i A LETTER FROM THE CHEVALIER ANTONIO CANOVA: AND TWO MEMOIRS . READ TO THE ROYAL INSTITUTE OF FRANCE . ON THE SCULPTURES IN THE COLLECTION i OF THE 'EARL OF ELGIN; By THE CHEVALIER E. Q. VISCONTI, MEMBER OF THE CLASS OF THE FINE ARTS, AND OF THE CLASS OF HISTORY AND ANCIENT LITERATURE; AUTHOR OF THE ICONOGRAPHIE GRECQUE, AND OF THE MUSEO PIO- CLEMENTfNO. TRANSLATED FROM THE FRENCH AND ITALIAN. LONDON : PRINTED FOR JOHN MURRAY, ALBEMARLE-STREKT, BY W. BULMER AND CO. CLEVELAND-ROW. 1816. Ill CATALOGUE OF THE ELGIN MARBLES, VASES, CASTS, AND DRAWINGS. Prepared from the MS. of M. Visconti. [The Articles prioted in Italics are not particularly noticed in these Memoirs.] A. The Pediments of the Parthenon. page 8 B. -The Metopes. . , . . 91 C. The Prize . (East end.) . . 50 D. Ditto .... (North side.) . ' . 72 E. — -Ditto .... (West end.) ... 89 F. Ditto .... (South side.) . . 83 G. Ditto .... (not ascertained.) . ^ . H. Prize of the Temple of Victory. . 124 I. . Doric Architecture. J. Ionic Architecture. K. Monuments relating to Bacchus. . 128,135 L.' Detached Heads. M, Detached pieces of Sculpture' N. Urns — Marble, Bronze, and Earthen, O. Altars. P. Cippi or Sepulchral Pillars, Q. Casts. R Greek Inscriptions. . , . 143 S. Drawings, iv PARTHENON. STATUES and FRAGMENTS from the EASTERN PEDIMENT. A.~ 1. Two Horses Heads in one block. . page 35 2. One Horse's Head. . . . 41 3. Statue of Hercules or Theseus. . . 35 4. Group of two Female figures. . . 38 5. Female figure in quick motion— Iris. . 39 6. Group of two Female figures. . • 42 STATUES and FRAGMENTS from the WESTERN PEDIMENT. 7. Part of the Chest and Shoulders of the colossal figure in the centre (supposed to be Neptune.) . . . 22 8. Fragment of the colossal figure of Minerva. 24 9. Fragment of a Head (supposed to belong to the preceding.) • . .26 10. Fragment of a statue of Victory. . 26 11. Statue of a river-god called Uissus. . 28 FRAGMENTS of STATUES from the PEDIMENTS, the names or places of which are not positively ascer- tained. 12. Female figure, sitting (supposed to belong to group, marked No. 6.) . . 43 13. Fragment of a Female figure, (resembling Victory, No. 10.) . . .44 14. Fragment of a Female figure, seated (sup- posed to have been Latona, holding Apollo and Diana in her arms.) . 32 V 15. Fragment (supposed to have belonged to a group of female figures.) • page 16. Fragment of the Neck and Arras rising out of the sea, called Hyperion, or the rising Sun. . . . . . 34 17- Torso of a Male figure with drapery thrown over one shoulder. ... 33 The METOPES. 91 B. — 1. A Centaur with a long beard; raising himself for the purpose of striking with a club a Lapitha, who attacks him. 2. A Lapitha has overpowered a Centaur, whose hands are tied behind his back. 3. A Centaur, who has thrown down a Lapitha. 4. A Centaur is carrying off a Woman. 5. A Centaur has thrown down a Lapitha, who is still defending himself, and holding up a shield. 6. A Lapitha struggling with a Centaur, whom he holds by the hair and ear. 7. A Centaur is nearly overcoming a Lapitha. 8. A Lapitha seems to be successful against a Centaur. 9. A Centaur is throwing down a Lapitha, whom he holds by the hair. 10. A Lapitha upon the croup of a Centaur, seizes his neck, and endeavours to throw him down. 11. A Centaur successful against a Lapitha. 12. A Lapitha, with covered legs, appears to be successful against a Centaur, who is retiring, and holds a lion's skin over his left arm. vi 13. Combat between a Centaur and Lapitha quite naked. 14. A Centaur is rearing up; the figure of the Lapitha is detached from the marble, but the Torso is adjoining. The FRIZE, representing the Procession for celebrating the Panathenaean Festival. THE EAST END. p. 50 C — 1. The Slab which formed the south-east angle, representing a Bull on the south, and a Magistrate or Director of the procession on the east side. 2. Fragments of four Male figures moving to their right. 3. Six Female figures, moving to their right, and holding vases in their hands. 4, 5. Six Female figures, preceded by two Directors. 6, 7. Eight Figures ; the four which are standing supposed to be four Directors; the others are called Castor and Pollux, Ceres and Triptolemus. 8. Slab, on which are five figures : called respec- tively, beginning from the left. Victory, Minerva, Jupiter, two Canephori. 9. Slab, on which are five figures : i. e, a Priestess, or the Archontissa ; a Boy receiving the peplum from the Archon, or one of the Directors ; Hygeia and ^sculapius. 10. Two Directors. 11. Five figures corresponding with those marked No. 6 and 7- VII 12. Five Females, carrying respectively a candela- brum, vases, and patera. From the NORTH SIDE of the FRIZE. p. 72 D. — 1- Two Scaphephori moving towards the left. 2. A Female in a car drawn by three horses, with one of the Directors 3. A Female in a car with two horses, and one of the Directors. 4. A Female in a similar car, with two Men, one of them in armour. 5. Two Men, in a car drawn by three horses. 5. Fragment of a Car with two Horses ; the point of a sceptre appears above the horses. 6. Eight young Men on horseback, clothed in tunics, which are raised above the knee, 7. Four Horses and three Riders. S. Three Horsemen wuh tunics and buskins. 9. Three Horsemen in the same costume. 10. Three Horsemen ; one of them is naked, the feet of the others are uncovered. 1 1 . Three Horsemen, one of whom is almost effaced. 12. Four Horsemen ; two with helmets, the others naked. 13. Four Horsemen with tunics : The last has a large Thessalian hat hung over his shoulders. 14. North-west Angle of the Frize : — It represents three Men and a Boy, on the western side, and one of the Directors on the north side. THE WESTERN END. p. 89 E. — 15. A single piece of the Frize, being a continua- Vlll tion of the foregoing No. 14 : two Horsemen, the one nearly naked, the other has a breast- plate : both wear buskins. SOUTH SIDE. p. 83 — 1. A Bull, with three Men, one of whom holds back the animal. 2. Two Bulls and two Men. 3. Two Bulls and four Men ; one of the men places a crown on his head, preparatory to the celebration of the sacrifice. 4- Two Bulls and four Men. 5. One Bull and four Men, one of whom holds back the animal. 6. A Car with two Horses and four Figures : among them is a young Man, whose tunic is drawn up above the knee, and who holds a shield : he appears ready to mount. 7- A Car with four HorseS : in it is a Warrior standing up, with helmet, shield, and chla- mys j the other figure is seated, and drives the car. 8. A Car with two Horses moving in the same direction ; two Figures, of which one, who is getting into the car, holds a large shield. 9. Fragment of another Car, moving in the same direction. 10. Fragment of a similar subject. 1 1 . Two Horsemen ; one, nearly naked, seems to have a Thessalian hat thrown over his shoulders. 12. Three Horsemen, all clothed in tunics. ix 13. Two Horsemen, one with buskins. 14. ' One Horseman, with several Horses. Detached Parts of the FRIZE of the Cella of the PARTHENON, the exact situations of which are not yet ascertained. G. — A Quadriga in slow motion a Youth in the tunic, with a shield, accompanies it ; another points behind him, with his arm naked. Three Horses in quick motion towards the right; the Riders wear the tunic. Three Horses ; the Riders are all clothed in tunics. Three Horsemen in armour. Two Horsemen in tunics ; one has his right hand on his horse's head. Two Horsemen in armour : the foremost has a helmet, the other appears, from the holes which are in the Marble, to have had some ornament of metal fixed on the head. Two Horsemen in tunics ; part of three Horses. Part of three Horses, and three Riders in cuirasses. Fragment of Horsemen aud Horses. Fragment of four Horses and two Riders. From the TEMPLE of VICTORY. p. 1 24 H. — 1. Bas-relief, representing a Combat between Greeks and Barbarians. 2. Another, representing the same subject. 3. Another, representing the same subject. 4. Similar Bas-relief, representing a Combat be- tween Greeks and Amazons. X FRAGMENTS of ARCHITECTURE, From the PARTHENON, PROPYL^A, and other Doric Buildings. I. — 1. A Doric Capital from the Parthenon, in two pieces, 2. One layer of a Doric column, from the same. 3. Fragments of the Frize of the Parthenon, 4. Fragments of the Architrave of Ditto. 5. Doric Capital, from the Propylcea. 6. Part of a Doric Entablature, plain. 7. Two Tiles, from the roof of the ambulatory of the Temple of Theseus, From the TEMPLE of ERECHTHEUS and adjoining Buildings : also Specimens of Ionic Architecture. J.— 1. One of the Caryatids, which supported a roof, under which the olive tree sacred to Minerva was supposed to have been preserved— p. 118. 2. Part of a Column from the temple of Erech- theus, of the Ionic order. 3. Base of Ditto. 4. Capital of Ditto. 5. Detached part of the rich Frize from the same Temple. 6. Four fragments of ornamented Ionic Enta- Mature. 7. Three large Ditto. 8. One small Ditto. 9. One large Fragment with insc7nptiofis. 10. Ditto, Ditto, Ionic Entablature. xi 1 1 . Three upper parts of Columns of the Ionic order. 12. Three large pieces of fluted Ionic Shaft- 13. One DittOy short, 14. Two pieces of small Ionic Shaft, fluted and reeded. 15. One capital of Ionic pilaster. 16. Two Ionic Capitals. 17. Two parts of Ionic Entablature. 18. One large Ionic .Capital. MONUMENTS appertaining to the Worship and the Theatre of BACCHUS. K. — 1. A colossal statue of Bacchus, which was placed over the Theatre. - - p. 135, 2. A sun-dial, from the same - 101. 3. A complete Series of Casts from the Bas-reliefs on the Choragic Monument of Lysicrates. 4. - A Bas-relief with four Figures, representing a Bacchanalian Dance. p. 128. DETACHED HEADS. L. — 1. Portrait, larger than nature, with long beard, and deeply cut eyes, a diadem round the hair ; perhaps Sophocles. 2. Portrait somewhat similar to the preceding one. 3. Fragment of Augustus. 4. Fragment : the style, times of the Republic. 5. A bearded Hercules. 6. Same subject, smaller size. 7. Bacchus croivned with ivy. XII 8. Female Head. 9. One half of a head, without any beard, with long hair, in the costume of Alexander, or of the Dioscuri. 10. Fragment of an old Head, larger than nature. 1 1. Fragment of a Head, with a beard ; it has a conical cap ; perhaps Ulysses or Vulcan. 12. Female Head, smaller than nature ; the head dress of one of the Muses. 13. Female head, smaller than nature. DETACHED PIECES OF SCULPTURE. M.--1. Small Figure erect, in the costume of the Muse Polymnia, : found at Thebes. 2. Torso of a Male Figure, found at Epidauria. 3. Statue : supposed to he Cupid. 4. A Choragic Bas-relief, on tvhich is repre- sented a Temple of Apollo, with two figures. 5. Bas-relief of a Quadriga, in which is a female figure ; a Victory in air is approaching to croivn her. (y. Female Figure, without a head : small size. 7. Figure of a Telesphorus, attendant of Aescu- lapius ; without a head. 8. Fragment of a Bas-relief, on which is a young man, who appears to be on a chariot led by Victory. 9. Fragment of a Boy, in alto relievo. 10. Bas-relief representing a young Wrestler, with his Preceptor. 1 1 . Bas-relief, representing Minerva in atrmour, and a young Athenian. Xlll 12. Fragment of a Bas-relief; a sacrifice of which a Hog is the victim. 13. Ditto, in which the victim is a Ram. 14. Two divinities — Jupiter seated, a Goddess standing up. 15. Two Goddesses taking a young Athenian un- der their protection. \G. Fragment of a Bas-relief, on which are two young Greeks, one holding an instrument of sacrifice, called by the Bomans capedunculao 17. Small round Altar : four Female figures, sculptured on the four sides of it, are danc- ing, holding each others hands; the first seems to be playing on a lyre. 1 8. Torso of a Female figure in drapery. 19. Figure of an Horseman, apparently an an- cient imitation ofjjart of the Frize of the Parthenon, in smaller proportions. 20. Figure oj a young Divinity, probably Bac- chus, taking a young Athenian under his protection; the latter of smaller dimensions. 20 b. Minerva^ standing up in a kind of small temple. 21. Figure of Hygeia : she is offering her cup to the serpent, which is her symbol; she is holding in her left hand a kind of fan in the form of leaves of ivy ; her head is covered ivith the high dress called tutulus. 22. Bas-relief, on which are represented five Fi- gures : in the midst is a Goddess on a kind of throne, the other four are smaller ; three of them are imploring the Goddess on he^ half of their children, whom they carry in xiv their arms; the fourth is bringing oblations and votive offerings. This bas-relief is from Cape Sigeum, near the plain of Troy. 23r Fragments similar to Nos. 12 a7id 13. There are Jive fgureSy of which two are Youths preparing to celebrate a sacrifice ; the last of the large figures has a basket on its head. 24. One small Bas-relief : one sitting, two stand- ing figures. 25. One Female figure sitting {much mutilated). 2G. One trunkyWith drapery (a young Man) 27. Two fragments of Ctrecian ornaments. 28. One Grecian fragment, ivith Vase in bas- relief. 29. One fragment, with two Figures in high relief. 30. One Grecian Pilaster, with Corinthian capital. 3 1 . Fragment of a Female. 32. Fragment of a Female figure enveloped in drapery. Sundry small fragments. 34. Egyptian Scarabceus, brought from Constan- tinople. URNS, a (Marble). .— 1. Solid Urn, with Group in bas-relief super- scribed. 2. Ditto Ditto Ditto. 3. Ditto Ditto Ditto. 4. Ditto Ditto Ditto. 5. Ditto Ditto Ditto. 6. Ditto Ditto Ditto. 7. Ditto Ditto Ditto. 8. Ditto Ditto Ditto. XV 9. One Ditto Ditto ornamented Sepulchral Urn. 10. Small fragment of a Vase, ivith figures. 11. Spherical Sepulchral Urn, broken in pieces. iV. B. This contained the Bronze Urn, {Ao. 12). URNS, b (Bronze). 12. Richly wrought Urn from the tomb called " of Aspasia," in the plain of Attica. 13. Two Bronze Urns of rude shape and tvork- manship. URNS, c (Earthen). 14. Some hu7idreds of large and small earthen- ware Urns or Vases, discovered in digging in the ancient Sepulchres round Athens: none of great beauty or richly ornamented. ALTARS. O. — 1. Altar with Female Figure and Child. 2. Smaller Altar, with figures and inscription. 3. Fragment of a small Bacchanalia?! Altar ; on one side is a Bacchante, on the other a Faw7i. 4. Small AliUr, with inscription and figures. 5. Ditto. 6. Ditto. 7. Ditto. 8. Ditto. xvi CIPPi, or SEPULCHRAL PILLARS. P. — 1. One large Sepulchral Pillar, with inscriptions. 2. One smaller Ditto Ditto Ditto. 3. One small Sepulchral Pillar. 4. One Ditto Ditto. 5. One Ditto Ditto. 6. One Ditto Ditto. 7. One Ditto Ditto. 8. One Ditto Ditto, 9. One Ditto Ditto. 10. One Ditto Ditto. 1 1. One Ditto Ditto. 12. One Ditto Ditto. 13. Tliree Fragments, with circular Pedestals and Festoons. CASTS. Q. — L Eighteen Casts from the Frize of the Cella of the Parthenon. 2. Twenty-four ditto from the Frize and Metopes of the Temple of Theseus. 3. Twelve Ditto from the Choragic monument of Lysicrates ( mentioned above ) . 4. One Cast from the great Sarcophagus in the cathedral church at Girgenti in Sicily. [Jlso the MOULDS of the above} GREEK INSCRIPTIONS. R. — 1. Epitaph in four lines, on two brothers, Dio- trephes and Demophon, . . 143 xvii 2. Sepulchral Column of Thalia, . p. 144 3. Ditto of Theodotus. — 4. Ditto of Socrates. — 5. Ditto of Menestratus. — 6. Votive Inscription of certain Sailors. — 7. Sepulchral Column of an Athenian. — 8. Fragment. — 9. Decree of the People of Athens in favour of Osacharas. 10. Votive Inscription of Antisthenes, . 145 11. Votive Inscription of Polyllus. — 12. Sepulchral Column of Anaxicrates, . 146 13. Votive Inscription of a Woman. — 14. Agonistic Inscription. . . 147 15. Fragment of Sepulchral Inscription. — 16". Choragic Inscription in the Doric dialect. 148 17. Epitaph in Verse, in two parts. Vide No. 34. 18. Votive Monument to Mercury and Hercules. 150 19. Sepulchral Stele of Hierocl^a, . . 151 20. Ditto of Callis. — 21. Ditto of Callimachus. — 22. Fragment of a Decree, probably an ancient Treaty between Athens and some other People. — 23. Catalogue of Athenians who died in battle in the year 424 B. C. — 24. Epitaph on Plutarchus, . . 152 25. Fragment of a Decree, . • 153 26. Ditto from Tenos. — 27. Fragment of a St^le of Euphrosynus. — 28. Ditto of a Sepulchral St^le of Musonia. — 29. Fragment of an Epitaph in honour of Briseis. — 30. Fragment of an Address to Hadrian, . 153 b XVIU 31. Ditto of a Decree of the People of Athens 153 32. Decree of the general Council of Boeotia. — 33. Inscription of the Gymnasiarch Gorgias, 155 34. The other part of No. 1 7. . . . 15G 35. Catalogue of the Public and Sacred Trea- sures at Athens. — 36. Ditto of Ditto. . . .157 37. Ditto of Ditto. — 38. Ditto of Ditto. — 39. Fragment of a Treaty between Athens and Rhegium, . . . . .158 40. Ditto of a Column which supported the Statue of Piso, . . . .159 41. Antient Sepulchral Inscription. . . 160 42,43. Catalogue of precious objects in the Opis- thodomus. — 44. Treaty between Orchomenos and Eiatea. 161 45. Similar to Nos. 42, 43. • .164 46 Similar to the preceding. . . 165 47. Fragment of a Decree. . . — 48. Ditto of a Decree, from Corinth. — 49. Ditto with the name of Hiera Pytna. — 50. Catalogue of Public Treasures, more recent than Nos. 42, 43, &c. . . — 5 1 . Decree in honour of Bacchus and Antoninus Pius. .... 166 52. Sepulchral Stele, with the names of Hippo- crates and Baucis. — 53. Sigean Inscription, commonly called the Boustrophedon. . . 167 54. Sepulchral Inscription on an Entablature. 168 55. Sepulchral Column of Biottus. . 170 56. Ditto - - - of Mysta. . — xix 57. Sepulchral coluinn of Thrason. , 1?0 58. Stele of Asclepiodorus, . . 171 59. Sepulchral Column of Aristides. . — 60. Eleven votive Inscriptions consecrated to Jupi- ter Hypsistos, bearing respectively the names of Claudia Prepusa, Euhodus, Pajderos, Phile- matium, Onesime, Isias, Eutychis, Olympias, Tertia, Syntrophus. . . — C)i. Fragment of a Decree between Athens and some other people. . . . 1/2 62. Sepulchral Column of Botrichus. . — 63. Public Act of Athens, respecting the Roads. 17? 64. Epitaph in twelve elegiac verses, in honour of those Athenians who were killed at the Siege of Potidaea in the year 432 B. C. 65. Sepulchral Stele in honour of Aristocles. 1/4 66. Ditto in honour of Aphrodisias of Salamis, 175 DRAWINGS. — 1. Plans and Elevations of the Temples of Mi' nerva and Theseus at Athens. 2. Architectural details of the Temples of nerva and Theseus ; of Minerva at Sunium ; Plan of the Pnyx ; Plans and draivings of the Theatre of Bacchus. 3. Drawings of the Sculpture on the T'emples of Minerva and Theseus ; on the Temple of Victory; on the Choragic Monument of Lysicrates, 4. Ground-plan of Athens, marking the fValls, and the site of the existing ruins : Draivings XX of the Tower of Andronicus Cyrrhestes; of the PrupylcBa ; of the triple Temple of Mi- nerva Polias, Erechtheus, and Pandro^s. 5. A Series of Drawings and Plans of ancient Remains in many parts of Greece, taken in the year 1802. ADDENDA. One Lyre in Cedar wood ; and, Two Flutes of the same material : found during the excavations, among the tombs in the neigh- bourhood of Athens, LETTER FROM THE CHEVALIER CANOVA TO THE EARL OF ELGIN. J London, lOth November, 1815. Allow me, my Lord, to express to you the lively sentiments of pleasure which I feel, from having seen in London the in- estimable antique marbles brought by your Lordship from Greece. I can never satisfy myself with viewing them again and again ; and although my stay in this great metropolis must of necessity be ex- tremely short, I am still anxious to dedicate every leisure moment to the contemplation of these celebrated relics of ancient art. I admire in them the truth of nature com- bined with the choice of beautiful forms : xxn every thing about them breathes anima- tion, with a singular truth of expression, and with a degree of skill which is the more exquisite, as it is without the least affectation of the pomp of art, which is concealed with admirable address. The naked figures are real flesh, in its native beauty. I esteem myself happy in having been able to see these masterpieces with my own eyes ; and I should be perfectly contented with having come to London on their account alone. I am persuaded therefore that all artists and amateurs must gratefully acknowledge their high obligations to your Lordship, for having brought these memorable and stupendous sculptures into our neighbourhood. For my own part I give you most cordially a thousand thanks ; and, I have the honour to be, Sec. Sec. &c. Canova. MEMOIR ON THE SCULPTURES WHICH BELONGED TO THE PARTHENON AND TO SOME OTHER EDIFICES OF THE ACROPOLIS, AT ATHENS. READ AT A PUBLIC MKETING OF THE TWO CLASSES OF THE ROYAL INSTITUTE OF FRANCE, IN THE YEAR 1815. MEMOIR ON THE SCULPTURES OF THE PARTHENON. § 1. GENERAL OBSERVATIONS. The most celebrated collections of Eu- rope contain scarcely any of those monu- ments of sculpture, of which the classic authors have given us an account, as being in general estimation among the ancients.- I believe the Laocoon is the only ex cep- tion that can be made to this remark. Some ingenious conjectures have, indeed, enabled us to identify the copies of a small number of masterpieces of the great B statuaries ; but the hope of seeing the originals appeared to be lost for ever. But in viewing the marbles which the Earl of Elgin has removed from Athens to London, the connoisseur is perfectly cer- tain that he is contemplating a variety of those valuable works, which, having been imagined and directed by Phidias, and even executed in part by his chisel, were for more than seven hundred years the admiration of the ancient world ; and which, in the time of Plutarch, that is, in the age of Trajan, were regarded as ini- mitable for their grace and their beauty ; In fact, from the testimony of this his- torian, we cannot doubt that the sculptures which adorned the Parthenon were the productions of this celebrated artist, to whom Pericles had chiefly confided the execution of these sublime works, and under whom a number of other artists of * Plut. Perid. § 13. 3 extraordinary merit also exercised their talents ; such as Agoracritus, Alcamenes, and Colotes. PausaniaS) in his description of the Par- thenon of Athens, unites the account of the sculptures which adorn the tympans of the two pediments of the temple, with that of the colossal Minerva of ivory and gold, without mentioning the artist, because he supposes him universally known.* If it were imagined that Phidias devoted himself exclusively to the toreutic art, and that he employed in his works only ivory and metals, this opinion would be confuted by Aristotle, who distinguishes this great artist by the appellation of (ro(pog Xt^ov^yog, a skilful sculptor of marble, in opposition to Polycletus, whom he calls simply a statuary, av^tocvTOTToiov, since this latter artist scarcely ever employed his talents except in bronze.-^f" In fact) several marble statues of Phidias were known to Pliny, who might even # L. 1. c. 24. t Ethic. Nicom. L. 6. c. 7. 4 have seen some of them in Rome, since they had been removed to this city : and the most famous work of Alcamenes, the Venus of the Gardens, had only, as it was said, acquired so high a degree of perfec- tion, because Phidias, his master, had himself taken pleasure in finishing with his own hand this beautiful statue of marble.* When we read, in Winckelmann^s His- tory of Art,*f that the fine style in statuary only commenced under Praxiteles, and that the method of managing draperies in sculpture, before his time, was very simple, we might easily form too unfavourable an idea of the masterpieces of Phidias, al- though in reality the same antiquarian, on another occasion, in attributing sublimity of style to this artist, J seems to have done justice to his transcendent merit. * Pliny, H. N. L. 36. § 4. n. 3. -f- Winckelmann, Storia delle Arti, L. 8. c. 2. § G- and c. 3. § 2. ; L. 9. c. 2. § 20. and c. 3. § 17. of the Italian translation, Rome 1783, 4to. I Winckelmann, lb. L. 8. c. 2. pr. ; L. 9. c. 2. § 8. 5 A sight of the collection of Lord Elgin is calculated to give us a greater and more complete idea of his talents, which is also more conformable to the testimonies of ancient authors, who had admired his works, as exhibiting the greatest possible perfection of the art : nothing is more per- fect, says Cicero, than the statues of Fhidias ;^ his figures, he adds elsewherej-f* enchant the spectator at the first glance. According to Demetrius Phalereus, a con- temporar}^ of Praxiteles, the magnificent style was united, in the Avorks of Phidias, to the most exquisite delicacy : to iJi^syaXeiov * Orator, § 2. Phidiae simulacris nihil perfectius. -f- Brutus, § 64. Phidiae signum simul adspectum et probatum est. I De elocut. § 14. Phny has done homage to the same quahties in Phidias by the following expressions : So much has been said mrsor'ily respecting an aftist who can never he sufficiently praised, in order that it may be understood, that his magnificent genius extended its influence even to the smallest parts of his works. Haec sunt obiter dicta de artifice numquam satis laudato, simul ut noscatur illam magnificentiam aequalem fuisse et in parvis.— H. N. L. xxxvi. § '1- n. 3. 6 If the art of sculpture was indebted to Praxiteles for any new attractions, it was, therefore, rather in the refinements of the graceful than in that which is properly called the beautiful style. Perhaps he had given to the heads of his figures, particu- larly to those of his women, a more deli- cate and a more seductive air ; but the art of the statuary had already reached the limits of its perfection in the age of Pericles. An amateur, accustomed to the exami- nation of the masterpieces of antiquity, will easily recognise in the detached sculptures of the Parthenon, and particularly in the parts of those statues which have been least injured by time, the grand and learn- ed style of the Laocoon, the Torso, and the Hero in combat, called the Gladiator : the same ability in the expression of the skin, the same life, inspired, if we may use thQ term, into the inanimate stone, the same harmony in the proportions, and the same perfection in the union of the whole work. 7 In the statues of females, the grace and the dignity of the postures, the fichness of the draperies, and the artful adjustment of their lines and folds, equal or surpass the most complete works of this kind which have been preserved. The fine arrangement of the composi- tions of the bas reliefs, the originality and the variety of the motions represented, and the taste and meaning of the flattened figures, which appear in the sculptures forming the exterior frize of the walls of the cella, place these productions of art above all other bas reliefs in existence. After these general considerations, I shall endeavour to distribute all these mo- numents according to their respective places, to indicate as far as possible the subjects represented by them, and to exa- mine their peculiarities, in their relations either to the history of the art, or to litera- ture and philology. i 2. Sculptures of the Tympans of THE Parthenon. Since the discovery of the statues which ornamented the pediments of the temple of Jupiter Panhellenius, in the island of Aegina, it is less surprising to find that all the figures which filled the two tympans of the Parthenon were in alto relievo and detached from one another. In fact, the terms in which Pausanias speaks of these Works might have led us to conjecture that they were statues.* Spon and Wheler had described them as such i^f notwithstand- ing this, some more recent travellers, disre- garding both these testimonies, and the evi- * L. 1. c. 24. OTTOcrx Iv to»j xixKii[xems deroig KEITAI : as 'many as are placed m the pediments. Pausanias, in speaking of works of art, applies this verb only to statues. t Spon, Voyage, T. 2. p. 83, ed. La Haye, 1724. 12 ; Wheler's Journey, p. 360-1. 9 dence of the fragments still existing, have spoken of these compositions as if they were fixed to the back ground or wall : in short, as if they were bas reliefs on a large scale.* But nobody could have supposed, before these precious fragments were taken down from their ancient situation, that they were perfectly finished on all sides, behind as well as before. This extreme care must have had some object; and I think we shall not be far from the truth, if we con- jecture that these sculptures, so perfect as they were thus rendered, had been exposed to public view before they were placed in the situation which they were destined to occupy. A tradition, which Tzetzes has preserved, (Chiliad viii. Hist. 193) may be adduced in support of this conjecture : * Chandler's Travels, ch. x. carved in the Jront pedi- ment. He speaks, indeed, at the end of the same chapter, of these sculptures as statues ; but, notwith- standing this, the French translators of his work have construed the expression quoted still more unequivocally, figure en bas-relief. 10 he speaks of two figures of Minerva, the pne the work of Phidias, the other of Alcamenes, his pupil. The master, in executing his figure, had calculated the effect for the height at which it was to be placed ; the mouth and the eyes were more excavated than would be correct in a figure intended for close inspection ; while the pupil had followed a different method. His Minerva, however, which had been preferred during its exhibition to that of Phidias, being removed to its proper place, lost a great part of its attractions : its forms, at a certain distance^ appeared indistinct, and the whole effect was feeble ; that of Phidias, on the contrary, when placed in its destined situation, obtained universal approbation. It was usual, therefore, to exhibit to the public, for close inspection, the statues which were intended to be placed at a certain height. The perfect finish of the figures in question must probably be attributed to this custom ; u and, besides, the interior part of the tjmpans may very possibly have been accessible.* Another peculiarity, which is remark- able in these sculptures, as well as in the bas reliefs of the metopes, and even in those of the exterior frize of the cella, is this, that a great number of appendages, arms, buckles, clasps, utensils, ornaments of the head, and other similar parts, were of bronze, and without doubt gilt, though the figures are of white marble. A great num- ber of holes and grooves, cut in the parts which must have answered to the place of these appendages, exhibit traces of their existence, and even contain some remains of them. The union of gold with white marble and ivory was much admired by the ancients. Virgil has expressed, in the first * In the ground plan of the Parthenon some vestiges of a circular staircase have been discovered, and this must have led to the summit of the temple. 12 book of the Eneid (v. 592), the agreeable impression made on the sight by the judi- cious mixture of these materials : Quale manus addunt ebori decus, aut ubi flavo Argentum Pariusve lapis circundatur auro. Like polished ivory, beauteous to behold. Or Parian marble, when enchased in gold. Dryden. This manner of embelHshing sculpture has been but rarely imitated by the moderns ; who, neglecting the testimony of experience, and reasoning upon ab- stract principles, have even ventured to censure it. Mr. Qiiatrem^re de Quincy has successfully defended the method of the Greeks, which was that of all anti- quity, in the excellent work which he has lately published, on the pol3xhromatic sculpture of the ancients. 13 WESTERN TYMPAN. The sculptures which ornamented the western pediment of the temple had been in some measure respected bj time, until the period of the attack of Athens by the Venetians in 1687. Spon and Wheler were able to admire the fine arrangement of almost the whole composition, and the Marquis of Nointel had procured draw- ings of it, which are fortunately preserved in the King's Library at Paris. Without the assistance of these drawings we should have been unable to form any tolerably adequate idea of this grand composition and of its subject. The attempts of Spon, Le Roi, and after them of J. Stuart, to rcr store it, being founded on prejudice and error, have served only to distort it, and to render it unintelligible.* * Stuarfs A?itiquities of Athens, vol. il. c. 1. pi. iii.; Le Roi Ru!ines de la Grece torn. i. pi. 20. [See also 14 Pausanias had told us, that the subject of the sculptures, which filled the tympans of the front, was the birth of Minerva ; and that the subject of those which ornamented the back pediment was the dispute of that goddess with Neptune for the possession of Attica. It was thought unquestionable by travellers, that the front of the temple was turned to the Propylaea, that is, to the west, and they inferred from this concep- tion, that the figures, placed in the tympan which fronts the west, must be those which, according to the description of Pausanias, represented the birth of Mi* nerva, proceeding from the head of Jupi- ter. What they saw, however, was not easily reconciled with this idea ; but they forced the description of the ancient tra- veller to accommodate itself to the sculp- tures remaining : they accused him of want of accuracy, and they contrived restora- Nointel's drawings in the additional volume of Stuart's Athens, lately published.] 15 tions of the work, which were intended to reconcile the striking contradictions, that arose from the comparison of the edifice with the description. Stuart, however, more exact than any of his predecessors, had discovered that the entrance, and consequently the front of the Parthenon, were turned towards the east, and he had even brought this fact to a perfect demonstration ;* but he had not drawn the necessary inference from it, that the sculptures of the west tympan must have represented, not the birth of Minerva, but her contest with Neptune. This inference, so natural, and so self evident, has been fully confirmed by the examination of the drawings, which re- main, of the whole composition, and of the sculptures which crowned the west front of the temple. This examination is the work of Mr. Quatrem^re, whom I have just quoted, and the Academy, upon the * Loc. cit. p. H. 16 reading of the MeiDoir communicated by him, together with the exhibition of a bas- rehef modelled in a masterly manner, and restored according to the drawings of Nointel, was convinced that the subject of the sculptures of the west pediment of the temple must have been the dispute of Nep- tune and Minerva, and the triumph of the goddess. This opinion deserves so much the more attention, as one of our col- leagues, Mr. Barbie du Bocage, had ad- duced some very learned and ingenious objections against the opinion of Stuart respecting the entrance of the temple, and the consequences which were deduced from it.* One of the difficulties, which impeded the adoption of this opinion, although its evidence was undeniable, was derived from the situation of the temple, of which the entrance was on the side opposite to the * See a note added to the French translation of Stuart, torn. ii. p. 15. IT Propyl aea, that magnificent vestibule of the Acropolis, which, as well as the Par- thenon, is a monument of the munificence of Pericles. I imagine I have disco- vered the motive for this arrangement, which appears somewhat strange at -first sight. The Propylaea could only be built at the place where the rock of the Acro- polis afforded a natural ascent,* and was not already covered with other edifices. The situation of the Propylaea then was prescribed by necessity. The position of the temple and of its entrance was also regulated by principles of religion, which could not be neglected. The Athenian temples, according to the ancient laws, venerated by all the inhabitants, were re- quired to be turned to the east. The * Pausanias, L. I.e. 22. 'Ej h t>jv 'AxpoTroAiv ecttjv gltroSoj ju.«a" erspuv 8s ou irotps^sTaij 7r«(ra oaroTOu.os oucra, xoti TEiyoi l)(ov(Ta. lyypov. There is but one entrance into the Acropolis : it affords no other, being a complete preci- pice, and being furnislied with a strong zvall. C 18 architects of the Parthenon avoided the inconvenience arising from these cir- cumstances, bj making the temple am- phiprostylous, or with two similar fronts, the one to the east, which led to the temple, the other to the west, which was turned to the Propylaea, and led to the opisthodomos.^ With respect to the religious law which directed that the opening of the temples should be towards the east, it must have been the more rigorously observed at Athens, as the Greek nations who were de- rived from a different origin followed a rule exactly opposite. Plutarch, in the life of Numa, says ex- pressly, that the ancient temples were turned to the east, (§ 14.) Trpog lea tuv Upm f^XBTTovTuv. This rule is not altogether with- out exception, but it is still sufficient to * This name was given to a chamber behind the Cella, in which it was usual to keep the public treasure, and the valuable articles belonging to the temple. 19 confirm the existence of the ancient usage followed by the Athenians. Not only the Parthenon, but all their temples with which we are acquainted, open to the east. That of Neptune and Erechtheus on the Acro- polis, that of Theseus in the plain, in short, even the little temple built on the borders of the Ilissus, all have their fronts to the east. From this situation of the temples it followed, that the people praying to the gods, and looking towards their temples, must always have turned to the west. Hence arose the custom among the Athe- nians, of burying their dead as if they were looking to the west, that is to say. turned in the same manner as they had been dur- ing their lives, when they addressed their prayers to the gods. This custom served Solon as a proof that the ancient posses- sors of the island of Saiamis, occupied in his time by the Dorians of Megara, had been Athenians ; he caused the ancieni tombs to be opened, and the dead bodies contained in them were found turned to- 20 wards the west, and not towards the east, as was the custom observed at Megara. This is what the " sage of Athens'' had expressed in verse ; Tiie dead are turned towards the setting sun : and what Plutarch has repeated in prose, {Solon, §. 10.) Toug venpovg (rTpi:(povTig, 'A^vivotioi ^£ Trpo? e(r7rspixv: at Megara the dead are buried mth their faces turned to the east; at Athens to the west. We may conclude from this fact that the contrary precept given by Vitruvius, (L. 4. c. 5.) ; signum quod erit in cella spectet vespertinam coeli regionem . .. ut qui adierint ad aram . , . spectent ad partem coeli orientis, et simulacrum quod erit in aede : That the statue in the Cella should be turned towards the west, in order that persons approaching the altar should look towards the east, and at the same time towards the image in the temple: that this precept, I say, was applicable to the 21. rites of the Megarians and of the Doric nations to which the Romans seem to have belonged, and that consequently the Athe- nians must have been so much the more zea- lous in following the contrary custom, as it was connected with their earliest origin, and distinguished them from the other nations of Greece, and principally from those who were derived from the Dorian race, such as the Megarians, and the Lace- daemonians, with whom Athens was the most frequently at war.* Although the ideas and the facts, which I have here developed, leave no doubt whatever respecting the subject of the sculptures which Phidias had placed on the western pediment of the temple, the lovers of antiquity will still see with plea- sure, that all the fragments taken from this pediment confirm the opinion which has * The disposition of the Athenian temples was in this respect the same as that of the tabernacle of Moses, and of the temple of Solomon. Exod. ch. 26, 27- been stated, and illustrate several of the details of it. No. 1. This fragment is the upper part of the torso of the figure of Neptune, which i& the principal one of the whole compo- sition. In the time of Spon and Wheler it was almost entire. Its majestic head, which is now destroyed, might have been taken for that of Jupiter. The prejudice, of which we have already spoken, had caused this colossal statue to be mistaken for that of the father of Minerva. Mr. Quatremere de Quincy, in the Memoir which we have quoted, was the first to re- cognise it as a Neptune. The god, who by a stroke with his trident had caused a stream of sea water to spring from the dry rock, seems to be retiring, astonished and conquered by the prodigy which has just been exhibited by the goddess his rival, who by striking the earth v/ith her spear has caused it to produce an olive tree. 2S The remains of the figure enable us to estimate its whole height at twelve English feet; the style of the sculpture is truly sub- lime : in the parts which have suffered the least injury, the surface of the marble ex- presses the flexibility of the flesh ; and some veins seem to be distended beneath the skin. The suppression of the appear- ance of these vessels, in figures of a firm and muscular character, when they repre- sent divinities, is therefore an innovation which characterizes the manner of a later age. Perhaps the method was introduced by Praxiteles. In fact, the veins do not appear in the torso of Apollonius, which represented Hercules deified : and this Athenian artist flourished about the end of the seventh century of Rome.* The fine Pentelic marble, of which it is formed, is subject to weather, when it is exposed for ages to the vicissitudes of the atmosphere. The sculptures placed in the tympans of the Parthenon could not be * Museo Pio-Clementino, VII. p. 97* 24> sufficiently sheltered by the projection of the pediment : the salt effluvia of the sea may also have contributed to the deterio- ration of their surfaces. The combination of these causes explains, in a manner suf- ficiently probable, why the back is in bet- ter preservation than the anterior part of the chest. The injuries of time, which have destroyed many of the minuter beau- ties of the work, have not been able to impair the fine effect of the whole. The chest of Neptune, distinguished by Homer* as the most imposing part of his form, is still admirable in the work of Phidias. No. 2. Minerva, having been victorious in the dispute, appears by her attitude disposed to resume her place in her cha- riot. I had recognised her in the drawing of Nointel, principally by her Aegis, which descends in the form of a scarf from her right shoulder, and of which the circum- * II, b. 2. V. 479. %Tsgvov h noa-£jS«wy». 25 ference is notched, so as to form prominent angles at equal distances, as is usual in the finest statues of this goddess. Mr. Quatremere was of another opinion : he thought that he discovered in this figure the victory that was going to crown the daughter of Jupiter. His conjecture was supported by the description ofSpon, but was contradicted by the drawing : at pre- sent the colossal fragment of the statue of Minerva has decided the question : the Aegis cannot be mistaken ; each point of its angles is pierced by a hole intended to receive, in gilt bronze, the precious drops or fringes which, according to the descrip- tion of Homer, ornamented this piece of armour :* the same poet tells us, that the head of the Gorgon was attached to the middle of the Aegis ;f and in the middle of the Aegis we still find a hole, by which this attribute was fixed to it. The proportions of this draped fragment are * II. b. 2. V. 448. fll. b. 5. v. 741. 26 nearly the same with that of the Neptune. These two principal figures, which occupy the centre of the composition, and conse- quently the most elevated part of the pedi- ment, must have been taller than the rest ; and what leaves no manner of doubt rela- tive to the figure of Minerva, the half mask of the goddess was found on the floor of the same pediment ; its eyes having been excavated, in order for the insertion of globes of more costly materials, as Phidias himself had done in the colossal statue of the goddess placed in the temple : and a furrow, which forms the limit of the forehead, shows the line of contact with the helmet of gilt bronze, which covered the head. No. 3. The third figure, as far as can be judged from the fragment which re- mains, consisting of the torso and a part of the thigh, was that of Victoria Apteros, ( zdthout wings) who drove the chariot of the 27 goddess, and who seemed to approach her in order to receive her in it. Her propor- tions are scarcely less than those of the two principal figures of Neptune and Minerva ; but though placed on a car, her head was less elevated than those of the former, because of the posture of her body, which is a little bent. The same attitude is also remarked in another figure of Victory, introduced in the frize of the Parthenon, and driving a car, as well as this figure. It is engraved in the 20th plate of the first chapter of the second volume of the Anti- quities of Athens by Stuart : the original is at present in Lord Elgin's collection. These two figures not only resemble each other in attitude and in situation, but both of them are remarkable for a broad belt which confines the tunic. This drapery seems to adhere to the body, and shows all its forms. The belt is found on many other figures of Victory.* ♦ fionarroti Medaglioni, p. 67, 328. 28 If Phidias has not given wings to this statue, as he did to another of the same goddess which was placed on the eastern pediment, it is because he here wished to represent the Victory without wings, who was worshipped at the entrance of the AcropoUs, and which was probably an emblem or an omen of the duration, and the stability, which the prayers of the peo- ple and of Pericles wished to ensure to the power of their country. No. 4. The fourth figure of this pedi- ment, that which occupied the left angle, is, in my opinion, the most admirable of the whole collection. I apprehend that it repre- sents the Ilissus, the god of the little river which runs along the south side of the plain of Athens. As the subject of the composition is the dispute for the territory of Attica, the river which waters it is not foreign to this subject. It is thus that the Alpheus and the Cladeus, rivers of Elis, 29 occupied the angles of the principal tym- pan of the temple of Oljmpia.* This personage, half rechned, seems, by a sud- den movement, to raise himself with impe- tuosity, being overcome with joy at the agreeable news of the victory of Minerva. The momentary attitude, which this mo- tion occasions, is one of the boldest and most difficult to be expressed that can possibly be imagined. He is represented at the instant when the whole weight of his body is going to be supported by the left hand and arm, which press strongly on the earth, on which the left foot also rests. This motion causes the whole figure to appear animated ; it seems to have a life which is found in very few works of art. The illusion is still more strengthened by the perfect expression of the skin, which, in several parts of this statue, thanks to its situation and position, has been better preserved than any of the * Pausanias^ b. 5. c. 10. n. 2. 30 others, and which one would be tempted to call perfectly flexible and elastic. If the fragment of a head, with its hair in disorder and bound with a cord or stro- phium, could, as a great artist supposes, be fitted to this statue,* there would not, perhaps, be a more striking work among all the remains of Grecian sculpture. Before we take a view of the right side of this tympan, as it is represented in the drawing of Nointel, it will be proper to remark, that the two figures sitting on the earth, and formerly placed near the Ilissus, which Spon has mistaken for those of Adrian and Sabina, immediately followed the figure which we have just examined ; and they have remained in their proper places. According to the drawing-f - already mentioned, I conceive that they represent-* ed Vulcan and Venus. I consider this * This head, which is in the collection, agrees per- fectly in its proportions with the figure in question. -|- These figures are also engraved in in Stuart, pi. 9, vol. 2. ch. 1. 31 god of artists as distinguished bj his cap, which is his proper characteristic : his round beard was probably the cause of Spon's mistaking him for Adrian, whose features have besides a great resemblance to those of ideal personages. Venus I recognise by another character which is found in all her figures when they are draped : this is the opening of the tunic towards the left shoulder, so as to show the bosom. I had long since remarked this distinction, and I have spoken of it more at large on another occasion, from the authority of Apollonius Rhodius, and from the comparison of a great number of monuments of every kind.* With respect to the restoration of the sculptures of the Parthenon, which is sup- posed by some to have taken place under Adrian, besides the want of all authority for the opinion, it is supported by nothing like probability. Not only the silence of * Museo Pio-Clementino, t. 3. p. 9, 78. 32 Pausanias seems to refute it, but the testi- mony of Plutarch even excludes its possi- bility. In his time, and he was a contem- porary of Adrian, these works of Phidias had still all the splendour and all the freshness of novelty : oiyci^yi lKOi(rTov en vuv 7r^o(r(pocTov The left side of the tympan contained, as far as I can conjecture, the mythologi- cal personages supposed to be favourable to Minerva: on the other side were the representations of all those who were in the interests of Neptune ; Amphitrite borne on her dolphin, Palaemon, Leucothea, and Latona, distinguished by the two children who are on her knees ; a group of which a fragment still exists in Lord Elgin's col- lection. Latona and her children having taken the same side with Neptune in the Iliad, the authority of Homer had without doubt induced Phidias to represent these * Pericles, § 13. Stuart has made nearly the same remark. 33 divinities as taking part with the rival of Minerva. No. 5. The torso of a god or a hero, of which the back only is covered with a drapery, belonged to one of the groups of this pediment ; but as there remains no symbol to determine his character, it is im- possible to ascertain either the place that he occupied, or the personage that he represented. If this fragment was a part of the figure which is seen in the drawings of Nointel, near the car of the goddess, we might conjecture that the statue repre- sented Cecrops, the native hero of the Athenians, whom they revered as a god, and Avho had borne witness, before the assembly of the divinities, to the prodigy wrought by Minerva.* With respect to the merit of this frag- ment, I must observe, that although the fore part of the body has suffered mate- * Apollodorus, b. 3. c. 14. D 34 rially, we may still observe in it the traces of that noble and grand style which was the unfailing stamp of the works of Phidias.* EASTERN TYMPAN. The middle part of the composition was not in existence at the period when the Marquis of Nointel procured his drawings of these invaluable relics : and all the re- mainder is at present in the collection of the Earl of Elgin. No. 1. Beginning from the left of the spectator, the first object that we remark is the upper part of the figure of Hyperion-f- rising out of the waves of the sea, w^th his car, which brings back the day. The plinth represents the waves : they are * To crgjxvov xui lueyuKoTeyyov x«< a^(a)jtx.«T»xov. Diony- sius Halicarnassensis de Isocrate, p. 95. Edit. Sylburg. The lofly and magnificent and dignified. •f- Progenies Chiae clara. Catullus, Coma Berenices, V. 44. The splendid offspring of Chia, [or rather Thia, whom Apollodorus makes the mother of Aurcara.] 35 executed with care, although they must have been invisible, except to the curious who ascended into the tympan. The head of this Titan is broken off : there remains a part of the neck and the shoulders : his arms, which are elevated and muscular, but without hands, are in the attitude of holding with some effort the reins of the four impetuous coursers harnessed to his car. This fragment, which possesses great breadth and dignity of execution, may be compared, for the grandeur of the style, to the torso of Apollonius. No. 2. The heads of the two horses which rise from the sea, in which the car of the Sun is still plunged, seem by the truth of their expression to neigh with im- patience. The parts of the surface, which have not been destroyed, are executed with the greatest possible delicacy. No. 3. The fourth piece of sculpture is 36 the whole figure of a young god; it only wants the hands and the feet; it is half reclined on one of the rocks of Olympus, which is covered by a lion's skin, and by a wide drapery. The whole effect of this figure, the surface of which is considerably impaired, is at first sight enchanting, on which ever side we view it, from the har- mony of all its parts, the nobility of the outlines, and the grace of the attitude. The air and the lines of the countenance remind us of the young head of Hercules engraved by Gnoeas, the masterpiece of the lithoglyptic art.* It is thus that these remains of the sculptures of Phidias make us acquainted with the source, from which several celebrated artists of antiquity de- rived the first idea of their masterpieces which have reached us. We shall resume this remark in speaking of the bas reliefs; at present I shall observe, that this sort of agreement of the head of this figure, with * Stosch Pierres antiques graves, pi. 23. 37 that of the young Hercules which I have mentioned, adds to the probabihty of a conjecture, which the strong and square structure of the Hmbs, as well as the lion's skin, had already suggested to me : I con- clude, therefore, that this personage is probably Hercules. I know that objections may be raised against this opinion from the testimony of Pausanias, w^ho informs us that all the figures of this pediment related to the birth of Minerva ;* now this demi-god, the son of Alcmene, was not yet born himself, at the time of this mythological nativity; but the objection will fall to the ground, if we consider that the religion of the Greeks acknowledged another Hercules, born on the Ida of Crete, and more ancient than the Theban, more ancient even than Jupiter, whose infancy he was supposed to have protected , in common with his brothers * B. 1. c. 24. 'Ocr« sv TO»j x«Aou|X£VO<5 asrois aeircnj nANTA [ij Tviv] 'A'&Jjvaj lxs» ysvsTiv. 38 the Dactyli* This god, as well as his imitator who bore his name, had been engaged in clearing the earth of monsters : and in the allegories of the remotest ages, he had been made an emblem of the sun this must, without doubt, have been the motive of the sculptor for placing him in full view of the chariot which was the bearer of day. We know also, from other sources, that the Idaean Hercules had statues and altars in several cities of Greece. J No. 4. The following group is not less admirable : it represents two goddesses sitting by each other on separate seats. These seats are cubical, without any backs, and ornamented with some mouldings ; * Respecting this more ancient Hercules, who liad taken care of Jupiter in his infancy, and who had fought for him against the giants, see Pausanias, b. 5. c, 7? and Apollodorus, b. 1. c. 6. •j- Orpheus, Hymn 11. I Pausanias, b. 8, c. 31. b. 11. c. 27. 39 instead of cushions, they are furnished with carpets folded several times, and so admi- rably are they imitated, that we may follow the developement of all their folds. Of these two figures, that which is on the right is less than the other, and rests her left arm with much grace on her neighbour's shoulder. The heads of these statues are lost, the rest is in pretty good preservation ; the happy invention of their attitude, the elegance of their proportions, and the arrangement and execution of their drape- ries, leave us nothing to desire, either in point of good taste or of refinement. This colossal group was one of the most finished works of the pediment. I believe that it represented the two great goddesses, whose worship and mysteries were so cele- brated in Attica, Proserpine and her mother Ceres. No. 5. The draperies of the following figure are of a more simple composition. 40 but they exhibit in an admirable manner the rapid motion of the goddess, who seems to be running towards the left. The head and the arms are lost, but the remain- der of the figure is sufficient to render it probable that it represents Iris. The messenger of the gods is going to proclaim to the ends of the earth the pro- digy which she has witnessed upon Olympus. The light and fluttering cloak, which is filled by the wind, and raised above her shoulders, is one of the usual attributes of this mythological personage.* All the figures belonging to the centre of the composition, the principal of which represented Minerva in complete armour, proceeding from the head of Jupiter, had disappeared from time immemorial : it * See in the miniatures of the Vatican Virgil the figure of Iris exciting Turnus to war, b. 9 of the jEneid ; and in the bas reliefs which represent the fall of Phaeton, the figure, of. which the floating drapery describes a bow above her head. (Winckelmann Monumenti inediti, N. 43 ; Maifei Museum Veronense, p, LXXI.) 41 only remains for us to examine those which filled the angle to the right, and which are in more or less perfect preservation. No. 6. The chariot of Night, sinking into the ocean, at the same. moment that that of the Sun was rising in the east, ter- minated the composition on this side. Euripides, the contemporary of Phidias, describing in his Ion the rich hangings of the pavilion of Delphos, supposes that the car of Night was in the middle, while the Sun was plunging into the sea on the western side, and at the opposite end Aurora was rising from the waves.* The head of one of the horses of Night is preserved in the Collection. Those tra- vellers, who had mistaken the entrance of * Ion, V. 114. In some ancient bas reliefs executed at Rome, the Sun rising and the Night sinking under the horizon have been represented at the opposite ends of the same composition. See Ficoroni Roma antica, p. 115. Two medallions, placed at the sides of the Arch of Constantine, exhibit also similar subjects. 42 the Parthenon, supposing that the sculp- tures of this tympan were intended to represent the dispute between Neptune and Minerva, had fancied that they had found in this fragment tlie head of a sea horse.* This head is of the finest possible work- manship, and its surface has been very httle injured. We observe in it that admi- rable expression of hfe, which great artists only are capable of bestowing on their imitations of nature. It is this that was admired in Martial's time, even in the fishes modelled by Phidias : — Adde aquam^ 7iatabunt.-i[' No. 7' The group immediately following is one of the most remarkable in the col- lection. Two goddesses are represented in it, the one sitting, the other half reclining on a rock. All that we have said respecting * Spon, L. c. vol. 2. p. 87 ; Wheler, L. c. p. 361. ■j* B. 3. Ep. S5. Give them but water, they will swim away. 43 the grace of the attitudes, the art and the delicacy of the draperies, which are so much admired in the two figures of No. 4, must be applied to this group, which is, if possible, still more admirable : but unhap- pily it is not less mutilated than the former, both the hands and the heads being wanting. No. 8. Before I hazard any conjecture respecting these figures, I must mention a third which was near them, as is seen in the drawing of Nointel. The merit of this figure, which has been still less spared by time, is not inferior to that of the others. We observe in the folds and the lines of the draperies, for this figure is draped, and represented a goddess : we observe, I say, that variety which gives so much pleasure to the spectator by the imitation of nature, and which announces the fertility of the genius of the artist. These three goddesses, in my opinion, 44 are the Fates. They presided, according to the Greek mythology, over birth as well as over death ; they were the companions of Ilithyia, the goddess of childbirth, and they sang the destinies of the new born infants.* We see, on an ancient patera, one of the Fates present at the birth of Bacchus, who is produced from the thigh of Jupiter, as Minerva is imagined to have been from his head.-f The half reclining figure, representing one of the Fates, alFords, if we may so express it, the companion to the Hercules of the left side. We have remarked the relations which this god bore to the Sun ; and the Fates were the daughters of Night. No. 9. A goddess of the family of the Titans, like Iris, and like her, hght in her * Homer's Odyssey, b. 8. v. 198. Pindar's Olymp. Od. 5. V. 72 ; Nem. Od. 7- v. 1 ; Spanhem. ad Callimach. Hymn. Dian. v. 22. f See, in my work on the Museo Pio-Clementino, plate B, (marked by the engraver's mistake A) p. 99. 45 form ,Victorj, the Nice of the Greeks, occu- pied the corresponding place on this side. This figure does not appear in the draw- ings of Nointel, but it has been found thrown down on the floor of the pediment. The torso, for the rest is lost, has an expression of action which cannot be mis- taken ; her draperies and her girdle have a remarkable resemblance to the girdle and the tunic of the Victor}' without wings, who leads the car of Minerva in the west- ern pediment. But the characteristic emblem of the figure which we are examin- ing has not entirely disappeared : the holes in which the wings of gilt bronze were to be fixed, are still observable. Victory has seen the birth of the warrior virgin who was to be her inseparable companion, and she is starting up in an excess of joy. Here, then, we have fourteen specimens of sculpture in alto relievo, completely finished on all sides, taken from one of the most celebrated compositions of Phidias, 46 all perhaps the works of his hands, and certainly all at least conceived and direct- ed by him, which have been saved from the approaching destruction, that a very well informed traveller had foretold as impending over them.* In their new situ- ation, in the midst of an enlightened nation, particularly disposed to afford encouragement to sculpture, they will rouse the talents of the young artist to exertion, and will direct him in the road which leads to perfection in his art. We have only to regret that the noble idea, which induced Lord Elgin to rescue thern from the daily ravages of a barbarous nation, was not entertained a century and a half earlier by some rich and powerful amateur. * Chandler's Travels in Greece, c. 10. p. 50. It is to be regretted that so much admirable sculpture, as is still extant about this fabric, should be all likely to perish, as it were, immediately, from ignorant contempt and brutal violence. Nvnnerous carved stones have disappear- ed ; and many lying in ruinous heaps moved our indig- nation at the barbarism daily exercised in defacing them. 47 § 3. Exterior Frize of the Cella. One of the richest ornaments, with which Phidias had embelHshed the outside of the temple, was, without doubt, that uninter- rupted series of bas rehefs which was erected round the Cella, at the height of the frize of the Pronaos, immediately below the ceihng of the porticos.* This situation, affording to the work only a light which may be called secondary, since it onl}^ arrived after passing through the intercolumniations of the order, has pre- scribed to Phidias the manner in which he has executed his figures. In order to avoid the shadows which a projecting object might have thrown on another, instead of raising the figures from the back ground by a prominence amount- ing nearly to half their natural thickness, he has only allotted to them a small part * See Stuart's Athens, vol. 2. ch. I. pi. 4, 6. 48 of this relief, although he has arranged them on two distinct surfaces. The order and judgment with which the whole work has been executed, and the skilful harmony with which the artist has propor - tioned the prominences of each object, do not allow us to feel the want of round- ness and relief of the figures, which are distinctly perceived, even at a distance, without any shadow that might render the details of their forms less observable. The genius of Phidias has found means to pre- serve in his subject, notwithstanding the immense extent of the space which he had to fill, a perfect unity and an exact agree- ment. He has represented, round the temple, the march of a sacred procession. Since these marches or processions were composed of persons of every age and sex, since men on horseback were admitted, and victims were led along in them; a subject of this kind afforded to an artist all the variety that he could desire for the 49 display of his talents : and since these processions had been instituted in honour of the gods, the poetical imagination of Phidias seized this idea, in order to ennoble his composition still more by the representation of their images. The pro- cessions moved on to the temples which they surrounded,* singing hymns, and accompanied by the harmonious sounds of religious music ; nothing, therefore, could be more proper to be represented on the walls of the Parthenon of Minerva than this solemn procession, which at the time of the great Panathenaea, at the end of everv four vears, marched towards this temple, carrying with it the sacred veil or pephun, which was to be suspended before the goddess.-f * Xenophon de magistr. eq. c. 3 ; Heliodor. Aethiop. b. 1. p. 18. Ed. Bourdelot. -f- Meursius Panathenaea, c. 17- in the 7th volume of Gronovius's lliesaurus ; Barthelemy Voyage d'Ana- charsis, ch. 24. E 50 EASTERN FRIZE.'^ No. 1 and 2. The part of the frize that was seen above the great eastern gate, which constituted the principal entrance of the temple,* offers to the spectator five figures, which are sufficient to determine the subject of this grand composition. No. 1. We see on the left a priestessj-j- probably the queenj or the wife of the Archon, who, having the superintendance of the religious rites and solemnities, took the name of reigning Archon. This priest- ess is in the act of receiving from two Canephori, or bearers of the sacred baskets, the articles serving for the rites of the * Stuart's Athens, vol. 2. ch. 1. pi. 22 . . 26, 30. C. t Stuart, vol. 2. cli. 1. pi. 24, 30. C. X See the authorities adduced by Potter, Archaeologia Graeca, b. 1. c. 12. We might also recognise in this figure one of the two principal priestesses of Minerva, perhaps the one who was called Koo-jocw ( Cosmo ), a name derived from the arrangement of the sacred articles intrusted to her care. Meursius Lect. Atticae. b. 4. ch. II. 51 sacrifice, which they are bearing on their heads, and which are covered with a veil.* One of the Canephori has a torch in her hand ; the other a scroll unrolled, on which is supposed to be written the hymn to Minerva, which these virgins sang in their religious processions. We find also on other monuments of sculpture Canephori having rolls in their hands.-j* And I ima- * These round and zvide basTcets, Lata canistra, as Ovid calls them, (Fast. ii. v. 650.) were frequently used in the Grecian ceremonies, as we may convince ourselves by the inspection of a variety of remains of ancient art, and among others by that of the terra cotta published by Winckelman, Monum. ined, N. 1 82. I do not think it necessary to seek for the explanation of these figures in the mysterious Canephori of Minerva Polias, of which Pausanias speaks, L. 1 . c. 2/. The Scholiast on Aristo- phanes, Pax, V. 948, tells us the nature of the articles contained in these baskets. ■|- Such was a Canephorus pf the Villa Negroni in Rome, the companion of that which has been removed to the British Museum, in the- collection of Mr. Townley. These statues represent Canephori of Bac- chus : the canisters which they carried on their heads were in the form of vases, and were of gold or silver ; the figures themselves were richly ornamented. See Spanhem. ad Callim. Hymn, in Cer. v. 12S. p. 733, 734* 52 gine that the name of Prosodes {tt^oo-o^oi), which was given to certain hymns, was derived from the custom of singing them on the zmij (Iv odw) to the temples of the gods. The ancient authors have not ne- glected to remark this custom in the pro- cession of the Panathenaea and they inform us that the Canephori were chosen from among the virgins born of the most noble families. No. 2. On the right of the spectator, and on the left of the priestess, is a person covered with an ample draper}^ who is perhaps the reigning Archon ;J he is receiving from the hands of a young man, (eCpTj/So?) ephebus, a great piece of cloth. The caryatid Canephori of the Villa Jlbani in Rome, the work of Criton and Nicolaiis, both Athenians, are imitations of the same models. * Heliodor. Aethiop. b. 1 . p. 18. •f Hesy chilis and Harpocration, in Kavr](pogoi. I This Archon (Bao-iXswf, Jcing), according to the Scholiast on Aristophanes, Acham. v. 1 222, had the su- perintendance of the sacred processions and sacrifices. 53 folded in a square form, its numerous thicknesses resembling the leaves of a book.* In this piece of cloth I apprehend that I recognise the peplum, the great veil embroidered with historical subjects,which was only renewed at the epoch of the great Panathenaea, and which was carried from the Ceramicus to the temple of the Pythian Apollo, suspended to the mast of a vessel, which by means of secret mecha- nism was made to slide on the way, and constituted the principal ornament of the procession, "f When the procession had arrived at * Stuart, pi. 23, 30. -|- Meiirsius Panathen. c. 17, 19. I shall take this opportunity of correcting a passage of Philostratus (Vita Sophist, b. 2. Herodes, § 5.) which relates to this ceremo- ny : it is there said of this sliip (vauj) that it glided on sub- terraneous machines : {moyams [ji,Yj')(^avais v'7roXi(T^amvyXo/3a(j-ego<. § Loc. cit. Compare also Aristophanes, Eccles. v. 742 ; Equit. V. 1315. 74 nated from the words scaphos or scaphe ((rKoi(pog, (rKx(pvi), in Latin alveolus, a kind of trays made of wood, and sometimes of gold or silver, with raised edges, which were filled with loaves, cakes, fruits, and other articles fit for offerings. The two Metoeci are crowned, and their draperies are wrapped round them in a noble and picturesque manner.* The valuable drawings, which we have so frequently occasion to quote, show us the Ascophori, or bearers of leathern bot- tles, who follow the Scaphephori ; they carry the wine intended for libations : and Suidas informs us that this office was reserved for the citizens of Athens them- selves.-f- In the same drawings of Nointel we see three players on the flute walking after them, and next to these, four per- formers on the lyre. Pericles, in order to give additional embelhshments to the feast * Stuart, vol. 2. ch. 1. pi. 21. -f" Suidas in Acxoj KT)j(r«(^«)VTOj. 75 of the Panathenaea, had instituted pri2fes for music, and more particularly for these two instruments and Phidias had not neglected to distinguish among the has reliefs of the temple this new ornament, which his protector and his friend had lately added to the solemnity .-f The train of persons on foot was termi- nated by a troop of citizens, among whom a certain number of old men were observ- able. These, without doubt, were the old men chosen for their noble and venerable aspect, who made part of the procession, carrying olive branches. J These branches, indeed, do not appear in the drawing ; either because the artist could not distin- guish them, or that they had been effaced by time ; or possibly because these appen- dages had been made of bronze, and had entirely disappeared ; for this part of the * Meursius, Panathenaea^ ch. 10. t Plutarch in Pericl, § 13. \ Meursius, Panathenaea, cli. 20. 76 frize no longer exists, except in the drawing. Here ends the procession of persons on foot; they are followed by chariots and horsemen. Horse and chariot races made a part of the solemnities of the festival, and their evolutions were called Hippo- dromiae, (*7r7roJ^ojitAIAP0C . ZIUIAOT Phaedrus the son of Zoilus nAlANIETC . EnOIEI Of Paeania made it. This inscription was published by Spon.* In order to form a just estimate of the work of Phaedrus, I have consulted my learned colleague, the Chevalier Delambre, one of the secretaries of the scientific class of the Royal Institute of France ; this illustrious mathematician had studied the gnomonics of the ancients, and he had acknowledged the merit of the sundials drawn at Athens, on the eight faces of the Tower of the Winds, formerly the dial of * Voyage, Loc. cit. 103 Andronicus Cyrrhestes.* He has been so obliging as to examine, at my request, the dials of Phaedrus, and Xo send me the result of his observations, which is highly favourable to the science and ability of the ancient mathematician. I shall subjoin Mr. Delambre's remarks in their original form. With respect to the age to be assigned to Phaedrus, we have no very certain means of determining it. The rounded forms of the Epsilon and of the Sigma, as well as that of the Omega inverted, begin to appear on Athenian inscriptions of the date of the reign of Adrian ;f but they are more frequent on the monuments of the following centuries. Notwithstanding this, the characters of the inscription of Phaedrus possess consi- derable elegance of form, and they seem to * Magasin Encyclopedique, An. 1814, vol. 5. p. 361 ; An. 1815, vol. 1. p. 125. -j- See Chandler's Inscriptions, b. 2. n, 21, 47. 104 be engraved in exact imitation of the run- ning hand writing. The curves inchne to be oval, and the figure of the Omega, lU, is altogether remarkable. This form has degenerated into W upon some medals of Septimius Severus, and of his successors. I am inclined to think that Phaedrus must have lived in the age of the Antonines. Observations of the Chevalier Delambre on the Dials of Phaedrus. [It must be premised to these observa- tions, that the surfaces of the dials, which Spon compares to a crescent, may be bet- ter represented by those of a standing fire screen , folded into the form of aW, the lower part being turned to the south : and that the ancients employed, for their gnomons, not lines parallel to the axis of the earth, but the simple point in which the projecting style terminated ; the shadow of which described, by its daily paths on the usual planes of 105 projection, a series of hyperbolic curves, marking the hours on hnes supposed to intersect all these curves. Such hour lines, in order to represent the modern division of time, would be straight hnes; but if they were to divide the time between sun- rise and sunset into equal portions, or " temporary hours,'' they would require to be slightly, though perhaps impercepti- bly, curved. The rectilinear path, at the time of the equinox, being delineated on the dials, would at once determine the situation of the effective termination of the style, which must have been in the same plane with these lines. Mr. Delambre is indeed of opinion, that the hour lines of the ancients ought to have been perfectly straight : but if he had considered the case of a dial for the latitude of the polar circles, he would probably have agreed with Mon- tucla, that they must have been curves.] At the first sight of these dials, it is evi- dent that the two pairs are respectively 106 equal to each other; and that the inner dials must have had the same style, their meridian line being common to both. It is observable, indeed, that the two hyperbolas of the winter solstice unite in the same point of the common meridian ; and that the same is true of the two equi- noctial lines, which are straight. The two hyperbolas of the summer solstice terminate at a certain distance from the meridian, upon which they ought to meet, like those of the winter : hence it might be imagined that these two dials could not indicate the time of noon, or the sixth hour, throughout the year; and this, indeed, would be true, if the extre- mity of the style only were employed ; for this style being too long for the summer solstice, the shadow of its summit fell beyond the limits of the dials. But the whole of the style being in the plane of the meridian, its shadow at noon always covered the line of 6 hours : so that these 107 dials showed the hours at every season, the one from sunrise till noon, the other from noon till sunset. It is true that the line of 11 is wanting in the evening dial, " without any apparent reason, unless" it has been obliterated by time and injuries. The line of 1 hour on the morning dial is drawn from the summer hyperbola to the line of the equinoctial path : we see no reason why it should not have been prolonged to the winter hyperbola ; all the hour lines being right lines, there would have been no difficulty in continuing these to the horizontal line, that is to say, to the upper limit of the plane. There is every reason to believe that these two lines, those of the 1st and 11th hours, had not been omitted in these dials, where it was just as easy to place them as on the neighbouring pair. With respect to the hour 0, or that of sunrise, on the first dial, and that 108 of 12 on the second, it must have been shown all the year round, whatever might be the length of the style, supposing it straight. But it was useless to draw this line on the stone, because the upper hori- zontal termination of the planes answered the same purpose ; unless indeed the style was a little higher than the marble, and in that case the hue •• 12 could not possibly have been drawn. Besides, we have no need to be informed that the sun is rising or setting ; we have only to turn to the horizon, which supersedes the use of the sundial. It is to be regretted that t}ie hyperbolas of the winter solstice were not prolonged to the upper margin of the stone : it may be supposed that they have been oblite- rated, as well as the lines for the 1st and 11th hour. The two exterior dials will give occasion for similar remarks. In the morning dial the line of 1 hour is obliterated at the two 109 extremities, which appears to prove that it was formerly entire. In the evening dial it has suffered still more ; there only remains about one third of it in the sum- mer part : the winter hyperbola also wants the end in the morning, as well as in the evening dial. The horizontal line seems also to be wanting in these two dials ; but it was useless or impossible to trace it, for the reasons already stated with respect to the interior pair. The meridian, or the 6th hour line, is wanting in these two dials ; it was wholly unnecessary, and we may suppose that it was confounded with the exterior vertical termination of the planes. Il is singular that the four dials are not of the same breadth ; that the two inner ones are each 14 inches broad, the outer 12^ only : the two hypotenuses or bases are each 18 inches, so that the two trian- gles are perfectly equal : and supposing 110 these three lengths precisely accurate, the three angles will be 85° 22' 14" 50 49 36 43 48 10 180 It would, however, be an extraordinary accident if the three sides were exactly, and without a fraction, expressible in round numbers of French inches or half inches. Let us now suppose the block correctly fixed, and its greatest length placed di reedy east and west : the declinations of the respective pairs of dials will then be equal, amounting, for the two inner ones, to 46° ] V 60" west and east of the meridian, and for the two outer, to 39° 10' 24>" east and west of the same plane. If the triangles had been isosceles and right angled, which would have appeared more natural, the four declinations would Ill eacli have amounted to 45°, and the four dials would have been perfectly equal. The want of the horizontal lines deprives us of the means of determining more di- rectly, and with greater certainty, the magnitude of these declinations, the length of the styles, and their horizontal distance from the meridian. The style common to the two inner dials is at least determined by the distance of the winter arc from the equinoctial line on the common meridian. I have found that its length must have been 6'9.6 lines : but this style is oblique with respect to the two dials ; their perpendicular or right style, which it is sufficient to imagine for the purposes of calculation, but which it was not necessary to fix on the marble, must have been of the length of 50^ lines, at the distance of 48^ lines from the meridian. The different dimensions of the two dials, calculated upon these suppositions, have been found such as they are actually 112 delineated in tJie two drawings communi- cated by Mr. Visconti. We may, indeed, observe some very minute irregularities, for which the author could not be respon- sible, in the mechanical execution of his design, with little assistance from numerical calculations ; and they have perhaps been magnified by the impossibility of mea- suring the distances, in the present state of the marble, with perfect precision. We have no means of determining a priori the length of the style of the exterior dials ; if we suppose it 50^ lines, as for the^ other pair, we shall obtain very nearly all the dimensions of these two dials, though less correctly than those of the interior ones ; but since these two outer dials are superfluous, and could have shown nothing which was not also to be found on the two inner, they may perhaps have been a little less carefully executed : they ought to have been perfectly equal between themselves : but in fact, though a 113 little different from the two former, they are not altogether so ; and we have a right to suppose that the artist has been some- what negligent in this respect. The style of the one may possibly have been a little longer than that of the other : but the dif- erence could not have been very material. The styles of the outer dials could not have been placed, as we might have been tempted to believe, in the directions of the excavations made in the marble for fastening them. N S The true style CT, 50^ lines in height, must have been, at C, 48j lines from the angle A of the marble, in the eastern dial. There was no occasion for the actual I 114 presence of this style CT, which only serves for calculation ; it was sufficient that the support X)£ should carry a triangle b FE, of which the base b F should be produced Ip lines from F toT; in reality the only part wanted was the portion FT, and the manner of attaching it to the support .was optional ; the construction might be varied many ways ; if the space CAT was left empty, AT would give the time of noon on the angle of the wall throughout the year, and the point T by its shadow would show all the other hours ; and instead of the triangle b FE, bTE might be employed, for greater strength. The same remarks are also applicable to the western dial. E T s 115 For the soutthern dials the arrangement was more simple ; the style CT was the continuation of the part ac fixed in the wall : it might have been strengthened by the addition of the quadrilateral figure caFb, filling up the space on each side of it ; the point F would give the time of noon at the solstice, and T would point out all the other hours by its shadow. There was a sort of luxury in this mode of construction adopted by Phaedrus, since every hour of the day was exhibited on two different dials. The two interior ones would have been sufficient, and they are the best executed ; but the others may not have been useless to the inhabitants of some parts of the Acropolis. The address of the author is chiefly observable in two points. No vertical dial can show throughout the year the twelve hours of the day ; and two dials, on opposite sides of the same wall, would be very inconvenient, since 116 the spectator would be obliged to follow the sun round the wall. But when the two dials form an angle with each other, like these of Phaedrus, the one will always show the hours in the forenoon, the other in the afternoon. By making the dials meet in the meri- dian, which is indeed the most natural, the construction was made more indepen- dent of the height of the marble. With a style 69| lines in length, the marble should have been 23 inches 11 lines in height. That which Phaedrus employed was only 18 in the whole ; but in his mode of arrangement, the length of the style, and that of the shadow in summer, became more arbitrary, and it was sufficient to take care that the shadow of the summit should not be beyond the limits of the dial at the fifth and seventh hour. The longer the style, the more sensible was the progress of the shadow ; and the more distinct the parts of the dial were 117 rendered, the further could the shadow be seen. Supposing, therefore, the block to have been of given dimensions, it was not possible that Phaedrus should have employed it more advantageously. These dials exhibit a combination of which I am not acquainted with any example either ancient or modern, and which might perhaps be imitated with advantage. It will be recollected that we do not know, within half a degree, the elevation of the pole for which Phaedrus may have calculated his dial, and that we are not quite certain of the obliquity of the ecliptic that he has adopted ; but we have employed 37° 30' for the one, and 23° 51' for the other, as in the case of the dials extant on the Tower of the Winds. 118 § 5. MOJfUMENTS OF ART TAKEN FROM SOME OTHER EDIFICES OF THE ACROPOLIS. CARYATID OF THE TEMPLE OF PANDROSOS. Vitruvius informs us,* that after the victories obtained bj the Greeks over the Persians, it became the custom to employ in some buildings, as supports or columns, statues representing either prisoners taken from the conquered nation, or the captive wives of the inhabitants of such Grecian cities, as had been unfaithful to the cause of their nation. Garya, in 7\rcadia, was among the cities that had betrayed the Greeks : and, according to Vitruvius, it is from the name of the Caryatic women, whose statues were employed in architec- ture, that the technical name of this kind of support has been borrowed. The temples of Erechtheus, of Minerva * B. 1. ch. 1. 119 P olios i and of Pandrosos, all raised on the same piece of ground, communicating with one another, and forrriing together a single edifice to the north of the Parthe- non,* seem to have been rebuilt during the Peloponnesian war. It is at least cer- tain, that in the year 409 before the Christian era, the 23d of this war, some parts of this building only remained to be finished. An inscription, bearing the date of the Archonship of Diodes, a very valuable document, communicated to the public by the Society of the Dilettanti in London, does not allow us to entertain any doubt either of the fact or of the date.-f * Stuart's Athens, vol. 2. ch. 1 1 . •f* Chandler Inscriptions, P. ii. no. 1 . Some learned men have thought that the temple of Minerva Polias, of Avhich we still see so many remains, is not the same with that which is mentioned in the inscription (Chandler, P. xiii) ; for, according to Xenophon (Hist. Hellen. b. 1. ch. 7.)> this temple was burnt in the year 406, B. C. But in these edifices, consisting entirely of marble, a conflagration could only injure the roof, and what might be called the furniture of the temple. It is thus that the 120 Now this inscription informs us, that the Caryatids which to this day support, in the tetnple of Pandrosos, the ceihng under which the ancient ohve tree of Minerva was sheUered ; that these Caryatids, I say, w^ere already in their places ; and that in order to finish the works of the temple, there only remained at that period to exe- cute the sculptures of some pieces of mar- ble, of which the inscription indicates the number, the situation, and the magnitude. We read in it, line 85, " Three of the stones of the soffit, xi)hich rests on the (statues of the) damsels, remain still to be finished in the work of their upper parts, for a space thirteen feet long, and five wide. TOSUIGOSOPOOIAIOSTOS EFITONKOPONEFEPAASAS eAIANO0ENMEKOSTPION KAIAEKAPOAONFIATOSFENTE FOAON Pantheon of Agrippa, notwithstanding a similar accident, is still preserved, in its most essential parts, such as it was at the time of its i l ection. Tovg Xi9iig o^o(pioitiig rag Itti tuv KOPXIN, eTre^yaa'ota'- &oit exvu^ev, f^vflcog rpiuv The well informed Athenians, whose remarks are engraved in this inscrip- tion, have very properly denominated these Caryatids KOPA£ (girls or damsels) ; for in fact they represent, not captives, but * I had formerly made a remark on this highly interest- ing inscription {Museo Pio-Ckmentino, vol, 4. p. 89.), wliich I shall here repeat. It had been supposed that the numeral characters, marked in the margin of the lines, indicated the estimate of the expenses that the completion of the marbles mentioned might require. (See Stuart, p. 1 7 ; and Schneider in his Vitruvius, vol. 2. p. 260.) But I think I have ascertained that these characters only show the number of the marbles and of the parts of the architecture which were not completely finished or fixed. The proof of this opinion is derived from the agreement of the words which follow them with respect to number, singular, dual, or plural, with the char- acters I, II, or more. Thus the character I, which signifies unity, agrees (Col 1. 1. 30) with //.eroiTrov, in the singu- lar; in line 109 with j«.a(7p^aA»« OiVS&iTUV. A&oiviuo ctgp(^ovTOi, otvXiovTog KXsiviao, " Aleuas the son of Nicon, and Cephi- sodorus the son of Aglaophaedas, choregi for the chorusses of men, have dedicated (this offering) to Bacchus, in the archon- ship of Athenias : Chnias being the flute player, and Crato the singer." No. 17. Epitaph in verse, separated into two parts, one marked with this number, the other No. 34. It has been pubhshed by Spon, Miscellanea, Sect. 10 ; by Fabretti, Inscriptiones, p. 322 ; by Brunck, Analecta, Adesp. No. 721; and by Chan- dler, P. II. No. LXI. None of them have represented it exactly. The following is a correct cop^'^ : 149 K«< ^agiTO^Xsfugoig 6ix.[Ji,a(yi Xotfi'OTOf/.svYjy Ka« yXvxsqox} (rTOf/iotTOs ovrct Xsigios)V«»«, From Panaihenaea to Panathenaea, which marks the time of the year at which this solemn delivery of the property took place. No. 37. Another inedited fragment of the same kind, written in the ancient character, on the two surfaces of the same tablet of marble. Each of the sides pre- sents us with more than forty lines of engraving. The expression hloa-ocv rov Xoyov, gave the account, forms the first line of one of the surfaces ; and the other begins with the characters HHHHAA (ccccxx). No. 38. Another inedited fragment of the same kind, written, like the preceding, in the ancient character. No. 39. A very valuable fragment, in the ancient character. It relates to a treaty which was made between the Athe- nians and the inhabitants of Rhegium, a 159 town of the Bruttii, in the archonship of Apseudes, which answers to the year 433 B. C. Thucjdides (b. 3. § 85.) informs us, that in consequence of this treaty, the Athenians sent, some years afterwards, a fleet to Rhegium, under the pretext of de- fending the place against the attempts of the Syracusans : so that this marble explains and confirms the narrative of the historian. No. 40. Fragment of a column, on which we read an inscription, partly in verse and partly in prose. It results from the portion which remains, that the column supported the statue of an Athenian named Piso, who was of the equestrian order, and had been eponymous or titular archon at Athens, giving his name to the year. The little statue was consecrated to Aesculapius, and Piso was represented with a torch in his hand, as we see in some other votive figures. This monument is of the age of the Roman emperors. 160 No. 41. A very ancient sepulchral in- scription, remarkable for several palaeogra- phic or singular forms. The word TIOS, son, is here twice written without the second vowel of the diphthong, TOS, an orthogra- phy of which the examples are very rare. No. 42 and 43. A tablet of marble, with inscriptions on both sides. We find on it the inventory of the valuable articles which were kept in the Opisthodomos of the Parthenon of Athens. The orthography of the inscription is posterior to the archonship of Euclid, that is to say, to the year 403 B. C, the period at which the modern orthography was adopted by the Athenians. In fact, the inscription itself mentions a gift of Lysander to Minerva, without doubt on occasion of the taking of Athens, which this general entered in the year 404 B. C. This part of the inscription fixes with certainty the name of the father of Lysander, which was Aristocritus, as Pausanias calls him, 161 and not Aristoclitus, as we read in Plutarch and elsewhere. Dr. Chandler first published these two inscriptions (P. II. No. IV. 1, and IV, 2) ; but in copying them he has omitted some lines. Yet the marble, in the time of Chandler, was less injured and less muti- lated than it now is at the two sides, so that the Doctor's printed copy may serve in some parts to supply the deficien- cies of the text ; and on the other hand, the original marble corrects the printed copy in several passages. Notwithstanding the new orthography introduced in the archonship of Euclid, ^he single O is still employed here for the diphthong OT. But it is not the same with E for the diphthong EI, notwithstand- ing the contrary assertion of Chandler. No. 44. A singular inscription in the Boeotian Aeolic dialect. We observe in it forms, whether grammatical or palaeo- graphical, unknown to all those who have M 162 written on the dialects of the Greek lan- guage, and on its palaeography or ancient orthography. We also find in it some unknown words, and some names of months and magistracies which do not occur elsewhere. The subject of the inscription, of which as many as 55 lines remain, is a treaty between the cities of Orchomenos in Boeotia, and Elatea in Phocis, relative to the payments due from the Orchomenians to the citizens of Elatea. These payments originated in the permission granted to the Orchomenians, to feed their flocks in the pastures of the Elateans. The inscription, which has been engraved at Orchomenos, confirms the payment of the sums stipula- ted, and the renewal of the treaty of pastu- rage, Em nomia:^, for the space of four years. The inscription must belong to a period very little earlier than the year 370 B. C. in which the Thebans subdued the Orcho- menians. 163 Meletius has inserted in his Geography a copy of this inscription, which is full of errors, and in which there are many omis- sions. Such as he has given it, it would for ever have remained inexplicable : and nothing but the original marble could serve to determine the true reading and to explain the sense. (See Meletii Geographia, sect. 18. ch. 9. p. 342. Ed. Ven. 1728. fol.) I am in possession of an exact copy of the inscription in question, and I propose to add to it another copy, in which the words shall be separated from each other, according to my mode of reading and understanding it : and lastly, I shall add to it a translation into common Greek. The marble contains on the left side a fragment of another inscription ; but as it has been sawed, in order to employ a piece of it for some other purpose, we only dis- cover in it the end of some words, all of which seem to have been proper names. 164 whether of the Orchomenians who were the possessors of cattle, or of the Elateans who were the proprietors of pastures. No. 45. Fragment of an inscription engi'aved before the archonship of Euchd, as we may collect from the form of the characters, and containing an inventory of the riches and valuable articles which were found in the Opisthodomos of the Parthe- non. We have mentioned in this catalogue several other inscriptions of the same kind, and of the same orthography. J. Stuart has engraved this in the tail piece of the first chapter of the second volume of ihe Antiquities of Athens. The marble con- tains a greater number of lines than Stuart's plate ; but on the other hand the marble is more worn than it was in the time of this traveller : an alteration which affords us a new proof of the destruction that threatened all these monuments, if they had been allowed to remain but a few years longer at Athens. 165 No. 46. Fragment of an inscription of the same kind, in characters anterior to the archonship of EucHd. It is more injured than the preceding; there remain of it fortj-five Hnes. No. 47. Fragment of a decree. The first words which remain are : TnET0YNOI ESTflSAN : Let them be responsible. No. 48. Fragment of a psephisma or decree, of which the end only remains. It seems to belong to the city of Corinth ; for it ordains that the marble shall be placed in the temple of Neptune and Amphitrite. (See Pausanias, b. 2. ch. J). No. 49. Fragment of a decree. We read in it, in the last line but one, the name of Hierapytna, a city of Crete. It ordains that the decree shall have the public seal attached to it. No. 50. A large fragment of an inven- tory of valuable articles, deposited in some temple. If this temple was, as there is 166 reason to suppose, the Parthenon of Athens, the dilFerence in the shape and the dimensions of the characters, which in this marble are smaller, and more remote from the antique forms than those of the other marbles of the same kind, would prove that the inscription in question belongs to a period posterior to that of the monuments which we have lately men- tioned. The characters, however, are correct, and neatly engraved ; and the in • scription contains some very interesting details of antiquity. No. 51. Fragment of a decree passed by a society consecrated to the honour of Bacchus and of the Emperor Antoninus Pius, and consisting of persons of all coun- tries. This society is also mentioned in it, under the title of the Scenic or Peripolitic Society. This last epithet seems to indi- cate a travelling company, ready to remove from city to city. No. 52. Sepulchral stele ornamented 167 on the summit with a flower. It is inscribed with the names of a husband and wife, Hippocrates and Baucis. No. 53. The Sigean inscription, the most celebrated palaeographical monument in existence. It is a quadrangular prism of marble, more than English feet in height, and a foot and a half in breadth and thickness. This inscription is engraved bustrophedon, that is to say, one line of it is read from left to right,and the next from right to left, in the same way as a ploughman turns up his furrows. It is twice repeated on the same surface, at different heights. The lower inscription is the more ancient, since it has not two different characters for the E and the H, nor for the O and the XI ; while these differences are observed in the inscription engraved at the upper part of the prism. Besides, the first seems to have been written in the life time of Phanodicus ; the second, that is to say, the upper one, after his death. I imagine that the latter 168 was engraved on the upper part of the prism with the view of diminishing its height ; and the lower part was at the same time sunk into the ground, so that the inscription of Phanodicus was no longer visible ; which was the motive for re- peating it at the upper part of the pillar, with some shght variations, depending on the differences of circumstances and dates. ChishuU first published this inscription in his Antiquitates Asiaticae : and Dr. Chandler has given it more correctly, at the beginning of his work entitled, Inscrip- Hones in Asia minori et Graecia. No. 54. Sepulchral inscription, engraved on an entablature. The two first lines are in prose, and are followed by an epitaph in sixteen elegiac verses. The deceased was Publius Aelius Phae- drus, son of Pistoteles of Sunium. His father was distinguished by the office of E^hegetes, expounder of the sacred laws, 169 and by other honourable titles : the fiither of Cecropia, his mother, was Athenion of Phalereus, Perihegetes for life, probably leader of the sacred processions. Here fol- lows the epigram : 'Ex Se TTXT^of ytvofAriv (ji,£yoaiv$iog Iv Ktx^OTriatri ©£jji*0f awaf ISaxpycev 'Aflyjvyjf, EJyexev ^Xtxia; t ^8s caoipgocryv));, Kai xaXAeu; fteAswv avSgijVoy, coarg /xaA«rT« riaiSeia ■jinvyTj) xa* ^o) jasAojttijv. Eu^gO(rwv))V /SiOToy xai X^f*" yrigoxoiJLOv, MeTgov jito» ?«;)]{ It>j elxotrJV, oivofj.a ai8gof X)]gaf Agvxgi«5 AexTg' akoy(pu X<7ro/x»jv. Koog>)V y T£xoft)]V ysgugol xo/xsoycrj Tox))ef, Ba<>)y avTi toot)?, 8o]X»?toj »)8sa TruKrag, 'Ex yuiag ^ka 227. • • 181 Athenians, \^ho, commanded by Callias, the son of Calliades, endeavoured to force it to detach itself from the interests of the mother country. Aristeus proposed to place between two fires, according to the modern expression, the Athenian army, which was encamped between Potidaea and Olvnlhus. When this armv advanced towards the city, and Aristeus marched to meet it, the Macedonians in alhance with the Corinthians were to make a sortie from Olynthus, and attack the Athenians in the rear. Calhas, who had foreseen this stra- tagem, took his measures to frustrate its effect : he left behind him some Macedo- nian troops who took a different part in the war, in order to oppose such of their countrymen as might march from Olyn- thus ; he attacked the Potidaeans and the Corinthians, defeated them, notwithstand- ing the valour and the first success of Aristeus, and forced them to retire with loss, and to shut themselves up within the 182 walls of their city, which, after a siege of about two years, was obhged to surren- der.* Calhas, though victorious, lost his life on the field of battle, and a hundred and fifty Athenians perished with him. This affair was considered as the first trial of strength between the different parts of Greece, after their separation from each other ; and although the armies concerned in it were not numerous, it acquired great celebrity. Diodorus Siculus calls it-f* f^c^xvv TTspiCpccvvi, an illustrious battle. In Thucydides, a writer of the same age, it constitutes a memorable epoch ; he says in his second book, that the Peloponnesian war began the following spring, six months after this victory was obtained by the Athenians, who raised a trophy on the field of battle. The same historian speaksj elsewhere of the care which they took, to * Thucydides, b. 2. § 70. t B. 12. § 37. + lb. b. 1. § 63. b. 2. § 2. 183 remove every year to Athens the bodies of the warriors who lost their hves in their expeditions, to celebrate their funerals, and to honour them with a common monu- ment.* There can be no doubt that some of the 40 vessels, which composed the Athenian fleet that blockaded Potidaea,-f* carried back to their country the remains of these valiant warriors ; and that they had their share in the funeral honours which their fellow citizens so rehgiously rendered to the brave men who had fallen in fighting for their country. The metrical epitaph found near the Ceramicus at Athens, a place appropriated to these military tombs,J in which, notwithstanding the injuries of time, by which it has been * Thucydides, b. 2. § 34. t lb. b. !. § 61. + Pausanias, Attica, inb. 1. ch. 29 : Meursius, Cera- micus geminus, ch. 22, 23, in Gronovius's Thesaurus, vol. 4. p. 1006... The inscription which we are examin- ing was found in the plain of the Academia. The exterior Ceramicus extended to this place. mutilated J these warriors and their victory are most unequivocally mentioned, affords us perfect certainty with regard to this fact. I shall submit to the Class an exact copy of the epitaph ; its sense will be easily understood, and I shall endeavour to supply its deficiencies in the most pro- bable manner. It will be proper to begin by remarking, that besides the inscriptions which con- tained the names of the Athenians slain in battle, and which were engraved on their common tombs, these monuments were frequently decorated by another inscrip- tion in verse, expressive of the admiration of their country, and of the general sorrow for their loss. Pausanias has mentioned one of these elegies;* and Demosthenes has preserved that which Athens had placed on the tomb of her citizens wlio. fell at Chaeronea, in defending the liberty of * R 1. ch. 20. 185 Greece against Philip.* It consists ten elegiac verses. That which I present to you contains twelve ; at the beginning of which there remain some vestiges of a line in larger characters, serving as a sort of title to the epitaph. These vestiges afford us at first sight but little hope of extracting any sense from them : but in examining them with more attention, we discover in them the traces of the four letters EAOI, which might be regarded as the two last syllables of the word o-T^aTijyw (EAOI for Hmi) ; for the characters of this inscription resemble those of the Athenian marbles of Nointel and Choiseul, f except that in the first of the inscriptions of Nointel, the rho and the sigma have a different form. According to this conjecture, it is not altogether * Pro corona^ p. 222 ; Ed. Reiske. •\ Moutfaucon, PulaeograpMa Qraem, b. 2. ch. 4; MaflPei, Museum Veroneme, p. 406, 407 ; Barthelei»y, Dissertation sur une aneienne inscription grecquey Paris, 1792, 4to. 186 absurd to suppose that the whole title of the inscription may have been somewhat like the following : EISTOSENTEIMAXEITEinEPI nOTEIA AIANSTrKAl^HAISTPAT EAOinEnXOKOTAS Elf rovg iv rv> jwa^w tw wg^i TiornSonxv (TMv KxXXix inTl.A2EU. . . . The two letters, TO, at the conclusion of the former line, belong to the word SOMATA {(TuiiocTa) bodies, which is opposed to OSTXAS (v|/u%a?) souls. The Aether, says the poet, has received their souls ; and their bodies at the gates of Potidaea ... I conjecture that the deficiencies of these two verses may be thus supplied : * Hymn to Mars, v. 4. 191 AIOEPMEM^STXAirnEAEXSATODOMATAAHTn NON TONAEnOTEIAAIASAM^inTUSEUAXON A»6«^ jwfv r^v^xg vTTsh^xro, o-ufAXTX (J' uVi/ov Tovh UoTSi^ocixg d[jt,(pi TrvXxg iXx^ov, The last word, EAAXON, seems to be sufficient! J certain, since the two first letters have been preserved. The insertion of the word 'Tttvov may be thought to require some discussion. But it must be allowed, 1st, that after the word :Si2MATA, which the sense obviously re- quires, the particle ae is indispensable, in order to correspond to the men which pre- cedes it ; 2dly, that this particle must have suffered an elision, since the hexame- ter requires a long syllable for the spondee at its end ; 3dly, that the last word of the verse must have been a noun masculine, as its agreement with the demonstrative TONAE, which follows, renders indubitable ; 4thly, this word must also have begun with a vowel, in order to the elision of the short 192 vowel of the panicle AE, and its first syl- lable must have been long. Few Greek words will be found to fulfil all these con- ditions. If this monument had been placed On the field of battle, I should have proposed the word OrKON {dlaov tovh) their bodies have obtained this home under the walls of Totidaea ; and this sense Wotild form a correct antithesis to the former part of the sentence, respecting the union of the souls with the purest air, or Aether, which was according to the philosophy of the age.* But the epitaph and the montimeiit were placed at Athens, according to the custom of the republic ; it is there that the marble was found ; and even independently of that circumstance, the pth verse, in which we read noAi:S heae, this city, which is Athens and not Potidaea, would prove it * Paartaculflirly that of Anaximaender and of Anaxo- goras. See Plutarch, de placitis philosophorum, b. 1. ch. 3; b. 4. ch. 3. 193 beyond contradiction. I have thought, therefore, that the word 'tttvov would fulfil all the necessary conditions better than any other : and their bodies at the gates of Potidaea have found this sleep ( this eternal sleep.)* I had also thought of the word OPMON, for death is not only compared by the ancients to sleep, but it is also regarded as the port^ in which mankind is sheltered at length from the storms and the dangers of life but it appeared to me that this word, carrying with it an idea of locality, afforded but an embarrassed sense, and did not very well accord with the mention of Potidaea. The port which received these warriors, under the walls of Potidaea, does not seem to be that in which their * Many sepulchral epigrams have designated death by the appellations Isgo^ uttvoj, wttvoj 7:eTrgu}[x,svog, 6xTB(pvyov, says the historian.* Nor does he neglect to mention the truce granted by the Athenians to the enemy for the burial of the dead, whose bodies they gam up to the Potidaeans, roug veyc^ovg v7ro(r7rov^ovg airz^QCoLv rotg Tiorilotia.TOiig.'\ The phrase Ix^iv TM(pQu (jue^og, in the epigram, does not imply that the dead bodies of the Potidaeans shared the funeral rites of the Athenians, as we might be tempted to suppose, from a too literal interpretation of the word [Ji^s^og. This w^ord is here only * B. 1. § 63. t Loc. cit 198 equivalent to lot, ox portion, and signifies that it was the lot of such of the enemy, as Avere killed in the battle, to be buried with appropriate honours. We have an exam- ple of the same expression in the Agamem- non of Aeschylus, where the sense is the same : Ou yu^, says the herald Talthybius,* ©ai/WI/, [XiTl^SlV fiXTXTOV TX(po\) fJt.£^og. For never tfiought I in this Jionoured earth To sJiare in death the portion of a tomb. Potter. The aspiration of some of the words deserves to be remarked in this distich. The H is a character which in these very ancient inscriptions serves to mark the aspiration of the initial vowels : yet in the seventh line, OI MEN is without the aspi- rate, though the corresponding hoi ae begins with an h. I have observed that in other monu- ments of the same kind this sign of ♦ Aeschyl. Agamemn. v. 518. 199 aspiration has sometimes been neglected. Thus the H has been omitted in the word Kiwrc%i,Jishermen, in the title of the first of the inscriptions of Nointel ; and in another inscription of Lord Elgin's Collection, en- graved in the time of the Peloponnesian war, the aspirate is omitted at the begin- ning of the proper name AANOAEMO:^ ('Aryvo^vi[/,og,), Hagtiodemiis. In the present inscription the aspirate has been omitted at the beginning of the word 'TTre^s^MTo, as it is omitted in the word 'TTToyt^viTVj^x of the Sigean inscription. We find it, however, before the initial Y of the word hy*^OS (v^og), of the Athenian inscription, which belonged to the Society of Dilettanti in London. (Chandler, p. 11. No. 1.) By an opposite pecuharity, the word HEi^ni^ (Ixttis) is here aspirated, but never in the manuscripts of ancient authors : and this circumstance is not owing to an accidental insertion of the character ; it 200 seems on the contrary to have related to an ancient pronunciation, of which the vestiges still remain in Latin inscriptions, in which this word and its derivatives, when converted into proper names, as Helpis, Helpidius, Helpidianus, are always preceded by an H. Tlie 5th distich presents fev/er difficulties than the rest ; and the mutilation of the verses does not render their sense obscure : ANAP ASMEMnO U ISHE AEHOQEIK AI A nPOSeEnOTEIAAIASHOIQANONEMni - - Our country regrets these warriors who fell before Potidaea. The A which remains at the end of the 9th verse has suggested to me the supple- mentary words AAKPTSI TIMAI, {^aK^vcrt rifjt,(x.)^ honours them with its tears ; although * Ennius, a great imitator of the Greeks, has employed the same expression in his epitaph in elegiac verses : Nemo me LACRUMIS DECORET. Let no man grace my funeral with tears. The Homeric phrase Saxgua As«/3ei would supply the de- 201 I will not assert that this was the precise expression of the ancient poet. At the end of the 10th verse I conjec- ture that the word, which is wanting, was nPOMAXOlS. The perpendicular stroke which follows the n (pi) does not allow us to think of the word TroXef^u, which would also render the expression less animated ; whoever re- collects the elegies of Tyrtaeus will readily adopt the insertion which I have proposed. Thus the sense of the 5th distich will be : This city honours with its regret and its tears the warriors who fell before Potidaea, exposing themselves to danger in the first ranks of the combatants. The last distich has suffered more than the preceding. What remains of it is this : nAIAE2A0ENAION^2rXA2AA AXSANTAPETENKAinAT - - - rrKi. - - - The MEN of the 9th line inclines me to ficiency equally well, but would not afford so good a connexion with the words which follow in the next line. £02 believe that the A which follows the word a>^TXA^ must be marked with an apos- trophe, and that the word which folloAvs must begin with an A. This conjecture, indeed, I consider as a certainty. The beginning of the last line has been impaired b}^ the fracture of the marble. Taking every thing into consideration, I am disposed to adopt for the letters want- ing HAinP (ccl 'TT^U^OCV). The mutilation of the other end of the line seems to be equally easy to supply : the traces of the four letters ETKA suggest to me the aorist svycXeia-ccv, which I have already found in a metrical epitaph on a warrior of Megara.* The three letters riAT are probably the first of the word riATPIA for Trar^Ja. Thus the whole verse would be read : * That of Python. An extract from the memoir, in which I have explained this inscription, is printed in the first volume of the Histoire de la Classe d'Histoire et Littefature ancieime de TInstitut de France. We read in it, Tcureq euKXei^coVj and svxXs'kt 'AvSoxiSav. 203 HAinPAXSANTAPETENKAinATPIAETK^.£T(r«i/. At ir^K^ccv t' d^mnv Kai ttxt^iS' BvxXe'itrocv, Those souls who by the exercise of their' virtue have added to the glories of their country. The expression Tr^oc^oci u^ztviv, though I have no precise authority for it at hand, differs but httle from the well known phrase ir^oc^ut uyu^ov, noT from another which is found in an oration of Aeschines,* Tr^oiTreiv iTTirrihvtiuTcx, ; nor lastly from a third Troivitroti u^erug, which occurs in Aristophanes (Frogs, V. 1040) : 'OB'iv n 'y-'n as it affords me a tolerably happy addition to the 11th line of the epitaph, which will thus become : And you, young Athenians, imitate ( cause to revive in your persons ) those courageous souls, who by the exercise of their vir- tue added new lustre to the glory of their country. Before we quit this subject, it will be proper to notice the falsehood of the asser- tions of Demochares, who, in order to calumniate the philosophers, and Socrates in particular, had maintained, in a work of which Athenaeus has given us some extracts, that no battle had ever been fought between the Athenians and the Potidaeans ; his sole object having been to deprive Socrates of the glory of having been one of the combatants.* * Athenaeui?, b. 5. p. 215 ; and vol. 3. of the Ani- madversiones of SchAveighauser on the same passage, b. 5. eh. 55. 205 This monument, contemporary with the facts which it records, affords us a new argument, in addition to a multitude of others, which have already been advanced by modern critics, in opposition to the calumnious assertions of this rhetorician, who has attacked the votaries of philo- sophy. Thus, after the restorations which I have proposed, the sense of the part of the epigram which remains tolerably perfect will be nearly this : Their souls high heaven received: their bodies gained^ In Potidaea's plains, this hallowed tomb. Their foes unnumbered fell : a few remained. Saved by their ramparts from the general doom. The victor city mourns her heroes slain, Foremost in fight, they for her glory died. Tis yours, ye sons of Athens, to sustain, By martial deeds like theirs, your country'' s pride. INDEX. A Acropolis, Pausanias's description of it, 1 7, note. — Subjects of the bas reliefs placed on its outer walls by Attalus, 126. Adrian, mistake of Spon respecting his figure being in the western tympan of the Parthenon, 30, 31. — Did not restore the sculptures of the Parthenonj 31. Aeschines cited, 203. Aeschylus cited, 1. Chishull cited, 168. Chlamydes of the Athenians, their colour, 54. Choiseul Gouffier, Count de, description of a bas relief brought by him to Paris, 69, — A metope in the Elgin Collection removed by him, 101. Choragic monument of Thrasyllus, occasion of its erection, 136. — Proposed correction in the inscription, 136, note. Choragic monument, in the Doric dialect, with a translation, 148. Church of Panagia Spiliotissa, or Our Lady of the Grotto, at Athens, mentioned, 136. Cicero cited, 5, 60. Circensian games, genii of, represented under the form of young Centaurs, 93, note, Cleomenes, the aqueducts cut by him near Argos, mentioned, 134. Corsini (Fasti Jttici) cited, 180. Cosmo (Koo-ju-w), one of the priestesses of Minerva, whence so named, 50, note. Costume of the Greeks and Romans, was not that represented in many works of art, 82. Colotes, one of the artists employed on the Parthenon, 3. Criton, an Athenian sculptor, mentioned, 52, note. Cypselus, chest of, one of the most ancient monuments of Grecian art, 131. INDEX. 211 D David, Emetic, cited, 99. Death, various Greek appellations of it, 193, note. Decree of the Athenians in favour of Osacharas, 145. Delambre, Mr., his observations on the sundials of Phaedrus, 104, et seqq. Demetrius Phalereus cited, 5. Demochares, the rhetorician, a false assertion of his noticed, 204. Demosthenes cited, 127, 185. Dilettanti, Society of, inscription published by it respecting the temple of Minerva Polias, 119. Diodes, citation from an inscription bearing the date of his archonship, 120. Diodorus Siculus cited, 182. Dionysius Halicarnassensis cited, 34. Dioscuri, number of those worshipped by the Athenians, 60, note. Diotrephes and Demophon, epigram on, with a translation, 143. Diphrophori, their office in the Panathenaean procession, 85. Dodwell, Mr., his Italian memoir on Grecian bas reliefs men- tioned, 88. Drunkenness, personification of by Pausias and by Praxiteles, 132.— See Methe. E " Egyptian or Coptic" inscription, 175* Ennius cited, 200. Erechtheus, temple of, date of its erection, 119. Estiaea (orlstiaea), township of, its orthography determined, 171. Euripides, his description of the hangings of the pavilion of Delphos mentioned, 41.— cited, 100, F Fabretti cited, 148. Fates, group of two of the, from the Eastern tympan of the Parthenon, described, 42-44. Fauvcl, Mr , copied an inscription in the Elgin Collection, then 21« INDEX. at Caluno, 155.— an Agonistic inscription found by him, 147. — his conjecture respecting the village of Leuctra, ib, Ficoroni cited, 41. Frize of the cella of the Parthenon, description of the groups sculptured on it, 72, et seqq. Fulgentius cited, 64. Furietti Centaurs mentioned, 93, note. G Galleria Giustiniani cited, 140. Gladiator, the statue so called, compared with some of the Elgin Marbles, 6. Gnoeas, his head of Hercules the masterpiece of the lithoglyptic art, 36. Gold and ivory, their union with white marble admired by the ancients, 11. — citation from Virgil in proof of this, 12.—- censured by the moderns, 12. — defended by Mr. Quatremfere de QuiQcy, 12. Gronovius cited, 183. H Harpocration cited, 52. Heliodorus cited, 49, 53. Hercules, Idaean, figure of, described, 36-38.— why represented in the story of the birth of Minerva, 38. — great resemblance between the young head of Hercules, by Gnoeas, and that of the figure in the Elgin Collection, 36. Herodes Atticus, theatre of, mentioned, 133. Herodotus cited, 62, 124, 195, 196. Hesychius cited, 65, 73, 85. Hieroclea, sepulchral column of, 151. Hippodromiae, 76. Homer cited, 24, 25, 44, 95, 190. Horace cited, 56. Horse's Head, in the Elgin Collection, mistakes respecting it, 42. — excellence of its execution, ib. Horses, qualities of those preferred by the Greeks, 79, 80. INDEX. 213 Hyperion, fragment of the statue of, described, 34.— resembles in style the Torso of Apollonius, 35. I Ilissus, or River God, figure of described ; the most admirable sculpture in the Elgin Collection, 28. Inscription, votive, of a female ; errors in Chandler's copy of it corrected, 146. Inscription, fragment of one, on the Athenians who fell before Potidaea ; see Potidaea. Inscriptions, Greek, methodical Catalogue of those in the Elgin Collection, 143, et seqq. Iris, one of the statues from the eastern pediment of the Parthe- non probably represented that goddess, 40. — description of the statue, 40. Isocrates cited, 95, 98. Istiaea. See Estiaea. Ivory and gold, their union with white marble admired by the ancients, 11 ; see Gold. K Ketrai, application of that verb by Pausanias, 8. L Landon, Mr., his translation of Stuart's Athens cited, 57- Laocoon, the, one of the few works of art extant mentioned by the ancients, 1. — compared with some of the Elgin marbles, 6. Latona and her children, groiip of, in the western tympan of the Parthenon, fragment of it in the Elgin Collection, 32. Lessing, Mr., believes the tradition of Vitruvius respecting the origin of the term Caryatids a fable, 122, note. Letter from the Chev. Canova to Lord Elgin, xxi. Leucothea, statue of, in the western tympan of the Parthenon, 32. Leuctra, its site, 147. Livy cited, 155. Longinus cited, 193. Lucian cited, 92. 214 INDEX. Lycurgus, the son of Lycophron, the theatre of Bacchus at Athens completed in his administration, 129. Lysias cited, 141. Lysicrates, choragic monument of, mentioned, 141. M Macrobius cited, 141. Magazin Encyclopedique cited, 103. Maffei cited, 40, 56, 58, 152, 185. Marcellus, theatre of, mentioned, 134. Mars, statue of, at the Villa Ludovisi, mentioned, 56. Martial cited, 42. Medals, notice of some struck by Septimius Severus, 93, note. 104. Megarians, their mode of interring the dead, 20. Meletius, an incorrect copy of an inscription, in his Geographiat mentioned, 163. Memoir on the Sculptures of the Parthenon, 1. Menestratus of Corinth, sepulchral column of, 144. Methe {Ms^rj), or the Goddess of Drunkenness represented on one of the Elgin bas reliefs, 130, 131. Metoeci, or strangers resident in Athens, their offices in the Panathenaean procession, 73, 85. Metopes from the Parthenon, description of, 91, et sey^.— expla- nation respecting the subjects represented upon them, and their execution, 96-99. Meursius cited, 49, 50, 53, 62, 63, 67, 73, 75, 76. 31icon, his paintings of Centaurs mentioned, 96, 97- — probably the sculptor of the frize of the Temple of Theseus, 94. — his paintings of the Poecile mentioned, 126. — some of his groups probably introduced into the bas relief of the temple of Aglauros, 127, 8. Millin cited, 70. Minerva, two statues of, by Phidias and Alcamenes, tradition respecting them, 10. — fragment of the statue of, from the Parthenon, described, 24. — mistaken by Spon and Quatremfei e INDEX. ^15 for that of Victory, 25. — the half mask of the Goddess de- scribed, 26. Minerva Folias, temple of, date of its erection, 119. — burnt, 119, note. — the remains of the temple now seen, those of the original structure, 119, note. Mitylene, theatre of, its arcades imitated in the construction of the theatre of Pompey, 134. Montfaucon cited, 185, 186. Mus^e Franfais cited, 58, 139. Museo Pio-Clementino cited, 23, 31, 44, 56, 58, 65, 78, 121, 132, 140. Mysta, the wife of Thria, sepulchral column of, 170. N Neaechmus, archonship of, mentioned, 136. Neptune, fragment of the figure of, described, 22.— mistaken for that of .Tupiter, ib. Nicolaiis, an Athenian sculptor, mentioned, 52, note. Nicodorus, archonship of, mentioned, 145. Nointel, Marquis of, his drawings of the sculptures of the Par- thenon, 13. — inscriptions of, mentioned, 152, Nonnus cited, 139. o Oheliaphori of the Panathenaean procession, whence so named, 73. Observations, general, on the sculptures of the Parthenon and the works of Phidias, 1 . Olympia, temple of, sculptures on it mentioned, 98, note, Opisthodomos of the Parthenon, its use, 18, 7iote. — Inventory of articles deposited in it, 160, 164. Orpheus cited, 38. Osacharas, decree in favour of, 145. Ovid cited, 51, 97, 130. P Palaemon, statue of, in the western tympan of the Parthenon, 32. Panathenaean procession, the subject of the frize of the Cella of the Parthenon, 49. 216 X NDEX. Fandion, votive inscription of, 145. Pandrosos, temple of, date of its erection, 119.— remarks on a Caryatid from it, 118-123. Pantheon of Agrippa mentioned, 120 note. Fapias, a sculptor of Aphrodisia, works by, mentioned, 93, note. Parthenon, general observations on the sculptures which orna- mented it, and on the works of Phidias, 1-7. — mistakes of modern travellei's respecting its front, and the sculptures of its tympans, 13, 14. — state of its sculptures when seen by Chandler, 46. — description of the exterior frize of the Cella, 47, etseqq. Parapongia, village of, the Leuctra of the ancients, 146. Pausanias cited, 3, 8, 29, 37, 38, 51, 57, 82, 92, 93, 95, 96, 97, 100, 122, 126, 129, 131, 132, 133, 183,"1S4. Pausanias, his description of the sculptures of the tympans of the Parthenon correct, 14. — mistaken by modern travellers, 14. — his description of the Acropolis, 17, note. Pausias, painted a personification of Drunkenness, 132. Pentelic marble, subject to weather, 23. Peplum, or sacred veil of the statue of Minerva, how carried in the Panathenaean procession, 53. Pericles confided the execution of the works of the Parthenon to Phidias, 2. — the art of the statuary reached its utmost per- fection in his age, 6. — instituted prizes for music at the feast of the Panathenaea. 75. Pheedrus, the Paeanian, description of his sundials, 101-104.— Observations of Mr. Delambre upon them, 105, et seqq. — (preliminary remarks by the translator, 104.) — peculiarities in their form, 117. Phanodicus, inscription of ; see Sigean. Phidias, general observations on his works, 1-7. — the sculptui'es of the Parthenon proved to be his productions by the testi- mony of Plutarch, 2. — his share in the sculptures in the Elgin collection, 2. — termed a skilful sculptor of marble, by Aristotle, 3.— several of his marble statues carried to Rome, 4. — the Elgin Marbles give an idea of his talents, 5. — citations from INDEX. 217 Cicero and from Pliny respecting his statues, 5. — a magnifi- cent style and an exquisite delicacy united in his works, 5. — his works served for models to several celebrated artists of anti- quity, 36. — his sculptures on the Parthenon imitated by the later Greek artists, 57' — instances of that imitation, J, 58, 90. Phigalea, bas reliefs from the temple of Apollo, near that place, mentioned, 94, note. Philostratus, correction of a passage in his life of Herodes, 53, note. — cited, 133. • Pindar cited, 44. Pliny cited, 4, 5, 132. Pliny, several marble statues by Phidias known to him, 3. Plutarch cited, 2, 18, 20, 30, 75, 159, 134, 171, 192.—bears testimony that Phidias adorned the Parthenon, 2. Plutarch, epigram on a youth of that name, with a translation, 152. Poecile, subjects of the paintings of the, by Micon, 126. Pollux {Onomasticon) cited, 65, 80. Polycletus, worked chiefly in bronze, 3. Polyllus, votive inscription of, with a translation, 145, 146. — the name a diminutive of Polystratus, 145. Pompey, theatre of, its arcades probably an imitation of those of the theatre of Mitylene, 134. — the model of the theatre of Marcellus, ibid. Potidaea, fragment of an inscription on the Athenians, who fell before it, I87. — translated, 205. — agrees with the facts stated by Thucydides, 197.— remarks on its orthography, 194, 195. Potter cited, 50. Praxiteles, in what respects the art of sculpture is indebted to him, 6. his statue of Drunkenness mentioned, 132. Propylaea, the, observations on its situation, 17. Proserpine and Ceres, one of the groups from the eastern pedi- ment of the Parthenon, conjectured to represent these two goddesses, 39. — description of the group, ibid. Publius Aelius Phaedms, epitaph on, with a translation, 169. 218 INDEX. Q Quatremfere de Quincy, Mr., his work on polychromatic sculpture noticed, 12. — models a bas-relief of the western tympan according to Noiutel's drawings, 16. — first recognises the principal figure in the western tympan to represent Nep- tune, 22. R Rhegium, fragment of a treaty between its inhabitants and the Athenians, 158. — confirms an historical narrative, 159. Roi, Le, hisRuines de laGrfece cited, 13. s Sabina, see Adrian. Salamis, island of, proved by Solon to have been anciently possessed by the Athenians, 19. Sardanapallos (CAPAANAnAAAOC), inscribed on a figure of Bacchus, its meaning, 132. Scaphephori, in the Panathenaean procession, whence so named, 73. Scholiast on Aristophanes cited, 50, 51, 77, 83, 85. Sculpture, monuments of, mentioned by classic authors, rarely found in European collections, 1. Sculptures of the Parthenon, Memoir on, 1. — long the admiration of the ancient world, 2. — possess the same grandeur and ex- cellence of style as the Laocoon, the Torso, and the Gladiator, 6. — description of those of the tympans, 8, et seqq. — mistakes respecting them, 8, 9. — bronze ornaments, and other appen- dages originally affixed to them, H.— much corroded by weather, 24. — their value to artists, 46. Sculptures of Phidias served for models to the celebrated artists of antiquity, 36. Septimius Severus, some medals struck by him, mentioned, 93» note; 104. Sepulchral columns in the Elgin collection ; see Catalogue. Servius cited, 140. Sigean inscription^ remarks on it, 167, 168. INDEX. 219 Socrates of Ancyra, sepulchral column of, 144. Solon, his proof that the Atheniaixs were the ancient occupiers of Salamis, 19. Spanheim cited, .51, 144. Spon cited, 8, 43, 101, 102, 148. Spon, his mistake in calling- two figures in the western tympan, Adrian and Sabina, 30. — his mistake respecting the temple of Aglauros, 124. Staircase, vestiges of a circular one, leading to the summit of the Parthenon, 11. Statues, those intended to be placed in elevated situations, pre- viously exhibited to near inspection, 10. Statue, colossal, from the Choragic monument of Thrasyllus, various conjectures as to the personage it was designed to re- present, 136-138. — reasons for thinking it represented Bac- chus, 139-141. Stosch cited, 36. Strangers settled at Athens, how denominated, 73. — offices as- signed to them in the Panathenaean processions, 73. Strabo cited, 130, 133. Stuart's Athens cited, 13, 15, 27, 47, 50, 55, 56, 58, 59, 60, 61^ 64. 66, 70, 71, 72, 74, 77, 78, SI, 83, 89, 96, 119, 124, 125, 129, 136, 137, 141, 142, 175. Stuart, his mistakes respecting some figures in the frize of the Cella, 55, note; 59, 61. Sundials of Phaedrus described, 101, et seqq. — peculiarities in their forms, 117. See Phsedrus, and Delambre. Suidas cited, 65, .67, 74. T Temple of Jupiter Panhellenius, the diiBCOvery of the statues of its pediments noticed, 8. Temple of Aglauros ; see Aglauros. Apollo Epicurios ; see Apollo. Temples of the Athenians, observations on their position, 17-21. 220 INDEX. ~their disposition the same as the tabernacle of Moses and the temple of Solomon, 21, note. Temples of Erechtheus, of Minerva Polias, and of Pandrosos, one edifice, date of their erection, 119. Thalia, sepulchral column of, 144. Theatre of Herodes Atticus mentioned, 133. • Bacchus ; see Bacchus. Mitylene ; see Mitylene. Pompey ; see Pompey. Marcellus ; see Marcellus. Theodotus of Antioch, sepulchral column of, 144. Thrasyllus, choragic monument of, various conjectures on the colossal statue taken thence, 135-142. Thraso, sepulchral column of, 170. Thucydides cited, 87, 182, 183, 195, 196, 197. Torso, the, compared v^ith some of the Elgin Marbles, 6. . , V . . . with drapery, in the Elgin Collection, conjectured to hare belonged to a statue of Cecrops, 33. Torso of Apollonius resembles the style of the fragment of Hyperion, 35. Tryphera, epitaph on, with a translation, 149. — remarks on it, 150. Tympan, vs^estern, of the Parthenon, mistakes of Spon, Le Roi, and Stuart, respecting the subject of the sculptures which ornamented it, 13, 14. — that subject the contention of Minerva and Neptune, 14. t , eastern, of tlie Parthenon, contained the story of the birth of Minerva ; description of, 34, et seqq. Tympans of the Parthenon, sculptures of the, described, 8, et seqq. Tzetzes cited, 9. u Ulpian {in Demosth.) cited, 141. V Vases, cinerary, description of two remarkable ones in the Elgin Collection, 174, 5. INDEX. 221 Vatican Virgil, miniature in it mentioned, 40, note. Victoria Apteros, fragment of the figure of, described, 26. — probable reason why represented without wings, 28. Victory, torso of, belonging to the eastern tympan of the Par- thenon, described, 45. Virgil cited, 12, 95, 193. Vitruvius cited, 20. — his tradition respecting the origin of the term Caryatids, 118. — probably a fable, 122 note. Veins, visible in the torso of the Neptune, 23. — the suppression of their appearance in sculptures, perhaps introduced by Praxiteles, ib. Venetians, their attack on Athens destructive of the Parthenon, 13. Venus of the Gardens, a celebrated statue by Alcamenes, so named, 4. Venus and Vulcan, statues of, in the western tympan of the Par- thenon, 30, 31. — mistaken for those of Adrian and Sabina, 30. w Wheler cited, 8, 42. Winckelmann, a remark on a passage in his History of Art, 4. — cited, 40, 51. Worsley, Sir R., remark on a has relief brought by him from Athens, 71, note. ^ X Xenophon cited, 49, 76, 79, 80, 119. z Zoega cited, 55 London : Printed by W. Bulmer and Co. Clereljuid-row, St. James's. Albemarle Street, May, 1816. MR. MURRAY HAS LATELY PUBLISHED THE FOLLOWING WORKS. THE RESTORATION of the WORKS of ART to Italy, a Poem. 8vo. 3s. 6d. THE REPORT of the SELECT COMMITTEE of the HOUSE OF COMMONS, on the Earl of Elgin's Collection of Sculptured Marbles, with a Copious Index, 8vo. 9s. 6d. MEMORANDUM on the Subject of the EARL of ELGIN'S PURSUITS in GREECE; to which are added, two letters from Benjamin West, Esq. descriptive of the Subjects and Sculptors of the Elgin Marbles : Notes on Phidias and his School, collected from Ancient Authors ; and a Description of the Bas Relief of the Parthenon, by the celebrated M. MILLIN. Second Edition ; with three Engravings by Moses. 8vo. 8s. 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