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
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
erracotta relief plaque ('Melian relief') with Peleus and Thetis. A lion indicates one of Thetis's transformations. --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
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
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
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
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
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
Bronze repoussé relief from the handle of a vessel: Boreas carrying off Oreithyia. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
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