Yale University Library

39002013943866

V

Ur/*si«

HI, give ifyft B'i'oki
/arihe/at^dmge/,atic^ge-Buiii^Jp'e&^!

• ILEIBIiaJSJEir •

Bought with the income of the
Theodore W, Heermance Fund
19/i3

CATALOGUE OF THE
ACROPOLIS MUSEUM
VOLUME I

CAMBRIDGE UNIVERSITY PRESS
iLonoon: FETTER LANE, E.C.
C. F. CLAY, Manager

(EBiniurgrj: ioo, PRINCES STREET
Berlin: A. ASHER AND CO.
5LEip?is: F. A. BROCKHAUS
JJJeto Sort: G. P. PUTNAM'S SONS
Botnbatj anl Calcutta: MACMILLAN AND CO., Ltd.

All rights reserved

CATALOGUE OF THE
ACROPOLIS MUSEUM

VOLUME I
ARCHAIC SCULPTURE

BY

GUY DICKINS, M.A.
FELLOW AND LECTURER OF ST JOHN'S COLLEGE, OXFORD ;
SOMETIME CRAVEN FELLOW AND STUDENT OF THE
BRITISH SCHOOL AT ATHENS
AYYiens. Moute\on. T.S* AWr0pole3s>.

Cambridge :
at the University Press
1912

The present volume is the first of a
Catalogue of the objects contained in the
Museum on the Athenian Acropolis. The
British School of Archaeology at Athens
undertook this work at the request of
the Greek Archaeological Authorities con
veyed by Dr Kavvadias, and this volume
was prepared by Mr Guy Dickins whilst
a Student of the School.
A second volume to be issued later
will complete the work.
R. M. DAWKINS,
Director.
British School at Athens.
May, 1911.

T453
AiAiG 012.

PREFACE
THE first volume of the Acropolis Catalogue deals with
the Sculptures of the period preceding the invasion of
Xerxes in 480 B.C., at present contained in the first seven
rooms of the museum. A number of post-Persian objects in
the Entrance Hall are therefore excluded. On the other
hand, to avoid subsequent confusion, No. 610 and a few
heads in the wall-case in Room V are included in spite of
their later date.
This volume is devoted to sculpture, and therefore the
architectural details at present in Room II are omitted as well
as objects in terra-cotta. It is hoped that the second volume
may contain the rest of the sculpture, the terra-cottas, and
the architectural fragments.
The order of the catalogue was at first arranged according
to the position of the objects in the museum, but as extensive
changes are contemplated there, I have thought it wiser to
arrange the catalogue in numerical order, so that any object
may be easily found in spite of any future alteration.
I have much pleasure in thanking Dr Kavvadias and the
other Greek archaeological authorities for allowing, me the
utmost facilities in studying the contents of the museum ;
Professor Heberdey of Innsbruck for assistance in the earlier
part dealing with the poros sculpture ; and Professor Schrader

vi PREFACE
of Vienna not only for invaluable suggestions concerning
many of the marble sculptures, but also for the permission
to use his magnificent series of photographs for the purpose
of illustration. The cuts in the text are reproduced from
drawings made by Mr Dudley Forsyth from these and from
other photographs. As the former are for the most part
still unpublished, Professor Schroder's kindness in permitting
their use is thereby greatly enhanced. I have further to
thank Professor Heberdey and Drs Karo and Curtius, of the
German Institute in Athens, for photographs. Professors
Percy and Ernest Gardner have also helped me by reading
the proofs of the Introduction. To Mr Dudley Forsyth
I am particularly indebted for the surmounting of many
difficulties.

GUY DICKINS.

Oxford,
October, 1911.

CONTENTS

PAGE

1

§ 1. Excavations on the Acropolis

1

§ 2. The Perserschutt 

5

§ 3. Chronological Study

9

§ 4. Subjects and Meaning ....

29

§ 5. Material and Technique

35

§ 6. The Costume of the female statues

41

§ 7. The Equestrian series ....

49

Catalogue of the Acropolis Museum .

55

285

INTRODUCTION
§ 1. Excavations on the Acropolis1,
From April, 1833, when the Turkish garrison was finally
withdrawn, to March, 1882, when systematic excavations
were first begun under the auspices of the Archaeological
Society, the surface of the Acropolis underwent continuous if
unscientific investigation. Three reasons may be given why
results were hardly equal to expectation. In the first place
the preliminary work of clearing away the remains of the
Turkish buildings was itself a long and costly operation ; in
the second place, largely owing to financial reasons, there
was no systematic scheme nor continuous direction of the
work ; and thirdly, the excavators were content with probing
the accumulated dibris down to a level approximating to that
of the classical surface, without seeking below it for the
treasures which had been hidden as early as the fifth
century b.c It is to M. Kavvadias, more than any other
single archaeologist, that we owe the recovery of the treasures
which fill the Acropolis Museum. He it was who, for the first
time, elaborated a consistent scheme for turning over every
inch of soil above the native rock, and between 1885 and
1890 succeeded in accomplishing this tremendous task, the
story of which he has lately given to the world in con
junction with Herr G. Kawerau, the architect of the ex
cavations. It may be as well, however, before considering more in
detail the scope of these operations, to mention briefly the
sequence of events from the time of the Liberation.
In July, 1833, Pittakis was appointed a colleague of
Weissenborn, Ephor-General of Antiquities, to superintend
1 Cf. Kavvadias and Kawerau, ' AvacncaQai ttjs ' MpoirHKeas, Athens, 1907.
D. 1

2 ACROPOLIS CATALOGUE
more particularly the discoveries on the Acropolis. It was
determined in August, 1834, that the Acropolis should cease
to be a fortress, and should be cleared of all buildings of
post-classical date. Thus the earliest discoveries consisted
of marbles, inscribed or figured, which had been lying among
or built into the numerous erections of a later date. These
were at first collected in the Propylaea, mainly in the north
wing. At the same time trial excavations were begun in the
Parthenon, .the Propylaea, and on the S.W. slope. Ludwig
Ross, however, who had succeeded Weissenborn, was compelled
to abandon these efforts for a time in favour of the building
operations in the town.
During the next two years little digging was done.
Clearing of the ground continued, and some columns of the
Parthenon were re-erected. Pittakis, who succeeded Ross as
Ephor-General in 1836, proceeded with vigour in the de
molition of later buildings. Between 1836 and 1842 the
Erechtheum was cleared and partly re-erected, the mosque
in the Parthenon and later additions in the Propylaea were
removed, and the triangle between these three buildings was
cleared for excavation. In 1837 the Greek Archaeological
Society was founded for the purpose of promoting the work
of discovery. More columns and part of the cella wall of
the Parthenon were restored in 1841-2, and a year or two
later the Nike temple was pieced .together from fragments
found in the great Turkish bastion on the slope below the
Propylaea. Trenches were also dug south of the Parthenon,
and French investigators received permission to make trials
in the Propylaea and Erechtheum. In 1847 the Caryatid
porch was re-erected ; in 1850 the steps which now lead up to
the Propylaea were restored ; and two years later the French,
under Beule,, discovered and restored the gate which bears
that savant's name. During the succeeding years Pittakis
continued his work with diminished funds owing to the
temporary failure of the Archaeological Society. The
numerous finds of this period, consisting mainly of frag
ments of the temple sculptures and great numbers of in
scriptions, together with the previous collection housed in
the Propylaea, were either moved to a great roofed-in
cistern west of the Erechtheum or built into various walls

INTRODUCTION 3
and buildings with the purpose of displaying them to the
passer-by In 1863 it was determined to build a museum at the ex
pense of Bernardakis' legatees* to supersede this somewhat
primitive method of exhibition. The first site proposed,
east of the Erechtheum, was abandoned after the discovery
of ancient foundations, and the work was further hampered
by the death of Pittakis. In 1864 Eustratiadis succeeded
him, but funds were slow in coming, and it was not until
1874 that the museum was completed at the cost of the
Ministry of Education. In 1875 the Archaeological Society
again came forward, and with Schliemann's help the old
Frankish tower at the Propylaea was demolished, and
trenches dug in the north-west corner of the Acropolis.
In 1877 the French school conducted excavations west of
the Erechtheum, and in 1880 the German Institute dug in
the Propylaea.
It was felt, however, that there was need of continuity
and system in the operations, and in 1881 a large scheme
was planned under the auspices of the Archaeological Society
with Eustratiadis in charge.
Not until March 15th, 1882, were the first deep trenches
cut north of the museum and in front of the east facade of
the Parthenon. For the first1 time the ground was probed
below the ancient surface, and the results were instantaneous.
A number of poros fragments, in particular the greater part
of the two pediments in the first room of the museum,
together with many marbles, bronzes, and terra-cottas were
found close below the ancient level. In April, 1883,
Eustratiadis resigned in consequence of a difference of
opinion with the Archaeological Society, and digging was
interrupted until February, 1884. Stamatakis was now
appointed, but had barely started operations near the north
east corner of the Propylaea, when he was attacked by a
serious illness, of which he died in March of the following
year. In July, 1885, Kavvadias was appointed Ephor-General
and continued the work of excavation in November* From

1 A few pre-Persian potsherds were found by Ross in 1835 in trenches
south of the Parthenon. 1—2

4 ACROPOLIS CATALOGUE
that time until 1900 the work was continuous, and all the
surface soil was turned over right down to the rock.
Dorpfeld, and later Kawerau, acted as architect to the
excavation, and the latter's minute plans of the whole area
are of inestimable advantage for the history of the site.
Commencing where Stamatakis had left off, at the north
east corner of the Propylaea, the trenches were carried east
wards past the Erechtheum, and round by the museum to
the south side of the Parthenon, so returning to the Pro
pylaea. The central area was then excavated, and finally
the interior of the Propylaea. The most valuable finds were
made near the Erechtheum and round the east and south
sides of the Parthenon in artificial pockets, where the debris
of the Persian sack had been packed during the later adorn
ment of the Acropolis. Thus on two days in February, 1886,
fourteen of the finest of the Korai were found packed together
in a hole north-west of the Erechtheum.
From December 18th, 1888, the Ministry of Education
took the place of the Archaeological Society, until in February,
1890, the last work was done in the Propylaea.
Meanwhile since January, 1886, the Acropolis Museum had
been rearranged and refitted by M. Kavvadias. A smaller
magazine was added to hold the fragments, so that only the
more important finds might be exhibited in the large museum.
At the same time the countless fragments were examined with
a view to joining those that might belong together. In this
work MM. Studniczka, Winter, Lechat, Bruckner and others
afforded valuable help and advice. One cannot feel too
grateful that the old. habit of restoration in plaster was for
the most part abandoned. The vases, bronzes, and in
scriptions were removed to the central museum, and the
museum on the Acropolis received its present shape. Professor
Schrader's recent discoveries in restoration have added some
and greatly supplemented others of the marble statues, and
two new pediments in poros have resulted from the researches
of Professor Heberdey.
During the last twenty years the work of excavation has
twice been taken up again in the neighbourhood of the
Acropolis, in 1896 — 1900, when the outer slopes were ex
plored, and since 1908, when trenches were started eastwards

INTRODUCTION 5
from the Theseum, but the Acropolis itself has already sur
rendered its treasures.

§ 2. The " Perserschutt1."
For the want of a sufficiently concise English equivalent
we must accept the German Perserschutt as the generic title
of the contents of those strata on the Acropolis which pro
vided the finest of the exhibits in the first seven rooms of the
museum. In 480 b.c. and again in 479, the Persians occupied Athens
and the Acropolis, razing and burning temples and statues.
Whether the sack was as complete as Herodotus2 would have
us believe may perhaps be doubted. Pausanias, at any rate,
in the time of Hadrian saw statues that had survived the
wrath of Xerxes, and the contents of the museum alone are
sufficient to shew that the work of destruction was not very
thorough. The Athenians, however, on return to their
blackened homes, determined to waste no efforts on re
storation or re-erection, but to make a clean sweep of the
debris and start the beautification of the Acropolis afresh.
The north wall of the citadel, built by Themistokles soon
after the battle of Plataea, shews the same patchwork of
materials as the walls of the lower town. Athens was
fortified in a hurry, lest the Spartans should interfere with
the work. It contains many of the architectural members of
the old temple of Athena, as well as unfinished column-drums
from the new temple planned by the victorious democracy of
Kleisthenes. This wall was not built on the summit of the
Acropolis rock, but on its side near the top, probably on the
ruins of the old "Cyclopean" wall, and the pocket between
the wall and the summit was packed with broken fragments
of buildings and statues from the wreck-strewn surface of
the hill.
The wall on the south side was later in date. Funds for
its erection were not to hand until after the battle of the
Eurymedon in 467 b.c. Then Kimon built it at his leisure of
1 Cf. especially Dorpfeld, in A.M., 1902, p. 379 foil.
2 viii. 53.

6 ACROPOLIS CATALOGUE
squared stones — the present face is mediaeval in date — but
he used the same device as Themistocles. That is to say, he
increased the area of the summit by building his containing
wall some way down the slope of the hill, and then filling up
the pocket thus formed with the unused debris that was still
lying among the ruined temples.
Neither Kimon, however, nor Themistokles was the first to
think of extending the surface of the citadel. The older
Parthenon, whose foundations may still be seen projecting on
the eastern side of the great temple of Perikles, is, according
to the generally accepted theory of Dorpfeld, earlier than the
Persian wars. Its half-finished column-drums are built into
the Themistoclean wall, and it never got beyond the earlier
stages of construction, but it, too, required an extension of
the summit, and excavations to the south of it have revealed
some facts of its history. If another temple was to be built
on the hill besides the old temple of Athena, whose founda
tions still lie between Parthenon and Erechtheum, it was
necessary to build out an embanked foundation on the south
side. How this was done is shewn by the illustration on
p. 7. In this diagram, which shews a section running north and
south between the Parthenon and the south wall :
1 is the remains of the early Cyclopean wall which ran
round the Acropolis hill.
I is the original soil on the surface of the rock before
the building of the earlier Parthenon. The wall
of the foundation is built through this stratum
down to the rock.
2 is the foundation of the earlier temple and also a
containing wall built contemporaneously to contain the
dtbris which was shovelled in to make a platform on the
south side.
II is the stratum of rubbish thrown in at the time
of the earliest building. In this stratum was
found the greater part of the poros remains.
3 is a second retaining wall built on the ruins of the
Cyclopean to serve as the platform wall after the rubbish

0 5
Section running north and south from Parthenon to south wall of Acropolis1. (Dorpfeld, A.M., 1902, p. 393.)

1 For kind permission to reproduce this illustration my thanks are due to the Imperial German Archaeological
Institute.

8 ACROPOLIS CATALOGUE
began to fall over 2. It shews a second period of building
marked by a heightening of the foundation.
Ill is the debris filling up the angle and contem
porary with 3.
4 is the Kimonian wall, the south wall of the Acropolis
built after 469 to extend the platform.
IV is the corresponding debris containing objects of
the same character as the pocket on the north side
of the Acropolis, i.e. the Perserschutt proper, since
II and III are debris of an earlier date.
5 is Pericles' addition to the Kimonian wall and the
Periclean foundation of the Parthenon.
V is the additional filling of rough blocks and chips
of rock at the time of the second (Periclean)
Parthenon, when the height of the foundations
was further raised, and the surface of the Acropolis
levelled.
The total depth of these strata was about 14 metres
(45 ft.).
5 dates from 447 — 434 b.c.
4 „ „ after 469 b.c.
Between 4 and 3 there is an interval during which, as
we know from the contents of 4, came the Persian sack
of 480. Between 3 and 2 there is a short break, which is found
most naturally in the Marathon period.
Between 2 and 1 there is an interval of quite uncertain
length during which the foundations of the first Parthenon
were laid, and poros sculpture flourished and passed away.
The date of the earlier Parthenon lies clearly between the
Peisistratid renovation of the oldest Athena temple and the
Persian wars. The unfinished drums on the north wall shew
us that it was not completed in 480 b.c. The question
therefore arises whether it was begun before or after Marathon
in 490 b.c. Here our illustration helps us, for we see that
there were two periods even in this earlier building, since 2
was built to serve as the terrace wall at first, but afterwards
the height of the foundation was raised and 3 was built

INTRODUCTION 9
further out. We have to allow, therefore, for a break and
for the erection of the massive foundations of the temple.
Ten years is too short a time, especially as the funds of
483—480 were devoted mainly to ship-building. We may,
therefore, conclude that the gap was caused by the Persian
danger 492 — 490, and that the earliest scheme is still
older. Under such circumstances Dorpfeld can hardly be wrong
in ascribing the earlier Parthenon to the time of Kleisthenes,
when the new democracy that had just expelled the tyrants
would naturally desire to replace the Hekatompedon associated
with their name by a new building, greater still and more
ambitious, to celebrate the triumph of the new order.
It was at this time then, 508 or a little later, that the
first foundations were laid, and the first accumulation of
debris II began. In this stratum the poros remains are
found, and it must be remembered, therefore, that the poros
remains were buried fully 30 years before the marbles in an
earlier Tyrannenschutt, if the word may be coined.
In this way were the great deposits of archaic sculpture
formed by men who felt so confident in their own artistic
skill for the future that they were content to sweep into the
rubbish heap the accumulated treasures of fifty years1.
Thanks to these three deposits of material, in 508, 478, and
466, we find at the present day marble and poros statues
alike with the bloom of freshness still on them, and their
original colour little impaired by time.
§ 3. Chronological Study.
There are a few objects in the first seven rooms of the
museum of a later date than 480 b.c, but it may be stated
broadly that that is the lower limit of the chronological
period. Most of these statues have come from the rubbish
1 Many of the statues in the museum seem to have been haoked or
mutilated, e.g. Nos. 595, 606, 671, 680 and 682. It has been suggested that
this was for the purpose of packing them in the Perserschutt. It is not
impossible however that it represents Persian destruction. Traces of the
conflagration are visible in the many splintered surfaces like those of No. 665
and the new Kore.

IO ACROPOLIS CATALOGUE
heaps of 508 — 500 or of 479—469 b.c, and represent either
the ruins of the Persian sack or the superseded pediments of
poros. Another chronological datum, unfortunately hard to
fix, is the remodelling of the old temple of Athena under the
tyrants, when the marble peristyle and pediments superseded
the earlier poros fronts. We possess both the new and the
old pediments, but we can only estimate vaguely the date of
the change. Its importance rests largely on the fact that the
pediments of the Hekatompedon are among the latest mani
festations of poros art, and consequently we can attribute
with safety the bulk of the poros works to an age prior to
that of the temple reconstruction. Contributory evidence
on this point is provided by a comparison of the poros
sculptures in general with examples of black-figured vase
paintings of the first half and middle of the sixth century.
The date of the Francois vase is generally accepted as
within ten years of 550 b.c, and its points of resemblance
to the Introduction of Herakles pediment are many and
striking. On a priori evidence therefore we may premise two general
periods in early Attic art :
(1) A period lasting down into the second half of the
sixth century and including the poros sculptures.
(2) A period succeeding this one and lasting until 480,
during which time fine marble work was accomplished.
A more detailed chronology depends largely upon the
internal study of style.
M. Lechat, whose two works1 on the Acropolis sculptures
have hitherto provided the most careful and detailed general
view of early Attic art, bases his study of style on two con
siderations :
(1) Work in a superior material is later than work in an
inferior material ;
(2) Good work, i.e. work of technical excellence, is later
than bad work, i.e. work of clumsy or faulty appearance.
He is thus led to divide early Attic art sharply into a
period of wood technique, a period of poros technique, and
a period of marble technique. The first period depends only
1 Au Musge de VAcropole d'Athenes, Paris, Lyons, 1903; La Sculpture
attique avant Pheidias, Paris, 1904.

INTRODUCTION 1 1
on theoretical and literary evidence, as no early Attic wood
work has survived.
By a further sub-division, Lechat divides the poros period
into two parts, an early part during which bad material,
full of holes, shells, and other defects, was used, and a later
part in which good material was used. Similarly the age
of marble is divided into periods in which the inferior
marble of Hymettos, the hard Parian, and the softer coloured
Pentelic were respectively employed. Within these general
lines technical excellence provides his criterion for dating,
and thus poros sculpture is started with the two rude masks
(Nos. 11 and 12) and culminates with the Zeus head from
the Introduction pediment. The marble period opens with
the Moschophoros, which bridges the gap between poros and
marble, much as the masks bridged the gap between poros
and wood. The fine Korai form the next stage in art, and
then come two eclectic schools of Attic-Ionic and Attico-
Peloponnesian sculpture.
Before considering the detailed order of the statues it is
necessary to enter a protest against the main principles of
Lechat's criticism.
It is no doubt true that the earliest carvings in Attica as
in most other countries were in wood or ivory or bone, but we
have no evidence of wood technique in the poros sculptures,
and therefore no right to infer that period from the contents
of the museum1.
Lechat finds this evidence in the Hydra pediment (No. 1).
He considers this much the oldest of the poros pediments,
and maintains that the flat planes and sharp edges of this
composition represent the methods of wood-carving. Further,
he considers the tools used for poras-carving were the wood
worker's tools, gouges and knives, not the chisel, the discovery
of which led to marble work.
It must first be remarked that the Hydra pediment is in
very low relief, nowhere exceeding three centimetres, or a
1 The fragments of the marble akroteria of the old Athena-temple are the
only statues in the museum which definitely point to wooden originals
(cf. pp. 113, 114). Without doubt in early buildings the akroteria would be
made of wood, but such statues afford no evidence of a "wooden " period in
early Attic art.

12 ACROPOLIS CATALOGUE
little over an inch. We must, therefore, be careful in com
paring it with works of free sculpture or in high relief. This
feature of flat planes and sharp transitions is inherent in all
primitive low-relief work. It is only after a long develop
ment that the sculptor of a Parthenon frieze can graduate
delicately these subtle planes. The origin of low relief is
simply drawing on stone and then cutting out the back
ground. Numerous examples of this method are provided by
the excavations of Sparta1, where we have the whole de
velopment from the scratched outline to the elaborate system
of superimposed planes visible in the Chrysapha stele2-
Early wood-carving proceeds on quite different principles.
It naturally works in the round, on the log not the board,
and has no occasion to shew flat planes and sharp edges —
wood-carvers do not split wood along the grain. Primitive
wood-carving, whether ancient, as in discoveries at Ephesos3,
or mediaeval, as e.g. the doors of Santa Sabina in Rome4,
does not shew an arrangement of planes at all. Early works
in low relief are all connected closely with drawing, and the
ancestors of the Hydra pediment are vase paintings not
sculptures in wood.
It is not at all surprising, therefore, that we find the
closest analogy to the scene of the Hydra pediment in an
early vase painting5. But we may go further than this
and derive the whole of the poros works in the museum
from the subjects of vase paintings. The figures of the
introduction pediment, the seated Zeus and Hera, the march
ing Herakles and Iris shew the closest analogies in costume
and in attitude with the scenes on the Francois vase"- The
so-called Erechtheum pediment with its pictorial background
can only be explained at so early a period as an adaptation
from the painter's art, and may be paralleled in the typical
fountain scenes'. The combat of Herakles and Triton is a

1 B.S.A., xii. p. 333 foil., xiv. p. 25.
2 Antike Skulpturen zu Berlin, p. 273, No. 731.
" Hogarth, Excavations at Ephesus, pp. 161, 217, pi. xxv. 1 and 2.
" Venturi, Storia dell' arte italiana, i. p. 333 foil., figs. 308 — 327.
0 Gerhard, Auserlesene Vasenbilder, ii. No. 95.
* Furtwangler, Vasenmalerei, pi. i., ii., in., xi., xh., xra.
7 E.g. Gerhard, op. cit., iv. Nos. 307, 308.

INTRODUCTION 1 3
common scene on the vases1, and so are pictures of lions and
bulls. As yet no vase has given us a three-bodied monster
like No. 35, but we may still hope for a replica. Bone or
ivory carvings provide much closer analogies than wood-
carving. Thus the lions and bulls may be compared to a
fine ivory group from Sparta2, but here again the ivory-
carving undoubtedly owes its origin to the engraver's art, as
the half-finished Spartan ivories shew8- Wood technique, on
the other hand, passes directly into marble sculpture, and
such works as the Nikandra of Delos or the statue of
Cheramyes in the Louvre owe their inspiration directly to
primitive wooden xoana. This class, as we shall see, is
represented in the Acropolis.
As regards tools, the chisel is demonstrably used on the
masks, on the owl (No. 56), and indeed on all the poros
work, and was certainly used in Attica at an earlier period
still. Again, as to the transition from marble to poros, it is
true that the Moschophoros (No. 624) shews the closest
analogies with poros work, but there is a whole group of
sculptures in marble much earlier than the Moschophoros.
An isolated poros head, moreover, No. 50, displays such
marked Ionian characteristics that it can hardly have been
carved before the influx of Chiot sculpture into Attica, i.e.
before a period much later than the Moschophoros, and there
fore we have evidence of poros work lasting down to a com
paratively late date.
With regard to Lechat's sub-divisions it must be pointed
out that the right-hand slab of the Hydra pediment is a
piece of poros in every way as good as any of the blocks in
the sculptures of the Hekatompedon (Nos. 35 and 36), and
that inferior pieces are found not only in the Hydra
pediment, but in almost any group of the whole series.
Parian marble is used for the Chiot statues because the
Chiot masters imported Parian and not Pentelic, but Pentelic
marble was used in Attica before as well as after Parian. It
was even used before Hymettan marble, since the earliest
1 Cf. Gerhard, op. cit., ii. No. Ill,
2 B.S.A., xiii. p. 89, fig. 23.
3 Ibid. pp. 97, 99, figs. 29, 30.

14 ACROPOLIS CATALOGUE
statues of all, before the Hymettan Moschophoros, and before
the poros pediments, are undoubtedly in Pentelic marble,
though the fact is not universally admitted1.
Lechat's second principle equally fails to meet the facts.
The masks, the technique of which he takes to be the earliest
of all the poros group, are clearly of quite a developed period
— the bearded head shews a satyr type of quite conventional
appearance. Their primitive appearance is due to the fact
that they are probably not genuine offerings at all, but
small pieces carved by workmen during the dinner hour for
their own amusement. They are bad and careless, but they
are not early. Similarly the Zeus head, which Lechat takes
to be the culminating point of poros art, is undoubtedly, as
we shall see, from a group much earlier than Nos. 35 and 36.
It cannot be too often repeated that mere excellence of style
or the reverse is in itself no criterion for date. There are
good early artists and bad late artists, and the work of the
former will frequently look the better and the more de
veloped from the artistic point of view. The only sure
criterion of dating is to take the development of small
individual features like the curves of lips, the shapes of eyes
and ears, or the modelling of the cheeks. These are points
in which artistic conventions gradually develop, conventions
which bad artists and good alike learn from their masters, and
it is by the gradual improvement of stock artistic convention,
and by that only, that a series of statues can be dated on
purely internal evidence.
We must look, therefore, for other principles than
Lechat's in establishing a chronological series of these
statues. The first thing to do is to rule out the poros works
from the direct line of development of Attic art. These
works are all architectural, and therefore they have to con
form to quite different conditions from the self-sufficing
statue. The earliest decorated pediments were no doubt painted,
and therefore by tradition, as well as from the inherent
1 These smaller figures are not included in Lepsius, Griechische Marmor-
studien, and I know of no expert geological opinion. My own view is based
on actual experiment and comparison with other statues in the museum.

INTRODUCTION IS
character of relief work, these works depend on the stream
of development in painting much more than> on that in
sculpture. It is comparatively easy to paint complicated
groups of snakes and animals and wrestling men. But the
problems they present to the true sculptor are very difficult,
and the poros sculptors never even attempted to grapple with
them. None of their works stand any but a frontal obser
vation. For the development of feature-carving, and to some
extent for the portrayal of the surface muscles of individual
limbs, the poros series gives us valuable information, but it
gives us little or no evidence on the growth of the sculptural
conventions that led to the Moschophoros or the early Kore
(No. 593). This can only be provided by free sculpture, and
our first search must be for the earliest free sculpture of
Athens. Even before Lechat's publications Winter performed a
most useful service by his collection of a group of early
sculptures round the central figure of the Moschophoros. We
are now enabled, however, with a closer knowledge of all the
results of the excavations to extend the earliest period of
Attic art some distance further back.
In Nos. 582 and 589 we have two early statues of com
pletely xoanic type, i.e. the roughest possible adaptations
of a block of stone to the human form. These are the
statues that are derived from original xoanon figures in
wood or fortuitously shaped meteorite stones, which formed
some of the earliest objects of worship1. We might call
them pre-Daedalid in type, for the name Daidalos really
points to that period in development when the limbs began
to be separated. No. 619 shews us that in certain circum
stances this type could be preserved into a decidedly later
period. In Athens, however, such statues must go back into
the seventh century long before even so developed a work of
art as the Hydra pediment. Nos. 582, 583, 589 and 593
give us a series of early Kore statues culminating in the fine
figure of No. 593. Here we find steady development in the
line of naturalism and decorative skill, and the identity of
costume with the figures of the poros pediments suggests
that the two series are developed together.
IFor such statues cf. Pausanias, ii. 30, 4; iii. 14, 7; viii. 17, 2; ix. 3, 9.

l6 ACROPOLIS CATALOGUE
Next to No. 593 comes No. 679, a fine piece of Attic
sculpture, whose resemblance to the Moschophoros has already
been noted by Winter. It is clear that a long line of de
velopment separates such a statue from No. 582. Other
important members of this early series are the two groups of
Hermes and the Charites represented by the various frag
ments Nos. 586, 587, 622, and 637. Hence we find in con
nection with female figures of quite stiff appearance heads
which must be carefully compared with those of Nos. 624, 679
and the poros pediments. In all of them we find a round
long head, the hair very simply blocked out, level eyes with
the lower lid straight and the upper arched, giving a tri
angular shape, a nose thin at the upper part and bulging at
the nostrils, a straight, unsmiling mouth1 terminated by
downward cuts at the corners, clumsy ears, and a square face
with rather heavy chin. This is the normal head of the
poros pediments as shewn in lolaos, Zeus, the three-bodied
monster and the smaller heads, and it is distinct from the
high Ionian smiling head, and the flat Peloponnesian head
with straight cheeks and bulging occiput. We may take it
as the pure Attic type, and as such we find it reproduced
exactly in the Hermes (No. 622). In both 624 and 679
there are modifications. In the former the eye is flatter and
more oval, the corners of the mouth are ended differently,
and the ridge that marks the two planes meeting behind the
eye is emphasised in almost an Egyptian manner. Similarly
in 679 the mouth corners are treated differently, and there
is some trace of the Ionian smile. Also 678, whose head
betrays features identical with those of 679, is attired in a
travesty of the Ionic costume betraying faulty imitation.
Now the later scenes of the poros pediments are undoubtedly
affected by Ionian originals, e.g. the Herakles and Triton
by the same type as the Assos frieze, and the bulls and lions
by the Ionian type found at Sparta, or in the Xanthos frieze.
We may, therefore, accept the parallelism of the Moschophoros
group with the later poros works, so ably demonstrated by
Winter, but we must then compare the Hermes relief with
the purer Attic work of e.g. the Introduction pediment or the
1 The upper lip projects slightly further than the lower at the corner
and from this angle a groove runs downward.

INTRODUCTION 1 7
Hydra. The horses' heads (575—580) are clearly parallel
with the horses of the chariot of lolaos. This will throw the
earliest xoana distinctly into the earliest place before the
period of poros work at all.
We must now fix the relations of the poros series. It is
impossible, with Lechat, to spread the whole series over
a very long period. The latest limit of the Triton and three-
bodied monster (Nos. 35 and 36) must antedate by some
years the Peisistratid reconstruction of the Hekatompedon
and can hardly be later than the decade 540 — 530, when
Peisistratos came into full power. We may put the recon
struction tentatively at about 5201. Now, since the colouring
of the earlier poros works is little fainter than that of Nos. 35
and 36, one can hardly postulate a great number of years
for the whole series. Moreover, the parallel with the black-
figured vases of the middle of the century hardly enables us
to date the Hydra pediment before the decade 570 — 560 at
the earliest. On internal reasons of style there is so little
difference in technique, so little advance in spirit between
earliest and latest that forty years seems the greatest possible
length for the whole period. Technique grows rapidly in
the sixth century. Since the poros technique is based
primarily on drawing, we shall be inclined to recognise as the
earliest those works that are the most influenced by drawing,
as later those most influenced by sculptural designs. In this
way we get two groups, an earlier group of No. 1, the Intro
duction pediment, and the "Erechtheum" pediment2, and
a later group of No. 2, the bulls and lions, and the remains
of the Hekatompedon pediments.
On all grounds we may take the Hydra pediment as the
earliest, though not so much earlier than the others. Lechat
lays emphasis on the distorted position of lolaos, but this is
1 Our only data are a comparison with other architectural works of the
period, e.g. the Dionysos temple in Athens, and the hall at Eleusis: cf.
Dorpfeld, AM., 1902, p. 407.
2 The introduction of a scenic background in this pediment is absolutely
opposed to the principles of early Greek work in relief, where the background
is conceived not as the distance in a picture, but as space like the wall
behind a statue. The Hellenistic sculptors were the first to treat the
background as part of the relief, and thus to start perspective sculpture.
It can only be explained here as a literal translation of painting into
stone.

I 8 ACROPOLIS CATALOGUE
due to the difficulties of low relief. The naturalism of the
horses and the crab, and the fine attitude of Herakles are
works of developed art. The head of lolaos is, however,
clearly the earliest in its crudity of carving. The finish of
the features is very hard and has none of the careful tran
sitions of the "Typhon" heads. In this respect it is im
portant also to note the development between the Zeus head
and the heads of the three-bodied monster (No. 35). In the
latter the eyes are rounded and cut into the head deeply at
the corners ; the edges of the lips are not hard, but rounded
softly. Between the two lion groups there is some difference
in technique. The group in the second room is careless and
flat ; its details are conventional. No. 3, on the other hand,
is vigorous in pose, and shews a technical advance in the
rendering of a soft surface like the pads of the lion's feet or
the bull's muzzle by a series of small holes. Compare too the
necks of the two bulls.
Another main difference is the form of composition. The
earlier groups shew the figures one by one like a vase painting;
the later ones shew them intertwined in a more structural way.
The latest of the poros heads has already been mentioned,
No. 50, which shews the smile and groove round the mouth
of the Chiot statues.
We may now hazard a tabulation of the poros series :
(1) Hydra pediment and soon afterwards the " Erech
theum " pediment. The figure of the " Hydrio-
phore," No. 52, which belongs to this pediment,
seems to approach the rigidity and primitiveness
of lolaos very closely.
(2) The Introduction pediment. This pediment must
be nearly contemporary with the Francois vase,
which is dated usually about 5501.
(3) The earlier Triton pediment (No. 2) and the earlier
bull and lions. This shews the first appearance of
Ionian sculptural notions, cf. e.g. the Assos frieze.
(4) The Hekatompedon pediment (Nos. 35 and 36)
and the second bull and lions (No. 3).
(5) The Ionic head (No. 50).
' Walters, History of Ancient Pottery, i. p. 370.

INTRODUCTION 19
Roughly one might ascribe each of these to a decade
between 570 and 530. This puts the first Ionian influence
about 550, or about the time of the first tyranny of Peisis-
tratos in whose later years comes without doubt the great
period of Chiot importation. According to this system the
Hekatompedon pediments were erected about 540, before
Peisistratos' power was firmly established, and the Chiot
influence was in full swing by 530.
We must now return to the marble sculptures, where we
have seen reason for two early groups, an original Attic
group culminating in the Hermes relief and perhaps the Kore
(No. 593), and a group tinged by Ionic influence in a slight
degree while keeping intact its main Attic lines. This
includes Nos. 624 and 679, and we may add the horseman
(No. 590), whose Attic appearance is modified by his im
ported material, Parian marble. The first group would begin
before the poros and develop along with them down to 550 or
so, and then for the next fifteen years we have this period of
earliest Ionian influence. The Naxian figures Nos. 619 and
677 and the bowl No. 592 may belong to this age, when im
portation was just beginning1.
We now come to a complete break in tradition caused by
the appearance of the main series of the Korai. The line of
Attic tradition is destroyed and only appears again much
later in a modified form.
Until the age of the tyrants Athens occupied a position
of little general importance in Greece, and remained self-
centred and unaffected by foreign currents of art or politics.
But with the tyranny of Peisistratos she was drawn into
Aegean and Greek politics in all directions. Peisistratos
and his sons were Ionian in sympathy. They had important
interests in North Ionia, and they revived the Pan-Ionian
position of Delos. Ionian artists and poets crowded to their
court, and left inscriptions still preserved to this day2. It is,
of course, a matter of history that art developed much more
1 It is to this period too that we should ascribe the Egyptianizing scribes
Nos. 144 and 146. It is suggested on p. 167 that these figures are derived
via Naukratis.
3 Archermos of Chios, C.I.A., i., Suppl. in. p. 181. Theodoros of
Samos, ib.
2—2

20 ACROPOLIS CATALOGUE
quickly on the eastern side of the Aegean, and recent exca
vations have shewn Sparta as well as Corinth and Athens
under the domination of Ionic tastes in the middle of the
6th century.
Ionian art may be said to fall roughly into two schools,
the Southern or Samian and the Northern or Chiot. The
Samian style is fixed for us by the discoveries of Branchidai,
and of late years in Samos itself1. It is, as we might expect,
Egyptianizing, with a round head, heavy face, and straightish
mouth, in no way the art of the imported statues on the
Acropolis. We have no first-hand evidence of what Chiot
art was, but we know that Archermos invented, according to
tradition, the type of the winged Nike, and that Bupalos and
Athenis, his sons, excelled in the reproduction of the draped
female figure. We know, too, that these artists made statues
in Delos, and that their names are found in inscriptions both
at Delos and on the Acropolis. At the same time we find the
Kore type both at Delos and Athens, and in addition at Delos
a Nike whose facial type is precisely that of the Korai and a
base inscribed by Archermos2, which may or may not belong
to the Nike.
We need therefore have no hesitation in associating the
imported Korai with the names of the family of Archermos
and the Chiot school.
It is now necessary to shew that this series of Korai is
really foreign, and that some of the statues at any rate were
directly imported, if we wish to prove that the Attic tra
dition was broken owing to Chiot importation.
1 L. Curtius, Samiaca, A.M., 1906, p. 151, pi. x. — xii., xiv. — xvi.
2 Controversy still rages on the question whether the winged Nike and
the base found at Delos belong together. Klein separates the two and
ascribes the Nike to a Peloponnesian school. It is impossible not to stigmatise
this view as resting on a complete misconception of the true differences of
Ionian and Peloponnesian art. The head corresponds closely with the
Korai of the Acropolis, but presents no resemblance whatever to the metopes
of Selinos with which Klein compares it. The broad fiat head of the latter,
with its flat cheeks, round eyes, and a straight mouth, shews a totally
different type. Homolle's view is that it is an akroterion and not a votive
offering. Whether the base belongs or not, it is still possible with Stud-
niczka to ascribe the statue to Archermos. Kavvadias, VXvin-a. i. No. 21 ;
Collignon, i. 134 ; Studniczka, Siegesg. p. 6 ; Klein, i. p. 138 ; Homolle!
B.C.H., xxv. p. 4961.

INTRODUCTION 21
We have already seen that the type of early Attic head
is fixed by a great number of examples. The Chiot Korai on
the other hand shew a tall egg-shaped head, slanting eyes
with large tear-ducts, a nose of equal breadth throughout its
length, an oval face, finely carved ears, very elaborate hair,
and a mouth which ends with the lip corners drawn up in a
sharp bow and melting off into a semicircular groove which
runs all round the mouth. Further distinctions are that the
Attic figures are broad and stocky1, the Chiot tall and slim,
the Attic heads held upright, the Chiot bent downwards, the
Attic figures veiled in heavy drapery, the Chiot in diaphanous
garments, and finally the Attic as against the Ionian costume.
The rule of Peisistratos was not firmly established until
538 b.c, and thus we may put that year as the highest limit
of the importing period.
The statues of this period which shew the characteristics
of Chiot art in a pure and uncontaminated manner are
Nos. 594, 670, 673, 675 and 682, to select the more im
portant of the series. There are also a few heads, e.g.
No. 663, of pure Chiot type. This group of statues must
be attributed definitely to Chiot artists, and was more prob
ably made in Chios and imported, although it is conceivable
that the artists may have worked in Athens with imported
material. All are in Parian marble, which now becomes
general on the Acropolis.
The hall-mark of early Attic art above and beyond the
technical characteristics already noted is the overflowing
reality and vigour of even the earliest efforts. Chiot art,
for all its immense technical superiority and greater decora
tive effect, is in spirit cold and lifeless. Its conventional
delicacy and grace at first produce a favourable effect, but
in the end the repeated smile, and the insistence on decorative
splendour not truly sculptural in essence, must inevitably
bring a reaction to simplicity and truth. Although Chiot
art swept the crudity and clumsiness of early Attic art into
obscurity, and ruled Attic fashions for a quarter of a century,
we find tendencies of reaction even at the period of closest
1 The term is relative, as the tendency of most of the early statues on
the Acropolis is towards slimness, but a comparison between Nos. 682 and
683 illustrates the essential difference.

22 ACROPOLIS CATALOGUE
imitation. It may be wondered why Attic art remained
enslaved so long, but the reason is not difficult to find. Art
depends largely on its patrons, and the best patrons were the
Peisistratidae. As long as they held the tyranny, Ionian art
was en regie, and the democratic revolution of 5l0 b.c marks
a separation from the ideals of the previous 30 years not the
least in this, that it at once gives birth to a revival of truly
Attic art.
For some time before 510 we find alongside of the im
ported Korai a class of imitations and adaptations of the
type, all of which betray by some Attic feature their native
origin and inspiration. But the court taste is powerful
enough to keep the stream of art on the whole in Chiot
lines. The development of the Chiot Korai, Nos. 594, 670,
673, 675 and 682, shews nothing but an increasing tendency
to elaboration and decoration culminating in 594 and
the superb 682. One or two decades cover the whole five.
The Attic, or rather the Attic-Ionian, Korai, on the other
hand, present a much greater variety of type. The most
important of these are Nos. 671, 672, 674, 676, 680, 683
and 685. They all copy the Chiot models in costume and
pose and hair-treatment, but all shew some variety in detail.
Thus 685 has the straight Attic mouth and eyes ; 676 revives
the old Attic triangular eye and the long head ; 671 adopts
the old fashion of finishing the lip corners, though in a
fashion much softer and neater. 672 has Chiot eyes and
mouth corners, but otherwise has reverted entirely to the old
type ; 674, the masterpiece of this school, infinitely finer as a
work of art than any of the Ionian originals, by a new fashion
of its straight mouth and delicately moulded cheeks, has won
a certain grave and austere beauty unparalleled in earlier art.
But all these statues are in bondage to some extent. The
Ionian hair, elaboration of dress, and attention to purely
superficial ornament as compared with a real study of tri
dimensional effect, destroy originality of conception1. The
1 The greater number of the smaller Korai and of the small heads in the
wall-case in Room V. belong to this period of Attic-Ionian art. The normal
type here represented shews a general resemblance to No. 616. The eyes
are usually flat with the upper edge projecting, the lower sunk into the cheek
the head is round, the mouth slightly curved, the chin and cheek-bones
prominent, the ears small and delicate.

INTRODUCTION 23
most impressive monument of the whole period, the great
gigantomachy pediment of the Peisistratid reconstruction of
the Hekatompedon (No. 631), unmistakably by an Attic artist,
though in the fashionable Parian marble, shews tendencies
much more Attic. The general Ionic appearance of drapery,
hair, and detail is modified by the reversion to an almost
completely Attic type of face with wide-open eyes, straight
mouth, and heavy chin. A comparison of the treatment of
the nude male form shews that here, in the absence of Chiot
models, the older poros works exercised great influence, and
Athena's head owes much to the renewed study of these
unfashionable works. The pediment, erected probably about
520 b.c, proves that the architects at any rate had not for
gotten the Attic tradition, and that during all this period
the old types were still remembered. The group may be
closely compared with the Boreas and Oreithyia from Eretria1,
which seems clearly Attic in origin.
We need not therefore be surprised that once the tyrants
have been deposed Attic art rises again from its ashes, and
that in Antenor's Kore (No. 681), the masterpiece of the next
decade 510—500, we see a complete reaction against Chiot
rules and a reversion to the older Attic type.
The costume and pose of this figure, it is true, are still
Ionian, but by this time the Ionian dress was the rule at
Athens, and the pose is a commonplace of early art. The
type of head on the other hand is entirely Attic, although
with a great accession of delicacy and finish. These were
Chiot lessons never forgotten or repudiated by Attic artists.
The long square head, wide open eyes, and straight mouth
ending in downward cuts are all revived. The. surface decora
tion of the drapery is kept, but it is reinforced by heavily
undercut edges which entail a truly sculptural effect of light
and shade. The forms are broad and noble, the gaze upright,
the whole statue radiant with a true and not fortuitous beauty.
Controversy has raged about the connection of statue and
base2, but on the whole the evidence inclines distinctly in
favour of its authenticity, and we may therefore accept
1 Furtwangler, Aegina, p. 322, figs. 259 — 261. Here called Theseus and
Antiope. 2 Cf. p. 171.

24 ACROPOLIS CATALOGUE
Antenor's authorship. The letter forms of the inscription
give us a date coinciding with the a priori conclusion, i.e. the
decade following the establishment of the democracy, 510—
500 b.c. In every way the work is a masterpiece and is
fittingly coupled with the name of one of the greatest masters
of this period. Another, Endoios1, may with nearly equal
certainty be recognised from No. 625, in which again we find
an Attic feeling for breadth, life, and simplicity shewn by no
purely Ionian statue.
Two other statues are closely connected with No. 681, the
new Kore (No. 1360) and No. 669. Here we see the same sim
plicity and the same Attic features, and it is at this period
that the saw is added to the sculptor's tools. With these
statues we enter on the third period of Attic art which may
conveniently be called the Attic revival.
But Athens is now no longer a small parochial community,
and the newly fledged democracy is soon involved with its
Peloponnesian neighbours. It is about this time that we
begin to find new principles appearing in Attic sculpture
which we can attribute unhesitatingly to Peloponnesian
1 In spite of Pausanias' statement (i. 26, 4) that Endoios was an Athenian,
it has generally been assumed from the Ionic characters of the two inscriptions
bearing his name which were found in Athens, and from the fact that he
worked at Erythrai and Ephesos, that he was really an Ionian sculptor
attracted to the court of Peisistratos. The date of the inscription puts him
roughly in the last quarter of the 6th century, and there is no reason to
doubt that in No. 625 we have the statue mentioned by Pausanias (cf.
p. 162). Klein prefers to pay more attention to the statement that he was
a pupil of Daidalos, and therefore calls bim a Cretan, but this statement
need mean little save that he marks a technical advance on primitive art.
To Pausanias, as to us, No. 625 must have looked a barbarous object after
its long exposure in the open air.
In the light of the separation of Attic and Ionic types we may feel
inclined to revise the general attribution of an Ionic origin to Endoios.
No.. 625 certainly appears Attic in type. The slight curve of the figure from
the true frontal position, the variation in pose, the broad shoulders and
massive form, unite with the simplicity of adornment to suggest an Attic
origin. It seems impossible to follow Schrader here in the opinion that
there is nothing particularly Attic about the statue. After all, if Endoios
was a sculptor of the Attic revival, there is no real reason why he should
not have worked in Erythrai and Ephesos, e.g. about the time of the Ionian
revolt, and there is perhaps more colour for his working at Tegea. As to
the inscriptions, Ionic was perhaps the court dialect under the tyrants, and
one would feel inclined to put No. 625 earlier than the full triumph of the
democracy in 510.

INTRODUCTION 25
influence. No. 686, one of the latest of the Korai, besides
displaying the Attic characteristics of the revival, shews
further signs of a type even more strongly opposed to the
Ionian ideal. Two main differences have been noticed by the
critics, an almost primitive simplicity of costume and adorn
ment, and a change in expression from the gaiety of the
Chiot or the calm beauty of the Attic Korai to a sombre
and pensive thoughtfulness usually associated with the Pelo
ponnesian schools. We may point out even stronger signs
of difference in the flat cheeks, hitherto always concave
between chin and cheek-bones, the downward turn of the
lip corners, and heavy-lidded eyes. The school, whose
influence we find here, is not the Aeginetan. In the much
later sculptures of the Aphaia temple we still find traces
of the " archaic smile." It is not the Spartan, whose art is
now a thing of the past. Tradition and discovery alike point
to the Argive school, or, as some have called it, the Argive-
Sikyonian school, for the influence now exerted on Athens.
Politics and geography also point to Argos ; we have the
tradition that the great Attic sculptors of the early 5th century
were pupils of Ageladas ; and we have the more important
evidence of all the early works connected with the Argive
school. The Argive head, as judged from the Ligourio
bronze, from the statue of Polymedes at Delphi, or from
the later types of Polykleitan sculpture, was long like the
Attic, but flatter on the top and with the occiput protruding.
The chin is more pointed and the mouth smaller. The eyes
are oval with heavy lids, but perhaps the cheeks are the most
distinguishing feature. Both Attic and Ionic cheeks are
hollow, but the Argive is nearly flat. This flat cheek is
common to most Peloponnesian art, and can be traced in
the poros Hera head at Olympia or the Dorian metopes of
Selinos. On the Acropolis we find a number of heads which
correspond closely with this type. The Kore, No. 686, the
ephebe head, No. 689, and two heads in the wall case in
Room V, Nos. 644 and 657, are clearly affected by this
Argive influence, and No. 644 is possibly an actual work of
Argive art. We have signatures of Peloponnesian artists

26 ACROPOLIS CATALOGUE
among the Acropolis inscriptions1. At the same time a
great change can be observed in the treatment of the nude
male torso. From the clumsy figures of the Moschophoros
and the giants of the pediment we find a sudden transition
to Nos. 145 and 698. In speaking of a sudden transition we
are omitting two figures belonging to the period of importa
tion, No, 665, which belongs to the " early Apollo " series,
and No. 633, which is clearly Chiot in character. But for
the development of the nude male figure we have little
between the horseman No. 590 and the Moschophoros on
the one side and the later groups on the other. The Chiot
period was not one in which the nude male type was popular.
In No. 145 we have a statue clearly later than the gigan
tomachy pediment, and we can see the effect of some foreign
influence. The general proportions of the body are quite
different from the early Attic type, and the muscles of the
torso, instead of being conventional as in the Moschophoros,
are correct if somewhat hard in treatment. When we come
to No. 698, we find a fully established canon of proportions
which is demonstrably that of later Argive art, and therefore
we cannot be wrong in attributing to Argive influence the
improvement in nude male sculpture which begins to appear
in Attic art after 510. The giants of the Athena pediment,
no doubt affected by the difficulties of relief, shew no capacity
for adapting their anatomy to the effects of motion. The
statuette No. 302 has his pectoral muscles in no wav modified
by the raising of the right arm. Even No. 692, a" fine work
of quite developed art, shews the most cursory appreciation
of anatomy combined with Ionian partiality to surface effect.
But the statues which we have noticed, Nos. 145, 698, and we
may here add No. 599, though this is probably post-Persian in
date, shew a complete revolution in the direction of scientific
anatomy. Of these the most interesting is No. 698 from its
strong resemblance with the Harmodios of Naples, which is
a copy of the work of Kritios. This resemblance is strong
enough to justify our accepting with Furtwangler the attribu
tion of this work to the school of Kritios, and recognising
1 Kallon of Aegina, C.I.A., i., Suppl. n. p. 86, No. 37383- Onatas, ib.,
p. 89, No. 373"9; ...theos of Sikyon, ib., p. 100, No. 3732W

INTRODUCTION 27
in Kritios himself a sculptor who represented this Pelopon
nesian influence in Athens1.
The Attic revival, then, is soon followed by a growth of
Peloponnesian influence, first represented in the Kore No. 686.
We have now to consider another line of development repre
sented by Kore No. 684. This figure, whose head and features
clearly proclaim an origin later than the Attic revival, yet
exhibits to a striking extent the Ionian qualities of surface
adornment and elaboration of costume. It has been both
compared and contrasted with No. 686, but evidently belongs
to a totally different style and a practically identical period.
The round head and broad shoulders are obviously Attic, and
the face approximates to No. 681, but the Ionian hair and
drapery shew that we must admit a line of Ionian reaction.
Two other works, Nos. 641 and 690, may be taken in connec
tion with 684, and prove that an Ionizing school survived the
collapse of the Chiot popularity. Nos. 661 and 659, also,
present features which seem to place them in this class. We
can have little doubt that this school continued to flourish in
Athens, and developed in the delicate art of Kalamis.
The ephebe head No. 689 is composite in type. Its close
resemblance to No. 686 proves Peloponnesian influence, while
the round head without occipital protuberance is distinctly
Attic. Something of Ionian delicacy and preciosity appears
in the droop of the head.
The Attic revival then at the end of the 6th century
seems to have split into three main lines of development : —
1. A line of Peloponnesian influence culminating in
No. 698 and the School of Kritios.
2. A line of Ionian reaction marked by No. 684 and
culminating later in the School of Kalamis.
3. A line of eclectic development exhibited in the head
No. 689.
1 Apparently with the introduction of Peloponnesian influence into Attica
comes a change in the convention of the feet. The earlier artists, Attic
and Ionian, shewed the toes in a line of diminishing length with the big toe
longest, but the later Korai and ephebi have the second toe longest. The
poros Herakles, No. 665, the Moschophoros and the giants of the marble
pediments belong to the former class, together with the new figure of Nike,
while 140, 160, 168, 431, 499, 571 and 1360 (the new Kore) belong to the
latter.

28 ACROPOLIS CATALOGUE
Now an examination of the great names of Attic art in
the middle of the 5th century gives us three names which
correspond exactly with these schools. In Kalamis we have the
direct descendant of the Ionian school; in Myron, whose heads
shew many traces of resemblance to the Kritios heads, the
representative of the Peloponnesian. The third name is
Pheidias, who more than any other Greek artist combined
Peloponnesian form with Ionian beauty. It is significant
that Hegias has been suggested by Furtwangler as the author
of 689, an artist known as the master of Pheidias. This
a priori suggestion is certainly strongly supported by a com
parison of No. 689 with one of the greatest treasures of the
museum, the head No. 699.
That No. 699 is in direct relation to Pheidias a comparison
with the metopes of the Parthenon leaves no doubt. The
curved and undercut lower eyelid, the rather thick and parted
lips, the Argive head and the crescent -shaped ear, the roughly
blocked hair and taenia, and the extension of the line of the
upper eyelid beyond that of the lower one at the outer eye-
corners, are all distinctly Pheidian characteristics. No argument
except the want of external proof exists to prevent the attri
bution of No. 699 to the hand of Pheidias himself. Its close
resemblance to the metopes and its evident superiority suggest
that it might have been the artist's model for the workmen.
But for our immediate purpose the interest of this head rests
also in the resemblance to No. 689. The latter is clearly of
earlier date, but in the curving lower lid, the crescent-shaped
ear, the modelling of the cheeks, and the astonishingly power
ful expression of inner feeling there are just those resemblances
that descend from master to pupil.
Provisionally, at any rate, we may take this head of
extraordinary beauty to be the link between Antenor on
the one hand and Pheidias on the other.
It only remains to represent this chronological study in
tabular form.

INTRODUCTION

29

B.C. 600-v

540J
540-1

510J510 \

480,

Period I.
A. Pure early Attic art.
B. Earliest Ionian in
fluence.

Period II.
Chiot Art and Attic-Ionian
period. Period III.
A. The Attic Revival
(Antenor, ? Endoios).

Nos. 582, 583, 586, 587, 589, 593, 622, 637.
1, Introduction pediment, "Erech
theum " pediment.
Nos. 144, 146, 590, 611, 617, 619, 620,
624, 677, 678, 679.
2, 3, 35, 36.
The greater number of the Korai, 633,
Nikai, Sphinxes, etc.
50.

New Kore, 621,
669, 681, 1332.

625,

B. Ionian School,
641,684, 690 (? 659
and 661), leading
on to Kalamis.

C. Peloponnesian School
(Kritios), 145, 599, 644,
657, 698, leading on
to Myron.

D. Eclectic School
(Hegias?), 689,
leading on to
Pheidias (699).

§ 4. Subjects and Meaning.
The contents of the Acropolis Museum belonging to the
pre-Persian period fall into two classes — works in poros and
works in marble. With their chronological relation we have
already dealt; we have now to consider the subjects repre
sented, and the meaning which attaches to them.
There is one primary consideration which draws a hard
and fast line between these two classes. With the exception
of a small group of objects, of which Nos. 11 and 12 are the
only representatives in the museum itself, the poros works
are entirely in relief and entirely architectural in character.
There are a few instances of small votive offerings, the masks,
small copies of Doric capitals, heads, figurines, etc., but the
objects displayed in the first two rooms in the museum are
all, with the two exceptions named, part of the sculptural
adornment of buildings. So far as we can judge, they all
belong to pediments, though No. 3 raises some problems of its
own. All are at any rate essentially decorative in purpose.
The buildings to which they originally belonged have been
very largely recovered by the researches of Dr Wiegand1.

Wiegand, Porosarchitektur, Cassel, 1904.

30 ACROPOLIS CATALOGUE
The subjects are drawn from the ordinary list of Greek
mythological types, a discussion of which need not delay us
here. Only one point of interest arises in the predominance
of Herakles as a central figure. One might have expected
Theseus or some more distinctively Attic hero. But the pre
dominant position of Theseus in Attic story belongs to a
later date. His adventures are depicted on early black -
figured vases, but not to the same extent as those of Herakles.
It was the new democracy, fresh from its victories over the
Persian, that found in Theseus its prototype, and it was
Kimon who first brought the hero's bones to their resting-
place in Attica. We have seen that poros sculpture derived
its subjects in the main from the vase-painters, and in the
vase-painter's tradition Herakles occupied the greatest position
as intermediary between God and man. Herakles, too, had
special relations with Athena, to whom he owed lifelong
support and posthumous recognition, and thus before the
story of Theseus became the national legend there is no
hero better suited to adorn the temples of Attica1- The
motive of the lions and bulls needs no explanation. In all
the history of art the ferocity of one and the solid strength
of the other have appealed to realist or symbolist, and
numerous instances of earlier and later date witness the Hel
lenic predilection for this grouping. More interest attaches
to the most fragmentary of the poros pediments — the so-
called Erechtheum pediment. This title is not adopted in
the Catalogue, since the olive-trees represented in the relief
can hardly be said to certify the identification. There was
only one sacred olive-tree on the Erechtheum, and the building
is by no means certainly a temple at all. The Hydriophore,
if she is identified correctly, points rather to a fountain-house,
perhaps the veritable Enneakrunos from which the Pelasgi
carried oft' the maidens2.
The marble sculptures fall into quite a different category.
Apart from the pediment figures of the old Athena temple,
and the reliefs which have been thought to belong to its
frieze, the marbles of the pre-Persian period have no purely
1 Heracles had an anoient oult in the Marathon tetrapolis (Paus i
32, 4). * \ • •
2 Herod, vi. 137.

INTRODUCTION 31
architectural significance, but are votive offerings. They con
stitute the furniture of the temple and its precinct, but are
not part of the temple themselves, and consequently their
subjects and their meaning depend primarily on their votive
character. The subjects fall into the following classes1 :
(1) Korai or female figures of a particular standing
type.
(2) Seated female figures.
(3) Representations of Athena.
(4) „ „ Nike.
(5) Male standing figures, nude and draped.
(6) Equestrian figures.
(7) Seated male figures called " Scribes."
(8) Groups.
(9) Animals, including two sphinxes, an owl, a pig, and
the Hippalectryon.
(10) Reliefs.
(11) Miscellaneous objects.
It will be advisable to deal with the significance of each
class separately.
1 Subjects of marble statues and reliefs :
Korai, Nos. 269, 420, 493, 582, 583, 584, 585, 588, 589, 593, 594, 595,
598, 600, 601, 602, 603, 604, 605, 611, 612, 613, 614, 615, 616, 617, 619,
626, 627, 628, 636, 639, 640, 641, 643, 645, 648, 649, 650, 651, 652, 654, 656,
659, 660, 662, 664, 666, 667, 668, 669, 670, 671, 672, 673, 674, 675, 676, 677,
678, 679, 680, 681, 682, 683, 684, 685, 686 (609), 687, 688, 696 (493), 1360
(new figure).
Seated female figures, Nos. 169, 329 (498), 618, 620, 625, 655, 3721.
Athenas, Nos. 140, 142, 625, 634, 635, 646, 647, 658, 661, 695.
Nikai, Nos. 159, 690, 691, 693, 694.
Standing male figures, Nos. 145, 302, 431, 599, 621, 622, 624, 633, 642,
644, 653, 657, 663, 665, 689, 692, 698, 699.
Equestrian statues, Nos. A and B (in courtyard), 148, 449, 571, 575—580,
590, 606, 623 (4119), 697, 700.
Scribes, Nos. 144, 146, 629.
Groups, Nos. 293 (452) + 658 + 141, 160 + 168 + ? 142, 145 + 370, 586 + 587,
622 + 637.
Animals, Nos. 122, 143, 552 (554), 597, 630, 632.
Miscellaneous, Nos. 592 (bowl), 638 (Heracles), 701 (Medusa).
Reliefs, Nos. 120, 121, 356, 449, 577, 581, 631, 702, 1332, 1340, 1342,
1343, 1344, 1350.

3.2 ACROPOLIS CATALOGUE
The Korai1 are the largest and most important class of
votive offerings, and present perhaps the most interesting
problem. Who are the persons represented? It has been
urged that these figures represent the goddess herself. It
would, however, be impossible by all the recognised canons of
Greek art to portray Athena at so early a period without any
distinguishing attribute of helmet, aegis, or shield. The
majority of these figures held in one hand an object, which
proves, on all occasions where it has survived, to be a fruit,
bird, crown, or other offering, not the patera for receiving
offerings which is characteristic of a deity. The figure is in
the guise of a worshipper. A second theory would identify
them with the priestesses of Athena, but as the priestesses
held office for life, a small consideration of the number of
Korai will preclude this possibility for a period not much ex
ceeding half a century. There is more reason for associating
the statues with the sacred maidens of Athena, whose duties
were connected with the weaving of the peplos and the
Arrhephoria. Even on this supposition, however, we should
expect to find some significant attribute or some uniformity
of costume to distinguish the statue from that of an ordinary
maiden. Similar statues are found at Delos in the precinct of
Artemis, at Eleusis in the precinct of the great goddesses,
and a relief of similar type was discovered in the sanctuary
of Athena Chalkioikos at Sparta. But they are not found
in the precinct of Zeus at Olympia, of Apollo at Delphi, or
among the bronzes of Dodona. These facts seem to shew
two considerations: (1) A'ore-statues are not peculiar to
Athens or Athena; (2) ^Tore-statues are offered to female,
not male, divinities. The key probably lies in the dedicatory
inscriptions. Here we find references to dedications oi Korai,
and dedications by men, not women2. Similarly the stele
from the sanctuary of the Chalkioikos in Sparta bears the
one word — Anaxibios. This would seem to rule out a fourth
theory that the statues were personal dedications of female
worshippers, and that the differences in facial type represent
1 A good collection of the earlier views on the Kore type is given by
Ghirardini, Bull. Com. di Roma, ix. (1881), pp. 106 foil.
2 C.I. A., i., Suppl. m., p. 179 ; Lolling, AeXHov, 1888, p. 208.

INTRODUCTION 33
elementary portraiture. In the first place portraiture of
any kind has yet to be established for so early a period ; in
the second place we see that the dedicators are usually male.
On these grounds we shall feel inclined rather to attribute
the sex of the offering to the divinity, and to consider that
the offering of a maiden-statue or Kore of purely indefinite
personality was a suitable offering for a maiden goddess.
The statue then has reference to the deity rather than the
worshipper. Suidas (s. v. iroivn), 3163 b, narrates the
sacrifice of Lokrian maidens to Athena of Ilion. It is
not impossible that the marble Kore of the Acropolis repre
sents the real maiden who was once offered to the maiden
goddess. The seated female figures are more difficult to classify,
as only in two cases are they preserved above the waist.
No. 625 is obviously a statue of Athena herself, and both
Nos. 618 and 620 might be the same. Even if the costumes
of No. 329 and No. 655 be held to exclude the divinity,
there is probably some distinction from the standing Korai.
Possibly matrons were intended, although the costume is
identical with that of the Korai. The great series of seated
terra-cotta figurines shews that the attitude was common
enough in another class of votive offering, if rare among
the marbles.
Figures of Athena or Nike need no discussion. To offer
to a divinity a representation of himself or herself was always
an acceptable offering, and to Athena Nike a statue of her
attendant Nike would be always appropriate1.
With the male figures we again come to a difficulty. The
Moschophoros is clearly not Hermes or another, but simply a
man offering a calf to the goddess. For a perpetual reminder
of his generosity Rhombos or Kombos had the scene trans
lated into stone. The calf is the offering just as the Kore
might be, but in the intrusion of the worshipper we have a
different attitude toward the offering2. There is implied here
also the dedication of the worshipper himself, or at any rate
this feeling begins to come out in such a statue, and reaches
1 At least one of the Nike figures, No. 694, was probably an akroterion.
2 The male sex of the calf in no way precludes its suitability as an
offering to Athena, cf. Farnell, Cults of the Greek States, vol. i. p. 320.
D. 3

34 ACROPOLIS CATALOGUE
its logical fulfilment in such statues. as Nos. 692 and 698,
where we see simply the ephebe alone. There remains the
question whether such a statue represents the dedicator him
self or an ideal figure. In the case of a dedication to Athena
we may accept the former idea unhesitatingly, especially on
the analogy of the Moschophoros. There need be no question
of portraiture, but such ephebe statues would seem to
represent a self-dedication, or at the least a dedication
typical of the worshipper himself, on his own part or that
of another. The same consideration applies to the Equestrian figures
and the Scribes. Here without doubt we are to understand
the statues as dedications of a scribe or a rider as the case
may be. Other theories have been advanced, e.g. that No. 606
represents a vanquished Mede, but neither this nor any other
explanation is really so consistent with the facts. That such
dedications were made is proved by the relief of the Potter
(No. 1332) and the handicraft worker, whatever he may be,
on relief No. 577 ; nor has the scribe any other significance
save to be the representation of a jpafifiaTev<; of the State1.
Whether the riders were the Hippeis themselves or the
attendants of Hoplites has been questioned by Helbig, but
it is now generally accepted that the statue refers to the
livelihood or occupation of the worshipper. Two alternatives
were open, e.g. to a rich potter. He might, like Nearchos,
employ Antenor to make him a Kore, or like  IO£, offer
a picture of himself at his own trade (No. 1332). Thus
Athena might receive a Kore, a statue of herself or Nike, or
a statue of the worshipper.
A fourth type of offering is exemplified in the Groups, the
animals, some of the Reliefs, and miscellaneous objects.
It was possible to offer miscellaneous votives — a pair of
lions (No. 3832), a sphinx (Nos. 630 and 632), a group of
cock-fighters or dice-players (Nos. 160 and 168), a picture of
a sacrifice (No. 581, which perhaps comes rather under the
third head), or a small copy of part of Athena's pediment
groups (Nos. 141, 293). Some Naxians offered a bowl ; the
Hippalectryon came from Ionia, with some heraldic meaning
of its own.
1 C.I.A., i. p. 186, No. 399, gives the dedication of a ypan/j.o.Teis.

INTRODUCTION 35
No. 702, Hermes and the Graces, belongs to Hermes of
the Propylaea, not to Athena, the dogs perhaps to Artemis
Brauronia ; Athena, however, was the recipient of nearly all
the offerings now assembled in the museum, gifts which
once decorated her old temple of the Hekatompedon and
its precinct. § 5. Material and TKCHNiacE.
The material of the poros sculptures of the Acropolis
is the limestone rock (Tra>ptvb<; \i0o<;) which forms some of
the hills of Athens and Piraeus. At the present day the
building-stone of the town comes largely from the breccia
quarries on Lykabettos, but anciently the Munychia hill was
the main source. Of varying quality, one block may be full
of air-holes or fossilized shells, while another presents the
limestone in a pure state. Lechat supposed that the inferior
blocks were used at an earlier period, but a comparison of
the existing sculptures proves a haphazard use of the
material (cf. p. 13). This comparatively soft stone offered
much less resistance to the sculptor than marble, and there
was no need for the use of saw or drill. Lechat, however, is
wrong in supposing that the chisel was not used. The
stone could certainly not be cut with the gouge or with
the utensils of wood-carving. The marks of various shapes
of chisels are apparent on the statues. A clear example is
the owl (No. 56).
No. 1 is a pediment which offers some variation from
the others by reason of its low relief, nowhere exceeding
¦03 m. or a little over an inch. It is probable that this
pediment is the earliest of those that have come down to
us, and the proof lies not only in its style, but also in its
technique. It has already been suggested (p. 12) that the
poros sculptors were largely influenced by vase paintings, and
that in this pediment we have a painter's technique applied
to stone, i.e. the scene drawn on the surface and the back
ground cut away. Although the relief is higher, the Intro
duction and Erechtheum pediments shew a very similar style,
but' No. 2 shews a somewhat different technique and so do
the later poros remains. The figure is no longer treated in
3—2

36 ACROPOLIS CATALOGUE
silhouette but plastically, and consequently the relief is
much higher. Even on the low relief of a later period the
silhouette is abandoned in favour of a perspective principle1.
The application of colour to the poros works proceeded
on simple rules. Two shades of red, dark blue, green,
black, and white tints were used, and the entire surface of
the statue was covered, except where the natural colour
might be used in contrast. The material having no beauty
of its own, thick colours could be used to hide it, and the
consequent effect must have been gaudy in the extreme.
The backgrounds are usually blue, but are sometimes left
plain, the flesh rose, eyelids and brows black, pupils black,
red or blue, hair blue, red or white, and the garment entirely
covered with various hues. A blue chiton and red himation
or vice versa is the rule for the women, and some garments
have border-patterns in addition.
The gaudiness of the effect must of course be discounted
by two considerations : (1) The Greek sun soon tones
down the effect of bright colours fully exposed to it, and
would indeed fail to show up delicate gradations of colour ;
(2) The pediments are primarily architectural and decorative
in character, and must, therefore, conform with the general
appearance of the building to which they belong. The
colours used are conventional with only the slightest relation
to nature. Flesh is uniformly rose, but otherwise the colour-
scheme is arranged with a view to the effect of the composition,
not to reality.
1 As soon as relief deals with the representation of one figure behind
another the problem of perspective arises for the artist. The early Greek
artists solved it in two ways : the Spartans by delineating the farther figure
on a lower plane of relief, the northern Greeks by the principle of fore
shortening. The Chrysapha' stele shews two figures in true profile, each of
their four arms being on a different flat plane parallel with the background.
The stelai of Akanthos, Doriskos, Pharsala, etc., shew the figure in three-quarter
view foreshortened. Attic art in the Hydra pediment starts with the former
principle, which is the natural one for a painting technique working in
silhouette, and is visible too in the fragments of the tethrippos, 575 — 580; but
by the time of the poros pediments of the Hekatompedon foreshortening is
already introduced in the torsi of No. 35 and continues until it results in
the wonderful tour de force of the Parthenon frieze. For a long time
however Attic relief did not entirely free itself from the vase painter. In
Nos. 577 and 1332 we find essential details still rendered by paint, and this
may even be the case in No. 1332.

INTRODUCTION 37
Four kinds of marble, if not five, are to be distinguished
among the pre-Persian works of art. Naxian marble is
represented by a few examples, Parian (with a somewhat
coarser variety labelled in the text "Island") by the great bulk
of the imported statues as well as many Attic ones ; the finer
Pentelic is preferred both before and after the period of
foreign influence, and a small group of statues of an early
date are carved in a greyish dull stone, either from Hymettos
or the upper levels of the Pentelic quarries or perhaps both.
The dates at which these respective materials were used have
already been discussed on p. 13. It is by no means easy
to distinguish between the various kinds of island marbles
without expert help. Naxian marble betrays itself by its
coarse crystals ; Pentelic is distinguishable by its minute ones.
The finer Parian, the Au^i/itj/?, can also be detected without
much difficulty, but the other qualities of Parian, and the
produce of other island quarries are much harder to dis
tinguish. In the catalogue these are all called simply "Island
Marble." With the technique of marble-cutting there is
no need to deal here. Certain advances in mastery over
material may fitly be noted. The saw and the drill both
begin to be freely used, apparently about the transition
period between the Chiot schools and the Attic revival.
The new Kore and No. 669 are good instances of the use of
the saw, and though the drill is much earlier in its first
application, heavy under-cutting for the purpose of throwing
light and shade really starts with the Kore of Antenor.
The whole period shews, of course, the history of the gradual
growth between the primitive xoanon roughly hacked into
some semblance of the human form and the finished master
piece which triumphs over all difficulties of material.
The statues of Korai, as we now possess them, are not
usually carved from a single block of marble. As a rule the
outstretched arm, and frequently also the head, are made in
separate pieces and inserted by means of dowels and tenons.
Occasionally this is clearly the result of an accident, e.g.
in No. 670, where the right lower arm and a piece of the
sleeve are restored in a' different marble. This is not a
necessary consequence of breakage in transit, since the same
feature is visible in No. ,684, which is certainly a native work.
It points rather to a custom of repairing accidental breakages

38 ACROPOLIS CATALOGUE
after the statue was once set in position. 598, 643 and 672
afford good examples of breakages repaired. Even the small
poros figures like No. 52 were elaborately restored. But in
many instances we may suspect that the insertions were
original. A quantity of arms with tenons for insertion are
visible in the wall-cases in Room IV. It was obviously
extravagant, especially when the material was imported, to
waste the great amount of marble that would have to be
hacked away, when any extended arm was made in one block
with the body. In the case of No. 674 the singular beauty
of the head militates against the view that it was not the
work of the original artist and yet it was carved from a
separate block and somewhat clumsily attached. The ordinary
procedure was to secure the tenon in its mortice with cement,
and occasionally also to run metal dowels through the
adjoining surfaces. When visible from the outside, these
holes were stopped with small studs of marble (cf. Nos. 672
and 674). The head of No. 626 is inserted into a mortice,
a dowel is run through from back to front, and finally lead
is run in from a hole in the right shoulder right round the
tenon. This unusual care may be due to an ancient restora
tion where the new tenon proved too small for the old mortice.
In Nos. 676 and 687 we find a part of the head restored and
small additions of drapery are not uncommon, cf. Nos. 672,
674, 680, 694. The eyes of Nos. 681 and 682 and of the ephebe
698 were inserted, in blue glass, if we may generalise from
681. Small hanging locks of hair are also added separately
in many statues. No. 682 has also the intermediate locks
between head and shoulders carved in separate pieces. Thus
we may conclude that the early Attic sculptors worked with
the eminently rational intention of making their block of
marble go as far as possible, and adding outstanding limbs
separately. In small statues not so much extravagance was
involved, but 681, alone among the larger Korai, is carved
from a single block. 678 and 682 were carved from two
blocks each, joined by dowels at the knees1.
1 Insertions (Korai) :
1. Bight arm.
(a) with tenon only, 594, 601, 604, 612, 613, 614, 615, 666, 667, 668,
671, 674, 676, 680, 682, 684, 686.
(b) with tenon and dowel, 584, 600, 670, 673, 685, 688.

INTRODUCTION 39
The statues stand as a rule on small plinths carved from
the same piece of marble and cut roughly round the feet.
These were inserted in the larger bases, numbers of which
are preserved, some still inscribed with the names of donor
and artist1. Unfortunately the connection of statue and
basis has only been made in a few cases. The Korai of
Antenor and Euthydikos, the Moschophoros and No. 665 alone
have been successfully united.
The larger statues have usually a hole in the summit of
the head which is sometimes filled with a bronze rod standing
upright for about six inches and terminating in a spike. For
some time the meaning of these rods was much debated. As
it never appears on vases, we may feel certain that it is not
an ornament, but performs some use for sculpture alone.
Kavvadias first suggested that it was the support of a kind
of parasol to keep off rain and the droppings of birds. The
latter had specially to be guarded against, as we see from the
opening of the Ion of Euripides. The pr/vicr/cos mentioned
in the Birds of Aristophanes2 as a protection for this purpose
has been interpreted as a disc or crescent supported on this
spike, but no trace of such a crescent had been discovered,
nor do any of the spikes shew signs of an attachment.
Any erection would naturally have attracted birds, but the
simple spikes, by occupying the only flat part of the head,
kept the birds from perching on it. Why or whether they
were called meniskoi remains dubious.
2. Left arm.
(a) with tenon only, 598, 614, 666, 685, 688.
(6) tenon and dowel, 671, 672, 679.
3. Head.
(a) tenon only, 598, 600, 604, 615.
(b) tenon and lead-running, 674.
(c) tenon, lead-running, and dowel, 626.
(d) top of head with dowel, 676, 687.
(e) without dowel, 643.
4. Ringlets, 594, 595, 611, 626, 640, 669, 673, 682.
5. Drapery fragments, 672, 674, 680.
1 These are preserved in large numbers in C.I.A., i., especially Suppl. 11.
and in. under No. 373. 609, the basis of the Euthydikos Kore, gives a good
example of the type, cf. Borrmann, Jb. 1888, p. 269.
2 1. 1114.

40 ACROPOLIS CATALOGUE
The application of colour to the marble statues proceeds
on totally different rules from those observed in the use of
poros. The material was more precious, and the statues
were closer to the eye. Colour is only applied to the whole
surface of a garment when that surface forms a comparatively
small part of the whole surface of the statue. Thus the
himation of the Korai is never coloured all over, nor the
chiton when it forms the sole garment. There is only one
statue which goes at all contrary to this rule, the seated figure,
No. 329. The whole of the chiton is here painted bright
blue and forms a large mass of colour, but a himation is
worn in shawl fashion, and the statue is on a small scale.
Decoration is applied to the himation mainly in the
form of borders and of a broad vertical stripe \irapvdyri)
which hangs vertically from the waist, usually between the
legs. A horizontal stripe is found occasionally between
knees and ankles, and small rosettes or other ornaments are
worked in the field of the garment. A rather different
arrangement of patterns is followed in the case of the Attic
peplos (Nos. 593, 679) from that characteristic of the Ionian
himation. Chiton and epiblema also receive borders, and the
chiton when largely covered with the himation is customarily
tinted all over. When worn alone it has ornaments in the
field and borders like a himation (No. 670).
The reasons for these rules are not difficult to understand.
The beauty of the material precludes the obscuring of the
surface with heavy washes of colour such as were applied to
the poros sculptures. The statue, therefore, was just picked
out in colour with its main surfaces left free. These were
not left in the brilliant original whiteness, but the marble
was toned down without obscuring its surface by a system
known as ydvwcnt;. By some method, details of which are
unknown, hot wax was rubbed into the surface of the marble
so as to dull the brightness that would otherwise have made
too great a contrast with the coloured patches.
The colours used are predominantly red and blue. The
latter has usually suffered a chemical change to green, and
Lermann interprets all the dark green shades as originally
blue. Other colours are also found : black, rose, light blue,
light green, and yellow ochre. The chiton is usually blue

INTRODUCTION 4 1
(green ?) to contrast with the red of the locks that fall on the
bosom, the hair usually red. Yellow for the hair is not
however unknown (cf. Nos. 615, 639, 664, 669, 687, and 689)
and may be a later step towards realism. The colours and
patterns of the drapery follow no rule. The eyes are shown
by a red iris outlined with black and with a black centre.
The eyelids and eyebrows are black. The lips are red, the
earrings and stephane picked out in red and blue (or green ?).
The patterns are mainly variations of the maeander,
palmette and lotus (practically universal for the stephane)
or square with stars and rosettes. The field is decorated
with stars and rosettes, or, in the case of No. 682, with
an elaborate honeysuckle pattern. The character of these
patterns points without doubt to embroidered originals.
Had they been woven, geometrical designs would have been
universal. The care and accuracy with which the patterns
are painted far exceed the similar work of vase-painters,
and show the importance of the painter's share in this style
of sculpture. It is hardly necessary to add that the use of colour is still
conventional. Although yellow hair is found, red is the pre
dominant colour both for hair and eyes. The whole theory
underlying the ancient painting of sculpture rests on the
assumption that the colour is not naturalistic, but chosen
primarily with a view to harmony in the whole colour
scheme. | 6. The Costume of the Female Statues.
The costumes worn by the Korai and other female statues
in the museum fall into four divisions1.
1 1. Attic, Nos. 582, 583, 586, 587, 589, 593, 679, and all poros figures.
2. Pseudo-Ionic, Nos. 611, 678.
3. Ionic.
(a) Chiton only, Nos. 602, 625, 670, 683.
(6) Chiton and himation worn as shawl, Nos. 329, 585, 588, 620, 655,
666, 671, 702.
(c) Chiton and himation with additional short overfall on chiton,
Nos. 687, 688.
Id) Chiton, and. himation fastened on right shoulder and passing
under left arm, Nos. 120, 121, 293, 581, 595, 598, 601, 603, 604,

42 ACROPOLIS CATALOGUE
1. Attic.
The Attic costume may consist of three garments : —
(«) A fine linen chiton shewn by wavy folds with sleeves
fastened down the arms by brooches as far as the
elbows. This is worn by Nos. 593 and 679, and
is no doubt the rule. It is probably not a garment
cut to shape, or it would be sewn and not joined
by brooches. It was put on like a sack with the
top and upper part of the sides open, and then
fastened along the extended arms.
(b) A peplos of heavy material, probably wool, hanging
flat and hiding all contours of the limbs. This is
also an unshaped garment designed like a tube
but with the upper part folded over to make an
overfall hanging to the waist. It was not made
of two pieces sewn together, but of one large
piece folded round the body, for only the left
side of the overfall is open, cf. No. 679. The
left arm passed through a hole in the seam on
the left side just below the point where the stuff
was folded over for the overfall, while the right
arm can only have been inserted through a hole
cut in the stuff' at the corresponding position.
The garment was secured on the shoulder by
large pins (cf. the Francois vase, where the same
garment is worn).
(c) A himation or cloak might be worn over both
shoulders like a shawl, hanging low over the
612, 613, 614, 618, 619, 626, 627, 628, 631, 667, 668, 669, 674,
675, 676, 677, 680, 681, 682, 685, 686, 690.
(e) Chiton and himation fastened on left shoulder and passing under
right arm, Nos. 577, 672, 691, 693.
(/) Chiton and himation fastened on both shoulders, Nos 142 600
605, 673.
(g) Chiton and epiblema over left shoulder, round right hip and round
left arm, No. 584.
(ft) Chiton, himation as in (d), epiblema as in (g), No. 615.
(i) Chiton, himation as in (d), epiblema over left shoulder, round
right hip, and round right arm, Nos. 594, 684.
4. Doric.
(a) Doric chiton with modified Ionic himation, Nos. 140, 694.
(6) Simple Doric peplos, No. 695.

INTRODUCTION 43
back and arms. The difficulties caused to the
artist by this garment, when the arms are bent,
are discussed under No. 593.
This costume is worn by all the female figures of the
poros pediments and by the Korai of the early Attic School.
It appears also on the Francois and other early Attic vases.
We have therefore no difficulty in labelling it Attic. The
peplos differed from the Doric chiton only in its material and
its greater tightness, which prevented the arms being brought
out at the top of the tube, and necessitated openings at the
sides. 2. Pseudo-Ionic.
This name is given to the costume of the figures Nos. 611
and 678, which present peculiarities of their own. It can be
studied most conveniently on the larger statue. The Kore is
wearing two garments, for there are two clearly separate edges
round the neck. There are no traces of a seam under the
arms down the sides of the garment which clothes the upper
part of the body, and therefore this cannot be the ordinary
overfall of the Ionic himation, nor can it be the overfall of
the garment which covers the legs, for there would then be an
opening on the left side. Since it has a separate edge on the
neck, it must be a separate tubular garment put on like a
"sweater" over the head, and then fastened with brooches
down the arms. Thus we get a long under garment from
neck to ankles and a short upper garment from neck to hips.
Such garments have no parallel elsewhere, but might well
represent the impression on a stranger of the Ionic himation.
We shall see shortly that the overfall of the Ionic himation
is an integral part of the garment covering the legs, but even
the workers of terra-cotta figurines regarded them as separate,
for we find the overfall painted a different colour from the
skirts. The Chiot sculptors and later Attic sculptors made no
mistake of this kind, but an early Attic sculptor, who wanted
to make a figure in imitation of the new fashion just coming
in, might easily fall into error as to the details of the costume.
It is noteworthy, too, that he represents the angle formed in
front by the overfall of the Ionian himation, though such a
shape was impossible without tailoring for the garment he

44 ACROPOLIS CATALOGUE
was depicting, and also a greater length for the hanging
folds on the right hip as in the Ionic original, although
there was no reason for want of symmetry in his figure.
There can be no doubt that he was copying a fashion which
he did not understand, and a comparison with No. 679 shews
that a statue of identical date and style was still wearing
Attic costume.
3. Ionic.
The Ionic costume, like the Attic, may consist of three
garments. (a) The chiton.
This garment is always represented by a crinkly surface,
and is usually visible under the himation only on the neck
and shoulders. It is best seen in its entirety in Nos. 670 and
683. From these statues it is apparent that it was a long
garment reaching to the feet and made to shape with elbow
sleeves. These sleeves however are very full, as can be seen
when the crossband of the himation is pulled tightly under
the arm. Nos. 682, 594 and many others shew in the left
armpit the fulness of the sleeve pulled up in this way. The
seams of the sleeves are usually sewn but may be fastened
with brooches (e.g. No. 670). When the chiton is worn by
itself, it is girded round the waist and then pulled up over the
girdle to form a koXtto? or pouch. In Nos. 670 and 673 the
fulness of the skirts is pulled together, and falls in folds
between the legs like the 7rapu<f>i] of the himation. The
difference in texture between the upper and lower part is
due to the fact that it hangs naturally above, but is stretched
against the legs below. In No. 687 where the skirts are not
stretched the crinkly effect is visible in the lower part as well.
The material may have been some kind of silk crepe or fine
wool. It was not linen, since a crinkly surface would then be
impossible. When a himation is worn over it we cannot see
whether the kolpos is retained, but it appears in No. 671,
where the himation is worn like a shawl. It is unlikely that
two girdles would be used, and so we must suppose that the
chiton was ungirt in the typical costume. In that case
a shorter kind of garment must have been worn, since other
wise we should infallibly see the skirts of the chiton below

INTRODUCTION 45
those of the himation. There is no difficulty in supposing
that chitons were of two kinds, a longer one when it was
the sole garment, and a shorter one when it was used as a
chemise. (b) The himation.
This was a large garment worn always above a chiton and
usually fastened on the right shoulder after passing under the
left arm. It seems to have been a long rectangular piece of
linen doubled over, like the Attic peplos and Doric chiton,
to make an overfall, then wrapped round the body and
fastened on the right shoulder, so that the fastening came
in the centre of its own doubled breadth.
The back and front were fastened together by brooches
down the right upper arm to the elbow, from which the ends
hung freely down. Below the overfall the garment was girded
round the waist. Occasionally it was fastened on the left
shoulder instead of the right (e.g. No. 672), and occasionally
on both shoulders (e.g. 673), when a hole is left for the left
arm between the fastening and the doubled edge. The normal
fashion is the right-shoulder fastening. But it is not 'simply
wrapped round the body. In the more carefully worked
examples there seems to be a belt passed round the body
first over the right shoulder and under the left arm, and then
the himation is pulled up a little and hangs over the belt.
Otherwise we cannot explain the straight horizontal folds and
the loose vertical folds above them that appear in Nos. 682,
594, and the Nike, No. 690. It has been suggested that the
horizontal folds are caused by the upper edge of the himation
being twisted over. This might explain Nos. 627, 628, 669,
672 and 681, but it will not explain the vertical folds. Some
artificial attachment is essential here to hold the vertical
pleats in place, and this could hardly be managed without
some kind of belt, like that, for instance, on which a modern
Greek Justanella is sewed. This arrangement gives also the
typical triangular shape of the himation in front, and permits
those zigzag pleats that form the feature of the costume. The
girdle is clearly visible in several of the statues (e.g. No. 682).
The corresponding fulness of the skirt to match the pleats of
the overfall is gathered tightly together, and usually falls

A.6 ACROPOLIS CATALOGUE
between the legs, but is grasped by the left hand and pulled to
the side1. A vertical stripe (irapvfyr)) decorates these gathered
pleats. (c) The epiblema.
This is a rare garment occurring only in four statues in
the Museum, in one of which it takes the place of the hima
tion (No. 584), while in the other three it forms a third
garment worn as a cloak above chiton and himation. It is
a rectangular unshaped garment worn loosely without fasten
ings. In two figures (Nos. 584 and 615) it is thrown over
the left shoulder from behind, draped round the right hip,
1 Controversy still exists on the question of the Ionic himation (cf. Kalk-
mann.Jft. 1896, p. 19; Studniczka, Beitrage zur Geschichte der altgriechischen
Tracht, Vienna, 1886) although the other garments of the Ionic costume may
now be taken as settled. A recent writer, E. B. Abrahams, in her book on
Greek dress (London, John Murray, 1908), has revived the theory that the
upper part of the garment with the pleats and the zigzag edges is not an
overfall, but a separate strip attached above a complete chiton with k6\ttos
such as appears on Nos. 670 and 671. But apart from the contrary
evidence of vase-painting, which may be misleading, it is surely impossible
that the colour of the chiton should be different on its upper and lower
portions, and utterly improbable that the separate garment or himation
should be always decorated in the same way as the skirts of the chiton.
Examples from vases and terra-cottas, quoted by Miss Abrahams, afford
a totally inadequate parallel. In such cases colour is applied indifferently
and decoratively. Large and carefully worked marble statues stand in an
entirely different category, and here we find small meticulous patterns
identical on the upper and lower parts of the figures. The chiton on the
other hand is coloured all over. The difficulties which Miss Abrahams finds
in this very obvious arrangement are non-existent. Firstly, the material
which appears in the apex of the triangle formed by the zigzag fold is
certainly a belt. The patterns on Nos. 675 and 682 shew this clearly, and
leave no possibility of its being a kAXjtos. Not only is the guilloche pattern
unparalleled for drapery and suitable for a belt, but the surface of the upper
garment is here visible and is white, not green. Secondly, no difficulty need
be felt in the small vertical folds hanging over the crossbelt. It is true that
they are not exactly true to life — for that matter no part of the garment is
scrupulously accurate — but they represent closely enough the effect of a pleated
edge, double not single, falling over the tightly-drawn crossbelt, to which the
garment was probably sewed. It may be objected that a doubled edge should
not technically shew a border, but the reply is simply that by sewing on to
the crossbelt the doubled edge has become technically a single one. This
overhanging edge is, of course, a later development. The earlier Korai are
shewn without it, simply with a crossband. A garment of the type described
by Miss Abrahams would perform no useful function, and could not be
described as a himation. It is true of course that no lower chiton skirts
appear round the feet of the Korai. Probably, as already suggested, the
coloured chiton was a short garment like a chemise.

INTRODUCTION 47
then in front across the body, and finally wound round the
outstretched left arm. In the other two (594 and 684) it
covers both shoulders, and is wound round the outstretched
right lower arm. In the two latter figures it has an orna
mental border, in the two former it is quite plain. The
rarity of the epiblema is due perhaps to the confusion which
it adds to the sculptural effect. In No. 594 it has clearly
confused the artist, and it naturally interferes with the fine
lines of the hanging folds of the himation.
The Ionic costume is worn by all the imported Korai
and by the Attic Korai which imitate them. The simplicity
of the Naxian version is in direct contrast to the elaboration
of the Chiots. It is still the costume of No. 686, though the
artist of that figure has simplified away the rich effect of the
hanging folds. Its latest appearance is in the Athena, No. 140,
where it is adapted in appearance to the Doric peplos, left
open down the right side, and fastened by a single brooch
on each shoulder. After the Persian wars it was doubtless
abandoned, as Thucydides1 tells us, with other Ionian fashions
for the simpler Doric costume, in which the Athena No. 695
is draped. 4. Doric.
It is hardly necessary to describe the Doric costume. In
its simplest elements it consists merely of the peplos (No. 695),
a rectangular piece of heavy woollen material with an overfall
above, wrapped round the body like a tube and held on the
shoulders by two pins. The arms protrude at the top of the
tube between the pins and the edges of the garment.
The Nike, No. 694, and the Athena, No. 140, wear
himatia, which, but for the greater length of the overfall,
are identical with the Doric peplos. They seem to be a
transitional shape. Below them both wear a tight-fitting
smooth short-sleeved garment probably of wool, with the
sleeves cut to shape.
The Korai and other female figures are also adorned with
jewellery of various descriptions2. Necklaces, bracelets,
1 1. 6. 3.
2 1. The stephane in the hair is universal except in the following instances :
(a) Nos. 643, 660, 669, 681, wear a round circlet.
(6) Nos. 664, 686,> wear a plain band.

48 ACROPOLIS CATALOGUE
earrings, and ornaments in the hair are the ordinary rule. The
footwear consists normally of sandals (Nos. 598, 672, 679,
682), though in one figure (No. 683) we find pointed red
shoes like Turkish slippers, and in three figures (Nos. 681,
609 and the new Kore) bare feet. The newly identified feet of
Nos. 674 and 684 are also bare. The hair of the Chiot Korai
is confined by a stephane or thick band, perhaps of leather,
in which bronze ornaments might be inserted, and which is
shaped with an angle above the ears. Two heads (Nos. 654
and 696) wear instead of this a high polos crown, the mean
ing of which is doubtful. It is referred to Aphrodite, but
may possibly be a part of hieratic uniform. The more dis
tinctively Attic Korai wear either a simple band to confine
the hair (Nos. 678 and 679), or, in later times, a round
circlet (Nos. 669 and 681) which takes the place of the
stephane. The Athena of the pediment (No. 631) wears a
similar circlet round her helmet.
The hair is treated in many different ways, the commonest
being to shew it in a number of separate locks, with tri
angular chisel cuts from above and from both sides. It falls
in a broad mass on the back and in three or four locks on
(c) Nos. 679, 685, wear a bronze wreath.
(d) No. 678 wears a pearl chaplet.
Nos. 641, 648, wear a band across the back hair as well as a stephane.
No. 659 wears a stephane and a pearl chaplet, and has additional
ornaments inserted in the ringlets.
2. Necklaces are worn by
(a) Nos. 593, 595, 684 (carved).
(6) Nos. 668, 670, 675, 678, 679 (painted).
(c) Nos. 627, 659, 669, 675 (attached in bronze).
3. Earrings are worn by all but Nos. 640, 654, and 686.
(a) No. 593 (carved pendants).
(6) Nos. 612, 616, 639, 641, 645, 648, 649, 650, 651, 660, 662, 666, 670,
672, 673, 675, 676, 680, 682, 684, 685, 687 (carved round
disks).
(c) No. 683 (painted).
(d) Nos. 659, 669, 671, 678, 679, 681 (attached in bronze).
4. Bracelets are worn by
(a) (carved) Nos. 670, 680 (left hand), 681, 682, 684, 685.
(6) (painted) No. 680 (right hand).
5. Footwear :
(a) sandals, Nos. 598, 672, 679, 682.
(6) shoes, No. 683.
(c) bare feet, No. 681, new Kore, Nos. 609, 674, 684.

INTRODUCTION 49
each shoulder. In front of the stephane it is arranged in
fringes of very various types, sometimes simply waved back
over the ears, sometimes arched in long undulations, some
times hanging in spiral curls with coils covering the temples,
and often in complicated combinations of two or three of
these methods. It is of course impossible that hair can ever
have been actually worn like this, but doubtless the elabora
tion of e.g. No. 682 represents an equal elaboration in the
original coiffure of the richly-clad maidens of Chios.
The pose of the Kore is almost always the same. The
lower arm of the side on which the himation is fastened
(usually the right) is extended with an offering, while the
other hand draws the drapery tightly against the legs. The
opposite foot is a little advanced, but both legs are straight,
and both feet flat on the ground. The figure is quite
upright and rigidly frontal. The offering is usually an apple
or pomegranate, but Nos. 683 and 685 hold birds.
§ 7. The Esuestrian Series.
The great series of the Korai has afforded us ample data
for the establishment of a chronological system for the
Acropolis statues. The only other type which is represented
by sufficiently large numbers for chronological comparison is
that of the equestrian male figures. An examination of this
series may serve at once as a check upon our chronological
theory, and an illustration of the interaction of Attic and
Ionian art.
Our preliminary difficulty in this investigation is to settle
the type of the Ionian horseman and horse. For the most
part we have to depend on the horses alone as the riders have
only partially survived the accidents of time.
We may start by distinguishing two main types of horses,
represented well by the two mutilated fragments in the
courtyard. That on the left, which is not strictly part of
an equestrian statue, but belongs to a chariot group, shews
us an equine type with broad chest and thick muscular neck.
The mane is represented by zigzag incisions; the eye is
triangular in shape and just behind it is seen a deep hollow.
The horse on the right is narrow-chested, and its neck is thin,

SO ACROPOLIS CATALOGUE
curving back in an exaggerated arch. The bony structure of
the head is smoothed away, and the eye is marked by a long
tear-duct from the lower corner. The mane, too, is dif
ferently treated, being raised from a background which is
picked out in colour. A dividing line down the centre of the
forehead is visible in the former type and not in the latter.
When we compare with these two the other equestrian
figures of the museum, we shall see that these differences
are not fortuitous. Thus Nos. 575 — 580 (on a much more
primitive level), Nos. 590, 606, and 697 all agree in the
conventions of the left-hand horse, while No. 148 and No.
4119 follow the pattern of the right-hand example in their
thin curving necks and their raised manes ; No. 700 is of an
eclectic type.
A priori we should naturally call the more vigorous
and muscular type Attic, the more graceful and elaborate
Ionic, and of late years we have recovered sufficient evidence
fully to bear out that view.
No. 590 is obviously a work of Period I., though it
may belong to the second division. Its resemblance to the
Moschophoros and to the poros sculptures makes this quite
certain. We have already observed that in the treatment of
the horse's body this statue shews close analogies to the left
and courtyard horse, which we may call Type A. The
muscular development is still primitive, and the mane is treated
like those of the horses of the Parthenon pediments, in two
layers instead of one, but there is just the same solid feeling
for life and muscle which is characteristic of all early Attic
work. On the other hand the close resemblance of Type B
to No. 4119 becomes of prime importance after Schrader's
indubitable restoration of its horseman in No. 623. The
head of this charming statuette leaves us in no doubt as to
its Ionian origin. The egg-shaped head and acute smile are
characteristics which we cannot mistake. Types A and B are
respectively Attic and Ionic.
It is now necessary to fix the chronological relation of the
equestrian series. This has already been done most carefully
by Winter, and we shall be able to accept his order without
much alteration.
The oldest group is clearly the fragment of the tethrippos,

INTRODUCTION 5 1
Nos. 575 — 580. Here we get a type of sculpture hardly
removed from vase-painting, and really little developed beyond
the horses of Pediment No. 1. It cannot be dated much later
than 570 b.c. No. 590 comes next, belonging to the last
period of the early Attic school, roughly contemporaneous
with the Moschophoros, perhaps a quarter of a century later
than the tethrippos. In the Attic series the next examples
are the courtyard horse, and No. 606, the "Persian horseman."
A comparison of these two figures shews that they belong to
the same period. Allowing for the weathering that No. 606
has escaped, there is the greatest similarity in all technical
details. This period can be fixed from a comparison with the
vase-painting in the Ashmolean Museum to the period 520 —
500 1. It cannot in any case be brought down as late as
490, so as to connect No. 606 with Marathon, since both
No. 697 and No. 700 are pre-Persian, and exhibit a great
growth in technical skill.
The examples of Type B begin with No. 148, whose
precariously balanced rider displays a technique developed
little beyond that of No. 590. Next in order is probably the
courtyard horse, and the last is No. 623 ( + 4119), where the
rider's head suggests a date contemporary with the main stream
of Chiot art or the decade 535 — 525. The last two figures,
Nos. 697 and 700, fall in the developed period of the Attic
revival. No. 697, which is the finest of all, and the technique
of which is a distinct advance upon No. 700, finds a place
without doubt at the very end of our period. No. 700
presents a more eclectic appearance. Its general features
tend in the direction rather of grace than vigour, and the
archaic tear-duct reappears. At the same time the body
is much better understood than in No. 606. It falls most
naturally perhaps in the decade 500 — 490.
This short analysis of the equestrian figures clearly con
firms in every detail our chronological study based on the
Korai. We have the same evidence of imported Ionian work
under the Peisistratidae, accompanied by a break in the Attic
tradition, of an Attic revival in the decade 510 — 500, and of
a subsequent development in two directions, which we may
describe as Peloponnesian vigour and Ionian grace.
1 P. Gardner, Cat. of Vases in the Ashmolean Museum, p. 30, pi. xiii.
4—2

52

ACROPOLIS CATALOGUE

ABBREVIATIONS

A.J.A.A.M.Annali
Arch. Ariz.
Arch. Zeit.
B.-B.
B.C.H. B.P. W.
B.S.A.Bull. Com. di Roma
Bull, dell' Inst.
Bulle-Hirth C.I.A.
Collignou AeXriovE.A.
'E<£. 'Apx-
Friederichs-Wolters

E. Gardner
Gaz. arch.
Jb.J.H.S.Joergensen Klein.Lechat, Au Mus.
„ Sc. Att.

American Journal of Archaeology. Baltimore
and Princeton.
Athenische Mittheilungen. Athens.
Annali dell' Instituto archeologico. Rome.
Archaologischer Anzeiger. Berlin.
Archaologische Zeitung. Berlin.
Brunn-Briickmann, Denkmdler. Munich, 1897.
Bulletin de Correspondance hellenique. Paris.
Berliner Philologische Wochenschrift. Berlin.
Annual of the British School at Athens. London.
Bulletino comunale di Roma. Rome.
Bulletino dell' Instituto archeologico. Rome.
Bulle-Hirth, Der Schone Mensch im Altertum.
Leipzig and Munich, 1899.
Corpus Inscriptionum A tticarum. Berlin.
Collignou, Histoire de la Sculpture grecque. Paris,
1892.
AgXtlov t?js ' ' Kp^aioXoyiKrjs 'Eratpeias. Athens.
Arndt- Amelung, Einzelaufnahmen antiker Skulp-
turen. Munich, 1895—1902.
'E(prjpep\s 'ApxaioXoyiKtj. Athens.
Friederichs-Wolters, Die Gipsabgusse antiker
Bildwerke in dem k. Museen zu Berlin.
Berlin, 1885.
E. Gardner, Handbook of Greek Sculpture.
London, 1896.
Gazette archtologique. Paris.
Jahrbuch des k. Deutschen Archaologischen In
stitute . Berlin.
Journal of Hellenic Studies. London.
Joergensen, Kvindefiguer i den archaiske graeske
Kunst. Copenhagen, 1888.
W. Klein, Geschichte der griechischen Kunst,
vol. i. Leipzig, 1904.
Lechat, Au Musee de I'Acropole d'Athenes. Paris,
Lyons, 1903.
Lechat, La Sculpture attique avant Pheidias.
Paris, 1904.

ABBREVIATIONS

S3

Lepsius
LermannMartinelli Mi/tJjteia
A. S. Murray
Mus. £Ath.
Overbeds4 Pavlovski „ AeXr. 'Poxrcr.
PerrotRev. arch.
Rev. Et. Gr.
R.M. Schrader, Arch.)
Marm. )
Springer-Michaelis 8
Sybel

Tarbell Wiegand, Poros-,
arch.
50th W.F.P.

Lepsius, Griechische Marmorstudien. Berlin,
1890.
Lermann, Altgriechische Plastik. Munich, 1907.
Martinelli, Catalogo di Getti in Gesso in Atene.
Athens, 1875.
Mvrjp.eia ttjs 'EXXdSor. Athens, 1906.
A. S. Murray, History of Greek Sculpture.
London, 1880.
Musees d 'Athenes. Athens, 1886.
Overbeck, Geschichte der Griechischen Plastik,
4th edition. Leipzig, 1893.
Pavlovski, La Sculpture attique (in Russian).
St Petersburg, 1896.
Pavlovski, AeKrlov 'Pwo-ctikov 'ApxaioXoyiKov
(Bulletin de I'Institut russe d' Arche'ologie en
Constantinople), in Russian. Sophia.
Perrot, Histoire de Vart dans I'antiquite, vol. vin.
Paris, 1903.
Revue archeologique. Paris.
Revue des IStudes grecques. Paris.
Rbmische Mittheilungen. Rome.
Schrader, Archaische Marmor-Skulpturen im
Akropolis-Museum zu Athen (zur Grazer
Philologenversammlung 1909). Vienna, 1909.
Springer-Michaelis, Handbuch der Kunst-
geschichte, 8th edition. Leipzig, 1907.
L. von Sybel, Katalog der Sculpturen zu Athen.
Marburg, 1881.
Tarbell, History of Greek Art. London, 1896.
Th. Wiegand, Porosarchitektur. Cassel, 1904.
50tes. Programm zum Winckelmannsfeste. Ber
lin, 1890.

CATALOGUE
OF THE ACROPOLIS MUSEUM
VOLUME I. ARCHAIC SCULPTURE

A. Forepart of Horse (in Outer Court). Found near Propy
laea. Parian marble.
H. 1"16 m. (head to
chest). L. -87 m.
In two pieces, the
head and neck added
separately. Missing — legs, hind
quarters, and front of
head. The marble is
much weathered, the
surface rough, and there
is no colour surviving.
The statue must have
stood for long in the
open air. The head is turned over the left shoulder. The
mane is shewn by regular incisions in two fringes with its
top hollowed. There is a hole for the bridle at the top of
the head. Two slanting holes on the back must have also
served for attaching harness, of which a fragmentary bronze
rosette on the chest is another trace. The muscles of the
chest are conventional, but we see regular incisions to
indicate the folds of flesh under the jaws and between the
forelegs. The forehead is well moulded with deep hollows
behind the eyes. There is no support under the horse's
belly, but at the back there is a band of marble going right

56

CATALOGUE OF

across the body underneath. Behind, the body is cut off'
straight. This fact, combined with the absence of a rider
and the holes for harness, suggests that we have here part of
a chariot relief in which the horse is represented as project
ing straight out of the background like the horses on the
metope from Selinos. Nos. 575-580 represent a similar group
in miniature. . The work is rather formal, but there is
considerable vigour in the form of the head. Part of
another horse belonging to the same group is to be seen on
the entrance steps by the Beule gate. It is said that both
were found on the slope below the Propylaea, so that we
may assume them to have been a dedication in memory of
some victory, like the bronze chariot and horses in memory
of the great victory of 506 b.c, which Pausanias described
(i. 28. 2). The style of the horses is approximately the
same as that of No. 606, which we can date in the last
decade of the 6th century.
Winter, Jb. vin. 1893, p. 138.
B. Part of Equestrian Statue (in Outer Court).
Parian marble.
H. 1-17 m. to centre
of thighs. L. (body
only) 1 -30 m.
Put together from
9 pieces. Missing — forepart
of head, legs, tail,
greater part of right
side, and much of the
surface of the left side,
which has been deliber
ately hacked off. We
see traces of the rider sitting much too far forward ; a hole
above the head served for the attachment of the bridle.
This torso shews a very different style from the last.
The whole treatment is flatter and less vivid, although there
is greater delicacy of detail. The surface is well finished and
the mane is picked out carefully in white locks against a red
background. The eye shews a vertical downward slit for

THE ACROPOLIS MUSEUM 57
the tear-duct. The muscles of the shoulder though treated
with clearness are too flat. The swelling of the neck in
front is rather too prominent. The topknot in front is .com
posed of twisted locks. These characteristics point to Ionian
authorship, cf. p. 50.
Winter, Jb. viii. 1893, p. 139, fig. 9 ; Lechat, Sc. Mt.
p. 275.
1. Pediment in low relief representing the combat of
Herakles and the Hydra.

Found in 1882 to the S.E. of the Parthenon
Poros, mainly of a coarse kind.
Height "79 m. Length (restored) 580 m. Thickness
•16 m. to -18 m. Angle of slope 1 in 7 "34. The height of
relief does not exceed '03 m.
The composition originally consisted of six slabs, five of
which are still preserved for the main part. An important
lacuna, however, is the head of Herakles. The four slabs on
the left are of a coarse poros full of shells and holes, the latter
of which have been partially filled with colouring matter,
while the fifth slab is of a closer grain without holes or
shells. Herakles stands just to the left of the centre with legs
firmly planted wide apart. The head is missing, but there
remain traces of a beard in profile. The right hand brandished
over the head a club of which the upper half remains, and the
left is extended clenched in the direction of the Hydra. The
hero is clad in a cuirass, of which the sharp edges under the
left arm betoken a metallic material, presumably bronze. On
its surface the main lines of the torso muscles are engraved.
Across the cuirass from the right shoulder runs the strap of

58 CATALOGUE OF
the sword-belt. Part of the sheath with two tassels hanging
from it is visible under the left armpit. Legs and arms are
bare. Facing the hero is the Hydra, whose coils fill the
right half of the pediment, Starting from the tail the body
is divided into three bands separated by incised lines and
distinguished by colour. After two undulations the body
forms a complete coil and then separates into nine long
necks, each three retaining the colour of their original band.
Of the nine heads seven are represented with gaping jaws and
forked tongues in conflict with Herakles, while two hang
down already lifeless. They are all provided with beards.
Immediately behind Herakles stands the charioteer lolaos
with body facing left and head turned sharply to the right
over his shoulder. His right foot rests on the ground, his
left on the step of the chariot, which occupies the greater
part of the left half of the pediment. He holds the reins in
both hands, and in his right hand a goad in addition. He is
bearded and clad solely in a cuirass probably of leather,
judging from the rounded edges. The chariot is of a type
familiar in black -figured vases, with a strap from the rim to
the end of the pole, which shews above the backs of the
horses. These, two in number, lower their heads to the
ground and appear to be snuffing at a gigantic crab, which
fills the left corner of the composition. The outline of the
farther horse follows that of the nearer and is only distin
guished from it by colour. They wear small saddles
attached by breast straps and girths. The ring above
the saddle gives the side view of the yoke-cushion and the
straight bar in front is the outside handle or horn of the
yoke, while the red projection behind the cushion is probably
the end of the pole curving upwards.
As far as can now be determined, the colour scheme was
as follows: background, plain; crab, rose; nearer horse, dark
blue (now green), red mouth and nostrils, black bit, red
mane; further horse, uncoloured; saddle, reins, girths, pole,
pole-strap, red and rose; yoke-cushion, black; yoke-handle,
plain (? red) ; chariot, red with a red line on plain wheels ;
lolaos, flesh rose, dark (? blue) cuirass, dark hair, beard, and
eyeballs; Herakles, flesh rose, plain cuirass, red sword-strap
and tassels, dark beard; Hydra, two outside divisions of body

THE ACROPOLIS MUSEUM 59
dark, middle division plain; the heads correspond with
their respective divisions save that the two visible middle
heads are green; all have black tongues and eyes and red
mouths. The middle of the coil and the background above the
chariot are discoloured by fire.
The execution of the pediment has been too hastily
condemned as clumsy and primitive. Crudities of composi
tion like the head and legs of lolaos and the general flatness
of the large surfaces are due to the lowness of relief which
provides difficulties of a special kind to the primitive artist.
The pediment is not really plastic in treatment, but is
practically a drawing on stone with the background cut out.
Thus comparisons with the other poros compositions have to
be made with reservations. We may on the other hand
notice the clever design of crab and hydra for the pediment
corners, and the touch of nature in the position of the horses.
The treatment of the nude is superficial but not more so
than in the other pediments, and in the case of Herakles the
lines of the torso muscles are correctly indicated.
The resemblance in design to vase-paintings is obvious
(cf. Introd. p. 12), and we have here the clearest case of
imitation both of subject and technique. We can hardly
be wrong therefore in calling it the earliest of the poros
pediments. A date about 570 b.c. is suggested in the Intro
duction. Mylonas, 'E</>. 'ApX., 1883, pp. 39, 40 ; Purgold, 'E0.
'APX., 1884, p. 150, pi. vii., 1—3; id. ib., 1885, p. 233; Meier,
A.M., x. (1885), p. 237, 322; Studniczka, ib., xi. (1886),
p. 61; id., Jb. i. (1886), p. 87; MvVfieia, p. 15, pi. iv. 4;
Botticher, Die Akropolis, p. 76; Lechat, Rev. Arch. xvii.
(1891), i. p. 325; id., Au Musee, p. 26; id., Sc. Att., p. 24;
Collignon, i. p. 213; Overbeck4, i. p. 180; L. Magne, Le
Parthenon, pi. xix.; Pavlovski, Ae\T. 'Vwav., vin. (1895), ii.
p. 39 ; id., Sculpt. Att., p. 39, fig. 3 ; E. Gardner, i. p. 159
H. Brunn, Grkch. Kunstgesch., i. p. 137; Antike Denkmdler.
No. 16; Furtwangler, Roscher's Lexicon, i*. p. 2198
J. Schneider, Die 12. Kampfe des Heracles, p. 27; Perrot
viii. p. 533, fig. 273; Wiegand, Porosarch., p. 192, pi. viii. 4
Klein, p. 91. .

6o

CATALOGUE OF

2. Pediment in high relief representing the combat of
Herakles and the Triton. Found in 1882 at
thesametime and place
as No. 1, to the S.E.
of the Parthenon.
Poros of varying
quality. Height -63 m.
Length 1'64 m.
Angle of slope ap
proximately equal to No. 1 (1 in 7 '34).
Height of relief -18 m.
It is not possible to estimate the exact height or length
of the pediment, as we do not possess the central point, but
it would seem to be approximately the same size as No. 1.
The preserved portions belong to the right side of a
pediment and consist of three main fragments: (1) the bodies
of Herakles and the Triton, (2) an undulation of the Triton's
tail, (3) a fragment further to the right of the background
of the pediment. The second fragment is of an inferior
material to the other two.
The scene shews the wrestling of Herakles and the
Triton. The hero, who is nude, leans against the body of
the monster, both facing to the left. His right knee is bent,
but does not quite touch the ground, while his left leg, bent
at the knee, has the foot flat on the ground. His head is
buried behind the shoulders of the Triton, and with his
arms he clasps him round the neck and left shoulder, the left
hand holding the right wrist. This attitude of the hands is
paralleled in vase-paintings1, where, however, the hero is shewn
astride of, not beside, his antagonist. In the Assos frieze
the body is in the same attitude as in the pediment, but the
hands, instead of throttling the monster, grip his arms to
prevent him from escaping. In both cases the Triton is
intent on flight, not resistance, a difference from the group
No. 36. The Triton's hair is long and hangs on his neck.
It is divided vertically by fine incised lines, but is neither

1 E.g. Gerhard, op. cit., ii. No. 111.

THE ACROPOLIS MUSEUM 6l
worked nor painted behind. His head is in profile, and his
right hand is outstretched as . if in supplication, while the
left hangs powerless by his side. Both are empty and have
the fingers extended. Below his waist starts the fish-body
divided into two longitudinal bands, one of which has curved
lines incised across it. It extends in two undulations towards
the corner of the pediment. The whole group is coloured a
dark brick-red. The second fragment shews one of the
undulations of the Triton's body with a fin on the top of the
curve. The colour is very faint and the material inferior.
A third fragment gives a small piece of the background with
a narrow red stripe along the top edge and traces of yellow
below. This pediment avoids some of the crudities of No. 1,
owing to its greater relief-height, which permits of a more
plastic treatment. However one must notice that the right
leg of Herakles is much longer than his left, and that his
right upper arm is out of proportion to the rest of his body.
In details of execution it seems to belong to the same period
of technique, but in artistic conception it must rank higher,
since it is a definite tridimensional group, not a mere
drawing on stone. It is -also the first effort to group figures
in perspective, one behind the other. In type, like No. 1, it
seems to be an adaptation of a stock design. Considerable
controversy has existed on the question whether the two
pediments belong to the same building. In the light of the
arguments adduced in the Introduction, p. 17, this view
must be held untenable.
Mylonas, 'Eo5. 'ApX-> 1883, p. 39; Purgold, ib., 1884,
pi. vn. 5; id. ib., 1885, p. 242; Studniczka, A.M., xi. (1886),
p. 61, pi. n.; Meier, ib., x. (1885), p. 327; Escher, Triton u. s.
Bekampf. d. Herakles, p. 125; Lechat, Rev. Arch., xviii. (1891),
n. p. 12; id., Au Mus., p. 36; id., Sc. Att., p. 32; Bruckner,
A.M., xv. (1890), p. 119; MvVfiela, pi. iv., pp. 20, 21;
Wiegand, Porbsarch., p. 195, fig. 213; Klein, p. 90.

62 CATALOGUE OF
Pediment in high relief representing the introduction of
Herakles to Olympos.

The various fragments were found in 1888 E. and S.E. of
the Parthenon.
Poros of good quality.
Height (to top of taenia), '94 m. Length (total restored
6 60 m.) of existing portion 1*74 m. Angle of slope, 1 in 3£.
Height of relief "27 m.
The composition has recently been put together by
Professor Heberdey from a large number of isolated pieces.
As existing at present it consists of the centre and about
half the right side of a pediment with a blue background
surmounted by a taenia of reel-moulding, against which are
four figures with evidence for a fifth in varying stages of
relief. Just to the left of the centre is seated a bearded male
figure in profile to the right, on a high-backed throne with
footstool. His sitting height is 90 m. Part of his hair,
left arm, right arm from below elbow, left leg, and most of
body below waist are missing. The throne exists in fragments.
The head was attached by means of a large iron bar, still
visible, the upper left arm was inserted into a square cutting,
and a similar, though smaller, cutting served for fastening
the right foot. The figure wears a close-fitting short-sleeved

THE ACROPOLIS MUSEUM 63
chiton reaching to the ankles with a tightly folded himation
above it passing over the left shoulder and under the right
arm. Part of. the himation falls over the right arm of the
throne. The borders of the plain chiton are decorated with
a red tongue pattern, while the dark blue himation had a
red border with a plain maeander on it. On the feet are red
sandals, on the head a diadem with maeander pattern from
which rise small rays or leaves. The hair is waved in front
and divided by fine lines, while it falls behind in a heavy
mass divided into horizontal waves. The pointed beard is
divided by fine criss-cross lines and the end is missing. The
raised left hand held a slanting object long enough to reach
the side of the female figure, which may have been a Sceptre,
while the right arm rests on the arm of the throne, holding
some object in the hand, of which there are traces on the
right knee. The throne is straight-backed and has a panel
behind covered with a diamond chequer pattern in white, red,
brown, and black, while the inside is coloured red. The seat
is decorated with eight-leaved rosettes and zigzags incised,
and the legs are straight with the customary palmette orna
ment below surmounted by eight-point stars. A red cushion
rests on the seat, and the red footstool has a large raised
maeander pattern. No traces of flesh colour are visible.
The figure may be safely recognized as zeus holding a sceptre
or a thunderbolt, and, probably, an eagle.
To his right and slightly further from the centre of the
pediment is a female figure seated full face. Her connection
with Zeus is proved by the existence of part of her foot on
the same fragment as that of the male figure, and also by
correspondence in the background. Missing are her head,
most of the left hand, right elbow, and all the body below
the waist except a fragment of the right foot. She is clad in
a long close-fitting peplos and himation of Attic type, girt
at the waist, with, the himation over the shoulders. The
peplos is dark blue with a large red maeander neck border,
the himation red with a border of crosses and stars in blue.
Three locks of hair in straight ringlets fall on each shoulder,
and a fourth is visible on the neck. Round the neck is a
tight plain band. The hands are bent across the breast, the
right with fingers extended, the left holding a rod-shaped

64 CATALOGUE OF
object, probably a sceptre, at a sharp slant. The throne legs
are decorated with raised circles and eight-point stars. The
height of the neck from the ground is "70 m., which allows
•215 m. for the head. This seems to preclude the possibility
of a helmet, and so makes it highly probable that the figure
represented is hera and not Athena, especially as there is no
aegis. To the right of Hera the blue-green background of the
pediment is broken by three ridges which must have served
for attaching standing figures. The small size of these
figures, due to the decreasing height of the pediment, would
compel them to be practically in the round and artificially
connected with the background, if they were to be visible
from below. These figures would naturally face the centre
of the pediment, and Professor Heberdey has in fact found
two figures of the correct scale which have traces of similar
ridges on their right sides. The larger of these is a figure
of herakles (restored height "71 m.) put together from two
fragments above and below the waist. The hero strides
forward with the left leg and right arm outstretched shewing
the body in three-quarter view. Missing are the right half
of the face and the whole surface of the right side, and front
of body below the neck ; also both arms, the right leg, and
the left leg below the middle of the thigh. The back and
portion of the left leg are well preserved and shew great
detail. Herakles is clad in a skin-tight chiton reaching to
the mid-thigh with a ray ornament round the neck and a
maeander round the lower border. Above it he wears girt
round the waist a lion-skin with the head drawn over his
own head, the fore paws tied round his neck and the hind
paws hanging down his thighs. Under the left arm passes
a band perhaps for sword or quiver. The hair shews in
waves below the lion's teeth, and his close beard is divided
like that of Zeus by parallel vertical lines. The mouth ends
in a downward cut, and the eye is shewn almost in full face
with carefully carved lids.
The second figure is smaller and female, consisting of a
torso from neck to mid-thigh clad in a skin-tight blue chiton
with a red scalloped border below and plain red edge round
the neck. Above is a red fawn-skin with white spots and

THE ACROPOLIS MUSEUM 65
border. The figure strides forward with the right leg and
extends the right arm so that the body is in full view. The
left arm rests on the hip, and the hair seems to have been
short. The curves of the body are very much exaggerated.
The identity of the figure is doubtful, though iris has been
suggested. It was called an Amazon on first discovery
before being connected with the pediment.
Judging from their scale and from the indications of the
ridges, these figures belong to the two last of the three
ridges on the background, so that we have one still vacant
next to Hera. If, as seems probable, the subject of the
pediment is the introduction of Herakles to Olympos, the
missing figure can hardly be other than athena, and
Professor Heberdey has suggested that in No. 50 we possess
perhaps the head of the missing goddess. It does not, how
ever, seem possible that that head can have belonged to this
pediment (cf. p. 89). The floor of the pediment is uneven
and sloping, and may be intended to represent the summit
of Olympos. The top under the cornice is decorated by a
heavy reel-ornament ("115 m. high) in red and blue and
plain colour.
It is also possible, as Professor Heberdey has pointed
out, that in the three figures Nos. 48, 54, and 55, we have
portions of the missing left half of the pediment. All are
joined to a background by ridges on their left side. Inventory
No. 4557 also shews the feet of two figures walking to the
right, but the relief appears too low to belong to any of the
three figures mentioned. Doubtless the left half of the
pediment was occupied by figures representing the assembly
of the gods.
The execution of this pediment is technically superior to
that of the two already described. In design and grouping
however it is inferior to No. 2, since the scene is certainly
not so cleverly adapted to the limitations of space. Here
again both the scene and the individual figures can be
accounted for by vase-paintings. For the Herakles, cf. in
particular a practically exact parallel in a red figured vase
of Euphronios now in Munich (Walters, History of' Ancient
Pottery, 1. pi. 38). The figure of Zeus can be paralleled
exactly on the Francois vase, and we can feel little doubt
d. 5

66 CATALOGUE OF
that both pediment and vase are reproducing an artistic
conception of the middle 6th century. Thus the parallels
to this pediment afford important chronological data, cf.
Introduction, p. 18.
The pediment displays both vigour of conception,
especially in the two smaller figures, and also great love
of decorative effect, especially in the two seated figures. In
its embroidered borders it is a forerunner of the marble
Korai, Nos. 593 and 679, and the figure of Hera may be
compared very closely with these statues. But the especial
interest of the pediment lies in the heads of Zeus and
Herakles. From these two, from lolaos in No. 1, and from
No. 55, we can trace the early Attic type of male head.
The head is deep in comparison with its height below,
and broad at the jaw in comparison with the forehead.
The eyes are straight and pointed with lids carefully cut
and the upper eyelid much more arched. The nose is narrow
above and broad at the nostrils, the mouth has only a
-•slight curve and is terminated at the corners by vertical
cuts. The hair is treated in waves close down on the
forehead, the beard pointed, with fine incised lines and
following a clear outline on the jaw with a sharp angle in
the centre of the cheek. The ears are large and clumsy.
The same head can be traced through No. 35 to the
Moschophoros (No. 624), and is the norm of early Attic art.
As to muscular form Zeus is quite covered by his clothing
save for the correct and vigorous right arm, but Herakles
and Iris both shew the heavy, rather exaggeratedly fleshy
curves which we shall observe both in the pediments of the
old Athena temple and in the marble gigantomachy pediment.
The decorative detail is very complete and shews that even
before the period of Ionian influence such tendencies were
prevalent in native Attic art.
Head of Zeus: Wolters, A.M., xiii. (1888), p. 437; AeXrlov
1888, Aug., p. 154, Sept., p. 164. Zeus: Lechat, Rev. Arch.
xviii. (1891), n. p. 155, pi. xv.; Wiegand, Porosarch., pi. viii,
1 and 2, p. 97, figs. 98, 99, 101; Perrot, vm., fig. 276
Lermann, fig. 3 ; Furtwangler, Munch. Sitzungsber., 1905
p. 448. Hera: Wolters, A.M., xii. (1887), p. 267; Lechat,
B.C.H., 1888, p. 341; id., Rev. Arch, xvii. (1891), i. p

THE ACROPOLIS MUSEUM 67
320, d1. xii.; Aekrlov, 1898, Jan., p. 11 (a); Pavlovski,
AeA/r. 'Pfflo-c-., vin. (1895), 11. p. 74, fig. 15 ; Wiegand, Poros-
arch., pi. viii. 3, p. 101, fig. 100; Furtwangler, he. cit.
Herakles: AeXriov, 1888, Feb., p. 31; Wolters, A.M., xii.
(1887), p. 387; Lechat, B.C.H., 1888, p. 242; Bruckner,
A.M., xiv. (1889), pi. m. 2, p. 79; Pavlovski, op. cit., p. 67;
Mvnfieia, p. 15, pi. iv. 3; Wiegand, op. cit., pp. 208, 211,
figs. 226, 228, 229. Iris: AeXriov, 1888, May, p. 82; Lechat,
B.C.H., 1888, p. 334; E. Gardner, J.H.S., 1888, p. 263;
Wiegand, op. cit, p. 211, fig. 227.
3. Group in high relief of two lions devouring a bull.

The various fragments of this group and of the group
in the next room were found together in 1888 to the E. and
S.E. of the Parthenon.
Poros of fine quality.
Total length 5-35 m. Existing height "97 m. Height
of relief 60 m.
The bull is more nearly complete, lacking only the right
horn, shoulder, part of back, and part of right legs and tail,
but of the lions only portions of the legs and claws with a
large fragment of the left lion's torso remain. Fragments of
their tails are also to be seen in a small glass case to the
right of the group.
The group represents a bull pulled down by two lions,
who pin him from opposite sides by his horns and left
hind leg, while they rest their weight on his body and dig
their claws into his side. The bull is thus pressed down
flat against the ground, while the lions are probably to be
restored raising their heads in the air in the centre of the
composition.
5—2

68 CATALOGUE OF
The group is almost exactly symmetrical. Of the left
lion we see the left hind paw holding down the bull's left
hind leg, while the right hind paw stands free ; the right fore
paw is seen dug into the bull's side, while streams of blood
issue from the wound. Similar streams of blood suggest
that the left fore paw should be restored next the right fore
paw of the right lion on the back of the bull, and a small
fragment above the right fore paw without blood below it
shews where the body of the lion rested on the bull's back,
while the head must have been raised. The hind paws of
the right lion are similarly placed on the horn and on the
ground, while holes with blood below them shew where we
must restore the left fore paw symmetrically with the right
fore paw of the left lion. Here too we have the right fore
paw and traces of the body on the back of the bull, and here
again the head must have been raised in the air. The only
difference in pose is that, judging from the attitude of the
hind legs, the hind-quarters of the right lion were higher,
those of the left lion more crouching. The bull lies extended
with left hind leg stretched out behind, right hind leg in an
impossible position under the body, right fore leg under the
body, and left fore leg stretched out in front. The tail is
tucked between the legs, the head, bent over so that the
forehead touches the ground.
The torso of the left lion, which has been put together
from several fragments, and now stands under the window on
the west wall, shews that it was uncoloured but had a red
mane with plain incised lines. The mane lies flat on the
neck and chest in rounded locks. The right lion on the
other hand is coloured red. The claws of both are un
coloured, while the hairs above the claws are shewn by black
incised lines, and the pads by a number of small holes
designed to give a velvety effect. The tails are dark blue
with plain incised lines. The bull is dark blue with the
inside of the ears, nostrils, mouth, and rims of eyes red.
The muzzle is uncoloured and covered with the same small
holes as the pads of the lions. Red blood pours from his
wounds. The execution of the group is particularly good. In
spite of the clumsy attitude of the bull's hind legs, the

THE ACROPOLIS MUSEUM

69

impression is one of great vigour and life. The creases in
the neck of the bull, though really out of place above since
the neck is being strained to its full extent, and the treat
ment of the muzzle and the lion's pads, give great variety to
the surface appearance. The muscles of the legs, though
conventional, give a good impression of strength, and the
bull's head is full of expression if without much resemblance
to nature. In comparison with the group on p. 76 we see
the clearest distinction between its lifelessness and conven
tionality, and the fresh vigour of this composition. As to
its architectural nature, various ideas have been advanced.
Watzinger's erroneous restoration with the heads low on the
bull's back gave the group an oblong shape, which suggested
the decoration of an altar. It was at one time thought to
be a sculpture group in the round, but it is now clear that
though partly free, it is as a matter of fact attached to a
background, and thus part of an architectural whole. It
might of course be a pediment, like all the other fragments
of poros sculpture on the Acropolis, but in that case the
necessary dimensions are larger than the Hekatompedon or
any other poros building known to us. The question
thus remains problematic. In date there can be no doubt
that it belongs to the most developed period of poros
technique. The bibliography of all the bull and lion fragments is
given on p. 78.
Fragments of a pedimental relief representing a building
WITH OLIVE-TREES.

fO CATALOGUE OF
Found in January 1888 opposite east front of Parthenon.
Poros of varying quality.
Length of fragment 1 '48 m. Height "80 m. Height of
relief '17 m.
The restoration was first taken in hand by Wiegand, and
a large fragment has now been restored by Heberdey.
The upper edge of the pediment is decorated with a
tongue pattern in red and blue, and a square taenia below
with a blue maeander design. In the centre of the pediment,
filling rather more of the left side, is a building with a hipped
roof. The walls consist of seven courses of alternately thick
and thin blocks represented by incisions, and in the centre of
the pediment to the right of the building is a door reaching
to the roof. A jamb projects on the left of the door, and
possibly also on the right, but the wall is here broken away.
The inside of the building is painted black. The roof is
tiled with flat tiles, whose joins are covered by pentagonal
covering tiles. Below it the cornice and mutuli are visible.
There are two rows of black guttae under the mutuli and the
viae are red. There is also a red line on the cornice. On the
top of the roof in the centre of the pediment is a large
hole, probably for a dowel fastening it to the cornice of the
pediment. To the left of the building the branches of an olive tree
or trees are incised on the background, and below at a relief
depth of -13 m. is a wall (height '296 m.) of five regular
courses of blocks.
Remains of three figures are preserved :
(1) Fragment of a bare left male leg in profile to right
(height -235 m.) in relief against the lower wall.
(2) From neck to mid-thighs of a female figure also in
profile to right in relief against the left part of the wall of
the building. The figure is clad in long red peplos, girt at
the waist, with three bands of decoration round the neck, and
a blue himation over both shoulders, with an uncoloured
maeander border. The left hand is raised, the right arm
bent at the elbow, perhaps carrying a stick close to the
body. (3) The figure No. 52, known as the " Hydriophore."
Height from ankles -385 m. The figure is female, upright,

THE ACROPOLIS MUSEUM 7 1
with left arm raised and right arm across the body. The
legs appear to be together, and the lower part of the body is
stiff' and shapeless. The feet and lower part of the legs are
missing. She is clad in a red peplos and dark blue himation
worn over both shoulders. On her head is a round cushion
like object broken above, which is probably either the foot
of a " hydria " or a pad for carrying one. The hair is waved
in front in furrows and falls behind in a heavy mass with
three long locks on each shoulder. A band confines the
back hair. The eyes are large and prominent, sloping down
wards. The lips end in a slight swelling and downward cuts.
The neck is long and the figure oval in section, with a raised
curve for the bosom but no separation of the breasts. The
right arm is square, as the edges of the planes have never
been rounded off. There are remains of leaden dowels on
each shoulder, at the ankles, and on the left arm. These
probably represent ancient repairs.
This figure is in the round unlike the others, but is
carelessly worked behind. Heberdey has placed it to the
right of the door at the right corner of the building, not in
the entrance, as Wiegand suggested. The reason for this is
that the figure would be too large, with a water-pot on the
head, to stand under the roof of the building, and the right
side seems to have a cut made in the roof, perhaps for the
accommodation of the figure. Also a large leaden dowel is
affixed here to the roof, which may have a connection with
the dowels on the figure's shoulders.
On the other hand it is dubious if the figure should be
placed in three-quarter face as Heberdey has placed it. There
seems no good reason why it should not face due front.
The building has been interpreted as the archaic Erech
theum on the ground of the olive trees on the wall, which
are supposed to be the sacred olive tree and the wall of the
Kekropion. The two female figures have been identified as
priestesses carrying water and the male figure as an attendant
or worshipper. But such an interpretation is somewhat
arbitrary. The building does not look like a temple, and
there are several olive trees, not only one. The scene might
then be a fountain house, perhaps even the rape of the
Athenian maidens from Enneakrunos.

72

CATALOGUE OF

The larger figure is important in the history of art as the
completest example of a female figure in poros. L'he costume
resembles that of No. 593, and the band in the hair behind is
paralleled by Nos. 678 and 679. The characteristics of the
face, with large triangular eyes and straight mouth terminated
by cuts, are typically Attic. The style is certainly primitive,
but the clumsiness of the right arm is probably due to want
of finish. It belongs to the earliest class of the poros works.
Wolters, A.M., xii. (1889), p. 267 ; AeXriov, Jan. 1888,
p. 11 f3 ; Lechat, B.C.H., xii. (1888), p. 241 ; id., Rev. Arch,
xvii. (1891), pi. xi., p. 317; id., Au Mus., p. 16 (Hydriophore);
id., So. Att, p. 62 ; Wiegand, Porosarch., p. 197, figs. 214 —
220, pi. xiv. ; Petersen, Die Burgtempel der Athenaia, pp. 21 —
40; Collignon, i. p. 206, note 2; MvntMela, p. 11, pi. iv. 1 ;
Pavlovski, AeXr. 'Vcocr*., vin. 2 (1895), p. 72.

11. Mask.

Good poros.
Height -15 m.
A mask of very good ma
terial with the features roughlv
scratched on a slightly convex
surface, and emphasized by
red paint. The surface is
finely chiselled all over and
was probably a fragment re
jected from some larger block.

12. Mask.
Coarse poros.
Height -18 m.
A mask cut with a much blunter instrument on a slightly
concave surface. The material is rough without any pre
liminary chiselling.

THE ACROPOLIS MUSEUM

73

25.

These masks are of course
not serious work, but probably
cut roughly by workmen in their
leisure moments. A roughly
blocked-out sphinx is preserved
in the same wall-case, and a
number of small poros objects
are to be seen in the Magazine.
Lechat, Rev. Arch, xvii.
(1891), p. 312, pi. x.; Wiegand,
op. cit, p. 231, figs. 246, 247.

Left hand holding bird's claw.
Breadth of closed fingers
•05 m. No paint.
This has been attributed
by Heberdey to the nymph
running from the contest of
Herakles and Triton. It seems
however very small. Wiegand's
attribution to the Zeus of the
Introduction pediment is im
possible since Heberdey's restor
ation of that pediment.
Wiegand, op. cit., p. 105, fig.
108.

31.

Right foot in laced glove-like boot.
It is coloured pink. Length "11 m.,
and preserved as high as ankle (06 m.).
A small projection on the big toe
belongs to the background. The shoe
is paralleled on the Francois vase.
Heberdey attributes this to a statue
of Athena filling central position in large Triton pediment.
Such a restoration is of course purely conjectural.
Wiegand, op. cit, p. 207, fig. 224.

74 CATALOGUE OF
Fragments of a Snake from a pedimental group.

The various fragments were found in 1888 to the E.
and S.E. of the Parthenon.
Poros of good quality.
The main piece of 1"70 m. in length.
The estimated total length on restoration would be from
2-00 m. to 210 m.
Height of head -375 m. Relief height -87 m.
The body of the snake after four flat undulations from
the left describes a complete coil and then rises to a head
with widely opened jaws. The upper half of the body is
divided longitudinally by narrow red and broader blue bands.
The latter are divided obliquely by plain bands, and the
trapezoidal spaces thus formed have a smaller plain trapezoid
in the centre. These spaces do not decrease in size till quite
near the tip of the tail. The under part is divided across by
incisions into wide oval-shaped scales. The eye and the teeth
are shewn plain, the interior of the mouth red. Painting on
both sides of the head shews that it was seen full face, not in
profile. The snake clearly occupies the left corner of a pediment.
A lead-running fastened the extremity of the tail to the
floor. Behind the main coil is a cut sloping surface parallel
with the top of the pediment. On this rested the top taenia
of the tympanon wall with a painted maeander pattern.
This taenia we know to be "11 m. high, which is exactly the
depth of the cutting. Thus the main coil just reached the
cornice, and this fixes its position L71 m. from the left
corner. The tail does not lie straight on the pediment floor
but obliquely, so that the tip is right in front.
The bibliography of all the fragments connected with the
Hekatompedon is given at the end of No. 36.

THE ACROPOLIS MUSEUM 75
Fragments of a Snake from a pedimental group.

Found in 1888 to E. and S.E. of Parthenon.
Poros of good quality.
The restored length of the various fragments is estimated
at about 250 m. Relief height "34 m., length l-84 m.
The under portion of the body is treated in the same way
as that of the other snake, in plain oval scales, the upper
part covered with triangular scales with the apex towards
the neck. These scales have the border plain and raised, the
interior of the triangle coloured dark blue. They diminish
in size towards the neck and towards the tail. The extremity
of the tail is in one piece with the tympanon wall. It appears
that the position corresponded roughly to that of the pre
ceding snake, and filled the right corner of a pediment. The
main coil turns in the opposite way, i.e. the portion nearer
the tail is on the outside. On it also we see the cutting for
the taenia of the tympanon wall. A wedge-shaped piece was
let into the neck and the direction of a lead-running suggests
that the neck was bent back with the head probably in
profile. Wiegand drew a distinction between land and water
snakes in connection with these two, which appears however
to be unsound. The neck portion of this snake was at one
time supposed by Bruckner to be part of another tail because
of the diminution in size of the scales. But it is to be
noticed that the scales diminish in the direction of the apex
of the triangle, not in the direction of the base as in the
real tail.
For bibliography cf. pp. 78 and 86.
Fragments of a Lion from a pedimental group.
Poros of good quality.
Large fragment with mane: — Length 1*22 m. Height
1-07 m.

76

CATALOGUE OF

Very few fragments of this lion exist. It can be distin
guished either from the lioness on the opposite wall or from
the lion torso No. 3 by its mane, which consists of plain
rounded locks with red incisions. The main fragments
consist of part of head, shoulder and fore paws, and part
of the rump shewing the tail. From these we can restore
the animal in profile facing right, apparently couchant and
not in the act of seizing or devouring its prey. It must
thus occupy the left side of a pediment. The body is
uncoloured and the execution somewhat flat and formal,
resembling closely that of the great group on the opposite
wall, with which it is combined by Heberdey. The whole
composition would then fill the centre and greater part of
a pediment.
Pedimental group of a lioness devouring a bull.

Poros of fine quality.
Length 3-22 m. Height
•41 in. — -52 m.

1-60 m. Height of relief

THE ACROPOLIS MUSEUM 77
The group consists of a large number of fragments put
together by Professor Heberdey. They were found together
with those of the other lion group to the E. and S.E. of the
Parthenon in 1888.
The head of the lioness occupied the centre of the
pediment. She lies with her body to right extended on
the bull which she has thrown down, and is in the act of
biting him in the haunch. With her fore paws she grips
his hind-quarters, while her own hind-quarters crouch on the
ground. The bull is crushed flat on the ground, his head
pressed down between his shoulders and his fore legs splayed
out in an impossible position on either side of it. The
lioness's tail is between her legs and curling out again over
her rump. Her eye is shewn by two concentric circles, the
inner dark and the outer red, set in a deep socket with red
rims. The bull's eye has further three wrinkles round the
outer rim, probably for the sake of expression. Nostrils and
mouth are wide and painted red inside. The hair below the
horns, and the creases on the neck are both indicated, but in
a conventional and unconvincing way. The mane of the
lioness is red with one row of dark blue or green locks,
lying flat on the body with plain incisions. The teats are
red, and the hair above them and on the rump very flat
and formal. The main part of the composition was flat and
uncoloured. The head of the bull and the udder of the lioness above
it were restored by Watzinger as belonging to a group with
the lioness in the opposite position (i.e. with head to right),
but Heberdey's restoration is justified by the direction of the
hair above the udder. The restoration is in no way proble
matical, and the angle of the head is fixed by the main piece of
the neck. A piece of the tympanon wall by the hind-quarters
of the lioness shew that it was coloured blue and hollowed out
to accommodate a greater depth of relief.
The scene, then, consists of the lioness devouring the bull
in centre and to right, while the left is occupied by the lion,
couchant and looking on.
The execution of the group is not good. The legs and
claws of the lioness are flat and lifeless; the body of the bull
is impossibly contorted, and without any true impression of

78 CATALOGUE OF
reality; the head is formal and inexpressive. The head of the
lioness is good, but the treatment of the mane soon de
generates into pure convention, and her body is hardly more
than a shapeless mass. When we compare the details of this
group with the lively vigour of No. 3 we appreciate at once
the difference in treatment.
The artist is ignorant of the device for shewing a porous
surface by means of small holes, his hair is frequently only
flaf incision, and his distinction of muscle and sinew purely
superficial. It is not so much however on the ground of his
inferior ability, but rather of his ignorance of artistic conven
tion that we can safely attribute this group to an earlier
date than No. 3.
AeXriov, 1888, July, p. 125, Nov. p. 203; Lechat, B. C.H.,
xm. (1889), pp. 139, 336, 433; id., Rev. Arch, xviii. (1891),
ii. p. 136, pi. xiv. ; id., Au. Mus., p. 68, fig. 3 ; id., Sc. Att.,
p. 68 foil. ; Wolters, A.M., xm. (1888), p. 107; id., Mvvfieia,
p. 26, pi. iv.; E. Gardner, J.H.S., x. (1889), p. 262; id.,
Handbook, i. p. 161 ; Collignon, i. p. 210, pi. m. ; Overbeck4,
i. p. 185 ; Pavlovski, AeXr. 'Vwa-a., vm. (1895), n. p. 70 ;
L. Magne, Parthenon, p. 77; H. Brunn, Or. Kunstgesch., ii.
p. 138; Watzinger in Wiegand's Porosarch, p. 214; B.-B.,
No. 456 b ; Perrot, vm. pp. 541 foil., figs. 278, 282 ; Springer-
Michaelis8, pi. VII1.
35. Three-bodied monster from the right half of a
pedimental group.

Poros of fine quality.
Length 3'25 m. Height "775 m. Height of relief -415 m.
The position of the subsidiary fragment on the left is
fixed by the angle of the hand/ Besides general damage,

THE ACROPOLIS MUSEUM 79
the following main pieces are missing: part of right arm of
back body, right hand of central body with top of object
held in left hand, finger fragments and head of bird belonging
to front body, and the greater part of his upper wing.
Probably the back body had a lower wing corresponding to
that of the front body; if so, that is also lost. Part of the
end of the snake-tails is preserved in the wall-case. The
heads and the greater part of the two front bodies are in
the round. The heads were found separately, but the back
two actually fit, and the front right head, while not actually
presenting a joining surface, agrees with indications of the
hair on the neck.
Found in 1888 to E. and S.E. of Parthenon.
The monster has three human bodies reaching to the
lower line of the pectoral muscles, and below that a cluster
of snaky tails. The bodies are shewn upright, the tails
stretching to the right corner of the pediment. The bodies
are seen at different angles, the back one on the left in
profile, the middle one in rather less than three-quarter view,
the front one on the right nearly full. The two back heads
are in profile, the front one in three-quarter view. The hair
is combed in long wavy strands ending in curls on the neck
and crimped in front into a high fringe. The beards are
divided into smaller wavy lines, those of the back two pro
jecting more than that of the front head. The moustaches
are plain and curl upwards. The front or right head shews
some differences from the other two. His hair is brighter in
colour, his eyes rounder and deeper cut, his mouth more
curved and with thicker lips, his ears lower, and his ex
pression gayer than the other heads. This however is no
reason for separating this head from the others, as was at
one time suggested. The right hand of the left body is
open and outstretched ; that of the middle body is also
outstretched, but is missing; that of the right body strokes a
bird painted red which he holds in his left hand. It has
been suggested from the fragment of this bird's head that it
is an owl. The left hands of the back two bodies hold
objects of unknown significance. They are oblong in section,
and taper a little to the lower extremity. They seem to have
been the same length and to have the top and bottom cut

80 CATALOGUE OF
flat. Wavy lines are incised along them1- From the back of
the right body grow two wings, the lower plain above and
with feathers below like a bird's wing, the upper curling
upwards in a conventional shape like the corresponding wing
on the right shoulder of the back body. Two pieces of a
lower wing belonging to this side have now been found by
Prof. Heberdey. There seems to be no effort to shew a
definite number of snaky tails but simply a coiling mass.
One of these tails has curving incised lines on it, the rest
are simply distinguished by colour.
When discovered the colouring of the composition was
very vivid, and it still produces a fine polychrome effect,
although it has faded considerably. The colour scheme is
as follows : the hair, moustache, and beard of the front and
back heads are blue; the central head has blue moustache and
beard, but white hair. The pupils of the left and central
heads were red, the eyelids dark, the lips red; the right head
had a blue iris with a deeply incised pupil. The flesh is
coloured rose, the snaky tails blue, red, and plain.
Several holes with remains of leaden pins are to be seen
on the arms and shoulders. Bruckner and others suggested
that these served for attaching small snake heads and bodies,
of which some fragments were found, now in the wall-case.
Furtwangler attributed the latter to the aegis of a missing
figure of Athena, and the pins he considered designed to
prevent the approach of birds. Heberdey points out that
they can hardly have served the latter purpose as some of
them are horizontal. He shews that the snake bodies had
wedge-shaped extremities and suggests that they fitted into
the angles of arms and bodies and were secured at the side by
the pins. The position of the pins, however, fails to support
this view. Various interpretations have been suggested for
the curious objects held in the left hands of the two back
bodies. They have been called emblems of water, tongues
of fire, and, by Furtwangler, straps such as were used by the
Luperci in Rome for promoting the fertility of women1.
i On the whole perhaps the most satisfactory interpretation is to take
them as emblems of water. A practically identical sign occurs on the pre
historic disc found at Phaistos in Crete (Pernier, Ausonia, p. 287, No. 24 ;
A. J. Evans, Scripta Minoa, p. 280).

THE ACROPOLIS MUSEUM 8 1
The fragment on the left, which displays the right hand
of the back body, contains also a long broken ridge like
those on the background of the Introduction of Herakles
Sediment and to the right of the ridge two folds of red
rapery with a plain border hanging over a round object.
Wiegand interpreted this as a tree trunk covered with the
garment of Herakles, but on the analogy of the pediment
referred to, we may unhesitatingly follow Furtwangler in his
suggestion that it is a human figure with outstretched arm.
This figure must be upright and consequently on a small
scale, and also practically in the round. Furtwangler supplied
a figure of Hermes, Heberdey a nymph flying from the
struggle of Herakles and the Triton. It is clear, at any rate,
that the attitude of the monster is peaceful, and one cannot
follow Bruckner in any restoration of an attacking deity.
Its whole attitude and occupation betoken rest and calm,
and the open hand of the approaching figure denotes an
- attitude of supplication rather than defiance. The inter
pretation of its significance is obscure. It was long called
Typhon on the analogy of a vase-painting (cf. Gerhard,
Auserl. Vasehbitder, ii. No. 3), but the figure represented on
the vase has one, not three, bodies, and, as has just been
pointed out, the expression is benignant and presents no
parallel with the battle scene on the vase. Furtwangler
suggested that the monster represented the Tritopatores
whom he supposed to be benignant deities of the wind,
with influence over childbirth, and supported his theory by
pointing to the Lupercal attributes in the hands1. But we
have no reason for supposing that the Tritopatores were
shewn as three bodies with a single tail. They seem to be
separate beings. The prefix in fact does not seem to refer to
the number three, but suggests ancestors in the third genera
tion or in a general sense (cf. vpmroTrdrwp, -rrpoirdrwp). It is
used in this sense in an inscription recently found in Delos2.
1 Cf. Loheck, Aglaophamus, 760.
2 Comptes Rendus de VAcaAfmie francaise, 1907, p. 354.
TpiToir&Twp
HvppaKiSwv A . . t . . T01V
The inscription dates from about 400 b.c. ; the TlvppaKlSai. were an Attic
yivos.

82 CATALOGUE OF
The snake tails and the wings must refer to earth and
air, but we can arrive at no more definite identity at
present. The execution of the composition is of the finest poros
technique, and can be discussed in connection with No. 36,
with which it is entirely in harmony. For the bibliography
cf. p. 86.

36. Pedimental group in high relief of Herakles and
the Triton.

Poros of good quality, though slightly inferior to No. 35.
Length 3-535 m. Height -765 m. Height of relief "53 m.
The group fills the left half of a pediment and is restored
from several pieces. Missing are both heads, left shoulder
and right hand of Triton, right shoulder of Herakles and
both arms, except a fragment. Both hands of Herakles and
the Triton's left elbow and hand exist in separate pieces in
the wall-case. A piece of the Triton's fish body about "50 m.
long is restored in plaster.
Found in 1888 to the E. and S.E. of the Parthenon.
Herakles is represented as gripping the Triton in a
manner similar to the pediment No. 2, but in the opposite
direction. There are however some differences in detail, e.g. it
is the outer leg not the inner which is kneeling. The body
of the hero is thrown more forward on the trunk of his
antagonist ; the right knee is firmly on the ground, the left
leg bent double and touching the ground only with the toes.
The arms may be restored in the same position as No. 2, the
right hand gripping the left, but here the left hand of the
Triton is not outstretched. We see from the fragments of

THE ACROPOLIS MUSEUM 83
his elbow, and of his left hand gripping the arm of Herakles,
that the arm is bent inwards in an attempt to pull apart the
hands of the hero. Both heads are missing, but that of
Herakles must have been in profile, that of the Triton
probably, to judge from the collar-bone, in three-quarter
view. Herakles is quite nude. In his strained pose and
bent leg and foot we see the exertion he is undergoing, and
his heroic proportions are indicated with sufficient vigour.
The Triton's scaly body, beginning below the breast, narrows
in three undulations to a divided fish tail. Each undulation
is surmounted by a fin. The body is coloured with alternate
bands of red and blue, each decorated with raised plain
U-shaped scales, which only begin to diminish in size quite
near the tail. The tail piece is made in one with a large
block, which can only be explained as a step inserted in the
pediment, probably to raise the composition better for
spectators below. This step is "22 m. high. The human chest
of the Triton is covered with fine incisions to indicate hair.
There is a realistic bulge of flesh where the fish body joins
the human. Both it and all Herakles' body are tinted a
light red like the bodies of the monster in No. 35.
The execution of Nos. 35 and 36 is distinctly superior to
all the other poros groups with the possible exception of
No. 3, and inasmuch as they depict the human form they
are of a much higher artistic value. The torso of Herakles
challenges comparison with the similarly posed giants of the
marble gigantomachy pediment, and the heads of the three-
bodied monster, especially the front right one, known as
" Bluebeard," shew analogies with later marble work like the
Moschophoros. Thus we possess in these groups material for
a comparison between the early poros and the early marble
art. Characteristic of the heads are the oblong eye with the
round ball and the upper lid more arched than the lower, the
mouth nearly straight and terminated sharply by vertical
cuts, the nose broad at the nostrils and narrower above,
arched brows, a deep head broad at the jaw, clumsy ears and
high cheek-bones. These are points noticed already in the
smaller poros heads, and traceable in greater or less degree
in nearly all early heads of purely Attic origin.
The treatment of the body is soft and rather indefinite.
6—2

84 CATALOGUE OF
Large swellings for the biceps and calf, shallow grooves to
outline the more sinewy muscles of the lower arms and legs
are the regular conventions of early Greek art. Collar-bones
and shoulders are truthfully shewn, but the relief-treatment
of the grouping has caused the artist much trouble. Thus
Herakles' left leg and the innermost of the monster's bodies
have suffered a good deal of distortion, and the shoulders of
the two back bodies are somewhat confused and appear to be
growing out of each other. The further sides of the two
back heads are rough and out of symmetry. The hands
and feet, too, though shewing a marked advance on the
Introduction pediment, are still a little stiff and formless.
But apart from these defects inseparable from primitive art,
both compositions are characterised by a vigour and life and
even, one might say, a sympathy present to the same degree
in no earlier work of art. There are the same touches of
realism in the treatment of the flesh that we noticed in the
lion group No. 3, and in the difficult arrangement of the six
hands of the monster there is a truly artistic variety and
skill. This mastery of technique and of artistic fitness is one
of the strongest a priori reasons for rejecting Lechat's theory
that work in marble is entirely posterior to work in poros.
No one who has carefully examined this group can doubt its
superior artistic development to the earliest almost shapeless
marble figures. Cf. Introd. p. 14.
Since the discovery of the fragments of these two com
positions and of the two snakes, there have been continual
rearrangements of schemes for grouping them. On the
primary question whether the Triton group and the monster
belong to the same or different pediments, it has been argued
on the one side that there is a difference in length, in
material, and in depth of relief; on the other that the
execution is the same, that the difference in material can be
paralleled in other poros work, that the difference in length
is of no matter if there was another figure to be accounted
for, and that the difference in relief depth can be paralleled
in the single group of the lioness and bull.
The theories have alternated for a long time. Thus
Kavvadias on discovery united the two, then Bruckner
separated them. Lechat supported the single pediment, and

THE ACROPOLIS MUSEUM 85
was followed by Wiegand in his great work on the poros
buildings. Furtwangler however preferred the separation in
two pediments. After perhaps a longer and more careful
study of the remains than any of his predecessors, Professor
Heberdey has pronounced in favour of the single pediment.
Furtwangler's and Bruckner's schemes are at any rate demon
strably impossible, and Heberdey's restoration is the only one
yet made which combines lucidity with the material facts of
the fragments.
It has proved possible to restore the order of the
Hekatompedon with practical completeness, and from this
restoration we know that the length of the pediments was
11 '50 m. We have seen that in the Triton pediment there
was a step "22 m. high. This reduces the length of that
pediment to 10 m., and that suits approximately the group
of Triton and monster with a central flying Nereid as re
stored by Heberdey. The head of this figure he finds in
No. 38 in the wall-case, and suggests that No. 25, a hand
holding the fragment of a bird's claw, may also belong. The
nymph is represented as flying in terror from the conflict to
the protection of a benignant nature-deity.
At the same time it seems impossible that the total
height of this nymph can have exceeded 90 m. while the
height of the pediment, reckoning from the top of the step,
is 1 "40 m. Also there would seem to be a space of at least
2 m. between the elbow of the Triton and the wing of the
monster. Allowing 1 m. for the nymph, there is still the
centre of the pediment to be filled with a figure approximately
l-40m. high1.
With regard to the other pediment, the restorations of
Wiegand and Furtwangler supplied for the central group
either three seated figures, or two seated figures and a stand
ing figure, including the Zeus and Hera (restored as Athena)
of the Introduction pediment, and a third conjectural figure.
All use of these figures for the Hekatompedon must now
be abandoned, since Heberdey has restored without doubt
the Zeus and Hera in a smaller pediment 6 60 m. long.
Moreover the group of sitting figures could not exceed
1 Heberdey now suggests a figure of Athena for the centre of the pediment,
restored from the foot-fragment No. 31.

86 CATALOGUE OF
-95 m. in height, whereas the height of the pediment would
be 140 m.
Heberdey at first argued from the treatment of the tails
of the snakes, which he supplies like Wiegand for the corners
of the second pediment, that there was no step, and con
sequently the pediment was 11 50 m. long and 162 m. high.
For the corners his snakes occupied respectively about 2 m.
and 2'50 m. This left approximately 7 m. to be filled by the
central group, which he identified in the group of lion and
lioness and bull, whose restored height and length conform
to the limitations of space.
Lately, however, Heberdey has discovered from the restor
ation of the red and blue snake that there was a step in this
pediment also. He has therefore abandoned the idea that
the lion and lioness both belong to this pediment.
He is to be congratulated on this discovery, since it was
impossible either to reconcile the style of the lioness with
that of the snakes and of the other pediment, or to approve
of a composition including subjects so discrepant in size.
At present therefore the central group of this pediment
is unidentified. If, as is not impossible, the lion group No. 3 belonged to
a large temple not identified, this lion group may be part of
the opposite pediment of that building.
AeXriov, 1888, Jan., p. 11, Feb., p. 31, March, p. 45, May,
p. 82, June, p. 101, Nov., p. 203 ; Wolters, A.M., xii. (1887),
p. 386 ; id. ib., xm. (1888), pp. 107, 227, 386, 437 ; Lechat,
B.C.H, 1888, pp. 239, 241, 332, 430; id. ib., 1889,
p. 137; Jane Harrison, J.H.S., ix. (1888), pp. 120, 121,
fig. 2; E. Gardner, ib., x. (1889), p. 262, fig. A; Bruckner,
A.M., xiv. (1889), p. 67, xv. (1890), p. 86 ; Lechat, Mklanges
H. Weil, p. 249 ; id., Au Mus., pp. 48, 120 ; id., Sc. Att.,
p. 41 ; id., Rev. Arch, xvii. (1890), p. 304, xviii. (1891),
pis. xm. and xiv. ; Wolters, Mvr)/j,eia, pp. 4 — 11, pis. 11. and
in. ; Antike Denkmdler, 1. pi. xxx. ; B.-B., Nos. 456 a, 472 b;
'Eo5. 'APX., 1891, pi. xm.; Collignon, 1. p. 207, fig. 98, pi. 11.;
Pavlovski, AeXr. Pwcro-., vm. (1895), 11. p. 60; id., Sculpt
Att., p. 57, fig. 7 ; Perrot, vm. p. 537, figs. 274, 275, pi. m.;
Springer-Michaelis8, pi. vii. ; E. Gardner, 1. p. 159, fig. 27 ;
Wilamowitz, Euripides Heracles1, 11. p. 285, ib} 11. p. 258 ;

THE ACROPOLIS MUSEUM

37

Overbeck4, 1. p, 183 ; H. Brunn, Or. Kunstgesch., 11. p. 138 ;
C. Brownson, A.J.A., vm. (1893), p. 28, pi. 1. ; W. Miller,
ib. p. 497 ; Wiegand, Porosarchitektur, p. 72 ; Klein, p. 88 ;
Furtwangler, Miinch. Sitzungsb., 1905, p. 447; id. ib., 1906,
p. 149.

38. Head.

fig. 243.

H. 175 m.
Face much damaged.
The hair falls in a heavy
plait behind with horizontal
divisions. A plain band en
circles it. It was facing right
in profile in a pediment as
only the right ear exists, and
the left side is unworked.
Attributed by Heberdey to
the nymph in the large Triton
pediment. A running figure
restored on the scale of this
head could not be more than
"90 m. high.
Wiegand, op. cit., p. 228,

39.

Small Head from left side of pediment facing right
in profile. H. (restored) about -11 m;
The hair is shewn by incised
lines from back to front with
a wreath of leaves with red
central veins. At the back it
falls in a simple mass. Of the
face only the right eye and part
of the cheek are preserved.
The eye is triangular and slopes
downwards. Traces of black
on the eyes and of red on the
garland. Wolters, Mvvp.eia, p. 24;

88

CATALOGUE OF

Sophoulis, op. cit.,
xvm. 2 (1891), p.
fig.

p. 167, pi. xiv. 1 ; Lechat, Rev. Arch.,
280, note 3 ; Wiegand, op. cit, p. 205,

48. Male figure. H. (shoulder to middle of lower legs)
•32 m.
Male torso, without head or feet, clad
in a red himation which completely en
velops the figure. It is moving to the
right in profile, and the right arm is
bent under the himation, which it holds
in front of the neck. This himation has
a border of three bands left uncoloured.
The flesh of the neck is pink. On the
left side of the figure is a rough vertical
strip, where it was once affixed to the
tympanon wall of a pediment. It might belong either to
the smaller Triton pediment No. 2, or to the Introduction of
Herakles. It is too large for the " Erechtheum " pediment.
Wolters, Mvr)p,eia, p. 22 ; Wiegand, Porosarch., p. 205,
No. 2, pi. xv.
50. Small Head. H. 11 m.
The head is female,
full face with hair waved
in front and falling in
mass behind. On it
is a green cap which
tapers slightly at the
top, and so may have
originally had a crest.
The ears are clumsy
but worked on both
sides. The eyes are
level and prominent, the mouth curved and surrounded
by a groove. This treatment is unique among the poros
heads, and is an Ionic not an Attic characteristic. Thus
this head must be among the latest of the poros works

THE ACROPOLIS MUSEUM

89

overlapping the earliest Ionic influence. It has been sug
gested that it might fit on to the band between Hera and
Heracles in the Introduction pediment, cp. p. 65. Apart
from grounds of date, the head seems too small, cf. pp. 13, 18.
Wiegand, op. cit., p. 229, figs. 243, 244.
54. Male figure. H. (ear to above waist) '20 m.
Part of head and chest of male
figure in attitude similar to No. 48, in
profile to right with rough band on
the left side. The right hand is simi
larly bent under the great himation,
while the left hand projects below it.
The hair falls in a mass behind on to
the neck with one short lock in front
of the left ear. The face is full, but
body turned to the right (centre of the pediment). The
himation has a border of two red bands with a blue band
between, each outlined by a thin uncoloured stripe.
The style of the figure is the same as that of the pre
ceding one, and it may belong to the same pediment.
Wolters, Mvr)p.eia, p. 22 ; Wiegand, op. cit., p. 205, No. 3,
pi. xv.
55. (With head formerly No. 51.) Male figure.
H. (crown to ankles) "465 m.
Similar male figure in profile to right
with rough band on left. The figure is
bearded and clad in a heavy himation
with a raised maeander border, plain on
a blue ground. A head has been fitted
on to this figure. The hair falls in a
mass behind with a band round it, and
in strands of square locks all over the
head. The beard is shewn by vertical
cuts. The eyes are prominent and tri
angular with black lids and pupils. The
face is square, with prominent cheek bones
and a straight mouth. The style is some
what different from the preceding two, in

90

CATALOGUE OF

that the himation is not plain but covered with shallow
grooves. It may belong therefore to a different pediment.
Lechat, Rev< Arch, xvm. 2 (1891), p. 280, pi. xvi.
Sophoulis, 'E<£. 'Apx-, 1891, p. 167, pis. n. and xiv. 2
Wolters, Mvnueia, p. 23 ; Pavlovski, op. cit., p. 55, fig. 6
Wiegand, op. cit, p. 205, No. 5, fig. 222, pi. xv.

56. Owl.

Good poros*
H. -17 m.
The plumage is shewn by
triangular chisel-cuts. There
are traces of white colour on
breast and black on the folded
wings. The upper part of the
left leg where it joins the body
shews faint traces of red.
Heberdey restores the owl
with the figure of Athena in
the centre of the large Triton
pediment. Wiegand, op. cit., p. 230,
No. 6.

4557. Relief shewing feet of male figures.
Length 48 m. H. -26 m.
Relief height "07 m.
Fragment of pediment shew
ing the lower part of two figures
walking in profile to right. They
appear to be male with bare feet,
clad in heavy himatia like the
preceding figures, and certainly
belong to the same type.
There are altogether three pediments, No. 2, the Intro
duction of Herakles, and the "Erechtheum" pediments, where
such figures might be expected.
Wiegand, op. cit, p. 204, No. 1, pi. xv.

THE ACROPOLIS MUSEUM

91

120. Relief. Athena attacking prostrate
GIANT. Pentelic marble.
H. -605 m. Br. 405 m. Plinth
•036 m. high, and 012 m. pro
jecting. Missing — Athena's face, left
arm from mid-biceps, right arm
and shoulder except hand with
spear-shaft, right leg, left knee
and top of lower leg; giant's
head, right shoulder, breast, and
arm except hand with sword,
top of left shoulder and hand,
left lower leg below middle of
shin, right foot, thigh and hip.
Damaged — surface generally. The back is broken away.
Put together from six pieces.
Athena strides forward from the left with left leg advanced
and bent at knee, left arm extended with aegis, and right arm
raised with spear like the figure in the pediment No. 631.
In front of her lies a wounded giant, who kneels on the left
knee, supporting himself by the shield on his left arm, while
the right hand holding a sword hangs useless in front of the
goddess. Athena wears Ionic chiton, himation, and aegis, in the
same fashion as No. 631. She has a helmet and bare feet.
Her left hand, and a trace of the spear-shaft, which was
added in iron, are visible in front of her helmet. Her hair
is red, her helmet has a green and blue decoration on the
crest, the background is dark (once blue), the aegis has traces
of green and red, and there was a pattern on the himation.
The top of the plinth and the inside of the giant's shield are
also red. The latter has a green holding-strap. The work
is very hard and dry, and the poses stiff and angular. It is
clearly an adaptation of the central scene of the pediment
No. 631, and belongs to the end of the 6th century.
Pavlovski, p; 293, fig. 105; Lechat, Sc. Att, p. 300;
Schrader, A.M., xxil (1897), p. 106, fig. 12.

92

CATALOGUE OF

121.

Small relief of Athena Promachos. Found 1865 S.E. of
Parthenon. Pentelic marble.
H. (preserved) "25 m.
Br. 225 m.
Frame visible above
and at right side, width
above 034 m., at right
side 015 m. — '016 m.
Missing — body be
low knees, and left side
of shield.
Athena Promachos
striding to left. She
is seen in three-quarter
view from the back,
with huge shield on extended left arm and right hand raised
with spear. She wears Ionic chiton, himation (fastened on
right shoulder), and aegis, with a helmet under which her
hair streams out on to her right shoulder. The eyes are in
front view, the chin and cheek-bones prominent. The head
is pushed too far forward and the pose is clumsy, partly
owing to the inferiority of the artist and partly to an early
date. Red colour was at one time visible on the hair.
Brunn, Decharme, and Pervanoglu, Bull. deW Inst., 1864,
p. 87; Arch. Anz., 1865, p. 22; Heydemann, Arch. Zeit,
1867, p. 114 ; Sybel, No. 5014 ; Schone, Griechische Reliefs,
pi. xix. No. 84 ; 'Furtwangler, A.M., in. (1878), p. 184.
122. Plaque with lion's head.
Hymettan marble.
H'. -26 m.
Damaged — left part of neck, ends
of ears.
The eyes are set aslant, and are of
nearly circular shape with the corners
continued by incised lines. Two in
cised concentric circles and a central
dot on the flat hollowed eyeballs

THE ACROPOLIS MUSEUM

93

served for coloured decoration. The ears are round with
a crescent-shaped hollow. The mouth is a simple groove
with a sharply incised centre. A vertical line marks a wrinkle
on the forehead. The style is soft and careless, and the
surface has never received a final polishing.
The back is smoothed flat, and the head has clearly
an architectural setting. It is not a gargoyle, as the mouth
is unpierced, and Schrader rightly places it as the head of
a side akroterion of the oldest Athena temple in a similar
position to the leopard described on p. 113 (No. 552).
There are remains of a fore paw and shoulder belonging to
this lion or its companion (No. 555).
Schrader, Arch. Marm., p. 12, figs. 11, 12.
1 40. Athena.
Found in 1864 in digging founda
tions of museum.
Island marble.
H. "895 m. (including plinth '04 m.
—•045 m.).
Right elbow and lower arm added by
Schrader. Missing — head and neck, left arm
from just below shoulder, right hand
and wrist, front of right foot and corner
of plinth. Traces of the fingers of the
left hand are visible on the front of the
left hip.
Damaged — aegis and ends of drapery.
Inserted- — snakes on the fringe of the
aegis.
The goddess stands upright on a small round plinth,
which was originally sunk in an inscribed base. Her weight
rests on the left leg, and the right is a little advanced and
slightly bent at the knee. The left hand rests on the hip,
and the left shoulder is pushed forward. The right arm is
extended upwards, and once rested on a long spear. The
head is turned a little to the right, and was crowned with a
helmet, traces of the crest of which are visible on the back.
The pose is thus a converse of that of the mourning Athena.

94 CATALOGUE OF
The costume consists of a short-sleeved under-chiton like
that worn by the Nike No. 694, with a perfectly smooth
surface, and an Ionic himation with overfall, fastened like a
Doric peplos by a single brooch on each shoulder. Only
the greater length of the overfall distinguishes it from the
Doric garment, to which it is an intentional approximation.
This is open down the right side so that the ends of the
long hanging folds trail on the ground. The girdle is tied
outside the overfall, and consists of a simple cord. Above
the himation is worn an aegis of the usual early type,
hanging low behind, and covering shoulders and bosom in
front. On a slightly raised seven-sided medallion on the breast
is the gorgoneion of a softened archaic type with long
oblique cuts from each inner eye-corner. The aegis is quite
smooth with a raised rim round the neck and the outer .edge.
In the outer edge holes are bored at intervals for the
insertion of snakes. Traces of red are visible on the inside of
the back of the aegis, and of a scale pattern (reproduced in
Studniczka's publication) on the left shoulder in front, from
which all colour has vanished. Light and dark patches still
remain, however, and an incised line in the middle of each scale.
The skirts hang in deep vertical folds clear of the feet, but
are not undercut below. The right leg is carefully treated
with the circular folds which it makes in front. The hanging
folds of the himation are undercut with the drill, which is
used also for the lower edge of the overfall. Curiously stiff
short vertical incisions denote the folds of the himation
above the girdle. The green stain in front is not colour,
but a chance bronze stain. The goddess wears thick sandals.
The hair appears in a square wavy mass behind, and
there are no shoulder-locks.
The feet are finely carved with the second toe longest,
and the little toe curving markedly inwards. The right arm
is well modelled and the collar-bone correctly shewn. The
freedom of the pose and the turn of the body shews that
the statue belongs to the latest pre-Persian period. The
standing type with one leg bent is borrowed from the
Peloponnese, and Peloponnesian influence is clear in the
broad and simple treatment of the drapery and the length
of the second toe. The gorgoneion too shews an advance

THE ACROPOLIS MUSEUM 95
on the old purely brutal type like No. 701. At the same time
the folds of the himation above the girdle are still archaic,
and the use of the Ionic himation precludes a very late
date. Studniczka connects the statue with the sculptures of
the Olympian pediments, in particular the Oinomaos and
Sterope, and sees in it the work of a Peloponnesian artist.
He dates it before 480 in opposition to Furtwangler's view
that it is not earlier than 465. Lechat proposes the date
460, and both he and Furtwangler see Attic work in the
statue, as opposed to the Olympian theories of Wolters,
Winter, Studniczka, and Graef. Furtwangler attaches great
importance to the statue as a forerunner of the Lemnia, and
maintains its purely Attic origin in details, e.g. the method
of girdle. It was found together with the ephebe head
No. 689 among debris belonging to the Periclean Parthenon.
The drapery connects it with the Nike in No. 694, which is
pre-Persian, and it is clearly more archaic than the relief
No. 695. The pre-Persian date of the statue is proved by
the brilliance of the colouring which still survived on dis
covery, but has now almost entirely disappeared. It is
probably a copy in miniature of some more famous statue.
Postolakkas, Arch. Zeit, 1864, p. 234; Brunn, Decharme,
and Pervanoglu, Bull. delV Inst., 1864, p. 85 ; Milchhofer,
Museen Athens, p. 54; Lange, A.M., 1881, pp. 86, 93,
note 2; Sybel, No. 5003; Schreiber, Arch. Zeit, 1883, p.
213 foil. ; Arch. Stud. H. Brunn dargeb., p. 85 ; Studniczka,
Beitr. zur altgriech. Tracht, p. 142, fig. 47; id., 'E<£. 'Ap^.,
1887, pp. 148 — 154, pi. vm. 1 and 2; Furtwangler, Roscher's
Lexicon, pp. 695, 1720; id., Meisterwerke, pp. 36, 40, note 1;
Wolters (Winter), Jb., 11., 1887, p. 233, note 53; Graef,
A.M., xv., 1890, p. 22, No. 8; Lepsius, p. 70, No. 24;
Lechat, Au Mus., p. 191, fig. 20 ; id., Sc. Att., p. 466 ;
Petersen, R.M., xii., 1897, p. 318 ; Lermann, pp. 57, 163.
141. Fragment of prostrate Giant attacked by Athena
(No. 293). Found before 1881.
Island marble.
H. -295 m.
Missing — head, under part of shield and left arm, right
arm and side, body below waist.

96

CATALOGUE OF

The fragment shews the upper part
of the chest of a warrior, whose shield
covers the lower part. His red hair
hangs behind in a semicircular mass
with horizontal divisions. Two zigzag
locks appear on each shoulder. The
head was turned over the left shoulder.
The left arm extends straight down
carrying the weight of the body, and
is not thrust through the shield-strap.
The inside of the shield is painted red.
The general attitude must have re
sembled that of Athena's opponent in
No. 631, but the details shew some
difference. Thus the warrior wears a
cuirass with shoulder flaps, of which only the right one is
visible, and the position of the shield is different. The work
shews the same clumsiness as No. 293 and should clearly be
grouped with it. The figure is curiously mistaken by Sybel
for an Athena, if it is to this statue that he refers.
Sybel, No. 5070 ; Martinelli, No. 262 ; Schrader, Arch.
Marm., p. 61, fig. 51.

142. Torso of Athena.

Found in Oct. 1888, S.W. of
Parthenon. Island marble.
H. 495m.
Missing — head, right shoulder
and arm, left arm from below
elbow with half of shield, legs
from above knees.
Damaged — breasts, shoulder-
locks, and edges of drapery.
Inserted — lower right arm,
snakes on aegis border and above
gorgoneion. Put together from two pieces
joining just above the hips.
The pose is upright, with the

THE ACROPOLIS MUSEUM g7
left leg a little advanced, the left arm close by the side down
to the elbow, and then extended sideways holding the shield,
which covers the left side of the back. The right arm was
extended forwards from the elbow and probably held the
spear upright. The head is turned a little towards the left
shoulder. The goddess wears Ionic chiton and himation with aegis
above. The chiton is only visible at the neck border, and
the himation is fastened on both shoulders in the same
fashion as the Kore No. 673. The folds are very fine,
especially under the left arm, but are flat and not cut with
the drill. The long folds on the right side shew a red
maeander border. Above the himation the aegis is worn in
the same fashion as Nos. 625 and 140. It is very long,
reaching to the middle of the thigh behind and to the hips
in front. The lower border shews the usual holes for in
serted snakes; an incised line only divides it from the chiton
on the neck. In front is the gorgoneion of archaic brutal
type with spiky hair and beard and the typical protruding
tongue and tusks. Three holes above it served for inserted
snakes. The aegis has a scale pattern in green and red and
a green border.
The hair falls in a wavy combed mass behind and in
three wavy locks of four strands each on either shoulder.
Traces of red are visible at the back. The collar bone and
the bosom are carefully modelled. On the shield is a painted
design of which only traces of a great wing are visible above
with faint signs of a body and possibly a bird's tail. The
execution is very good, but there is no use of the drill, and
the pose is stiff and archaic. Schrader combines the statue
in a group with Nos. 160 and 168, but it is dubious if it
could be connected with figures of so developed a technique.
It should be noticed, however, that the drill is not used in
the drapery of these figures.
AeXnov, Oct. 1888, p. 181 ; Wolters, A.M., 1888, p. 439 ;
Lechat, B.C.H., 1889, pp. 143—4; E. Gardner, J.H.S., 1889,
p. 265; Schrader, Arch. Marm., p. 68, figs. 59, 60.

98

CATALOGUE OF

143. Dog.
Found N.

of Parthenon.

Island marble.
L. 125 m. H. -51m.
Missing — right ear
and side of head, top
of left ear, tail, left
fore leg, lower part of
hind legs, plinth except
one corner.
Put together from a
large number of fragments.
Inserted — whole of right ear, top of left ear (the bronze
pin still in situ).
The muzzle and right fore leg have lately been added by
Schrader. The dog stood on an oblong plinth, of which only a small
piece is preserved by the right fore paw, in a crouching
position as if actually hunting. It is a smooth-haired dog
of hound type. The lids and pupils are distinguished by
black paint, and there is a streak of red colour under the left
ear. The animal is very thin, so that its bony structure is
quite clear. The eyes are strongly arched at the top, giving
a very keen and life-like expression. The surface is finely
finished, but the whole impression a little archaic. Schrader's
discovery of the fragments of a counterpart facing left sug
gests a duplicate votive offering, as in the case of the lion
No. 3832, probably in the precinct of Artemis Brauronia.
Lepsius, p. 73, No. 51; Schrader, Arch. Marm., p. 77,
figs. 67—69.
144. Statuette of a scribe.
Lower part found 1882.
Pentelic marble.
H. -45 m. (seat -20 m.).
The upper part was known before, and the two were
united by Studniczka.
Missing— head, right arm from middle of biceps, left
hand except the fingers, front of the feet and part of the
left shin.

THE ACROPOLIS MUSEUM

99

The figure is seated on a square block representing a
four-legged stool. The legs and seat are uncoloured, and
the interspaces are painted red. The
outlines of the legs against the seat are
also red. On the seat is a cushion which
was red with a green stripe below. The
scribe sits stiffly with legs close together,
body upright, and arms close to his sides.
He is clad in a single garment, which
leaves most of the chest and the right
shoulder and side bare. It covers the
body in front, passes behind over the left
shoulder, is brought round under the
right arm and flung again over the left
shoulder. It spreads out on the seat
behind but clings tightly round the figure,
defining clearly the outlines of the legs.
The folds are shewn by regular incisions
at some distance apart. Traces of a green and red border
are to be distinguished. The flesh is red, though very little
colour remains. No traces of hair, except a little red colour,
are visible on neck or shoulders. On the feet are sandals
painted red. The figure holds a rectangular writing-case or
diptych on his knees with a flap hanging down in front and
two side-flaps. A white rim is left on the surface over the
flaps and the rest of the interior is coloured red. The left
hand holds the case at one inner corner, the right is laid upon
it at the other. The muscles of the chest and stomach are
shewn in a conventional way. The outline of knees and legs
is good, but the treatment is dry and hard and without life.
The execution and surface-finish are good. For discussion
of the type cf. No. 629.
Studniczka, A.M., 1886, p. 358, No. 4; Lechat, Sc.
Att, p. 267; Lepsius, p. 74.

145. Statue of warrior.
Found in 1883, E. of Parthenon.
Parian marble.
H. -63 m.

7—2

IOO

CATALOGUE OF
Missing — head, raised right arm from
mid-biceps, lowered left arm from below
shoulder, left leg from a little below
knee, right leg from top of thigh.
Put together from two pieces, main
fragment and left knee.
On the left shoulder is the right hand
of another figure, which is thought to
be represented by the small fragment
immediately following.

370. Part of bearded^ head with the throat grasped by
a LEFT HAND. The scale is the same as that of the
last figure, and the two hands are treated
similarly. It is therefore practically
certain that the complete group repre
sented a warrior fighting with a giant.
The beard of the latter was once blue
with vertical incisions, and was raised
above the face like the beard of the
Moschophoros No. 624. The hair was
red, and the eyelids outlined in black. A hole on the top
of the head served probably for fastening a helmet. The fore
head is deeply wrinkled, probably for the sake of expression
as on the centaurs of the Olympian pediment, and the ridge
at the corner of the eye is to be compared with the Moscho
phoros. Taken by itself, the head seems much more archaic
than the torso, but if it represents a centaur or giant, that
is not unsuitable.
The torso clearly belongs to a warrior advancing to his
left with a raised spear in the right hand and with the left
grasping the throat of his opponent, who must be bent back

THE ACROPOLIS MUSEUM IOI
in a crouching position like the giant in Gerhard, Auserl.
Vasenbilder, pi. vi., where Athena takes the place of the
warrior. The right hand of the opponent rests on the left shoulder
of the warrior in supplication before the impending spear-
thrust. The left leg is a little forward, and the body swung
to the right to strike. The treatment is hard and dry,
as the figure is very slim and tall and the muscles flat and
ridgy. The abdominal muscles above the navel are out
lined by a roughly grooved square with a central cross.
The angle of the external oblique is slight. The navel is
a raised button under an arched fold of flesh ; the glutei
have lateral depressions ; and the back is carefully modelled.
The three divisions of the torso measure "07 m., '11 m., and
"09 m., and the pubes is shewn by pointed chisel marks.
The statue is from the Perserschutt, and therefore pre-
Persian in date. We should perhaps see here another small
copy of part of the marble pediment group like the Athena
No. 293. In this case we have the deity on Athena's right
with his giant antagonist, a group of which all save the feet
has disappeared. The broad shoulders and narrow hips
remind one of the archaic Apollo type, but its great height
and the rather curious modelling suggest foreign influence.
Delbriick compares it with No. 692 and ascribes it to his
Parian school, but really the proportions are quite different
and the treatment much harder and more muscular. The
proportions of the three divisions of the torso, and the great
size of the pectoral muscles suggest early influence from
the Peloponnese, but the great height is borrowed from else
where. Taking into consideration the archaic face of the
giant, we must attribute the group to a very eclectic artist.
Schrader on the other hand sees in the group a struggle
of Theseus and Prokrustes (cf. Klein, Euphronios, p. 194,
and Museo Italiano di antichita class., in. fig. 3), and gives
the hero a mace rather than a spear.
Mylonas, 'Eoi. 'ApX-, 1883, p. 45, No. 26; Lepsius, p. 71,
No. 41; Studniczka, A.M., 1886, p. 193, note 3; Delbriick,
A.M., 1900, p. 386, pi. xvi. 1; B.-B., No. 546 (right); Lechat,
Sc. Att., p. 404, fig. 34; L. Curtius, Uber einen Apollokopfin
Fhrenz, p. 12; Schrader, Arch. Marm., p. 62, figs. 52 — 55.

102

CATALOGUE OF

146. Statuette of a scribe.
Found 1836.
Pentelic marble.
H. -30 m. (seat "21 m.).
Missing — head and all body down to
waist. The statuette is identical with No.
144 save that the diptych is thinner so
that the left hand can grasp the whole
of the inner corner. The right hand
seems to be actually writing, and there
is a hole through it for the stylus. The
garment shews more folds on the shins
and less on the thighs. The colour scheme is the same,
but the left side of the seat is left rough and uncoloured.
For discussion of the type cf. No. 629.
Furtwangler, A.M., vi. 1881, p. 179; Lepsius, p. 74;
Lechat, Sc. Att., p. 267; Ross, Arch. Aufsatze, i. iii.; Scholl,
Mitth. aus Griechenland, p. 27, No. 16 ; Sybel, No. 5090.
148. Fragment of equestrian statue. Island marble.
H. 41m. L. -53 m.
Missing — (horse)head,
legs, left shoulder, sur-
faceofhind-quartersand part of right flank, sup
port under belly.
(man) body above hips,
legs below centre of calf,
back of right thigh.
The horse has a mane
similar to the second
fragment in the outer court with white locks raised on a red
ground. The neck is very much arched, curving right back
in front. The main muscles are treated in a traditional way.
Under the belly was a support which is broken away. The
rider had his hands on his thighs ; the legs are well rounded
but he sits too high above the horse like No. 690. The style
in general approximates to the second courtyard fragment.

THE ACROPOLIS MUSEUM

103

Of the three statues, 148, 4119, and the courtyard statue
B, all of which belong to a similar type quite distinct from
the type marked by 606 and the other courtyard statue, this
is clearly the most archaic, and in a chronological series would
come next after the primitive Attic statue, No. 690. Cf. p. 51
where it is suggested that 148, 4119, and B are Ionian work.
Winter, Jb., vin. (1893), p. 140, No. 10 ; Lepsius, p. 73,
No. 48; Lechat, B.C.H., 1889, p. 148.
159, 407, 447, 488, 3526, 3533, 3535. Nike(?).
Parian marble.
H. 56 m.
Put together by Schrader
from seven pieces.
Remains of a figure on a
plinth in a running attitude.
The right foot, except for the
toes, and parts of the body are
restored in plaster. The body
above the waist and the left
leg from above the knee to the
toes are missing. The right
side is damaged and hacked
away. The figure is clad in Ionic
himation without chiton, and strides forward with left leg
advanced and both knees bent. The legs are bare to the
knee, and the himation folds are gathered together in two
places, between the legs in front and on the right hip. The
fastening was on the left shoulder. The legs are in profile,
the body in three-quarter view. The feet are of the earlier
Ionian type with big toe longest, and long and thin like those
of No. 631. The himation folds are somewhat formal, but
shew traces of the drill, and the zigzag folds are raised in
the middle. There was a stripe round the hanging border,
and a maeander on the front trapvcbr}.
The interpretation as a Nike depends on the resemblance
to the ordinary attitude of Nike figures (cf. Nos. 690, 691,
693, 694), and the baring of the lower legs, a usual feature
for lesser divinities. At the same time it is curious that the

104

CATALOGUE OF

feet are not represented clear of the ground in ordinary Nike-
fashion, while the statue is supported by the hanging drapery.
In execution the figure belongs to a fully developed
period, probably later than 510 b.c, and the sense of motion
and symmetry is admirably imparted to the drapery. The
feet, however, shew that it is earlier than the period of Pelo
ponnesian influence.
Schrader, Arch. Marm., p. 49, figs. 42, 43.

160 and 1 68. Crouching figures.

probably little before 480.

Parian marble.
160. H. 275 m.
without plinth.
Plinth— -03— -04m.
Width 26 m.
Foot — Length 14
m. 168. H. 165 m.
without plinth.
Plinth— 03 m.
Foot— Length "16
m. Remains of two
figures in symmetrical
positions crouching
with one foot flat on
ground, and the other
leg doubled at the
knee. At the sides
are folds of the hima
tion hanging from the
shoulders. That of 160
is red, that of 168
blue. The feet and leg are
beautifully carved and
finished and the group
belongs to the finest
period of archaic art,

THE ACROPOLIS MUSEUM 105
Semicircular holes are cut in the plinths to admit of the
insertion of another object in the centre. The similar figure
on the throne of the priest of Dionysos in the theatre suggests
that the figures might be cock-fighting, but Schrader presents
an alternative theory that two heroes are represented playing
chess or dice before a figure of Athena, a common subject
on b. f. vases. He supplies the Athena No. 142 as the other
figure. But although both figures come from similar groups
it is dubious if they can belong to the same group as the
sizes of the feet are different. If they are separated, the
argument for two opposite figures is weaker, and they may
be single cock-fighters. The style and execution certainly
seem superior to that of the Athena, and are indeed unsur
passed by anything in the museum. It may also be objected
to the chess-playing theory, that the heroes on the vases are
usually seated, and are armed, with only one exception
(Hartwig, Meisterschalen, p. 277, fig. 39). For instances of
chess-playing heroes, cf. B. M. Cat of Vases, 11. p. 27, fig. 35 ;
Reinach, Repertoire des Vases Peints, n. p. 98 ; Gerhard, Ant.
Vasenbilder, in. pis. 195, 919 ; Hartwig, Meisterschalen, p.
224, pi. xxviii. A cock-fighting scene is shewn in Daremberg
and Saglio, Dictiannaire, 1. p. 180, and on the chair of the
priest of Dionysos (Beule, Rev. Arch, 1862, pi. xx. p. 349).
Schrader, Arch. Marm., p. 67, figs. 56 — 60.
169. Small seated figure. Found before 1881.
Parian marble.
H. -14 m. (footstool -03 m.).
Missing — body above hips,
front of feet.
The throne \i represented by
a square block of stone (H. "102
m.) with faded colours on it
which shewed the distinction of
seat and legs from background.
The legs were apparently red
with green stars above and green
palmette decorations below. The seat is yellow, with a
yellow cross-bar connecting the legs lower down, and the

io6

CATALOGUE OF

figure sits on a green cushion. The space between the legs
representing the background is dark.
The figure is clad in a red garment with a green border
and broad green rrapv^trj. It shews no folds, and fits
tightly round the. legs, spreading out on the seat behind.
Two holes on the sides of the thighs probably served for
the insertion of the lower arms. The figure is quite rigid,
and shews a slight hollow between the legs, which are well
rounded. The rudeness of execution is due rather to the
small size and inferior artist, as the scheme of decoration is
ambitious.

269. Female figure. Pentelic marble.
H. 65 m.
Missing — body above waist behind,
and top of thighs in front, arms except
fingers of left hand, legs below knees
except back, of left calf.
The figure seems to have been clad
in ordinary Ionic costume with himation
fastened on the left shoulder. There is
no irapvdir). The left hand holds the
folds together on the left thigh, with
the thumb and two fingers extended.
The drapery hangs in flat folds, and
is quite smooth behind. There is a
green maeander border on the himation,
from which the colour has almost entirely disappeared. The
figure is thin and rigid, and the forms shew clearly through
the drapery. The fingers are long and narrow, and very
carefully worked.
The marble betrays the Attic origin of the figure, but its
stiffness and unmeaning drapery point to a very early origin,
probably the work of a sculptor imitating Ionic dress without
very sure knowledge, as in the case of No. 678. It is clearly
earlier than the Chiot figures. Nos. 671 and 685 shew the
type of drapery which the artist was imitating.
Schrader, Arch. Marm., p. 31, figs. 27, 28.

THE ACROPOLIS MUSEUM

107

293, 452. Torso of Athena.
Parian marble.
H. -475 m.
Missing — head and neck, left arm
from mid-biceps, right arm, shoulder,
and part of breast and side, section of
body at waist, right leg from knee, left
leg from above knee.
Damaged — chest and neck much
blackened and edges calcined by fire.
Put together from two pieces joined
by a band of plaster at the waist.
The goddess advances to her left like
the Athena of the Gigantomachy pedi
ment, with left arm extended towards
an antagonist. The right arm is raised
and must have held a spear in a mena
cing position. The left shoulder is lower, and the body leans
forward from the waist. The motion however is badly ex
pressed, for the legs are stiff and unbent, and the folds do
not hang vertically. The head was turned towards the left
shoulder. The costume consists of Ionic chiton, himation, and
aegis. The chiton appears as a smooth surface on the left
breast and shoulder, and the himation was apparently
fastened on the right shoulder only like the Korai. Its top
is hidden by the slanting triangular aegis which follows the
same line across the body. The lower border of the aegis
has a fringe of curling snakes. The himation follows the
ordinary Ionic scheme with ¦irapvtfyrj between the legs. No
colour is preserved.
The hair falls behind in a square mass of eight zigzag
locks, and in three wavy locks on the left shoulder, four on
the right. The modelling is clumsy, particularly of the
bosom, and the right side of the body is much thicker than
the left, a feature observable also in the prostrate giant
No. 141, which clearly forms the other member of this
group from its similarity in scale, material, and style. The
group is a small copy of the central pair of the Giganto
machy pediment. Schrader has lately added to the torso the

io8

CATALOGUE OF

head No. 658, which shews similar workmanship and similar
traces of damage by fire.
Schrader, Arch. Marm., p. 60, fig. 49.
299. Female head. Pentelic marble.
H. -18 m.
Back broken away, surface
below eyes weathered away.
Head of later type with oval
eyes between thick lids.
The hair is in a fringe of
spirals in two rows, and is con
fined by a thin ring round the
head. On this ring side coils
fall, passing over the ears. At
the back a handkerchief covers
the hair. The head was not
found in the Perserschutt, and
must have had a long exposure
to the weather. This fact com
bined with the unique coiffure and the later eyes suggests
that it is archaistic and belongs to a much later period.
302. Male torso. Found S.E. of Acropolis in 1865.
Parian marble.
H. 315 m.
Missing — head, left hand and wrist,
right arm and point of shoulder, body
from waist downwards.
Put together from two pieces — most
of the left arm and the rest of the torso.
The figure is upright and faces full
to the front. The right arm was raised,
probably high above the shoulder, though the pectoral muscle
is not affected, while the left arm hung by the side. The
modelling is careful but dry and hard. A sharp ridge denotes
the collar-bone, but the pectorals are better worked. The
oval line of the false ribs is shewn, and a faint vertical groove

THE ACROPOLIS MUSEUM

109

down the centre of the abdomen, but the transverse folds and
all signs of the ribs are omitted. The deltoids are outlined
and the hollow of the backbone well shewn. The work is
clearly of Attic type and earlier than either 692 or 698. The
general pose suggests the figure of Harmodios, and we might
suppose the torso a fragment of a small copy of the original
group of the tyrannicides by Antenor. Schrader however
has identified fragments of the legs in an unextended position
(No. 3611).
The statue is probably to be ascribed to the new school
of Antenor which first began to study athletic art in Athens.
Brunn, Decharme, and Pervanoglu, Bull. delV Inst., 1864,
p. 85; Sybel, No. 5102; Furtwangler, A.M., v. p. 25.

329.

Part of small seated figure.
Island marble.
H. 344 m.
Missing — head, whole of right
side from centre of body, legs,
front of left lower arm, left
hand. Damaged — drapery on left
side and back.
Put together from two pieces
joining below the breast.
To this belongs the fragment
immediately following.

498. Lower part of throne with footstool and feet of
SEATED FIGURE.
Island marble.
H. -245 m. (including plinth -04 m.) ; width -29 m. ;
broken away behind. The footstool is '165 m. wide, "12 m.
— "135 m. high, and 165 m. deep.
The marble and the scale of the two fragments are
identical, and in both the whole of the chiton is covered
with a bright blue colour of an unusually bright shade.

IIO

CATALOGUE OF

The figure is seated upright
in a stiff attitude, with the feet
close together. The left arm
rests on the thigh. The cos
tume consists of Ionic chiton
and himation. The chiton has
a kolpos which is pulled up in
the centre like No. 620 to shew
a red girdle. It has crinkly
folds above and vertical folds
below with a irapvdiij between
the legs. The whole surface is
coloured bright blue, and the
¦napvfyr) shews a light maeander on a yellow ground. Only
a ridge separates chiton from neck. The himation is worn
like a shawl over both shoulders and covers the left arm. It
is shewn by wide shallow folds, and has a red stripe on the
border. The red stain near the neck comes from the hair.
Sandals are worn.
No hair appears, as there were no shoulder locks, and it
was covered by the himation behind.
The throne is solid, and like that of No. 620. The legs
are onlv distinguished by relief, and by the red colour of
the central part. The decoration of the feet is picked out
in green. A horizontal dark stripe represents the original
level, up to which the figure was inserted in its base. The
footstool is hollowed out in front between its legs, and painted
red like the central part of the throne. Red colour also
appears on its upper surface.
The toes are not completely separated, but the feet are
carefully modelled. The bosom too is good, but the general
appearance is a little stiff and the kolpos recalls No. 620.
There is no use of the drill. These facts and the unusual
amount of surface covered with colour suggest an early origin,
somewhere between Nos. 620 and 618. It is probably an
early imported statue.
Lechat, Au Mus., p. 170, fig. 14.

356. Island marble.
H. 25 m. with plinth "04 m. high.

THE ACROPOLIS MUSEUM

III

Back foot of a figure
moving in profile to
the right, clad in a
chiton with Trapvdyrj
like the charioteer No.
1342, and treated in
the same style. The
slab is broken away
behind, but it clearly
belongs to the same
frieze, cf. p. 275.

420. Female figure.

Found in 1887, E. of Erech
theum. Pentelic marble (?)
H. -13 m.
Missing — body above hips,
front of feet.
The fragment stands on a
small plinth, and is clad in the
usual Ionic costume of which
only the skirts are visible, held
up by the left hand in the usual
way. A red stripe and a mae
ander pattern are visible round
the hanging border of the hi
mation. Petersen, A. M., 1887, p.
145.

431. Plinth.
Parian marble.
L. -19 m. (foot -075 m.).
Plinth with advanced left foot of male figure and part of
right foot drawn back. Both are flat on the ground. There
are also the four paws of an animal, probably a dog, on

112

CATALOGUE OF

the left side of the human feet. A
sloping hole is visible between the
dog's fore-paws, and there are two
holes through the plinth in front of
the man's left foot for the purpose of
fastening it to a base. The foot is
long but not narrow, and the length
of the second toe points to a con
vention later than the marble pedi
ment, and probably due to Pelopon
nesian influence.

449. Island marble.
H. 25 m.
Fragment of a female
figure shewing four locks
of hair and a sceptre or
perhaps a hand holding
a sceptre (?) in profile
to the left with appar
ently a himation on the
right shoulder. Schrader
connects this fragment
with the same frieze as
Nos. 1342, 1343, etc.
The style appears to be
rather different from the frieze, but it might possibly belong.
493. Cf. p. 262.
499. Plinth with feet. Pentelic marble.
H. (leg) -175 m.
Plinth— L. -38 m., Br. -24m.,
Th. 04 m.
Length of foot -18 m.
Inserted — big toe of left foot.
The feet, of later type with
second toe longest, both rest
flat on the ground, the left ad

vanced and turned to the left

The figure was male, and

THE ACROPOLIS MUSEUM 1 13
probably turned to the left. The work is very good, but the
surface has not received the final polish. The interpretation
of the figure is probably provided by No. 571, where a horse's
fore leg is seen in front of the left foot. The attitude there
fore was of a man standing in front of a horse and holding
it by the bridle. The plinth is broken and the horse has
disappeared. No. 697 shews the horse belonging to such a
group, and thus we have parts of three groups of a similar
type. The style seems to be rather more archaic than Nos.
697 or 571.
552, 554. Leopard. Hymettan marble.
H. -50 m. L.llOm.
(restored). In two pieces whose
connection is certain
from identity of scale,
material, and tech
nique. Missing — head, left
fore paw, and section of body in centre.
The leopard is in a couchant position facing right. The
fore paws rest on a rough support which was inserted into a
basis. The hinder part was made in a separate piece, and
dove-tailed on to the forepart. Two small holes mark the
position of rivets. There is no support under the hind legs,
but two larger holes shew that the beast was fastened to a
background. Traces of an iron stay are also visible at the
back of the neck.
From the character of the supports and the iron stay,
Schrader has ingeniously suggested that this leopard and the
existing fragments of another one (Nos. 551 and 553) formed
a pair of akroteria on the roof of the oldest Athena temple.
Cf. also Nos. 122 and 701.
The style of the carving is flat and primitive ; the spots
are shewn by incised circles cut with a kind of drill. The
outer and inner circles were distinguished by colour, though
none now remains. The technique of dove-tailing the : two
pieces and the use of quite thin slabs of marble are curious.
d. 8

114 CATALOGUE OF
Schrader attributes these peculiarities to the influence of
wood-carving. Schrader, Arch. Marm., p. 10, fig. -8.

571. Plinth with feet and horse's fore leg.
Parian marble.
H. 385 m.
Length of feet -14 m.
Plinth — L. -47 m.,
Br. 18— 19 m., Th.
04 m.
The feet are in a
similar position to those
of No. 499, but with the
left foot rather more
advanced and the right
rather more turned to
the left. On the right a horse's fore leg is shewn pawing the
ground. This is in the same attitude as the fore leg of No. 697,
but is on a rather smaller scale, and is not so carefully worked.
The back heel is raised from the ground, and supported, like
the horse's hoof, by a small red basis. The modelling of the
horse's leg is inferior to No. 697, but doubtless the motive
of all three groups is the same, a man holding a horse by
the bridle like one of the figures in the centre of the W.
frieze of the Parthenon.
Schrader, Arch. Marm., p. 84, fig. 76.

575. Forepart of horse.
Hymettan marble.
H. 49m.
Missing — back of head, muzzle, and legs.
The head is turned over the left shoulder. The mane is
shewn by a raised surface left flat for the application of colour.
The surviving dark paint was once a bright blue. The breast-
collar is in relief, and is divided by incisions into three bands
once distinguished by colour. The bridle is merely shewn by
incised lines and must once have been painted. " The head

THE ACROPOLIS MUSEUM

US

consists of three planes whose angles
are hardly rounded. The chest muscles
and the eye are quite conventional, the
latter being an incised circle with two
lines joining it like the eyes on early
Attic vases. The back of the body
is broken off from the background into
which it was originally inserted by
means of a tenon.

576. Forepart of horse. Similar to 575.
Hymettan marble.
H. 35 m.
Head and legs missing.
Rough at the back and sides. The
breast-collar is larger and once had five
bands. No colour left even on the
mane.

578. Horse's head.
Hymettan marble.
H. -22 m.
Turned over the right shoulder and only worked on the
8—2

u6

CATALOGUE OF

left side. The mane is left
rough for the application of
colour but none has survived.
The front of the head, like
that of 575, is one flat plane.
The eye has the same conven
tional form. The bridle is simi
larly incised, and a hole shews
where the bit was inserted in
bronze.

579. Upper part of horse's head.
Hymettan marble.
H. 22m.
Same scale. Very rough treatment.
The head is turned in the same direction
but is much less carefully worked.

580. Horse's head. Hymettan marble.
H. 20 m.
Turned over left shoulder like No. 575
and worked on right side only. It is the
counterpart of No. 578, and belongs to
the torso No. 576. No colour preserved.
These fragments clearly come from a
relief-group representing a TeOpiirn-of.
The sides of the horses are rough and
damaged, so that their respective positions in the group
cannot be determined. They projected from the background
of the relief on which the chariot and driver would be
portrayed. This might be a metope or small pediment.

THE ACROPOLIS MUSEUM 117
A similar treatment is to be observed in the fragment of a
horse from the pediment of the Apollo temple at Delphi.
Cf. B.C.H., 1901, pp. 474—80, fig. 5, pis. xiv., xv.
The style is very primitive, and the material used,
Hymettan marble, points to the earliest period of Attic art.
Cf. Introd. p. 17.
Winter, Jb., 1893, pp. 136, 147; Lechat, Sc. Att, p. 124,
note 1; Pavlovski, pp. 253, 254, figs. 88, 89; Homolle, B.C.H.,
xxv., 1901, pp. 476, 477, figs. 2—4.
577. Relief.
Athena and seated worshipper. Two pieces on left hand
found 30 years ago in house
behind Erechtheum. Right-
hand piece found before 1878.
Pentelic marble.
H. 575 m. Br. -385 m., with
small plinth projecting "024 m.
and 078 m. high.
Missing — head, and lower left
arm of Athena, head and left
shoulder of worshipper. Put
together from three pieces.
Athena stands on left facing
right on right foot, with left
drawn back but flat on ground,
left arm raised and leaning
probably on a painted spear. Her right hand is extended
towards a worshipper, who sits facing her on a chair with
back, arms, and footstool. His left arm hangs by his side
and the right is extended towards Athena. He appears to
be handing her something. Between them is a table with
only one leg carved, the others depending on paint, and with
a round flat object resting on it.
The goddess wears Ionic chiton, himation and aegis. The
chiton falls in wavy folds and hangs round her feet, which
are shod with sandals. The himation is fastened once on the
left shoulder and has no overfall. The aegis covers both
shoulders. The worshipper has a garment wrapped round

u8

CATALOGUE OF

his lower limbs, and is naked above the waist. His body
seems to have been painted red all over, an unusual circum
stance for a marble relief. Red appears also on the chair,
and on the object resting on the table. The muscles of the
man's body are well given, and the attitude of Athena is
easy and free, resembling No. 695. But there are some
mistakes in execution, e.g. the impossible length of the
man's right arm.
The relief may be later than 480 B.C. Its meaning has
been largely discussed. Wolters supposed it to be Athena
Hygieia visiting a sick man, Furtwangler a personification
of Demos as treasurer of Athena, but the table is not ex
plained by either theory. It is more probably, as Perdrizet
suggests, Athena Ergane receiving an offering from a crafts
man of some kind.
Sybel, No. 5013; Martinelli, 320; Schone, Griechische
Reliefs, pi. xix., No. 83; Furtwangler, A.M., in. 1878, p.
184; v. 1880, p. 24; vi. 1881, p. 178; Friederichs- Wolters,
No. 117 ; Lepsius, p. 75, No. 71 ; Perdrizet, Melanges Perrot,
p. 261, fig. 2 ; Lechat, Sc. Att, p. 300.
581. Relief.
Athena receiving worshippers with pig.
Found E. of Par
thenon in 1883.
Island marble.
Height (as restored)
"665 m. Breadth "655 m.
above, '64 m. below.
Thickness -08 m. —
¦085 m.
A small plinth pro
jects below, -04 m. high,
and "005 m. projecting.
Missing — right leg
of Athena below knee,
parts of drapery held
in her left hand and
hanging behind, small
Male worshipper from waist upwards,

boys from below waist.

THE ACROPOLIS MUSEUM 119
female from shoulders upwards with raised hands. Put
together from five pieces.
On the left stands Athena facing right with left leg
advanced, holding up the folds of her drapery high in the
left hand and with the right bent across the body. The
fdurth finger of the hand is extended, the rest closed. She
is clad in Ionic chiton and himation worn in the usual way,
with the latter fastened on the right shoulder. The hanging
ends are curved outwards in the manner imitated on Graeco-
Roman archaistic reliefs. She has no aegis, but wears a
helmet with a crest painted on the background. A fringe
of spirals represents the hair on the forehead, four wavy locks
appear on the right shoulder, and one is visible on the left.
A horizontally divided mass falls on the back. The head is
very high at the back, the eye is shewn in full face and is of
the protruding Ionic type, the lips are thick, and the lower
part of the face recedes at a sharp angle from the line of fore
head and nose. The bare foot is long and archaic, and all the
contours of the body large and soft.
In front of Athena to the right stand two small boys
shewn by a double profile. The further figure has the right
hand raised, and an offering, left for paint, in the left, the
nearer one a disc-shaped object in the right hand and the
left broken away. They have short hair and eyes shewn full
face. Further on the right is a male figure wrapped in a
himation with right foot advanced ; to his right again
advances a small girl in Attic costume with right hand raised
and left by side. Her eye is shewn in front view and her
mouth sharply curved. Finally comes a female figure with
right foot advanced and both hands raised. She wears a
himation like a shawl over her shoulders, and in front is
visible the long kolpos of a chiton shewn by the usual fine
wavy lines. Her bare feet are long and archaic. In the
background is visible a large sow, which the worshippers are
bringing to sacrifice. There is no colour preserved except
red on the background.
The whole work shews strong Ionic characteristics, and the
fact that Island marble is used instead of Pentelic, which is
usual in the case of the reliefs, points to a foreign origin.
The Athena in particular is a stylised and elaborate figure

120 CATALOGUE OF
of Ionic style in quite the manner of archaistic reliefs. At the
same time the presence of a girl in Attic dress shews that the
relief was made for the Attic market, and therefore probably
by an Ionian resident in Athens.
Mylonas, 'Ef 'kpft, 1883» P- 42> No- 19? Stais' 'E£-
'A/>%., 1886, p. 179, pi. ix. ; Botticher, AkropoUs, pi. ix. ;
B.-B., pi. xvii a; Lepsius, p. 71, No. 42; Collignon, i.
p. 379, fig. 196; Perrot, vm. p. 621, fig. 314; Lechat, Sc.
Att, p. 283.
582. Female figure. Kastriotis says of 582 — 587 that they
were found on the north wall of the
Acropolis. In that case the date of
their discovery was 1886-7.
Pentelic marble.
H. -53 m.
Lower part of xoanon on round plinth
•055 m. high.
The fragment is rectangular in sec
tion with rounded corners and is only
smoothed in front and on the right
side. The drapery is quite flat except
for three folds on each side. The feet
protrude shod in sandals from the front.
There is no trace of colour. The figure
is of the most primitive type, and
belongs to the earliest period of Attic art. Cf. Introd. p. 15.
583. Female figure.
Pentelic marble.
H. 20 m.
Missing — head, left shoulder, body from hips downwards,
back of right shoulder and arm.
Clad in simple Attic peplos with girdle. The vertical
stripe represents the end of the girdle. The right arm is
bent across the body, and the hand holds an offering
(originally painted) on the bosom. A long veil hangs down
the back. Very primitive work. No folds of drapery in

THE ACROPOLIS MUSEUM 121

front, and the arms not separated from the body. Cf.
Introd. p. 15.

584. Female figure.
 Found before 1843.
is thrown over the left shoulder,
round body at back, under right arm, across body and wound
round outstretched left arm. The hair falls in a mass behind
divided into squares, and in four locks cut with a double
zigzag (above and at each side) on each shoulder. The left
arm was extended and probably also the right, which was
inserted by means of a dowel in a hole still visible.
The work is careful and stylised and belongs to a de
veloped period of art. The bosom is well developed.

122

CATALOGUE OF

Lechat, A.M., p. 182; Lebas-Waddington, Voy. Arch.,
Mons. figurh, pi. in.2 ; Lepsius, p. 69, No. 18 ; Sybel, No.
5049; Friederichs- Wolters, No. 114; Miiller-SchoU, Arch.
Mitt, aus Griech, p. 25, No. 9.
585. Female figure. Island marble.
H. -54 m.
Missing — head, right arm, left side
and arm from below elbow, legs from
below knees.
Wears Ionic chiton on which traces of
green are visible, girt round waist, but
quite without folds and fitting tightly
to the body. Above it is a himation
thrown over the shoulders like a shawl
and decorated with a red border. The
right arm was extended at right angles,
while the left hung close by the side.
The hair falls in a plain mass behind
with a semicircular edge below and in
three smooth wavy locks on each shoulder.
The work relied for its effect largely on colour.
Lechat, Au Mus., p. 170.
586. Female figure in relief. Pentelic marble.
H. -21 m. Depth of relief
075 m.
Missing — head, body below
hips, left hand, part of left
lower arm, and right lower arm
much damaged.
In high relief against a back
ground -04 m. to -05 m. thick.
Wears Attic peplos with
overfall covering the left arm,
and himation on right shoulder.
The garments are not properly
understood. The himation should not be shewn on one
shoulder only, and the overfall is too far round on the left

THE ACROPOLIS MUSEUM

123

arm. The peplos is girded at the waist, and the ends of
the girdle hang down in front. The right arm is bent in
front of the body, and the left is extended towards the side.
Four plain locks of hair fall on each shoulder, and a mass
behind. Schrader connects it with 587, and suggests that
it forms part of a relief of a dancing group of Graces.
The work is very primitive and rough. It belongs to the
earliest period of Attic art. Cf. Introd. p. 15.
Lechat, Au Mus., fig. 18, p. 186.

587. Female figure in relief. Pentelic marble.
H. -21 m., background "055 m.
thick, relief depth '066 m., base
•03 m.
Lower part from above knees
of herm-like figure in relief,
dressed in long chiton and hi
mation with feet protruding.
Practically rectangular with
front corners rounded off.
It clearly belongs to a figure
similar to No. 586, though it
does not actually fit the latter. We have thus two of the
three female figures of an archaic group of Charites. Cf.
Introd. p. 15.

588. Female figure. Island marble.
H. -17 m.
Missing — head, right arm and side,
left arm from below elbow, body below
waist. Much damaged and calcined by
fire. The figure wears an Ionic wavy chiton,
with himation in large flat folds over
both shoulders. The hair is shewn in a
flat semicircular mass behind with three wavy locks on each
shoulder. Ordinary Ionic work.

124

CATALOGUE OF

589. Female figure. Island marble.
H. -46 m.
Missing — head, feet, and small section
of legs. Arms and hands damaged.
In two pieces divided at mid-thighs.
The figure wears a flat Attic girded
peplos, and himation like a shawl over
both shoulders and down the back in
heavy flat folds. The peplos is red,
and the himation has a red and green
border. The right arm is bent across
the breast, and doubtless held an offer
ing ; the left hangs by the side and
slightly in front. The hair hangs in
a square mass behind with horizontal
incisions, and in three beaded locks on
each shoulder. The statue is of the primitive xoanon type,
cut in four planes which are rounded at the corners. There
is no division between the breasts or the legs, and the front
is almost absolutely flat. Cf. Introd. p. 15.
Lechat, Au Mus., p. 186, fig. 17.

590.

Fragments of equestrian statue. Found W. of Erech
theum in 1886.
Parian marble.
H. -815 m.
Put togetherfrom six
or more pieces compri
sing part of neck and
chest of horse, and torso
of rider to the middle
of the thighs without
the head or arms. The
right hand, which has
been added by Schrader,
is visible on the right
thigh. The stomach muscles

THE ACROPOLIS MUSEUM

125

of the rider resemble those of the Moschophoros (No. 624)
in their artificial regularity, and shew the early date of the
work. The treatment of the rest of the body is very slight.
The position also of the thighs, raised high above the back
of the horse instead of gripping it, is impossible in reality.
The muscles of the horse are quite conventional. The horse's
mane is divided into two parallel fringes, like those of the
Parthenon pediments. A hole at the base of the neck on the
right side served to fasten the reins, and a corresponding hole
in the rider's hand shews their further attachment. No traces
of colour. The date of this statue is evidently before the
influence of Ionia. Cf. Introd. p. 50.
Mus. d"Ath, xii. 1; W. Miller, A.J. A., 11., 1886, p. 62,
No. 5; Sophoulis, 'E</>. 'APX., 1887, pi. 11. 1-2, p. 40; Winter,
Jb., vm., 1893, pp. 137-8, fig. 7, and 147-8; Pavlovski,
p. 89, fig. 18; Perrot, vm. p. 635, fig. 325; Lechat, Sc. Att.,
p. 112; Lepsius, p. 73, No. 47; E. Gardner, p. 177.

592. Base of a votive bowl.

Found in 1888, S.W. of Parthenon.
Naxian marble.
H. -43 m. Diam. (above) "65 m., (below) -75 m. H. of
base "12 m.
From feet to waist the figures measure "28 m.
Put together from five pieces, and five other pieces of the
figures have been joined on.
The base consists of a round slab with the upper edge cut

126 CATALOGUE OF
off by a slightly curved moulding, on which stand six female
figures leaning back and supporting a large bowl, of which
some fragments with remains of an inscription are preserved
in the magazines of the museum.
The female figures are quite stiff and square, wearing a
single garment girt at the waist, which is shewn by heavy
vertical folds in front, but is smooth at the sides and back.
In the wall-case in Room IV. are other fragments, on one of
which we can see the hair falling in a mass on the back and
in three locks on each shoulder with horizontal incisions.
Above the waist the garment is shewn by V-shaped incisions,
and it seems to have short sleeves. It is in fact a simple
sleeved chiton without kolpos. The feet are quite flat with
incisions to separate the toes.
Both material and style connect this base with the
Naxian figures Nos. 619 and 677. Although we have here a
work of less care and finish, the same rectangular xoanon-
like figure is to be seen and the same heavy vertical folds
completely hiding the figure. The material too is so rare as
to point to a Naxian origin.
Wolters, A.M., 1888, p. 440; Lechat, B.C.H., 1889,
p. 142; E. Gardner, J.H.S., 1889, p. 265; Frothingham,
A.J.A., 1889, p. 94; Lepsius, p. 66, No. 3; Sauer, A.M.,
1892, p. 41, No. 24, pi. vn.; Joergensen, p. 33, pi. vii. 1, 2;
Schneider, Verh. der Jfi Phil. (Gorlitzer) Versamml, p. 355.

593. Female figure.
Found E. of Erechtheum in 1887.
Pentelic marble.
H. 101m.
Missing — head and feet.
Clad in Attic chiton and peplos, with overfall shewing
a red maeander border below and red stars, crosses, and
svastikas in field. Another border of two red stripes ran
round the neck. Above the peplos is worn a himation flung
round both shoulders and over both arms like a shawl, with
red maeander border and crosses in field. The left arm is
then bent across the body inside the garment, bringing two
corners, adorned with tassels, together in the front. Two

THE ACROPOLIS MUSEUM

127

folds are shewn by the wrist,
but no others, and the edge
over the bosom is omitted
altogether. The himation looks as if it
was split to admit the passage
of the right arm, but, as the
red maeander border pattern
runs right round, it seems as
if the artist intended to repre
sent the garment as caught up
at the right elbow, with a seam
coming down from the shoulder
to the same place. In that case
the two tassels should decorate
the two falls of drapery on each
side of the right arm, but, as
a matter of fact they are placed
together symmetrically with
the left side, the second tassel
hanging from an inner fold.
This arrangement is quite im
possible. The sleeve of an
under-chiton worn under the peplos is visible on the right
arm. It is divided down the middle and caught together
with brooches. The peplos is girded and the fringed ends of
the girdle picked out in green hang down in front. Apart
from the few folds mentioned and the gathers of the under-
chiton, the garments are smooth and flat.
The hair is worn in three ringlets on each shoulder with
a rough zigzag surface, and a square mass horizontally
divided behind with a separate ringlet on each side of the
mass. The figure wears a necklace of small oblong ornaments,
which are painted red. Two pendants on the neck, one
plain, and one cut like a bunch of grapes, may be earrings.
The left hand is bent across the body and holds a red
pomegranate. The right hangs by the side and holds a
plain wreath. Neither is at all separated from the body.
The attitude is quite stiff and like a xoanon, without any

128

CATALOGUE OF

traces of the legs, but the breasts are slightly raised, and
the contour of the back is shewn. Cf. Introd. p. 15. This
statue, like Nos. 582, 583, 586, 587, and 589, belongs to the
earliest period of Attic sculpture.
Petersen, A.M., xn., 1887, p. 145; J. Harrison, J.H.S.,
ix., 1888, p. 121, fig. 1; Sophoulis, 'E<f>. 'Apx-, 1891, p. 155,
pi. xi.; Collignon, i. p. 353, fig. 78; Pavlovski, p. 161, fig. 46;
Lechat, Au Mus., pp. 186-8, fig. 19; Lepsius, p. 74, No. 57;
Perrot, vm., fig. 288; Lermann, pi. i.
594. Female figure. Found E. of Erechtheum in
1887. Island marble.
H. 123 m.
Missing — head, top of back,
both arms from elbows, right
leg from knee, left foot, part
of left shin. The right arm
was inserted as a separate piece
in the same material, and its
tenon still exists in place.
This statue also wears drapery
which is difficult to understand.
Underneath is the Ionic chiton
visible on neck and left arm and
shoulder, and also in the left
armpit, where the fulness of
the sleeve projects above the
cross-belt of the himation. It
has a green and red maeander
border round neck and down
sleeve, and the projecting frag
ment has also a green stripe at
the edge. Over this is a himation, with overfall of ordinary
Ionic fashion crossing the body from the right shoulder
and visible under the left arm. It is visible also under the
right arm behind, and it can be distinguished by a green
wavy pattern on the border. Over this again is thrown
like a shawl an additional garment, the epiblema, which

THE ACROPOLIS MUSEUM 1 29
appears falling over the left shoulder and breast as far as
the thigh. This passes in wide folds over the shoulders
behind and covers the right shoulder and arm as far as the
elbow, concealing the attachment of the himation. The end
of the epiblema on this side is represented by the curved
folds between the arm and the body, but it shews no corner
as it ought to. The long fold of drapery over the right
breast reaching to the knee and the straight folds under the
right arm belong to the himation, but on the former for
some reason the artist has abandoned the wavy patterned
border of the himation and substituted the border of red and
green squares which belongs to the epiblema. The irapv^rj
of the himation is decorated with a very complicated and
delicate large green maeander.
The hair, red as usual, falls in four locks on each shoulder,
decorated with double zigzag incisions. Behind it falls in a
mass of ten waved locks with separated ends. The ends of
the three inner ringlets on each breast are marked by three
small holes which originally served for the attachment of
separate pieces for the extremities.
The body is displayed clearly under the clinging drapery.
The muscles of the left knee are carefully distinguished. The
left leg is advanced and the left arm holds up the gathered
folds of drapery. The right arm is extended with an offering.
The hollow between the collar-bones is indicated. The work
belongs to the period of greatest Ionian delicacy and elabora
tion, and the polychrome scheme is well preserved. The drill
is used throughout. It should be compared with No. 682,
as the two best examples of imported Ionian art. Cf. Introd.
p. 21. Petersen, A.M., xn., 1887, p. 145, No. 1 ; Lepsius, p. 68,
No. 12, fig. 2; Lechat, Au Mus., p. 180, fig. 16, p. 234; Sc.
Att., p. 222; Perrot, vin. p. 585, pi. xn. ; Lermann, pi. xm.
595. Female figure.
Found E. of Erechtheum in 1887.
Island marble.
H. -97 m.
Missing — head, right arm, left arm from elbow, feet,
ankles, and parts of drapery. No colour.
d. 9

130

CATALOGUE OF

Clad in ordinary Ionic costume of chiton
and himation, which moulds the figure
very closely and shews the calf-muscles
with great clearness. This statue also
shews well the series of fine folds which
run from the fibulae of the himation
across the right arm and shoulder. The
front of the statue has been deliberately
hacked at some period subsequent to its
erection, probably during the sack of the
Acropolis, cf. heel of No. 606, and the
equestrian fragment in the courtyard.
There are four locks of hair on each
shoulder, with holes for free-hanging ends
on the left breast only, but there is no
mass of hair on the shoulders behind. The figure wears a
necklace of two rows of pear-shaped ornaments. As usual
the left foot is extended and the left hand holds the drapery,
while the right arm is stretched out with the offering.
Lechat, Au Mus., pp. 198, 236; Petersen, A.M., 1887,
p. 144, No. 2.

596. Base with fragment of inscription. •49 m. x -49m. x -38 m.
An oval plinth "425 m.
x -25 m. is run in with
lead. On this stand two
feet. Island marble plinth
with Pentelic basis.
The back foot is broken
at the instep and restored
in plaster. Schrader has
identified the lower part
of the left leg in No.
182. The two feet are flat
on the base and are pro
bably male, as no drapery
is visible. They are long and well carved, but the toes are

THE ACROPOLIS MUSEUM 13 J
not completely separated. The big toe is longest, according
to early convention, and the nails of trapezoid shape. The
feet are life-size, and the base belongs without a doubt to
No. 665.
Fragments of an inscription are visible on the front of
the base.
Schrader, Arch. Marm., p. 53, fig. 44.
597. HlPPALECTRYON. The greater part was
found in 1887, S.E. of
Acropolis, the rider's
torso in 1889.
Island marble.
H. 38 m. L. -46 m.
Missing — head, most
of neck, ends of wings,
and tail of the monster ;
head, neck, right arm
and shoulder, left arm
from below shoulder,feet
and ankles of the rider, and most of the support.
Put together from two pieces, the rider's torso having
been added separately.
The chest of the monster rests on a marble support,
oblong in section, in the form of an Ionic pilaster, with the
capital painted in green. The fore legs were represented as
pawing the air, and the head was erect, the weight on the
hind legs. The forepart is that of a horse, with the tail,
wings, and hind legs of a cock. The mane shews traces of
dark colour, and the tail and wings of a coloured design to
indicate feathers. The tail-feathers are further distinguished
by incisions. The rider sits back with his legs over the wings,
and his hands on his thighs. The chest is well modelled, but
shews no muscles, and the stomach only the li/nea alba and
one cross incision. In general style he resembles the rider of
No. 148.
The creature is known as a Hippalectryon from various
passages of Aristophanes (Birds 800, Peace 1177, Frogs 932,
937), usually in connection with the epithet gov06<;, explained
9—2

132 CATALOGUE OF
by the scholiast on Peace 1177 o>? <bot,piicd Trrepd exovja.
The same scholiast preserves a phrase from The Myrmidons
of Aeschylus, %ovdb<i linraXeKTpvcav. It is used partly as a
term of abuse, partly as a mythical animal like a Tragelaphos.
There are no other sculptural representations, but it is well
known in vase-paintings (Louvre inventory Nos. 562, 597);
Pottier, Vases antiques du Louvre, pi. lxx., F 100, p. 102,,
F 104; Gerhard, Trinkschalen, pi. i., and a few others referred
to in Lechat, Au Mus., p. 458), Attic lead tesserae (Posto-
lakkas, Annali, 1868, pp. 289, 290, Nos. 446, 458; Monumenti,
vm. pi. lii.), and some gems (S. Reinach, Pierres Gravies,
pi. xxv., 4910 and 4912; xxvi., 5012, 51 6, 51s, 51 u— the type is
rather altered here).
Such a composite monster must obviously have had an
oriental origin, and Aristophanes hints at a derivation from
Persia (Frogs 937, 8), where the cock was regarded as sacred.
Unlike such other combinations as the sphinx, centaur, or
griffin, it obtained no permanent place in Greek art owing to
its too obvious monstrosity. The statue forms the subject
of an article by Lechat in the Revue des Universites du Midi,
republished in his Au Musee de VAcropole. It clearly belongs
to Period II (cf. Introd. p. 34).
Wolters, A.M., 1887, pp. 265, 6; J. Harrison, J.H.S.,
1888, p. 124; Lepsius, p. 72, No. 45, fig. 4; Pavlovski, p. 264,
fig. 93; Lechat, Revue des Universites du Midi, n., 1896,
pp. 121—130; id., Au Mus., p. 453, fig. 47.
598. Female figure.
Island marble.
H. -58 m.
Missing — head and neck, left arm from above elbows,
half right lower arm, front of left foot. Part of the plinth
is preserved. The head and left lower arm were inserted.
The tenon of the head is still in place. It is noticeable that
it should be the left and not the right arm that is inserted in
the case of this statue, since the left is made more naturally
in one piece with the rest of the statue. This provides us
with a good example of breakage and subsequent restoration.
The figure wears the ordinary Ionic costume and has the
ordinary pose. The bottom of the himation spreads round

THE ACROPOLIS MUSEUM

133

the feet behind, and displays
no sign of an under-garment.
It has a green maeander pattern
on the border, and a green hori
zontal stripe half-way down the
lower legs. The -n-apvcbr) is de
corated in green and red, the
border of the overfall is red,
the chiton has a red ground
and a green maeander border.
The hair is worn with four
spiral ringlets on each shoulder,
and a square mass of parallel
double zigzag locks behind. It
is coloured red. The figure
wears sandals with red straps.
These are raised in front, but
merely painted on the left heel.
The plinth is cut roughly to
the shape of the figure without
much margin.
Very careful and delicate
work. It is one of the best
examples of diaphanous drapery, since the muscles of the left
knee are represented as if entirely uncovered. Lechat has
compared the statue on this ground with No. 672, but the
knee of the latter is not nearly so pronounced. There is no
elaboration of the drapery, but the contours are very full
and round.
Lechat, Au Mus., p. 354, fig. 34; Sc. Att, p. 235;
Lermann, pi. vn.
599. Male torso.
Found by N. wall in 1886.
Island marble.
H. 57 m.
Missing — head, both arms from below shoulder, legs
from top of thighs.
Damaged — surface slightly, and the colour is mostly
gone.

134 CATALOGUE OF
Inserted — right arm into a square
socket in the shoulder. It was fastened
by a pin passed vertically through the
join. The penis was also inserted.
The torso is full face towards the
spectator, but the head is bent towards
the left shoulder, and the left arm is
extended in the same direction with the
right arm bent across the body. The
weight is on the right leg* and the legs
would seem to be rather wide apart.
The torso is in nearly the identical posi
tion of the knight No. 4 on the west
frieze of the Parthenon, who is adjusting the bridle of his
horse, but the condition of the stomach muscles shews that
vigorous action is in progress, and therefore the usually
accepted interpretation is an archer drawing his bow. But
it would be difficult to shoot in Greek fashion with the torso
at right angles to the position of the arm. The extended
legs and tilt of the body would better suit a warrior striking
with a double axe.
The figure wears a short close-fitting jerkin shewn by a
raised line on the stomach but distinguished by paint only
on the neck. Traces of paint on the right thigh suggest that
a light chiton was indicated by paint only underneath it.
There are also three holes, one on each thigh and one just
above the penis, which were connected with some drapery or
armour, but their significance is doubtful. The torso is
short and broad, especially across the shoulders. The muscles
of the chest and stomach are shewn quite independently of
the jerkin, even the navel being fully worked. The propor
tions of the three divisions are "14 m., -17 m., and -14 m., and
the treatment is somewhat analogous to the ^Aeginetan
pediment. The angle in the external oblique is prominent
as in the Peloponnesian school of the 5th century, and the
proportions of height and breadth are un- Attic. It might
well be Aeginetan in origin and probably dates from the
middle of the century.
Kavvadias, Cat des Musies d^Ath, 1895, p. 105, No. 599;
B.-B., No. 546 (left) ; Lechat, Sc. Att, p. 456, fig. 39.

THE ACROPOLIS MUSEUM

135

6 OO. Female figure. Found W. of Parthenon in 1882.
Island marble.
H. 59 m.
, s Missing — head and neck, lower right
mff ¦iff IB ' arm' ^e^ arm' r'Snt ^eS from knee, left
leg from below knee.
The head and neck, and the lower
right arm were inserted in separate
pieces. The arm was further secured
by a metal pin run from the outside
right through mortice and tenon. The
tenon of the head remains in the socket.
The figure wears the Ionic chiton and
himation, but has the latter pinned on
both shoulders. The position of arms
and legs follows the usual type. There
is a green pattern on the nrapv^rr) of the himation and the
surface of the chiton is green. This surface is plainly visible
between the fibulae of the himation on the right arm. Both
himation and chiton had green borders. The hair falls in
a semicircular mass behind with curving horizontal waves.
Three locks fall on each shoulder cut in double zigzags.
The left knee shews well through the drapery but not so
clearly as No. 598. Careful work, but the drapery is still
flat and rather formal. Lechat suggests that it is a direct
imitation of No. 673. It certainly follows the same type,
but these two are not unique, as he suggests, in having the
himation fastened on both shoulders, cf. e.g. 605.
Mylonas, 'Ecb. 'Apx-, 1883, p. 40, No. 1; Lechat, Au
Mus., p. 176; Sc. Att, p. 225.

601. Female figure.
Found W. of Parthenon in 1882.
Island marble^
H. -44 m.
Missing — head and neck, left arm, right arm, legs from
knees. Broken at the waist and pieced together. The right
arm was inserted separately.

136

CATALOGUE OF

Clad in Ionic chiton and himation,
with feet and arms as usual.
The hair falls in a square mass
behind with wide horizontal waves, and
in three locks on each shoulder cut in
double zigzags. It is coloured red. The
colour on the drapery has vanished.
Mylonas, 'E<p. 'APX., 1883, p. 40,
No. 4.

602. Female figure. Island marble.
H. 66 m.
Missing — head, arms from elbows,
feet from ankles. Lower part of legs
added by Schrader.
Clad in Ionic chiton only with kolpos.
The extra folds of the skirt are not
drawn to the side, but bunched in front
of the body as in No. 670, and grasped
by the right hand. The left hand is
extended, and the feet seem to be quite
level. Traces of a maeander and red
stripes appear on the chiton borders on
the right arm. The hair, which is
painted red, is arranged in three locks
on each shoulder, cut in flattish double
zigzags, and in a square mass of fourteen similar locks behind.
The shoulders are broad and the figure in general sturdy
without elegance. The massive neck and shoulders resemble
those of No. 625, the seated Athena.
Lechat, Au Mus., pp. 157 and 167; Schrader, Arch.
Marm., p. 42, fig. 36.

THE ACROPOLIS MUSEUM

137

603. Female figure. Island marble.
H. -39 m.
Missing — head, legs from mid-
thighs, left arm, right arm from
just in front of elbow.
Wears Ionic chiton and hima
tion. The white ground of the
chiton pattern on the left shoulder
and on the Trapv<f>rj is visible, but
the colour has vanished. The
ydveocri,<s or, perhaps, weathering,
leaves the ordinary surface of
the marble darker. Lermann,
pi. 11. below, on right, gives the
colour scheme for Trapvtpi] and
girdle: — girdle — two blue stripes with simple red maeander;
Trapvfyi) — red with two blue vertical stripes and green squares.
The hair falls behind in a semicircular mass of nine locks
cut in double zigzags, and in three similar ringlets on each
shoulder. It is coloured red. No insertions; good work of
normal Attic-Ionic style.
Lechat, B.C.H., 1889, p. 147, No. 4.
604. Female figure. Found W. of Parthenon in 1882.
Island marble.
H. 41 m.
Missing — head (and neck), both arms,
and legs from knees. The head and
right arm were inserted and fastened
with cement.
Clad in ordinary Ionic chiton and
himation, with legs and arms as usual.
The hair falls in a square mass behind
divided into horizontal waves, and in
three ringlets cut in double zigzags on
each shoulder. No trace of -colour.
Early, formal work. Even here the
angle above the •jrapvtpij is cut with a

138

CATALOGUE OF

drill. That stage is not yet reached in No. 601, but Nos.
600 and 603 are drilled.
Mylonas, 'Eo5. 'Apx-, 1883, p. 40, No. 5.
605. Female figure. Found W. of Parthenon in
1882. Island marble.
H. "48 m.
Missing — head, right arm from
elbow, left arm from a little below
elbow, legs from below knees,
fragments of drapery.
Clad in Ionic chiton and hi
mation. The folds of the skirt
with ¦n-apvcpij hang between legs,
and the himation is pinned on
both shoulders and down both
arms. Traces of a maeander
pattern are visible on the -n-apvtbrj
and on the border of the hima
tion where the lines seem traced with a pen. There is blue
on the border in front, and red behind, but otherwise the
colour is gone. Vertical clinging folds.
Hair in parallel double zigzag semicircular mass behind
with free ends, and three wavy locks on each shoulder,
coloured yellow ochre.
Right leg slightly advanced, both arms extended, the left
a little downwards, the right uncertain. No insertions; good
ordinary work.
Mylonas, 'Ecb. 'Apx-, 1883, p.
Mus., pp. 156, 176.

40, No. 2 ; Lechat, Au

606. So-called Persian horseman.
Found near Erechtheum in 1886.
Island marble.
H. 108 m.
The existing figure was put together by Studniczka out
of a large number of fragments.
Preserved — of rider, body below waist except in front,

THE ACROPOLIS MUSEUM

139

both legs except knees, and
upper part of left shin with
lower part of left thigh; of
horse, head and neck except
end of muzzle, top of fore legs,
and several fragments of the
chest. The head looks full front and
has a hogged mane shewn by
red zigzag incisions on a blue
ground. Bronze pins on the
front shew that some kind of
bronze forelock ornament was
added. Bronze pins still re
main in the holes at the top of
the head where the bridle was
attached. A hole on the summit of the head served for
the attachment of a meniskos. The chest muscles are still
a little primitive, and the general effect about on a level with
the torso A in the courtyard. The flesh folds are similarly
shewn by incisions. The shape of skull and eye shews con
siderable advance on the earlier equestrian statues. The eye
is triangular and without the long incision marking the duct.
The rider is dressed in an oriental costume consisting of a close-
fitting jerkin belted at the waist and long hose with leather
shoes. He presents a gay scheme of colour in red, blue, and
green, and shews a species of feather ornament on the jerkin
with a maeander border, and a diamond lozenge pattern on the
hose. His shoes are red, and bronze pins shew the remains of
their fastenings. A series of holes on the left hip were probably
for fastening a quiver, a portion of which is to be seen in a
wall-case. A small red projection on the left thigh served
for the attachment of the left hand holding the reins, while
the right perhaps held the bow. The heel is hacked away
behind. A good idea of the original statue is given by a
vase in the Ashmolean Museum at Oxford (P. Gardner, Cat.
of Ashmolean Vases, p. 30, pi. xiil).
This figure has been the subject of discussion by Stud
niczka and Winter. The former held that it represented a
Persian archer, and formed part of a monument erected by

140 CATALOGUE OF
Miltiades commemorating the battle of Marathon, among
the figures of which he numbered the Nike No. 690. He
argued that being obviously male it cannot represent an
Amazon, nor Paris since the archer is mounted, nor was it
likely to be a mere Scythian mercenary. It was certainly a
Persian and could therefore only be a monument of Marathon.
He adduced as further evidence the vase in the Ashmolean
Museum already referred to, which shews a practical replica
of our statue and bears the inscription MtXridBv^ /ca\6<;.
It was pointed out by Stuart Jones and Gardner that the
vase resembled the work of Epiktetos, and must be much
earlier than Marathon, and Winter, in a carefully reasoned
article, proved that this is by no means the latest of the
pre-Persian equestrian figures on the Acropolis. Also the
KaXos inscriptions refer naturally to young men. He there
fore associates the statue and vase, whose connection he
admits, with Miltiades' reign in the Thracian Chersonese in
the last decades of the 6th century. He further suggests
its connection with the inscribed base set up by Diokleides,
son of Diokles. For this however the evidence seems in
sufficient. Winter compares this statue in style with the
Korai of Ionic type, the seated figure of Athena (No. 625),
and the marble figures of the Hekatompedon pediment. It
would thus fall in the full Peisistratid age. In reality, how
ever, apart from the gay colouring of the rider's garments,
there is nothing whatever Ionian in the statue, and it is
clearly later than the pediments. It falls in the last decade
of the 6th century, and represents an Attic reaction against
the equestrian type imported from Ionia. Cf. p. 50.
With regard to this and to the other equestrian statues
in the Acropolis, Helbig expresses the view that they were
not the Hippeis or knights themselves, but the young
vTrrjpeTal, of noble blood attached to hoplites.
Kavvadias, 'E<f>. 'APX., 1886, p. 73 foil.; Mus. d'Ath, xn.
(horse's head only); Sophoulis, 'E</>. 'Apx-, 1887, pi. n. ;
Ant. Denkm., 1887, p. 8, pi. xix. ; Petersen, A.M., 1886,
p. 382, pi. xi. c2(foot ascribed to Nike); Studniczka, B.P.W.,
1887, p. 966; id., Jb., vi., 1891, p. 239; Theoxenou, Gaz.
Arch, 1888, p. 38; Winter, Jb., vm., 1893, p. 135 foil.; H. S.
Jones, J.H.S., 1891, p. 329; P. Gardner, Cat Ashmolean

THE ACROPOLIS MUSEUM 141
Vases, p. 30, pi. xm. ; Helbig, "Les Hippeis Ath.," Mem. Acad.
Inscr., xxxviii. p. 198 ; Pavlovski, p. 257, fig. 90 ; Lepsius,
p. 73, No. 49; Lechat, Sc. Att., p. 276; Perrot, vm. p. 635,
fig. 324; Collignon, 1. p. 359; Overbeck*, 1. 199; E. Gardner,
pp. 169, 177, 178 ; Klein, p. 268.
609. Cf. under No. 686.
6 IO. Four-sided base with Reliefs.

Found E. of the Parthenon in 1857.
Pentelic marble.
H. 1-17 m. Br. 56 m. Th. 52 m.
Round the bottom is a leaf-and-dart moulding "10 m.
high, round the top a palmette moulding "15 m. high.
On the top are two shallow holes -07 m. square and '06 m.
deep, with a larger hole between them, "13 m. long x '042 m.
— '045 m. wide x "12 m. deep. Remains of lead-running are
inside it. These holes served for the attachment of the
statue or offering which stood on the base. Botticher sug
gested that the Zeus Polieus of Leochares stood on this base,
but there is no confirmation of his idea, and the date of
the base is disputed. He also wrongly interpreted Hermes
and Dionysos as Zeus and Poseidon.

142 CATALOGUE OF
All the top is badly damaged and the sides as well.
The lower corner on the right has been broken and
added. On the four sides are deities in low relief: in front
Athena, on the left Hephaistos, at the back Hermes, and
on the right Dionysos. All are badly weathered and difficult
to distinguish. (a) Athena, distinguishable from the shoulders down
wards, advances to left on tip-toe, with the advanced right
hand leaning on a spear, the left holding by the hip a
helmet adorned with an elaborately curling crest. The
goddess wears Ionic chiton and himation, arranged in formal
folds with swallow-tail ends, and sandals on her feet. She
is tall and very thin with prominent bust.
(b) Hephaistos advances to the right on tip-toe with
left foot forward. He holds in both hands a long-shafted
double axe, and wears a single garment, the Ionic himation,
thrown over the left shoulder under the right arm, and over
the left arm behind the axe. He is bareheaded, barefooted,
and bearded, with his hair arranged in a crobylus like the
figure on No. 1343.
(c) Hermes is almost entirely weathered away except
at the back. He advances to the left also on tip-toe with
his right leg forward, and the swallow-tail fold of his short
chlamys is visible behind. His left hand rests on his hip,
and on his ankle is to be seen the remains of a wing. The
contours of his back are greatly exaggerated.
(d) Dionysos, whose head and shoulders are weathered
away, advances on tip-toe to the left with his left leg ad
vanced. He is clad in a long himation with the same
swallow-tail folds, and his left hand, wrapped in the cloak,
rests on his hip. His right arm is advanced and holds
the thyrsos, which Botticher interpreted wrongly as a
trident. The style of the base is undoubtedly archaistic. The
feet raised on tip-toe, the drapery folds, the slim waists, and
exaggerated contours are all signs of imitative work. The
date, however, is a matter of dispute. This basis with the
Corinth well-head form a type of archaistic monument very
different from the Graeco-Roman work of the Louvre altar

THE ACROPOLIS MUSEUM

H3

of the Twelve Gods. Archaism appears in very early r. f.
vases, and the figure of Athena may be compared with that
on 4th century Panathenaic vases. At the same time the
exaggerated delicacy of the figures on this basis seems to go
farther than the Corinthian well-head, and a 4th century
date is only conjectural.
Pervanoglu, Brunn, Michaelis, Bull. deW Inst., 1860, pp.
53, 113; Welcker, Ant. Denkmdler, v. 101, pi. v.; Annali,
1860, p. 451; Monumenti, vi. 45; Botticher, Phihlogus, xxn.
i. p. 96; Michaelis, A.M., 1. 1876, p. 298, pi. xvi. 6; Sybel,
No. 5010 ; Milchhofer, Museen Athens, p. 53 ; Friederichs-
Wolters, 421; Overbeck4, 1. p. 249, fig. 66; Lepsius, p. 75,
No. 85.

611. Female figure. Found before 1881.
Island marble.
H. -51m.
Missing — head and both arms, legs
from mid-thighs; surface damaged.
This figure is clad like No. 678. What
is taken, e.g. in No. 605, to be the over
fall of the himation, goes all the way
round the body without a join, fitting
closely, without hanging folds under the
arms. It is presumably brooched down
the arms like No. 678. This cannot be
the ordinary himation overfall or it
would have long folds, and it does not
seem possible to connect it with the
skirts below. It would seem then, if a
genuine garment, to be put on over the head like a sweater
in one circular piece, and then brooched on shoulders and
down upper arms. More probably however it is not genuine,
but is a misunderstood imitation of the himation type of No.
605 by an early Attic artist who had no experience of the
garment in question, cf. notice of No. 678. The skirt folds
and irapvtpri are gathered between the legs and held by the
right hand, while the left was outstretched.

144

CATALOGUE OF

Hair in a semi-circular mass behind of twelve zigzag
locks with free ends, and four locks on each shoulder of three
wavy strands each. The three inner on each side had ends
inserted on the breast. Left foot slightly advanced. No
colour. Good ordinary work. The top of the chiton is not
visible round the neck as in No. 678.
Lechat, Au Mus., pp. 154, 166 and 235; Sybel, No. 5009.

612. Female figure. Parian marble.
H. -54 m.
Missing — face and front of head,
shoulders and arms, left breast, right
leg from hip, left leg from above knee,
all surface of back and fragments in
front. The right arm was inserted.
Ordinary dress and pose.
The hair falls in a free-hanging
wavy mass behind without ringlets in
front, and is combed forward from the
crown to a thick stephane along top of
head. Round earrings. Hair and chiton
were red, but the colour has run all over
the neck and down the himation, which
shews no trace of its own colour. The
left hand holding the drapery gathers it in front of, not to
side of, the left thigh. The front folds of himation are
very oblique. Hasty but not early work. The angle above
the Trapv<pr) is not drilled.
Lechat, Au Mus., p. 197.

613. Female figure.
Island marble.
H. -84 m.
Missing — head, right arm, left arm from mid-lower arm.
ends of drapery in front. Right arm inserted. Usual dress
and pose.
Hair — oblong beaded mass behind of ten locks; three

THE ACROPOLIS MUSEUM

145

W^^

¦Iii -Ml
mMll i \ 1

¦1

§1

M

¦fe'1 :¦' M km

Kfttl 1

:'-: II

¦n^r H j

double zigzag locks in front ; the red
colour has run down the himation.
Green maeander on -irapvtbr} and bor
der of himation and sleeve-border of
chiton. The folds are vertical, and the
figure is smooth and flat on the shoulders
with rigid legs and prominent bosom.
Early work. The angle above the ira-
pvdyrj is not drilled.
Lermann, pi. 11. (middle), gives no
colour.

614. Female figure. Island marble.
H. -38 m.
Missing — head, lower arms, feet from
above ankles. Both lower arms were
inserted. The tenons of the arms
remain in the mortices in the same
material. Clad in ordinary Ionic chiton and
himation, but the upper edge of the
himation is not shewn behind, and there
is no 7rapv<prj nor any folds at all on
the chiton or lower part of himation.
No trace of brooches down the right
arm, and the folds hanging under it are
meaningless and erroneous.
Hair in semi-circular horizontal wavy
mass behind and three flat zigzag locks on each shoulder.
It is coloured red.
Both arms are outstretched.

10

146

CATALOGUE OF

615. Female figure. Island marble.
H. 92 m.
Missing — head and neck,
right arm, fingers of left hand,
right leg from ankle, left leg
from a little above ankle.
Put together from several
pieces. The head and the right
arm were inserted in square
mortices. The tenon of the
arm still remains in the same
material. The lower part of
the legs, the hanging ends of
drapery, and the left lower
arm were added by Schrader.
The figure is clad in a red
chiton with a green maeander
border, plain foldless himation,
with 7rapvtprj between the legs,
and an epiblema hanging over
the left shoulder as far as the
knee, across the back, round
the right hip and across the
body in front, to be wound
over the left lower arm. The himation folds project above
it under the right breast. A green pattern is visible down
the right sleeve of the himation. At both elbows the chiton
folds appear above those of himation or epiblema, which
balance each other on either side.
The hair falls in four wavy ringlets of three strands each
on either shoulder, and in an oblong wavy mass behind. Its
polour is yellow ochre.
The arms are both extended and the left foot advanced.
The outlines of the figure are smooth and rounded, but there
is little fine detail except in the hair. The undercutting of
the zigzag hanging folds with the drill shews that the statue
is of a well-developed period, but the work is rather formal.
Kalkmann)t/6., xi, (1896), p. 39; Lechat, Au Mits., pp. 156,
180 ; Schrader, Arch. Marm., p. 38, fig. 35.

THE ACROPOLIS MUSEUM

147

616. Female head. Island marble.
H. (chin to crown) '1 6 m.
Missing — end of nose. The
neck is broken off below.
The hair is waved on the
forehead, and falls in loops of
beaded locks on each shoulder.
A brilliant red in colour, it is
confined by a stephane with
green pattern. The face is oval
with sharply cut brows, and
level oval eyes treated in a way
very usual in these heads. The
surface of the eye is flat, and
its lower edge makes an angle
with the cheek. The upper
edge however projects considerably from the eye-socket, and
the flat surface thus formed represents the upper eyelid.
This convention appears repeatedly among the smaller
heads. The eyes have red pupils with black centres, and
once possessed a black rim to shew the lashes. The cheek
bones and cleft chin are prominent. The ears are well
placed and cut delicately. Circular earrings with a cen
tral boss decorate them. The mouth is bent into a smile,
and the red lips terminated by rectangular cuts which form
a noticeable dimple. While hasty, the work is delicate and
good, and belongs in type to a group of statues and heads
of which No. 680 is the best example. These belong to
the Attic-Ionic school discussed in the Introduction, p. 22.
Gaz. des Beaux Arts, 1892, n. p. 105; Mvvfieia, pi.
xxxn. 2 (below); Pavlovski, p. 232, fig. 81 ; Lechat, Au Mus.,
p. 308, fig. 27; Sc. Att, p. 227.
617. Female head.
Found S.E. of Erechtheum in 1887.
Island marble.
H. 17 m.
Cut off sharply under the chin. The nose is much
damaged. The hair falls in a mass behind divided by
10—2

148

CATALOGUE OF

horizontal waves. A flat taenia,
once decorated with a pattern,
runs round the head, and the
hair above it is flat. In front
it lies in a flat scalloped fringe,
and beaded locks fall on the
shoulders. The head is round with a
square bony face. The eyes
are slightly sloping, triangular
in form with sharp pointed
corners. The mouth is curved
in a bow with rectangular cuts
to terminate the lips.
The head is obviously ar
chaic in style. Its Attic cha
racter is shewn by its shape, the circular taenia instead of
the Ionic stephane, the hair treatment resembling the heads
Nos. 622 and 637, the triangular eye and the mouth-corners.
At the same time it is slightly influenced by Ionian charac
teristics in the sloping eyes and acute smile. Later than
the Moschophoros, for it has lost some of the archaisms of
eye and mouth, it is yet previous to the inrush of Chiot art
in the age of the Peisistratidae, and belongs to the second
part of the Period I in the chronological table on p. 29.
Winter, A.M., 1888, p. 120 ; Mvqp.eia, pi. xxxi. 2 (below) ;
Lechat, Sc. Att., p. 198, fig. 12; Deonna, Les "Apollons
archaiques,'" No. 14, p. 140.
618. Lower part of seated figure.
Found in 1887 N.E. of Acropolis.
The left arm has been added more recently.
Island marble.
H. -695 m. (including plinth 06 m.— 096 m.).
Missing — body from above hips, right arm, left upper
arm, legs of chair, drapery in left hand and part of fingers.
Put together from three pieces — main part of statue, left
lower arm, feet and front of plinth.
The edge of the cushion was probably inserted in two
holes on each side of the seat. Two slanting holes above

THE ACROPOLIS MUSEUM

149

the corners of the seat helped
to secure the legs of the throne,
which were added separately.
The figure is seated on a
throne of the same type as No.
625 with feet planted symmetri
cally in front. The front legs
of the throne were carved se
parately, the back legs were
slabs which fitted into mortices.
There is no footstool, the feet
resting on a projecting piece
of the plinth. The left arm,
adorned with a carved bracelet,
grasps the gathered drapery to
the side of the left knee, the
right is extended with an offering or attribute, according
as the statue represents a mortal or divinity. The resem
blance to No. 329 however suggests here that a mortal is
intended. The figure wears Ionic chiton and himation like the
majority of the Korai. The raised crinkly folds of the
skirts radiate from the left hand, from which also hangs
the Trapv<f>7} in symmetrical folds. The hanging folds of
the himation are vertical, appearing one on the right knee,
and one on the seat under the right leg. They are treated in
the later manner with a raised wavy edge well undercut by
the drill. On the left side the himation is quite smooth.
The colour scheme is well preserved like the whole surface.
On the irapvtprj is a heavy maeander pattern in red and green,
now mostly washed out; a green border with a zigzag edge
runs right round the lower edge of the himation. There is
also a red and green maeander on the remains of the left
sleeve of the chiton. Midway up the shins in front appears the
typical horizontal green stripe, and a stripe and maeander
pattern appears on the hanging folds of the himation. Red
paint is visible on the left side of the throne. Red sandals
are worn with the straps shewn by red paint. The fingers
and toes are of a bony type with triangular nails. The
toes are finely modelled, but the fingers are clumsy, and the

ISO

CATALOGUE OF

outline of the legs is conventional. In general the figure is
finely executed, and shews all the characteristics of Ionian
work. Petersen, A.M., 1887, p. 145 (feet), p. 265 (rest of
statue); Lepsius, p. 71, No. 33; Pavlovski, p. 167, fig. 49;
Perrot, vm. p. 619, fig. 313; Lechat, Au Mus., pp. 196,
438, fig. 21; Sc. Att, p. 396; Lermann, p. 68, fig. 30, pi. ix.

619. Female figure. Found together with No. 593
in 1887, E. of Erechtheum.
Naxian marble.
H. 143 m.
Missing — head, back of shoul
ders, left arm and hand from
mid-biceps except the ends of
two fingers, feet, and bottom
of dress. The surface of the
breasts and the left hand are
badly damaged.
The figure is clad in Ionic chi
ton and himation. The former
appears only on the left shoulder,
but, judging from the similar
figure in the Louvre dedicated
by Cheramyes, its lower border
would have been visible just
above the feet. Both garments
alike are covered with close
vertical incisions to represent
the texture, and there are no
folds, decorations, or any trace
of colour. The figure is in fact shaped like a primitive xoanon,
being square in section with the corners rounded off. The
lower part tapers very slightly towards the ankles, but the
shape of the legs is entirely obscured. The indication of a
waist however is an advance on the similar figure in the
Louvre. The bosom is indicated by a swelling, but there

THE ACROPOLIS MUSEUM 151
is no central division. The arm and shoulders are merely
rounded rectangular planes. The arms are not separated
from the body. The clenched right hand hangs by the side,
the left arm is bent at the elbow and holds a round object
between the breasts. The folds of the himation shew less
truth to nature than No. 677, which is a work of similar
style, and therefore we may consider this statue a little more
archaic than that work and a little more developed than the
offering of Cheramyes.
It has for long been held that these three works belong
to a Samian school of art, because the figure of Cheramyes
was found in Samos. An Apollo from the Ptoon is usually
classified with them on the strength of its resemblance, and
attributed to the same school. But the presence of one of
these statues in the Heraion of Samos is no more proof of
Samian origin than the presence of two on the Acropolis is
a proof of Attic origin, or of one at the Ptoon of Boeotian
origin. Furthermore recent discoveries in Samos [L. Curtius,
A.M., 1906, p. 151, pis. x. — xn., xiv. — xvi.] tend to shew
a connection between Samian art and the art of Miletos,
as might be expected, rather than a resemblance to this
unique style of workmanship. It is to be noticed that these
figures are all made in Naxian marble, a material found
elsewhere on the Acropolis only in the fragments of a large
bronze bowl supported by female figures of not altogether
dissimilar appearance (cf. No. 592). The clue given by the
material and taken up by Sauer is at once confirmed by
a comparison of the Naxian Sphinx at Delphi, which is
made in the same coarse-grained local marble, and whose
resemblance to the head of No. 677 is so complete as to
exclude all doubt that both figures belong to the same
school. We may therefore assume with certainty that
these three works on the Acropolis are dedications from
Sophoulis, 'E0. 'Apx-, 1888, pp. 109, 112, pi. vi. ;
Jane Harrison, J.H.S., 1888, p. 120; Petersen, A.M., 1887,
p. 146, No. 4; Lepsius, p. 66, No. 2; Lechat, Au Mus.,
p. 397, fig. 45; Sauer, A.M., 1892, p. 37 foil; Collignon,
1. p. 164, fig. 74; Pavlovski, p. 169, fig. 50; Perrot, vin.
p. 395, fig. 120; Klein, 1. p. 136.

152

CATALOGUE OF

6 20. Lower part of seated figure.
Found in March 1838, N. of the
Erechtheum. Island marble.
H. -88 m. (including plinth "09
m.). Missing — body above hips and
surface of lap above the middle of
the thighs, both arms except part
of the left hand.
Damaged — the surface generally
is much weathered, and the knees
and throne are damaged by fire.
Inserted — ornaments of throne.
The figure is seated stiffly with
both hands on the knees and the
feet together in a rigid and sym
metrical attitude. The throne has a back and arms, the feet
rest on a footstool. The throne legs are decorated like the
throne of Zeus in the Introduction pediment. Holes at the
end of the arms shew that ornaments were inserted above.
The figure sits on a thick cushion. The throne legs are
not detached, but simply raised in relief from the general
mass. The footstool is moulded with a hollow groove in
front. It is dubious whether the person represented is Athena
like No. 625 or a mortal like No. 329.
The costume consists of Ionic chiton and himation. The
former has a kolpos with triangular outline in front and is
shewn above by the usual wavy lines. The Trapvtpij hangs
as usual between the legs with heavy parallel folds on either
side. The himation is worn like a shawl on the shoulders,
the ends falling symmetrically on the knees. The folds are
mere incisions clumsily cut, and no use is made of the drill.
No colour is preserved. The feet are heavy and shapeless,
the toes clumsily incised, and shod with sandals. The line
dividing them from the skirts is incised into the feet them
selves. The work is highly conventional and there is no effort to
delineate the legs. As compared with the later Branchidai

THE ACROPOLIS MUSEUM

153

figures the execution is somewhat inferior, but there is more
distinction between the figure and the throne. Here we have
a figure which, like 625, survived in fragments the Persian
sack. Earlier than No. 625, it must also have stood near the
Erechtheum. No. 618 too was not far away, but that was
found in the Perserschutt. Pausanias mentions in this neigh
bourhood a group of archaic figures blackened by fire, but
calls them bronze. It is not impossible that he may have
made a mistake as to the material, not of course at the
time, but in writing up his account afterwards. The statue
is probably of the period of earliest Ionic influence in Attica,
and represents a local copy of the Branchidai type.
Pittakis, 'E<j>. 'APX., 1839, p. 225, pis. 1837—1842, p. 45,
No. 253; Lebas-Waddington, Voy. Arch, Mons. Figs., pi.
III.1; Sybel, No. 5001; Miiller-Scholl, op. cit, p. 24, No. 4;
Beule, Sculpture av. Pheid., p. 101 ; Lepsius, p. 68, No. 11 ;
Pavlovski, p. 167, fig. 47; Lechat, Au Mus., p. 438, fig. 46.
621. Male head.
Found S.W. of Parthenon,
1888. Island marble.
H. 175 m.
Damaged — nose, lips, beard,
left ear.
Hair left plain above, with
a large hole on the top of the
head and some smaller holes
behind it of which one is filled
with bronze. No band is round
it. This makes it highly pro
bable that the head originally
wore a helmet. Only the visible
side-locks of the back hair are
carved in double zigzags, and
the fringe has two superimposed rows of spiral buckles
(like the statue of the Kore No. 681). The beard is shewn
by wavy incisions. Plentiful traces of green, probably
once blue, are preserved on hair and beard. The eyes pro
trude above and are level with cheek below. The mouth

154

CATALOGUE OF

is small and nearly straight, meeting the moustache at the
lip corners. The head is not of the ordinary Ionic type
with curved mouth and prominent cheek bones, but the
characteristic Attic eye is also absent. The ears are also
un- Attic, set aslant and with the earhole bored. The head
shews Peloponnesian influence and possibly reflects the work
of Ageladas. Lechat compares it with the bronze head from
the Acropolis (Mvvfiela, pi. v.) usually ascribed to an Aegi-
netan artist. But the deep flat head is hardly typical of
Aeginetan art. At the same time the pointed chin and
prominent eyebrows found in other heads of Peloponnesian
origin (e.g. Nos. 644 and 657) are absent. Nor do we see
here the flat cheek of the Peloponnesian artist. Consequently,
while recognising some foreign influence in the mouth and
shape of head, we must accept the head as a work of Attic art.
As to the person represented it is perhaps too early in
date to suggest a Strategos in his typical helmet, and the
shoulder locks are usually taken to indicate a deity.
AeXrtov, Oct. 1888, p. 181 ; Lechat, B.C.H., 1889, p. 197;
Wolters, A.M., 1888, p. 440; Mvnp,eia, xxxii. 2 (below);
Pavlovski, p. 143, fig. 40 ; Lechat, Sc. Att., p. 273, fig. 23,
p. 402.

622. Male figure in relief.

Found on S. wall, S.E. of
Parthenon in Jan. 1888.
Pentelic marble.
H. 225 m.
Missing — right arm from
shoulder to wrist, front of elbow
of left arm, body from waist.
Damaged — nose.
Relief depth '075 m.
The figure is clad in a tight-
fitting short-sleeved chiton with
a skin over it like the Iris of
the Introduction pediment and
a conical hat. He appears to
be moving to the right, but
the body and head face the

THE ACROPOLIS MUSEUM 155
spectator. The right arm is bent across the body and holds
a syrinx, the left arm is extended and bent double at the
elbow. The hair falls in a heavy mass on the shoulders,
divided vertically in four locks on each side, and coloured
red. A flat waved fringe appears under the hat in front.
The features are typically archaic Attic : high ears with
large upper part, straight flat eyes with ridge from the outer
corners and arched upper lid, straight mouth ending in
vertical cuts from the upper lip, and square face.
The muscles of the throat are attempted but the body is
smooth. There is a painted border on the sleeve of the
chiton. The figure must be connected with Nos. 586, 587,
and 637, which represent women in Attic costume also
moving to right with left arm extended. The material,
scale and relief-depth are the same. In style, however,
No. 622 and the face No. 637 are, in Schrader's opinion,
superior to Nos. 586 and 587. He would restore two groups,
one of the three Charites alone, like the later group of
Sokrates in the Entrance Hall, and the other of the three
Charites led by Hermes like the relief No. 702. In No. 622
we have undoubtedly Hermes. The conical cap is paralleled
in the Thasian relief; the syrinx corresponds with the flutes
of the relief No. 702.
AeXriov, Jan. 1888, p. 12; Lechat, B.C.H., 1888, p. 243;
Lepsius, p. 75, No. 74; Mvvp,€ia, pi. xxxii. 1 (above); Pav
lovski, p. 95, fig. 21; Lechat, Au Mus., p. 109, fig. 6; Sc.
Att, p. 104.

623. Male torso.
Found S.W. of Parthenon, 1888.
Island marble.
H. -20 m.
Missing — arms from below shoulders, body from below
waist. Damaged — hair and nose.
The head is bent forward and a little towards the right
shoulder. The arms hang by the side. Lermann suggested
that he may be a rider. The pose is suitable, and Schrader's
combination with fragment No. 4119 is in every way probable.

156

CATALOGUE OF

The hair is flat on the top and
back of the head, and combed
forward in front to lie on the
forehead in a row of spirals. It
hangs in a horizontally divided
mass behind. There is a hole
in the top of the head, either
for a meniskos or for some kind
of hat like a petasos. The head
is of the egg-shape observed in
Ionian figures, the eyes project
above and are flush with cheek
below ; the chin and cheek-bones
are prominent, the mouth is
bent upwards, the ears are large.
The body is well rounded, but
the muscles are not emphasized. Pectorals and collar-bones
are however correctly indicated. Clearly a work of Ionic-
parentage and characterised by grace and superficiality. Cf.
No. 4119.
Lechat, B.C.H, 1889, p. 148; Lepsius, p. 72, fig. 5, No.
46; Mvrj/jteia, pi. xxxii. 2 (above); Pavlovski, p. 139, fig. 38;
Lermann, figs. 7 and 8; Schrader, Arch. Marm., p. 78, figs.
70 and 71.

624. So-called Moschophoros or man carrying a calf.
Greater part found in 1864 in digging foundations of
museum, base and feet in 1887 in same region. Winter
established the connection.
Hymettan marble.
H. above small plinth l'65m. Plinth '45 m. x-21m.
x -025 m.
Schrader has lately added two fragments of the thighs
and thus prolonged the legs nearly to the knees. The figure
now appears taller and thinner than before.
Missing — right leg between knee and ankle, left leg below
knee, front of left thigh, and a great part of front of right
thigh (now restored in plaster), front of hands, point of
beard, part of calf's neck and right ear. Small pieces of
the rest of the surface are restored in plaster.

THE ACROPOLIS MUSEUM

157

The nose and back are dam
aged. The statue is put
together from a large number
of pieces.
The statue represents a
bearded man standing upright
with the left leg advanced and
both feet flat on the ground.
On the shoulders he carries a
calf, whose legs are held by
both hands on the breast. He
wears a chlamys or loose cloak
over both shoulders, which fits
tightly to the body, hanging
nearly as low as the knees, and
leaving the chest and stomach
bare. It is only distinguish
able from the flesh by its flatter
surface and the two incisions
which mark its border. At
the lower corner a small tassel
is visible. On the head is a
small circular close-fitting cap,
under which in front is seen the hair in square buckles. Three
similar locks fall on the shoulders from behind each ear. The
hole on the top of the head is probably intended for the
meniskos. The beard is left smooth but raised sharply from
the cheeks, and is designed for the addition of colour. There
is no moustache. The eyes lie flat in the head, and conse
quently form a sharp angle at their outer corners, which are
smoothed off by means of ridges running back towards the
ears. The upper eyelid is a little more arched than the
lower. These lids are incised, and the pupils are hollowed
out for the insertion of glass. A small hole marks the centre
of each hollow. The mouth, which is slightly curved, is
terminated by semicircular grooves, which are carried on
round the nostrils. The ears are low and clumsy. On the
right shoulder appears the head of the calf, which is of the
male sex. Its eye is modelled in the same way as those of
the bull in the pediment but more simply. The anatomy

158 CATALOGUE OF
of the animal is not understood, and its fore legs are twisted
in an impossible manner. Traces of green colour are visible
behind. The arms of the man are not fully separated from
the sides, and are connected by means of the chlamys. The
navel consists of a raised ring. The muscles of the arm are
fairly rendered, and the traditional lines of the stomach are
shewn, meeting in a point on the breastbone. The back is
smooth and unmodelled because it is covered by the chlamys.
The toes are straight and not completely divided, the big
toe being the longest. The statue stands on a small oval
plinth of the same material let into, and projecting above,
a square block of poros measuring "93 m. x "89 m. x '435 m.
with the dedicatory inscription of [P]ONBOS.
The type of a male figure carrying an animal on his
shoulders is of course much older than this statue, cf. Perrot
and Chipiez, m. pp. 422, 433, 589, figs. 295, 307, 308, 402;
iv. p. 87, fig. 88; Annali delV Inst., 1800, p. 213 seq.; Tav.
d"1 agg. 5. It appears later also in the statue of Kalamis, cf.
Gas. Arch, 1878, p. 101.
The statue was at first called a Hermes Kriophoros or
Apollo Nomios, and, on the subsequent addition of the calf's
head, a Hermes Moschophoros (cf. statue of Onatas at Olympia,
Paus. v. 27. 8, and of Kalamis at Tanagra, Paus. ix. 22. 1).
Theseus with the Marathonian bull has also been suggested.
Winter joined the base to the torso, and dealt with the statue
at length. He recognised it as a work of native Attic art and
the clue to all discussion of early Attic marble work. He
connected it with a number of other monuments, which he
classed very justly as the early Attic style before the intro
duction of Ionian influence. This style is derived from older
poros work in his theory, though it is perhaps more correct
to say that it shews the same technique as poros work. The
subject is probably not Hermes but a mortal worshipper, per
haps Rhombos himself, represented not as a portrait but typi
cally like the Hippeis, and Grammateis. Cf. Introd., p. 33.
The main interest of the statue lies in its style and its
chronological position. Obviously of the pre-Chiot period,
and closely analogous to the style of the poros figures, it yet
shews some differences, hardly sufficiently noted by Winter,
which give it a rather unique position.

THE ACROPOLIS MUSEUM 1 59
The eyes with their curious corner ridges are neither the
sloping Ionic eyes nor yet the rounded triangular Attic eyes,
and the other distinctive feature, the mouth, combines an
Ionic curve with utterly un-Ionic grooves to terminate the
lips. Definite Attic features are the local marble, the shape
of the head, and the treatment of the beard, not however
the pure Attic of Nos. 622 and 637, but a style affected by
external influence in the eyes and mouth. The ridge at
the corners of the eyes is an Egyptian convention, and the
mouth might be compared with some heads of Samian origin.
The insertion of the eyeball is un-Attic.
The figure therefore belongs to what we have styled the
period of earliest Ionic influence, the influence being in this
case probably Samian. Schrader's recent restoration gives
the figure a height and slimness of Ionic rather than Attic
type. In all essentials however the statue is purely Attic
like the rest of this class, the imitation being rigidly confined
to a few features.
Brunn, Decharme, and Pervanoglu, Bull. deW Inst, 1864,
pp. 83, 86, 132, 133; 1866, p. 132; 1867, pp. 76, 79; Conze,
Arch. Zeit, 1864, pp. 169 — 73, pi. clxxxvii. 1 (which shews
the fragment first found); Kcihler, Arch. Anz., 1866, p. 167;
Stephani, Comptes Rendus, 1869, p. 7, 1877, p. 30; Marti
nelli, p. 53; Botticher, Erkl. Verzeichn. der Abgiisse, 42 — 45;
A. S. Murray, p. 188, fig. 31; Milchhofer, Museen Athens,
p. 55; Sybel, No. 5005; Weltgesch. der Kunst, pi. xcvi. ;
Veyries, Figs. Criophores, 4, 16, 31; Polites, 'E</>. 'Apx-, 1883,
p. 242; Purgold,'E<£. 'Ap;*;., 1885, p. 251; Friederichs- Wolters,
No. 109 ; v. Jan, Bawmeister's Denkmdler, i. p. 338 ; Klein,
Arch.-Epig. Mitt, 1885, pp. 152, 3; Furtwangler, Coll. Sa-
bourcff, i. 4, 5, n. pi. 146, 1; Meisterwerke, pp. 709, 717;
B.-B., No. 6; Sophoulis, Att. Ergast, pp. 15, 51 ; Korai,
p. 41 ; Lolling, Sitzber. d. Berl. Akad., 1888, p. 319; Jane
Harrison, J.H.S., ix. (1888), pp. 123, 4; Winter, A.M.,
1888, p. 113; Schneider, Verhand. d. Ifi. Philologenvers.,
p. 349; Lepsius, p. 76, No. 95; Scherer, Roscher's Lexicon,
i. p. 2397; Overbeck", i. pp. 186, 7, 293123, fig. 38; Ber. u. d.
Verh. d. Sachs. Ges. d. Wiss., 1892, pp. 21, 2; Collignon, i.
p. 215; Gaz. Arch., 1887, p. 89; KekuLe von Stradonitz, Bae
deker's Greece, 1893, p. Ixxii., 1905, p. Ixxxvii. ; Michaelis,

i6o

CATALOGUE OF

Altattische Kunst, pp. 13, 38; Sittl, v. Mailer's Handbuch,
Archdologie, vi. pp. 532, 537; E. Gardner, p. 175, fig. 32;
Brunn (Flasch), n. (1897), pp. 192, 5; Leonardos, Mvvp,eia,
pp. 49 — 60, pis. xm., xiii. a; Perrot, vm. p. 627, fig. 100;
Lechat, Au Mus., p. 106; Sc. Att, p. 106; Klein, p. 239;
Schrader, Arch. Marm., fig. 4.
625. Seated figure of Athena. Found on the N. slope of
the Acropolis below the Erech
theum in 1821.
Island marble.
H. 1 '47 m. (including plinth
09 m.). H. of seat "645 m.
Missing — head, both lower
arms from in front of elbows,
front of left foot, right side of
chair, legs of chair except top
of two legs on the left, most
of the edge of the plinth.
Damaged — the whole sur
face is badly damaged by
weathering owing to long ex
posure in the open air, and
the gorgoneion on the breast
and the toes of the right foot
are quite worn away.
Inserted — the right side of
the chair was fastened on by
a wide clamp, of which the
socket is visible. Snakes on
the border of the aegis.
Put together from three pieces — the main part of the
statue and the two elbows.
The statue represents Athena sitting upright on an un
backed, four-legged chair or stool without arms, which is
supported by a large block under the seat like the stools of
the Scribes. The four legs are carved in the round and stood
well out from the rest of the seat. There is no footstool, but
a thin cushion is visible, hanging on the left side of the seat.

THE ACROPOLIS MUSEUM l6l
The goddess is in a slightly twisted position, as the legs
are turned a little to the right and the body a little to the
left of the centre. She extends both lower arms apparently
without supports, perhaps originally holding spear and patera.
The right foot is drawn back and the heel raised from the
ground. This pose of the feet is an innovation on the
ordinary archaic sitting type, but appears also on the frieze
of the Knidian treasury at Delphi. The head is bent a little
forwards. The costume consists of an Ionic chiton with a deep
kolpos reaching to the knees and irapv^nfj between the legs,
and an aegis covering shoulders and breast in front and
falling on to the seat behind. The loose material of the
kolpos is shewn as usual by wavy lines, which are omitted
on the skirts. The rrapvfyr) consists of four vertical folds
sharply separated from the advanced left leg. The aegis
appears as a smooth heavy garment apparently put on over
the head and depending on colour for its surface. An
incised line separates it from the neck. The gorgoneion on
a raised medallion on the breast is entirely weathered away.
Along the lower border are holes for the attachment of small
bronze snakes. The holes on the left of the seat probably
served the same purpose. The goddess wore thick sandals.
All colour has disappeared.
The hair falls in a flat square mass behind, apparently
quite smooth except for the locks just at the side, which are
cut in flat zigzags (cf. No. 593). Four zigzag locks fall on
each shoulder, and the triangular space above the shoulders
between front and back hair is also incised with zigzag locks.
The present condition of the statue makes criticism of
the execution difficult. The shoulders are broad and the
hips narrow; the legs are correctly modelled and shew plainly
through the skirts; the bosom is well outlined, and the
collar-bone indicated. Archaic traces are the clumsy neck,
the curious line of the kolpos following the length of the
thigh, the sharp cut between -jrapvtprj and left leg, and the
absence of the drill. On the other hand the innovation of
the twisted pose and drawn-back right foot (cf. also the
deities on the frieze of the Knidian treasury in Delphi) and
the good modelling of the legs point to an original and
d. 11

162 CATALOGUE OF
capable artist. It is clearly later than the hieratic and
conventional No. 620, and probably about contemporary
with the elaborate but equally conventional No. 618 on which
the drill is used. Its superiority in effect over the latter
shews that it belongs to a first-rate artist, possibly, if we
may judge from the Attic proportions and new pose, belonging
to the Attic revival associated with the name of Antenor and
dating from the expulsion of the tyrants. But in this case
the absence of the drill is curious.
The weathering of the statue shews that it stood for
centuries in the open air, and therefore it never belonged
to the Perserschutt That however is no argument against a
pre-Persian date, as it may either have been overthrown and
re-erected, or may have escaped destruction altogether. It
was found on the surface of the slope below the Erechtheum,
and therefore must at some time have been rolled over the
edge of the Acropolis.
This statue has frequently been connected with a statue
of Endoios mentioned by Pausanias (i. 26. 4). That traveller
saw a seated statue of Athena near the Erechtheum made by
Endoios and dedicated by Kallias. It has usually been
supposed that Endoios worked in the latter part of the
6th century, and that the Kallias here mentioned was the
contemporary son of Phainippos. Lechat however has
attempted to prove that Endoios worked after 480 b.c. and
that the Kallias is the Aaicic6irXovTo<;, who lived in the first
half of the 5th century and dedicated the Aphrodite of
Kalamis. At the same time he is prepared to accept this
statue as his work, arguing that, as Pausanias saw it, it could
not be pre-Persian. But Pausanias actually saw pre-Persian
statues on the Acropolis, and could surely not have called
Endoios a pupil of Daidalos if his work was post-Persian in
date. Two inscriptions of Endoios in Athens point to a date
in the last quarter of the 6th century. In any case this
statue is clearly pre-Persian in style, and if the traditional
date of Endoios be preserved, as seems to be infinitely more
reasonable, it may with great probability be ascribed to him
in consideration of its style and of its finding-place. For a
further discussion of Endoios cf. Introd. p. 24 (note).
Lebas-Waddington, Voy. Arch., Mons. Figs., pi. n. 1 ;

THE ACROPOLIS MUSEUM 163
Lebas-Reinach, p. 51; Miiller-Scholl, Arch Mitt aus Oriech,
1843, p. 24, pi. I1; Saulcy, Rev. Arch, 1845, p. 271 ; Gerhard,
Akad. Abhand., pi. xxn. 4; id., Annali, 1837, p. 106; Newton,
Transactions of the Roy. Soc, 2nd series, v. p. 73; Scharf, Mus.
of Class. Antiq., 1. p. 190; Lenormant, Chefs -d^ceuvre de VArt.
Ant., n., 2e ser., iv. p. 77; Liibke, Gesch. der Plastik, 1. p. 106;
Heydemann, Die Antike Marmorbildw. zu Athen, 624; Beule,
La Sculpt av. Pheid., p. 100; O. Jahn, De Ant. Min. Alt. Sim.,
p. 5, in. 1. 2, 3; Sybel, No. 5002; Milchhofer, Die Museen
Athens, p. 53; Boetticher, Die Akropolis, p. 84, fig. 31; Bau-
meister, Denkmdler, 1. p. 339, fig. 355 ; Collignon, ArcMol.
grecque, p. 129; id., Histoire, 1. p. 338; Overbeck", 1. p. 190,
fig. 40; B.-B., No. 145; A. S. Murray, 1. p. 197, fig. 35;
Lange, Darstellung des Menschen, p. 19; Lechat, Rev. Or.,
v., 1892, p. 400; id., Au Mus., p. 434; Sc. Att, p. 460;
Lepsius, p. 70, No. 21 ; Jane Harrison, Ancient Athens,
p. 479 foil.; J. G. Frazer, Pausanias, 11. p. 330; E. Gardner,
pp. 180, 181; Six, Rev. Arch, 1909, 1. p. 92; Winter,
A.M., 1888, p. 134; Schrader, Arch. Marm., p. 44, fig. 37.
Further references for Endoios: Stephani, Rheinisches Mu
seum, N. F. 4 (1846), pp. 1 — 3; H. Brunn, Gesch. d. Oriech.
Kiinstler, 1. pp. 98 — 101 ; id., Zur Chronohgie der dltesten
Oriech. Kiinstler, Miinchener Sitzungsberichte, June, 1871,
p. 544; Loeschke, A.M., iv. (1879), p. 305; Klein, Arch-
Epig. Mitt, aus Oesterreich, v. (1881), p. 88; id., Gesch. der
Oriech. Kunst, 1. p. 82.
626. Female figure.
Island marble.
H. -70 m.
Missing — head, left shoulder and arm, right arm, feet
from above ankles, drapery fragments on left side, and a
large piece of drapery on right side. Put together from
three pieces.
Ordinary costume and pose. The himation had a red
stripe on the border of its overfall.
The statue is interesting for the fixing of the head, which
was made separately and inserted. This is not uncommon,
but it was afterwards fastened in two other ways as well.
A pin was run right through the neck and tenon of the head
11—2

164

CATALOGUE OF

from back to front, and lead was run in
from a hole in the right shoulder all
round the head mortice.
There is no trace of the hair either
behind or on the shoulders. But three
small holes by the lead-running hole on
the right collar-bone and three more
wider apart above the right breast pro
bably served to fasten locks of hair, which
were applied separately. Another hole
on the break of the drapery on the right-
hand side served for some further addition.
Doubtless all or some of these additions
were due to ancient breakages and repairs.
The head would not be fixed originally
in that way. The drill is not used for
the undercutting of the himation border.
Partly described in Sybel, No. 5084; Studniczka, A.M.,
1887, p. 357, No. 3 ; Lechat, Au Mus., pp. 198, 236.

627. Female figure. Pentelic marble.
H. -55 m.
Missing — head, arms, surface
of sides, and body from below the
navel. Clad in ordinary Ionic costume,
but with the overfall of the hima
tion very narrow in the middle.
The pins of the chiton on the
left shoulder were inserted, pro
bably in bronze. The fine ma
terial of the chiton is shewn by
very close wavy lines, and the
slack, where it is caught up by
the cross-band of the himation,
instead of appearing only in the
armpit, starts to hang over the himation from the middle
of the chest. The top border of the himation over the cross-
belt is also very elaborate, and it is undercut very deeply

THE ACROPOLIS MUSEUM

165

with the drill in the centre. The arms were probably both
extended from the elbow.
Two holes in front of the neck served to attach a necklace.
There are no traces of hair on shoulders or back, and no
colour is visible. The figure is very finely worked, and be
longs to a developed period of Attic-Ionian art.
Lechat, Au Mus., pp. 197, 198, 213, 380.
628. Female figure. Found W. of Par
thenon in 1882.
Parian marble.
H. 29m.
Missing — head and
neck, left arm, sur
face of back, right
arm from mid-biceps,
body from waistdown-
wards. Clad in ordinary
Ionic costume with
out colour. The hi
mation shews regular
vertical folds and four
equal folds for the
cross-band, the chiton
the usual wavy lines. The hair falls in an oblong mass
behind, of which the surface is quite gone, and in three
wavy locks of several strands on each shoulder.
The right hand holds an object with a flat top, probably
a small box, under the right breast, and the left hand was
perhaps extended.
? Mylonas, 'E<j>. 'ApX., 1883, p. 40, No. 3.
629. Statuette of a scribe.
Found in 1865 near site of museum.
Pentelic marble.
H. (to neck) 65 m.
Many fragments have been added by Studniczka.
Missing — head, all right side below the waist except the

I 66 CATALOGUE OF
back chair leg, left hand, diptych, and
piece of right arm above the elbow, The
outside of the left upper arm, which was
made in a separate piece, is missing. The
lower part of the statue is missing from
the ankles downwards. The statuette was
made originally in several pieces ; the junc
tion of two of these may be seen on the
chest and stomach.
The attitude and drapery are similar to
Nos. 144 and 146 but both are freer. Thus
we find the edge of the garment turned
back in zigzag folds, with a green stripe
for decoration, and folds between the legs of the chair, and
the body, instead of being stiff and upright, leans to the right,
and pushes the left shoulder forward. The drapery also
exists apart from the body and extra folds are visible by the
left leg. The writing-case was added separately. Two holes
served for dowels to secure it. The chair is also raised from
the red ground and shews a moulded outline. The colour
scheme is the same, the hands hold the diptych by the outer
corners, and the right hand is again pierced for the insertion
of a stylus. The body-forms are better and more advanced,
and less emphasis is laid on the muscles. The nipple is
shewn by a small flat raised circle. The red colour on the
neck comes from the hair, of which it is the only trace.
These three statuettes form a separate class of dedica
tions, as No. 629 is clearly a later adaptation of the original
type Nos. 144 and 146.
Ross said No. 144 was female and Egyptianizing, but he
only knew the lower half. Scholl described the diptych
as a small chest. Furtwangler first pointed out their true
significance, and compared them with a terra-cotta in the
Collection Sabouroff (n. 86). He says the legs of the chair
were green. The statue must represent a <ypap,p,aTev<;, and
thus falls in line with other dedications of private individuals,
cf. p. 34, and the inscription of Mechanion, C.I. A. i. 399.
Heberdey, on the other hand, thinks that the object on the
lap is not a diptych but a small chest, and that therefore the
figure is not a ypap,p,aTev<} at all. He maintains that a

THE ACROPOLIS MUSEUM 1 67
stylus would not be held in the manner shewn. But we
have here to deal with the capacities of a primitive artist,
and the thin object on the lap of No. 146 could hardly be
a chest. These are the only sculptures on the Acropolis in which
Egyptian influence can be directly traced. This influence is
shewn partly in the rigid attitude so characteristic of
Egyptian figures, and partly in the garment. This garment
is neither pure Greek nor pure Egyptian. Its nearest
analogues are perhaps the figure in the frontispiece to
Flinders Petrie, Tanis, pt. 1., 1883-4, which is however
Ptolemaic, and the seated figure in a relief (von Bissing-
Bruckmann, Denkmdler Aegypt Sculptur, Lief. 10, No. 101).
Herr von Bissing definitely styles this garment as un-
Egyptian, and probably an adaptation of Greek dress. He
suggests influence from Naukratis, and it is probably there
that we should seek the origin of this type of statue.
Doubtless traders from Naukratis brought the original to
Athens. Excluding No. 629 as a later adaptation, the type of
Nos. 144 and 146 can only have originated in the manner
suggested. The material shews their Attic origin, and this
Attic imitation of a foreign type is parallelled by No. 678.
These two must belong to the period of earliest foreign
influence, while No. 629 belongs to the Attic-Ionic epoch.
Furtwangler, A.M., vi., 1881, p. 179; Lepsius, p. 74,
Nos. 68-70; Lechat, Sc. Att., p. 267; Studniczka, A.M.,
1886, p. 358; Pavlovski, p. 97, fig. 22; Perrot, vm. pp. 630-2,
figs. 322, 323; Overbeck4, p. 187; Collignon, 1. p. 357.
6 30. Sphinx.
Body found March 30th, 1883, near N.W. corner of
museum. Head found April 10th, 1883, in the same locality.
Wings found winter 1882-3, E. of Parthenon, together
with No. 632.
Island marble.
H. -73 m.
Missing — legs except top of right fore leg, upper left side
of head and ear, part of left wing and left side of body.

168

CATALOGUE OF

nose,

Damaged — right eye,
left cheek, chin.
Put together from the follow
ing fragments — head, hair on
left shoulder, left shoulder and
chest, left side of hind quarters,
body and right side, wings.
The sphinx is shewn seated
and raised on the fore paws. It
has a lion's body, a woman's
head, and bird's wings erect on
the back and curling upwards
in archaic style. The head is
erect and faces the front, the
tail is twisted underneath the
body.
The hair falls in thick locks with cross divisions so as to
form square buckles, and there is no fringe. Four locks fall
on each shoulder, the rest on the shoulders and ridge of the
wings, confined by a band from ear to ear behind. Red
paint is visible on the edge of this band, which probably is
the remains of the hair colouring. The face is long and thin,
the head egg-shaped. The forehead is flat, the chin and
cheek-bones prominent. The eyes are aslant and pointed,
the upper lid more arched than the lower. A simple groove
separates lids and brows. The acutely curved mouth ends in
dimples. The ears are flat and large. The body is smooth
and flat, without muscles, though the ribs are shewn by
parallel grooves. On the chest are traces of a scale pattern
in red to imitate feathers, and red stripes with a red lozenge
pattern appear on the wings.
In general treatment the figure seems more archaic than
No. 632, but the shape of the body seems rather superior.
Of considerable antiquity, it is compared by Winter with the
Moschophoros and the head No. 617. Lechat, on the other
hand, notices the distinction from the Moschophoros in the
treatment of the eyes, and compares the head with one in
the British Museum (Brit Mus. Cat of Greek Sculpt. (1892),
150; Ancient Marbles (1812), ix., pi. 40, fig. 4, p. 183;
Pavlovski, p. 21, fig. 2; Lechat, Au Mus., p. 384, fig. 41).

THE ACROPOLIS MUSEUM 169
Lechat is certainly more correct, as the figure is undoubtedly
of Ionic type, and is probably a direct importation.
Mylonas, 'E<£. 'ApX., 1883, p. 43, No. 24; Polites, ib.,
p. 238, pi. xn. b; Winter, A.M., 1888, pp. 121, 2; Pavlovski,
p. 270, fig. 296; Lepsius, p. 71, No. 43; Lechat, Au Mus.,
p. 384, fig. 42; id., Sc. Att, p. 202; Lermann, pp. 35, 111.

631. Sculptures from the marble pediments of the old
temple of Athena.
A. Athena attacking a giant.

Head of Athena found in digging the foundations of the
museum in 1863.
Left shoulder and aegis with fragments of the giant E. of
the Parthenon in 1882.
A few fragments E. of Erechtheum and E. of Parthenon
in 1887. Giant's right shoulder and leg S.E. of Parthenon in 1888.
Rearranged by Schrader in 1897.
Island marble.
H. 2 m. Plinth 1-61 m. x -90 m. x 08 m.
Missing — right shoulder, arm, and nearly all breast of
Athena, left arm between shoulder and hand, and considerable

170 CATALOGUE OF
portions of the legs. Of the giant the head, right hand, and
lower left arm with shield are gone. Both figures are con
siderably patched with plaster.
Athena is shewn upright, striding to the left with left leg
advanced and bent sharply at the knee. The heel of her
right foot is raised from the ground. Her left arm is extended
beneath the aegis, and the hand holds a tubular object
variously interpreted as the shaft of the crest of the giant's
helmet (Schrader), or a snake from the fringe of the aegis
(Furtwangler). From the right shoulder we can see that
this arm was raised in the act of thrusting a spear at the
prostrate foe. The head is pushed forward looking down
wards at the giant, who lies extended on the ground to the
left of the deity (the spectator's right). He has been success
fully restored from a number of fragments, and supports his
reclining form on the shield which he wears on his left arm.
His head and body are turned from the goddess, and
his failing right arm holds a sword obliquely across his
body. A rough projection shews where the sword was
attached. The hole on the right breast was probably for
the insertion of the nipple. His legs are stretched out
along the front of the plinth, the right knee being raised the
higher. The giant is nude, with long hair coloured dark blue or
green falling on his back. His body is clumsily turned so
that the muscles of the stomach are treated quite incorrectly.
The goddess wears Ionic chiton and himation in the same
way as the Korai, with the himation fastened on the right
shoulder only, and above both garments the aegis, which is
stretched out on the left arm. On her head she wears a
helmet with a hole on the top for the insertion of the crest.
Round it is a band with holes for the addition of bronze
ornaments. Under the helmet her hair falls in a flat mass
on her back, and in four wavy locks on each shoulder in front,
appearing on the forehead as a fringe of zigzag waves. She
is barefooted, and wears circular earrings pierced in the
centre for an additional ornament. Her hair shews traces
of red, the aegis of a blue or green scale pattern, and the
helmet of a blue or green patterned border. The garments
shew no visible colour.

THE ACROPOLIS MUSEUM 171
The head is round with square face and heavy chin. The
eyes are very slightly aslant and oval, but with the upper lid
perceptibly more arched ; the mouth is bow-shaped, and the
lips terminated by vertical cuts ; chin and cheek-bones are
prominent. Thus the features shew little trace of Ionian influence
(cf. p. 21), and are closely parallel with the truly Attic
type of head, A remarkably close resemblance can be traced
to the beautifully preserved head of Boreas or Theseus in the
museum at Eretria (Furtwangler, Aegina, p. 323, figs. 259 —
261). At the back the work is flat and smooth, with shallow
incisions to carry round the folds. Both figures are com
pletely worked at the back, A circular hole by Athena's
right foot may have served for slinging a rope to raise the
statue. Schrader has found traces of a similar hole in a fragment
of the left foot.
The relative positions of the two figures were at first fixed
by Studniczka from a consideration of red and blue paint-
marks on the thigh of the giant, which he interpreted as
droppings from the coloured hair and aegis of Athena. This
would entail moving the giant further from the goddess, but
Schrader, in his restoration, rejected this evidence and brought
the figures closer together, supposing that Athena held the
giant's helmet in her left hand. Furtwangler, on the other
hand, by the analogy of a vase, suggested that what Athena
held was a snake from the fringe of her own aegis, and con
sequently that there was nothing to prevent the giant being
moved further away to suit the paint-marks. But Schrader
still maintains his original view. Traces of paint still appear
on the lower leg of the left-hand giant, which must come from
the sima and not from Athena's aegis. Also on the top of
Athena's hand there is a working away of the surface which
he explains by the fact that the under part of the crest of the
helmet rested upon it. The composition of the pediment,
however, certainly favours Furtwangler's view, which is now
adopted by Heberdey.
The small relief, No. 120, also supports the position
holding the aegis.

172 CATALOGUE OF
B. Prostrate giant from right corner of pediment.

Found mostly in 1882, E. of Parthenon and put together
by Schrader. Island marble.
Length 2-22 m. H. (with plinth) "89.
Missing — face and greater part of front of body, part of
right leg, right knee, and right shin.
A fragment of plinth with a gigantic right hand has
recently been found by Schrader, which probably belongs to
this figure. The hand is open and rests on the ground.
The figure is considerably restored with plaster.
The giant is extended ventre a terre with left leg stretched
out, and right leg bent under the body. He supports him
self on the ground with his right arm, and with his left holds
up a shield over his head to protect himself from attack.
The face looks upwards in profile ; the body is twisted so as
to face the spectator. The giant is nude, with short hair
worn in thick locks under a band going round the head, and
is unbearded. The front of the figure is much damaged, but
was originally worked to a very fine surface, while the top
and back still shew the marks of the toothed chisel. There
are dubious traces of dark blue on the hair.
C. Prostrate giant from left corner of pediment.
Found mostly in 1882 E. of the Parthenon.
Island marble.
H. 105 m. L. 199 m.
Missing — forehead and most of face, with the whole of the
front of the body and both feet, since the left is wrongly
restored. Also the top of the shoulders behind, and the left
buttock.

THE ACROPOLIS MUSEUM 173

As set up in the museum the giant presents his back to
the spectator. He has the right leg stretched out backwards,
and the left bent double resting on the knee. His left arm
rests on the ground, and his right, probably holding a sword,
is extended to guard his head. Thus his attitude is practically
symmetrical with the giant on the other corner.
His head was at first thought to be female because of the
hair, which is arranged in spiral curls on the forehead and
hangs low on the back and shoulders in zigzag locks. Traces
of dark blue colour are visible on it. There is no doubt
however that it fits the torso owing to the large socket cut
in the torso for the insertion of the head and shoulders, and
for fastening to the cornice above.
The surviving forehead and eyes shew similar treatment
to Athena's. This giant also is nude and exhibits a treat
ment parallel with that of the other two. We see fine finish
in front, and modelling carried all the way round. The
knowledge of anatomy is very superficial, and the limbs are
fleshy and clumsy. The feet are best understood, and shew
the Attic convention of the big toe longest.
Other surviving fragments of the pediment are :
D. 4097 and 4098- A pair of feet smaller in scale
than Athena's, facing the right corner of the pediment and
with the left foot raised at the heel. The absence of drapery
about the ankles proves them to be male. They are long and
sinewy, and very finely worked. (Cut on following page.)
Length of feet — Athena -31 m. Giant '34 m. (average).
D. -28 m.— -29 m.
E. 4100. A left foot raised at the heel facing the

174

CATALOGUE OF

left corner of the pediment, of the same
scale and also male.
F. 3074. A left foot slightly
larger in scale than Athena's, facing
the left corner and also raised at the
heel. Besides these feet there is yet another
left foot facing the left corner in the
left foot of C. This cannot belong to
him because it is polished on the left
side and rough on the right. It might
belong to B instead of his left foot, but
in any case we are left with an addi
tional left foot.
Thus we have evidence for at least
four more figures in the pediment.
Schrader's first arrangement of the composition consisted
of a central group of Athena and her giant, then a pair of
fighting gods and giants on each side, and a wounded giant
without antagonist in each corner. Furtwangler pointed out
that the giants are clearly defending themselves, and held
that Athena and her giant should be separated to a greater
distance. Room could not be found for two more gods, and
so he abolished the two supposed giants of Schrader and left
a pediment of six figures only, Athena and her giant in the
centre, and a god with a prostrate giant on each side.
This scheme however leaves the pediment too empty and
fails to account for two left feet, one equal to a giant's and
one rather larger than Athena's.
Heberdey now proposes a new restoration, according to
which Zeus (with the left foot slightly larger than Athena's)
fights against a recumbent giant (with the gigantic left foot)
on the left of Athena and her giant. He removes Athena
from the centre of the pediment, leaving the actual centre
empty, but with Athena and Zeus on either side of the
central point, with their back legs and the axes of their
bodies crossing one another. Thus their lines balance in
a similar way to the Athena and Poseidon of the W. pedi
ment of the Parthenon. He argues as follows : Athena is

THE ACROPOLIS MUSEUM 175
only 2 m. high, or with crest restored about 2'25m., while
the centre of the pediment is from 2"45 m. to 260 m. high.
Also the front line of her legs and drapery form a triangle
in section with the apex facing the spectator. The space on
one side of the apex he fills with the feet of Athena's giant,
and considers the space on the other side most suitably filled
by the drawn-back left foot of Zeus, who strides forward in
an attitude symmetrical with Athena's. On either side of
the central group of four figures is a god despatching a
wounded foe.
This scheme accounts for all the fragments and for the
dimensions of the pediment, and gives a better composition
as a whole. The position of Zeus' prostrate opponent with
a left foot facing to the left is still however rather difficult
to imagine. Against this view Schrader urges that such a
division into two halves is unparalleled in an ancient pedi
ment of this date. He attributes the gigantic left foot to
one of the supplementary gods.
In general the style of the pediment exhibits deficiency
in anatopiical skill but great delicacy of surface-finish. The
sculptor is not yet capable of dealing adequately with a
body which is twisted out of its normal position. His
flesh too is heavy and not muscular. But there is a very
perceptible advance upon the limbs of the poros Heracles
of No. 35, and the feet and knees in particular have attained
a very adequate expression.
It is easy however to see that the Ionian importations,
which intervened between Nos. 35 and 36 and this pediment,
taught the Attic sculptors a great deal more in regard to
surface-treatment and beauty of detail than they did in
regard to the nude male form. We have seen (p. 26)
that the anatomy of the male form at Athens is not
properly understood until the period of Peloponnesian
influence. In composition, in technique, and in execution the group
is one of the masterpieces of archaic sculpture.
Head of Athena — Brunn, Decharme, and Pervanoglu,
Bull. delV Inst, 1864, p. 85; Martinelli, 54; Arch. Anz.,
xxii. 1864, p. 234*; Kohler, Arch. Anz., xxiv. 1866, p. 169* ;
Sybel, No. 5004 ; Lucy Mitchell, History of Greek Sculpture,

176 CATALOGUE OF
p. 214; Baumeister, Denkmdler, i. p. 338; Friederichs-Wolters
No. 106 ; Philios, 'Ed}. 'Apx-, 1883, p. 93, pi. iv.
Rest of group— Mvlonas, 'E0. 'Apx-, 1883, p. 41, No. 9
Studniczka, A.M., xi/1886, pp. 185—199 ; Petersen, A.M.
1887, pp. 145, 387; Wolters, A.M., 1888, pp. 108, 225
Lechat, B.C.H., 1888, pp. 436, 437 ; Overbeck4, i. p. 193,
fig. 42 ; Collignon, i. p. 375, fig. 193 ; E. Gardner, p. 163
Perrot, vm. p. 552, figs. 279—281; B.-B., Nos. 471 and 472
Lechat, Sc. Att, p. 303 foil. ; Schrader, A.M., xxii. 1897,
pp. 59—112, pis. in., iv., v.; id., Mvnp,ela, p. 60, pis. xiv.,
xiv a, xiv b; id., Porosarch. (Wiegand), p. 126, pis. xvi., xvii.;
Klein, p. 249; Furtwangler, Miinch. Sitzber., 1905, p.
465.

632. Sphinx. Found during winter
1882-3, E. of Parthe
non. Island marble.
H. -55 m.
Missing — fore legs,
body from waist down
wards. Damaged — nose.
All in one piece.
The pose and type
of the sphinx are similar
to No. 630, except that
the head is turned over
the right shoulder in
stead of facing full
front. The turn of the neck however produces no effect
on the position of the chest, and no muscles are indi
cated. The hair is confined by a plain band round the head,
above which are smooth horizontal waves. On the top of
the head is a raised pattern with a deep hole in it. This
probably held the curving ornament sometimes worn by
sphinxes in vase-paintings (cf. B.C.H., 1895, p. 74, fig. 2;

THE ACROPOLIS MUSEUM 1 77
'E0. 'ApX., 1894, pp. 225, 236), and on coins (B. M. Cat,
Cyprus, Idalium; Babelon, TraiU, pi. xxviii. 24), which may
be the remains of the Egyptian royal head-dress. It is note
worthy that this ornament occurs predominantly in Ionian
or oriental representations of sphinxes.
Polites suggests that the sphinx is wearing a close-fitting
cap, of which the band is the lower edge. Probably, however,
a cap would be represented as quite flat, like that of the
Moschophoros. On the forehead the hair is waved hori
zontally, and falls behind the ears in masses of ten and six
locks, on left and right shoulder respectively. From the
front only six are visible on each side. The rest of the hair
falls in a horizontally -ridged mass behind with spiky ends.
The individual locks on the shoulders do not get thinner
towards the top, as the whole mass gets thinner, but diminish
in number, appearing to vanish into the neck.
The face is rather more developed in type than No. 630.
It is neither so long nor so flat. The eyes are nearly straight,
and there is an incised line between lids and brows. The
chin and cheeks are better modelled. The body however is
equally primitive. There are remains of red on the hair, red
painted earrings, a red necklace, and red traces of a feather-
pattern on the chest and wings both back and front. The
edges of the wings are chipped at intervals to give a rougher
and more naturalistic edge. The groove between them is
painted dark blue with white stripes. Formerly three lines
could be distinguished separating the wing from the body in
front, and the three separate rows of feathers could be more
clearly observed.
The sphinx, though perhaps a little later than No. 630
in date, seems from the character of the features to be clearly
earlier than the two sphinxes from Spata and Piraeus in the
National Museum.
Mylonas, 'E<p. 'ApX., 1883, p. 43, No. 23 (illustrated)
Polites, ib., p. 238, pi. xn.a; Petersen, A.M., 1886, p. 376
Winter, A.M., 1888, pp. 121, 2; Pavlovski, p. 270, fig. 96
Lepsius, p. 72, No. 44; Lechat, Sc. Att, p. 203, fig. 14
Lermann, pp. 35, 111 ; Klein, p. 246.

d. 12

i78

CATALOGUE OF

633. Male figure. Torso found N. of Acropolis
near Erechtheum in 1886.
Head found before 1881
(Sybel, No. 5077), and trans
ferred by Schrader from No.
692. Island marble.
H. 1-21 m.
Missing — right hand, feet
and ankles, left hand, neck, and
back of head, right knee and
large piece each side of it.
Damaged — whole of fea
tures, and drapery generally.
Put together from six pieces:
head fragment, back from right
shoulder to middle of left
shoulder, body to knees, lower
legs, two pieces of drapery
hanging from left hand.
Inserted — lower right arm
(in situ), missing left hand.
The pose is upright, with
left leg advanced, left hand holding gathered drapery to
side, and right hand extended with offering. The pose thus
corresponds exactly with the usual pose for the Korai.
The costume consists of Ionic chiton and himation. The
chiton resembles that worn by the Korai. It appears on
right chest and arm, and is sewn down the arm. It also
appears below the himation above the feet. It has vertical
incisions for the folds, not crinkly like the Korai. It was
originally red, and had a blue border with red squares round
neck and down right arm. The himation is not fastened
like that of the Korai, but thrown over the left shoulder
from behind, brought round the body, and thrown over the
same shoulder from the front. It shews a green stripe border
on the upper and lower edges. The drill seems to be used
for some of the hanging folds.
The hair is combed forward from the crown, and falls on

THE ACROPOLIS MUSEUM 1 79
the forehead in three superimposed rows of buckles. It was
short behind, and probably twisted round a ring like the
plaster restoration. Faint yellow ochre colour is visible.
There is a hole above the top of the fringe, probably for a
meniskos. The head is egg-shaped and of Ionic type. It was at
first placed on the torso No. 692, where it was quite un
suitable. Schrader's restoration, though there is no actually
joining surface, is perfectly satisfactory.
The eyes are straight with large tear-ducts, in which
traces of red are visible. The mouth is also straight, the
face oval and the cheek-bones prominent. When whole, the
face probably resembled No. 685.
The muscles of the neck are shewn and the torso muscles
appear under the chiton. The sex is also evident. The
muscles of the calf are prominent, but the right forearm is
small and weakly.
Although the effeminate costume has been taken as a
sign of Ionian origin, the face appears to be of a modified
type, with Ionian head and mouth but some Attic features.
The muscles of the torso are treated with more than Ionic
carefulness. The statue therefore probably belongs to the
later part of Period II.
B.-B., No. 551; Lepsius, p. 70, No. 19; Collignon, p. 259,
fig. 127; Pavlovski, p. 100, fig. 24; Lechat, Sc. Att, pp. 267, 8;
Perrot, vin. p. 631, fig. 321; Joergensen, p. 181, note 1;
Lermann, p. 67, fig. 29, pi. vin.; Schrader, Arch. Marm.,
p. 55, figs. 46 and 47.
634. Head (? Athena).
This and the following heads were mostly found in 1887,
N.W. of the Erechtheum, cf. Petersen, A.M., 1887, p. 145.
Island marble.
H. -075 m.
Broken across right cheek and eyebrow, left eye and
cheek. Nose damaged. Flat at the back with a dowel hole
for fixing. There is also a flat horizontal surface cut into the
back with another hole. Probably these served for the
attachment of a helmet, and we may have here an Athena
head. The mouth and eyes are straight, the latter with
12—2

i8o

CATALOGUE OF

red pupils. The chin is
heavy and the profile dis
tinctly Pheidian in type.
Surface and modelling are
good but hard. The work
probably belongs to the latter
half of the 5th century.
Schrader suggests that
the head may be male and
earlier than 480, because of
its good surface. He com
pares it with a head in
Strassburg (Michaelis, Fest-
gabe zur Philologen-Versammlung in Strassburg, 1901, p. 10,
figs. 3 and 4), but in both cases Pheidian influence seems
clear. The sex is doubtful.
Sybel, No. 5058.

635. Head of Athena. Found before 1881.
Parian marble.
H. 095 m.
Missing — top of helmet.
The goddess wears a helmet
with two side flaps. Under
neath it the hair appears in
thick buckles. Only the front
is worked with care, but the
marble is very finely polished.
The type is Pheidian, with
thick pointed lips, the nose
making a straight line with the
forehead, wide open eyes with
heavy lids, long oval face and
deep head. A horizontal fold
appears on the neck. No colour. Clearly a copy of one
of the Pheidian Athenas, and nearly contemporary in date.
Sybel, No. 50571; Furtwangler, A.M., 1881, p. 187, pi. vii2.

THE ACROPOLIS MUSEUM

181

636. Female head.

Parian marble.
H. 085 m.
Point of chin, nose, and
right side of neck broken.
The hair is combed in hori
zontal waves all over the head,
and falls in a horizontally di
vided mass on the back. The
fringe is waved, and three zig
zag locks fall on each shoulder.
It is coloured red.
The eyes are raised and pro
truding, the cheek bones high,
and the smile acute. Ordinary
work of Ionic type.

637. Part of female head. Pentelic marble.
H. 07 m.
Missing — all back from crown,
ears and lower part from nose
downwards. A flat band with a green
pattern runs found the head.
Above this the hair is flat but
parted. On the forehead it
forms a scalloped fringe like
Nos. 622 and 617. A slight
incision marks the eyebrows.
The eyes are of triangular shape with pointed corners. The
nose is thick with nostrils hardly indicated.
In general the resemblance to No. 622 is very marked,
and we are justified with Schrader in connecting the two
in a group of Hermes and the Charites.
This group is among the earliest remains of purely Attic
sculpture on the Acropolis. Cf. p. 16.

1 82

CATALOGUE OF

638. Torso of Herakles. Island marble.
H. -102 m.
Missing — head and arms, body
from waist.
The red hair falls in a pointed
mass behind with wavy incisions.
The figure wears a lion's skin with
paws tied in front on the chest and
tail visible behind. Beneath it he
wears a red chiton with wavy folds.
Ordinary archaic work, evidently re
presenting Herakles.
639. Female head. Island marble.
H. 095 m.
Missing — end of nose.
Hair in four zigzag waves
round forehead, and three simi
lar ringlets on each shoulder.
Above the high stephane the
hair is flat, and at the back it
falls in a mass of ten double
zigzag locks. Traces of yellow
colour are preserved.
The ears are high with round
earrings, the eyes raised and
flat in the same way as No. 616,
the mouth with moderate smile,
chin and cheek-bones moderately prominent. The head is
very high behind, the face long and oval. These are Ionic
characteristics, but the head is probably due to an Attic
artist following more closely than usual the foreign mode.
So small an offering must clearly be of native origin.

640. Female head.
Island marble.
H. 12 m.
Missing — added ringlets.

THE ACROPOLIS MUSEUM

183

The hair falls on the fore
head in a wavy fringe with
spiral ends. Zigzag locks are
combed over this fringe from
the crown, and after covering
the temples are tucked in be
hind the ears. The back hair
falls over the stephane in a
square mass of fourteen double
zigzag locks. The stephane has
a red and green pattern. The
shoulder-ringlets were added
separately in three holes behind
each ear with bronze pins, two
of which remain in situ.
Round head with long face
and neck, prominent chin and cheek-bones, raised eyes of the
type of No. 616, and oblique mouth ending in vertical cuts.
The ears are carefully carved without earrings.
The head belongs to the general group of Attic-Ionic
heads, e.g. 616, 639, 648, etc., but shews a good deal more
Attic character than No. 639 in the shape of the head, the
mouth, and the ears.
Gaz. des Beaux Arts, 1892, 11. p. 113; Pavlovski, p. 197,
fig. 60; Lechat, Au Mus., p. 236, fig. 240; Sc. Att., p. 228;
Perrot, vm., fig. 296.
641. Female head.
Pentelic marble.
H. -072 m.
Damaged — nose and right side of neck.
The hair is in four zigzag waves over the forehead, covered
on the temples by similar locks combed down from the crown.
The back hair falls over the stephane behind, and is confined
by a band from ear to ear like Nos. 648, 678 and 679. It
falls in long zigzag locks on the back and shoulders, three
locks appearing in front of each shoulder. It is coloured red,
and there are traces of green on the stephane.
The head is rather raised at the back in Ionic style, but
the face and features are markedly Attic. The oval level

1 84

CATALOGUE OF

eyes have dark pupils and finely
carved lids; the ears are care
fully moulded with circular ear
rings ; the mouth shews a simple
curve with a slight downward
turn at the corners. The work
is very fine, and the resemblance
to No. 684 very remarkable. It
is clear from this resemblance,
especially in the lip-corners,
that the head belongs to the
latest phase of Attic-Ionic
workmanship in Period III.
Cf. Introd. p. 27.
Schrader, Arch. Marm., p. 37
(Heliogravure on p. 1).

642. Male head. Parian marble.
H. 10 m.
Missing — top of head, left
temple with part of eye, frag
ments of nose and beard.
The hair is arranged in a
heavy double fringe of spirals
in front and a flat horizontally
ridged mass behind. A flat band
runs round the head, and the
hair above it is in flat ridges.
Beard and moustache are shewn
by zigzag incisions. The eyes
protrude and are only roughly
modelled, the nose is thick,
and the mouth ends with a slight upward curl under the
moustache. Chin and cheek-bones are prominent, and the
head is narrow in comparison with its height and depth.
It neither shews distinctively Attic features nor Peloponnesian
influence, and must belong to the Attic-Ionic period.
Lechat, Sc. Att, p. 274.

THE ACROPOLIS MUSEUM

185

643. Female head. Pentelic marble.
H. -13 m.
Missing — back and top of
head, end of nose, and neck.
The top and back were evi
dently broken in antiquity and
worked over for the addition of
a restored piece. Part of this
restoration has been fortunately
found by Schrader (No. 307) in
a different material — Parian
marble. It joins directly on to
the side-masses of hair in front
of the ears, but it is studded
with holes in front under the
high stephane for the separate
attachment of the locks of the fringe. Above these holes
are six others at regular intervals for the attachment of
bronze ornaments. Behind these is a hole for the meniskos.
The fringe is in flat scalloped waves with zigzag locks
over the temples. The back is broken even in the added
piece. Traces of red colour are visible.
The face is oval with prominent dimpled chin and cheek
bones, very narrow oval eyes largely covered by the lids,
and a curved mouth of which the corners are worked off
imperceptibly into the cheeks. Brows and eyelids are
distinguished by black lines with an incised line between
them at the top of the eye.
The work is very good and the resemblance to No. 672 so
marked that it can hardly be by a different artist. The
fringe, the eyes, the shape of the cheek-bones, and the mouth
are all practically identical. The style, too, is curious, since
nearly every feature is markedly Ionic, but yet the material
is Pentelic marble.
It would seem that we have here either a case of a foreign
sculptor working in local material, or a more faithful copying
of an Ionian type than in any other example known to us.
~M.vrjp.eia, xxxi. 1 (above) ; Lepsius, p. 73, No. 56, fig. 6 ;
Pavlovski, p. 211, fig. 69.

1 86

CATALOGUE OF

644. Male head. Parian marble.
H. 115 m.
Damaged — forehead, left side,
nose, lips, and chin.
The hair is left quite smooth,
and was once distinguished by
paint. A flat taenia runs round
the head, and is tied in a knot
behind. A hole above the fore
head served to attach either an
ornament on the taenia or pos
sibly a knot of hair. Below it
the taenia makes an angle instead
of running straight round.
The eyes are low in the head,
narrow and oval, with thick lids ;
the nose is thin ; the mouth small and straight turning
down a little at the corners. The chin is light, the head
very deep and flat above. This is clearly a type of head
utterly different from either the Attic or Ionic. Flat,
instead of being round or egg-shaped, with small features and
light chin, and flat cheeks instead of the usual prominent
chin and cheek-bones, it shews a different scheme of pro
portions, the three divisions of forehead, nose, and chin being
approximately equal. The half -shut eye with its heavy lids
and lines between lids and brows is very distinctive. Ob
viously the type is foreign, and its close resemblance to
the later work of Polykleitos both in appearance and in
measurements renders it certain that that type is Argive.
Attic sculptors in the early fifth century were beginning to
turn to Argos for inspiration, as we know not only from
dubious stories of Pheidias' apprenticeship to Ageladas, but
from the clear evidence of such figures as the so-called
Theseus of the Parthenon, and here without doubt we see
an imported Argive model. There is further a close re
semblance to No. 699, a head which is nearly connected
with Pheidias, and which demonstrates clearly the Argive
tendencies of his school.
Winter connected this head with the equestrian fragment

THE ACROPOLIS MUSEUM

187

No. 697, and composed a group analogous to scenes from the
W. frieze of the Parthenon. But the suggestion rests on
conjecture only. Cf. Introduction, p. 25.
Mvvfieia, pi. xxxi. 4 (below); Winter, Jb., 1893, p. 146;
Lechat, Sc. Att., p. 479, fig. 42.
645. Female head. Parian marble.
H. -14 m.
Damaged — cheek-bones, end
of nose, upper lip, and chin.
The hair is arranged in wide
horizontal waves over the head
above the curved stephane, and
in a horizontally divided square
mass behind. Three zigzag locks
fall on each shoulder, and the
fringe consists of two super
imposed rows of wedge-shaped
locks falling flat on the fore
head with horizontal incisions.
The hair is red, the stephane
green, and no other colour is
preserved. The head is round with long oval face. The ears are
high with round earrings. The heavy protruding eyes and
slightly curved mouth are Attic characteristics, but the work
is not carefully executed.
646. Head of Athena.
Pentelic marble.
H. -12 m.
Damaged — all the face except
top of forehead.
The head is cut flat below for
attachment to a torso.
The goddess wears a green
helmet fitting closely to head
and neck. There were probably
four red zigzag locks on each
shoulder. A fringe also appears

CATALOGUE OF

under the helmet, which has a hole above and a rough ridge
shewing where the crest was attached. The lips were red,
the cheek-bones prominent. The head is heavy and round,
and of Attic type.

647. Head of Athena. Pentelic marble.
H. 06 m.
Damaged — crests of helmet,
nose, chin, and eyelids. The
neck is broken oft' close under
the chin on the right side.
The goddess wears an elabo
rate helmet with double raised
rim, side flaps, and three crests
in the form of animals. Rough
buckles of red hair appear in
front of the ears, which are set
low on the head. The eyes
have traces of red pupils and
heavy lids; the mouth is curved
down at the corners. Chin and
general aspect of the face are heavy. The work is clumsy,
the helmet not being straight, nor the eyes symmetrical.
The surface is polished very smoothly. A late, probably
Roman, copy of the Parthenos in miniature.

648. Female head.
Parian marble.
H. 12 m.
Surface much damaged.
The hair is plain above the curving stephane, and falls
over it at the back in a square horizontally divided mass with
a confining band between the ears. In front it forms a
waved fringe with zigzag masses coming down to cover the
temples, flair, lips, and pupils of eyes are all red.
The eyes are treated in the same way as those of No. 616,
and the lips are similarly terminated by sharp cuts. The

THE ACROPOLIS MUSEUM

189

ears are adorned with circular
earrings, concave in shape with a
central boss. Lechat has rightly
pointed out the resemblances of
the two heads. At the same
time No. 648 is clearly the earlier
both from the fashion of the
hair and the more bony and
awkward structure of the face.
The shape of the head too is
more Ionian in type.
Lechat, Au Mus., p. 308, fig.
28; Sc. Att, p. 227.

649. Female head. Parian marble.
H. 14 m.
Nose and chin damaged.
The hair is in a zigzag fringe
below, and in flat horizontal
waves above the stephane. Be
hind falls a mass of zigzag
locks, and three ringlets on
each shoulder. It is coloured
red, and the stephane has a
green maeander pattern.
The eyes are treated like
those of No. 616, the mouth is
slightly curved; and the face
is oval. Flat round earrings
decorate the ears. The head
is a type similar to Nos. 648 and 616, but of less careful
execution.

190

CATALOGUE OF

650. Female head. Island marble.
H. -116 m.
Damaged — nose, mouth, eyes,
and left cheek.
The hair is left rough above
the curving stephane, which is
decorated with a green stripe.
It falls in a semicircular hori
zontally waved mass behind,
and in three zigzag locks on
each shoulder. Traces of red
are visible.
The face is heavy with mas
sive chin and small slightly
curved mouth. The round
earrings are green with a red
pattern. The head belongs to the same type as the last
two and as No. 616, and is a work of the ordinary Attic-
Ionic school.

651. Female head. Found W. of Parthenon in 1882.
Parian marble.
H. -16 m.
Damaged — left side, forehead,
nose, and chin. Cut for insertion
into a torso with a tenon below.
The hair is in a deeply arched
wavy fringe on the forehead, and in
horizontal rolls above the stephane.
It falls in a parted mass on the
back with horizontal waves, and in
three zigzag locks on each shoulder.
It is coloured red, with a green-
patterned stephane.
The colour of the left eye is
well preserved, and consists of the
normal black dot in a red ring with a black outline, and
black lines for the eyebrows and lashes.

THE ACROPOLIS MUSEUM

191

The face is long and pointed, with prominent chin and
cheek-bones. The mouth is a finely cut bow in shape, and is
terminated by deep cuts. The neck is long, and the gaze
directed downwards. The earrings are round and hollowed,
with traces of a green pattern.
The head belongs to the normal Attic-Ionic type.
Mylonas, 'E<£. 'ApX-, 1883, p. 42, No. 11.

652. Female head. Parian marble.
H. -12 m.
Face much damaged.
The hair is combed straight
back from the stephane and falls
over the back in zigzag locks.
Three similar locks on each
shoulder. The fringe consists
of similar short locks with traces
of coils over them at the temples.
The stephane is decorated
with a green maeander, and
the ears have circular hollowed
earrings. The eyes are narrow and
very much pointed, with finely
carved lids. Chin and cheek-bones are prominent, and the
smile is acute. Good early work of pronounced Ionian type.

653. Male head.
Island marble.
H. 13 m.
Surface much damaged by fire.
The hair is in smooth horizontal waves above the ring
which runs round the head. In front a short fringe of
21 straight spiral locks hangs on the forehead, while 14
larger similar locks hang on the neck behind. There is a
hole on the top of the head for a meniskos.

192

CATALOGUE OF

The eyes protrude consider
ably, the mouth is straight,
and the lips terminate in long
vertical grooves, which make the
chin narrow, and give a melan
choly expression to the face.
The ears are large and flat.
The round heavy head shews
no Ionian influence and is
thoroughly Attic.
Deonna, Les "Apollons archa-
'iques" No. 16, p. 41.

654. Female head. Found near the Erech
theum before 1829.
Parian marble.
H. 14 m.
Missing — back of head and
left part oi polos crown.
The cheeks and chin are
damaged. The hair has a fringe of
flat waves in front, parted
in the middle, and shewing
traces of red. The object
on the head is too massive
for the stephane, and is a
form of crown. For this
diadem, cf. No. 696. It is
perhaps a sign of divinity and is sometimes attributed to
Aphrodite. There are no earrings, but in front of each ear is a curious
lump. The eyes are oval, pointed, and sloping ; the smile is
acute ; the nose thin ; the chin pointed, with the jawbone
outlined by a groove.

THE ACROPOLIS MUSEUM

193

The expressionless and conventional type is typically
Ionian, and we have here an undoubtedly early example of
imported Chiot art.
Milchhofer, A.M., iv., 1879, p. 71, pi. vi., No. 1 ; Uvvuela,
xxxi. 4 (above) ; Sybel, No. 5135 ; Hofmann, Untersuchungen
uber die Darstellung des Haares, 11. 16; Lepsius, p. 70,
No. 26 ; Lechat, Au Mus., p. 209 ; Sc. Att, p. 200, fig. 13.

655. Small seated figure. Found N.E. of Acropolis in 1887.
Pentelic marble.
H- -285 m.
Missing — head, lap, most of surface
of right leg, lower right arm, right
shoulder, fingers of left hand, front of
feet.
Mm ailll ^e statuette is blackened by fire,
and the surface has never received a
final polish.
The figure is carved out of a square
block of marble, of which the sides and
back are left plain. The legs and arms
of the throne are not distinguished.
There is no footstool.
The figure is female, and clad in Ionic
chiton and himation, which are both left quite smooth.
The left hand rests on the thigh palm upwards and open.
Probably both hands supported some long rectangular object
on the lap. The irapvtpri is shewn by a flat double fold
between the legs. The himation is worn like a shawl and
falls symmetrically on the legs. Apparently sandals are worn.
No colour is preserved.
The appearance of the statuette is very archaic and rude,
like the earliest Branchidai figures. This however may be
due more to the small scale and inferior workmanship than to
great antiquity. A cheap votive offering of the Attic-Ionic
period. Petersen, A.M., 1887, p. 145.

D.

13

194

CATALOGUE OF

656. Female torso. Parian marble.
H. -105 m.
Missing — head, except lower jaw on
left side, left arm from elbow, part of
right lower arm, front of object held in
right hand, all body below waist.
The red hair falls in a flat square mass
behind. The figure wears an Attic peplos with
overfall fastened down both arras. This is shewn quite flat
with traces of green colour. The figure holds a red tablet-
shaped object against the right breast. The modelling of the
bosom is correct, but otherwise the figure is flat. The style
is primitive-, but there are no signs of a very early date, so
the statuette is probably Attic-Ionian.
Lechat, Au Mus., p. 190.

657. Male head.

Found before 1881.
Parian marble.
H. -12 m.
Damaged — above the forehead and on the nose. On the
forehead are 45 holes for the insertion of fringe-locks.

THE ACROPOLIS MUSEUM

195

The hair is plain, twisted over an encircling ring like
No. 698, and the details left to colour, while a fringe was
inserted in bronze. The left side is not worked, and therefore
the head belonged to a figure or group in high relief. For
the same reason the fringe-holes do not extend further to the
left than the temple.
Regarded in profile, the head has a very vigorous and
attractive air. It has been published by Lange, who calls
attention to its bony structure as contrasted with Ionic work.
He thinks that it cannot be Attic, and ascribes it, to a
Sikyonian-Aeginetan school. Clearly it shews many points
of resemblance to the Argive type of Nos. 644 and 699. We
see the same narrow eye with thick lids, the same small mouth
with parted lips, the same flat cheeks and crescent-shaped ear,
and the same light chin. The head, however, is rounder, and
does not shew so marked a swelling of the occiput. Probably
the varieties, which are Attic in character, point only to a
native artist in this case, whereas No. 644 is certainly foreign
work. Mvrjp,eia, pi. xxxi. 1 (below) ; Lepsius, p. 71, No. 38 ;
Sybel, No. 5061; Lange, A.M., 1882, p. 193, pi. ix. 1; Graef,
A.M., 1890, p. 20, No. 4 ; Lechat, Sc. Att, p. 480, fig. 43.

658. Head of Athena.

Parian marble.
H. -115 m.
Right side much damaged by
fire, and top broken off.
The goddess wears a close-
fitting helmet with a hole for
the shaft of the crest. A triple
zigzag fringe appears on the
forehead, and three similar locks
on each shoulder, with a hori
zontally-ridged mass behind.
The eyes and mouth are of
Attic-Ionic type. The ears are
high, with round earrings. No
traces of colour.
This head is attributed by
13—2

196 CATALOGUE OF
Schrader with practical certainty to the torso No. 293 (452),
which represents Athena in combat with a giant.
Lange, A.M., vn., 1882, p. 193, pi. ix. 2; Schrader,
Arch. Marm., p. 60, fig. 50.
659. Female head. Parian marble.
H. -24 m.
Missing — nose, mouth, left
cheek, and top of head ; the left
eye and neck are damaged.
The fringe consists of deeply
arched waves on the forehead, with
small flat spirals lying above them
in front of the stephane. Semi
circular zigzag masses cover the
fringe on the temples. Behind
falls a mass of zigzag locks, on
the shoulders three wavy locks of
three strands each. In front of
the ears the masses of hair are
deeply undercut, and the centres
of the flat spirals are bored for inserted ornaments. Holes,
•013 m. broad, pierce the shoulder locks at the neck to admit
the passage of a necklace.
This complicated coiffure is painted a bright red. It is
crowned with a curving stephane, and a chaplet of pearls in
front of the stephane, both of which are coloured green.
The ears are sloping and are bored for inserted earrings.
The narrow half-closed eyes have red pupils and two fine
incised lines in the hollow between lid and brow. The cheek
bones are prominent, and the lips are terminated by a marked
dimple. This curious and elaborate head bears some resemblance
to Nos. 643 and 672 in the shape of the eyes and the
prominent cheek-bones. But both these features and more
particularly the hair are of a more elaborate and later
development, and the Ionian corners of the mouth are re
placed by the Attic dimple. The work then is Attic, but it
is also very obviously Ionizing, and it may therefore belong

THE ACROPOLIS MUSEUM 197
to the latest Attic-Ionic period of Nos. 684 and 641. Cf. also
No. 661. The head belongs to a full-size Kore statue.
Pavlovski, p. 247, fig. 87; Lechat, Au Mus., p. 210,
fig. 23; Sc. Att, p. 225.
66O. Female head. Parian marble.
H. -165 m.
The nose and left eye are
damaged, and the chin is broken
away. Put together from two
pieces. The hair is in a fringe of
waves with two rows of spiral
ringlets below, and with side-
coils on the temples. Above
the stephane it lies in the usual
horizontal waves, and in three
locks on each shoulder. The
back hair is not visible. Both
hair and stephane are red, the
latter with a maeander pattern,
from which the colour has disappeared. On the crown is a
hole for the meniskos.
The ears are sloping and hollow with round earrings, on
which traces of a pattern survive without colour. The
eyes are sloping, the nose thin, the mouth raised with sharply
cut lips. The head shews some resemblance to No. 674, but
is much less carefully worked. The mouth is rather unique,
as the cuts at the corner of the lips are carried up to join
oblique grooves from the nostrils.
Mvvfieia, pi. xxxi. 3 (below) ; Pavlovski, p. 203, fig. 62 ;
Hofmann, Untersuchungen, pi. n. 34.
661. Head of Athena.
Pentelic marble.
H. 24m.
Damaged — top, back, and side of helmet, nose, chin, and
neck.

198

CATALOGUE OF

A tenon below shews that the
head was intended for insertion
into a torso.
The goddess wears a helmet
with a ridge round it like a ste
phane, bearing also a typical green
pattern. Above is a hole for the
shaft of the crest. A wavy fringe
appears in front, and four locks
of wavy strands on each shoulder.
The eyes are small and protrud
ing, the mouth well-shaped with
lips in form of a bow, the chin
and cheek-bones prominent, and
there are heavy lateral grooves
from the nostrils. The expression is curious, and resembles
Nos. 659 and 672, though not very closely. The head
probably belongs to the same late Attic-Ionic period, a
time when the sculptors were trying to add variety to the
conventional type.

662. Female head.

in the museum.

Parian marble.
H. 185 m.
Missing — whole of face from
ear to ear, and lower part of
fringe. The hair is arranged in a
chignon on the neck with a
small loop behind each ear, and
is finely combed in front under
the stephane, with masses falling
on the temples. Above the ste
phane circular waves of hair run
round the head, and fine wavy
incised lines are combed down
from the crown. The colour is
the most brilliant red preserved

THE ACROPOLIS MUSEUM

199

The stephane is curved behind the ears and coloured
green. Behind it are marks of a bronze wreath as well.
The delicate ears are adorned with green-patterned earrings.
The head is round in type, and therefore probably Attic-
Ionic.

663. Male head.
Island marble.
H. -17 m.
Damaged — nose, chin, and
forehead. The hair falls in a fringe of
thick spiral locks in front of a
thin ring running round the
head. Above the ring circular
waves denote the hair, at the back
zigzag locks ending in spirals on
the nape of the neck. The red
colour is very well preserved.
The meniskos is also preserved
entire, a rectangular bronze rod
flattened at the end, and pro
jecting about "10 m. above the
head. The eyes are narrow with broad upper lids, and shew
red rings for the pupils. The ears are set very much aslant,
the cheek-bones are prominent, the mouth curved in an acute
smile. The head is very high behind, and shews all the Ionic
characteristics except slanting eyes. Lechat remarks the
resemblance to the latest of the Ptoon heads (B.C.H., xi.,
1887, pis. xm., xiv.). It is a fine piece of work and clearly
of the best Chiot period. A later more Atticized variant
of the type is to be seen in the Apollo in the Collection
Barracco at Rome.
Mvo/ieia, pi. xxxi. 2 (above) ; Pavlovski, p. 132, fig. 34 ;
Perrot, vm. p. 607, fig. 305 ; Lechat, Au Mus., p. 377, fig. 40;
Sc. Att., p. 257 ; Deonna, Les "Apollons archaiques,'' No. 15,

pp.

140, 353.

200

CATALOGUE OF

664. Female head.

Parian marble.
H. -14 m.
Forehead, nose,
Surface

and chin
much de-

damaged. stroyed. The hair is combed in fine
wavy lines from the crown down
wards, and falls in zigzag locks
behind and on the shoulders
(apparently only two on each
side). The fringe consists of six
flat wedges on the forehead, with
the fine comb-marks waving right
across them. The place of the
stephane is taken by a plaited
fillet. The colour is yellow
ochre. The head belongs to the Attic-Ionic type with
moderately curved lips terminated by cuts, and prominent
chin and cheek-bones. The ears are flat with circular ear
rings. The work is less fresh than most of these heads, and the
hair and fillet point to a fairly late date.
Mvvfieia, xxxi. 3 (above); Hofmann, Untersuchungen,
pi. i. 15 ; Lechat, Au Mus., p. 210.
665. Male figure of "Early Apollo" type.
Found in 1887 E. of Erechtheum.
Island marble.
H. -96 m.
Missing — head, left arm from just below shoulder, right
leg from knee, left leg from above knee.
Damaged — all the front surface is split and calcined by
fire. The middle of the back and thumb and first finger of
the right hand are also injured and broken.
Put together from three pieces — body, right lower arm,
right hand. The latter two pieces were added by Schrader,
who has also identified parts of the left arm.
The pose is the usual one for this type with both hands
hanging by the sides and the left leg advanced. The arms

THE ACROPOLIS MUSEUM

201

are separated from the body
from just above the elbow and
the legs from the middle of
the thighs. The right hand is
clenched. The hair falls on the
nape of the neck in a square
mass with horizontal divisions.
The three divisions of the torso
measure "15 m., "22 m., 15 m.
The pectorals and external ob
lique or hip muscle are well
shewn, the collar-bones indi
cated, and the deltoids and la-
tissimus dorsi correctly modelled
on the back. The glutei are
prominent and quite flat at the
side. The thighs are thick and
rounded in front, the sides and
abdomen flat. The arm and
hand are very good, clearly
superior for instance to the
Naxian torso No. 619. The
line of the false ribs is carried
to a point like Nos. 624 and 690. The right knee is carefully
worked, and the swelling of the hip muscle very perceptible.
This puts it in a later or more developed class than most
of the " Apollos " of the National Museum, and it should be
compared rather with the later figures from the Ptoon. As
compared with the giant of No. 631 the arm is similar, but
the neck is more primitive, and we should therefore be inclined
to attribute it to an earlier period. Possibly however it is
not Attic, and therefore may belong to a different system of
development. The base No. 596 certainly belongs to this statue.
M. Deonna in his recent work on the archaic "Apollos"
dates this statue in the last quarter of the sixth century
among the later members of the class owing to the developed
treatment of the muscles, especially of the arm, and to the
great convexity of the back. He sees in it the work of an
Attic artist.

202

CATALOGUE OF

Wolters, A.M., 1887, p. 267; Lepsius, p.. 70, No. 20;
Lechat, Sc. Att, p. 255, fig. 16 ; Schrader, Arch. Marm.,
p. 53, fig. 45 ; Deonna, Les "Apollons archmques " (Geneva,
1909), No. 13, fig. 18, pp. 139, 356.

666. Female statuette. Island marble.
H. -33 m.
Missing — body below hips, lower
right arm and side drapery, lower left
arm. Both the lower arms were inserted
separately. The figure is in the usual pose, clad
in Ionic chiton and himation worn like
a shawl loosely over both shoulders.
As both arms were extended, the dra
pery hangs in straight folds round the
legs. The hair is rough above the stephane,
with a fringe of semicircular overlapping
zigzag waves. It falls behind in the
usual mass with free ends, and in three wavy locks on each
shoulder. There are traces of green on stephane and earrings,
but no other colour. The figure is quite smooth behind.
The eyes are raised and level, the mouth straight with a
heavy chin. The cheek-bones stand out prominently. Ordinary
work of markedly Attic type.
Pavlovski, p. 193, fig. 57 ; Lechat, Au Mus., p. 170.

667. Female statuette. :
Pentelic marble.
H. -225 m.
Missing — head, both lower arms, legs from knees, ends of
drapery on right side.

THE ACROPOLIS MUSEUM

203

The right lower arm was inserted.
Ordinary Ionic costume and pose.
The hanging folds on the himation over
fall are oblique. The chiton shews
traces of green.
The red hair falls in eight zigzag
locks behind and in three on each
shoulder. The work shews no special distinc
tion.

668. Female statuette. Found W. of Parthenon in 1882.
Parian marble.
H. -275 m.
Missing — lower arms, right leg from
knee, left leg from mid-thigh, top of
head which has been smoothed off flat,
probably after a breakage, with a dowel-
hole in the centre to fasten a new piece.
The right arm was inserted.
In ordinary Ionic costume and pose.
The chiton is green with a lighter green
or blue border. A similar border ap
pears on the hanging folds of the hima
tion in front. Traces of red and blue
on himation border behind.
The hair is of the usual zigzag type
with a waved fringe, coloured red with a green maeander on
the stephane.
The pupils and lips are red, the eyelids and brows black,
the ears very high with round earrings and a spot of blue,
perhaps to denote some pendant, below the right earring.
The mouth droops a little at the corners, and the general type

204

CATALOGUE OF

of the face belongs to the Attic-Ionic school of Nos. 616 and
648. The shoulders are broad, and a green painted necklace
is worn. Mylonas, 'E<£. 'Apx-, 1883, pi. vm. 3, p. 40, No. 21, p. 94;
Lepsius, p. 70, No. 31 ; Lechat, Au Mus., p. 213.
669. Female figure. Found E. of the Erechtheum in 1887.
Parian marble.
The two fragments, respectively "68 m.
and 1*04 m. high, have been united by
Schrader. The upper fragment consists of five
pieces — head and neck, right shoulder
and back, left shoulder and top of chest,
section across body from right shoulder
to left breast, and left elbow. The nose,
mouth, chin, and left cheek are much
damaged. The lower fragment consists
of the right hip and pieces of both legs
down to ankles restored with plaster.
Similar treatment of drapery and iden
tity of scale justify the union of the two
pieces. The figure is in the ordinary Ionic
pose and costume. The chiton is repre
sented by the ordinary fine, wavy lines,
while the folds of the himation are cut
in very deeply. The brooches of both
chiton- and nimation-sleeves were inserted
separately. The shape of the legs is clearly outlined, and
the folds falling from the drapery gathered on the left thigh
are notably fine and regular owing to the use of the saw.
There is a green stripe on the himation border and on the
¦n-apvtpv ; an uncoloured maeander pattern on the left arm
is all that can be distinguished on the upper fragment.
The hair is very formal in appearance. It falls behind in
a square flat mass of zigzag locks, and in three such locks on
each shoulder, but their appearance is unusually hard and
rectangular. In this as in other points the statue resembles

THE ACROPOLIS MUSEUM 205
No. 681. On the forehead is a fringe of flat zigzag locks
ending in spirals. On the left breast the end of the ringlets
were inserted in separate pieces. The colour of the hair is
red. Instead of the curving stephane the statue wears a kind
of diadem consisting of a round ring with a high band upon
it, on the top of which are holes for bronze ornaments. It is
decorated by a pattern of red alternate double spirals picked
out in green. On the crown of the head is a hole for a
meniskos with remains of lead in it.
The head is round, the face flat and square. The eyes
are only slightly incised, and are quite flat with the face.
They are markedly triangular. The brows are picked out
with black lines. The ears are flat and shapeless with holes
pierced for earrings. The mouth is a simple curve, with red
lips terminated by broad dimples. Holes on the neck served
for the attachment of a necklace. The shoulders are very
broad, and the drapery displays the effective use of drill and
saw in the deeply-cut folds.
Diadem, eye, shape of face, broad shoulders, and treatment
of drapery are all points of close connection with No. 681, and
afford evidence of strong Attic feeling in reaction against
Ionism. On the other hand it is impossible to follow Lechat
in ascribing both statues to a single artist. The peculiar
flatness of the face of No. 669 and its rather lifeless expres
sion mark it as the work of an artist inferior in ability and
power to the creator of No. 681. On the style, cf. p. 24.
Wolters, A.M., 1887, pp. 264, 5; Graef, A.M., 1890,
p. 5; Studniczka, R.M., in., 1888, p. 286, note 30; Lepsius,
p. 71, No. 32; Perrot, vm. p. 605; Lechat, Au Mus.,
pp. 236, 242, fig. 33; Lermann, pi. n. (above); Schrader,
Arch. Marm., p. 26, figs. 22—26.
670. Female figure.
Found N.W. of Erechtheum, 5th and 6th Feb. 1886.
Island marble (right sleeve Pentelic).
H. 1-15 m.
Missing— right hand and feet.
Damaged — nose, fringe, chin, left hand, right breast.
Put together from three fragments — head and neck, body
and thighs, lower legs and knees.

206

CATALOGUE OF

Inserted — right sleeve and
right hand. The hole for the
dowel is visible.
The figure stands upright with
left foot advanced, right arm
extended from elbow with offer
ing, left arm holding gathered
folds of chiton in front between
the legs. She is clad in an Ionic
chiton only, with kolpos falling
over the girdle. The folds of
the skirts are drawn together in
the middle so as to outline the
legs. The texture of the lower
part of the chiton is shewn by
incised lines radiating from the
left hand, the upper part by
alternate wavy grooves and folds,
the latter divided by a wavy in
cised line. The chiton is pinned,
not sewn, down the arms, and
the pins are painted green. A
red maeander pattern on a green
ground round the neck, and green stars with red circles
decorate the field of the chiton, appearing in large numbers
on the Trapvcprj. Halfway between knees and feet is a hori
zontal green stripe. A moulded green serpentine bracelet is
worn on the left arm, a green painted necklace, and round
earrings with a pattern of red rosettes on a green ground.
At first Lechat, and afterwards Collignon, suggested that
the upper part of the chiton was a separate garment, xira)v~
io-koi, owing to its different texture, but it is now generally
accepted that the whole is one garment, and that the difference
in representation is due only to the fact that it is loose above
the girdle and stretched tight below it. It is noteworthy
however that the skirts of the chiton here are treated in just
the same way as the skirt of the himation, when one is worn,
e.g. in the presence of the green stripe and Trapvcbi]. On
this question, cf. Introd. p. 44.
The hair above the sharply curved stephane is in concentric

THE ACROPOLIS MUSEUM 207
waves and falls in twelve zigzag locks on the back, and in four
similar locks on each shoulder in front. The deeply arched
wavy fringe is covered in the centre by a small coil of zigzag
locks. The red colour is well preserved. The stephane, decorated
with a red palmette and lotus pattern on a green ground, has
fourteen holes on its upper rim for bronze ornaments. In five
of these remains of bronze nails are visible. At the back it
is narrower and decorated with a single green stripe. The
meniskos is broken off level with the top of the head.
The head is high at the back, and the face a long oval.
The eyes, with large tear-ducts, are narrow and set aslant,
the lids indicated by a black line, the pupils by a black
dot with a red ring round it outlined with black. The mouth
is small, acutely bent, with red lips ending softly on the
cheek without dimples or vertical cuts. Seen in profile the
chin recedes from the line of forehead and nose. The ears
are high, the nostrils narrow. The breasts are high and small,
the shoulders narrow and sloping. In short the treatment
of every part is markedly Ionic, cf. p. 21, and the statue
clearly belongs to the period of direct Chiot importation. It
shews a close resemblance to No. 673, and might reasonably be
attributed to the same author. Compare the identity of
treatment in shape of head, mouth, eyes, and cheek-bones.
The insertion of the right sleeve in Pentelic marble points to
an ancient breakage and restoration, not impossibly in transit,
if the statue was imported.
E. Gardner, J.H.S., 1887, p. 168, fig. 2; Mus. d'Ath.,
pi. v. ; Gaz. Arch., 1888, pi. x2. ; M.vrip,eia, pi. xxv. 1 ;
B.-B., No. 556; Lepsius, p. 69, No. 13; Collignon, 1. p. 343,
fig. 172 ; Pavlovski, p. 191, fig. 56 ; E. Gardner, p. 168, fig. 29;
Perrot, vm. p. 578, fig. 290 ; Joergensen, p. 18, fig. 5 ;
Lechat, Au Mus., p. 296, fig. 8 ; Sc. Att., p. 225 ; Kalkmann,
Jb., xi., 1896, pp. 29, 36 ; Lermann, pi. xix.
671. Female figure.
Found in the latter months of 1886 W. of Erechtheum.
Pentelic marble.
H. 167 m.
Missing — lower arms, left leg from a little above ankle,
right leg from middle of shin, back of neck.

208

CATALOGUE OF

Damaged — nose, ends of hanging
drapery, back of head, right cheek. The
statue is hacked away in two places at
the back to make it flat, possibly when
packed in the Perserschutt, cf. Nos. B,
595, 606, and 680. The right side is
much weathered.
Put together from four pieces — head,
neck, small piece at bottom of left leg,
and rest of figure.
Inserted — both lower arms. Part of
the left lower arm is in situ, and the
dowel-hole is visible from the outside
of the elbow.
The pose is stiff and rigid with the
left foot advanced, the right arm ex
tended straight from the elbow, the left
arm lowered. The figure wears an Ionic
chiton with kolpos of the same type as
No. 670. The lower folds are not held
by the hand, but fall in straight vertical
lines with a broad Trapvtpr) between the
legs. Though hanging free, the drapery
clings tightly to the legs. In addition to the chiton a hima
tion is worn like a shawl over both shoulders, hanging down
behind and covering the hair. It is not fastened anywhere,
but forms two hanging folds on either side of the outstretched
right arm, and, although the left arm, is lowered, the sculptor
has shewn similar hanging folds on that side also. The
texture of the chiton is rendered as in No. 670. The himation
is treated in broader folds, and at the back is quite smooth.
A green maeander pattern with red squares and red stripes
decorates the irapv^r/, a red and green maeander the border
of the himation, and red svastikas and green crosses its field.
The hair is left rough in horizontal waves above the
stephane, and falls in a wavy mass behind under the himation
and in three zigzag locks on each shoulder. The fringe is
wavy with side-coils on the temples. The hair is red, the
stephane decorated with a red and green palmette pattern.
The meniskos is broken off level with the top of the head.

THE ACROPOLIS MUSEUM 209
The face is long with high cheek-bones and downward
gaze. The eyes are coloured in the usual way (cf. No. 670),
and are flat and oval in shape. The lips shew a simple curve,
and are terminated by deep grooves. The ears are high, and
are pierced for earrings. The hollow of the neck between the
collar-bones is shewn, an advance on Nos. 670 and 673. The
heavy chin is another difference, and the straighter, more oval
eyes shew clear Attic influence. The body is flat and form
less and the right elbow too high. Winter, without due
evidence, would attribute the figure to Endoios, Lechat
compares it with the head No. 696, and the Jacobsen head.
But it does not possess the marked Attic eye and face of
the latter, belonging rather to the mixed Attic-Ionic school,
cf. Introd. p. 22. The workmanship is primitive, and the
drapery, e.g. of the legs, hardly true to life. It probably
comes from the earlier period of the school when the Ionian
drapery is not fully understood.
Wolters, A.M., 1886, p. 452; M.vnp,eia, pi. xxi.; B.-B.,
No. 556; Lepsius, p. 73, No. 53; Winter, A.M., 1888, p. 135;
Collignon, i. p. 344, fig. 173; Overbeck4, i. p. 189, fig. 39;
Pavlovski, p. 226, fig. 77; Perrot, vm. p. 581, fig. 292;
Kalkmann, Jb., xi., 1896, p. 46; Lechat, Au Mus., p. 356,
fig. 9; Sc. Att., p. 240; Lermann, pi. m.; Klein, p. 251.
672. Female figure.
Found 5th and 6th Feb., 1886, W. of Erechtheum.
Island marble.
H. 1-03 m. above plinth. Plinth -02 m.
Missing — -left lower arm below elbow, right arm from
above elbow with. the gathered drapery on the right side, the
front of the right foot, and the ends of the hanging folds
under the left arm.
Damaged— -stephane, nose, mouth, right shoulder, and
surface generally. The left shoulder is much weathered
away and blackened by fire.
Inserted — left lower arm, which was fastened with a
dowel, the hole for which is visible; and the hanging ends of
drapery on the left side. These are restored in Pentelic
marble, doubtless after an ancient accident. Three dowel-
holes run right through the restored piece, of which the
d. 14

210

CATALOGUE OF

lower is broken away, the upper
is filled with the remains of chalk
cement, and the middle one is
still closed with a marble stud.
The figure is put together
from two large pieces, the join
being at the knees, and in ad
dition the right arm and shoulder
have been restored by Schrader
from a number of small frag
ments. It stands with head erect on
a small irregularly-cut plinth
just large enough to hold it,
which was originally sunk in a
larger inscribed basis.
The usual pose is in this statue
reversed. The right foot is ad
vanced, the left arm extended
with the offering, and the right
arm lowered to hold the gathered
folds of drapery at the side of
the leg.
The costume consists of Ionic chiton and himation of
normal type but with the position of the himation reversed.
Thus it is pinned on the left shoulder and down the left arm,
and passes round the body under the right arm and breast.
The chiton has a seam down the right arm with green borders
of squares. Probably the colour of the whole garment was
green. The himation has the ordinary overfall hanging in
vertical folds with zigzag folds on the cross band, and an
overfall border of red and green maeander pattern in front,
red and green stripes with red spots behind. The lower part
is pulled tightly round the legs, outlining their form exactly
according to the normal Ionic convention. The Trapv<j>ri has
a red and green square pattern, and is pulled round very high
on the right leg. A green stripe is visible across the legs a
little below the knee. The garment reaches over the ankles,
and spreads like a fan on the plinth behind the feet. It shews
here a red and green maeander border.

THE ACROPOLIS MUSEUM 211
On the feet are sandals fastened by a strap passing right
across the foot from the little toe, under the big toe and up
between it and the second toe to fasten round the ankle and
join the heel-strap. On the right foot the upper strap is
only partially carved, and must have been finished in paint.
The hair is in concentric waves above the stephane, which
has a green and red maeander pattern in front carried round
by a stripe at the back. Twelve zigzag locks with free carved
ends fall behind, and four over each shoulder in front. The
wavy fringe has a row of zigzag spikes above it. On the
crown is a hole for the meniskos with the bronze spike still in
it, broken off level with the head. The hair is red.
The head is erect and high with level half-closed eyes like
No. 643. The mouth is nearly level shewing three curves
with five points ending in vertical incisions. Prominent chin
and cheek-bones with squarely-built face. No colour pre
served on face. Ordinary round earrings. The shoulders
are high and straight, and the bosom prominent, the figure
tall and thin. The outline of the knees suggested to Lechat
a common origin with No. 598, but this feature is too usual
to serve as evidence. The close resemblance to the head of
No. 643 has however been already noticed. The only differ
ence is slightly more Attic influence in the rounder chin and
more prominent dimple at the lip-corners. It is noticeable
that the incisions between lid and brow visible here and in
Nos. 643 and 659 occur also on the Naxian Kore No. 677.
The statue seems to be an early Attic-Ionian work.
MvVp.eia, xxv. 2; E. Gardner, J.H.S., 1887, p. 167, fig. 3;
Lepsius, p. 69, No. 15; Pavlovski, p. 209, fig. 67b; Lechat,
Au Mus., p. 351, fig. 15; Sc. Att, p. 234; Lermann, pi. v.
673. Female figure.
Found 5th and 6th of Feb., 1886, W. of Erechtheum.
Island marble.
H. 91 m.
Missing — right lower arm, left arm from mid-biceps, legs
from knees, lower end of drapery under right arm, ends of
ringlets on bosom, gathered folds on left side.
Damaged — nose, and back of right leg. The surface is
blackened by fire at the back of head and shoulders, and on
the right shoulder and arm.
14—2

212

CATALOGUE OF

Inserted — lower right arm.
The end of the tenon remains
in situ with a dowel -hole through
it from the outside.
The head has been fitted on.
The figure is in the ordinary
pose with the gaze directed
downwards. The chiton is shewn
as usual, and is sewn down the
left arm. The surface is green,
with a pattern of blue squares
on a red ground down the arm.
The himation is fastened as usual
on the right shoulder and arm,
but instead of passing under the
left arm, it is caught up by a
single brooch on that shoulder
also. Cf. No. 600 for a similar
fashion. Also it is pulled up in
the centre over the neck-border
so as to produce the usual out
line of the overfall in front.
This overfall shews a border-
pattern of stripes, maeanders, and dots in red, green, and
blue, and the irapvfyr] has a complicated maeander pattern in
the same colours.
The hair lies in concentric waves above the stephane.
Ten zigzag locks fall in a mass behind with free ends, and
four similar locks on each shoulder. The inner three on
each side had free-hanging ends added in square holes on the
breasts. The triangular space above the shoulders between
back hair and shoulder ringlets is filled with wavy incisions
to represent an under-layer of hair. The fringe consists of
thin straight-hanging zigzag locks ending in spirals. There
are no remains of colour on the hair, but the stephane has a
red and green maeander pattern in front carried round by a
green stripe at the back. On the top of it are fourteen holes
with the remains of added bronze ornaments. The meniskos
is preserved entire and is "13 m. high above the head. It is
square in section with a flat pointed end.

THE ACROPOLIS MUSEUM 2I3
The head is high at the back, and the face a long oval.
The high carefully-worked ears carry round earrings with a
red and green rosette on them. The narrow eyes are set
aslant and display large tear-ducts. They shew the normal
black brows and lids and painted pupils. The up-curved
lips end softly in the cheek without vertical cuts. The chin
recedes well in profile from the line of forehead and nose.
The shoulders are narrow, the body slender and well-propor
tioned. The resemblance to No. 670 has already been
pointed out. Such a small detail as the ears shews complete
identity of treatment, and the statues are probably from the
same hand. The artist, as suggested already, is clearly a
Chiot without any admixture of Attic ideas, and the work
belongs to the imported type.
Kavvadias, 'E<f>. 'Apx-, 1886, p. 73, pi. v. ; Gaz. des Beaux
Arts, 1886, xxxiii. p. 419; Gaz. Arch., 1888, pi. xi.; Mus.
d'Ath, pis. vn. and vm.; Mvypeia, pi. xxiii.; Lepsius, p. 67,
No. 8; P. Paris, Sculpture Antique, p. 128, figs. 52 and 522;
Pavlovski, p. 202, fig. 61; Joergensen, p. 18, fig. 5; Kalkmann,
Jb., 1896, p. 23; Lechat, Au Mus., p. 296, fig. 25; Sc. Att,
p. 224; Lermann, pi. xi.
674. Female figure.
Found S.W. of Parthenon, Oct. 1888.
Parian marble.
H. 92 m.
Missing — both lower arms, legs from above knees.
Damaged — nose, chin, stephane, ringlets, right eye, back
of right shoulder.
Inserted — head and neck, right lower arm, drapery in
front of right leg.
Put together from four pieces — head and neck, torso,
piece of stephane on left side, drapery fragment on right
side. The left foot has now been identified by Schrader, and
is bare. A piece of the neck in front has been restored in plaster.
On the shoulders are visible two square rough marble studs
filling two holes with the aid of a chalky cement. These
holes served for running in lead to secure the head, not a
shaft as suggested by Lechat. A comparison of No. 626

214

CATALOGUE OF

shews the use of lead-running.
A square mortice on the right
thigh served for attaching the
end of the himation fold in
front of it.
Pose and costume are accord
ing to the normal Ionic scheme.
The gaze is directed downwards,
the drapery held nearly in front
of the left thigh.
The green colour of the chiton
is well preserved, but the neck-
border has vanished. Red stripes
are visible on the sleeve-borders,
which are sewn together down
the left arm. The slack of the
sleeve falls over the cross-band
of the himation, which displays
five regular folds behind, but
in front a looser zigzag border
on which are traces of green.
The overfall of the himation
hangs in the usual vertical
folds, with a well-preserved red and green maeander border.
In the field of the himation are red, blue, and green rosettes,
and a red and green maeander on the irapv^r].
The hair is combed straight back above the stephane in
wavy lines, falling over it behind in a mass of twelve zigzag
locks. Three wavy ringlets of four strands each fall on
either shoulder. Between the ringlets and the back hair the
triangular space above the shoulders is left quite plain with
traces of red paint on the left side. The fringe consists of
zigzag waves. Yellow and red are both visible on the hair.
The stephane had a blue and green maeander pattern with
red spots. Part of a meniskos of three twisted bronze shafts
is visible on the crown.
The surface of the face and neck is finely preserved, with
the jdva)(Ti<; toned to a dark olive colour. The face is a true
oval with narrow half-shut eyes slightly aslant and marked
by large lacrymal ducts. Black lines mark lids and brows,

THE ACROPOLIS MUSEUM 21 5
and the pupils consist of red rings between black dots and
black outlines — the normal type of eye. The mouth curves
very slightly with finely-cut lips ending in a dimple. The
ears are high and delicately modelled, with round earrings
decorated with a light rosette on a dark green ground. The
neck is long, the shoulders narrow and sloping, the bosom
slight. The expression is markedly individual owing to the
subtle curve of the lips. Ionic traits in eyes and shape of
head and face are modified by an Attic mouth of utmost
delicacy, and we have in this statue a tour de force of the
early Attic-Ionic school.
Mme. Lermann attributed to this statue the legs and feet
(No. 609) with the inscription of Euthydicos. This view was,
however, generally abandoned even before Schrader's new
discoveries. Wolters, A.M., 1888, p. 439; AeXriov, 1888, Oct., p. 181;
Lechat, B.C.H., 1889, p. 145, No. 2; Mvvpeia, xx.; Collignon,
i. p. 345, fig. 174; Pavlovski, p. 207, fig. 66; Tarbell, p. 152,
fig. 93; Perrot, vin. p. 596, pis. iv.2 and xm., fig. 302; Lechat,
Au Mus., p. 279, pis. i. and n.; Klein, p. 277; Lermann, pi.
iv.; Schrader, Arch. Marm., p. 37, fig. 32.
675. Female figure.
Body found S. of Parthenon in 1888.
Head found E. of Parthenon in 1886.
Parian marble.
H. -555 m.
Missing — both lower arms and back of left upper arm
from mid-biceps downwards, right leg from mid-thigh, left
leg from knee, ends of drapery.
Damaged — nose, cheek, chin, and various portions of the
surface. Put together from three pieces — head and neck, torso,
and end of hanging fold of himation on the right.
Pose and costume of normal Ionic type.
The chiton is green with a purple or dark-red border on
which a pattern is incised. It is sewn down the left arm.
The himation shews a green and red border down the right
arm with an incised maeander, and the pins picked out in
red. The border on the hanging folds is purple or red and

2l6

CATALOGUE OF

white between green and green
and red stripes with an incised
pattern. In the field are orna
ments consisting of four green
spirals with red tongues between,
and plain red darts. The cross-
band shews a hanging border
above the longitudinal folds and
the hanging folds of the himation
are oblique. The irapvtpr) is in
purple or red and white with
green borders. A red and green
girdle is visible. At the back
there is neither colour nor carv
ing of detail. A green and red
painted necklace is worn and ear
rings with a red and green pattern
of four double spirals round a
square. The hair is left smooth above
the stephane, and falls in a plain
square mass behind with one
separated zigzag lock on each side of it. Three similar locks
fall on each shoulder, and the fringe consists of flat deeply
arched waves with twenty-eight wavy spikes falling above
them. There are a few traces of red, and the curving stephane
has a red palmette and lotus pattern on a green ground.
Seventeen holes on the upper rim served for the addition of
bronze ornaments. There is no meniskos, and therefore the
statuette probably stood indoors, as indeed its better con^
dition would suggest.
The head rises very high at the back in Ionic style, like
those of Nos. 670, 673, 682, 685 and the more markedly Ionic
types, so that the eyes are in the lower half of the head. The
face is long and narrow. The eyes are narrow, slanting, and
with half-closed lids, which are outlined with black. Chin and
cheek-bones are prominent and the mouth consists, of a
simple curve with the lip-corners ending softly in the cheek
without a dimple or vertical cut.
The ears are high with red- and green -patterned earrings.

THE ACROPOLIS MUSEUM 217
The shoulders are narrow, the bosom prominent, the figure
tall and thin. The garments are pulled tightly across the
legs so that the outlines of the left knee are very clearly
defined. Holes on the neck shew that a second bronze
necklace was worn as well as the painted one. The effect of
the whole is perhaps injured by overloading of coloured
detail, but the work is very good and the preservation of
the face excellent. Lechat has called the statue a copy in
miniature of No. 682, to which there is certainly some resem
blance, but in style only without going into detail. The
statue exhibits all the characteristics of Chiot art, cf. p. 21,
and is one of the clearest instances of direct importation.
AeXrlov, 1888, p. 102; Wolters, A.M., 1888, p. 227
Ant. Denkmdler, p. 29, pi. xxxix.; Mvvp.eia, xxiv.1; Lepsius
p. 67, No. 7, fig. 1; Hofmann, Untersuchungen, pi. in. 45
Pavlovski, p. 205, fig. 64; Gaz. des Beaux Arts, 1892, iv
p. 109 ; Lechat, Au Mus., p. 320, fig. 30 ; Sc. Att., p. 221
Perrot, vm., fig. 301, pi. v.; Klein, p. 275; Lermann, pi. x.
676. Female figure.
Found E. of Parthenon in 1882.
Pentelic marble.
H. -68 m.
Missing — top of head (either hacked away deliberately or
meant to receive additional piece after some accident), lower
right arm, lower left arm from above the elbow, right leg
from above ankle, left leg from knee, ends of drapery.
Damaged — end of nose and lips. The surface is
blackened by fire on stephane and fringe, and round the
gathered folds of drapery on the left thigh.
Inserted — right lower arm and perhaps the top of the
head. The whole statue is in one piece except the right leg,
which has been added.
Pose and costume are ordinary, the head being erect and
the left leg well advanced. The chiton was sewn down the
left arm and was originally green. A red and blue maeander
decorates the neck-border, a red white and blue pattern of
squares the sleeves. The himation displays a pattern of red
and green stripes down the right arm and along the cross-band,

218

CATALOGUE OF

which shews, as is usual in the
better finished figures, a wavy border
above straight longitudinal folds.
For this cross-band cf. Introd, pp. 45
and 46. The overfall has a border
of red and green squares and maean
ders in front, but at the back this
appears as two green stripes, dark
and light, with red dots above them.
Red and green rosettes decorate the
field of the himation. The hanging
folds are oblique, and a girdle is to
be seen round the waist.
The hair is in wavy lines above
the slightly curving stephane, which
has a pattern of two red stripes with
a green maeander between them.
In front is a fringe of zigzag waves
with spiral ringlets hanging over
them. Three wavy ringlets, each
divided into four strands, fall on
either shoulder, and a mass of twelve
zigzag locks behind with free ends.
The face is square with a prominent chin, and the head
round. The eyes are level with lids and pupils painted as
usual. They are of the triangular Attic type with an incision
between lid and brow. The nose is thin with thick nostrils,
the ears high with earrings decorated by the usual red rosette
on a green ground, the mouth straight with lips terminated
by large dimples, and another large dimple on the chin.
The neck is short, the shoulders broad and high, the bosom
prominent. Under the skirts the left knee is clearly outlined.
Thus the head shews very obvious Attic features while the
hair and drapery are clearly copied from the Ionic. The
figure is one of the clearest examples of the Attic-Ionic
school, Attic sculptors working on Ionic models, and its
clumsiness and very Attic face point it out as one of the
earliest of the imitations. Cf. Introd. p. 22.
Mylonas, 'Ed,. ~ApX., 1883, p. 43, No. 22, p. 182, pi. vm. 1;
Mvvfiela, pi. xxiv. 3; Lepsius, p. 73, No. 54; E. Gardner,

THE ACROPOLIS MUSEUM

219

J.H.S., 1887, p. 170; Pavlovski, p. 231, fig. 80; Perrot, vm.,
pi. iv. 1 ; Lechat, Au Mus., p. 312, fig. 29 ; Sc. Att., p. 233 ;
Lermann, pi. xvi.
677. Female figure. Found 5th and 6th Feb., 1886,
W. of Erechtheum.
Naxian marble.
H. -545 m.
Missing — body from waist
downwards, right arm from above
elbow, piece of left lower arm,
left elbow, left biceps.
Damaged — left shoulder, left
cheek, nose, chin, eyes, top of
head, back hair, ears, left hand,
object in hand, breasts and neck.
The surface in front is weathered
or injured by fire.
Put together from six pieces
— face and top of head, neck
and back of head, greater part of torso, two fragments of left
arm lately added by Schrader, and left hand.
The figure belongs to the same Naxian group as No. 619
and like it stands stiffly in a primitive attitude. The left
arm is bent across the breast holding a pomegranate, the
right arm hangs by the side, and the gaze is directly frontal.
The figure is clad in Ionic chiton and himation, both
shewn by simple incised lines without decorative folds. The
chiton is sewn on shoulder and arm, the himation pinned in
the usual way. It passes above and not below the left breast.
The folds are more natural than those of No. 619. No colour
is preserved. The hair is combed across the head and falls behind in a
broad square mass, divided by vertical incisions and a few
horizontal divisions further apart. It is confined by a plain
band passing round the head and tied in a knot behind with
the ends hanging down. On the forehead the hair is parted
and waved back over the ears, and there are no shoulder-
ringlets.

220 CATALOGUE OF
The head is high and very narrow, flat at the top, and
with the long oblong face thrust too far forward on the neck.
The eyes are high and close together, small and triangular in
shape. Two arched incisions separate lids and brows. The
mouth is straight, the lips terminated by downward cuts, the
nose long without nostrils, the ears high and undecorated.
The whole face is very flat and without much surface
modelling. The same may be said of the left arm and
hand, and the general appearance of the statue is strangely
primitive and plain among its brilliant neighbours. In
section it is rectangular with rounded corners, but the hollow
of the waist is shewn and the breasts are separated, unlike
No. 619.
For a further discussion of Naxian art cf. No. 619.
It is interesting to see that many of the Naxian conven
tions, e.g. the triangular eye and the straight mouth ended
by downward cuts, appear also in early Attic art.
Kavvadias, ~E<p. 'Apx-, 1886, p. 82; Mus. d'Ath., pi. ix.;
Mvr)p.€ia, pi. xxiv. 2; Lepsius, p. 66, No. 1; Miller, A. J. A.,
ii., 1886, p. 64, No. 14; Collignon, i. p. 166, fig. 75; Pavlovski,
p. 170, fig. 64; E. Gardner, p. 115, fig. 12; Sophoulis, 'E0.
'Apx-, 1891, p. 153; Sauer, A.M., 1892, p. 40; Joergensen,
p. 29 ; Lechat, Au Mus., p. 393, fig. 44 ; Klein, p. 135.
678. Female figure.
Found 5th and 6th Feb., 1886, W. of Erechtheum.
Parian marble.
H. -97 m.
Missing — right arm above elbow, left arm from biceps,
legs from knees in front, but back of top of left calf has been
added by Schrader.
Damaged — left eye, nose, chin, and points of breasts.
The statue was made in two pieces joining at the knees.
The figure stands upright with head erect. The left leg
is advanced, and the right hand holds the gathered drapery
at the side of the thigh. The left arm was presumably
extended. The pose is curious, as it is the invariable custom
for the skirt folds to be held on the same side as the
advanced leg, and the opposite side to the heavy fall of the
himation, so as to balance the masses of drapery. The

THE ACROPOLIS MUSEUM

221

garments appear to consist of
the Ionic chiton girded round
the waist, and a small garment
above it reaching only to the
hips, and leaving the top of the
chiton visible round the neck.
This garment has sleeves, but
shews no seam all the way round.
It is shewn by vertical folds in
front and behind and by wavy
lines under the arms. It hangs
low on the hips at the side,
but only reaches to the waist
at back and front. On the
shoulders and down the arms
it is fastened by brooches and
therefore cannot be a sleeved
garment at all, but if genuine
it is cylindrical and is put on
over the head, then fastened
along arms and shoulders. It
should shew a fulness under the
arms, but the sculptor has got confused with ideas of sleeves.
Kalkmann and Lechat are both wrong in suggesting that
it consists of separate pieces sewn on to the front and back
of the chiton, as a moment's examination of the statue
will shew. It remains, however, without a parallel, and a
garment of this cylindrical type seems very improbable and
inconvenient. Moreover, this would not explain its greater
length at the sides than in the middle, and in no case could
it hang so closely to the body. The hanging folds on the
right side, too, are longer than those on the left.
A similar garment has already been discussed in No. 611.
The true explanation undoubtedly is that the statue is made
by an Attic artist — the type of head and face leaves no
doubt on this point — who has completely misunderstood the
drapery of an Ionian model of the type of No. 673. He has
copied the Ionian himation without understanding it, because
Ionian dress had not yet been introduced generally into
Attica. We have seen from No. 593 that Attic artists did

222 CATALOGUE OF
not always reproduce correctly their own native costume,
much less would they succeed at once with the complicated
garments' of Ionia. Cf. Introduction, p. 43.
The lower border of this unfortunate himation-overfall
shews a green stripe-pattern, the irapvtpi] a green lozenge-
pattern, and the girdle two green stripes. The garments fit
so closely to the body behind as to suggest absolute nudity.
Here again we have unintelligent imitation. On the other
hand, the muscles of the knees are not attempted and the
hollow between the legs is shallow. The incised folds in front
are not carried round at the back except in one case, but
three vertical incised lines appear between the legs.
The hair is in heavy zigzag locks on the crown, combed
straight back and falling behind in a semicircular mass of
thirteen ringlets. Three similar ringlets fall on either
shoulder, divided by incised lines into three strands each;
The fringe of zigzag waves is similarly divided into strands.
The hair is confined by a chaplet of pearls lying straight
round the head, and by a band which ties the back hair
between the ears. The chaplet is pierced by 24 holes above
and seven below for the insertion of bronze ornaments. A
hole on the left side is much larger than the others. There
is no meniskos on the crown, and no colour on the hair.
The head is round and the face wide. The eyes are set
high in the head and are not quite symmetrical, the left
being rather the higher of the two. The eyes are separated
from the brows and the cheek-bones by semicircular grooves,
and the brow is left as a sharp line. The eyes are triangular
in shape. The mouth is very slightly curved, heavy, and
clumsy, being raised from the face by wide grooves all round
it. Vertical grooves terminate the lips, small oblique
incisions start to run from their corners towards the nostrils.
The ears are bored for earrings, and a painted green necklace
is worn. The chin is prominent. No colour is left on the
face. The neck is long, the bosom prominent, the hips slender.
The flatness of the body in front gives the statue a rigid and
primitive appearance, and it undoubtedly belongs to an early
period. The figure has a very close resemblance to No. 679
in small details of the mouth and hair, and we should be

THE ACROPOLIS MUSEUM 223
inclined to attribute it to the same artist. At any rate it
belongs certainly to the same school, and the supposition
suggested above about the drapery is confirmed by the fact
that No. 679 wears the Attic dress, and that therefore
Nos. 678 and 679 undoubtedly do belong to a period which
was transitional between the two costumes. The features of
both are clearly Attic, but the drapery of No. 678 shews the
beginnings of Ionian influence ; we may, therefore, without
hesitation date both statues at the very beginning of the
period of Ionian influence, and at the very end of the
primitive Attic school. Cf. Introd. p. 16.
E. Gardner, J.H.S., 1887, p. 163 d; Mvwpeta, pi. xxii. ;
Lepsius, p. 69, No. 16, fig. 3; Sophoulis, 'E<j!>. 'Apx-> 1891,
p. 168, pi. xv. ; Sauer, A.M., 1892, pp. 48 F and 64 foil. ;
Kalkmann, Jb., 1896, pp. 22, 36 ; Schneider, Verh. der 40
(Gbrlitzer) Philologenvers., p. 358 ; Pavlovski, p. 242, fig. 85 ;
Perrot, vm. p. 583, fig. 293 ; Lechat, Au Mus., p. 330, fig. 32 ;
Lermann, pi. n. (below on the left).
679. Female figure.
Found 5th and 6th Feb., 1886, W. of Erechtheum.
Parian marble.
H. 1-20 m. (including plinth -025 m.).
Missing — left lower arm, object held in right hand, right
forefinger, front of feet, lower part of dress above feet in
front, middle of fringe. Schrader has identified a fragment
of the right foot (No. 483).
Damaged — nose, upper lip, ringlets on right side, sleeve
under left arm, surface of drapery behind.
Put together from four pieces — head, greater part of torso,
left elbow, right lower arm.
Inserted — left lower arm. The dowel-hole is pierced right
through the arm.
The figure stands stiffly erect on a small plinth cut to the
shape of the feet with both feet level and close together.
The left arm was extended from the elbow with an offering ;
the right arm hangs by the side holding what was probably a
wreath (-007 m. thick) like No. 593.
She wears an Attic costume of under-chiton, visible in
crinkly folds above the feet and on the arms, with a plain

224

CATALOGUE OF

sleeve at the right elbow, and a peplos
with overfall. This overfall, if of normal
Dorian type, should shew divisions down
both arms, or be caught up by brooches
to form loose sleeves. It appears, how
ever, as divided on left arm only, and
as an undivided surface, neither sewn
nor brooched, on the right arm. Stais
therefore suggested that this overfall
was a separate piece flung round both
shoulders and fastened on the left, but
holes for pins shew that it was fastened
on both shoulders like the Doric peplos.
Either then the Attic peplos had its
overfall sewn up on one side, but the
sculptor did not take the trouble to shew
the seam, or the sculptor has not cared
to shew the garment accurately. In the
light of Nos. 678 and 593 the latter
seems more probable. The peplos is
girded round the wrist and the ends of
the girdle hang down in front. The
drapery hangs in a smooth heavy mass
without folds or indication of limbs and is not under-cut at
all above the feet.
The polychromy of the statue was very vivid when found,
and Gillieron's drawing illustrating Stais' article shews a
much more complete scheme of colour than is now visible.
We can still distinguish a green border and spots of red and
blue on the left sleeve of the chiton and two green stripes on
the neck border. The overfall of the peplos has a border of
green and white palmettes and lotus on a red ground between
green stripes with a running green maeander above. The
girdle has three green stripes, and the hanging ends two
green stripes with white circles on them. The lower border
of the himation is the same as that of the overfall. Green
crosses decorate the field of the himation. A green painted
necklace is worn, and sandals, indicated by an incised
line. The hair is dark red and treated in the same way as

THE ACROPOLIS MUSEUM 225
No. 678. The place of the pearl chaplet is taken by
a bronze wreath inserted in holes all round the head.
Some of the nails are still in situ. There is a hole for the
meniskos with the shaft still in it broken off level with the
head. The head and features shew great resemblance to No. 678.
We see the same round head and heavy face with highly
placed triangular eyes. The mouth is treated more skilfully
but raised in a similar way from the face and ended with
oblique incisions. The surface is finely finished, the ears
pierced for earrings, the lips are red, and the eyes shew
black lines on lids and brows, and a red pupil with dark
central dot.
Like No. 593 the figure has a stiff xoanon-like appearance
owing to the heavy material of the woollen peplos, which quite
conceals the legs. There is no need to suppose with Stais
that the work is archaistic ; it is genuinely archaic and
belongs to the primitive Attic school. It comes just at the
period when Ionic influence is beginning to penetrate, and
the sculptor of No. 679 may have been the same man who
tried rather unsuccessfully to imitate the new fashion in
No. 678.
The whole type of face belongs to the early Attic canon ;
but we see some traces of the ridges at the eye-corners which
mark the Moschophoros. Sauer's attempt to assign it to a
Naxian school is impossible in the light of modern knowledge.
Cf. p. 151.
Stais, 'Etf>. 'Apx-, 1887, p. 129, pi. ix. ; E. Gardner,
J.H.S., 1887, p. 163, fig. 1 b ; Miller, A.J.A., 11. (1886),
p. 63; Gaz. Arch, 1888, pi. x. 1; Mus. d'Ath., pi. x. ;
Mvnfiela, pi. xvi. 1 ; Ant Denkmdler, pi. xix. 2, p. 8 ;
B.-B., No. 572; Lepsius, p. 67, No. 5; Schneider, Verh. der
Jfi (Gorlitzer) Phihlogenvers., p. 358; Collignon, 1. p. 341,
fig. 170; Pavlovski, p. 189, fig. 55; E. Gardner, p. 170,
fig. 30 ; Kalkmann, Jb., 1896, p. 46, fig. 20 ; Joergensen,
p. 32, fig. 15 ; Sauer, A.M., 1892, pp. 48 d and 64 sqq. ;
Lechat, Au Mus., p. 321, fig. 31 ; Klein, p. 271 ; Lermann,
pi. XVIII.

15

226

CATALOGUE OF

680. Female figure. Found 5th and 6th Feb.,
1886, N.W. of Erechtheum.
Island marble.
H. 1155 m.
Missing— fingers of left hand
with end of gathered drapery,
ends of hanging himation folds,
legs from below knees.
Damaged — stephane, nose,
neck, right hand with fruit,
edges of drapery. The right
lower arm is blackened with
fire. The back is intentionally
hacked away.
Inserted — right lower arm
(fitting in socket without a
dowel) and missing ends of hi
mation folds. One of the iron
dowels of the latter join is still
in situ. Two iron nails also
appear a few centimetres above
the joins, probably in connec
tion with vertical holes on the
under surfaces. They must have been visible from the front,
and clearly belong to a later repairing job.
Put together from the following pieces — head and torso,
left hand and wrist, right lower arm (in two pieces). The
latter was added by Schrader.
The position is the ordinary one with gaze a little
lowered. The extended right arm held a fruit, probably a
pomegranate. The figure is clad in the ordinary Ionic chiton and
himation. The upper part of the chiton was once green,
and had a red and green maeander border. It was sewn
down the left arm. The wavy folds are shewn by raised lines.
The slack of the sleeve in the left armpit is shewn by straight
folds, not a round piece like No. 674. This system is further
developed in Nos. 594 and 682. Also the folds at the back
of the left elbow are treated plastically. This has not yet

THE ACROPOLIS MUSEUM 227
been done in any of the statues previously described, not
even in No. 594, but is further developed in No. 682; The
cross-band of the himation shews a wavy overfall above the
longitudinal folds. The folds in front hang obliquely.
A green girdle is visible in the front angle of the himation,
and the folds of the skirts are raised, not incised.
The colour-scheme of the statue is remarkably well pre
served. The irapv<\>ri has a green pattern with red squares,
and the skirts shew green crosses in the field. The border
above the cross-band consists of red and green stripes with
green dots between. The edge of the himation overfall shews
a pattern of three green stripes with a running red maeander
between them picked out with dashes of green, which varies a
little at different parts of the garment. This pattern appears
on the right lower arm near the elbow, actually painted on
the flesh, a unique device of the repairer. The colour hardly
appears at the back. This zigzag himation border is further
distinguished from most of the previously noted Korai by
having the folds slightly raised in the middle and undercut
with the drill. A green painted bracelet is worn on the
right wrist, a green carved one on the left.
The hair is treated in finely-combed wavy lines from the
crown above the stephane. It falls behind in a mass of
twelve zigzag locks with free ends. Four wavy locks appear
on each shoulder, and there is a wavy arched fringe in two
layers with side-coils of zigzag locks. There is no colour
remaining on the hair, but traces of a green pattern on the
stephane. The head is long and egg-shaped, the face long with
prominent chin and cheek-bones. The eyes are narrow and
Ionic, the ears high and delicately carved with round earrings
decorated by the usual red rosette on a green ground. The
mouth is curved in a smile, but the lips are terminated by
Attic vertical cuts. The neck is short, the shoulders broad,
the bosom prominent, and the knees clearly defined under the
drapery. Lechat has called the statue Attic on comparison
of the mouth-corners with Nos. 676, 616, and 648. But
eyes, smile, shape and pose of head are markedly Ionic and
quite different from No. 676. It is true that the mouth fixes
the statue without doubt in the Attic-Ionic class, but the Ionic
15—2

228

CATALOGUE OF

influence is the predominating one. The advances in technique
shew that the statue is of a developed period.
E. Gardner, J.H.S., 1887, p. 171, fig. I; Mus. d'Ath,
pi. n. ; M.vrjpeia, pi. xix. ; Ant. Denkmdler, pi. xix. 1, p. 8 ;
Lepsius, p. 67, No. 9; Duruy, Hist, des Grecs, il, pi. on
p. 376 ; Collignon, i. p. 342, fig. 171 ; Overbeck4, i. p. 192,
fig. 411 ; Pavlovski, p. 229, fig. 79; Tarbell, p. 148, fig. 89;
Perrot, vm. p. 577, fig. 289 ; Lermann, pi. xvn. ; Lechat,
Au Mus., p. 304, fig. 26; id., Sc. Att, p. 227; Schrader,
Arch. Marm., p. 23, fig. 19.

681. Female figure. Found — Greater part of statue
and inscribed base on 5th and
6th Feb., 1886, N.W. of Erech
theum. The feet and plinth
were found earlier and were
connected by Studniczka. The
connecting piece between feet
and torso was found later in
1887, and was added by Wolters.
E. Gardner questions the con
nection of the statue and the
inscribed base.
Island marble.
H. 2-55 m. (including plinth
•04 m.).
Missing — nose, right lower
arm, tops of fingers of left hand,
parts of lower legs, front of feet,
right eye, middle parts of ring
lets (restored in plaster).
Damaged — eyebrows, lips,
chin, neck, ends of drapery folds,
breasts, left eye.
Put together from numerous pieces — head and neck;
shoulders to hips ; end of drapery folds on right side ; piece
across thighs ; back of right knee and section of front ;
another large section with back of right leg down to foot,

THE ACROPOLIS MUSEUM 229
part of left leg, and folds hanging from left hand ; feet and
plinth ; left lower arm ; thin section of left upper arm.
The missing parts of the body, left arm, and legs, have
been restored in plaster as well as part of the neck, the
middle of the shoulder-locks on each side, and the greater
part of the folds hanging from the left hand.
The only inserted parts of the statue are the eyes, which
are made of purple glass in a metal case inserted in the
socket ; the metal case probably projected a little originally,
and was cut to imitate the lashes.
The pose is the ordinary one with head erect. The
statue stands on a small plinth cut to the shape of the feet
and intended for insertion into a basis. The edges of this
plinth are chipped away. It has been restored in position on
an inscribed basis "605 m. square and -30 m. high with
abakos and kymation. The latter is decorated on all four
sides with alternate red and green tongues. The inscription
runs: NEAP+OSAN[E®EI<ENHOI<EPAME]
VJEPAONAPAP+EN[TA©ENAIAI] ANTENOPEP[OIESEN]
HOEVMAPOST[OAAAUMA].
Nea/>%o? dveffeicev 6 icepap,e-
v? epyoDv airapxr)V t 'Affrjvata.
'AvTijvtop eiroiwcrev
6 Evptdpov; to aydXpM.
The costume consists of Ionic chiton and himation worn
in the ordinary way. The feet are bare. A green carved
bracelet decorates the left lower arm. The chiton is shewn
by the usual raised crinkly lines, and straight raised lines
radiate from the left hand over the skirts. These lines have
a sharp edge and are not flattened as in Nos. 676 and 680.
The chiton is sewn down the left arm, and the neck border-
pattern appears very clearly on both sides of the seam. The
original surface was blue, not red as Lermann states. The
border-pattern consists of four narrow stripes and three
broader stripes between them. The outer two narrow stripes

230 CATALOGUE OF
are blue, the inner two green (?), the middle broad stripe is
red, and the colour of the other two has vanished. On the
outer two broad stripes are incised red circles, on the middle
one a maeander and squares. The opening of the sleeve has
a red and blue line at a little distance from the edge ; a red
line is visible also on the slack of the sleeve in the armpit.
The cross-band of the himation shews no small overhanging
folds. The front folds of the himation are vertical and are
deeply undercut with large round drill holes where the edges
are broken. Two red stripes with green maeander between
decorate the lower edge. This pattern is very clear at the
back. Incised circles in which green and red eight-point
stars were painted are visible on the field of the himation, and
the •jrapvcbij has a complicated red, blue, and green maeander
pattern. The hair is smooth above the high band which runs
round the head. In front is a fringe of three rows of thick
spiral buckles. Four square zigzag locks hang on each
shoulder, very similar to those of No. 669, but the square
ness has been exaggerated by the restorer. Behind the hair
falls in a semicircular mass of twenty zigzag locks. It follows
the shape of the back without conforming to laws of gravity.
The head-band has a green and red square and maeander
pattern with seven bronze arrow-head spikes projecting at
intervals round it, of which five are still in situ. There are
traces of red on the hair. A bent meniskos is still in position
on the crown of the head, -133 m. long and square in section.
The head is round, the face square and heavy with level
eyes and straight mouth. The lower lids are straight, the
upper arched in Attic style. Simple grooves run round the
eyes and round the mouth forming sharp cuts at the lip-
corners. The ears are of normal height and clumsy Attic
shape like those of No. 669. They are bored for the addition
of bronze earrings.
The face is rather flat, again resembling No. 669, and the
chin is firm and square. The modelling of collar-bones and
neck is indicated.
The shoulders are broad and high, and the treatment of
drapery very simple. The heavy hair, the deep under
cutting of the himation folds, and the coloured glass eyes

THE ACROPOLIS MUSEUM 23 1
give a much greater effect of light and shade at a distance.
Thus the statue has a more genuinely plastic appearance than
any of the others in the room. At the same time the colour-
scheme is very elaborate, and the polychrome drapery must
have been as brilliant on a close inspection as that of the
other Korai. The careful treatment of the folds of the
chiton behind the left elbow is a sign of late date. The
statue is usually compared with No. 669, but Lechat goes
too far in attributing it to the same artist. There is distinct
advance in the treatment of every feature. But they both
belong to the genuine Attic school of sculpture and shew
very little Ionian influence. The round head with its taenia
instead of stephane, the broader proportions, the direct gaze,
and every feature of the face are sure signs of pure Attic
origin. There is a distinct reaction against merely super
ficial treatment, and in favour of dignity and simplicity. On
internal evidence, then, we should feel at once disposed to
accept Studniczka's restoration of the basis signed by Antenor,
who was the leading sculptor of the decade 510 — 500, which
saw the establishment of the democracy. It is just in such
a period of political revolution that an artistic revival might
most naturally be expected. The connection of plinth and
basis has been condemned by E. Gardner on the following
grounds. Although the plinth will fit into the space hollowed
in the top of the basis, it still projects above it. Also although
the large socket-holes within the hollow on the basis and on
the bottom of the plinth can be made to correspond, a smaller
hole for a central pin in the centre of the larger hole cannot
be brought into exact correspondence with a similar small
hole in the large hollow on the under side of the plinth.
It may be replied that the first objection is immaterial,
since there is no rule for making the plinth level with the
base, cf. the Moschophoros, and that the second objection
is inconclusive, since it is not certain that the two smaller
holes were intended to correspond. So small a pin would
have had no effect on the rigidity of the statue, and there may
well have been two pins, above and below, each fitting into
the material that filled the opposite large hollow. Two pins
would be stronger than one. It is impossible, however, to
follow Studniczka in his further attempt to prove an identity

232 : CATALOGUE OF ' ~
of origin between the Kore and the Tyrannicides of Naples.
Graef pointed out the fallacy of this comparison, and, in any
case, the likeness would be immaterial, since the Tyrannicides
of Naples are certainly copies of the later work of Kritios
and Nesiotes, not the original group of Antenor. Sophoulis
wished to see in the Kore the earliest of the whole series, but
an examination of the technical details makes it obvious that
it is among the latest of them. The statue clearly belongs
to the Attic revival of the last decade of the 6th century
(cf. Introd. p. 23), and the connection with Antenor may be
accepted as practically certain.
Mus. d'Ath. vi. ; Mvnpteia, pi. xv. ; Ant. Denkmdler,
pi. liii. p. 42; B.-B., No. 22; Wolters, A.M., 1887, p. 265 ;
id., ib., 1888, p. 226 ; Kavvadias, 'E0. 'Apx-, 1886, p. 81,
pi. vi. 4 ; Studniczka, Jb., 1887, p. 135, pi. ix. 1 ; Sophoulis, 'E$.
'Apx-, 1888, p. 107; E. Gardner, J.H.S., 1889, p. 278; id.,
ib., 1890, p. 215 ; Graef, A.M., 1890, p. 1 ; Heberdey, ib.,
p. 126; Lepsius, p. 71, No. 35; Collignon, i. p. 366,
fig. 186 ; Overbeck4, i. p. 153, fig. 25 ; Murray, Handbook of
Gk. Archaeology, p. 254, fig. 88; Pavlovski, pp. 218, 219,
fig. 73 a and b; Tarbell, p. 149, fig. 90; Perrot, vm.
p. 561 foil., pi. n. ; E. Gardner, pp. 181, 182 ; P. Hermann,
Deut Litt. Zeit, xxxv., 1903, p. 2164; Lechat, Sc. Att.,
pp. 245 foil. ; Klein, pp. 222,253; Lermann, p. 75, fig. 34, pi.
xn. ; Schrader, Arch. Marm., p. 27.
682. Female figure.
Found 5th and 6th Feb., 1886, N.W. of Erechtheum.
Legs and feet found separately and added by Schrader in
1907. Island marble.
H. 1-825 m. (including plinth "025 m.).
Missing — right lower arm, left hand, part of neck, part
of back, part of upper left arm, ends of himation folds, big
toe of left foot, left knee, parts of legs, eyes, upper part of
shoulder-locks. The figure is restored with plaster.
Damaged — surface of drapery, ears, nose, feet.
Inserted— eyes, right lower arm (in socket without dowel),
upper parts of shoulder-locks, end of three shoulder-locks
on left breast, end of inner shoulder-lock on right breast.

THE ACROPOLIS MUSEUM

233

Put together from six large and nine
small pieces. Head and neck; three
pieces of back hair; main part of torso;
left lower arm; piece of left thigh
shewing gathered folds of drapery;
three small pieces by right knee ; large
piece of both lower legs ; three small
pieces above feet; feet with plinth.
The statue was made in two pieces,
like No. 678, joining at the knees,
where they were secured with dowels.
The pose and costume are of the
ordinary Ionic type. The gaze is
slightly lowered. The figure stands
on a small plinth cut to the shape of
the feet and sloping a little forward.
Two holes at the back of the calves
served for lead-runnings to fasten the
dowels joining the two parts of the
statue. The chiton is shewn by wavy double
lines like No. 670, but of finer execu
tion. It is sewn down the left arm.
The back of the sleeve at the elbow and the fulness in the
armpit are shewn by deep folds well undercut with the drill.
Its original surface was blue or green, not uncoloured, as
Lermann supposes, and it has a neck-border of an elaborate
green and red maeander, which appears on each side of the
seam on the left sleeve. The cross-band of the himation
shews overlapping zigzag folds, and the front folds are a
little oblique on the left side. The loose zigzag border is
deeply undercut, and raised a little with the drill. As in all
the more elaborate statues, the little crinkly folds radiating
from the brooches of the himation on the right shoulder are
worked with great elaboration. A border-pattern of red,
blue, and green maeander and stripes is visible on the right
arm. Two small holes below the corners of the himation on
the left side suggest that bronze tassels were attached. The
field of the himation shews ornaments of blue or green
rosettes, and more complicated honeysuckle patterns in red,

234 CATALOGUE OF
blue, and green; the border of the overfall has red and
green squares between green and blue stripes. A girdle is
visible, consisting of a red band with two green guilloche
borders, and a little piece of the white surface of the himation
above it. The Trapvtpij has a green and red double maeander
with green squares. The vertical folds of the skirts are
finely incised lines below the iraputbij, double raised lines
above it on the left hip. A horizontal green stripe appears
halfway down the legs. The lower border round the ankles is
lost, but the drapery is only separated from the surface of the
feet by a fine incised line. It is just the absence of plastic
effect in such details that distinguishes Ionic from Attic or
Peloponnesian work. The colour-scheme is particularly vivid
at the back. The Kore wears red sandals similar to those of
No. 672, but visible here on the instep, where there is a hole
for the bronze latchet. Two green triangular ornaments
appear on the laces going round to the heel. She wears also
a green carved bracelet on the lower left arm, and heavy round
earrings with a green pattern.
The hair is combed downwards from the crown of the
head above the stephane in wavy lines. The stephane is
decorated with a green pattern. The meniskos is preserved
to a height of '65 m., and is square in section. The fringe
consists of 23 hanging locks, divided into wavy strands and
ending in spirals, with an upper fringe of 25 wavy zigzag
spikes parted in the middle.
Just above the spirals of the lower fringe is a row of
22 small holes for fixing a bronze diadem of some kind.
Behind falls a mass of twelve zigzag locks with free ends, and
four spiral ringlets decorate each shoulder. These were
attached by bronze pins behind the ears and on the breast,
and four of them had free-hanging ends similarly fastened on
the breast.
The head is very tall and egg-shaped with eyes lower than
the centre. The forehead is curved, and the nose makes an
angle with it; the eyes are slanting with black brows, and
the balls inserted as a flat plate, probably of glass. Chin
and cheek-bones are prominent. The curved mouth ends
in dimples, and oblique lines from the nostrils outline the
cheeks. The nose is thin, the ears delicately carved. The

THE ACROPOLIS MUSEUM 235
face has a bony structure and is finely finished. The
hollow in the middle of the upper lip is sharply outlined,
the lower lip is divided in the middle. The dividing line of
the lips is carried even beyond the corners of the mouth.
The neck is long, the shoulders narrow, the bosom prominent,
the figure tall and thin. The muscles of the legs are well
indicated, and the toes are bony.
This figure is the most elaborately decorated of the whole
series of Korai, and shews all the Ionic features without any
Attic admixture. It is the finest of all the imported Chiot
statues. The hair in particular reaches the acme of elabora
tion. Lechat compares it for delicacy with the little figure
No. 675, and, like Homolle, with the Karyatides of the Siph-
nian treasury at Delphi for its general features. In date
its technique proves it to be one of the latest of the imported
figures. Mus. d^Ath, pis. in. and iv. ; MvrjpAia, pi. xvm. ; Ant
Denk., pi. xxxix., p. 29; B.-B., pi. 458; Gaz. des Beaux-
Arts, xxxiii., 1886, p. 417 ; Lepsius, p. 69, No. 14 ; Collignon,
1. p. 347, pi. 1. ; Murray, Handbook, p. 251, fig. 86 ; Over
beck4, 1. p. 192, fig. 412; Pavlovski, p. 205, fig. 65 ; E. Gardner,
p. 166, fig. 28J; Tarbell, p. 151, fig. 92; Perrot, vm. p. 589,
fig. 295 ; Kalkmann, Jb., 1896, p. 36 ; Collignon, Polychromie,
p. 28, fig. 2, pi. n. ; Hofmann, op. cit., pi. in. 47; Joergensen,
pi. 11. ; Lechat, Au Mus., p. 315, fig. 22 ; id., Sc. Att, p. 219 ;
Homolle, B.C.H., xxiv., 1900, p. 606; Klein, p. 244; Lermann,
pis. xiv., xv.; Schrader, Arch. Marm., p. 17, figs. 14 — 18.
683. Female figure.
Found in 1882, E. of Parthenon.
H. "805 m. above plinth.
Missing — ends of fingers of right hand with gathered
drapery, head of bird in left hand.
Damaged — back, left arm, left leg, back of right leg,
stephane, breasts.
Put together from four pieces — head, body to hips, hips
to middle of lower legs, plinth, feet, and lower part of legs.
Inserted — upper part of bird (missing).
The figure stands upright on a small round plinth with
the right foot slightly advanced; the right hand holds the

236

CATALOGUE OF

gathered skirts to the side, while
the left holds a bird close to the
body. The head is erect. The
plinth measures "20 m. x -17 m.,
and was fastened to the base by
three clamps, one on each side
and one in front.
The costume consists of a
single Ionic chiton with kolpos
like No. 670. It is shewn as
usual by wavy lines above, and
below is gathered in a heavy
Trapvtpr/ between the legs, as
well as held out at the side by
the right hand. The material
is indicated by thick and slightly
undulating folds. It is sewn
down the arms, and shews a
border pattern of light blue
palmette and lotus on both arms,
the neck border and in the field.
A maeander pattern decorated
the -irapvd)ij, but all colour has
wellnigh disappeared. On the feet are red pointed shoes,
with traces of blue on the instep above them.
The hair is combed down from the crown over the back of
the stephane in twelve zigzag locks behind, shewing several
superimposed layers at the back of the neck. There are no
shoulder-ringlets, and the fringe consists of a large roll of
vertical zigzag locks. Red is preserved on the hair. There
was no meniskos, and the pattern of the stephane has dis
appeared. The face is heavy and fleshy with prominent features.
The eyes are oval and level. Brows and lids shew the
customary black lines, the pupils consist of a yellow ochre
ring with black centre and black outline, and the lips are
red. A curved line runs obliquely from each nostril, out
lining the cheek, and giving a certain resemblance to the
expression of Nos. 643 and 672. The mouth shews a similar
resemblance, straight with sharp corners, and with the

THE ACROPOLIS M.USEUM 237
division of the lips bow-shaped. The ears are high, and
had earrings painted in green on the lobes. The shoulders
are broad, the bosom prominent, and the head large in pro
portion to the figure. The legs from the knee are par
ticularly short. The face preserves the olive tone due to
the rydvoacrii}, or treatment of the marble surface. On the
right wrist appear two strings from under the sleeve of the
chiton, but their interpretation is doubtful, and they are not
visible on other statues.
The figure was at first interpreted as Aphrodite on
account of the bird, but appears to fall in the ordinary
category ; No. 685 also carries a bird in her left hand. The
statue has also been called naturalistic, and even thought to
be the representation of a negress. This is due partly perhaps
to the rather clumsy workmanship and curious facial ex
pression, partly no doubt to the shoes and hair. But the
hair can be paralleled by No. 687, the face closely resembles
Nos. 643 and 672, and doubtless, if more of the Korai had
their feet preserved, the shoes could be paralleled too. In any
case a preference of negresses for red shoes could hardly be
established for the 6th century b.c
It is noteworthy that the material of the statue is Pentelic
marble. This proves an Attic origin, which might also be
inferred from the individualistic nature of the work. It must
belong to the Attic-Ionic period.
Mylonas, 'E<£. 'ApX-, 1883, pp. 42, 182, pi. vm. 2;
M.vr)(J.eia, pi. xxvi. ; Lepsius, p. 73, No. 55 ; Kalkmann, Jb.,
1896, p. 29 ; Collignon, 1. p. 354, fig. 179 ; Pavlovski, p. 210,
fig. 68 ; Tarbell, p. 150, fig. 91 ; Perrot, vm. p. 579, fig. 291 ;
Lechat, Au Mus., pp. 156, 193, 202, fig. 11 ; Sc. Att, p. 232 ;
Klein, p. 275; Lermann, pi. xx., below.
684. Female figure.
Greater part found in 1882—3, E. of Parthenon. Lower
part of torso added by Schrader in 1907, who has identified
also the right foot, inventory No. 501.
Island marble, with right arm inserted in Pentelic.
H. 119 m.
Missing — left shoulder and arm, the greater part of the
legs, the right hand.

238

CATALOGUE OF

Damaged — nose and most of
drapery. Inserted — right lower arm (in
situ) with tenon, but no dowel.
Put together from ten pieces
— head; fragment reaching to
waist behind, and including neck
to collar-bone on the right, and
left breast in front; right breast;
right shoulder to elbow behind ;
right lower arm and elbow. To
these Schrader has added a large
section of the body down to right
knee and middle of left thigh;
two smaller pieces of the right
knee ; the left breast ; himation
folds on the right side.
The pose is the usual one with
head erect.
The costume consists of Ionic
chiton and himation with the
epiblema in addition. The latter
garment falls over the shoulders
like a scarf, reaching to the waist behind ; the right end is
then rolled round the extended right lower arm.
The chiton is shewn by the usual wavy lines above. It
was green originally with a green maeander border. The
himation falls in vertical folds in front and has an overfall of
zigzag folds over the cross-band. It is fastened as usual on
the right shoulder only. The girdle is visible in front. The
epiblema is distinguished by its broader folds, and shews on
the right arm a border pattern of green stripes with red
zigzags between. The spots of red on the statue are not
original, but accidental. The wide irapydyfj has traces of a
green pattern, and the himation shews traces of green and
red ornament in the field, probably green diamonds with red
quatrefoils in the centre, and a green border on the cross-band
folds. The hanging folds are deeply cut, and undercut below.
The hair is combed down from the crown of the head in
fine wavy lines. There is a hole for the meniskos.

THE ACROPOLIS MUSEUM 239
The stephane is round, not curved in the usual way, and
shews a red and green lotus and palmette pattern. The"
fringe consists of zigzag undulations with side coils over the
temples. At the back is a square mass of fine wavy strands,
and three ringlets of wavy strands fall on each shoulder.
The triangle on the shoulders between back and front hair is
flat and decorated with wavy incisions. No colour is pre
served on the hair. A carved pearl necklace is worn, and a
carved green bracelet on the right wrist. The ears are
decorated with concave earrings adorned with a central boss
and a green and red rosette or wheel pattern.
The head is round and the face heavy. The eyes are
long straight narrow ovals with the usual scheme of painting.
The tear-ducts are prominent. The mouth is straight, the
division of the lips very subtly carved, and the corners slightly
drooping. Chin and cheek-bones of normal prominent type.
The ears are finely carved. The shoulders are broad, the hips
narrow. The statue shews an Ionic eye with an Attic mouth, Ionic
hair and Attic stephane, Ionic drapery, and an Attic head.
In general style and execution it is one of the masterpieces of
archaic art, and while undoubtedly belonging to the mixed
Attic-Ionic school, it clearly belongs to a late period. Winter
compared it with No. 686, but Lechat is right in drawing a
sharp contrast. There are marked differences in the eyes,
hair, and the general type, the one being very elaborate,
the other very simple. At the same time, there is not the
fundamental difference Lechat would see. Both shew the
same Attic head and general type of features, but the one is
infected with Ionic influence, the other with Peloponnesian.
It would seem certain on stylistic grounds that No. 684 is
later than No. 681, and therefore we have evidence for an
Ionic school after the Attic revival. Cf. Introd. p. 27.
Lechat makes a happy comparison between No. 684 and
what we know of the Sosandra of Kalamis. It was un
doubtedly Kalamis who kept up the Attic-Ionic tradition in
the 5th century. A small copy of the head, No. 641, shews
that the statue was a favourite one.
Mylonas, 'E<£. 'ApX., 1883, p. 41, No. 10; Mus. d'Ath.,
pi. xm. ; Mvwp.eia, pi. xvn. 1 ; Philios, 'E<p. 'Apx-, 1883j

?40

CATALOGUE OF

p. 97, pi. vi.; E. Gardner, J.H.S., 1887, p. 174 ; Studniczka,
A.M., 1886, p. 352; Winter, Jb., 1887, p. 216, pi. xm.;
Joergensen, pi. i. ; Collignon, i. p. 355, pi. vi. 1 ; Overbeck4,
p. 196, fig. 431; Pavlovski, p. 233, fig. 82; E. Gardner,
p. 173, fig. 31 ; Tarbell, p. 153, fig. 94 ; Perrot, vm. p. 591,
fig. 297; Lechat, Au Mus., p. 368, fig. 38; Lepsius, p. 69,
No. 17 ; Klein, p. 278 ; Lermann, pi. xx., above ; Schrader,
Arch. Marm., p. 33, figs. 29, 30, 31.
685. Female figure. Found in 1888, S.W. of Parthenon.
Parian marble.
H. 125 m.
Missing — right lower arm, left hand,
right leg above ankle, left leg from mid-
shin, bird in left hand.
Damaged — stephane, nose, chin, ends
of drapery.
Put together from six pieces — head;
body in three pieces divided at waist
and knees ; lower left arm ; and end of
drapery. The two latter pieces were
added by Schrader.
Inserted — both lower arms, the right
with dowel as well as tenon.
The pose is upright with left leg ad
vanced, and both lower arms extended.
The drapery fits tightly round the legs.
The head is erect.
The figure wears the ordinary Ionic
chiton and himation. The skirts are
not touched by either hand, and the
irapvcptj hangs between the legs. The
surface of the chiton was green (not red as Lermann gives it)
with a light red maeander border. It is sewn down the left
arm, and hangs in impossibly elaborate folds under the left
elbow. The himation shews a single wavy fold hanging over
the cross-band, and the front folds hang obliquely on the left
side. It has a border pattern of red maeanders with blue
stars and spots and two blue stripes. There are also crosses

THE ACROPOLIS MUSEUM 241
in the field. The vapv^r) has an elaborate pattern of green
and red squares, and there are traces of a green and red girdle.
The folds of the skirts are shewn by fine vertical lines, and
fit as if made of elastic. The figure wears a carved bracelet
on the left lower arm, over which appears the tail of the. bird
which was held in the left hand.
The hair is dark red, combed across the head above the
stephane in broad flat waves. The stephane curves very
slightly, and has a red and green maeander pattern. In
front of it are four holes for a bronze crown or wreath.
Above is a hole for the meniskos. The fringe is waved, with
zigzag locks ; a square mass of zigzag locks falls behind, and
four similar ringlets fall on each shoulder.
The head is egg-shaped, with heavy jaw, and straight,
narrow mouth and eyes. The red rings of the pupils are
preserved and a black line on the left eyebrow. The mouth
is ended by slight downward cuts. Oblique grooves start
from the nostrils. The ears are normal, with round earrings
on which is a green rosette on a red ground. The figure
is very tall and slim in Ionic fashion, and the general im
pression is similar to No. 671. The Attic eyes and mouth
shew that we have here another member of the mixed school,
but the Ionic influence is predominant, and the work must be
decidedly earlier than e.g. No. 684.
AeXriov, Oct. 1888, p. 181 ; Wolters, A.M., 1888, p. 438 ;
Lechat, B.C.H., 1889, p. 145 ; MvVfiela, pi. xvi. 2 ; Bulle-
Hirth, pi. xxix. 2 ; Lepsius, p. 67, No. 4 ; Pavlovski, p. 240,
fig. 84; Perrot, vm. p. 597, fig. 300; Lechat, Au Mus.,
p. 156, fig. 10; Sc. Att, p. 235; Klein, p. 278; Lermann, pi.
vi. ; Schrader, Arch. Marm., p. 37, figs. 33, 34.
686. Female figure.
Found in 1882, E. of Parthenon.
Parian marble.
H. (top of head to left hand) "58 m.
to which probably belongs
609. Leg and feet of female figure on inscribed base of
Euthydikos.
Found in 1886 or 1887 near the Erechtheum.
d. 16

242

CATALOGUE OF

Parian marble.
H. (above base) "415 m.
Missing — right lower arm, body from
waist to above knees, fingers of left hand,
gathered folds of drapery, left ankle.
Damaged — End of nose, ears, shoulder
ringlets, top of head, end of left sleeve.
The hair at the back is blackened by
fire. Inserted — right lower arm.
Put together from eight pieces — (No.
686) head and bust; body in two ver
tically joined fragments; left arm; left
hand ; (No. 609) knees ; legs to ankles ;
feet, ankles, and base.
The left ankle is restored in plaster.
In the middle of No. 609, between the
legs, there is a small hole a few milli
metres deep.
The connection of Nos. 686 and 609,
made by Winter, is now generally ac
cepted, and is based on identity of scale,
material, and style. Mme. Lermann sug
gested that No. 609 would belong better
to No. 674, but Schrader has identified the left foot of that
statue. The pose is normal with head erect. The figure stands
on a small oblong plinth ("30 m. x 197 m.), which is let into
a round capital with lead. This capital is inscribed in Attic
characters Ev0v&iicb<; 6 (daXidpxov avedeicev. The letters are
painted red. The capital is about "27 m. high (diameter of
abacus "375 m., of shaft "21 m.) and is cut off below. For
these capitals as bases cf. Borrmann, Jb., 1888, p. 269. No
coloured decoration is preserved on the base.
The costume consists of Ionic chiton and himation. The
former shews no folds on left breast and shoulder, and is only
separated from the neck by a slight incision. The slack of
the sleeve in the armpit is heavy and flat. The cross-band of
the himation consists of fine regular longitudinal folds, narrow
at the shoulder, and wide on the left breast. The front

THE ACROPOLIS MUSEUM 243
folds of the himation are flat and vertical. The skirts are
also flat with the radial folds from the left hand shewn by
simple incisions on the left leg only. The skirts make a
semicircle on the plinth behind the feet, which are bare.
No colour or decoration survives on the himation, but the
chiton shews a decoration of horizontal bands on the left
shoulder. Of these the best preserved is the second from
the top, consisting of a row of four-horsed chariots in very
faint black outlines, apparently drawn with a pen or fine
brush. Originally there was a ground-colour over the whole
surface on which the bands stood out with polychrome
patterns, but now only a few outlines are left. This scheme
of decoration is not paralleled elsewhere in the Acropolis
sculpture, but is common in vase paintings of the 6th century,
cf. in particular the Francois vase.
There is no stephane round the head, but a soft band
wound twice round the hair, and tied at the back with the
ends hanging down. This band shews the remains of a
maeander pattern. There is no meniskos. Above the band
are smooth concentric waves. Behind is a square flat mass
of hair horizontally divided. On the forehead the hair is
parted and waved behind the ears, the side-locks being very
deeply undercut. Three thin wavy locks of three strands fall
on each shoulder. The outer two of these are undercut so as
to hang freely between head and shoulders without being in
serted, as in No. 682. The small holes of the drill are
visible along the side of all the ringlets. There is no colour
preserved. The face is oval with heavy chin, the head round. Eyes
and mouth are level. The eyelids are thick, and the red rings
of the pupils preserved. The lips are red, and turned down
at the corners, giving a pouting expression to the face. The
forehead is flat, the eyebrows sharp. A sharp line separates
lids and brows. The ears are high, finely worked, and without
earrings. The cheeks are flat, except round mouth and
nostrils, and shew none of the ordinary Attic or Ionic pro
minence of cheek-bone and chin. The shoulders are sloping,
the breasts very high, the limbs rounded. The treatment of
the neck, and especially of the collar-bones, and the hollow
in the centre between them, marks a technical advance. The
16—2

244 CATALOGUE OF
feet are very delicately carved, and are less bony than those
of No. 682. The nails are semicircular, not triangular like
No. 672, or quadrilateral like No. 682.
The statue is remarkable for its simplicity of treatment in
comparison with the elaboration of the greater number of the
Korai. With the exception of eye and cheeks, the head
might be called Attic, but these features at once challenge
comparison with the Peloponnesian type observed in heads
Nos. 644 and 699, and shew that we have here a complete
reaction against the Attic-Ionic school, and a clear example
of Attic work infected with Peloponnesian influence. A re
semblance has always been noticed between this statue and
the ephebe's head No. 689, though it is distinctly earlier in
technique. It has been compared by Winter with No. 684,
but Lechat has pointed out the obvious differences in style.
This statue then is of supreme importance in the chrono
logical study of early Attic art, as it marks more clearly than
any other the arrival of the second great foreign influence in
Attic sculpture, that of Argos. It is the direct forerunner
of No. 689. Compared by Winter and Graef with the Peitho
of the E. frieze of the Parthenon, it clearly foreshadows
many Pheidian features, cf. Introduction, p. 25.
Mylonas, ~E<p. 'Apx-, 1883, p. 44, No. 25 (misprinted 26);
Mus. d'Ath, pi. xiv.; Mvr) p.ela, pi. xvii. 2 ; B.-B., No. 459, 2;
Gaz. Arch, 1888, pi. vn. ; Winter, Jb., 1887, p. 216, pi. xiv.;
Graef, A.M., 1890, p. 33 ; P. Paris, La Sculpture grecque,
p. 129, fig. 53 ; Collignon, i. p. 356, pi. vi. 2 ; Murray, Hand
book, p. 252, fig. 87; Overbeck4, i. p. 196, fig. 432; Pavlovski,
pp. 237, 8, fig. 871'2; E. Gardner, pp. 187, 8, fig. 37;
Tarbell, p. 154, fig. 95; Collignon, Polychromie, p. 33,
fig. 3; Perrot, vm. p. 592, figs. 298, 299; Lechat, Au
Mus., p. 364, fig. 37; Sc. Att, pp. 353, 4, note 2; Klein,
p. 280 ; Lermann, p. 68, note 1.

687. Female figure.
Body known since visit of Lebas in 1843.
Head found in 1882, E. of Parthenon.
Island marble.
H. 61 m.

THE ACROPOLIS MUSEUM

245

Missing— right hand and wrist, left
arm from above elbow, legs from left
knee and below right knee.
Damaged — face, hair, edges and hang
ing folds of drapery. The top of the
head is cut off obliquely towards left ear.
The figure is blackened by fire about the
neck and shoulders.
Put together from two pieces — head
and body.
The neck is partially restored in plaster.
There is a hole on the top of the head,
probably for fixing the separate upper
part, which may have been a restoration
after an ancient break.
The pose is erect, with left leg ad
vanced, left lower arm extended, right arm hanging by side.
The arms are thus the converse of No. 671. The gaze is
downwards. The costume consists of Ionic chiton and himation. The
chiton has not only a kolpos, which is raised in triangular
fashion in the middle, but also a short overfall on the bosom
like No. 688. Examples of this overfall in sculpture are
confined to these two statues, but are visible on vases (cf.
Kalkmann, Jb., 1896, p. 23, fig. 3). The irapv^nj hangs
straight between the legs. The wavy lines of the chiton
appear on the skirt as well as on the upper part in this
statue only. The himation is worn like a shawl over
both shoulders, hanging low behind. The fall over the
arms is here correct, not as in No. 671. It is treated
in smooth flat folds. There are no painted patterns
visible. The hair is waved above the stephane, which is very
slightly curved, and has a palmette and lotus pattern, pro
bably in red, on a green ground. It falls behind in a
semicircular mass of eleven zigzag locks, and in three wavy
ringlets on each shoulder. The fringe is a heavy roll of
undulating locks like No. 683. The hair is coloured yellow
ochre, and is darker at the sides of the fringe where it is
thickest. Lermann suggests that this is a naturalistic detail,

246

CATALOGUE OF

but that seems rather dubious. The artist is however in
dividualistic in other respects.
The eyes protrude, and are of Attic-Ionic type. The
red ring of the eyeball is preserved. The mouth shews the
archaic smile, and ends in heavy dimples. Lateral grooves
from the nostrils outline the cheek-bones. The ears are low,
with round red- and green-patterned earrings. The figure
is stiff and square, the bosom is hardly indicated, the folds
are superficial and without use of the drill. Lechat com
pares the face with a head from Eleusis, published in 'Etb.
Apx-, 1883, pi. v. It clearly belongs to the Attic-Ionic
period, and, though a work of some originality, is not of
great artistic merit.
Lebas-Waddington, Voy. Arch, Mons. Figs., pi. 11. 2;
Beule, La Sculpt avant Pheidias, p. 102; Heller, Ausgrab.
auf der Akropolis, note 46 ; Muller-Scholl, Arch. Mit. aits
Oriech, p. 24, No. 5; Sybel, No. 5007; Mylonas, 'E^.'Apx-,
1883, p. 41, No. 21; Lepsius, p. 68, No. 10; Studniczka,
A.M xi., 1886, p. 356, pi. ix. 2; Friederichs-Wolters, No. 12;
Pavlovski, p. 193, fig. 58; Kalkmann, Jb., 1896, p. 24;
Lechat, Au Mus., pp. 164, 170, fig. 12; Sc. Att, p. 236.
688. Female figure. Body found in 1889 in the Propylaea.
Head known before 1885 (probably
found in 1882 during Stamatakis' ex
cavations in the Propylaea).
Pentelic marble.
H. 51 m.
Missing — lower arms, legs from lower
part of thighs.
Damaged — nose, chin, drapery, espe
cially on the legs.
Inserted — both lower arms; the right
has tenon in place with dowel-hole.
Put together from two pieces — head
and body.
The figure stands upright with head
erect. The legs apparently were to
gether. Both lower arms were outstretched.

THE ACROPOLIS MUSEUM 247
The costume consists of Ionic chiton and himation. The
former shews the same small overfall on the bosom as No. 687,
and has a very low kolpos visible right at the bottom of the
statue. Similar kolpoi as low as the knees may be seen in
Kalkmann's article in the Jahrbuch for 1896, pp. 25, 29,
figs. 5 and 11. The folds of the chiton are not wavy but
straight, and probably there was no -rrapvdyf\. On the sleeves,
instead of the formal radial folds from the pins, a naturalistic
treatment is attempted. Similarly the himation, worn like
a shawl over both shoulders, is treated with greater realism,
being bunched at the back of the neck over the hanging
mass of hair, and shewing a less stylistic arrangement of
folds. No colour or patterns are preserved.
The hair is combed downwards from the crown of the
head in concentric undulations. There is no meniskos. The
stephane is small and probably round not curved, but its
shape at the back is hidden by the back hair. There are
traces of green on it. The front hair is parted and waved"
to the side with coils falling over it on the temples. There
are no separate shoulder locks, but a thin ringlet of four
strands falls at the side of the neck on each shoulder, and
disappears under the himation. Traces of red colour are
visible. The head is round, the face square and heavy at the
chin. The eyes are level and oval in shape with thick lids
like Nos. 686 and 689. They are outlined with black, and
shew traces of black pupils. The brows are sharp, the
mouth straight with lips terminated by cuts. The cheeks
are flat, though the chin juts out strongly. The ears are
small and deeply cut, without earrings. The figure is stiff
and square, but the bosom is well moulded, and the neck
muscles treated in the developed style of No. 686.
In considering the date of the statue, it must be borne
in mind that it is not the work of a first-rate artist. There
is no Ionian influence at all, but the Dorian traits of No.
686 are repeated. The shoulder ringlets and the drapery
shew an advance in technique on that statue, and the
drapery belongs to a later fashion. The statue was not
found in the Perserschutt, but in the Propylaea, i.e. it was
thrown into the foundations of that building in 438 b.c. It

248

CATALOGUE OF

might of course have been lying about for some time, and it
certainly shews signs of weathering, but Heberdey's view
that it is a post-Persian offering seems highly probable. In
this case it is clear that the series of Korai did not end in
480, but was continued, at any rate for a short time, after
the return of the Athenians to their city.
AeXrlov, May, 1889, pp. 85, 106; Wolters, A.M., 1889,
p. 122; E. Gardner, J.H.S., x. 1889, p. 265, fig. B; Pav
lovski, p. 197, fig. 59; Perrot, vm. p. 587, fig. 294; I-echat,
Au Mus., pp. 164, 170, fig. 13.
689. Male head. Found N.E. of museum in
Sept., 1887.
Parian marble.
H. -245 m.
Preserved to centre of neck
in good condition. The head
is bent forwards and towards
the right shoulder.
The hair is combed down
from the crown in fine ridged
wavy lines, twisted behind each
ear in two thick plaits, which
are wound round the head, and
tied under the fringe in front.
Concentric waves round the
head are also visible. The side
hair from the temples is brought back over the ears and
twisted in behind. The fringe itself falls quite straight in
front, ending in unsymmetrical curls low on the forehead.
The fine hairs below the plaits on the neck are painted in
black and yellow, not incised. The fashion of the hair is
best parallelled by the Apollo on the Omphalos, and on vases
of Euphronios. Another fragment in the Museum, No. 308,
has the same coiffure. On the top of the head is a hole
¦012 m. in diameter, -031 m. deep, intended for a meniskos.
The eyes are straight with prominent ducts, and with a
slight Attic arch of the upper lid, which is broad and heavy.
The mouth is straight and terminated by downward grooves

THE ACROPOLIS MUSEUM 249
from the lip-corners. Red is visible above the eyelids and
on the lips, and the lashes are painted in black on the
insides of the lids. The hair is a yellow ochre colour, and
the eyeballs are painted with a yellow ring between a black
dot and a black outline. The face is very delicately modelled
without over-emphasis of any feature, but the effort to avoid
the archaic smile has resulted, as in No. 686, in a pouting
and mournful expression. The ears are very delicate, and
of the crescent shape visible in Nos. 698 and 699. There
is some general resemblance with No. 686, especially in the
pouting expression, but every detail of modelling exhibits a
great advance in technique. As compared with No. 698, it
is much softer in treatment, and of a different shape. The
proportions of the three divisions are nearly equal, and the
head is higher and deeper. It has some resemblance to, but
is distinctly earlier than No. 699, not shewing so much
swelling of the occiput, and lacking the fine modelling of
the eyes, and the ovai face of the latter. It has been
compared by Sophoulis with the Apollo of the Olympia
pediment, but the resemblance does not extend to detail.
To the ephebe heads of Euphronios there is a closer resem
blance, not only in the arrangement of the hair, but in the
general structure of the face. Perhaps the closest parallel
is a small bronze head (Mus. d'Ath. xvi.) also found on the
Acropolis. The face of the latter is thinner and more
pointed, but the shape of the head, and the proportions
of the three divisions are the same. The eyes and mouth
are treated with great similarity. Furtwangler has suggested
Hegias as the author of this head on the strength of the
resemblance to the Apollo of Mantua. No. 689 belongs
clearly to a different school from No. 698 which is connected
with Kritios, but Hegias remains a symbol rather than a
reality. Peloponnesian influence is visible in the treatment of the
mouth and eyes, while the shape of the head is purely Attic.
At the same time the delicacy of finish and the rather
affected pose is Ionic in style, and thus we have all the
evidence of eclecticism which we should expect in the master
of Pheidias. The question of date largely depends on the question

250 CATALOGUE OF
whether the head is pre-Persian or not. The stratum in
which it was found is not conclusive (Kavvadias and Kawerau,
Ausgrab. der Akrop. (1907), p. 32) and its style seems a
decade or so later than 480, but it is difficult in the case
both of this head, and of the statue No. 698, to account
otherwise for their excellent preservation.
Wolters, A.M., 1887, p. 266; Lechat, B.C.H., 1888
p. 239; Studniczka, A.M., 1887, p. 373; Gaz. Arch, 1888.
p. 41; Winter, Jb., 1887, p. 23363; Jane Harrison, J.H.S.
1888, p. 122, fig. 3; Sophoulis, 'E<b. 'ApX-, 1888, p. 81, pi. n.
Lepsius, p. 71, No. 37 ; Mvw fieia, pi. xxviii. ; B.-B., No. 160
Bulle-Hirth, Nos. 54, 55; Furtwangler, 50th W.F.P., p. 151
Lechat, Au Mus., p. 374, fig. 39; Sc. Att., p. 362; Over
beck4, i. p. 200, fig. 49; Collignon, i. p. 362, fig. 184; E,
Gardner, p. 189, fig. 38; Tarbell, p. 155, fig. 96; Pavlovski,
p. 150, fig. 43 ; Perrot, vm. p. 643, pi. xrv. ; Klein, p. 282 ;
Lermann, p. 131, fig. 43.
The suggested torso (Wolters, A.M., 1887, p. 266; Graef,
A.M., 1890, p. 21, No. 7; Kalkmann, Jb., 1892, p. 131,
fig. 3), clearly does not belong.

690. Nike.
Found Feb. 5th and 6th, 1886, N.W. of Erechtheum.
Parian marble.
H. 1-40 m. (incl. plinth 04 m.— -045 m.).
Wing-holes — length "17 m., breadth "04 m., depth -11 m.
— 15 m.
Missing — upper part of head and whole of face, right
arm from elbow at back and mid-biceps in front, left arm,
shoulder, breast, and side, oblique section from waist to mid-
thigh on left side to mid-thigh to knee on right side (restored
in plaster), both legs from knees, and wings.
Damaged — the lower part of the drapery is split and
calcined by fire, the flying himation fold is broken.
Inserted— the wings in deep mortices at the back of the
shoulders. Put together from six pieces — main part of torso, small
fragment of left chest and shoulder, end of flying himation
fold, oblique section of legs, left knee, and lower drapery with

THE ACROPOLIS MUSEUM

251

plinth. The section restored
in plaster is too wide, making
the figure rather too tall.
A female figure is represented
in a running attitude facing
right, but the pose is a great
improvement on the archaic
type of Nos. 691 and 693.
From the size and remains of the
plinth we can see that neither
foot touched the ground. The
figure was supported by the
heavy central mass of drapery.
This is the old convention, but
it is further improved on here
by leaving a rough space be
tween the plinth and the bottom
of the drapery, which was pro
bably coloured blue, and helped
to increase the illusion of free
flight. The legs are in profile,
but the upper part of the body
is twisted so as to face the
spectator, while the head is even more distorted so as to
glance back over the right shoulder. The right arm was
bent across the body and held the lower drapery, the left
was extended, and is restored by Reichhold as holding out a
wreath. The plinth is small and rectangular ("33 m. x "17 m.),
cut away at the corners and projecting more on the right
side. The rough piece above it is "04 m. — -05 m. high.
The figure wears the ordinary Ionic chiton and himation.
On the back, where the wings fit, the surface is left smooth,
and the question of adapting them to the drapery is not
attempted. The chiton is distinguished from the neck only
by the painted border. It shews the usual wavy surface on
the left chest and shoulder. The himation is fastened on
the right shoulder and arm in the ordinary fashion of the
Korai. The small overlapping folds on the cross-band are
elaborated even beyond the standard of Nos. 682 and 684.
The hanging folds are blown to the left by the motion of

252 CATALOGUE OF
the figure, and stream freely in the air. The folds of the
skirts radiate from the centre of the body where they were
grasped by the right hand. No colour is now preserved,
but at the time of discovery, a red maeander pattern could
be detected on the neck-border of the chiton, and a blue and
red border on the himation. Nine holes bored in the front
of the neck shew where a bronze necklace with pendant was
attached. The hair shews blackening by fire but no colour. It is
arranged in a simple knot on the nape of the neck consisting
of finely combed strands. There are no shoulder locks. The
modelling of skin and drapery alike, especially of the neck
and the cross-band of the himation, is wonderfully fine and
delicate. The wings were inserted behind at an angle from the
back and from each other, not straight out at the sides like
Nos. 691, 693, and 694. One fragment of them survives in
the wall-cases in Room IV., and shews a polychrome scheme
of colour for the feathers. From it we can judge that the
wings were not of the archaic up-curling type like those of
the Sphinxes, Nos. 630 and 632, but pointed downwards like
the bronze Nike in the National Museum (De Ridder, Cat.
des Bronzes cTAthenes, p. 324).
The statue clearly represents a Nike, but the ordinary
archaic type is here softened down to meet a later taste.
Drapery and surface treatment represent the acme of Ionian
skill. Studniczka at one time proposed to combine it with
the Persian rider No. 606 in a Marathon trophy, but Winter
demonstrated the incorrectness of this view. Lechat com
pares it with No. 627 for delicacy and elaborate treatment
of the himation cross-band, Petersen and Sophoulis with the
Iris of the Parthenon pediment. The raising of the edges
of the himation folds brings it in line with No. 682 and the
finer monuments of imported Chiot art. Without the head
or feet it is difficult to fix its exact position, but the quality
of workmanship and developed pose suggest the Ionizing
school of No. 684 in Period III. Cf. p. 27.
Kavvadias, 'Ed,. 'APX., 1886, p. 77 ; W. Miller, A.J.A.,
1886, p. 63; Studniczka, A.M., 1886, p. 356, note 1 ; Petersen,
ib., p. 380, pi. xi. c; Studniczka, Siegesgbttin, p. 10, pi. in.

THE ACROPOLIS MUSEUM 253
fig. 10; Lepsius, p. 70, No. 27; Sophoulis, 'E6, 'Apx-, 1888,
p. 92; B.-B., No. 526 a, restored in text by Reichhold;
Bulle in Roscher's Lexicon, in. p. 334; Studniczka, Jb., 1891,
p. 248; Winter, Jb., 1893, p. 152; Pavlovski, p. 181, fig. 51;
Lechat, Au Mus., p. 380; id., Sc. Att, p. 393, fig. 31.
691. Statuette of Nike. Found according to Kastriotis
(Acrop. Cat.) in 1886 with No.
690, but according to Sophoulis
in 1888. The AeXnov, the
B.C.H., and the A.M. all an
nounce the finding of a torso of
Nike S.W. of Parthenon in Nov.
1888, and the B.C.H. (Lechat)
gives the height as -40 m. This
corresponds better with No. 691
than with No. 693, the other
Nike statuette, and so we may
conclude Sophoulis to be correct.
Island marble.
H. 39 m.
Missing — head, ends of wings,
both lower arms, right leg from below knee, left leg from
above knee, and drapery from the same level.
Put together from two pieces, the right arm with front
of wing being added to the main piece.
The surface of this piece is damaged by fire.
The pose is a converse of No. 690 and nearly identical
with the Nike of Archermos in the National Museum.
Head and body face the spectator, while the legs are in
profile, and the motion is to the left. The wings were
stretched out in a straight line right and left, and were of
the early up-curling type. Light and dark stripes are all
that remain of their decoration at the back. The left arm
is bent across the body to hold the gathered drapery between
the legs, and the right was extended and probably bent
upwards at the elbow like several small bronze Nikai from
the Acropolis (De Ridder, Cat des Bronzes d'Athenes, pp.
324—27, figs. 316—320).

254

CATALOGUE OF

The costume consists of Ionic chiton and himation. The
latter is fastened on left shoulder and down left arm, so that
the chiton appears on the right breast and shoulder, contrary
to the usual fashion of the Korai. The wide chiton sleeve
hangs below the upper arm, and both this and the drapery
on the right leg are pushed up by the wind, so as to leave
the right leg bare. This is the usual convention in archaic
Nike figures. The cross-band of the himation shews only
parallel folds. The hanging folds swing out behind under
the left arm.
The hair falls in a wavy mass with free ends behind and
in fine thin zigzag locks on each shoulder. Both behind and
in front it is blown back by the wind.
No colour is preserved. The statuette is probably the
most archaic of the four Nikai in this room, but has a finely
life-like and individual character owing to the efforts of the
artist to indicate the effects of motion. Studniczka suggests
that it belongs to the next generation after Archermos, a
date which would suit it as an imported piece of Chiot art.
AeXriov, Nov. 1888, p. 201; Lechat, B.C.H., 1889, p. 142;
Wolters, A.M., 1888, p. 439 ; Sophoulis, 'Ecb/Apx., 1888, p. 89,
fig. A; Lepsius, p. 70, No. 29; Studniczka, Siegesgbttin, pp. 7
(note 2, No. 5) and 10, pi. n. fig. 8; Pavlovski, p. 180, fig. 53.

692.

Torso of Ephebe.
Found S.E. of Acropolis in 1864.
H. -87 m.
Parian marble.
Missing — head, left arm from mid-
biceps, right arm from mid lower arm,
legs from below knee, penis.
Put together from three pieces — main
torso, right thigh and knee, right lower
arm. The right arm was added in the sum
mer of 1900, and also a head which has
since been removed and placed on No.
633, where it certainly belongs.
The weight is mostly on the right
leg, and the left leg is advanced. The

THE ACROPOLIS MUSEUM 255
right arm is drawn back above and bent at the elbow, the
left arm was probably in a similar position. The chest is
expanded. The attitude is suggestive of an athletic pose.
The body is very tall and thin. The three vertical divi
sions of the torso measure "12 m., "22 m., and "12 m., which
give a very disproportionate length between pectorals and
navel. The modelling of the muscles is only slight. There
seem to be traces of red colour on the nipples. The figure
is youthful and slight without pubes, the sacral triangle is
marked behind, and the glutei have lateral depressions. The
navel is carved as a raised button under an arched fold of
flesh, a treatment visible also in Nos. 302 and 698. The
thighs are round and rather shapeless. Delbriick has at
tempted to prove that the statue belongs to a Parian school,
and compares it with the Ptoan figure (B.C.H., xi., pis. xm.
and xiv.) and with No. 145, which shews however a very
different system of proportions. But we ought not to go
further than to say that it does not correspond either with
Peloponnesian canons or with Attic works of the Kritios type.
It appears to be decidedly older than No. 698. The work is
certainly suggestive of Ionian rather than Attic ideals.
Brunn, Decharme, and Pervanoglu, Bull. delF Inst., 1864,
p. 85; Pervanoglu, Bull. deW Inst, 1867, p. 76; Sybel,
No. 5101 ; Furtwangler, A.M., 1880, pp. 25, 32; Pavlovski,
p. Ill, fig. 27; Delbriick, A.M., 1900, p. 373, pi. xv. xvi. 2;
Lepsius, p. 71, No. 40.
693. Statuette of Nike.
Found probably in Feb. 1886, N.W. of Erechtheum with
No. 690 (cf. notice of No. 691). Head added since.
Island marble.
H. -435 m.
Missing — both arms and most of wings, both legs from
above knees, ends of shoulder locks, lower drapery and plinth.
Damaged — face (features almost entirely erased), breasts,
drapery in general.
Put together from three pieces — head and neckj body to
hips with right thigh, left thigh and drapery.
Inserted — ends of shoulder locks.
The pose of the figure is nearly identical with No. 691,

2§6

CATALOGUE OF

but the left hand hangs by the side,
and downwards from the extended
elbow, instead of grasping the drapery.
The gaze is downwards, and no effect
of motion is given except by the tra
ditional pose.
The costume consists of Ionic chiton
and himation arranged like No. 691.
The chiton shews traces of colour, and
the himation has a border of red and
green squares and maeanders on the
hanging folds. Small folds overlap
the cross-band of the himation in later
style, and there are traces of green
ornaments in the field. The irapvtpr)
had a maeander pattern. The hang
ing folds are firmly and deeply cut, but are not quite vertical.
The skirts are caught up as usual on the right thigh. The
wings had the feathers incised, and raised so as to overlap the
next row, and red appears on the front of the wings. They
are of the same type as No. 691.
The hair is combed straight back from the front of the
stephane in a zigzag mass of ten locks with free ends down
the back. Red paint is visible. Three wavy locks of two
strands each fall on either shoulder. In front of the stephane
is a waved, deeply-arched fringe with zigzag side-coils on
the temples, and zigzag spiky locks above it, parted in
the centre. On the crown of the head is a hole for the
meniskos. The head is full and egg-shaped, the eyes protruding but
level. The mouth has an acute smile and thick lower lip.
The ears are high, with round earrings. The breasts are
prominent, the shoulders narrow. An ordinary Ionic type,,
perhaps a little later than No. 691.
Sophoulis, 'E<£>. 'Apx-, 1888, p. 91, fig. B; Studniczka,
Siegesgbttin, p. 7, note 2, No. 6; Lepsius, p. 70, No. 30;
Pavlovski, p. 174, fig. 52.

THE ACROPOLIS MUSEUM

257

694. Torso of Nike. Found in June, 1888, between
the museum and the S. wall of
the Acropolis.
Parian marble.
H. -76 m.
Missing — head, right arm
from above elbow, left arm from
mid-biceps, left breast, right leg
from above knee, left leg, dra
pery from level of left knee.
Damaged — drapery in front.
Put together from five pieces
— upper part of torso, right
arm, left shoulder, lower part
of torso from waist, lower right
thigh.
Inserted — the figure is cut off sharply underneath through
the left thigh, and still shews the protruding end of a large
iron dowel run in with lead. Above this on the left side
the body is also cut for the insertion of the left leg. There
is no dowel-hole in this socket. Two large holes are visible
in the front of the figure,, one at the waist, and one, still
filled with lead, on the left thigh on the surface of the
hanging fold of drapery. It is difficult to determine what
was attached in these holes. Marks of the drill are very
evident all over.
The pose in general resembles that of Nos. 691 and 693,
but like No. 690 the bending of the right knee is not so
sharp. The right arm is lowered and holds the drapery up
from the right thigh; the position of the left arm is un
certain. The wings are of the up-curling type, but separated
on the back, with rounded ends where they join the body.
The pose is probably identical with that of a small bronze
from the Acropolis (De Ridder, Catalogue, p. 323, No. 808,
fig. 314; Petersen, A.M., 1886, pi. xi. c.; Collignon, 1. p. 190,
fig. 70; B.-B., cut in text of No. 526).
The costume is different from that of the other Nikai
and any of the Korai, resembling the Athena, No. 140. It.
consists of a short-sleeved tight-fitting chiton, shewn with.

D.

17

258 CATALOGUE OF
a perfectly smooth surface, and distinguished from the neck
by paint only, and a himation fastened like a Doric peplos
with a single brooch on each shoulder. The folds of this
himation are simple and heavy, radiating from the brooches,
which were inserted in bronze, and open down the left side.
The front angle and hanging folds of the Ionic himation
are still preserved. The horizontal folds of the skirt stop
abruptly at the back of the leg. There is no colour except
at the back, where red paint is visible below the wings and
on the hair.
There are no shoulder locks, and the hair falls in a simple
semicircular mass behind with horizontal waves. It is left
rough at the edges. The right breast is prominent and
sharply pointed; the right thigh is remarkably thin. In
general the statue shews good work, with the edges of
drapery carefully raised, and much use of the drill, but it
is not well finished. The neglected back looks as if it served
some architectural purpose, and a position as akroterion is the
most likely. The heavy iron dowel implies great need of
support. As to the date, the similarity in costume connects
it inevitably with No. 140, but it seems impossible to place
it much later than 480 b.c. as it was found with earlier
bronze objects and pottery and with the head of No. 698
in a stratum which, partly at any rate, consist of pre-Persian
objects. It might be possible however to include them both
in the decade 480 — 470 b.c.
AeXriov, June, 1888, p. 104; Lechat, B.C.H., 1888,
p. 437; Wolters, A.M., 1888, p. 227; Lepsius, p. 70, No. 28;
B.-B., No. 526 b; Pavlovski, p. 183, fig. 54; Lechat, Sc. Att,
p. 371, fig. 30.
695. Relief.
Called " The Mourning Athena."
Found in June, 1888, S. of the Parthenon, built into the
wall of a poros building, '20 m. below the surface.
Parian marble.
H. -54 m. Br. -31 m. to -315 m. Thickness -05 m.
Relief depth up to '016 m.
There is a slight moulding above and a small plinth
below (H. -013 m.).

THE ACROPOLIS MUSEUM

259

^^^^^^^^^^^^^ Missing — top left corner,
1-^— v^j^5===^T^B most of left lower arm of Athena
'it *Jm ¦ (restored in plaster).
/"* \&'*&&. i ¦ Damaged — drapery and right
( <rli i ut\ V ' I ^u* together from two pieces
V\eifflwrHii? ^B with the join across the neck of
flMlM V^' 1 1 Athena is represented facing
f/lffrJ « I I right and leaning on a staff or
liiillll) V I'l probably a reversed spear, which
1 1 lift' if 'i I s'ie h°lc's in her left hand, while
Mr/IUllI \\ " 'i'l the right rests on her hip. Her
,,\WhMi \1 _;j I weight is on the right foot, with
¦hhmmmJ the left drawn back and raised
on the toes. Her head is lowered
till it almost touches her left hand, and the body is twisted
a little forward at the hips. In front of her, on the right
side of the relief, is a small rectangular stele (H. -24 m. ;
br. '04 m. ; thickness "007 m.), which is now quite plain.
The goddess is clad in a plain Doric peplos pinned on the
shoulders and reaching to the ankles, with an overfall down
to the hips, above which is tied the girdle, represented by a
mere incision. She wears no aegis, but has a helmet of
Corinthian type with two crests. The heavy vertical folds,
which shew the thick material of the peplos and quite hide
the contour of the limbs, fall not perpendicularly but parallel
with the slightly sloping line of the body. The hair is
parted, and waved behind the ears. The modelling is careful
and accurate, the eye in correct profile, and the pose lazy
and simple. The bare feet belong to the Peloponnesian con
vention with the second toe longest, and the only trace of
archaism is the angle of the folds.
The background was once dark blue, and the cornice had
a painted design, but slight traces only were visible on dis
covery, and these have since disappeared. No paint or
design appears on or above the stele, and its meaning must
therefore remain obscure. Several suggestions, however, have
been made: — e.g. Athena, mourning over a monument to
her dead citizens, Athena guarding a battlement, Athena
17—2

260 CATALOGUE OF
guarding a stele with laws or accounts engraved upon it,
or (the view of Lechat) Athena watching over the youthful
Erichthonios, represented in colour on the top of the stele in
his cradle. This view is based on a lamp from the Passin
collection (cf. article mentioned below, fig. 1), and the Finlay
vase (Benndorf, Or. und Sicil. Vasen, pi. xxxi. 1). But the
lamp is probably a forgery, traces of colour are hardly per
ceptible above the stele, and the stele itself is not like a base.
Besides, if the important figure of the child was only painted,
why should the basis of it be carved ? The battlement is
highly improbable, and there are no traces of any inscription
to justify an urkunden-stele. Nor, it may be said, does the
attitude of Athena necessarily indicate mourning. Two
recent views may be added. A. Fairbanks suggests the meta
of the racecourse as an explanation of the stele, and Florence
Bennett calls it a symbol of the original aniconic xoanon in
the form of a pillar. But there is no parallel for the repre
sentation of the latter of these objects by a perfectly plain
square stele without capital or base, and Athena has no direct
connection with the racecourse. The goddess is certainly in
the typical attitude of a spectator, but the riddle of the stele
is still unsolved.
Lechat and E. Gardner suggest a date late in the 5th
century, Kavvadias, Furtwangler and Graef in the middle
of the century. Clearly later than the pre-Persian Korai,
the face is undoubtedly Pheidian in type and the general
treatment of the drapery shews Peloponnesian influence. The
only archaic survival is the oblique hanging of the drapery.
This Lechat and Gardner attribute to the sculptor rather
than the period. But the provenance of the relief seems to
make it clear that it is of an earlier date than the Parthenon,
as the wall in which it was built is probably connected either
with the embanking and supporting of the Parthenon site,
or with the building of the Parthenon itself.
AeXriov, June, 1888, pp. 103, 123; E. Gardner, J.H.S.,
x., 1889, p. 267, fig. D; S. Reinach (C. Waldstein), Rev. Arch.,
1889, ii. p. 98; Mvyp-eia, pi. i. ; Graef, A.M., xv., 1890,
p. 22; E. Gardner, p. 302, fig. 70; C. Robert, Die Nekyia
des Polygnot (16tes Hallisches W. P.), 1892, p. 43; Furt
wangler, Meisterwerke, p. 40; 'Etp. 'Apx-, 1901, p. 146;

THE ACROPOLIS MUSEUM

261

Jamot (Minerve d la ciste), Mons. Grecs., n. p. 34s; Lechat,
Mons. Piot, in. 1896, p. 5, pi. 1. ; Collignon, n. p. 143, fig.
70; Joubin, Sculpt Grecque, p. 193, fig. 68. A. Fairbanks,
A.J.A., vi. (1902), p. 410; F. Bennett, ib., xm. (1909),
p. 431.

696. Female head. Found in Nov. 1888, near W.
facade of Parthenon.
Pentelic marble.
H. -275 m.
Missing — ears and back of
head, part of left cheek in front,
part of polos crown.
The nose is damaged.
Put together from two pieces
— upper part to mouth, and
lower lip to chin.
The head, like No. 654, wears
a polos crown instead of the
Ionic stephane. On the crown
is a design of lotus and palmette
above and maeander below in
green and red. The hair is red, and shews two superimposed
fringes, waved below and zigzag above. The eyes and lids
are painted in the usual way. They are straight, but narrow
and with large ducts. The mouth is slightly curved, and the
lips end in dimples. The cheeks and chin are not prominent,
and the forehead is flat. The face thus shews mixed but
predominantly Attic characteristics, with some admixture of
Peloponnesian influence in the cheeks. It has none of the
Ionian delicacy of Nos. 674 and 684, with which Lechat
classes it. There is rather a general resemblance to Nos.
671 or 686.
It has been suggested that the polos crown is a mark of
divinity, and that the head probably represents Aphrodite,
but the argument is unsupported, and we certainly cannot
maintain it, like Lechat, by pointing to the expressionless
face as a mark of divinity.

262

CATALOGUE OF

To this head Schrader suggests the restoration of the
lower part of a Kore from the knees
downwards (inv. No. 493). Of the same
material, and cut off behind in a similar
manner, the fragment exhibits the same
Attic style and simplicity. He finds
also two fragments of a back (inv. Nos.
354 and 4136 with 154) which seem to
belong to this statue.
The style of this statue is unique
among the series of Korai, but seems
to fall between Nos. 671 and 686,
belonging to the period of earliest
Peloponnesian influence.
AeXriov, Nov., 1888, p. 201 ; Wolters,
A.M., 1888, p. 440; Lechat, B.C.H.,
1889, p. 148 ; E. Gardner, J.H.S., 1889,
p. 265; Lechat, Rev. Arch, 1889, ii. pp. 396—402, pi. xxm.;
Pavlovski, p. 228, fig. 78; Perrot, vm. p. 625, fig. 320;
Lechat, Au Mus., p. 360, fig. 35; Sc. Att, p. 392; Lermann,
p. 69, fig. 31, pi. ix. (above); Schrader, Arch. Marm., p. 45,
figs. 38 — 41 (wrongly described as No. 698).
697. Forepart of horse without rider.
Found E. of Erechtheum in 1887.
Parian marble.
H. 113 m.
Missing — support under belly, hind-quarters and legs,
except right hoof, right fore-leg except "16 m. on each side
of knee, left hoof.
The break suggests that the statue was hacked in two.
The colour of the mane is red, inside of mouth and nostrils
red, pupil of eye dark. The horse paws the ground with his
right fore-leg, raises and turns head over the right shoulder.
Usual hole at back of head; there is no trace of a rider or of
the attachment of harness on the body. It is thus likely
that the horseman is standing in front arranging the bridle,
as is the case with some figures of the Parthenon frieze.
Fragments of a base (No. 571) shew the hoofs of a horse
and feet of a man in just this position. The base is of a

THE ACROPOLIS MUSEUM

263

rather more archaic type than
this figure, but must have
belonged to a similar group.
Another base (No. 499) may
have belonged to asimilar group
on a larger scale.
On first sight this horse seems
to belong to the same com
position as No. 700. The iden
tity in scale, similar finish,
and general resemblance sug
gest this view, but on closer
inspection the differences are
considerable. Firstly, the marble
is different, secondly, the style
is much more developed. In
No. 697 we see the muscles of
the chest and shoulder natura-
listically and successfully ren
dered, the conventional incisions
under the jaw replaced by
modelling, and the eye with
out its conventional downward
duct. The ears are modelled with greater precision, and the
structure of the forehead is most artistically executed. The
top and back of the mane are carved with fine incised lines
instead of being left flat, and the muscles of the fore-legs are
more distinguished. The whole attitude of the horse with
tossing head and distended nostrils breathes fire and energy.
The scale, fine finish, and beautiful execution of these two
statues, and Schrader's recent happy restoration of their
fore-legs single them out as among the most characteristic
examples of the delicacy and vivacity of pre-Persian Attic
sculpture. Cf. Introduction, p. 51.
Winter would place it among the latest of the finds in
1" n f* Ppf ^py ^oh/tiit t
Wolters, A.M., xn. 1887 (Winter), pp. 107, 144; Lepsius,
p. 73, Nos. 50 and 84 ; Theoxenou, Gaz. Arch, 1888, p. 38 ;
Studniczka, Jb., vi., 1891. p. 24213; Winter, Jb., vm., 1893,
pp. 140 foil., figs. 13a, 13b, 14a, 14b; Collignon, 1. pp. 358, 9,

264

CATALOGUE OF

figs. 180, 181 ; B.-B., No. 459 ; Pavlovski, pp. 260, 262,
figs. 91, 92; Perrot, vm. pp. 637, 639, figs. 326, 327;
E. Gardner, p. 176 ; Lechat, Sc. Att, pp. 399, 400, fig. 33;
Joubin, Sculpt. Grecque, pp. 182 — 4, fig. 65; Schrader, Arch.
Marm., p. 81, figs. 72 — 75.

698. Male figure. Body found in 1865 S.E. of Par
thenon. Head found in 1888 between museum
and S. wall.
Parian marble.
H. -86 m.
Missing — arms from elbows, left foot
and ankle, right leg from below knee,
inserted eyes.
Damaged — nose, chin, cheeks and
neck. Put together from four pieces — head.
body to knees, lower piece of left upper
arm, left lower leg (added by Schrader).
Inserted — eyes (missing).
The head No. 699, which was found
at the same time as the torso was fitted
on by Furtwangler in 1880, and removed
on the discovery of the right head in
1888, about the connection of which
there is no doubt.
The pose is upright with the weight
on the left leg, the right leg forward
and bent at the knee. The arms hung by the sides and are
connected with the hips by small supports. The head is
upright with a slight turn towards the right shoulder.
The hair is combed down in fine ridged waves from crown
under a ring going round the head, and then twisted over it
in separate locks and tucked in again. Fine incisions denote
the short locks in front of the ears and on the nape of the
neck. The latter are arranged alternately in straight locks
and curls. On the top of the head is a hole in which are the

THE ACROPOLIS MUSEUM 265
remains of a meniskos broken off level with the head. No
colour is preserved.
The eyes are high in the head and straight, Attic in
shape, and without heavy lids. The nose is thin, the ears
small and crescent shaped. The mouth is small and straight,
ending in two angular cuts at each lip-corner. The chin is
heavy, the three dimensions of the face being about -045 m.,
"04 m., and "055 m. The resemblance in proportion, shape
and details of features to the head of the Harmodios at
Naples is marked. The hand is of a different type from either
Nos. 689 or 699. The back of the head is nearly straight,
a point also visible in No. 689, but the top is flatter, and the
angle of the lower jaw and chin much sharper.
The 'muscles of the torso are finely rendered and again
shew great resemblance to the Harmodios. The navel is
shaped like No. 692 but more softly worked ; the linea alba
does not appear below it. The pubes is not indicated. The
lateral hollows of the stomach are prominent, but the angle
in the hip-muscle is not strongly marked. The back is well
hollowed and the chest inflated. Lateral gluteal depressions
are to be noticed, and sloping shoulders with dispropor
tionately narrow hips. The body is not dry and spare in
Aeginetan fashion, but well covered with flesh. The
superiority to No. 692 is very obvious, especially in the
fine modelling of the thighs. Furtwangler aptly remarks
the resemblance to the Harmodios, and his attribution of
the statue to Kritios and his school cannot be contested.
He remarks also that the movement of the legs is not com
municated to the torso, i.e. the "rhythm" of Myron and
Pythagoras is not yet studied. The head offers some resem
blance to the small bronze head from the Acropolis (Mus.
d^Ath., pi. xvi.), but in shape, proportions, nose and mouth
the latter is nearer to the head No. 689. The statue pro
bably represents an athlete or ephebe. The fashion of the
hair is reproduced in several contemporary statues, e.g. the
bronze head just mentioned, the bronze of Castelvetrano
(Arndt-Amelung, E.A., Nos. 571, 2), and the Aktaion from
a metope at Selinos (B.-B., No. 290 b). The fine engraving
of the hair on the neck has been attributed to the influence
of work in bronze.

266

CATALOGUE OF

Pervanoglu, Bull. delF Inst, 1867, p. 76; Sybel, No. 5103c
Furtwangler, A.M., v., 1880, p. 20, pi. i.; id., 50th W.F.P.
pp. 132, 150; id., Arch. Anz., 1889, p. 147; id., Meisterwerke,
pp. 762, 81; id., Miinch. Sitzber., 1897, n. p. 128; Wolters.
A.M., 1888, p. 226; AeXrlov, June, 1888, p. 104; Lechat
B.C.H., 1888, p. 434; Sophoulis, 'E0. 'Apx-, 1888, p. 85,
pi. in.; Mvypeia, pi. xxix.; B.-B., No. 461b; Bulle-Hirth,
No. 52; Lepsius, p. 71, No. 36; Graef., A.M., xv., 1890, p. 15
Overbeck4, i. p. 205; Collignon, i. pp. 374, 375, figs. 191, 2
Pavlovski, pp. 113, 142, figs. 28, 42; Perrot, vm. p. 495
figs. 253—5; Lechat, Sc. Att, p. 452, fig. 38; Klein, p. 2f~
Schrader, Arch. Marm., p. 59, fig. 48.
699. Male head. Found S.E. of Parthenon in
1865. Parian marble.
H. -225 m.
Dam aged — nose,brows, right
cheek, ears and hair.
The head was fitted on to No.
698 by Furtwangler in 1880,
but removed in 1888, when the
right head of the latter was
discovered. The head is inclined slightly
forwards and towards the right
shoulder. The hair is left rough,
and confined by a plain band.
There is no hole above. Some
colour was visible at first. The eyes are straight with pro
jecting lids, and well sunk under the brows, the ridge of
which is raised above the forehead. They shew the ordinary
colour scheme for the pupils. They are well arched and the
underlids are hollowed from below, a new principle shewing
an advance on No. 689. Also the corner of the upper lid is
carried on beyond the lower lid, as in later art. The mouth
is small and the lips parted, their corners finely worked into
the cheeks without sharp transitions. The ears are damaged,
but are of the crescent shape visible in Nos. 698 and 689.

THE ACROPOLIS MUSEUM 267
The proportions of the three divisions are about -04 m.,
"05 m., and "05 m. The face is delicate and pointed, with
oval forehead and deep Pheidian head with the back pro
jecting well beyond the neck. The modelling is very soft
and masterly. It shews a great advance on No. 689, especially
in the treatment of eyes and mouth, and belongs to the great
art of the middle 5th century. The flat cheeks, small mouth,
and heavy lids recall the Peloponnesian influences observed
in Nos. 644 and 657 but the workmanship is much more
advanced. It clearly belongs to the Pheidian school, and is
a work of superlative excellence. It cannot be earlier than
450—440 b.c.
The resemblance to the metope heads of the Parthenon
is very pronounced, but it is clearly carved in the round,
and too finely finished for such a purpose, although it might
have been used as a model. Cf. Introduction, p. 28.
Furtwangler, A.M., v., 1880, p. 20, pi. 1. ; Sybel, 5103b;
Lepsius, p. 71, No. 39; B.-B., pi. 461a; Lechat, Sc. Att.,
p. 482, fig. 44 ; Klein, p. 283. Cf. also the notices of No.
698 at the time the heads were changed.
700. Equestrian statue,
Found E. of Erechtheum in 1887.
Pentelic marble.
H. 112 m.
Missing — end of muzzle, legs (all but left fore-leg, which
has been added by Schrader; the hoof is still missing) and
tail of horse. Of the rider the left leg and hand, and the
right leg to the middle of the shin are preserved.
The rider is nude but wears sandals, with straps between
each toe, which are shewn by red paint.' Blue paint on the
instep denotes the latchet. His hand rests on the left thigh,
and is pierced to carry the reins, which would be added in
bronze. The hole for the bit is shewn where the head is
broken. The muscles of the leg are shewn with care, and
the whole execution is excellent, both of man and horse.
The horse's head is turned slightly over the left shoulder
and has the usual hole for the bridle at the back. The
hogged mane is coloured blue. The eye shews the long
old-fashioned duct and has a red iris with black pupil.

268 CATALOGUE OF
There is a great advance in the treatment of the body
over the horses already noticed, with the exception of No. 697,
though the head is perhaps not so true to life as that of No.
606. The chest muscles, however, shew no comprehension
of the effect of motion. The horse stands on three legs
and paws the ground with the left fore-leg. There is still
a feeling of archaism in the building of the jaw and its con
ventional incisions to shew the skin folds. But the surface

is highly finished, and the treatment of the muscles very
delicate. An octagonal support under the horse's belly is
preserved and has been replaced by Schrader. Winter in
his chronological study of the equestrian fragments attributes
this figure and No. 697 to the early 5th century. The human
leg shews an advance on No. 606, and the foot is among the
most beautiful of the pre-Persian marbles.
It is hardly possible therefore to accept Winter and

THE ACROPOLIS MUSEUM

269

Schrader's supposition that it belongs to the period of Chiot
art. The vigour and life of the muscles of the neck shew
conclusively that it belongs to the Attic line of development,
although some Ionic influence may be admitted. Cf. Intro
duction, p. 51.
For bibliography, cf. No. 697. Schrader, Arch. Marm.,
p. 81, figs. 72, 73.

70 1. Medusa head. ¦Found in Dec, 1888, S.W.
of Parthenon.
? Pentelic marble.
H. 25 m.
Of the archaic bogey type
with round deep head, promi
nent cheek-bones, Attic-shaped
straight eyes, and wrinkled nose
with wide nostrils. The huge
mouth is furnished with teeth
and tusks; deep wrinkles de
scend from the corners of the
nostrils ; the ears are clumsy ; the tongue protrudes over
the heavy square chin.
The hair is in square beads above a narrow taenia on the
forehead, and below it in a fringe of four simple waves. The
pupils are shewn by an incised circle and central dot. Traces
of red colour are visible on hair, tongue, and lips.
Schrader has rightly restored the figure as a running
gorgon by the help of some other fragments in the museum,
and has fixed it as the central akroterion of the oldest Athena
temple. In style the face shews close resemblance to the
Moschophoros, especially in the treatment of the grooves
between eyelids and eyebrows, and in the folds outlining
nostrils and mouth.
Remains of two smaller gorgons of similar type (inv.
Nos. 3799, 3800, 3837, 3838) are to be distinguished, which
probably belong to one or other of the smaller poros
buildings. AeXriov, Dec, 1888, p. 219; Wolters, A.M., 1888, p. 440;

270

CATALOGUE OF

Lechat, B.C.H., 1889, p. 148; E. Gardner, J.H.S., 1889,
p. 265, fig. C; Lepsius, p. 74, No. 64; Collignon, 1. p. 218,
fig. 103 ; Perrot, vm. p. 624, fig. 317 ; Lechat, Sc. Att,
p. 121; Schrader, Arch. Marm., p. 1, fig. 2.

702. Relief.
Hermes and the Graces (?) In two pieces, of which one
was found by the S.W. angle
of the Parthenon in 1888, and
the other, the larger one, near
the Propylaea in Jan., 1889.
Pentelic marble.
H. (as restored) "395 m. Br.
•425 m. H. of plinth -0215 m.
H. of field of relief -253 m.
Missing — central akroterion
and right top corner. The
boy's left arm and right foot
are broken away, the lower part of Hermes' face is damaged,
and the surface is injured in several places.
Put together from two pieces — the main piece, and the
top left corner.
The relief is enclosed in a frame with pedimental orna
ments, and contains five figures moving towards the left.
First comes a male figure in profile playing the double flutes,
with right leg advanced, and clad in a large himation. The
muscles of his legs are strongly emphasized, and his feet are
large, following the old convention in the greatest length of
the big toe. His short hair is painted red and arranged in
a roll round his head. Lids, brows and pupils are painted
in the usual fashion. Following him are three female figures,
each with right leg advanced and both knees bent in a
running attitude. Their heads and bodies face the spectator,
while their legs are in profile. The front lady has her feet
flat on the ground, the right arm bent across the body holding
a fruit, and the left hand grasping the extended right wrist
of the middle figure. The two following are in -the same
position except that the middle figure has the right heel

THE ACROPOLIS MUSEUM 27I
raised, while the third lady takes a longer stride. She in
her turn grasps the arm of a small boy, also in profile, who
completes the group. He is only "18 m. high, and his left
leg is furnished with a right foot.
The female figures are dressed in Ionic chiton with kolpos
and himation. The first and third have their skirts gathered
in a Trapv<prj in front. The himatia are worn like shawls
loosely over both shoulders, and are distinguished by paint
only. The first figure has no colour left on her garments,
the second has a yellow chiton and probably a red himation,
the third a plain chiton and red himation. The male figure
has no colour on his himation, and the boy is nude.
The first female figure has a flat waved fringe with the
usual mass of hair behind, coloured yellow; the second a
wavy fringe with the back hair hanging in a mass on the
left shoulder, coloured red ; the third a wavy fringe with the
hair in two short coils behind the ears, also red. All have
the usual Ionic stephanai. The small boy's hair hangs straight
on neck and forehead, simply incised and coloured red. The
background is blue.
All have bare feet. The eyes are Attic-Ionic in type,
the mouths terminated by cuts. The work is rather careless,
the modelling of the boy, with arms of quite disproportionate
length, being the most defective.
Lechat's view that the group represents Hermes and the
Charites is now generally accepted. We know that the Charites
had a cult in the Propylaea, and other reliefs of them have
been found on the Acropolis (Furtwangler, A.M., in., 1878,
p. 181). The fact that the relief was found in the Propylaea,
and the correspondence in appearance with other reliefs of
Hermes and the Charites lead to the conclusion that we
have here the same subject. At the same time the boy is
not accounted for. G. C. Richards suggests that the figure is
female and represents some local divinity. But it is clearly
a boy and nude.
AeXriov, Jan., 1889, p. 15 ; E. Gardner, J.H.S., x. 1889,
p. 265; MvrjfJieia, pi. xxx.; Lepsius, p. 75, No. 73; G. C.
Richards, J.H.S., xi., 1890, pp. 284, 5 ; Daremberg and
Saglio, Dictionnaire, 11. p. 1665, fig. 50 ; Perrot, vm. p. 654 ;
Lechat, Au Mus., pp. 443 foil., pi. m. ; Sc. Att, p. 300.

272 CATALOGUE OF
1332. Relief of a Potter.

Found E. of Erechtheum in 1887.
Pentelic marble.
H. 122 m. Br. -76 m.
The relief is in a frame with oval pediment above, and
square cuttings for two akroteria. The lower plinth is "07 m.
high, the side frames "021 m. wide. The actual field of the
relief is -94 m. high, and the depth of relief is "04 m. — "045 m.
Missing — left arm from elbow to wrist, right arm from
mid-biceps, body from chest to mid-thighs, feet, ankles, and
lower part of lower legs, parts of chair-legs and seat. The
right top and bottom corners are missing, as well as a section
through the figure including lower half of right-hand side.
Damaged — surface generally, including forehead, eyes,
and front of head, legs, and the vase held in the left hand.
On the sides of the frame are remains of inscriptions giving
the name of the dedicator and probably of the artist. The

THE ACROPOLIS MUSEUM 273
former ends in xIOS, which cannot be Euphronios, as has been
suggested, but might be Pamphaios, among the Attic potters
of the period known to us by name.
The relief represents a bearded male figure seated, facing
left, on a four-legged stool without back or arms, holding
two cylices in his left hand by the side of the seat, and
probably with the right hand extended. The legs are to
gether, with the right foot slightly advanced. He is clad in
a himation wrapped round the lower limbs, but leaving the
upper part of the body bare. His hair is combed in wavy
lines from the crown of the head, and hangs low on the fore
head and on the neck behind. His pointed beard projects in
front. The drapery hangs very tightly round his legs, re
calling the seated figures of the scribes in Room V. Incisions
following the lines of the body denote the material, and the
end of the garment hangs by the seat.
The features are very delicately carved, especially the
mouth, whose subtle curve gives a very individual expression
to the face. The shape of the head corresponds in general
with the ephebe head No. 689, but the ear is different and
the work is certainly earlier. The hand is very finely moulded
and the cups and chair legs are treated with great care. In
the large empty space to the left of the figure are traces of
the outline of a figure in yellow paint, and, as the back
ground was blue, this must represent an additional figure.
The shape of the relief would naturally require another
figure to fill it. It would hardly be natural to represent
either a real person or the deity by paint only on a relief of
this kind, but we might imagine here a statue of the deity,
probably Athena Ergane, to whom the potter is making an
offering in the manner of the craftsman of No. 577. The
colours of the relief are well preserved. The background was
blue, the inside of the frame red, the lips red, the himation
a reddish-brown, the vases red and black. Red is also
visible under the chair. Judging from the fine character
of the carving, and the raising of the ends of drapery, we
should probably ascribe the relief rightly to the best period
of the Attic revival at the end of the 6th century.
Petersen, A.M., 1887, pp. 145, 266; Pavlovski, p. 297,
fig. 109; Lepsius, p. 75, No. 72; Lechat, Sc. Att, p. 365,
d. 18

274

CATALOGUE OF

fig. 29. Furtwangler, Aegina, p. 495, fig. 405; (inscription)
Lolling, C.I.A. suppl. iv. 1, p. 132, No. 37S232.

1340. Relief.
Horse's head. Found 1835, S. of Par
thenon. Pentelic marble.
H. -56m. Br. -47m. Th.
•10 m. Depth of relief
06 m.
Missing — end of muzzle,
body from below shoulder.
The fragment is part of the
right side of a slab, but it
cannot belong, as Schrader
suggests, to the same frieze
as the three pieces Nos.
1342, 3, 4, for the material,
thickness, and depth of
relief are all different.
The mane is left uncovered except for the forelock. A
large square hole at the base of the lock and a small hole
above the mouth served for the attachment of the bridle.
In the former the ear was inserted. The eye was also put
in separately. The front line of the head is very flat and
straight, and the bone above the eye is very prominent,
while the line of the jaw is not emphasized. The veins are
carefully shewn. This head is attributed by Schrader to
the same frieze as Nos. 1342, 1343, etc., but the style is utterly
different from the other fragments of the frieze ; e.g. compare
the forelock with the tails of the horses in No. 1342. The
veins, too, shew that it belongs to a much later period.
The finish of the side of the slab is different, and it probably
belongs, not to a frieze at all, but to a 5th century votive
relief. Ross, Arch. Aufsdtze, i. p. 93; Miiller-Scholl, op. cit,
No. 163; Sybel, No. 7002; Friederichs-Wolters, No. 98;
Studniczka, Jb., vi., 1891, p. 24320; Lepsius, p. 75, No. 81;

THE ACROPOLIS MUSEUM 275
Lechat, Sc. Att, p. 4123; Schrader, A.M., 1905, p. 305 foil.;
Furtwangler, Miinch. Sitzungsber., 1906, p. 143.
Two other fragments (Nos. 356 and 449) have been
attributed by Schrader to the frieze of the Hekatompedon.
1342. Relief from a frieze.
Man entering a chariot.

Broken in two pieces, found in 1822 near the Klepsydra
(left-hand piece), and in 1859-60 on the E. side of Acropolis
(right-hand piece).
Island marble.
Dimensions — Left-hand slab: H. 1"205 m., Br. '73 m.
Right-hand slab: H. -90m. Total breadth 1-075 m. The
small plinth below is '05 m. high, and projects "03 m. The
thickness is "28 m., the depth of relief -03 m. The sides are
rough except for '04 m. at the edges where the surface is
smoothed for joining on to neighbouring slabs.
18—2

276 CATALOGUE OF
Missing — top right corner, right leg of figure.
Damaged — the whole surface is weathered and decayed,
in particular the front of the car, the rail, the two lower
spokes of the wheel, and the left arm, head, and face of the
figure. The features are obliterated.
The relief represents a figure facing right and stepping
into a chariot with the left foot. The hands are extended
holding the reins ; the head and body lean forward. The
car has four horses whose tails and hind legs are seen on
the right. Of the car we see the near wheel, body, and
pole. It has a curved rail with a support. The figure is
dressed in Ionic chiton with kolpos and irapvd,rj, and a
himation worn like a shawl on both shoulders. The
garments are represented in the usual Ionic way, cf. Introd.
p. 44, and the notices of the Korai. The hair is arranged
in an S-shaped knot behind in the fashion known as krobylos
or korymbos (Studniczka, Jb., 1896, p. 248 foil.). It is
treated in fine wavy incisions. The figure is unbearded, and
the forms of the body are soft and Ionic. But the head is
round, and the profile fairly straight with the three divisions
of the face about equal. The horses' tails are shewn by fine
wavy incisions, and the muscles of the legs are well given.
There are no surviving traces of colour. The style of the
relief is formal and finicky, typically Ionian in its elaboration
of detail. Some controversy has existed as to the sex of the figure,
since the fashion of hair and drapery were at one time
supposed to be feminine. Athena, Nike, Apollo, and a
Panathenaic victor have all been suggested. But the outline
of the body, so far as it is visible, seems to be male, and the
hair and drapery can be parallelled in other masculine figures,
e.g. No. 1343 and No. 633. A priori, a male charioteer is
.much more probable. Any more definite identification of
the figure would be dangerous. The block clearly belongs
to a frieze of which several other fragments remain (Nos.
1343, 1344 and 356, and possibly 449). Elements of this
frieze were chariots, walking figures, and seated figures. It
is thus analogous to the Panathenaic frieze of the Parthenon.
Schrader maintains the theory that we have in these fragments
the remains of the marble frieze of the Hekatompedon, which

THE ACROPOLIS MUSEUM 277
remained standing through the Persian wars, and in fact
existed for centuries on the Acropolis. He sees in this frieze
the reason for the erection of the Parthenon frieze in such an
unsuitable position, since the new temple was to be lacking
in no detail of the old. As evidence for survival of the
Persian sack he instances the remains of architrave and
triglyph frieze in the north wall of the Acropolis, and
explains the paucity of the remains by the building activities
of the Byzantine period. Furtwangler suggested that it
belonged to the altar of Athena, but there is no particular
appropriateness in the subject. Heberdey has suggested the
pre-Persian propylaea, but here again it is a mere conjecture.
It certainly was the frieze of a rectangular building, for
No. 1343 is smoothed on one of the sides, but it is dubious
if that building could have been the Hekatompedon, as
surely more fragments would have survived. It may have
belonged to some altar or small shrine which escaped the
Persian sack, as it has clearly been exposed to rain for a
number of centuries.
The style of the fragments is Attic-Ionic, cf. p. 22, with
mixed characteristics from both schools of sculpture. The
drapery and hair are carved with Ionian delicacy, but the
features, in so far as they can be recovered, are Attic The
vigorous muscles of No. 1343 are certainly due to an Attic
artist. But the date would seem to be rather earlier than
the remains of the pediment of the Hekatompedon, as the
drapery is more formal, and the krobylos type of coiffure is
archaic. Lebas-Waddington, Voy. Arch. Mons. figs., pi. 1. ; Lebas-
Reinach, Mons. figs., pp. 50, 51; Bibliotheque des Mons. figs.
(addenda), p. xiii. ; Prokesch von Osten, Denkwiirdigkeiten
und Erinnerungen aus dem Orient, n. p. 395 ; Miiller-SchoU,
Arch. Mitt, aus Oriechenland, 11. 4, p. 25, No. 11; de Saulcy,
Rev. Arch, 1845, p. 271; Gerhard, Annali, 1837, p. 115;
Botticher, Die Akropolis, p. 85 ; Martinelli, 3 ; Pervanoglu,
Brunn, Michaelis, Bull delV Inst., 1860, pp. 53, 114; Fellows,
Discoveries in Lycia, 1841, p. 170; Bursian (Ersch unci
Gruber, Encycl. Ant. Or. Kunst), p. 418; Beule, La Sculpture
amant Pheidias, p. 106 (Gazette des Beaux-Arts, 1864); Brunn,
Miinch. Sitzungsber., 1870, 11. pp. 213, 214; Liibke, Gesch. der

278

CATALOGUE OF

Plastik, i. p. 128; Braun, Gesch der Kunst, n. pp. 188, 549;
Lucy Mitchell, A History of Ancient Sculpture, p. 228 ;
Purgold, 'E<f>. 'ApX; 1885, p. 251; Sybel, No. 5039; Welt-
gesch. der Kunst, p. 121, fig. 106 ; A. S. Murray, i. p. 142 ;
Friederichs-Wolters, No. 97; Milchhofer, Arch. Zeit, 1883,
p. 180; Hauser, Jb., 1892, p. 54; Overbeck4, i. p. 203, fig. 47;
Collignon, VArch. Or., p. 136; Histoire, i. p. 377, fig. 194;
Baumeister, Denkmdler, i. p. 342, fig. 359; Pavlovski, p. 294,
fig. 106; Perrot, vm. p. 651, fig. 335; B.-B., No. 21; Lepsius,
p. 75, No. 78 (wrongly called Pentelic marble) ; Studniczka,
Jb., 1896, p. 265, fig. 7; Savignoni, R.M., 1897, p. 313;
Lechat, Sc. Att, p. 408; Klein, p. 268; Schrader, A.M.,
1905, p. 305 foil., pi. xi. ; Furtwangler, Miinch. Sitzungsber.,
1906, p. 143.
1343. Relief from a frieze.
Bearded Man in profile. Found near Propy
laea by the S. wall of
the Acropolis in 1859.
Island marble.
H. -44 m. Br. '64 m.
Th. 28 m.
The slab is the top
left-hand corner of the
corner slab of the frieze.
This can be fixed > by
the smoothness of the
left edge of the block
and the shape of the cramp-hole above. The surface is
damaged by exposure, but not so badly as No. 1342.
Missing — body below waist, right arm from elbow, left
arm from top of biceps.
The relief represents a bearded figure moving to the
right, clad in an exomis, or sleeveless tunic of fine material,
the texture of which is shewn by fine wavy incisions, every
third incision being deeper than the other two. The
garment is fastened by a brooch on each shoulder. The
left arm is extended forward, the right drawn back and
bent at the elbow. The hair is arranged in the krobyhs

THE ACROPOLIS MUSEUM 279
like No. 1342, and is carved in the same way. A narrow
ring ran round the hair, and on the head is a petasos, or flat
hat with a wide brim. The eye is shewn in full view, though
the face is in profile, and is of Attic shape (cf. p. 16); the
mouth is straight and the lips are ended in the drooping
moustache; the shoulders are broad and muscular. The
nude parts are finely modelled, but the exomis hides the
muscles of the chest. The style is archaic, with body in full
view, but head in profile. The type of face does not differ
much from the poros heads, or the earlier marble heads like
No. 653, but it is finer and more developed than the Mos
chophoros (No. 624).
Various identifications have been suggested, Hermes
(usually in the older authorities), Theseus (Conze), or
Hephaistos. But there is no real reason for seeing a deity
here, and a mortal is more likely. The style is identical
with No. 1342, and. the block, is of the same dimensions.
There is therefore no doubt that they belong to the same
composition. Conze, Nuove Memorie dell' Inst, p. 408 foil., pi. xm.;
Sittl, Die Patrizierzeit der Gr. Kunst, pi. in., 22; Sybel,
No. 5040; Pervanoglu and Brunn, Bull. delV Inst., 1859,
p. 197, 1860, p. 53; Arch. Anz., 1860, p. 6*; Arch. Zeit,
1868, p. 75 ; Bursian (Ersch and Gruber, op. cit), pp. 82,
418 ; Beule, Sculpt av. Pheid., p. 91 ; Friederichs-Wolters,
No. 96; Overbeck4, 1. p. 204; Collignon, 1. p. 378, fig. 195;
Pavlovski, p. 295, fig. 107; Perrot, vm. p. 653, fig. 334;
Studniczka, Jb., 1896, p. 265, fig. 8 ; Schrader, A.M., 1905,
p. 305 foil., pi. xn.; Furtwangler, Miinch Sitzb., 1906,
p. 143.
1344. Relief.
Part of stool and seated figure.
Found before 1881.
Island marble.
H. -40 m. Br. -39 m. (front surface '29 m). Th. "25 m.
Depth of relief 03 m.
This fragment shews the top right-hand corner of a
folding stool with a cushion on it, and traces of a figure
sitting on the stool and facing left. All the traces visible

28o

CATALOGUE OF

are two folds of a hi
mation, one hanging in
front of the stool, and
one above it. The corner
of the stool has a circle
in relief upon it. The
surface has lost its fine
finish through exposure,
but is not so badly
damaged as No. 1342.
The dimensions suggest
that this fragment be
longs to the same frieze
as Nos. 1342 and 1343.
Schrader interprets it as
part of a seated deity
watching, like the deities of the Panathenaic frieze, the
approach of a procession.
Sybel, No. 5042; Milchhofer, Arch. Zeit, 1883, p. 181;
Schrader and Furtwangler, op. cit
1350. Relief.
Female foot and skirts of drapery. Pentelic marble.
H. -335m. Br. -355m.
Th. -14 m. (broken be
hind). The plinth is
-07m. high, and projects
'04 m. The frame on
the right is -04 m. wide.
Depth of relief "04 m.
The fragment shews
a foot wearing a sandal
belonging to a figure
facing left clad in chiton
and himation. The chi
ton hangs in elaborate
doubled folds, while the
himation is smooth with one large doubled fold. No colour
is preserved, though there are traces of a vanished border

THE ACROPOLIS MUSEUM

28l

pattern round the bottom of the himation. The frame, which
resembles that of No. 1332, shews that the figure belonged
to a separate votive-relief. The style is quite different from
those lately described and belongs to a more developed period
of art in the early 5th century. It may be compared closely
with the slightly more advanced stele found on the Esquiline
(Ghirardini, Bull. Com. di Roma, 1883, p. 144, pi. xm.).
1360. Female figure. Put together by Schra
der in 1907.
Island marble.
H. 1*88 m. (including
plinth -06 m.).
Missing — head, both
arms, right leg between
knee and ankle, drapery
ends, most of surface of
figure. Damaged — all the
front. Much of the figure
is restored in plaster.
Put together from
seventeen pieces : — neck ;
three pieces of back hair;
back of right shoulder;
two pieces of right elbow
withfallingdrapery;back of left shoulder; body to
knees ; two pieces of left
leg and gathered drapery
to above ankle ; small
piece above ankle; feet
and plinth in five pieces.
The pose is the ordin
ary one with left foot for
ward. The figure stands
on a thick rectangular
plinth, rounded in front.
The costume consists of Ionic chiton and himation. No
18—5

282 CATALOGUE OF
colour or pattern is preserved. The folds gathered by the
left hand are deeply and finely cut with the saw, and traces of
the drill are visible. The folds that radiate from the left
hand across the legs are raised. The left leg and gathered
drapery are practically the only undamaged parts of the front
surface. This drapery strongly resembles Nos. 669 and 681
in the fineness of the cutting.
The hair falls in a mass behind of fourteen flat wavy
locks, parted in the centre, and each divided into four strands.
The ends are free. No colour is preserved.
The feet are bare and bony in structure, and the second
toe is markedly the longest. The muscles of the left leg
and knee are prominent. The shoulders are broad. Further
description is impossible owing to the condition of the statue,
but in all recognizable features there is considerable resem
blance to Nos. 669 and 681. We may therefore conclude
that the statue belongs to the full Attic school.
Schrader, Arch. Marm., p. 24, figs. 20 — 21.
3832. Lion. Island marble.
H. -38 m. L. -49 m.

Put together from
three pieces, but very
much broken and dam
aged, and without legs.
The lion is probably
couchant to left, with
the mouth open, in a
roar of defiance.
The eyes, unlike those of the poros lions and bulls, are
oval and slanting, with the corners continued by incisions.
The mane is shewn by incisions, and is purely conventional,
being shewn by locks raised from a dark-blue background.
The ears are also formal and out of place on the top of the
head. The body shews no naturalism.
Such a type of lion is utterly different from the vigorous
type of the poros lions. The similarity in the treatment of
the mane to the Ionian horses shews that we have here to
deal with an Ionian type of lion, stylised and unreal.

THE ACROPOLIS MUSEUM

283

Schrader has found fragments of a second lion in the
converse position, and a lucky discovery of Heberdey shews
that the two lions formed a votive dedication (cf. No. 140).
Schrader, Arch. Marm., p. 72, figs. 61 — 64.
4119. Fragments of Equestrian statue.
Parian marble.
H. -13 m. (horse only).
Missing — end of muzzle, part
of mane, lower part of chest, legs
and hind-quarters. Fragments
of the rider's legs are visible
well forward on the horse's back.
The horse shews the thin arched
neck of the last figure, but the
mane is treated in a more elabo
rate way in rows of square zigzag
locks. The forehead like that
of the last figure is flat without
heavy hollows behind the eyes,
and the eye is round and not
deeply worked. The rider sits
well on to the horse's back, not above it like 590 or 148.
Holes on the right cheek and on the top of the head served
for the attachment of the bridle. In the illustration the
torso of 623 is restored above the horse. Its scale and style
seem to make the connection clear, cf. p. 156.
There is no doubt of the Ionian character both of horse
and rider (cf. p. 50).
Winter, Jb., vm. (1893), p. 140, No. 11 ; Lechat, B.C.H.,
1888, p. 243 ; Schrader, Arch. Marm., p. 78, figs. 70 and 71.

4557. Cf. p. 90.

INDEX

Abrahams, E. B., 46 (note)
Acropolis, excavations on, 1 foil.;
museum, 1, 4, 29, 93, 156, 169
Aeginetan art, 25, 26 (note), 134,
154, 265; see also Sikyonian-
Aeginetan art
Aeschylus, 132
Ageladas, 25, 154
Akanthos, stele from, 36 (note)
Akroterion, 11 (note), 20 (note), 33
(note), 93, 113, 258, 269
Aktaion, 265
Altar of Twelve Gods in Louvre, 143
Amazon, 65, 140
Anaxibios, stele at Sparta, 32
Antenor, 23, 28, 29, 39, 109, 162,
229-232
Aphaia, temple of, 25
Aphrodite, 162, 192, 237, 261
"Apollo," 26, 151, 200, 276
Apollo Nomios, 158; of Mantua,
249; on the Omphalos, 248
Archaeological Society of Greece,
1 foil.
Archaistic reliefs, 119, 141
Archermos, 20, 253
Architectural sculpture, 20 ; see also
Pedimental sculpture, Akroteria,
92, 93, 111, 112, 257, 275-280
Argive art, 25, 26, 28, 186, 195, 244
Aristophanes, 39, 131
Arrhephoria, 32
Artemis, 32 ; Brauronia, 35, 98
Ashmolean Museum, vase in, 51,
139
Assos frieze, 16, 60
Athena, 30, 31, 33, 34, 47, 65, 73,
91-97, 101, 105, 107, 117, 118,
140-143, 152, 160, 169-176, 179,
180, 187, 188, 195, 197, 258, 276
Athena Chalkioikos, 32

Athena Ergane, 118, 273
Athena Hygieia, 118
Athena Lemnia, 95
Athena, old temple of (Hekatom
pedon), 6 foil., 10, 13, 17, 18, 23,
26, 30, 35, 36 (note), 66, 69, 78-
87, 91, 96, 107, 113, 140, 169-176,
275, 277-280
Athena Parthenos, 188
Attic art, characteristics of early, 16,
23, 29, 50, 71, 72, 83, 106, 117,
120-128, 148, 155, 157, 158, 181,
221-226, 279
Attic costume, 36, 40, 42, 63, 119-
128, 194, 223
Attic-Ionic sculpture, 11, 22, 147,
165, 167, 182, 183, 184, 185, 196,
198, 209, 211, 215, 218, 226, 237,
239, 240, 246, 252, 268, 271,
277
Attic revival, 24 (note), 27, 29, 37,
51, 162, 205, 231, 239, 249, 273,
282
Attico-Peloponnesian sculpture, 11,
175, 186, 195, 242, 249, 264-267 ;
see also Peloponnesian art
Babelon, E., 177
Barracco, see Collection Barracco
Bases, 39, 130, 141
Baumeister, A., 163, 175, 278
Bennett, Florence, 260
Berlin, 12 (note)
Bernardakis, B., 3
Beule\ E., 2, 105, 153, 163, 246, 277,
279
Beul6 gate, 56
Bird, 79, 80
Bird's claw, 73, 85
Bissing, W. von, 167
Boreas and Oreithyia, 23, 171

286

INDEX

Borrmann, R., 39 (note), 242
Botticher, A., 59 (note), 120, 141,
143, 159, 163, 277
Bowl, 125, 151
BoyB, 119
Branchidai, 20, 152, 193
Brann, E., 278
Brownson, C, 87
Bruckner, A., 4, 61 (note), 67, 75,
80, 81, 84-86
Brunn, H., 59 (note), 78, 87, 160, 163,
277 ; see also Brunn, Decharme,
and Pervanoglu, and Pervanoglu,
Brunn, Michaelis
Brunn, Decharme, and Pervanoglu,
95, 109, 159, 175, 255
Bull of Marathon, 158
Bulls and lions, pediments repre
senting, 13, 16, 17, 18, 30, 67, 75-
78, 84, 86, 282
Bupalos and Athenis, artists of
Chios, 20
Bursian, C, 277, 279
Calamis, see Kalamis
Calf, 156-158
Castelvetrano, bronze statue of,
265
Centaur, 100
Chariot, see also TtBpnriros, 58, 275
Charioteer, 111, 275
Charites, see Hermes and the
Charites
Cheramyes, statue of in Louvre, 13,
150
Chiot art, see Ionic art
Chiton, see Attic costume, Ionic
costume Doric costume
Chronological study, 9 foil.
Chronological table, 29
Chrysapha, stele from, 12, 36 (note)
Cock-fighters, 34, 105
Collection Barracco, 199
Collection Sabouroff, 166
Collignon, M., passim
Conze, A., 159, 279
Corinth, 20, 142
Crab, 58
Craftsmen (see also Scribes, Potters),
118
Crete, 80 (note)
Curtius, L., 20 (note), 101, 151
Cyclopean wall, 5 foil.

Daidalos, 15, 24 (note), 162
Damage by fire, 59, 153, 193, 211,
217, 226, 250, 253, 281
Damage by hacking away, 56, 103,
130, 139, 226, 263
Damage by weathering, 160, 208,
276, 278
Decharme, P., see Brunn, Decharme,
and Pervanoglu
Delbriick, R., 101, 255
Delos, 13, 19, 20, 32, 81
Delphi, 25, 32, 117, 151, 161, 235
Democracy and art, 6-9, 30
Demos personified, 118
Deonna, W., 148, 192, 199, 201
Dice-players, 34, 105
Diokleides, 140
Dionysos, 17 (note), 105, 141, 142
Diptych or writing-desk, 99, 102, 166
Dodona, 32
Dog, 98, 112
Doric costume, 42 (note), 47, 94,
224, 257, 260
Doriskos, stele from, 36 (note)
Dorpfeld, W., 4 foil., 17 (note)
Drill, use of, 94, 97, 113, 138, 146,
178, 230, 233, 257, 282
Duruy, V., 228
Egyptian art, 19 (note), 99, 159, 165
Eleusis, 17 (note), 246
Endoios, 24, 29, 162, 163, 209
Enneakrunos, 30, 71
Ephesos, wood-carvings from, 12, 24
Epiblema, see Ionic costume
Epiktetos, 140
Equestrian figures, 31, 34, 49-51, 56,
102, 124, 131, 139, 156, 158, 267,
283
Equestrian groups, 112, 113, 114,
186, 262
Erechtheum, 2 foil., 153, 162
Erechtheum, pediment representing,
12, 17, 29, 30, 35, 69-72, 88, 90
Eretria, 23, 171
Erichthonios, 260
Erythrai, 24
Escher, J., 61 (note)
Euphronios, 65, 248
Euripides, 39
Eurymedon, battle of, 5
Eustratiadis, P., 3
Euthydikos.iToj-e of, 39, 215, 241-244

INDEX

287

Evans, A. J., 81 (note)
Excavations, on the Acropolis, 1
Exomis, 278
Eyes, treatment of, 38, 41, 77, 115,
116, 147, 157, 159, 190, 196, 199,
207, 229, 266, 282
Fairbanks, A., 260
Farnell, L. B., 33 (note)
Fellows, C, 277
Flinders Petrie, W., 167
Footwear, 48, 73, 139, 211, 234, 236
Francois vase, 10, 12, 18, 42, 65,
243
Frazer, J. G., 163 ,
French School (Ecole francaise
d'Athenes) 2
Friederichs-Wolters, 118, 122, 143,
. 159, 176, 246, 274, 278, 279
Frothingham, A. L., 126
Furtwangler, A., passim
ydvaais, 40, 214
Gardner, E., passim
Gardner, P., 51 (note), 139
Gerhard, E., 12 (note), 60, 81, 101,
105, 132, 163, 277
German Institute (K. Deutsches
Archaologisches Institut), 3, 7
Ghirardini, G., 32 (note), 281
Giants, 26, 83, 91, 95, 100, 169-176,
196
Gillieron, E., 224
Gorgon, 31 (note), 94, 97, 160, 161,
269
Graeco-Roman reliefs, 119, 142
Graef, B., 95, 195, 205, 232, 244,
250, 260, 266
Hadrian, 5
Hair, treatment of, 38, 41, 48, 49,
129, 138, 142, 147, 155, 173, 177,
179, 192, 195, 196, 198, 199, 200,
204-248, 258, 259, 264
Harmodios, statue in Naples, 26,
109, 232, 265
Harness, 55, 56, 57, 114-117, 139,
262, 274
Harrison, Jane, 86, 128, 132, 151,
159, 163, 250
Hartwig, P., 105
Hauser, F., 278
Heberdey, B., 4, 62, 64, 65, 70, 73,

76, 77, 80, 81, 85-87, 90, 166, 171,
174, 232
Hegias, 28, 29, 249
Hekatompedon, see Athena, old
temple of
Helbig, W., 34, 140
Hellenistic art, 17 (note)
Heller, B. K., 246
Hephaistos, 141, 142, 279
Hera, 12, 25, 63, 64
Heraion of Samos, 151
Herakles, 182
Herakles, cult at Marathon, 30
Herakles, pediment representing In
troduction to Olympus, 10, 11, 12,
16, 17, 18, 27 (note), 29, 35, 62-
67, 73, 81, 84, 85, 88, 90, 152,
154
Herakles, predominance of type, 30
Herakles and Hydra, see Hydra
Herakles and Triton, pediments
representing, No. 35, 12, 14, 16,
17, 29, 73, 81-87, 90, 175 ; No. 2,
17, 18, 60, 82, 88, 90
Hermann, P., 232
Hermes, 81, 141, 142, 154, 279
Hermes and the Charites, 16, 19,
29, 35, 123, 155, 181, 270
Hermes Eriophoros, 158
Hermes Moschophoros, 158
Herodotus, 5, 30 (note)
Heydemann, H., 163
Himation, see Ionic costume
Hippalectryon, 31, 34, 131
Hippeis, iwiiperal of, 140
Hofmann, H., 193, 197, 200, 217,
235
Hogarth, D. G., 12 (note)
Homolle, T., 20 (note), 117, 235
Horses, 17, 36 (note), 49-51, 55,102,
114-117, 124, 139, 262, 267, 274-
277, 283
Hydra, pediment of, 11, 13, 15, 17,
18, 29, 36 (note), 57
" Hydriophore," 18, 30, 70, 71
Hymettan marble, 10, 13, 37, 113
Dion, 33
Inscriptions, 26, 131, 158, 229, 273
Insertions in statues, 38, 128, 134,
135, 164, 198, 206-244, 255, 257
lolaos, in Hydra pediment, 16, 17,
18, 58

288

INDEX

Ionic art, see also Samian art, 13,
16, 19, 20, 21, 22, 23, 25, 26, 27,
28, 29, 47, 49-51, 56, 88, 119,
128, 129, 148, 153, 159, 179, 185,
193, 199, 207, 213, 216, 232-235,
255, 256, 276-280, 282, 283
Ionic costume, 16, 27, 38, 40, 44-47,
94, 119, 128, 129, 136, 139, 178,
206, 208-248
Ionic costume imitated, 16, 43, 143,
221
Ionic smile, 16, 234
Iris, 12, 64, 65, 154, 252
Island marble, 37, 119
Ivory-carving, 11, 13
Jacobsen head, 209
Jahn, O., 163
Jamot, P., 261
Jan, K. von, 159
Jewellery and ornaments, 47, 48,
204-248, 252
Joergensen, C, 126, 179, 207, 213,
220, 225, 235, 240
Joubin, A., 261, 264
Kalamis, 27-29, 158, 239
Kalkmann, A., 46 (note), 146, 207,
209, 213, 221, 223, 225, 235, 237,
245, 246, 247, 250
Kallias, 162
Kallon of Aegina, 26 (note)
Kastriotis, P., 120, 253
Kavvadias, P., 1 foil., 20 (note), 39,
84, 134, 140, 213, 220, 232, 250,
252, 260
Kawerau, G., 1 foil., 250
Kekropion, 71
Kekule von Stradonitz, B., 159
Kimon, 5
Klein, W., 20 (note), 24 (note), 59
(note), 61, 87, 101, 141, 159, 163,
176, 177, 202, 215 passim
Kleisthenes, 5, 9
Knidian treasury, 161
Kohler, U., 159, 175
Kolpos, k6\vos, see Ionic costume
Korai, 4, 11, 15, 19, 20, 21, 22, 23,
24, 25, 27, 29, 31, 32, 33, 37, 38,
39, 40, 41-49, 66, 97, 106, 107,
111, 120-249, 251, 254, 262, 276,
281
Korymbos, see Krobylos

Kritios, Kritios and Nesiotes, 26, 27,
29, 232, 249, 265
Krobylos, 276, 278
Lange, J., 95, 163, 195, 196
Lebas-Beinach, 163, 277
Lebas-Waddington, 121, 153, 162,
246, 277
Lechat, H., passim
Lenormant, F., 163
Leochares, 141
Leonardos, B., 160
Leopard, 113
Lepsius, G. B., passim
Lermann, W., passim
Lermann, Mme, 215, 242
Ligourio bronze, 25
Lion, 75, 76, 92, 282 ; see also Bulls
and Lions
Lobeck, C. A., 81 (note)
Loeschke, G. , 163
Lokri, 33
Lolling, H. G., 32 (note), 159, 274
Louvre, 132, 142, 150
Liibke, W., 163, 277
Luperci, 80, 81
Lykabettos, 35
Magne, L., 59, 78
Male figures (not pedimental), 26,
100, 108, 112, 130, 133, 153, 154,
155, 178, 184, 191, 194, 199, 200,
248, 252, 264, 266, 272-279
Marathon, battle of, 8, 51, 140, 252
Marathon, cult of Heracles, 30
Marathonian bull, 158
Martinelli, N. F., 96, 118, 159, 175,
277
Masks (Nos. 11 and 12), 11, 29, 72,
73
Material and technique, 35 foil.
Mechanion, 166
Medusa, see Gorgon
Meier, P. L, 59 (note), 61 (note)
Meniskos, 39, 139, 156, 157, 179,185,
191, 197, 199, 205, 207, 208, 211,
212, 214, 216, 222, 225, 230, 234,
236, 238, 241, 243, 247, 248, 256,
265
Meta of racecourse, 260
Miohaelis, A., 143, 159, 180; see
also Springer-Michaelis, and Per
vanoglu, Brunn, Michaelis

INDEX

289

Milchhofer, A., 95, 143, 159, 163,
193, 278, 280
Milesian art, 151
Miller, W., 87, 125, 220, 225, 252
Miltiades, 140
Mitchell, Lucy, 175, 278
Moschophoros (No. 624), 13, 14, 15,
16, 26, 27 (note), 33, 39, 50, 51,
66, 101, 124, 148, 156-160, 168,
177, 225, 231, 269, 279
Muller-Scholl, see Scholl
Munich, 65
Munychia, 35
Murray, A. S., 159, 163, 232, 235,
244, 278
Museum, Acropolis ; see Acropolis
Museum, National, 177, 201, 253
Mylonas, K. D., passim
Myron, 28, 29, 265
Naukratis, 19 (note), 167
Naxian art, 19, 34, 47, 125, 150, 151,
201, 211, 219, 225
Naxian marble, 37, 125, 150, 151,
219
Nearchos, 34, 229
Negress, 237
Nesiotes, see Kritios
Newton, Sir C, 163
Nikandra, statue from Delos, 13
Nike, 20, 27 (note), 29, 31, 33, 34,
47, 95, 103, 140, 250-258, 276
North Greek art, 36 (note)
Nymph, 81, 85, 87
Oinomaos, 95
Olympia, 25, 32, 85, 200, 249
Olympos, see Heracles
Onatas, 26 (note)
Overbeck, J., passim
Owl, 13, 31, 35, 90
Painting of sculpture, 14, 36, 40, 58,
68, 80, 95, 109, 110, 118, 134, 198,
224, 227, 230, 233, 273
Pamphaios, 273
Panathenaic vases, 143
Parian art, 101, 255
Parian marble, 10, 13, 21, 37, 55,
56
Paris, 240
Paris, P., 213, 244
Parthenon, 2 foil., 36 (note), 95,

114, 134, 174, 244, 252, 260, 262,
276
Patterns on costumes, 41, 46 (note),
63, 138, 139, 206-248
Pausanias, 5, 24, 30 (note), 56, 153,
162
Pavlovski, A., 59, 67, 72, 78, 86, 90,
91, 117, 125, 128 passim
Pedimental sculpture, 14, 57-90
Peisistratos, Peisistratidae, 8, 17, 19,
21, 22, 23, 24, 51, 140
Peitho, 244
Pelasgi, 30
Peloponnesian art, 20 (note), 24, 25,
27, 28, 51, 94, 101, 104, 112, 134,
154, 186, 241-244, 247, 249, 260,
262, 267
Pentelic marble, 10, 13, 37
Peplos, see Attic costume, Doric
costume
Perdrizet, P., 118
Perikles, 6, 8
Pernier, E., 80 (note)
Perrot, G., passim
Perserschutt, 5, 9 (note), 101, 162,
208, 247, 263
Persia, 132
Persian archer, 138, 139, 252
Persian sack of Athens, 5, 8, 10, 56,
130, 153, 277
Perspective in early art, 36 (note)
Pervanoglu, P., 255, 265 ; Per
vanoglu and Brunn, 279 ; see
also Brunn, Decharme, and Per
vanoglu ; see also Pervanoglu,
Brunn, Michaelis
Pervanoglu, Brunn, Michaelis, 143,
277
Petasos, 279
Petersen, E., 72, 95, 128, 129, 130,
140, 151, 176, 177, 179, 193, 252,
257
Phaistos, 80 (note)
Pharsala, stele from, 36 (note)
Pheidias, 28, 29, 180, 186, 249, 267
Philios, D., 176, 239
Pig, 118
Piraeus, 35, 177
Pittakis, K. S., 1 foil., 153
Plataea, battle of, 5
Plinths, 39
Polites, N. G., 159, 169, 177
Polykleitos, 25, 186

290

INDEX

Polymedes, statue at Delphi, 25
Poros, 3, 10, 11, 13, 14, 15, 16, 17,
18, 19, 23, 25, 29, 35, 36, 38, 40,
50, 57-90, 158, 258, 267, 279,
282
Portraiture, 33, 154, 158
Pose of Korai, 49, 210, 220-248
Poseidon, 174
Postolakkas, A., 95, 132
Post-Persian sculpture, 108, 134
Potter, relief representing, 272
Pottier, E., 132
Prokesch von Osten, 277
Prokrustes, 101
Propylaea, 2 foil., 55, 247, 271,
277
Ptoon, 151, 199, 201, 255
Purgold, K., 59 (note), 61 (note),
159, 278
HvppaidSat., 81 (note)
Pythagoras of Bhegium, 265
Beichhold, C, 251
Beinach, S., 105, 132, 260
Beliefs (not pedimental), 91, 92, 111,
112, 117, 118, 122, 123, 141, 154,
270-280
Bepairs of statues, 37, 38, 71, 132,
164, 175, 207, 209, 226, 237
Bhombos or Kombos, 33, 158
Eichards, G. C, 271
Bidder, A. de, 252, 253, 257
Bobert, C, 260
Boss, Ludwig, 2, 102, 166, 274
Sabouroff, see Collection Sabouroff
Samian art, 20, 151, 159
Samos, 151
Santa Sabina, wooden doors of
church in Borne, 12
Sauer, B., 126, 151, 220, 223, 225
Saulcy, M. de, 163, 277
Savignoni, L., 278
Scharf, G., 163
Scherer, C, 159
Schliemann, H., 3
Schneider, B. von, 59 (note), 126,
159 223 225
Scholl, B.,' 102, 122, 153, 163, 166,
246, 274, 277
Schone, E., 118
Schrader, H., passim
Schreiber, T., 95

Scribes, 31, 34, 98, 99, 102, 158, 160,
165, 166
Scythian archer, see Persian archer
Seated figures (not scribes), 105, 109,
117, 148, 152, 160, 193, 279
Selinos, metopes of, 20 (note), 56,
265
Sikyon, 26 (note)
Sikyonian-Aeginetan art, 195
Siphnian treasury, 235
Sittl, K., 160, 229
Six, J., 163
Snakes, 74, 75, 79, 82, 86, 93, 107,
160, 171
Sokrates, 155
Sophoulis, T., 88, 90, 125, 128, 140,
151, 159, 220, 223, 232, 249, 252,
253, 256, 266
Sparta, 5, 32
Spartan art, 12, 13, 16, 20, 25, 36
(note)
Spata, 177
Sphinx, 31, 34, 73, 151, 167, 168,
176, 177
Springer-Michaelis, 78, 86
Stais, B., 120, 224, 225
Stamatakis, P., 3, 246
Stele, (?), 259, from Esquiline, 281
Stephane, see Ionic costume
Stephani, L., 159, 163
Sterope, 95
Strassburg, 180
Strategos, 154
Stuart Jones, H., 140
Studniczka, F., passim
Subjects and meaning, 29 foil.
Suidas, 33
Sybel, L. von, passim
Table, 117
Tanagra, 158
Tarbell, F. B., 215, 228, 232, 235,
237, 240, 244, 250
Tegea, 24 (note)
Tt6pnnros, 36 (note), 50, 56, 114-117
Thasos, relief from, 155
Themistokles, 5, 6
Theodoros of Samos, 19 (note)
Theoxenou, M., 140, 263
Theseum, 5
Theseus, 30, 101, 158, 279
Theseus and Antiope, 23 (note), 171
Thracian Chersonese, 140

INDEX

291

Three-bodied monster, pediment
representing, 13, 14, 16, 17, 18,
78-87
Throne, 62, 109, 149, 152, 160,
193
Thucydides, 47
Tools, 11, 24, 35, 37, 94, 162, 165,
204, 282
Tragelaphos, 132
Tritopatores, 81
Typhon, see three-bodied monster,
81
Vase-paintings, 12, 46 (note), 51, 58,
60, 81, 115, 139, 143, 171, 243
Veyries, A., 159
Votive-offerings, see also birds, 119,
125, 219, 223, 236, 238, 241
Walters, H. B., 65

Water, emblem for, 80
Watzinger, Karl, 69, 77, 78
Weissenborn, H. J., 1
Welcker, F. G., 143
Wiegand, T., 29, 59 (note), 61 (note),
66, 67, 70, 72, 73, 75, 78, 81,
85-90, 176
Wilamowitz-Moellendorf, U. von,
86
Winter, F., passim
Wolters, P., passim
Wood-carving, 11, 13, 113, 114
Xanthos frieze, 16
Xoana,' 15, 17, 37, 120-128, 225,
260
Zeus, 11, 14, 16, 18, 62, 63, 65, 174
Zeus Polieus, 141

CAMBBIDGE : PRINTED BT JOHN CLAY, M.A. AT THE UNIVEESITY PEESS

3 9002