plate, from a photograph by Tamme of the marble at Dresden, completed by Furtwängler from the head at Bologna. See P. 157
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45
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HEAD OF THE LEMNIAN ATHENA
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156
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Collotype plate, from a photograph by Alinari of the marble at Bologna. See p. 158
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46
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STATUE OF MARSYAS, AFTER MYRON
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158
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From a photograph by Mansell & Co. of the original bronze in the British Museum, after Myron. See p. 159
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47
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THE VICTORY OF PÆONIUS (Fig. 1)
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162
|
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From a photograph of the original at Olympia
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47
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THE “SPINARIO” (Fig. 2)
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From a photograph of the original at Florence. See p. 161
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48
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THE PARTHENON: MODERN VIEW FROM NORTH-WEST
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164
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From a photograph by the English Photo Co., Athens. See p. 163
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49
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THE TEMPLE OF NIKÈ APTEROS (THE WINGLESS VICTORY) (Fig. 1)
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166
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From a photograph by the English Photo Co., Athens. See p. 164
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49
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THE CARYATID PORCH OF THE ERECHTHEUM (Fig. 2)
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166
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From a photograph. See p. 166
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50
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THE “THESEUM,” ATHENS
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168
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From a photograph by the English Photo Co., Athens. Really a temple of Hephæstus. See p. 167
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51
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THE “AGIAS” OF LYSIPPUS
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170
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|
From a photograph by the English Photo Co., Athens. A marble statue recently discovered at Delphi. It can be identified as a contemporary replica of a bronze by Lysippus, and is our only certain evidence of his style. See pp. 169 and 218
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52
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THE TEMPLE OF APOLLO AT PHIGALEIA [BASSÆ]
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172
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|
From a photograph by the English Photo Co., Athens. See p. 169
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53
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PORTIONS OF THE PHIGALEIAN FRIEZE
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174
|
|
From photographs by Mansell & Co. of the originals, now in the British Museum (Phigaleian Room). See p. 170
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54
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THEATRE AT EPIDAURUS
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176
|
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From a photograph by the English Photo Co., Athens. The best extant example of a Greek theatre. In the centre is the circular orchestra, where the chorus danced and sang, and behind it are relics of the stage-buildings. In the centre of the orchestra was an altar of Dionysus. This theatre was built about the middle of the fourth century B.C. The auditorium would hold about 15,000 spectators. See p. 175
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55
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MONUMENT OF LYSICRATES AT ATHENS
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182
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From a photograph by Rhomaides. See p. 182. The whole monument would form a base for the prize tripod
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56
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RED-FIGURED VASE AND PYXIS
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184
|
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Collotype plate, from originals in the British Museum, Third Vase Room: Vase E 155; Pyxis D 11 (see illustration, p. 45). The vase is a fine two-handled kantharos of the late fifth century. The background is painted black and the figures left red. See p. 191
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The Pyxis (lady’s jewel-box) shows a marriage procession, drawn in colours on a light ground. The bride is being led to the family altar, preceded by a flute-player. See p. 191
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57
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WHITE POLYCHROME VASES (LECYTHI)
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186
|
|
Collotype plate, from originals in the British Museum, Third Vase Room, Vases D 54 and D 60 in Case F. Vessels, specially painted, to contain the oil used in funerals and buried in the tomb. The youth in the mourning robe is holding an oil-jar and gazing at the monument of his deceased friend. Compare Vase Plate, Fig. 4, and see p. 191
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58
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ORPHEUS AND EURYDICE [TOMBSTONE RELIEF]
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188
|
|
From a photograph by Alinari of the original at Rome. See p. 192
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59
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THE MOURNING ATHENA
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190
|
|
From a photograph by the English Photo Co. of the original in the Athens Museum. See p. 193
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60
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TWO TOMBSTONE RELIEFS, FROM THE CERAMEIKOS, ATHENS
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192
|
|
From photographs of originals in the Athens Museum. See p. 193
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|
61
|
APOLLO SAUROCTONOS (THE LIZARD-SLAYER) (Fig. 1)
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194
|
|
Collotype plate, from a photograph by Anderson of the original in the Vatican. See p. 217
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61
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THE CNIDIAN APHRODITE (Fig. 2)
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|
Collotype plate, from a photograph by Mansell & Co. See p. 214. This Vatican statue of Aphrodite has never been photographed in its original nudity, but a cast was made and from it this photograph was taken
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62
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GIRL’S HEAD
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