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Steven Lowenstam Collection
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- Description
- Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --The British Museum, Burn, Lucilla; Higgins, Reynold; Walters, H B; Bailey, D M, Catalogue of Terracottas in the British Museum, I-IV, London, BMP, 1903
- Description
- Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers. The Lapith has seized the Centaur by the hair with his right hand, pressing his right knee on the Centaur’s breast, his left arm is drawn back. The Centaur, rearing up, grasps the Lapith by the throat, twisting his forelegs round the Lapith’s right leg. The Centaurs right arm, made separately, and right hind foreleg are missing, as are the Lapith’s left forearm and foot, and parts of the frame. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Marble metope from the Parthenon (South metope III). The South metopes in The British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Lapith, on the right, attacks a Centaur, from behind, resting his right knee on the Centaur’s hindquarters and extending his right arm to seize the Centaur’s neck. The upper body of the Centaur is turned back towards his attacker. An animal skin is wound around his left arm. A long chlamys hangs from the shoulders of the Lapith and he wears boots. Dowel holes, in his left side and at the junction of the chlamys, are visible and probably served for the attachment of metal weapons. The left arm and left foot of the Lapith, the Centaur’s right arm and three of his legs, and the heads of both figures and parts of the frame are missing. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Marble metope from the Parthenon (South metope XXVII). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A young Lapith, on the left, holds a Centaur’s head from behind with his left hand, while preparing to deliver a blow with the other. The Centaur, wounded in the back, rears up and presses his right hand against the wound. A chlamys falls over both Lapith’s arms, hanging behind his back. Both heads, the Lapith’s foreleg and right forearm, and the Centaurs left arm and right leg are missing. Parts of the frame in the top left hand corner are restored. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Marble metope from the Parthenon (South metope VII). The South metopes in The British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. With his left hand a Lapith, on the left, grasps a Centaur. His right arm is drawn back and he probably once held a metal sword, now lost, in his hand, about to strike the Centaur. A chlamys fastened on his right shoulder falls over his left arm and flies out behind his back. The Centaur, rearing up, tries to pull away the Lapith’s left hand. From the shoulders of the Centaur hangs a small chlamys. The head of the Centaur is in the Acropolis Museum, Athens, and the Lapith’s head is in the Musée du Louvre, Paris. The Lapith’s hands, left foot and the right leg below the knee are missing. As are the Centaur’s left arm below the shoulder and part of his left hind leg and parts of the frame. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --The British Museum, Burn, Lucilla; Higgins, Reynold; Walters, H B; Bailey, D M, Catalogue of Terracottas in the British Museum, I-IV, London, BMP, 1903
8. Ionic Freeze
- Description
- Marble relief (Block XLVII) from the North frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. Like the southern branch of the procession, the northern branch comprises mounted horsemen, chariots, elders, musicians, pitcher-bearers, tray-bearers and figures leading sacrificial victims. As in the South frieze, so in the North the cavalcade comprised sixty riders. Whereas in the South these are carved over twenty-four blocks, in the North they are compressed into nineteen blocks. The groups of riders are not divided equally, as they are in the South. Dress varies from figure to figure. Some are heavily draped in mantle and tunic, while others are all but naked. Some ride bareheaded, while others wear a distinctive form of cap or a helmet. Metal reins, which are now lost, were inserted in drill-holes. Block XLVII shows a scene of preparation for the cavalcade that lies ahead, echoing the major theme of the West frize. Its return on the West side is carved with a marshal. On the right a boy, wearing drapery over his shoulder, is tying a girdle around the waist of the waiting horseman, dressed in a tunic. The heads of the youth and the boy are both dipped, just as the head of the horse, waiting patiently by. On the left a figure, wearing a cloak, stands by his horse, which he restrains with his right arm, while his left is raised to the head with the index finger extended. His head is turned back to his unprepared companions. A fragment, the horse’s head, is in the Acropolis Museum, Athens. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; enkins, Ian, The Parthenon Frieze, London, BMP, 1994
9. Erechtheion
10. Parthenon
11. Nereid Monument
- Description
- The Nereid Monument takes its name from the Nereids, sea-nymphs whose statues were placed between the columns of this monumental tomb. It was built for Erbinna (Greek Arbinas), ruler of Lycian Xanthos, south-west Turkey. Although he was not Greek, Erbinna chose to be buried in a tomb that resembles a Greek temple of the Ionic order. --The British Museum
12. Nereid Monument
- Description
- The Nereid Monument takes its name from the Nereids, sea-nymphs whose statues were placed between the columns of this monumental tomb. It was built for Erbinna (Greek Arbinas), ruler of Lycian Xanthos, south-west Turkey. Although he was not Greek, Erbinna chose to be buried in a tomb that resembles a Greek temple of the Ionic order. --The British Museum
- Description
- Marble relief (Block V) from the East frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. This Block shows five gods and five figures involved in a ritual. On the left of the Block stands Iris, who arranges her hair. The surviving fragment of her head is in the Acropolis Museum, Athens. Hera sits in front of Iris and makes the bridal gesture of holding out her veil. By the side of Hera, Zeus leans over the back of a throne. In his right hand he holds a sceptre or thunderbolt. As father of gods, his seat is distinguished from those of the other gods, who occupy simple stools. The arm-rest is supported by a miniature sphinx. On the extreme right of the Block, Athena is shown seated with Hephaestus. In her lap can be seen the snake fringe of the aegis, which the goddess wore for protection. Drill-holes on her right side indicate the line of her spear. Hephaestus is heavily muscled but supports his right side with a crutch under the arm. Between the two ranks of seated gods a group of five figures is involved in a ritual which has to do with the piece of cloth held up by a man and a child. This is thought to be the peplos of Athena, dedicated on the occasion of the Panathenaic festival. The man wears the long unbelted tunic of a priest and is usually identified with the chief magistrate and overseer of Athenian state religion, Archon Basileus. The child is probably a boy and may be identified as a temple-server. The woman with her back to the priest is likely to be the priestess of Athena Polias, goddess of the city. She is about to receive the cushioned stool carried by the girl approaching her. Another girl approaches behind the first, carrying both a stool and, on her left arm, a footstool. This last is much damaged but the unmistakable paw-shaped foot of one leg is preserved. The central Block of the East frieze was placed over the approach to the East doorway of the temple that gave access to the statue of the goddess within. The Block was removed during the Christian re-use of the Parthenon as a church. It was not destroyed, however, and survived on the Acropolis built into a wall, where it was found and rescued by Lord Elgin’s men. For more information on the pedestrian-procession see East frieze Block III. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994
15. Erechtheion
- Description
- Pentelic marble caryatid from the Erechtheion. This is one of six caryatids that held up the roof of the Erechtheion. She wears a peplos pinned on each shoulder. Her hair is braided and falls in a thick rope down her back. She probably held a sacrificial vessel in one of the missing hands. The figure strongly resembles the women of the east frieze of the Parthenon, which had just been completed when work on the Erechtheion began. She carries an architectural capital like a basket on her head. The weight she bears is taken on the right leg, encased in perpendicular folds. The other leg is flexed with the drapery moulded to it. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994
- Description
- The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994
- Description
- Marble votive relief dedicated to the goddess Bendis, a Thracian goddess akin to the Greek Artemis. Bendis, standing to the right, is approached by a group of mortal votaries, eight naked athletes led by two bearded and draped officials, perhaps trainer and sponsor. The first official carries a torch and so identifies the athletes as members of a torch race relay team. The athletes wear wreaths in their hair. Bendis is dressed in a sleeved tunic hitched up so as to form a short skirt. An animal skin is draped over one shoulder, while an outer cloak pinned at the neck falls over her shoulders and down her back. Her legs are clad in knee-length boots, and she wears a Phrygian cap with a pointed crown. She holds a libation bowl (phiale). --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Bronze circular tanged mirror. Chased decoration. Edge has a channel between two rows of beading. Palmette motif on base of obverse. On the reverse, there is a border decoration of intertwined ivy trails. The main scene is of two confronted people - a naked standing man and a seated woman. They could be interpreted as Utuse (Odysseus) and either Kirke (Circe) or Antikleia, Odysseus' mother . The owner's name is inscribed vertically in the centre. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899; Corpus Speculorum Etruscorum, London, BMP, 2002
- Description
- Marble reliefs from the Harpy Tomb. Chest with reliefs on all four sides which originally surmounted a Lycian sepulchral tower. 1. North side. In the centre a young armed man stands on the left offering a helmet to a bearded man seated on the right. The former wears sandals, greaves, short chiton with sleeves of crinkled material, the lower part in flat pleats with high zigzag edge, and cuirass with leathern flaps; at his left side is a short broad sword, the scabbard ending in a knob; in front of his chest projects a bird's head and neck, the sword-handle; it is higher than the scabbard, the blade being curved. The back of the head is broken away and the face is weathered. His left hand supports a large shield which stands on edge on the ground before him; with his right hand he extends a plumed Corinthian helmet to the seated figure, who raises his right hand to receive it. The latter wears sandals, sleeved Ionic chiton and mantle thrown over his back, left shoulder and knees. His right hand holds a spear or sceptre sloped against the left shoulder. He has a moustache and pointed beard, long nose and almond-shaped eyes, the inner angle curving, the upper lid prolonged in an incised line. The head is disproportionately large and is lost at the back. The outline of the hair is waved. The seat is a stool with turned legs, upon which is a cushion; underneath it is a small quadruped with thick body, short legs, and pointed snout lowered to the ground to left, possibly a bear (the identification by some writers as a pig is wrong, as the animal has paws). On the angle-slabs, facing outwards, are the figures formerly known as Harpies, but which are now identified as Sirens. They have the head, breasts and arms of women; the body ends like an egg, with a bird's spreading tail and talons attached. Long wings spring from the shoulders and under the arms; the ends are continued on the centre slab. The figures are shown as nude save that on the elbows are the crinkled sleeves of chitons. The hair is worked in small waves and confined by a pointed diadem; it falls in long tresses on the left figure, and is looped up at the back on the right. Their features wear a soft smile, as they fly off carrying diminutive female figures in their arms clasped against their breasts by both hands and talons. The latter wear long crinkled chitons with sleeves and long overfolds; the feet are bare, their hair is long and falls loosely; on the right, the hair is waved, with a diadem; on the left it is treated as a plane with horizontal grooves. Each raises the inner hand to the chin of the Harpy, the outer hand hangs down; the one on the right holds in the hanging hand an object now broken, perhaps a patera. On the extreme right in the corner squats a diminutive woman in an attitude of grief, her chin resting on both hands, her head turned upwards towards the siren. She wears a long crinkled chiton with large loose sleeves and a diadem on her hair, which hangs loose at the back. The mouth and front edge of forearms and legs are broken away. 2. South side. The angle-slabs are practically replicas of those on the North side; in each is a Siren carrying off a female. On the left slab the hair of the Siren is looped up-behind, two, short curls falling in front of the ear; the female raises its right hand, while the left arm hangs limply; it is clasped more tightly than the other. On the right slab the woman raises both hands, and the hair of the Siren falls in long plaits. Both women have waved hair with diadems. The right bottom corner of the left angle slab is missing; there is no seated mourner. The central group consists of a man enthroned on the left, before whom stands a figure of uncertain sex. The seated man is beardless, with full features and heavy forms; he wears Ionic chiton, mantle over the left shoulder, and shoes with turned-up toes, and is seated on a throne with turned legs, cushion and high back. A spear, or sceptre, leans against his left shoulder. His hands are extended before him, the right holding an apple, the left holding aloft a pomegranate. The back of his head and the back leg of the throne are missing. The head and shoulders of the standing figure are broken off, but the outline of the nose and chin, which was beardless, may be traced on the slab; it has generally been interpreted as male; the left hand holds a fluttering dove in front by the wing, the right hand is raised with fingers extended in an attitude of adoration; the dress consists of Ionic chiton, mantle and sandals. 3. East side. This side has suffered most from weathering. The central group consists of a bearded man enthroned on the left to whom a youth brings offerings. The throne has legs terminating in animal's feet, a high sloping back, a brace and a handrail supported by a small Triton who is extended with body to front and bearded head to right, the hands outstretched as supporters; a cushion is indicated. The details of the man's face are weathered; he has a long pointed beard, and wears Ionic chiton and mantle, the end of the latter falling over the back of the chair; his feet, which seem to be bare, rest on a cushion the front of which, with the toes, is broken away, as is also the back leg of the chair. His left hand rests on the staff of a spear or sceptre his right holds a poppy (?) before his face. Before him is a diminutive draped boy, holding out to him a cock held in the right hand, and in the left a fruit. The lower part of this figure is missing; it may have been shown as kneeling. On the left angle slab two draped figures advance towards the centre, both wearing Ionic chitons and mantles; the first has sandals, the second is barefoot. The first holds a pomegranate suspended from the left hand and in the right holds up a flower (?). The second draws up an edge of the mantle with the left hand, and with the right raises a poppy-head (?) to the face. The sex of these two persons has been much disputed; the pose of the hands, the attributes and the arrangement of the drapery compare with the women on the West side; on the other hand, the contours are indefinite, and therefore probably male; the hair is short like the man on the right angle slab, and the second of the two appears to have a short pointed beard; this figure is remarkably corpulent. On the right angle slab, a youth advances towards the centre. His feet are broken away; on his farther side is a dog looking up at him, its tail on the right edge of the slab. He wears Ionic chiton and mantle over the left shoulder and his hair is short at the back. He holds a stick with a curved handle in his left hand; his right hand holds up an object, which is broken away save for a handle underneath his fingers, but which was in part of metal separately attached, for which the rivet hole remains; it may have been a cup on a tall stem. The feet are missing. All the persons on this side, save the boy in the centre, had metal circlets about their hair; the rivet holes remain at the back of the heads. 4. West side. In each angle slab an enthroned woman faces the centre. The woman on the left has a broad pointed diadem round her hair, which is waved over the forehead and tied in a knot behind, the ends falling on her shoulders. She wears Ionic chiton with long full sleeves down which runs a broad flat seam-strip, and a mantle over the left shoulder and knees; the end of the chiton falls like a bird's wing under the seat; on her wrists are bracelets. Her right hand is extended holding a libation-bowl on her knee; her left was raised holding some object which is now broken away. On her feet are shoes with upturned toes; she is seated on a throne with high back (the top broken), turned legs, a handrail supported by a seated sphinx to right and ending in a ram's head, cushion and footstool (a fragment rejoined and the right side missing). The footstool is in one piece with the throne, as on the Branchidae statues. The woman on the right is similar save that the hair is looped up; in her left hand she holds out a pomegranate, with her right she raises a poppy flower to her face. Her throne is of different design; the back is curved and ends in swan's head; there is no Sphinx under the handrail, which ends in a ram's head; the legs are rectangular with volute indents and terminate above in volutes. The left bottom corner of the footstool is missing; it is thicker than the other and independent of the throne. On the centre slab, three women move to right in procession towards the right seated figure. They are similar save in the attitude of the hands, and have diadems round the hair, which falls on back and breast in long tresses, Ionic sleeved chitons and mantles, the ends of which fall at the side on the first figure, down back and front on the other two. The first two have shoes with turned-up toes, the feet and legs below knees of the third are broken away, save for one bare toe. The first draws the side of her mantle in front of her face with the left hand and supports a fold in front of her hips with the right. The second holds a pomegranate in front of her with the right, while the left raises a poppy to her nose. The third holds up an egg before her face, while the left holds up the drapery. All wear bracelets. On the left the centre slab is prolonged above to form a lintel for the door, and the left angle slab is correspondingly cut back over the libation-bowl of the left seated figure to receive it. Above the door is a flat moulding and above this a relief of a cow to left suckling a calf. The shaft was of limestone, the reliefs of large-grained marble, now weathered; they are made up of central slabs and angle-pieces. The subjects are set in a frame; at the sides and at the top is a flat moulding, curving below into the relief-ground and projecting 0.023m; the relief of the figures occasionally projects beyond it. At the bottom is a straight base-line below which is a cyma recta. The north, south and east sides are similar in composition; in the central slab a seated figure receives offerings, while angle-pieces are filled by subsidiary figures. The western side contained the entrance to the chamber and shows seated figures in the angle-pieces and a procession in the centre, with an independent relief in the space over the door. The reliefs are worked with elaboration of detail, fleshy smiling faces and soft draperies that reveal the contours. The west side is not only the best preserved and most important, but is superior in style; the proportions are better, the scale smaller, the heads being kept below the moulding. On the North and East (and possibly the South) sides, all heads cut into the moulding, except the Siren groups which, however, extend over the side border, as if to emphasise the idea of departure. On these three sides the figures are thick and clumsy. The hair is, with one exception, delicately worked in rows of waved lines, cut short on the neck for the men, loose or looped up on the women. The eye shows a raised eyeball and raised lashes, the inner angle sometimes blunted. The drapery is carefully finished; on the chitons of the children the crinkling is convex, on the other figures it is worked in narrow concave bands. The wider folds of the mantles are also curved. The lower edges of the sleeves are formally drawn forward. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Marble reliefs from the Harpy Tomb. Chest with reliefs on all four sides which originally surmounted a Lycian sepulchral tower. 1. North side. In the centre a young armed man stands on the left offering a helmet to a bearded man seated on the right. The former wears sandals, greaves, short chiton with sleeves of crinkled material, the lower part in flat pleats with high zigzag edge, and cuirass with leathern flaps; at his left side is a short broad sword, the scabbard ending in a knob; in front of his chest projects a bird's head and neck, the sword-handle; it is higher than the scabbard, the blade being curved. The back of the head is broken away and the face is weathered. His left hand supports a large shield which stands on edge on the ground before him; with his right hand he extends a plumed Corinthian helmet to the seated figure, who raises his right hand to receive it. The latter wears sandals, sleeved Ionic chiton and mantle thrown over his back, left shoulder and knees. His right hand holds a spear or sceptre sloped against the left shoulder. He has a moustache and pointed beard, long nose and almond-shaped eyes, the inner angle curving, the upper lid prolonged in an incised line. The head is disproportionately large and is lost at the back. The outline of the hair is waved. The seat is a stool with turned legs, upon which is a cushion; underneath it is a small quadruped with thick body, short legs, and pointed snout lowered to the ground to left, possibly a bear (the identification by some writers as a pig is wrong, as the animal has paws). On the angle-slabs, facing outwards, are the figures formerly known as Harpies, but which are now identified as Sirens. They have the head, breasts and arms of women; the body ends like an egg, with a bird's spreading tail and talons attached. Long wings spring from the shoulders and under the arms; the ends are continued on the centre slab. The figures are shown as nude save that on the elbows are the crinkled sleeves of chitons. The hair is worked in small waves and confined by a pointed diadem; it falls in long tresses on the left figure, and is looped up at the back on the right. Their features wear a soft smile, as they fly off carrying diminutive female figures in their arms clasped against their breasts by both hands and talons. The latter wear long crinkled chitons with sleeves and long overfolds; the feet are bare, their hair is long and falls loosely; on the right, the hair is waved, with a diadem; on the left it is treated as a plane with horizontal grooves. Each raises the inner hand to the chin of the Harpy, the outer hand hangs down; the one on the right holds in the hanging hand an object now broken, perhaps a patera. On the extreme right in the corner squats a diminutive woman in an attitude of grief, her chin resting on both hands, her head turned upwards towards the siren. She wears a long crinkled chiton with large loose sleeves and a diadem on her hair, which hangs loose at the back. The mouth and front edge of forearms and legs are broken away. 2. South side. The angle-slabs are practically replicas of those on the North side; in each is a Siren carrying off a female. On the left slab the hair of the Siren is looped up-behind, two, short curls falling in front of the ear; the female raises its right hand, while the left arm hangs limply; it is clasped more tightly than the other. On the right slab the woman raises both hands, and the hair of the Siren falls in long plaits. Both women have waved hair with diadems. The right bottom corner of the left angle slab is missing; there is no seated mourner. The central group consists of a man enthroned on the left, before whom stands a figure of uncertain sex. The seated man is beardless, with full features and heavy forms; he wears Ionic chiton, mantle over the left shoulder, and shoes with turned-up toes, and is seated on a throne with turned legs, cushion and high back. A spear, or sceptre, leans against his left shoulder. His hands are extended before him, the right holding an apple, the left holding aloft a pomegranate. The back of his head and the back leg of the throne are missing. The head and shoulders of the standing figure are broken off, but the outline of the nose and chin, which was beardless, may be traced on the slab; it has generally been interpreted as male; the left hand holds a fluttering dove in front by the wing, the right hand is raised with fingers extended in an attitude of adoration; the dress consists of Ionic chiton, mantle and sandals. 3. East side. This side has suffered most from weathering. The central group consists of a bearded man enthroned on the left to whom a youth brings offerings. The throne has legs terminating in animal's feet, a high sloping back, a brace and a handrail supported by a small Triton who is extended with body to front and bearded head to right, the hands outstretched as supporters; a cushion is indicated. The details of the man's face are weathered; he has a long pointed beard, and wears Ionic chiton and mantle, the end of the latter falling over the back of the chair; his feet, which seem to be bare, rest on a cushion the front of which, with the toes, is broken away, as is also the back leg of the chair. His left hand rests on the staff of a spear or sceptre his right holds a poppy (?) before his face. Before him is a diminutive draped boy, holding out to him a cock held in the right hand, and in the left a fruit. The lower part of this figure is missing; it may have been shown as kneeling. On the left angle slab two draped figures advance towards the centre, both wearing Ionic chitons and mantles; the first has sandals, the second is barefoot. The first holds a pomegranate suspended from the left hand and in the right holds up a flower (?). The second draws up an edge of the mantle with the left hand, and with the right raises a poppy-head (?) to the face. The sex of these two persons has been much disputed; the pose of the hands, the attributes and the arrangement of the drapery compare with the women on the West side; on the other hand, the contours are indefinite, and therefore probably male; the hair is short like the man on the right angle slab, and the second of the two appears to have a short pointed beard; this figure is remarkably corpulent. On the right angle slab, a youth advances towards the centre. His feet are broken away; on his farther side is a dog looking up at him, its tail on the right edge of the slab. He wears Ionic chiton and mantle over the left shoulder and his hair is short at the back. He holds a stick with a curved handle in his left hand; his right hand holds up an object, which is broken away save for a handle underneath his fingers, but which was in part of metal separately attached, for which the rivet hole remains; it may have been a cup on a tall stem. The feet are missing. All the persons on this side, save the boy in the centre, had metal circlets about their hair; the rivet holes remain at the back of the heads. 4. West side. In each angle slab an enthroned woman faces the centre. The woman on the left has a broad pointed diadem round her hair, which is waved over the forehead and tied in a knot behind, the ends falling on her shoulders. She wears Ionic chiton with long full sleeves down which runs a broad flat seam-strip, and a mantle over the left shoulder and knees; the end of the chiton falls like a bird's wing under the seat; on her wrists are bracelets. Her right hand is extended holding a libation-bowl on her knee; her left was raised holding some object which is now broken away. On her feet are shoes with upturned toes; she is seated on a throne with high back (the top broken), turned legs, a handrail supported by a seated sphinx to right and ending in a ram's head, cushion and footstool (a fragment rejoined and the right side missing). The footstool is in one piece with the throne, as on the Branchidae statues. The woman on the right is similar save that the hair is looped up; in her left hand she holds out a pomegranate, with her right she raises a poppy flower to her face. Her throne is of different design; the back is curved and ends in swan's head; there is no Sphinx under the handrail, which ends in a ram's head; the legs are rectangular with volute indents and terminate above in volutes. The left bottom corner of the footstool is missing; it is thicker than the other and independent of the throne. On the centre slab, three women move to right in procession towards the right seated figure. They are similar save in the attitude of the hands, and have diadems round the hair, which falls on back and breast in long tresses, Ionic sleeved chitons and mantles, the ends of which fall at the side on the first figure, down back and front on the other two. The first two have shoes with turned-up toes, the feet and legs below knees of the third are broken away, save for one bare toe. The first draws the side of her mantle in front of her face with the left hand and supports a fold in front of her hips with the right. The second holds a pomegranate in front of her with the right, while the left raises a poppy to her nose. The third holds up an egg before her face, while the left holds up the drapery. All wear bracelets. On the left the centre slab is prolonged above to form a lintel for the door, and the left angle slab is correspondingly cut back over the libation-bowl of the left seated figure to receive it. Above the door is a flat moulding and above this a relief of a cow to left suckling a calf. The shaft was of limestone, the reliefs of large-grained marble, now weathered; they are made up of central slabs and angle-pieces. The subjects are set in a frame; at the sides and at the top is a flat moulding, curving below into the relief-ground and projecting 0.023m; the relief of the figures occasionally projects beyond it. At the bottom is a straight base-line below which is a cyma recta. The north, south and east sides are similar in composition; in the central slab a seated figure receives offerings, while angle-pieces are filled by subsidiary figures. The western side contained the entrance to the chamber and shows seated figures in the angle-pieces and a procession in the centre, with an independent relief in the space over the door. The reliefs are worked with elaboration of detail, fleshy smiling faces and soft draperies that reveal the contours. The west side is not only the best preserved and most important, but is superior in style; the proportions are better, the scale smaller, the heads being kept below the moulding. On the North and East (and possibly the South) sides, all heads cut into the moulding, except the Siren groups which, however, extend over the side border, as if to emphasise the idea of departure. On these three sides the figures are thick and clumsy. The hair is, with one exception, delicately worked in rows of waved lines, cut short on the neck for the men, loose or looped up on the women. The eye shows a raised eyeball and raised lashes, the inner angle sometimes blunted. The drapery is carefully finished; on the chitons of the children the crinkling is convex, on the other figures it is worked in narrow concave bands. The wider folds of the mantles are also curved. The lower edges of the sleeves are formally drawn forward. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Marble reliefs from the Harpy Tomb. Chest with reliefs on all four sides which originally surmounted a Lycian sepulchral tower. 1. North side. In the centre a young armed man stands on the left offering a helmet to a bearded man seated on the right. The former wears sandals, greaves, short chiton with sleeves of crinkled material, the lower part in flat pleats with high zigzag edge, and cuirass with leathern flaps; at his left side is a short broad sword, the scabbard ending in a knob; in front of his chest projects a bird's head and neck, the sword-handle; it is higher than the scabbard, the blade being curved. The back of the head is broken away and the face is weathered. His left hand supports a large shield which stands on edge on the ground before him; with his right hand he extends a plumed Corinthian helmet to the seated figure, who raises his right hand to receive it. The latter wears sandals, sleeved Ionic chiton and mantle thrown over his back, left shoulder and knees. His right hand holds a spear or sceptre sloped against the left shoulder. He has a moustache and pointed beard, long nose and almond-shaped eyes, the inner angle curving, the upper lid prolonged in an incised line. The head is disproportionately large and is lost at the back. The outline of the hair is waved. The seat is a stool with turned legs, upon which is a cushion; underneath it is a small quadruped with thick body, short legs, and pointed snout lowered to the ground to left, possibly a bear (the identification by some writers as a pig is wrong, as the animal has paws). On the angle-slabs, facing outwards, are the figures formerly known as Harpies, but which are now identified as Sirens. They have the head, breasts and arms of women; the body ends like an egg, with a bird's spreading tail and talons attached. Long wings spring from the shoulders and under the arms; the ends are continued on the centre slab. The figures are shown as nude save that on the elbows are the crinkled sleeves of chitons. The hair is worked in small waves and confined by a pointed diadem; it falls in long tresses on the left figure, and is looped up at the back on the right. Their features wear a soft smile, as they fly off carrying diminutive female figures in their arms clasped against their breasts by both hands and talons. The latter wear long crinkled chitons with sleeves and long overfolds; the feet are bare, their hair is long and falls loosely; on the right, the hair is waved, with a diadem; on the left it is treated as a plane with horizontal grooves. Each raises the inner hand to the chin of the Harpy, the outer hand hangs down; the one on the right holds in the hanging hand an object now broken, perhaps a patera. On the extreme right in the corner squats a diminutive woman in an attitude of grief, her chin resting on both hands, her head turned upwards towards the siren. She wears a long crinkled chiton with large loose sleeves and a diadem on her hair, which hangs loose at the back. The mouth and front edge of forearms and legs are broken away. 2. South side. The angle-slabs are practically replicas of those on the North side; in each is a Siren carrying off a female. On the left slab the hair of the Siren is looped up-behind, two, short curls falling in front of the ear; the female raises its right hand, while the left arm hangs limply; it is clasped more tightly than the other. On the right slab the woman raises both hands, and the hair of the Siren falls in long plaits. Both women have waved hair with diadems. The right bottom corner of the left angle slab is missing; there is no seated mourner. The central group consists of a man enthroned on the left, before whom stands a figure of uncertain sex. The seated man is beardless, with full features and heavy forms; he wears Ionic chiton, mantle over the left shoulder, and shoes with turned-up toes, and is seated on a throne with turned legs, cushion and high back. A spear, or sceptre, leans against his left shoulder. His hands are extended before him, the right holding an apple, the left holding aloft a pomegranate. The back of his head and the back leg of the throne are missing. The head and shoulders of the standing figure are broken off, but the outline of the nose and chin, which was beardless, may be traced on the slab; it has generally been interpreted as male; the left hand holds a fluttering dove in front by the wing, the right hand is raised with fingers extended in an attitude of adoration; the dress consists of Ionic chiton, mantle and sandals. 3. East side. This side has suffered most from weathering. The central group consists of a bearded man enthroned on the left to whom a youth brings offerings. The throne has legs terminating in animal's feet, a high sloping back, a brace and a handrail supported by a small Triton who is extended with body to front and bearded head to right, the hands outstretched as supporters; a cushion is indicated. The details of the man's face are weathered; he has a long pointed beard, and wears Ionic chiton and mantle, the end of the latter falling over the back of the chair; his feet, which seem to be bare, rest on a cushion the front of which, with the toes, is broken away, as is also the back leg of the chair. His left hand rests on the staff of a spear or sceptre his right holds a poppy (?) before his face. Before him is a diminutive draped boy, holding out to him a cock held in the right hand, and in the left a fruit. The lower part of this figure is missing; it may have been shown as kneeling. On the left angle slab two draped figures advance towards the centre, both wearing Ionic chitons and mantles; the first has sandals, the second is barefoot. The first holds a pomegranate suspended from the left hand and in the right holds up a flower (?). The second draws up an edge of the mantle with the left hand, and with the right raises a poppy-head (?) to the face. The sex of these two persons has been much disputed; the pose of the hands, the attributes and the arrangement of the drapery compare with the women on the West side; on the other hand, the contours are indefinite, and therefore probably male; the hair is short like the man on the right angle slab, and the second of the two appears to have a short pointed beard; this figure is remarkably corpulent. On the right angle slab, a youth advances towards the centre. His feet are broken away; on his farther side is a dog looking up at him, its tail on the right edge of the slab. He wears Ionic chiton and mantle over the left shoulder and his hair is short at the back. He holds a stick with a curved handle in his left hand; his right hand holds up an object, which is broken away save for a handle underneath his fingers, but which was in part of metal separately attached, for which the rivet hole remains; it may have been a cup on a tall stem. The feet are missing. All the persons on this side, save the boy in the centre, had metal circlets about their hair; the rivet holes remain at the back of the heads. 4. West side. In each angle slab an enthroned woman faces the centre. The woman on the left has a broad pointed diadem round her hair, which is waved over the forehead and tied in a knot behind, the ends falling on her shoulders. She wears Ionic chiton with long full sleeves down which runs a broad flat seam-strip, and a mantle over the left shoulder and knees; the end of the chiton falls like a bird's wing under the seat; on her wrists are bracelets. Her right hand is extended holding a libation-bowl on her knee; her left was raised holding some object which is now broken away. On her feet are shoes with upturned toes; she is seated on a throne with high back (the top broken), turned legs, a handrail supported by a seated sphinx to right and ending in a ram's head, cushion and footstool (a fragment rejoined and the right side missing). The footstool is in one piece with the throne, as on the Branchidae statues. The woman on the right is similar save that the hair is looped up; in her left hand she holds out a pomegranate, with her right she raises a poppy flower to her face. Her throne is of different design; the back is curved and ends in swan's head; there is no Sphinx under the handrail, which ends in a ram's head; the legs are rectangular with volute indents and terminate above in volutes. The left bottom corner of the footstool is missing; it is thicker than the other and independent of the throne. On the centre slab, three women move to right in procession towards the right seated figure. They are similar save in the attitude of the hands, and have diadems round the hair, which falls on back and breast in long tresses, Ionic sleeved chitons and mantles, the ends of which fall at the side on the first figure, down back and front on the other two. The first two have shoes with turned-up toes, the feet and legs below knees of the third are broken away, save for one bare toe. The first draws the side of her mantle in front of her face with the left hand and supports a fold in front of her hips with the right. The second holds a pomegranate in front of her with the right, while the left raises a poppy to her nose. The third holds up an egg before her face, while the left holds up the drapery. All wear bracelets. On the left the centre slab is prolonged above to form a lintel for the door, and the left angle slab is correspondingly cut back over the libation-bowl of the left seated figure to receive it. Above the door is a flat moulding and above this a relief of a cow to left suckling a calf. The shaft was of limestone, the reliefs of large-grained marble, now weathered; they are made up of central slabs and angle-pieces. The subjects are set in a frame; at the sides and at the top is a flat moulding, curving below into the relief-ground and projecting 0.023m; the relief of the figures occasionally projects beyond it. At the bottom is a straight base-line below which is a cyma recta. The north, south and east sides are similar in composition; in the central slab a seated figure receives offerings, while angle-pieces are filled by subsidiary figures. The western side contained the entrance to the chamber and shows seated figures in the angle-pieces and a procession in the centre, with an independent relief in the space over the door. The reliefs are worked with elaboration of detail, fleshy smiling faces and soft draperies that reveal the contours. The west side is not only the best preserved and most important, but is superior in style; the proportions are better, the scale smaller, the heads being kept below the moulding. On the North and East (and possibly the South) sides, all heads cut into the moulding, except the Siren groups which, however, extend over the side border, as if to emphasise the idea of departure. On these three sides the figures are thick and clumsy. The hair is, with one exception, delicately worked in rows of waved lines, cut short on the neck for the men, loose or looped up on the women. The eye shows a raised eyeball and raised lashes, the inner angle sometimes blunted. The drapery is carefully finished; on the chitons of the children the crinkling is convex, on the other figures it is worked in narrow concave bands. The wider folds of the mantles are also curved. The lower edges of the sleeves are formally drawn forward. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Marble reliefs from the Harpy Tomb. Chest with reliefs on all four sides which originally surmounted a Lycian sepulchral tower. 1. North side. In the centre a young armed man stands on the left offering a helmet to a bearded man seated on the right. The former wears sandals, greaves, short chiton with sleeves of crinkled material, the lower part in flat pleats with high zigzag edge, and cuirass with leathern flaps; at his left side is a short broad sword, the scabbard ending in a knob; in front of his chest projects a bird's head and neck, the sword-handle; it is higher than the scabbard, the blade being curved. The back of the head is broken away and the face is weathered. His left hand supports a large shield which stands on edge on the ground before him; with his right hand he extends a plumed Corinthian helmet to the seated figure, who raises his right hand to receive it. The latter wears sandals, sleeved Ionic chiton and mantle thrown over his back, left shoulder and knees. His right hand holds a spear or sceptre sloped against the left shoulder. He has a moustache and pointed beard, long nose and almond-shaped eyes, the inner angle curving, the upper lid prolonged in an incised line. The head is disproportionately large and is lost at the back. The outline of the hair is waved. The seat is a stool with turned legs, upon which is a cushion; underneath it is a small quadruped with thick body, short legs, and pointed snout lowered to the ground to left, possibly a bear (the identification by some writers as a pig is wrong, as the animal has paws). On the angle-slabs, facing outwards, are the figures formerly known as Harpies, but which are now identified as Sirens. They have the head, breasts and arms of women; the body ends like an egg, with a bird's spreading tail and talons attached. Long wings spring from the shoulders and under the arms; the ends are continued on the centre slab. The figures are shown as nude save that on the elbows are the crinkled sleeves of chitons. The hair is worked in small waves and confined by a pointed diadem; it falls in long tresses on the left figure, and is looped up at the back on the right. Their features wear a soft smile, as they fly off carrying diminutive female figures in their arms clasped against their breasts by both hands and talons. The latter wear long crinkled chitons with sleeves and long overfolds; the feet are bare, their hair is long and falls loosely; on the right, the hair is waved, with a diadem; on the left it is treated as a plane with horizontal grooves. Each raises the inner hand to the chin of the Harpy, the outer hand hangs down; the one on the right holds in the hanging hand an object now broken, perhaps a patera. On the extreme right in the corner squats a diminutive woman in an attitude of grief, her chin resting on both hands, her head turned upwards towards the siren. She wears a long crinkled chiton with large loose sleeves and a diadem on her hair, which hangs loose at the back. The mouth and front edge of forearms and legs are broken away. 2. South side. The angle-slabs are practically replicas of those on the North side; in each is a Siren carrying off a female. On the left slab the hair of the Siren is looped up-behind, two, short curls falling in front of the ear; the female raises its right hand, while the left arm hangs limply; it is clasped more tightly than the other. On the right slab the woman raises both hands, and the hair of the Siren falls in long plaits. Both women have waved hair with diadems. The right bottom corner of the left angle slab is missing; there is no seated mourner. The central group consists of a man enthroned on the left, before whom stands a figure of uncertain sex. The seated man is beardless, with full features and heavy forms; he wears Ionic chiton, mantle over the left shoulder, and shoes with turned-up toes, and is seated on a throne with turned legs, cushion and high back. A spear, or sceptre, leans against his left shoulder. His hands are extended before him, the right holding an apple, the left holding aloft a pomegranate. The back of his head and the back leg of the throne are missing. The head and shoulders of the standing figure are broken off, but the outline of the nose and chin, which was beardless, may be traced on the slab; it has generally been interpreted as male; the left hand holds a fluttering dove in front by the wing, the right hand is raised with fingers extended in an attitude of adoration; the dress consists of Ionic chiton, mantle and sandals. 3. East side. This side has suffered most from weathering. The central group consists of a bearded man enthroned on the left to whom a youth brings offerings. The throne has legs terminating in animal's feet, a high sloping back, a brace and a handrail supported by a small Triton who is extended with body to front and bearded head to right, the hands outstretched as supporters; a cushion is indicated. The details of the man's face are weathered; he has a long pointed beard, and wears Ionic chiton and mantle, the end of the latter falling over the back of the chair; his feet, which seem to be bare, rest on a cushion the front of which, with the toes, is broken away, as is also the back leg of the chair. His left hand rests on the staff of a spear or sceptre his right holds a poppy (?) before his face. Before him is a diminutive draped boy, holding out to him a cock held in the right hand, and in the left a fruit. The lower part of this figure is missing; it may have been shown as kneeling. On the left angle slab two draped figures advance towards the centre, both wearing Ionic chitons and mantles; the first has sandals, the second is barefoot. The first holds a pomegranate suspended from the left hand and in the right holds up a flower (?). The second draws up an edge of the mantle with the left hand, and with the right raises a poppy-head (?) to the face. The sex of these two persons has been much disputed; the pose of the hands, the attributes and the arrangement of the drapery compare with the women on the West side; on the other hand, the contours are indefinite, and therefore probably male; the hair is short like the man on the right angle slab, and the second of the two appears to have a short pointed beard; this figure is remarkably corpulent. On the right angle slab, a youth advances towards the centre. His feet are broken away; on his farther side is a dog looking up at him, its tail on the right edge of the slab. He wears Ionic chiton and mantle over the left shoulder and his hair is short at the back. He holds a stick with a curved handle in his left hand; his right hand holds up an object, which is broken away save for a handle underneath his fingers, but which was in part of metal separately attached, for which the rivet hole remains; it may have been a cup on a tall stem. The feet are missing. All the persons on this side, save the boy in the centre, had metal circlets about their hair; the rivet holes remain at the back of the heads. 4. West side. In each angle slab an enthroned woman faces the centre. The woman on the left has a broad pointed diadem round her hair, which is waved over the forehead and tied in a knot behind, the ends falling on her shoulders. She wears Ionic chiton with long full sleeves down which runs a broad flat seam-strip, and a mantle over the left shoulder and knees; the end of the chiton falls like a bird's wing under the seat; on her wrists are bracelets. Her right hand is extended holding a libation-bowl on her knee; her left was raised holding some object which is now broken away. On her feet are shoes with upturned toes; she is seated on a throne with high back (the top broken), turned legs, a handrail supported by a seated sphinx to right and ending in a ram's head, cushion and footstool (a fragment rejoined and the right side missing). The footstool is in one piece with the throne, as on the Branchidae statues. The woman on the right is similar save that the hair is looped up; in her left hand she holds out a pomegranate, with her right she raises a poppy flower to her face. Her throne is of different design; the back is curved and ends in swan's head; there is no Sphinx under the handrail, which ends in a ram's head; the legs are rectangular with volute indents and terminate above in volutes. The left bottom corner of the footstool is missing; it is thicker than the other and independent of the throne. On the centre slab, three women move to right in procession towards the right seated figure. They are similar save in the attitude of the hands, and have diadems round the hair, which falls on back and breast in long tresses, Ionic sleeved chitons and mantles, the ends of which fall at the side on the first figure, down back and front on the other two. The first two have shoes with turned-up toes, the feet and legs below knees of the third are broken away, save for one bare toe. The first draws the side of her mantle in front of her face with the left hand and supports a fold in front of her hips with the right. The second holds a pomegranate in front of her with the right, while the left raises a poppy to her nose. The third holds up an egg before her face, while the left holds up the drapery. All wear bracelets. On the left the centre slab is prolonged above to form a lintel for the door, and the left angle slab is correspondingly cut back over the libation-bowl of the left seated figure to receive it. Above the door is a flat moulding and above this a relief of a cow to left suckling a calf. The shaft was of limestone, the reliefs of large-grained marble, now weathered; they are made up of central slabs and angle-pieces. The subjects are set in a frame; at the sides and at the top is a flat moulding, curving below into the relief-ground and projecting 0.023m; the relief of the figures occasionally projects beyond it. At the bottom is a straight base-line below which is a cyma recta. The north, south and east sides are similar in composition; in the central slab a seated figure receives offerings, while angle-pieces are filled by subsidiary figures. The western side contained the entrance to the chamber and shows seated figures in the angle-pieces and a procession in the centre, with an independent relief in the space over the door. The reliefs are worked with elaboration of detail, fleshy smiling faces and soft draperies that reveal the contours. The west side is not only the best preserved and most important, but is superior in style; the proportions are better, the scale smaller, the heads being kept below the moulding. On the North and East (and possibly the South) sides, all heads cut into the moulding, except the Siren groups which, however, extend over the side border, as if to emphasise the idea of departure. On these three sides the figures are thick and clumsy. The hair is, with one exception, delicately worked in rows of waved lines, cut short on the neck for the men, loose or looped up on the women. The eye shows a raised eyeball and raised lashes, the inner angle sometimes blunted. The drapery is carefully finished; on the chitons of the children the crinkling is convex, on the other figures it is worked in narrow concave bands. The wider folds of the mantles are also curved. The lower edges of the sleeves are formally drawn forward. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Marble reliefs from the Harpy Tomb. Chest with reliefs on all four sides which originally surmounted a Lycian sepulchral tower. 1. North side. In the centre a young armed man stands on the left offering a helmet to a bearded man seated on the right. The former wears sandals, greaves, short chiton with sleeves of crinkled material, the lower part in flat pleats with high zigzag edge, and cuirass with leathern flaps; at his left side is a short broad sword, the scabbard ending in a knob; in front of his chest projects a bird's head and neck, the sword-handle; it is higher than the scabbard, the blade being curved. The back of the head is broken away and the face is weathered. His left hand supports a large shield which stands on edge on the ground before him; with his right hand he extends a plumed Corinthian helmet to the seated figure, who raises his right hand to receive it. The latter wears sandals, sleeved Ionic chiton and mantle thrown over his back, left shoulder and knees. His right hand holds a spear or sceptre sloped against the left shoulder. He has a moustache and pointed beard, long nose and almond-shaped eyes, the inner angle curving, the upper lid prolonged in an incised line. The head is disproportionately large and is lost at the back. The outline of the hair is waved. The seat is a stool with turned legs, upon which is a cushion; underneath it is a small quadruped with thick body, short legs, and pointed snout lowered to the ground to left, possibly a bear (the identification by some writers as a pig is wrong, as the animal has paws). On the angle-slabs, facing outwards, are the figures formerly known as Harpies, but which are now identified as Sirens. They have the head, breasts and arms of women; the body ends like an egg, with a bird's spreading tail and talons attached. Long wings spring from the shoulders and under the arms; the ends are continued on the centre slab. The figures are shown as nude save that on the elbows are the crinkled sleeves of chitons. The hair is worked in small waves and confined by a pointed diadem; it falls in long tresses on the left figure, and is looped up at the back on the right. Their features wear a soft smile, as they fly off carrying diminutive female figures in their arms clasped against their breasts by both hands and talons. The latter wear long crinkled chitons with sleeves and long overfolds; the feet are bare, their hair is long and falls loosely; on the right, the hair is waved, with a diadem; on the left it is treated as a plane with horizontal grooves. Each raises the inner hand to the chin of the Harpy, the outer hand hangs down; the one on the right holds in the hanging hand an object now broken, perhaps a patera. On the extreme right in the corner squats a diminutive woman in an attitude of grief, her chin resting on both hands, her head turned upwards towards the siren. She wears a long crinkled chiton with large loose sleeves and a diadem on her hair, which hangs loose at the back. The mouth and front edge of forearms and legs are broken away. 2. South side. The angle-slabs are practically replicas of those on the North side; in each is a Siren carrying off a female. On the left slab the hair of the Siren is looped up-behind, two, short curls falling in front of the ear; the female raises its right hand, while the left arm hangs limply; it is clasped more tightly than the other. On the right slab the woman raises both hands, and the hair of the Siren falls in long plaits. Both women have waved hair with diadems. The right bottom corner of the left angle slab is missing; there is no seated mourner. The central group consists of a man enthroned on the left, before whom stands a figure of uncertain sex. The seated man is beardless, with full features and heavy forms; he wears Ionic chiton, mantle over the left shoulder, and shoes with turned-up toes, and is seated on a throne with turned legs, cushion and high back. A spear, or sceptre, leans against his left shoulder. His hands are extended before him, the right holding an apple, the left holding aloft a pomegranate. The back of his head and the back leg of the throne are missing. The head and shoulders of the standing figure are broken off, but the outline of the nose and chin, which was beardless, may be traced on the slab; it has generally been interpreted as male; the left hand holds a fluttering dove in front by the wing, the right hand is raised with fingers extended in an attitude of adoration; the dress consists of Ionic chiton, mantle and sandals. 3. East side. This side has suffered most from weathering. The central group consists of a bearded man enthroned on the left to whom a youth brings offerings. The throne has legs terminating in animal's feet, a high sloping back, a brace and a handrail supported by a small Triton who is extended with body to front and bearded head to right, the hands outstretched as supporters; a cushion is indicated. The details of the man's face are weathered; he has a long pointed beard, and wears Ionic chiton and mantle, the end of the latter falling over the back of the chair; his feet, which seem to be bare, rest on a cushion the front of which, with the toes, is broken away, as is also the back leg of the chair. His left hand rests on the staff of a spear or sceptre his right holds a poppy (?) before his face. Before him is a diminutive draped boy, holding out to him a cock held in the right hand, and in the left a fruit. The lower part of this figure is missing; it may have been shown as kneeling. On the left angle slab two draped figures advance towards the centre, both wearing Ionic chitons and mantles; the first has sandals, the second is barefoot. The first holds a pomegranate suspended from the left hand and in the right holds up a flower (?). The second draws up an edge of the mantle with the left hand, and with the right raises a poppy-head (?) to the face. The sex of these two persons has been much disputed; the pose of the hands, the attributes and the arrangement of the drapery compare with the women on the West side; on the other hand, the contours are indefinite, and therefore probably male; the hair is short like the man on the right angle slab, and the second of the two appears to have a short pointed beard; this figure is remarkably corpulent. On the right angle slab, a youth advances towards the centre. His feet are broken away; on his farther side is a dog looking up at him, its tail on the right edge of the slab. He wears Ionic chiton and mantle over the left shoulder and his hair is short at the back. He holds a stick with a curved handle in his left hand; his right hand holds up an object, which is broken away save for a handle underneath his fingers, but which was in part of metal separately attached, for which the rivet hole remains; it may have been a cup on a tall stem. The feet are missing. All the persons on this side, save the boy in the centre, had metal circlets about their hair; the rivet holes remain at the back of the heads. 4. West side. In each angle slab an enthroned woman faces the centre. The woman on the left has a broad pointed diadem round her hair, which is waved over the forehead and tied in a knot behind, the ends falling on her shoulders. She wears Ionic chiton with long full sleeves down which runs a broad flat seam-strip, and a mantle over the left shoulder and knees; the end of the chiton falls like a bird's wing under the seat; on her wrists are bracelets. Her right hand is extended holding a libation-bowl on her knee; her left was raised holding some object which is now broken away. On her feet are shoes with upturned toes; she is seated on a throne with high back (the top broken), turned legs, a handrail supported by a seated sphinx to right and ending in a ram's head, cushion and footstool (a fragment rejoined and the right side missing). The footstool is in one piece with the throne, as on the Branchidae statues. The woman on the right is similar save that the hair is looped up; in her left hand she holds out a pomegranate, with her right she raises a poppy flower to her face. Her throne is of different design; the back is curved and ends in swan's head; there is no Sphinx under the handrail, which ends in a ram's head; the legs are rectangular with volute indents and terminate above in volutes. The left bottom corner of the footstool is missing; it is thicker than the other and independent of the throne. On the centre slab, three women move to right in procession towards the right seated figure. They are similar save in the attitude of the hands, and have diadems round the hair, which falls on back and breast in long tresses, Ionic sleeved chitons and mantles, the ends of which fall at the side on the first figure, down back and front on the other two. The first two have shoes with turned-up toes, the feet and legs below knees of the third are broken away, save for one bare toe. The first draws the side of her mantle in front of her face with the left hand and supports a fold in front of her hips with the right. The second holds a pomegranate in front of her with the right, while the left raises a poppy to her nose. The third holds up an egg before her face, while the left holds up the drapery. All wear bracelets. On the left the centre slab is prolonged above to form a lintel for the door, and the left angle slab is correspondingly cut back over the libation-bowl of the left seated figure to receive it. Above the door is a flat moulding and above this a relief of a cow to left suckling a calf. The shaft was of limestone, the reliefs of large-grained marble, now weathered; they are made up of central slabs and angle-pieces. The subjects are set in a frame; at the sides and at the top is a flat moulding, curving below into the relief-ground and projecting 0.023m; the relief of the figures occasionally projects beyond it. At the bottom is a straight base-line below which is a cyma recta. The north, south and east sides are similar in composition; in the central slab a seated figure receives offerings, while angle-pieces are filled by subsidiary figures. The western side contained the entrance to the chamber and shows seated figures in the angle-pieces and a procession in the centre, with an independent relief in the space over the door. The reliefs are worked with elaboration of detail, fleshy smiling faces and soft draperies that reveal the contours. The west side is not only the best preserved and most important, but is superior in style; the proportions are better, the scale smaller, the heads being kept below the moulding. On the North and East (and possibly the South) sides, all heads cut into the moulding, except the Siren groups which, however, extend over the side border, as if to emphasise the idea of departure. On these three sides the figures are thick and clumsy. The hair is, with one exception, delicately worked in rows of waved lines, cut short on the neck for the men, loose or looped up on the women. The eye shows a raised eyeball and raised lashes, the inner angle sometimes blunted. The drapery is carefully finished; on the chitons of the children the crinkling is convex, on the other figures it is worked in narrow concave bands. The wider folds of the mantles are also curved. The lower edges of the sleeves are formally drawn forward. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892