The Glory That Was Greece: a survey of Hellenic culture and civilisation. J. C. Stobart

38 These vases were originally covered with gold-leaf. The subjects have not yet been completely explained. Probably the whole vase deals with athletic combats: running and leaping on the top zone, bullfighting on the second, and boxing on the third and fourth 11 FRAGMENT OF SILVER VASE (Fig. 2) Collotype plate, from the facsimiles in the British Museum, as Plate 9. See p. 38. The subject is the siege of a city. We observe that here, as in the previous illustrations, the warriors are represented as almost naked. They fight with slings and arrows and protect themselves with huge shields of wicker 12 THE “FRANÇOIS” VASE 42 Collotype plate, from a photograph by Alinari. See pp. 43 and 57. A masterpiece of the earlier Attic school of vase-painting. It is signed by Ergotimus and Klitias, sixth century B.C. The scenes are mythological 13 HERMES KRIOPHOROS (THE LAMB-CARRIER) 66 From a terra-cotta relief, British Museum, Terra-cotta Room, Case C, B 486. A fine example of archaic relief-work, showing Hermes as the Arcadian shepherd’s god 14 PANORAMA OF DELPHI 68 From a photograph by the English Photo Co., Athens. See p. 69 15 “APOLLO” FROM ORCHOMENUS 70 From a photograph by the English Photo Co., Athens, of the original in the National Museum. See pp. 69 and 70 16 “APOLLO” OF TENEA 72 Collotype plate, from a photograph by Hanfstaengl of the original at Munich 17 THE “STRANGFORD APOLLO” 74 From a photograph by Mansell & Co. of the original in the Archaic Room, British Museum. These three figures may indicate the progress of early Greek sculpture in expressing the human figure. There is little ground for calling these figures “Apollo.” They may equally well be human athletes 18 HEAD OF APOLLO, FROM THE WESTERN PEDIMENT, OLYMPIA 76 Collotype plate, from a photograph by the English Photo Co., Athens, of the marble at Olympia. See p. 70 19 THE “DISCOBOLUS” OF MYRON (Fig. 1) 80 From a photograph by Anderson of a cast from the original in a private collection at Rome. The copy in the British Museum (drawn on p. 80) has the head reversed. See p. 81 19 THE “DIADUMENUS” OF POLYCLEITUS (Fig. 2) From a photograph by Mansell & Co. He is binding the victor’s garland round his forehead. This is, perhaps, the best of several copies made from the famous original, but it is much restored and probably not a very faithful copy 20 THE “DORYPHORUS” OF POLYCLEITUS (Fig. 1) 82 From a photograph by Brogi 20 THE “APOXYOMENUS” (Fig. 2) From a photograph by Alinari. See p. 81. The recent discovery of the Agias (Pl. 51) has proved that this is not, as was formerly supposed, a true example of the work of Lysippus 21 CHARIOTEER: BRONZE 84 From a photograph by Mansell & Co. of a cast from the original at Delphi. See p. 81 22 VIEW OF MODERN SPARTA, WITH MOUNT TAYGETUS 86 From a photograph by the English Photo Co., Athens. See p. 87 23 RUNNING GIRL 90 Collotype plate, from a photograph by Anderson. Represents a competitor in the girls’ foot-race which took place at Olympia in honour of Hera. The original must have been in bronze, but this marble copy reproduces its archaic character. See p. 83 24 ATHENA PROMACHOS, FROM A PANATHENAIC AMPHORA 94 Drawn from Vase B 140 in the Second Vase Room, British Museum (Case I). See pp. 95 and 112 25 DEMETER, PERSEPHONE, AND TRIPTOLEMUS (ELEUSINIAN RELIEF) 98 From a photograph by the English Photo Co. of the original marble relief at Athens. See p. 98 26 ATHENA POLIAS 102 From a photograph by the English Photo Co., Athens, of the original bronze statuette in the Acropolis Museum. See p. 102 27 CORINTHIAN VASES 104 Collotype plate, from a photograph of the originals in the British Museum, Second Vase Room, Case 8, A 1430, and Case 16, B 29. The style of these vases may be distinguished by the purple tones of the colouring and