in modern art. Not only has the copy the value now so uni- 
 versally acknowledged of enabling us to reconstruct — generally by the help 
 of several examples — an image of the famous lost originals of which we have 
 the literary record, but many copies are themselves excellent works of art, as 
 for example the " Apoxyomenos " after Lysippos, in the Vatican. Moreover, 
 the notion that copies have only an archaeological value in so far as they 
 can serve for the reconstruction of a lost work, but can never give us back 
 its aesthetic qualities, rests on a wilful ignorance of the many qualities that 
 go to make up a work of art. If all we ask for is technical execution, it is 
 true that, except in a few rare cases, such as the "Apoxyomenos" afore- 
 mentioned, the copy has little or nothing to give us. But a work of art — 
 and especially a statue — has, beside technique, two qualities that are greater 
 still — the conception and the design. The latter may be weakened, the 
 former may be obscured by the copyist, but so long as a vestige of the 
 original composition remains neither can be destroyed ; while in a good 
 copy, or in a group of copies that supplement one another, we can apprehend 
 these qualities almost as closely as in an original. 
 
 An interesting copy is the Medusa Biadelli (No. 47), already alluded 
 to. Although the hollowness 1 of the mask proves it to be copied from a 
 bronze or a terra-cotta, and the technique itself — the subtlety, for instance, 
 with which the hair is left rough to contrast with the flesh (cf. No. 22) — 
 forbids us to recognize in it an original of the fifth century, it is yet certainly 
 imitated from such an original. 2 This marble version may have been executed 
 as early as the first century B.C. Of the school that continued to develop 
 in Alexandria on the lines mainly of the Praxitelean school we have a good 
 example in the torso belonging to Dr. Welles (No. 19), the " dancer" of 
 Dr. Arndt (No. 33), and the little Aphrodite washing her foot of Sir 
 Frederick Cook (No. 17). 
 
 Among other antique copies now exhibited may be mentioned the 
 two replicas, one lent by Lord Lansdowne (No. 11) and the other by Sir 
 Frederick Cook (No. 7), of a female head of the early Argive school; the 
 excellent copy lent by Lord Carlisle (No. 14) of the Skopasian Meleager, 
 the head of an athlete from the fourth century, again from Lansdowne House 
 (No. 40) ; the charming " Hermes with the petasos " (No. 9) and the Praxi- 
 telean Apollo (No. 49), both from Broadlands, and the head of Hermes 
 
 1 The other replicas are likewise hollow. The Rondanini mask has been fixed to a square 
 plaque in modern times. 
 
 ' l The nose, though seemingly intact, has had a blow and is cracked at the tip. It seems 
 to have been somewhat cut and repolished, in order to conceal the injury. 
 
6 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 from Chatsworth (No. 25). The statuette of Herakles lent by Mr. E. P. 
 Warren is a close rendering of a creation of the early fifth century, pre- 
 sumably by Myron (No. 1 2). The Dionysos (No. 32) lent by Lord Wemyss 
 possesses such extraordinary and subtle beauty that one feels inclined to 
 regard it as an original. The execution, however, is scarcely on the level of 
 the conception and design. Its near kinship to the exquisite " Head of an 
 Athlete" after a Polykleitan original (No. 45, lent by Sir Edgar Vincent), 
 is readily apparent. 
 
 Certain of the larger bronzes have already been mentioned, while the 
 general question of the origin of bronzes has been incidentally touched 
 upon in the Preface (p. xf.). Among the smaller bronzes, special attention 
 should be called to the fine Greek mirror in Case A (No. 8), lent by Mr. 
 Wyndham Cook, and to the remarkable statuette at its side of a nude 
 archaic Aphrodite, lent by Mr. Charles Loeser of Florence (No. 9). At 
 the top of this Case is a noteworthy series of Greek bronzes of the Ptolemaic 
 period, including an Athena-Neit (No. 1) lent by Mr. Fitzhenry, the 
 Horus lent by Mr. Ludwig Mond (No. 4), the Horus lent by Mr. Wallis 
 (No. 2), and the charming boy-Satyrs (Nos. 16 and 17), lent respectively by 
 Mr. C. Newton-Robinson and Mr. Pierpont Morgan. The "toilet motives" 
 so popular in Alexandrian art are well illustrated by the six Aphrodites 
 (Nos. 10-15), amongst which the two statuettes (Nos. 14, 15), lent by Mr. 
 Salting, have peculiar grace of line. Of the same period also is the miniature 
 bronze, treated with cruel realism, of an elderly woman engaged in another 
 toilet operation (Case D, 100, lent by Mr. Cecil Smith). 
 
 As three sides of Case A illustrate in great measure the representation 
 of the female form, so in Case B we get an equally instructive series of male 
 statuettes. It is hard to decide whether the place of honour should be 
 given to the adorans, or "young man greeting the god" (No. 36), lent by 
 Mr. E. P. Warren, or to the Apollo of Argive type lent by the Comtesse de 
 Beam (No. 33). On the topmost tier are placed four archaic bronzes which 
 may serve to illustrate the difficulty of deciding between the claims of 
 Greece and of Etruria. The votive statuette of a man (No. 30), lent by 
 Mr. E. P. Warren, was found near Tripolitza, and is therefore indubitably 
 Greek. The Diskobolos (No. 38), lent by Mr. Wyndham Cook, is from the 
 lid of a cista, the little archer lent by Mr. Oppenheimer (No. 54), and presum- 
 ably also the Seilenos lent by Mr. J. E. Taylor (No. 32), are from similar lids 
 or from the tops of candelabra ; in a sense, therefore, all these bronzes are 
 Etruscan ; but who can deny that their inspiration is as Greek as that of 
 the Warren bronze? On an intermediate ledge is the Roman winged 
 Hermes from the Wyndham Cook Collection (No. 41) alluded to in the 
 Preface. 
 
Part I] 
 
 Sculpture and Bronzes 
 
 7 
 
 Further, if we want to understand how closely the bronze workers of 
 Etruria and of Rome could rival the designs and the technique of their 
 Greek colleagues, we should examine the bronzes exhibited in the front of 
 Case C : beginning with No. 61, at the top, from the lid of a cista, lent by 
 Mr. John Edward Taylor, down to the three personages in the " Adventure 
 of Perseus and the Gorgon," lent by Mr. Talbot Ready, on the lower shelf 
 (No. 69). The mirror representing a "Satyr pursuing a Maenad," lent by 
 Mr. Salting, is a masterpiece of drawing and technical skill, and, as stated 
 in the catalogue, it is truly worthy of a Greek hand (No. 66). 
 
 Case C contains, further, at least four little Greek masterpieces : the 
 archaic head of an ibex lent by Mr. C. Newton-Robinson (No. 70), the lion 
 and boar of Mr. E. P. Warren (Nos. 63, 65), and the grand Pergamene head 
 of a Centaur belonging to the same collector (No. 71). On the lower shelf 
 of Case D, in which a number of miscellaneous objects are exhibited, will 
 be found several fine handles of vases, and the rare Hellenistic jug, with 
 details inlaid in silver, belonging to Mr. Fitzhenry (No. 95). Of the other 
 bronze vases exhibited, two of the best are the large krater belonging to 
 Mr. Claude Ponsonby (No. 51), and the bowl with the plane-leaf decoration 
 under the handles lent by Mr. S. E. Kennedy (No. 54). 
 
 When the Gallery had already been opened to the public, and just as 
 the small catalogue was being revised for press, there was sent for exhibition 
 a terra-cotta head of Zeus or of Asklepios (No. 46) so amazing for its size, 
 the state of its preservation, the precision of all details, that a place has 
 been assigned to it among the larger statuary. The antique quality of the 
 surface seems obvious ; yet as works of a high order when they first appear 
 — or reappear — not unfrequently arouse critical comments and opposi- 
 tion, the Committee are glad to be able to exhibit this unique work, 
 with the patent of nobility, so to speak, which recognition by Professor 
 Furtwangler always confers; he has himself kindly written the description 
 which will be found on page 29 of the Catalogue. 
 
 At the last moment, also, the beautiful head from a silver statuette of 
 Aphrodite has been sent by Mr. Pierpont Morgan (Case D, No. ioo # ). It 
 is a superb example of the silversmith's art in the first century b.c. 
 
LARGER MARBLES AND BRONZES 
 
 (Nos. 1-57) 
 
 1 HEAD OF HERAKLES, wearing a rolled fillet. Antique replica of 
 
 a marble terminal bust from Herculaneum, now at Naples, after an 
 original of the school of Polykleitos (about 430 B.C.). Height, 
 39 cm.; length of face, 18 cm. 
 
 The restorations include the right side of the terminal bust, the tip of the 
 nose, nearly all the back of the head, and parts of the fillet ; the 
 face is in good preservation, but the workmanship is somewhat 
 dull and superficial. The eyes have been curiously softened by the 
 copyist. The rolled fillet shows the personage to be Herakles. The 
 head closely resembles that of the well-known copies of the Dory- 
 phoros of Polykleitos. It is therefore safe to conjecture that we have 
 here a copy after another lost original by this master. The numerous 
 replicas show that the work was famous and popular in antiquity. 
 
 Published by Furtwangler (" Masterpieces of Greek Sculpture," p. 233, 
 fig. 96), who first brought this head into connection with the other 
 replicas of this type. On the Polykleitan character of the series, 
 see also Graf, " Romische Mittheilungen," 1889, pp. 202, 215. 
 
 Broadlands Collection: Michaelis, p. 220, 10 ("Terminal bust of a 
 victorious athlete "). [Plate X.] 
 
 Lent by the Right Hon. Evelyn Ashley, 
 
 2 HEAD OF A GODDESS (Aphrodite?). Attic original of about 
 
 460-450 b.c. The antique surface is intact, and the preservation 
 excellent ; the nose, a small piece of the chin, and the neck, with 
 the exception of a small fragment on either side, are restored 
 in plaster. The head was broken off close to the chin, the line of 
 breakage at the back cutting off the lower portion of the long hair. 
 This fine head offers distinct affinities to a whole series of Attic works 
 of a period transitional from the later archaic schools of Athens to 
 the pure style of the Parthenon. The broken line of forehead and 
 nose, the high oval skull, the firm mouth and closed lips, recall 
 the Pheidian Apollo in the Museo delle Terme at Rome and 
 kindred heads, while in every detail of face and hair the head is 
 the counterpart in the round of the " Aphrodite rising from the 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 9 
 
 Sea " on the relief of the Ludovisi " Throne " in the same Museum. 
 One remarkable detail, apparently occurring nowhere else, is the 
 manner in which, both in this head and in the Aphrodite of the 
 " Throne," the upper part of the ear is made to peep out from the 
 hair close to the diadem — the exact recurrence in both works of so 
 striking a trait makes it probable that they are by the same artist ; 
 and further that since the relief certainly represents Aphrodite, the 
 head also is intended for that goddess. From its character, how- 
 ever, as considered apart from the relief, it might equally represent 
 a young priestess. The statue to which it once belonged was, 
 though later in date than the archaic priestesses of the Akropolis 
 Museum, probably of a similar type. Length of face, 17.2 cm. 
 Formerly in Borghese Collection : published by E. Sellers in the 
 "Journal of Hellenic Studies," xiv. 1894, plate 4, pp. 198 ff. : see 
 also S. Reinach, "Gazette des Beaux Arts," 1894, pp. 149, 150; 
 Mahler, " Polyklet und seine Schule," p. 97, etc., etc. [Plates III. 
 and IV.] Lent by T. Humphry Ward, Esq. 
 
 3 HEAD OF AN ATHLETE (?). Archaic style of about the first half 
 
 of the sixth century. The nose is broken, or rather worn away ; 
 the surface of the marble is entirely destroyed, and the head has 
 greatly suffered from neglect and maltreatment ; yet the type is of 
 considerable interest. The structure of the head is almost square ; 
 the planes few and very flat ; the eyes are kept as nearly as 
 possible in the front plane of the face, as in the earliest period- 
 The hair is parted down the centre of the head, and is curiously 
 rendered by streaked ridges. In front the ridges are closer, and 
 imitate sharply defined waves. A long plait of hair encircles the 
 head as in early statues of athletes (cf. the Strangford Apollo in 
 the British Museum). The preservation is so bad that it is difficult 
 to decide whether the head is an original or a later (Roman ?) 
 imitation. The drawing of the eyelids points on the whole to the 
 latter conclusion. In this respect the head should be compared 
 with a similar archaic head in the Collection Somzee (Furtwangler, 
 Catalogue, No. 2). Length of face, 17 cm. 
 Doughty House, Richmond. 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 4 HEAD WITH PART OF SEPULCHRAL STELE. Original 
 
 Attic work of the second half of the fifth century B.C. 
 The head is admirably preserved, save for a slight injury to the nose. 
 
 c 
 
1 o 
 
 Exhibition of Ancie?tt Greek Art 
 
 [Part I 
 
 It apparently belonged to a seated figure, like the Hegeso of the 
 famous stele at Athens. Opposite was probably an attendant 
 standing. An ornament composed of three bands connected by a 
 cross-band just over the centre of the forehead confines the rich 
 waving hair which rises again between each band (cf. the coiffure 
 of the Hegeso). At the back of the head a veil. The grandiose 
 conception, the distinction of both drawing and modelling, place 
 this relief high among contemporary works. The shape of eyes and 
 mouth is specially characteristic of the heads of the period. Below 
 the pediment runs the partially preserved inscription : . . . opevov$ 
 6vyd[rrip]. Conze, " Die Griechischen Grabreliefs," plate 116 ; Col- 
 lignon, " Histoire de la Sculpt. Grecque," ii., fig. 76. Size, about 
 67 by 49 cm.; length of face, 18 cm. 
 Lansdowne House: Cat. Michaelis-Smith, 1. [Plate V.] 
 
 Lent by the Marquess of Lansdowne, K.G. 
 
 5 HELMET of Corinthian type, without crest (cf. British Museum, 2816). 
 
 Height, 22 cm. [Plate VI.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 6 LARGE ARCHAIC BRONZE SHIELD (diameter about 85.4cm.). 
 
 Probably intended to be mounted on leather. In the centre is a 
 boss adorned with an eight-ray star composed of small raised knobs, 
 and between each ray a larger knob. This boss is on a raised band 
 adorned with eleven groups of five bars each. Around this central 
 portion are eighteen concentric bands of pattern in very low relief : 
 1) raised knobs; 2) bars; 3) knobs ; 4) winged monsters, passant to 
 left ; 5) bars ; 6) rosettes on interlacing stems ; 7) knobs ; 8) bars ; 
 9) knobs; 10) winged monsters as before; then follow 11 to 16, 
 knobs, bars, knobs, rosettes, bars and winged monsters ; 17) is a 
 spiral pattern, and 18) on the rim of the shield, is again a band of 
 raised knobs (for similar shields see British Museum, 2704). 
 Seventh century B.C. Magnificent preservation and patina. [Plate VI.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 7 HEAD OF A WOMAN. This is another replica of the head repro- 
 
 duced by No. 11, but the head is less well preserved than the 
 example from Lansdowne House ; the antique copyist seems to 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 11 
 
 have somewhat modified the superb severity of the original. 
 Restored : nose, mouth, and chin ; and the rim of both ears with 
 the bunch of hair above. Length of face, 18.5 cm. 
 Doughty House, Richmond : Michaelis, No. 53. [Plate VII.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 8 BRONZE HEAD OF APOLLO. Original Greek work of about 
 460-450 b.c. H., 32 cm. from neck to crown ; 1. of face about 20 cm. 
 The preservation is magnificent, the only injuries being a hole at 
 the back, the loss of the locks that must once have covered the 
 left ear, of the eyeballs which, as always in large Greek bronzes, 
 were of some coloured material, and of the eyelashes, which were 
 attached separately. Around the right eye traces of the lashes may 
 still be seen, but from the left eye even the lead strip that carried 
 them has disappeared. The knot of hair over the forehead is broken, 
 and there is a lesion from below the root of the nose to the chin 
 on the right side. Otherwise the exquisite green patina is prac- 
 tically intact. It was by good fortune that the head remained so 
 long forgotten or ignored, as it thus escaped the cleaning processes 
 to which so many fine bronzes were once ignominiously subjected. 
 The head is, indeed, as fresh as though it had just come out of 
 the earth, and Furtwangler remarks that not only the oxydation 
 has not been removed, but that traces of the earth are still visible 
 in places. The head is cast hollow, and was doubtless made 
 separate and then adjusted to the statue to which it once belonged. 
 The curls over the ears and round the neck have also been cast 
 separately. The chasing of the hair on the crown of the head is 
 executed with the utmost care. The method and quality of the 
 technique alone make it clear that the head is an original Greek 
 work. 
 
 This magnificent example of the Ars Statuaria of the Greeks belongs 
 to a period between that of the Olympia sculptures, upon which it 
 marks an advance, and that of the Parthenon. In common with the 
 best works of the transitional period, it has the fine sweeping curve 
 of the cranium, the broad simply-modelled brow, the massive chin, 
 the delicate drawing of the lips, ears, and nose. Otherwise the 
 head is somewhat difficult to place within any known school. 
 
 First published and fully described by Furtwangler (" Intermezzi, — 
 Kunstgeschichtliche Studien," 1896; plates I. -IV., pp. 3-14), who 
 refers this Apollo to Pythagoras of Rhegion. [Plates II., VIII. , 
 IX.] Lent by the Duke of Devonshire, K.G. 
 
Exhibition of Ancient Greek Art [Part I 
 
 HEAD OF HERMES wearing the petasos. Antique replica of the 
 head of the Hermes Ludovisi (Museo delle Terme, Rome). The 
 head itself is in good preservation, even the nose being intact save 
 for a slight lesion, but the little terminal bust is modern, and the 
 edge of the petasos has been restored incorrectly, and on too meagre 
 a scale. The hat is held on by a ribbon passing under the nape. 
 In the strong fresh line of the profile and in the sharpness of the 
 details this replica seems to come nearer to the lost original than 
 does the head of the famous Hermes Ludovisi. Unfortunately the 
 pose has not been correctly given by the restorer, and thus much 
 of the beauty of the head is lost. The broad planes, the full chin, 
 the drawings of lips and eyes show clearly that this type is allied 
 to Attic works of the middle of the fifth century. L. of face, 16 cm. 
 Broadlands Collection: Michaelis, p. 219, No. 9. Published by Furt- 
 wangler (" Masterpieces of Greek Sculpture," p. 57, fig. 13), who 
 connects this type of Hermes with the Hermes of Telephanes of 
 Phokaia, a pupil of Pheidias. An identical head of Hermes is, as 
 a fact, reproduced on a Phokaian coin, Furtwangler, toe. cit., plate 
 VI., 19. [Plate X.] 
 
 Lent by the Right Hon. Evelyn Ashley. 
 
 COLOSSAL HEAD OF A YOUTHFUL GOD (Apollo?). An- 
 tique replica of a work of the close of the fifth century b.c. 
 Restored : the whole of the nose, mouth, and chin, and part of the 
 hair over the centre of the forehead. The hair radiates from the 
 crown in soft wave lines, and is bound by a fillet. In front it is 
 waved back over the fillet, whence it falls in long curls (now 
 broken) in front of the ears ; at the back the hair apparently 
 flowed straight down. The eyes are hollow ; the eyebrows are 
 defined by a sharp ridge. Like the better preserved example in 
 the Capitol (Sala delle Colombe, 87= Arndt-Bruckmann, " Einzel- 
 verkauf," 422, 423), this head may have belonged to a terminal 
 bust. Other replicas are in the Coll. Jacobsen at Copenhagen 
 (No. 1097), an d in the Lateran (Phot. Brogi, 8367). What gives 
 special interest and value to the copy now exhibited is the hollow 
 eyes. Length of face, 23 cm. See Addenda. 
 From the excavations at the Villa Spithover, Rome. [Plate X.] 
 
 Lent by Hamilton McCormick, Esq. 
 
 HEAD OF A WOMAN with hair rolled into a massive knot at the 
 back. Antique replica of a work of about 460-450 B.C. Greek 
 
Part I] Larger Marbles and Bronzes [Nos. 1-57) 13 
 
 marble. Restored : part of the nose, a piece of hair on the right 
 side, and half of the right ear ; small piece of the left ear; the head 
 has never been detached from the neck, which, however, has been 
 unfortunately let into a modern bust. This magnificent type 
 has long been known from the replica in the Vatican (" Museo 
 Chiaramonti," xv. 363 ; Helbig, "Coll. in Rome," i. p. 48, No. 34). 
 The connection with the sculptures of Olympia is evident at a 
 glance ; a comparison, for instance, with the head of the Lapith 
 woman struggling with a Kentaur on the western pediment (Col- 
 lignon, vol. i., plate X.), shows the same square structure of head, 
 the same broad planes, the same method of drawing mouth and 
 eyes and chin. The present head, however, is somewhat more 
 modern in general conception and treatment, and should be as- 
 signed to a period slightly subsequent to that of the Olympia 
 pediments, but prior to the sculptures of the Parthenon. Beside the 
 Chiaramonti head, there is the replica in Doughty House (No. 7), 
 and another in the basement of the British Museum. Other replicas 
 are enumerated by F. Koepp, who published the Vatican example 
 in " Romische Mittheilungen," i. 1886, p. 200 ff. (cf. also Furt- 
 wangler in " Athenische Mittheilungen," v. p. 40, for the connection 
 with the Olympian sculptures). Length of face, 18.5 cm. Addenda. 
 Lansdowne House : Michaelis-Smith, No. 53. [Plate XI.] 
 
 Lent by the Marquess of Lansdozane, K.G. 
 
 12 STATUETTE OF HERAKLES. Height, 55.8cm. 
 
 Except for the left hand, which is broken from above the wrist, and for 
 a broken corner of the basis on the left, the statuette is in magni- 
 ficent preservation. The hero is resting on his left leg with the right 
 slightly advanced and at ease; on his left arm he carries his lion- 
 skin, with his right he leans on his club. The head is inclined to 
 the side of the supporting leg. Replica of the period of Hadrian, of 
 an original by Myron. The relative breadth of the shoulders, the 
 strong musculature which is yet free from all exaggeration, the type 
 of the head, the precision of the drawing of the little flat curls of 
 hair and beard, the severe modelling of forehead, eyes and mouth, 
 above all the flatness and simplicity of the planes and the preci- 
 sion of the silhouette, are all traits familiar in the works that can be 
 traced back to Myron. (Cf. "Masterpieces of Greek Sculpture," 
 pp. 168-219.) Reproduced in the Brunn-Bruckmann " Denkmaler/' 
 Nos. 569, 570 (ed. P. Arndt). See Addenda. [Plate XII.] 
 
 Lent by E. P. Warren, Esq. 
 
14 Exhibition of Ancient Greek Art [Part I 
 
 13 STATUETTE OF A BOY. Small antique replica of an original of 
 
 the Polykleitan school. Height, 53.5 cm. 
 
 Restored: the whole of the left of the face, including chin, nose, and a 
 portion of the hair. Both legs from the knee are missing, and the 
 right arm. The left arm is broken halfway above the elbow. On 
 the left hip are the traces of the pillar on which the left hand rested. 
 The type is that of the so-called " Narcissus," which has survived 
 in so many examples — partly owing to the fact that the motive 
 was popular for grave figures (see Mahler," Polyklet," pp. 135 ff.). 
 The best preserved example is in the Louvre (" Monuments et 
 Memoires," i., plate XVII.). The known replicas, which amount 
 now to as many as twenty-four, are enumerated by Furtwangler, 
 "Masterpieces," p. 272, n. 4, and supplemented by Mahler, loc. cit. 
 
 The figure is given by S. Reinach, " Repertoire," ii. 102, 6. See 
 Addenda. [Plate XIII.] Lent by Dr. Pozzi, of Paris. 
 
 14 HEAD OF MELEAGER. Antique replica of an original of the fourth 
 
 century B.C. The bust is modern. The nose, the chin, small bits 
 of the ears and a piece of the neck on the right side are restored. 
 The best known example is the statue in the Vatican (Helbig, 
 " Fiihrer," 137), the original of which is now generally ascribed to 
 Skopas. For the list of replicas see B. Graf in " Romische Mit- 
 theilungen," iv. (1889), pp. 2 18 ff., and Furtwangler," Masterpieces," 
 p. 304, note 3. The example now exhibited would seem to stand 
 about midway in excellence between the very poor Vatican statue 
 and the superb head in the Villa Medici (Collignon, " Sculpture," 
 ii. fig. 12 ; " Masterpieces," plate XV.), which is fine enough to be 
 the original. 
 
 Castle Howard ; Michaelis, " Journal of Hellenic Studies," 1885, p. 38, 
 No. 27. Length of face, 18 cm. [Plate XIV.] 
 
 Lent by the Earl of Carlisle. 
 
 15 BRONZE PORTRAIT HEAD OF A ROMAN BOY. Greek 
 
 work of the Augustan period. 
 Over the forehead the hair is cut in a straight fringe that curves 
 slightly at the tips. Above the fringe the hair is disposed in 
 symmetrical layers of loose curls lying close to the head in the 
 manner of the Polykleitan and Lysippian schools that had so great 
 a vogue in Rome in the first century B.C. The effect of this arrange- 
 ment is highly artificial, for it is evident that the layers of curls 
 
Part I] Larger Marbles and Bronzes {Nos* 1-57) 
 
 ] 5 
 
 are conventionally arranged on the top of the smoothly combed 
 hair. The prominent ears are emphasized by the curls behind 
 them. The face is that of a young child, but there is a singular 
 primness about the little set mouth which gives great individuality 
 to the portrait. The eyebrows are given by a raised line upon 
 which the hairs are incised. The eyeball is in silver (?) or else in 
 a lighter alloy ; the eyeball in the ordinary colour of the bronze. 
 The style of the head shows the high level of art maintained in the 
 Augustan era. See Addenda. [Plate XV.] 
 
 Lent by VVyndham F. Cook, Esq. 
 
 16 DANCING BACCHANTE, in low relief. Fragment of a larger com- 
 
 position from a circular altar. Rentelic marble. There is a breakage 
 down the left side ; a crack in the middle of the tympanon, another 
 on the right foot. Height, 54 cm. ; height of the figure, 48 cm. 
 
 The Bacchante, who holds the tympanon in her left hand ready to strike 
 it with her right, is one of a well-known group of types that 
 occur repeatedly on the reliefs of the New Attic school. In the 
 present instance the pose of the head, the movement of body and 
 drapery, are rendered with a force and distinction of line and 
 modelling which are not always found in this class of reliefs, where 
 the types of earlier Attic art were too often repeated mechanically 
 for mere ornamental purposes. The same Bacchante occurs in the 
 marble amphora, signed by Sosibios (F. Hauser, " Die Neu-Att- 
 ischen Reliefs," p. 7, No. 1); on a rectangular basis of the Museo 
 Chiaramonti (Hauser, No. 4) ; on a marble crater of the Torlonia 
 Collection (Hauser, No. 6) ; on a relief in Madrid (Hauser, No. 8) ; 
 on a slab in the Uffizi (Hauser, No. 9). A well-known figure of 
 analogous style is the fine Maenad in the British Museum holding 
 a kid in her left hand and brandishing the sacrificial knife with her 
 right (Hauser, No. 15). The two figures, as a fact, often occur 
 together on New Attic reliefs. 
 
 Michaelis, Richmond, No. 11; Hauser, op. cit., p. 13, No. 12. [Plate 
 XVI.] Lent by Sir Frederick Cook, Bt., M.P. 
 
 17 STATUETTE OF APHRODITE, washing her foot. Restored: both 
 
 arms and both legs with the urn and the drapery ; the head has 
 been broken off and a new piece of neck inserted on the left side ; 
 but the head is antique and belongs to the body. The motive has 
 been explained as Aphrodite unloosening with her right hand the 
 sandal of her left raised foot (see the bronze, Case A, No. 10). The 
 type must have been one of the most popular in antiquity; Bernoulli 
 
i6 
 
 Exhibition of Ancient Greek Art [Part I 
 
 (" Aphrodite") in 1873 gave a list of thirty-six replicas, and these 
 must now number sixty or more. Compare the beautiful bronze 
 from Patras in the British Museum (No. 282), and also the bronze 
 from Paramythia (id., No. 280). It is, however, remarkable that in 
 all these replicas the sandal has not once been preserved ; it is there- 
 fore more natural to suppose that we have here a simple motive 
 from the bath — the goddess is imagined as standing in the water 
 and washing her heel. 
 
 The original conception may be Praxitelean (Klein, " Praxiteles," 
 pp. 66 f.) ; but the smooth hair, the soft treatment of the forms, the 
 absence of very definite lines show that this statuette and also 
 the bronze from Patras belong to the school of Alexandria, where 
 Praxitelean motives were popular and constantly repeated (see 
 Amelung, "Dell' Arte Alessandrina," in " Bulletino Comunale " for 
 1897, p. 1 10 ff. passim). See Addenda. 
 
 Slight superficial workmanship, probably of the Roman period ; but the 
 freshness and charm of the composition are retained. Total height, 
 35 cm. [Plate XIII.] Lent by Sir Frederick Cook, Bt., M.P. 
 
 18 FRAGMENT FROM THE FRIEZE OF THE PARTHENON, 
 
 recently discovered at Colne Park, Essex (see also Case F, No. 109). 
 Upper part of a horseman with the head of a horse of the group behind 
 him, from slab XXXVI of the Western frieze. This admirable 
 fragment has been described by Dr. A. S. Murray in the "Journal 
 of the Royal Institute of British Architects," x. 1902, No. 2. 
 [Plate XVII.] See Addenda. Lent by J. D. Botterell, Esq. 
 
 19 STATUETTE OF APHRODITE, headless. Alexandrian original 
 
 about the middle of the third century B.C. Height, 39 cm. 
 
 The type seems to be that of the Aphrodite, raising her hands towards 
 her head, either to wring her locks (motive of the " Anadyomene"), 
 or else to bind a fillet round her hair (motive of the "Diadumene") ; 
 under the left arm is a small rectangular hole. 
 
 The type, which was extremely popular in Egypt, was doubtless derived 
 from some Praxitelean model. The slender proportions and the 
 extreme softness of the workmanship point to the school of 
 Alexandria, where so many Praxitelean types were adapted or fur- 
 ther developed (cf. No. 1 7). 
 
 From Minieh in Egypt. Published by S. Reinach in the " Revue 
 Archeologique," 4 e Serie, i., p. 234 (1903). [Plate XIII.] 
 
 Lent by C. Stuart Welles, Esq., M.D. 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 17 
 
 20 HEAD OF A GIRL from a grave relief of the fourth century. The 
 
 hair is gathered up to the top of the head in a simple knot. The 
 charming eyes are long slit, with the characteristic breadth between 
 them. The modelling of the neck is at once vigorous and soft. 
 In the ears holes for earrings. The hair is drawn up in the fashion 
 discussed under No. 49. L. of face, about 20 cm. [Plate XVIII.] 
 
 Lent by Dr. Paul Arndt of Munich. 
 
 21 MARBLE TORSO OF APHRODITE, under life-size. Both arms 
 
 and the legs from above the knees are missing. The right shoulder 
 restored. Under the right breast a puntello which probably sup- 
 ported the left hand. The marble appears to be Parian, but the 
 surface has suffered from exposure in the open air. The purity of 
 design and of modelling is alike remarkable. The forms are those 
 of a quite young girl. Michaelis ("Anc. Marbles," p. 433), who 
 apparently did not see the torso, refers to it as follows : " At the 
 residence of Rich. Ford, Esq., Waagen ('Treasures,' ii., p. 226) 
 saw ' the torso of an Aphrodite in Greek marble excavated at Rome 
 in 1840. The goddess is youthfully conceived, of very noble and 
 slender proportions and of decided Greek workmanship.' " Present 
 height, 58 cm. [Plate XIX.] 
 
 Lent by John Ford, Esq. 
 
 11 HEAD OF APHRODITE. Greek original, attributed to Praxiteles, 
 of the second half of the fourth century B.C. ; finest Parian marble. 
 The hair is left comparatively rough, to contrast with the smoother 
 technique of face and neck, a method observed also in the Hermes 
 of Olympia. The nose and part of the upper lip are restored ; the 
 back of the head with the hair-knot is antique, though made out of 
 a separate block from the rest. The hair that escaped from the knot 
 on to the nape of the neck has been broken, and some little curls 
 appear to have been broken just on the neck behind the left ear. 
 In the hair is a groove for a fillet or diadem, probably of bronze. 
 From the shape of the neck, the head seems to have been intended 
 for insertion into a statue. Length of face, about 22 cm. 
 This superb head, which has once more become justly famous, offers 
 striking analogies to the Hermes of Olympia, attributed to 
 Praxiteles, and to kindred original works of the same period. It 
 is safe, therefore, to conjecture that the same artist made both the 
 Hermes and the Aphrodite now exhibited. The oval of the face is 
 of great distinction ; the beautifully curving lips are delicately parted. 
 The nose is broad at the root, as in heads of the Praxitelean and 
 
 D 
 
i8 
 
 Exhibition of Ancient Greek Art [Part I 
 
 Skopasian schools, the eyes deeply set, with that languorous expres- 
 sion that is characteristic of heads of Aphrodite ; the high triangular 
 forehead is common to female heads of the period ; it occurs, for 
 example, in the magnificent Demeter from Knidos in the British 
 Museum. The ear with delicate lobe is distinctly Attic. The hair 
 is both naturalistic and sculpturesque — the technique being carried 
 only so far as to give the full effect of softness, while the stone 
 is left, so to speak, to take care of the weight. It is the supreme 
 conciliation of nature and style which marks the highest develop- 
 ment of art, as in the case subsequently of Michelangelo. This type 
 seems to have impressed itself strongly upon the Greek artistic 
 imagination ; it stands first in a long series which eventually includes 
 the original of the " Venus dei Medici" and of analogous statues. 
 Petworth Coll. Both Payne Knight, in the "Specimens of Ancient 
 Sculpture," i. 45, 46, and Ottfried Muller, " Handbuch," § 375, 3, 
 praised this head as it deserves. After this no further reference 
 was made to it ; in fact, the head was apparently even withdrawn 
 from view, 1 for neither Conze nor Michaelis (" Anc. Marbles," 
 p. 616, 73) saw it when they visited Petworth ; in 1888 its merits 
 were rediscovered by Furtwangler, and subsequently the head was 
 published by him as an original by Praxiteles in his " Masterpieces 
 of Greek Sculpture," p. 343, plate XVII. and fig. 148; see also 
 W. Klein, " Praxiteles," p. 278 f. (figs. 42, 43) ; Collignon, "Sculp- 
 ture," ii. p. 305, fig. 155 ; S. Reinach, "Recueil de Tetes antiques," 
 plate 175; Amelung, "Fiihrer durch die Antiken in Florenz," p. 47 ; 
 Hauser in " Jahreshefte des Oesterr. Arch. Instituts," vi. 1903, p. 95. 
 [Plates XX., XXI., XXII.] Lent by the Lord Leconfield. 
 
 23 TALL CANDELABRUM. Height, 1.32 m. The long fluted shaft 
 
 rests on a broad tray supported on three claws. At the top of the 
 shaft a cone supporting a tray upon which is the actual socket. 
 Throughout there is a rich ornamentation, with traces of silver on 
 the maeander that adorns the socket. The flanged edges of the upper 
 trays have an egg and bead pattern. Found in Spain. [Plate 
 XXIII.] Lent by George Salting, Esq. 
 
 24 HEAD OF A YOUTH, much mutilated and corroded, but from the 
 
 general form and design it seems to be an undoubted original of 
 about the middle of the fourth century B.C. L. of face, about 19.5 cm. 
 
 1 It appears that it was placed in the picture gallery. After 1888 it was moved by the late 
 Lord Leconfield to his residence in Chesterfield Gardens. See Addenda. 
 
Part I] Larger Marbles and Bronzes [Nos. 1-57) 
 
 l 9 
 
 The head is interesting also from the circumstances of its find. It was 
 acquired by its present owner in 1891 in the course of demolitions 
 and excavations on the site of Arundel House. It is evidently 
 therefore a fragment from the collection formed by Sir Wm. Petty 
 for the "magnificent" Earl of Arundel. The objects collected 
 were deposited in the garden of Arundel House, where they lay 
 uncared for during the troublous times of the Commonwealth and 
 where Evelyn saw them and described them in his " Diary," 
 under date of the 19th September, 1667: "When I saw these 
 precious monuments miserably neglected and scattered up and 
 down the garden and other parts of Arundel House, and how ex- 
 ceedingly the corrosive air of London impaired them, I procured 
 him [Mr. Henry Howard, afterwards Duke of Norfolk] to bestow 
 them on the University of Oxford. This he was pleased to grant 
 me, and gave me leave to take whatever I found had inscriptions 
 on them, that were not statues." The inscribed stones having 
 been removed to Oxford, an Act of Parliament was in the year 
 1684 obtained for the building of Norfolk Street, Surrey Street, 
 Arundel Street and Howard Street on the site of the Arundel 
 House garden, when mutilated fragments of the statues so left 
 behind, including this head, were incorporated as building material 
 of the houses then being erected. This head was removed from a 
 basement wall, and the mark of the pickaxe used in its extraction 
 is plainly visible on the right cheek. [Plate XXIV.] See 
 Addenda. Lent by His Honour Judge Snagge. 
 
 25 HEAD OF HERMES, with wings in the hair. Antique replica of a 
 type of the early fourth or late fifth century. Restored: the tip of 
 the nose and the mouth. The head has never been detached from 
 the neck, which is unfortunately let into a modern bust. 
 Hermes is here represented as the patron of athletes, with close-cropped 
 hair and ears swollen as if with boxing. The little tight curls that 
 lie close to the head are rendered with admirable delicacy, especi- 
 ally on the forehead, where the growth of the hair is subtly ex- 
 pressed. The deep-set eyes and the massive brow suggest Sko- 
 pasian affinities. At the same time, the severity of the lines, the 
 simplicity of the planes, the drawing and the tight compactness of 
 the curls all point to a period earlier than the Skopasian. The 
 conception itself recalls a Myronian Hermes in the Vatican (Furt- 
 wangler, " Masterpieces," fig. 76), and it seems probable that 
 the head now exhibited is of a period between the severe Attic 
 
20 
 
 Exhibition of Ancient Greek Art [Part I 
 
 schools of the fifth century and the fully developed schools of the 
 fourth. Length of face, about 19.5. 
 Chatsworth; Furtwangler, Cat, No. 4, and plates XL, XI L, in " Journal 
 of Hellenic Studies," xxi. 1901). [Plate XXIV.] 
 
 Lent by the Duke of Devonshire, K.G. 
 
 26 PORTRAIT OF MENANDER (?). The whole bust is unfortunately 
 
 modern. Restored: small piece on right side of chin and patches 
 along jaw and under the chin. The head, which is of fine fourth- 
 century workmanship, has been thought to resemble the medal- 
 lion portrait (imago clipeatd) in Marbury Hall inscribed MENANAPOC 
 (Bernoulli, " Griechische Iconographie," p. 106, fig. 8), and the 
 series of portraits recognized as Menander by Prof. Studniczka 
 (Bernoulli, ibid.). The identification of the present portrait as 
 Menander is given by Mrs. Louise Richter in the " Connois- 
 seur," iv. 1902, p. 75 (October), apparently on the authority of 
 Prof. Furtwangler. The likeness, however, to the acknowledged 
 portraits of the great dramatist is not particularly striking. It is 
 satisfactory to learn that Prof. Studniczka has a more probable 
 identification for the head (see Addenda). Whoever the personage 
 portrayed, the head is remarkable for its refinement and intellec- 
 tuality, and for an expression of suffering, while as a work of art 
 it must certainly rank as one of the supreme achievements of 
 Greek portraiture towards the close of the fourth or commence- 
 ment of the third century B.C. Length of face, about 23 cm. [Plate 
 XXV.] Lent by Ludwig Mond, Esq. 
 
 27 HEAD OF AN OLD MAN. Antique replica of a famous portrait of 
 
 the first half of the third century b.c. Restored : half the nose, and 
 patches on the hair. Bernoulli, " Griechische Iconographie," pp. 1 6 1 
 ft., gives a list of thirty-three replicas, exclusive of the present, ex- 
 ample. The personage was long misinterpreted (first by Ursinus) 
 as Seneca (d. 65 a.d.), till it became evident that the head was of a 
 period of art four centuries earlier. On the strength of a replica in 
 the Museo delle Terme (No. 1072), wearing an ivy Avreath, a poet 
 of the Hellenistic age was next suggested (by Brizio). But no 
 individual poet of the time answers exactly to the characteristics 
 portrayed, so that Furtwangler has lately urged that the head 
 might be an Alexandrian version of the legendary portrait of Hip- 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 21 
 
 ponax (" Hipponacti notabilis foeditas voltus erat"). The various 
 interpretations are lucidly summed up by Bernoulli, op. cit. 
 
 The best of these heads is the one in the Uffizi (322), in which Amelung, 
 " Fiihrer" (65), proposes to recognize the original. Compare also 
 the head in the Coll. Somz^e (Furtwangler, Somzee Cat., No. 49). 
 
 Purchased in Madrid about thirty years ago from an Academician, who 
 said that it had been in the Royal Collection of Spain, having been 
 presented to a Spanish king by a viceroy of Naples. The gilt 
 bronze base probably dates from the eighteenth century. [Plate 
 XXVI.] 
 
 Lent by Sir J. C. Robinson, C.B. 
 
 28 LARGE STATUETTE OF APHRODITE. Free adaptation of 
 
 a Praxitelean motive by an artist of the Augustan period. The 
 goddess wears a thin chiton, girt under the breast. Her long cloak 
 is thrown across her body, one end covers her left arm, the other 
 is held to her hip by her left hand. On her right is a tree trunk, 
 upon which stands a small winged Eros (the right wing is broken) 
 who leans up against the goddess, placing his left hand upon her 
 shoulder. His feet are crossed in a well-known Praxitelean 
 scheme. The charming head of the Aphrodite is delicately de- 
 signed and modelled. The inclination of the head, the shape of 
 the eyes, and the triangular forehead are all directly influenced by 
 Praxitelean motives. She wears a fillet over which the hair is 
 combed back from the sides and tied into a knot from which it 
 spreads out again. On the right the hair is broken. The structure 
 of the statuette is deserving of study. It is flat, being composed 
 almost after the nature of a relief, and was evidently intended to 
 have that effect when seen against a background. Height, 89.5 cm. 
 Lately put together out of the many fragments to which it had been re- 
 duced in the bonfire at Christ Church many years ago. Brought from 
 Pella in Macedonia, towards the close of the eighteenth century, by 
 a student of Christ Church. [Plate XXVII.] 
 
 Lent by Christ Church, Oxford. 
 
 29 IDEALIZED FEMALE PORTRAIT (?). Original Greek work of 
 
 about the middle of the fourth century. Length of face, 23 cm. 
 Well preserved, save for a piece of the nose, which is restored. The 
 back of the head was cut off in antiquity, as the ancient tool 
 marks prove. The slant of the cut and the pose of the neck show 
 
22 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 that the head had a forward inclination which has been overlooked 
 when it was placed on its modern base. Another cut in the top of 
 the head seems to indicate that the original marble block was in- 
 sufficient for the design, and that an extra piece, now lost, had to 
 be added (cf. No. 20). From the rough tooling at the back, and 
 from the unfinished condition of the drapery on either side, we 
 may conclude that the figure to which the head belonged stood in 
 a niche of some kind. The head has all the characteristics of fourth- 
 century sculpture — the breadth of forehead with the massive 
 modelling at the corners of the eyebrows and over the root of the 
 nose, while the brows are slightly drawn up with that tragic in- 
 tensity of expression which had its origin in the schools of Skopas 
 and of Lysippos, and of which the portraits of Alexander offer the 
 most conspicuous example. The head has been interpreted as 
 that of a goddess, but there is an individuality, a personal ex- 
 pression about it that indicate a portrait, though of an idealized 
 character. A suggestion made by S. Reinach, that it might be 
 Olympias, the mother of Alexander, merits attention in the light 
 of the resemblance mentioned above to portraits of Alexander. 
 
 From the workmanship, the head seems to be certainly an original, 
 though Michaelis ("Anc. Marbles," p. 484), who knew it only 
 with its old coating of dirt and brown paint, inclined to think it 
 merely "a good reproduction of a distinguished original, belonging 
 to the Hellenistic period of art." A current modern view, which, 
 however, has not yet appeared in print, that the head is that of a 
 barbarian woman of the time of Trajan, is untenable. 
 
 Like the Leconfield Aphrodite (No. 20), this fine work of art enjoyed 
 a great reputation at one time, and was then forgotten. It was 
 justly admired by Waagen (" Treasures of Art in Great Britain," 
 i. p. 37), who believed "it to be a genuine Greek work of a very 
 good period." It was cast in Rome. It was published by Otto 
 Jahn as a frontispiece to his edition of the " Electra " of Sophocles ; 
 and in the " Archaologische Zeitung," 1880, plate VIII., by Ad. 
 Michaelis. 
 
 Presumably found at Ostia. It passed from "a Mr. Jones" to Lord de 
 Mauley, third son of the Earl of Bessborough, who was the cele- 
 brated collector; then to Lord de Mauley's second son, the Hon. 
 Ashley G. T. Ponsonby, father of the present owner. For years it 
 was on loan at the South Kensington Museum (Michaelis, South 
 Kensington Museum, 18). 
 
 Recently published (from a cast) as Lysippian by Salomon Reinach, 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 23 
 
 in the "Rev. Archeologique," 1900, plate XIX., p. 392; see also 
 E. Strong, in "Classical Review," April, 1901, p. 187. 
 Michaelis, South Kensington Museum, 18. [Plate XXVIII.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 30 LARGE STATUETTE OF WINGED EROS, holding the socket 
 of a torch in his extended left hand, and springing forward with 
 the toes of the right foot touching the ground. Very fine Greek 
 work of the end of the second or beginning of the first century b.c. 
 
 Beautiful light bluish-green patina ; the surface is admirably preserved 
 on the front and left side of the head ; on the front of the body, 
 and more especially on the back, a crust has been deposited which 
 somewhat mars the effect of the modelling, yet without detracting 
 from the grace of the composition. 
 
 The poise of the figure is masterly. The weight is skilfully dis- 
 tributed between the right foot that supports the figure and the left 
 arm that holds the torch ; while the right arm, extended obliquely 
 from the body, balances the movement of the left leg. The 
 statics of the figure — the absolute mobility of the limbs, the 
 rotation of the torso about its axis — show that this is a work still 
 influenced by the great tradition of Lysippian art. The evolution 
 of the pose might be studied in a series of works of the fourth 
 century, from the slow gliding movement of the Apollo of the 
 Belvedere (by Leochares ?) to the superb daring of the Nike of 
 Samothrake, a figure with which, in spite of the difference of scale, 
 the Eros has much in common. The same thrill of movement per- 
 vades the limbs; the smaller and daintier wings of the Eros are 
 unfolded with the same vigorous sweep as the larger and more 
 majestic wings of the Nike ; in both the movement is so natural 
 and spontaneous that, notwithstanding the difficulty of the pose, 
 there is no sense either of violence or of exaggeration. An un- 
 mistakable similarity of motive and sentiment exists between the 
 Nike, as she cleaves the air on her ship to announce the tidings 
 of victory, and the Eros, as he rushes forward through space joy- 
 fully holding his torch. From subject and motive the date of the 
 Eros may be as late as the first century B.C., but the great tradition 
 still makes itself felt unmistakably. 
 
 The charming head with its radiant expression has distinct affinities to 
 Lysippian works; the short curling hair lies close to the head in 
 front, and is looser at the back. It is disposed in layers, and the 
 shape of the separate strands is carefully d rawn in the manner oi 
 
24 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 the bronze-workers of the Polykleitan and Lysippian schools. The 
 modelling of the brow and of the eyes assimilates to that of the 
 seated Hermes of Naples. The eyes have a brilliancy admirably 
 suited to the joyousness of the subject. The wings are skilfully 
 attached ; their design, which follows the Greek convention, is 
 carried out with great delicacy. In expressing the forms of the 
 body the artist has appreciated the strong, firm lines of childhood, 
 while avoiding the soft chubbiness of the Erotes and children of 
 Alexandrian and Roman art. The type stands about midway between 
 the adolescent Eros with somewhat elongated forms, drawing his 
 bow, that has survived in so many replicas, and the fat, big-bellied 
 boy that squeezes a goose in the group attributed sometimes to 
 Boethos of Chalcedon (Collignon, ii., fig. 319). 
 A somewhat similar figure in the Forman Collection (Cat. 116); another 
 is given in " Archaeologia," vii. 29, p. 40 (= " Repertoire," ii. 440, 
 6), and appears to have been in Cirencester, though it is not now in 
 the Corinium Museum of that town ; a third small figure is in 
 the British Museum (Cat. 1 147). The figure now exhibited may 
 probably be regarded as the original from which the series derives. 
 From Boscoreale. Height, 58.5 cm. [Plates I. and XXIX.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 31 STELE OF TIM ARETE, A girl is showing a bird to a little child 
 
 who stretches out his hands to take it. Fifth century B.C. Style 
 of the Parthenon frieze. 
 
 The stele terminates in a pediment that projects somewhat beyond the 
 relief itself. The bottom of the stele has been left rough for inser- 
 tion into a basis. The akroteria of this pediment have been broken, 
 and the relief itself has been broken right across, just below the 
 girl's head, and mended again ; the bird's head and the drapery on 
 the lower part of the child's body have been rubbed and become 
 rather indistinct ; otherwise the preservation is good. As often, in 
 reliefs of this period, the child is absurdly small in proportion to the 
 principal figure. 
 
 The inscription runs along the top, below the pediment. 
 
 Conze, "Griechische Grabreliefs," No. 888, plate CLXXIII. ; Michaelis, 
 Richmond, 10. [Plate XVI.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 32 HEAD OF DIONYSOS (?), wearing a broad fillet and ivy crowned. 
 
 Antique replica of an original of the first half of the fourth century. 
 
Part I] Larger Marbles and Bronzes [Nos. 1-57) 25 
 
 Nose and lower lip as well as large patches on each side of the head 
 are restored. The type is of great beauty ; the inclination of the 
 head, its structure, the broad planes of the cheeks, the vague 
 melancholy that pervades the head, all testify to a strong Poly- 
 kleitan influence, while in point of detail, the arrangement of the 
 diadem seems directly imitated from the " Diadumenos." The in- 
 terpretation as Dionysos is uncertain ; the head might be that of 
 Ariadne or simply of a Bacchante. L. of face to diadem, 21.5 cm. 
 
 This fine head was obtained by the present Earl of Wemyss from Lord 
 Walpole, who had purchased it in Rome. This disposes of the 
 suggestion thrown out by Michaelis (who did not see the head) 
 that it had once been part of Lord Guilford's collection. The 
 head was highly praised by Waagen, " Treasures," iv., p. 64. 
 
 Michaelis, p. 432 (Lord Elcho). [Plate XXX.J 
 
 Lent by the Earl of Wemyss. 
 
 33 STATUETTE OF A DANCER (?), draped in a long chiton which 
 
 slips from her shoulders, and a cloak. The neck with the hair 
 that falls on the nape is restored in plaster. The left shoulder, 
 part of the left arm, and the back on the left side, as far as the hip, 
 are restored in marble. On the right side a small piece of the 
 plinth with the lower edge of the chiton is also restored. She 
 brings her right hand forward under her cloak, and inclines her 
 head and body to the right in the movement of the dance. The 
 style of the head, with its long strands of hair, and the motive are 
 clearly Alexandrian (cf. Nos. 17 and 19). Published by Joubin in 
 the " Melanges Perrot," pp. 203-206. M. Joubin gives a different 
 planation of the motive from the one put forward here. H. 62.2 cm. 
 [Plate XXVII] Lent by Dr. Paul Arndt of Munich. 
 
 34 MARBLE TORSO OF APHRODITE under life-size. Parian marble. 
 
 Fourth-century motive. 
 
 A piece of the left shoulder and a circular piece in the middle of the 
 back at the waist are restored. The right arm was raised — probably 
 to the hair. The left arm was held downwards, perhaps obliquely 
 across the body. The modelling, especially of the breast and of 
 the back, is admirable. Height, 45.5 cm. [Plate XXXI.] 
 
 Lent by Norman Forbes-Robertson, Esq. 
 
 35 HEAD OF A GIRL. The hair is combed up from the forehead and 
 
 confined by a fillet. It is arranged in a roll at the back and in a 
 
 E 
 
26 
 
 Exhibition of Ancient Greek Art [Part I 
 
 knot at the top of the head. The charming head is intact : it dates 
 presumably from Hellenistic times. The inscription of the plinth 
 records that it was found at Fiesole in 1748. Former Hoffmann 
 Collection (Froehner Cat, 1886, No. 352, plate XXVII I.). Length 
 of face, 12.5 cm. [Plate XVIII.] Lent by Mrs. Hornsby Drake. 
 
 36 FRAGMENT FROM AN ANTIQUE WALL PAINTING, 
 
 showing the head and shoulders of a young Satyr and Maenad 
 ivy-crowned, embracing. Red background. From the border on 
 the right, which is presumably from the same painting as the central 
 group, the fragment belongs to the Third or " Ornate" Pompeian 
 style (see Kelsey-Mau, " Pompei," p. 454). 
 
 Lent by Henry Oppenheimer, Esq. 
 
 37 HEAD OF A GIRL OR MUSE, with hair tied in a knot on the 
 
 nape of the neck. Good decorative work of the middle of the fourth 
 century. The nose is broken. The head has never been detached 
 from the neck, which seems cut for insertion into a statue. Length 
 of face, 14 cm. [Plate XVIII.] 
 
 Lent by Ludwig Mond, Esq. 
 
 38 SMALL MARBLE TORSO OF APHRODITE to below the 
 
 knees. Traces of a puntello on the lower part of the torso show 
 that the left hand was brought in front of the body with the gesture 
 of the Venus dei Medici. On the left shoulder long strands of hair. 
 Found at Rome in the Ludovisi quarter. H. 41 cm. [Plate XXXI.] 
 
 Lent by J. W. Waterhouse, Esq., R.A. 
 
 39 HEAD OF HOMER. The front of the nose is broken, but has for- 
 
 tunately never been restored ; the part over the right eyebrow is 
 slightly scratched, otherwise the preservation is excellent. Length 
 of face to fillet, 23 cm. 
 
 This superb head resembles most the busts in Paris and at Schwerin 
 (Bernoulli, " Griechische Iconographie," Nos. 10 and 16). The 
 naturalistic treatment, the realistic rendering of the furrows on 
 the aged face, and the absence of all formal arrangement of hair or 
 beard show that the portrait cannot be earlier than the third cen- 
 tury b.c. On the necessarily ideal character of the portraits of 
 Homer see Pliny, " Nat. Hist.," xxxv. 2. 
 
 The various types of Homer's portraits have been collected and studied 
 by Bernoulli, loc. cit. 
 
 Lent by E. P. Warren, Esq. 
 
Part I] Larger Marbles and Bronzes [Nos. 1-57) 27 
 
 40 HEAD OF AN ATHLETE. Antique replica of an original of the 
 
 fourth century. 
 
 The bust has been broken, but is antique, with the exception of the left 
 breast and of a piece on the right side of the neck in front. The 
 edges of the breakage, however, have been so cut and worked 
 away that it is impossible to ascertain whether the bust belongs to 
 the head. The obvious impression, of course, is that the bust is 
 somewhat too large for the head. L. of face, 13 cm. ; total h. 61 cm. 
 
 The tip of the nose and a portion of the left brow are restored ; the 
 hair in front has been worked over. That the head is that of a 
 victorious athlete is shown by the laurel wreath and by the groove 
 beneath, which once carried a bronze fillet. The type represented 
 has been variously referred to the school of Lysippos and to that 
 of Skopas. It would seem rather to be the creation of some other 
 sculptor of that period, whose artistic personality has yet to be 
 discovered. The long, deeply sunk eyes recall the winged Hermes 
 from Chatsworth, No. 25. Found in Hadrian's Villa. 
 
 Michaelis-Smith, Lansdowne House, 62. [Plate XXIV.] 
 
 Lent by the Marquess of Lansdowne, K.G. 
 
 41 BEARDED WARRIOR. Greek stele of about the first century b.c. 
 
 Height, 45 cm. 
 
 The warrior, who holds his spear against his shoulder with his right 
 hand, and rests his left hand on his hip, stands in front of a 
 truncated column, at the foot of which is a snake. The figure is 
 borrowed from a larger composition which has survived in three 
 examples. The most complete instance is a large relief of late 
 coarse workmanship in the British Museum (Baumeister, " Denk- 
 maler," p. 2120). Here the warrior stands in front of a tropaion ; 
 behind him appears the forepart of his horse; 1 in front of him is 
 a maiden pouring a libation to a snake that winds about the stem 
 of the tropaion. A similar relief, but with the horse left out, once 
 belonged to Winckelmann (" Monument! Antichi Inediti," plate 
 120), and is now in the Louvre (Frohner, Cat., 486). At Mantua 
 is another variant, in which only the warrior and his horse appear, 
 with the snake twining about a simple pillar. 
 
 It is evident that all four examples must derive from some famous 
 popular original from which more or less shortened extracts were 
 made — to suit individual fancy or the individual purse — for the 
 
 1 It is pointed out by Dr. A. S. Murray that the continuation of the horse's body and the 
 clumsily placed head of the attendant are probably modern additions or alterations. 
 
28 
 
 Exhibition of Ancient Greek Art [Part I 
 
 tombs of different warriors. It is noteworthy that the four known 
 instances all belong to the same late period. The armour moulded 
 to the body appears as early as the fourth century, but the general 
 treatment approximates to that of the New Attic reliefs (see under 
 No. 16). In the present example a delicately folded drapery of an 
 archaic type is combined, as in most New Attic reliefs, with advanced 
 modelling of the nude. The same throw of the drapery and treat- 
 ment of the folds occurs in the figure of Apollo of a round basis 
 in the Capitol, and of two other "New Attic" reliefs (Hauser, 
 "Die Neu-Attischen Reliefs," Nos. 41, 42, 43). [Plate XVI.] 
 
 Lent by S. Arthur Strong, Esq. 
 
 42 DRAPED TORSO OF APHRODITE. The fragment is unfor- 
 
 tunately much mutilated ; but the throw of the cloak across the 
 legs, with the roll that it forms along the top, reminds one of 
 the drapery of the Venus of Milo. H. 38 7 cm. [Plate XXXI.] 
 
 Lent by the Earl of Wemyss. 
 
 43 HEAD OF YOUNG DIONYSOS or of a Maenad wearing ivy- 
 
 wreath with fillet. 
 
 Pretty decorative style. The back is left sketchy. The head is intact, 
 
 and the surface well preserved. Length of face, 15 cm. 
 From the Bardini Collection. [Plate LXXX.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 44 HEAD OF A YOUNG GIRL. This marvellously beautiful head, the 
 
 subtlety of which brings it near to the achievements of the Renais 
 sance, is shortly to be republished with a new attribution by Mr. 
 Marshall of Lewes. From Chios; see Studniczka in " Athenischc 
 Mittheilungen," 1888, p. 188 (with rough reproduction from a 
 pencil sketch). Parian marble. [Plate XXXII.] 1 
 
 Lent by E. P. Warren, Esq. 
 
 45 HEAD OF AN ATHLETE. 3 Antique replica of a work of the school 
 
 of Polykleitos — end of the fifth century B.C. Parian marble. 
 Restored: only the tip of the nose. Replica of the head of the statue in 
 the British Museum known as the " Westmacott athlete" from the 
 name of its former owner. The type, which has survived in 
 numerous copies, shows a boy athlete resting the weight of the 
 body on the left leg with the right leg drawn back ; the left arm 
 
 1 On the subject of this head see Addenda. 
 
Part I] Larger Marbles and Bronzes [Nos. 1-57) 29 
 
 hangs at his side ; the right arm is raised and is bent at the elbow ; 
 with the right hand he is placing a wreath on his head. The 
 puntello on the hair on the right of the forehead shows where the 
 hand supporting the wreath has rested. The original has been 
 identified as the Kyniskos of Polykleitos, the basis of whose statue, 
 inscribed with the name of both the athlete and the artist, has been 
 found at Olympia (Loewy, "Inschriften Griechischer Bildhauer," 
 No. 50; for the identification see Furtwangler, "Masterpieces," 
 pp. 250 f., and against it Mahler, " Polyklet," pp. 44 **"•)• Length 
 of face, 14 cm. 
 
 The simplicity of the planes, the sharpness and distinction of the 
 silhouette, the severe drawing of eyes and mouth, the somewhat 
 archaic fullness of the chin, impart a singular charm and spontaneity 
 to the head now exhibited, and show it to be a closer, more faithful 
 copy of the original than is the Westmacott athlete. 
 
 Formerly in the Van Branteghem Collection. [Plate XXXIII.] 
 
 Lent by Sir Edgar Vincent, K.C.M.G., M.P. 
 
 46 HEAD OF ZEUS OR OF ASKLEPIOS. " Terra-cotta. Height, 
 16 cm. Remains of a coating of red colour. Hollow inside. It 
 appears to have been intended for insertion into a statue or into 
 the shaft of a term. The eyeballs, as in large bronzes or in gold 
 and ivory statues, were made separately of some coloured material, 
 and set in. This imitation is of frequent occurrence in marble heads. 
 In the hair and beard traces of the modelling tool may be detected 
 in all their freshness ; the mastery of the artist hand can be appre- 
 ciated in its full original force. Certain forms seem in the manner 
 of Myron (the beard for instance) ; while, on the other hand, the 
 infinite repose and still sublimity of the whole is rather in the spirit 
 of Pheidias. 
 
 " The ordinary copies in marble of bearded heads of Gods from the Phei- 
 dian period appear coarse, empty and dead, beside this wonderful 
 terra-cotta. I am acquainted with no second work at all, in sculpture 
 in the round, that affords us, even approximately, so high a con- 
 ception of the sublimity of the images of the Gods in the greatest 
 period of Attic art, combined with such a freshness and delicacy of 
 execution. 
 
 " As forgeries in terra-cotta have lately become so common it may not 
 be superfluous to add that in this case the absolute certainty of 
 style — characteristic of the master hand — and the condition of the 
 surface, especially the little threadlike root formations (' Wurzel- 
 
3° 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 fasern ') found in different parts of the surface and most apparent 
 on the neck, afford the most unmistakable guarantee of genuine- 
 ness. (All further details of date, provenance, school and probable 
 authorship I reserve for my paper on this head to be published in 
 the Transactions of the Royal Bavarian Academy.) " (Adolf Furt- 
 wangler). 
 
 Exhibited and described by Professor Furtwangler . 
 
 47 MASK OF MEDUSA, with snakes encircling her head and twined 
 
 into a knot under the chin (the snakes are broken at the sides). 
 The little plinth that supports the mask has been broken off close 
 under the chin. It is antique and original since the under part of 
 the chin with the snakes is cut out of the same block with it. In 
 the hair, which is parted over the forehead and curls up at the ends, 
 are two wings, the curves of which follow those of the head (the 
 right wing is broken). Close to the wings, two snakes start out of 
 the hair, to either side ; further a number of the little bristling 
 wisps of hair end in tiny snake heads. The eyes are wide open, 
 the mouth parted ; the oval of the face has the strong beauty of 
 Pheidian art. We are in presence of that new " beautiful " type of 
 Medusa which, in the great art of the middle of the fifth century, 
 took the place of the old leering Gorgoneion. The particular 
 example now exhibited rivals in its superb and severe technique, 
 and in the calm refinement of the conception, even the famous 
 Medusa Rondanini (Munich), and confirms the date proposed by 
 Furtwangler for the original bronze. 
 
 Considered by its owner to be an original of the fifth or fourth century 
 B.C. (on this point seep. 5). The mask is hollow, as in imitation of 
 bronze or terra-cotta ; the marble Greek. Length of face, 25 cm. 
 
 For the Medusa Rondanini, which, although varying in certain details, 
 is certainly a replica of the head now exhibited, see Furtwangler, 
 " Masterpieces," pp. 156 ff. (Two other replicas are in the Museo 
 Torlonia; the one in Naples may be a forgery.) 
 
 The Biadelli Medusa is published by Dr. Sieveking, " Revue Archeo- 
 logique," 1903, ii., p. 219, plate XII. It has lately been cast for 
 the Museum of S. Germain. [Plate XXXIV.] 
 
 Lent by Le Comte Biadelli. 
 
 48 MODERN COPY OF THE MEDUSA RONDANINI, placed 
 
 here for purposes of comparison with No. 47, in order to show the 
 difference between antique and modern technique. 
 
 Lent by C Brinsley Marlay, Esq. 
 
Part I] Larger Marbles and Bronzes (Nos. 1-57) 31 
 
 49 HEAD OF APOLLO. Antique replica of an original of the first half 
 of the fourth century b.c. Length of face, 20 cm. 
 The nose, from above the root, and nearly the whole of the upper 
 lip, are restored. The hair is broken away just above the forehead 
 on the left ; a piece of the knot of hair on the left side of the 
 central loop is also broken. The bust from below the throat is 
 modern. Carefully executed replica of a Praxitelean Apollo that 
 has survived in several examples, two of which are in England 
 (in the Coll. Hope, Michaelis, Deepdene, No. 4; Michaelis, Pet- 
 worth, No. 7 ; the best replica is in the Palazzo Vecchio at 
 Florence; Amelung, " Fiihrer durch die Antiken in Florenz," 
 No. 2 ; " Einzelverkauf," 242 ; for the other replicas see Overbeck, 
 " Kunstmythologie," v. pp. 150 f. and 510 f. ; and Klein, " Praxi- 
 telische Studien," p. 22, note 2). The arrangement of the hair, 
 which is drawn up and tied in a knot above the crown, occurs in 
 the " Kora" of Vienna and in the statue of a youth at Boston, both 
 of them works with marked affinities to the present type of Apollo 
 (Klein, op. cit., pp. 1 fif.). Klein (pp. 22 ff.) conjectures the artist of 
 the original to have been Kephisodotos, the son of Praxiteles. 
 The charming but somewhat puzzling bust in the Palazzo dei 
 Conservatori (" Einzelverkauf," 43) is a late Roman adaptation 
 of this popular type. 
 Michaelis, Broadlands, No. 1. [Plate XXXIII.] 
 
 Lent by the Right Hon. Evelyn Ashley. 
 
 50 RELIEF. Athena, bareheaded and without aegis, holding her helmet in 
 her left hand. Attic style of the second half of the fifth century b.c. 
 Pentelic marble. (See p. 4 with note.) Size, 72 by 46 cm. 
 The nose and a small part of the brow and hair are restored ; the 
 hand, which is placed on the hip, is broken on the outside, and the 
 fingers are somewhat rubbed and effaced, otherwise the preserva- 
 tion is good. The goddess wears the Doric peplos with diplois 
 open on the right side, where it falls in a cascade of rich folds. 
 With her right arm firmly planted on her hip, she stands facing to 
 her own left, looking down at the magnificent plumed Corinthian 
 helmet which she is holding in her left hand. Her round shield 
 rests against her left leg, and her owl is perched on the pillar in 
 front of her. Beyond is her olive-tree, about which twines the 
 guardian snake of the Akropolis. The whole picture breathes the 
 Attic spirit of the fifth century, and more particularly that of the 
 cults of the Akropolis, while the figure of the goddess is clearly 
 
3 2 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 inspired by the " Lemnian Athena" of Pheidias, two copies of 
 which have lately been identified (Furtwangler, " Masterpieces," 
 plates I. and II.). Michaelis speaks of "this excellent piece of 
 the noblest style." For the sentiment it should be compared 
 with the relief (about 460 B.C.) of Athena leaning on her spear, and 
 contemplating a stele, from the Akropolis. 
 Michaelis-Smith, Lansdowne House, 59 ; cf. Furtwangler, 0/. cit., p. 14, 
 n. 4. [Plate XXXV.] 
 
 Lent by the Marquess of Lansdowne, K.G. 
 
 51 BRONZE KRATER, with volute handles, of the first half of the fifth 
 
 century B.C., in admirable preservation. 
 
 Under the lip run two raised bands, the higher decorated with a tongue 
 pattern and separated by a raised ridge from the lower, which is 
 decorated with a pattern of spirals. The superb handles are 
 attached to the body of the vase by Gorgons of the archaic type, 
 with outstretched legs that end in snakes' bodies, and with face to 
 the front with protruding tongue. Their hair hangs over each 
 shoulder in long tresses, and they wear short chitons which they 
 hold up with both hands. These figures support the magnificent 
 volutes which are adorned on the lateral sides with bands of tongue 
 pattern and spirals, and on the upper sides with two bands of 
 tongue pattern. The edges are outlined with a broad moulding. 
 Bronze vases of this shape were imitated in terra-cotta (cf. British 
 Museum, E. 468-470) ; in bronze they are rare, even the British 
 Museum not boasting so perfect an example as the present one, 
 though it possesses one handle (No. 583) identical with those of 
 the vase now exhibited, and a similar krater, No. 258. 
 
 Found at Rua in Campania. Exhibited for many years on loan at the 
 South Kensington Museum. Total height to top of handles, 63.5 cm. 
 [Plate XXXVI.] Lent by Claude Ponsonby, Esq. 
 
 52 HEAD OF A GIRL. Probably an original of the fifth century. 
 
 Style of the school of Pheidias. The nose from below the root, 
 with a small portion of the upper lip, is restored. The bust from 
 below the throat is modern ; also a piece of the left ear and the 
 rim of the right ear. Michaelis notes that the work is " not executed 
 with minute delicacy," yet the vividness of the lines (noticeable 
 especially in the profile view) and a certain freshness of texture 
 make it probable that this is an original work — though not of 
 the first rank — executed under the influence of the Pheidian 
 schools. The fullness of the chin, the shape of the mouth, and 
 
Part I] Larger Marbles and Bronzes (JVos. 1-57) 
 
 sharpness of the lids, are all fifth-century characteristics. The 
 
 arrangement of the hair with the broad fillet recalls a Pheidian 
 
 type of Aphrodite. Length of face, 17.5 cm. 
 Found in Hadrian's Villa. Lately published (from the cast) by 
 
 S. Reinach in " Gazette des Beaux Arts," 1902, p. 465. 
 Michaelis-Smith, Lansdowne House Cat., No. 90. [Plate XXXIII.] 
 
 Lent by the Marquess of Lansdowne, K.G. 
 
 53 MOUNTED WARRIOR OF BRONZE. Finest Greek work of the 
 sixth century B.C. 
 
 The reins and the crest of the helmet, which were doubtless of a 
 different material and separately attached, are now missing; the 
 horse's feet, which were broken off probably along with the antique 
 base, are restored ; otherwise the group is singularly well pre- 
 served. The horseman is detachable, each figure having been 
 cast solid by itself. Beautiful light green patina, with shimmering 
 surface. Total height, 25.2 cm. 
 
 This superb group offers, in an archaic stage, the characteristics of 
 developed statuary The vividness of the silhouette, the har- 
 monious relation of the parts, the intelligent yet unobtrusive 
 modelling, the planes so flattened as to present to the eye broad 
 unbroken surfaces, are peculiar to Greek art in its more advanced 
 archaic stage and as late as the first half of the fifth century. 
 The massive realism of the whole recalls the groups of the great 
 bronze medallist Pisanello. The warrior sits his horse firmly; there 
 is a fine sense of muscular tension along the thighs and legs, and 
 in the arms. The visor is lowered, the large archaic prominent 
 eye being alone visible ; at the back the hair flows in long waves. 
 The delicately incised lotus flowers of the helmet should be 
 noticed. It is difficult to decide whether the wavy lines in the 
 horse's flanks are merely decorative, or indicate, as has been sug- 
 gested, folds in the skin. The horse's head, with its broad cheek, 
 alert ears, and prominent fiery eye, is full of character. The mane is 
 given in relief, in a manner that suggests marble rather than bronze. 
 
 Found at Grumento in Lucania. From the Pulsky, Forman, and 
 Lelong Collections ; Cecil H. Smith, " Catalogue of the Forman 
 Collection" (1), p. 7, No. 53, plate I. The arrangement of this 
 group reproduced from " Monumenti," v. 50, by S. Reinach in 
 "Repertoire," ii., p. 533, 1, is entirely fanciful. (See C. Smith, 
 op. cit., under No. 54.) [Plates XXXVII., XXXVIII.] See 
 Addenda. Lent by Signor Canessa. 
 
34 
 
 Exhibition of Ancient Greek Art 
 
 [Part 1 
 
 54 BRONZE BOWL, with ornamental handles. Elegant plane leaves at 
 
 the points of attachment to the body. Good workmanship of the 
 Hellenistic or Augustan periods. The bowl appears to have been 
 mended in several places. Diameter, 39.5 cm. [Plate XXIII.] 
 
 Lent by S. E. Kennedy, Esq. 
 
 55 MARBLE VASE WITH LID. The body is covered with a rich 
 
 design composed of a tripod flanked by cranes and garlands. On 
 the lid stylized akanthos leaves. Height, 47 cm. [Plate XXIII.] 
 
 Lent by Sir Charles Robinson, C.B. 
 
 56 STELE OF ARCHIPPOS. The stele has been broken across just 
 
 above the head of the principal figure and been mended. The 
 nose of Archippos and the second finger of his right hand are 
 restored ; the big toe of his left foot is broken ; otherwise it is in 
 admirable preservation. Total height, 1.54 m. ; length, 62 cm. 
 
 The main design is sunk between two pillars that support an architrave 
 with frieze pediment and akroteria. In the centre of the pediment 
 a shield in relief. In the centre of the frieze, within a sunk panel, 
 a delicately carved olive wreath round the legend O AHM02. 
 Below, in the epistyle, the inscription APXinnON AIAHOS:. 
 
 Archippos, a dignified personage draped in an ample cloak, stands 
 facing, holding up his right hand to place the wreath upon his 
 head. Behind him on his left, a pillar with elegant capital, on the 
 top of which stands a vase with lid. On either side two diminu- 
 tive figures lean against the pilasters of the stele. They constitute 
 the main interest of the stele, for they mark the final transference 
 of Greek art to the West. In spite of their classic setting they are 
 not so much Hellenic in sentiment as Italian, and, like the charm- 
 ing putti of the octagonal urn in the Capitol (Helbig, " Fuhrer 
 durch die Sammlungen Klass. Alterth. in Rom," i. 440), they 
 are among the precursors of the boys of Donatello. The whole 
 stele in its elegant sobriety is characteristic of the art of the 
 first century B.C. 
 
 Formerly in the Grimani-Spago Palace in Venice. Richmond, Doughty 
 House, Michaelis, No. 67. [Plate XXXIX.] See Addenda. 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 57 SMALL DOUBLE TERMINAL BUST OF DIONYSOS AND 
 
 ARIADNE. The head of Dionysos is bearded and ivy-crowned, 
 
Part I] Larger Marbles and Bronzes (Nos. 1-5 7) 35 
 
 with a thick fillet over the brow. Ariadne wears a wreath with a 
 fillet twined round it. 
 Decorative work in imitation of the sculpture of the third century b.c. 
 The treatment of the eyes with the faint indication of the lower lid 
 points to the school of Alexandria (W. Amelung, " Dell' Arte 
 Alessandrina," in " Bullettino Comunale " for 1897, pp. 1 10 foil. 
 passim). [Plate XXVI.] 
 
 Lent by James Knozvles, Esq. 
 
 Owing to lack of space nine heads, three bronzes, and the casts from the 
 Palace of Knossos are exhibited downstairs in the Members" Writing 
 Room [Nos. 58-70), where will also be found the zvater-colonr drazvings 
 by C. R. Cockcrell. See Appendix, pp. 256-262. 
 
 In the passage leading to the Gallery hang two water-colour drawings, 
 in one frame, of sections of the interior of the Temple of Apollo 
 at Bassai (wrongly described on the frame as the Parthenon), 
 restored by C. R. Cockerell, R. A. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
CASE A 
 
 SMALLER BRONZES {Nos. 1-28) 
 
 STATUETTE OF ATHENA-MEIT. The figure rests on the 
 right leg, with the left at ease and brought slightly forward. The 
 left hand is planted on the hip. The right arm is extended, and 
 holds an object which is now broken. The goddess is draped in a 
 fine chiton, with an ample himation folded over and clasped just 
 below the left shoulder. The headdress is compounded of elements 
 borrowed from the helmet of Athena, and from the high coiffure of 
 the Egyptian Goddess Neit. The diadem is in the shape of the 
 front of a helmet, but the uraetis snake writhes forward from 
 the crown of the head, and raises neck and head in plume 
 shape over the forehead. The hair hangs down the back. Good 
 workmanship ; the head of great delicacy. Greek work of the 
 Ptolemaic period. Total height, 21.5 cm. ; height of figure, 15 cm. 
 [Plate XLL] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 STATUETTE OF THE CHILD HORUS (the Greek Harpokrates), 
 with the forefinger of his right hand on his lips, and the snake 
 winding round his left arm. On his head the pschent or double 
 crown of Upper and Lower Egypt. Behind the right ear the 
 characteristic side lock of hair. Hanging round his neck by a 
 ribbon a bulla. Greek work of the Ptolemaic period (compare 
 Nos. 3 and 4). Height, 10.2 cm. [Plate XLII.] 
 
 Lent by Henry Wallis, Esq. 
 
 STATUETTE OF HORUS OR HARPOKRATES, wearing the 
 pschent or crown of Upper and Lower Egypt. The little god 
 combines the attributes of Eros with his own ; he is winged, carries 
 his quiver, and raises his forefinger to his lip with the character- 
 istic gesture. With his left hand he carries a large horn of plenty, 
 and leans upon a stem, about which winds a snake. A dove on the 
 left, a lamb on the right. The basis is original. For this type of 
 Harpokrates cf. S. Reinach, " Repertoire," ii., pp. 481 ff. Height, 
 6.3 cm. [Plate XLII ] 
 
 Lent by Ludwig Mond, Esq. 
 
Case A] Smaller Bronzes {Nos. 1-28) 
 
 37 
 
 4 STATUETTE OF HORUS OR HARPOKRATES, wearing the 
 
 pschent or crown of Upper and Lower Egypt. 
 
 On the head the hair is indicated by delicately executed wave lines that 
 expand into rich ringlets falling over the sides of the face and the 
 nape of the neck. The parting is covered by the tress characteristic 
 of heads of Eros. The right arm is raised from the elbow, but the 
 hand is broken off at the palm ; the left arm is bent inward at the 
 elbow, and the fingers of this hand are placed before the mouth 
 with the gesture characteristic of Horus. The right leg is broken 
 from above the ankle, the left from above the knee. Otherwise the 
 preservation of this exquisitely modelled bronze is admirable, the 
 blue-green patina of the back being exceptionally fine. H. 1 2.5 cm. 
 
 Finest Greek work of the Ptolemaic period. [Plate XLI.] 
 
 Lent by Ludwig Mond, Esq. 
 
 5 LID OF A MIRROR-CASE. Original Greek work of the middle of 
 
 the fourth century. The design in relief. Diameter, 18 cm. 
 To the left a female figure, probably Aphrodite, clothed in a thin 
 chiton, and with long veil passing down the back and thrown over 
 her lower limbs, sits on a rock ; with her left hand she holds the 
 end of the veil. In front of her, touching her lower drapery with 
 his right hand, stands Eros with outstretched wings. His long hair 
 is gathered into a knot at the back of his head. With his left hand 
 he holds a goose against his side. At his back a fluttering drapery. 
 [Plate XLIII.] Lent by John Edward Taylor, Esq. 
 
 6 BABY, sitting with his legs crossed, his arms held in front of him, and 
 
 left hand clenched. This charming statuette belongs probably to 
 the Alexandrian period. Fine green patina with the earth still 
 adhering (cf. the similar bronze in Naples, S. Reinach, " Reper- 
 toire," ii. 452, 453). Height, 6 cm. [Plate XLII.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 6* HORUS OR HARPOKRATES (cf. Nos. 2, 3, 4). H. 13cm. [Plate 
 XLII.] Lent by J. Pierpont Morgan, Esq. 
 
 7 ATHENA HELMETED, in the attitude of combat. Fine archaistic 
 
 imitation of a fifth-century type. Height, 18.3 cm. 
 The forearms from above the elbow are missing ; the left arm is 
 lowered, and probably carried a shield ; the right was raised to hold 
 the spear in the manner familiar from the Athena of the Pan- 
 athenaic vases. The goddess wears a long chiton and a himation 
 
38 Exhibition of Ancient Greek A7~t [Part I 
 
 draped across the body ; remains of a crest or plume are still 
 visible on the top of the round helmet ; the hair is gathered into a 
 tress that falls down the back. For a similar statuette, compare 
 the Athena at Chantilly, published by L. Heuzey in " Monuments 
 et Memoires," vol. iv., plates I. and II., pp. 1 ff. 
 Michaelis, Richmond, 18. [Plate XLIV.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 8 GREEK MIRROR WITH STAND in the form of Aphrodite with 
 two hovering Erotes. Fine archaic work, about the end of the sixth 
 century B.C. 
 
 The basis is lost, but the figure itself is in magnificent preservation. 
 It is remarkable for the severe distinction of the design, the 
 delicacy of the execution, the daintiness of every detail. The 
 goddess wears the Doric chiton with ungirdled diploidion ; in her 
 right hand she holds a flower; with the left she lifts her drapery 
 in the scheme so familiar in archaic statues. The general character 
 of the figure seems Argive rather than Attic, and falls within a 
 group for which the influence of the Argive master Hageladas has 
 been claimed. Total h. 39cm. ; fig. h. 18cm. ; diam. of mirror, 16cm. 
 
 The type of mirror is that of a well-known series now numbering from 
 fifty-five to sixty-five examples, some of the finest of which are in the 
 British Museum (" Catalogue of Bronzes," Nos. 239 to 246, etc.). 
 An all but exhaustive list has been drawn up by E. Pottier in 
 Dumont's " Ceramique de la Grece propre," ii., pp. 249-253; cf. 
 Michon in " Monuments de l'Association des Etudes Grecques," 
 1 89 1-1 892, pp. 33-35 ; de Ridder, " Bronzes de la Societe Archeolo- 
 gique d'Athenes," p. 36, etc.; cf. " The Forman Collection," Nos. 66, 
 67, 68. For the artistic character of the figures see Furtwangler in 
 " Neue Denkmaler Antiker Kunst" (Munich, 1900), ii., p. 586. 
 
 Michaelis, Richmond, No. 39. [Plate XLV.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 9 STATUETTE OF APHRODITE, from a mirror support. Greek 
 work of about 580 B.C. Height, 22 cm. 
 The mark on the top of the head proves that the statuette supported a 
 mirror. The right arm is raised with the palm of the hand turned 
 outwards (cf. the figure from Corinth in Pottier-Dumont, " Cera- 
 miques de la Grece propre," ii., p. 251, No. 24), the fingers, which 
 probably held a flower or fruit, are broken. The left arm is bent 
 at the elbow and drawn back. The palm of the hand is turned 
 outward ; the fingers, which were bent, are broken. This hand also 
 
ASK A] 
 
 Smaller Bronzes (JVos. 1-28) 
 
 39 
 
 possibly held an attribute or a wreath. The hair, which is parted 
 in front, hangs in a loose bandeau in front of the ears ; it is rolled 
 at the back and kept close to the head by a fillet. The figure stands 
 with both feet firmly planted on the ground, but with the right leg 
 slightly in advance of the left. The statuette remains attached to 
 its original basis, which has been inserted into a modern (?) plinth. 
 This remarkable figure is an important addition to the series of rare 
 nude bronze statuettes of Aphrodite of the archaic period. The 
 four instances enumerated by Korte (" Archaologische Studien 
 H. Brunn dargebracht," Berlin, 1893, pp. 25 ff.) comprise a mirror 
 support in Munich, from Hermione ; another in Dresden, from 
 Caere ; a third once in the Wilde Collection; the fourth— a simple 
 statuette not intended as support— belongs to the Trau Collection 
 in Vienna. All four are slightly more archaic than our example, 
 and therefore exhibit the same characteristics, only more accentu- 
 ated. The long, sinewy legs, the bony knees, the narrow hips, the 
 flat abdomen and small glutaei, and the whole of the back, are all 
 of a distinctly masculine character. [Plate XLIV.] 
 
 Lent by Charles Loeser, Esq. 
 
 APHRODITE "BINDING HER SANDAL," or, more probably, 
 washing her foot. She steadies herself by means of her raised left 
 arm, and holds an apple in her left hand. The hair seems drawn 
 into a knot at the top of the head where it meets the diadem. For 
 the type see the marble statuette, No. 17. Height, 11.1 cm. 
 
 Found at Memphis. [Plate XLVI.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 STATUETTE OF APHRODITE, with goldtorc,gold bracelet on her 
 left arm, and gold anklet on her left ankle. In the hair, traces of 
 a gold diadem. The front hair is drawn up into a knot at the top of 
 the head, and the hair from the sides is tied into a knot on the nape. 
 Aphrodite stands on her right leg, with the left at ease and some- 
 what drawn back ; her right arm is bent upwards from the elbow, her 
 left arm is held close to her breast. In this exquisite little bronze, 
 we perhaps have an adaptation of the famous pseliumene of Praxi- 
 teles. (For the Praxitelean statue see Klein, " Praxiteles," pp. 282 ff.) 
 H. 6.9 cm. [Plate XLVI.] Lent by John Edward Taylor, Esq. 
 
 APHRODITE, nude, holding an apple in her right hand, which is ex- 
 tended from the elbow ; her left arm is brought round in front of 
 the body with the gesture of the Venus dei Medici. The weight is 
 
o 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 on the left leg, with the right leg at ease. The long hair is tied in 
 a knot at the nape, and flows down the back, and in a curl to the 
 front over each shoulder. In the hair a diadem. Height, 9.7 cm. 
 [Plate XLVI.] Lent by Wyndham F. Cook, Esq. 
 
 3 STATUETTE OF APHRODITE with arms extended to the front 
 
 and somewhat away from the body. The hair from over the fore- 
 head is tied up in a knot at the top of the head; that from the sides 
 is gathered into a knot at the back. Height, with base, 24 cm. 
 
 Lent by E. P. Warren, Esq. 
 
 4 LARGE STATUETTE OF APHRODITE, with the weight thrown 
 
 on to the left leg and holding a tress of hair in each hand. Type of 
 the " Anadyomene." The left arm has been broken, but is replaced 
 and antique ; the face is somewhat rubbed and the patina rough ; 
 but the figure is a good and instructive work of the Alexandrian 
 school. Height, 26 cm. 
 From the His de la Salle Collection. [Plate XLVII.] 
 
 Lent by George Salting, Esq. 
 
 5 STATUETTE OF APHRODITE winding the kestos round her 
 
 waist. The weight of the figure is on the left leg ; the goddess 
 looks out to the right. Her front hair is combed back and tied 
 in a high knot on the crown of the head. The hair from the sides 
 and back is coiled up on the nape of the neck. The figure is cast 
 hollow. The top of the antique basis is preserved. The tall slim 
 proportions and the exquisite daintiness of the design show that 
 we have here another creation of the Alexandrian school. For the 
 style compare the marble torso of Aphrodite, No. 19; the motive 
 belongs to the group of toilet motives noted under No. 1 7 (marble). 
 H. 21.3 cm. [Plate XLVII.] Lent by George Salting, Esq. 
 
 6 SMALL STATUETTE OF A BOY SATYR (cf. No. 17), holding 
 
 under his left arm a young animal of uncertain shape, and carrying 
 a small club raised in his right hand. Over the forehead a knot of 
 hair. The ears are pointed, and in the back are traces of a tail. 
 Pretty conceit of the Alexandrian epoch. H. 8 cm. [Plate XLIL] 
 
 Lent by C. Newton-Robinson, Esq. 
 
 7 HALF FIGURE OF A BOY SATYR, rising from a floral calyx. 
 
 The left arm is extended ; the right is bent upwards from the 
 elbow. Hollow pupils. In the middle of the back at the waist a 
 
Case A] Smaller Bronzes [Nos. 1-28) 
 
 little tail ; the ears are pointed, and the hair is gathered into a knot 
 over the forehead. Fine deep green patina. Height, 5.5 cm. 
 On a charming modern lapis lazuli basis. [Plate XLII.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 18 VOTIVE STATUETTE OF A WOMAN, of the period about 
 
 520 B.C. Height with stand, 13.6 cm. 
 
 The figure is draped in a chiton reaching to the ankles, with a mantle 
 draped above this. The edge of the mantle is turned over and 
 adorned with a row of circles, with a dot in the centre ; the ri^ht 
 hand and arm are extended ; in her left hand the woman holds a 
 bird. The hair, which is waved and parted to either side, is adorned 
 with a stephane ; a twisted necklace hangs from the neck. 
 
 Formerly in Forman Coll. Cat., No. 71 (with plate). [Plate XLVIII.] 
 
 Lent by George Salting, Esq. 
 
 19 BRONZE MEDALLION of a Maenad with ivy-crowned hair, emerg- 
 
 ing as far as below the breast ; large hollow pupils. The medallion 
 adorned a couch, or similar piece of furniture, which the ring round 
 the medallion served to lift. Diameter, 1 1 .2 cm. [Plate XLVIII ] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 20 STATUETTE OF A WOMAN. Archaic Greek of about 470- 
 
 460 B.C. Height of figure, 12 cm. 
 
 The right hand and foot are broken off. The basis apparently belongs 
 to the statuette. The figure wears the long chiton with ungirt 
 diploidion. With her left hand she picks up her chiton in the well- 
 known scheme and holds a pomegranate. The hair radiates from 
 the crown ; below the fillet it is parted over the forehead and 
 rolled back in front of the ears ; at the back it is raised from the 
 nape of the neck in a thick roll ; a fillet keeps it close to the 
 head. The coiffure and the style of the head, so far as the small 
 size permits one to judge, are closely akin to the heads of Argive 
 type, Nos. 7 and 1 1. 
 
 Former Tyszkiewicz Collection. [Plate XLVIII.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Rickctts, Esq. 
 
 21 STATUETTE OF TYCHE, holding the horn of plenty in her left 
 
 hand. The right hand is lowered, and probably held the rudder. 
 
 G 
 
4 2 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 In the hair a diadem, behind which rises a high pointed ornament, 
 now broken. Height, 9.5 cm. [Plate XLVL] 
 
 Lent by Sir Thomas Gibson Carmickael, Bt. 
 
 22 MIRROR supported on the outstretched wings of a young nude female 
 
 figure or Lasa. She stands on tiptoe with left leg crossed over 
 the right. Her feet are sandalled, and rest against a pin, which 
 may have been for insertion into a basis or handle. Her left hand 
 is placed on her left hip, and holds an alabastron. She has 
 evidently been dipping the fingers of her right hand into the 
 contents of her alabastron, for she raises them to her nostrils 
 apparently enjoying the scent. The flanged edge of the mirror is 
 decorated with a fillet and egg moulding. On the back within a circle 
 adorned with a cable pattern is engraved a design of Eros — repre- 
 sented as an adolescent winged — holding a hammer with both 
 hands. The figure faces the spectator, with only a slight turn to 
 the right. The low bench-like carpenter's table in front of Eros, 
 as well as the hammer which he holds and the numerous tools 
 scattered about him (hammer, adze, double axe, chisel and a saw), 
 show that this is Eros' workshop. An amphora with pointed 
 bottom, hangs upon the left. The workmanship of the support- 
 ing figure is superior to the incised design of the mirror. Total 
 height, 30.1 cm.; figure to crown of head, 12.8 cm. 
 Former Forman Coll., No. 136 (Cat. C. Smith). [Plate XLIX.] 
 
 Lent by Sir Thomas Gibson Carmickael, Bt. 
 
 23 SMALL STATUETTE OF ARTEMIS raising her right hand to 
 
 her quiver, which is slung on her right shoulder by a strap ; short 
 chiton with diplois, and rolled drapery round the waist. In the 
 lowered left hand she probably held her bow. On the feet sandals 
 strapped high up the leg. The hair is done in two knots, on the 
 top and on the nape. The statuette is attached to its antique 
 basis. (For similar types see S. Reinach, " Repertoire," 313, 314). 
 Total height, 1 1.6 cm. [Plate XLVL] 
 
 Lent by C. Newton- Robinson, Esq. 
 
 24 STATUETTE OF A WOMAN, draped in a long embroidered 
 
 chiton with diploidion. Her left leg is slightly advanced ; with her 
 left hand she grasps the side of her chiton. On her head -zstephane. 
 The long hair that flows clown the back is elaborately tressed. 
 Tunic and buttoned sleeves. On the feet shoes. The right hand, 
 which was extended, is broken, and the right forearm is injured. 
 The left hand is broken from the palm. The nose and mouth 
 
Case A] 
 
 Smaller Bronzes {Nos. 1-28) 
 
 43 
 
 effaced. Good bluish-green patina. Height, 9.5 cm. [Plate 
 XLVIIL] Lent by W. Rome, Esq. 
 
 25 STATUETTE OF ATHENA: excellent antique copy of a type of 
 the fifth century. The square structure, the severe style of the 
 folds, and the general character of a work of the great period are 
 rendered with admirable fidelity. The surface is in bad preserva- 
 tion. Found at Bordeaux. Height, 8.1 cm. 
 S. Reinach, " Repertoire," ii., 274, 5. [Plate XLV.] 
 
 Lent by M. d Eichthal, Paris. 
 
 26, 27 TWO MEDALLIONS, similar to No. 17, representing winged 
 heads of Medusa, with snakes in their hair. From a couch or bed. 
 Late workmanship. [Plate XLVIII.] 
 
 Lent by J. E. Kennedy, Esq. 
 
 28 CANDELABRUM. Work of the fourth century. Total height, 5 1.4 cm. 
 
 The style and pose of the young Satyr that forms part of the stem is 
 proof of the correctness of the date proposed by Mr. Cecil Smith 
 for this admirable specimen of ancient bronze technique. The pro- 
 fusion of detail is entirely subordinated to a general simplicity of 
 effect. The foot, though constructed out of five different decorative 
 elements, has a homogeneous character. The three feet are formed 
 by circular stands, each supported on a thin square plinth and 
 supporting the hind leg of a lion that issues from the jaw of a 
 griffin ; the griffins are prolonged to form the platform upon which 
 rests the actual stem of the candelabrum ; at each of the three 
 corners sits a cat with its paws upon a dead bird. The long-eared 
 and horned satyr supporting the stem holds a bunch of grapes in 
 his raised left hand ; the right possibly held a cup. Immediately 
 on his head is a sort of torus or pad from which issues the stem 
 up which another cat is pursuing a pigeon. The stem terminates 
 in a nude female figure whose legs end in serpent coils. This 
 figure is as admirably executed as that of the satyr. On her head, 
 and with uplifted arms, she supports the socket of the candelabrum, 
 formed of a bowl set in a square plinth adorned with a pigeon 
 at each corner. For similar candelabra see British Museum "Cata- 
 logue of Bronzes," Nos. 771-781. 
 
 From the Forman Collection (Cecil Smith Cat. No. 143). [Plate 
 XLIX.] Lent by John Edward Taylor, Esq. 
 
 28* NIKE, with outspread wings, standing on a globe and holding a 
 wreath in her right hand. Height, 10.5 cm. [Plate XLVL] See 
 Addenda. Lent by J. H. Fitzhenry, Esq. 
 
CASE B 
 
 SMALLER BRONZES— continued {Nos. 29-60) 
 
 29 SMALL VOTIVE BULL. Fine modelling ; the tail, folds of the neck, 
 
 of the skin above the eyes, etc., rendered by delicately moulded 
 lines. Height to tip of horn, 5 cm. [Plate L.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 30 NUDE MALE FIGURE, holding a fruit in his left hand. The weight 
 
 is on the right leg, the left is placed forward as in walking. The 
 long flat feet are distinctly archaic. The right arm is bent forward 
 at the elbow. The face is long, with large eyes set to the side. 
 The hair is indicated by incised radiating lines on a slightly raised sur- 
 face, which fits the head like a cap. The ears are placed singularly 
 high. Characteristic Greek work of the later archaic period 
 Found near Tripolitza, towards Mantinea. Height, 10.4 cm. 
 
 Lent by E. P. Warren, Esq. 
 
 31 SMALL SEATED FIGURE OF A MAN (Height, 0.45 mm.). He 
 
 sits with the right leg somewhat extended, and the left drawn 
 back. The right hand rests on the right knee. On the left arm 
 is slung a basket. A short cloak covers the lower part of the body. 
 The motive is taken from everyday life — apparently a slave coming 
 back from market and resting on the way. Height, 4.5 cm. [Plate 
 LI.] Lent by Henry Wallis, Esq. 
 
 32 STATUETTE OF SEILENOS. He is bearded and has horse's ears, 
 
 tail, and hoofs. Around his waist the mitra. With his right hand 
 he holds his tail, and he clasps his left hand to his side. The 
 nipples are incised and surrounded by radiating lines. Admirable 
 workmanship of the archaic period, about 490 B.C. From the lid of 
 a cista ? Height 1 1.2 cm. [Plate L.] 
 
 Lent by John Edward Taylor, Esq. 
 
Case B] Smaller Bronzes (Nos. 29-60) 
 
 45 
 
 33 STATUETTE OF APOLLO, holding the bow in his left hand. 
 
 On the back in archaic characters the inscription, written boustro- 
 phedon, from left to right, and right to left, and inverted : 
 TA£Af*TAMITO£ ! APOBO 
 5V*I3W3B2V± NOIW 
 
 " Belonging to Artemis the Soother, [a gift] not offered on the altar." 
 Greek work of about 480 B.C. 
 
 The right hand, which possibly held an arrow or else a laurel twig, and 
 both feet are missing. Otherwise the figure is in admirable pre- 
 servation. Like the epigraphy, the style of the statuette points to 
 the date 484-480 B.C., that is, to the close of the archaic period, just 
 previous to the emancipation of statuary. In effect the statuette 
 combines archaic stiffness with an amount of technical freedom in 
 the rendering of details. The anatomy of the slender, delicate 
 body is finely indicated, yet, as in archaic works, the hips are too 
 small for the shoulders, and though one of the legs carries the 
 weight, leaving the other free, there is no corresponding variation 
 in the height of the shoulders. The head looks straight out with 
 no lateral flexion whatsoever. The charming wire-drawn hair, how- 
 ever, shows little or no trace of archaic treatment — it radiates from 
 the crown in straight locks that are bound by a fillet, whence they 
 escape, framing the face and partly covering the neck at the back. 
 
 The bronze appears to come from the sanctuary of Artemis at Lusoi in 
 Arkadia. "U^spcc, " the soother," as an epithet of Artemis, appears 
 in Kallimachos (" Hymn to Artemis," 236) ; while of the Artemis 
 of Lusoi Pausanias (viii. 18, 3) uses the form 'H^£p«<r/«. "ApTx^^ 
 for "A/H-f^t? is Doric. The epithet airofiupiov, i.e., not offered on the 
 altar but placed in some other part of the sanctuary, appears here 
 for the first time as applied to a votive statuette. 
 
 Published by Furtwangler in " Neue Denkmaler antiker Kunst," ii. 
 (in " Sitzungsber. der Bay. Akad. d. Wissensch." Munich, 1900), 
 pp. 566, fif. Lent by the Comtesse de Beam. 
 
 34 SATYR, bending down, about to crouch. The left hand clasps the left 
 
 knee, the right hand is held out. Archaic period. 
 From the Tyszkiewicz Collection (Cat., plate XL, 124). Height, 
 8 cm. [Plate LI.] Lent by Henry Wallis, Esq. 
 
 35 STATUETTE OF HERMES, similar in style to No. 44, but of 
 
 somewhat slenderer proportions. The right arm is bent at the 
 elbow and extended ; the fingers are broken, but the hand may 
 
46 
 
 Exhibition of Ancient Greek Art [Part I 
 
 have held a patera. The chlamys is thrown over the left arm, 
 which is extended downwards, and probably carried the kerukeion. 
 Fine smooth green patina. Height, 15.2 cm. 
 
 Lent by E. P. Warren, Esq. 
 
 36 LARGE VOTIVE STATUETTE OF A YOUTH. 
 
 The fingers of both hands and the toes of both feet are broken ; other- 
 wise the preservation of this remarkable figure is excellent. The 
 youth is completely nude ; he stands with his weight on the left 
 leg, and the right at ease and slightly in advance. The right hand 
 is raised towards the chin in an act of salutation or greeting to the 
 god (adorans). The left hand hangs down the side, and is brought 
 slightly forward with the open palm turned outwards. The har- 
 monious proportions, the simple planes, the delicately expressed 
 musculature, mark this as a masterpiece among early bronzes. For 
 the type compare the statue published by Furtwangler in Coll. 
 Somzee, plate 4. Height with base, 31.5 cm. [Plate LIU.] 
 
 Lent by E. P. Warren, Esq. 
 
 37 STATUETTE OF A DIVER. A young man, nude, with the left leg 
 
 advanced, and the right somewhat drawn back, and the body 
 slightly bent at the waist stands with both arms extended forward. 
 Curling hair lying close to the head. Large eyes with incised 
 pupils. Greek work of the later archaic period. Fine deep green 
 patina. Height, 14.5 cm. 
 
 Lent by E. P. Warren, Esq. 
 
 38 STATUETTE OF A DISCOBOLOS. Archaic work of about 460 b.c. 
 
 Height, 8 cm. From the lid of a cista. 
 
 In spite of its diminutive size and archaic character, this charming little 
 bronze already shows, in an earlier stage, the vigour and grace 
 characteristic of the school of Myron. The right foot is advanced, 
 the right hand holds the quoit ; while the athlete appears to steady 
 himself with his left arm, which is raised with the open hand 
 turned towards the head. The precision of the silhouette, the sim- 
 plicity of the planes, the flatness of the structure, all recall works 
 of about 470 to 460 b.c. The hair, which is bound round the head 
 with a fillet, is gathered into a dainty plait at the back. The hips 
 are girt with the mitra. See Addenda. 
 
 Michaelis, Richmond, No. 38. [Plate L.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
Case B] 
 
 Smaller Bronzes {Nos. 29-60) 
 
 47 
 
 39 SMALL BRONZE MASK, intended for attachment to a casket or 
 
 other object. The face is the severe type with full chin of the first 
 half of the fifth century (cf. the " Ward head " No. 2). The beautiful 
 waving hair is combed down from the crown and spreads sym- 
 metrically to either side of the face. [Plate LI.] 
 
 Lent by T. W. Greene, Esq. 
 
 40 STATUETTE OF APOLLO with quiver on his right shoulder, but 
 
 without quiver strap ; long hair falling over the neck in front ; the 
 left hand presumably held the bow ; the extended right hand per- 
 haps a laurel twig. The figure stands on the right leg with the left 
 at ease, and drawn somewhat to the side. Height, 12.7 cm. 
 Said to have been found at Megara. [Plate LI.] 
 
 Lent by Henry Pfungst, Esq. 
 
 41 COMPOSITE DIVINITY, with the attributes of H ermes, Eros, 
 
 Dionysos, Ares, and Poseidon. Roman adaptation of a Greek 
 model. Height to tip of wing, 16 cm. 
 
 The feet were broken off with the antique basis and are restored. Part of 
 the right arm from above the elbow and the right wing are missing. 
 Forehead and hair have suffered somewhat on the left side. The 
 figure stands on the right leg with the left leg at ease ; the head is 
 slightly inclined to the right ; the expression is dreamy and a smile 
 plays about the mouth. The broad wreath is tied by a fillet that 
 falls on the shoulders on either side. The leaves are not very dis- 
 tinct ; Michaelis interprets them as " ivy and laurel," the joint 
 symbol of Apollo and of Dionysos. In the hair, above the temples, 
 are the wings of Hermes. The head is covered by a large helmet, 
 the attribute of Ares ; the rich plume is supported by a griffin ; 
 the thick curls escape in profusion from helmet and wreath. A 
 long strap passes round the body from the left hip to the right 
 shoulder and holds the quiver, which remains intact. In the left 
 hand is held the dolphin, symbol of Poseidon. 
 
 This commingling of different attributes and functions in one divinity 
 is characteristic of Roman art. The basis of the whole conception 
 seems to be Hermes rather than Eros. A similar idea is embodied 
 in the statuette at Ratisbon, published by Furtwangler in " Jahr- 
 buch d. Ver. v. Alterthumsfr. im Rheinland," Heft 103, plate 1. 
 
 From the Mertens-Schaafhausen Collection. Found at Bonn in 1840 in 
 digging the foundations of a house on a site of the old Roman road. 
 Published as an Eros with the attributes of the gods he has sub- 
 
4 8 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 jugated by L. Ulrichs, " Bonner Jahrbiicher," i. (1842), plate III., 
 1 and 2, pp. 56 foil. S. Reinach, " Repertoire de la Statuaire," ii., 
 p. 440, No. 2. 
 Michaelis, Richmond, No. 25. [Plate LIV.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 42 SMALL DANCING FAUN, probably from a lamp. Height, 7 cm. 
 
 [Plate LI.] Lent by Henry Wallis, Esq. 
 
 43 STATUETTE OF HERMES, with chlamys wound round his left 
 
 arm, and winged sandals. He stands on his right leg, with the left 
 leg slightly brought forward and at ease ; the left hand held the 
 kerukeion. The right arm is bent at the elbow and extended out- 
 wards somewhat obliquely. The right hand still holds the purse. 
 The eyes were inlaid with silver. 
 
 Good antique imitation of a Polykleitan model. Beautiful deep green 
 patina. Height, 15.5 cm. 
 
 Former Hoffmann Coll. (Cat. Frohner, May 1899, 552). [Plate LV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 44 HERMES, with chlamys thrown over left shoulder ; antique adaptation 
 
 of a Polykleitan model. Height, 6 in. 
 
 The first finger of the left hand and the kerukeion are broken ; there 
 are fragments of a purse in the lowered right hand. Eyes and 
 nipples were inlaid with silver. The head is turned to the right ; 
 the curling hair lies close to the head ; the figure stands on the 
 right leg, with the left leg at ease ; the rich sandals are delicately 
 executed. The type of Hermes holding the purse was one of the 
 commonest in antiquity, especially among the Roman and Gallo- 
 Roman bronzes (see S. Reinach, "Repertoire," ii., pp. 154-165, ff.). 
 This particular statuette, however, is one of a group of five or six, 
 which though not necessarily direct copies of any Polykleitan 
 original, yet, from the character of the head and hair, structure of 
 the body, and the pose of the figure, are evidently later Greek 
 derivations or adaptations of a Polykleitan type (Furtwangler, 
 " Masterpieces of Greek Sculpture," p. 232). The finest example 
 of the group is the Hermes with gold tore in the British Museum 
 ("Catalogue of Bronzes," 825, with plate). Height, 16 cm. 
 
 Michaelis, Richmond, 22. [Plate LV.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
Case B] Smaller Bronzes {Nos. 29-60) 
 
 49 
 
 45 FRAGMENT OF A LEFT SHOULDER, with chlamys and up- 
 
 lifted arm, from a statuette similar to the preceding. The fragment 
 is in admirable condition, even the first finger, which is slightly 
 separated from the rest, being intact. [Plate LI.] 
 
 Lent by the Lord Ronald Sutherland Gower. 
 
 46 STATUETTE OF A "GENIUS" OR "BONUS EVENTUS." 
 
 The figure rests on the right leg; the left is slightly drawn back 
 and at ease ; the head looks out to the side of the supporting leg. 
 The right arm is raised from the elbow, the fingers are broken ; the 
 hand probably once held a patera (?). The left arm hangs down, 
 and is placed somewhat obliquely from the body. The hand, the 
 little and the first fingers are broken. The left foot broken 'and 
 restored. Clustering curls frame the face and fall thickly over the 
 neck. Over the forehead the locks rise up as in portraits of Alex- 
 ander and in heads of Helios. It is evidently a Roman adaptation 
 of a good Greek model of the fourth century. Hollow eyes that were 
 once inlaid with silver. Height, 16 cm. 
 Found at Mylasa. [Plate LV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 47 ATHLETE STANDING. With a strigil held in his right hand he 
 is scraping his right shoulder blade {Apoxyomenos). His left arm 
 hangs at his side. Almost certainly from the top of a candela- 
 brum; cf. the similar figure on a candelabrum or lampstand in the 
 Brit. Mus. from the Burgon Coll. (Etruscan Saloon, 669). Height 
 9 cm. [Plate L.] Lent by w Romgj £ ^ 
 
 4 3 WINGED EROS, holding a bunch of grapes in his right hand, and 
 with his left half leaning on a bundle of flowers and fruit tied in a 
 handkerchief. The tortoise may be antique, but it is more than 
 doubtful whether it originally belonged to the Eros. Alexandrian 
 motive. [Plate L.] 
 
 Lent by Sir Thomas Gibson Carmichael, Bt. 
 
 49 ARTEMIS, clad in a short double-girt chiton and wearing sandals 
 moving rapidly to right, having just discharged the arrow from her 
 bow. Her hair is tied into a knot at the back. For the type com- 
 pare S. Reinach, " Repertoire," ii., 311,1 and 4. The technique is 
 remarkable owing to the flatness of the statuette ; although the 
 back is fully worked out, the figure almost seems intended for 
 
 ir 
 
Exhibition of Ancient Greek Art [Part I 
 
 attachment. Statuettes of this kind were probably intended to be 
 seen placed close up to a background. The eyes were inlaid with 
 silver. Said to have come from Alexandretta. Height, 12.6 cm. 
 [Plate LI.] Lent by C. Newton- Robinson, Esq. 
 
 50 SICK MAN SITTING ON A CHAIR, leaning forward : inscribed 
 
 Eu0an>uJa? Il£pJ/x[xa] on the cloak that is thrown over the knees. 
 Good Greek work. Height, 1 1.5 cm. 
 The legs of the chair are broken off ; otherwise the bronze is in fine 
 preservation. The eyes were once inlaid with silver. The body 
 shows extreme emaciation, though it certainly is not that of a 
 skeleton, as has been sometimes asserted. We probably have here 
 the votive offering — perhaps to Asklepios — of some convalescent 
 or invalid. The style of the head is reminiscent of the best Alex- 
 andrian portraiture. From the character of the epigraphy, how- 
 ever (for the inscription see " Corpus Inscr. Graecarum," 6855. b.), 
 the statuette cannot be dated earlier than the first century B.C. 
 Since it was found in France it may be the work of some Greek 
 artist established in the Greek colonies of southern Gaul. See 
 Addenda. 
 
 Found near Soissons, and formerly in the collection of the Vicomte de 
 Jessaint. 
 
 Michaelis, Richmond, No. 29. S. Reinach, "Repertoire," ii., p. 691, 4. 
 [Plate LIL] Lent by Wyndham F. Cook, Esq. 
 
 51 ZEUS. Imitation of a type of the close of the fifth century. Height, 
 
 6| in. 
 
 Both feet, the right leg from the knee and the left leg from above the 
 ankle have been broken off along with the antique basis. The left 
 arm, which was extended and probably grasped a sceptre, is broken 
 just below the drapery ; the fingers of the right hand, that once held 
 the thunderbolt or some other attribute, have likewise disappeared. 
 Otherwise the statuette is in admirable preservation. The god 
 stands on the left leg with the right relaxed; the head is slightly 
 inclined to the side of the leg at rest. A folded chlamys is thrown 
 over the left shoulder. On the rich curling locks rests a crown of 
 leaves (oak ?) tied at the back with a fillet, the ends of which flow 
 over the shoulders. The massive beard discloses the well drawn 
 mouth. Height of remaining parts, 15.5 cm. [Plate LV.] 
 
 Lent by Miss Henriette Hertz. 
 
 52 STATUETTE OF ZEUS. The front of the thunderbolt carried in 
 
 the hand is broken, as well as the left arm with its drapery. 
 
Case B] 
 
 Smaller Bronzes {Nos. 29-60) 
 
 5 1 
 
 Height, 6| in. The god rests on the right leg with the left leg at 
 ease, and looks out on the side of the supporting leg. On the feet 
 rich sandals. Height, 16.5 cm. 
 
 The pupils of the eyes are hollow; a crown of oak-leaves rests on the 
 massive locks and is tied at the back with a fillet that hangs over 
 the shoulder. The type with the high leonine locks over the fore- 
 head goes back to the latter half of the fourth century. 
 
 Found at Baalbeck. [Plate LV.] 
 
 Lent by the Harrow School Museum. 
 
 53 ZEUS. Figure identical with No. 51 in every particular, even of 
 
 breakage. Height, 15.5 cm. 
 Former Forman Collection. Cat. plate IV., 85 ; described by Cecil 
 Smith as " undoubtedly Greek work of a good period." 
 [Plate LV.] Lent by George Salting, Esq. 
 
 54 STATUETTE OF NUDE ARCHER, with long hair and peaked 
 
 cap. Archaic period, about 520 b.c. Fine bluish-green patina. 
 Probably from the lid of a cista. H. to crest of helmet, 8.1 cm. 
 The figure, which has never been separated from its base, stands with 
 both feet (which have the characteristic archaic length and features) 
 firmly planted on the ground, the left foot slightly in advance of 
 the right. The right arm is raised as if to hurl the javelin. Under 
 the left arm he holds his quiver, which is slung round his shoulders 
 by a strap. For the peaked cap compare the figure of Paris from 
 the west pediment of Aegina. [Plate L.l 
 
 Lent by Henry Oppenheimer, Esq. 
 
 55 LITTLE CHILD sitting on the ground with legs apart, clothed in a 
 
 chiton or shift. The left hand is held near the side and closed ; 
 the right arm rests on the right leg, and is bent upwards at the 
 elbow. Over the forehead a fillet ; the hair is done in a plait over 
 the centre, as so often in the case of Eros. The basis is antique, 
 and belongs to the statuette. Height, with basis, 6 cm. [Plate L.] 
 See Addenda. Lent by C. Newton- Robinson, Esq. 
 
 56 STATUETTE OF A NUDE YOUTH. 
 
 The right foot is broken, and the right hand from above the wrist. The 
 features and the hair are somewhat effaced. Height, 15.8 cm. 
 
 The youth rests on his left leg, with the right at ease and placed for- 
 ward. The head is inclined to the left. The left arm is raised 
 towards the head, and the hand probably held a wreath, of which 
 the other end was supported by a pin (the pin hole is visible 
 in the front of the head). The right arm is bent inwards at the 
 
52 
 
 Exhibition of Ancient Greek Art [Part I 
 
 elbow, and the clenched hand placed somewhat above the breast 
 seems to have carried a spear. Klein's attribution of this charming 
 bronze to Alkamenes (" Praxiteles," p. 52) is disputed by Furt- 
 wangler (" Berl. Phil. Woch.," 1898, p. 306), who inclines to refer 
 it to the Argive school. 
 For the motive compare the statue of the so-called " Kyniskos " of 
 Polykleitos (No. 44). Badly reproduced from a cast by Klein 
 {loc. cit., fig. 2.) [Plate LIV.] Lent by E. P. Warren, Esq. 
 
 57 SMALL STATUETTE OF A DIOSKOUROS (?), wearing the 
 
 pilos ; drapery resting on the right shoulder, and thrown over the 
 left arm. The weight is on the right leg, the left is at ease. The 
 head looks out to the right. The right arm is extended downwards, 
 the left is bent at the elbow ; the left hand holds what seems to be 
 a whip, folded. Height, 6.8 cm. [Plate LI.] 
 
 Lent by George Salting, Esq. 
 
 58 HALF FIGURE OF EROS, winged, rising from a floral calyx which 
 
 is itself supported on a plinth resting on an elaborate foot made up 
 of a lion's leg and claw placed upon a tortoise and terminating at 
 the top, below the plinth, in a bunch of inverted akanthos leaves. 
 The hair of Eros is tied in the usual topknot; in his left hand he 
 holds a shell, into which he is pouring from an alabastron (? cf. 
 Brit. Mus. Bronzes, 1127 to 11 29, 1131) held in his raised right 
 hand. The hole on the top of the head shows that the figure served 
 as a support. A smaller but similar bronze is in the British Museum 
 (Bronzes, No. 1 161). Cf. also S. Reinach, " Repertoire," ii., p. 457. 
 [Plate L.] Lent by Henry Pfungst, Esq. 
 
 59 DOUBLE TERMINAL BUST OF A YOUNG MALE AND 
 
 FEMALE FAUN (see Case D, No. 106). Presumably found at 
 Torre del Greco. Height, 16 cm. [The female bust on Plate 
 LXVII.] Lent by W. Rome, Esq. 
 
 60 STATUETTE OF ARTEMIS, wearing double-girt chiton and 
 
 short cloak. The right arm from above the elbow, the left arm 
 from the elbow, the right leg from below the knee, and the left leg 
 are missing. Charming head ; the eyes have hollow pupils that 
 show traces of gilding. Reproduced by S. Reinach, " Repertoire," 
 ii., p. 312, 7. Height of remaining portions, 13.3 cm. [Plate LI.] 
 
 Lent by Monsieur Gustave Schlumberger. 
 
CASE C 
 
 SMALLER BRONZES— continued {Nos. 61-87) 
 
 61 TWO NUDE FIGURES carrying the body of a third ; from the lid 
 
 of a cista. First half of fifth century (see below, No. 86). Height 
 of standing figures, 13 cm. [Plate LVL] See Addenda. 
 
 Lent by John Edward Taylor, Esq. 
 
 62 PLAQUE cut out a jour supporting a mirror disk. Below the shaft for 
 
 insertion into the handle. The design consists of a winged Eros 
 reclining, supporting himself on his left hand. His right arm is 
 extended along his right knee. The head is inclined ; the beautiful 
 outstretched wings are partly supported on tree stems with lopped 
 branches, and Eros himself appears to recline on a tree trunk 
 lying on the ground. The design is cut out a jour, but the back 
 is left plain. Very fine pale blue patina. Total height, 14.3 cm. 
 [Plate LVII.] Lent by Henry Wallis, Esq. 
 
 63 WILD BOAR preparing to charge. The head, with its fierce tusks 
 
 and rumpled snout, is a masterpiece. The design of the whole is 
 lifelike and vigorous, the modelling subtle. The end of the tail 
 and the bristles of the back are rendered by means of delicately 
 incised lines. First half of the fifth century. Fine green patina. 
 [Plate LVII I.] Lent by E. P. Warren, Esq. 
 
 64 STATUETTE OF A PYGMY. Probably grouped originally with a 
 
 crane which is now lost. Vigorous, lifelike design and good 
 workmanship of the Alexandrian period (cf. Amelung, " Dell' Arte 
 Alessandrina," in " Bulletino Comunale" for 1897, p. 142). Two 
 holes in the top of the head. Height, 4.8 cm. [Plate LIX.] 
 
 Lent by C. Newton-Robinson, Esq. 
 
 65 LION preparing to spring. Both this and No. 63 came from the 
 
 same vase. The head is an admirable piece of realism 
 subordinated to a general decorative effect. The mane is repre- 
 sented by somewhat formally arranged tufts, according to the 
 Greek convention. A delicately executed tress represents the hair 
 of the back. The tail was raised ; the loop is broken, but the end 
 that lay on the back is preserved. (With this lion and the boar, 
 
54 
 
 Exhibition of Ancient Greek Art [Part I 
 
 No. 46, compare the lion and the boar on the oinochoe, Case 
 I, No. 62.) Length, 1 1.3 cm. [Plate LVIII.] 
 
 Lent by E. P. Warren, Esq. 
 
 66 MIRROR with incised design. Etruscan work of the fifth century. 
 A Satyr with tail and pointed ears pursuing a Maenad. She wears a 
 long chiton adorned with a band of dots along the upper and lower 
 edges, and also along the edges of the sleeves, which reach to the 
 elbow. Around the waist a drapery is tied, and the nebris crosses 
 the breast and is knotted on the right shoulder. Her right arm 
 has been seized by the satyr, whose advances she is trying to 
 repel ; in her left hand she carries the long pine-crowned thyrsos. 
 Her flowing hair is bound with a diadem cut out in zigzags, and 
 further adorned with a row of beads down the centre. The two 
 figures are moving to the right ; they stand on an exergue adorned 
 with a wickerwork pattern. The design is bordered with a con- 
 ventional ivy wreath, closing at the top with two bunches of ivy 
 berries. At the bottom a palmette. The flanged edge of the mirror 
 has an egg and a bead moulding. At the base of the reflecting 
 surface, just above the shaft that was inserted into the handle, a 
 pattern composed of a palmette supported on elaborate spirals. 
 Wonderful pale blue patina. The movement, the design, the 
 skilful foreshortening of the Maenad's right foot, are worthy of a 
 Greek hand. Diameter, 16 cm. [Plate LX.] 
 
 Lent by George Salting, Esq. 
 
 67,68 TWO STATUETTES OF LARES, composed as pendants. Each 
 held a patera in the hand on the side of the companion figure, and 
 a rhyton, terminating in a horse's head in the other hand, which was 
 raised aloft in the well-known scheme. No. 67 has lost its right 
 hand with the rhyton ; No. 68 its right hand with the patera. Fine 
 spirited composition, assuredly borrowed originally from a Greek 
 model. Short chitons with rolled drapery at waist ; high laced 
 boots. The charming square bases are adorned with an egg and bead 
 moulding. Each carries the inscription, roughly incised : 
 
 BELLOL-MAC 
 
 ll-PMIA D-D (sic) 
 
 For the type see Reinach, " Repertoire," ii., pp. 493 ff. Total height 
 to crown of head, 19. 1 cm. [Plate LXL] Lent byJ.H.Fitshenry,Esq. 
 
 69 THREE FEET FROM A CISTA, each adorned with a personage 
 from the adventure of Perseus and the Gorgon. The three feet 
 
Case C] 
 
 Smaller Bronzes [Nos. 61-87) 
 
 55 
 
 which belong to a cistaof the type of " British Museum Bronzes," 
 No. 554, have now been mounted in a row. The figure on the left 
 is Perseus, with winged cap and winged boots, short chiton girt at 
 the waist, and short cloak flying behind him. He is running with 
 his right leg forward and left leg bent. His left hand and arm are 
 extended towards the Medusa, as if to grasp her hair, but his face 
 is averted, and is turned towards the spectator. In his right hand 
 he holds the harpe. In the centre is placed Medusa, who is seated, 
 in three quarters, draped in a long chiton, with cloak passing under 
 her right arm and fastened on her left shoulder. With her left hand 
 she holds against her side a fish by the tail. Her right hand clasps 
 her knee. Her hair is parted, and flows straight down to either side; 
 her eyes appear closed. She wears pointed shoes ; her feet rest on 
 a sort of ledge. To the left is placed Apollo, also seated, with a 
 cloak wrapped round his lower limbs. He supports himself on his 
 left hand ; his right arm is bent upwards at the elbow, with the 
 palm of the hand turned outward. He wears long hair, flowing in 
 ringlets, on the shoulders. Each figure is inscribed with its name : 
 
 25(]5l<i> l/DOVD VJVflA 
 
 Pherse. Gurgn. Apulu. 
 
 The actual feet are in the shape of claws, resting on plinths spreading 
 at the sides into volutes which form the bases supporting the 
 figures. Etruscan work (see Preface, p. x and p. 6). [Plate LVII.] 
 
 Lent by W. Talbot Ready, Esq. 
 
 70 HEAD OF AN IBEX. Fine Greek archaic work of the second half 
 
 of the sixth century. Probably from the rim of a cauldron or lebes. 
 Height, 21 cm. 
 
 This fine fragment should be compared with the Mounted Horseman, 
 No. 51. The eye of the stag is treated very similarly to that of the 
 horse, and the moulding of the nose and general style of the head 
 are the same. Down the neck the hair is indicated by two incised 
 bands filled with curved lines. From these bands lines at broader 
 intervals start in the direction of the shoulders. Fine light green 
 patina. [Plate LVIII.] 
 
 Lent by C. Newton-Robinson, Esq. 
 
 71 HEAD OF A CENTAUR. 
 
 The wild strands of hair that fall to each side by their own weight, the 
 tangled beard with its shaggy moustache, point to the schools of 
 
56 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 Pergamon. The ears are pointed. The four legs from the knees, 
 which were found along with the head, are exhibited by its side. 
 Workmanship and patina are admirable. Height, about 8.9 cm. 
 
 Lent by E. P. Warren, Esq. 
 
 72 STATUETTE OF A WOMAN, with both arms extended, the 
 
 left raised somewhat higher than the right. The left leg is ad- 
 vanced ; the weight is on the right. Both hands are broken. On 
 the head a fragment is visible, which shows that the figure once 
 served as a mirror support. The edges of the draperies are adorned 
 with delicate patterns ; hollow profile. The type is similar to 
 No. 20 of Case A. Height, 13.2 cm. [Plate LVL] 
 
 Lent by J. H. Fitzkenry, Esq. 
 
 73 LARGE STATUETTE OF SEILENOS, carrying a torch in his 
 
 lowered right hand, and raising high his left arm to hold the wine- 
 skin that rests on his left shoulder. The beard is short and wavy ; 
 in the hair a vine wreath. Admirable design and structure, but 
 the surface is in bad condition, and the feet absurdly restored. 
 (Forman Collection, Sale Cat., No. 83, where Mr. Cecil Smith 
 brings the bronze into relation with a marble statuette in Karlsruhe, 
 published in " Arch. Anzeiger," 1890, p. 3, 2.) H. to tip of askos, 
 27 cm. [Plate LXIL] Lent by Sir Thomas Gibson Carmichael,Bt. 
 
 74 STATUETTE OF A YOUNG MAN, clothed in close-fitting hose 
 
 to ankles and long-sleeved jerkin. In front, below the neck, a 
 piece of drapery folded in a point. The lower edge of the jerkin 
 is cut out in deep points. On the feet shoes with thick soles. The 
 tips of the fingers of the right hand and the first finger of the left 
 hand are broken. The right arm is extended outwards as with a 
 gesture of allocution. The left arm is extended downwards and 
 somewhat away from the body. 
 The pose, and the type of head with the locks rising high over the 
 forehead, seem derived from portraits of Alexander. The statuette 
 has been called an actor, but on no reasonable grounds. Its inter- 
 pretation remains a problem, though the costume shows that we 
 have here a barbarian or non-Greek personage. Height, 15 cm. 
 [Plate LVL] Lent by J. Pierpont Morgan, Esq. 
 
 75 LID OF A MIRROR CASE, with a design in relief of two 
 
 horsemen fighting. The subject is evidently inspired by the 
 groups of the frieze of the Mausoleion. Greek original work of the 
 
Case C] 
 
 Smaller Bronzes (Nos. 61-87) 
 
 57 
 
 fourth century B.C. For mirror cases of this type see " Miroirs 
 Grecs a Reliefs," by A. de Ridder, in " Monuments et Memoires," 
 iv., pp. 77 ff. Diameter, 15 cm. [Plate LXL] 
 
 Lent by W. Rome, Esq. 
 
 76 SEILENOS RECLINING. He leans on his left elbow, and rests his 
 
 right hand on the knee of his right leg, which is drawn up. He has 
 horses' ears and hoofs. Good bluish patina. Archaic. L. 6.5 cm. 
 [Plate LIX.] Lent by J. Pierpont Morgan, Esq. 
 
 77 HORSE PRANCING, his front legs extended, his hind legs gathered 
 
 under him. Good design and modelling ; the head is admirably 
 lifelike. Fourth century B.C. Length, 8.5 cm. [Plate LIX.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 78 LID OF A MIRROR CASE with design in relief: Aphrodite riding 
 
 on a swan. For the same subject on a mirror case see de Ridder, 
 op. cit., fig. 2. Diameter, 12.8 cm. [Plate LXL] 
 
 Lent by W. Rome, Esq. 
 
 79 STATUETTE OF A COMIC ACTOR wearing a mask and playing 
 
 the cymbals. Alexandrian work of about the second century B.C. 
 H., 8.3 cm. [Plate LIX.] Lent by Henry Oppenheimer, Esq. 
 
 80 STATUETTE OF A BARBARIAN, with short drapery from the 
 
 hips. His arms are bent backwards as if he were swinging from a 
 pole, or else practising carrying a pole above his head. The right 
 leg is raised in the attitude of climbing. Long flowing hair. Height, 
 9.5 cm. [Plate LIX.] 
 
 Lent by Sir Thomas Gibson Carmichael, Bt. 
 
 81 MEDALLION BUST OF ARTEMIS. The type is that of the 
 
 Artemis of Versailles. The quiver shows over the right shoulder. 
 Hollow eyes. The head has been broken off a medallion similar to 
 No. 19 in Case A. Height, 8.7 cm. [Plate LIX.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 82 HANDLE OF A VASE, in the shape of a Maenad, who bends for- 
 
 ward with arms extended, standing with her feet close together on 
 a kalathos of grapes, as if treading them. A nebris is knotted 
 over her right shoulder. The hair is combed down in wave lines 
 from the central parting ; and in the front and round the head it 
 spreads in a sort of flat bandeau. Height, 1 1.5 cm. 
 Former Forman Collection (Cat. C. Smith, No. 132). [Plate LIX.] 
 
 Lent by Sir Thomas Gibson Carmichael, Bt. 
 1 
 
5» 
 
 Exhibition of Ancient Greek Art 
 
 [Part I 
 
 82 # STATUETTE OF HERAKLES, with the lion-skin on his left arm. 
 
 Height, 13.8 cm. [Plate LVI.] Lent by Mrs. Hall. 
 
 83 STATUETTE OF A BOY, with a drapery thrown across his body, 
 
 and holding with both hands a lotus flower on its long stem. 
 Probably used for holding a light. The basis is antique, but it is 
 doubtful whether it belongs to the statuette. The hands are large 
 and clumsy, the face ill drawn, yet the effect of the whole is charm- 
 ingly decorative. Roman imitation of some Hellenistic design. 
 Found near the Rhine. Published by S. Reinach, " Repertoire," 
 ii., p. 435, 7. Total height, 21 cm. [Plate LXL] 
 
 Lent by M. Leopold Goldschmidt. 
 
 84 HEAD OF A PANTHER, from a fountain. Good realistic modelling 
 
 of nose and jaw. The sharp teeth remain unbroken. 
 
 Lent by the Comtesse de Biarn. 
 
 85 STATUETTE OF HERAKLES, beardless, striding to right, in 
 
 attitude of combat, with his right arm raised and the lion-skin 
 twisted round his lowered left arm. Reproduced by S. Reinach, 
 "Repertoire," ii., p. 206, 6. Height, 9cm. [Plate LIX.] 
 
 Lent by Monsieur Gustave Schlumberger. 
 
 85 TWO YOUNG MEN in short chitons, carrying a nude figure, probably 
 a dead or wounded man ; from the lid of a cista. First half of fifth 
 century. Height of standing figures, 12 cm. 
 For a similar group see No. 61 in this Case, and the group of two 
 armed figures carrying the body of a nude figure in the British 
 Museum (Bronze Room, No. 10). See Addenda. 
 Michaelis, Richmond, No. 33. [Plate LVI.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 85* STATUETTE OF HERAKLES, bearded; on each shoulder hang 
 the ends of his taenia. Right arm and hand extended downwards 
 somewhat away from the body ; left arm bent at elbow, the hand 
 holding an apple. Reproduced by S. Reinach, "Repertoire," ii., 
 p. 224, 1. Height, 11. 1 cm. [Plate LVI.] 
 
 Lent by Monsieur Gustave Schlumberger. 
 
 87 DION YS OS, seated, holding a rhyton in his extended right hand. H., 
 10cm. From Coll. Bammeville; S. Reinach, "Repertoire, "ii., p. 128. 
 This bronze is chiefly remarkable for its charming light green patina. 
 [Plate LIX.] Lent by George Salting, Esq 
 
CASE D 
 
 SMALLER BRONZES {continued) AND MISCELLANEOUS 
 
 OBJECTS {Nos. 88-121) 
 
 N.B. — In the centre of the top shelf of this Case is exhibited the Agate vase lent 
 by Mr. Wyndham F. Cook, and described on p. 162 by Mr. C. Newton- 
 Robinson {No. 88*). [Plates CVL, CVIL] 
 
 88 SMALL AMPHORA IN SILVER with ornamental handles. Charm- 
 
 ing Hellenistic work. On the neck a band in relief, edged top and 
 bottom with a row of flattened beads. The design consists of groups 
 of three aquatic plants alternating with storks facing one another 
 heraldically beneath the handles, and carrying wriggling snakes in 
 their beaks. The rest of the vase is plain. The handles are adorned 
 at their base with heads of children framed in a leafy ornament. 
 On the sides of the handles are storks in relief. The edges are 
 bordered with a string of flattened beads. 
 
 Exhibited at B. F. A. C. in 1901 (Exhib. Cat. Case M, No. 8). 
 
 Found in the sulphur baths of Vicarello. [Plate LXIX.] 
 
 Lent by the Victoria and Albert Museum. 
 
 89 SMALL FEMALE HEAD IN MARBLE. Style of the Pheidian 
 
 period. 
 
 In spite of its diminutive size, this beautiful little head represents a 
 magnificent conception, and is of corresponding technical excel- 
 lence. The arrangement of the hair, the design of its strands, the 
 large eyes as yet not recessed, the shape of the face and the terse 
 handling of the marble all show that it to be of the period of the 
 Parthenon. It belongs to a notable series of small heads which all 
 once belonged to statuettes, and, so far, are all of approximately 
 the same period. Another example is exhibited under No. 91 ; a 
 similar head was lately in the collection of the sculptor Kopf in 
 Rome ; a number of others are enumerated by Furtwangler (" Col- 
 lection Somzee," p. 68). The back of the head is cut off obliquely, 
 and the nose is injured : otherwise the preservation is excellent. 
 
 Brought by Cockerell from Greece. Height about 6 cm. [Plate LXIII.] 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
6o 
 
 Exhibition of Ancient Greek Art [Part I 
 
 go LARGE CAMEO in five strata, representing Claudius and Agrip- 
 pina(?), facing to left. Height, 14.7 cm.; Breadth, 12.2 cm. Inawell 
 modelled bronze frame of oak leaves of the seventeenth century. 
 
 That the Emperor is Claudius appears from a comparison, not only with 
 his coins, but with the accredited portrait on the celebrated cameo 
 in Vienna, where the heads of Claudius and of three other mem- 
 bers of his family are seen supported on horns of plenty (Bernoulli, 
 " Romische Ikonographie," ii., 1, plate 31 ; compare also the head 
 of Claudius on the large chalcedony in Vienna, ib., xxviii. 2). 
 On the other hand the identification of the female head with hel- 
 met is not so easy. It may, however, be the younger Agrippina 
 (to whose portrait on coins it bears considerable resemblance) 
 in the character of Roma. A similar female figure, helmeted, also 
 difficult of identification, appears on the cameo of the cornucopiae, 
 facing the Empress at the side of Claudius. 
 
 The portrait of Claudius shows the characteristic neck, chin, and 
 drooping mouth, surrounded by deep furrows (compare his coins 
 and the well-known portrait in the Rotunda of the Vatican). The 
 toga is drawn up over the back of the head, as so often in portraits 
 of Augustus (on this veiling of the head see Bernoulli, loc. cit., 
 pp. 70 f.). 
 
 For Claudian gems see also Furtwangler, " Antike Gemmen," iii., 
 pp. 320 ff. 
 
 Former Bessborough Collection. [Plate LXIV.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 91 SMALL FEMALE HEAD IN MARBLE, wearing a cap. In style 
 and technique similar to No. 89. Fine Parian marble, with the 
 antique surface preserved. Height, 5 cm. [Plate LXIII.] 
 
 Lent by Norman Forbes- Robertson, Esq. 
 
 92, 93 TWO BRONZE HANDLES FROM AN AMPHORA, in the 
 form of nude youths bent backwards. In each hand they hold a 
 tress of their long hair. Above their heads, on each side, forming 
 the immediate support of the vase, a panther, whose tail curls round 
 to the front. The backs of the youths are prolonged to meet the 
 vase ; on their heads a species of torus. Good archaic art of about 
 500 b.c, showing affinities to the Ionic style. [Plate LXV.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 94 BRONZE GIRDLE CLASP. The broader part is adorned with 
 Greek palmettes ending in concentric circles. At the base three 
 
Case D] Smaller Bronzes §P other Objects [Nos. 8 8-1 1 8) 6 1 
 
 concentric circles. The back of the actual hook or clasp is deco- 
 rated with a long snake-like ornament and dots. The whole design 
 is incised with the utmost delicacy. Deep green metallic patina. 
 [Plate LXV.] Lent by Henry Wallis, Esq. 
 
 95 BRONZE JUG adorned with designs in low relief and with details 
 
 inlaid in silver. On the neck, immediately below a delicate floral 
 pattern, an eagle (facing) on a pedestal holding a snake in its beak, 
 flanked to right and left by a stork also holding a snake. In the 
 field between the eagle and the storks a flower. The three snakes, 
 as well as the calyxes of the flowers, are inlaid in silver. At the 
 base of the neck conventional foliage. On the shoulder a frieze of 
 animals composed of two pairs of lions marchant facing one another 
 with a boukranion between them. On the body of the vase a 
 hieratic design of a child ending from the waist downwards in an 
 akanthos leaf, wearing the nimbus which is rendered by silver, and 
 holding in each hand a fruit also expressed in silver. He is 
 flanked on the right by a bearded, on the left by a beardless, 
 sphinx. Each sphinx wears a silver crown. The sphinxes are 
 repeated at the back on each side of the handle, which is broken 
 off. Beneath this main design at the foot is a very delicate pattern 
 composed of flowers and birds, with vases mounted on fantastic 
 flower stems. The calyxes of the flowers, the outline of the birds 
 and other details, are in silver. This unique vase is, from the 
 nature of the subjects represented, of evident Egyptian origin. It 
 may be attributed to the Greek school of Alexandria. H., 19.7 cm. 
 [Plate LXVI.] Lent by J. H. Fitzkenry, Esq. 
 
 96 BRONZE MIRROR CASE with its lid. 
 
 The interior of the case with the polished surface which was used as 
 the actual mirror is intact. On the flanged edge an egg moulding. 
 The lid is adorned with a lion marchant. Diameter, 9 cm. [Plate 
 LXV Lent by J. H. Fitzkenry, Esq. 
 
 97 BRONZE KANTHAROS, with long handles of the Galaxidi type 
 
 (cf. the two cups in the British Museum above Case A in the 
 Bronze Room). [Plate LXVIII.] 
 
 Lent by W. Rome, Esq. 
 
 98 BRONZE HANDLE OF A PATERA, ending in a dog's head, finely 
 
 modelled. The beautiful high-bred shape of the head, the sensitive 
 ears that lie back, the well-drawn eyes with their hollow pupils, the 
 delicate lifelike nostrils, the line from nose to neck, and the panting 
 
62 Exhibition of Ancient Greek Art [Part I 
 
 mouth with its sharp teeth (the tongue has been lost), make of this 
 little object a masterpiece. The shaft of the handle is fluted and 
 terminates in a piece shaped like a half calyx, adorned with volutes 
 in relief. Upon this rested the patera (cf. the patera in the British 
 Museum, No. 882, with a handle that ends in a ram's head). 
 Where the shaft joins on to the dog's head are three moulded 
 rings — the central one adorned with a row of silver dots. L., 1 7 cm. 
 Formerly in the Mannheim Collection. [Plate LXV.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 99 HEAD OF SARAPIS, cut in the round in blue chalcedony. 
 
 Modius and drapery modern. These heads are, on the whole, 
 rare. Another example is at Florence (Furtwangler, " Antike 
 Gemmen," iii., p. 334). They date probably from the Alexandrian 
 period. Height, 8 cm. 
 Former Bessborough Collection. [Plate LXIV.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 100 DIMINUTIVE STATUETTE IN BRONZE of a woman of 
 
 mature years, seated on a low stool, and apparently cutting the 
 nails of her left foot. She wears a high cap, tied in a knot. 
 Admirable workmanship, full of detail in spite of the small scale. 
 [Plate LXXII.] Lent by Cecil H. Smith, Esq. 
 
 100* HEAD OF APHRODITE, from a silver statuette (see p. 7). 
 
 [Plate LXIX.] Lent by J. Pierpont Morgan, Esq. 
 
 101 CAMEO IN TWO STRATA (blue and brown chalcedony), with 
 
 apotheosis of an Emperor and Empress. Busts turned to right, 
 supported on an eagle with outstretched wings carrying the 
 thunderbolt, after the usual scheme. The Empress wears a high 
 coiffure (are the heads restored ?). Height, 10 cm. See Addenda. 
 From the Bessborough Collection. [Plate LXIV.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 102 BRONZE MASK OF A GODDESS. Good antique replica or 
 
 imitation of a Greek type of the fifth century B.C. 
 
 The pupils of the eyes are hollow. The face is decoratively framed by 
 spreading hair with curling ends. Above the hair an ornament 
 composed of several narrow bands in relief. A similar mask, within 
 a disk, representing Apollo, from Paramythia, is in the British 
 Museum (Bronzes, 273). These masks probably served to adorn 
 mirror cases or similar objects. Height, 10 cm. 
 
 Found at Ragusa Vecchia in Dalmatia. [Plate LXX.] 
 
 Lent by Edgar Speyer, Esq. 
 
Case D] Smaller Bronzes other Objects (Nos. 88-1 1 8) 63 
 
 103 HANDLE OF A LARGE BRONZE VASE. The handle itself is 
 
 formed of two conventional akanthos leaves, issuing from a broad 
 ring in the centre. At the point of attachment to the vases on the 
 right, a bust of Asklepios, bearded, looking to his right, with drapery 
 over the left shoulder. On his right side his hand is visible, holding 
 his snake. On the left, a bust of Hygieia, designed as pendant to 
 the Asklepios, and therefore looking to her left. The rich waving 
 hair is combed back simply from the front. The folds of her drapery 
 cross over the breast. On her left, her hand is visible holding her 
 snake. Bold design ; workmanship of a good period. L., 13.5 cm. 
 [Plate LXVIII.] Lent by Henry Waltis, Esq. 
 
 104 SILVER KANTHAROS with fluted bowl. The vase, which was ex- 
 
 hibited at the B. F. A. C. in 1901 is described as follows by Mr. 
 Starkie Gardner and Mr. Alfred Higgins(" Exhibition of a Collection 
 of Silversmith's Work," p. 142, No. 6): " The lower part of the vase 
 fluted, the upper plain, with a delicate border of strapwork rosettes 
 applied and fastened by rivets and collars, pique in gold. The 
 margin has a fine guilloche edging, partly gilt. The handles are ear- 
 shaped, finely fluted, with honeysuckles and acanthus leaves above, 
 and attached to the rim by two finely modelled greyhounds' heads 
 issuing from leaves, a satyr's head and acanthus leaf fixing them 
 to the body. The foot is decorated with an applied ornament 
 formed of a crossing festooned strap and small gold collars." 
 Height, 1 1.4 cm. ; Diameter, 9.2 cm. First century b.c. [Plate LXIX.] 
 
 Lent by John Edward Taylor, Esq. 
 
 105 BRONZE PORTRAIT BUST OF A YOUNG MAN, bearded. 
 
 The eyes hollow. On the left shoulder is seen the end of a cloak 
 fastened by a brooch. Greek work of the period of the Antonines. 
 Height, 14.5 cm. [Plate LXX.] Lent by George Salting, Esq. 
 
 io5 BRONZE DOUBLE TERMINAL BUST of a young male and 
 female faun. Height, 17.5 cm. 
 Beautiful blue-green patina ; the bust is cast hollow and probably sur- 
 mounted a bronze shaft from the decoration of a fountain. A 
 similar double bust, though less well preserved, is exhibited in 
 Case B, No. 59. A third is in the Antiquarium of Berlin. A 
 fourth appears in the Hoffmann Collection (Froehner Cat., 1886, 
 No. 480, plate XXXVII.). They presumably all come from the 
 same find at Torre del Greco. 
 From the Castellani Collection. [The male bust on Plate LXVII.] 
 
 Lent by George Salting, Esq. 
 
64 
 
 Exhibition of Ancient Greek Art [Part I 
 
 107 FLUTED HANDLE OF A BRONZE VASE ending in a spread- 
 
 ing floral pattern at the top, and at the bottom in a spreading 
 palmette that was fixed to the shoulder of the vase. Immediately 
 below a female sphinx with conventional outstretched wings, her 
 bird's claws resting on a mask of Medusa. On each side, connecting 
 the wings with the neck, a pattern of four spirals, ending in a fan- 
 shaped ornament. Superb original Greek work. Length, 17.8 cm. 
 [Plate LXVIII.] Lent by Cecil H. Smith, Esq. 
 
 108 BRONZE JUG, decorated with incised designs. A tongue pattern, 
 
 surmounted by a band of cable pattern, reaches to the height of the 
 handle. At the base of the neck another band of cable pattern. On 
 the lip an egg and dart moulding, surmounted by a bead pattern. 
 The handle is fluted and ends in a claw placed on a floral ornament. 
 Height, 14 cm. [Plate LXXI.] Lent by George Salting, Esq. 
 
 109 BRONZE OINOCHOE, with ornamental handle endingat the bottom 
 
 in a palmette, at the top in a lion's head and shoulders with arms 
 which spread out to the sides and terminate in heads of apes. 
 Archaic Greek. Height, 25.3 cm. [Plate LXXI.] 
 
 Lent by Alfred de Pass, Esq. 
 
 no {in the centre) FRAGMENT OF AN IRON COFFER in the 
 shape of a vase. Cased in a bronze mount with swing handle. 
 The iron vase itself had the shape of a flattened gourd ; it was strength- 
 ened by a bronze mount consisting of a foot, two lateral strips, 
 a neck and opening with double lid and lock. Each lateral strip 
 is adorned with plaques edged with a scroll pattern, and ter- 
 minating above in a large ring. On to these rings is hooked the 
 movable handle which is decorated on each side with a charming 
 half figure of a child ending in an acanthus leaf, with the head rest- 
 ing against a similar leaf. Each child holds a bunch of grapes in 
 the right hand, and a fruit in the left. Each plaque decorating the 
 lateral strips carries on a little plinth a figure directly imitated — 
 though with sides reversed — from the statue of a youth pouring oil 
 into the hollow of his hand to anoint himself — which has survived 
 in a fine copy at Petworth (" Masterpieces," fig. 107). Longperier, 
 who explains the vase to be a " monetary recipient," suggests that 
 the figures are those of " Mercury counting pieces of money." 
 Whether a fifth-century type was adapted to a new meaning, or 
 whether — as seems more probable — it was merely borrowed in its 
 
Case D] Smaller Bronzes & other Objects [Nos. 88-1 18) 65 
 
 decorative capacity, without any ulterior motive, must remain un- 
 certain. Total height to top of lid, 26 cm. 
 The bronze has a smooth, light green patina. 
 
 Found in the Rhone near Lyons; published by H. de Longperier, 
 " Revue Archeologique," Nouv. Ser. XVIII. (1868), plate XVIII., 
 pp. 122-123. Former Mannheim Collection. [Plate LXXIL] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 in HANDLE OF A BRONZE VASE, with a portion of the rim. 
 
 At the top where it joins the rim the shaft spreads to each side 
 in the shape of a lion couchant. At the bottom it terminates in a 
 female head of Egyptianizing style, with two formal curls to either 
 side. This head is flanked by a ram couchant on the left ; the ram 
 on the right is lost. Below the head two spirals, symmetrically con- 
 fronted. Fine archaic design with Chalkidian affinities. Length, 
 16.5 cm. [Plate LXVIII.] Lent by Cecil H. Smith, Esq. 
 
 112 BRONZE KANTHAROS, with long handles of the Galaxidi type 
 
 (see No. 97). [Plate LXVIII.] 
 
 Lent by W. Rome, Esq. 
 
 113 BRONZE MASK OF A SEA DEITY. Greek work of the 
 
 Alexandrian period. Height, 9.5 cm. 
 The mask has been attached to some object. The preservation is ex- 
 cellent, only the inlaid pupils of the eye being a modern addition. 
 The face is framed in rich waving locks with wings in the hair 
 above the forehead. The ears project in the shape of folded leaves. 
 The cheeks are covered with seaweed indicated by notched lines. 
 Under the chin a seashell, and under that again two dolphins con- 
 fronted. For similar masks see British Museum Cat. "Bronzes" 
 No. 974. 
 
 From the Montagu Taylor Collection (see the Catalogue of Ma V 1807 
 under No. 288). [Plate LXX.] 
 
 Lent by George Salting, Esq. 
 
 114 PORTRAIT HEAD OF A BEARDLESS MAN, cut in the round 
 
 in blue chalcedony. The hair is combed to the front. Compare 
 the chalcedony portrait from the Tyszkiewicz Collection, now in 
 Boston, Furtwangler, "Antike Gemmen," iii., p. 335. (Cf. No. 99.) 
 These chalcedony portraits are comparatively rare. From the shape 
 
 K 
 
66 
 
 Exhibition of Ancient Greek Art [Part I 
 
 of the bust the present example would seem to have originally 
 formed part of an imago clipeata. Augustan epoch. H., 12.9 cm. 
 Former Bessborough Collection. [Plate LXIV.] 
 
 Lent by Claude Ponsonby, Esq. 
 
 115 SILVER MEDALLION HEAD OF A BACCHANTE in high 
 
 relief, hair and drapery parcel gilt. The hair falls in twisted tresses 
 on each side of the face. In the hair a rich grape and vine-leaf 
 wreath. From the bottom of a bowl. A similar medallion ex- 
 hibited at the B. F. A. C. in 1901. Cat. No. 13 of Case M. 
 (Exhib. Catalogue). Found at Tarentum. These medallions were 
 often imitated in black pottery. (Cf. No. 116.) [Plate LXIX.] 
 
 Lent by Sir John Evans, K.C.B '. 
 
 116 BLACK TERRA-COTTA BOWL, with a medallion head of a 
 
 Bacchante in relief at the bottom, within a border with incised 
 pattern. Imitation of silver work. (Cf. above, No. 115.) 
 
 Lent by the Harrow School Museum. 
 
 117 BRONZE VASE, with ornamental handle, ending at bottom in a sea 
 
 Medusa, at the top in a sea-horse. Fine Hellenistic design. In 
 the vase itself only the body seems to be antique ; both neck and 
 foot are modern restorations. H. of handle, 13.5 cm. [Plate LXXI.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 118 HANDLE OF A PATERA in the shape of a nude youth standing 
 
 on tiptoe on a palmette ornament. Where the shaft joined the 
 patera a stylized lion's head spreading out in wings to each side. 
 Pseudo-archaic imitation. For similar handles and supports see 
 S. Reinach, "Repertoire," ii., pp. 88 ff. ; " Suppl. Rep.," p. 25. 
 [Plate LXVII.] Lent by Wyndham F. Cook, Esq. 
 
 119 HEAD OF PARIS wearing the Phrygian cap. Silver, from the 
 
 bottom of a bowl. (Cf. Nos. 115, 116.) Height, 5.2 cm. [Plate 
 LXIX.] Lent by J. H. Fitzhenry, Esq. 
 
 120 BRONZE MASK OF SEILENOS. Appliqui ornament from a 
 
 couch or other furniture. Fine technique and patina. Height, 1 1.5 
 cm. [Plate LXX.] Lent by J. H. Fitzhenry, Esq. 
 
 121 HEAD from a Buddhist Tope in the Swat Valley. Found by General 
 
 Sir Bindon Blood in 1897. (On the Greek influence in the sculptures 
 of this region see A. Foucher in " Monuments et Memoires," 
 vol. vii., 1900, p. 53 ff.) Total height, 11 cm.; height of face, 5.4 
 cm. [Plate LXX.] Lent by H.R.H. the Duchess of Connaught. 
 
PART II 
 TERRA-COTTAS 
 
TERRA-COTTAS 
 
 INTRODUCTORY 
 
 S in the case of the vases, so in that of the terra-cottas, the 
 archaic period is practically unrepresented. The fine se- 
 pulchral masks in Case F (Nos. 51 and 54), belonging to 
 Mr. Alfred Higgins and Mr. Edgar Speyer respectively, 
 come near to the fine period, if they are not already within 
 it (see Catalogue). True, the naive statuette of a seated 
 goddess from Samos, lent by the Museum of Canterbury, serves to remind 
 us of what these ancient terra-cotta "idols" were like, which in an earlier 
 period still are our best sources of information for the origins of statuary 
 (see Collignon, " Sculpture Grecque," i., pp. 108 ff.) ; while in the same case 
 and on the same shelf has been placed for protection from the dust the 
 very fine archaic head in poros stone, lent by Mr. E. P. Warren. This 
 charming little head was found at Sikyon, yet it will bring agreeable 
 memories of the Athenian archaic priestesses to those who know the Museum 
 of the Akropolis. Some five or six terra-cottas of undoubted Attic pro- 
 venance are exhibited on the right of the second shelf of Case E. The finest 
 among these are doubtless the "doll" (may she not be a Persephone ?) lent 
 by Mrs. C. W. Mitchell, and the Caryatid lent by Mr. Cecil Smith. For 
 the rest, the greater number of the terra-cottas exhibited belong mainly 
 to the class which we still label for convenience as " Tanagra," though in 
 the case of terra-cottas, as in that of vases, research tends more and more 
 to prove that the centre of the fabrication was Athens or Attica. They 
 were, however, chiefly made for export to the provinces — the Athenian 
 custom being to bury vases rather than terra-cottas with the dead. 1 The 
 famous so-called " Tanagras " were probably made in Athens for the 
 Boeotian and other markets ; for who can doubt the pure Attic style of the 
 best examples — of two of the statuettes, for instance, lent by Sir James 
 Knowles, Nos. 10 and 11, of the statuette of a woman leaning on a pillar 
 lent by Mr. John Edward Taylor, No. 3, or of the three statuesque types, 
 Nos. 2, 5 and 15, lent by Mr. Shannon and Mr. Ricketts— all of them in 
 
 1 E. Pottier, "Statuettes de Terre Cuite dans l'Antiquite," pp. 53 ff. The best that has 
 been written on the subject of terra-cottas still remains Furtwangler's Introduction to Vol. II. 
 of the Collection Sabouroff. 
 
7° 
 
 Exhibition of Ancient Greek Art 
 
 [Part II 
 
 Case E ? Inferior examples, on the other hand, even if of provincial origin, 
 would yet be made in imitation of Attic models. The poses are derived 
 from Praxitelean figures, and the " Koroplastai" vary one motive or play 
 upon it very much as we find it to be the case among the Greek sculptors 
 of Alexandria (p. 5). The " Tanagraean " style, which has its prime and 
 its decadence, covers a period extending roughly from the beginning 
 of the fourth to the middle of the third century B.C., and thus overlaps the 
 period of Hellenistic art with which it has many traits in common. So far 
 as subject and type are concerned, these little terra-cotta folk, who introduce 
 us so easily and delightfully to the more intimate aspects of Greek life, are 
 too obvious in intention and too easy to understand to need explanation. 
 
 The terra-cottas that are found in Asia Minor (Myrina, Smyrna) bear 
 more distinctly local characteristics than do those found in Tanagra. These 
 terra-cottas are large, and often reproduce well-known types of statuary (like 
 the Paton " Diadumenos," now belonging to Mr. Carlos Blacker, which is 
 a copy of the Polykleitan statue) ; we seem to have the heads of two large 
 statuettes of this class in the head of a Polykleitan athlete, lent by Mr. Talbot 
 Ready (Case E, No. 13), and the fine head of Athena lent by Mr. Fulley- 
 love (No. 34). Then again, terra-cottas from Asia Minor are very often gilt 
 (No. 7, in Case E, an Eros lent by Mr. John Edward Taylor, and a whole 
 series of heads, Nos. 14, 33, 35 in Case E, and Nos. 69, 70, in Case F, lent 
 by Mr. Fitzhenry *), in imitation of gilt bronzes. The inhabitants of the rich 
 cities of Asia Minor were artistic and luxurious, loving reproductions of 
 great Attic or Argive statuary, 2 and to give even to their terra-cottas the 
 lustre of metal. While on this subject of imitation of bronze mention must 
 be made of the magnificent mirror in Case E, lent by Mr. Fitzhenry, which 
 rivals in terra-cotta the most finished Attic mirrors in bronze (No. 32). 
 
 A few smaller marble heads and other fragments have found a place 
 on the bottom shelves of Cases E and F. Among the heads two of the most 
 interesting are the " Antinous " (No. 43) of Mr. C. Shannon, showing the 
 influence exerted by the great Greek models in the epoch of Hadrian, and 
 the head of a priestess (?) belonging to Mr. Oppenheimer (No. 44). Nor 
 must it be forgotten that Case F contains the splendid though mutilated 
 Attic "pinax" lent by Mrs. Woolner, and that priceless Attic inscription 
 recovered, like the fragment of the frieze of the Parthenon, in Mr. Botterell's 
 Essex garden, and which comes from the Athenian grave of the volunteers 
 from Kleonai, who assisted the Athenians at the battle of Tanagra in 457 b.c. 
 (the Tanagra, by a coincidence, of the terra-cottas). So rare an historical 
 treasure will surely not be despised even in an Exhibition that professes to 
 be purely artistic. 
 
 1 For terra-cottas of this class see P. Perdrizet in "Monuments et Memoires," iv., 1897, 
 pp. 209 ff. (" Terres Cuites de l'Asie Mineure "). 
 
 2 On this point see Pottier, op. cit., p. 191. At Smyrna, especially, were reproductions of 
 plastic types popular. 
 
CASE E 
 
 TERRA-COTTAS AND SMALL MARBLES (Nos. 1-48) 
 
 1 HEAD OF APHRODITE (?). The hair is confined by a fillet and 
 
 rolled back over it from the sides to a point below the crown of 
 the head, where it is tied in a knot and adorned with a circlet. 
 This charming terra-cotta, which is larger than the specimens 
 usually found, is probably of Asia Minor provenance. Height, 
 1 1.5 cm. 
 
 Former Somzee Collection. [Plate LXXIV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 2 LADY, standing, head looking out to the left. Weight on the left 
 
 leg. Both arms are covered by the large cloak ; the left arm is 
 bent, the hand resting on the hip ; the right hand is kept close to 
 the body and brought somewhat to the front of the figure. Above 
 the front hair a kerchief which discloses the knot at the back. 
 Earrings, traces of colouring, especially in the hair. "Tanagra" 
 of the best period. [Plate LXXIII.] ' 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. RickettSy Esq. 
 
 3 LADY, standing, leaning with her right arm on a pedestal. She wears 
 
 a high stephane, and the hair falls down the back in a loose plait. 
 She wears a transparent chiton, high girt. Across the lower part of 
 the body is an ample cloak, of which one end is twisted round her 
 left hand, which is placed on her hip ; the other holds up the cloak. 
 Her legs are crossed, the right in front of the left. Soft shoes on 
 the feet. Traces of blue colour on the breast. " Tanagra " of the 
 Hellenistic period. [Plate LXXIII.] 
 
 Lent by John Edward Taylor, Esq. 
 
 4 STATUETTE OF WINGED EROS, flying. A drapery is thrown 
 
 across his body and conceals his right arm, which is placed on his 
 hip. With his left hand he holds both his fan and his drapery. 
 
7 2 
 
 Exhibition of Ancient Greek Art [Part II 
 
 On the head a wreath of flowers and broad leaves. These statuettes 
 were intended for suspension. [Plate LXXV.] 
 
 Lent by Mrs. Ludivig Mond. 
 
 5 LADY IN WALKING ATTITUDE. She is severely enveloped in 
 
 her long cloak, which is drawn over her head and covers both 
 arms. The right arm is bent at the elbow and raised towards the 
 neck, with a gesture as if of surprise or annoyance ; the left is at 
 the side, with the end of the mantle twisted round it. The head 
 is turned to the right. On her head, above her cloak, the lady 
 wears a pointed sun-hat. " Tanagra " of the best period. [Plate 
 LXXIII.] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 6 HEAD of athletic type — middle of the fourth century. Lysippian style 
 
 Traces of gilding (see under No. 7). There is a replica of this fine 
 head in the British Museum (Terra-cottas, C. 441). From Smyrna. 
 [Plate LXXIV.] Lent by Herbert A. Rigg, Esq. 
 
 7 STATUETTE OF DIONYSOS as a boy. He is ivy-crowned, and 
 
 holds his left arm raised (the left hand has been broken at the 
 wrist and put on again ; the fingers are broken off). The cloak, 
 of which one end is thrown over the left shoulder, and the other 
 over the lowered right hand, gives a background to the figure. 
 The right hand probably held a thyrsos. The gilding is still pre- 
 served. These gilt statuettes were made in imitation of gilt bronzes, 
 and are found chiefly in Asia Minor. 
 (From Smyrna?) [Plate LXXV.] 
 
 Lent by John Edward Taylor, Esq. 
 
 8 LADY WITH FAN closely wrapped in a long cloak. For the position 
 
 of the arms compare No. 5. With her left hand, which is kept 
 under the cloak, she holds her fan. The ancient colouring is pre- 
 served. The face is flesh-coloured, the hair reddish, the cloak blue. 
 " Tanagra" of a good epoch. [Plate LXXIII.] 
 
 Lent by John Edward Taylor, Esq. 
 
 9, 10, 11 THREE STATUETTES exhibited together on one base. 
 
 The central figure holding a fan in her right, and with her left hand 
 projecting forward under her cloak, is an admirable specimen 
 both from the elegance of the face and the vigour of the design. 
 
Case E] 
 
 Terra-cottas (Nos. 1-40) 
 
 73 
 
 With No. 10 (to the right), another figure of great merit, com- 
 pare No. 2 ; the right hand is raised under the cloak. No. 9 (to 
 the left) is of more ordinary workmanship. All these wear the same 
 cap and headdress as No. 2. " Tanagra" style of the good epoch. 
 [Plate LXXVL] Lent by James Knowles, Esq. 
 
 12 LADY WITH FAN in walking attitude. In her hair, which is tied 
 
 into a low knot at the back, a broad band. The hands are, as usual, 
 enveloped in the cloak. With the left she holds up her fan. The 
 antique colouring is preserved. The mantle was bright pink, and 
 has a deep blue border. The shoes are bright red. "Tanagra" 
 style of the good period. [Plate LXXVL] 
 
 Lent by John Edward Taylor, Esq. 
 
 13 HEAD, of Polykleitan style, presumably from the statuette of an 
 
 athlete. From the style and the subject the provenance is probably 
 Asia Minor. Nose restored. [Plate LXXIV.] 
 
 Lent by W. Talbot Ready, Esq. 
 
 14 HEAD OF APHRODITE, with hair-knot high above crown of the 
 
 head, a hair-knot at the back, and long side-curls. Traces of 
 gilding. The front curl on the left, as well as the hair-knot on the 
 same side, are broken. From Smyrna. Former Hoffmann Collec- 
 tion, Cat., May 1899, No. 295. [Plate LXXIV.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 15 LADY with a wreath in her hair. The weight is on the right leg; the 
 
 head looks out to the left. The arms are enveloped as usual ; an 
 end of the cloak is pulled up and appears held to the side by the 
 elbow. Charming and well preserved example of the " Tanagra" 
 style. Traces of red colour. 
 
 [Plate LXXVIL] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 16 SMALL STATUETTE, of style similar to preceding. The hair is 
 
 bound with the kerchief. The reddish tinge of the hair is pre- 
 served. " Tanagra " period. Formerly in the Elton Collection. 
 [Plate LXXIII.] Lent by C. New ton- Robinson, Esq. 
 
 17 FLYING EROS, with drapery rolled round waist. The left hand is 
 
 broken off at the wrist, and the tips of the fingers of the right 
 hand are broken. The hair rises in two thick rolls on each side of 
 
 L 
 
74 
 
 Exhibition of Ancient Greek Art [Part II 
 
 the parting. Both hands were raised and appear to have met to 
 hold some object — perhaps a wreath. 
 From Magna Graecia. [Plate LXXV.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 18 LADY entirely wrapped in her long cloak, which is drawn over her 
 
 head (cf. No. 5). The features are delicately modelled, and the 
 example is perfect, save for the loss of the colour. " Tanagra " of 
 the best period. [Plate LXXVII.] 
 
 Lent by W. Barclay Squire, Esq. 
 
 19 STATUETTE of somewhat different style from all the preceding. The 
 
 hands are enveloped in the cloak, but the cloak is shorter ; the 
 right hand is placed at the back of the hip. The weight is sup- 
 ported on the right leg, and the head looks out to the same side. 
 The hair is disposed in rolls (cf. No. 29), and at the back is coiled 
 round the head in a plait. The statuette is on the original circular 
 terra-cotta base. [Plate LXXIII.] 
 
 Lent by Ludwig Mond, Esq. 
 
 20 LADY seated on a square stool with a cushion on it. The left leg is 
 
 slightly drawn in ; the head looks out to the right. Both arms are 
 under the cloak; the left leans on the side of the cushion. Traces 
 of pink colour. " Tanagra" style. [Plate LXXV.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 21 STATUETTE OF A WOMAN wearing a high headdress. Her right 
 
 arm is raised and leans on an Ionic column. Her breast is nude, 
 but a cloak drapes the lower part of her body, passes over her left 
 shoulder, and is held to her side by her left hand. Attic style of 
 the latter half of the fifth century. [Plate LXXVIII.] 
 
 Lent by Girton College, Cambridge. 
 
 22 STATUETTE wearing a high stephane. She wears a long chiton and 
 
 cloak, which is rolled over at the waist. Her right hand is planted 
 on her hip. Her left arm leans on a column and held an object 
 which is almost entirely broken away along with the left hand. The 
 
Case E] 
 
 Terra-cottas [Nos. 1-40) 
 
 75 
 
 left side of the statuette is a good deal damaged, including the 
 leg. Good Attic period. [Plate LXXVIIL] 
 
 Lent by Herbert A. Rigg, Esq. 
 
 23 HEAD OF ATHENA, helmeted. Attic style. [Plate LXXIV.] 
 
 Lent by Cecil H. Smith, Esq. 
 
 24 TERRA-COTTA DOLL, cut off, as usual, at the arms and above 
 
 the knees. Body and face are covered with a fine white slip. The 
 wavy hair is painted a lightish brown. At the back of the head 
 a blue kerchief. The large eyes, the long, well-drawn mouth, and 
 fine strong facial oval, show sufficiently that this "doll" belongs 
 to the period of Attic art in the second half of the fifth century. 
 For the type of face compare the marble head lent by Mrs. F. P. 
 Cockerell (Case D, No. 89). [Plate LXXVIIL] 
 
 Lent by Mrs. C. W. Mitchell. 
 
 25 LITTLE GIRL SEATED. She wears a hat on the back of her head. 
 
 Her hair is tied into a little knot in front. Her left hand is held 
 to her side, her right is raised close to her waist. She wears a long 
 chiton down to her feet. " Tanagra" period. 
 
 [Plate LXXV.] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 25 CARYATID (?), or woman with her arms raised to her head, carrying 
 some object which is now broken along with the arms. The face 
 is framed by the richly curling hair which falls down on each side 
 of the neck, just disclosing— not the ears— but the large ear 
 buttons. The figure is draped like a Caryatid in a thin Ionic 
 chiton, with the Doric chiton draped over it falling in severe classic 
 folds. At the back is a cloak which is fastened with a button 
 on each shoulder. The weight is on the right leg; the left is 
 slightly bent at the knee. Fine example of an Attic terra-cotta 
 of the period about 440 B.C. Published by C. A. Hutton, " Greek 
 Terra-cotta Statuettes," fig. 16, p. 33. [Plate LXXVIIL] 
 
 Lent by Cecil H. Smith, Esq. 
 
 27 STATUETTE OF LEDA or NEMESIS (?). A woman, draped 
 only from below the waist, stands holding the end of her drapery 
 with her right hand, and with her left holding to her side a small 
 goose or swan. [Plate LXXVIIL] 
 
 Lent by Girton College, Cambridge. 
 
Exhibition of Ancient Greek Art [Part II 
 
 28 VEILED DANCER. A dancer, entirely enveloped in her long veil, 
 
 which only just discloses the face, moves gracefully forward. For 
 the type see Dumont and Chaplain, " Ceramiques de la Grece 
 propre," ii., plate XII., No. 2 (= Pottier, "Statuettes de Terre 
 Cuite," fig. 39). 
 Brought by Cockerell from Greece. [Plate LXXVIII.] 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 29 HEAD OF A LADY, with coiffure in rolled bandeaux. The chignon 
 
 is restored. Breakage on face. [Plate LXXIV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 30 LADY, standing, head and arms enveloped in her cloak. [Plate 
 
 LXXVIL] Lent by Mrs. Godfrey. 
 
 31 LADY WITH FAN,ofsametypeas No. 1 1, but with the head inclined 
 
 further forward. The broad band or kerchief is held in front by a 
 clasp. Traces of blue in the cloak, of reddish-brown in the hair, 
 and red on the lips. " Tanagra" period. [Plate LXXVIL] 
 
 Lent by Mrs. Hall. 
 
 32 MIRROR CASE of terra-cotta in imitation of bronze. Seated on the 
 
 left is a woman draped in a long thin chiton, with her veil, one end 
 of which she holds with her right hand, hanging down her back. 
 On her knee sits, with feet crossed, not Eros, as in the usual scheme, 
 but a female figure, considerably smaller than herself. This figure 
 places her right hand on the woman's shoulder, and with her left 
 holds a dove to her side. Behind, a drapery which may be the veil 
 of the first figure. At the foot of this group the familiar goose, with 
 an allusion, perhaps to Aphrodite. Opposite, on the right, with her 
 left arm stretched out towards the back of the head of the smaller 
 figure, stands another woman draped in a thin chiton, with a hima- 
 tion thrown over it, and partly wound round her left arm. She 
 wears a necklace, and her hair is done into a knot at the back. On 
 the extreme right is a small Ionic column, sketched in very low 
 relief. In the field at the top an Eros flies downwards with out- 
 stretched wings towards the main group, apparently carrying a 
 large open wreath. Around the edge a delicate moulded design 
 composed of a wave line with each of its hollows filled by a con- 
 ventional flower composed of six dots around a central dot. Each 
 flower is carried on a lono' stem that follows the curve of the wave 
 line. Flanged edge, decorated with three moulded lines. At the 
 
Case E] 
 
 Terra-cottas (Nos. 1-40) 
 
 77 
 
 back plain concentric circles. On the top of the mirror the hasp of 
 a hinge is imitated from bronze mirrors ; it is cut out in zigzags 
 and has two holes for suspension. Magnificent example of Greek 
 terra-cotta work, probably Attic, in imitation of bronze. Former 
 Hoffmann Collection, Cat., May, 1 899, No. 188. Diameter, 1 9. 2 cm. 
 [Plate LXXIX.] Lent by J. H. Fitzkenry, Esq. 
 
 33 FEMALE HEAD (Aphrodite?) with a plait over the centre of the 
 
 forehead and elaborate coiffure ; traces of gilding. From Asia 
 Minor. Former Hoffmann Collection, Cat., May, 1899, No. 258. 
 [Plate LXXIV.] Lent by J. H. Fitzkenry, Esq. 
 
 34 HEAD OF ATHENA, looking up to right; the helmet appears to 
 
 have been attached separately. The pupils are incised. Hellen- 
 istic period. [Plate LXXIV.] 
 
 Lent by T. Fulleylove, Esq., R.L 
 
 35 FEMALE HEAD (Aphrodite ?), with high hair-knot. Traces of gild- 
 
 ing. From Asia Minor. Former Hoffmann Collection, Cat., May, 
 1899, No. 281. [Plate LXXIV.] 
 
 Lent by J. H. Fitzkenry, Esq. 
 
 36 EROS FLYING, holding up his drapery with his left hand, and a 
 
 torch in his right. The hair is done with the plait characteristic 
 of Eros down the centre. It hangs in ringlets on each side ot 
 the face. A thick wreath round the head. Traces of pink colour 
 in the drapery. [Plate LXXV.] 
 
 Lent by C. H. Shannon Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 37 LADY WITH FAN ; type similar to No. 8. Traces of purple colour. 
 
 [Plate LXXVII.] Lent by Girton College, Cambridge. 
 
 38 LARGE TERRA-COTTA, three-quarter mask (to left) of Dionysos, 
 
 with fillet over the forehead and ivy-wreathed. The lips are parted, 
 disclosing the teeth. Pupils and eyebrows are plastically indicated. 
 Vigorous pictorial design of about 200 B.C. Published by Michaelis, 
 " Archaologische Zeitung," 1864, plate 182. Total height, 17.8 
 cm. 
 
 From Naxos. [Plate LXXIX.] 
 
 Lent by the Royal Museum of Canterbury. 
 
7 8 
 
 Exhibition of Ancient Greek Art 
 
 [Part II 
 
 39 LADY with high coiffure ending in a hair-knot. The hair, which seems 
 
 to be frizzed, is parted over the forehead and confined by a circlet. 
 Both arms are wrapped inside her walking cloak. [Plate 
 LXXVII.] Lent by Mrs. Godfrey. 
 
 40 TURRETTED HEAD OF EROS, with diadem across the forehead 
 
 and bunches of ivy-leaves and berries on each ear. Pupils of eyes 
 indicated. 
 From Cyprus. [Plate LXXX.] 
 
 Lent by Mrs. Ludwig Mond. 
 
 41 FRAGMENT OF A BEARDED HEAD. Mouth and chin with part 
 
 of the right side preserved. Workmanship of a good period. 
 [Plate LXXXVII.] Lent by F. B. Goldney, Esq. 
 
 41* SMALL HEAD OF A CITY GODDESS. On the head remains 
 of the mural crown. Faint traces of colour in the hair (?). Late 
 type, derived possibly from Skopasian or Lysippian models. Pur- 
 chased at Luxor in 1869 by the father of the present owner. 
 [Plate LXXX.] Lent by Mrs. Sterling. 
 
 42 SMALL HEAD OF THE BOY D ION YS OS, wearing a wreath of 
 
 ivy-leaves and berries. 
 Charming decorative work of the Hellenistic period set on a pretty 
 Renaissance bust. [Plate LXXX.] 
 
 Lent by Henry Pfungst, Esq. 
 
 43 SMALL HEAD OF ANTINOUS, with rich curling locks. The 
 
 treatment seems influenced by a Polykleitan model. 
 The nose is restored from below the root: otherwise the charming little 
 head is in good preservation. [Plate LXXX.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 44 SMALL HEAD OF A PRIESTESS (?). The head is in good pre- 
 servation and unrestored. The interpretation is difficult. The 
 cloth at the back of the head, worn with a wreath (laurel ?) over 
 it, and kept close to the forehead by a fillet, without disclosing 
 the hair, suggests that the head may be that of a priestess. [Plate 
 LXXX.] Lent by Henry Oppenheimer, Esq. 
 
Case E] 
 
 Small Marbles [Nos. 41-48) 
 
 79 
 
 45 MARBLE HEAD, perhaps of a Nymph, found at Portici, near 
 
 Naples. This head, which seems to be of Italo-Greek fabric c. 400 
 b.c, is of interest in its relation to a series of very beautiful coin 
 types of Magna Grecian cities. [Plate VII.] 
 
 Lent and described by Arthur Evans, Esq. 
 
 46 SMALL FEMALE TORSO; Greek marble ; fine workmanship. 
 
 [Plate LXXXVII.] Lent by J. H. Fitzhenry, Esq. 
 
 47 SMALL HEAD OF YOUTHFUL DIONYSOS or of Ariadne, 
 
 wearing a fillet over the brow, and a dainty wreath of ivy-leaves 
 and berries. The neck though broken belongs to the head ; the 
 hair, which flowed down the back, and the curl on the right-hand 
 side being also broken. 
 
 Lent by John Edzuard Taylor, Esq. 
 
 48 FRAGMENT OF A STATUETTE: draped legs and torso from 
 
 below the waist. Greek work of a good period. Parian marble. 
 
 Height, 16.25 cm - 
 The weight of the figure was on the left leg, the right leg trailing 
 
 somewhat behind and causing the drapery to form beautiful cross 
 
 folds, as in the "Venus de Frejus " (Louvre) and kindred statues 
 
 of the close of the fifth century. 
 Brought by Cockerell from Greece. [Plate LXXXVII.] 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
CASE F 
 
 TERRA-COTTAS, SMALLER MARBLES AND FRAGMENTS— 
 
 continued {Nos. 4g-no) 
 
 49 SMALL FEMALE HEAD, of poros stone, in admirable preservation 
 
 and of very delicate workmanship. Height, 18 cm. 
 
 The hair is indicated by deeply-cut furrows. It hung down the back and 
 in curls on each side in front, but it has been broken away with 
 the neck below the throat. The head is nearly rectangular in con- 
 struction, with little transition between the planes ; it is narrow 
 in front, with strongly marked Oriental features ; the prominent 
 eyes and the mouth slant downwards from the outer corners ; the 
 eyebrows are sharply defined. In the hair and on the lips traces of 
 red ; flat ear-buttons with a design in blue, in the well shaped ears. 
 
 Found at Sikyon. 
 
 Lent by E. P. Warren, Esq. 
 
 50 SMALL FEMALE HEAD of terra-cotta, with high headdress and 
 
 curls falling to the front from behind the ears. Lines under the 
 chin seem to indicate a personage of maturer years. Height, 5.8 cm. 
 From Island of Melos. [Plate LXXIV.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 51 FEMALE SEPULCHRAL MASK. Three bands of crimped hair 
 
 across the forehead ; large prominent ears, with flat earrings ; a 
 stephane, and above it a veil that hangs down each side of the face. 
 Round the neck is painted — instead of a necklace — a wreath with 
 three large red fruits or blossoms as pendants The type of face 
 resembles " Aeginetan," that is, Attic art of the early fifth century, 
 yet the mask is very possibly of later date, archaic types having 
 persisted longer in the case of sepulchral ornaments than else- 
 where. These masks were hung in tombs — originally they were 
 made in imitation of the more costly gold masks with which the 
 dead were adorned. (Pottier, " Statuettes de Terre Cuite dans 
 l'Antiquite," p. 62.) 
 
Case F] Terra-cottas, etc. {Nos. 49-110) 
 
 81 
 
 The mask was once coloured ; it has been broken and mended (nose 
 
 modern?). Height, 29.8 cm. 
 Similar masks in the British Museum Terra-cotta Room. 
 From Rhodes. [Plate LXXXI.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 52 FEMALE HEAD with high headdress fastened by a band over the 
 
 forehead. Height, 5.1 cm. 
 From Athens. [Plate LXXIV.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 53 SEATED GODDESS (Hera?), of very archaic type, with quadruple 
 
 row of curls over the forehead and high polos, behind which is 
 fastened the veil which entirely enfolds the goddess. Her hands 
 are seen under the veil, placed each upon one knee. A few traces 
 of colour are still visible. Total height, 22.2 cm. 
 
 Michaelis, Canterbury, 5 ; and "Arch. Zeitung," 1864, plate 182. 
 
 From Samos. [Plate LXXXII.] 
 
 Lent by the Royal Musetcm of Canterbury. 
 
 54 MASK OF A VEILED GODDESS to waist. Fresh, vigorous 
 
 modelling of a good period. Height, 32.5 cm. 
 The hands clasp the breasts with the antique gesture of the mother 
 goddesses. The bust shape is symbolic of the a.voSo<; or return to 
 earth of the goddess represented, in this case probably Persephone. 
 Similar masks in the British Museum Terra-cottas, Nos. B. 251, 
 B. 252 : cf. Heuzey, " Les Figurines Antiques du Musee du 
 Louvre," plate XIX., 1. This particular example is possessed of 
 considerable merit as a work of art, while the irregularities, such 
 as the difference in the height of the eyes, show that these busts 
 belong to a popular, everyday art, executed with rapidity. A like 
 mistake in the placing of the eyes occurs in an otherwise exquisite 
 terra-cotta head of a Kora or Persephone from Tarentum (Furt- 
 wangler, "Neue Denkmaler antiker Kunst," in " Sitzungsber. der 
 Bay. Akad. d. Wissensch.," 1897, plate VIII. and pp. 132 ff.). 
 See Pottier, loc. cit. [Plate LXXXI.] 
 
 Lent by Edgar Speyer, Esq. 
 
 55 TALL STATUETTE of a priestess with a high coiffure of super- 
 
 imposed curls held by a strap on each side. The figure stands on 
 a double plinth. In her left hand, which is supported on a pillar, 
 
 M 
 
82 
 
 Exhibition of Ancient Greek Art 
 
 [Part II 
 
 she holds a box with open lid. Her right arm is bent upward at 
 the elbow, and with her right hand she holds the end of the cloak 
 which is thrown over the back of her shoulders. Long chiton with 
 girt diploidion. Rough provincial work, but evidently of the fifth 
 century. 
 
 From Boeotia. [Plate LXXXII.] 
 
 Lent by G. Eumorfopoulos, Esq. 
 
 56 ARCHAIC TOY HORSEMAN, wearing plume, helmet and shield. 
 
 Traces of blue colour. Height to crest of helmet, 1 1 cm. 
 From Anthedon in Boeotia. Former Hoffmann Collection (Catalogue, 
 May 1899, No. 130). [Plate LXXXII.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 57 VOTIVE FEMALE HEAD. Hair parted over the forehead and 
 
 falling in little curls over the ears. In the ears large leaf-shaped 
 pendant (lost on the right side). On the hair rests an elegant 
 stephane formed of a row of rosettes surmounted by a row of 
 palmettes alternating with buds. Above, again, a broad band con- 
 tinued to the base of the neck gives a background to the head, and 
 simulates the veil which would be attached behind the stephane. 
 Third century. Local Italian, perhaps Etruscan, workmanship. 
 Total height, 32.5 cm. [Plate LXXXII.] 
 
 Lent by Mrs. Hall. 
 
 58 STATUETTE OF A WOMAN (Aphrodite ?), with a pillar on her 
 
 right. With her right hand she withdraws her veil ; her left hand 
 is placed upon her hip. The right breast is bare ; the legs are 
 crossed, and the feet are on tiptoe, but supported against the 
 background. The head is of a curious Asiatic type. (Black colour 
 of the hair and background modern.) Asia Minor (?). [Plate 
 LXXXIIL] Lent by Girton College, Cambridge. 
 
 59 LADY wrapped in her cloak. Blue border to the chiton; the cloak 
 
 is bright pink with a yellow border. "Tanagra" period. [Plate 
 LXXXIIL] Lent by Girton College, Cambridge. 
 
 60 BULL with the sacrificial fillet tied round his body. Total height, 10 cm. 
 From Anthedon in Boeotia. Former Hoffmann Collection (Catalogue, 
 
 May 1899, No. 186). [Plate LXXXIV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
Case F] 
 
 Terra-cottas, etc. (Nos. 49-110) 
 
 «3 
 
 61 LADY draped in a long cloak, leaning with her right hand on a low- 
 
 pillar, and with her left hand held to her side. The mantle is 
 salmon pink, the chiton blue (both repainted). Much broken and 
 restored. [Plate LXXXIIL] 
 
 Lent by Girton College, Cambridge. 
 
 62 LITTLE BOY seated cornerwise to left on a rectangular block. He 
 
 wears a short tunic, which is coloured pink, and a large sun- 
 hat. He clasps his right hand to his side, and leans on his 
 left, which also holds a long satchel. "Tanagra" style. [Plate 
 LXXXIV.] Lent by Girton College, Cambridge. 
 
 63 LITTLE BOY wearing a thick rolled wreath ; he is seated cornerwise 
 
 on a stool or plinth, and holds a lantern in his right hand, which 
 is clasped to his waist ; he supports himself on his left hand. The 
 short tunic is pink, the wreath blue and yellow. 
 Formerly in Collection Somzee in Brussels. [Plate LXXXV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 64 LITTLE BOY of type similar to preceding two. The tunic is coloured 
 
 blue. [Plate LXXXIV.] 
 
 Lent by G. Eumorfopoulos,- Esq. 
 
 65 FEMALE FIGURE, seated. Ordinary archaic type, with the hands 
 
 on the knees. 
 
 Lent by Girton College, Cambridge. 
 
 66 LITTLE BOY of type similar to Nos. 62, 63, 64, but more demurely 
 
 posed. A cloak is thrown across his knees, and round the sup- 
 porting left hand. With his right he holds his long satchel. 
 [Plate LXXXIV.] Lent by G. Etimorfopoulos, Esq. 
 
 67 GIRL seated at her toilet. She is dressed in a thin chiton, with a cloak 
 
 suspended from her shoulders at the back, and thrown over her 
 knees. The rolled coiffure is common in the middle of the fourth 
 century. The hair is confined by a narrow ribbon : the arms are 
 raised to the head on the left side, where the ends of the ribbon 
 which the girl was tying have been broken off along with the whole 
 of the left hand and the fingers of the right. The legs of the chair 
 are also broken, and the head has been broken off and replaced. 
 Delicate workmanship of the fourth century. 
 Doughty House, Richmond; Michaelis, 14 (with plate). [Plate 
 LXXXV.] Lent by Sir Frederick Cook, Bt., M.P. 
 
8 + 
 
 Exhibition of Ancient Greek Art [Part II 
 
 68 COMIC ACTOR, turned to his right, with his right hand held out 
 
 as if reciting. Hellenistic period. [Plate LXXXIV.] 
 
 Lent by John Edward Taylor, Esq. 
 
 69 HEAD OF APHRODITE, with high head ornament and hair tied 
 
 low on neck. Traces of gilding. From Smyrna. 
 Former Hoffmann Collection (Catalogue, May 1899, No. 280). [Plate 
 LXXIV.] Lent by J. H. Fitzhenry, Esq. 
 
 70 HEAD OF A YOUTH upturned to left, with parted lips. 
 
 From Smyrna. Former Hoffmann Collection (Sale Catalogue, May, 
 1899, No. 272). [Plate LXXIV.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 71 LADY, fully draped in her long cloak, with head looking out to left. The 
 
 cloak coloured pink with a gray border. " Tanagra " style. [Plate 
 LXXXIII.] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 72 HEAD OF A MAENAD, ivy-crowned. "Tanagra" style. [Plate 
 
 LXXIV.] Lent by Herbert Rigg, Esq. 
 
 73 FEMALE HEAD with hair tied in a loose bunch at back, and 
 
 arranged in formal curls in front with longer side curls. Ear 
 pendants. In the hair a wreath which is now indistinct. " Tana- 
 gra " style of the fine period. [Plate LXXIV.] 
 
 Lent by Cecil H. Smith, Esq, 
 
 74 SEATED LADY, enveloped in a long veil which only just discloses 
 
 her face. Her left hand is raised, her left leg advanced. " Tana- 
 gra " style of the good epoch. 
 Former Hoffmann Collection (Catalogue, May 1899, No. 168). [Plate 
 LXXXV.] Lent by Henry Oppenheimer, Esq. 
 
 75 FEMALE HEAD with hair dressed in rolled bandeatix. Above the 
 
 hair, a singular ornament composed of a tubular fillet between 
 corkscrew bands or spirals disposed across the head. Traces of 
 gilding. From Smyrna. [Plate LXXIV.] 
 
 Lent by Herbert Rigg, Esq. 
 
Case F] Terra-cottas , etc. (JVos. 49-110) 85 
 
 76 GIRL, partly undraped, leaning with her right hand on a short pillar, 
 
 and with her left placed on her hip (for the pose compare Case E, 
 No. 3). Her lower limbs are draped in a cloak, which she partly 
 holds up with her left arm and hand. The legs are crossed. In 
 the hair, which is done up into a round coil at the back, an ivy 
 wreath. [Plate LXXXV.] 
 
 Lent by Miss Henriette Hertz. 
 
 77 CLOWN striding to his right, holding a basket in his left hand. From 
 
 the basket emerges the head of a goose. [Plate LXXXIV.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 78 LADY wrapped in long cloak. The head, which does not appear to 
 
 belong to the body, has been broken. On the head a sort of 
 square cap or bonnet. [Plate LXXXIII.] 
 
 Lent by Girton College, Cambridge. 
 
 79,8o,8i THREE MASKS. No. 79 is an archaic mask of Seilenos; the 
 large central mask, of Apollo, with high rising curls, is from Nau- 
 kratis ; No. 81 is an archaic mask of Medusa. [Plate LXXXVI.] 
 
 79 and 81 lent by Cecil H. Smith, Esq. 
 
 80 lent by the Harrow School Museum. 
 
 82 LADY wrapped in a long cloak which is drawn over her head. She 
 
 pensively rests her cheek against her right hand ; her right elbow 
 is supported by her left hand, which, with the forearm, emerges 
 bare from the cloak. An identical statuette is in the Louvre 
 (Heuzey, plate XXVI., No. 2). [Plate LXXXV.] See Addenda. 
 
 Lent by the late Alfred Higgins, Esq. 
 
 83 LADY wrapped in her cloak, which is drawn over her head, and wearing 
 
 a high pointed sun-bonnet. The cloak is bright pink, the chiton 
 blue, the shoes red ; the hat red and blue. " Tanagra " style. 
 
 Lent by Girton College, Cambridge. 
 
 84 HEAD OF EROS. From Smyrna. [Plate LXXIV.] 
 
 Lent by Herbert A. Rigg, Esq. 
 
 85 LADY wrapped in long cloak, with her left hand placed behind her 
 
 hip ; usual type. [Plate LXXXIII.] 
 
 Lent by Girton College, Cambridge. 
 
86 
 
 Exhibition of Ancient Greek Art [Part II 
 
 86 MARBLE SEATED STATUETTE OF A BEARDED MAN. 
 
 Restored : both feet with the lower part of the drapery and most 
 of the basis ; the right arm from below the elbow with the hand 
 and the roll. Head and neck appear to be modern. The knees are 
 broken and somewhat rubbed. 
 
 The fragment is interesting only as reproducing a seated type differing 
 from those already known. The drapery passes over the left 
 shoulder, leaving the right shoulder and arm bare. 
 
 Doughty House, Richmond. [Plate LXXXVIL] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 87 GIRL in long high-girt chiton, holding a ball in her right hand. Hair 
 
 arranged in rolls close to the head. The head does not belong. 
 " Tanagra" style. [Plate LXXXIIL] 
 
 Lent by Girton College, Cambridge. 
 
 88 COCK-FIGHTING EPHEBOS supporting his left arm on a pillar. 
 
 On his left hand a cock. A mantle is draped about the lower limbs. 
 [Plate LXXXV.] Lent by Girton College, Cambridge . 
 
 89-99 ELEVEN SMALL TERRA-COTTA MASKS. (89) The mask 
 of a horned river-god, (92) the mask of a Seilenos, and (91 and 93) 
 the masks of archaic Gorgons are of special excellence ; (98) a larger 
 archaic Gorgon (from Capua) is noteworthy for its technique and 
 preservation. These masks were used for the adornment of furni- 
 ture. [Plate LXXXVI.] 
 
 87-97 lent by Sir Frederick Cook, Bt., M.P. 
 
 98 lent by Mrs. Arthur Strong. 
 
 100 LADY wrapped in her cloak and holding up her left hand to her 
 
 shoulder. The head does not appear to belong to the body, and 
 the legs and feet have been restored. Pink cloak. "Tanagra" style. 
 
 Lent by Mrs. Lothian Nicholson. 
 
 101 LADY, with her left arm wrapped in her cloak and held to her side, 
 
 holding out her right arm, which is bare. "Tanagra" style. 
 [Plate LXXXIIL] Lent by Girton College, Cambridge. 
 
 102 FRAGMENT OF A RELIEF, showing a bearded man (seated?) 
 
 holding a roll in his left hand, with a boy at his side (standing?) 
 apparently reading to him out of another roll. 
 From Veii. [Plate LXXXVIL] 
 
 Lent by the Harrow School Museum. 
 
Case F] Terr 'a-cottas etc, {Nos. 49-110) 
 
 87 
 
 103 HEAD OF HERAKLES crowned with vine leaves. The style 
 
 seems Lysippian. Perhaps from a statuette of a Herakles Epi- 
 trapezios. [Plate LXXX.] 
 
 Lent by Dr. Paul Arndt. 
 
 104 LARGE TERRA-COTTA HEAD probably from a sarcophagus. 
 
 Art of the period of the Fayoum portraits. The head was once 
 entirely painted. In the eyes traces of colour. Said to have been 
 found in Sicily. [Plate LXXXII.] 
 
 Lent by Louis Mallett, Esq. 
 
 105 FRAGMENT of a terra-cotta " Campana " relief. A young winged 
 
 wind-god blowing a double pipe (?). This class of relief was used 
 as an architectural casing. [Plate LXXXVII.] 
 
 Lent by the Harrow School Museum. 
 
 106 MARBLE FEMALE HEAD (Aphrodite?). In the hair traces of 
 
 red colour. [Plate LXXX.] 
 
 Lent by J. H. Eitzhenry, Esq. 
 
 107 MARBLE RIGHT FOOT, from a colossal statue. Former Piot 
 
 Collection. [Plate LXXXVII.] 
 
 Lent by J. H. Eitzhenry, Esq. 
 
 108 FRAGMENT sculptured in relief on both sides, from a votive stele or 
 
 pinax. Very fine Attic work of the middle of the fifth century. 
 Height, 0-32 ; Length, o - i8. 
 On one side the lower portion of a figure in high relief, seated on a 
 stool that rests on a basis adorned with figures in low flat relief ; 
 under the stool a bull or large dog(?). It seems just possible 
 that this may be a woman seated at a " funeral banquet," and that 
 the figure of the reclining man was on the right. Of the figures on 
 the basis the first is a youth carrying a box in his left hand and a 
 cup (?) in his right ; then comes a bearded figure wrapped up in a 
 cloak and leaning on a staff ; finally a second bearded and draped 
 figure. Traces of a fourth figure to the right. On the back of the 
 block what appear to be the columns of a temple are sculptured 
 in low relief. In front of these columns appears the exquisitely 
 drawn figure of a nude youth, with his weight on the right leg and 
 the left bent and at ease. These pillars or columns rest on a basis 
 adorned with figures in very low relief, two of which can still be 
 made out. 
 
 Brought from Athens by the Earl of Elgin ; formerly in possession of 
 
88 
 
 Exhibition of Ancient Greek Art [Part II 
 
 the architect, W. Atkinson, and then of his son, H. Atkinson 
 (mentioned by Michaelis, "Journal of Hellenic Studies," vi. 1885, 
 p. 43). Purchased at Mr. Atkinson's death by Mr. Woolner, the 
 sculptor. [Plate XXXIX.] 
 
 Lent by Mrs. Woolner. 
 
 109 TWO FRAGMENTS of the inscription from the monument erected 
 in Athens in honour of " Volunteers from Kleonai who had fought 
 on the side of the Athenians in the battle of Tanagra (457 B.C.) 
 against Lacedaemonians and Euboeans (Boeckh, C. I. Gr., 166). 
 The monument, which was in the Kerameikos at Athens, was 
 seen there by Pausanias (i. 29, 5 and 7) in the second century a.d." 
 The fragments which, like the fragment from the Parthenon frieze, 
 were discovered at Colne Park in Essex, are described by Dr. A. S. 
 Murray, from whose paper (cf. No. 18) the above account is 
 borrowed. The names are as follows: 
 
 
 [<j>]<>ri/i£ 
 
 
 
 
 
 
 [B]po^a? 
 
 
 5- 
 
 TfAiVa-ra? 
 
 
 
 
 
 
 01) |0t. 06/3 ?K 
 
 
 
 
 -0 
 
 
 EJAij^o? 
 
 
 10. 
 
 
 1 — 
 
 
 
 
 
 KAe'wi/ 
 
 
 
 
 
 
 [A]iV^uAo? 
 
 
 i5- 
 
 [EJ]«p^ip]a f 
 
 
 For these and the other fragments of the inscription see Hicks and 
 Hill, " Manual of Greek Historical Inscriptions," p. 42, No. 28. 
 [Plate LXXXVIII.] 
 
 Lent by J. D. Botterell, Esq. 
 
 no BRONZE LEFT FOOT, from a colossal statue. [Plate LXV.] 
 
 Lent by J. Pierpont Morgan, Esq. 
 
PART III 
 VASES 
 
 N 
 
VASES 
 
 INTRODUCTORY 
 
 ^ fe^ffiT^ffiy j-jg vases exhibited are too few in number to offer anything 
 like a series illustrative of the history of Greek vase- 
 painting. Very early fabrics are not represented at all. 
 The majority of the vases shown are examples of Attic 
 figured pottery of a period extending roughly from 560 to 
 400 B.C. In the first half of the period known as that of 
 black-figured technique, the designs are carried out in black with occasional 
 accessories of purple and white on the red ground of the vase ; in the latter half 
 the arrangement of the colours is reversed, and after a time of transitional 
 essays in both styles, the design comes to be carried out in black outline, the 
 parts within the outline being left in the natural colour, while all the ground 
 is covered with black varnish. To this — the period of red-figured technique — 
 belong the finest and most admired specimens of the Greek potters' art. 
 
 The only early vases shown which are not purely Attic are the de- 
 servedly famous amphora of Ionic style (Case G, No. 19) from Castle 
 Ashby, lent by the Marquess of Northampton, and the curious pseudo- 
 archaic Ionic amphora, lent by Mrs. Hall (Case G, No. 18), of the class 
 nicknamed the " affected amphoras," which persistently repeated with great 
 accuracy of technique worn-out archaic types for the sole benefit apparently 
 of Italian clients. 
 
 To the transition period from black figures to red belongs the school 
 of the " little masters," those miniaturists among vase-painters — people of 
 small invention, but astonishing skill — who adorned their vases with figures 
 of animals or people on a minute scale. From the collection at Castle 
 Ashby come three cups signed by two of these "little masters," Tleson the 
 son of Nearchos (Case G, Nos. 1 and 16), and Hermogenes (Case G, No. 8). 
 From the same collection comes the fine amphora with a design on the neck 
 alone, signed by Andokides (Case G, No. 21). The prolific Nikosthenes is 
 represented by two amphoras in his most finicking decorative manner 
 (Case G, Nos. 2 and 3). 
 
 Turning to the red-figured vases we find, still in Case G (Nos. 10 and 
 
9 2 
 
 Exhibition of Ancient Greek Art [Part III 
 
 11), two "Nolan" amphoras, belonging to Mrs. Hall, that date from the 
 purest Attic period of vase-painting. One shows the Attic ideal of the 
 peaceful Athena as it obtained about 456 B.C., when Pheidias was called 
 upon to embody it in bronze for the people of Lemnos. The second amphora 
 shows the winged " Agon," patron of the Gymnasium, engaged in a 
 running match with Eros in the presence of a gymnasiarch. 1 
 
 Some of the finest vases are placed in Case I. On the lower shelf will 
 be found a group of characteristic Attic kylikes, pre-eminent amongst which 
 is the Bacchic rout attributable to Pamphaios (No. 75, from the Shannon- 
 Ricketts Collection), with its joyous movement, its swinging lines, the breadth 
 and vigour of its design. A kylix, signed by Pamphaios (No. 65), is sent 
 from Castle Ashby. Just above, on the middle shelf, is the beautiful kylix 
 lent by Mrs. Hall (No. 64), showing on the exterior a spirited group of 
 wrestlers, composed in the manner of the greater arts, and in the interior 
 the pretty genre motive of a girl laying aside her upper garment. A fine 
 example of Attic drawing, that anticipates a motive on the east frieze of 
 the Parthenon, is the figure of a seated youth holding his knee, on the 
 kotyle lent by the late Mr. Alfred Higgins (No. 80). The two magnificent 
 pyxides, the one with its stately marriage procession (lent by Mr. John 
 Edward Taylor, No. 74), the other with its graceful marriage scenes (lent 
 by Mr. Cecil Smith, No. 56), show the high level attained by the vase- 
 painters in the Pheidian epoch. Nor must we forget to mention the 
 exquisitely beautiful cup with its delicate Attic design, lent by the Victoria 
 and Albert Museum (No. 67). 
 
 In Case H the " Kaineus and the Kentaurs," on a krater lent by the 
 Harrow School Museum (No. 44), is remarkable for the skilful draughtsman- 
 ship and the foreshortening of the kentaur on the right, for instance, who 
 is shown from the back, like the famous horse in the Mosaic of Alexander's 
 battle at Naples, or the mounted horseman on the Arch of Saint Remy. In 
 the same case should be noted the beautiful hydria decorated with a " toilet 
 of Aphrodite" (No. 46), lent by Mr. Oppenheimer, in a style which, accord- 
 ing to Prof. Furtwangler's latest researches {see Catalogue), shows that the 
 great days of vase-painting lasted down to the Alexandrian epoch. 
 
 On the top shelf of Case H is a goodly show of those popular favourites 
 among Greek vases, the Attic lekythoi, with designs and figures executed 
 in colour on a white ground. One of the best shown here, both for colour 
 and for design, is doubtless the tall lekythos (No. 34) lent by Mr. Salting, 
 which recalls the grand series of these vases at Athens, found in Eretria. 
 
 The twelve lekythoi (Nos. 25-33 an d 38-40) lent by Lord Elgin are 
 specially valuable from the certainty of their Athenian provenance. They 
 were brought from Athens, along with a number of others now preserved at 
 Broom Hall, by the Earl of Elgin of the Parthenon marbles. 2 
 
 1 This interpretation, which I believe to be correct, has been suggested to me by Mr. Cecil 
 Smith. For Agon see Schreiber's article in Roscher's "Lexikon der Mythologie," i., p. 107. 
 
 2 These vases have been cleaned quite lately by the care of Mr. Arthur H. Smith. 
 
Part III] Exhibition of Ancient Greek Art 93 
 
 In the presence of this little group it may not be out of place to say a 
 few words concerning the technique of this interesting class of vases. The 
 lower part of the body, the foot and neck are covered with black varnish, 
 the body with a white slip on which the main design is executed. 
 Simple lines, or strips of maeander or of groups of maeander alternating 
 with oblique crosses in squares, frame the picture at the top ; at the bottom 
 it more frequently rests on a single or double line, or, as in No. 28, on a 
 strip of maeander. The lip and the vertical rim of the foot are left in red. 
 The shoulder, as a rule, is covered with white slip like the body and 
 adorned with palmettes interlaced with spirals of varying pattern. In 
 Nos. 25 and 28 the shoulder is roughly decorated with a dart pattern in the 
 ordinary black-figured technique on the red clay. 
 
 Besides the white of the slip, black or purple are the only colours used 
 both for tracing and filling in the outlines. The black is the black varnish 
 of ordinary red-figured technique ; according as it is laid on thick, thin or 
 diluted, it shows black, brown or gray. The purple, likewise, can be made 
 to produce tints varying from the bright crimson of many of the cloaks to 
 dull or light purple. In addition to these colours are found— but only very 
 occasionally— a bright blue and a bright green employed for certain definite 
 details (cf. Brit. Mus. Vase Cat. iii. Nos. D, 70 and 71). 1 
 
 The subjects represented are, as usual in this class of vases, of funereal 
 character. Eleven reproduce the usual scene of " offerings at the tomb." 
 In many cases a double image seems to haunt the vase-painter's imagina- 
 tion : one the actual scene where living people bring offerings to the tomb ; 
 the other derived from the tomb itself, where the vase-painter uses the re- 
 presentations of the seated dead, now so familiar from the Greek stelai at 
 Athens, and brings the sculptured figure, so to speak, to life, making it sit 
 outside the tomb, as on the beautiful example below (No. 33), and on the grand 
 fragment (No. 36) lent by Mr. Henry Wallis. [For a similar commingling 
 of ideas see the lekythos from Athens, published in " Arch. Jahrbuch," 
 1895, plate II. (E. Curtius), andanother published in " Strena Helbigiana," 
 p. 41 (M. Collignon)]. In this connection the small roughly-drawn example 
 below (No. 25) is of unique interest as showing the representation, hitherto 
 unknown in a lekythos, of the actual stele, with the carved figure of the dead 
 woman left within the frame of the sepulchral slab instead of being brought 
 outside as usual in other known representations. 
 
 Other potteries, besides the Attic, are represented by the large krater 
 from Magna Graecia, belonging to Sir Frederick Cook (Case H, No. 48) 
 showing the adventure of Odysseus with the Cyklops ; the Calenian cup 
 signed by Canuleios, again lent by Mrs. Hall, and the two charming green 
 goblets, probably of Asia Minor provenance, belonging to Mr. Henry 
 Wallis. 
 
 1 These details of technique the compiler owes to the kindness of Mr. Cecil H. Smith. 
 
CASE G 
 
 VASES (Nos. 1-24) 
 
 KYLIX, signed by Tleson. Earlier shape, with deep bowl and offset 
 lip (cf. No. 16). 
 
 (Exterior.) On either side of the offset lip, a goat with white spots, 
 grazing. On either side of the bowl is repeated the inscription 
 Tl^ON HO N^APXO fcPOIMSN. Handles flanked by palmettes. 
 
 Klein, "Die Griechischen Vasen mit Meistersignaturen," 2nd edit., 
 18 17, p. 74, 19, where thirty-six vases signed by this "little 
 master" are enumerated. Exhibited at the B. F. A. C. in 1888 ; 
 Cat. Frohner, 103. Height, 16 cm. Diameter, 23.7 cm. 
 
 Castle Ashby. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
 AMPHORA, with flat handles, signed by Nikosthenes. Two ribs in 
 relief, separated by a band of palmettes, run round the body of the 
 vase at its thickest part ; below a black band, then a pattern of 
 pointed leaves with interlacing stalks and dots in the entrelacs. 
 Below, another black band, and beneath this a zone of rays; the 
 foot is entirely black. On each shoulder a large eye with palmettes 
 on either side, and above, on one side only, the signature, 
 NlkO$O^EJ5 fcnoifc*fc/v. 
 
 On each side of the neck a pattern composed of four palmettes. On 
 the handles, palmettes and pointed leaves alternating. Around the 
 upper rim of the orifice a charming design of dolphins. 
 
 Klein, " Meistersignaturen," p. 65, 47. Exhibited at the B. F. A. C. in 
 1888; Cat. Frohner, 106. Height, 35 cm. 
 
 Castle Ashby. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
 AMPHORA signed by Nikosthenes, of shape and style similar to the 
 preceding. On the shoulders, combat groups, a. Two warriors 
 fighting over the body of a third, b. Two warriors fighting. Below, 
 two moulded ribs separated by a design of interlacing leaves with 
 dots. Below again, a cock-fight (each combatant with his name 
 inscribed ?),* two doves looking on, and a frieze of lions and 
 fantastic human-headed birds. Lower down still, a broad black 
 
 1 On this point see Frohner's Catalogue. 
 
Case G] 
 
 Vases (Nos. 1-24) 
 
 95 
 
 band and a pattern of rays at the base of the vase. The foot black. 
 On each side of the neck, pattern of four palmettes. On the orifice, 
 dolphins. On each handle a beardless figure wearing a long cloak, 
 and carrying a sceptre in his left hand. Under each a row of dots. 
 Below the left handle (left of principal picture) NlkO*OfcA/fc* 
 
 Klein, " Meistersignaturen," p. 64, 44. Exhibited at the B. F. A. C. in 
 1888; Cat. Frohner, 107. Height, 27.5 cm. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
 4 KYLIX. Black figures on red ground. Foot restored. Diameter, 
 
 30.7 cm. 
 
 Exterior a and b : chariots amid an assemblage of warriors and 
 women. 
 
 This kylix was formerly adjusted to a foot bearing the signature of 
 the painter Nikosthenes (Klein, " Meistersignaturen," p. 69, 67). 
 Recently, however, the vase was cleaned, and the foot found not to 
 belong. It is exhibited next to the vase as No. 5. 
 
 Michaelis, Richmond, p. 73 (and "Arch. Zeit," 1874, p. 61). [Plate 
 LXXXIX.] Lent by Sir Frederick Cook, Bt., M.P. 
 
 5 FOOT OF A KYLIX, with the signature of Nikosthenes (see under 
 
 preceding number). [Plate LXXXIX.] 
 
 6 KYATHIS. Design in black and purple on white slip. Dionysos, 
 
 bearded and draped, seated between two horse-eared and horse- 
 tailed Seilenoi. The Seilenos on the right approaches with a wine- 
 skin, while the god turns round to the satyr on the left, who 
 appears to be touching his arm. To either side of the central 
 subject large eyes. In the background conventional foliage. The 
 handle is decorated in relief with a button and a rib, ending in a 
 leaf-shape towards the interior. Height, 15 cm. to knob of handle. 
 
 Exhibited at the B. F. A. C. in 1888 ; Cat. Frohner, 116. 
 
 Castle Ashby. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
 7 KYATHIS. Of style similar to preceding, but of somewhat coarser 
 
 draughtsmanship. Dionysos, bearded, ivy-crowned and draped, 
 with the rhyton in his left hand, is seated to right on an okladias 
 or folding stool. A Seilenos, horse-eared and horse-tailed, advances 
 towards him. On either side of this main design large eyes. 
 Beyond these again, flanking the handle, two winged sphinxes. 
 The handle is adorned in relief with a button and rib, ending in a 
 
96 Exhibition of Ancient Greek Art [Part III 
 
 palmette. A very charming head modelled in relief decorates the 
 point where the handle meets the vase. 15 cm. to knob of handle. 
 [Plate LXXXIX.] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 8 KYLIX, signed by Hermogenes. 
 
 (Exterior.) On either side, within the zone spaced out between the 
 black varnish that covers the rest of the vase, a quadriga moving 
 to the left followed by an armed warrior on foot. 
 
 On the obverse the inscription HEPMOKENES ETOIESEN EME is repeated 
 on either side of the design ; on the reverse, ETOIE^EA/ EME is twice 
 repeated in the same manner. The handles are flanked by palmettes. 
 The same design occurs on five other of this master's vases. 
 
 Klein, " Meistersignaturen," p. 83, 14 (where seventeen cups signed by 
 this little master are enumerated). Exhibited at the B. F. A. C. 
 in 1888; Cat. Frohner, 105. Diameter, 20cm.; height, 15.1cm. 
 
 Castle Ashby. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
 9 AMPHORA, with lid decorated in friezes ; style of Nikosthenes. 
 
 a. On the central frieze, Herakles struggling with the Nemean lion in 
 presence of a crowd of sixteen spectators, including women, 
 bearded men and youths, and a youth on horseback (Iolaos ?). 
 The different people make animated gestures of admiration and 
 astonishment. 
 
 On the frieze above, fourteen personages (four men and three women 
 on either side of each handle) are engaged in a lively dance. The 
 gestures are probably not intended to be grotesque ; but what 
 strikes a modern spectator as quaint or exaggerated is due to the 
 artist's inability to express difficult motions naturally or to show 
 limbs foreshortened. 
 
 Below a frieze of animals, three of which are fantastic human-headed 
 birds. 
 
 These three main friezes form the principal design which rests on a 
 pattern of lotus buds, and is surmounted by a row of alternating 
 black and purple darts. On the lower half of the neck a band of 
 double lotus buds. The lip, lids and handles are decorated with 
 vine leaves ; the lower part of the body, which rests on a plain 
 black foot, has a pattern of rays. 
 
 Exhibited at the B. F. A. C. in 1888; Cat. Frohner, 111. H., 45 cm. 
 
 Castle Ashby. [Plate LXXXIX.] 
 
 Lent by the Marquess of Northampton. 
 
Case G] 
 
 Vases {Nos. 1-24) 
 
 97 
 
 10 AMPHORA of the " Nolan " type. Red figures on black ground. 
 
 Obverse : Athena leaning on her spear and wearing the aegis fringed 
 with snakes, but with no helmet (type of the Lemnian Athena). 
 Her left hand is placed on her hip, her body faces the spectator, 
 her left foot is drawn in profile outwards, her right foot is placed 
 to the front and drawn foreshortened. Facing her is Hermes, a 
 bearded figure with short chiton and cloak fastened on the right 
 shoulder. On his neck hangs his petasos; in his lowered right hand, 
 which is partly draped in his cloak, he holds his kerukeion. 
 
 Reverse : a young man, draped in a long cloak, leaning on a staff. 
 
 Finest Attic style of a period about 440 B.C. (cf. Furtwangler, " Master- 
 pieces," pp. 13 ff.). Height, 35 cm. [Plate LXXXIX.] 
 
 Lent by Mrs. Hall. 
 
 11 AMPHORA of the " Nolan " type. Red figures on black ground. 
 
 The picture is contained between two ornamental bands consisting of 
 groups of maeanders alternating with squares filled in by oblique 
 or vertical crosses. The main lines are black, and strongly marked 
 as usual in this class of vases ; the inner markings are in brown ; 
 a remarkable detail is the shading of the back of the chair. Under 
 the handles a palmette. 
 
 The subject, which runs continuously round the vase, as in the Nolan 
 amphoras of the earlier type (see Cecil Smith in " Brit. Mus. Cat. 
 of Vases," iii., Introd., p. 13), is of a combined genre and mytho- 
 logical character. A brabeus, or judge, crowned with an olive- 
 wreath, sits with a forked staff in his right hand. Immediately in 
 front of him a winged figure running and looking back ; in front 
 of this figure again, but on the reverse of the vase, a similar figure 
 with outstretched wings and arms. These two figures are evid- 
 ently, on the analogy of other representations on vases, Eros and 
 Agon, training in the palaistra like mortal athletes. In the field, 
 directly in front of the umpire, the skapaue, or double-headed 
 mattock used for marking the ground in the leaping contests ; in 
 the background two leaping poles. The inscription, of which each 
 character is legible, makes no sense. 
 
 Like No. 10, this is a vase of the finest Attic style. 
 
 Formerly in the Castellani Collection. First published by C. A. Hut- 
 ton (who interprets the winged figures as the Boreades, Zetes 
 and Kalais) in "Bulletin de Correspondance Hellenique," 1897, 
 pp. 157-164. Height, 33.5 cm. [Plate LXXXIX.] 
 
 Lent by Mrs. Hall. 
 
 o 
 
Exhibition of A7tcient Greek Art [Part III 
 
 IONIC AMPHORA : Design in black, white and purple on the red 
 ground; outlines delicately engraved in the clay. Height, 32.5 cm. 
 
 a. In the centre Dionysos, long-haired, bearded and draped, crowned 
 
 with white flowers, and holding his kantharos in his left hand, 
 moves to the left, attended by four Seilenoi, with the eyes and tails 
 of horses. The Seilenos on the right dips a high-handled jug into a 
 lebes or cauldron that stands on a tripod. Immediately in front of 
 the god a little Seilenos moves backward, dancing and playing the 
 flute. The Seilenos on the extreme left holds a rhyton and a wine- 
 skin. On the neck, separated from the main design by a pattern 
 of rays, a bearded Triton, holding a wreath in his right hand. 
 
 b. Two nude boys, armed with sticks and riding on cranes to either 
 
 side of a fine group of palmettes. In the field below, on the right 
 a jackal and a porcupine, on the left a porcupine and a hare. On 
 the neck a bearded Triton holding a wreath in each hand, with 
 two dolphins dipping. The two main designs are within panels, 
 marked off by black strips at the handles. 
 Running round the vase, below the main designs, is a band of double 
 palmettes and lotus flowers. Below that a black band, enlivened 
 by purple lines. At the bottom of the vase a ribbon pattern wind- 
 ing round black dots with white centres, and beneath it a band 
 of double rays. The foot is adorned with lotus flowers ; the neck 
 with a design of framed lozenges and dots ; the lip is entirely 
 black ; the inside of the orifice has two bands of two parallel lines. 
 The black handles are adorned with a moulded rib in the colour 
 of the clay. 
 
 The whole vase, which is in exceptionally fine condition, is a chef- 
 d'oeuvre of delicate decoration, and is justly celebrated. Published 
 by Gerhard, " Auserlesene Vasenbilder," plates 3 1 7-3 1 8. Exhibited 
 at the B. F. A. C. in 1888, Cat. Frohner, 112. For recent opinions 
 see Endt, " Beitrage zur Ionischen Vasenmalerei," p. 27, No. 2 ; 
 G. Karo in "Journal of Hellenic Studies," 1899, p. 146; Studniczka, 
 " Archaologisches Jahrbuch," v., p. 142. For the origin of the 
 double rays as an ornament see G. Karo, loc. cit., p. 163. 
 
 Castle Ashby. [Plates LXXXIX., XC, XCI., XCII.] 
 
 Lent by the Marquess of Northampton. 
 
 KYLIX, with design in red on black ground in the interior. The 
 
 exterior is entirely black. Diameter, 20.5 cm. 
 1. Within a circle, adorned with a band of maeanders, sits a girl wearing 
 chiton and himation, and holding a distaff in her left hand. In 
 front of her a wool-holder. [Plate LXXXIX.] 
 
 Lent by P. W. Mallet, Esq. 
 
ASE G] 
 
 Vases (Nos. 1-24) 
 
 99 
 
 4 KYLIX, with deep bowl and offset lip. Design in black and purple 
 
 on red. Diameter, 2 1.9 cm. 
 1. Within elaborately patterned concentric bands : Herakles wrestling 
 
 with Triton. On the exterior of the lip a pattern of alternating 
 
 palmettes and lotus flowers. On the bowl, a galloping horseman 
 
 on each side. Around the handles palmettes. 
 Richmond, Doughty House. [Plates LXXXIX., XCII.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 5 KYLIX. Red figures on black ground. In the interior, within a circle 
 
 adorned with a band of maeanders, a bearded horseman wearing 
 a short cloak and soft felt hat, rides to right. The horse appears 
 to be leaping. Around the figure an inscription is simulated. 
 
 a. Exterior. A horseman, beardless, with his pctasos hanging at the 
 
 back of his neck, rides to left, between two figures on foot, each 
 wearing a short cloak and the petasos. 
 
 b. A young horseman rides to the right with his petasos hanging on 
 
 his neck. In front of him two youths with spears. Both wear 
 petasoi; the first has his hat hanging at the back. All the figures 
 appear to wear thin chitons under their cloaks ; and all of them, 
 except the man with bare feet, behind the horseman on a, wear 
 high boots. 
 
 The kylix is put together out of many fragments. Diameter, 23.4 cm. 
 [Plates LXXXIX., XCII.] 
 
 Lent by the Lord Aldenham. 
 
 [& KYLIX, signed by Tleson. Black figures on red ground. Earlier 
 shape, with deep bowl and offset lip. The signature, TUE50N 
 HO NEAPXO EPOIE5EN (Tleson, the son of Nearchos, made me), is 
 repeated on each side of the exterior of the bowl, between delicate 
 palmettes. (Cf. No. 1.) 
 
 In the interior two goats on their hind legs butting, and facing each 
 other heraldically, within an ornamental circle formed of a tongue 
 pattern in alternating purple and black between concentric lines. 
 The goats have white spots. Between them a palmette mounted in 
 a stylized ornament. 
 
 Klein, " Meistersignaturen," p. 74. Exhibited at the B. F. A. C. in 
 1888; Cat. Frohner, 101. Diameter, 20.5cm. 
 
 Castle Ashby. [Plate XCII.] 
 
 Lent by the Marquess of Northampton. 
 
100 
 
 Exhibit ion of Ancient Greek Art [Part III 
 
 17 KYLIX, with red figures on black ground. Diameter, 23.3 cm. 
 
 1. Within a circle adorned with a band of maeanders stands a brabeus, 
 or judge of the palaistra, wrapped in a long cloak, holding his 
 long staff. On the right, a shaft or goal on a plinth ; to the left, a 
 seat with a cushion on it. 
 
 a. Exterior. A young man stands, to right, bending forward with both 
 
 arms extended ; on his left a helmet placed upon a shield. In front 
 of him a gymnasiarch holding the two-pronged staff. Behind this 
 figure advances, to the left, a nude youth with a shield on his left 
 arm and a crested helmet in his right hand. Behind him again, 
 a goal. 
 
 b. Similar scene to preceding. A gymnasiast holding a pole stands 
 
 between two nude youths, each carrying a shield and a helmet. 
 Probably both scenes represent the preparation for the armed 
 foot-race. 
 
 This fine vase is put together out of many fragments. 
 Doughty House, Richmond. [Plate XCII.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 18 IONIC AMPHORA of the group nicknamed the " affected amphoras " 
 
 because of their conventional technique and meaningless designs. 
 Black and purple designs on red on the upper part of the vase. 
 The lower half is covered with black varnish, with a pattern of 
 double rays at the bottom. Tubular handles. Height, 43 cm. 
 a. Obv. (shoulder): A bearded figure (Zeus?), holding a sceptre in his 
 right hand and a wreath in his left, sits (to right) on a stool of 
 which only two legs are visible. In front of him Hermes is walk- 
 ing away, but he turns head and shoulders round to speak to the 
 seated figure. He wears winged boots, short tunic, and chlamys, 
 the petasos on his head, and holds the kerukeion in his left hand. 
 Behind the central figure advances another bearded man holding 
 a sceptre in his left hand. This central scene is flanked right and 
 left by two further bearded figures with sceptres, the man on the 
 extreme right being identified as Poseidon by the dolphin he holds 
 in his left hand. 
 
 15. Rev. (shoulder): Similar design to the preceding, save that the 
 central figure sits on a folding stool, and Hermes is replaced by a 
 long-robed man similar to all the others. 
 
 c. (Neck) Obv.: The design is identical with a, save that Zeus(?) sits 
 
 on a folding chair as in b, and that the figure behind Hermes, in- 
 stead of the dolphin, carries the sceptre in his left hand and holds 
 
Case G] 
 
 Vases (Nos. 1-24) 
 
 101 
 
 his right hand raised. Further behind the Zeus (?) there is only 
 space for one figure. 
 
 d. (Neck) Rev.: Identical with c, but Zeus(?) sits on a stool, as in a. 
 
 Between shoulder and neck, a lotus chain, surmounted by a tongue 
 pattern in alternate purple and black. At the base of each handle 
 a similar tongue pattern, ending at each side in a spiral. Under 
 each handle a Pegasos. 
 
 All the figures are clothed in long chitons (save Hermes, who is short 
 girt) with richly embroidered cloaks. 
 
 The four scenes represented are without any special meaning, but, 
 apart from its stately and pleasing decorative effect, the signific- 
 ance of this vase lies in the fact that it is one of a small group 
 which have a definite place in the history of Greek vase-painting. 
 They are one of the earliest examples in art of a conventional and 
 conscious archaism that clings to antiquated details till they grow 
 dry and almost meaningless, rather than accept, as did the eager 
 Attic potters, innovations of shape and subject. The group of 
 these amphoras has been made the subject of a searching investi- 
 gation by George Karo (in "Journal of Hellenic Studies," xix. 
 1899, pp. 135-164), who gives a list of forty-four of them, of which 
 the example now exhibited makes the forty-fifth. [Plate XCII.] 
 
 Lent by Mrs. Hall. 
 
 19 LARGE AMPHORA. Black figures on red ground, with white for 
 the flesh of the women: details in purple and white. Height, 49 cm. 
 
 a. Herakles conducted to Olympos : Athena, wearing high-crested 
 
 helmet and aegis with scales (to right), grasps the reins and mounts 
 into a chariot, in which is already Herakles, clad in his lion-skin, 
 with his club over his shoulder. By the further side of the horses, 
 between two goddesses, walks Apollo Kitharoidos, long-tressed and 
 laurel-crowned, beardless and clad in a long chiton, playing on the 
 chelys or lyre. The goddess behind Apollo wears an ivy wreath — 
 the one in front of him a high coiffure or polos ; she turns round 
 towards Apollo and smells a flower. The two may be Artemis 
 and Leto. At the horses' head and partly concealed by them 
 stands Hermes. 
 
 b. Quadriga facing : the two heads of an armed warrior and of the 
 ■ charioteer show just above the middle pair of horses. To each 
 
 side armed attendants. 
 By each handle a fine design of four palmettes, continued with spirals 
 that end in lotus flowers under the handles. On the neck conven- 
 
102 
 
 Exhibition of Ancient Greek Art 
 
 [Part III 
 
 tionalized palmettes. Above and below the subject pictures inter- 
 lacing pointed leaves. At the bottom radiated pattern. 
 
 Said to have been found at Ponte della Badia, Vulci, in 1830, in pre- 
 sence of the then Marquess of Northampton. 
 
 Castle Ashby. [Plate XCIX.] 
 
 Lent by the Marquess of Northampton. 
 
 20 HYDRI A. Black figures on red ground, with white for the flesh of the 
 
 women, and details in purple and white. Height, 40 cm. 
 
 1. Main picture: Hermes with petasos, winged boots, and caduceus. 
 
 leading the three goddesses, Hera, Athena, and Aphrodite, to a 
 bearded man (Paris ?). Processional scheme. The subject appears 
 here in a highly conventionalized form, and is perhaps repeated 
 by the artist without any very just sense of its meaning. On each 
 side a pattern of ivy leaves. Below, a frieze of animals. At the 
 bottom, where the vase joins the foot, a radiated pattern. 
 
 2. On the shoulder : contest of Herakles with the Nemean lion. To 
 
 the right Hermes, clad as below, but with a spear instead of the 
 caduceus, advances towards the central group. To the left Iolaos 
 carrying the hero's club. Behind him again a woman. 
 
 The preservation of this vase is excellent. 
 
 Castle Ashby. [Plate XCIX.] 
 
 Lent by the Marquess of Northampton. 
 
 21 AMPHORA, signed by Andokides. The body of the vase, which is 
 
 of great elegance and of unique shape, is entirely black. It rests 
 on a foot adorned with a simple tongue pattern. The neck, which 
 tapers somewhat towards the top, is decorated with two subjects, 
 executed with the utmost delicacy. 
 
 a. Dionysos, ivy-wreathed, long-bearded and draped, holding a rhyton 
 
 in his right hand, moves to the left. On either side a horse-tailed 
 satyr. In the background conventional foliage. 
 
 b. A quadriga facing. In the chariot the charioteer in long white robe 
 
 and a warrior. On either side two more attendants or grooms. 
 Below the pictures, on the top of the body runs a tongue pattern; under 
 the rim is a stylized ivy pattern. The beautiful fluted handles are 
 adorned at the base by a design in red on black of delicate palmettes 
 surmounted by maeanders. On the top of the orifice, above the 
 " Dionysos," is the signature ANAOKI AE* EPOIE. This Andokides 
 is taken to be identical with the artist whose signature appears on 
 a basis found on the Akropolis ("Jahrbuch," 1887, p. 145). 
 
Case G] 
 
 Vases (Nos. 1-24) 
 
 Klein, " Meistersignaturen," p. 139, 1. Exhibited at the B. F. A. C. 
 in 1888; Cat. Frohner, 108. For Andokides see also A. Furt- 
 wangler and K. Reichhold, " Die Griechische Vasenmalerei," 
 pp. 1 5 ff., where all the more recent literature is quoted. H., 43 cm. 
 
 Castle Ashby. [Plate XCIL] 
 
 Lent by the Marquess of Northampton. 
 
 11 AMPHORA of the "Nolan" type, with reeded handles. Scene in a 
 school or palaestra, divided in two by the handles. On one side a 
 youth, nude, with a cloak thrown over his left arm, and holding his 
 hoop and stick in his left hand, runs to right, followed by a bearded 
 figure, who places his left hand on the young man's shoulder. 
 (The type suggests Ganymedes pursued by Zeus.) The man as 
 he runs lets fall his staff behind him. At the back an old man, 
 wearing long chiton and cloak, and leaning on his staff, appears to 
 be looking on. Under each handle a palmette. In the field between 
 the two chief figures the inscription, AUI<(AI)0* KAIOS (?). (Cf. 
 Berlin 2332, also a Nolan amphora.) Height, 28.5 cm. 
 [Plate XCIL] Lent by C. H. Shannon, Esq., 
 
 and 
 
 C. Ricketts, Esq. 
 
 23 CUP, without foot. Red figures, touched up with white, on black 
 ground. Scenes from the palaistra. 
 1. Youth draped in long cloak. 
 a. Group of three young men conversing. 
 B. Similar group. 
 
 Under each handle a cluster of palmettes. 
 
 Exhibited at the B. F. A. C. in 1888 ; Cat. Frohner, No. 91. Diameter, 
 19.5 cm. [Plate XCIL] 
 
 Lent by the Lord Aldenham. 
 
 iQt HYDRIA. Red figures on black ground. Youth pursuing a maiden. 
 
 The youth (left) appears to be a huntsman ; a drapery is thrown 
 round him above the waist; he wears the high-strapped endromides ; 
 a soft felt hat or petasos hangs over his neck ; in his left hand he 
 carries a couple of hunting spears. He strides rapidly forward 
 towards a maiden clad in a long chiton, who strides as rapidly 
 away from him. Pattern of three maeanders alternating with framed 
 diagonal crosses at the base of the neck. On the vertical rim of 
 the orifice tongue pattern. Height, 28.7 cm. [Plate XCIL] 
 
 Lent by Francis Bennctt-Goldney, Esq. 
 
CASE H 
 
 VASES — continued (Nos. 25-55) 
 N.B. — Nos. 25 to 38 are all White Athenian Lekythoi. 
 
 25 WHITE ATHENIAN LEKYTHOS. Subject: A sculptured or 
 
 painted stele, oval-shaped at the top. On the stele itself is re- 
 presented the dead woman seated on a chair and holding a wreath 
 — in the scheme familiar from countless Greek grave reliefs. 
 Coarse drawing, but the subject is of great interest for the light it 
 throws on the representations on lekythoi (see p. 93). Top broken. 
 [Plate XCIII.] 
 
 26 WHITE ATHENIAN LEKYTHOS. Subject: A stele, composed, 
 
 as it were, of two shafts; the topmost, crowned with double akanthos, 
 rises out of a single akanthos, which terminates the lower shaft. 
 A female mourner on either side. Height, 32 cm. (neck restored). 
 [Plate XCIII.] 
 
 27 WHITE ATHENIAN LEKYTHOS. Subject: Three women are 
 
 carrying offerings toa tomb which is not represented. [Plate XCIII.] 
 
 28 WHITE ATHENIAN LEKYTHOS. Subject: A woman clad in a 
 
 chiton and himation, and wearing a pointed cap, is pouring a liba- 
 tion at a tomb represented as a conical mound raised on a plinth, 
 and adorned with a taenia and a wreath. Rough, poor drawing ; 
 top broken. 
 
 29 WHITE ATHENIAN LEKYTHOS. Subject: Stele, on double 
 
 plinth, surmounted by an akanthos and adorned with a taenia ; to 
 the right, a woman bringing up tray with offerings ; on the left, 
 youth draped in red cloak. [Plate XCIII.] 
 
 30 WHITE ATHENIAN LEKYTHOS. Subject: Stele crowned with 
 
 akanthos, and bound with bright purple taeniae, rises on a double 
 plinth. To the right, a figure, wrapped in a cloak of dull purple, 
 places his foot on the lower step ; to the left, a girl brings up a tray 
 with offerings. Height, 29.2 cm. 
 
Case H] Vases {Nos. 25-55) 105 
 
 31 WHITE ATHENIAN LEKYTHOS. Subject: The stele rises be- 
 
 hind a square basis on treble plinth, doubtless intended for the 
 offerings. On the right, a youth (?) places his foot on the topmost 
 step of the plinth. On the left, a figure in a bright purple cloak 
 leaning on staff. Height, 28 cm. [Plate XCIII.] 
 
 32 WHITE ATHENIAN LEKYTHOS. Subject, Stele rising on a 
 
 triple plinth, and bound with bright red taeniae ; at the top of the 
 stele hangs alekythos ; on either side a male figure wearing a deep 
 purple cloak (the man on the left leans on a staff; the man on the 
 right is almost effaced). Height, 27.3 cm. 
 
 33 WHITE ATHENIAN LEKYTHOS. Subject: Stele in form of a 
 
 fluted column : in front of it, and somewhat to the right, a woman 
 holding a bird in her right hand is seated with the ample grace of 
 the goddesses of the Parthenon frieze or of the Hegeso of the 
 well-known stele ; in her hair a diadem ; she rests her foot on the 
 plinth of the stele. This fine figure, which is intended for the 
 dead woman herself, is doubtless derived from a similar sculptured 
 figure on the actual stele. To the left, a young man. Fine Attic 
 style. Height, 24.2 cm. [Plate XCIII.] 
 
 Nos. 25-33 are lent by the Earl of Elgin, K.G. 
 
 34 WHITE ATHENIAN LEKYTHOS. Subject : Stele on a double 
 
 plinth, surmounted by an egg moulding, above an akroterion com- 
 posed of three palmettes, rising from a semicircular ornament 
 between two volutes. The stele is adorned with purple and gray 
 sashes. At the foot of the plinth a wreath ; the ends of another 
 wreath hang down from behind the second step. On the right a 
 young man, holding a long spear in his right hand. His left is 
 under his short cloak, from beneath which appear the edge of his 
 chiton and the end of his sword sheath. The petasos hangs over 
 the nape of his neck. On the left, a youth, nude save for a cloak 
 carried on his left shoulder, stands with his right arm bent at the 
 elbow, and his right hand extended towards the stele. Both figures 
 seem borrowed from the figures on grave reliefs. The magnificent 
 design and execution recall the fine lekythoi found in Eretria 
 At the top of the main design groups of maeanders alternating with 
 framed crosses. On the shoulder palmettes and spirals on the 
 white slip. Height, 35.8 cm. [Plate XCIV.] 
 
 Lent by George Salting, Esq. 
 
106 Exhibition of Ancient Greek Art [Part III 
 
 35 ATHENIAN LEKYTHOS. Subject : Nike, winged, wearing a long 
 chiton with a dark cloak over it, stands to right, and, with zphiale 
 held in her right hand, pours libation over an altar in front of her. 
 Her left hand is raised. She wears a pointed cap. 
 Along the top of the main picture runs a design of groups of four 
 maeanders alternating with a framed cross. On the shoulder 
 palmettes on the red ground. Height, 25.3 cm. [Plate XCIV.] 
 
 Lent by George Salting, Esq. 
 
 35, 37 TWO FRAGMENTS, from a large lekythos. 
 
 a. Woman seated. She wears a high stepkane, and rests her chin on 
 
 her right hand. The right elbow is supported on the left arm. In 
 front of her a nurse, standing, holds her child, which stretches out 
 its arm to its mother. 
 
 b. Bearded figure. The magnificent head, with the top of the chest 
 
 and the end of a cloak fastened on the left shoulder, are alone pre- 
 served. The man is apparently standing. At the top a maeander. 
 Both designs rank with the very finest relief on sculptured stelai, and 
 show the high level of art attained by some of the despised 
 painters of lekythoi. [Plate XCIV.] 
 
 Lent by Henry Wallis, Esq. 
 
 38 ATHENIAN LEKYTHOS. Subject: Stele, on double plinth, crowned 
 
 with a palmette ; on the left, a maiden carrying a vase and a box 
 with offerings ; on the right, a youth wearing a cloak of which 
 the red colour is still visible. Very delicate drawing. Height, 
 14 cm. [Plate XCIII.] 
 
 39 ATHENIAN LEKYTHOS. Subject: Stele, rising on a double plinth ; 
 
 on either side a female mourner ; the woman on the left carries a 
 tray ; the one on the right wears a chiton of bright purple, and 
 raises one arm to her head and the other to touch the top of the 
 stele. Both heads exquisitely drawn and preserved. Height, 31.2 
 cm. [Plate XCIII.] 
 
 40 ATHENIAN LEKYTHOS. Subject : On the left, a tumulus covered 
 with taeniae ; and to the right, a stele with akroterion. Probably 
 both belong to the same grave (cf. " Journal of Hellenic Studies," 
 vol. xix., 1899, plate II.); but owing to lack of skill the painter 
 
Case H] 
 
 Vases [Nos. 25-55) 
 
 has placed them side by side instead of showing the tumulus rising 
 behind the stele. On the right, a woman brings the customary 
 offerings. Height, 27.3 cm. [Plate XCIII.] 
 
 Nos. 38-40 are lent by the Earl of Elgin, K.G. 
 
 41 CALYX-SHAPED KRATER. 
 
 a. Triptolemos (to right) seated on his winged car, with his sceptre in 
 his left, holding a bunch of wheat-sheaves in his right hand. In 
 front of him Demeter with her torch, holding an oinochoe for the 
 parting libation. Behind, Persephone with a long sceptre. Fine 
 and careful drawing. 
 b. Three women conversing. Execution coarser than that of the picture 
 on the obverse. 
 
 Below the picture, at the height of the handles, a pattern consisting of 
 groups of three maeanders alternating with a framed oblique 
 cross. Above, under the rim of the vase, a pattern of slanting 
 palmettes. Diameter, 39.5 cm. ; height, 35.8 cm. 
 
 Doughty House, Richmond. [Plate XCV.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 42 TALL LEKYTH OS, with red figures on black ground. On shoulder 
 
 palmette ornament. Scene of libation. Nike, winged (left), wearino- 
 the I onic chiton with hintation, and holding an oinochoe in her 
 left hand, stands before Athena, who, full-armed, with aegis, 
 plumed helmet and spear, holds out a patera in her right hand. 
 Height, 34.5 cm. [Plate XCV.] 
 
 Lent by C. H. Shannon, Esq., 
 and 
 
 C. Ricketts, Esq. 
 
 43 OINOCHOE. With red design on black ground. A girl wearing a 
 
 chiton with diplois, and a drapery thrown over the arms, moves to 
 the right playing on a lyre. Her hair is dressed in formal rows of 
 curls in front, and on the back of her head she wears a cap or 
 folded handkerchief. Good, vigorous drawing. The oinochoe is 
 put together out of several fragments. H. 25.7 cm. [Plate XCV.] 
 
 Lent by the Lord Aldenham. 
 
 44 KELEBE or krater with columnar handles. Red figures on black 
 
 ground. Finest Attic style of about 460-450 b.c. Diameter, 41cm.; 
 height, 51 cm. 
 
io8 Exhibition of Ancient Greek Art [Part III 
 
 a. The Contest of Kaineus and the Kentaurs : the foremost kentaur on 
 
 the left heaves a stone wherewith to overwhelm Kaineus, who 
 appears half buried already ; on either side of this central group 
 a centaur carrying great fir-trees. 
 
 b. A Maenad between two nude Satyrs, who attempt to seize her. 
 Each picture rests on a purple band that runs round the vase ; it is 
 
 framed at the top by a row of darts, and on either side by a band 
 of palmettes ; on the horizontal lip runs a lotus pattern ; on the 
 outside edge an ivy wreath. A design of black rays at the bottom 
 of the body. 
 
 The magnificent drawing of the whole composition, and the vigorous 
 and skilful foreshortening of the Kentaurs on the right, make this 
 vase of unique value for the history of Greek painting. 
 
 Published by Ernest Gardner in "Journal of Hellenic Studies," xvii. 
 (1897), pp. 294-305, and plate VI. The vase was found at Vitor- 
 chiano, and was once in the possession of Depoletti. 
 
 Harrow School Museum : Cecil Torr, Cat., 50. [Plate XCVIL] 
 
 Lent by the Harrow School Museum. 
 
 45 BLACK OINOCHOE, with fluted body and handles, and a roughly 
 
 executed mask of Seilenos at the lower junction of body and 
 handle. Height, 16.5 cm. 
 
 Lent by A If red de Pass, Esq. 
 
 46 HYDRIA, of very delicate red figured style: "Toilet of Aphrodite." 
 
 In the centre, Aphrodite seated, turned to the left, in high-backed 
 chair ; with her left hand she holds a tress of hair and turns her 
 head to look at an attendant behind her. A winged Eros binds 
 her sandals; a second Eros hovers about her head; immediately 
 behind her an attendant enveloped in long cloak ; to right, youth, 
 nude, holding one end of his chlamys with his left arm and holding 
 its other end under his right shoulder. To the right again, a girl, 
 nude to waist, and with drapery over the lower part of the body, 
 raises her arm to tie up her hair ; she wears a necklace of gold 
 beads. To the left, a group of an attendant seated with a box on 
 her knees, another attendant facing her — the motive reminds one 
 of the stele of Hegeso on the celebrated grave relief at Athens. At 
 the back, under the handles, elaborate system of palmettes. At the 
 base of the neck of the vase a string of gold beads. Tongue pattern 
 on lip. The flesh of Aphrodite and Erotes is in white ; details such 
 as the necklace are modelled in relief and gilt. The ordinary 
 
Case H] 
 
 Vases [Nos. 25-55) 
 
 interpretation of this type of scene as a " Toilet of Aphrodite " 
 has been adopted here ; but, as a fact, the conception, as so often 
 in vase-paintings, hovers between real life and the mythological 
 world. By an easy transference of thought the real bride is pre- 
 sented in the guise of Aphrodite, or rather there was a commingling 
 of the two notions in the minds both of painter and of spectator. 
 The usual date assigned to these vases is the end of the fifth or the 
 beginning of the fourth century B.C. (compare the Pelike in the 
 British Museum with " Peleus seizing Thetis," E 424). Recently, 
 however, Furtwangler has brought their date down to the Alex- 
 andrian period (see " Griechische Vasenmalerei " by Furtwangler 
 and Reichhold, p. 204, where a hydria in Munich exactly similar 
 in style to the one now exhibited is published). Height, 30.5 cm. 
 [Plate XCV.] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 47 OINOCHOE. A girl, clad in a thin clinging chiton, holds up the end 
 
 of her cloak with her right hand with the gesture known from the 
 statues of the type of the "Venus Genitrix." Her wavy hair is 
 tied in a bunch at the back. In her left hand she holds a box and 
 broad sash or ribbon. Style of the Meidias vase, but of coarser 
 execution. Height, 21.5 cm. [Plate XCVI.] 
 
 Lent by Professor Percy Gardner. 
 
 48 CALIX-SHAPED KRATER from Magna Graecia. Red figures on 
 
 black ground. Latter half of fifth century. Vigorous drawing. 
 Put together out of many fragments, but complete. Foot, handles, 
 and the rim are entirely black ; at the top of the picture a band 
 of slanting palmettes ; at the bottom, a band of groups of three 
 maeanders alternating with crosses within squares ; where the 
 handles join the vase a pattern of rays. Height, 46.5 cm. ; 
 diameter, 45.8 cm. 
 Obv. : In the foreground, Polyphemos drunk and asleep; to the right, 
 Odysseus, wearing pilos and cloak, holds a firebrand, while two 
 of his companions advance from the left, bringing other burning 
 firebrands to make the fire in which to harden the stake of olive 
 wood which three other companions are pulling up in the centre 
 of the picture (cf. the episode as told in Odyssey, ix. 320-323). 
 At the back of Polyphemos is a cup of the kantharos shape and an 
 empty wineskin (?) hanging from the bough of a small tree, The 
 presence of the satyrs, who are springing forward from the right, 
 suggests a connection of this scene with the Satyric drama: and 
 
1 IO 
 
 Exhibition of Ancient Greek Art [Part III 
 
 it has been pointed out that in the " Kyklops " of Euripides a chorus 
 of satyrs was introduced. A noteworthy attempt at perspective 
 appears in the vase, the figures being disposed in three different 
 planes. 
 
 Rev. : Two groups of two young men wrapped in long cloaks and 
 engaged in conversation. 
 
 First published and described by F. Winter in " Jahrbuch des Archaol. 
 Instituts," 1891, plate VI., pp. 271-274. For the district which 
 produced these vases, which imitate Attic kraters of the period 
 between 440 and 430 B.C., see Furtwangler, " Masterpieces," p. 109. 
 
 Doughty House, Richmond. [Plate XCVIL] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 49 SMALL AMPHORA, with red figures on black. Height, 11 cm. 
 
 a. Two young athletes standing ; one holds a strigil, the other a diskos, 
 
 adorned with a swastika or hooked cross. 
 
 b. A young man, wrapped in a cloak and leaning on a staff — probably 
 
 the gymnasiarch. [Plate XCVI.] 
 
 Lent by C. Newton- Robinson, Esq. 
 
 50 OINOCHOE. Red figures on black ground. Boreas pursuing Orei- 
 
 thyia. Hasty drawing, but with a sense of movement and skilful 
 rendering of the draperies. The heads are poor and ill -drawn. 
 Below the picture a maeander pattern, above, ovolo pattern. 
 Height, 17.2 cm. 
 
 Lent by Professor Percy Gardner. 
 
 51 LARGE KYLIX. 1 . Within a circle decorated with a band composed 
 
 of groups of three maeanders alternating with a framed cross and 
 framed chequers, a young man draped in a cloak — presumably a 
 gymnasiarch — leaning on his staff, and with his left hand placed on 
 his hip, converses with a younger, smaller man, similarly draped, 
 who holds up his right hand with the palm turned upward. In the 
 field, behind the taller man, an aryballos tied to a peg ; below, 
 objects inside a net. Diameter, 32.5 cm. 
 
 Exterior : a. and b. On each side a group of six young men draped 
 and leaning on their staffs, conversing in various attitudes. An 
 aryballos, hanging from a peg, marks each scene as taking place 
 within a gymnasium. Style of Brygos (cf. No. 70 in Case I). 
 
 Doughty House, Richmond. [Plate XCV.] 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
Case H] 
 
 Vases [Nos. 25-55) 
 
 1 1 1 
 
 52 AMPHORA. Red figures on black ground. Coarse, vigorous drawing ; 
 grooved handles ; palmettes on neck. Height, 46 cm. 
 
 a. Herakles clad in a short chiton and his lion-skin, with bow and 
 
 arrows in his left hand, leans with his right hand on his club. He 
 stands facing Athena (right), who with her right hand under her 
 chin, and her right foot supported on a rock (by an error of draw- 
 ing the elbow does not rest on the knee as it doubtless should), 
 appears engaged in familiar conversation with the hero. The 
 goddess is fully armed, and holds lightly the spear that rests 
 against her left shoulder. Behind stands Iolaos clad in a chiton, 
 with cloak fastened by a large brooch over his right shoulder. He 
 wears a soft broad-brimmed hat (petasos), shoes strapped up his 
 legs, and holds two lances in his left hand. 
 
 b. An old man with white hair and beard (Zeus ?), holding a sceptre, 
 
 stands between two other bearded figures. 
 Shown at the B. F. A. C. in 1888 ; Cat. Frohner, 115. 
 Castle Ashby. [Plate XCV.] 
 
 Lent by the Marquess of Northampton. 
 
 53 OINOCHOE, with reeded handle. A nude youth holds a hoop in 
 his left hand and a thick stick to drive it with in his right. His 
 head is turned back on his left shoulder. The type is taken from 
 a group of Zeus pursuing Ganymede (cf. No. 22 in Case G). 
 Harrow : Cecil Torr Cat., 56. Height, 28.5 cm. [Plate XCV.] 
 
 Lent by the Harrow School Museum. 
 
 54 AMPHORA, with twisted handles. Height, 47 cm. 
 
 a. A bearded Seilenos, snub-nosed, and with horse's tail and ears, holds 
 
 a helmet in his left hand, and carries, slung over his right hand 
 by a leather thong, a pair of greaves, which are further held together 
 at the bottom by a horizontal bar. The Seilenos wears his hair 
 longish, and tied in a knot at the back. In front it is arranged in 
 little firmer curls, very skilfully represented by means of body 
 colour. He also wears a wreath. 
 
 b. A similar Seilenos, but bald-headed. He carries a spear in his right 
 
 hand and a shield on his left arm. The drawing is elegant and 
 vigorous, and reminds one of the style of Duris. 
 Harrow: Cecil Torr Cat., 55. [Plate XCV.] 
 
 Lent by the Harrow School Museum. 
 
I 1 2 
 
 Exhibition of Ancient Greek Art 
 
 [Part III 
 
 55 HYDRIA. On the shoulder a long frieze-like design representing the 
 murder of Aigisthos. In the middle Aigisthos, seated to left, 
 leaning with his left hand on a sceptre. He sinks back already 
 wounded in the right breast, whence a stream of red blood is 
 escaping. Orestes has seized him under the right elbow ; grasp- 
 ing his short sword firmly, he advances with mighty stride as 
 if to deal a second blow. Behind Aigisthos, Klytaimnestra 
 rushes up swinging a long axe to protect or avenge her lover. 
 Possibly she is not aware that the murderer is her own son. But 
 the interpretation of the main personages is made certain by other 
 representations of the scene where the figures are inscribed. Be- 
 hind Klytaimnestra is a maiden (Elektra? Chrysothemis ?) running 
 and extending her arm as if in deprecation. Behind Orestes, 
 another warrior, and behind him again a male figure seated, leaning 
 on a club. This hydria, which is unpublished, is an interesting 
 addition to the list of seven vases with the same subject which 
 Robert, " Bild und Lied," pp. 149 ff., takes as starting-point for his 
 discussion of the myth as represented by the vase painters. 
 Between the handles runs a pattern of palmettes. 
 From Athens. The vase is in perfect condition and free from any 
 restoration. Height, 28.5 cm. [Plate XCV.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 55* FOUR FRAGMENTS FROM A VASE, representing a " Toilet 
 of Aphrodite." In the centre Aphrodite or the bride (cf. No. 46) 
 sits (to left) in a chair with curving back, upon which she rests her 
 left arm. An Eros flies towards her, probably holding a fillet or a 
 necklace. All around attendant maidens. Attic drawing of the 
 Pheidian period. [Plate XCVL] 
 
 Lent by Mrs. S. Arthur Strong. 
 
CASE I 
 
 VASES — con tin ued (Nos. 56-88) 
 
 56 {in the centre of top shelf) PYXIS, with lid. Red figures on black 
 
 ground, which has, however, partially faded. The lid is adorned 
 with a design of palmettes. Around the body of the pyxis, disposed 
 as a frieze, are represented toilet and other scenes preparatory to a 
 marriage ceremony. Within a chamber of the bride's house, indi- 
 cated by columns and a roof, of which the triglyphs are shown, sits 
 the bride, with an Eros upon her knee ; in front of her a seated female 
 figure, with high radiate stephane, presumably Aphrodite ; and 
 standing opposite the goddess, leaning against the column, another 
 female figure, who may be Peitho or an ordinary attendant. On the 
 right, outside this chamber, is a scene practically unique in vase- 
 painting : a woman, presumably the bride, crouches, in the attitude 
 of the famous " Venus accroupie," while an Eros pours water over 
 her; in the field above hang a lekythos and another toilet jar (cf. the 
 beautiful " bath scene " on the Evans gem, Case L, No. 60). Then 
 comes a woman standing, perhaps the bride again, tying the girdle 
 over her chiton, with an Eros holding a large toilet box standing 
 in front of her. Next are two women, probably attendants, who are 
 decking the tall loutrophoros jar with sashes. Finally, facing full to 
 the front, the charming figure of a girl binding a fillet round her 
 hair (" Diadumene "); behind her a stool with cushion. The whole 
 composition is of surpassing delicacy and grace. The tenderness 
 and spontaneity of sentiment that pervade the whole are unmatched 
 even in the beautiful marriage scene of Herakles and Hebe on the 
 pyxis No. 73. Height to top of lid, 17.3 cm. [Plates XCVII. and 
 
 Lent by Cecil H. Smith, Esq. 
 
 57 SMALL LEKYTHOS, decorated with dancing nymphs and Seilenoi; 
 
 in black on the white slip. The shoulder has a pattern of leaves and 
 rays on the red clay. From Athens. Height, 10 cm. [Plate 
 XCVII.] Lent by Henry Wallis, Esq 
 
 Q 
 
ii 4 
 
 Exhibition of Ancient Greek Art [Part III 
 
 58 LEKYTHOS, with red design on black ground. The neck and 
 shoulder are left in red and richly decorated with rays. On the 
 body is Selene, draped in a thin chiton, riding (to the right) ; in 
 her hand she holds a forked wand ; in front of her a star. Her horse 
 is stooping, as if to graze or drink. The composition is of great 
 beauty : the style is that of the Parthenon frieze and the Meidias 
 vase. (For Selene riding, see Savignoni in " Journ. of Hell. Stud.," 
 xix., 1899, p. 271.) Height, 16.2 cm. [Plate XCVI.] 
 Found in Boeotia in 1891. Lent by George A. Macmillan, Esq. 
 
 5g ALABASTRON in the shape of a helmet with cheek pieces that 
 disclose the eyes, mouth and chin. The orifice is placed where 
 the socket for the plume would be. Over the frontal a delicately 
 incised palmette. The technique is that of the black-figured vases. 
 H., 6 cm. [Plate XCVI.] Lent by Alexander Ionides, Esq. 
 
 60 KYLIX. Red figures on black ground. Diameter, 17.4 cm. 
 
 1. a. Theseus slaying the Minotaur within a palace, indicated by a 
 column and architecture, while the labyrinth is symbolized by a 
 pattern of alternating maeanders and chequers. The circle that 
 contains this composition consists of a pattern of groups of four or 
 three maeanders separated by chequer squares. All around this 
 inner subject are represented six of the other labours of Theseus, 
 in the following order, beginning from the left handle. (1) Sinis. 
 (2) Skiron (with the tortoise at the bottom of his rock). (3) The 
 Marathonian bull. (4) Prokroustes. (5) Kerkyon. (6) The sow 
 of Krommyon. Five of these scenes are repeated around the ex- 
 terior of the kylix. The exploit of the Marathonian bull is omitted, 
 and in the Sinis and Prokroustes scenes the relative positions of 
 the figures are inverted. Under each handle a palmette. 
 
 The vase is practically a replica, on a smaller scale, of the fine kylix 
 in the British Museum (E 84; published by Cecil Smith in the 
 "Journal of Hellenic Studies," ii. 1 88 1, plate X.). A large piece of 
 the vase (including the lower half of the Sinis episode, the front 
 hoofs of the bull and right leg of Theseus, as well at the top 
 segment of the inner composition) has been restored from the better 
 preserved example in the British Museum. [Plate XCVII.] 
 
 Lent by the Harrow School Museum. 
 
 61 ARYBALLOS. Red figures on black ground; Attic, middle of fifth 
 
 century. Height, 18.8 cm. 
 Scene of libation and departure. From the left a girl in long chiton 
 with her hair daintily bound by a handkerchief, comes forward with 
 
Case I] 
 
 Vases {Nos. 56-88) 
 
 a patera in her right hand and an oinochoe in her left. In front of 
 her a young man wearing a cloak fastened with a brooch over his 
 right shoulder, and with the petasos hanging over his neck at the 
 back. With his left hand he grasps a long staff. Between the two 
 figures a shield, with a plumed helmet upon it, lie on the ground. 
 On the right of this main group, a bearded man wrapped in a long 
 cloak looks on leaning on a short staff. Under the handle a beautiful 
 design of palmettes and spirals. At the base of the neck tongue 
 pattern. Above and below the main design ovolo pattern. [Plate 
 XCVI.] Lent by the late Alfred Higgins, Esq. 
 
 62 {in centre of shelf) OINOCHOE. The body is covered with a creamy 
 
 slip, upon which the design is carried out in black-figured technique, 
 and partially incised : in the centre a tree, in the branches of which 
 a man is hiding from the attacks of a wild boar and a lion that 
 approach the tree on either side. The animals are rendered with 
 the utmost care and delicacy, and at the same time are true to 
 nature. The movement of the boar, the erect bristles, savage snout 
 and writhing tail, are all indicated, not perhaps without a touch of 
 humour (cf. the bronze lion and boar, Nos. 63 and 65 in Case C). 
 Details are touched up with purple. At each side of the handle 
 and under it a design of palmettes and spirals. At the base of the 
 neck, between lines raised in relief, a band of spirals. The handle 
 is fluted, the central fluting being left in red, while each of the 
 lateral flutings terminates just on the rim of the vase in snakes' 
 heads, which are modelled in the red clay, with details drawn in 
 black paint. At both points of junction of handle and body, a female 
 head in relief, painted white, with details reserved in red. This 
 highly interesting vase is one of a small group, of which the best 
 known example is the " Peleus and Cheiron" oinochoe in the British 
 Museum. Height to top of handles, 28.8 cm. [Plates XCVII., 
 XCVIII.] Lent by Mrs. Ludzvig Mond. 
 
 63 BLACK CUP, adorned in the interior with high knob in the centre, 
 
 and a frieze in relief repeating six times the quadriga of Helios 
 seen in front view. Around the central knob the inscription in 
 raised characters : L. CANOLEIOS L. F. FECIT. CALENOS. 
 Nine cups by the potter Canoleios of Cales are known (Rayet and 
 Collignon, " Ceramique Grecque," p. 348). The vases closely 
 imitate metal work. This cup is probably the one described in 
 C. I. L., x., 8054, 2, b, of which it is said " Neapoli venit Romam 
 
n6 
 
 Exhibition of Ancient Greek Art [Part III 
 
 ad Castellanium." Diameter, 17.7 cm. [Plate XCVI.] See 
 Addenda. Lent by Mrs. Hall. 
 
 64 KYLIX. Red figures on black ground. Diameter, 23.4 cm. 
 
 1. Girl wearing a pointed cap, from which her hair escapes at the front 
 and sides, bends over to right to place what seems to be a bundle 
 of clothes, or perhaps her own himation rolled up (cf. the poly- 
 chrome lekythos, D 48 in the Brit. Mus.), on the foot of a bed. 
 Behind, on a table or stand, a lamp burning. Round the design, 
 within the circular band of maeanders, the inscription, HE PAI^ 
 KAUo* (sic). 
 
 a. Scene of preparation for the Palaistra. Youth to left, leaning on 
 
 staff, holding a purple fillet. In the centre a youth preparing to 
 put on his cloak ; on the right a youth standing, holding a strigil 
 in his right hand. 
 
 b. Within the Palaistra : A group of two wrestlers in presence of the 
 
 brabeus, who stands leaning on his staff and holding in his right 
 hand another staff, forked. In the background a pillar or goal ; 
 halteres hanging up on one side, a lekythos and strigil on the 
 other. The wrestlers are drawn with great skill, and the group 
 should be compared with the much later marble group in the 
 Tribune of the Uffizi. Above each of the scenes on the exterior 
 the same inscription as on the interior. [Plate XCVI.] 
 
 Lent by Mrs. Hall. 
 
 65 KYLIX, signed by Pamphaios. Red figures on black. Interior: Satyr 
 
 runs to right with wineskin slung over his left shoulder and rhyton 
 in his right hand. Around the figure the signature nA[/^]CDA[IO^] 
 ETOIESEN. 
 
 a. and b. Young warriors arming, and above the legend HO PAIS KALOS. 
 
 The handles are flanked on either side by winged horses. 
 Klein, " Meistersignaturen," p. 94, 19. Exhibited at the B. F. A. C. 
 
 in 1888; Cat. Frohner, 109. Diameter, 32 cm. 
 Castle Ashby. [Plate XCVI.] 
 
 Lent by the Marquess of Northampton. 
 
 66 {top shelf) SMALL OINOCHOE. A boy (Dionysos ?) wearing a 
 
 radiate diadem rides a mule to the left : opposite him a boy with 
 similar diadem holding an oinochoe in his left hand. The picture 
 is framed at top and bottom by a tongue pattern, and by plain lines 
 at the sides. Height, 1 1.8 cm. [Plate XCVI.] 
 
 Lent by Alexander I onides, Esq. 
 
Case I] 
 
 Vases (JVos. 56-88) 
 
 117 
 
 67 DEEP ONE-HANDLED CUP. Delicately executed chequer pattern 
 on the offset lip; below, framed darts; under the handle and at its 
 sides an elegant design of palmettes. Between these palmettes a 
 group of three figures: a woman playing the double flute, preceded 
 by a bearded man looking back at her and holding a flower in each 
 hand; behind her comes a youth, holding a flower in his left hand. 
 Each of the men wears a wreath indicated in purple. Below runs 
 a network pattern, under that again a narrow pattern of ivy-leaves. 
 Above the handles the inscription BPA+A* kAU05 is delicately 
 incised. The vase is a masterpiece of Attic vase-painting. The 
 beauty and balance of the composition and the delicacy of the 
 draughtsmanship have never been surpassed and rarely equalled 
 within the potters' workshops. Height, 13.5 cm.; diam., 13.9 cm. 
 Klein, " Griechische Vasen mit Lieblingsnamen " (1898), p. 118 and 
 fig. 31. [Plate XCVI.] 
 
 Lent by the Victoria and Albert Museum. 
 
 63 ALABASTRON IN THE FORM OF A LOBSTER'S CLAW. 
 
 At the base of the neck a plait pattern ; at the base of the handle a 
 diagonal cross framed. The main design represents a fox with 
 very long tail devouring a cock. On the opposite side a dog running. 
 The fangs of the lobster are decorated with a spiral ending in a 
 trefoil leaf. Red-figured technique of the good period. Length, 
 16 cm. [Plate XCVIL] Lent by Henry Wallis, Esq. 
 
 69 SMALL HYDRIA, of the shape distinguished as Kalpis. A girl 
 
 (right) stands holding a long skein of wool above a work-basket 
 which stands on the floor in front of her. Facing her a young 
 man enveloped in a long cloak and leaning on a staff. The wool 
 had evidently been painted white, but the colour has peeled off. 
 Height, 18 cm. [Plate XCVI.] 
 
 Lent by Francis Bennett-Goldncy, Esq. 
 
 70 KYLIX, with designs in red on a black ground representing scenes 
 
 from the Palaistra. Diameter, 27.7 cm. 
 In the interior, within a circular band composed ot groups of three 
 maeanders alternating with framed crosses, a young man draped in 
 a cloak and leaning on a staff is conversing with a younger man 
 similarly draped. 
 
 Exterior : on each side a group of five youths. They are all draped in 
 himatia, save for one youth who is represented as preparing to put 
 
1 1 8 
 
 Exhibition of Ancient Greek Art [Part III 
 
 on his. A number of aryballoi and strigils hanging from pegs 
 mark the scene as taking place within the palaistra. Style of 
 Brygos (cf. No. 51 in Case H). [Plates XCV, XCVL] 
 
 Lent by Henry Oppenheimer, Esq. 
 
 71 (H., 6.3 cm.), 72 (H., 5 cm.), TWO TOY-OINOCHOAI. On the 
 red-figured example, a child, with drapery from the waist, is 
 playing with an animal. On the other, a boy, painted in white, with 
 red for the hair, and a band from which hang little amulets 
 (spargana) passing across his body under his left arm, is playing 
 with a ball. [Plate XCVII.] Lent by Cecil H. Smith, Esq. 
 
 73 TOY OINOCHOE. A boy in a cloak thrown over his left shoulder, 
 and passing under his right arm, holds a bird in both his hands, 
 and pushes a toy cart in front of him. To the right appears the end 
 of a couch or bed upon which a cloak is thrown. H., 9.2 cm. 
 [Plate XCVII.] Lent by Mrs. Hall. 
 
 J4 PYXIS. On the lid is represented the Marriage Procession of Herakles 
 and Hebe. The subject is conceived in the spirit of the Eastern 
 frieze of the Parthenon, the seated gods awaiting the procession 
 that is moving towards them from the left. 
 The Procession is marshalled by an Eros holding a blazing torch, and 
 looking back towards the bridal couple. Herakles, young and 
 beardless, with cloak thrown over his shoulders, and holding his 
 club with his left hand, leads Hebe by the wrist. She is clad in a 
 beautifully embroidered chiton ; an Eros flying towards her from 
 behind adjusts her bridal veil. Behind, Eros again, near the 
 attendant maidens, the first of whom carries the tall loutrophoros 
 vase, and turns her head towards the second maiden, who carries 
 in her left hand a box or tray and a long fringed and embroidered 
 sash. In the field, behind the last maiden, a chest; between the 
 first maiden and the Eros a second chest ; between the Eros and 
 Hebe a bird; between Herakles and the first Eros a low plinth 
 or altar with fruit upon it ; and between the marshalling Eros and 
 the first of the gods, another bird facing the bird behind Hebe. 
 This bridal procession, then, is received by a standing goddess 
 Hestia, holding in each hand a long torch. Behind her are three 
 of the great gods seated, namely, Athena, fully armed with aegis, 
 hel net and spear ; then the group of Hera and Zeus, each hold- 
 
Case I] 
 
 Vases {Nos. 56-88) 
 
 119 
 
 ing their sceptres, and seated side by side on thrones, and behind 
 these, leaning familiarly over Zeus, a third beautiful winged Eros. 
 On the ground, between Zeus and Eros, stands a tripod with 
 incense burner, and here and there gold flowers on purple stems 
 spring from the ground. This admirable picture is carried out 
 with great wealth of detail, and yet with astonishing sobriety of 
 effect; the jewellery, the fruit, and other details are in relief and 
 gilded ; white is used for the flesh and dress of Hebe, for the flesh of 
 the Love-gods and the aegis of Athena. For the general style Mr. 
 Cecil Smith compares the class of aryballoi vj'xth. gilding (cf. the two 
 fine specimens in the Brit. Mus., E. 696 and E. 697), and rightly 
 remarks that " in respect of its size, refinement of drawing, and 
 the interest of its very unusual subject, this Pyxis is one of the 
 most important known." 
 Formerly in the Forman Coll. (Cat. C. Smith, 364). Diam. of lid, 2 1 cm. 
 [Plate XCVI.] Lent by John Edward Taylor, Esq. 
 
 75 KYLIX. 1. A Seilenos of somewhat grotesque type carrying (to right) a 
 large two-handled bowl. See Addenda. 
 Exterior: a and b. A satyric rout. 
 
 On the one side parody of a chariot race ; a Seilenos in a chariot drawn 
 by a couple of other Seilenoi, followed by another chariot driven 
 by a Seilenos, and drawn by two Maenads wearing pointed caps and 
 with skins over their backs ; in the field between the Seilenoi and 
 the Maenads hangs a wineskin ; in the middle a Maenad blowing 
 a long trumpet; on the left of this figure hangs a basket; on the 
 left a dead hare. The pose of the Seilenos in the chariots is admir- 
 ably parodied from that of ordinary charioteers. 
 
 On the other side of the cup parody of a horse-race : two Seilenoi rid- 
 ing on wineskins; then a Seilenos, similar to the one in the interior, 
 with a large bowl, and facing him a Seilenos with a rhyton. On the 
 inside and both the exterior sides the inscription, fcroifcSk/^, 
 but without the artist's name. The style suggests the hand, or 
 the influence, of Pamphaios (cf. No. 65). 
 
 From the Hope and Forman Collections, Forman Cat., C. Smith, No 
 331; Klein, " Meistersignaturen," p. 113, No. 10. Diam., 31 cm. 
 [Plate XCVI.] Lent by C. H. Shannon, Esq. 
 
 and 
 
 C. Ricketts, Esq. 
 
1 20 
 
 Exhibition of Ancient Greek Art [Part III 
 
 76 TWO-HANDLED CUP on foot, glazed earthenware, painted green 
 (which has partially faded) on the outside and yellow inside, orna- 
 mented with designs in relief. Good example of Hellenistic glazed 
 ware, probably of Asia Minor fabric. (See Rayet et Collignon, "La 
 Ceramique Grecque," pp. 365 ff.) Height, 8.5 cm. 
 
 Obv. : Satyr moving to right, carrying an object which is indistinct. 
 Behind him a winged figure (Eros?) with cymbals. Behind this 
 figure, but moving in an opposite direction, a Maenad with head 
 thrown back, holding the thyrsos. 
 
 Rev.: Close to the handle, a veiled female figure, dancing to left. In 
 front of her a second Maenad with flowing drapery, her head thrown 
 back, and brandishing the thyrsos. In front of the Maenad a tall 
 vase with high handles. Near the handle, and facing the satyr of 
 the obverse, a second veiled dancer. [Plate XCVIL] 
 
 Lent by Henry Wallis, Esq. 
 
 77 TWO-HANDLED CUP of glazed earthenware, precisely similar in 
 character to No. 14, but with flat bottom instead of a foot. 
 Below the plainly-moulded rim a flat band ; below that again two 
 narrower bands. The body is covered by a scale-like ornamenta- 
 tion in three tiers, with rosettes along the top between the points 
 of the scales. At the base a row of conventional leaves. H., 7.3cm. 
 
 Lent by Henry Wallis, Esq. 
 
 78 ALABASTRON in the shape of male left foot to above ankle, wearing 
 
 a sandal with red straps. The sole is decorated with two rows of 
 dots. The technique is that of black-figured vases (a similar vase 
 in Berlin, Furtwangler, " Vasencatalog," 3956rr:Furtwangler, Coll. 
 Sabouroff, above text to plate 52). Height, 8 cm.; length, 9.5 cm. 
 [Plate XCVI.] Lent by Mrs. Hall. 
 
 79 FLAT PLATE, signed by Epiktetos. Boy, long-haired, wearing a 
 
 wreath, with his cloak thrown over his left shoulder, rides a colossal 
 cock to the left. In the field around the figures fcTIKTETO* 
 fcAPA^CDfc/^. Very delicate drawing in the master's most character- 
 istic manner. Diameter, 18.5 cm. 
 
 Klein, " Meistersignaturen," p. 105, 16. Exhibited at the B. F. A. C. 
 in 1888; Cat. Frohner, no. 
 
 Castle Ashby. [Plate XCVI.] 
 
 Lent by the Marquess of Northampton. 
 
Case I] 
 
 Vases (Nos. 56-88) 
 
 1 2 1 
 
 80 KOTYLE. Scene in the interior of a gymnasium. 
 
 a. Young athlete, seated on the ground, holding 'his left knee drawn 
 
 up and clasped with both hands; in the field to the back hangs an 
 alabastron, to the left a thong knotted with a purple cord. 
 
 b. An athlete bends to right, marking the ground with his skapane or 
 
 axe ; in front of him hangs an alabastron and a strigil ; behind him a 
 shaft or goal. Fine severe style of about 460 B.C. 
 Formerly in Forman Coll. (Cat. C. Smith, No. 358, with illustration). 
 Diameter, 10.2 cm.; height, 7.9 cm. [Plate XCVI.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 81 OINOCHOE in form of a female head with triple row of curls. Same 
 
 technique as vases with black figures on red ground. H., 13.3 cm. 
 [Plate XCVI.] Lent by Henry Oppenheimer, Esq. 
 
 82 KYLIX, with red figures on black ground. Diameter, 27 cm. 
 
 1. Bearded reveller, nude, wearing a wreath and long fillet moves to 
 right, holding a lyre in his left hand, and a knotted club in his right. 
 Across his back and hanging down over each arm a drapery. The 
 composition is admirably planned so as to fill the circle. 
 
 On the exterior : (a) Combat scenes ; (b) A symposium. 
 
 Characteristic design and drawing of the best Attic period— first half of 
 fifth century. [Plate XCVI.] 
 
 Lent by the late Alfred Higgins, Esq. 
 
 [N .B.—At the last moment a small archaic aryballos, with designs in red 
 on the natural colour of the clay, has been lent by Mr. Henry 
 Wallis. It was found in a tomb at Cumae by Mr. Emilius Stevens. 
 It is numbered 68* [Plate XCVI.].] 
 
 The following six vases (Nos. 83 to 88) are arranged on the top of 
 
 Cases E and F. 
 83 AMPHORA. Height, 39 cm. 
 
 a. Bearded man, draped in a long cloak and leaning on a staff, bends 
 
 forward with his right arm outstretched in prayer to a Hermes 
 placed on a term which is raised on a double plinth. At the side 
 of the term a dog. 
 
 b. Scene in a palaistra. A young man, draped, leaning on a staff, 
 
 instructs a youth who is holding two long poles. 
 This interesting vase, which has been broken and restored, and, un- 
 fortunately, much repainted, is reproduced from Gerhard by Reinach, 
 
 R 
 
122 
 
 Exhibition of Ancient Greek Art [Part III 
 
 " Repertoire des Vases," p. 135, Nos. 12 and 14, but with a query 
 as to its present whereabouts. Formerly in Depoletti's Collection. 
 [Plate XCIX.] See Addenda. 
 
 Lent by the late Alfred Higgins, Esq. 
 
 84 LARGE KRATER, with handles a colonette. Height, 48 cm. 
 
 a. Victorious charioteer : a young, beardless man, clad in the long robe 
 
 of the charioteers, is guiding to the left, and presumably to the 
 goal, his fiery team of four horses. To him advances Nike, who, 
 with outstretched wings and a motion half gliding, half running, 
 appears to be alighting to earth just behind the horses. She is 
 clad in a thin chiton with a cloak draped over it, and extends her 
 hands as if in welcome. Her hair is confined by a radiate crown. 
 Vigorous design of the fine period. 
 
 b. Three young men cloaked and holding staves, engaged in conversa- 
 
 tion. Poor, coarse drawing. Very inferior to the obverse. 
 The vase once belonged to the poet Rogers, and was afterwards in the 
 Forman Coll. [Plate XCIX.] 
 
 Lent by C. Newton- Robinson, Esq. 
 
 85 KRATER, with red figures on a black ground. Height, 33 cm. 
 
 a. Four young huntsmen conversing. The first on the right has his 
 
 right leg raised on a rock, and supports his right elbow on his knee; 
 in his right hand he holds a knotted club. Next comes a youth 
 wearing a broad-brimmed hat tied under his chin and also at the 
 back of his head. With his left hand he carries game slung over 
 his stick. In his right he holds a knotted club. A third youth, 
 wearing a pointed hat, tied loosely under his chin, leans against a 
 rock, and turns round to speak to No. 2. A fourth youth, with his 
 hat hanging on the back of his neck, leans on his club and looks 
 towards the other three. Charming composition and design, in- 
 spired by the style of the frieze of the Parthenon. 
 
 b. Three youths, in long cloaks, conversing. Coarse, clumsy drawing, 
 
 inferior to that on the obverse. 
 At the bottom maeanders alternating with chequers. At the top, under 
 rim, design of laurel leaves. [Plate XCIX.] 
 
 Lent by C. Newton- Robinson, Esq. 
 
 86 AMPHORA, with designs in black on red within panels. H., 26.2 cm. 
 a. Ariadne and Dionysos, who is ivy-crowned and holds the rkyton, 
 
 seated side by side on an okladias ; behind, conventional foliage 
 with bunches of grapes. 
 
Case I] 
 
 Vases (Nos. 56-88) 
 
 123 
 
 b. Rough design of two nude figures carrying clubs. On the neck 
 palmettes. Reeded handles. 
 
 Lent by Herbert Rigg, Esq. 
 
 87 LARGE AMPHORA with lid. Black figures on red ground. H.44C1T1. 
 
 a. Dionysos, ivy-crowned and robed, holding a rhyton and riding his 
 
 mule ; on either side of him a Seilenos, horse-tailed and eared. 
 Behind, conventional foliage. 
 
 b. Group of three combatants in full armour, the central one of whom 
 
 sinks on one knee. 
 Usual accessory designs of palmettes, etc. ; rough, somewhat careless 
 
 execution. 
 Harrow: Cecil Torr Cat, 27. 
 
 Lent by the Harrow School Museum. 
 
 88 AMPHORA, with designs in black on red. Height, 25 cm. 
 
 a. Full-armed warrior with dog standing between two beardless men 
 
 draped in cloaks, each of whom holds a spear. 
 
 b. A woman (flesh parts in white) stands to right between two full- 
 
 armed warriors, each of whom is moving away from her. 
 On the neck palmettes. By the handles palmettes and spirals, that end 
 in lotus flowers under the handles. 
 
 Lent by Herbert Rigg, Esq. 
 
PART IV 
 GREEK COINS 
 
 By G. F. Hill, of the Department of Coins at the British Museum. 
 
GREEK COINS 
 
 INTRODUCTORY 
 
 HE coins exhibited have been chosen from four collec- 
 tions, each selection being kept separate. Within each 
 selection, the arrangement of the coins is in the first in- 
 stance geographical, from west to east, along the north 
 coast of the Mediterranean, and from east to west along 
 the south coast, the order of the countries being (with oc- 
 casional exceptions) as follows : Gaul, Italy, Sicily, Northern Greece, Central 
 Greece, Peloponnesus, the Islands, Crete, Asia Minor, Syria and the East, 
 Egypt, Cyrenaica. In most cases each coin has been supplemented by a 
 plaster cast, so that both sides are exhibited ; where this is not done, it may 
 be assumed that the side not shown is either poorly preserved or similar to 
 that of a neighbouring coin. In this catalogue the coins have been described 
 as far as possible in groups, and minor details have been ignored. All the 
 coins, unless otherwise described, are of silver. As a rule the obverse side of 
 the coin is placed, in the case, on the left, the reverse on the right. 
 
 From the series exhibited it is possible to form a fairly complete idea of 
 the artistic development of Greek coinage from about 600 B.C. to the time of 
 Augustus. But the majority of the specimens naturally represent the period 
 in which the art stood at its highest level, i.e., the fifth and fourth centuries ; 
 and Western Hellas is represented by a somewhat disproportionate number 
 of pieces. Thus the selection from Mr. Evans's collection, apart from 
 the small series of Cretan coins, is limited to the coins of the Western 
 Greeks. Especially valuable, as showing the development of art in Southern 
 Italy, are his series of Tarentum and Metapontum. His series of Syracuse 
 contains many coins of the highest importance, notably the Damareteion 
 (No. 114) and the decadrachm by the "New Artist" (No. 127). The latter 
 should be compared with Mr. Thompson Yates's specimen (No. 432); this 
 is probably the first occasion on which the two specimens have been brought 
 
128 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 together since they left the hand of the moneyer towards the end of the 
 fifth century. Gela (Nos. 138-147), Katana (Nos. 163-170), and Messana 
 (Nos. 176-182) are also well represented in this selection. Mr. Ward's 
 series of Syracuse should be studied in connection with Mr. Evans's, especi- 
 ally as supplying a fine set of decadrachms by Kimon and Euainetos (Nos. 
 232-237) not represented in Mr. Evans's series, and a good specimen of the 
 facing Arethusa by Kimon (No. 238). In this selection, as in Sir Hermann 
 Weber's, the Thracian and Macedonian series contain some important coins, 
 notably those of Amphipolis, Olynthos, and Ainos (Nos. 254, 256, 257, 266, 
 267, 33I-335). and in both there are good series of the issues of the kings of 
 Macedon(Nos. 261-265, 338-346) and Syria (Nos. 284-300,415-418). Other 
 coins of great artistic value and rarity are the Lampsakene and Kyzikene 
 staters (Nos. 279, 280, 387-390, 381-386), the set of Elis (Nos. 363-373), 
 and the tetradrachm of Himera representing Pelops (No. 322). 
 
 For lack of space it has been impossible to refer to previous publica- 
 tions of the individual specimens shown ; it must suffice to make a general 
 reference here to Mr. Evans's own works, " The Horsemen of Tarentum" 
 and " Syracusan ' Medallions ' and their Engravers," as well as other articles 
 from his pen in the " Numismatic Chronicle" ; to the detailed Catalogue of 
 Mr. Ward's Collection (Part I. of his "Greek Coins and their Parent 
 Cities"); and to the articles in the "Numismatic Chronicle" by Sir 
 Hermann Weber, dealing with rare coins in his own collection. 
 
 As Mr. Evans reserves a certain number of his coins, especially of the 
 Metapontine series, for future publication, these have been omitted from the 
 plates. 
 
 It has not been thought necessary, in this Part, to repeat the refer- 
 ences to the Plates in each entry; the number in the margin indicates the 
 Plate on which, if illustrated, each coin is to be found. 
 
 G. F. Hill. 
 
CASE K 
 
 I -2 1 1 lent by Arthur J. Evans, Esq. 
 
 I MASSALIA. Drachm of the fourth century b.c. Obv.\ Head of Artemis Plate CI. 
 wearing myrtle-wreath. Rev.: MASS A Lion. The lion is adopted 
 from the coinage of Velia (see Nos. 86-89), which, like Massalia, 
 was a colony of the Ionian city of Phokaia. 
 
 2-5 THE ROMANS IN CAMPANIA, about 338-268 b.c. Types: Head 
 of Mars and bust of horse; head of Hercules and wolf suckling 
 Romulus and Remus ; head of Apollo, and horse ; head of Janus, 
 and Jupiter in quadriga driven by Victory. All are inscribed ROMA, 
 
 6, 7 CUMAE. An early fifth-century piece, with helmeted head of Athena 
 and crab holding a mussel-shell, and a later coin (middle of fifth 
 century) with female head of fine style, and mussel-shell and grain 
 of barley. 
 
 8-15 NEAPOLIS. Didrachms of the latter half of the fifth century and 
 the fourth century. The type of the reverses, a human-headed 
 bull, represents the tauriform Dionysos, who was largely wor- 
 shipped in South Italy. The head on the earlier coins is that of 
 Athena (cp. the coins of Thurium, Nos. 80-82). On the later coins, 
 this is superseded by a female head, probably the Siren Parthenope. 
 The inscription varies between NEOPOAITII<ON, NEOPOAITHS and 
 NEOPOAITXIN. 
 
 16-48 TARENTUM. Series of didrachms (and two gold staters) from 
 about 550 to 235 b.c. The chief type is throughout the founder 
 Taras (TAPAS) riding on the dolphin which saved him from ship- 
 wreck. No. 16, earliest period, with same type as on obverse and 
 reverse, but the latter incuse. This treatment of the reverse was 
 adopted by many cities in South Italy, and also by Zankle in 
 Sicily, for their earliest coinage before about 500 b.c. Nos. 17-19, 
 reverse, wheel or hippocamp, about 520-500 b.c. No. 20, about 
 
130 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 Plate CI. 500-473, reverse, head of Satyra, the mother of Taras. Nos. 21-24, 
 
 after the establishment of democracy in 473 to about 420, with the 
 figure of Demos seated. About 450 begins the famous series of 
 "horsemen," of which many varieties are shown. Of the gold 
 staters, the first (No. 31) probably belongs to the time of the ex- 
 pedition of the Spartan king Archidamos to South Italy (shortly 
 before 338); the second (No. 36) to that of Alexander of Epirus 
 (334-330). The head on the obverse is that of Demeter wearing 
 the transparent Tarentine veil. Of the horseman types one (No. 
 33) represents a youth picking a stone out of the horse's hoof ; 
 another (No. 39) Victory seizing the horse by the forelock ; a third 
 (No. 44) the Dioscuri riding side by side. No. 45 is one of a class 
 issued about 250 for circulation in Campania. 
 
 49-53 HERAKLEA IN LUCANIA. Didrachms from about 380 to 
 268. No. 49 has a fine head of Athena, wreathed with olive, with 
 her aegis as background; on the reverse is Herakles resting, holding 
 a kantharos in his hand. Nos. 50, 5 1 represent Athena in an Attic 
 helmet adorned with a figure of Scylla, and Herakles strangling 
 the lion; on Nos. 52, 53 the helmet is of Corinthian form, and 
 Herakles is standing (on No. 53 sacrificing at an altar). 
 
 54-77 METAPONTUM IN LUCANIA. Staters from about 550 to 
 beginning of third century. The badge of the city is the ear of 
 barley (Demeter, the corn-goddess, was one of the chief deities of 
 the city, and the Metapontines dedicated some golden ears at 
 Delphi). No. 54 shows the incuse fabric already noted at Taren- 
 tum. Nos. 55, 56 belong to the fifth century ; the figure on No. 56 
 is Apollo, holding a laurel branch and bow. Nos. 57 foil, show 
 the gradual development of style from about 400 down to the 
 beginning of the third century. Compare the heads of Concord 
 (hOMONOI A) on No. 57 with that of Athena at Heraklea (No. 49). 
 The veiled Demeter on No. 59 shows the influence of Euainetos 
 of Syracuse (Nos. 235-237). No. 61 has a fine head of Zeus ; Nos. 
 62 to 64 represent the hero Leukippos ; No. 65, a young male 
 head with ram's horn and ear and wreath. The remainder show a 
 gradual falling off in style, but No. 68 is a fine head of Persephone. 
 The three-quarter faces on Nos. 76, 77 are ambitious but poor. 
 Many of the small symbols on the reverses are interesting, e.g., the 
 praying mantis (No. 58), the locust (No. 60), the plough (No. 68), 
 the orthopterous insect (No. 72), the cross-headed torch (No. 63). 
 
Case K] Greek Coins (Nos. 1-211) 131 
 
 78 POSIDONIA (Paestum). Stater of the fifth century. Obv. : Poseidon Plate CI. 
 
 wielding trident. Rev. : bull. Inscription POMESDAN (no<raixv) 
 retrograde. 
 
 79 SIRIS AND PYXUS. Stater issued by the two cities in alliance in 
 
 the second half of the fifth century, and a good instance of the 
 incuse fabric of the period. The type is a bull represented looking 
 backward (so as to adapt the figure to the circular space at the 
 artist's disposal); the inscription on the obverse M^P^NOM (ltp7vog), 
 retrograde, on the reverse PV+OEM (nu£o£? =rIIu£ouj). 
 
 80-85 THURIUM IN LUCANIA. Nos. 80-82, 85 are staters, the others 
 double-staters. The bull on the reverse probably represents the 
 river Krathis. Nos. 80-82 (about 420-390 b.c.) are of severe style, 
 representing Athena with a wreathed helmet; on the later coins 
 (about 390-350) the helmet bears a figure of Scylla (cp. the coins 
 of Heraklea, Nos. 50, 51). No. 84 is probably unique in the spread 
 character of the flan. No. 85 (head of Apollo) belongs to the latest 
 period of the Thurian coinage (about 300-268 B.C.). 
 
 86-89 VELIA. Didrachms of the fifth and fourth centuries. No. 86 belongs 
 to the first half of the fifth century; the owl above the lion on the 
 reverse refers to Athena, whose head appears on the fourth-century 
 coins, Nos. 87-89. No. 87 is signed by the artist Kleodoros 
 (l<AEYAAPOY) on the front of the helmet, which is winged ; No. 88 
 by Philistion (<t>IAI£TIAN02I) on the ridge of the helmet, which 
 is adorned with a chariot; the riders above the lion on the 
 reverse are the Dioscuri. The helmet on No. 89 is adorned with a 
 female centaur. 
 
 90 BRUTTII. Third century. Obv.: Head of Thetis crowned and veiled, 
 with sceptre. Rev. : Poseidon, his right foot on capital of column, his 
 left hand resting on spear. The figure reproduces the Lysippian 
 type, substituting a column for the rock, and a spear for the trident. 
 
 91, g2 KAULONIA. Staters of the fifth century, with an archaic figure 
 (probably of Apollo) and stag. For an earlier coin of Kaulonia 
 see No. 317. 
 
132 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 Plate CI. 93-97 KROTON. No. 93, with a tripod, belongs to the early "incuse" 
 style of South Italy. No. 94 is a fine coin of about 400 B.C., 
 with Herakles, the founder of the city (O^kSMTAM, oIkio-to,?), 
 resting on a rock before an altar, and Apollo slaying the Python. 
 The remainder are coins of the fourth century. On No. 96 is the 
 infant Herakles strangling the serpents — a type which was adopted 
 by several cities of Greece Proper about 390 B.C. as a symbol of 
 the revolt against Spartan and barbarian oppression. In the west 
 the oppressors were the barbarous Lucanians and the tyrant 
 Dionysios. The heads on Nos. 95, 97 represent Apollo, the latter 
 being a good specimen of the soft treatment of the late fourth 
 century. 
 
 98-101 LOKRI EPIZEPHYRII. Staters from about 344-268 b.c. No. 
 
 98 shows a curiously formal head of Zeus (n:EY£) and a figure of 
 Peace (EIPHNH). Of the others, No. 101, with the figure of 
 Loyalty (P\ZJ\Z) crowning the seated figure of Roma (PAMA), 
 belongs to a class first issued at the time when, just before the return 
 of Pyrrhus to Greece, the Lokrians placed themselves under the 
 protection of Rome. The head of Zeus on this coin is, however, 
 influenced by that on the coins of Pyrrhus himself (see No. 350). 
 
 102-104 RHEGIUM. Tetradrachms. Nos. 102, 103 belong to the period 
 after the expulsion of the tyrants (466-415), alluded to by the 
 seated figure of Demos on the reverse. The former is signed K. E. 
 No. 104, with the head of Apollo, is of about 400 B.C. 
 
 105-108 TERINA. Staters of the latter half of the fifth century. The 
 head on the obverse is the nymph Terina. On the reverse the 
 winged figure (Peace?) is represented in a variety of ways (playing 
 with a dove or with a ball, No. 108, or holding a branch or wreath). 
 
 109-137 SYRACUSE. A series illustrating the development of the 
 coinage from the end of the sixth century until the fall of Syracusan 
 independence in 212. No. 109 is earlier than 500 B.C. ; the outlines 
 of the two horses on the obverse are doubled so as to represent 
 Plate CII. four. Nos. 110-113 belong to the time of Gelon; Victory crowns 
 
 the charioteer or horses. The dolphins round the head symbolize 
 the sea which surrounds Ortygia. No. 114 is a Damareteion, so 
 named from Gelon's wife, who received, from the Carthaginians 
 
Case K] Greek Coins [Nos. 1-211) 133 
 
 defeated at Himera in 480, in return for her intercession in their Plate CII. 
 favour, a large present, out of which these ten-drachm pieces were 
 coined. The lion below the chariot probably refers to the defeated 
 forces of Africa. The head on the reverse (Victory?) is a most 
 remarkable monument of the style of this period, and especially 
 valuable as providing a fixed point in the history of the art of coins. 
 Nos. 115-119 are good instances of the gradual advance in the 
 treatment of the human head down to about 440 B.C. Nos. 120-125 
 bring us down to about 413 b.c. (the last indeed by some authorities 
 being dated in the first half of the fourth century). No. 1 20 is signed 
 by Eumenes (EY), No. 121 by Euainetos (EYAINETOY), No. 122 by 
 Eumenes (EY) and Eukleidas (EYKAEIAA). No. 123, by Euth 
 (EYO . . .) and Phrygillos (*PYriAAO[Y]), has a head of Persephone 
 (crowned with corn and poppies) and a figure of Scylla chasing a fish 
 below the chariot, which is driven by a winged figure. No. 126 is 
 the famous facing head of Arethusa (APEOO£A) by Kimon (another 
 specimen is No. 238). No. 127 is one of the two extant specimens 
 of the ten-drachm " medallion " by an unknown artist. (For the 
 other specimen see No. 432.) It differs from the ordinary deca- 
 drachm of Euainetos (see Nos. 235-237) in many small details, 
 and the head is more idealized. The head is generally supposed 
 to be Persephone, but has also been regarded as Arethusa crowned 
 with sedge. On the reverse the chariot group with prize armour 
 (AOAA) below alluded to the festival in which the Syracusans 
 celebrated their victory over the Athenian expedition. Nos. 1 28, 1 29 
 are other specimens of the art of the end of the fifth century, No.' 1 28 
 being signed by the artist Par(menidas?). No. 130, with the head 
 of the Zeus of Freedom (lEY£ EAEYOEPlO£), was struck by 
 the Corinthian liberator Timoleon (about 345 b.c); the Pegasus 
 is adopted from the coinage of his native city. The head of the 
 Zeus of Freedom on the finely patinated bronze No. 131 should be 
 compared with that on the Lokrian coin No. 98; the types are 
 those of Alexander of Epirus, and the coin was probably issued at 
 the time of his expedition to Italy (332 b.c). Nos. 132-134 are 
 coins of the tyrant Agathokles (317-289); they all bear the three- 
 legged symbol which now first appears on Syracusan coins, and 
 afterwards became the symbol of the island of Sicily. The head on 
 No. 132 still shows the influence of the decadrachms of Euainetos. 
 No. 133 is modelled on the Corinthian " Pegasus." No. 134 has a 
 head of Persephone (KDPA£) and Victory erecting a trophy 
 and was issued at the time of the tyrant's expedition to Africa. 
 
134 
 
 Exhibition of Ancient Greek Art [Part III 
 
 Plate CI I. No. 135 was struck by Pyrrhus while in Sicily (278-276); the 
 
 fighting Athena on the reverse is a good piece of archaistic work. 
 No. 136 is a gold drachm of Hieron II. (276-214). No. 137 re- 
 presents the last stage of Syracusan independence, the republic of 
 214-212. On the reverse is Artemis as huntress with her hound. 
 
 138-147 GELA. Nos. 138-142 are tetradrachms, dating from about 480 
 to 430, with remarkable representations of the swimming human- 
 headed bull (the river-god Gelas). No. 139 is especially curious 
 in its treatment of the monster; the Ionic column on the obverse 
 is the goal. No. 140 represents a Geloan mounted lancer; only 
 one other specimen of this tetradrachm is known (in the Hirsch 
 Collection, Brussels). Nos. 143-147 belong to the period follow- 
 ing the Athenian disaster; No. 143 represents the river-god as a 
 horned youth, and a Geloan lancer striking at a fallen (Athenian?) 
 hoplite. Nos. 144-146 give other representations of the river-god 
 and the racing chariot ; the eagle carrying a serpent is an omen of 
 victory. The gold piece (No. 147) represents Persephone with the 
 title Sosipolis (£.Q£irOAI£). 
 
 148, 149 AKRAGAS. No. 148 (about 480 B.C.): the eagle of Zeus and 
 the crab (probably a fresh-water crab from the river Akragas) are 
 the chief types of the city. Below the crab on No. 148 is Victory 
 flying, holding out a wreath. No. 149 is of the end of the fifth 
 century ; the two eagles standing on a hare are an omen of 
 victory. 
 
 150-152 KAMARINA. End of fifth century. No. 150: horned head of 
 the river-god Hipparis ; rev. : the nymph Kamarina riding on a 
 swan over the waves of her lake. Nos. 1 5 1 and 1 5 2 by Exakestidas, 
 with head of young Herakles in lion's skin and victorious chariot. 
 No. 150 is signed on the line below the chariot (below are two 
 prize amphorae). No. 1 52 has EZ A KE£ on a diptych in front of the 
 head. The chariot is driven by Athena. 
 
 153-157 SELINUS. No. 153: An early didrachm with the leaf of wild 
 celery from which the town took its name. Nos. 154-157 com- 
 memorate the sanitation of the town by Empedokles, who by joining 
 the channels of two streams freed the neighbourhood from malaria. 
 The figures in the chariot on Nos. 154-156 are Apollo (the sun-god 
 discharging rays of health) and Artemis (in her capacity of health- 
 
Case K] 
 
 Greek Coins [Nos. 1-211) 
 
 r 35 
 
 goddess). On the reverse is the river-god Selinos sacrificing before Plate CII 
 the altar of the god of health ; behind are a bull (representing 
 another river-god ?) on a pedestal, and a leaf of the wild celery. 
 No. 157, with the horses galloping, was issued not long before 
 409, when Selinus was destroyed. 
 
 158-162 NAXOS. No. 158, with an archaic head of Dionysos and grapes, 
 belongs to the earliest period of the Sicilian coinage (before 
 500 B.C.). No. 159, issued just before 476, or perhaps just after 
 the restoration of Naxos in 461, has a head of Dionysos and a 
 figure of a squatting Seilenos holding a wine-cup, both among the 
 most striking productions of Sicilian art of the fifth century. 
 Nos. 160-162 belong to the period immediately preceding the fall 
 of Naxos in 404 ; the reverse type is a modification of the earlier 
 one ; the obverse is a head of Apollo. The signature of Prokles 
 (PPOKAH2I) can be traced below the Seilenos on No. 161. No. 162 
 has a charming head of the river-god Assinos (A£2IlNO£). 
 
 163-170 K AT AN A. No. 163, in spite of its advanced style, must be earlier 
 than 476, when the Katanaeans were expelled from their city. 
 The types are a human-headed river-bull, and Victory carrying a 
 fillet. The fine heads of Apollo on Nos. 164, 165 belong to the 
 period 461-413, towards the end of which was also struck the small 
 coin, No. 166, with the head of the river-god Amenanos, signed 
 by Euainetos (EYAI) under the neck. By the same artist is the 
 beautiful head of Apollo between a bell and a crayfish on No. 
 167. To the few remaining years before Dionysios sold the Katal 
 naeans as slaves (404) belong Nos. 168-170. No. 168 has a bold 
 facing head of Apollo by Herakleidas (HPAKAEIAA2I) ; No. 169 
 the head of the young river-god Amenanos, signed by Choirion 
 (XOI). No. 170 is a unique piece struck by Katana and Leontini 
 in alliance, between 405 and 403, when Leontini was temporarily 
 independent. The head of Apollo is perhaps by Herakleidas. 
 
 171-175 LEONTINI. A series of fifth-century coins (about 480-422), with Plate CIIL 
 remarkable heads of Apollo and the " canting " type of the lion's 
 head. 
 
 176-182 ZANKLE-MESSANA. No. 176, one of the earliest of Sicilian 
 coins, is of the incuse fabric of Magna Graecia, which was adopted 
 by Zankle doubtless owing to its close commercial relations with 
 
136 
 
 Exhibition of Ancient Greek Art 
 
 [Part IV 
 
 Plate CHI. the south Italian cities. The curved object on the obverse is in- 
 
 tended to represent the sickle-shaped harbour. No. 177 is of more 
 . advanced style, with a scallop shell on the reverse. In 494 the 
 name of Zankle was changed to Messene (afterwards Messana), 
 and coins struck with the types of Anaxilas, tyrant of Rhegium. 
 No. 1 78 belongs to the close of the period of the tyrants ; it bears 
 the racing mule-car (with which Anaxilas was victorious at 
 Olympia), and the hare (which Anaxilas first introduced into Sicily). 
 Nos. 1 79-1 8 1 belong to the period of democracy, after 461 ; the 
 mule-car is now driven by a personification of Messana. No. 180 
 appears to be signed (on the line under the horses) by Kimon 
 (KIMAN); No. 181 by another artist (ANAN ?) on the reverse, 
 in front of the dove. No. 182, belonging to the period following 
 the occupation of Messana by the Mamertines (about 288), is re- 
 markable chiefly for its fine patina. The head of Ares is copied 
 from the head of Zeus Hellanios on coins of Syracuse, from which 
 city the Mamertines had just been expelled. 
 
 183 TAUROMENION. Late third century. Head of Apollo and Tripod. 
 
 184-189 HIMERA. No. 184 belongs to the earliest period (before about 
 500 B.C.). The cock probably appears as the bird sacred to the 
 god of healing, since Himera was famous for the healing baths in 
 the neighbourhood. Nos. 185-187, of the middle of the fifth cen- 
 tury, also contain an allusion to the baths, in the small Seilenos who 
 is enjoying himself in a fountain behind the figure of the nymph 
 Himera, who is sacrificing at an altar. No. 186 appears to be 
 signed KIMON on the upper part of the altar, below the pediment. 
 This must be an earlier artist than the one who is famous for his 
 work at Syracuse towards the end of the century. The horseman 
 on No. 188 is an anabates, or rider performing the feat of 
 springing from his horse while going at full speed. The word 
 £OTHP (saviour) below the nymph on the reverse, in spite of its 
 masculine form, probably refers to her. No. 189 has types similar 
 to those of the earlier tetradrachm, but was signed (on the tablet 
 held by Victory) by an artist named MAI . . . It belongs to the 
 period immediately preceding the destruction of Himera (409). 
 
 190 ERYX. Tetradrachm of the end of the fifth century. Obv.: The 
 Aphrodite of Eryx seated, playing with a dove ; before her, Eros 
 stretching out his hands for the bird. Rev. : Victorious chariot. 
 
Case K] 
 
 Greek Coins (Nos. 1-2 11) 
 
 J 37 
 
 191-196 SEGESTA. Nos. 191-194 are didrachms of the middle of the Plate CIII. 
 fifth century, representing the river Krimisos (as a hound) and the 
 nymph Segesta. The head of Segesta on the tetradrachm, No. 
 195, is struck with the die of a didrachm. The youth on this and 
 No. 196 is the river-god Krimisos resting, holding two spears, with 
 two spirited hounds at his feet ; the small terminal figure on 
 No. 196 is a boundary mark, which has suggested the explanation 
 that he is guarding the boundary of the Segestan territory against 
 the foe. 
 
 197 MOTYA. A didrachm of the middle of the fifth century, with types 
 copied from the coins of the neighbouring Segesta. 
 
 198-202 THE CARTHAGINIANS IN SICILY. Coins struck from 
 about 409 B.C. to the end of the fourth century. The types are 
 nearly all imitated from those of Greek coins ; thus the head on 
 No. 198 is a base copy of the Arethusa of Kimon (No. 238) ; the 
 horse on No. 199 is suggested by a gold coin of Gela ; both types 
 of No. 200 are taken from the decadrachm of Euainetos (see Nos. 
 235-237) ; the head of Herakles in lion's skin on No. 201, from a 
 tetradrachm of Alexander the Great ; the head of Persephone on 
 No. 202 is also of Syracusan origin, although the coin was probably 
 struck at Carthage itself. But the palm-tree on No. 199 is Car- 
 thaginian, and the horse's bust on No. 201 recalls the legendary 
 finding of a horse's head on the site of Carthage, as recorded by 
 Virgil. 
 
 203-211 CRETE. The Cretan series is famous, not only for the mytho- 
 logical interest of its types, but also for the picturesque treatment 
 which they receive in the best period, although the execution often 
 falls far below the level of the conception. Nos. 203, 204, 01 
 Knossos, represent on the reverse the labyrinth, on the earlier coin 
 (early fifth century b.c.) in a form assimilated to the swastika. On 
 the obverse of No. 203 is the bull-headed Minotaur. The head on 
 No. 204 (about 300 b.c.) represents Hera, showing slightly the 
 influence of the Hera of Polykleitos. Nos. 205, 206 are of Kydonia 
 No. 205, of about 370 b.c, has a fine head of a nymph, who also 
 appears on No. 206 (about 350), crowned with grapes and vine 
 leaves and signed by the artist Neuantos (NEYANTO£ EflOEl) 
 On the reverse is the hero Kydon stringing his bow. No. 207, 01 
 Gortyna (about 400 b.c.) represents Europa seated in a tree; on 
 the reverse is the bull into which Zeus transformed himself. No 
 
 T 
 
Exhibition of Ancient Greek Art [Part IV 
 
 208 is a second-century coin of Hierapytna, with a head of the city- 
 goddess, a date-palm and eagle. Nos. 209, 210, of Phaistos, are 
 early fourth-century coins; on No. 209 Zeus Velchanos is seated 
 in a tree, holding a cock ; on No. 210 is a young Herakles seated 
 resting, his bow and quiver tied to a tree. No. 211 (Praisos, 
 fourth century b.c.) represents the Diktaean Zeus enthroned, 
 holding eagle and sceptre, and the forepart of a Cretan goat. The 
 object in a countermark is a caduceus. 
 
CASE J 
 
 A. 212-31 1 Lent by John Ward, Esq. 
 
 212 HYRIA IN CAMPANIA. Stater. About 420-340 b.c. Obv.: Head Plate CIII. 
 
 of Hera nearly facing, wearing crown decorated with palmette 
 between foreparts of griffins. Rev. : Human-headed bull standing to 
 right. 
 
 213 THURIUM IN LUCANIA. Double stater. About 390-350 b.c. 
 
 Obv. : Head of Athena in crested helmet, adorned with figure of 
 Scylla. Rev. : Bull butting ; below, fish. 
 
 214 TERINA IN BRUTTIUM. Stater. About 400-388 b.c. Obv. : Head 
 
 of nymph Terina. Rev. : Nike seated, holding dove on extended 
 right hand. 
 
 215- 242 SYRACUSE. 
 
 215 Tetradrachm. About 479 b.c. Obv. : Four-horse chariot, Victory 
 
 crowning the horses ; below, lion springing, right. Rev. : Female 
 head, laureate, within fine linear circle ; around four dolphins. By 
 the same artist as the Damareteion (see No. 114). 
 
 216- 220 A series of silver tetradrachms of the period of the tyrant Hieron I. 
 
 (b.c. 478-466). These all show on the obverse a four-horse chariot, 
 pacing slowly, with Victory flying above and crowning charioteer 
 or horses. The second and fourth horse are still indicated by 
 doubling the outlines of the first and second. On the reverse is a 
 series of heads showing a rapid development in style, from the 
 archaic stiffness of No. 216, through the clumsy effort to impart 
 expression to the face of No. 217 (notice the attempt to indi- 
 cate a number of eyelashes), to the comparatively advanced, but 
 still somewhat formal, style of Nos. 218, 219, 220. The size of 
 the dolphins is gradually reduced, the head thus gaining in im- 
 portance. The sea-monster below the obverse type was probably 
 first introduced in commemoration of Hieron's defeat of the 
 Etruscan fleet in 474 B.C. 
 
140 Exhibition of Ancient Greek Art [Part IV 
 
 Plate CIII. 221-225 A series of silver tetradrachms of the middle of the fifth century 
 (about 466-430 B.C.). On these the chariot still proceeds slowly, 
 and the same convention of doubling the outlines of the horses 
 prevails ; the heads are severe, and show more largeness of style 
 than those of the preceding period. 
 
 226-230 Signed tetradrachms of about 440-412 B.C. Nos. 226, 227 are by 
 Eumenes (EYMHNOY on the frontlet, or EY in the field), No. 228 
 by the same artist (EYMENOY below the head) and Euainetos 
 (EYAINETOY on the tablet), No. 229 by Euth . . . (EYO . . .) and 
 Phrygillos (*PYTIAA under the head), No. 230 by Euainetos and 
 Eukleidas. 
 
 The horses are now represented in high action, at first (No. 226) 
 in a very primitive way, afterwards with considerable skill. Below 
 them are two opposed dolphins, Scylla chasing a fish, or a chariot 
 wheel. The charioteer in the group by Euth ... is winged. 
 
 231 Gold hundred-litra piece. Soon after 412 b.c. Obv. : Head of 
 the nymph Arethusa ; behind, grain of barley. Rev.: Herakles 
 strangling the lion. Though unsigned, this is probably from 
 the hand of the engraver Kimon. A similar design, perhaps by 
 Euainetos, is to be seen on Mr. Evans's gem from Catania. 
 
 232-234 Decadrachms ("Medallions") by Kimon. About 410 b.c. Obv. : 
 Head of the nymph Arethusa, surrounded by dolphins. Rev. : 
 Victorious four-horse chariot on basis, on the steps of which is 
 ranged a panoply, below which is the word AOAA. No. 232 is 
 signed on the frontlet, and on the cornice of the basis on the reverse; 
 No. 233, on the frontlet, and on the lowest dolphin, as well as on 
 the reverse; No. 234 in the field of the reverse, above the nearest 
 horse's crupper. For the significance of the reverse type see 
 No. 127. 
 
 235-237 Decadrachms (" Medallions "), signed by, or in the style of 
 Euainetos. End of the fifth and beginning of the fourth century. 
 Obv. : Head of Persephone, crowned with barley-leaves; around, 
 four dolphins. Rev. : Type similar to that of Kimon (Nos. 232- 
 234). Of these, No. 235 shows the signature below the head ; the 
 die of No. 236 was signed in the same place; No. 237 (which has 
 a small scallop shell behind the head) is unsigned. The issue of 
 coins of these types went on until about 360 B.C., Euainetos' 
 original design being closely followed. 
 
Case J] 
 
 Greek Coins [Nos. 2 1 2-3 1 1) 
 
 141 
 
 238 Tetradrachm by Kimon, with facing head of the nymph Arethusa (the Plate CIII 
 
 name is inscribed outside the border), and a finely-modelled chariot- 
 group in very low relief. 
 
 239 Electrum, probably issued by Dion, about 357 B.C. Obv. : Head of 
 
 Apollo, laureate; behind, cornucopiae. Rev.: ^ilTEIPA. Head of 
 Artemis Soteira, with quiver at her shoulder ; behind, cornucopiae- 
 
 240 Gold Stater struck by Pyrrhus when in Sicily (278-276 B.C.). Obv. : 
 
 Head of Athena, helmeted ; behind, owl. Rev. : Victory carrying 
 oak-wreath and trophy ; in field, a thunderbolt. A good specimen 
 of the somewhat affected elegance of the period. 
 
 241 Philistis, Queen of Hieron II. (276-215 B.C.). Obv. : Head of Philistis 
 
 veiled. Rev. : Victory in four-horse chariot. 
 The portrait of Philistis is one of the most pleasing on Greek coins, 
 but the work is poor. 
 
 242 Hieronymos(2i5-2i4B.c). Obv. : Head of Hieronymos diademed. Rev.: 
 
 Winged thunderbolt. 
 
 243 KATANA. Drachm by Euainetos. About end of fifth century. 
 
 Obv. : Four-horse chariot, the charioteer crowned by Nike flying. 
 Rev. : AMENANO. Horned youthful head of the river-god Amen- 
 anos, the hair bound with a taenia ; below, the signature of the 
 artist Euainetos ; around, two fish and a crayfish (cp. No. 166). 
 
 244 LEONTINI. Tetradrachm. About 466-422 b.c. Obv. : Head of 
 
 Apollo, laureate, with short hair (in style approaching the coins 
 of Olynthos, cp. Nos. 256, 257, 331). Rev.: Lion's head left; 
 around, three grains of barley and fish. 
 
 245-247 MESS AN A. Tetradrachms of the fifth century. No. 245, of the 
 period 493-476, has the victorious mule-car of Anaxilas (cp. 
 No. 178) and the springing hare. Nos. 246, 247, of the period 
 of democracy (about 476-420), have similar types, but Messana 
 herself drives the chariot. 
 
 248 NAXOS. Tetradrachm. About 415-404 b.c. Obv.: Head of Dionysos, 
 bearded, wearing broad crown decorated with ivy. Rev. : Seilenos 
 squatting to front, raising kantkaros in right, and holding thyrsos 
 in left ; beside him, ivy growing. 
 
142 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 Plate CIII. 249 KAMARINA. Tetradrachm. About 430-360 b.c. Obv. : Head of 
 youthful Herakles, wearing lion's skin. Rev. : Four-horse chariot 
 right, driven by Athena, who is crowned by Nike flying left ; 
 below, two amphorae dividing the inscription. 
 
 250,251 THE CARTHAGINIANS IN SICILY. About 409-360 b.c. 
 
 No. 250. Obv. : Head of Persephone, surrounded by dolphins 
 (imitated from the decadrachms of Euainetos, cp. Nos. 235-237). 
 Rev. : Bust of horse ; behind, date-palm ; below, Punic inscription, 
 " the camp." No. 251. Obv. : Female head, surrounded by dolphins. 
 Rev. : Victorious four-horse chariot ; below, sea-horse and Punic 
 inscription ziz, probably the name of Panormos. This reverse 
 type resembles that on the latest coins of Himera, which was 
 destroyed by the Carthaginians in 408. 
 
 252 MACEDON UNDER THE ROMANS. Tetradrachm. Second 
 
 century B.C. Obv. : Bust of Artemis with bow and quiver at her 
 shoulder, on a Macedonian shield. Rev. : Club in oak-wreath ; 
 thunderbolt, and monograms. 
 
 253 AKANTHOS IN MACEDON. Tetradrachm. Early fifth century, 
 
 Obv. : Lion attacking bull. Rev. : Quadripartite incuse square. 
 
 254 AMPHIPOLIS IN MACEDON. Tetradrachm. About 400 B.C. 
 
 Obv.: Head of Apollo, laureate, nearly facing. Rev.: AM<HnOAI- 
 TEAN on square border inclosing racing-torch and tripod. 
 
 255 NEAPOLIS IN MACEDON. Silver stater. Early fifth century. 
 
 Obv. : Gorgoneion. Rev. : " Mill-sail " incuse square. 
 
 255, 257 OLYNTHOS IN MACEDON. Tetradrachms. About 392- 
 379 b.c. Obv.: Head of Apollo, laureate. Rev.: XAAKIAEAN. Seven- 
 stringed lyre (kithara). These belong to a series issued during 
 the prosperity of the Olynthian league, and are remarkable for 
 the beauty of the heads of Apollo and the decorative treatment of 
 the type of the reverse. 
 
 258,259 PHILIP II. OF MACEDON (b.c. 359-336). No. 258. Gold 
 stater. Obv. : Head of Apollo. Rev. : Two-horse chariot; in field, 
 trident. No. 259. Silver stater. Obv. : Head of Zeus, laureate. 
 Rev. : Jockey on horse, holding palm ; below, thunderbolt. 
 
Case J] Greek Coins [Nos. 212-311) 143 
 
 260 ALEXANDER THE GREAT (b.c. 336-323). Gold stater. Obv. : Plate CIII. 
 Head of Athena, with coiled serpent on helmet. Rev. : Victory 
 carrying wreath and trophy-stand. Probably issued in Syria. 
 
 261-265 TETRADRACHMS OF THE LATER KINGS OF MA- 
 CEDON : interesting examples of Hellenistic art. No. 261 
 (Demetrios Poliorketes, 306-283 b.c.) reproduces the Victory of 
 Samothrace, now in the Louvre — a monument dedicated by 
 Demetrios after his defeat of Ptolemy in 306. The reverse shows 
 Poseidon, who again is represented on the reverse of No. 262 in 
 the pose created by Lysippos. The fine head on the obverse (with 
 diadem and bull's horn) bears out Demetrios' reputation for beauty. 
 Nos. 263, 264, of Antigonos (either Gonatas, 277-239, or Doson, 
 229-220 b.c), show a head of Poseidon crowned with a marine 
 plant, Apollo seated on a prow, a head of Pan on a Macedonian 
 shield, and the archaistic statue of Athena at Pella, hurling a 
 thunderbolt, and wearing aegis. No. 265 represents King Perseus 
 (b.c. 178-168). 
 
 266,267 AINOS IN THRACE. Tetradrachms. About 420-380. Obv.: 
 Head of Hermes in narrow-brimmed petasos. Rev. : Goat. 
 
 268 LYSIMACHOS, KING OF THRACE. Tetradrachm. 323-281 
 
 b.c. Obv. : Head of Alexander the Great with ram's horn. Rev. : 
 Athena seated, holding Victory. 
 The head of Alexander on the coins of Lysimachos is one of the best 
 pieces of Hellenistic portraiture, and by it, ultimately, all other 
 portraits identified as Alexander have to be judged. 
 
 269 AETOLIAN LEAGUE, b.c. 279-168. Obv.i Uncertain portrait- 
 
 head, wearing oak-wreath and diadem combined. Rev. : Young 
 warrior, resting right foot on rock and leaning on spear. 
 
 270 OPUNTIAN LOKRIANS. About 369-338 b.c. Obv.: Head of 
 
 Persephone wearing wreath of barley-leaves (suggested by the 
 decadrachms of Euainetos, Nos. 235-237). Rev.: Ajax, son of 
 Oileus, fighting, with dagger and shield. 
 
 271 ERETRIA IN EUBOEA. About 41 1-400 b.c. Obv.: Female head, 
 
 hair rolled. Rev. : Cow lying right ; above, bunch of grapes. 
 
144 
 
 Exhibition of Ancient Greek Art 
 
 [Part IV 
 
 CIII. 272 SIKYON. Silver stater. Fourth century B.C. Obv. : £E Chimaera 
 (lion's head and body, serpent tail, and goat's head rising out of 
 back); above, wreath. Rev. : Dove flying, in olive-wreath. 
 
 273-275 ELIS. Staters of the late fifth and fourth centuries. No. 273: a 
 fine eagle's head (cp. No. 368). Nos. 274, 275, representing Hera, 
 the former probably after the Argive Hera of Polykleitos. The 
 wreaths inclosing thunderbolt and eagle are of wild olive — the 
 reward of victory at Olympia. 
 
 276 PHENEOS IN ARCADIA. First half of fourth century. Obv. : Head 
 
 of Demeter wearing barley-wreath. Rev. : Hermes carrying the 
 infant Arkas, the eponymous hero of the Arcadians. The head of 
 the obverse again shows the influence of Euainetos of Syracuse. 
 
 277 KNOSSOS IN CRETE. Late fourth century. Obv. : Head of Hera 
 
 (contrast with No. 274). Rev. : Conventional rendering of the 
 Labyrinth. 
 
 278 PRUSIAS I., KING OF BITHYNIA (278-185 ? b.c.) Obv.: Dia- 
 
 demed head of Prusias. Rev. : Zeus crowning the king's name. 
 
 279, 280 LAMPSAKOS. Gold staters (first half of the fourth century). 
 
 The head of Zeus and that of a Kabeiros in pointed cap (popularly 
 known as Odysseus) are among the finest on Greek coins. Cp. the 
 other Lampsakene types, Nos. 387-390. The badge of the city, 
 the forepart of a winged horse, is the constant type of the reverse 
 of these staters. 
 
 281 METHYMNA IN LESBOS. Early fifth century. Obv.: Boar. Rev. : 
 
 Archaic head of Athena, wearing helmet with scroll, plumeless 
 crest, and spike projecting in front. 
 
 282 KOS. Late fifth century b.c. Obv.: Athlete hurling discus; behind 
 
 him, prize-tripod. Rev.: Crab. 
 
 283 RHODES. Tetradrachm of the early fourth century. Obv.: Head of 
 Helios facing. Rev. : Rose. 
 
Case J] Greek Coins [Nos. 21 2-3 11) 145 
 
 284-300 KINGS OF SYRIA. Silver tetradrachms with portraits, from Plate CHI. 
 Antiochos h (281-261) to Tigranes (97-56 B.C.). The reverse is 
 usually Apollo, seated on the omphalos. No. 284, Antiochos I. 
 No. 285, Antiochos Hierax ? No. 286, Seleu kos III. No. 287, 
 Uncertain youthful king. No. 288, Seleukos IV. No. 289, An- 
 tiochos IV. No. 290, Antiochos V. No. 291, Demetrios I. {Rev. : 
 Tyche seated). No. 292, Demetrios II. No. 293, Antiochos VI. 
 {Rev.: Dioscuri on horseback). No. 294, Antiochos VII. {Rev. : 
 Athena standing). No. 295, Alexander II. No. 296, Kleopatra Plate CIV. 
 and Antiochos VIII. {Rev.: Zeus seated). No. 297, Antiochos 
 VIII. (Grypos). No. 298, Antiochos IX. {Rev.: Pyre of the 
 Tarsian god Sandan). No. 299, Antiochos X. No. 300, Tigranes, 
 wearing Armenian tiara {Rev. : Tyche of Antioch, cp. No. 301). ' 
 
 301 ANTIOCH ON THE ORONTES. 4-3 b.c. Obv. : Head of 
 
 Augustus. Rev. : The Tyche of Antioch, seated, holding palm, 
 with the figure of the river Orontes swimming at her feet. The 
 reverse reproduces the statue made by Eutychides. 
 
 302 DIODOTOS, King of Bactria. Gold stater. About 248 b.c. Obv.: 
 
 Portrait of Diodotos. Rev. : Zeus fighting with aegis and thunder- 
 bolt ; eagle at his feet. 
 
 303 ANTIMACHOS, King of Bactria. Second century b.c. Obv. : Bust of 
 Antimachos, wearing sun-helmet and diadem. Rev. : Poseidon with 
 trident and palm-branch. 
 The most striking of the portraits in the Bactrian series. Some speci- 
 mens show an even stronger resemblance to Italian portraiture of 
 the Renaissance. 
 
 304 EUKRATIDES, King of Bactria. Early second century b.c. Obv.: 
 Bust of Eukratides, wearing sun-helmet with bull's horn and ear, 
 and diadem. Rev.: The Dioscuri riding with lances and palms. 
 
 305-307 THE PTOLEMIES. No. 305, gold stater of Ptolemy I. (305- 
 284 b.c), with his portrait, and Alexander the Great, holding 
 thunderbolt, in car drawn by elephants. No. 306, a gold octa- 
 drachm of Arsinoe II. Philadelphos (posthumous, issued in the 
 second century), with veiled portrait of the queen (who has the horn 
 of Ammon) and double cornucopiae. No. 307, silver decadrachm 
 
 u 
 
146 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 Plate CIV. with the same types, but issued by Ptolemy II. or III. No. 306 
 
 is a good example of the showy, unrefined art of the Ptolemaic 
 coinage. 
 
 308 KYRENE. Silver didrachm. Late fourth century. Head of young 
 Zeus Ammon, with ram's horn. Rev. : The silphium plant ; in the 
 field, star and monogram. 
 Silphium (perhaps assafoetida) was one of the chief exports of Kyrene. 
 
 309-311 CARTHAGE. No. 309, electrum coin of late third century. 
 
 Obv. : Head of Persephone wreathed with barley. Rev. : Horse ; 
 above, disk and horns. Nos. 310, 311, silver and gold coins of 
 rather later date, with similar types. The obverse type is sug- 
 gested by the Persephone of Euainetos (Nos. 235-237). 
 
 B. 312-428 Lent by Sir Hermann Weber. 
 
 312 METAPONTUM IN LUCANIA. Tetradrachm with the head of 
 
 Leukippos, similar to No. 62. 
 
 313 POSIDONIA (Paestum). Stater of the earliest fabric (with incuse 
 
 reverse) ; Poseidon, wearing chlamys, wielding trident ; inscription 
 
 MOT (Ilocr). 
 
 314 SYBARIS. Stater of the earliest fabric (with incuse reverse) ; bull, 
 
 with head reverted ; inscription VM (Iv). Compare the stater of 
 Siris and Pyxus in alliance, No. 79. 
 
 315 THURIUM. Didrachm with head of Athena (Scylla holding oar on 
 
 helmet) and bull, corresponding to the tetradrachms Nos. 83, 84. 
 
 316 BRUTTIUM. Third-century gold drachm of the Bruttii. Obv. : Head 
 
 of Poseidon with trident. Rev. : Sea-nymph (Thetis ?) riding on 
 sea-horse, holding Eros. 
 
 317 KAULONIA IN BRUTTIUM. Stater of the earliest fabric (with 
 
 incuse reverse). Apollo (?), holding lustral branch, and small 
 running figure (also with branch) ; in the field, stag. For later 
 coins of Kaulonia see Nos. 91, 92. 
 
Case J] 
 
 Greek Coins {Nos. 312-428) 
 
 318 KROTON. About 400 b.c. The founder Herakles resting; tripod Plate CIV. 
 
 (compare No. 94). 
 
 319 A K RAG AS. Tetradrachm of the late fifth century ; victorious chariot 
 
 (signed by the artist MYP), and group of two eagles on a hare 
 (compare No. 149). 
 
 320 KATANA. Tetradrachm of the late fifth century, by Herakleidas 
 
 (compare No. 168). 
 
 321 GELA. Tetradrachm of the middle of the fifth century, with victorious 
 
 chariot; and, on the reverse, Sosipolis (ZOZ\tto\is retrograde) 
 crowning the river-bull Gelas. (Compare the head of Sosipolis 
 on No. 147.) 
 
 322 HIM ERA. Tetradrachm of the middle of the fifth century, with the 
 
 hero Pelops (PEAOt) in his chariot, and the nymph Himera 
 (IMEPA retrograde) draping herself. Below the chariot group is a 
 pine-branch with cone. An exceedingly rare coin. The connection 
 of Pelops with Himera is obscure, but there was a Kronion near 
 Himera as at Olympia. 
 
 323 LEONTINI. Tetradrachm of the middle of the fifth century, inter- 
 
 . mediate in style between No. 172 on the one hand and Nos. 173, 
 1 74 on the other. 
 
 324 NAXOS. Tetradrachm with the head of Dionysos and the squatting 
 
 Seilenos, similar to No. 159. 
 
 325 SELINUS. Tetradrachm of the middle of the fifth century; the 
 
 beautiful figure of the river-god is of softer style than on the three 
 specimens, Nos. 154-156. 
 
 326 CARTHAGINIANS IN SICILY. Tetradrachm; the obverse 
 
 copied from the decadrachm of Euainetos (see Nos. 235-237) ; 
 reverse, horse and date-palm. 
 
 327 ORRESKIANS, a Thraco-Macedonian tribe in the Pangaean dis- 
 
 trict. About 500 b.c. Centaur carrying off nymph. 
 
 328 NEAPOLIS IN MACEDON (Pangaean district). Early fifth 
 
 century. Gorgoneion with tongue protruded. 
 
148 
 
 Exhibition of Ancient Greek Art 
 
 [Part IV 
 
 Plate CIV. 329 BISALTIANS, a Thraco-Macedonian tribe. Octadrachm of the be- 
 ginning of the fifth century. Nude warrior with two spears leading 
 horse, which is marked with a caduceus. 
 
 330 MENDE IN PALLENE. About 450 B.C. Seilenos, holding wine- 
 
 cup, reclining on back of ass ; in front, a crow on a tree. Rev. : 
 Vine surrounded by inscription. The wines of Mende were famous, 
 hence the Dionysiac types of the coins. 
 
 331 OLYNTHOS IN CHALKIDIKE. Early fourth century coin of 
 
 the Chalkidian league. Obv. : Head of Apollo. Rev. : Lyre. 
 
 33 2 > 333 AMPHIPOLIS, on the Strymon. Two fine specimens of the 
 tetradrachms (about 400 B.C.), with a head of Apollo facing, and 
 a racing torch. (Cp. the similar specimen, No. 254, and contrast 
 the style with the more reserved and less idealized treatment of 
 the head at Ainos, No. 335.) 
 
 334. 335 AINOS, on the southern coast of Thrace. Tetradrachms (latter 
 half of fifth century), with the head of Hermes wearing a cap with 
 narrow brim, and goat. The symbol on the reverse of No. 334 is 
 a cultus statue of Hermes mounted on a throne. 
 
 336 ABDERA, on the southern coast of Thrace. Tetradrachm of the 
 
 first half of the fifth century, with seated griffin. The type is 
 adopted from Teos in Ionia, whose inhabitants colonized Abdera 
 in 544 b.c. 
 
 337 PANTIKAPAION (Kertch), on the Kimmerian Bosporos. Gold 
 
 stater of the fourth century, with head of satyr crowned with ivy, 
 and lion-headed griffin holding spear in jaws and standing on 
 stalk of barley. The last detail is explained by the importance of 
 the corn trade of Pantikapaion, while the monster reminds us of 
 the well-known stories of the gold-guarding griffins. 
 
 338-346 KINGS OF MACEDON AND THRACE. Nos. 338 and 339 
 are of Philip II. : a gold stater with the head of Apollo (or Ares), 
 and Victory in a biga, and a silver tetradrachm with a head of 
 Zeus and a jockey on horseback, carrying a palm branch. Nos. 340 
 and 341 are of Alexander the Great: gold stater with head of 
 Athena and Victory holding wreath and trophy-stand, and silver 
 
Case J] 
 
 Greek Coins [Nos. 312-428) 
 
 149 
 
 tetradrachm with head of Alexander as Herakles wearing lion's Plate CIV 
 skin, and Zeus enthroned. No. 342 represents Demetrios Polior- 
 ketes (306-283) diademed, with a bull's horn sprouting from 
 his head ; on the reverse is Poseidon in the Lysippian pose, 
 alluding probably to the naval defeat of Ptolemy in 306. Nos. 343 
 and 344 were struck by Lysimachos, King of Thrace (323-281), 
 and represent Alexander the Great with the ram's horn of Ammon 
 (see No. 268). No. 345 is a tetradrachm of King Antigonos 
 (Gonatas ?, 277-239 b.c.) with head of Poseidon crowned with a 
 marine plant, and Apollo seated on a prow — probably alluding to 
 Gonatas' victory over the Egyptians off Kos in 265. No. 346, 
 Perseus, the last King of Macedon (178-168). 
 
 347 LARISSA IN THESSALY. Fourth century. Facing head of a 
 
 nymph (inspired by the Arethusa of Kimon, No. 238); reverse, 
 horse. The Thessalian cavalry were famous. 
 
 348 OITA IN THESSALY. Fourth-century coin, with head of lion 
 
 and Herakles holding club and lion's skin. Oita was near the 
 mountain of the same name, where the death of Herakles took 
 place. 
 
 34g PYRRHUS, King of Epirus (b.c. 295-272). Tetradrachm. Head of 
 Zeus of Dodona, crowned with oak ; reverse, Dione enthroned. 
 
 350 OPUNTIAN LOKRIANS. Fourth century. Head of Persephone 
 
 crowned with barley-leaves. Rev. : Ajax, son of Oileus, fighting ; 
 at his feet a helmet. On the inside of his shield a serpent. 
 
 351 DELPHI. Stater of about 346 b.c, with the head of the Demeter of 
 
 Anthela veiled and crowned with barley, and the Apollo of Delphi 
 in citharoedic dress seated on his omphalos, holding a long laurel 
 branch, with his lyre and tripod beside him. This fine coin was 
 probably issued by the Amphiktyonic Council when the Pythian 
 festival was once more celebrated after the close of the Sacred 
 War. It is inscribed AM^IKTIONAN. 
 
 352 THESPIAI IN BOEOTIA. Early fourth century. Obv. : Boeotian 
 
 shield. Rev. : Head of Aphrodite Melaenis, with crescent moon. 
 
Exhibition of Ancient Greek Art [Part IV 
 
 Plate CIV. 353 THEBES. Middle of the third century. Obv.\ Head of Z eus. Rev.: 
 Poseidon seated, holding dolphin and trident ; inscription, 
 
 BOIATAN. 
 
 354 ERETRIA IN EUBOEA. Didrachm of the first half of the fifth 
 century. Obv. : Cow licking its leg. Rev. : Sepia. 
 
 355-357 ATHENS. Tetradrachms. No. 355 is one of the early series (per- 
 haps as early as the time of Solon), with an extremely archaic head 
 of Athena (with the treatment of the hair compare the much later 
 head of the Gorgon at Neapolis, No. 17). On the reverse are the 
 owl of Athena and a spray of her sacred olive. No. 356 belongs to 
 the middle of the fifth century ; the archaic treatment was adhered 
 to on Athenian coins long after it had been replaced by the fine 
 style in the other works of art. No. 357 is a tetradrachm of the 
 second century B.C., reproducing the head of the Parthenos of 
 Pheidias. On the reverse, the owl stands on an oil-amphora. 
 
 358, 359 AEGINA. No. 358 belongs to the earliest series of the coinage of 
 Aegina, being possibly as early as the seventh century. No. 359, 
 on the other hand, is as late as the fourth century. The tortoise 
 on the earlier coin is represented in a conventional way ; the row of 
 dots down the carapace corresponds to nothing in nature. 
 
 360, 361 CORINTH. No. 360 is a stater of the sixth century, with stand- 
 ing Pegasus and swasti&a-sha.ped incuse impression ; the koppa 
 below the Pegasus is the initial of the city-name. The fabric of 
 early coins of Corinth perhaps suggested the flat fabric of the 
 coins of south Italy. No. 361 is a stater of the fourth century, with 
 the usual type of Pegasus and the head of Athena. 
 
 362 SI K YON. Stater of the fourth century, with chimaera and flying 
 dove in olive-wreath. The monster has a lion's body and head, 
 serpent tail, and the head of a goat springing from its back. 
 Beneath it is a magistrate's symbol, a kneeling archer. 
 
 363-373 ELIS. A fine series of staters, from the latter half of the fifth to 
 the third century. The types refer to the Zeus of Olympia, and 
 the variety and decorative effect in the representations of the 
 thunderbolt is to be noticed. A wreath of wild olive sometimes 
 incloses the type of the reverse. No. 363, eagle killing hare; 
 
Case J] Greek Coins (A r os. 312-428) 151 
 
 Ncx 364, eagle killing serpent ; No. 365, the same group as the Plate CIV 
 device of a shield ; No. 366, a magnificent head of Zeus, probably 
 reproducing the Zeus of Pheidias ; No. 367, a head of Hera, 
 probably copied from the Hera of Polykleitos ; No. 368, an eagle's 
 head, probably the most naturalistic treatment of the subject in 
 ancient art ; below, on a leaf, are letters with the name of an 
 engraver (AA ?) ; No. 369, a seated figure of Victory (a coin similar 
 to this was copied by Wyon for the design of the Waterloo medal) ; 
 No. 370, head of Hera; No. 371, head of Olympia; No. 372,' Plate CV. 
 head of Zeus, and eagle on Ionic capital ; No. 373, head of Zeus, 
 and eagle. The letters AP show that this coin was struck by 
 Aristotimos, who was tyrant of Elis in 272-271. The name of the 
 Eleans is represented throughout this series by the letters FA (for 
 FAAFinN). 
 
 374 ARCADIA. Stater of the Arcadian league founded by Epaminondas, 
 
 after Leuctra (b.c. 371), and issued from Megalopolis. Obv. : Head 
 of Zeus Lykaios, of fine though somewhat formal style (struck 
 on a coin of Elis with the head of Hera, as No. 367). Rev. : Young 
 Pan, with horns on his forehead, resting on a rock, and holding a 
 throwing stick ; at his feet, Pan's pipes ; and on the rock, signature 
 of the artist OAYM. 
 
 375 PHENEOS IN ARCADIA. About 3 6ob.c. Obv.: Headof Demeter 
 
 crowned with barley (compare the head by Euainetos, 235-237). 
 Rev.'. Hermes carrying the infant Arkas (APkA£). 
 
 375 ISLAND OF NAXOS. Sixth century. Wine-cup, with formalized 
 ivy-leaf above, and bunch of grapes hanging from each handle. 
 The chief deity of Naxos was Dionysos. 
 
 377-379 CRETE. No. 377 is a stater of Kydonia in the style of Neuantos 
 (see No. 206), with the head of a Dionysiac nymph and the hero 
 Kydon with his dog. Of the two fourth-century staters of Phaistos 
 No. 378 has a fine group of Herakles slaying the hydra, while the 
 crab attacks his right foot; No. 379 represents the hero resting 
 (cp. No. 210). & 
 
 380 MITHRADATES THE GREAT, Eupator, King of Pontos and 
 Bosporos (b.c. 121-63). Tetradrachm of the year 89-88 bc 
 Head ofthe king diademed. Rev.: Pegasus. The star and crescent 
 torm the constant symbol on the coins of Mithradates and his pre- 
 
Exhibition of Ancient Greek Art [Part IV 
 
 Plate CV decessors. The ivy-wreath which serves as border may allude to 
 
 the title of " New Dionysos " by which Mithradates was acclaimed 
 by the cities of Asia Minor in their revolt from Rome. 
 
 381-386 KYZIKOS. Six electrum staters of the fifth century. The 
 Kyzikene electrum staters resemble the later gold staters of 
 Lampsakos (Nos. 387-390) in the subordinate position awarded to 
 the badge of the city (in this case the tunny-fish) and the import- 
 ance which the types consequently obtain. The reverse, in all 
 cases, has no type, but simply the mark known as the " mill-sail " 
 incuse square, from the sloping arrangement of the four quarters. 
 No. 381, of the early part of the century, represents a horse-tailed 
 Seilenos, holding up the tunny-fish by its tail. No. 382, a Nereid 
 (Thetis ?) riding on a dolphin, holding shield and wreath. No. 383, 
 a reproduction of the Athenian monument of Harmodios and 
 Aristogeiton. No. 384, Orestes taking refuge at the omphalos. 
 No. 385, lioness. No. 386, the omphalos at Delphi, covered with 
 fillets ; perched on it are the two eagles which were sent by Zeus 
 to fly round the earth till they met at its centre. On these five 
 coins the tunny is placed below the type. 
 
 387-390 LAMPSAKOS. Four gold staters of the fourth century. The 
 reverse type of these fine coins is the forepart of a winged horse, 
 the badge of the city. No. 387 represents a half figure of Gaia- 
 Demeter, rising from the earth, holding ears of corn. No. 388, 
 head of Dionysos, crowned with ivy. No. 389, head of Hera, 
 wearing stephane decorated with palmettes. No. 390, Victory 
 sacrificing a ram. These coins are all earlier than the time of 
 Alexander the Great. Two other coins of the same series are Nos. 
 279, 280. 
 
 391 PERGAMON. Tetradrachm of Eumenes I. (263-241 B.C.) or 
 
 Attalos I. (241-197 b.c). Obv.\ Head of the founder of thedynasty, 
 Philetairos, wearing diadem and laurel-wreath combined. Rev. : 
 Athena seated, crowning the name of Philetairos. 
 
 392 MYRINA in Aeolis. Tetradrachm of the second century. Head of 
 
 the Apollo of Grynion, laureate. Rev. : Statue of the Apollo of 
 Grynion, holding lustral branch and libation-bowl; at his feet, 
 omphalos and amphora ; the whole in laurel-wreath. 
 
Case J] 
 
 Greek Coins [Nos. 312-428) 
 
 *53 
 
 393-395 LESBOS. Electrum sixths of the fourth century. No. 393, head Plate CV. 
 of Seilenos, wearing diadem. No. 394, head of Hermes in petasos 
 Rev. : Panther. No. 395, youthful head with ram's horn (cp. the 
 coin of Metapontum, No. 65). Rev.: Eagle. 
 
 396 EPHESUS. A fourth-century tetradrachm with the two attributes of 
 
 the Ephesian Artemis, the bee and stag. 
 
 397 MAGNESIA on the Maeander. Tetradrachm of the late second 
 
 century. Obv.\ Head of Artemis, with bow and quiver at her 
 shoulder. Rev.: The Apollo of Magnesia, leaning on his tripod, 
 and holding a lustral branch decorated with fillets; below, 
 Maeander-pattern. The whole in laurel-wreath. 
 
 398 SMYRNA. Tetradrachm of the second century. Obv.: Head of Kybele 
 
 as city goddess, wearing mural crown. Rev.: Wreath containing 
 the name of the people and magistrate's monogram. This and Nos. 
 80 and 84 are typical examples of the best art of Asia Minor in 
 the second century. 
 
 399 CHIOS. Tetradrachm of the fifth century. Sphinx seated before an 
 
 amphora surmounted by a bunch of grapes; behind her a dolphin. 
 
 400 SAMOS. Fourth-century tetradrachm, with lion's scalp and forepart 
 
 of bull. Magistrate's name, AAKMEAN HTEMONEA^. 
 
 401, 402 KNIDOS in Caria. No. 401 is an early fifth-century drachm with 
 the usual Knidian types ; forepart of lion, and head of Aphrodite. 
 No. 402 is a fine tetradrachm of the third century, with a free re- 
 production of the head of the Knidian Aphrodite of Praxiteles. 
 
 403 MAUSSOLLOS, dynast of Caria (377-353). Obv.: Head of Apollo, 
 facing (adopted from the coinage of Rhodes, cp. No. 407). Rev. : 
 Zeus Stratios holding spear and double axe. 
 
 404-406 KOS. No. 404, first half of the fifth century. Obv. : Athlete pre- 
 paring to hurl discus ; behind him, prize tripod on basis. Rev. : 
 Crab in centre of rude, incuse square. No. 405, about 300 B.C., 
 with bearded head of Herakles in lion's skin, and veiled female 
 head. No. 406, late third-century tetradrachm. Obv. : Head of 
 young Herakles in lion's skin. Rev. : Crab and bow in case, with 
 name of city, and magistrate Xanthippos. 
 
 x 
 
T 54 
 
 Exhibition of Ancient Greek Art [Part IV 
 
 407 RHODES. Tetradrachm of early fourth century. Obv. : Head of 
 
 Helios facing. Rev. : Rose. 
 
 408 ASPEN DOS in Pamphylia. Fourth-century stater. Obv. : Group of 
 
 wrestlers. Rev. : Slinger ; in front, three-legged symbol. 
 
 409 KELENDERISin Cilicia. Stater of about 400 b.c. Obv. : Horseman 
 
 riding sideways. Rev.: Goat kneeling; inscription KEAENAE- 
 
 PITIKON. 
 
 410 PHARNABAZOS, satrap of Cilicia (379-374). Stater with a female 
 
 head copied from Kimon's Arethusa (No. 238) and a head of Ares. 
 
 411 MAZAIOS, satrap of Cilicia (361-333). Stater with seated figure of 
 
 the Baal of Tarsos holding an ear of corn and bunch of grapes, and 
 lion slaying a stag. 
 Nos. 408-411 are good specimens of the art of the south coast of Asia 
 Minor in the fourth century, showing the Greeks working under 
 more or less strong Oriental influence. 
 
 412 LYDIAN gold stater, probably of the time of Croesus (about 568- 
 
 544). Obv.: Foreparts of lion and bull confronted. Rev.: Two 
 incuse squares. 
 
 413 PERSIAN Gold Daric. Probably of the fifth century b.c. The King 
 
 of Persia in half-kneeling attitude (meant to represent running), 
 wearing tiara and long robe (kandys), carrying spear and bow. 
 The uniformity of style of the darics struck by the kings from 
 Cyrus the Great to Darius III. is so great that it is impossible 
 with any certainty to distinguish between the issues of the various 
 
 414 ARIARATHES V., Eusebes Philopator, King of Cappadocia (b.c. 163- 
 1 30). Tetradrachm with the head of the king, and Athena standing, 
 holding Victory. 
 
 415-418 KINGS OF SYRIA. Tetradrachms. No. 415, Antiochos I. 
 
 Soter (281-261). No. 416, Antiochos II. Theos ? (261-246), with 
 wing attached to diadem. Struck probably at Alexandria Troas. 
 No. 417, Antiochos Hierax ? (died 227 b.c.) The reverse type 
 of the above three coins is Apollo seated on the omphalos, the 
 chief type of the Seleucid kings. The cult of Apollo, the legendary 
 ancestor of the Seleucidae, was introduced at Antioch by An- 
 
Case J] 
 
 Greek Coins [Nos. 429-437) 
 
 J 55 
 
 tiochos I. No. 418, Antiochos VI. Epiphanes Dionysos (b.c. Plate CV 
 145-142). Obv. : Head of the king wearing radiate crown. Rev. : 
 The Dioscuri charging on horseback. Dated 168 (—144-143 b.c). 
 
 419-424 THE PTOLEMIES. Nos. 419, 420, tetradrachms issued by 
 Ptolemy I. Soter as regent for Alexander IV. (b.c. 316-305). Obv. : 
 Head of Alexander the Great with ram's horn, wearing elephant's 
 scalp as headdress, and aegis round neck. Rev. : Archaistic figure 
 of the Macedonian Athena, fighting with spear. A fine example of 
 the archaistic art of the period, with the characteristic tall figure, 
 formal treatment of the drapery, and tiptoe attitude. No. 421, 
 Ptolemy I. and II. Tetradrachm. Obv. : Head of Ptolemy I. 
 wearing diadem and aegis. Rev. : Eagle on thunderbolt. No. 422, 
 Arsinoe II. Philadelphos. Silver decadrachm. Head of the queen 
 veiled and crowned, with horn of Ammon, and top of sceptre seen 
 above the head. Rev.: Double cornucopiae. Struck in 221 b.c. (?). 
 No. 423, Arsinoe II. Philadelphos. Gold octadrachm with similar 
 types, issued probably in the early second century (?i83 b.c). 
 No. 424, Ptolemy V. Tetradrachm of 191 b.c, with head of 
 Ptolemy I. wearing diadem and aegis, and eagle on thunderbolt. 
 Struck at Kition in Cyprus. 
 
 425,426 BARKA, near Kyrene. Tetradrachms of about 400 b.c, with the 
 silphium plant and the head of Zeus Ammon. No. 425 has the 
 magistrate's signature, AKE£IO£. 
 
 427 KYRENE. Gold stater of early fourth century b.c. Obv.: Quadriga, 
 
 driven by the nymph Kyrene ; the sun shines down upon it. Rev. : 
 Zeus Ammon enthroned, holding eagle ; before him, incense- 
 altar ; behind, magistrate's signature, XAIPIOST. For a companion 
 coin see No. 437. 
 
 428 CARTHAGE. Third-century electrum coin with head of Persephone 
 
 (copied from Sicilian coins, compare No. 202) and horse. Above 
 the horse is a radiate disk, flanked by uraei. 
 
 C 429-437 Lent by the Rev. S. A. Thompson Yates. 
 
 429 TERIN A (S.Italy). Stater. About 400 b.c. Obv.: Head of the nymph 
 
 Terina, wearing frontlet ; around, wreath of olive. Rev. : Winged 
 female figure (Eirene?) seated, left, on hydria, holding wreath and 
 caduceus. 
 
Exhibition of Ancient Greek Art 
 
 [Part IV 
 
 Plate CV. 430 SELINUS. Tetradrachm. Middle of the fifth century. Obv. : Apollo 
 shooting with bow, standing in a four-horse chariot driven by 
 Artemis. Rev. : The river-god (£EAINO£) as a horned youthful 
 figure sacrificing over an altar, before which stands a cock ; in his 
 left he holds a lustral branch ; behind him are a leaf of wild celery 
 (selinon) and a figure of a bull on pedestal. 
 For the significance of these types see Nos. 154-157. 
 
 431,432 SYRACUSE. No. 431, tetradrachm of the end of the fifth 
 century. Obv. : Four-horse chariot, Victory flying to crown the 
 charioteer. Rev. : Head of Victory, with hair confined by broad 
 band, and flying behind, inclined forwards as in flight ; around, 
 four dolphins. No. 432, decadrachm by "the New Artist." End 
 of the fifth century. Obv. : Head of Persephone, left, crowned with 
 barley-leaves, four dolphins swimming round. Rev. : Four-horse 
 chariot, Victory flying to crown the charioteer ; below, ranged on 
 and against steps, a shield, pair of greaves, cuirass, and helmet; 
 above the shield, AOAA. 
 This and the similar piece lent by Mr. Evans (No. 127) are the only 
 known specimens of the work of this artist. 
 
 433 ALEXANDER I. BALA, King of Syria (150-145 B.C.). Tetra- 
 drachm. Obv. : Head of Alexander Bala, wearing diadem. Rev. : 
 Eagle standing on palm-branch ; in the field, date 162 (zr 150 B.C.), 
 monogram and trident. Probably struck at Berytos. 
 
 434-436 THE PTOLEMIES. No. 434, Ptolemy I. Soter (305-285 B.C.). 
 
 Tetradrachm. Head of Soter, wearing diadem and aegis. Rev.: 
 Eagle, standing on thunderbolt; in field, monogram. No. 435, 
 Ptolemy I. and his family. Gold octadrachm, struck in the reign 
 of Ptolemy II. Philadelphos (285-247 B.C.). Obv. : Busts jugate, of 
 Ptolemy II., diademed, and his sister and Queen Arsinoe II., 
 diademed and veiled; above AAEA4>AN ; behind, shield. Rev.: 
 Busts jugate, of Ptolemy I., diademed, and his queen, Berenike I., 
 diademed, and veiled ; above OEAN. No. 436, Ptolemy III. Euer- 
 getesl. 247-222 B.C. Gold octadrachm. Obv.: Bust of Ptolemy III., 
 wearing radiate diadem and aegis ; behind shoulder, sceptre-tri- 
 dent. Rev. : Radiate cornucopiae bound with fillet. 
 
 437 KYRENE. Gold stater. Early fourth century B.C. Obv. : Victory 
 driving four-horse chariot. Rev. : Zeus Ammon, wearing himation, 
 sacrificing at incense-altar, his left hand resting on sceptre; behind, 
 name of magistrate [PjOAIANOEY^. Cp. 427. 
 
PART V 
 
 THE ENGRAVED GEMS.— CAMEOS 
 AND INTAGLIOS 
 
 By Charles Newton-Robinson. 
 
THE ENGRAVED GEMS.— CAMEOS AND 
 
 INTAGLIOS 
 
 INTRODUCTORY 
 
 HE task of describing a gathering of nearly five hundred 
 engraved gems has been greatly lightened for me by the 
 learned aid of Mr. Arthur Evans and Mr. Nevil Story- 
 Maskelyne, as well as by frequent reference to Professor 
 Furtwangler's master-work, " Die Antiken Gemmen." 
 
 Mr. Arthur Evans has spared time, in the midst of 
 arduous labours in connection with his wonderfully successful explorations 
 in Crete, to arrange and describe one hundred and fifty-two objects which 
 form part of his own collection. This interesting assemblage, consisting 
 exclusively of intaglios, illustrates the progress of the glyptic art from the 
 " Mycenaean " era to the Augustan age, and is remarkable for the large 
 proportion of gems found in Crete and other recorded localities. Mr. Story- 
 Maskelyne, to whose pen we owe the Marlborough Gem Catalogue, has 
 also lent a similar selection of seventy-two gems from his own cabinet and 
 prepared a descriptive list. 
 
 About two hundred cameos and intaglios from different collections 
 remained for me to arrange and describe. Those of Mr. E. P. Warren 
 include several of the very finest Greek intaglios of the fourth and fifth 
 centuries b.c. Mr. Wyndham Cook, besides lending the splendid Hamilton 
 vase, has allowed a choice to be made from his very rich cabinet, which 
 comprises a series of extremely fine Greek, Hellenistic and Greco- Roman 
 cameos, and some first-rate intaglios of corresponding date, as well as a 
 small number of good early gems. Lord and Lady Tweedmouth, the 
 Comtesse de Beam, Sir Mountstuart Grant- Duff, Sir Thomas Carmichael, 
 Sir John Evans, Mr. A. Ionides and others have each lent a few stones of 
 
i6o 
 
 Exhibition of Ancient Greek Art [Part V 
 
 exceptional beauty or interest. The contribution I have made from my 
 own collection is intended to be a supplementary one. 
 
 In a small case by themselves some good antique glass pastes, moulded 
 from gems, are exhibited and described by their owner, Mr. Henry Wallis. 
 
 Perhaps my descriptions may at first sight appear more lengthy than 
 is justified by the size and apparent interest of the objects. But it is their 
 very minuteness, and at the same time the importance of. engraved gems 
 in elucidating the history of Greek art, which makes elaborate description 
 so necessary. 
 
 Whether considered as signets or as personal ornaments, engraved 
 gems are in continuous touch with more themes of human interest, and 
 come down to us in a more perfect state from more remote antiquity, than 
 any other artistic objects. Cut as they are, out of the hardest precious 
 stones, with diamond dust applied to the surfaces of tiny metal drills and 
 wheels, rotated at immense speed by the lathe, fine engraved gems receive 
 from the artist's hand a degree of finish far exceeding that given to any 
 other artistic production. Each one is an unique masterpiece, the interest 
 and value of which is out of all proportion to its size. 
 
 The gathering brought together in this Exhibition is of quite excep- 
 tional importance from the number it contains of curious early gems, of 
 consummate examples of fourth and fifth-century work, and of those equally 
 fine intaglios of later date, which often have the advantage of being executed 
 upon more splendid stones. There is, besides, a rare and charming series 
 of most beautiful cameos, beginning in the fourth century b.c. and extending 
 to the second century a.d. In both kinds we have also examples in this 
 gathering of the Greek spirit invading and dominating indigenous art in 
 Egypt, Phoenicia, Persia, Etruria, Rome and Magna Graecia, Asia Minor 
 and elsewhere. 
 
 In that part of the catalogue which has been my work I have contented 
 myself with describing from my own observation, (i) the subject of each 
 gem ; (2) the material ; (3) the shape of the stone ; (4) the size, in milli- 
 metres. These are all points of the first importance for dating and identifi- 
 cation. A few critical remarks have been added, and wherever a gem has 
 been already described by Mr. Story-Maskelyne or Mr. Furtwangler, a refer- 
 ence has been given, while not infrequently a quotation has been made. 
 
 Lack of time, and the difficulty of intermingling collections in different 
 ownerships, have made it impossible even to attempt the arrangement of 
 either cameos or intaglios in order of date or origin. 
 
 Treating of antique Greek and allied art, it has been considered un- 
 necessary to add to a date the letters B.C., which may be understood, unless 
 a.d. appears. The terms right and left are employed in a manner which 
 
Part V] The Engraved Gems. — Cameos & Intaglios 1 6 1 
 
 needs explanation. Intaglios always are, or should be, engraved primarily 
 for the sake of the seal impression. Thus, looking directly at an intaglio, 
 for instance, of a warrior with sword and shield, the latter will appear on 
 his right arm and the sword in his left hand, in order that in the impression 
 the reverse may be the case. Therefore in describing intaglios I always 
 use the words right and left in relation to the principal human figure (if 
 any) as seen in the impression. For cameos I use the terms in relation to 
 the principal figure as seen directly on the stone. 
 
 The majority of the gems are intaglios, and either unset or in simple 
 modern gold settings, except where otherwise stated. 
 
 It was originally intended to reproduce a selection only of the most 
 important gems. But Mr. E. P. Warren, Mr. Arthur Evans and the Com- 
 tesse de Beam desiring to reserve those lent by them for publication by 
 graphic art under their own direction, space has been found in Plates CVIII.- 
 CXII. for nearly all the other gems shown at this Exhibition. Cameos and 
 intaglios are placed separately, and are grouped according to the collection 
 from which they have been chosen. The reproductions are as nearly as 
 possible of the actual size of the objects represented, except in the case of 
 Mr. Story-Maskelyne's gems, which are enlarged one-half. The cameos 
 were photographed from the gems themselves, and the intaglios from plaster 
 casts prepared by Mr. A. P. Ready. Reference numbers in the Plates are 
 the same as those attached to the gems in the cases in which they were 
 exhibited. 
 
 Charles Newton-Robinson. 
 
 Y 
 
IN CASE D 
 
 THE HAMILTON VASE. This splendid example of the glyptic 
 art, as applied on the largest scale to decorative objects not in- 
 tended for personal wear, was formerly in the Collection of the 
 Dukes of Hamilton. 
 
 It is one of the extremely few extant specimens of large carved agate 
 vases which have come down to us whole and sound from antiquity, 
 and its compeers are only to be seen in national museums or royal 
 treasuries. The material is a warm, pale-brown, translucent sard 
 or chalcedony, of a charming "honey" tint, with natural veinings 
 of a darker hue, such as is often found as one of the layers of an 
 oriental onyx cameo of the Greco- Roman period. In general shape 
 the body of the vase is ovoid, the smaller end of the "egg" flat- 
 tened out into a flanged base for stability, while the larger end is 
 truncated to supply the opening at the top, and folded a little out- 
 wards at the lip, which is bound with a rim of gilt silver. On 
 opposite sides it is caused to bulge outwards into prominences 
 which have been formed into anses or handles in the shape of long- 
 horned satyr-heads. Below each of these is a beautiful acanthus- 
 leaf ornament springing from the base, and the rest of the exterior 
 is covered unsymmetrically with vine-leaves and tendrils, termin- 
 ating here and there in little bunches of immature grapes. 
 
 The satyr-heads are in full relief, and have goats' horns, the curved parts 
 of which are completely detached from the body of the vase ; and 
 all the rest of the ornament is in high and sharp relief also, and 
 freely undercut, wherever the decorative scheme requires it. A 
 goat-like expression is preserved in the general form, as well as the 
 details of the satyr-faces, which have leering eyes and grinning 
 mouths. Long, hair-fringed, pointed ears drop downwards from 
 above the temples. Over the brows are shaggy locks, intertwined 
 with a garland of ivy-leaves and berries. Long moustaches flow 
 from each side of the nostrils ; there are indications of beards 
 partly hidden by the acanthus decoration, and the hairs of the 
 bushy eyebrows are broadly indicated by short incised lines. 
 
 The base is of rosette shape in outline and beneath, with two sets of 
 six conventional petals alternately overlaid on the outer ones. 
 
Case D] 
 
 The Hamilton V ase. 
 
 163 
 
 Within, the body of the vase is hollowed out to the thinness of 
 ordinary chinaware, except where the relief decoration adds thick- 
 ness and the necessary strength. Except for a few cracks and unim- 
 portant chips the vase is substantially intact, and the original high 
 polish remains. Its height is nearly 7 inches, and its widest trans- 
 verse dimension the same; while the broadest measurement at 
 right angles to this is 4^ inches. 
 The degree of finish of the engraving is naturally not so high as in 
 small cameos, but is admirably suited to the rich, bold, and 
 charming decoration of the vase, and its relative size. It is 
 possible that this rare and wonderful glyptic work may be properly 
 styled Hellenistic. Though much larger, it bears resemblance to 
 the fine vase in the Rothschild Bequest at the British Museum 
 (figured in Mr. Cyril Davenport's "Cameos," 1902). Professor 
 Furtwangler, to whom I have recently shown Mr. Cook's vase, 
 which is new to him, regards it as an extraordinary and splendid 
 antique work, to which, for want of comparable objects, he is un- 
 able to assign a precise date. [Plates CVL, CVIL] 
 
 Lent by Wyndham F. Cook, Esq. 
 
CASE L 
 
 All the gems in this case belong to Arthur Evans, Esq., and are catalogued 
 by the owner. At his desire, they have not been reproduced in the Plates. 
 
 Early Cretan Seals (in soft stone), c. 3500-3000 B.C. 
 
 1 EARLY THREE-SIDED SEAL, showing goat ; two men in reversed 
 
 positions ; and a pair of fishes. Brownish yellow steatite. Milato 
 (Miletos), Crete. 
 
 Cretan Seals (in soft stone), c. 3000-2500 b.c. 
 
 2 SIGNET, with " ladder" border enclosing design suggested by a twelfth 
 
 dynasty scarab type, also traceable in patterns of the finest " Middle 
 Minoan " painted ware. Yellow steatite. Knossos. 
 
 3 PRISM SEAL, with spiral design and sign groups showing early 
 
 examples of the conventionalized pictographic script. Greenish 
 steatite. Kritsa, E. Crete. 
 
 Cretan Signets, Prisms, etc., some with pictographic inscriptions, 
 
 c. 2500-2000 B.C. 
 
 4 SIGNET, with elegant "guilloche" moulding on handle. On the base 
 
 two Cretan wild goats with forefeet on rocks browsing on branches. 
 White Cornelian. Kentri, near Hierapytna, E. Crete. 
 
 5 SIGNET, with finely fluted handle. On base pictographic characters. 
 
 Engraved with great skill. White Cornelian. Kalochorio, near 
 Kritsa, E. Crete. 
 
 6 SIGNET, with incised linear decoration on handle. On base group of 
 
 pictographic characters of advanced type against hatched field. 
 Green jasper. Zyro, E. Crete. 
 
 7 BEAD-SEAL, with convoluted back. On base two finely engraved 
 
 pictographic signs — eye and arbelon. (Evans, "Prim. Picto- 
 graphs," fig. 38.) Chalcedony. E. Crete. 
 
Case L] The Engraved Gems, etc. [Nos. 1-155) 165 
 
 8 PRISM SEAL. Groups of pictographic characters on three sides. 
 
 (Evans, "Primitive Pictographs," etc., fig. 23, and pp. 50(319), 
 seqq.) Fine bold engraving. White Cornelian. E. Crete. 
 
 g PRISM SEAL. Side r, forepart of stag with antlers of five points; 
 
 2, wolf, crouching under branch ; 3, goose. Cornelian. Near site 
 of Rhytion, Crete. 
 
 10 PRISM SEAL. Side 1, cat, seated, surrounded by four pictographic 
 characters ; 2, group of three pictographic characters between 
 decorative patterns — palm leaves, etc. ; 3, two characters between 
 ornamental designs. The first representation of a cat outside 
 Egypt. The engraving of extraordinary finish and decorative 
 effect. Cornelian. Lasethi, Crete. 
 
 Late M indan {including Mycenaean) Gems and Signet Rings, c. 2000- 1 200 B.C. 
 
 11 GOLD SIGNET-RING, with filigree work on hoop. Female votary 
 
 between shrine, with sacral horns above, and sacred tree. (Evans, 
 " Mycenaean Tree and Pillar Cult," p. 84, fig. 56.) Lower Town, 
 Mycenae. 
 
 12 GOLD SIGNET-RING, with ribbed hoop. On besil female votary 
 
 standing on a terrace of masonry between rocks and obelisk, before 
 which an armed male god is seen descending. Behind, entrance 
 of sanctuary with pillar idol within and foliage of sacred grove, 
 apparently fig-trees. (Evans, " Mycenaean Tree and Pillar Cult," 
 p. 72.) Found at Knossos, 1893. 
 
 13 GOLD SIGNET-RING. Two lions tethered to sacred pillar with 
 
 entablature from which two sacral objects, like knots, hang down. 
 A parallel to the Lions' Gate at Mycenae. (Evans, "Mycenaean 
 Tree and Pillar Cult," p. 61.) Mycenae. Once Tyszkiewicz Coll. 
 
 14 SIGNET- RING cut out of a single piece of rock-crystal. Two young 
 
 bulls symmetrically kneeling, tethered on either side of a con- 
 ventional tree. Two other sprays rise behind them. Fine, bold 
 work. (Evans, "Mycenaean Tree and Pillar Cult," p. 58.) Mycenae. 
 
 15 SIGNET-RING cut out of a single piece of sardonyx. Two male 
 
 figures in chariot drawn by two Cretan wild goats (agrimia). 
 The fringed harness is clearly delineated. Powerful engraving. 
 Avdou (Spelaria), near Lyttos, Crete. 
 
i66 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 16 BULL with open mouth and protruding tongue. In front, bent palm- 
 
 tree, and behind the bull, Daemon with boar-like head, bristling 
 mane, and pointed body. Mycenaean adaptation of hippopotamus 
 goddess Thueris, or Ririt. Strong, naturalistic work. (Milchhofer, 
 " Anfange der Kunst," p. 80.) Probably Cretan fabric. Spartan 
 basalt {Lapis Lacedaemonius), much used by the Cretan engravers. 
 
 17 DAEMON, with lion-like head, bristling mane, and pointed end to 
 
 body, holding a cow by a cord attached to its horns. Fine, bold 
 work. Yellow Chalcedony. Found in Crete. 
 
 18 GODDESS in Mycenaean costume with her hands raised to the 
 
 mouths of a lion and lioness standing on either side of her. 
 (Evans, " Mycenaean Tree and Pillar Cult," p. 66.) Onyx, 
 amygdaloid. Mycenae. 
 
 19 MINOTAUR. A monster with a man's legs and the forepart of a 
 
 bull. In field, Mycenaean shield and impaled triangle symbol. 
 Spartan basalt [Lapis Lacedaemonius). Dictaean Cave (Psychro). 
 
 20 LION SEIZING BULL, one paw of the lion being visible on the 
 
 other side of the bull's neck. Below the animals is a curving 
 object of uncertain significance. Behind is a palm-tree. In the 
 field in front of the bull are three annulets. Serpentine, lentoid. 
 Found at Athens. 
 
 21 MALE DIVINITY between two symmetrically posed lions. (Evans, 
 
 "Mycenaean Tree and Pillar Cult," p. 65.) White agate. Canea 
 (Kydonia), Crete. 
 
 22 TWO LIONS symmetrically posed on either side of sacred column, 
 
 above which are traces of entablature. A parallel to the Lions' 
 Gate at Mycenae. (Evans, " Mycenaean Tree and Pillar Cult," 
 p. 62.) Cornelian, lentoid. Zyro, E. Crete. 
 
 23 (1) MINOTAUR, composed of the forepart of a bull and man's legs 
 
 with belt and loin cloth ; in field, goat's head and spray. 
 
 (2) STAG, with head bent back. 
 Haematite. Knossos. 
 
 24 BULL OR COW licking its hind leg. Spartan basalt (Lapis Lace- 
 
 daemonius). 
 
Case L] The Engraved Gems, etc. [Nos. 1-155) 
 
 167 
 
 25 BULL, with head thrown back. The attitude admirably devised to 
 
 occupy the circular field. Below, a Mycenaean shield. A noble 
 design boldly executed. Jasper. Crete. 
 
 26 BULL, apparently drinking at a tank, with lattice decoration such as 
 
 is seen in painted plaster in the palace of Phaestos, Crete. A 
 youth leaps down and clasps the animal by the neck and the bend 
 of the leg. A tour de force of the Mycenaean "cow-boy." The 
 bull is a masterpiece of naturalistic engraving. Banded agate. 
 Probably a ring-stone. Priene. Once Tyszkiewicz. 
 
 27 BULL-HUNTING SCENE. A "cow-boy," naked, except for the 
 
 usual loin-cloth, has sprung at the horns of a galloping bull, while 
 a dog below seizes the animal's hind leg. A very spirited design. 
 Spartan basalt (Lapis Lacedaemonius). Gythion, Laconia. 
 
 28 A MAN DRIVING TWO BULLS AND A COW BEFORE HIM. 
 
 (Furtwangler, " Antike Gemmen," ii. 26.) Red jasper. 
 
 29 BULLCOUCHANT. Behind, a tree with stellate foliage. The 
 
 curious manner in which the outline and features of the head are 
 indicated by incised lines recurs in a closely similar intaglio from 
 Mycenae. Agate, lentoid. Found near Arta. 
 
 30 TWO LIONS COUCHANT, looking different ways. Haematite, 
 
 amygdaloid. Crete, ii 
 
 31 MAN IN SHORT TUNIC lassoing a moufflon, while a dog seizes 
 
 its hind leg. The animal is of bold work. Cornelian, amygdaloid. 
 Early settlement, Kastri, near Turloti, E. Crete. 
 
 32 LARGE HORNED SHEEP, standing to right; apparently a 
 
 moufflon, now extinct in Crete. Good naturalistic work. Cor- 
 nelian. Lyttos, Crete. 
 
 33 HORNED SHEEP, apparently a moufflon, standing to left. Incised 
 
 lines above and below, and decorative pattern above. White 
 cornelian, lentoid. Lasethi district, Crete. 
 
 34 HUNTSMAN, stabbing in the breast a gigantic agrimi, or Cretan 
 
 wild goat. Bull's head between the man's legs. Banded agate, 
 lentoid. Mirabello district, Crete. 
 
i68 
 
 Exhibition of Ancient Greek Art [Part V 
 
 35 AGRIMI, or Cretan wild goat, with exceptionally large horns, gal- 
 
 loping to left above rocks ; behind, a tree. Very spirited work. 
 Banded agate. Rettimo (Rethymnos), Crete. 
 
 36 GROUP OF THREE WATER-FOWL. One is opening his wings 
 
 for flight, the other rests his head and neck on his back as if for 
 repose, the third plunges his head in the water in quest of food. 
 A composition of singular naturalism, gracefully, though sketchily 
 executed. Dull green steatite, lentoid. Mirabello Province, Crete. 
 
 37 TWO WATER-FOWL among papyrus sprays. A beautiful natural- 
 
 istic design, of which the Nilotic source is evident. Bright green 
 steatite, lentoid. Knossos, 1899. 
 
 38 SKAROS FISH amid sprays of sea-weed. The fish is drawn with 
 
 bold and rapid touches in a kind of foreshortening. Its realism is 
 suggestive of Japanese art. On the back of the stone is engraved 
 an owl. Cornelian, amygdaloid. Near Lappa, Crete, 1895. 
 
 39 TWO DOLPHINS swimming among rocks. A black steatite ring- 
 
 stone covered with a thin plate of gold. Palaeokastro, E. Crete, 
 1894. 
 
 40 FLYING-FISH (^XtJoxfyap*), like those of the Mycenaean fresco 
 
 found at Phylakopi, Melos. Cornelian, amygdaloid. Kh'tora 
 (Kleitor), Arcadia, 1896. 
 
 The Dark Ages {Geometrical Period), c. 1200-800 B.C. 
 
 41 TWO NUDE FIGURES OF MEN in reversed positions, perhaps 
 
 holding weapons. Between them an animal (? lion) and fill-up 
 ornament. Green translucent steatite. A perforated seal of a form 
 which seems to anticipate the scaraboid. Delos. 
 
 42 RUDE FIGURE OF SCORPION and angular fill-up ornament. 
 
 Perforated hemispherical seal of porphyry-like stone. Mycenae 
 
 The Early Revival {including Melian Class), c. 800-600 B.C. 
 43 (1) LION SEATED, four-rayed star below. The whole within a border 
 of small triangles. 
 
Case L] The Engraved Gems, etc. (Nos. 1-155) 169 
 
 (2) FLYING BIRD between two upright devices. 
 
 Perforated ivory seal of a type found at Olympia, Megara, and 
 Argos. Mykonos. 
 
 44 EAGLE flying to left with serpent in his beak. White steatite. 
 
 Melos, 1 89 1. 
 
 45 SPHINX, with wigged head, and wings with curving ends, seated to 
 
 right and turning head back, six-rayed star above. Gray micaceous 
 stone. Melos. 
 
 46 FOREPART AND BEAKED PROW OF WARSHIP with eye. 
 
 Below, sea monster. Above, in front, a lotus ornament. (For the 
 ship see Assmann, " Seewesen," 166.) Seventh century. Pale 
 green translucent serpentine, amygdaloid. Epidauros Limera. 
 
 47 (1) WINGED HORSE with reversed hindquarters, and dolphin. 
 
 (2) WINGED CAPRICORN with coiling body of sea-monster. 
 Seventh century b.c. 
 
 Pale green translucent serpentine, lentoid. (d.d. C.D.E. Fortnum.) 
 
 48 THE TELAMONIAN AJAX falling on his sword, stuck into the 
 
 earth, which is indicated by hatched lines, inscribed *A<\INAN. A 
 characteristic type of Proto-Corinthian vases and Argo-Corinthian 
 bronze reliefs. Seventh century. Pale green translucent serpentine, 
 lentoid. Peraia (Uepct^upct), near Corinth. 
 
 Archaic Greek {Scarabs), c. 600-480 b.c. 
 
 49 LION, crouching, in relief. Ionian work. Seventh century b.c. A per- 
 
 forated ring-stone of exceptional type (cp. Berlin Cat., 330. From 
 Smyrna). Red cornelian. Athens. 
 
 50 FOREPARTS OF TWO HORSES symmetrically grouped within 
 
 guilloche border. The scarab itself is exquisitely cut and of an 
 Ionian type disseminated in Magna Graecia. Sixth century b.c. 
 Cornelian. Taranto. 
 
 Si TWO SERPENTS coiled in a magic knot. A prophylactic device of 
 great virtue for securing treasure. First half of fifth century b.c. 
 A scarab of an Ionian type with "carinated" back. Cornelian. 
 Taranto. 
 
 z 
 
Exhibition of A7 / icient Greek Art 
 
 [Part V 
 
 52 WINGED BOY (Eros) bearing fillet, perhaps to place on tomb. Greco- 
 Etruscan c. 480 B.C. Cornelian scarab. Arezzo. 
 
 53 LION FASTENING ON BULL. A type resembling that of some 
 coins of Akanthos of the early fifth century B.C., but of softer style. 
 Around, hatched border. The scarab itself is of exceptionally large 
 and beautiful work, with the "carinated" back typical of the 
 " Ionian" scarabs found in Magna Graecia. Red cornelian. Ter- 
 ranova (Gela), Sicily. 
 
 Greek Fine Period (Scaraboids), c. 480-430 b.c. 
 
 54 HERMES holding tortoise-lyre and fillet. He has a pair of wings on 
 
 heels and shoulders and one proceeding from his head. An unique 
 archaic type. Fine Ionian work, c. 500 B.C. Chalcedony, scaraboid. 
 Athens. 
 
 55 NAKED YOUTHFUL WARRIOR with Attic helmet, Boeotian 
 
 shield and single-edged sword. He is sinking to the ground as if 
 wounded. " Admirable strong work of the beginning of the fifth 
 century " (Furtwangler, "Antike Gemmen," ii. 283). Somewhat 
 worn. Around, traces of Cypriote inscription. Chalcedony, 
 scaraboid. Cyprus. Once Tyszkiewicz. 
 
 56 ON ONE SIDE, CRANE with expanded wings, on the other Aphro- 
 
 dite (or lady ?) resting her left hand on bath basin, while with her 
 right she throws back her robe over her head. Both designs within 
 hatched border, and about contemporary; latter half of the fifth 
 century b.c. Cornelian, scaraboid. Kastoria, Macedonia. 
 
 57 STAG with head and neck of heron in place of horns. Fifth century B.C. 
 
 Chalcedony, scaraboid. Athens. 
 
 58 KASTOR holding spray and two javelins, the one perhaps in allusion 
 
 to his agonistic championship in the dromos, the other as huntsman 
 of the Kalydonian boar ; inscribed kASTOP. Spata, near Athens. 
 Engraved paste. 
 
 59 CARRIER PIGEON of antiquity bearing papyrus roll. "Very soft 
 
 and beautiful work" (Furtwangler, "Antike Gemmen," ii. 45), 
 c. 400 b.c. Hyacinthine sard. Once Tyszkiewicz. 
 
Case L] The Engraved Gems, etc. (Nos. 1-155) 171 
 
 60 BATH SCENE ; To left nude crouching female figure, her right hand 
 
 raised, her left holding the corner of her robe, which is being taken 
 from her by a naked youth standing to right. Another part of her 
 apparel is wound round his uplifted right arm. A fine example of 
 the broad Peloponnesian style, c. 420 B.C. Exceptionally large 
 scaraboid (burnt stone). Sparta. 
 
 61 TWO HERONS on either side of silphium plant, inscription PAA. 
 
 Perhaps seal of Cyrenaic merchant. Chalcedony, found at Ithome. 
 Messenia. 
 
 62 GRIFFIN seated on uncertain object. In front of it appears the head 
 
 of a horse, bent forward. Bold work, c. 400 b.c. Bronze, scaraboid. 
 Athens. 
 
 63 CHARIOTEER IN CAR drawn by two galloping horses. Hatched 
 
 border. Late fifth-century work. Transparent glass paste (en- 
 graved). Athens. 
 
 64 QUADRIGA, the forepart of the horses and the trappings much re- 
 
 semble those on Syracusan coins, c. 420 b.c, though in order to 
 deal with an oval instead of a round space their hind quarters are 
 here outstretched. The charioteer's tunic has a somewhat stiff 
 and archaic aspect. Golden sard of great beauty, mottled like 
 chalcedony. 
 
 65 STAG. Above, inscription : r ANAFI t>03. The £ is Lacedaemonian, 
 
 but also found at Rhodes and Kolophon. Panaris has a Karian 
 look. Chalcedony. Elis. 
 
 Greek Fine Pei'iod, c. 420-300 B.C. 
 
 66 HERAKLES STRANGLING THE NEMEAN LION. The type 
 
 is identical with that on the gold hundred-litra pieces of Syracuse 
 engraved by the artist Euainetos, c. 408 B.C., and the gem is prob- 
 ably an official seal by the same engraver. Found near Catania, 
 originally set in gold ring. 
 
 67 "SIC STABAT": standing figure of Sokrates with folded arms 
 
 wrapped in his mantle which leaves the side of his body exposed. 
 Executed shortly after his death, this gem seems to represent a 
 characteristic attitude of the philosopher. Fine work of the first 
 half of the fourth century b.c. Sard. Once Short Coll. 
 
 68 HEAD OF SOKRATES. Fourth century b.c. Banded agate. 
 
1 72 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 69 THE APOLLO OF KANACHOS OF SIKYON; set up in the 
 
 Didymaeon of Miletos ; the tripod is seen opposite. This gem 
 answers more nearly to Pliny's description of the statue than the 
 supposed representation on the coins. Engraved on ruby paste. 
 
 70 SATYR MARSYAS [or Seilenos]. Seated on a rock, holding a flute 
 
 in each hand. To left, another pair of flutes, and at his feet an 
 astragalos. (Compare Berlin Cat., No. 6833 > Overbeck, " Kunst- 
 myth.," iii. p. 472-2). Cornelian. 
 
 71 EROS, with torch held downwards, undraping himself after the manner 
 
 of Narcissus (cp. Furtwangler, " Antike Gemmen," ii. 200), and look- 
 ing downwards, probably, as in the parallel design, at his reflection 
 in a pool. On a base behind is a figure of Hekate, the goddess of 
 Night, holding two torches. Of marvellously fine and microscopic 
 work : a masterpiece of Hellenistic art, c. 300 b.c. Clear white 
 Cornelian with opaline hues. Canea (Kydonia), Crete. 
 
 72 MAN-HEADED BULL [protome], swimming. The river-god Gelas, 
 
 as upon coins of Gela, struck c. 405 b.c. It is engraved with a 
 counter-mark in the form of a Corinthian helmet, the crown of which 
 is ornamented with a horse. Sard. Bought at Messina, Sicily, 1888. 
 
 73 APOLLO AGYIEUS, holding bow, with lyre at his feet. Praxitelean 
 
 style. Found at Ragusa Vecchia (Epitaurum), Dalmatia. Cor- 
 nelian. 
 
 74 APHRODITE, resting right arm on pillar, upon which is an archaistic 
 
 statue of the bearded Dionysos. With her left she raises her robe, 
 while in front is a fountain. (Compare Friedrichs " Bausteine," 
 338, No. 586, Paste; Berlin, No. 6221.) Cornelian. Catania. 
 
 75 WINGED BOY SPHINX, wearing pilos, with sword and chlamys 
 
 hung from his shoulders, leaning on a knotted staff and pointing 
 with two fingers. An unique and unexplained type. (Furtwangler, 
 "Antike Gemmen," ii. 305.) Hellenistic. Pale Cornelian. 
 
 76 CONJOINED HEADS OF LIBYA AND AMMON. Style of 
 
 Cyrenaic coins, c. 300 b.c. Sard. 
 
 77 OM PH ALE, with Herakles' club and lion's skin. Amethyst. Palermo. 
 
Case L] The Engraved Gems, etc. [Nos. 1-155) 
 
 J 73 
 
 78 NEMESIS, WINGED, seen from behind, drawing up her dress with 
 
 her right hand and holding in her left an apple branch. At her 
 feet a serpent. Graceful Hellenistic work. Third century B.C. 
 White Cornelian. Athens. 
 
 79 LAUREATE HEAD OF APOLLO, hair falling about neck in loose 
 
 tresses and over forehead, " as in heads of Zeus and Alexander " 
 (Furtwangler, " Antike Gemmen," ii. 306). Fresh and noble work, 
 perhaps by a local Kydonian engraver. Third century B.C. Dark 
 brown sard. Canea (Kydonia), Crete. 
 
 80 HEAD AND BUST of youthful river-god, swimming. Crisp Hellen- 
 
 istic work. Golden sard. 
 
 81 NIKE SACRIFICING BULL. Replica of Carlisle gem signed by 
 
 Sostratos. Extraordinarily microscopic work. Golden sard. 
 Once Morrison Coll. 
 
 Hellenistic, c. 300-100 B.C. 
 
 82 HEAD OF MEDUSA, with snakes coiling in her hair, somewhat re- 
 
 calling the gem with the inscription ZOAflHOZ, but of bolder 
 design. Hellenistic work. Sard. (d. d. C. D. E. Fortnum.) 
 
 83 BUST OF HYGIEIA feeding serpent from bowl. She wears a chiton, 
 
 and her head is draped in a sakkos. Hellenistic work. Third 
 century b.c. Peridot. Bought in Rome. 
 
 84 FEMALE SPHINX, with long hair falling about her neck. Pale onyx 
 
 cameo of great delicacy, perhaps Hellenistic. Syracuse. 
 
 85 VEILED FEMALE HEAD, the front of the veil coinciding with 
 
 the white veins of the onyx. Early variety of cameo. Hellenistic. 
 From tomb, Chiusi. 
 
 86 HEAD AND BUST, perhaps of Ptolemaic Queen (c. 300 b.c), Bere- 
 nice I. or Arsinoe II. She wears a bead necklace. Once a 
 Marlborough gem and wrongly restored as Julia Titi. Signed 
 NIKANAPOC EPOEI. " Frische, lebenswahre, weiche und saftige 
 Formgebung" (Furtwangler, "Antike Gemmen," ii. 159). Hya- 
 cinthine sard. Once Deringh Coll. 
 
174 Exhibition of Ancient Greek Art [Part V 
 
 87 ARTEMIS, leaning on column, and laying her hand on doe. Graceful 
 
 Hellenistic work. Carbuncle. S. Pietro, Island of Lagosta. 
 
 88 SKYLLA, grasping rudder in both hands to slay a youthful companion 
 
 of Odysseus immerged in her whirlpool. He is held in her fishy coils, 
 from which the forepart of a hound darts forth to tear his flesh. 
 (Furtwangler, " Antike Gemmen," ii. 164.) A sketchy but very 
 animated Hellenistic work, based on some masterpiece of painting 
 or relief. Sard. S. Italy. 
 
 89 HERMES, wreathed, and with chlamys wound round right arm, resting 
 
 on column, and holding in left hand caduceus. Inscription later (?) 
 OhAAYhd = CKYAAKOC. By Hellenistic engraver. Carbuncle. 
 Palermo. 
 
 90 APHRODITE, with spear resting against her shoulder, puts her left 
 
 hand delicately through the handle of a shield, which with her right 
 she supports. Signed in field rcAAN EPOC I. On carbuncle set 
 in a massive gold ring, (weight 49.5), inside hoop of which is 
 graffito inscription XAIPE. Found in a rich tomb at Eretria, 
 1897, w i tn jewellery, terra-cotta Erotes, etc., c. 250 B.C. 
 
 91 BACCHIC ROUT. Maenad with thyrsos, followed by two satyrs; 
 
 one, with overturned vase below, holding stand for game of 
 kottabos and flinging wine from kylix. The other satyr holds 
 krater and thyrsos. Engraved in some Asiatic centre of Hel- 
 lenism. Haematite cylinder. Once Le Turcq Collection. 
 
 92 ACHILLES, having mortally wounded the Amazon Queen, Pen- 
 
 thesileia, stricken with a sudden tenderness, supports her sinking 
 form. A Hellenistic version of the picture by Panainos on the 
 screen before the Olympian Zeus. Peridot. 
 
 93 GAULISH RIDER, breeked and holding shield and two javelins 
 
 (gaesa), "buck-jumping" — a characteristic exercise. Spirited 
 Hellenistic work. Sard. Bought in Rome. 
 
 94 NAKED HERO, attacked by lion who is speared behind by horseman 
 
 clad in chlamys and Macedonian kausia. This design is evidently 
 based on the bronze group of Alexander rescued by Krateros from 
 the lion ; the work of Leochares and Lysippos. This gem supplies 
 the only true surviving record of the arrangement of the Venatio 
 Alexandri (cp. Perdrizet, "J. H. S.," xix., p. 277). 
 
Case L] The Engraved Gems, etc. [Nos. 1-155) 175 
 
 95 SEATED LION, with head sunk down, mortally wounded. Above, 
 
 the winged orb of Baal. A gem executed by an Italo-Greek artist 
 for a Carthaginian, c. 200 b.c, (cp. Furtwangler, " Antike Gemmen," 
 ii. 305.) A work comparable in grim pathos with the wounded 
 lion from the palace of Assurbanipal. Sardonyx with veins across. 
 Once Greville Collection. 
 
 96 ARTEMIS as huntress, a hound by her side. Her right arm is raised 
 
 to draw a fresh arrow from her quiver, while the body half swung 
 back towards the spectator and the sweep of her robe indicate 
 arrested motion. Carbuncle. Curzola (Corcyra nigra). 
 
 97 HEAD OF SELEUKID KING. Apparently Demetrios III. (95- 
 
 88 b.c.) The portrait is finer than that upon his coins. Hyacinth. 
 Once Morrison Collection. 
 
 98 ANTIOCHUS VI. Theos, b.c. 165-142. Murdered aet. 7. The sun 
 
 and crescent moon appear on coins of Antioch, where this gem was 
 perhaps engraved. Sard. 
 
 Etruscan Scarabs, c. 450-300 B.C. 
 
 99 HERAKLES AND LION. Club in field. " Admirable execution " 
 
 (Furtwangler, " Antike Gemmen," ii. 99). Etruscan, c. 400 B.C. 
 Banded sardonyx scarab. Falerii (Civita Castellana). 
 
 100 NAKED YOUTHFUL HERO, cutting off head of slaughtered foe. 
 
 Etruscan; freestyle. (Furtwangler, "Antike Gemmen," iii. 204.) 
 Cornelian, scaraboid. Once Morrison Collection. 
 
 101 A LUSTRAL SCENE. Nude bearded hero in a stooping attitude, 
 
 with one hand drawing water from a fountain, while the other 
 points to his brow. In field, Etruscan letters >A^T[3A8T]. The 
 whole in hatched border. Fourth century B.C. Etruscan work, but 
 the figure shows strong Greek influence. Cornelian scarab. Rome. 
 
 102 WOUNDED CENTAUR, holding shield and drawing an arrow 
 
 from the lower part of his body. A sword below. " Excellent 
 work of this style" (Furtwangler, "Antike Gemmen," ii. 91). 
 Late Etruscan, fourth century b.c. Red cornelian, (d.d. C.D.E. 
 Fortnum.) 
 
 Italian Gems, continuation of Etruscan Scarab style, c. 300-50 b.c. 
 
 103 YOUTHFUL ARMOURER, naked, seated to right, working with 
 
 hammer-like implement at helmet of Etruscan form. " Ladder " 
 
176 Exhibition of Ancient Greek Art [Part V 
 
 border. Characteristic Etruscan work of the style succeeding that 
 of the Scarabs. Red sard. Rome. 
 
 104 DAEDALOS AND IKAROS. Daedalos instructing his son how 
 
 to fit on the wings, one of which and the straps wherewith to 
 fasten it Ikaros holds in his hands. Onyx. Curzola (Corcyra nigra). 
 
 Italian Gems, under Hellenistic influence, c. 250-50 B.C. 
 
 105 CHARIOTEER driving two galloping horses. "Ladder" border. 
 
 Minutely executed Italo-Greek work, c. 400 B.C. Bleached onyx. 
 Rome. 
 
 106 ANKAIOS, the local hero of Tegea, slain by the Kalydonian boar. 
 
 Beside him lies his characteristic weapon, the double axe. This 
 subject was represented by Skopas in the pediment of the temple 
 of Athena Alea at Tegea. Sard. Bought at Florence. 
 
 107 STRUGGLE BETWEEN MALE AND FEMALE TRITON. 
 
 The fish-tailed youth has seized his mate by the hair and forearm. 
 A waved line, indicating the sea, below. The whole in a " ladder " 
 border. Fine late Etruscan work on a scarab of the Augustan 
 period. Onyx. Florence. 
 
 108 BACCHIC MASK CROWNED WITH IVY. Of crisp and very 
 
 beautiful work. Around in cursive letters, FORTUNATUS Q. L. 
 Golden sard. Taranto (Tarentum), 1887. 
 
 109 THE THREE FATES (Parcae), one with an open scroll, standing 
 
 before a newborn infant. (Furtwangler, "Antike Gemmen," iii. 
 296.) Delicate Italic work of the first century B.C. Banded trans- 
 parent agate. Rome. 
 
 no ACHILLES PRESSING ON RETREATING TROJAN, per- 
 haps Hector (cf. Tabula Iliaca, 44-46). Pale sard. 
 
 in BEARDED WARRIOR, clad in short tunic, helmet and greaves, 
 advancing with spear and outstretched shield (on which is a Gorgon 
 device) as if to rescue the naked corpse of a youth whose shield, 
 helmet and breastplate have already been piled into a trophy 
 behind. Good Italian work, first century B.C. Cornelian. Salona. 
 
 112 HERAKLES FINDING TELEPHOS, his infant son, suckled by 
 a doe on Mount Parthenios. The doe in this and some other 
 
Case L] The Engraved Gems, etc. [Nos, 1-155J 177 
 
 representations of the scene has been depicted with horns. The 
 temple perhaps indicates the protection afforded by Zeus to the 
 infant, otherwise shown by an eagle. Sard. Edessa (Vodena). 
 Macedonia, 1885. 
 
 113 HERAKLES binding a noose round the triple neck of Kerberos to 
 drag him forth from Hades. The cameo of Dioskorides shows a 
 later version of the same. 
 
 Greco-Roman Gems of the Early Etnpire. 
 
 114 HERAKLES disarmed and subdued by Eros, who sits victoriously 
 
 on his shoulders ; the subject of many ancient epigrams. Probably 
 after an original by Lysippos. An early Christian possessor has 
 added £ below Herakles' arm to convert him into St. Christopher. 
 Brown sard. Once Hamilton Coll. 
 
 115 HEAD OF HERAKLES, three-quarters facing, laurel crowned. 
 
 Fine bold Greco-Roman work. Sard. Once Marlborough Coll. 
 
 116 THE APOLLO OF KANACHOS in the Didymaeon of Miletos. 
 
 Apollo holds the forelegs of the doe as in Pliny's description of 
 the statue. In field, monogram. Archaizing Roman copy. Golden 
 sard. 
 
 117 TWO YOUTHFUL HEROES CONVERSING. " Good work of 
 
 the Augustan age" (Furtwangler, "Antike Gemmen," ii. 301). 
 Cornelian. Once Arundel Coll. 
 
 118 FEMALE MASK OF COMEDY. Good Roman work, first 
 
 century b.c. Cornelian. Rome. 
 
 119 NEREID riding over the waves on sea-horse, holding tkyrsos, and 
 
 resting her right hand on a dolphin, who accompanies her course. 
 Fine Greco-Roman work. Cornelian. Once Morrison Coll. 
 
 120 NEREID seen from behind, seated on the fishy body of a Triton, 
 
 with the skin of a horned animal on his head. A child clings to 
 the Triton's tail. "Flowing Greco-Roman work" (Furtwangler, 
 " Antike Gemmen," ii. 306). Chalcedony. Once Arundel Coll. 
 
 A A 
 
73 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 21 SATYR seated on nebris and holding his double pipes between his 
 
 feet. This device occurs on coins of the Petronia family. Amethyst. 
 Once Short Coll. 
 
 22 DISKOBOLOS. A good copy of Myron's statue. Very spirited 
 
 work. (Furtwangler, "Antike Gemmen," ii. 306.) Red sard. Once 
 Marlborough Coll. 
 
 23 RAPE OF PALLADIUM. Diomede to left descends from altar with 
 
 the image. Ulysses to right holds his right hand down towards the 
 dead guardian, whose feet alone appear. Between them rises a 
 column with statue of Poseidon. Above to right are the walls of 
 Troy, to left the owner's name, KAAnOYPNIOY CEOYHPOY. On 
 the altar is the engraver's signature, 4>HAIZ ETTOIEI. Microscopic- 
 ally fine though somewhat hard work. Epigraphy in style of Dios- 
 korides. Much repolished. Dark sard, beautifully mottled. Once 
 Arundel Collection. A bronze Italian hat-badge copied from this 
 gem carries back its discovery to the sixteenth century. 
 
 24 EAGLE combined with boy's face. Inscribed, AIAAC. Onyx. Naples. 
 
 25 BUST OF ASKLEPIOS. Fine and minutely executed work, 
 
 Augustan age. (Furtwangler, "Antike Gemmen," ii. 278.) 
 Cornelian. Greece. 
 
 26 HEAD OF MEDUSA, wearing scaled breastplate, afterwards the 
 
 spoil of Athene (cf. Eurip. Io, 989 seqq.). (Furtwangler, "Antike 
 Gemmen," ii. 181.) Augustan period. Glass paste. Rome. 
 
 27 DRAPED GODDESS, resting on sceptre ; her right hand is seized 
 
 by a bearded Daemon holding a torch. (Furtwangler, "Antike 
 Gemmen," ii. 242.) Yellow jasper shot with chalcedony. Salerno. 
 
 28 YOUTHFUL MALE HEAD with harpe and gorgoneion attributes 
 
 of Perseus ; perhaps intended for Antinoos. In field, TPAl[ANOY] 
 AAPIA[NOY] Eni NEI[KI A]. A seal for diplomas connected with 
 games instituted by Hadrian. There were Epineikia at Tarsus. 
 Red jasper. 
 
 29 THE HORA OF SUMMER, holding in right hand wreath, in left 
 
 ears of corn and poppy-seed, as in relief of the three seasons, 
 Spring, Summer, and Autumn. (Campana Op. Plast. Tab. 62.) 
 Paste. 
 
Case L] The Engraved Gems, etc. (JVos. 1-155) 179 
 
 130 EROS, seated on a rock fishing and holding a basket. Good Roman 
 
 work. The design much resembles that adopted by the Italian 
 engraver, P. M. da Pescia, which occurs as his rebus on Michel- 
 angelo's signet. Sard. 
 
 131 EROS, holding trident and riding on the waves on a sea-horse. The 
 
 marine subject of this gem was evidently suggested by the wave- 
 like striations of the stone. Banded agate. Aquileia. 
 
 132 EROS PLAYING ON LYRE, his cloak floating behind him. 
 
 Graceful Greco- Roman work. Sard. 
 
 *33 THREE EROTES, two riding on a swan, while the third below 
 holds the reins. In the field to the left, bow and arrow ; to the right, 
 petasos. Inscribed *OIBOC. Cornelian. Messina, Sicily, 1887. 
 
 134 EROS (?) as arbiter, interfering between two cocks, and holding up a 
 
 palm-branch above the victor. Pale sard. 
 
 135 SEILENOS MASK WITH CHILD (EROS?) LOOKING 
 
 THROUGH THE MOUTH. Sardonyx. Florence. 
 
 136 CONJOINED HEADS OF SEILENOS AND YOUNG 
 
 SATYR. Cornelian. Salona. 
 
 137 YOUTHFUL SATYR, whilst dancing the infant Dionysos on his 
 
 knee, plays a note on his pipe. The startled child with one hand 
 stops his ear and with the other seeks to stop the sound by clutching 
 the mouth of the pipe. Sard. Zara (Jadera), 1889. 
 
 138 SEILENOS, playing the double pipes, seated on a rock spread with a 
 
 fawn's skin («^/>»'?), and with thyrsos leaning against it. In front, 
 small shrine of Dionysos on rocky height, about which fillets 
 are hung. A Greco-Roman work of singular freedom and vigour. 
 Cornelian. Athens. 
 
 139 BOY on donkey or mule carrying two baskets full of fruit, while a 
 
 lamb is hung by its legs (which are tied together) from the ass's 
 neck. The whole is surrounded by an olive wreath. Sard. 
 (d.d. C.D.E. Fortnum.) 
 
i8o 
 
 Exhibition of Ancient Greek Art [Part V 
 
 140 "THE VINTAGE HOME." The husbandman, after unyoking the 
 
 oxen from his cart, proceeds to unload the wineskin filled with 
 must expressed in the Tramrnpioi/ of his vineyard. His dog mean- 
 while jumps up on to the skin, barking with glee, and the tired 
 oxen sink on their knees. Messina, 1888. 
 
 141 BEARDED PHILOSOPHER seated on a high-backed chair reading 
 
 a scroll. Before him on a low base is a skull, above which flutters 
 a butterfly. Meditation on death and the immortality of the soul 
 is here symbolized. Fine Roman work of the Early Empire. Sard. 
 
 142 HAND WRITING WITH STYLUS. A graphic illustration of the 
 
 ancient method of writing. The stylus is held almost upright, be- 
 tween the thumb and first and second fingers. Jasper. Epitaurum 
 (Ragusa Vecchia), Dalmatia. 
 
 143 THREE PEASANTS COOKING A PIG IN A CAULDRON 
 
 One holds the pig, another pours some condiment over it, the third 
 puts a faggot on the fire (cp. Beverley Cameos and Reliefs). "A 
 design of Hellenistic origin" (Furtwangler, "Antike Gemmen," 
 ii. 243). Cornelian. Salona. 
 
 144 ANCIENT MASTER OF TOREUTIC ART, with chisel and 
 
 mallet, chasing the ornamental border of a silver urn, upon the lid 
 of which is wrought a seated female figure resting her head on her 
 arm. This elaborate work is no doubt intended to represent some 
 well-known masterpiece. The tree shows that the caelator works in 
 the open air. Naples, 1888. 
 
 145 "THE LAST LAY" : Homer on a seat of honour (with lions' feet); 
 
 a youth, seated to left, aids him to hold the lyre, while another 
 standing to right leans on his staff and stretches his right hand 
 above the poet's head, as if crowning him. A copy of a Hellenistic 
 painting or relief, analogous to the "Apotheosis of Homer," by 
 Archelaos of Priene. Red jasper. Athens. 
 
 146 HEAD OF HOMER, facing. A fine ideal portrait, like the Hellen- 
 
 istic marble heads. Greco-Roman work. Nicolo. Once Morrison 
 Coll. 
 
 147 PORTRAIT-HEAD OF AN ELDERLY ROMAN. Very deli- 
 
 cate work. End of the first century B.C. Cornelian. 
 
Case L] The Engraved Gems, etc. (Nos. 1-155) 181 
 
 148 BOLD, STRONGLY CHARACTERIZED PORTRAIT-HEAD 
 
 OF AN ELDERLY ROMAN of the early Empire; somewhat 
 resembling Galba. A good example of Roman portraiture. Athens. 
 
 149 HEAD OF LIVIA AS CERES, with corn- wreath, and a veil falling 
 
 down the back of her head. Fine early imperial work. Carbuncle. 
 Once Marlborough Coll. 
 
 150 LAUREATE BUST OF HADRIAN (a.d. 1 17-138), to right, wear- 
 
 ing a paludamentum. A good portrait of the Emperor. Cornelian. 
 Citluk near Sinj (Aequum), Dalmatia. 
 
 151 LAUREATE HEAD OF ANTONINUS PIUS (a.d. 138-161), 
 
 to right. A fine and strongly characterized head. Cornelian. Gar- 
 dun (Delminium), Dalmatia. 
 
 Late Mindan {Mycenaean) Relief, c. 1600 B.C. 
 
 152 FRAGMENT OF A BLACK STEATITE PYXIS with reliefs. 
 
 Parts of two male figures, one half kneeling as if sprinkling seed, 
 the other hurrying to the left, his long locks of hair showing under 
 the arm-pit, like those of the Kefti chiefs on wall-paintings of 
 Thothmes III /s time. In background, an altar of isodomic 
 masonry with sacral horns, before a temenos with rough walls in- 
 closing within a sacred fig-tree. Knossos, 1894. 
 
 N.B. — The three following gems, which do not belong to Mr. Evans, are also 
 
 placed in this tray. 
 
 153 ROCK CRYSTAL SCARABOID : girl sitting, draped in chiton 
 
 and cloak, playing the triangular harp. The hair is tied into a 
 knot at the back. This exquisite gem is one of the rare genuine 
 original works of the second half of the fifth century b.c. See 
 Furtwangler, " Antike Gemmen," i. and ii., xiv., 20. 
 Brought by Cockerell from Greece. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 154 EROS SEATED, with his chin resting on his right hand, is gazing 
 
 at a butterfly on a mound in front of him. Hellenistic. 
 
 Lent by Claude Ponsonby, Esq. 
 
 155 FRAGMENT OF A FINE AGATE VASE. Eros astride of a 
 
 panther. Modern enamelled setting. 
 
 Lent by Wyndham F. Cook, Esq. 
 
CASE M 
 
 The following intaglios, Nos. I to JO, and two gems, 48 and 49, page 242, 
 are lent by N. Story- Maskelyne, Esq., and are selected from his collection 
 by himself to represent different types and periods of work in gem- 
 engraving from those of the " Island" gems to the ring-stones of the 
 A ugustan era. A few gems are included on account of the quality of their 
 material. The descriptions are also from his pen. Where the terms right 
 or left are used, the description applies to the design as seen in an impres- 
 sion of the intaglio. 
 
 1 GRAY AND WHITE WAVED AGATE, a flattened cylinder pierced 
 
 lengthwise. 
 
 On one side an ibex at full speed, a hound striving to seize him. In the 
 foreground a pattern, possibly of foliage. On the reverse two series 
 of symbols are separated by a line. In the upper portion, on the left, 
 is a vase with handle and spout, under which is a four-pointed star. 
 On the right a fish (?) with bifurcated tail, head down ; and between 
 these two objects is one resembling a bird, seemingly with head 
 under its wing. In the lower portion on the left is another fish (?) ; 
 in the centre a double-headed axe pierced with a handle topped 
 with a knob; below, on either side, is a four-pointed star. (The 
 above as seen in the impression.) Of Minoan age ? [Plate CVIII.] 
 
 2 A GRAY PEBBLE, of flattened glandular form, pierced lengthwise: 
 
 engraved with a red deer falling forward, apparently drowned ; 
 his head thrown up in exhaustion. The watery element is indicated 
 by two fishes in the field. 
 
 3 RED JASPER streaked with lighter red, of glandular form. A stag at 
 
 full speed, with a dog seizing him by the neck, the two animals 
 appearing on the gem as back-to-back. The anatomy remarkably 
 fine in both cases, and the work exceptionally finished for a gem 
 of this form and age. [Plate CVIII.] 
 
 4 DULL RED JASPER. A circular gem of lenticular form. The inter- 
 
 pretation of the subject is difficult. It may be an animal (ibex or 
 
Case M] The Engraved Gems, etc. [Nos. 1-198) 183 
 
 chamois ?) in the act of springing, his form bent and his legs 
 gathered under him. Or it may be a drowned animal (like No. 2), 
 as indicated by an object like a fish in the field below. 
 
 5 GREEN PORPHYRY. Circular, lenticular gem. A dead ibex carried 
 
 apparently on the shoulders of a man whose legs only are seen. 
 A dog springs up behind the legs of the animal. In the field the 
 head of a double axe and two characters, possibly belonging to 
 some undeciphered script. [Plate CVIII.] 
 
 The above five gems with that numbered 31 belong to the very early class 
 of Greek work in centuries anterior to the seventh century B.C. 
 
 6 BLACK AND WHITE BANDED AGATE. A female figure, 
 
 moving to the right, holds a thyrsus in her right hand, carrying a 
 ribboned hoop, her hair falling down her back in a large plait; of 
 rude workmanship. From the Praun Collection. Figured in 
 King's "Antique Gems," plate II., 11. 
 
 7 WHITE AND BROWN BANDED AGATE. Three sorcerers 
 
 evoking a ghost, the principal figure holding a wand ; the ghost's 
 head appearing from below. Perhaps three Etruscans consulting 
 Tages. (Hertz Collection.) 
 
 8 HYACINTHINE GARNET. An augur, crouched, taking the au- 
 
 spices and holding his litttus. Guilloche border, broken away 
 in places. The technique is peculiar, the outline being incised, 
 while the figure is but slightly polished, and the surface hardly 
 sunk at all below that of the stone. There is a band round the 
 thigh and body ; otherwise he is nude. Hair and features are care- 
 fully worked. Figured in King's " Antique Gems," p. 27. [Plate 
 CVIII.] 
 
 9 MINUTE SCARABOID IN PLASMA. ASilenus mask, with small 
 
 animal ears and bearded face. Shallow work ; engrailed border. The 
 subject occurs on Electrum staters of Lampsacus (?). The stone in 
 part represents the <rpcLpxy$o<; of Theophrastus, and this is Greek 
 work of very early type for the material. Recently scaraboids have 
 been met with in Cyprus (British Museum Collection) carrying fine 
 Greek work on plasma. [Plate CVIII.] 
 
 10 BLACK AGATE SCARAB, with a white band. Hercules, his club in 
 his right hand, running. In the lower part of the gem a figure 
 resembling a dog. The work, like the scarab, is somewhat rude, 
 belonging to the later Etruscan period. [Plate CVIII.] 
 
8 4 
 
 Exhibition of Ancient Greek Art [Part V 
 
 1 BLACK AGATE, streaked with white. An Etruscan scarabaeus repre- 
 
 senting a naked hero with helmet, shield, and lance moving to the 
 right. His sword in the right hand behind him. Perhaps he is 
 retreating wounded. The gem is surrounded by an engrailed 
 border. Furtwangler, XX. 2. A delicately rendered Etruscan 
 gem. [Plate CVIII.] 
 
 2 SARD SCARAB. Hercules, nude, his club in his right hand, is in 
 
 front of a spring flowing from a lion's mouth ; under it an amphora. 
 HEPCLE in Etruscan characters, in the field. The rim of the gem 
 engrailed, as also is the base of the scarab. One of several gems 
 obtained through the aid of the late Mr. Stillman, Rome, 1891. 
 Furtwangler, XX. 25. [Plate CVIII.] 
 
 3 SARD SCARAB of fine workmanship. It carries a nude hero with a 
 
 shield, his sword falling from his right hand. He appears to be 
 heaving with his head and shoulders some object that is just out of 
 the field of the gem, fractured at that part. Perhaps Ajax bearing 
 the body of Achilles (outside the design). Furtwangler, XX. 3. 
 [Plate CVIII.] 
 
 4 SARD SCARAB of excellent workmanship. A naked youth, his shield 
 
 behind him, his spear to his left, reaches down with his left arm 
 to an object which seems to be a water-vessel. The handle and 
 scabbard of his sword are seen on his right. The right arm rests 
 on his hip. A fine rope border. Stillman, 1891 ; Furtwangler, 
 XX. 29. 
 
 5 WHITE AGATE SCARAB banded with brown, of extremely deli- 
 
 cate workmanship, and small size. The subject represents Achilles, 
 who has removed the arrow from his heel. His spear in the field. 
 Behind him his shield, and, resting on the ground behind that, his 
 helmet. The gem is bordered by a delicate rope pattern. From 
 the collection of the late Mr. Bale. [Plate CVIII.] 
 
 6 A VERY BEAUTIFUL SCARABAEUS, formed of a five-layered 
 
 sardonyx. The surface of the elytra is in a light brown layer. 
 The engraving is cut in a delicate horn-coloured layer; succeeded by 
 a white one, above which is a broad layer of rich brown, to which a 
 thin white layer succeeds. The scarab is much flattened in order to 
 exhibit the layers of the stone. Within a rope border a bearded 
 man with long hair, resting on one knee, is drinking from a kylix. 
 
Case M] The Engraved Gems, etc. [Nos. 1-198) 185 
 
 A fillet crosses the forehead and restrains the hair. The work is 
 shallow, and the articulation of the limbs delicately modulated. 
 From the late Mr. Bale's collection. [Plate CVIII.] 
 
 17 SARD, with an engrailed border. Tydeus with the head of Melanippus. 
 
 His foot is on the body of the victim, whose helmet is in the field. 
 The shield of Tydeus is on his left arm ; his sword is on the ground. 
 (A Marlborough gem, No. 347 of the Catalogue.) On the back a 
 rude figure of Victory with a wreath. [Plate CVIII.] 
 
 18 A LARGE OVAL GEM OF MOTTLED JASPER. Three figures. 
 
 In the foreground a warrior with a siren on his shield. Behind 
 him a bull, and in the rear two figures, a warrior with a cross on 
 his shield, and, apparently, a priest, veiled. The front warrior is 
 offering a cake on an altar, probably previously to sacrificing the 
 bull. A rope border surrounds the gem, which is of rude execution. 
 
 19 A FAMOUS GEM of an oval form on a PALE BERYL. A youth 
 
 astride on a dolphin, with hair down his back bound by a fillet across 
 the forehead ; below, in the field, wavy lines indicating water. A 
 delicate knotted string border surrounds the gem. Four letters 
 are in the field. They are difficult to interpret, perhaps from the 
 fact that the gem has evidently undergone a repolishing. They 
 have been read as TERS for Taras, THESE for Theseus, and 
 Professor Sayce interpreted them as THEC S (Sextus made me). 
 According to the legend, Taras, the hero of Tarentum, reached 
 Italy from Taenarum on a dolphin. The Theseus explanation 
 would point to the story of Theseus jumping into the sea to 
 recover the ring of Minos. It is Greco-Italic work of fine char- 
 acter, considering the hardness of the stone. Furtwangler, on the 
 other hand, considered the writing to be later than the gem and 
 meaningless. The subject resembles that on coins of Tarentum. 
 The ancient character of the gem is guaranteed by its having belonged 
 to the Praun Collection, No. 439. Figured in King's "Antique 
 Gems," p. 38. The ring was an exact facsimile by Spilling from 
 the most beautiful, simply gold ring in the Marlborough Collection, 
 No. 551 in Catalogue. [Plate CVIII.] 
 
 20 BANDED AGATE of five layers, the two extremes being of a rich 
 
 brown sard, while the central white band is flanked by two of yellow 
 sard. It is a small, long, oval gem, on which three bearded wheat- 
 ears are worked entirely with the diamond point. Springing down 
 
 B B 
 
i86 
 
 Exhibition of Ancient Greek Art [Part V 
 
 on the wheat-ears is a delicately rendered grasshopper. In the field 
 a n and 2. It was found at Aquileia. [Plate CVIII.] 
 
 21 ON A BEAUTIFUL OVAL RED SARD: Priam is represented 
 
 at the feet of Achilles, begging for the body of the slain Hector. 
 Briseis, a graceful female figure, stretches her hand to raise the 
 old man, while Achilles, on a throne at her side, holds a staff- 
 like sceptre. In the field is seen a winged mace or caduceus, 
 the symbol of an embassy. The gem has been slightly reduced 
 from its original size, the back of Achilles being cut off. The sur- 
 face is slightly rounded and somewhat worn, but not to its detri- 
 ment. The composition is very pictorial in character, and Furt- 
 wangler aptly explains the design by supposing it to have been 
 taken from the Tabula Iliaca at the Capitol of Rome, the inspira- 
 tion being drawn from works of the great Greek artists of four 
 centuries before the Augustan era, to which latter date this curious 
 gem would seem to belong. Furtwangler also suggests that Hermes 
 in the original fresco would have formed a fourth figure behind 
 that of Priam, holding in his hand the caduceus. Figured by King 
 in " Antique Gems," plate V., 1 1. This little gem is worked almost 
 entirely with the diamond point : it came from the Hertz Col- 
 lection. [Plate CVIII.] 
 
 22 GOLD SARD, a fragment. The lower, uninjured portion represents 
 
 the features, the neck, and in part the hair (knotted at the back) 
 of a lovely Greek maiden. In the field in front is a letter or sym- 
 bol P, the capital form of p. 
 
 23 FI NE GOLD SARD. An oval gem, representing a mask of the bearded 
 
 Bacchus in front face ; the beard dressed in long spiral curls : a 
 serpentine fillet on either side. The hair is dressed with six knots 
 {coiymbi) ; beautiful Greek work. [Plate CVIII.] 
 
 24 ON A LIGHT SARD (slightly translucent). A portrait head to the 
 
 left (on the gem) of Philip V. of Macedon. Figured by King, on 
 page xl of " Antique Gems," as Demetrius Soter. A fine example 
 of Greek portraiture, which formerly belonged to Horace Walpole. 
 [Plate CVIII.] 
 
 25 ON A BRILLIANT GOLDEN SARD of oval form. Ahead of the 
 
 youthful Hercules of beautiful workmanship, with the lion head- 
 dress: a gem of the second century B.C. From the Marlborough 
 Collection, No. 311. [Plate CVIII.] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 187 
 
 26 ON A GOLD SARD of remarkable beauty, brown by reflected light. 
 
 A lovely Greek head, the hair held back by a frontlet, which also 
 binds the back hair into a knot. Shallow Greek work, of singular 
 simplicity and beauty. [Plate CVIII.J 
 
 27 ON A BLOOD-RED SARD. A female sleeping head to the left with 
 
 a wing in the hair, which is dressed in deep waves or rolls. The 
 gem has been injured, and a small portion of the upper hair is 
 represented in gold. The surface is a good deal worn. The subject 
 is that generally described as the Sleeping Medusa. The type 
 resembles that of the Medusa of the Blacas Collection. [Plate 
 CVIIL] 
 
 28 ON A CLEAR SARD. A head of Aphrodite to the left. Very deli- 
 
 cately worked in the Greek shallow manner. The surface slightly 
 repolished. From the Marlborough Collection, No. 114. 
 
 29 ON A SMALL CLEAR SARD. A mask, in front face, representing 
 
 a Maenad. The hair is ivy-bound, with large beads, possibly the 
 crepundia or tinkling bells depending from it. Figured in King 
 and Munro's " Horace," pp. 351 and 454. 
 
 30 ON A HYACINTHINE GARNET. A head, perhaps of Sappho, 
 
 with a remarkable headdress, a sort of flattened cap with a band 
 carrying bay-leaves. Seven beads on the flat top of the cap. 
 Below the band the hair falls in formal curls. The gem is slightly 
 convex. The work is of a flat, shallow character. A gem closely 
 resembling it, and of the same kind of work, is in the Hermitage 
 Collection, the source of which was Kertch. Figured in King's 
 "Antique Gems," p. 27. 
 
 31 A NEARLY CIRCULAR WHITE JASPER LENTICULAR 
 
 GEM. The head of an ox, in front view, with the horns curved 
 downwards. It is figured by Furtwangler, VI. 19, who compared 
 it with a similar head from Mycenae, in which, however, the horns 
 point upwards, with the double axe between them. The work is 
 very early Greek, simple and effective. (From Mr. Stillman in 
 Rome.) [Plate CVIIL] 
 
 32 ON A LARGE OVAL SCARABOID OF WHITE JASPER: 
 
 a wolf (?) carrying his tail between his legs, apparently stopped 
 in his career and looking startled. He stands on an exergual line. 
 A simple Greek work not later than the fifth century B.C. The 
 drawing is excellent. Furtwangler, XII. 33. [Plate CVIIL] 
 
1 88 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 33 LARGE SCARABOID OF HORN CHALCEDONY. 
 
 On either side a tunny fish, the head of one directed upwards 
 and that of the other downwards. The design is encircled by a 
 delicate rope-border. The vase is of simple form, worked in the 
 shallow Greek manner. The date of the gem is fairly determined 
 by the form of the vase, which appears to have been confined in use 
 to the finest period of Greek art. Figured by Furtwangler, XXXI. 
 14. Probably, therefore, it was a symposial gem of the fifth 
 century b.c. [Plate CVIIL] 
 
 34 SCARABOID OF SAPPHIRINE CHALCEDONY. Lion passant, 
 
 in an engrailed border. The type of the animal is conventional ; 
 unmistakably of fine Greek workmanship, with its delicate modula- 
 tion of surface and shallow technique. Its date may have been in 
 the fifth or early in the fourth century B.C., before the formal char- 
 acter of the olden time had changed to the freer style. [Plate 
 CVIIL] 
 
 35 ON A GOLD SARD. A small figure on horseback, with a Thessalian 
 
 hat and talaria on his feet, a scarf waving behind him, while the 
 horse carries the tenia or sash of victory. It is somewhat rude 
 Greek work of a late time, and resembles a figure on the coins of 
 Larissa (Perseus?). A Marlborough gem, No. 606. 
 
 36 A MINUTE CAMEO representing a greyhound with a dead hare, 
 
 which he is devouring. Cut in a white layer on a dark gray jasper, 
 finely modelled. 
 
 37 ON A SMALL SARD OF FINE COLOUR. A bull preparing to 
 
 butt to right. A well-modelled figure pawing the ground with his 
 off forefoot. Surface somewhat worn. Italo-Greek. 
 
 38 ON A WHITE JASPER, or perhaps a burnt sard scaraboid. A 
 
 winged gryphon passant to the right, on an exergual line: the 
 left forepaw in the air. Of graceful contour and Greek, perhaps 
 Asiatic, workmanship ; the work not later than the middle of the 
 fourth century. Figured by Furtwangler, IX. 58. [Plate CVIIL] 
 
 39 LARGE LAPIS LAZULI SCARABOID. A figure of Phryne(?) 
 
 in the character of Aphrodite rising from the sea(?). The robe 
 which she appears beneath suggests by its form the open halves of 
 a bivalve shell ? It is the subject known in modern phrase as the 
 
Case M] The Engraved Gems y etc, (Nos. 1-198) 189 
 
 " Venus accroupie." Severe work of the Greek school at its best 
 time, resembling in the larger margin and design of the figure 
 the pastes which represent to us for the most part the gems of that 
 particular period. It was found in Athens, and belonged to Mr. 
 Finlay the historian. It was sold in Merlin's (Vice-consul at 
 Athens) Collection at Sotheby's in 1861. The stone is much 
 weathered from the disintegration of a few small specks of pyrites, 
 to which the spangled character of lapis lazuli is due. Figured 
 by Furtwangler, XII. 33. [Plate CVIII.]. 
 
 40 AN OVAL GEM IN MILKY QUARTZ, apparently cut from a 
 
 scaraboid. The chimaera, i.e., a lion passant to the left, with a 
 goat's head rising from its shoulder. Rather late Greek work. 
 Figured by Furtwangler, XXXI. 7. [Plate CVIII.] 
 
 41 BROWN SARD. A sow, with bristles along its back. Slightly convex 
 
 gem. 
 
 42 A RED SARD GEM of singular form, being half a cylinder, present- 
 
 ing a flat surface, on which is seen a greyhound finely modelled, 
 gnawing at a leg bone of an animal held by its forepaws ; on 
 its neck it wears a collar. A fine milled border of rectangular form 
 surrounds it. The stone is bored lengthwise. The work is spirited 
 and of the Greek character, probably of the fourth century B.C. 
 Figured by Furtwangler, IX. 55. [Plate CVIII.] 
 
 43 A SMALL CAMEO. An infant with its left hand on its cheek. In a 
 
 white layer, on a brown jasper base. 
 
 44 A SAPPHIRE OF ROUNDED FORM, slightly broken in one 
 
 part, with a head of Hercules, or of Alexander in this character, 
 with lion headdress. Well modelled, and fair work for so hard a 
 material. 
 
 45 A BROWN SARD, slightly convex. A satyr pouring wine from an 
 
 amphora into a crater. Figured in King's "Antique Gems," 
 plate V. 7. A graceful figure. Greco- Italian work. [Plate CVIII.] 
 
 46 A LARGE OVAL AMETHYST, nearly flat. The head and shoulders 
 
 of a figure to the right that has been called Apollo. It has an 
 effeminate character. The hair is long, bound with a fillet ; the 
 ends of the hair lying on the shoulders are caught together. The 
 work is shallow, probably late Greek ; perhaps Asiatic. From 
 the Mertens-Schaffhausen Collection, " trouvee a Coloene " TPlate 
 CVIII.] s ' L 
 
Exhibition of Ancient Greek Art 
 
 [Part V 
 
 47 A SCARABOID IN HORN CHALCEDONY. A bull in the attitude 
 
 of that on the reverse of the coins of Thurium, with his head down 
 and foreknee on the ground. It is a fine work of the best period of 
 Greek art ; somewhat later than the Lapis lazuli Aphrodite, No. 39, 
 i.e., probably of the first half of the fourth century. [Plate CVIII.] 
 
 48 ON A NICOLO. A warrior standing by a horse whose off foreleg he 
 
 is putting into position. He is apparently training the animal ; a 
 frequent subject : particularly well modelled. The surface of the 
 Nicolo has a curious crackled appearance, but the dark underlayer 
 is not seen. From Mr. Stillman. Greco-Roman work. 
 
 49 A SMALL OVAL NICOLO. A bull butting to the left. The figure 
 
 is cut into the black underlayer. 
 
 50 A SMALL OVAL GOLD SARD. A seated satyr with thyrsus resting 
 
 on his shoulder, caressing a goat, his hand under its chin ; appar- 
 ently talking to it. Spirited late Italo-Greek work. 
 
 51 ON A MAGNIFICENT BLOOD SARD. A little family scene, in 
 
 which an old satyr seated on a pard-skin plays the double flute. 
 An infant satyr dances before him with a thyrsos in his hand. Be- 
 hind the elder satyr a nymph waves her hand as though marking 
 the time. A granulated border surrounds the gem, which is deeply 
 cut and very spirited. 
 From the Marlborough Collection, No. 223. Probably an Italo-Greek 
 work. [Plate CVIII.] 
 
 52 BANDED AGATE, black with white band. The gem represents a 
 
 female seated, with her head bowed as if asleep, dressed in a 
 chiton or tunica, to the left (in the gem) ; a hydria is on the 
 ground before her, over which in the field is an ant. Above her 
 head an eagle is poised with a staff in his claws, round which is 
 wound a rope-like tasselled band. Behind her are two enormous 
 wheat-ears. Several gems are known with subjects similar to this, 
 sometimes with a fountain, sometimes with a serpent present ; and 
 they have been designated as representing Psyche fetching water 
 from Cocytus. Furtwangler, however, disposes of this attribution, 
 connecting the subject with a myth involved in the temple of 
 Juno Sospita in the town of Lanuvium, to whom the crow was 
 dedicated, while near the temple a sacred serpent was kept. The 
 
Case M] The Engraved Gems, etc. {Nos, 1-198) 191 
 
 goddess was apparently an earth goddess, as indicated by the 
 wheat-ears and the ant ; and for the rest of this ingenious explana- 
 tion a reference may be made to p. 295 of the third volume of 
 Furtwangler's " Antike Gemmen." It is a good work of the class, 
 Italian in origin. [Plate CVIII.] 
 
 53 ON A FINE PERIDOT (the rixafyt of the Greek, the Roman 
 
 topazus), somewhat convex on both faces. A horse trotting to the 
 right; on a line in exergue. The mane is hogged. Very fine work, 
 probably of Ptolemaic date and origin, the stone having been 
 brought into vogue, according to Pliny, in the time of Berenice, 
 wife of Ptolemy I., and mother of Ptolemy Philadelphus. He states 
 that the stone was introduced from an island in the Red Sea ; the only 
 source to this day of the peridot (an apple-green olivine). The gem 
 came from the collection of Mr. Bale, of which it was one of the 
 chief ornaments. Figured by Furtwangler, L. 7. [Plate CVIII.] 
 
 54 A BANDED AGATE OF OVAL FORM. A graceful and delicately 
 
 worked figure of Omphale. She carries the club of Hercules on 
 her right shoulder and the lion-skin across the left ; the head is 
 slightly drooping. She is moving to the left. Of Italo-Greek 
 workmanship, probably of the second century B.C. Furtwangler 
 figured it, XXV. 48. [Plate CVIII.] 
 
 55 ON A BEAUTIFUL OVAL AMETHYST, somewhat convex, the 
 
 same oft-repeated subject. Omphale wears the lion headdress, 
 Hercules' club resting on her left shoulder. She is moving to the 
 right (on the gem). Figured by Worlidge. Marlborough Collec- 
 tion, No. 314 of the Catalogue. 
 
 56 A NICOLO. A small oval gem. A female head cut rather deeply into 
 
 the underlayer of sard ; the hair elaborately dressed and finely 
 worked. Italo-Greek work (?). 
 
 57 ON A FINE FOILED SARD a cupid running, with a huge mask 
 
 over his head, a ribboned tkyrsos over his shoulder. From the 
 Marlborough Collection, No. 140 of the Catalogue. 
 
 58 AN OVAL BROWN SARD with a bearded head, the back portion 
 
 of which is veiled; the harpe of Kronos is seen behind the head. 
 It is a head of that Deity of good, probably Italo-Greek, work. 
 The harpe has a curved as well as a straight point. 
 
192 
 
 Exhibition of Ancient Greek Art [Part V 
 
 59 AN OVAL GEM on an extraordinarily fine blood-red sard. Slightly 
 
 convex. A full-length female figure looking to the left reads from 
 a tablet (or scroll ?). Behind her on a square stele stands a goose. 
 Her hair is close bound to her head by a fillet. Probably a Muse. 
 Style and work similar to the glass paste at Florence with the 
 signature of Onesas, repeated and imitated in modern gems; a 
 class to which the square form of the stele and the holding the 
 scroll (or tablet ?) in a single hand (her left) proves this beautiful 
 stone to belong. 
 
 60 A LARGE OVAL GEM deeply cut in a remarkable specimen o ! 
 
 Iolite (or Dichroite, so named from its optical character). By 
 transmitted light from the back of the gem it has a pale sapphire 
 blue, a deep blue when seen across its shorter diameter, and it is of 
 a light straw tint when the light traverses the length of the gem. 
 The head and bust of Berenice 1 1, in front face ; her head is slightly 
 inclined to the right ; a cornucopia borne on her left arm rests on 
 the left shoulder. Her hair is retained by a frontal wreath, and a 
 veil covers her head ; she wears a necklace of elaborate design 
 which is partially obliterated by the wear of the gem. 
 The gem is figured by Worlidge, and stated by him to have belonged 
 to the Bishop of Llandaff. It is also figured by Tassie (plate 
 XLVIIL), who follows Worlidge in calling it Ceres, but recognizes 
 the necklace as that of Isis : he calls the stone cornelian, an in- 
 stance of his many errors in this respect. He mentions two cameos, 
 with the subject, and a smaller replica of it in intaglio. A larger 
 intaglio, identical in subject but rather less fine in execution, is 
 in the Bibliotheque at Paris. It seems to be contemporary with the 
 Queen it represents and is probably Alexandrian work. [Plate 
 CVIIL] 
 
 61 AN (AQUAMARINE) BERYL, disfigured by having been facetted 
 
 in modern times at the back. A female head, to the left (on the 
 gem), perhaps a portrait in the character of Victory, as indicated 
 by a small wing over the shoulder at the back of the head. A very 
 delicately modelled and worked gem, considering the great hardness 
 of the material. Greek work of a late time, probably 200-100 B.C. 
 
 62 ON A SMALL OVAL SARD, a delicately worked head, perhaps of 
 
 Sophocles, to the left, bearded, with a fillet round the head. A 
 Marlborough gem: No. 351 of the Catalogue. [Plate CVIIL] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 193 
 
 63 ON A SMALL ALMANDINE GARNET, a most delicately ren- 
 
 dered figure of a helmeted kneeling warrior, perhaps Capaneus, to 
 the right, his head turned up as if imploring the gods. On his 
 right arm is a large oval shield, and his spear on his left side. The 
 work seems too good for a post-Augustan artist. 
 
 64 ON A FINE SARD, a portrait (to the right) of Marcus Junius Brutus ; 
 
 a refined contemporary work, presenting the well-known features 
 of the great Roman, with marked characteristics. 
 It was a Marlborough gem, No. 375 in the Catalogue, and is set in a 
 pretty enamelled ring. Worlidge figured it and described the stone 
 as " beryl," a name frequently given in the eighteenth century to a 
 a fine sard. [Plate CVIIL] 
 
 65 ON A BRIGHT LAPIS LAZULI, round, and very slightly convex, 
 
 in which some specks of iron pyrites that had perished have in 
 later times been replaced by gold. Hipparchus, the astronomer, is 
 seated in front of a small tree, and with head raised (to the left) 
 contemplates the heavens. Over him, in the field, are seven or 
 eight stars clustered, perhaps as the Pleiades, while gold spangles 
 that replace the weathered pyrites represent the sun and moon. 
 On the ground before him is an armillary sphere with circles 
 indicating the tropics and the ecliptic intersecting them. This is 
 the astrolabe of Hipparchus. In his right hand he holds a pair of 
 compasses, spanning the angle of intersection of the circles. His 
 head is bare, and a robe hangs from his shoulder. This gem was 
 in the Praun Collection (early in the seventeenth century). Figured 
 in King's "Antique Gems," p. 337. 
 Its date may, perhaps, be indicated by that of Ptolemy, who brought 
 the works of Hipparchus (160 B.C.) into notice in the second 
 century a.d., a period to which this interesting gem may be perhaps 
 assigned. [Plate CVIII.] 
 
 66 ON A SMALL GOLD SARD set in an elegant ring, a head of Perseus 
 
 to the right : he wears a winged helmet with a sprig of bay over it. 
 It is shallow delicate work. 
 
 67 A NEARLY CIRCULAR GEM with a flat surface, consisting of 
 
 " milky " quartz. The head (turned to the left) and bust of the 
 Lemnian Athene. This type of the representations of Athene, 
 reconstructed by Furtwangler from statues scattered through 
 
 c c 
 
i 9 4 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 Europe, and recognized by him on a Nicolo figured in Raspe, 
 with the modern inscription HEIOY, is represented by four gems 
 in his " Antike Gemmen," xxxviii., and was fully discussed in his 
 " Masterpieces of Greek Sculpture." Of the gem-representations 
 of the subject he describes this as the best and most beautiful. 
 The helmet is represented in the field ; in the statue it was in the 
 hand of the goddess, who is unarmed, as the statue by Pheidias 
 commemorated the conclusion of peace. 
 The resemblance of the somewhat lengthened and serious features to 
 those of the statue as figured in the " Masterpieces" is unmistakable ; 
 the hair is delicately rendered, as is the aegis, which lies trans- 
 versely on the figure and the chiton which is represented in outline. 
 The gem was bought for a trifling sum at Sidon, by Sir John 
 Llewelyn, in i860. Fine work of the Augustan age. [Plate CVIII.] 
 
 68 ON A FINE OVAL SARD, slightly convex, a standing figure of 
 
 Abundantia, the deity of agricultural Plenty. She looks to the 
 front, wheat-ears in one hand and a basket of fruit in the other ; an 
 ant in the field. Fair sketchy work of the earlier Roman period. 
 A Marlborough gem, No. 40 of the Catalogue. 
 
 69 A RICH BROWN SARD ; a circular gem, quite flat in surface. A 
 
 bearded man, nude save for a small cloth over his thighs, sits in 
 front of an anvil, in profile to the left (on gem). The anvil has the 
 form of an inverted hammer, over which he holds a bar (appar- 
 ently); with the other hand he is bringing a hammer down on a 
 round object on the anvil. Around him in large letters the in- 
 scription, VINDALVCONES or EIS. The I, last syllable, may be 
 only the bar of iron above mentioned, or it may serve in two 
 capacities as a letter and a bar. The work is good, the hair being 
 delicately rendered and the figure well poised. It is surrounded 
 with a finely milled border. The man may have been an inhabitant 
 of Vindalum on the Rhone : the river lou'x^a? was called Vin- 
 dalicus, probably from the town. On the other hand, Vindalicia 
 was one of the four Danubian provinces of which the Augsburg 
 of to-day was the capital. It is no doubt a Roman gem of the late 
 Republic. [Plate CVIII.] 
 
 70 ON AN OVAL, SLIGHTLY CONVEX PLASMA of beautiful tint 
 
 and quality, a helmeted warrior, nude, except for the chiton falling 
 over one shoulder and thigh, is fastening his sandal on his right 
 
Case MJ The Engraved Gems, etc. (Nos. 1-198) 
 
 foot (as on the gem), which rests on a rock; the other leg, bent at 
 the knee, leans on the rock. He is seen in profile to the right, 
 and the work is particularly fine for the material, and is probably 
 not later than the age of Augustus. Though the plasma had 
 not come into vogue so early, a few gems of that and of earlier 
 dates are extant cut in this beautiful stone. 
 
 {For two other gems from Mr. Maskelynes Collection, see Nos. 48 and 
 49,/. 242.) 
 
 The following gems, Nos. 71 to 198, are described by Charles New ton- Robinson. 
 
 71 VICTORY, in profile to left, flying, with floating drapery, and bearing 
 
 a palm branch over her shoulder. 
 Brownish yellow sard or cornelian. Oval. Height, 17I; Width, 13%, 
 
 Highly convex, flat- backed stone. 
 Greco- Roman work of Republican period. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 72 A NUDE MAN, in profile to right, carrying an amphora (?) which he 
 
 is about to place in a boat, the prow of which is indicated. Behind 
 
 him a knotty club. Cable border. 
 Red and yellow cornelian with one whitish spot. Approximately oval. 
 
 Height, 14; Width, \o\. 
 Early Italian ; perhaps a cut scarab. Much worn. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 73 BULL BUTTING, in profile to left. 
 
 Tawny red sard. Oval. Length, 12^; Height, 9 \. 
 Rough, spirited, late Greek work. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 74 POSEIDON, with right leg raised and resting on a rock, stands in an 
 
 attitude of contemplation, his body bent rather forward, and his 
 head in profile, looking to the right. In his right hand he holds 
 the staff of a trident, which leans across his shoulder. Round the left 
 arm is coiled a short cloak. He is bearded, and his hair is gathered 
 in a thick roll of curls around the brows. 
 
 Bright red sard, with whitish patches at back. Oval. Height, 17 ; 
 Width, 13. Rather thick stone, slightly convex on face, and be- 
 velled away from it towards the back. 
 
 Rather shallow engraving of good outline, and the details well rendered. 
 Italo-Greek. Third century. From the A. Morrison Collection. 
 [Plate CXII.] Lent by H. A. Rigg, Esq. 
 
Exhibition of Ancient Greek Art [Part V 
 
 75 PORTRAIT BUST of some distinguished Roman of the late Repub- 
 
 lican time. His head is bald, and he has a long arched nose, tight 
 lips, deep sunk eyes, and wrinkled brow, chin and forehead rather 
 retreating. In profile to left. 
 
 Oriental onyx cameo of two layers, the upper nearly opaque china- 
 white, the lower pale brownish translucent cloudy chalcedony. 
 Oval. Height, 28 ; Width, 26^. 
 
 From the Hamilton Collection. This is a remarkably fine cameo of 
 high but not slavish finish, and full of life and character. Eye and 
 ear are rendered with particular spirit. Intaglio portraits of the 
 same personage exist ; and other Roman intaglios of about the 
 same time have the rather unusually wide margin which is pos- 
 sessed by this gem. Professor Furtwangler accepts it as antique. 
 [Plate CXII.] 
 
 Lent by T. W. Greene, Esq. 
 
 76 TWO ACTORS, wearing comic masks, standing facing one another. 
 
 One appears to be a slave, his dress not falling below the middle 
 of the thighs. The other is fully draped, and lifts his left hand with 
 a gesture as of admonition. 
 
 Tawny red sard. Oval. Height, 14; Width, n\. 
 
 Antique replica of a well-known type. [Plate CXII.] 
 
 Lent by T. W. Greene, Esq. 
 
 77 MALE AND FEMALE FIGURES, in conversation. The woman 
 
 is fully draped, and wears a veil. She is moving towards the left, 
 looking back, with a movement of the hands as if to draw the veil 
 over her face. The youth facing her is divesting himself of his cloak. 
 Inscription, placed vertically, SIAAniflN ; it seems contem- 
 poraneous. 
 
 Brilliant golden sard. A fragment mended with gold. Originally oval. 
 
 Present height, about Width, 9^. Thin stone with flat face 
 
 and slightly convex back. 
 A Hellenistic gem. [Plate CXII.] 
 
 Lent by T. W. Greene, Esq. 
 
 The following Gems, Nos. 78 to 128, are lent by Wyndham F. Cook, Esq. 
 
 78 WINGED VICTORY, nude to the waist, standing with her left foot 
 
 resting on a rock, and writing on a circular shield. 
 Amethyst. Oval, face of stone slightly convex, back highly convex. 
 
 Height, 23 ; Width, 16. 
 Good Greco-Roman work. Resembles No. 95. [Plate CX.] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 197 
 
 79 ERECT NUDE FEMALE FIGURE, in full front, but the head 
 
 turned to the left, the right arm held across the body, the other 
 extended to left. A small bird, bearing a scroll in its beak, has 
 alighted on the hand. 
 
 Fine sard, of the rare orange-red colour, formerly called "berill." 
 Oval. Height, 14^ ; Width, 12. Face of stone convex, back concave. 
 
 This unique gem was described with great admiration, and figured by 
 Count Caylus in the eighteenth century. The delicate shallow 
 engraving is of the highest grace and skill. It is Greek work, but 
 so unusual that a date is hard to find for it. [Plate CX.] 
 
 80 HEAD, in profile to left, of a Greek sovereign. His hair is bound with 
 
 a fillet, tied behind in a bow. 
 Pale amethyst. Oval. Height, 14^; Width, 11. Flat face, convex back. 
 Hellenistic work of fine style and finish, considering the crystalline 
 
 material. [Plate CX.] 
 
 81 SCYLLA about to slay a mariner by a blow with a rudder. 
 
 A beautiful, bright red sard. Originally oval. Height of the fragment, 
 9; Width, 10. Thick, flat stone. Lower part restored in gold. 
 
 Very spirited, bold work, of fine design. Compare Furtwangler, plate 
 XXXIII., Nos. 44 and 45. 
 
 Formerly in Dr. Notts collection. Hellenistic work. [Plate CX.] 
 
 82 BEARDED MALE BUST, of Zeus (?). Head in profile to left. A 
 
 fillet binds the hair, which falls in long locks on back and shoulders. 
 Nicolo. Oval. Height, 18 ; Width, 14. Flat stone with bevelled edge. 
 From the A. Morrison Collection. Fine bold work of Greco-Roman 
 
 date. [Plate CX.] 
 
 83 AN ORIENTAL MONARCH ON HORSEBACK, advancing to 
 
 right, with uplifted right arm, in an attitude of command. 
 Fine, bright red sard. Oval. Height, 18; Width, 14. Rather thick 
 flat stone. 
 
 Found at Cabul. An ancient Asiatic work showing Greek influence. 
 [Plate CX.] 
 
 84 BUST OF A YOUNG MAN, facing to left, in profile. Short curly 
 
 hair, bound with a laurel wreath. 
 Plasma, or moss-agate, of a pale, cloudy, greenish hue, the only one of 
 
 the kind I have ever seen. Nearly square, with rounded corners. 
 
 Height, 17; Width, 16. Stone thick; face rather convex ; back flat. 
 See Furtwangler, plate LXIII., No. 38, where he describes the stone, 
 
i 9 8 
 
 Exhibit ion of Ancient Greek Art [Part V 
 
 evidently from imperfect notes, as a "beryll" (?); and suggests 
 that it may represent Orestes, not Apollo, as the cheeks are 
 hairy. In this respect the gem resembles the cameo of Ares, 
 described and figured by Furtwangler, vol. ii., p. 333, fig. 179. 
 Furtwangler considers the technique of this intaglio to be in the 
 style of Dioscorides. May it not, however, be a portrait of the 
 second century ? [Plate CX.] 
 
 85 A YOUTHFUL FEMALE FIGURE, perhaps Aphrodite, sits on a 
 
 coil of the body of a marine monster, among waves. Her back is 
 towards the spectator, but her face turned into full view over the 
 right shoulder and arm, with which she holds out a sea-shell. 
 Inscription, VAAOV ; placed vertically in the field. 
 
 Fine golden-red sard. Oval. Height, 25; Width, 19^. Stone rather 
 thick ; face slightly convex ; back nearly flat. 
 
 The engraving of this magnificent gem is very deep and highly polished, 
 though rather bold than minute. The picturesque design covers 
 an unusual amount of the surface of the stone. It is Hellenistic 
 work of extraordinary merit, though the inscription appears modern. 
 Furtwangler describes (plate XLL, No. 42) a similar, but not 
 identical gem, of greater size, engraved upon amethyst, in the 
 Hermitage, St. Petersburg. [Plate CX.] 
 
 86 BUST OF A NUDE GIRL OR YOUTH, with left shoulder for- 
 
 ward, but face in profile to left. Hair gathered in a broad plait 
 
 resembling a fillet round the head, and tied behind in a bunch. 
 Black sard. Oval. Height, 20; Width, 12. Rather thick stone, flat 
 
 on both sides. See Furtwangler, plate XXXVIII., No. 26. 
 Beautiful work of the most exquisite Greek spirit, formerly in the 
 
 Rhodes Collection. 
 It is hard to assign an exact date to this modest but lovely gem. One 
 
 can but call it Hellenistic. [Plate CX.] 
 
 87 BUST OF BEARDED DIONYSUS, in three-quarter face to left. 
 
 Hair bound with fillet. 
 Pale amethyst. Oval. Height, 21^-; Width, 16. Stone highly convex 
 
 on both sides, but has been partially flattened at back. 
 Bold work. Furtwangler describes two rather similar gems, plate XLI., 
 
 No. 4, and plate XLIX., No. 15. Greco- Roman. [Plate CX.] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 199 
 
 88 BUST OF A YOUTH, perhaps Apollo, the right shoulder advanced, 
 the head in profile ; hair conventionally treated, as in early Greek 
 bronzes, in separate locks, bound by a fillet, tied behind, and 
 falling on the back of the neck. 
 Very pale bluish-white beryl. Approximately oval, rather flat-sided. 
 Height, 22 ; Width, 16^. Face of stone slightly convex, back 
 highly so. 
 
 Exquisite work, very shallow engraving. Furtwangler describes it, 
 (plate XL., No. 3), and considers it a Greco-Roman reminis- 
 cence of an early type. The subject is similar to that of an intaglio 
 belonging to Mr. Story-Maskelyne, on amethyst, from the Praun 
 Collection. Professor Furtwangler in his notice has confused the 
 two together. Although much alike in subject, neither is a copy of 
 the other, and the techniques are different. [Plate CX.] 
 
 8 FULL-LENGTH DRAPED FIGURE OF ATHENE, helmeted, 
 
 in profile to right, holding out in right hand a patera ; the left is 
 
 lowered and holds the lance. 
 Very fine, tawny red sard. Long oval. Height, 30^ ; Width, 19^. The 
 
 face of the stone slightly convex, the back flat. Lightly repolished. 
 From the A. Morrison Collection. Described by Furtwangler, plate 
 
 LXIIL, No. 8. Fluent, mannered Hellenistic work. [Plate CX.] 
 
 90 CAMEO HEAD OF ALEXANDER, with ram's horn among flowing 
 
 locks of hair, bound by a fillet tied behind in a bow. 
 
 Sardonyx cameo of three strata, bright brown, milky white, dark brown- 
 Oval. Height, i6£; Width, 15. 
 
 A fine Hellenistic gem. [Plate CIX.] 
 
 91 HEAD OF A GREEK KING (Alexander?) in profile to right, the 
 
 hair bound by a fillet tied behind in a bow. 
 Golden sard. Oval. Height, i6| ; Width, 14I. Thick stone, flat both 
 
 sides, chipped at top. 
 Extremely fine work, of the utmost fire and spirit. The engraving 
 
 shallow, but highly finished. [Plate CX.] 
 
 92 HEAD OF MEDUSA, or HYPNOS, to right, in profile. Wings in 
 
 the hair ; eyes closed as if in death. 
 Golden sard. Oval. Height, 15 ; Width, 12. Rather thick flat stone. 
 Very beautiful Hellenistic work. There is a similar gem in Mr. Story- 
 
 Maskelyne's collection. [Plate CX.] 
 
2CO 
 
 Exhibition of A?icient Greek Art 
 
 [Part V 
 
 93 BUST OF APOLLO, in profile to left. Hair bound with fillets, and 
 
 knotted at the crown of the head ; long locks falling behind. Set 
 " dark " in massive plain gold ring, perhaps its original mount. 
 
 Bright red sard. Oval. Height, 19J ; Width, 13. Face of stone nearly 
 flat, back probably convex. 
 
 Hellenistic work. From the A. Morrison Collection. [Plate CX.] 
 
 94 CONJUGATED BUSTS OF APOLLO AND ARTEMIS, the 
 
 heads in profile to left. The flowing hair of Apollo is brushed 
 back in a loose roll, a small curl escaping in front of the ear. Two 
 long locks fall to his shoulder, behind which is seen the top of a 
 quiver. The hair of Artemis is similarly brushed back, and bound 
 with a fillet. 
 
 Cameo on Oriental onyx of three strata, translucent light brown (in which 
 the hair of Apollo is worked), ivory white, and translucent brown. 
 The stone approximates to a circular shape, and is chipped at the 
 top edge, where it is mended with gold, and round the lower edge 
 at back only. Height, 42 ; Width, 37^. 
 
 One of the finest Hellenistic cameos known, and in an astonishing 
 state of preservation. [Plate CIX.] 
 
 95 WINGED VICTORY, draped from the waist down, seated on a rock, 
 
 writing with a stylus on a circular shield. Another shield, behind 
 
 her, leans against the rock. 
 Pale amethyst. Oval. Height, 46; Width, 31. The stone is highly 
 
 convex on both sides. 
 Described by Furtwangler, plate LXIII., No. 30. He considers the 
 
 gem of the Augustan age. It is an intaglio of unusual size, to 
 
 which its free, large manner is well adapted. The amethyst is too 
 
 crystalline a stone for very minute engraving. Compare No. 78. 
 
 [Plate CX.] 
 
 96 BACCHANAL SUBJECT. In the middle of the composition a 
 
 Maenad reclines ; her right arm supported on a couch, the left bent 
 upwards behind her head, which is seen in profile, while her back 
 is turned towards the spectator. Loose drapery lies around her 
 crossed legs — the soles of the feet being visible. On one side a 
 nude youthful satyr stands, his left leg bent, and supported on a rock. 
 Over the thigh hangs a lion-skin. His left arm rests on a pedum ; 
 with his right he restrains a panther pup, whom he holds by the 
 tail, from sucking at the breast of the nymph. Behind her another 
 Maenad, veiled and draped, but with nude torso, sits on the rock, 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 201 
 
 and rests her left arm on the edge of a cymbal, while with her 
 uplifted right hand she restrains the flying end of her veil. In the 
 exergue a two-handled vase, lying on its side, a pair of cymbals, 
 and the cover of the vase. 
 
 A most beautiful Oriental onyx cameo of two strata, the upper one 
 partially translucent china-white, with a few slight orange stains ; 
 the under layer translucent bright brown. 
 
 Oval. Length, 3 6i ; Height, 33. 
 
 The gem is fitted to a pretty old French enamelled gold setting. 
 
 This splendid cameo, which is in the most astonishingly fine state of 
 preservation, was in the Marlborough Collection, No. 226. 
 
 See Furtwangler, plate LXV., No. 46, who considers the design to be 
 originally a pictorial one. Figured also in the " Marlborough 
 Gems," vol. ii., 50. Exquisite Hellenistic work. [Plate CIX.] 
 
 97 HEAD OF BEARDED WARRIOR, in profile to left. Helmet in 
 
 shape of ram's horn. 
 Golden sard. Oval. Height, n|; Width, 9! Thick, flat stone, 
 
 bevelled from front to back. 
 Hellenistic. Probably the same gem (from Dr. Notts Collection) as is 
 
 described by Furtwangler, plate XXIX., No. 71. [Plate CX.] 
 
 98 EUROPA, borne by a galloping bull; below, undulating lines indi- 
 
 cating waves. 
 
 Fine red sard. Oval. Length, 17; Height, 14. Thick stone with 
 
 convex face, flat back. 
 Decorative Greco-Roman work. [Plate CX.] 
 
 99 WINGED PSYCHE, nude but for some drapery thrown across her 
 
 knees. Seated, to left, upon a stool, her hands bound behind her. 
 Three little winged Erotes, one flying in the air above, seem to be 
 teasing her. 
 
 Oriental onyx cameo of two layers, opaque white and dark translucent 
 brown. Oblong, with rounded corners. Length, 14; Height, 12A. 
 
 A pretty design, in high relief, of about the same date as the fine 
 Marlborough cameo No. 96. Greco-Roman. [Plate CIX.] 
 
 100 PORTRAIT BUST OF A FEMALE,— perhaps Arsinoe II.— in 
 profile to left. Hair plaited and bound by fillets, and knotted behind. 
 Reddish cornelian. Oval. Height, Width, 26J. Thick stone. 
 
 D D 
 
202 Exhibition of Ancient Greek Art [Part V 
 
 originally convex, but the deep-cut design leaves little of the 
 natural surface. Flat back, edges bevelled away from face of stone. 
 Bold, sketchy, but accomplished Hellenistic work. A. Morrison Col- 
 lection. See Furtwangler, plate XXXI., No. 39, who describes 
 it as once in the Roger Collection, Paris. [Plate CX.] 
 
 101 THREE DRAPED FEMALE FIGURES hand in hand, dancing, 
 
 to left. The first two in profile ; the third, who is veiled, turns 
 away her head. Perhaps a Procession of the Seasons. 
 
 Oriental onyx cameo of two layers, milky-white, and translucent dark 
 brown. Oval. Length, 15; Height, 12. At the bottom a chip. 
 
 Charming early cameo in low relief. [Plate CIX.] 
 
 102 APHRODITE EUPLOIA, half nude, clings to a sea-horse, which 
 
 has the after-body of a dragon. 
 Oriental onyx cameo of two layers, milky-white and translucent, light 
 
 brown. Oval. Length, 16; Height, 10J. 
 The work is in low relief, and the gem seems to be of about the same 
 
 date as the Aurora cameos. [Plate CIX.] 
 
 103 WINGED FEMALE SPHINX, couchant, to left. 
 
 Oriental onyx cameo of two layers, translucent milky-white and light 
 
 brown. Oval. Length, 15J; Height, 10. 
 A pretty, early cameo, in moderately high relief. [Plate CIX.] 
 
 104 BOY, with short curly hair, half length, in profile, in his left hand a 
 
 sprig of some shrub. He wears a sleeveless skin tunic, knotted 
 over his shoulder. The knotted ends projecting stiffly probably 
 represent the legs of the animal from which the skin was taken. 
 The face has a smiling expression. 
 Oriental onyx cameo of two layers, the upper opaque ivory white, the 
 lower very pale translucent brown. Oval. Height, 19; Width, 
 1 6 \. 
 
 Compare a large cameo in Bibliotheque Nationale, Paris. [Plate CIX.] 
 
 105 AURORA, driving a biga to right. Her drapery flies in loose folds 
 
 above her head. The horses have high crested manes. 
 
 Fine Oriental onyx cameo of two strata, milky-white, on pale brown, 
 both translucent. Approximately oblong in shape, with rounded 
 corners. Length, 28; Height, 1 7^-. 
 
 Design extremely decorative and carried out in high relief. Greco- 
 Roman work of great spirit and high finish. [Plate CIX.] 
 
Case M] The Engraved Gems, etc, [Nos. 1-198) 203 
 
 106 A YOUNG WARRIOR, nude, leaps from his horse, which he has 
 
 suddenly arrested, his right hand holding the bridle. He wears a 
 helmet, and bears a round shield, on which is a Gorgon's head. 
 
 Oriental onyx of three strata, opaque milky-white, translucent dark 
 brown, and milky-white. The warrior and the horse's head are 
 worked in the upper white layer. Oval. Length, 2 o|- ; Height, 15. 
 
 This cameo is in high relief, and has a charming colour effect. Compare 
 the similar cameo, No. 161. [Plate CIX.] 
 
 107 FRAGMENT of a very pretty cameo, representing the HEAD of a 
 
 WARRIOR, in profile to right. He wears a helmet with visor 
 raised and lofty crest, on which is a winged griffin and a lion's 
 head. 
 
 Oriental onyx cameo of four strata, all nearly opaque. The helmet is 
 cut in the light brown second layer, with visor and ornaments in 
 the white upper stratum. Third comes a thin, pale brownish-white 
 layer, then one of dead white, in which the face and crest are re- 
 presented. The fragment is of irregular shape (about height, 1 7^, 
 and width, 16), let into a modern stone of oval shape. 
 
 Work of the Alexandrian period. [Plate CIX.] 
 
 108 MINERVA, bust in profile to left. She is helmeted and wears the 
 
 aegis. The helmet is decorated with a winged griffin. 
 Fine Oriental onyx cameo of four strata, white, brown, white, brown ; 
 
 the brown layers translucent. Oval. Height, 26^-; Width, 21. 
 High relief, but rather flat treatment, similar to the warrior's head, 
 
 No. 107, and of the same date. 
 A gem of great beauty. From the A. Morrison Collection. [Plate CIX.] 
 
 109 RUSTIC DANCE. On the right stands a youth piping ; in the centre 
 
 a girl dances ; on the left a man, wearing a high conical hat, and 
 bearing a stick across his shoulder, to which is attached a wallet (?), 
 dances also. In the background a tree. 
 
 Fine Oriental onyx cameo of two layers, the upper nearly opaque white, 
 the under translucent pale brown. Shape irregular, approximating 
 to oblong, with rounded corners. Length, 27J ; Height, 23. 
 
 An exquisite design, in half relief, slightly rubbed, but preserving all 
 its original grace. Compare the Marlborough cameo, No. 226. 
 
 Hellenistic work of the highest order. [Plate CIX.] 
 
204 Exhibition of Ancient Greek Art [Part V 
 
 no HEAD OF MEDUSA, in three-quarter face, looking to the left. 
 
 Cameo on translucent brown sard of very fine quality, overlying a layer 
 of milky-white translucent chalcedony. 
 
 The shape is approximately oval, the gem having been originally more 
 regular in form, but has been pared on each side. At the back is 
 a trace of perforation, as if the stone had been a bead which has 
 been sawn in half. Height, 32^ ; Width, 26^. 
 
 It is inserted in a very pretty seventeenth-century enamelled gold 
 frame. This is the well-known " Colonna" Medusa, from the Bar- 
 berini Collection. Published by Lenormant, and figured and de- 
 scribed by Furtwangler, plate LIX., No. 1. He considers it Hel- 
 lenistic work, and, describing it from the cast by Cades, repeats the 
 mistaken statement that it is on amethyst : a stone in which such 
 fine work is not possible. 
 
 In the hair are wings and snakes, all rendered with the utmost finish 
 and delicacy. The usual pair of snakes knotted under the chin is 
 not found in this gem. The general expression of the features is 
 not so tortured as in Lord Tweedmouth's great phalera, which is 
 probably rather later in date. In the British Museum is a grand 
 Medusa on amethyst, considerably larger and of freer technique, 
 but in style closely resembling this Colonna gem. [Plate CIX.] 
 
 in SEILENOS, drawn in a car by two winged Erotes. On the right a tree. 
 
 A winged, nude nymph, behind Seilenos, appears to be fanning him 
 with a piece of drapery. 
 Onyx cameo, opaque white on opaque slaty gray. Oval. Length, 18J ; 
 
 Height, 14. Chipped and repaired with gold. 
 A gem of charming Hellenistic design, and exquisite minute workman- 
 ship. Compare the cameo with Psyche bound, No. 99, whose wings 
 are like those of the nymph attending on Seilenos. [Plate CIX.] 
 
 112 YOUTH, with flowing drapery, kneeling on a goat, whose mouth he 
 holds with his left hand. With the right he appears to be cutting 
 the animal's throat, perhaps as a sacrifice. 
 Beautiful Oriental onyx cameo, of two layers : white on a grayish ground. 
 Oval. Height, 24J ; Width, i8£. A small chip is mended with 
 gold. Modern enamelled gold setting. 
 A Hellenistic design of great beauty, well occupying the field of the 
 stone. [Plate CIX.] 
 
Case M] The Engraved Gems, etc. [Nos. 1-198) 205 
 
 113 GIRL OR YOUTH, with long flowing locks, Leander or Galene, 
 
 swimming to right ; head and shoulder alone visible. 
 Oriental onyx cameo, of two layers, translucent white on a nearly black 
 
 ground; set "dark" in old gold ring. Roughly circular. Oval. 
 
 Height, 12 ; Width, 
 Delicate Greco-Roman work in flat relief, resembling the intaglio No. 
 
 174, and probably a little later. [Plate CIX.] 
 
 114 A BACCHANTE, dancing in ecstasy, the head thrown violently 
 
 back. She is advancing to left, and her hands sustain flowing 
 folds of drapery. 
 
 Beautiful Oriental onyx cameo of two layers, the upper milky-white 
 and less translucent than the under one, which has a slight 
 brownish tint. Oval. Height, 27^ ; Width, 18. 
 
 A lovely Greek gem of exquisite spirit and workmanship, and of early 
 date for a cameo. The figure is rendered in the upper whitish 
 layer, but the flowing drapery partly in the under and more trans- 
 lucent layer, by which a diaphanous effect is produced. [Plate CIX.] 
 
 115 AURORA DRIVING A BIGA ; in profile to right, similar in design 
 
 to the cameo No. 105, but larger. Mounted in a pretty modern 
 enamelled gold setting. 
 
 Most beautiful Oriental onyx of three strata, the upper bright pale 
 brown, the middle milky-white, the lowest pale brown ; all trans- 
 lucent. One horse is entirely cut in the upper brown layer. 
 Oval. Length, 39J; Height, 27. 
 
 The colour effect of this important and charming cameo is remarkably 
 fine. It is Hellenistic or Greco- Roman work. [Plate CIX.] 
 
 116 NARCISSUS, a beautiful nude youth standing upright, the head in 
 
 profile to right, and right knee bent. In his hands he holds a cloak 
 behind him. His hair is brushed back, and tied behind in a knot. 
 
 Oriental onyx cameo, of two strata, nearly opaque white, and pale 
 translucent brown. Oval. Height, 2 1 ; Width, 1 2^. 
 
 A delightful Greek cameo in rather high relief and of most graceful 
 design. A Polykleitan type. It seems earlier than the Greco- 
 Roman gem of the same subject, figured by Furtwano-ler plate 
 XLIL, No. 14. [Plate CIX.] * 
 
 117 HEAD OF MEDUSA, full front; with broad face, to suit the oval 
 
 shape of the stone. Above the head are two snakes, and another 
 
206 Exhibition of Ancient Greek Art [Part V 
 
 pair are knotted under the chin. Her flowing locks are parted in 
 the middle. Below is an inscription in intaglio, AIOC. 
 
 Fine Oriental onyx cameo of two layers, nearly opaque milky-white, 
 over translucent pale brown. Oval. Length, 13^; Height, 10^. 
 
 A little Hellenistic cameo of extreme beauty. The features of the 
 Medusa are smiling, and she is without wings. From the 
 A. Morrison Collection. Inscription probably modern. [Plate 
 CIX.] 
 
 118 YOUTHFUL FEMALE FIGURE, with flowing drapery— perhaps 
 
 a Muse — in profile, walking to left, and carrying a lyre. 
 Oriental onyx cameo, of two layers, the upper one almost opaque white, 
 not susceptible of high polish ; the under layer translucent pale 
 gray. Originally oval, but a large piece of the right-hand side of the 
 stone has been broken off and repaired with gold. Height, 22^ ; 
 Width, 
 
 Beautiful and rather early Greek work in high relief, in technique not 
 very different from the Narcissus (No. 1 16). [Plate CIX.] 
 
 119 FRAGMENT OF A PORTRAIT OF A BEARDLESS YOUNG 
 
 MAN, probably Augustus, in profile to left; cut out of a cameo 
 
 and laid down on a dark stone. Under the ear is a fracture. 
 Material, opaque onyx of a "biscuit" china-white character. Irregular 
 
 shape. Height, 16; Width, 14. 
 Greco-Roman work of Augustan date. It is in moderately high relief, 
 
 and both highly finished and full of character. [Plate CIX.] 
 
 120 WINGED FEMALE SPHINX couchant, in profile to right. In 
 
 the field an oinochoe. The wing has an upward curl. " Cable " 
 border. 
 
 Green jasper. Scarab. Length, 15; Height, 11. 
 
 Resembles those found at Tharros, but is of more distinctly early Greek 
 type than usual. [Plate CX.] 
 
 121 HELMETED WARRIOR, nude, with round shield, kneeling on his 
 
 right knee. In the left arm he holds what appears to be a ball. 
 The band through which the shield-arm is thrust, and that which 
 is held by the hand, are clearly indicated. For this, cf. Furt- 
 wangler, viii. 51. In the field of the gem the crux ansata. 
 Pale golden sard. Oval. Height, nearly 1 9 ; Width, 1 3. Thin, flat stone, 
 which from indications of perforation at the back would seem to be 
 a sawn scarab. 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 
 
 207 
 
 A remarkable early gem. The work is clever, though sketchy. The 
 foreshortening is noticeable. Fourth-century work, under Oriental 
 influence. [Plate CX.] 
 
 122 BULL, in profile to left, preparing to toss. 
 
 Pale translucent banded chalcedony. Scarabaeoid, chipped at one end. 
 
 Length, 22 ; Height, nearly 17. 
 Compare Furtwangler, plate XL, No. 31. Spirited and extremely good 
 
 work of fourth or fifth century. [Plate CX.] 
 
 123 HERO, in profile, nude, standing with legs apart. A club in his uplifted 
 
 right hand ; with the left he holds up a lion by the tail. The animal 
 is represented on a very small scale. In the field of the gem is 
 another small animal, perhaps a jackal. " Cable" border. 
 Red cornelian. Scarab. Height, 15; Width, 12. 
 
 Repolished, but the intaglio is fine early work. The design shows 
 Eastern influence. [Plate CX.] 
 
 124 NUDE WARRIOR, his left arm bearing a round shield, stooping to 
 
 right, and with his right arm taking up a helmet with lofty crest. 
 Dotted border. 
 
 Red cornelian. Scarab of fine workmanship, outside edge ornamented 
 with a " tongue" pattern. Height, 12 ; Width, 9. 
 
 A. Morrison Collection. Fine, neat early work. Furtwangler, plate XX., 
 No. 6, considers it Etruscan of very high quality. [Plate CX.] 
 
 125 DIONYSUS, fully draped ; his long hair bound by a wreath, walking 
 
 to right. He wears a long beard. In his right hand he holds up a 
 two-handled cup ; in his left a sprig of ivy. " Cable" border. 
 
 Rock crystal. Scarab. Height, 17; Width, 12. 
 
 Fifth-century work. [Plate CX.] 
 
 126 HIGH-BRED HORSE, in profile, walking to left. He has long tail 
 
 and plaited mane. " Cable" border. 
 Red cornelian, with whitish blotches. Neat scarab. Length, 13; Height, 
 nearly 10. 
 
 Beautiful shallow-cut, spirited fifth-century Greek work. Compare 
 Furtwangler, plate XIV., No. 41. [Plate CX.] 
 
 127 AJ AX, nude but for a flying scarf ; in the act of throwing himself upon 
 
 his sword, planted hilt downwards in a mound of earth. He is in 
 
2o8 
 
 Exhibition of Ancient Greek Art [Part V 
 
 a stooping position, in profile to right. Behind him his shield. 
 " Cable " border. 
 
 Red cornelian. Neat scarab, with outer edge ornamented with diagonal 
 hatched lines. Height, 17; Width, 13. [Plate CX.] 
 
 128 PHILOKTETES, sleeping on his shield; stung by a serpent which 
 
 has coiled itself round his leg. In the field of the gem an oinochoe. 
 Set " dark." 
 
 Antique paste, roughly simulating banded agate. Colours, blue, green, 
 and white. Oval. Length, 16; Height, 13. [Plate CXIL] 
 
 129 YOUTH KNEELING, half turned towards his right, his head in 
 
 profile, bent forward, his arms hanging down, in an attitude of 
 
 submission or attention. Facing him is a winged female sphinx, 
 
 crouched on her haunches, and resting her forepaws on his chest. 
 
 She seems to be addressing him. The wing of the sphinx has an 
 
 outward curl at the tip. 
 Orange-golden sard. Oval. Length, 14; Height, 10. 
 Stone of moderate thickness, with slightly convex face, from which it 
 
 is bevelled to the back, which is nearly flat. A small chip in the 
 
 stone behind the left elbow of the youth. 
 A pretty little Hellenistic gem. [Plate CXIL] 
 
 Lent by A. de Pass, Esq. 
 
 The gems Nos. 130 to 132 are lent by Charles Newton- Robinson, Esq. 
 
 130 A WINGED GRIFFIN, in profile to right. 
 
 Red sard. Elongated scarab. Length, 18; Width, 11. Antique gold 
 ring setting. 
 
 A gem analogous to one found at Kertch : see Furtwangler, plate XL, 
 No. 27 and No. 41. Fifth century. From the A. Morrison 
 Collection. 
 
 131 NUDE YOUTH, perhapsa negro slave, in full front, with shaven head 
 
 turned aside, squatting down, his hands resting on his left knee. 
 
 From his left elbow hangs an aryballos. " Cable " border. 
 Red cornelian. Scarab of fine workmanship, the outer edge ornamented 
 
 with "cable" border. Height, 14; Width, io|-. 
 The subject is found on Attic stelai of the fifth century. Spirited 
 
 execution in a sketchy manner. Furtwangler, plate LXIIL, No. 2. 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 209 
 
 From the A. Morrison Collection. The same subject appears in 
 one of the earliest known cameos on the back of a scarab in the 
 British Museum. [Plate CX.] 
 
 132 LIONESS, with shaggy mane, in profile, passant to right. 
 
 Pale sapphirine chalcedony. Scarab. Length, 19; Height, \^\. 
 Described by Furtwangler, plate LXIII., No. 11. He considers it 
 Greek work of the fifth to the fourth century. From the A. Mor- 
 rison Collection. [Plate CX.] 
 
 133 A NUDE BEARDED MAN, in profile to left, bending forward, his 
 left leg stiffened as if suddenly arrested, and lifting with his right 
 hand a severed human arm ; with his left he is about to take up a 
 severed thigh and leg, cut short at the ankle. A cloak falls over 
 his back. Border of a single fine line. The subject is probably 
 .^Eetes finding the limbs of his murdered son, Apsyrtos. 
 
 Light brownish translucent banded agate, with dark brown and whitish 
 lines traversing the design horizontally. Oval. Height, 16; Width, 
 1 1 Moderately thick flat stone. 
 
 Italo-Greek, of the third to the second century (?). [Plate CXII.] 
 
 Lent by Hugh Woolner, Esq. 
 
 134 A PAIR OF HORNED SHEEP, walking to the left ; the nearer one 
 is browsing, the other lifts his head with a startled air. 
 Oriental onyx cameo of two layers, opaque china-white and slaty gray. 
 
 Set dark. Oval. Length, 13^-; Height, \\\. 
 A Marlborough gem, No. 694. Greco- Roman work in high relief. 
 
 Lent by the Rt. Hon. Sir Mountstuart Elphinstone Grant Duff. 
 
 135 HEAD OF ZEUS, nearly in full face, looking to the left. Rather 
 massive features, bushy hair and beard. There are no attributes, 
 and the head may possibly be intended for that of Herakles. 
 A fine golden sard, blotched with bright orange tawny patches. Oval. 
 Height, 17^-; Width, 15. Rather thin stone, convex both on face 
 and back. 
 
 Bold and effective Greco-Roman work, in which the wheel is freely and 
 cleverly used. It is well polished, though not very highly finished, 
 and the design cuts away almost the entire surface of the gem. 
 Lent by the Rt. Hon. Sir Motintstuart Elphinstone Grant Duff. 
 
 E E 
 
zio Exhibition of Ancient Greek Art [Part V 
 
 136 BUST PORTRAIT, in profile to right, of a strong-featured man in 
 middle life, wearing a rather pointed beard and long moustache, 
 the ends of which mingle with the beard, and having a truncated 
 plain conical cap, from the under edge of which escape his curling 
 locks. Marked features in the face are the overhanging brows, 
 large eyeball and loose bulging under-lid, and relatively short 
 straight nose. 
 
 Pale brownish yellow chalcedony. Oval. Height, about 26^ ; Width, 
 2i\. As the setting overlaps, it is hard to get the exact dimen- 
 sions. The stone is flat and rather thick, and probably has a flat 
 edge. 
 
 It might be suggested that a bust of Ulysses is intended, but that the 
 extremely spirited, naturalistic treatment almost compels the as- 
 sumption that this very remarkable intaglio is a portrait. It is 
 rather deeply hollowed out, but not at all finished work. The larger 
 surfaces, it is true, are polished, but nearly all the detail is very 
 roughly cut with wheels of various sizes ; the ear, in particular, is 
 poorly rendered. However, the general result is forcible and strik- 
 ing, and the outline excellent. The stone bears traces of antique 
 wear. On the back are some scratches made with a diamond. 
 
 The subject of this intaglio is the same as that of the former Tyszkiewicz 
 intaglio on garnet (Frohner Sale Catalogue, No. 289). The two 
 are nearly identical in some of their principal dimensions. But the 
 gem now under comment appears to me unmistakably the older. 
 It is of such an unusual type that it is hard even to make a 
 reasonable guess as to whom it represents, or in what country it 
 was made. It seems, however, to be a work of Greek art, not later 
 than the beginning of the third century, and representing some 
 Asiatic monarch. It first came into England from Constantinople, 
 about half a century ago. [Plate CXIL] 
 
 Lent by Mrs. M. Zarifi. 
 
 137 HALF-LENGTH PORTRAIT of the Emperor Augustus, laureated, 
 his head in profile, but his back turned towards the spectator. 
 An aegis is cast lightly over his left shoulder. In its folds and on 
 its edges are coiled snakes. It bears also a phalera of Medusa's 
 head, and another of a bearded male head in full face. Part of a 
 spear is visible over the left shoulder ; and the Emperor's attitude 
 is as it were pressing forward to attack. Behind his head the ribbon, 
 with which his short hair is bound under the laurel wreath, is tied 
 in a bow, and the loose ends flutter backwards in the wind. 
 
Case M] The Engraved Gems, etc. [Nos. 1-198) 211 
 
 Oriental onyx cameo of two strata, the upper one translucent milky- 
 white, the under a rich translucent brown. The stone has great 
 beauty of colour, and bears a high polish. Oval. Height, 36 ; 
 Width, 28. 
 
 The work is very decorative and spirited, finely preserved, and exe- 
 cuted in rather higfh relief, with considerable minuteness of finish. 
 
 Greco-Roman. Figured and described by Furtwangler, PI. LXV., 
 No. 49. From the Marlborough Collection, No. 324. Compare 
 the great cameo of Augustus in the British Museum, splendid in 
 colour and effect, but not so delicate a work of glyptic art as this 
 one. [Plate CXIL] 
 
 Lent by Sir John Evans, K.C.B. 
 
 138 HERMES, standing, in full face, clothed in chlamys and petasos; in his 
 
 left hand the caduceus ; his right arm hangs by his side. In the 
 field, placed vertically, the inscription AIOCKOYPI AOV, the letters 
 of which are terminated with dots, and rather lightly engraved. 
 
 Fine deep orange-golden sard. Oval. Height, 16; Width, 12. 
 
 Moderately thick stone; the face almost, and the back quite, flat. 
 
 The face of the gem has been unevenly repolished, but not so as 
 wholly to obliterate traces of what appears to be antique wear, and, 
 in fact, the edges of the intaglio are still nearly intact. The work- 
 manship, though good, hardly reaches the highest standard. 
 Some small chips deface the intaglio a little, between the thighs, 
 and on the inner side of the right arm. 
 
 From the Marlborough Collection : see Mr. Story-Maskelyne's Cata- 
 logue, No. 167. "The gem is figured and described by Stosch. 
 It was once his property, but he sold it to Lord Holderness, the 
 father-in-law of the Duke of Leeds, who, as a note in the MS. 
 catalogue tells us, bequeathed it to the Duke of Marlborough. Its 
 history has been traced back as far as 1589, when it was described 
 by Montjosieu in his 1 Gallus Romae Hospes,' and belonged to 
 Tigrini. Spon described it as formerly in the hands of Fulvius 
 Ursinus." Furtwangler, plate XLIX., 10. " The gem evidently 
 represents a statue, of the Phidian epoch, which has come down 
 to us in a marble copy, the so-called ' Phocion.'" [Plate CXIL] 
 Lent by Sir Thomas D. Gibson Carmichael, Bt. 
 
 139 APOLLO MOURNING THE DEATH OF CORONIS. The god 
 
 stands nude, but for his cloak thrown lightly over the left shoulder, 
 and gathered up behind his back by the bent right arm. With his 
 
212 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 left he clasps the stem of a small tree, the roots of which are seen 
 among grass and stones nearly in the middle of the composition. 
 Behind are indications of rocks. The head of Apollo is in profile, 
 and he looks downwards to the left, at the nude body of the dead 
 Coronis, lying across a round shield, which seems as if accom- 
 modated to a chip in the stone. At the extreme left are ledges 
 of rock, on the uppermost of which a bird stands. From a bough 
 of the tree hangs down a small scarf. 
 
 The stone is a singularly beautiful golden sard, striated almost vertic- 
 ally with waving parallel streaks of orange red. Oval. Height, 17^ ; 
 Width, Both face and back are nearly flat, and the stone is 
 
 of medium thickness. 
 
 It is a very pretty "pictorial" composition, and the intaglio work 
 generally is slight, graceful and clever, but in parts, notably the 
 head of Apollo, reaches the highest degree of finish. Although it 
 shows traces of genuine ancient wear, the gem retains in a high 
 degree its original polish. 
 
 From the Marlborough Collection, Story-Maskelyne Catalogue, No. 60. 
 Hellenistic work. SeeFurtwangler, plateXLII., No. 1 1. He is mis- 
 taken in calling the bird an eagle. Compare No. 1 72. [Plate CXII.] 
 Lent by Sir Thomas D. Gibson Carmichael, Bt. 
 
 140 AN ATHLETE, entirely nude, stands full-face with legs apart, his 
 right arm elevated above the shoulder and bent ; his left arm is 
 held before him. He is evidently anointing himself with oil. At 
 his left stands a tripod bearing a vase with a single handle. On 
 the right, in the field, placed vertically, the inscription TNAIOY, 
 the letters terminating in conspicuous dots, and more forcibly en- 
 graved than those on the Dioscorides gem. 
 The stone appears to be a very fine, tawny-port-wine-coloured garnet. 
 Oval. Height, 18; Width, 15. Rather thin stone, flat on both 
 sides. The technique is very good for the material, which does not 
 lend itself to such delicate work as can be executed on sard. Un- 
 fortunately the face of the gem has been rather severely repolished, 
 so that the original outline of the whole composition is lost, and 
 the inscription partly defaced. 
 From the Marlborough Collection, Mr. Story-Maskelyne's Catalogue, 
 No. 621. He there describes the stone as a "fine hyacinthine 
 paste," but the extraordinarily high polish, hardness, and extreme 
 coldness point to its being a stone. And upon recent inspection 
 Mr. Maskelyne has come round to the view that the material may 
 
Case M] The Engraved Gems^ etc. (JVos. 1-198) 213 
 
 be garnet, or even a true " hyacinth." Furtwangler describes it, 
 plate L., No. 9, from an impression only. He says it is a copy of a 
 statue. Natter the engraver, in his " Traite de la Methode Antique 
 de Graver en Pierres Fines," 1 7 54, describing the stone.which he also 
 figures, when the property of Lord Duncannon, calls it an " oriental 
 hyacinth, or berylle, the colour of a Bohemian garnet." He is very 
 laudatory both of the stone and the engraving. [Plate CXII.] 
 
 Lent by Sir Thomas D. Gibson Carmichael, Bt. 
 
 141 FRAGMENT OF A FINE GREEK CAMEO, representing the 
 
 heads of Zeus and Hera, conjugated, in profile to left. The hair 
 and beard of Zeus are arranged in regular curls. Around his head 
 is a laurel wreath. In the hair of Hera is a fillet. 
 
 Oriental onyx, the upper layer translucent milky-white ; the under 
 appears a pale slaty gray, but being set " dark " is probably nearly 
 white and transparent. The fragment is fractured at the necks, 
 and there is a small chip in the upper part of the laurel wreath. 
 Originally oval. Present dimensions : Height, 19I; Width, 24. 
 Modern gold setting. 
 
 The work is good and in rather flat relief, recalling on the one hand 
 Mr. Ionides' intaglio head of Zeus on a sapphire, and on the other 
 Mr. Cook's grand cameo of Apollo and Artemis. This was a 
 Marlborough gem, No. 12. It is figured in the "Marlborough 
 Gems," vol. i., No. 29. Hellenistic work. [Plate CXII.] 
 
 Lent by Lady Tweedmouth. 
 
 The following Gems, Nos. 142 to 198, are lent by Charles Newton- 
 Robinson, Esq. 
 
 142 WINGED ANGUIPEDE GIANT, in full front, face turned aside, 
 
 his hands grasping upturned extremities of lower limbs. " Cable " 
 border. 
 
 Red cornelian. Well-formed scarab, resembling No. 131. Height, 15; 
 Width, 1 1. 
 
 Fifth-century Greek work of a kind often called Etruscan. Shallow, 
 sketchy engraving, quite analogous to that on No. 131. From the 
 Morrison Collection. Furtwangler, LXIII., 14. [Plate CX.] 
 
 143 GREEK WARRIOR in full armour, with spear, kneeling on one knee 
 
 in attitude of defence, behind his small round buckler. " Cable " 
 border. 
 
214 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 Red cornelian. Scarab. Height, 18 ; Width, 1 2. Milled ornament round 
 outer edge. 
 
 From the A. Morrison Collection. See Furtwangler, plate LXIII., 
 No. 26. [Plate CX.] 
 
 144 APOLLO, partially draped, standing before a tripod, in profile to left ; 
 
 playing the lyre ; his left knee is bent. At his back appears the 
 
 top of a quiver. Proportions of the figure very stout. 
 Golden sard. Approximately oval. Height, 14 ; Width, 10. Thick 
 
 stone, nearly flat both sides. 
 It is deeply engraved in a loose sketchy manner ; the treatment rather 
 
 archaic, but akin to the less finished Etruscan work. [Plate CX.] 
 
 145 PRIEST, wearing long hair, and completely draped, with right arm 
 
 upraised in an attitude of adoration. 
 Pale amethyst. Oval. Height, 14 ; Width, 1 1. The stone has a convex 
 
 face and highly convex back. 
 A very unusual gem, probably Greco-Persian, of somewhat early date. 
 
 Recently from the East. [Plate CX.] 
 
 146 BUST OF CLEOPATRA, in profile to left, with long plaited locks, 
 restrained by a broad fillet, and wearing Isiac emblem. 
 
 Wine-red garnet. Oval. Height, 18 ; Width, 13. The stone has a flat 
 face and convex back. 
 
 Greco- Egyptian. From the A. Morrison Collection. See Furtwangler, 
 plate LXIII., No. 27. [Plate CX.] 
 
 147 A HORNED ANIMAL, of Indian type, in profile, walking to left. 
 
 Fine Oriental onyx cameo of two layers, the subject entirely in the 
 upper translucent milky-white stratum, relieved against a trans- 
 lucent dark-brown ground. Oval. Length, 19; Height, 12^. 
 
 This is an early cameo. [Plate CXI.] 
 
 148 ARTEMIS RIDING A STAG, or horned antelope, which walks to 
 
 left, one foot uplifted. The goddess is turning backwards, and in 
 
 the act of bending a bow. 
 Golden sard. Oval. Height, 13; Width, 11. Moderately thick stone 
 
 with flat face, but slightly convex back. 
 Slight, spirited third-century Greek work ; probably perpetuating an 
 
 early bronze figure. [Plate CX.J 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 215 
 
 149 STAG, with large branching horns, in profile to left ; scratching himself 
 
 with right hind-leg. 
 Oriental onyx cameo of two layers, the upper translucent milky-white, 
 
 the lower light brown. Oval. Length, 13; Height, 8^-. 
 Stone slightly fractured on lower side. 
 
 A beautiful little Greek cameo, strictly analogous to the intaglio, No. 
 150, and to the intaglio in the Ionides Collection, both of which 
 appear to be of the fourth century. It is hardly possible to doubt 
 the contemporary origin of this cameo. [Plate CXI.] 
 
 150 STAG, in profile to right, in precisely the same attitude as in the 
 
 cameo, No. 149, and in Mr. Ionides' intaglio, Case O, No. 56. 
 Fine golden sard. Oval. Length, 10^- ; Height, 8. The stone rather 
 
 thick, convex on the face, and slightly also at back. 
 Slight, delicate, spirited engraving of the fourth century. See Furt- 
 
 wangler, plate XL, No. 28, for a rather similar gem. [Plate CX.] 
 
 151 WINGED GRIFFIN, couchant, in profile to right, with right forepaw 
 
 uplifted. 
 
 Oriental onyx cameo of two layers, translucent milky-white and pale 
 brown. Oval. Length, 13; Height, 11. Rather thick stone. 
 
 The wing has an upward curl. Three legs and one wing only are 
 visible, as in the early scarab, No. 130, of the fifth century (?). 
 From the Marlborough Collection, 736. [Plate CXI.] 
 
 152 TRAGIC FEMALE MASK, in full face. Across the brow is a broad 
 
 ornamented fillet, with a rosette above each temple, from which 
 
 falls a long curl of hair. 
 Cameo in high relief on a true emerald. Oval. Height, 10 ; Width, 7 \. 
 
 Face of the stone highly convex ; back slightly so. 
 Probably Greco- Egyptian of rather early date. Antique cameos on this 
 
 hard stone are of the utmost rarity. From the Hertz Collection. 
 
 153 HEAD OF MEDUSA, with wings and snakes in hair ; snakes knotted 
 
 under her chin. In the field a caduceus. 
 Pale golden sard. Oval. Height, 12 ; Width, 9. Thick stone, flat on 
 both sides. 
 
 Very deep engraving. From the Marlborough Collection, No. 96, and 
 previously in the Bessborough Collection. Probably late Greco- 
 Roman. Figured in Worlidge's " Gems." [Plate CX.] 
 
2 1 6 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 154 FRAGMENT, representing a nude female figure in profile to right, 
 
 holding out a Greek helmet. 
 True sapphire of great beauty. Irregular shape. Height, 1 1 ; Width, 9. 
 
 Stone very thin, and face convex ; back concave. 
 Greek intaglios on sapphire are rare. Third-century work and extremely 
 
 fine, for the hard material. [Plate CX.] 
 
 155 NUDE BACCHANT, with head thrown back, almost in profile, 
 
 dancing to left. He has a short bushy tail. A lion-skin is thrown 
 loosely over his left arm, which bears a tkyrsos; the other arm 
 holds the extremity of the skin, and something resembling a tam- 
 bourine. 
 
 A most beautiful golden sard. Oval. Height, 15; Width, n. The 
 stone is rather thick and flat on both sides. A small fracture on 
 one margin is mended with gold. 
 
 The work is slight, but of the utmost delicacy and spirit ; some parts 
 executed with the diamond point alone. Brought lately from Tre- 
 bisond (Trapezos). Second-century work (?). [Plate CX.] 
 
 156 A LION in profile to right, both forepaws outstretched, as if suddenly 
 
 arrested. Behind him a tree. Pale sapphirine chalcedony. Oval. 
 Length, 35 ; Height, 24. 
 Probably a sawn scarabaeoid, since at the back the longitudinal perfora- 
 tion is visible : and as in the gem of similar material, Case O, 
 No. 82, the drill was evidently introduced from both sides, the 
 perforations not exactly meeting. An early intaglio, probably of 
 Oriental Greek workmanship. Though roughly engraved it is very 
 spirited. Fifth century. Compare Furtwangler, plate XL, No. 
 36, a scarabaeoid from Kertch. [Plate CX.] 
 
 157 LION IN PURSUIT OF A RUNNING STAG with large branch- 
 
 ing antlers, on whose back he is just about to leap. Both in profile 
 to left. 
 
 Dull orange yellow cornelian, with reddish spots. Oval. Length, 22 ; 
 Height, 16. The stone has a convex face, and flat back. 
 
 Best Greco-Persian work of the fifth century. The lion is similar to that 
 in No. 156, but more finely engraved. The eagerness of the lion, the 
 fright and exhaustion of the stag, whose tongue lolls from his mouth, 
 are rendered with the utmost spirit. This exceptional gem is said 
 to have been recently found near the site of Babylon. It is possible 
 that it has been reduced in thickness from the proportions of a 
 
Case M] The Engraved Gems, etc. (JVos. 1-198) 
 
 217 
 
 scarabaeoid by sawing off a part of the back. The surface is in a 
 fine state of preservation, showing all the signs of real ancient wear 
 and tear, which has not been so severe as to affect the beauty of 
 the engraved work. Compare Furtwangler, plate XII., No. 21, for 
 a rather similar gem. [Plate CX.] 
 
 158 YOUTHFUL FEMALE HEAD, in profile to left. The hair in small 
 
 curls in front, but gathered behind into plaits resembling a ram's 
 horn. In the field, in front of the neck, a small object in outline, 
 apparently representing a cup with a rather thin stem, which may 
 be the engraver's mark. 
 
 Pale brown chalcedony. Oval. Height, 13 ; Width, 10. Stone thin 
 and flat on both sides. 
 
 The character of the engraving strongly recalls certain Greek coins. 
 Fourth century (?). Compare the scarabaeoid from I thome, figured 
 by Furtwangler, plate XIV., No. 33. [Plate CX.] 
 
 159 FRAGMENT, on which is engraved in relief a nude Bacchant, running 
 
 to right, his head thrown back, and bearing in the right hand a 
 thyrsos, while the left arm holds up a lion-skin. He has a short 
 tail, like the rather similar figure in the fine sard intaglio from 
 Trapezos, No. 155. 
 
 Oriental onyx cameo of two strata ; both translucent, the upper milky 
 white, the lower more grayish. Originally oval, but the stone has 
 been broken in half— the upper portion alone being antique, the 
 lower modern restoration. Height of the fragment, 15 ; Width, 21. 
 
 Work of great spirit. A fine intaglio, showing the whole subject, is in 
 the Bibliotheque Nationale, Paris. 
 
 This cameo is from the Montigny Collection. Hellenistic work. Com- 
 pare Furtwangler, XLI., 26, 27, 29. [Plate CXI.] 
 
 160 HERMES, standing, with face in profile to right; the body, which is 
 
 nude, but for a slight scarf thrown over the shoulder, turned 
 towards the spectator. On his head a flat cap. The right leg is 
 bent. In his left hand the god holds a caduceus, and in his right 
 a cornucopiae. 
 
 The stone is a beautiful wine-coloured garnet. Oval. Height, 24 ; 
 
 Width, 16. The face of the gem is convex, the back flat. 
 Fluent, graceful work, not of high finish. Furtwangler (plate LXV., 
 
 No. 8) calls it Hellenistic. [Plate CX.] 
 
 F F 
 
2l8 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 161 GREEK WARRIOR LEAPING FROM HIS HORSE, which he 
 
 has suddenly arrested He is armed with helm, cuirass, and round 
 shield, bearing a head of Medusa. Set in a French mount of the 
 time of Louis XIII. ; enamelled on gold. 
 
 A beautiful Oriental onyx cameo of four strata, alternating brownish 
 white and light brown, all translucent. Approximately oval in 
 shape. Length, 22 ; Height, 17^. The shield is chipped. 
 
 This charming cameo in high relief resembles No. 106, in which, how- 
 ever, the warrior is nude. Hellenistic. [Plate CXI.] 
 
 162 HEAD OF MEDUSA in full face, with wildly tangled locks, among 
 
 which are wings. Under her chin are knotted two snakes. The 
 expression of the beautiful features is sad. The mouth is open. 
 
 Oriental onyx cameo of two strata ; yellowish semi-opaque and brownish 
 translucent. Probably originally circular, but has been chipped 
 round the edges ; now irregular in shape. Height, 2\\ ; Width, 23. 
 
 Both execution and design of this Hellenistic cameo in high relief are 
 of remarkable beauty. [Plate CXI.] 
 
 163 BACCHANTE dancing to right; in her left hand a Myrj0.y ; the right, 
 
 uplifted, raises a fold of her drapery, which is diaphanous. 
 
 Oriental onyx cameo of two strata, both translucent, the upper one 
 milky-white, the lower palest brown. Oval. Height, 27; Width, 17. 
 
 Bold, summary work of great spirit and beauty. Compare Mr. W. 
 Cook's cameo, No. 1 14, and the intaglio at Florence (Furtwangler, 
 plate XLI., No. 18). This one is from the A. Morrison Collection. 
 Hellenistic, with relationship to early work, such as the gem figured 
 by Furtwangler, plate XIII., No. 11. [Plate CXI.] 
 
 164 HEAD, and bust to below the breast, of a youth with short curly hair, 
 
 from which hangs down the loose end of a fillet or ribbon. His 
 head is in profile, the body half turned towards the spectator. He 
 is nude but for a mantle lightly thrown over his shoulders. Set 
 "dark" in gold ring. 
 Oriental onyx cameo of three layers ; the upper light translucent brown, 
 in which the hair and fillet are worked ; the middle nearly opaque 
 white, which furnishes the subject and the reserved rim ; and the 
 lowest apparently a translucent grayish white. The rim is a little 
 chipped, otherwise the gem is in fine preservation. Oval. Height, 
 19; Width, 16. 
 
 A Greco-Roman gem which has some resemblance to the portraits of 
 Antinous. [Plate CXI.] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 219 
 
 165 HEAD IN PROFILE OF ATHENA, wearing crested helmet, 
 
 which is ornamented with the figure of a winged griffin with 
 dragon's hinder parts. The enamelled gold setting is modern. 
 
 Oriental onyx cameo of three layers, all translucent ; brown, milky 
 white, and whitish brown. The helmet is worked in the brown 
 layer, the face, neck and crest in the white. Circular, but for a chip 
 above the visor, repaired in gold. Diameter, 24. Perforated stone. 
 
 In rather high but flat relief. A Greek cameo probably of the time 
 of the early successors of Alexander. [Plate CXI.] 
 
 166 HEAD OF MEDUSA, three-quarter face turned to left. She has 
 
 full curly locks, with wings in the hair, but no snakes. 
 Oriental onyx cameo of two layers ; semi-opaque white and dark slaty 
 
 gray. Originally roughly circular, but now of irregular shape 
 
 owing to chips. Height, 29 ; Width, 28. 
 In high relief. From the A. Morrison Collection. Greco-Roman. 
 
 Modern setting. [Plate CXI.] 
 
 167 EUROPA, riding sideways on the galloping bull, among waves, nearly 
 
 nude, but holding up flying drapery. 
 Rough Oriental onyx cameo of two layers. Oval. Length, 39^ ; Height, 
 33^. In the margin is a chip, above the head of the bull, which was 
 probably the occasion of this important cameo never having been 
 finished. The subject is, however, completely roughed out, and 
 the gem is interesting as it shows the antique technique at this 
 stage. 
 
 Said to have been found in Egypt. Greco-Roman. [Plate CXI.] 
 
 168 HEAD OF A GIRL, in profile to right, with profuse dark locks, 
 
 arranged in a thick bunch on the crown of the head. 
 Fine Oriental sardonyx cameo of three layers, dark brown, white and 
 
 dark brown, all translucent. Oval. Height, 21; Width, 17. 
 From the Marlborough Collection, No. 72. Mr. Story-Maskelyne calls 
 
 it Artemis. Greco- Roman. [Plate CXI.] 
 
 169 BACCHIC MASK, bearded, in full face. 
 
 Oriental onyx cameo of two layers, almost opaque white and translucent 
 
 dark brown. Oval. Height, 17; Width, 12. 
 From the Marlborough Collection, No. 681. Greco- Roman. [Plate 
 
 CXI.] 
 
220 Exhibition of Ancient Greek Art [Part V 
 
 170 BUST OF AFRICA. Youthful female head in profile, with long 
 
 locks, wearing a headdress of elephant skin. 
 Oriental onyx cameo of three layers ; translucent brown, white, and 
 
 brown. Approximately oblong in shape, with rounded corners. 
 
 Height, 21 ; Width, 16. 
 From the A. Morrison Collection. Greco-Roman. [Plate CXI.] 
 
 171 YOUTHFUL WARRIOR, nude, wearing helmet, with scarf on left 
 
 arm, which bears a round shield, seizes by the hair a wounded 
 Amazon, who is kneeling on the ground, with one arm resting on 
 her shield, the other clasps his wrist. In the background ahorse 
 gallops away. 
 
 Oriental onyx cameo of two layers, which from exposure to heat or 
 running water are now both of a translucent milky-white tinge. 
 Oval. Length, 27; Height, 21. 
 
 Rather high relief. A similar cameo was found at Rome some years 
 ago, and is now in the Bibliotheque Nationale. See Babelon's 
 Catalogue, No. 153. Furtwangler describes it, plate L., No. 48, and 
 says the type of the subject is of the fifth century. This one is 
 from the Marlborough Collection, No. 327. Of about the same 
 date as the intaglio, No. 180. Third century (?). [Plate CXI.] 
 
 172 A YOUTH, nude but for a cloak loosely thrown over his shoulders, 
 
 stands by a columnar altar, his face in profile, with right knee 
 bent. His right arm rests on the altar, and holds a dish on which 
 stands a tortoise, which he appears to be teasing with a stick held 
 in the left hand. 
 
 Brilliant golden sard with reddish streaks. Oval. Height, 18^; Width, 
 125-. Thin stone, with slightly convex face, but flat back. 
 
 A pretty design, cleverly but loosely executed. Hellenistic work in 
 a manner and on a stone closely resembling the " Apollo and 
 Coronis " (No. 60 of the Marlborough Cabinet ; here lent by Sir 
 T. Carmichael, Bt., No. 139). [Plate CX.] 
 
 173 GROUP OF THREE FIGURES. In the middle a nude youth 
 
 stands with legs crossed, in profile, playing with a dog. Behind 
 him a draped female, seated, holds a thyrsos. In front of him 
 dances a nearly nude figure, bearing a wineskin. 
 
 Oriental onyx cameo of two strata ; semi-opaque over translucent 
 brownish white. Approximately oval. Length, 19; Height, 14. 
 
 Slightly worn, but a pretty design. Hellenistic work. [Plate CXI.] 
 
Case M] The Engraved Gems, etc. {Nos. 1-198) 221 
 
 174 GALENE OR LEANDER, swimming breast deep to right ; with 
 
 flowing locks. 
 
 Golden sard. Oval. Height, 17; Width, 13^. Thick, flat stone. 
 
 Furtwangler, plate LXV., No. 26. He calls it "Hellenistic," "a 
 River God." The engraving is rather severe, and recalls some 
 early Roman Republican gems. Compare the cameo of the same 
 subject, No. 113. [Plate CX.] 
 
 175 BACCHANTE, bust in profile to left. 
 
 Fine Oriental sardonyx cameo of three strata, bright brown, milky-white 
 and grayish white, all translucent. Set " dark," with a slice of nearly 
 opaque dark stone behind the gem. The right shoulder has been 
 restored. Oval. Height, 38; Width, 29. 
 
 From the Marlborough Collection, No. 194, and previously in the 
 Arundel Collection. A late Greco-Roman variant of a Greek type, 
 common in intaglios. [Plate CXI.] 
 
 176 YOUTHFUL WARRIOR, Achilles, or Ares. Bust in profile to left. 
 
 He wears a helmet, with visor up, high crest and falling plume of 
 hair. Round his neck a scarf. The gold setting, decorated with a 
 spiral wire, is perhaps antique. 
 Bright red cornelian. Oval. Height, 36 ; Width, 29. Small chip on 
 lower side. Thick stone, with very slightly convex face and flat 
 back. 
 
 From the Marlborough Collection, No. 109. Hellenistic or Greco- 
 Roman work of a bold technique. [Plate CX.] 
 
 177 BUST OF THE YOUNG BACCHUS, in profile to right. His long 
 
 hair, confined by an ivy wreath and fillet, falls in loose locks upon 
 each shoulder. 
 
 Fine Oriental sardonyx cameo of three layers, dark brown, bluish 
 milky-white, and deep brown ; all translucent. Oval. Height, 13!; 
 Width, 30J. The ivy wreath and one curling lock are represented 
 in the upper brown stratum, the bust in the bluish-white ; but some 
 locks are in relief out of the lowest brown layer ; a treatment cor- 
 responding, in a cameo, to that of the loose hairs in the black sard 
 " Antinous " and the " Hermes," Case O. 
 
 This splendid cameo is from the Marlborough Collection, No 185 
 It was also an Arundel gem. Mr. Story-Maskelyne considers it a 
 portrait in the character of Bacchus. [Plate CXI.] 
 
22 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 78 BUST OF A BEAUTIFUL GREEK GIRL, in profile to left. Her 
 
 hair is waved in rolls, low on the brow, bound by a fillet, and cut 
 short at the back of the neck. She wears a necklace. 
 
 Red jasper. Oval. Height, 17^; Width, 13^. Rather thick, flat stone. 
 
 Graceful and unusually good work for the material. Recently from the 
 East. Furtwangler, LXV., 23. Greco-Roman. [Plate CX.] 
 
 79 WINGED EROS, staggering under the weight of a huge cornucopiae, 
 
 around which is tied a ribbon, the ends flying loose. In profile to 
 left. Vertical inscription, AVAOV, roughly scratched with diamond 
 point, in the field. 
 
 Rock crystal (not beryl, as Furtwangler calls it). Oval. Height, 24; 
 Width, 16. Face of stone slightly convex, back markedly so. 
 
 A gem of large style, though fluent in execution. The hair of Eros 
 is plaited on the top and down the back of the head. The 
 inscription is certainly not modern, and is probably the name of 
 some ancient possessor, not the first owner of the gem. From the 
 Marlborough Collection, No. 138. Furtwangler, plate LXV., No. 
 13, assigns it to the Hellenistic time. The gem has also been 
 figured and described by King (" Handbook of Engraved Gems "), 
 but examination with the lens shows that he is mistaken in sup- 
 posing it to have been repolished ; on the contrary, it has a sur- 
 face quite intact, but for the usual delicate signs of gradual ancient 
 wear, also visible at all the edges of the inscription. Brunn, says 
 King, describes both gem and inscription as modern ; but he 
 must have written this with his eyes shut. [Plate CX.] 
 
 80 A GREEK WARRIOR, nude, but helmeted, and bearing an oval 
 
 shield, advances, spear in hand, to right, in defence of a comrade 
 who kneels behind him on the ground, pierced with a spear, but 
 still upholds his bow. 
 Pale plasma of unusual tint. Oval. Length, 15 ; Height, 11. Convex, 
 flat-backed stone. 
 
 From the Marlborough Collection, No. 607, and figured in the " Marl- 
 borough Gems," vol. i., No. 42. Graceful, shallow Hellenistic work. 
 Third century (?), compare the cameo, No. 171. [Plate CX.] 
 
 81 LION PASSANT, in profile, to right. 
 
 Fine Oriental onyx cameo of two layers, both translucent. The upper 
 layer pale bluish-gray, with a texture resembling fur ; the under 
 horn-tinted brown. Oval. Length, 39 ; Height, 24. 
 
 A good Greco-Roman gem; from the Morrison Coll. [Plate CXI.] 
 
Case M] The Engraved Gems, etc. {Nos. 1-198) 22^ 
 
 182 BUST, almost in full face, of a Bacchant, or youthful Bacchus ; his hair 
 
 wreathed with ivy-leaves and berries, the head upraised ; the ends 
 of a fillet fall over the shoulders. 
 
 Orange red sard of exceptional brilliance and beauty. Oval. Height, 
 1 2 \ ; Width, 9. Face of stone convex, back flat. 
 
 This exquisite gem is in an admirable state of conservation, and is 
 from the Marlborough Cabinet, No. 212, and before that was in 
 Lord Bessborough's collection. Subject, stone and design could 
 not be more happily matched. Engraved by Worlidge, and in the 
 " Marlborough Gems," vol. ii., No. 13. Hellenistic work. Compare 
 the emerald intaglio. (Case O, No. 54.) [Plate CX.] 
 
 183 NUDE ATHLETE, in profile to left, in the act of catching a spear 
 
 which he has thrown into the air. Round his right arm is twisted 
 a scarf, in the manner shown on some red figure vases. 
 
 Banded agate, the upper portion brownish, the lower milky-white. 
 Approximately oblong in shape, with rounded corners. Height, 
 19; Width, 13^. Stone moderately thick, and flat on both sides. 
 The surface appears to have been partially repolished. 
 
 The intaglio work of this beautiful Greek gem is extremely forcible 
 and spirited, the momentary attitude astonishingly well caught. 
 Furtwangler describes this gem, plate LXIII., No. 37, and assigns 
 it to the first or second century. The technique, however, suggests 
 an earlier date. From the A. Morrison Collection. [Plate CX.] 
 
 184 THESEUS WRESTLING WITH THE MINOTAUR, repre- 
 
 sented as a nude man with bull's head. The hero is nude also, but 
 for a loose scarf. 
 
 Bright brown sard. Oval. Height, 19; Width, 12^. Thin flat stone. 
 Compare Furtwangler, plate XXIV., No. 32. Italo-Greek. Third 
 century. [Plate CX.] 
 
 185 MALE FIGURE, in profile to right, on tiptoe, with right leg advanced. 
 
 He bears a thyrsos across the right shoulder, and is nude but for 
 a long scarf, the ends of which assume the curious conventional 
 folds characteristic of a certain phase of " Hellenistic " art. With 
 the left hand he appears to hold a ball against the end of the 
 thyrsos staft. 
 
 Pale amethyst. Approximately oblong, with rounded corners. Height, 
 
 16; Width, \2\. Thin flat stone. 
 The surface has been repolished, and small portions of the design are 
 
 thus partly obliterated. [Plate CX.] 
 
2 4 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 86 BULL, galloping, in profile to left. 
 
 Fine red sard. Oval. Length, 14; Height, 13. Thin stone, face con- 
 vex, back flat. Has been repolished. 
 
 Good Italo-Greek work. Cf. Case O, No. 95, and Furtw., XXIV., 71. 
 [Plate CX.] 
 
 87 PEGASUS, in profile to left, drinking at a spring. "Cable" border. 
 
 Banded onyx, upper half whitish, lower dark brown. Approximately 
 oval. Height, 1 1\\ Width, 10. Rather thick stone, flat on both sides. 
 Italo-Greek work, of the second to the third century. [Plate CX.] 
 
 38 LION'S HEAD, in full face. Below, the inscription HEIOV.A. 
 
 Tawny, deep-red garnet. Oval. Height, 16; Width, 12. Stone very 
 convex, with flat back. 
 
 Though not so important as Mr. Warren's fine intaglio of the dog 
 " Sirius," this gem is a highly finished work of similar technique, 
 and a witness for the antiquity of the other. The inscription, which 
 is probably antique, has been misread by previous writers ; it is 
 distinctly Heiou. L. (for litho, as in the well-known, but now lost, 
 gem of the Pheidian Athena, with the inscription " Apollodotou 
 litho"). In both cases the owner is designated, not the engraver. 
 
 From the A. Morrison Collection. [Plate CX.] 
 
 89 HEAD OF A YOUNG FAUN, in profile to left. 
 
 Oriental onyx cameo of two layers — the upper, translucent, milky-white; 
 the lower, light brown, also translucent. Oval. Height, 17^; 
 Width, 14. 
 
 From the A. Morrison Collection. Greco-Roman work. [Plate CXI.] 
 
 go FRAGMENT of a large intaglio, the subject of which is a vase, 
 around which is represented a dance of three Maenads, holding 
 one another by the hand. Cf. gem in B. M. (Furtw. X. 49). 
 
 Fine red sard. Originally oval. Present Height about 20 ; Width, 23^. 
 Thick stone, flat on both sides. 
 
 Rim of the vase deeply cut ; but the ornament shallow and slightly 
 treated, though with spirit. Parts of the hair and drapery of the 
 Maenads apparently rendered with the diamond point. 
 
 Early work. From the Morrison Collection. [Plate CX.] 
 
 91 BUST OF GANYMEDE (?), wearing conical cap, in profile to right. 
 Onyx cameo, on a remarkably thick, bevelled stone of seven layers, the 
 subject being executed in the uppermost only, which is white. 
 Oval. Height, 23 ; Width, 14. 
 Probably Hellenistic work Cf. Case O, No. 19. [Plate CXI.] 
 
Case M] The Engraved Gems, etc. (Nos. 1-198) 225 
 
 192 A GROTESQUE, MALE, BEARDED MASK, in three-quarter 
 
 face, to right. Below, the inscription, KVINTIA. 
 Fine golden-red sard. Oval. Height, 16; Width, 11. Face of stone 
 convex, back flat. 
 
 From the Marlborough Collection, No. 651. Good Greco- Roman 
 work, the inscription abbreviating the owner's name. [Plate CX.] 
 
 193 HEAD AND NECK OF A HORSE, in three-quarter face, to right. 
 Oriental sardonyx cameo of two strata, the upper layer of translucent 
 
 dark brown sard, the under nearly opaque whitish brown. Part 
 of the neck has been chipped away, and there is a chip on the 
 mane. Oval. Height, 19; Width, 14. Thick stone. 
 Greco-Roman work, probably contemporary with some similar in- 
 taglios. From the A. Morrison Collection. [Plate CXI.] 
 
 194 BUST OF ZEUS, in three-quarter face, to left. 
 
 Fine red sard. Oval. Height, 14; Width, 11. Chip at top, mended 
 with gold. Rather thin stone, with nearly flat face and slightly 
 convex back. 
 
 Greco- Roman work. From the Morrison Collection. [Plate CX.] 
 
 195 ACHILLES dragging the dead body of Hector behind his chariot. 
 
 The two horses are represented galloping to the left. A small 
 charioteer drives them, whip in hand. Achilles, who is on twice 
 the natural scale, wearing a high crested helmet, and circular 
 shield, turns round to strike with his spear at the naked corpse of 
 Hector. 
 
 Discoloured chalcedony — now whitish and partly opaque. Oval. 
 
 Length, 13^ : Height, Rather thick stone, nearly flat-faced, 
 
 and bevelled towards the back, which is flat. 
 Fourth-century work(?). [Plate CX.] 
 
 196 THE OESTRUS, or gadfly, in full relief, and the size of life. 
 
 Oriental sardonyx cameo of two layers, the upper translucent bottle- 
 green sard with darker patches, the lower more inclined to opacity, 
 and of a whitish colour with pale brown blotches. Approximately 
 oval. Height, 20; Width, 1 7^-. Left wing and one leg on same 
 side chipped. 
 
 This curious cameo is from the Marlborough Collection, No. 732. 
 Date very uncertain. It may be of African origin. [Plate CXI.] 
 
 G G 
 
26 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 97 AN OLD BEARDED MAN, sitting, holds a scroll. Behind him 
 
 stands a younger man, who stretches out one arm, as if declaiming. 
 Both in profile to right. 
 Oriental sardonyx cameo of three layers ; the upper, in which the 
 drapery of both figures is worked, is a chestnut brown translucent 
 sard ; the middle one whitish, in which the faces and arms are 
 rendered; the under one apparently dark brown sard. Set " dark " 
 in a fine seventeenth-century gold ring. Oval. Height, 14; 
 Width, 11. 
 
 Greco-Roman, of not very late date. The features are rendered 
 minutely. [Plate CXI.] 
 
 98 A NUDE YOUTH, perhaps Orestes, with hands bound behind him, 
 
 is being conducted between two other figures, one nude, the other 
 wearing a short tunic, and each carrying a spear. They are walk- 
 ing towards a small altar, on the left. " Cable" border, and diag- 
 onal hatching in exergue. 
 
 Reddish-golden sard. Oval. Height, 15; Width, 11. The stone has 
 a flat face and slightly convex back. 
 
 Described by Furtwangler, plate XXIV., No. 6, probably from a cast 
 only, as a scarab of unknown ownership. Italo-Greek of third 
 century (?). [Plate CX.] 
 
CASE N 
 
 N.B. — All the objects in this Case belong to Henry Wallis, Esq., and are 
 
 catalogued by the owner 
 
 1 SHALLOW BOWL. White glass. Ornament ; a winged genius hold- 
 
 ing a branch, painted in outline. From Cyprus. Diameter, 
 o.io cm. 
 
 2 BOWL. Purple glass; strong prismatic iridescence. From Athens. 
 
 Diameter, 0.155 mm. 
 
 3 TWO-HANDLED VASE. Blue glass ; prismatic iridescence. From 
 
 the Tyszkiewicz Collection. Height, 0.105 mm. 
 
 4 BUST OF ATHENA. The subject in white opaque glass, the ground 
 
 in purple transparent glass ; opalescent iridescence. Cameo. 
 Height, 0.17 mm. 
 
 5 APHRODITE. The figure and drapery in white opaque glass, the 
 
 ground in purple glass. Cameo. Height, 0.23 mm. 
 
 6 FRAGMENT OF A BOWL. White glass. Ornament; incised figure 
 
 of a warrior holding spears. Archaic (?). Height, 0.44 mm. 
 
 7 OINOCHOE. Rock crystal, found in an Etruscan tomb. Height, 
 
 0.46 mm. 
 
 8 POLYHEDRAL DIE, for gaming; inscribed with Greek characters. 
 
 Rock crystal. Height, 0.27 mm. 
 
 g VASE. Onyx. Found in an Etruscan tomb. Height, 0.24 mm. 
 
 10 BUST OF SEILENOS, a ram's head on right shoulder. Turquoise 
 
 blue glass. Cameo. Height, 0.6 cm. 
 
 11 FEMALE FIGURE DRIVING A CHARIOT. The subject in 
 
 white opaque glass, the ground in green transparent glass. Cameo. 
 Length, 0.21 mm. 
 
228 Exhibition of Ancient Greek Art [Part V 
 
 12 SEATED FIGURE. The figure in white opaque glass, the ground in 
 
 transparent purple glass. Cameo. Height, 0.23 mm. 
 
 13 NYMPH AND SATYR. Purple glass; amethyst iridescence. Cameo. 
 
 Length, 0.27 mm. 
 
 14 DANCING BACCHANTE. Amber glass ; mother-of-pearl iridescence. 
 
 Cameo. Height, 0.35 mm. 
 
 15 FEMALE HEAD. The hair in amber-colour glass, the flesh in buff- 
 
 colour glass paste, the ground in black glass. Cameo. Found in 
 Sicily. Height, 0.43 mm. 
 
 16 MUSE WITH LYRE, half-length. Purple glass. Cameo. Height, 
 
 0.31 mm. 
 
 17 APHRODITE. The right hand resting on a column, the left holding 
 
 drapery. Pale blue transparent glass. Intaglio. Height, 0.36 mm. 
 
CASE O 
 
 A 11 the objects in this Case, except Nos. 48 and 49, and 94 to 98, are described 
 
 by Charles Newton- Robinson. 
 
 The following gems, Nos. I to 47, are lent by E. P. Warren, Esq., by whose 
 desire they have not been reprodtued in the Plates. 
 
 1 WINGED EROS, nude, sitting on the ground, his right leg bent under 
 
 him and foreshortened; the left leg rests on the knee. He leans 
 on his right arm ; with the left he beckons to him a goose, which 
 is waddling away with fluttering wings. Round his body and over 
 the right shoulder a thong carrying an amulet. On the ground in 
 front lie two astragali. 
 
 Pale bluish-white, translucent chalcedony. Thick scarabaeoid with flat 
 edges, slightly bevelled towards the face of the stone, which is 
 perforated longitudinally. Oval. Length, 23 ; Height, 18^. 
 
 Loose, free work of transitional technique. See Furtwangler, plate 
 LXIV., No. 15. He dates the gem, which comes from Asia Minor, 
 at the end of the fifth century, and notes its near affinity to one 
 formerly in the Blacas Collection, which bears the signature 
 3>pu'yiAAor. The name is that of a Syracusan coin-designer. 
 
 2 PORTRAIT BUST of a middle-aged, clean-shaven man, in profile to 
 
 right. 
 
 Brilliant red, sard-like, striated cornelian. A chip is mended with gold 
 at crown of head. Oval. Height, 18J; Width, 16. Stone convex 
 on both sides. 
 
 From the Tyszkiewicz Collection. Described by Frohner (Tyszkiewicz 
 Sale Cat., 288) and by Furtwangler, XXXIII., 24. The latter 
 classes it with Greek Hellenistic gems, and notes it as closely 
 akin to some fine portraits of Roman Republican personages. The 
 work is extremely spirited, especially the face, but not highly 
 finished. The ear has been slightly chipped. 
 
 3 BULL BUTTING, in profile to left. 
 
 Pale sapphirine chalcedony. Oval. Length, 24; Height, 18. Thick, 
 flat-edged stone, both face and back flat. Perforated longitudinally. 
 It has probably never been a scarabaeoid. 
 
 Spirited, not too finished work, of the fourth century, resembling Case 
 M, No. 122. 
 
2 3 
 
 Exhibition of Ancient Greek Art [Part V 
 
 4 NUDE YOUTH, kneeling on his left knee, the leg foreshortened. He 
 
 is stooping, and with his right arm lifts from the ground a handful 
 of sand, some of which is escaping. The elbow of the left arm is 
 raised behind him above the shoulder. Border of a single fine 
 line. Set in an antique hollow gold ring, probably funereal. 
 
 Red cornelian. Scarab of neat workmanship, having the outer edge 
 decorated with a "tongue" border. Height, 1 2^- ; Width, 9|-. 
 
 Early fifth-century scarab of great beauty, the design well filling the 
 field of the gem, the muscles and extremities very definite. Hair 
 represented by dots. The formation of the eye is remarkable, 
 both lids being distinctly indicated, notwithstanding the tiny scale. 
 Figured and described by Furtwangler, plate LI., No. 1, and 
 plate XVI, No. 60. 
 
 5 SEILENOS, in full face, kneeling; the right leg shown foreshortened. 
 
 Right arm uplifted, the other clasps a goat at his side. Round his 
 head a wreath. 
 
 Red striated cornelian. Oval. Height, 18J; Width, 12. Thick stone, 
 flat on both sides, and bevelled from front to back. 
 
 From the Tyszkiewicz Collection (Frohner, plate XXIV., 15, and Sale 
 Catalogue, 291). Acquired from Salonika; but Furtwangler con- 
 siders the gem to be Italian or Etruscan work of severe style. 
 
 6 APHRODITE, standing, fully draped, in front face, with the left breast 
 
 exposed ; a veil falls from her head. She bends a little to her left, 
 and appears to be listening to a tiny winged Eros hovering in the 
 air near her shoulder. Her right arm is extended downwards ; the 
 left holds up her robe. From the ground rises a short tree-stump, 
 which should be higher, to support the figure. Inscription (in- 
 taglio) in two vertical lines on the left; nPATAPXOl ETTOIEI. Set 
 in an old gold ring, probably Turkish. 
 
 Oriental onyx cameo of three strata ; the upper one, in which the sub- 
 ject is rendered, being nearly opaque china-white, the middle of a 
 chocolate-brown colour, the lowest white. Stone bevelled towards 
 the front. Oval. Height, 17^; Width, 12 J. 
 
 Second-century Greco-Roman work of moderate merit, copied probably 
 from a statuette. The inscription has the air of being contempo- 
 raneous, and is likely to be that of the engraver. 
 
 Compare the marble statuette No. 28 in the present Exhibition. See 
 Furtwangler, " Geschichte," vol. iii., p. 447, for a fine critical de- 
 scription of this gem, which he also figures (No. 230) ; also Murray's 
 " Handbook," p. 172, and Babelon's "Cat. des Camees Antiques," 
 p. xl. 
 
Case O] The R?igraved Gems, etc. {Nos. 1-98) 231 
 
 7 YOUTHFUL CHARIOTEER, in profile, driving a biga, the horses 
 
 galloping to the right. He wears the usual long close-fitting robe. 
 His long locks fall on the back of his neck 
 Pale sapphirine chalcedony. Scarabaeoid, the flat edge slightly bevelled 
 towards the face. Back very convex. Oval. Length, 2 6\ ; Height, 
 20. 
 
 A charming design, very similar to that on the large crater, from the 
 Forman Collection (Case I, No. 84) ; which is, however, in profile, 
 while this has foreshortening. Compare the gems figured by Furt- 
 wangler, plates IX., Nos. 46, 53, and XIV., No. 38. He finely 
 describes this particular one as follows (plate LXV., No. 4) : "A 
 charioteer in long chiton drives a biga. The driver is beardless 
 and has close-lying, loose hair falling to his neck : he holds only 
 the reins and no kentron. The moment is represented, which is 
 the most critical of the race, when the chariot makes a turn to left 
 around the meta : the driver lets the right-hand horse run on in 
 full gallop, while he holds back the left-hand one, so that it is kept 
 to a half gallop. This action is also made out by the different 
 positions of the driver's hands (the left holds fast, the right is open 
 and lets the reins slip). The style of this altogether charmingly 
 executed design, in all parts most life-like and spirited, resembles 
 that of the Syracusan coins of the end of the fifth century, and the 
 gem must belong to just this period, or the beginning of the fourth 
 century. The fine but thin long lines of the horses' manes, and 
 the hair of the driver, are in the manner of Dexamenos." 
 
 8 PORTRAIT HEAD of a strong-featured, middle-aged, beardl ess man, 
 
 in profile to left. He wears a conical Persian cap. Across the 
 neck is indicated a small knotty club. 
 
 Brilliant orange-golden sard. Oval. Height, 21 ; Width, 15. The stone, 
 which is not very thick, is flat-faced, with slightly convex back. 
 
 Exceedingly spirited work, with sufficient finish to satisfy the eye, but 
 in reality very bold and unlaboured. Furtwangler describes it, 
 plate XXXI., No. 23, as the portrait of a king or dynast of Kom- 
 magene, Armenia, or a neighbouring district, and considers the 
 club to be one end of a golden necklet, such as the Persians used 
 to wear. He sees in it a pure Greek work of the third to the second 
 century. 
 
 9 BUST OF " IO," in full front, the face a little inclined to right. The 
 
 hair is bound by a fillet under which it is brushed back in bushy 
 locks, while long curls stray down to the shoulders, and are blown 
 
Exhibition of Ancient Greek Art [Part V 
 
 about. She wears a necklace with double chains joined by long 
 pendent transverse ornaments. In the hair two budding horns are 
 just visible. 
 
 Bright red sard. Oval. Height, 14; Width, \2.\. Very thick stone, 
 flat on both sides, slightly bevelled away from the front. Small 
 fracture below the bust. 
 
 Very deep intaglio work, resembling the fine gem of the same subject 
 from the earlier Poniatowsky Collection, bearing the name of 
 Dioscorides. See Furtwangler, plate XLIX., No. 9. He there, 
 describing Mr. Warren's gem, merely from a cast, calls it a modern 
 replica, from which the horns are omitted by misunderstanding. 
 This is, however, not the case, as in the gem itself they are clearly 
 visible, and the work seems distinctly antique. 
 
 A Tyszkiewicz gem. See Frohner, plate XXIV., 9, and Sale Cata- 
 logue, No. 287, where it is said to have been found at Calchedon. 
 
 PORTRAIT BUST, with head in profile to right, of a man of middle 
 age, with short hair and beard. Behind the head a Greek inscrip- 
 tion in two vertical lines, which is read by Furtwangler thus : 
 
 TT.TTAITINI.. 
 ZETTTIMAI 
 
 He describes the gem (plate XLIX., No. 24), and takes the in- 
 scription for the engraver's name. 
 
 Black sard. Oval. Height, 16; Width, 12J. Thin flat stone, bevelled 
 back from the front. 
 
 Good Greco- Roman work, probably of the last days of the Republic. 
 It is from the A. Morrison Collection. Compare the Berlin head 
 of Pompey inscribed Agathangelou. 
 
 THE CELEBRATED HEAD OF THE DOG SIRIUS in full 
 
 face, surrounded by rays. Signed on the collar, TAIOC EfTOIEI. 
 A brilliant " Siriam " garnet, of the colour of tawny port wine. Oval. 
 
 Height, 23; Width, 16. The face of the stone is of a salient 
 
 " cabochon " form ; the back flat. 
 From the Marlborough Cabinet, No. 270, in Mr. Story-Maskelyne's 
 
 Catalogue. 
 
 Notwithstanding slight abrasion of the exposed edges, the gem retains 
 in a high measure its original surface, though possibly the bevelled 
 edges may have been repolished. This circumstance, when I first 
 saw the gem in the Marlborough Collection under bad light, gave 
 rise in my mind to some doubts of its antiquity, which have been 
 
Case O] The Engraved Gems, etc. (JVos. 1-98) 233 
 
 dispelled by subsequent careful examination with a strong lens. 
 The engraving is extraordinarily deep and spirited, and at the same 
 time finished to the highest possible degree for the material of 
 which it is composed. It is a masterpiece of its kind, and perhaps 
 executed in Egypt under the Ptolemies. Natter, the engraver, who 
 first published it while in the collection of Lord Duncannon, says 
 (writing in French) : " Clearly to feel all the merit of this intaglio 
 one must remark that the jaws are so open and extended that they 
 not only allow the tongue and teeth to be perceived, but even the 
 back of the palate. The whole is finished w : th the greatest exacti- 
 tude possible. The considerable depth, the precision and neatness 
 of the drawing, are sensible proofs of the delicacy of hand and the 
 extreme ability of the artist. The muscles are rounded so perfectly 
 that it is impossible to perceive the smallest trace of the tools used. 
 At first this surprising trait made me doubt whether the gem was 
 engraved with the lathe according to the ordinary method, but in 
 copying it with attention I found the progression of the different 
 tools employed in it, and succeeded fairly well in imitating it myself, 
 etc." — " Traite de la Methode Antique de Graver en Pierres fines," 
 p. 27. The gem was figured by Bracci (1 784), by Worlidge, by Furt- 
 wangler, plate L., No. 4, and in the " Marlborough Gems," ii. 34. 
 
 12 A WINGED GRIFFIN seizes with its forepaws a naked youth lying 
 
 on his back, who strikes at it with his right arm. Traces of single- 
 line incised border. 
 White chalcedony. Scarabaeoid sawn through the perforation. Oval. 
 Length, 19 ; Height, 14. There is a small chip above the griffin's 
 head. 
 
 Described by Furtwangler, plate VI., No. 30, q.v. ; then in the Naue 
 Collection, Munich. He considers it to belong to the end of the 
 archaic period, about 500. 
 
 13 PORTRAIT-HEAD, in profile to left, of a middle-aged man, with 
 
 short, rather scanty hair and moustache, and short, clipped beard 
 and whiskers. His forehead is high, but rather retreating ; the nose 
 long and straight, with the peculiarity that the point of it is con- 
 siderably below the nostrils. Above the head is the inscription 
 AEZAMENOS: EnOIE. The subject is surrounded by a border of 
 one very fine line. 
 Red and yellow moss-agate, or jasper. Scarabaeoid, the back of which 
 is only slightly convex, the edge flat. Oval. Height, 20% ; Width, 
 15I-. It is cracked diagonally across. 
 
 H H 
 
234 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 From Kara in Attica. This is an intaglio of the utmost singularity, exe- 
 cuted in a most unusual, if unattractive stone. The person repre- 
 sented is not handsome, but his portrait is carried out in the masterly 
 style to which there is no parallel except in the few other gems (none 
 of them portraits) which may be also ascribed to Dexamenos, some 
 being signed by him. Close inspection with a powerful lens reveals 
 delicate evidences of ancient wear on the edges of the intaglio, and 
 assists the conclusion that the signature is contemporaneous. The 
 great cleverness and beauty of the work (within the limitations of 
 the artist's " manner ") become also fully apparent. The modelling 
 of the ear is extremely well managed. Details are executed almost 
 throughout with thin, " wiry," incised lines, and the engraving 
 generally is quite shallow. Single hairs of the eyelids are even 
 indicated by separate lines. Only by courtesy can the stone be 
 called a " scarabaeoid." It probably belongs to a time when ring- 
 stones were just beginning to come into vogue. At the truncation, 
 the neck is rather wide, as in some other early Greek gems bearing 
 heads in profile. See Furtwangler, plate XIV., No. 3, where he 
 describes this gem as the masterpiece of Dexamenos, and the 
 portrait of some distinguished Athenian about the year 430. See 
 also Mr. Arthur Evans' article in "Revue Archeologique," 1898, 
 P- 345- 
 
 14 A NUDE YOUTH suddenly arrests a spirited horse, plunging to the 
 
 left, whose bridle he holds with both hands, while his right leg is 
 stiffly resisting the onward motion of the animal. " Cable" border. 
 In the margin, within it, EniMHNE£ EHAIE. 
 
 Pale bluish white chalcedony. Scarabaeoid. Length, 17^; Height, 13^-. 
 The stone is thick, with rather convex back ; the flat sides are 
 slightly bevelled towards the face. Perforated longitudinally. 
 
 An exquisite early Greek gem of astonishing spirit and delicacy. The 
 inscription has, technically, the appearance of being contem- 
 poraneous. From the collection of Tyszkiewicz, who believed the 
 gem to have been found at Naukratis. See Furtwangler, plate IX., 
 No. 14. He considers the inscription Ionic, and that Epimenes 
 was a Parian. Date, 500-480. 
 
 15 HERAKLES, nude, but with lion-skin over his head, leads a spirited 
 
 horse to left. Dotted border. 
 Red cornelian. Scarab of neat form. Length, 1 3 ; Height, 9. Perforated 
 
 longitudinally. 
 Furtwangler, plate VI., No. 47. Archaic Greek. 
 
Case O] The Engraved Gems, etc. {Nos. 1-98) 235 
 
 16 GOLD RING : the bezel of " leaf" shape. Hermes, nude, stands by a 
 
 small Ionic column, on which he rests the elbow of his left arm, 
 holding a caduceus ; in the extended right hand is a patera. Face 
 in profile to left. A cloak is thrown over his shoulders, and 
 buckled in front over the breast. 
 Very good Greek work of the fifth century. Figured and described by 
 Furtwangler, plate LXL, No. 32. 
 
 17 THANATOS AND HYPNOS, winged, carrying a nude dead body 
 
 to the left. " Cable " border. 
 Red cornelian. Neat scarab, with " tongue " ornament in relief on outer 
 
 edge. Length, 15; Height, 12. 
 Very good, careful, early Greek or Etruscan work. Found at Naples 
 
 and formerly in Tyszkiewicz Coll. (see Frohner, plate XXIV., 
 
 No. 8; also Furtwangler, plate XVI., No. 22, and " Annali," 1883, 
 
 P- 21 3)- 
 
 18 NUDE YOUTH, his left leg advanced, the right bent under him, 
 
 facing to the right, discharges an arrow from a bow with inverted 
 curve, which he holds with his left hand. " Cable " border. 
 
 Pale grayish-blue chalcedony. Oval. Length, i8|; Height, 14*. 
 Thick stone, with rounded edges. Longitudinally perforated. 
 
 Spirited early Greek work. A similar type is on some coins of Thasos. 
 Furtwangler, plate VIII., No. 38, "probably from Aegina." Was 
 in the Prokesch-Osten and Tyszkiewicz Collections. Frohner, 
 plate XXIV., No. ir. 
 
 19 LEDA AND THE SWAN. 
 
 Oriental onyx cameo of three layers : the upper opaque china-white, 
 the next brownish, the under one grayish pale brown, and trans- 
 lucent. Oval. Height, 32; Width, 19. Thick stone, bevelled 
 from the face. Slightly discoloured. 
 
 An important and very unusual Greek cameo. 
 
 20 NUDE YOUTH with staff in right hand, bending to right, and ap- 
 
 parently contemplating a gigantic mask of a masculine face, which 
 is supported on the ground in front of him at an angle. His left 
 hand holds up a cloak. " Cable " border. 
 Red carnelian. Very neat scarab, with " milled " edge in relief. Height, 
 12; Weight, oi Perforated longitudinally. Fourth century (?). 
 
236 
 
 Exhibition of Ancient Greek Art [Part V 
 
 21 FRAGMENT OF A FINE CAMEO in rather high relief, showing 
 
 the head of an Egyptian Queen in profile to right. Modern gold 
 
 setting. Height, 2^\\ Width, 26. 
 The stone is a brownish agate with gray and white streaks. 
 From the Tyszkiewicz Collection. Frohner, plate XXXIII., No. 5, 
 
 Furtwangler, plate LXI., No. 47. 
 Of the Ptolemaic period. Found in the East. Greco- Egyptian work. 
 
 22 A NUDE YOUTH (Achilles) stoops to pick up a crested helmet from 
 
 the ground, or possibly to cover it with a cloak, which lies on his 
 left arm, while he lifts it from his shoulder with his right. The 
 right leg is in a constrained attitude, as if he had suddenly stopped, 
 the left knee is bent. In the field the letter A is inscribed before 
 him, the letters tlvE behind. Dotted border. 
 
 The stone is whitish and nearly opaque, but crossed by a band of pale 
 bluish-gray translucent chalcedony. It has possibly become dis- 
 coloured. Scarab of neat form, with a pretty "wave " ornament in 
 relief on the outer edge. Height, 13 ; Width, 9^. 
 
 A charming fifth-century Greco- Etruscan work. Furtwangler, plate 
 LXI., No. 19. 
 
 23 HEAD OF A YOUNG NEGRESS in profile to left. She has extra- 
 
 ordinarily full, protruding lips. Her thick frizzled hair is confined 
 by a broad band, diminishing in width behind the ear. Some curls 
 are brought down to a point in front of it, and a few escape at the 
 back of the head, while three curls are raised above the forehead. 
 Her earring is a long pendant, rather in the shape of a bud. 
 
 Deep red cornelian or sard. Scarab of good workmanship, and inclining 
 to an Egyptian type. Height, 22^; Width, 16. 
 
 The stone has unfortunately been knocked about in antiquity, a large 
 chip has carried away the eye and another the back hair and part 
 of the neck. Enough remains, however, to give an impression 
 that this is a most masterly specimen of Greek fifth-century art, pos- 
 sibly executed in Egypt. The work is shallow, and not highly 
 polished or finished ; but the outline of the nose, lips, and chin, 
 and the modelling of the cheek and jaw are extremely fine. Sub- 
 ject and treatment are alike of the utmost rarity. Furtwangler, 
 plate XII., No. 43. 
 
 24 NUDE YOUTH, stooping to right,and picking up a crested helmet from 
 
 the ground. A round shield on his left arm covers his shoulder 
 and body. What appears to be a helmet on his head is only a chip 
 
Cask O] The Engraved Gems, etc. (JVos. 1-98) 237 
 
 in the stone. In the field in front of him the letter A. "Cable" 
 
 border partly cut away. 
 Orange-yellow cornelian. Scarab, sawn in two at the perforation, and 
 
 mutilated below. Height, 14; Width, n£. 
 Very excellent fifth-century work. Furtwangler, plate XVI., No. 15. 
 
 Found in Sicily. 
 
 25 BUST OF A LAUGHING YOUTH, in profile to left, perhaps 
 
 a faun, but his ears are concealed under shaggy locks of hair. 
 Across his shoulders a skin. 
 Fine reddish-golden sard. Oval. Height, 13^ ; Weight, 9J. Thin, flat 
 stone. 
 
 Spirited Hellenistic work, in a fine state. Furtwangler, plate LXI 
 No. 68. ■ v 
 
 26 HORSE, in profile to left, his off foreleg raised, and wearing the symbol 
 
 of victory, thongs depending from his chin. " Cable " border ; and 
 the " base " on which he stands is treated in the same way. He has 
 a long tail and short flowing mane, indicated by fine parallel lines 
 ending in points. The details of the head are extraordinarily fine, 
 and there are even traces of veins on the thighs, and of the folds 
 of the skin. In field, antique legend, n °"^ 
 
 Pale yellow chalcedony. Oval. Length, 21; Height, 16. A thin flat 
 stone, which may have been once thicker, perhaps a scarabaeoid. 
 Small chip above the head ; otherwise in fine preservation. 
 
 From the Peloponnesus. Furtwangler, plate IX., No. 31. He con- 
 siders the inscription to be the owner's name. In his opinion the 
 gem is more than a masterpiece, and if not by Dexamenos, then 
 by a still greater contemporary engraver, in the second half of the 
 fifth century. 
 
 27 A SEA MONSTER, with head and forelegs of a mammal, and con- 
 
 voluted tail of a dragon, seizes an octopus in its jaws. Border of 
 
 light diagonal hatchings. 
 Sapphirine chalcedony, discoloured. Oblong, with rounded corners 
 
 Length, 16I; Height, i 2 i Thin, nearly flat stone. 
 Spirited shallow work, of unusual character. Furtwangler plate LXI 
 
 No. 53. » Late Greek." 
 
 28 NUDE WINGED YOUTH, flying to right, in his left hand a sprig 
 
 of ivy (?). « Cable " border. Set in antique gold swivel ring with 
 enamelled " tongue " ornament and wire cabling round the edge. 
 
Exhibition of Ancient Greek Art 
 
 [Part V 
 
 Apparently not meant to be used as a signet, as the setting sur- 
 mounts the intaglio. This setting explains the character of the 
 ornament on the outer edges of some fine early scarabs. 
 
 Cornelian. Scarab. Length, about 12 ; Height, about 9. 
 
 Good early Greek work. Furtwangler, plate LXI., No. 30. " From 
 Cyprus. Eros : Early fifth century." 
 
 29 LION CROUCHING, in profile to right. Above him, an eagle flying, 
 
 a serpent in its claws. 
 Pale sapphirine chalcedony. Scarabaeoid. Length, 16^; Height, 12^. 
 Thick, flat-sided stone. Fracture on one side. Perforated longi- 
 tudinally. 
 
 See Furtwangler, plate LXI., No. 17. He describes the work as Ionic 
 Greek of the fifth century. The gem was found at Golgoi in 
 Cyprus. 
 
 30 A NUDE YOUTH, in profile, astride of a sow, pressing forward to 
 
 left, whose bristly mane he holds in both hands, the arms strained. 
 Behind his head a flat hat, secured by a thong, which has slipped 
 backwards. " Cable" border. The subject is Theseus subduing 
 the sow of Crommyon. 
 
 Bright yellow chalcedony. Oval, but lower part broken off. Height, 
 about 2 1 ; Width, 19. Moderately thick convex stone, with flat back. 
 
 Very fine fourth- or fifth-century Greek work. Found in Greece. 
 Tyszkiewicz Collection; Frohner, plate XXIV., No. 18; Furt- 
 wangler, plate XXVI., No. 11. 
 
 31 NUDE YOUTH, standing in profile to right. Theseus unsheathing his 
 
 father's sword. At his feet a circular shield, in perspective. It has 
 a Medusa head in centre, surrounded by a rosette ornament. 
 
 Brilliant red sard. Oval. Height, 24; Width, 15^. Face of stone very 
 slightly convex, back more so. Has been cracked. 
 
 From the Tyszkiewicz Collection. Furtwangler describes it (plate LXI., 
 No. 71), and regards it as of the time of Dioskourides, and very 
 like a gem of the same subject (plate XXXVIII., No. 18), in 
 which, however, the shield is without ornament. In the gem under 
 review the technique, although excellent, with the peculiar decora- 
 tion of the shield, afford indications that the work is not quite 
 certainly antique. 
 
 32 NUDE FIGURE OF APOLLO, standing, full front, with face in 
 profile to left; a cloak lightly thrown over his shoulders. In his 
 
Case O] The Engraved Gems, etc. [Nos. 1-98) 239 
 
 right hand a staff or sceptre, surmounted by a knob. In his left a 
 twig with foliage, and on this arm stands a hawk. His hair is 
 bound by a fillet ; long locks fall to the neck. Behind him a small 
 deer stands, the head upturned towards the hawk. Border of a 
 single fine line. 
 
 Fine red gold sard. Oval. Height, 18 ; Width, 14. Stone rather thick, 
 
 convex, with flat back, and edge bevelled from the face. 
 From the Tyszkiewicz Collection. Furtwangler, plate X., No. 3, q.v. 
 
 He dates this gem about 470-460. Frohner, plate XXIV., No. 6. 
 It is of severe design, but free execution ; an interesting early Greek 
 
 intaglio, in a delightful state of genuine antique, and not excessive 
 
 wear, unspoilt by modern repolishing. 
 
 33 CASSANDRA, kneeling to right, half nude, upholding her cloak in her 
 
 left hand, clasps the Palladium with her right, in an attitude of 
 imploration. 
 
 Discoloured sard. Oval. Height, 2 3^ ; Width, i6|. Thin stone, face 
 
 slightly convex, back flat. 
 Finely preserved. See Furtwangler, plate XIV., No. 26. He dates 
 
 this gem in the fourth century. 
 
 34 FEMALE HEAD, apparently a portrait, in profile to left, wearing 
 
 diadem. 
 
 Fine orange tawny garnet. Oval. Height, i8| ; Width, 131 A small 
 chip on one side. Flat-faced, convex-backed stone. Hellenistic 
 work of high finish for the material. 
 
 From the Ludovisi and Tyszkiewicz Collections. See Frohner, plate 
 XXIV., No. 4, and Sale Catalogue, No. 285. He describes the 
 gem as a portrait of Arsinoe Philadelphos, wife of Ptolemy 1 1. See 
 Furtwangler, plate XXXII., No. 36. 
 
 35 A STAG, running, the head thrown back, attacked by two lions, one of 
 
 which seizes its neck from behind, the other from the front, between 
 
 the forelegs of the stag. Both lions are upreared on their hind legs. 
 Brownish yellow chalcedony. Nearly circular. Height, 23 ; Width, 26. 
 
 Rather thick lentoid stone, vertically perforated. 
 Spirited and picturesque design, deeply but not elaborately engraved, 
 
 without polish. An important gem of " Mycenaean " type. 
 
 36 POSEIDON, nude but for a loose scarf, bearing a trident in his left 
 
 hand, is driving four sea-horses to the left through turbulent waves. 
 In front are seen the head and shoulders of a triton (?) swimming 
 and the head of a dolphin. Above, the inscription, nonlA AABAN. 
 
240 Exhibition of Ancient Greek Art [Part V 
 
 Golden sard, discoloured. Oval. Length, 20 ; Height, 1 5J. Face of 
 stone convex, back concave. 
 
 Very picturesque Greco- Roman work. From the Tyszkiewicz Collec- 
 tion. See Frohner, plate XXIV., No. 13, and Sale Catalogue, 290. 
 It is there said to have been found at Hadrumetum, Tunisia. The 
 inscription is certainly antique,and probably coeval with the intaglio. 
 It may be the name of its first possessor. See Furtwangler, plate L., 
 No. 19. He considers the inscription to be abbreviated for the 
 Roman family names, Popilius Albanius. The head has portrait 
 character, and may represent Augustus. The gem is a masterpiece 
 of his time. 
 
 37 HERAKLES STRANGLING THE NEMEAN LION. 
 
 Red carnelian. Probably part of a scarab. Height, 18; Width, 13. 
 Fractured at back of the lion. 
 
 38 DIOMEDES, bearing the Palladium, nude, with cloak over left arm, 
 
 and short sword in right hand, stealing along to the left. 
 Grayish chalcedony. Thick scarabaeoid, flat-sided, with slight bevel 
 
 towards the flat face. Fracture at back. Height, 29 ; Width, 23. 
 The work not of high polish or minute execution, but adequate for the 
 
 stone and subject. Late fourth century (?). 
 
 39 HERAKLES STRANGLING THE NEMEAN LION. "Milled" 
 
 border, which does not closely follow the outline of the gem. Red 
 sard. Scarab. Height, 18^; Width, \ \\. 
 A hasty, vigorous, but slovenly repetition of some older and severer in- 
 taglio. From the Tyszkiewicz Collection. Furtwangler, plate LXI., 
 No. 20. "Good later Etruscan work." "The Italian artist, who 
 belongs to about the beginning of the fourth century, must have 
 been acquainted with Persian designs." 
 
 40 LION PASSANT to left. Below, the inscription VFTEPEXIOV. 
 
 Yellow jasper. Oval. Length, 21^; Height, 16. Thick, flat stone. 
 
 Deep and spirited Greco-Roman work of masterly execution. The in- 
 scription seems genuinely antique. It is rather irregularly put on, 
 and probably denotes some early possessor. Furtwangler, plate L., 
 No. 6, thinks that the name may be that of the artist. Found in 
 Macedonia. The gem is something like the well-known cameo 
 signed nPATAPXOSI, at Florence. The work on these yellow and 
 red jaspers is deeply and sharply cut, to produce to the eye the 
 
Case O] The Engraved Gems, etc. (Nos. 1-98) 241 
 
 same sort of impression as the intaglios on the bezels of early 
 Greek gold rings. 
 
 41 YOUTHFUL FEMALE HEAD, in profile to left. The hair is bound 
 
 by a fillet, below which fall short regular curls, increasing in length 
 towards the neck behind. Plaits wound concentrically on the back 
 of the head. Inscription, AYK • MHAH£. 
 
 Bluish-gray chalcedony. Oval. Height, 32 ; Width, 26. Stone very 
 convex ; flat back ; some unimportant chips. 
 
 Neat bold work, highly polished. According to Frohner, Tyszkiewicz 
 Coll., plate XXIV., No. 17, and Sale Catalogue, No. 292, the por- 
 trait of Cleopatra I., wife of Ptolemy V., and found in Phoenicia. 
 There is no apparent reason why the signature, though antique, 
 should be, as he suggests, that of the engraver. 
 
 42 PORTRAIT HEAD, in profile to left, of a middle-aged, beardless 
 
 Roman, with short cropped hair, and a protruding lower jaw. 
 Black sard. Oval. Height, 16; Width, 1 3^. 
 
 Extremely spirited, unlaboured work of the first century. From the 
 Ludovisi and Tyszkiewicz Collections. Frohner, plate XXIV., No. 
 10, and Sale Catalogue. See Furtwangler, plate XXXIII, No. 16. 
 
 43 A CALF, standing, in profile to left. Traces of a single-line border. 
 
 Dark green and black and white striated agate. Scarabaeoid with flat 
 sides, perforated longitudinally. Oval. Length, 17; Height, 1 3^. 
 
 Good fourth-century work. Tyszkiewicz Collection. Frohner, plate 
 XXIV., No. 10, and Sale Catalogue, 269. 
 
 44 A HUMPBACKED BULL, walking to right. Before him a mark 
 
 resembling an inverted U. 
 
 Gray and white striated agate. Scarabaeoid ; flat-sided and longitudin- 
 ally perforated. Oval. Length, 22; Height, 16. 
 
 Fourth century. Found in Greece. Tyszkiewicz Collection. Frohner, 
 plate XXIV., No. 18. 
 
 45 LIONESS, crouching to left. She has a thick, bristly mane. 
 
 Brown, white, and yellow striated agate. A cylindrical bead, flattened 
 on one side, and rather barrel-shaped. Length, 29; Width, 12^. 
 Perforated longitudinally. 
 
 Fifth century. See Furtwangler, plate IX., No. 59. He says this gem 
 is from Tarentum. For shape of bead, cf. No. 98. 
 
 1 1 
 
242 
 
 Exhibition of Ancient Greek Art [Part V 
 
 46 LIONESS (?) crouching in profile to left. 
 
 Yellowish translucent chalcedony, with opaque patches, appearing 
 yellow under direct light. Scarabaeoid, with flat sides, slightly be- 
 velled towards the face. Oval. Length, 23; Height, 18J. Per- 
 forated longitudinally. 
 
 Corresponds in style with certain neat, elongated scarabs, on which 
 animals are engraved in a stiff, simple, conventional manner, in 
 similar attitudes. They are probably Italo-Greek, and are often 
 confused with the common Etruscan scarabs. 
 
 From the Tyszkiewicz Collection. Frohner, plate XXIV., No. 16, and 
 Sale Catalogue, 263. Found in Sicily. Furtwangler, plate IX., No. 
 60. He thinks it not earlier than the beginning of the fourth century. 
 
 47 LION AND B U L L with short downward-curved horns, rearing against 
 
 one another, the lion's head hidden behind that of the bull, which 
 he has seized by the neck. The composition has a rather " heraldic " 
 character. 
 
 Striated pinkish red cornelian. Height, 23^; Width, 25. Thick lent- 
 oid gem of Mycenaean type ; with vertical perforation. 
 
 An important work of good execution, exhibiting a clever combination 
 of the natural and the conventional. 
 
 48 A LARGE CAMEO IN LAPIS LAZULI of fine colour. A portrait 
 
 of Antonia (daughter of M. Antony and wife of Drusus). Con- 
 temporary work of the last decades of the first century B.C. She 
 died in 38 a.d. at an advanced age. The likeness of the beautiful 
 lady is admirably preserved as compared with her coin, and repre- 
 sents her as a comparatively young woman, and therefore before the 
 a.d. era, as she was born in 38 B.C. The work is thus a good one of 
 the Augustan era on a material unusual for a cameo. [Plate CVIII.] 
 Lent and described by N. Story- Maskelyne, Esq. 
 
 49 A SCARAB cut in a rich cherry-coloured sard. The scarab is of the 
 
 most elaborate and excellent finish. Every part of the little beetle 
 is worked over with minute ornament ; the elytra carry a small 
 winged pattern, closely resembling that on the unique scaraboid 
 at Berlin (representing five of the seven against Thebes). This 
 scarab in fact is almost a fellow to that at Berlin, except that it is 
 less shallow. 
 
 Round the base on which the beetle stands a delicate egg border runs. 
 The face of the scarab again presents a fine example of the "guil- 
 
Case O] The Engraved Gems, etc. (Nos. 1-98) 243 
 
 loche " border formed of links, as of a chain with a bead or dot in 
 each link. In the Berlin gem this border is represented by a very 
 delicately worked " granulated " border, i.e., a finely strung series 
 of minute dots. 
 
 The subject of this important scarab is the assault of a lion on a bull, 
 so frequent on early gems. The lion has sprung on his victim, 
 whose head is thrown up to the left in the air. The attack being 
 from the other side to the spectator, the head of the lion, with 
 mane erect, is seen with fangs fastened on the back of the bull ; the 
 hinder part of the lion appearing beneath. The work is undoubtedly 
 early — next to archaic — -Greek, and not later than an early decade 
 of the fifth century, b.c. The work and subject recall those of 
 some gems from Cyprus in the British Museum. Acquired by Mr. 
 Stillman in Rome, 1901. Unhappily this remarkable scarab has 
 been cracked, and a minute splinter in the face has been broken 
 out, as well as a small piece of the rim. Figured by Furtwangler, 
 VI., 52. [Plate CVIII.] 
 
 Lent and described by N. Story-Maskelyne, Esq. 
 
 50 HEAD OF MEDUSA, in full face. 
 
 A very large Oriental onyx cameo, of two layers, the upper pale 
 yellowish and nearly opaque, the under translucent "horn-tinted" 
 yellow. It is in high relief and of irregular shape ; originally 
 roughly oval, but now chipped at one end. Height, 67^- ; Width, 
 833- ; and at the forelock 40 mm. thick. 
 
 There is a flaw in the underlayer at the back. The stone is unset. 
 
 This important gem was found in the Tiber in 1886, and bears evident 
 traces of long submersion and abrasion, all the exposed parts 
 being blurred and softened by an infinity of tiny chips and scratches 
 which may have been occasioned by the friction of rolling pebbles. 
 The original polish, however, remains on parts of the field, and on 
 the back of the gem. The work is executed with spirit, and in a 
 large " sculpturesque" manner, suggesting affinity to the other fine 
 Hellenistic cameos of Medusa in this Exhibition. But the shape 
 and rather coarse material of the stone (which is not perforated), 
 coupled with the manner in which the brows and locks of hair on 
 the front of the head are brought into prominence, overhanging 
 the lower part of the face, suggests that this gem was neither a 
 phalera in the ordinary sense, nor intended for personal adorn- 
 ment. I think it must have been set in the aegis of some statue of 
 Athena, intended to be looked up to as it stood on a high pedestal. 
 
244 
 
 Exhibition of Ancient Greek Art [Part V 
 
 The cameo may be of fairly early date. There are only very slight 
 indications of wings in the hair, and no snakes are to be seen, 
 except one pair, whose tails are tied together under the chin, and 
 their heads brought up through the tangled hair to lie on the 
 crown of Medusa's head, where they are scarcely noticed. The 
 face is broad, with a small mouth, knitted brows and troubled 
 eyes, and although the nose has been degraded by abrasion, the 
 features are still beautiful. On the forehead the hair is rather un- 
 usually treated, being made to spring up stiffly in a frisi manner. 
 The pupils of the eyes are not indicated. See " Proceedings Soc. 
 Ant.," 1 2th May, 1887; and Furtwangler, " Geschichte," p. 332, 
 fig. 175. [Plate CXII.] 
 
 Lent by Sir John Evans, K.C.B. 
 
 51 BUST OF EURO PA, in full face, leaning against the neck of a bull, 
 
 whose head is rendered in three-quarter face to right. 
 Oriental onyx cameo of two layers, the upper, opaque pale brown, the 
 
 under, translucent, yellowish, clouded light brown. In high relief. 
 
 Roughly oval in shape. Length, 34^- ; Height, 2 2|-. 
 Greco- Roman work, possibly a fragment of some large agate-onyx vase. 
 
 From Catania, 1890. [Plate CXII.] 
 
 Lent by Sir John Evans, K.C.B. 
 
 52 CAMEO. Head of a young child, perhaps Eros ; in front face and full 
 
 relief ; the hair parted on each side of a central plait and brushed 
 
 away to the temples, where it is brought forward in a curl. 
 Light brownish-gray agate, similar to that in which the great Medusa 
 
 phalera is executed. The back of the stone is slightly convex. 
 
 Oval. Height, 36 ; Width, 30. 
 The attractive enamelled gold mount is of course modern. No. 145 of 
 
 the Marlborough gems. Greco-Roman work. [Plate CXII.] 
 
 Lent by Lady Tweedmouth. 
 
 53 HEAD OF MEDUSA, in profile to left. She has wildly tangled locks, 
 
 intertwined among which are many snakes, and a pair are twisted 
 round her neck. Below the signature AnOAA04>ANHC. 
 Rock crystal, with the faintest roseate tinge. Oval. Height, 24 ; Width 
 
 The stone is flat faced, with convex back, and at the top is a large 
 
 fracture, removing part of the crown of Medusa's head. 
 Wheelcut late Greco-Roman work, from a Hellenistic original. 
 
 Lent by the Comtesse de Beam. 
 
Case O] The Engraved Gems, etc, [Nos. 1-98) 245 
 
 The following gems, Nos. 54 to 61, are lent by Alexander C. fontdes, Esq. 
 
 54 BUST OF YOUTHFUL BACCHUS, full face, the head slightly 
 
 inclined, and crowned with a wreath of ivy leaves and bunches of 
 grapes. 
 
 A true emerald of good colour. Rectangular and diamond-shaped — 
 probably the natural form of the stone, which is of extreme rarity 
 among antique engraved gems. Height, 1 1 ; Width, 1 1. 
 
 The intaglio work is very deep and spirited, and for the hard material 
 good also in execution. It recalls the former Marlborough gem, 
 No. 212, S. M. Cat., Case M, No. 182. [Plate CXII.] 
 
 55 HEAD OF ZEUS in profile to left. He has long flowing locks con- 
 
 fined by a broad fillet, and bushy beard. The forelock stands up 
 high. In the field of the gem the letters flY, one each side of the 
 head. 
 
 Pale sapphire. Circular. Diameter, 23. Face of stone flat, back rather 
 convex. 
 
 This beautiful Greek intaglio is mentioned by King in his " Handbook 
 of Engraved Gems," p. 279, as brought from India, and in the 
 Rosarena Collection. The engraving is shallow, and excellent for 
 the extremely hard material, so rarely used by the ancients for 
 signets. In outline it is remarkably well drawn. The cast reminds 
 one of coin types, though the relief is flatter. [Plate CXII.] 
 
 56 STAG, with branching antlers, in profile to left, scratching himself with 
 
 his near hind leg. Border of single line, with hatchings within it. 
 
 Orange golden sard. Approximately oval. Length, 1 1 ; Height, 9. 
 Face of stone convex, back flat. 
 
 This pretty little gem closely resembles another in Case M, No. 150, 
 which latter is without the hatched border. They are, however, 
 evidently of contemporary origin, and the border in this case gives 
 an additional indication of early date. Compare a scarabaeoid 
 in the British Museum, Furtwangler, plate XL, No. 28, dated by 
 him at end of fifth or beginning of fourth century. See also his 
 plate XIV., No. 13. [Plate CXII.] 
 
 57 TWO LITTLE NUDE BOYS, wrestling for the possession of a 
 
 palm-branch. Behind and to left a terminal figure of Herakles, 
 and the branch of a tree. 
 Oriental onyx cameo of two strata, nearly opaque china-white and dark 
 slaty-gray. Approximately oval. Length, 16; Height, 11J. 
 
246 
 
 Exhibition of Ancient Greek Art [Part V 
 
 A finely preserved little Greco-Roman cameo, in high relief, and of 
 great beauty and spirit. [Plate CXIL] 
 
 58 SILENUS, crowned with ivy and lightly draped, stands on the left side 
 
 of a large crater, upon the rim of which he rests his left hand; the 
 right is uplifted with a beckoning gesture, and a small nude boy 
 advances as if in response, lifting a bunch of grapes with his right 
 hand; the left holds a stick. 
 
 Oriental onyx cameo of two strata, the upper one partially translucent 
 china- white, the lower probably more translucent; but it appears 
 to be backed with some artificial, dark colouring-matter, to make 
 the design "bear out." Oval. Length, 25^; Height, \^\. 
 
 Good Greco-Roman work; a minute drill freely and cleverly used in the 
 face and beard of Silenus. [Plate CXIL] 
 
 59 HEAD, nearly in full face, of young Bacchus, crowned with ivy. Corymbi 
 
 on the brow, and fillets depending from the hair on each side. 
 
 Oriental onyx cameo of three strata; the upper, in which the corymbi 
 are worked, being of an orange red hue, the middle translucent 
 china-white, the under one reddish. Oval. Height, 13; Width, 1 r. 
 
 Greco-Roman. [Plate CXIL] 
 
 60 A SACRIFICE. In the centre of the composition a draped woman, in 
 
 profile to left, bends over a small altar. A nude man brings up to 
 it a struggling ram. Behind the woman a nearly nude, Silenus- 
 like figure, with satyr-tail, is blowing a pair of large curved horns. 
 
 Oriental onyx cameo of two strata, white and nearly black. Oval. 
 Length, io|-; Height, 8|-. 
 
 A minute but picturesque Greco-Roman cameo, artistically akin to 
 No. 58. [Plate CXIL] 
 
 61 AN ELEPHANT, in profile to right, goring with his tusks the head of 
 
 a very large, shark-like fish, on which he kneels with near foreleg, 
 and tramples with both hind-legs. 
 
 Oriental onyx cameo of two strata, opaque brownish white, and trans- 
 lucent light brown. Oval. Length, 31; Height, 26. 
 
 The work is in moderate relief, bold and not laboured. The subject 
 (but not the manner) recalls a fine intaglio on the bezel of a gold 
 ring, representing a lion eating a large fish, figured and described 
 by Furtwangler, plate LXL, No. 27, and considered by him to be 
 Greek work of the fourth century. 
 
 This cameo is from the Marlborough Collection, No. 705. It appears 
 to be of Greek origin and rather early date, but the subject sug- 
 
Case O] The Engraved Gents, etc. (Nos. 1-98) 
 
 247 
 
 gests that it may have been executed in some part of India or 
 Africa adjacent to the sea-coast. [Plate CXIL] 
 
 62 BUST OF THE YOUNG APOLLO, in profile to right. His 
 
 flowing locks are bound by a fillet, which is knotted behind ; the 
 ends hanging down. Long tresses of hair fall on the neck, and a 
 few curls escape in front of the ear. There are slight indications 
 of drapery on the shoulders. 
 
 Pale amethyst, with a streak of darker hue passing through it. The gem 
 has originally been nearly circular, but three large chips have re- 
 moved the right shoulder, a portion of the crown of the head, and 
 of the field. These are mended with gold. Height, 33 ; Width, 30. 
 Stone of considerable thickness, with flat face and convex back. 
 
 The intaglio work of this beautiful gem is fairly deep-sunk, and retains 
 its original high polish. The flat surface has possibly been lightly 
 repolished. The features of the god are in repose, and of a fine 
 Greek type, though the gem itself may even be of the Augustan 
 age. In technique it considerably resembles No. 87, the black sard 
 " Antinous" from the Marlborough cabinet. 
 
 Lent by the Comtesse de BSarn. 
 
 63 ANTIQUE SOLID GOLD RING, decorated with acanthus-leaf 
 
 chasing, finely executed, and set with a small nicolo ; not engraved. 
 Greco- Roman work. 
 
 Lent by Wyndham F. Cook, Esq. 
 
 64 A VERY LARGE PHALERA displaying the Head of Medusa, 
 
 nearly in full face, but looking to the right. This is the splendid 
 cameo which was till lately one of the great ornaments of the 
 Marlborough cabinet. The features are severe and grandiose 
 without laboured regularity. Large sunken eyes under bushy 
 brows, and a retreating forehead, combine with the drawn mouth to 
 give an impression of horror and sadness, while the other elements 
 of the countenance are of stern beauty. The hair is very largely 
 treated, in bold crisp locks. On the crown of the head are indica- 
 tions of wings, and a pair of intertwined serpents. Under the chin 
 two other snakes are knotted together. 
 The stone is a translucent light brownish-gray chalcedony, roughly 
 oval in shape. Height, 78 mm. ; Width, 60 mm., and in one place 
 it is nearly 30 mm. thick. Every portion of the work is highly 
 polished, and the stone is hollowed at the back to save weight, 
 and perhaps to allow light to pass through it. Drill-holes emphasize 
 
248 
 
 Exhibition of Artcient Greek Art 
 
 [Part V 
 
 the nostrils and mouth ; and in five places among the hair are 
 larger drill-holes passing right through the stone, more than could 
 be necessary for its attachment, and therefore possibly intended to 
 be set with precious stones. The cabochon emeralds are of recent 
 insertion, and the enamelled gold frame set with diamonds has 
 also been added by the present possessor. 
 The school to which this grand cameo belongs is evidently Hellenistic 
 and that which produced the Berlin and Colonna Medusas, and 
 the fine amethyst Medusa in the British Museum. But the freer 
 rendering and plainer material of the gem now under comment 
 suggest a little later date for it. Mr. Story-Maskelyne, in his 
 catalogue of the Marlborough gems (No. 100), qualifies the state- 
 ment that " it belongs probably to the age of Trajan or Hadrian," 
 by adding "if indeed it may not be assigned to the Macedonian 
 period of Greek art." The gem was originally in Lord Bess- 
 borough's Collection. It was figured in the " Marlborough Gems," 
 vol. ii., no. 1 1. Furtwangler (vol. iii., p. 336, fig. 182) regards this 
 cameo as a Hellenistic masterpiece, which was perhaps adapted for 
 use as a phalera in later times. [Plate CXII.] 
 
 Lent by the Right Hon. Lord Tiveedmouth. 
 
 65 DRAPED FEMALE FIGURE, probably Artemis, with one breast 
 bare and with hair knotted behind and tied with a bow. She 
 stands before a small altar. Her left leg is bent and thrown back. 
 With the partly extended right arm she holds out a patera above 
 the altar ; with the left she bears a large cornucopiae. Slight 
 indications of a bow and quiver. Mounted " dark " in a flimsy 
 antique setting of very thin gold, a plate of the same at the back. 
 The gem is retained in its setting by triangular gold clips, turned 
 down, quite in modern fashion. There is a flattened gold band 
 fixed longitudinally at back (not as a finger ring, but rather a 
 species of fibula). This is probably a specimen of " funereal " 
 jewellery, being too flimsy for actual wear. 
 
 Bright red sard. Oval. Height, 33 ; Width, 23. Face of stone rather 
 convex, back probably flat. 
 
 The engraving is fluent and clever, but slight work, and the gem, having 
 probably never been worn, is as perfect as when it left the maker's 
 hands. Found by Admiral Spratt in the island of Melos, near the 
 place whence came the celebrated Aphrodite statue. Furtwangler, 
 plate XXXI., 41. [Plate CX.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
Case O] The Engraved Gems, etc. (Nos. 1-98) 249 
 
 66 HEAD in profile to right of the Athena Parthenos of Pheidias. 
 Garnet, deep red. Oval. Height, 20^; Width, 17. The stone has a 
 
 flat face, and although set "dark" in a plain massive gold ring, which 
 appears antique, the back seems convex. 
 
 From the A. Morrison Collection. See Furtwangler, plate XXXVIII., 
 No. 39, where he describes a similar gem as formerly in the 
 Tyszkiewicz Collection. 
 
 A gem of fine workmanship for the material, which, with the style of en- 
 graving, suggests a Greco-Egyptian origin. [Plate CX.] 
 
 Lent by Wyndham F. Cook, Esq. 
 
 The following Gems, Nos. 67 to 81, are lent by E. P. Warren, Esq., 
 at whose desire they have not been reproduced in the plates. 
 
 67 A TINY FIGURINE of lapis lazuli, representing a bald old man 
 
 (Aesculapius ?) with long beard, his cloak wrapped closely round 
 him, kneeling before a vase, which is lined with gold. A little 
 serpent in solid gold is wound twice round his neck, and, passing 
 through his hands, inserts its head in the vase, round which its tail 
 is coiled. From Egypt. 
 Mounted on a plain gold oblong base. Height of the whole, 22 millimetres. 
 
 68 WINGED GENIUS covering a nude male corpse with a shroud. 
 
 " Cable " border. The subject is the death of Ajax. 
 Red cornelian. A very neatly made scarab with raised plait border 
 
 round outer edge. Length, 14; Height, 10. 
 Very good severe, early Greek work. 
 
 69 A NUDE MALE FIGURE, kneeling on one knee to left, wearing a 
 
 huge bearded satyr-mask and a tail, plays the lyre. On the other 
 side a draped woman dances, her arms uplifted, and body turned 
 away from the musician, but face towards him. Between the two, 
 in the field, a wreath (?). " Cable " border. 
 Red cornelian, with deep brown and white blotches. A very neat scarab 
 of the high-backed type. Perforated longitudinally. Length, 13; 
 Height, 10. 
 
 Extremely curious early (sixth-century ?) Greek work. 
 
 70 BEARDED SATYR dancing and playing the lyre, in profile to left. 
 
 Almost illegible inscription, perhaps 0!/1E£IMO£. " Cable " border. 
 
 K K 
 
250 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 Pale grayish yellow translucent serpentine. Scarab. Height, 16; 
 Width, 12. 
 
 Rough, spirited, very early Greek work. Acquired in Naples. 
 
 71 A SANDAL, with upper leather and thongs. 
 
 Black and white striated agate. A barrel-shaped bead, perforated 
 longitudinally, and one side flattened for the intaglio. Length, 1 7^ ; 
 Width, 9. 
 
 Fifth-century Greek work. 
 
 72 A FILBERT. " Cable" border around it. 
 
 Grayish and whitish chalcedony. Thick scarabaeoid with flat sides. 
 
 Height, 15I-; Width, 12 J. Longitudinal perforation. 
 Greek fourth-century work. The filbert is rendered with the utmost 
 
 taste and truth. 
 
 73 THE CAPTURE OF DOLON. A fine composition of three figures. 
 
 A splendid reddish-golden sard. Oval. Height, 15; Width, 12. It is 
 slightly convex on the face, more so at back. Fine Greek work. 
 
 74 A DONKEY, standing in profile to left. 
 
 Intaglio on the " leaf-shaped " bezel of an early Greek ring of electron. 
 
 75 HE-GOAT, walking to left. " Cable " border. 
 
 Very pale brownish chalcedony. Oval. Length, 1 8-g- ; Height, 
 
 Thick stone, flat-faced, with slight bevel towards the face, then wider 
 
 bevel towards the back, which is convex. 
 Greek fourth -century work. 
 
 76 A CRANE, in profile to right, standing on left leg, the right upraised- 
 
 Border of a single fine line. 
 
 Whitish chalcedony. Scarabaeoid. Oval. Height, 21 J; Width, 16 J. 
 
 The stone is flat-sided with very slight bevel towards its face. It is 
 decidedly thick, and the back convex ; while the face is quite flat. 
 Perforated longitudinally. 
 
 The simple subject is rendered with extreme grace and verisimilitude, 
 and in the " Dexamenos " manner. A charming fifth-century 
 work. Compare Furtwangler, plate XIV., 2, 4 and 11, and see 
 his " Geschichte," vol. iii., p. 446, fig. 228, where this gem is 
 described at length, and attributed to the hand of Dexamenos 
 himself. 
 
Case O] The Engraved Gems, etc. (JVos. 1-98) 251 
 
 77 THE PALLADIUM. Figure of Athene Promachos, in full face, on a 
 
 flat circular pedestal, evidently from a statue. She wears a crested 
 helmet with upturned cheek-pieces, and is clad in short clinging 
 drapery to her knees, while the folds of a short cloak blow out on 
 either side of her. With her uplifted right arm she threatens with 
 a spear, from the butt end of which depends a knotted cord bear- 
 ing a tassel. Her convex circular shield is on the other arm, from 
 which falls another knotted cord and tassel. In the field the skull 
 of a long-horned bull. 
 
 A beautiful blood-red cornelian. Scarabaeoid. Oval. Height, 19! ; 
 Width, 15. Thick stone; the flat edge bevelled towards the face. 
 Convex back. Perforated longitudinally. 
 
 Good work, if somewhat stiff and formal, and the features of the god- 
 dess are remarkably well rendered on a minute scale. 
 
 78 NUDE BOY (Telephus ?) kneeling in profile to right, under the belly 
 
 of a hind, which stands with legs extended towards the left, but 
 
 turns her head back to look at him. 
 Pale sapphirine chalcedony. Scarabaeoid. Oval. Length, 22; Height, 1 7^. 
 
 Thick stone, with flat face and convex back, the flat sides bevelled 
 
 towards the face and longitudinally perforated. Small chip at one end. 
 It is good fourth-century work. 
 
 79 NUDE MALE FIGURE with crescent-formed shield: intaglio on 
 
 leaf-shaped bezel of gold ring. Fifth century. Furtwangler, plate 
 LXIV., No. 8. 
 
 80 NUDE MALE FIGURE being conducted towards the left by two 
 
 female winged genii, draped from the waist downwards. They walk 
 
 upon a conventional pattern representing grass. Dotted border. 
 Dull red cornelian. Scarab of neat shape with raised "tongue" 
 
 ornament round outer edge. Length, 14; Height, Perforated 
 
 longitudinally. 
 A very pretty and neatly engraved fourth-century work. 
 
 81 NUDE YOUTH stooping to pick up a crested helmet. His left arm 
 
 bears a large convex round shield. Behind him a sword. " Cable " 
 border. 
 
 Fine bright red cornelian. Scarab of the greatest delicacy of form with 
 a neat raised "tongue" border round outer edge. Height, 12 
 Width, 10. Perforated longitudinally. 
 
252 Exhibition of Ancient Greek Art [Part V 
 
 The following gems, Nos. 82 to 92, are lent by Charles Newton- Robinson, Esq. 
 
 82 PERSIAN ON HORSEBACK, attacking a Greek on foot, who bears 
 
 a round shield. Both armed with lances. 
 
 Sapphirine chalcedony. Oblong, of "casket" shape, the upper half 
 bevelled on all four sides and truncated. Length, 19 ; Width, 1 \\. 
 
 The curious shape is characteristic of Greco-Persian gems. Slight, 
 sketchy work, probably of the fourth century. Recently from the 
 East. Perforated longitudinally ; the drill is introduced from both 
 ends, the perforations meeting at an angle. Furtwangler, plate XI., 
 No. 15, figures and describes a similar subject. [Plate CX.] 
 
 83 A CRANE, standing on one leg, with the other draws a bow held in its 
 
 beak. 
 
 Light brownish cloudy translucent chalcedony. Oval scarabaeoid, sides 
 flat and lightly bevelled, back convex. Length, 27; Height, 21. 
 The face of the stone may have been lightly repolished. 
 
 Sketchy work, recalling a similar but smaller and rather more finished 
 gem from Kamiros, at the British Museum (Cat. No. 121), in which 
 the crane has a stag's horn. Perforated longitudinally. Fourth cen- 
 tury. From the Forman Collection. Is the subject an allusion to 
 the War of the Cranes and Pygmies ? [Plate CX.] 
 
 84 A FOUR-SIDED GEM of oblong shape with nearly square section, 
 
 having the figure of an Egyptian divinity lightly sketched out on 
 each of its faces. The gods represented are Isis, Anubis, Ammon, 
 and another. 
 
 Pale sapphirine chalcedony. Length, Width, 9; Height, 8. Per- 
 
 forated longitudinally. 
 
 Furtwangler, q. v., vol. iii., pp. 400, 401, describes this gem at great 
 length as an unique example of the technique of a Greek engraver 
 practising in Alexandria between the third and first centuries. It 
 shows how he began by sketching a free outline of the design with 
 the diamond point upon an already polished stone, and then pro- 
 ceeded with a rather coarse wheel, to hollow out the deeper parts 
 of it. One side only is represented in the illustration. [Plate CX.] 
 
 85 PERSIAN ON HORSEBACK, galloping to left, after a horned 
 antelope, which he is trying to spear. 
 Intaglio on bezel of a ring entirely composed of some heavy metallic 
 
Case O] The Engraved Gems, etc. {Nos. 1-98) 253 
 
 alloy : perhaps silver and copper. Oval. Length of bezel, 2 1 ; 
 Height, 16. 
 
 Rough, spirited Greco- Persian work. Professor Furtwangler, plate XI., 
 Nos. 4 and 8, figures and describes two scarabaeoids of a similar 
 subject. This is the only base-metal ring of similar date which he 
 can call to mind. [Plate CX.] 
 
 86 A FRAGMENT, the upper portion, ofa very large intaglio representing 
 
 the head of Hermes, in profile to left. In the field before him a 
 caduceus (Kerykeion). 
 
 Brown striated agate. Shape originally oval. Height, about 29 ; 
 Width, 45. Stone thin for its dimensions, and flat on both sides. 
 
 Fine, shallow, rather "wiry" engraving. Hellenistic work of high ex- 
 cellence. Furtwangler, who figures it, plate XXXVIII., No. 30, 
 finds in it a reminiscence of the Doryphorus of Polykleites. From 
 the Marlborough Cabinet, No. 387. Figured in the "Marlborough 
 Gems," vol. ii., No. 16. Cf. Case M., No. 176, for treatment of 
 eyebrow. [Plate CX.] 
 
 87 FRAGMENT, head in profile to left, of a Greek youth, with thick, 
 
 short, curly locks falling over his forehead and low on the neck. 
 He bears a staff diagonally across the left shoulder. 
 
 Black sard, set " dark," probably in the sixteenth century, in a massive 
 gold mount, on which missing portions of the gem are restored also 
 in gold. The fragment has been cracked across, and there are 
 several small chips, but the head and neck are otherwise complete. 
 The shape is irregular. Height, 25; Width, 29. Behind the 
 shoulder, inscribed nearly vertically, are the letters ANT, and part 
 of a fourth letter which, if an I, has also an upward diagonal stroke 
 This inscription seems old, but not contemporary. 
 
 This famous gem from the Marlborough Cabinet, No. 500, has natur- 
 ally been assumed to represent Antinous, the favourite of Hadrian, 
 not only from its superficial resemblance to the known bust and coins, 
 but from the inscription. Closely examined, however, the features 
 have a purer, simpler cast than those of the received portraits of 
 Antinous, while the general air and technique of the intaglio sug- 
 gest affinity with an earlier stage of art than that of the time of 
 Hadrian, Both design and workmanship of an exceedingly high 
 order. 
 
 Figured and described in glowing terms by Gori as the portrait of 
 Antinous in " Dactyliotheca Zanettiana," 1750, but without the in- 
 scription. Also figured by Worlidge, and among the " Marlborough 
 
254 
 
 Exhibition of Ancient Greek Art 
 
 [Part V 
 
 Gems," vol. i., 21; also by Furtwangler, plate LXV., No. 50; 
 and described by Story-Maskelyne, Marlborough Catalogue, and 
 by Bracci, King, Reinach and Dietrichson. Bracci (1784) gave 
 the inscription as ANT. He imagined that this stood for the name 
 of an engraver, ANTEPOS. Cf. the Apollo, No. 62. [Plate CX.] 
 
 88 NUDE CHARIOTEER in a biga, with palm-branch. "Cable " border. 
 Red cornelian. Scarab. Length, 15; Height, 11. " Cable " ornament 
 on outer edge. 
 
 Morrison Collection. Fourth-century Greek work. [Plate CX.] 
 
 89 NUDE MALE FIGURE, with long hair and beard, and a long tail, 
 struggling with a lion, whose tail and one of whose hind legs he 
 is holding. Below, conventional representation of grassy ground. 
 Border of a single fine incised line. 
 Dark green jasper. Well-formed scarab, set in silver ring. Length, 17 ; 
 Height, 12. 
 
 The arrangement of the subject is well balanced and of a rather "heraldic" 
 character. This scarab resembles those found at Tharros in Sar- 
 dinia, and is neatly engraved in a very early manner, Greek 
 influence being obvious, though it may be of Phoenician origin. 
 From the Uzielli Collection (?). Fifth century. [Plate CX.] 
 
 90 FEMALE SPHINX, seated on haunches, in profile to left. " Cable" 
 border. 
 
 Rock crystal. Flat-sided, oval, convex-backed scarabaeoid, the edge 
 neatly decorated with pattern in sunk relief. Perforated longi- 
 tudinally. Height, 14I; Width, \o\. 
 
 Fifth century. From Athens. Spirited shallow work. [Plate CX.] 
 
 gi A SOW, standing in profile to left. Raised border. 
 
 Oriental onyx cameo of two layers ; translucent light brown and creamy 
 
 white. Oval. Length, 26 ; Height, 22. 
 The thick stone has flat sides, bevelled slightly towards the face, which 
 
 has slight convexity ; the back still more convex. This shape 
 
 recalls some early Greek scarabaeoids. 
 It is difficult to resist the conclusion that we have here one of the 
 
 earliest true Greek cameos. The subject, entirely relieved in the 
 
 upper brown layer, with the reserved rim, closely resembles the 
 
Case O] The Engraved Gems, etc. {Nos. 1-98) 255 
 
 figure of a sow found in intaglio on certain scarabs of the fifth or 
 early fourth century. See Furtwangler, plate XL, Nos. 33-38. 
 This gem is from the A. Morrison Collection. [Plate CXI.] 
 
 92 HEAD OF A NEGRO, in profile to right. "Cable" border, black 
 jasper. Oval scarabaeoid, plain rounded back, probably the original 
 shape of the pebble. Height, 15 ; Width, 1 1 \. Perforated. 
 The engraving is slight but clever, and recalls Case M, No. 131. Said 
 to have come recently from Cyprus. Fifth century. [Plate CX.] 
 
 93 A LION, couchant, on a base, in full but rather flat relief. 
 
 Yellowish red cornelian. Length, 26; Width, 15. The stone is per- 
 forated. 
 
 Archaic treatment of the fifth century (?). The under side is not quite 
 flat, and was perhaps destined for an intaglio engraving. 
 
 Lent by W. Rome, Esq. 
 
 The following Gems, Nos. 94 to 98, are lent and described by 
 Professor Furtwangler. 
 
 94 BULL. A Mycenaean lentoid gem on sard, nearly circular. Compare 
 
 "Antike Gemmen," vol. i., plate III., 45* About 1500- 1200 B.C. 
 Nearly circular. Diameter, 18. [Plate CXII.] 
 
 95 FIGURES OF ANIMALS on each face of a four-sided sapphirine 
 
 chalcedony stone of square section. Ionian Greek work of the 
 fifth century. Length, 22; Width, \o\. [Plate CXII.] 
 
 96 ZEBU BULL. Chalcedony scarabaeoid. Greek work of the fourth 
 
 century, made in Asia Minor. The oldest representation of the zebu 
 in Greek art. Length, 32; Height, 26. [Plate CXII.] 
 
 97 PERSIAN QUEEN. Sapphirine chalcedony scarabaeoid. Ionian 
 
 Greek work, about 400 B.C. Compare " Antike Gemmen," vol. i., 
 plate XL, 6, 10; vol. iii., p. 123. Height, 29; Width, 20. 
 [Plate CXII.] 
 
 98 PERSIAN CHIEF. Banded agate, perforated bead. Ionian Greek 
 
 work, about 400 b.c. For shape of bead, cf. No. 45. Length, 19; 
 Width, 9. [Plate CXII.] 
 
APPENDIX 
 
 Catalogue of Objects exhibited in the Members Writing Room. 
 
 I 
 
 58 HEAD OF ATHENA wearing the Corinthian helmet. Antique 
 
 replica of the Skopasian head at Schloss Glienecke, and of the 
 Athena " with upturned head " in the Uffizi (Furtwangler, " Master- 
 pieces," p. 305). Parian marble. Length of face, 14 cm. 
 The nose, the whole neck from the chin, the peak of the helmet and 
 at the back its extreme edge, together with the roll of felt and the 
 hair under it, are restored. The bust with the aegis seems antique, 
 but does not belong to the statue. The hair, which was broken 
 off with the head, was originally tied in a bunch and fell over the 
 nape of the neck. 
 
 Former Disney Collection, Museum Disneianum, plate I. Published 
 by Ernest Gardner (" Journ. of Hellenic Studies," vol. xix. (1899), 
 plate I., and pp. 1-10), who brings the head into a different con- 
 nection from the one which is pointed out here. [Plate XL.] 
 
 Lent by Philip Nelson, Esq., M.D. 
 
 59 HEAD OF A WOMAN, wearing a stephane above the rich waving 
 
 hair that is parted over the forehead, and falls over the shoulders 
 in four strands. Part of the bust, with the upper part of the chiton, 
 is preserved. The nose is broken and mutilated, and the surface 
 has suffered a great deal ; still the head, even in its present con- 
 dition, represents a noble type, presumably of the earlier part of 
 the fourth century. The distinction and delicacy of the facial oval, 
 the modelling of the throat (cf. the Leconfield Aphrodite, No. 22), 
 the fine line of the eyes (which are left hollow), and the treatment 
 of the brow, with the characteristic projection between the eyes, 
 show that the original must have been by a great master. Length 
 of face, 19 cm. [Plate XL.] 
 
 Lent by Philip Nelson, Esq., M.D. 
 
Appendix 
 
 2 57 
 
 60 Three casts from the decorations of the Palace of Knossos, which, according 
 
 to legendary account, was the abode of King Minos. The excavations of the 
 Minoan Palace have been carried on with uninterrupted success by Mr. 
 Arthur Evans since 1900. 
 
 1 CAST OF PAINTED RELIEF in gesso duro : upper part of a 
 
 male figure. 
 
 2 CAST OF MARBLE LIONESS'S HEAD. 
 
 3 CAST OF PAINTED RELIEF in gesso duro: bull's head. 
 
 Lent by Arthur Evans, Esq. 
 
 61 HELMETED HEAD OF ATHENA. Antique copy of a Pheidian 
 
 type. Replica of the famous Hope Athena (Michaelis, Deepdene, 
 39; Joubin, "Monuments et Memoires," iii., 1896, plate II. and 
 pp. 27 ff.). Restored: the front of the face — including nose, mouth, 
 chin, and nearly the whole of both eyes — and a piece of the hair 
 on the left side. The curls that fall over the neck in front are 
 broken, as well as the hair that flowed over the back from under 
 the helmet. The head has never been severed from its neck, which 
 seems to be cut for insertion into a statue. The helmet has lost 
 the sphinx that formed the crest, and the griffins that flanked the 
 sphinx on either side are broken. Yet in spite of its many restora- 
 tions and mutilations, the head still bears witness to the grandeur 
 of the original conception, which has justly been referred to 
 Pheidias (Furtwangler, " Masterpieces," pp. 75 ff. and fig. 28 ; and 
 the excellent analysis by Joubin, loc. cit.). Length of face, 18 cm. 
 Doughty House, Richmond : Michaelis, No. 50. [Plate XL.] 
 
 Lent by Sir Frederick Cook, El., M.P. 
 
 62 HEAD OF APHRODITE. Antique copy of a Pheidian original. 
 Restored: the tip of the nose, nearly the whole of the upper lip, and a piece 
 
 of the left eyebrow near the nose; the bunch of hair at the side 
 and the whole of the knot of hair with the fillet at the back. The 
 neck below the throat is modern. The surface is much rubbed. 
 Replica of the type formerly known as " Sappho," but which is more 
 probably an Aphrodite after an original of the Pheidian school. 
 The wide fillet wound several times round the head, and the rich 
 tufts of hair that nearly cover the ears, are characteristic of a whole 
 group of works traceable to Pheidias or to his influence. (See 
 
 L L 
 
25 8 Exhibition of Ancient Greek Art 
 
 Furtwangler, " Masterpieces," pp. 66 f.) Reproduced by S. Reinach 
 in " Recueil deTetes antiques," plate LXXXVIII. Length of face, 
 17 cm. (to diadem). [Plate XL.] 
 
 Lent by Sir Charles Robinson, C.B. 
 
 63 BEARDED MALE HEAD (Zeus?). The tip of the nose and the 
 
 locks on the right side are restored. Good Roman replica of an 
 original of the Pheidian epoch. [Plate XL.] 
 
 Lent by Dr. Paul Arndt. 
 
 64 HEAD of the Hellenistic period. Probably the portrait of a poet. 
 
 Large break in the forehead. [Plate XL.] 
 
 Lent by Dr. Paul A rndt. 
 
 65 BRONZE STATUETTE OF A GODDESS, draped, wearing high 
 
 polos and veil. Hellenistic. [Plate LXXII.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 66 BUST OF ANTINOUS forming a balsamarium; the hair on the top 
 
 of the head has been cut out to form a lid, of which the hinge still 
 remains; the Dionysiac fawn skin is knotted over the left shoulder. 
 One of the handle rings is lost. (Similar to vases in the Forman 
 Coll., No. 156 (Cat. pi. IX., C. Smith), and Brit. Mus. Cat. (Bronzes, 
 845). Former Hoffmann Coll. Cat., May, 1899, No. 519, and pi. 
 XXXI. [Plate LXVII.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 67 BRONZE STATUETTE OF A GREEK GODDESS, with 
 
 Egyptian attributes. On her head the vulture cap, the horned 
 disk, and winged uraeus. Charming Alexandrian work. Former 
 Hoffmann Coll. Cat., May, 1899, No. 553. [Plate LXXII.] 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 68 HEAD OF DEMOSTHENES. Restored: the nose from below the 
 
 root and the bust. Antique replica of the head of well-known 
 statues in the Vatican (Braccio Nuovo, 6j— Helbig, " Fiihrer," 32) 
 and at Knole Park. The thirty-two portraits of Demosthenes 
 enumerated by Bernoulli (" Griechische Iconographie," pp. 69 ff.) 
 all seem to go back to the same standing type. [Plate XXVI.] 
 
 Lent by Sir J. C. Robinson, C.B. 
 
 69 FEMALE HEAD, attributed by its owner to the fourth century b.c. 
 
 The head has considerable charm, but it seems to have been worked 
 over and cleaned with acids. Length of face, 20 cm. [Plate XL.] 
 
 Lent by M. R. de Saint-Marceaux. 
 
Appendix 
 
 2 59 
 
 70 FEMALE HEAD, somewhat similar in type to No. 69. Late Roman 
 work. Length of face, 20 cm. [Plate XL.] 
 
 Lent by M. Leopold Goldschmidt. 
 
 II 
 
 DRAWINGS AND SKETCHES by C. R. Cockerell, R.A. 
 
 Charles Robert Cockerell, R.A., the celebrated architect and traveller, 
 was born April 18th, 1788. As early as 18 10 he visited Greece, 
 and, with a party of explorers, discovered and dug out those Aegina 
 marbles which, unluckily missed by the British Government, have 
 their resting-place at Munich. He was instrumental also in dis- 
 covering, during this same tour, the marbles of the temple of Apollo 
 Epikourios at Bassae ; and through his care these sculptures, dug 
 up in 1 8 1 2, were successfully secured for England and are now in 
 the British Museum. 
 
 In 18 14 Cockerell left Athens for Italy, receiving from the old Turkish 
 commandant on the Akropolis the farewell present of the right-hand 
 slab of the small frieze of the Parthenon, mysteriously rolled down 
 the hill to him at midnight. The slab, which survived its mode of 
 presentation, was given by Cockerell to the British Museum, in the 
 same disinterested spirit which he had displayed in the case of his 
 own original finds. 
 
 In Italy the young explorer found himself famous. At Rome he met, 
 among other artists, Ingres, whose sketch of him is now exhibited. 
 At Florence he distinguished himself by the restoration of the 
 Niobe group, his etching for which hangs now in the Uffizi ; and 
 once more in Rome he made a well-known drawing of the Forum. 
 
 In 1 81 7 he returned home to England, to make practical application as 
 an architect of his archaeological knowledge. It is only with his 
 work as explorer, discoverer, and also, as the drawings exhibited 
 show, as illustrator of the ancient remains that we are here con- 
 cerned. 1 
 
 1 INGRES: Sketch of C. R. Cockerell. Rome, 1817. In artist's writing 
 in right-hand lower corner, " Ingres a Madame Cockerell." 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 1 For further details see "Travels in South Europe and the Levant: The Journal of 
 C. R. Cockerell, R.A.," edited by his son, S. P. Cockerell ; and the two interesting papers con- 
 tributed to the "Architectural Review," vol. xii., 1902 (August and September), by Cockerell's 
 grandson, the late Robert Pepys Cockerell. 
 
260 
 
 Exhibition of Ancient Greek Art 
 
 2 TEMPLE ON CAPE SUNIUM. 
 
 Lent by S. P. Cockerell, Esq. 
 
 3 TEMPLE OF JUPITER PAN H ELLEN I US AT AEGINA. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 4 TEMPLE OF JUPITER OLYMPIUS AT ATHENS. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 5 RESTORATION OF THE PARTHENON. On the right the 
 
 Panathenaic ship and procession winding up the hill. In back- 
 ground the Athena Promachos. Sketch. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 6 THE PARTHENON RESTORED, and the Panathenaic procession 
 
 winding up the hill Same composition as No. 5, but a more finished 
 design. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 7 THE PARTHENON. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 8 THE TEMPLE OF THESEUS. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 g VIEW OF ZANTE a.d. 1812. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 10 DRAWING OF A SHED IN OLD BURLINGTON HOUSE 
 showing the Elgin marbles before they were purchased for the 
 British Museum. At the back is the following interesting letter 
 from Sir W. Hamilton : 
 
 London, April 12th, 1810. 
 
 My dear Friend, 
 
 Take this in remembrance of one who often thinks of you & wishes to see 
 you here, and in recommendation of the Bearer my particular Friend Mr. R. C. 
 Cockerell, who has made the Drawing to shew you how we prize in London the reliefs 
 of the Parthenon. 
 
 W. Hamilton. 
 
 Don Tita Lusieri 
 Athens. 
 
 The following note on Lusieri is appended by Mr. S. P. 
 Cockerell : 
 
 Nov. 15, 1902. 
 
 Giovanni Battista Lusieri. Court painter to the King of Naples 1799. By advice of Sir 
 W. Hamilton, British Minister, he was engaged, together with two architects, two 
 
Appendix 
 
 261 
 
 modellers & a draughtsman, by Lord Elgin, then on his way to Athens, to make 
 drawings etc. of Greek remains for the furtherance of Fine Arts in England. The 
 rest were withdrawn but Lusieri remained in Athens after Ld. Elgin's departure in 
 1803, till 18 1 6. 
 
 On reaching England the Elgin Marbles were first located in temporary buildings in the 
 courtyard of Burlington House. C. R. C's drawing represents them as they appeared 
 there. S. P. Cockerell. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 11 VIEW OF THE TEMPLE OF AEGINA, from the north-east 
 angle of the platform, taken in March, 181 3. 
 
 Lent by the Dowager Countess of Shrewsbury. 
 
 The following four drawings of the marbles of the Parthenon as they lay in 
 the courtyard of Burlington House are by a draughtsman whose name has 
 been lost. They are lent by E. T. Gardner, Esq. 
 
 12 a DRUMS OF COLUMNS, CAPITALS, lying pell-mell in the court 
 yard outside the building figured in Cockerell's drawing, No. 10. 
 
 b Other fragments outside the same building. 
 
 13a EXTERIOR OF THE BUILDING IN COCKERELL'S DRAW- 
 ING, No. 10. 
 
 b COURTYARD OF BURLINGTON HOUSE IN 1816. Subject 
 and date inscribed. 
 
 14 CORFU. 181 1. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
 15 THE ACROPOLIS FROM THE NORTH-EAST, with the Temple 
 
 of Jupiter Olympius in the foreground. 
 
 Lent by Miss Phyllis Benson. 
 
 16 THE ACROPOLIS FROM THE WEST. 1812. 
 
 Lent by Mrs. Rennie Cockerell. 
 
 17 TEMPLE OF CORINTH. 
 
 Lent by S. P. Cockerell, Esq. 
 
 18 THE ACROPOLIS FROM THE SOUTH, with city in middle 
 
 distance. 181 2. 
 
 Lent by Mrs. Rennie Cockerell. 
 
 19 RESTORATION OF EASTERN FACADE OF PARTHENON. 
 
 Lent by Mrs. Frederick Pepys Cockerell. 
 
262 Exhibition of Ancient Greek Art 
 
 20 THE TEMPLE OF THESEUS. 
 
 Lent by Mrs. William Cocker ell. 
 
 21 TEMPLE OF APOLLO AT BASSAE a.d. 1811. 
 
 Lent by Mrs. Frederick Pepys Cocker ell. 
 
 In the Members Library are exhibited along the top of the bookcase in twelve 
 frames thirty-six studies by C. R. Cockerell after individual figures of the 
 Aegina marbles. 
 
INDEX OF CONTRIBUTORS 
 
 N.B. The references are to the pages of the Catalogue. Contributors whose names are 
 marked thus * are Members of the Club. 
 
 H.R.H. The Duchess 
 # Lord Aldenham. 99, 103, 107. 
 Dr. Paul Arndt. 17, 25, 87, 258. 
 Rt. Hon. Evelyn Ashley. 8, 12, 31. 
 La Comtesse de Bearn. 45, 58, 
 244, 247. 
 
 *F. Bennett-Goldney, Esq. 78, 103, 
 117. 
 
 Miss Phyllis Benson. 261. 
 Le Comte Biadelli. 30. 
 J. D. Botterell, Esq. 16, 88. 
 Signor A. Canessa. 33. 
 Royal Museum, Canterbury. 77, 
 81. 
 
 Earl of Carlisle. 14. 
 # Sir Thos. D. Gibson Carmichael, 
 
 BT. 41, 42, 49, 56, 57, 211, 212. 
 
 Christ Church, Oxford. 21. 
 Mrs. Frederick Pepys Cockerell. 
 
 35. 59. 76, 79. 181, 195. 259, 260, 
 
 261, 262. 
 Mrs. Rennie Cockerell. 261. 
 Mrs. Wm. Cockerell. 262. 
 S. P. Cockerell, Esq. 260, 261. 
 Sir Frederick Cook, Bt., M.P. 9, 
 
 10, 15, 24, 34, 83, 86, 95, 99, 100, 
 
 107, 109, no, 257. 
 
 of Connaught. 66. 
 
 # Wyndiiam F. Cook, Esq. 14, 37, 
 38, 39, 46, 47, 48, 50, 58, 60, 66, 
 162, 196-208, 247, 248, 249. 
 The Duke of Devonshire, K.G. 
 11, 19. 
 
 Mrs. Hornsby Drake. 25. 
 Earl of Elgin, K.G. 104, 105, 106, 
 107. 
 
 Monsieur d'Eichthal. 43. 
 # George Eumorfopoulos, Esq. 81, 
 83- 
 
 Arthur Evans, Esq. 79, 129-138, 
 
 164-181, 257. 
 *Sir John Evans, K.C.B., F.R.S. 66, 
 
 210, 243, 244. 
 J.H. Fitzhenry, Esq. 36,43,44,54, 
 
 56, 61, 66,73, 76,77.79. 84, 87, 258. 
 Norman Forbes-Robertson, Esq. 
 
 25, 60. 
 John Ford, Esq. 17. 
 j. fulleylove, esq. 77. 
 # Prof. Adolf Furtwangler. 29,255. 
 E. T. Gardner, Esq. 261. 
 Professor Percy Gardner. 109, 1 10. 
 Girton College, Cambridge. 74, 
 
 75. 77. 82, 83, 85, 86. 
 
264 
 
 Exhibition of Ancient Greek Art 
 
 Mrs. Godfrey. 76, 78. 
 Monsieur Leopold Goldschmidt. 
 58, 259. 
 
 Lord Ronald Sutherland Gower. 
 49. 
 
 Rt. Hon. Sir Mountstuart Grant- 
 Duff, G. C.S.I. 209. 
 
 T. W. Greene, Esq. 47, 196. 
 
 Mrs. Hall. 58, 76, 82, 97, 100, 1 15, 
 116, 118, 120. 
 
 The Governors of Harrow School. 
 50, 66, 85, 86, 87, 107, in, 1 14, 123. 
 
 Miss Henriette Hertz. 50, 85. 
 *Alfred Higgins, Esq. 80, 81, 85, 
 
 112, 114, 121. 
 # A. C. Ionides, Esq. 114, 116, 245, 
 246. 
 
 *S. E. Kennedy, Esq. 34, 43. 
 *James Knowles, Esq. 34, 72. 
 
 Marquess of Lansdowne, K G. 9, 
 12, 27, 31, 32. 
 
 Lord Leconfield. 17. 
 
 Charles Loeser, Esq. 38. 
 ^Hamilton McCormick, Esq. 12. 
 
 George A. Macmillan, Esq. 114. 
 
 Louis Mallet, Esq. 87. 
 
 P. W. Mallet, Esq. 98. 
 := C Brinsley Marlay, Esq. 30. 
 "*N. Story Maskelyne, Esq. 182- 
 195, 242. 
 
 Mrs. C. W. Mitchell. 75. 
 # Ludwig Mond, Esq. 20, 26, 36, 37, 
 74- 
 
 Mrs. Mond. 71, 78, 115. 
 *J. Pierpont Morgan, Esq. 23, 37, 
 
 40. 5 6 > 57. 6l > 62 > 6 4> 66, 88. 
 Philip Nelson, Esq., M.D. 256. 
 
 : C. Newton-Robinson, Esq. 40, 42, 
 
 49. 5 1 . 53. 55. 73. no, 122, 208, 
 
 209, 213-226, 252-255. 
 Mrs. F. Lothian Nicholson. 86. 
 The Marquess of Northampton. 
 
 94, 95, 96, 98, 99, 101, 102, III, 
 
 1 16, 120. 
 
 Henry Oppenheimer, Esq. 10, 26, 
 28, 39, 41, 48, 49, 51, 57, 71, 76, 
 78, 82, 83, 84, 108, 117, 121. 
 Alfred A. de Pass, Esq. 64, 108, 
 208. 
 
 Henry J. Pfungst, Esq. 47, 52, 78. 
 : Claude Ponsonby, Esq. io, 21, 32, 
 
 60, 62, 65, 181. 
 Le Docteur Pozzi. 14. 
 W. Talbot Ready, Esq. 54, 73. 
 C. Ricketts, Esq. 41,71,72,73,74, 
 
 75, 77, 78, 84, 85, 95, 103, 107, 1 19. 
 Herbert A. Rigg, Esq. 72, 74, 84, 
 
 85, 122, 123, 195. 
 Sir Charles Robinson, C.B. 20, 
 
 34. 42, 257. 
 : Wm. Rome, Esq. 42, 49, 52, 56, 57, 
 
 6r, 65, 255. 
 Monsieur R. de Saint-Marceaux. 
 
 258. 
 
 : George Salting, Esq. 18, 40, 41, 
 51, 52, 54, 58, 63,64, 65, 105, 106, 
 107. 
 
 Monsieur Gustave Schlumberger 
 {Membre de I'lnstitut). 52, 58. 
 
 C. H. Shannon, Esq. 41, 71, 72, 
 73. 74. 75. 77. 78, 84, 85, 95, 103, 
 107, 119. 
 
 Dowager Countess of Shrewsbury. 
 261. 
 
Index of Contributors 
 
 265 
 
 Cecil Harcourt Smith, Esq. 62, 
 64, 65, 75, 84, 85, 113, 118. 
 
 His Honour Judge Snagge. 18. 
 
 ; Edgar Speyer, Esq. 62, 81. 
 
 Wm, Barclay Squire, Esq. 74. 
 
 Mrs. Sterling. 78. 
 
 : S. Arthur Strong, Esq. 27. 
 
 Mrs. S. Arthur Strong. 86, 112. 
 
 John Edward Taylor, Esq. 37, 39, 
 43. 44. 53. 63, 71, 72, 73, 79, 84, 
 118. 
 
 Lady Tweedmoutii. 213, 244. 
 The Right Hon.LordTweedmouth. 
 247. 
 
 Victoria and Albert Museum. 59, 
 117. 
 
 Sir Edgar Vincent, K.C.M.G., 
 M.P. 28. 
 
 ^Henry Wallis, Esq. 36, 44, 45, 
 48. 53. 60, 63, 106, 113, 117, 120, 
 
 121, 227, 228. 
 
 'John Ward, Esq. 139-146. 
 
 : T. Humphry Ward, Esq. 8. 
 
 E. P. Warren, Esq. 13, 26, 28, 40, 
 
 44. 45. 46, 51, 53. 55- 80, 229-242, 
 
 249-251. 
 J. W. Waterhouse, Esq. 26. 
 Sir Herman Weber, M.D. 146- 
 
 155- 
 
 C. Stuart Welles, Esq., M.D. 16. 
 The Earl of Wemyss. 24, 28. 
 Hugh Woolner, Esq. 209. 
 Mrs. Woolner. 87. 
 Rev. S. A. Thompson Yates. 155- 
 156. 
 
 Mrs. Michel Zarifi. 210. 
 
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