A Catalogue of Sculpture in the Department of Greek and Roman Antiquities Part 25

There was also a row of small horses at the front of the helmet. All available s.p.a.ce was covered with reliefs. A battle between Greeks and Amazons (see below, Nos. 301, 302) was seen on the exterior of the s.h.i.+eld, and one between G.o.ds and Giants on its interior. On the base was a representation of the birth of Pandora (see No. 301) and on the edges of the sandals was a battle between Centaurs and Lapiths.

The statue disappeared from view with the fall of paganism. Nos.

300-302 afford some of the materials for its reconstruction. Rough reproductions of the figure also occur on Attic reliefs, such as Nos.

771-773.

The statuette, No. 300, is of service for the details of the composition, although it is artistically a poor copy. The Lenormant statuette, No. 301, though rough and incomplete, is of more value for its rendering of the features.

The column beneath the hand of Athene (in No. 300) presents some difficulty, as it is not mentioned in descriptions of the statue and seldom occurs in reproductions of it. It is seen in an Attic relief (_Michaelis_, pl. 15, fig. 7) on a lead ticket (_Zeitschr. fur Numismatik_, x., p. 152) and, in the form of an olive tree, on a Lycian coin of the time of Alexander (_Zeitschr. fur Num._, _loc.

cit._; Murray, ii., pl. 11). It is more probable that an existing support should be omitted in reliefs, than that it should be inserted if non-existent. It is possible, however, that the support was not a part of the design of Pheidias, but was an addition, found to be necessary before the time of Alexander.

[Sidenote: =300.=]

Cast of a statuette, copied from the Athene Parthenos. The G.o.ddess wears a helmet, aegis, chiton with diplodion girt round the waist, bracelets and sandals; her left hand rests on her s.h.i.+eld, which stands on its edge at her side. In the centre of the outside of the s.h.i.+eld is a mask of Medusa, and inside a serpent; the right hand of Athene is extended in front and rests on a column with the palm open upwards, holding a figure of Victory, in whose hands are remains of what is thought to be a garland. The head of the Victory is wanting. On the centre of the helmet of Athene is a Sphinx, and at each side has been a Pegasos.

The statuette was found in a shrine in a private house. Compare the vision of Proclos, who was bidden to prepare his house for Athene, when her statue was being removed by the Christians from the Parthenon, about 430 A.D. (Marinus, _Proclos_, 30; Michaelis, p. 270.)

The original, which is of Pentelic marble, is in the National Museum at Athens. Height, with plinth, 3 feet 5 inches. Found in 1880, _near the Varvakion in Athens. Athenische Mittheilungen_, VI., pls. 1, 2, p. 56; _Journ. of h.e.l.len. Studies_, II., p.

3; Schreiber, _Athena Parthenos des Phidias_, pl. 1; Brunn, _Denkmaeler_, Nos. 39, 40; Waldstein, pl. 14; Harrison, _Mythology and Monuments of Anc. Athens_, p. 447. For literature see Waldstein, _Essays_, p. 270; Wolters, No. 467.

[Sidenote: =301.=]

Cast of a statuette, copied from the statue of Athene Parthenos.

Athene wears a helmet, aegis, and chiton with diplodion girt round the waist; her right hand is extended in front with the palm open upwards as if to hold out the figure of Victory. In this part the statuette is unfinished, the marble underneath the right arm not having been hewn away. The left hand of the G.o.ddess rests on her s.h.i.+eld, which stands on its edge at her side; inside the s.h.i.+eld is a serpent; outside are reliefs representing the battle between Greeks and Amazons, which is seen in more detail in No. 302. Among the figures, we recognise several which occur on No. 302. The figure of Pheidias (_a_, see No.

302) is near the top of the relief, and holds a stone, as described by Plutarch. Next him perhaps is Pericles (_b_) separated from the fallen Amazon (_c_), which is at the bottom of the s.h.i.+eld, as in No. 302. The group of the Greek seizing an Amazon (_d_) is seen on the right as in No. 302. The fallen Amazon (_e_) with hands above her head is high up, on the left of the relief. In place of the group of an Amazon supporting her companion (_f_) which is in No. 302, we have here the same subject, but differently treated. The Gorgon's head is roughly indicated near the middle of the s.h.i.+eld. From the manner in which the rest of the figure corresponds to the chryselephantine statue, it has been a.s.sumed that the rude outlines of figures in relief on the base of the statuette represent the composition of Pheidias, of which the subject was the birth of Pandora (Paus., i., xxiv., 7.)

The original of this statue, which is of marble, is in the National Museum at Athens. Height 1 foot 4-3/4 inches. Found in 1859 _near the Pnyx, at Athens_. Lenormant, _Gazette des Beaux Arts_, 1860, VIII., p. 133; Jahn, _Pop. Aufsatze_, p. 215, pl.

1; Michaelis, pl. 15, fig. 1, p. 273; Overbeck, _Gr. Plast._, 3rd ed., I., p. 253, fig. 54; Brunn, _Denkmaeler_, No. 38; Wolters, No. 466; Harrison, _Mythology and Monuments of Anc. Athens_, p.

449. For the Pandora relief, see Puchstein, in _Jahrbuch des Arch.

Inst._, V., p. 113.

[Sidenote: =302.=]

Fragment of s.h.i.+eld supposed to be a rough copy from the s.h.i.+eld of the statue of Athene Parthenos. Pliny (_H. N._, x.x.xvi., 18) and Pausanias (i., 17, 2) state that the outside of the s.h.i.+eld was ornamented with the representation of a battle between Greeks and Amazons. Plutarch adds (_Pericles_, 31) that one of the figures represented Pheidias himself as an old bald-headed man raising a stone with both hands, while in another figure, who was represented fighting against an Amazon, with one hand holding out a spear in such a way as to conceal the face, the sculptor introduced the likeness of Pericles. This story is probably of late origin, and invented to account for two characteristic figures on the s.h.i.+eld. A head of Medusa, or Gorgoneion, encircled by two serpents, forms the centre of the composition on the fragment. Below the Gorgoneion is a Greek warrior (_a_, cf. No. 301), bald-headed, who raises both hands above his head to strike with a battle-axe. This figure has been thought to correspond with that of Pheidias in the original design. Next to him on the right is a Greek (_b_) who plants his left foot on the body of a fallen Amazon (_c_) and is in the act of dealing a blow with his right hand; his right arm is raised across his face and conceals the greater part of it.

The action of this figure again presents a partial correspondence with that of Pericles as described by Plutarch. To the right of the supposed Pericles are two Greeks: the one advances to the right; the other (_d_) seizes by the hair an Amazon falling on the right. Above this group is an Amazon running to the right and a Greek striding to the left. His s.h.i.+eld has the device of a hare. Above him are three armed Greeks, and the remains of another figure. On the left of the figure described as Pheidias is a Greek who has fallen on his knees.

Further to the left is a fallen Amazon (_e_) who lies with her head towards the lower edge of the s.h.i.+eld. Near her is a wounded Amazon (_f_) supported by a companion of whom but little remains. The lower part of a third figure, probably that of a Greek, is also seen. All the Amazons wear high boots and a short chiton, leaving the right breast exposed; their weapon is a double-headed axe. Red colour remains on the two serpents which encircle the Gorgon's head, on the s.h.i.+eld of one of the Greeks and in several places on the draperies.--_Obtained by Viscount Strangford from Athens._

Pentelic marble; height, 1 foot 4-3/4 inches; width, 1 foot 6 inches. Conze, _Arch. Zeit._, 1865, pls. 196, 197; Jahn, _Pop.

Aufsatze_, p. 216, pl. 2, 1; Michaelis, pl. 15, fig. 34. Overbeck, _Gr. Plast._, 3rd ed., I., p. 255, fig. 55; Mitch.e.l.l, p. 313; Mansell, No. 729; Wolters, No. 471; Harrison, _Mythology and Monuments of Anc. Athens_, p. 453. There is a fragment of a similar s.h.i.+eld in the Vatican, Michaelis, pl. 15, fig. 35.

EASTERN PEDIMENT OF THE PARTHENON.

[Sidenote: =303.=]

We know from Pausanias (i., 24, 5) that the subject of the composition in the eastern pediment had relation to the birth of Athene, who, according to the legend, sprang forth, fully armed, from the brain of Zeus. As all the central part of this composition was already destroyed when Carrey made his drawing of the pediment, we have no means of ascertaining how the subject was treated; and whether the moment immediately after the birth was represented, as has been generally supposed, or, as has been also suggested, the moment immediately before the birth.

A relief surrounding a _puteal_ or well-head, now at Madrid, has been thought to throw light on this question. There Zeus is enthroned, looking to the right; Athene is before him, armed, and advances to the right. A Victory flies towards her with a wreath. Behind the throne of Zeus is Hephaestos, who has cleft the skull of Zeus with his axe, and starts back in astonishment. On the extreme right of the composition are the three Fates (Schneider, _Geburt der Athena_, pl. 1; Mitch.e.l.l, p. 350, fig. 157). Unfortunately the subordinate figures have not a sufficient resemblance to those which are still extant of the Parthenon pediment, to allow us to a.s.sume a direct connection between the pediment and the relief. Some such composition, however, seems more consonant with the dignity of Athene than the scheme which occurs on vases and Etruscan mirrors (_e.g._ on a vase in the British Museum, No. B. 53; _Mon. dell' Inst._, iii., pl. 44) where the G.o.ddess is represented as a diminutive figure, above the head of Zeus. This conclusion is confirmed by Sauer's recent examination of the ground of the pediment. It is now proved that the middle of the east pediment was occupied by two figures of equal importance, and not by a single central figure of Zeus, such as is required, if we suppose that the subject was treated according to the tradition of the vase painters.

It is further shown to be probable that Zeus was seated on the left of the centre, seen in profile and turned to the right, and that Athene stood on the right of the centre, holding a spear in her outstretched right hand. The whole group between the figures G and K is thought, from the indications on the pediment, to have consisted of the following figures, in order from the left:--Standing figure, stepping inwards (cf. Hermes of the west pediment); standing figure; seated figure in profile to the right; figure standing immediately behind Zeus; Zeus and Athene; Hephaestos (H); seated figure in profile to the left; standing figure; standing figure turned to the left (J); standing figure turned outward (compare G).

If we confine our attention to the extant pedimental figures, we find wide differences of opinion as to their interpretation. The figures in the angles are the only ones as to which there can be no doubt. On the left the sun-G.o.d, Helios, rises from the ocean, driving his car, and on the right the moon-G.o.ddess Selene sets beneath the horizon.

These two figures may be interpreted as marking the boundaries either of Olympos or of the universe. It has also been suggested that they indicate the hour at which the birth took place. This, according to Attic tradition, was at sunrise.

Thus far the interpretation rests upon sure grounds. Of the remaining figures in the pediment, J has been generally recognised as Victory greeting the newly born G.o.ddess, and G has been generally taken for Iris, announcing the news to the world (but see below, G). None of the remaining figures have been conclusively identified. Most of the numerous schemes of interpretation that have been proposed are exhibited in a table by Michaelis, _Der Parthenon_, p. 165, cf. _Guide to the Elgin Room, I._, Table A. As regards the general principles of interpretation it is to be observed that the schemes may be divided into two cla.s.ses. We may either suppose with the earlier critics that the s.p.a.ce bounded by Helios and Selene represents Olympos, and that all the figures contained within this s.p.a.ce are definite mythological personages, probably deities, who may be supposed to have been present at the birth; or we may a.s.sume that all the deities present were comprised in the central part of the pediment, and that the figures towards the angles belong to the world outside Olympos, to whom the news is brought. These may be definite mythological persons, or they may be figures personifying parts of the natural world. Compare the Homeric Hymn to Athene, and Pindar, _Olymp._, vii., 35.

The best views of this pediment are (1) the drawing of Carrey in the Bibliotheque Nationale (pl. v., fig. 1). A facsimile in the British Museum; in Laborde, _Le Parthenon_, and _Antike Denkmaeler_, I., pl. 6 (exhibited in Elgin Room); (2) sketch by Pars, engraved in Stuart, vol. II., chap. I., pl. 1. The original drawing is in the Print Room of the British Museum. For a list of proposed restorations, see Schneider, _Geburt der Athena_, p. 23, pls. 2-7; Waldstein, _Essays_, p. 139. For Sauer's examination of the pediment, see _Athenische Mittheilungen_, XVI., pl. 3, p.

59; _Antike Denkmaeler_, I., pl. 58. The ends of the pediment are reproduced in figs. 7, 8.

[Ill.u.s.tration: Fig. 7.--The South End of the East Pediment of the Parthenon (according to Sauer).]

[Ill.u.s.tration: Fig. 8--The North End of the East Pediment of the Parthenon (according to Sauer).]

[Sidenote: =303 A.=]

Helios, in his chariot emerging from the waves. The head is wanting, the neck has a forward inclination corresponding with the action of the arms, which are stretched out in front of the body, holding the reins by which the upspringing horses of the Sun-G.o.d were guided and controlled. The head of Helios had been already broken away in Carrey's time; the wrist and hand of the right arm, now wanting, are shown in his drawing. The surface of the marble on the neck having been protected from weather by the cornice retains its original polish. At the back and between the arms are sculptured small rippling waves to represent a calm sea at sunrise. These waves are treated in the conventional manner usual in representations of water in Greek art; their profile shown on the edge of the plinth approximates very nearly to the well-known wave pattern. The metal reins have been attached to the upper surface of the plinth under the right forearm, and also under the right hand, now lost; three dowel holes in this part of the plinth served for their attachment. The waves were probably distinguished by colour. It has been noted by Michaelis that the angle in which this figure was placed is the darkest spot in the eastern pediment, and that it is only fully illumined by the early morning sun.

_Mus. Marbles_, VI., pl. 1; Michaelis, pl. 6, fig. 8; Overbeck, I., p. 303, fig. 61 (with B, C).

[Sidenote: =303 B, C.=]

Two horses of Helios. The team of Helios was represented by four horses' heads, two of which still remain in position on the temple, at the back of the pediment. The two which are here are sculptured in the round out of one block of marble. They are represented emerging from the waves, the profile of which is sculptured in relief on the neck of the nearest horse. The head of the horse nearest the eye (B) looks outwards, and has projected beyond the plane of the pedimental cornice, so that it must have caught the light. The action of this horse's head is most spirited, though its effect is greatly impaired by the loss of the lower jaw, and the injury which the surface of the marble has received from exposure to the weather. The reins were of metal, and the points of attachment of reins and bridle are marked by three dowel holes in the plinth, a fourth behind the right ear, and a fifth inside the mouth. The head of the other horse on this block (C), which was advanced beyond the outside head, so as to be visible, is nearly destroyed; only the neck and back of the head remain.

_Mus. Marbles_, VI., pl. 2; Michaelis, pl. 6, fig. 9; _Stereoscopic_, No. 105. For the two heads still on the pediment, see _Athenische Mittheilungen_, XVI., p. 81.

[Sidenote: =303 D.=]

This figure, which is commonly known as Theseus, reclines on a rock and faces the horses of Helios. He leans on his left arm in an easy att.i.tude. The right arm is bent, but, as the hand is wanting, we can only form conjectures as to what its action may have been. It probably held a spear, or some other long object, the end of which may have been attached to the left ankle at the place where a dowel hole is still visible. According to some writers, the hole served for the attachment of the laced work of a sandal in bronze. (_Ber. d. k.

sachs. Ges. d. Wissenschaften_, 1880, p. 44.) The legs are bent, the left leg drawn back under the right. The headdress is in the form of the krobylos (cf. No. 209). The body is entirely nude: over the rock on which the figure rests is thrown a mantle under which is strewn a skin, the claws of which are certainly those of some feline animal.

The type and position of this figure present so much resemblance to the Heracles on the silver coins of Croton in Lower Italy (_Mus.

Marbles_, vi., t.i.tle-page), that it has been identified with that hero by Visconti, who supposed the skin on which he reclines to be that of a lion. This skin, however, seems more like that of a panther, on which ground the figure has been thought to be Dionysos, who appears in a very similar reclining att.i.tude on another Athenian work, the Choragic monument of Lysicrates (No. 430, _1_); compare the statue in the Louvre, Muller-Wieseler, _Denkmaeler_, ii., pl. 32, No. 360.

Compare also the figure of Dionysos reclining, on a relief on an _askos_ in the British Museum, No. G. 281 (see fig. 9). The figure, however, differs greatly in character, not only from the figure on the monument of Lysicrates, but also from the figure sometimes supposed to be Dionysos on the frieze of the Parthenon. (East side, No. 38.) More recently Brunn has interpreted this figure as the mountain of Olympos illumined by the first rays of the rising sun, and it must be acknowledged that the att.i.tude and type of the so-called Theseus is very suitable for the personification of a mountain. Compare the figures of mountains from reliefs, collected by Waldstein (_Essays_, pp. 173, 174).

[Ill.u.s.tration: Fig. 9.]

_Mus. Marbles_, VI., pls. 3, 4; Baumeister, _Denkmaeler_, p. 1180, fig. 1370; Michaelis, pl. 6, fig. 10; Overbeck, _Gr. Plast._, 3rd ed., I., p. 304, fig. 62; Murray, II., pl. 5; _Stereoscopic_, No. 105; Waldstein, _Essays_, pl. 6; Brunn, _Ber. der k. bayer.

Akad., Phil. hist. Cl._, 1874, II., p. 14. The correct position of the figure in the pediment has been ascertained by Sauer (_cf._ fig. 7).

[Sidenote: =303 E, F.=]

Two female figures, seated on square seats. They both wear a sleeveless chiton, girt at the waist, and a diplodion. Over it is a mantle thrown over their lower limbs in a rich composition of folds.

On the right wrist of the figure nearest the angle (E) is a dowel hole, probably for the attachment of a bracelet. Her companion (F), who wore metal fibulae on each shoulder, extends her left arm towards the figure, which is advancing towards her. Her head has been broken off at the base of the neck, but it has probably been turned towards her companion, who rests her left arm affectionately on her shoulder, and who probably looked towards her, perhaps as if listening to the news brought by Iris. The seats, on which are laid folded carpets, are carved out of the marble with great care and delicacy of finish, the regular geometrical lines being valuable in opposition to the varied undulations of the drapery. In the sides and backs of both seats are oblong sunk panels, in one of which several archaeologists have tried unsuccessfully to read the name of an artist (see Michaelis, p. 174; Brunn, _Griech. Kunstler_, i., p. 104). Most of the writers on the Parthenon, from Visconti downwards, have named this group Demeter and Persephone, two deities, whose cult in Attica ranked second only to that of Athene herself. This attribution would be strengthened if the reclining male figure could be identified with Dionysos, a deity whose wors.h.i.+p in Attica was closely connected with that of the Eleusinian G.o.ddesses. The composition of the group has suggested to other archaeologists a sisterly rather than a filial relation between the figures. Brondsted (_Voyages et Recherches_, ii., p. xi.) suggested that these two figures, with G, were the three Horae or Seasons, wors.h.i.+pped in Attica under the names Thallo, Auxo and Karpo. Brunn (followed by Waldstein) supposes that the two figures are Horae, but that they must be viewed as the warders of the gates of Olympos (Hom.

_Il._, v., 749) rather than as Attic deities. On this theory the position of figure G, if it represents Iris, would indicate that she is on the point of reaching the boundary of Olympos and pa.s.sing to the outer world.

_Mus. Marbles_, VI., pl. 5; Michaelis, pl. 6, fig. 11; Murray, II., pl. 4; _Stereoscopic_, No. 106; Rayet, _Monuments_, No. 32; Waldstein, _Essays_, pl. 7; Mitch.e.l.l, _Selections_, pl. 6; Brunn, _Ber. der k. bayer. Akad., Phil. hist. Cl._, 1874, II., p. 15.

[Sidenote: =303 G.=]