Catalogue of Sparta Museum

A CATALOGUE
OF THE
SPARTA MUSEUM
BY M.
N.
J,
TOD
AND
A.
B.
WAGE
OXFORD: AT THE CLARENDON PRESS
Price IDS. 6d. net
r%
rei
A CATALOGUE
OF THE
SPARTA MUSEUM
BY
M. N.
TOD, M.A.
AND
ASSISTANT DIRECTOR OF THE BRITISH SCHOOL AT ATHENS FELLOW OF ORIEL COLLEGE, OXFORD
A.
J.
B.
WAGE,
M.A.
STUDENT OF THE BRITISH SCHOOL AT ATHENS FELLOW OF PEMBROKE COLLEGE, CAMBRIDGE
OXFORD AT THE CLARENDON PRESS

1906
HENRY FROWDE,
M.A.
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH
NEW YORK AND TORONTO
76
PREFACE
SOME
apology
may be
thought necessary for the publication
of a catalogue of the Sparta
Museum
after the
work of Dressel
and Milchhoefer, which appeared Athenische Mitteilungen, and was afterwards issued separately. In 1872 Stamatakes, the Ephor General of Antiquities, founded
in the
second volume of the
a new
Museum
to replace the collection brought together
by
1834 and shortly afterwards destroyed by fire. Five later Dressel and Milchhoefer published their account of years the Kunstwerke from Sparta and its neighbourhood. During the thirty years which have since elapsed, the Museum has been successively reorganized and enlarged by Dr. Kastriotes and Dr. Philios in 1900 and 1902 since then a considerable number of acquisitions have been made, so that at present the manuscript catalogue of the Museum contains over 800 entries, while Dressel and Milchhoefer, although including monuments from all parts of Laconia and in many different collections, of which some had disappeared and several were no longer in Laconia nor even in Greece, only describe about 300 items. It is true that some of the more important new discoveries have been published in
Ross
*
in
'
scattered articles in various periodicals ; but a large number of most interesting monuments still remain unpublished and
unknown.
there
is
Under these circumstances it has seemed some call for a catalogue of the monuments
to us that at present
in the
Sparta Museum, which should not merely describe the
objects individually but also attempt by means of introductions to classify and interpret them. Only thus could we hope that
our work would be at the same time a handbook for the

archaeologist
It will
and a guide for the dilettante. be readily understood that our catalogue is based on the previous labours of Dressel and Milchhoefer, of Kastriotes and of Philios we are under special obligations to the latter's unpublished manuscript catalogue, which at present serves as the Museum inventory, and embodies the results of his predecessors' work. At the same time, though taking into consideration
:
iv
all
PREFACE
the published opinions of various scholars, we have attempted as far as possible to arrive in each case at an independent judge-
ment.
Each
for that section
of the authors, however, must be held responsible of the catalogue only to which his name is
We regret that for various reasons we have been from close collaboration, and this has rendered unavoidprevented able some lack of uniformity in minor points. The introductions to the sections are not intended to be exhaustive, but rather
appended.
to indicate broadly the significance of the various classes of monuments, dealing at length only with those which are of
The purpose of our catalogue as explained special interest. above has necessitated the utmost brevity, compatible with accuracy in our descriptions and discussions. We have finally the pleasant task of acknowledging much kind assistance, which has materially lightened our work. To Professor Gregorakes, Curator of antiquities at Sparta, our heartiest thanks are due for his unfailing courtesy and the ready help he has afforded us. To Mr. R. C. Bosanquet we are deeply indebted it was he who originally suggested the making of the catalogue, and he has throughout helped us by his criticism and
:
encouragement. We owe much, also, to the late Provost of Oriel, Dr. D. B. Monro, who was at all times ready to aid us in various questions concerning publication. Our hearty
thanks are also due to the Oxford University Press for undertaking the publication of this catalogue, and to the British School at Athens for supporting and making a grant in aid of the same,
as the firstfruits of
its archaeological survey of Laconia. that we have unfortunately been obliged to greatly regret exclude Professor Furtwangler's promised appendix on the
We
Amyclaeum, the manuscript of which was not

the time of passing the proofs
for press.
in
our hands at
M. N. T.
A.
J.
B.
W.
NOTE ON INSCRIPTIONS
IN the text of the
followed
:
inscriptions the usual conventions
have been
Marks the end of a

....
line.
Denotes an uncertain number of missing letters. Denotes a known number of missing letters, equal to
that of the points.
In square brackets are enclosed letters conjecturally

restored.
In round brackets are enclosed
(i) letters which, though not wholly lost, are defective (2) letters needed to complete a word abbreviated in the original (3) the
; ;
repetition of a
in the
name
as patronymic
this is
denoted
;
inscriptions by the signs IAOKAHZ< is written ^nXo/cAr??
<
K 3 &c.
e. g.
(4>tA.o/cAeovs).
text here given rests in every case upon my own reading, but I have called attention in the notes to all important variations
The
between my text and that of previous editors. I have had to study economy of space as
Hence
far as possible. in the case of inscriptions published in Collitz-Bechtel l
no references are given to previous publications, except where these have been accidentally overlooked in that work. Where texts have been published in Le Bas-Foucart but not in Collitzonly the former is cited, together with subsequent In all other cases the list of references will, publications.
Bechtel,
I
hope, be found complete. To the kindness of Freiherr F. Hiller von Gaertringen and Professor U. von Wilamowitz-Moellendorff I am indebted for
help in connexion
interesting article
Achaer, I, p. 7 use of it.
I regret that Meister's with No. 524. on the Spartan and perioec dialects (Dorer und foil.) came into my hands too late for me to make
M. N.
1
T.
Sammlung
der griechischen Diakkt-Inschriften.

(iii.
The
Halfte,
and Messenia are edited by R. Meister
Band,
2.
Inscriptions from Laconia I. Heft, Gottingen, 1898).
VI
SCULPTURE AND MISCELLANEOUS

ANTIQUITIES
IN cataloguing the Sculpture and the Miscellaneous Antiquities the following principles have been observed as regards references The chief references given by Dressel to previous publications.
and Milchhoefer or in Friedrichs-Wolters have been repeated, and all later ones added. For the more important and better
known monuments
histories of
Greek Sculpture
have given references only to the standard otherwise I have tried to make
:
the
of references as complete as possible. The architectural fragments are not discussed in detail for obvious reasons. Some
list
of the sculptures in private possession mentioned by Dressel and Milchhoefer are now in the Museum, and have been identified
accordingly
elsewhere.
others are
still
in private possession or
have gone
Of the fragments excavated by Waldstein and Meader

in 1893,
and published in the American Journal of Archaeology (1893, p. 422 seqq.), I have identified all but by *,/, k, /, m, and n. I have personally examined nearly all the sculptures of Laconian provenance in other museums. Those that are important are discussed in their proper places in the introduction, and many are illustrated together with other sculptures not of Laconian provenance, but of use in illustrating Spartan sculpture. The illustrations have been drawn either from the previous publications or from my own photographs by Mr. F. Anderson. I have to thank Professor Furtwangler for photographs of 27 and 588, Dr. Watzinger for one of Berlin No. 732, and Dr. Riezler for one of the Munich leaden figurines. For much kind assistance in the catalogues or their introductions I am deeply indebted to Professors Furtwangler, E. A. Gardner, P. Gardner, Ridgeway, and Waldstein, Miss Harrison, Dr. Sieveking, Dr. Thiersch, and Mr. J. L. Myres. To M. Papapolychroniou, Head Master of the school at Dhimitzana, my heartiest thanks are due for permission to photograph the Spartan sculptures in
the library there.
I am also deeply grateful to Dr. Cecil Smith who voluntarily undertook to supervise the preparation of the illustrations.
on the Acropolis
A.
J.
B.
W.
CONTENTS
PAGE
PREFACE
iii
NOTE ON INSCRIPTIONS
SCULPTURE AND MISCELLANEOUS ANTIQUITIES
.
v
vi
PART
(1)
I:
INSCRIPTIONS.
M. N.
TOD:
INTRODUCTION
(2)
CATALOGUE
.....
A.
J.
...
.
32
(3) INDICES,
&c
B.
.87
98
132
PART
(1)
II:
SCULPTURE.
INTRODUCTION
........
A.
J.
WAGE:
(2)
CATALOGUE
.
(3) INDEX, &c.
.213
B.
PART
MISCELLANEOUS ANTIQUITIES. WAGE:

III:
(1)
(2)
INTRODUCTION
.221
231
CATALOGUE
INDEX
(3)
...
AND PHOTOGRAPHS
.
.247
.
LIST OF CASTS
248
PART
INSCRIPTIONS
ABBREVIATIONS
R.,
r.
right.
L.,
1.
left, line.
Cauer = P. Cauer, Delectus Inscriptionum Graecarum propter dialectum memorabilium. Collitz-Bechtel - H. Collitz und F. Bechtel, Sammlung der griechischen DialektInschriften.
David
E. David, Dialecti Laconicae monumenta epigraphica.
Dittenberger = G. Dittenberger, Sylloge Inscriptionum Graecarum. Dressel-Milchhoefer = H. Dressel und A. Milchhoefer, Die antiken Kunstiverke aus
Sparta und Umgebung (Ath. Mia. ii. 393 ff.). Hicks and Hill = E. L. Hicks and G. F. Hill,
Inscriptions.
Manual of Greek
Historical
I.G.A.
H. Roehl, Inscriptions Graecae Antiquissimae. G. Kaibel, Epigrammata Graeca ex lapidibus conlecta. Le Bas-Foucart = Ph. Le Bas, Voyage arch&logique en Grece :
Kaibel
Explication des
Inscriptions par P. Foucart
Michel
C. Michel, Recueil d> Inscriptions grecques.
Dimensions are given
in metres.
INTRODUCTION
I.
PREVIOUS PUBLICATIONS
1.
Before attempting a classification of the inscriptions contained
in the
following catalogue, we may briefly refer to some of the more important publications dealing with Spartan epigraphy. The first volume of Boeckh's Corpus Inscriptionum Graecarum, published in 1828, contained all the inscriptions from Laconia known up to that date : of these 230 had been discovered at Sparta or in the neigh-
Some few of them had been seen by Cyriac of Ancona, Muratori, Dodwell, &c., but the large majority rests solely on the number of Fourmont's copies of Fourmont, made in 1729 and 1730. inscriptions had previously been published, especially by Osann, but Boeckh re-edited the whole series from copies made expressly by Imm. Bekker from Fourmont's papers. There are also twenty-three others, most of them attributed to Amyclae, which Boeckh published among the Not the least valuable part of Boeckh's Inscriptiones Fourmonti Spuriae. work is his introductory chapter dealing with the Spartan lists of magistrates though in some particulars it must be modified and supplemented in the light of subsequent evidence, yet it remains a masterpiece of clear
bourhood.
and cogent reasoning.
number of new Spartan inscriptions were published by Leake * and Ross 2 but far more numerous and important were those copied by Le Bas during his visit in 1843. These were edited in 1869 by P. Foucart, who added to them the inscriptions published by other scholars in the intervening years and a number of texts copied by himself in 1868. In all, 104 inscriptions from the Upper Eurotas plain occur in this collection. The commentary which accompanies them is invaluable to the student of Spartan epigraphy, marked as it is by
,
extraordinary keenness of insight, command of material, and lucidity of expression. The year 1877 saw considerable additions made to the number of published Spartan inscriptions, thanks to the work of Dressel and Milchhoefer 3 and of Martha 4 The quarter of a century which has since elapsed has witnessed a deepening rather than a widening of our know.
ledge, although
some important texts were discovered by Tsountas 5 The archaic inscripduring his excavation at the Amyclaeum in 1891. tions have been separately published by Roehl 6 and by Roberts 7 while
,
Travels in the Morea, 3 vols., London, 1830. The inscriptions are collected at the end of vol. 3. Inscriptiones Graecae Ineditae, fasc. I, Nauplia, 1834.
Die antiken Kunstwerke aus Sparta und Umgebung, Ath. Mitt. ii. p. 293 5 Bull. Corr. Hell. i. p. 378 foil. 'E<p. 'A/j^. 1892, p. I I.G.A. Nos. 49-91 Imag. Inscr. Gr. Antiq? p. 25 foil. Introduction to Greek Epigraphy, 100, 101, p. 248 foil.
;
foil.
foil.
2
the
SPARTA MUSEUM CATALOGUE

.
Laconian alphabet has also been discussed by Kirchhoff 1 The question of the dialect has been made the subject of a special study by Mullensiefen 2 while the dialect inscriptions have been published by him, and more recently by Meister 3
, .
II.
2.
ARCHAIC INSCRIPTIONS
justifiable
Although hardly
from the point of view of a logical
according to subject, it is a usual practice, and one which has some obvious advantages, to place archaic inscriptions in a group ' by themselves. In the present work we shall allow the word archaic
classification
'
its
Laconia, though of course excluding the archaizing inscriptions which belong to the period of the
alphabet
into
possible range, introduction of the Ionic
widest
and include
all
inscriptions
prior
to
the
Antonines
4
.
of archaic inscriptions in the Spartan collection is eight 5 Of these No. 20O (Nos. 20O, 386, 387, 440, 447, 699, 611, 625) remains an unsolved riddle, in which only the words at ns Sis K/OI or SIO-KIOI are distinguishable, and even they cannot claim to be re(1. 2) garded as certain. Nos. 599 and 625 are so fragmentary as to render impossible not only any restoration but even any certain conjecture as to their nature. No. 611 has usually been regarded as a metrical epitaph, and has been conjecturally restored by Roehl 6 on that supposition but even this, owing to the mutilated condition of the stone, must be regarded as not proven, and Kirchhoff 7 has argued that it is more probably a votive than a sepulchral inscription. Some confirmation of this view may perhaps be found in the fact that the two metrical inscriptions of this 8 The period which have come down to us intact are both dedicatory. earlier one (No. 447), consisting of an elegiac distich, is inscribed on a relief of the Dioscuri dedicated by Plestiadas dreading the wrath of the twin sons of Tyndareos/ The other, the famous Damonon inscrip. :
The number
'
after an introductory hexameter couplet in which dedicates the stele to 'AOrjva noXtaôs to commemorate a career of victory which has eclipsed all his contemporaries, contains a list in this is prose of the victories won by Damonon in various contests followed by an enumeration, unfortunately almost entirely lost, of the
tion
(No. 440),
Damonon
successes gained by a woman, whose relation to Damonon not stated. Finally we have the epitaphs of two soldiers
battle (Nos. 386, 387), which will best the whole series to which they belong 9 .
3.
is
seemingly
fell
who
in
be discussed in connexion with

is
The
writing of these inscriptions

,
of interest as affording us
'
10 which belonged to the examples of the old Laconian alphabet

1
Western
v. pp. 131-260), Strassburg, 1882. * Collitz and Bechtel, Sammlung der gr. Dialekt-Inschriften, iii. Band, 2. Halfte, I. Heft, Gottingen, 1898. Cauer's collection (Delectus inscr. graec. propter dialect, memorab^, Leipzig, 1883) is less complete than Miillensiefen's or Meister's.
4
Studien zur Geschichte des griech. Alphabets*, p. 149 foil. De titulorum Laconicorum dialecto {Dissert, philol. Argentor.
i.e.
Nos. 218-221.
these should perhaps be
8
8
To
added No. 527

7
LG.A.62.
Kirchhoff 's restoration of See 32, below.
8
*
No.
see 43. Sitzungsber. der Berl. Akad. 1887, 447 may be regarded as certain.
:
989
foil.
10 For a full discussion see Roberts, Introduction to Greek Epigraphy, and Kirchhoff, Studien zur Geschichte des griech. Alphabets*, p. 149 foil.
i.
248
foil.,
INTRODUCTION TO INSCRIPTIONS
group' of alphabets and
Thessaly.
is very closely allied to that of Phocis and 1 but three (Nos. 20O, of them is purely retrograde 599, 625) are written boustrophedon, i.e. the lines read alternately from 2 As regards the letters employed, left to right and from right to left there is no material variation in the forms of ADII<AMOTy( x)-
None
The
and
or
letters
B (No. 200), f (No. 611), X (= |) (No. 440), CD (No. 611), 3 6 has the form <S> (Nos. 440, 611) occur once only (No. 200)
,
:
(No. 625),
TT
/>
appears in
in
one inscription as
:
p*
K (No. 200),
line (Nos.
as
P (No. 447)
the sign
*
C twice appears
(No. 611), v in one, as in a retrograde
punctuation.
as a mark of 1. 5), seemingly except in No. 387 where B is used for r\ as well as for the spiritus asper; with this exception B The stands for o and o>. invariably represents the spiritus asper.
200, 599: also
l.G.A. 54,
E represents both
and
9,
greatest variation
is
found in the forms of
e,
v,
and
s.
We
find
(1)
fc
(2)
H
|
(Nos. 200, 599), $ 387, 440, 625) (Nos. 200, 599, 611), A> (No. 447), A/ (Nos. 386, 625), N (Nos. 387, 440)
(No. 447), f (No. 611), E (Nos. 386,
(Nos. 200, 447, 599, 611), (3) The development of the later from the
every
(Nos. 386, 440),

earlier
forms gives us a ground
for arranging the inscriptions in chronological order.
No. 200 bears
This is followed by of being the earliest of the series. Nos. 599, 447, and 611, the characters of which are very similar; the of No. 611 shows a more advanced form than that of the two others,
mark
and hence we may perhaps place them in the order indicated. No. 625 shows still more developed forms of e and v, and is probably later than the inscriptions mentioned, in spite of its being boustrophedon. Nos. 386, 400, and 387 complete the series, the latter showing the first traces That influence is seen still of Ionic influence in the use of B as
17.
more
4.
strongly at
work
in
and of the
spiritus asper,
No. 377, where H appears as the symbol of 9 and is employed to represent o>.
accurate dating of these inscriptions is of course impossible. Yet there are some Laconian inscriptions of the fifth century which can be dated with a probability amounting almost to certainty, and by comparison with them a tolerably correct idea may be gained of the time to which our Spartan examples belong. Thus, the celebrated list of the states represented on the Greek side in the battle of Plataea (479 B.C.)
inscribed
1
An
on the bronze
serpent-pillar
now
in
the
Hippodrome
at
With the possible exception of No. 527 ( 43). The retrograde Laconian inscripNo. 248 is really tions are collected by Roberts, op. cit. 248 foil., Nos. 243-247. retrograde throughout, though an attempt has been made by the lapidary to write
boustrophedon. 2 Besides those referred to in the text I
inscriptions.
letter occurs in Sicyonian inscriptions (Roberts, op. cit. Nos. 94, 95) with It is also the value e, while in the Pamphylian alphabet (ibid. p. 316) it stands for
3
know no
other Laconian boustrophedon
This
found in an inscription from Olympia (Dittenberger-Purgold, Die Inschriften von Olympia, No. 14), where it probably represents j^, according to a conjecture of
Meister.
B 2
4
1

,
2 who fell in the battle Constantinople ; the tombstone of Eualkes of Mantinea (418 B.C.); and the Delian marble 3 on which is inscribed a Spartan decree passed soon after the battle of Aegospotami (405 B.C), can be assigned with confidence to the years 479 or 478 B.C., 418 or
and 403-398 B.C. respectively. With the data thus given we perhaps assign No. 200 to about the middle of the sixth century, Nos. 599, 447, and 611 to the close of that century, and No. 625 to the earlier years of the fifth. Then follows a long period unrepresented by any inscription, for No. 386 is very similar in character to the Eualkes inscription just referred to, and must therefore be attributed to the second half of the Peloponnesian War. No. 440 was probably inscribed about 4 and No. 387 in one of the earliest years of the fourth 400 B.c. 417
B.C.
may
century.
III.
5.
DECREES: LETTERS FROM FOREIGN STATES
tions
the student of Spartan inscripentire absence of a class of documents which in most states occupies a large and important place,
decrees, whether of the state itself or of the smaller corporations, or private, comprised within it. Only one Spartan decree from
,
There are few facts which strike more forcibly than the almost
nia is extant (No. 217 B) S though we have probably the closing words of a second, restoring to the island of Delos the control of its temples and temple-treasures soon after the battle of Aegospotami No 217 B records the grant of the Trpogcvia to (Collitz-Bechtel 4415). a certain Damion, an Ambraciote, for services rendered in his native He and his descendants are likewise granted city to Spartan citizens. exemption from public burdens (dreXeia) and the right of owning land or
C"c
house, but this latter privilege is restricted to those who actually reside in That such decrees were comparatively Sparta ( OIKOUV Aa/woW/ucw). rare seems a legitimate conclusion from the fact that only this one example has survived this conclusion is borne out by a certain clumsiness in the wording and arrangement of the clauses, which would argue We shall see below 6 that the unfamiliarity with such documents. state employed another means of doing honour to its prominent Spartan citizens than by passing formal decrees lauding their deserts. second decree in the Museum (No. 217 A) contains a grant of
irpofvia
1
made by
the Council
and Commonwealth
(&
&ov\a
KOI TO
Collitz-Bechtel 4406 ; Hicks and Hill, Greek Historical Inscriptions, No. 19 ; Michel, Recueil, 1118. Dittenberger, Sylloge*, 7 2 Collitz-Bechtel 4529; Roberts, Introduction, 263. 3 Collitz-Bechtel 4415 ; Hicks and Hill, No. 83 ; Dittenberger, Sylloge 2 , 60 ; Michel 1 80. 4 That the inscription cannot be assigned to a much earlier date is proved by (i) the relatively advanced forms of the letters employed, especially of N and 2, and by for Pausanias explicitly (2) the fact that it contains the record of a woman's victories says that Kyniska, daughter of King Archidamus II (reigned 469-427 B.C.) irpwrrj TC Irt7TOTp6<pr]fff yvvaiK&v Kcd VIKTJV dvfi\tro 'O\v^mK^v, and in the basis of Kyniska at Olympia the Ionic alphabet is used. On the other hand, the date cannot be much later than 400 B. c., for there are as yet no traces of Ionic influence. 8 Fragments, however, of other Spartan decrees were copied by Fourmont (C.I.G. J33 T > T 333?) and Benthylus (C.I.G. 1332). From these must be distinguished the decree of the xoivbv T>V AcweSeu/xoiaW found at Taenarum by Pouqueville (C.I.G. 1335). See also I.G. iv. 940.
; ;
See
9.
of the Acarnanians to three Spartans and their descendants ; of the rights which accompany this grant three (ao-$aXa, acrvA/a, yas Kal ol<ias fyKTîs) are expressly mentioned, but the rest are grouped together in the phrase all the other honours and privileges accruing to the other proxenoi and
'
As no provision benefactors of the Commonwealth of the Acarnanians.' is made in the decree itself for the deposit of a copy in Sparta, we must suppose that the three men therein honoured had this copy inscribed at their own expense and erected in some public place in their own city. Though neither this decree nor the one discussed above can be dated with certainty, there is reason to believe that they both belong to the
period between 220 and 180 B.C.
6. possess, further, two fragments (Nos. 241 and 262 + 408) of letters addressed to the ephors and city of the Lacedaemonians unfortunately these are both so mutilated that it is not possible to give any probable conjecture as to the nature of the communications, and the name of the state by which it was sent is entirely lost in one case and in the other rests upon an uncertain restoration, portion of a third similar document is extant (Bull. Corr. Hell. i. 384, No. n), but in an even more fragmentary condition than the other two. All three inscriptions, being addressed to the ephors as the highest officials of the Spartan 1 state, are probably prior to 226 B.C., for about that time the ephorate was temporarily crushed by Cleomenes III, and though it came into existence again, it never took its place at the head of the Spartan magistracy. To judge from the forms of the letters used, No. 241 is somewhat earlier than No. 262, but neither can be dated before the middle of the third
'
' :
We
century B.C. 7. Decrees of smaller corporations within the state are represented by that of the a>a TG>V ApvK\aiea>v (No. 441), dating from the first or second 2 century B.C., by which the ephors of the corporation , three in number, are praised, and receive the grant for life of a special portion on the occasion of the sacrifice (eVt rai irpo<rrponai) as a reward for the disinterested and mild discharge of their duties. After regulations regarding the cost of the inscription, and the place at which it was to be set up, the decree closes with a clause, seemingly added as an amendment, praising the ephors' secretary. As in the case of the Spartan decree 3 the place chosen for the display of the monument was the most famous and revered sanctuary of the city, the temple of Athena Chalkioikos, so here it is enacted that the stele be set up in the sanctuary of Alexandra, or Cassandra, which, as Pausanias* tells us, was the principal sight of
'
Amyclae.
No. 446 is probably similar in character to No. 441. Although the greater part of the inscription is illegible, yet the words o>j3a and dcddx&u irdvra TO. ras w/3as are distinguishable, as well as the name of a certain 'ApKTTOTfXrjs, which recurs twice or three times. 8. In No. 782 we seem to have a fragment of an Imperial rescript.
1 But the formula A.a.K(8aipovi<uv <(>6pois Kal yepovala Kal Srnjup occurs in a letter of about 150 B.C. (Josephus, Archaeol. xiii. 166). 2 These must be distinguished from the state ephors. The Spartan guild of Several Eleutherolaconian airrjOfVTfs had also an official with this title (No. 203). cities also are known to have had ephors, e. g. Geronthrae (Collitz-Bechtel 4530,
453 2 )
3
Gythion
(ibid.
(Collitz-Bechtel 4544), Epidaurus
See above,
4566, 4567, 4568), Taenarum (C.I.G. 1321, 1322), Cotyrta Limera (ibid. 4543), Oetylus (C.I.G. 1323). 4
iii.
5.
19. 6.
6
we can
renders any attempt at restoration futile, and all say is that it regulates in some way the buying and letting of landed property (col. I, 11. 3, 4), and at the same time extends or defines the right of appeal in cases of dispute (col. II). No. 224 is a document whose nature cannot in its present fragmentary condition be determined since, however, it would seem to deal with the recovery of state debts, it is in all probability either a decree or a publication of some magistrate (? the xpeo$uXa) or board of magistrates, and as such it may fittingly be included in this class of inscriptions.
Its mutilated condition
;
IV.
HONORARY INSCRIPTIONS
l
9. It has been remarked above that the Spartans did not as a rule follow the custom prevalent in other Greek states of passing laudatory decrees in honour of those who were prominent in the political or religious In earlier times, no doubt, the consciousness of life of the community.
public services rendered to the best of his ability was sufficient reward for a Spartan, whose whole education was framed to inculcate the idea of the at any rate, it was subserviency of the individual to the common weal
:
enough
arose,
for
him
to
have
it took the form of commemoration by means of portrait statues. Such statues were often set up by the state, but since the drain on the public exchequer must have been severely felt, the actual expense was, during the Imperial period, in nearly all cases defrayed by one or more of the relatives or friends of the person honoured. Their names were included in the inscription on the base of the statue, which in consequence usually followed the skeleton formula 'H noXis (sc. dre'diê)
external display. But and the response to
his merit prized by his fellow citizens without any at a later period the craving for personal recognition
TOV 8flva
irpoo'o'egap.evov TO dvaXtofia
TOV delvos
Six such inscriptions, whole or fragmentary, are in the Spartan Museum (Nos. 246, 281, 385, 456, 621, 691), a remarkably small number when we consider the fact that in the C.I.G. alone we have some fifty examples of this class from Sparta and the immediate neighbourhood of these, Of the six inscriptions in only one (No. 246) is now in the Museum. question two (Nos. 385, 621) are so fragmentary as to be practically
:
useless.
No. 246 commemorates a certain Sextus Pompeius Spatalus, patronomus and permanent gymnasiarch, for the magnificence of his public life and the zeal and foresight displayed during his second tenure of the office of gymnasiarch, which he undertook of his own accord. The cost of the statue is defrayed by his wife Aurelia Xeno. No. 281 a descendant of Heracles and praises one Lucius Volussenus Arist Perseus, on the general ground of merit and good will towards the state/ No. 456 is inscribed on the base of a statue of a woman, Aurelia Oppia, who bears the honorary titles of eorta Tro'Xecos and vea Urjv\6n6ia in this
,
' :
case
it
is
a brother-in-law
who pays
for
the statue.
had held
jointly
inscription (No. 691) is in honour of Tiberius the office of ayopavopos and had been entrusted with the special duty of the conservation of highways the cost of the statue is borne
:
The remaining Claudius Pratolaus, who
by his two children, Tiberius Claudius Aelius Pratolaus and Claudia Damostheneia, of whom we shall have something to say below 2
.
See
5.
ii.
the formula
that even the
f)
7
TroXt?
become words 10. So familiar had were sometimes omitted, and the inscription began with the accusative Thus in No. 252 we find simply 'Eniyovov of the person honoured. QiXoarTpaTOv /3a)[j.oviKTjv dvdpdas evexfv Trpo(r8fafj.eva)V KrX., and no doubt Nos. 243 and 544 are analogous, though in both these cases the latter In No. 243 we have merely the name of part of the inscription is lost. the man whose portrait head crowned the shaft on which the inscription is engraved, while in No. 544 we have not only the name, Sextus Eudamus, but a long list of the priesthoods and other sacred offices which he had held, most of them vested in the family of which he was a member, which claimed to be descended from Heracles and the Dioscuri. It is interesting to notice that the men commemorated in these last two herminscriptions were members of the same family, possibly even brothers. We have, further, two cases in which the expense of the statue has been borne by the city which resolved upon its erection. In one case
(No. 648) that city is Sparta, and the person honoured is the same Tiberius Claudius Pratolaus to whom reference has already been made. The second case (No. 253) is one in which the city of Smyrna honours * a tragedian, Gaius lulius lulianus, who had won a contest at Sparta at the games called Ovpdvia. It is recorded that he had gained 358 other victories, and had been granted the rights of citizen in all Greece and
'
Macedonia and Thessaly
1 1. Statues, however, could be erected by private individuals as well as by the state. common base (No. 393) served for those of a priest, Diares, and Eubalkes, an Olympian victor, who had, according to a probable conjecture of Roehl, taken the part of o-ra(pv\obp6p.as at the festival
of Carneian Apollo. second (No. 267) bears the name of an ayopai/o/uos, Socrates, who is distinguished by the mention not only of his father's name, but also by that of his brother-in-law possibly it was the latter who defrayed the expense of the statue. We have, finally, two inscriptions (Nos. 85, 443) which differ from all the rest in formula, and bear a very close resemblance to each other: the former runs KXau. B/jao-i'Sav rbv This likeness extends irarepa, the latter KX. &afjLo<T&vciav rfv Qvyarepa. even to the forms of the letters used, and the arrangement of the words on the bases of the statues, both of which are extant, though headless. have had occasion to notice two inscriptions (Nos. 648, 691) commemorating Tiberius Claudius Pratolaus, son of Brasidas one of these (No. 691) mentions his daughter, Claudia Damostheneia, as sharing with her brother the expense of the statue. This enables us to conjecture with a considerable degree of probability that the two statues (Nos. 85, 443) were erected by this same Tiberius Claudius Pratolaus, the one in
:
We
was
2
whether a statue was erected to lulianus probably this tablet alone up to commemorate his success. was the custom during the Imperial period, for states to confer citizenship and often also the title of @ov\evrr)s on noted artists or athletes. See C.I.G. 281 ib (of an athlete of Aphrodisias) eanv 8e Kal TroActTT/s -noktcav T&V vnoyfypafi^vajv UcpyaHT)VU>V 'AvTio\ccav Kaiffapecav KoXoavwv Kal /3ovAim)s Qrjpaiajv Kal j8ovAtm)s 'Airo\It is doubtful
:
set
It
\(aviar[S>v'\ AVKIOJV
QpaKuv, Kal /3ouAeyT7)s

/ecu
M.eiXrjaiojVj Utceaivovvriwv,
K\avSioiro\fiTuv
'AOrjvaios KOI 'E<peaios : ibid. 3426 KV/J.CUOS real 'AOrjvdtos Kal 3>tAaSeA$eti? Kal 'P68ios Kal aAAcui/ TTO\\WV ir6\coi}V TroAetTTjs KOI @ov\cvTr)s : ibid. 4324 'PoSioiroXfiTijv KOI Mvpea [Kal] âirrjXeirrjv, p:cvov, Kal fv
ibid.
3208 Hfpyafiijvos.Kal Spvpvaios
[/3]o[vA.euT7)i/
y*vo]
T<z[iy
ton, Insc. d'Asie
Kara AvKtâv TroAeat ir[aoais iro\(iT(v(T]d/jivov. Foucart quotes Le Bas-Wadding Mineure, 1652 b, and $i\iar<up i. 329.
8
honour of
Damostheneia.

his father Brasidas, the other in
honour of
his
daughter Claudia
similarity of formula is thus explained, that of the writing, for the same artist would probably be in both cases.
The
and also
employed
mention here two cases in which the person commemorated one (No. 251) is that of a certain Aev/erpwiSay, whose by his daughter, the other (No. 589) that of a son who In both cases the dead is represented on a relief set up by his father. is described by the term %pa>s \ and the monument, in .the latter if not in the former, seems to have served as a tombstone. 12. As regards the date of the class of inscriptions under discussion, the main point to notice is that, with at most three exceptions, they all
is
We may
already dead statue is erected

:
belong to the Imperial period, the greater number being referable to the second century of our era. No. 393 is very considerably older, and probably goes back to the fourth century B.C., while Nos. 251, 252 are doubtful, but probably belong to the earlier years of the Empire or the time immediately preceding.
V.
13.
CATALOGUES OF MAGISTRATES,
is at
&c.
What
once the most numerous and the most characteristic
class of inscriptions in the
Spartan Museum comprises the catalogues of names, whether of magistrates or of private corporations, together with the closely related documents setting forth the cursus honorum of single individuals. Some of these may go back to the second century B.C., but the large majority belongs to the first century before and the first and second century after our era. They thus shed a valuable light upon Spartan constitutional history at a time when little is to be gathered from our literary sources, and enable us to form a more accurate picture than would otherwise be possible of the actual working of the state
during the Imperial period. To begin with the highest magistrates, we possess in No. 777 a list, the date is uncertain, happily complete, of the iraTpov6p.oi of one year but must fall somewhere within the first century B.C. or the last few Pausanias tells us that Cleomenes III years of the preceding century.
:
TO Kpdros
(ii.
1
TTJS
yfpovtrias KaTah.v(ras Trarpovop-ovs T&> Xo-yo) KaTeorijcrei/ avr

2
,
avT&v
9. i):
the patronomi are also mentioned by Plutarch
and Philo;
Wassner,
For the heroisation of the dead see Keil, Anal, epigr. et onom. p. 39 foil. De heroum apud Graecos cultu, Kiel, 1883; Furtwangler, La Collection Sabouroff, i. p. 20 foil. The word ijfxus is found but seldom in Laconian epitaphs (Le Bas-Foucart 184, 199, 2036, 253, 254, and the two instances in the Spartan Museum), nor is it common in Attica, but in Boeotia it became the almost universal custom to insert it (I.G. vii. Index p. 760), and it is also found in Hermione (I.G. iy 7 2 5)> Cenchrea (I.G. iv. 207), Mytilene (I.G. xii. fasc. 2, 286, 289, 291, 292,
-
367, &c.), Carpathus (I.G.

foreigners),
xii.
fasc.
i,
Thera
become heroes
Even (ib. xii. 3, 863 foil.), &c. (I.G. xii. fasc. i, 987 ; iii. 1460).
986, 987, but these are both the graves of children of four and five years old In an unpublished epitaph in the
Candia Museum we have the lines KeiftfO' dfwv rptts irdto'cs dpaiftovfs ijpQjcs dyvoi (1. i) and Soynaffi Srjpoffiois yryivfjiJitOa ijpojfs ayvoi (1. ii). a An seni respublica gerenda sit, 24, p. 795 F, rp6irov nva irAvrcs ol ryXiKovrot (sc. ol irpe<rl3vTpoi) T&IV &p\ovT(av tf nvcav irarpov6n<av ^ ircuSaycayaiv tx VTS *T\. This passage is cited by Boeckh (C.I.G. i. p. 605, col. II) and Liddell and Scott, as a reference to the Spartan magistrates in question. To me the whole sense of the passage and the fact that neither ap\tav nor ircudayuyos is the name of a Spartan magistrate seem to make it clear that the word narpov6p.os is not here used in its
stratus
Fortu*, but these three passages exhaust the literary evidence. The number of patronomi nately the inscriptions come to our aid. is fixed by No. 777, from which we see that they formed a college of twelve, six of whom were patronomi in a stricter sense of the word, while 2 the other six were called o-vvapxoi Several explanations have been sug3 with regard to the difference involved, none of them satisfactory, gested and it seems best to suppose that while all twelve magistrates held the same office and perhaps had the same duties, six of them occupied a position of higher honour than the rest, just as at Athens the six thesmothetae, though an integral part of the college of the Nine Archons, ranked below their three colleagues, the paviXevs, the br&wpos and the That we have only one college in No. 777 is clear both TToXefjiapxos. from the use in other instances of the word trvvapxoi * and also from the The fact that they have one secretary and one servant in common. secretary is assisted by three clerks, a fact which shows that the amount of business transacted by the patronomi must have been considerable, and points to the conclusion that we have in them the supreme magistrates of the Spartan state. This is fully in accord with the words quoted above from Pausanias, and with another fact which we have now to mention. The senior patronomus was during the period subsequent to Cleomenes' reforms the eponymous magistrate of the whole Spartan state. This is in direct contradiction to Pausanias (iii. n. 2), who, Speaking of his Own time, Says *E0opoi de TO. re a\\a SIOIKOUO-I TO. o-irovdrjs
.
aia
/cat
Trapeôi^rat TOV eVooi/u/uoi/,

els
Kada
df)
KCU 'Aî/aibis Ttov KaXou/xeWi/

6
7ra>vvp6s
f<mv
that Pausanias
had
Boeckh, however, showed conclusively apx^v. transferred to his own day the facts of the previous
epoch, and the further material which has since accumulated has but afforded fresh evidence for Boeckh's contention. have lists of ephors
We
dated by an eponymous magistrate who is not of their number 6 we have the phrase eVi irarpovopov TOV delvos constantly used to signify dates 7, and we actually find in some cases the same year referred to indifferently as eV* TOV delvos or eVt iraTpovopov TOV delvos 8 Finally we may note that
:
technical sense, but as a quite general term corresponding to the use ' to be ruled by a paternal governby Plato (Leges 680 E) and Plutarch (Dio 10) ment.' Cf. the use of varpovofjua in Lucian, Arj/jioffOfvovs fytcwfuov, 12, and of TrarpovofUKT) in Plato, Leges 927 E. 1 Apollon. Tyan. iv. 32 ^vpvaaiapxoi Tt KOI t<popoi ycat aa.rpovîi.oi ir&VTes. 2 Compare C.I.G. 1356 of ffvvdpxovrts Trjs irarpovofuas irpoffedea.VTO TO dvd\cuua. can hardly doubt, however, that here all the eleven colleagues of Xenarchidas are referred to. 3 Le Bas (Rev. Archol. 1844, p. 639) proposes to see in the avvapxoi either vicepatron omi (suppleants) or assessors (adjoints), or six magistrates entrusted with the reform of the laws like the Athenian 0co>to0Tat. Foucart (Le Bas-Foucart, note to 1 68) suggests that the patronomate may have been held for six months only, and that while the -narpovoôi are those actually in office, the avvapxoi may be those who were to hold the magistracy during the second half of the year. But he admits that there is no evidence for the existence of such a system at Sparta. See Foucart's note quoted above. Nos. 214, 216, C.I.G. 1277, &c.
We
C.I.G. i. p. 605 foil. Eight cases will be found two of these are from No. 204.
e. g., six
in
Boeckh's Tabula Ephororum (C.I.G.
i.
p.
608)
e.g.,
times in No. 204 col. II, 213, 219, 220, 221, &c. compare No. 783 with No. 204 col. I, 1. 13 204 col.
;
1242,
col. I,
1.
1.
21
204 col. 6; 204 col.

col. II,
1.
CJ.G. 1256
II, 1. 21 with C.I.G. ; 26 with CJ.G. 1243, 1. 8 ; 204 col. II, 1. 29 with 204 ; II, 31 with 204 col. I, 1. 7, No. 627, C.I.G. 1243, 1. 14 with C.I.G. 1259, 1. 4.
II,
1.
1.
10

:
a man was re-eligible to the patronomate the most striking case is that of Publius Memmius Pratolaus son of Damares, who held the office four But except in the case of a person of especial times (C.I.G. 1341). note re-election was probably far from common. 1 are more numerous, but several of 14. The catalogues of ôpoi them are very fragmentary. In No. 464 we have simply the letters E<E>OP and the first three letters either of the head (irpeo-^vs) of the college
eponymous patronomus. No. 242 gives the names of three No. 718 furnishes the , ephors in office during the year of beginning of a similar list for the year of lulius Lysicrates, and No. 215 that for the year of Lycurgus. Fortunately we have two complete lists as well as these mutilated ones these enumerate the ephors in the year of Gaius lulius Eudamus and Cassius Aristoteles respectively, and are both contained in No. 2O4, an inscription to which we shall have occasion
or of the
to return
2
.
From
these
it
appears that the number of ephors was
five,
one of
e$dpo>i>.
whom was head of the college and assumed the title 7rpeV/3vs To this magistracy also a man might be elected more than
C.I.G. 1258
It is a well-known fact that one of the col. II). Cleomenes Ill's policy was to crush the power of the ephorate, which threatened to reduce the kingship to a mere form. The attempt succeeded, and the supremacy of the ephors was for ever But the abolition of the office did not prove a permanent broken. The office was revived, we do not know when, and the five change.
once
(cf.
chief aims of
ephors once more took their place as high, though not the highest, Their existence during the Imperial period is attested magistrates. not only by the evidence of numerous inscriptions, but by Pausanias ii. 2) who mentions the office (dpxflov) of the ephors as situated (iii.
on the market-place.
followed immediately by that of This fact renders it very year. probable that we have catalogues of ephors in the earlier part of Nos. 225, 411, and 672, though the headings have disappeared. In No. 411 we have fragments of three names, in No. 672 of four, in No. 225 of five. Since, then, the number of ephors was five, we shall expect to find this ri TOV 8elvos, and so we list preceded by the usual eôpw may probably
In
many
cases
list
of ephors
is
the vofjio(pv\aKs in office during the
same
restore the three fragmentary letters of 1. i e 15. In discussing the /o/Ao<uXa/aa we are
wr
met with
The
in
inscriptions in the
Museum
furnish us with four
lists,
greater difficulties. of which that
No. 225 is too fragmentary to be of use. No. 672 contains a list of five names, and the same number occurs also in the complete list This agrees with the conclusion reached by contained in No. 204. Boeckh 4 and maintained by Foucart 5 But the former is right in pointing out the difficulty of reducing the number in every case to five, and this is illustrated by No. 411, where the list of voô^vXaKts contains only This may be due to the omission of one name by the four names. or the name of one stone-cutter, though such a supposition is unlikely
.
In addition to those mentioned in this paragraph, the most important lists of ephors are those in C.I.G. 1237 (1238), 1243, 1244, 1245, 1247, 1249, 1252. For ephors other than those of the Spartan state see p. 5, note 2. 2 See 15, 19, 22. 3 2 4 co1 1C.I.G. 1237, 1238, 1242, 1245, 1247, &c 4 5 Le Bas-Foucart, note to 168 g. C.I.G. i. p. 608 foil.
;
II
of the magistrates, e. g. of the ypa/z/mro$vXa, may for some reason have been purposely omitted. In any case, the balance of evidence is strongly in favour of the existence of a college of i/o/io^vXaKfs consisting normally l of five members sometimes one of these held the title ypaâro$vXa,
:
As regards the duties of these magistrates the inscriptions give us no 8 information, but it is most probable that in Sparta, as elsewhere , the were intended to be a check upon too rapid legislation and vofjLo$v\aKfs
a safeguard against the subversion of the established order by unconSuch at least seems to have been their theoretical stitutional measures.
raison d'etre
4 though in practice they appear rather as exercising police 5 As in the case of the other magisterial financial functions .
,
2 sometimes this official was distinct from the five i/oôûXafce?, though he have formed a member of their body for some purposes. may
and even
colleges,
the
head of the
vono<pv\aKfs
was
called
irpecrfivs
vop.o<pv\aKa>v
(Nos. 204, 213, 411). 16. One fragmentary inscription (No. 627) gives the beginning of The name of these magistrates occurs in the inscriptions a list of /3t'8eot. 6 7 as /3t'6eot or jS/Svoi indifferently, but there is no epigraphical evidence 8 for the spelling /SiSimoi found in Pausanias Etymologically the word is closely connected with Idvloi, i. e. fiSvloi (ftSeli/, videre\ and the initial
.
/3
represents an original
p,
as often in the Laconian dialect
9
.
The form
/3i8woi
occurs in an inscription from south-western Messenia (J.H.S. xxv. The college numbered five members according to Pausanias 10, p. 50). u Their office but the inscriptions show that in reality there were six 12 With regard to their in the Agora close to the Athena Temple lay functions our sole information is that of Pausanias, who says that they had the oversight of various contests of the ephebt. 17. Four inscriptions (Nos. 210, 211, 212, 612) give us catalogues Of these two (Nos. of yepovrfs, i. e. members of the Spartan yepova-ia. 211, 212) are too fragmentary to aid us much, but the other two are
.
.
C.I.G. 1239 (1240), 1242, 1249. C.LG. 1304, 1247 (?), 1251 (?). Nojuo<uAaey occur also at Athens (Gilbert, Greek Constit. Antiquities, pp. 155, a 160), Ceos? (Ditt. Syll. 934), Corcyra (I.G. ix. i. 694, 1. 104), Demetrias (Athen. Mitteil. xv. p. 296), the KOIVOV rwv Mayvrjroav (ibid. vi. p. 304, Beilage I, vii. 71 toll., 339), Abdera (Bull. Corr. Hell. iv. p. 52), Tomi (Arch.-epigr. Mittheil. aus Oesterr.Ungarn, vi. p. 19, No. 39, xix. p. 222, No. 89), Chersonesus {Bull. Corr. Hell. ix. 269;, Chalcedon (C.I.G. 3794), Mytilene (I.G. xii. 2. 484, 1. 7), Philadelphia (C.I.G. 3419, 1. 9), Laodicea ad Lycum (C.I.G. 3937), Mylasa (Athen. Mitteil. xv. We may compare the Ofo-{j.o<pv\aKs at Elis (Thuc. v. 47) and the voôdfTfcrai p. 268). at Andania (Collitz-Bechtel 4689, 1. 114). 4 Xen. Oec. ix. 14 \v rats fvvonovfj.eva.is iro\efftv vo/jio(pv \afcas irpoffcupovvrat,
3
. .
&v 8e ris irapd rovs v6fj.ovs Cicero, de legibus, iii. 20 46 Graeci hoc diligentius apud quos i/o/xo</>uAas creabantur, nee ii solum litteras, sed 'etiam facta hominum observabant ad legesque revocabant' See Bull. Corr. Hell. iv. 59, &c. Cf. Plato, Leges vi. 754 Aristotle, Pol. 1287 a 21 ; 1322 b 39. foil., xii. 961 e.g., Nos. 204, col. II, 400, Collitz-Bechtel 4469, C.I.G. 1242, 1255, 1256, &c. e.g., Nos. 202, 203; C.I.G. 1254, 1270, 1271.
oirtvfs (maKOTTOVvrfs
Trot?},
rov
[JL\V
irotovvra TO.
vo/jLifM.
eTraivovatv,
'
TJIJUOVO~I.
',
iii.
n.
12. 4.
10
II
Miillensiefen, De tit. Lacon. dialecto, p. 47 [177] foil. at /StStcu'ois irevrt dpiOpov (icarepois overt. iii. II. 2 TOIS 8% eQopois
C.I.G. 1271, 1364.
They were
elected annually, but were eligible
more than
once (C.I.G. 1268, 1269). 12 Paus. iii. 12. 4 rov 8f TWV

13
iii.
&t8iai<uv apxîov irtpav kffrlv 'A6r)vas Ifpov. II. a rot's @t8iaiois rovs fm ry H\aravtffr^ KaXovfiivta fcal aAA.ous rtav
aytavas
12
documents of importance for the history of the Spartan constitution. Before the fall of the monarchy the Council of the Elders consisted of twenty-eight members, chosen by acclamation and holding the office To them were added the kings and, at a later time, the for life 1 Cleomenes III besides abolishing the ephorate reduced the ephors.
.
power of
this
Council
'.
TO Kpdros
rrjs
ii.
yfpovcrlas KaraXixras Trarpovopovs TO>

9. i).
Xdyo> KareVnjcrei/ avr
avr&v (Pausan.
But, though weakened, the
ypova-ia continued to exist through the Imperial period, and Pausanias mentions among the notable buildings in the Spartan Agora rrjs yepowlas
ii. 2). In No. 210 we have a complete list of the (iii. dating from the reign of Hadrian they consist of a 7rpeV/3vs, 2 twenty-two ordinary members, a secretary (possibly two) and a cook. In No. 612 we possess an earlier list, belonging probably to the first Two facts become century B.C. and containing twenty-three names. at once clear, that the ycpovres were elected annually, and that they were in No. 210, for instance, the Trpeo-pvs is serving on eligible for re-election the Council for the fifth time, a second member has been elected four times, seven (perhaps eight) are in their third term of office and six in their second. The number of members of the college is a more
pov\vrr)ptov
members
Foucart 8 thought that the traditional number thirty question. was maintained, and to arrive at this he included the ypaârfvs and added the six patronomi. But to this there are two objections (i) the stone seems to mention two secretaries 4 and not one only as in Foucart's
difficult
:
and (2) No. 612, an inscription discovered subsequently to Foucart's I would publication, gives only twenty-three names in a list of yipovrts. with all due reserve, that the college consisted of twenty-three suggest, members, to whom were added the twelve patronomi, thus bringing the
text,
total to thirty-five, as in the latter part
when
to the twenty-eight
members were added
of the period of the monarchy, the two kings and five
ephors.
tions of the
is suggested by the occurrence in several inscrip6 and the mention of the POV\TJ in a ypaârcvs povXfjs number of other passages 6 Boeckh 7 draws a sharp distinction between 8 this and the yepovo-ia, while Foucart on the other hand regards the two
further
problem
title
as identical, or else would make the ftovXfj consist of the ycpovrcs with the In either case he addition of the colleges of magistrates (owapxuu). would see in the secretary of the yepova-ia and the secretary of the /SouXjJ one and the same person either under two different titles or acting in two
different capacities. 18. Of dyopav6[j.oi
we have two lists. One of these (No. 214) is but contains a list of four avvapxoi of an ayopavopos who held incomplete, office probably in the first century B. c. To the same period belongs
For the manner in which the ytpovres were elected see Pint. Lye. 26 : Aristotle For the life-long tenure of the office (Pol. ii. 9. 27) characterizes it as TraiSapiwSrjs. see Arist. Pol. ii. 9. 25 ; Plut. Lye. 26 ; Polyb. vi. 45. 5. /^The existence of two secretaries is not certain. The name of the n&ytpos may be
that which is lost at the beginning of 1. 26, in which case Eira<pp6Siros would be servant or other inferior official. The position of this last name on the stone (see e Bas-Foucart, No. 173 a) is very unusual. 3 4 Le Bas-Foucart, note to 1 73 a. See, however, note 2. 8 The yp. ftov\^s is mentioned in No. 204, col. I, C.I.G. 1246, 1253, 1259, 1345. 6 No. 781 (?); C.I.G. 1341, 1345, 1370, 1436? PovXevrfr, ibid. 1375. 7 8 C.I.G. i. p. 610, iv. i. Le Bas-Foucart, Explic. No. 173 a, p. 95.
J
a second and
fuller list
13
(No. 784), where we have the mention of an This docudyopavopos together with thirteen vvvapxoi and a ypa/z/narev?. ment raises afresh the question of the number of dyopaw>>oi, which seemed The to be fixed at eight (a npforpvs and seven <rvvapx<>i) by Foucart *. term aluvios dyopavopos occurs in several inscriptions 2 as a title of honour,
Of the special duties of these magistrates at Sparta we are not informed, but they were in all probability at the head of the police service and corresponded to the Roman aediles ; one of them appears to have had charge of the repair of the roads, for we meet with the title dyopavopos eVi ras 68ovs (No. 691). The Trcdiavopoi seem to have had duties somewhat similar to those of the ayopai/d/iot, but while the latter exercised their functions in the city the 4 former would seem to be restricted to the country . Of their number we have no information, for we possess only the first two lines of an inscription which contained a list of these magistrates (No. 396). 19. In one inscription we have a complete list of fTrt/zeX^rat in a certain year (No. 216) they form a college of six members, of whom one is called eVt/ieXTjrjJs in a special sense, while the rest are avvapxoi. Other inscriptions furnish us with the exact titles of some of the Spartan Thus in No. 204, col. I, Agathocles is spoken of as eVtlike alovuts yvpvao-iapxos*.
:
and the same title recurs in CJ.G. 1258, col. I, 1. 15* an 6 and an eVi/jeXqr^ *A/it;jcXa>i> 7 are also found in several &oO Av<ovpyov 8 is once mentioned. In and an eVcpcX^rqff inscriptions, another inscription we seem to have an eTrt/zfXqnfc of various public 9 Whether this refers to an buildings restored by a certain Paulinus ad hoc or to an already existing magistracy is not clear, nor office created can we say with certainty whether any or all of the cVcpeXifrcu referred to under special titles were members of the college of six whose names are given in No. 216.
ir6\cos,
:
Kopcwcias
20. Appended to the lists of magistrates are in many cases the names of persons designated at ei/o-trot, varying in number from one to three. These are not magistrates, but 'those who, after the tenure of some office, had by their services won the privilege of taking their meals with the magistrates of the college to which they had belonged during the previous year n Thus we find evairoi of the colleges of the vopofyv12 ls \aiccs and dyopavo/jioi u These must be distinguished from the c(popoi of CJ.G. 1249, since the same inscription has also a list of
.'
, ,
.
10
1
2
*
Le Bas-Foucart, No. 168

Ibid. 178, 179
;
b.
CJ.G. 1363, 1364, 1375, 1379.
No. 246 ; C.I.G. 1326, 1349, 1353, 1379; in Collitz-Bechtel 4481 we find the phrase 'yvfj.vaaiapxos and ras irpwras d\iKias. * Vischer, Epigraphische Beitrdge, No. 32 (= Inscr. Spart. partim ined. VIII, No. 4) Le Bas-Foucart, Explic. No. i68e. 5 This seems to me a convincing restoration instead of Boeckh's vifj.f\r)r[ris
;
---
Irri
8
---
CJ.G. 1243, 1255 (?), 1258. Collitz-Bechtel 4520 (= CJ.G. 1338). CJ.G. 1341. CJ.G. 1330. We have also a mention of firin(\r]Tal rov 'Pa)/j,aiov (CJ.G. 1331). An firtiJ.(\rjTrjs with three ffvvapxovrfs occurs in Bull. Corr. Hell. i. p. 380, No. 4. 10 Nos. 372 &c., 411, 569 CJ.G. 1253 and the inscr. quoted in notes 12-14. 11 13 Le Bas-Foucart, Explic. No. 168 b. CJ.G. 1242, 1249 col. II, 1252. 13 No. 411 (?) CJ.G. 1240 (a list of crirovdofopoi comes between the tyopot and the
8
'
TOs).
Le Bas-Foucart 168 b.
14
v<Tiroi,
"EVO-ITOI.
but the exact point of difference is a matter of conjecture. occur in Nos. 372, &c., 411, and 569, but in none of these three cases can we tell to what college they were attached, though we have seen reason to believe that the first part of 411 contained a catalogue of ephors. Besides the cWirot the colleges of ephors and nomophylaces had 1 In <T7rov8o<t>6poi attached to them, varying in number from one to four
.
No. 411 one
a-nov8o(p6pos is
mentioned
after the eô-iroi
belonging in
all
probability to a college of ephors.
In No.
208 we
find the otherwise
a-novdoiroioi, which must be an alternative form of o-irovftothey are three in number, or possibly four, but the nature of the Of minor officials we have college to which they belong is uncertain. already noted the secretary, under-secretaries, and vrrrjperrjs of the patronomi (No. 777), and we have here only to mention in passing the cooks of the yepovres (No. 210) and of another college (No. 569 ) 2 the two officials called 6 eVt /uuôO and 6 eV! /MaKe'XXov (No. 569), who seem to have been stewards responsible for the purchases of grain and meat for the consumption of the college, two drjâ-ioi (Nos. 208, 247) 3 and the secretaries of the yepovaia (No. 21O). One of these last officials, however, must be reckoned among the most important magistrates of the Spartan 4 state if Foucart's conjecture is adopted and the ypap.pa.Tfvs ycpovo-ias is with the ypa^naTcvs povXfjs. identified 21. The museum also contains a considerable number of fragments of inscriptions of this class, in which the title of the magistracy has been lost and nothing remains save a series of names. Such are Nos. 208, 209, 247 (on the back of which is the mention of a 6^00-10?), 369 (the first line of which may be read ypaârevs or -*]), 376, 384, 432, 628, 671, 805. Larger and more important fragments are Nos. 248, 525, and 787, which contain 14, n, and 18 names respectively, and No. 372, &c., four adjoining fragments of a large inscription containing the names of a college of magistrates and o-vvapxoc with the IWiroi attached to it. 22. Before passing on to consider the catalogues of o-cpaipeis, o-mj&Wes, and Taivdpioi, we may examine briefly those inscriptions in which the The most interesting of cursus honorum of an individual is set forth. these is No. 204, col. I, in which are detailed the various offices held by a certain Agathocles together with the year in which he filled them.
unknown word
(popoi
:
He
In
is
Successively
StajSerr/s Ai/uvae'coi/, MTTrapxa?, eVi/zeXT/TTy? TroXeoy, dyopavop,os,
ycpowias a Second time, and ypap,p,aTfi>s (BovXds. of the same inscription the official careers of two other Spartans The first holds the offices of dtaêrrjs Ai/xvaeW, dyvvoOfTrjs are recounted. T&V pcydX<ov Ovpaviuv, vofJ,o<pvXa, yepovaias and efpopos, while the Second
yepovcrias, vopocfovXaf-, c<popos,
col. II
becomes in turn ypaju/u,aro</>uXa, /3i'5eos, xpeo<i)Xa, ytpovaias, arvvdiKos, and efopos. A very fragmentary inscription (No. 374) shows us the offices of iinrdpxrjs, yepowias, and vopofpvXag, as occupied successively by Of the magistracies mentioned in these inscriptions the same man. most have already been discussed: only the Sm/SeV//? Ai/âeW, inndpX r)s, xpfo<uXa, and arvvdiKos, require a few words of comment.
. . . ,
1 One in No. 411 and CJ.G. 1252, 1243 (?) two in C.I.G. 1249 three in C.I.G. 1253 (cf. No. 208) four in C.I.G. 1240. No. 719 is doubtful, while No. 213 gives no information as to the number of airovtiotyopoi. 2 A ndy( tpos also figures in the lists of Taivdpioi (Nos. 205, 206, 207) and in the Dioscuri guild (No. 203). See also C.I.G. 1239, col. II. 4 3 See See also No. 275, C.I.G. 1239, 1253. 17, above.
; ;
The word
Siafr-Yijs- is
15
probably connected with
'
CT^S,
a clansman/ the 3
The office was almost certainly representing an original digamma. 1 connected with the gymnastic training of the Spartan youth , and we 2 conclude from the phrase 8. Aiftvaecav , that each of the obes may perhaps Foucart 3 has conjectured that the Sta/SeY^s or tribes had its own diapcr^s. occupied the same position in relation to the ephebi as the povayos in In any case the Siadfrrjs seems to have occupied the relation to the boys.
lowest rank in the cursus honorum (No. 204, col. I, II; C.I.G. 1242, 1243). The term imrapxns is apt to be somewhat misleading, since it does not denote a cavalry officer corresponding to the linrapxos of other Greek states, e.g. Athens. Following a gloss of Hesychius imrapxos' 6 T&V v*a>v irapa AaKoxm/, we may see in the Imrdpxrjs the head of the 300 selected annually from the young men: these formed a hoplite They were corps, and in time of war acted as the king's body-guard. selected by three linraypfTai chosen by the ephors, but it is doubtful whether the Inirdpxris and the Imrayperrfs are identical 6
.
office of dywodcTTjs at Sparta probably differed little from that in In one inscription 6 we have a distinction drawn other Greek states.
The
between ddXoderat and
ayovodc'rcu, the
former being those
who
instituted
some
in
it,
particular contest and made provision for the prizes to be awarded while the latter were those who presided over the games and acted
These might as judges. women 8 as well as men.
usually added to the same man acting as president of two such contests
number one, two, or three 7 and might include The name of the games to which it relates is title dytovoderrjs, and in several cases we find the
,
9
.
xP 60 $^ a is a magistrate who is met with in Asia Minor and several of the islands 10 but his existence at Sparta has been unrecognized a was to keep hitherto. Originally, doubtless, the duty of the xp e a record of those who were in debt to the state and to take measures for the recovery of such debts, but later his competence appears to have been considerably widened, and the evidence of inscriptions shows that the xpfo(pv\dKiov was used for the deposit of private contracts and judicial decisions of very various kinds. Another group of magistrates is that which comprises the o-vvSiKoi n
The
$^
Boeckh, C.I.G.
Cf.
i.
p.
611
the fresh evidence found since Boeckh's time confirms

:
his conclusion.
2
5ta0TT)s alone in No. 400, 174, C.I.G. 1242: the other cases (No. 781, Collitz-Bechtel 4469, C.I.G. 1273, 1432) are doubtful we may restore the word in No. 647. 3 Le Bas-Foucart, Explic. No. 174. 4 Hdt. viii. 124 Tpirjteoffioi 'Sira.pTirjTtcav \oya8es, OVTOI oiirep lirirtfs KaXeovrai (cf. ibid. vii. 205) Thuc. v. 72 ot rpiaicoaioi linriis Ka\ovfievoi ; Hdt. i. 67 that they were a body of infantry is proved by Strabo (x. 4. 1 8), though Dion. Halic. (ii. 13. 4) refers to them as iirnfvai re ovat KOI Trefofs. The mode of election is described in Xen. Resp. Laced, iv. 3. 5 The identification is made by Foucart (Le Bas-Foucart, Explic. No. 168 h), but rejected by Gilbert (Greek Constit. Antiquities p. 27). 8 C.I.G. 1424. Cf. Le Bas-Foucart 1940. 7 One in Le Bas-Foucart 166 ( = C.I.G. 1425); two in C.I.G. 1427; three in 8 C.I.G. 1424. C.I.G. 1444, 1440 (?). 9 The same man is dyowoOfTrjs of the Katffdpfia and Evpvie\ia, Le Bas-Foucart 168 i. C.I.G. 1239, 1240, 1378. Of the AioffKovpeia and A.fcavi8ia, No. 544. 10 See the reff. given in my note on No. 204, col. II, 1. 21. 11 Boeckh, C.I.G. i. p. 610, ch. v. 3. They are mentioned in No. 204, col. II, C.I.G. 1258 col. I, 1. 12, 1364, and tne passages referred to in notes 3-5, p. 16.
Tod, Brit. School Annual, x. 74. Aiaperrjs Aifivaecav in No. 204, col. I, and C.I.G. 1243
:
Le Bas-Foucart
',
t6

1
Their duties are unknown, but we can scarcely be wrong in attributing
them a judicial character. At Athens, as is well known, the <rvv8iicoi were public advocates appointed to represent the state, especially before foreign tribunals, e. g. the Amphictyons, and to defend the existing laws when changes were proposed: another body of syndics 2 was formed after the fall of the Thirty Tyrants to hear and decide claims regarding In Spartan inscriptions we meet with a o-vvSiKos confiscated property. 6eov Avieovpyov*, a (rvvStKOS firl TTJV fj.yd\r}v (rvvdiKiav*, and a avvSucos err! TO,
to
6
Wrj
A fourth
magistrate, a-vvdiKos
cm
TOVS vrfpow, rests, as I
have shown,
upon a misreading of No. 204.

23.
this
class,
One inscription (No. 213), though not properly belonging to may be here mentioned as referring to an office not yet
Nfcoi/ is
described as crvve<pT)f3os Aa/udpous, irpearftvs vop.o<pv\aK(i)v, of these titles, crvvtyTjpos roO delvos, occurs several times in Spartan inscriptions 6 the name in the genitive being always that of an eponymous patronomus. Boeckh 7 has shown that the meaning be that the patronomus and his awtyriBas were efaftoi together, cannot but that the title is in all probability a term of honour denoting that the <rwc<pT]&os was chosen by the patronomus from among the ?^/3ot as his guard or attendant. How many avvefaftot were attached to each eponymous patronomus we have no means of deciding, but that they were, in some cases at least, more than one is proved by the mention of three 8 The term Trpfo-ftvs vopo(pv\dKa)v has <rvv<pT)ftoi of the same patronomus 9 In conjunction with this civil office Neon already been explained holds the religious one of Ifpo&vTrjs. That there were several itpoOvrat is shown by No. 217 B, where they are directed to invite to the KOWO. eoria one who had been honoured by the state with the grant of irpogwla. 10 may compare the position of the Lindian IfpoOvrat a college of fifteen elected in the public assembly, whose duties consisted in the annually celebration of the public sacrifice and meals offered on behalf of the state they were further responsible for confirming in the enjoyment of their privileges such citizens as were rewarded by the Lindians and for entertaining strangers invited by the state to a public meal near the common hearth 11 .' 24. Four inscriptions record the names of winning teams of ballalluded
to.
and
lepoOvTrjg.
The
first
We
'
players
(iii.
(arfpaipfts)
14. 6), to those

avSpcs,
and
This word was applied, according to Pausanias in the stage intermediate between ecprjpot and was given to them in all probability because they devoted
.
12
who were
It is interesting to notice the Spartans were the discoverers of the ball and of gymnastic exercises. No. 721 has the heading 'ETT!
themselves to some ball
game
as exercise.
13
that according to
one
tradition
1 2
Demosth. c. Leptin. de Corona, 146, 152 Harpocr. s. v. Lysias xvi. 7; xvii. 13; xix.
; ;
134. 34. Meyer-Schomann-Lipsius, Att.
4 5 ibid. 1. ai. C.LG. 1242, 1. 22. C.LG. 1239, 1244, 1247, I2 55> I2 5 6 T 359> J 3 6 4. In its non-technical sense it occurs in Le Bas-Foucart 167 (=' fellow-^^? '). T C.LG. i. p. 612, ch. vi. 3. 8 Three ffvvtQrjpoi of Sidectas are mentioned in C.LG. 1244, 1247 as the names, however, are lost two of these may be identical.
9
>
Process, p. 123 8 C.LG. 1256.
foil.
11 18
J*
10 LG. xii. i, Nos. 761, 768 b, 836, 838, 840, 844-9, 8 5315, above. P. Foucart, ap. Daremberg-Saglio, s. v. I have discussed this class of inscriptions in Brit. School Annual, x. 63 foil.
See
Athenaeus
i.
25, p. 146.
MCVCK\COVS
ol
17
fffpaipfls
oi
viKaa-avrfs
thirteen, fourteen or fifteen in
number
followed by a list of names either these probably formed a single

:
team which had met and vanquished similar teams representative of No. 40O is fuller and more explicit: the name of the other wjSeu. patronomus is given, followed by those of the /Si'Seo? and the dia^rjs. Then COmeS the formula aâipeis NfOTroAtroii/ ol vncdvavrcs ray a>j3ay dvefao'poi, and lastly we have the name of the captain (n-peo-pvs) and of the members Nos. 647 and 781 seem to be similar, though very of the team. The word dvefadpoi recurs in this latter, and means 1 fragmentary. one who has never drawn a bye throughout the series of contests, and has therefore met his opponents one after the other without opportunity for rest, a fact which enhanced the merit of the final
'
'
victory
Possibly No. 27O was of the same nature as the inscriptions just discussed: the question, however, must remain undecided as we have &>3a rS>v At/ii/aeW. only the first line 25. Finally we have to notice six inscriptions which record the names of the members of two religious associations. These have been so fully discussed by Foucart 3 that it is unnecessary for me here to do
more than merely summarize the results at which he arrives. Three of these inscriptions (Nos. 205, 206, 207) contain lists of rl TOU 8eti>os, the Tatvdpioi year being dated by the eponymous patronomus: they all belong to the same period, though No. 207 seems
to be slightly earlier than the other two. To judge from the absence of Roman praenomina and the use of the genitive form in -fos from third declension names in -rjs, these lists must be prior to the Empire, and we
can attribute them to the first century B. c. The title Tatvdpioi must refer who formed a guild for the celebration of the sacrifice in honour of Poseidon Taenarius*, who had a temple at Sparta as well as that on Cape Taenarum from which he derived his name. The lists fall naturally into two divisions: (i) the members of the guild, and (2) the officials and servants attached to it.
to those
1.
The members
are
all
free
citizens,
and
number
thirty-eight
(No. 205) or forty-two (Nos. 206, 207). They belonged for one year only to the guild, since no name figures in more than one of the
three catalogues. 2. On the other hand, the servants of the guild were not restricted to a year's tenure of office a number of them 8 are the same in 205
:
separate,
two groups, which are always kept strictly though the order in which the offices contained in them are mentioned is very variable. The first group contains in all cases a secretary, two heralds, a flute-player and a to 'prophet*
and 206.
They
fall
into
(pdvrtf)
Dittenb. Sylloge*, 683, note i. The word occurs only in these two instances and in three inscriptions from Olympia (Olympia, v. 54, 225, 227) it may be restored in CJ.G. 1272-4, 1432. 3 Le Bas-Foucart, Nos. 163 a, b, c, d. Exflic. * Cf. Hesychius Tcuvdpia' irapd AaKeScupoviou copr^ Uoaeiti<avo<: Kat \v avrf) TaivaPausanias (iii. 12. 5) refers to the temple, rovrtuv 8* ou piaarai^ vopptu' repfvos IloffeiSSivos' Tatvdptov 8% firovofiidfavaiv. 5 In both cases 2ixdpr)s is prophet, Evapfpos herald, 'A.piar6\as senior ircuavias, and Aa/xo/^xiTiSas flute-player. The alv Qcpow and 0a\avcvs of No. 205 reappear in 206 as Koafcr-fjp and aitHpaTonos respectively. The only link with No. 207 is formed who appears there as (iriypd<p<vv. by Euameros,
8
:
l8

:
these are added in Nos. 205, 206 two irtuaviat. The second group contains those who performed the more menial offices in all three lists we find a pdyfipos, KoaKrfjp, (Tio(p6pos (rov a\v (pcpow) and iriypd(pa>v, while No. 206 adds to these a (rKXparofjios and No. 205 an fyonots and a paXavevs. All these posts are held by slaves or freedmen. The 1 carried in procession the image of the god: the emypdfpcov o-iocpopos is probably a clerk placed under the direction of the ypaârevs. The meaning of Ko(t)aKTr)p is uncertain, but it is perhaps to be connected cWgupop, evexvpdfa) and to be etymologically with K&IOV, Kvidfa (
explained as
debts 2
.
denoting an
official
The cook
(pdyetpos)
collected the guild's over-due prepared the sacred meal, and under
.
who
him was the OÔTTOIOS, and possibly also the o-KKparonos (^Kporofios) whose 3 duty was to cut up the sacrificial victim Lastly, there is the paXavcvs, who was responsible for the bath the elaborate regulations with regard to the bath laid down in the celebrated Andania inscription (CollitzBechtel 4689 1. 106 foil.) show what importance was attached to this
:
department in connexion with religious celebrations. 26. A second religious association is brought before us in Nos. 201, Like those of the Tcuvdpioi these lists are dated by the 202, 203. mention of the eponymous patronomus. Of 201 only the heading rc the catalogue itself having been remains Of trvnjQevrfs 'Ai/o-tfrov] inscribed on a separate stone now lost. Of 202 we have the heading and two names, but the rest of the list is [of aiT]r)devTs eVi SiSeVra illegible. Fortunately No. 203 is entire, and in a fair state of preservation. Over the inscription is in each case a relief representing the Dioscuri to right and to left of a female figure in a long robe which The catalogue of names which constitutes portrays their sister Helen. the inscription is a list of those who took part in the feast connected Like the with the sacrifice in honour of the Dioscuri and Helen.
of the Taivdpioi, these three inscriptions belong to the first century before our era. The persons named in it fall, as Foucart * has shown, into four classes. 1. Five and u) are members of the family in which was (11. vested the hereditary priesthood of the Dioscuri. Evpvfidvao-cra is priestess of Helen, Tyndares priest of the Dioscuri: the other three are mentioned on the list without any reference to an office held
lists
25
by them.
2.
Five others are
officials
5
of the
guild
/3i'8uo?,
yepovo-ias,
c<popos,
vop,o<pv\ag
and
The occurrence of officials of religious yvvaiKovonos . other societies bearing the names of state magistracies is a welland
in
known phenomenon
Lacon. dialecto, 3 So Meister
p.
Greek
foil.
inscriptions
That the magistrates here

<f>(poov.
and rov
56 [186]
alv <f>cpow
= Tov
Otbv
See Miillensiefen, de
tit.
Conze-Michaelis Cauer. (ap. Collitz-Bechtel 4444), following (Annalt, 1861, p. 45) proposed to identify the word with the Latin coactor. Foucart connected it with KOIKES' ev AiOioniq. QOIVIKCW tlSos (Hesychius), and compared the if/i\ivoiroi6s of No. 203, 1. 24. 3 Hesych. 0Ki<pos' fifos. Etym. Magn. aniôs' r6 i'</>os, Staipfaci TOV S fls K2 KOJ.
Le Bas-Foucart, Explic. No. 163 a, p. 82. 6 Cf. a guild inscription from Thalamae (Collitz-Bechtel 4577), in which the first four officials are the same and occur in the same order, but are followed by a xdpvf instead of, as here, a yvvaiitovofjios. 9 E. Ziebarth, Griech. Vereinswesen, Ch. C, 5, p. 146 foil.
named
by the
state
19
are not those of the state

piSvos
who
is
placed
first
is proved by the position occupied both here and in No. 202, though the
jSi'Suos was an officer of small importance and would certainly rank below the ephor. 3. These ten names are followed by eleven others (11. 12-21, 23) of the higher grade of functionaries, religious and artistic, attached to the Here, as in the lists of Ttuvapun, we meet with the herald and guild.
the prophet of the society
in addition to the avXijTrjs
employed
in the
Poseidon
cult,
a
'
Kidapio-rf^s,
'
common
iratavias.
feature
lyre-player, appears here, while yet another of the two guilds is the occurrence in both of the
teacher (1. 1 6) l is doubtless he who trained the chorus for the dance, while the musical department is still further strengthened by the inclusion of a victor in the musical contest held in honour of Apollo Carneius (icapvfovfiKas). This group of officials is completed by the architect, the sculptor of herms or reliefs (yXuêvs 1. 18), the goldsmith who overlays architectural ornaments or the horns of victims with gold leaf, and a person whose function is not indicated this last 3 is included in the guild Kara vopov, according to a rule of the society just as is the 8i8ao-KaXos above referred to. 4. Finally, we have a group of eleven men and a woman, of whom two (11. 32, 34) are slaves while six others are freedmen. These occupy the lowest position or are craftsmen whose services are required to carry out the cult celebrations. The spinner (xXwo-ras) 3 and the dyer (poytv? 4 1. 2 are concerned with the making of the proper ceremonial dress 7) worn at the sacrifice the wreath-seller (oreâiwreoAis) and the maker
: , :
The
of palm-leaf garlands (îhtvoirotos) 5 supply the wreaths with which the participators are adorned. The Kadaprfjs (1. 25) carried out, under the direction of the priest, the purificatory rites. The secretary (1. 26) was a clerk, probably at the disposition of the ypapnaroffrvXag, while the reader (avayvuaras) read aloud passages from the sacred books during the performance of the acts of worship. The irapoxos (1. 30) was in all likelihood he who supplied the fuel either for the cooking of the festal meal or for the heating of the bath 6 The cook (1. 33) was assisted in his functions by a baker (aproKorros), who made the bread required for the meal. Finally, there is the general servant (vmiperas 1. 29) of the After his name comes guild, and a slave whose function is not stated.
.
the
1
word A<t>ATEIN
Cf. Reisch's article
7
,
which has been interpreted by Meister 8 as an
s. v. 5i8aana\os in Pauly-Wissowa, v. 401 foil. the officials of the guild are named after the state magistrates, so the society's rules are called i/6/*oi. Cf. the title i/o/xo</>uAa (1. 9). 3 Etym. Magn. s. v. Kardie\<uefs K\u8fiv yap TO vi]0w oOev /mi K\uffrr)s, irapd rov K\&a<a /xeA-Aoi/ra, KO! KXcuar'fjp.
As
Hesych. poyevs' fiatycvs. Athenaeus xv. 678 b &s

Cf.
(prjm
S<w0Y/3ios
ev
rots
irtpl
QvcnSiv,
if/i\ivovs
avrobs
.
<pdffK<av
6
vvv 6vofM^(r0ai, ovras CK

itvp KOI fidicpav evtcparov
(poiviiecav.
Cpllitz-Bechtel 4689,
ftnrripiov
[cts
1. 1
06
. .
foil. 6
.
ayopavoôs tmpt\euur
6
IXC'TCW
6W
irope'x<
â fopa
teal oirtas
. .
.
ZySega^vos TWV
v\<uv rcLv
ol 5t lepol
fy5t86{i}vT(a rdv
irapox&v
ru>v
T&]
d\fiirr'f)ptov.
This reading may, I think, be regarded as certain. PE N was read by Welcker-Henzen (Bull. delF Inst. 1844, p. 146), and adopted by Vischer (Inscr. Spart. part. ined. VIII. p. 16), who, however, adds attamen P minus cerium ntihi visum
1 '
A* A
estS
8
All other editors read (uparciv. In a note ad loc., Collitz-Bechtel 4440, p. 20.
C 2
20
infinitive
from a(paros (cf. d&warciv, ddcrdv, dmo-Tfiv, &c.) in the sense of oi>x offtov <pdvai (sc. o,n rrotfi). What this mysterious office was we have no means of deciding. 27. Two titles which appear frequently in inscriptions of this class
require
The word
by No. 411.
and /Sovayo?. explanation, namely 1 is nearly always denoted by an abbreviation, usually the letters K A in monogram ; it is, however, found written in full in
icdo-is
some
It always follows immediately a name in the dative and an examination of these names will show that they are those of eponymous 8 patronomi. Boeckh's conclusion has been generally accepted, according to which the KOCTIS of an eponymous patronomus was an assessor, or irdpftipos, chosen by him from among those who had been in the same 4 We may note in passing that the same person might dyeXrj with him be chosen as assessor by the eponymous magistrates of two years 6 while on the other hand, the same magistrate was at liberty to nominate more than one such assessor 6
,
.
The term
Taking and the
/Sovaydy
(also written /Soayor)
into consideration the passages
where
presents greater difficulties. 7 it occurs in inscriptions

dye\r)g
dyeXrj
may
gloss of Hesychius fiovayop' dyeXapxf*, o rrjs regard the povayos as the boy chosen by an
.
apx^v out of
irais,
its
WC own
members as leader 8 The title was retained through life, and ro> 3em Kaa-is and TOV dfiva o-vvfcpTjftos, points not to a present Those who refer the magistracy or function, but to a past distinction.
constituent
therefore like
held at the time by one of the e*pf vcs 9 have a young man of twenty to thirty years, could hold the office of w/*o</>uXa or ephor, or even that of Trarpoi/o/Ltoy 10 Only in the dedicatory inscriptions to Artemis Orthia (Nos. 218, 220, 410, 783) is the title used to indicate an office exercised at the time
office actually
term to an
to suppose that
an eip^,
i.e.
by the person designated

VI.
as povayos, povayos
/u
DEDICATORY INSCRIPTIONS
28. have now to deal with those inscriptions which indicate the dedication to a divinity of some object, either the stone itself (statue, relief, altar, &c.) on which the inscription is engraved, or something
We
attached to
it
The
by No. 60O, where a seated

Nos.
simplest form of votive inscription is exemplified statue is inscribed with the name of the god
;
204
1.
col. I,
1.
25,
248, 411
Le Bas-Foucart 182
See note ad
&c.
No. 411
15 seems to be an exception.
loc.
Le Bas-Foncart
8
C.I.G. i p 6n. Boeckh (loc. cit.) compares the irapcSpoi of the archon at Athens. No. 204 col. I, 1. 25 Mv&(ff<avi) Kal b.vaip.(axca'} Ka(ffis). Nos. 411 1. 3 (two wafts of Pasikrates) 210 'll. 20, 21 248 11. 4, 8. The references in the Corpus are collected by Boeckh, C.I.G. i. p. 612
; ;
see also
174, 175 a, and the passages quoted in note 10.

j,
So Foucart (Le Bas-Foucart, note on No. 162
Daremberg-Saglio
s. z/.),
who
distinguishes between the 0oa-y6s and the elfnjv who acted as overseer of an i\t) (Xen. Resp. Laced, ii. n). See also p. 22, note 9. 8 This is Szanto's view, if I understand aright his article ap. Pauly-Wissowa, s. v. 10 The 0oay6s is irpia&vs ktyoptuv in 204 col. I, 1. 24, 6</>o/>os in 204 col. I, 1. 27, irptapvs vofj.o<f)v\AKcw in 411 1. n, vofjio(pv\af in 204 col. I, 11. 31, 32, 33, 411 1. 13, narpv6fjios in Le Bas-Foucart 175 a. 11 For the formulae employed in votive inscriptions see Rouse, Greek Votive Offerings
(Cambridge, 1902), chap.
xi.
whom
it
21
The name of the represents and to whom it is dedicated. is also omitted in the simple formula Au tyiarm cvxqv l (No. 223) , but except in these two instances it is always present. The to whom the offering is made is always specified except in two god these instances (Nos. 427, 528), where the words 0cd, 6 6e6s are used would derive their definiteness from the sanctuary in which they were These two elements, dedicator and divinity, give the key placed.
dedicator
:
formula, which appears in such an inscription as Ka\\iKpdrr]g Twdapiftais 2 the addition of (VXTJV or evxapurrripiov gives a second type (No. 7) of (Nos. 427, 546), while a still further stage shows the introduction In a finite verb avftirjica, ai/e^/cei/, avanBfl (Nos. 528, 618, 404, 275). one case the phrase KO.T fntrayrjv roO feov* is found (No. 528), while
:
office of the dedicator is stated, in one case another a drjpoaios. Though crude in design and rough in execution, five of these little altars, four of which (Nos. 427, 528, 546, 618) are dedicated by women and one (No, 275) by a man, claim our interest as the sole relics of the life of the poorer classes in Sparta ; elsewhere it is only on tombstones that we meet with any record of them. While, however, the poor were fain to content themselves with these humble offerings, the wealthy could erect more splendid monuments Thus we find (No. 254) Publius Memmius of their liberality and zeal. * Pratolas and his wife Volussena Olympicha erecting a pillar in honour Saviour Dioscuri, the priesthood of whom was vested in their of the Again, on the upper facia of the Ionic architrave of a round family. building was engraved a somewhat similar inscription, probably dedicatory (No. 707), of which only the words [c r]a>v iditov Kare[ffKi>aa-ev Or
in
two (Nos. 404, 275) the

in
yepovo-i'ay,
-av]
are extant.
Those of Plestiadas (No. 447) 29. Metrical dedications are few. and Damonon (No. 440) have been already discussed 5, and KirchhofFs view has been referred to 5 according to which No. 611 is votive rather Thus only No. 69O remains, containing a dedication than sepulchral.
of a statue to Apollo in a poem consisting of four elegiac couplets. destitute of any poetical merit, being composed largely of well-worn tags, and the character of the writing forbids our assigning it to a date earlier than the second half of the second century A. D. Two other inscriptions, one from the Menelaeum and the other from the Amyclaeum, are almost certainly votive in character. Of the former (No. 642) only six letters remain of the latter (No. 689) all save the last two lines has been purposely deleted, and it is not possible to
These are
ty'tara)
Similar inscriptions occur C.I.G. 499 EuoSos tyiarq) fvxhv, 500 evxyv, 501, 503 'Ovrjaifirj ei/xty Att vif/iffry, 504. These all come from Athens, with other similar inscriptions (Dodwell, Tour through Greece, i. 402 foil.). From Corcyra comes C.I.G. 1869 QataieoaivT] (?) Atei (or Atfi) vtf/iary fvxnv, and
vios [Au?] tyttrry evx^. In [6 otiva] 'A\fdv8pov however, the dedicator's name is recorded. Evx^pio-rrjpiov occurs I.G. in. 132/, 140, 145 (Athens), vii. 3417 (Chaeronea), xii. 3. 1086 (Melos), xii. 2. 112, 115, 182, 481 (Mytilene), Olympia v. 241 (Olympia), Latyschev, Inscr. Ant. Orae Sept. Pont. Eux. i. 91, iv. 19 (Olbia), C.I.G. 2054 (Mesembria), &c. It is a late variant of the more common term xapiarijpiov. * Compare the similar phrases tear' kmrayfia, t tmrdyfjtaTos, irpoaTdavTos rov Ofov, Kard npoara'yfMi, KOTO. Ke\ev<riv TOV Oeov, &c., quoted by Rouse (op. cit. p. 331). 4 Or, according to Foucart (Le Bas-Foucart 162 g), some portion of a doorway. See my note ad loc.
.
from Aezani C.LG. 3842 d

all these cases,
a
2.
22

documents may be
restore the sense of the inscription. Both of these dated as belonging to the third century B.C.
30.
We
are
left
from the second century
with a series of six inscriptions which, though dating A.D., are more interesting than any we have
.
discussed in this class (218, 219 + 501, 220, 221, 410, 783) l I do not propose here to resume the discussion of the various doubtful points raised by these inscriptions 2 but will briefly sum up what may be regarded as established. They form a group of dedications to Artemis Orthia (Nos, 218, 219, 220, 221, 783), the object dedicated being a flat iron implement inserted in a groove cut for the purpose. One of these has been preserved (No. 218), and in the other cases the shape of the groove shows that the object dedicated was similar. It has been s a strigil 4 or an ornament for the head variously interpreted as a sickle 8 The which, owing to its form, went under the name of orAeyyi's inscriptions are marked by the extremely archaic character of their language, although they date from the reign of Hadrian onwards the fact that the earliest of them (No. 783) e shows no trace of this archaism proves that we have to deal not with a survival but with a revival of the ancient dialectical forms. The fact that the votive offerings were prizes won in contests is No. 218), and there can be no doubt directly stated (raSe en-a^Xa Xa/3a>i> that these contests were celebrated in honour of the goddess to whom the dedication is made. In one case Further, the contest was one of boys. the word Trm&Koi/ is expressly applied to it (No. 783), in another it is stated that the votive inscription was composed by the victor's father (No. 218), while the dedicator is called poayts (No. 218), ftovaybs ^1^18,
,
dopevav (Nos. 220,
seems to fio(v)ay6s be a bye-form of /ni/aSSd/uei/os, i.e. piKitfiifvos, which occurs perhaps in No. 410. This last word is explained in the Xes 'Hpo&Srov as denoting a boy in the third year of his state-education, and the fiovayol /*uaxt88o/Aei/a>i/
:
The word
410 7 783; Atken. Mitteil. has already been explained 8

,
xxii.
p.
337, No. 6).
/xi/aîSSo/iei/os
are thus the leaders of povat, groups or companies, of ten-year-old boys

1
9
.
For a discussion of these inscriptions as a whole see J. Baunack, Rhein. Museum, xxxviii. (1883), p. 293 foil. ; T. Preger, Athen. Mitteil. 1897, p. 334 foil. ; R. Meister ap. Collitz-Bechtel, Sammlung, iii. 2. i. p. 142 foil. ; M. N. Tod, Athen. Mitteil. 1904, p. 50 foil. a The other inscriptions of this class known to us are : Preger, loc. cit., p. 337,
Nos.
4
Preger, loc. cit., p. 334. 6, 7, and C.I.G. 1416 ( = Collitz-Bechtel 4471). Reisch, Griech. Weihgeschenke, p. 61, note 2, and Pauly-Wissowa, s. v. aQ\ov, ii. p. 2061. 5 Meister, loc. cit., p. 143, followed by Rouse, Greek Votive Offerings, p. 153. ' It is uncertain whether No. 783 is earlier than No. 410, the date of which was doubtless recorded on the portion of the stone broken off. This latter inscription also bears no signs of archaistic dialect forms. 7 Perhaps, with Preger, we should read &ovay[bs {wci8]5onf[v(av~\ in No. 410.
3
8
27.
i> irapci haiteSaifjioviois gloss is 'as follows (ed. Stein, ii. p. 465) Ivtavry 6 irdis /5a>#i8as naXtlrai, rS> Stvrepy irpofjitKi6iJitvos (cod. irpoKop.i6ntvos, corr. Wesseling), rS> rpirta fitKiôfievos, ry Trapry irp6trais, rS> 7re/i7rr<j> Tra??, T$ KT<v p(\fipT)v. 'E(pij&vet re trap" avrois airb eruv t5' ptxpi /fat K'. It is obvious that ages are reckoned not from birth (as Foucart), but from the boy's seventh year when the state undertook his training (so Preger and Meister). This does away with the objection that might be advanced against the explanation of the word @ovayos given in 27, that it requires us to believe that children of three years old elected from their own number the 0ovay6s of their ayt\rj, as is maintained by Foucart (Le BasFoucart, note on 162 j, p. 143, and Daremberg-Saglio, s.v.*).
:
The Herodotus
ra> irpurry
The
'
23
of these inscriptions centres round the questions, Is the same in every case ? and, if so, what is its nature ?' Baunack thought that three different contests are referred to, the hunt the song (n&av), and the discus (\S>av, \avav). Preger (Kao-o-Tjpardptj/), and Meister reduce them to one, a musical competition. I have tried to 1 show that we have to deal with a 'hunt* (KaQGrjpaTopiov), i.e. some species of ravpoB^pia, and also with a totally distinct musical contest (/ua). I thus follow Baunack in his interpretation of Kao-o-jjparcf/wi/, while adopting the view supported by Preger and Meister which connects Kfavav (or KfXvav) and xaiXoav (OY KaiXuav) with the root K\- Ka\- and sees in it, as well as in (= /zovo-a), a reference to the musical contest. But several problems remain unsolved as yet, of which it is to be hoped that future epigraphical finds will provide us with the key.
difficulty
contest referred to the

'
'
'
'
'
'
â
VII.
INSCRIPTIONS IN
HONOUR OF ROMAN
we
by
pass
their
EMPERORS
31.
From
by a natural
emperors.
inscriptions dedicating some offering to a divinity transition to those raised in honour of deified
Roman
We
cannot
fail
to
be
struck
in
the
first
place
Of thirty-four inscriptions comprised in this simplicity and brevity. class no fewer than twenty-seven consist of four words only, while the
Here at any rate it would seem longest does not exceed seven words. as if we had stumbled upon a genuine relic of the proverbial Laconian conciseness. second and less pleasing characteristic is their monotony. Twenty-two are verbally identical, and amongst the rest there is a certain
sameness which proves that variety and originality of expression were not, at least in this particular, held of great account. Thirdly, the narrow range of these inscriptions is a surprising fact ; for on examination
we
find that all the thirty-four inscriptions in question refer either to
Hadrian (117-138 A.D.) or to Antoninus Pius (138-161 A.D.). This gives us our most convenient basis for classification. i. Inscriptions in honour of Hadrian. These number altogether eleven, and have two elements in common they all alike begin with the title avTOKparup (imperator) and end with that of o-cor^p, or, in two cases
:
(Nos. 381,
c
507),
O-UTTJP
ras AaKe&ufioj/os.
The emperor
is
referred to
either as ASpn/o's (Nos.
237, 239, 240, 244, 373, 507, 529, 619, 629A, 676) or as Tpa'iavbs *A8piav6s (No. 381), while the other titles given to him are either Kalorap 2f/3aoro's (Nos. 239, 244 (?), 507, 676) or Kmo-ap alone. As regards grammatical construction these inscriptions fall into two species in the majority the words are put in the genitive, but in three In no case is a finite (Nos. 240, 507, 676) they occur in the dative. verb expressed. These inscriptions may probably be brought into connexion with the two visits 2 to Sparta of the emperor on the first occasion (summer, 126 A.D.) Hadrian was making a tour of the Peloponnese during his first long stay at Athens, while on the second (late spring, 129 A.D.) he was on his way from Rome to Athens, where he
:
Athen. Mitteil. loc.
cit.
I ov not lirirapxovvTOS KO.I ayopavopovvTos (ircSrjuijcrfv ry woAct 6 Ott6raTos AvTOKp6,Ta)p*A.$piav6$. C.I.G. 1348 yvfjivaaiapx[j)^ffavTa KO.\US firl rr}[s~\ rov [20a]0ToG AuTo[tfp]aTo[/>or] Kcu'erapos Swrcpas embrjuias. For Hadrian as eponymous
col.
No. 204
patronomus
see
No. 204
col. II,
1.
14,
No. 374, and Le Bas-Foucart 286 b.
24
remained from the summer of 129 A.D. to the spring of the following year \ 2. Inscriptions in honour of Antoninus. These number twenty-three (Nos. 226-236, 367, 368, 389, 466, 503, 521, 547, 669, 670, 720, The formula 78O), and show an extreme simplicity and uniformity. Zavl 'EXcv&ptoi 'Avruvdvoi 2o>rj)pi occurs in twenty-two instances, the only variation which is found being in the spelling of the third word, which is usually written 'Aimai/aW, but sometimes 'Avrtovivoi (Nos. 226, 229, 466, 547, 669). The single deviation from the standard form is found in No. 230 Zavl 'E\cv0fpiot Kal 'OXvpnioi Avrcweivoi. Swri/pi. With few Or HO
'
exceptions the inscription is accompanied by the representation of a wreath and two palm branches. The chief point of interest with regard to them is the archaism of form (Zavi) and spelling (never 'EXcv&ptot 'AinGwcivai), and the great variety of the letters employed, almost every combination of forms being found, though the inscriptions themselves
were probably
all
engraved during the Emperor's

VIII.
lifetime.
EPITAPHS
,
32. The most numerous class of inscriptions in the Museum, with 2 the sole exception of the catalogues or lists already discussed is formed the epitaphs engraved on tombstones. These naturally fall into two by sub-divisions, according as the person commemorated is a native of Laconia or a foreigner. Of the former species we have some forty examples, the most interesting being those which are earlier than the second century B. c. According to a well-known tradition, Lycurgus included among the changes which he introduced into Sparta regarding burial and mourning, a regulation forbidding the placing of any epitaph upon the tomb, save in the case of a man who had died in war or a woman who held the office of
8
priestess . And in point of fact, so far as we can judge 4 from extant monuments, this rule seems to have been strictly observed during the fifth and two succeeding centuries. The only doubtful case is that of No. 526, where
we have the word Uo\\eiov on a rude block of stone. It is uncertain whether this is an epitaph or not, and in the former case it may well be But that of a soldier who fell in battle, though the fact is not recorded. Kirchhoff has maintained 5 that the same rule holds good for the sixth This seems at best a somewhat doubtful conjecture. Not century also.
1 For the journeys of Hadrian see J. Diirr, Die Reisen des Kaisers Hadrian, Vienna, 1881, and for his visits to Sparta, pp. 59, 70, 71. The epigraphical evidence is collected in an appendix, but for Sparta it omits Dressel-Milchhoefer, p. 438, Nos. 13, 14; Expldit. de Morte, ii. No. 53; Annali delF Inst. 1861, p. 45; Vischer, Inscr. Spart. VIII. No. 5. Since Diirr wrote the evidence has been increased by Bull, Corr. Hell. ix. p. 517 ( = No. 507). Nos.,237, 239, 240, 373, 381, 520, 619 (?) and 629 A are published now for the first time, while No. 244 corrects an error of Annali, loc. cit. 2 See 13-27. 3 Plut. Lycurgus xxvii (iriypoaf/ai rovvofM Oaif/avras OVK ifjv rov vctcpov, IT\^V avSpbs (v iroXffjuf) Kal ywaucbs TWV tfpuv aitoOav&vrojv. This latter reservation is omitted in the briefer statement oilnstit. Lacon. 18 dpccXe 8 /ecu ras tmypatyas ras
rtav
*
fivrjfjififuv, ir\i)v
roav kv iroA^/up Tc\vrr)ffa.VT(uv.
Kirchhoff, Sitzungsb. d. Berl. Akad. 1887, p. 990.

inscription
on No. 417, an
'
But see below on which Kirchhoff has not commented.
37)
my
note
Loc.
cit.,
p. 992.
only have
25
we No. 611, which, though badly mutilated, has been almost universally accepted as a metrical epitaph, and I.G.A. 65 (Collitzwhich in spite of the badness of the copy appears to Bechtel
4412),
be also a metrical tomb-inscription, but also /. G.A. 54 (Collitz-Bechtel 4402), which can hardly be interpreted otherwise than as a sepulchral poem. Nor need we necessarily reject the tradition entirely. It is open to us to suppose that some such regulation as Plutarch describes was and was actually made at some time near the close of the sixth century,
the great lawgiver
afterwards attributed, along with many other laws of a similar nature, to who was held as the embodiment of the ideas and
principles which were characteristic of the Spartan constitution, and which called forth the admiration of many thinkers and observers belongThe very fact that according to the tradition ing to other Greek states.
Lycurgus put a stop
to the writing of epitaphs
on tombstones
is
proof
that the Spartans believed that such epitaphs had existed, and had a prominent feature of early tombs. Be the reason of the change
been what
it may, the long and elaborate metrical epitaphs of the sixth century are replaced by inscriptions consisting only of the name of the fallen with Of these there are six examples in the Museum, the addition lv iroXe/tMoc. the gravestones of Aivrjhias (No. 377), AiWros (No. 386), Haiprjhunros (No. 387), Evpvafys and TUO-KOS (No. 509), Evdaipw (No. 435), and - -OVIKOS (No. 617). An exact dating is not possible, but the first three may be attributed to the fifth and fourth centuries, the last three to the third century B.C. Other six similar epitaphs are known, commemorating
Eva^KTjf (Collitz-Bechtel 4529), T^Xeâi^s (ibid. 4528), Emmas (ibid. 4512), - (Ussing, Grceske og Latinske Indskrifter i Kj'dbenhavn^ 1854, No. 6,
(Le Bas-Foucart 283), and TeXeVro>/> (ibid. 203 a). Of two probably belong to the fifth century, the third and The fifth is, fourth to the fourth and the last to the end of the third. 1 according to a conjecture of Kirchhoff a renewal of an earlier inscripp. 8), 'OvairfXrjs
these the
first
tion
I prefer, with period and to see in

:
common
Foucart 2 to regard it as belonging to the Imperial it a further example of the archaizing which was so a feature of the reigns of Hadrian and Antoninus. In formula
,
there are only two variations from the common type. The words EvdXiajf > TroXe/uwt are followed by / Mamwat to denote the battle in which
Eualkes
xaip
while the 'OwureXi^ inscription just discussed has the word In the Imperial period this word was considered such an integral part of an epitaph that it could not be omitted even when the form of the epitaph was copied from an older model which lacked it. These inscriptions are found scattered over a wide area. Two (Nos.
fell,
at the close.
377, 387) are neighbourhood 4512), and two come from the Foucart 203 a),
from Sparta, and one from Magoula
in
its
immediate
(No. 386) ; one was found at Amyclae (Collitz-Bechtel at Geronthrae (Collitz-Bechtel 4528, 4529); two others northern part of Laconia, one from Sellasia (Le Basthe other from a spot between rcapyirvidvuca KaXv/3a and XaW on the road leading from Sparta to Leondari. The provenance of the other three is unknown, but it is probable that at least two of them (Nos. 509, 617) are from the neighbourhood of Sparta. 33. Over the later tombstones contained in the collection we need not linger. The simplest and commonest formula consists of the name
1
Loc.
a
cit.,
p. 991.
Le Bas-Foucart, No. 2033,
note.
26

~
:
of the deceased (in the vocative) followed simply by the word x a lP e (Nos. 26, 28, 255, 257, 264, 300, 379, 448, 564) in one case the Often the age of the epithet dyaOe is appended to the name (No. 371). dead is recorded, either as a mere number (Ayd6a>v xpe AB. No. 523), or as a number with er&v (No. 261), or more commonly in the formula
Zrrj /3 t a><rao-(a)
(Nos. 256, 258, 259, 26O, 263, 371, 380, 395, 522) in one case only (No. 395) the number of months is added. The fact is a striking one, though perhaps due to mere accident, that of the ten persons of whose ages we are thus informed eight died before reaching the age of thirty, and one of the remaining two lived only thirty-two years, so that in spite of the sixty-seven years of life recorded in No. 258
:
In all these cases the the average age at death is less than twenty-nine. mention of the age of the deceased is preceded by nothing save the name and xatpe, though in one case (No. 380) it is followed by the formula
Somewhat fuller is No. 245, where we have along with the name of the deceased his office or title (nvcrrayvybs * d Qepa-rrv&v') and a record of the fact that he took part in a campaign against the Parthians. Whether the reference is to the Parthian War under Marcus Aurelius, Septimius Severus or Caracalla, it is not possible to decide, though the a character of the writing would point to the. first as the most probable 3 34. Of metrical epitaphs we have altogether six including No. 685, about the nature of which there is some uncertainty. No. 268 commemorates a Spartan merchant, Troilus, who died while away on a journey and was buried at Corone in Messenia. No. 382 is in memory of Faustus, a married but childless man, the eldest of a family of four. No. 383, an epigram of much greater merit, bewails the death of a poet, Threptos, who had won a name for himself in Greece and Nos. 524 * and 548 complete the Asia, and also at the Roman court.
.
list, all
the
is
which
poems in which are written in composed of hexameters only.
elegiac metre except No. 268, Even here, however, it would
seem that the absence of the familiar phrases of tomb-inscriptions was viewed with a kind of uneasiness, for we have irapodclra x a *P e appended extra metrum to one epigram (No. 383), and erSav IA to another (No. 524), while a third is introduced by the phrase *av<rrf xatpe, faa* err] /x. (No. 382). No. 268 commences with the words TpawXe, x a *P e and thus here, only No. 548 has no attempt to retain the ordinary phrases however, they may have seemed of less importance since the epigram occurred side by side with an epitaph framed in the ordinary mould
> :
(No. 395).
35.
these (No. the other
One of have also two Christian epitaphs (Nos. 506, 634). is too mutilated to permit of the sense being restored is conceived in a strain very commonly met with in early Christian epitaphs, and contains an appeal to the clergy for the present and for all time to allow no one to disturb the grave. Of Nos. 251, 589 it will be unnecessary to say anything here save to
5O6)
:
We
Cf. C.I.G. 1239, col. Ill Ait [/iu]<mrycu7dy airb 'Affms. On references to the Parthian Wars in Spartan inscriptions see an article P. Wolters in Athen. Mitteil. 1903, p. 291 foil.
3
8
by
A seventh has
been discussed below
37)
is
it is
uncertain whether
it
belongs here
or not.
4
This, though the epitaph of a Cretan,
treated here for the sake of convenience.
recall the fact
that,
27
though not
strictly
speaking tombstones, they are
closely related to such, being written in memoriam ( n). must notice, in conclusion, the epitaphs of foreigners which 36. are in the Spartan collection ; six of these are marked out as such
We
their contents, and one (No. 398) by its provenance, while one (No. 417) belongs probably, but not certainly, to this species. The Two of them bear epitaphs of the first-mentioned six are very simple. the name and father's name of the deceased and his nationality, in one No. 266 is case Megarian (No. 265), in the other Theban (No. 778).
by
name and nationality (Boeotian) of the dead and the familiar x a 'P Of these inscriptions, No. 265 probably belongs to the fourth, No. 266 to the third, No. 778 to the third or second century B. c. The remaining three (Nos. 37O, 508, 779) date from the second or even from the third century A. D. The age of the deceased is in each case recorded, as also his name and nationality the remaining elements, x a V f (No. 370), the patronymic (No. 779), and the One of the three men profession (No. 508), occur but once each. commemorated was a Salaminian (No. 5O8), a second came from Bithynian Nicaea (No. 779), and the third is called naAAmn/s (No. 370). 37. Finally we must briefly examine the two inscriptions of this class (Nos. 398, 417), to which detailed reference has not yet been made. The latter of these is a metrical epitaph in two elegiac couplets. The first half of each line is lost, and hence we are ignorant of the name of the man commemorated. We learn that he was a native of Oreioi, possibly the town better known under the name of Oreus *, and died at The character of the letters shows that the epitaph belongs to Corinth. the fourth century before our era, but the form yivo^vois prevents our Roehl* has supposed that dating it much before the end of the century. 'Opfioi was some village close to Sparta, but in that case we would expect
slightly different, consisting of the
'
the epitaph to take the usual form, 6 dwa > iroXe/iou. On the other hand, if Oreioi was outside Laconia we have the curious phenomenon of a man
own country nor in the place where he fell. Possibly the present is an inscription engraved on a cenotaph in honour of a foreigner who had rendered distinguished military service to Sparta. No. 398 is not a Laconian inscription, but was found in Messenia and brought thence to Sparta. The relief below the inscription, two forearms with uplifted hands, is of a type represented by several other 3 It seems to have been carved on the tombstones of those examples who had met with a violent death, and to symbolize the prayer for vengeance upon the murderer, known or unknown.
being buried neither in his
.
IX.
38.
It
is
STAMPS ON TILES AND BRICKS

stamped on
tiles
in inscriptions
and bricks
that
the
Spartan
is
1
perhaps be said to be relatively richest. This largely due to the considerable number of stamped roo'f-tiles discovered
S. P. Lambros, NCOS 'EXXrjvofivriûVj i. p. 34. Athen. MitteiL i. p. 234. Cf. Heydemann, Ant, Marmorbildw. zu Athen, No. 14, where four other instances
Museum may
2
3
are cited.
4
Inscriptions of this class are collected

list is
i.
and his
by P. Paris, Elatte (Paris, 1892), p. no foil., very considerably enlarged by R. B. Richardson ap. C. Waldstein, The
p.
Argive Heraeum,
216
foil.
28
by Dr. Tsountas on the site of the Amyclaeum ('Aym KvpiaKri) in 1891 *. These number in all thirteen fragments, of which eight (Nos. 636-642, 2 The inscription is 644) can be restored 'ATroXXwi/os iv 'A/zuKAaiot in raised letters on a sunk oblong ground. Two others, though stamped very similar, show a slightly different formula. In both of them the word AMYKAAIOI begins the second line, and as there seems hardly room
.
|
we must assume that we have here &c. 8 The preceding word can be restored in one case (No. 635 A) 'ATro'XAowos, in the other 4 Of No. 646 only the two final letters -os of the (No. 635 B) 'ATre'AAwi/os
for
EN
at the close of the first line

:
a locative, 'A/nvKAmoi
cf.
$a\r)poi,
2</>77TTot,
first line
are preserved, and
it is
not possible to class the fragment with
Nor can No. 635 be restored : even the conjectural 'ATroAcertainty. \a>vos in 1. 2 is very doubtful, as the stroke before the to seems to be a vertical one. totally different inscription is No. 643, unfortunately
A
:
much
- -v *tXo/A This bears a striking -(/x)<5<nos (>;)-. resemblance to the legend stamped on three tiles found by Ross 5 in Sparta Aa/ioVicr 'AQdvas *IA. The last word is restored <f>i\(os1) by the editor, but this can hardly be right, and we need have little hesitation in reading, in the light of No. 643, $iA(oKA?}s), the name either of the manufacturer or of the contractor. The restoration [Aa](/z)o<rios ['AmJX4>i\oK\rjs then suggests itself for the fragment from the AmyXo)]v(oy). claeum. The only other tile which we have to notice (No. 407) bears the stamp 'Oj/ô-tôpos, which indicates doubtless the name of the maker. The inscribed bricks number seven, of which three appear to be stamped simply with the manufacturer's name in one case (No. 277) the name, fciAiore idas, is all but complete ; in a second (No. 543) we find
mutilated
the abbreviation
the final letters -as are
the third fragment (No. 645) only other four bricks (Nos. 276, 535, 535 A, 712) were manufactured in the same year (r KaAAiKpareos) 7 and three at least of them (Nos. 276, 535, 712) were used, or intended for use, in the construction of the ovoji/otfj^ ; two of them bear the name of the contractor Nikasion, while the third is stamped with the name The ZT/J/O)!/, which can hardly be other than that of a second contractor. the inscriptions differ very strikingly in the statement of the same facts one contractor records concisely the three important facts 'ETT! KaAAt(?)
,
H PA K A A 6 while on
left.
The
KpaTfos
o-KavoQfjKas
Zrjvav
(No. 712), while the other, not content with

all
Sa/idcriai o-Kavodâs eVi KaXXucpdreos fpy&va four sides of the brick.
the longer inscription, UXivBoi

NiKao-tWoy,
stamps
X.
it
upon
MISCELLANEOUS INSCRIPTIONS
be convenient to group together a certain number of miscellaneous inscriptions, although the sole common element in them is the fact that they do not fall into any of the classes hitherto discussed.
39. It will See
'
'EQijfji.
'ApxatoX. 1892, p. 3.
Cf. the use of the same phrase in 'AiroXAan/i kv AfivK\aicf>.

'
Thuc.
v.
23. 5 arfarjv arrjaai kv Aa/teScu/ioi/i
For
See Meisterhans, Gramm. d. att. Inschriften 3 p. 147, note 1269. this form of the name see No. 689, and Pauly-Wissowa, s. v. Apollon,
,
ii.
p. i.
No. 50. Pape-Benseler give the names 'HpajcXanfjuav, 'H/odycXo/tos, 'H/xi/fXas. Probably we have here the genitive 'HpaicXd. 1 The same eponymous magistrate is found in No. 205 he belongs probably to
Inscr.graec. ined.
i.
:
the
first
century B. c.
29
One of the most important of these (No. 222) is a fragment, unfortunately very mutilated, of what appears to be a sacred calendar, giving a list of the proper sacrifices and observances for various holy days.
The mention
that the
document
of [d/i]0i8eKarm and [$A]otao-iou vovfjajvla (11. 6, 17) shows deals with the events of certain days of the year, while
the words pepfaa, apros, Kpeas, rvpov, rpuyava, aA<ira>i>, xoipta, make it plain that the ordinance regulates the kind and quantity of food which is to be distributed on given occasions. Three deities are mentioned Zeus
and Damoia. The first of these took his name from Taleton, the highest peak, or at least one of the peaks \ of Mount TayThat there is getus, which dominates the Spartan plain on the west. a connexion between this worship and that of the sun seems proved by Hesychius' gloss TO\S>S' 6 rj\ios, and by the myth of Talos, but that the two were not absolutely identified follows from the fact that the sun-god himself was, according to Pausanias (iii. 20. 4), worshipped on Taygetus. Auxesia and Damoia (Damia) form an almost inseparable pair of deities, and appear in the Peloponnese as counterparts of the Eleusinian Demeter
Taletitas, Auxesia,
and Kore.
inscription of considerable historical interest is that (No. 145) on the back of a marble chair. Although mutilated, this inscription has been ingeniously restored by Foucart, who connects it with one of the most important passages of later Spartan history, the
40.
An
which
is
cut
overthrow of the power of the ephorate by Cleomenes III. Plutarch 2 tells us that he had the chairs of the ephors removed with the exception of one, which he allowed to remain in order that he might sit in it to conduct business. Shortly afterwards he united with himself in the monarchy Euclidas who was not, according to immemorial custom, a member of the other royal family, but his own full brother, * born of
same mother and of the same father/ 'It was at this moment,' 3 that the inscription was cut on the seat on which the two kings sat in turn to give audience, that seat which was as it were a visible token of the power which had been wrested from the ephors and
the
concludes Foucart
'
restored to the kingship.' 41. Two inscriptions (Nos. 439, 532) record the boundaries of sacred precincts in the word opos TOT) icpov. On one of them (No. 439) the
letters
I
are added, showing that this
was the eleventh
in a series of
similar boundary-stones. Unfortunately the provenance of both stones is unrecorded, so that we are ignorant as to the sanctuary to which
they
refer.
Of artists' signatures the Spartan Museum has only one, that 4 of the Athenian sculptor Apollonius carefully engraved on a fragment of marble drapery (No. 363). Two large marble blocks bear masons' marks they were both found at Hagia Kyriake, the site of the Amyclaeum, and evidently belonged to the same building. The inscriptions occur on a side of the stone which was never smoothed, and consequently
42.
,
:
Heberdey (Reisen des Pausanias,

iii.
57), following Lolling (I wan Miiller,
Hand-
which
3
4
p. 182), argues that Taleton must be one of the eastern spurs of Taygetus Von Prott (Athen. Mitteil. 1904, p. 7 foil.) rise abruptly from the Spartan plain. identified it with that one of the series which lies above Kalyvia Sochas.
buck^
Cleomenes, X. Loewy, Inschr.
griech. Bildhauer,
3 Le Bas-Foucart, No. 167 a, p. 88. No. 336: Pauly-Wissowa, s.v. Apollonios,
No. 124.
30
was not intended to be visible in the finished building. In one case the word y\av (No. 785), in the other appos (No. 786), serve to denote the masons who cut the blocks in question. 43. The significance of the name Evpvâvaa-a-a in No. 691 is not The form of the base on which it is inscribed shows that it is not plain. sepulchral, and as the base supported a stele and not a statue, it does not seem a probable supposition that Eurybanassa was portrayed in a work of art, since such could only have been a relief or a painting. We must rather see in Eurybanassa the dedicator of some votive offering perhaps the name of the deity has been lost along with the first two letters of that of the dedicator. Similarly, the significance of No. 605, which contains merely the name NiKOKpdrrjs Ev&u/xoKXeos, is doubtful. In No. 527 we have a number of letters rudely incised, or rather worn by rubbing, on a rough block of stone they seem to form the ends of two words written from right to left, and may be a portion of an early No. 626 contains two letters which stand by themselves though epitaph. there may have been others on the portion of the stone which is broken
:
The remarkable thing about these letters is that the X takes the form U, which is unknown to the Laconian alphabet, though it occurs in an inscription of the Arcadian town of Alea l and in the alphabets of
off.
,
Attica, Chalcis, Boeotia, &c.
44. Byzantine inscription (No. 269) records the grant to a church or monastery of certain lands in the bishoprics of Amyclae and Caryoupolis, the revenues of which are to assure the regular celebration of
and
divine service every Monday, Tuesday, in the tomb of the saint.' There
(No. 273) in got from it.
and Thursday, in the church is also one Latin inscription the Museum, but so fragmentary that no meaning can be
Mommsen 2
an imperial
rescript,
has conjectured that it is a fragment of but even this cannot be decided with certainty.
XL FRAGMENTS
have now referred to all the inscriptions in the Spartan 45. collection with the exception of a number of fragments which are so mutilated that they cannot be assigned with certainty, or even with probability, to any definite class. Nineteen of these (Nos. 271, 272, 274,
375, 394, 401, 418, 429, 462, 463, 502, 510, 598, 620, 623, 631, 632, 633, 713) are quite insignificant. No. 238 seems to refer to games TOV dyS>vos T&V: 1. 5 rS>v peydXtov). No. 249 contains two names, (1. 4 one that of a certain ScoKpcm'oaff, the other that of Aa/zo/fpans, who is perhaps his wife. The stone appears to be a statue-base, but whether the statue on it was dedicated by Socratidas and Damocratis, or whether there were two statues representing them is a point we cannot determine. No. 250 is part of a document of considerable length, dating probably from the first century B.C. No. 378 is either the epitaph of a certain Callicrates, son of Callicrates, or an inscription in his honour set up No. 428 may be tentatively placed among the lists during his lifetime. of magistrates, but in the case of so small a fragment this cannot be done with any confidence. No. 622 opens with the words At foal
1
We
Roberts, Introduction to Greek Epigraphy, CJ.L. iii. Suppl., p. 1308, No. 7245.
i.
No. 283,
p. 280.
v?
o.
. . .
31
and may be attributed
624
it
but
is
No. 630
contains the name not possible even to decide whether the inscription is metrical. (which in the Museum inventory is also entered as No. 545)
to a votive inscription of some sort, &i\r}pa>v and some part of the word olwos,
has the words [] Trarfpovd/zou TOV ddvos] in the middle, and may be a fragment of the record of a cursus honorum. Finally, No. 719 seems to be the end of a catalogue of magistrates, the last four lines of which are occupied by the names of [<nrovd]o(f)6poi, but the words Trpoo-rarr;? and made the precise nature of the document uncertain. (11. 2, 3)
INSCRIPTIONS
7.
See
p. 135.
26. See p. 138.
28. See p. 138.

85. See p. 146.
145. On the back of a chair of coarse bluish marble (for which cf. No. 146), broken at the top. Height -57; breadth .45; depth .40. Found near the mill of Matala, on the right bank of the Eurotas.
Collitz-Bechtel 4428.
EfMl
*./\/\i
TEKAIENoPATPo --- cy fu[a](s /iar)[pos] re *at

J
evbs irarp6s.
According to an acute conjecture of Foucart, the inscription may be restored [K\copcvr)s /cat EwcAi|8a]s ty p[ia\s KT\. He cites Plutarch,
TTJS fiovapxias ovopa irapapvQoviJLfvos airffatgc pfff avTOv /ScKTtXfa TOV d8(\<pbv !EvK\(i8av. Kal Tore (JLOVOV STrapriarais e/c picis olidas O 5' ovv KXeopcvrjs .... TOVS dtypovs (rvvfjSr) 8vo (T\fiv âo-iXeap, and ibid. IO
C
Cleom. II (KXcop.vr)s) TO
pt\\cv avrbs c<j)6pa>v 77X771* ei/op, inscription is rightly referred, its date would be about this the forms of the letters well agree.
dvfi\
eV
o> KaOfjfjievos
T>V
^prj/zaTtêtz/.
If the
225
B.C.,
and with
200.
ness -06.
On
a slab of white marble.

the
left
Height -44; breadth -70; thickabove.

Cf. F.
Broken on
and
(?)
Collitz-Bechtel 4404; David 5. School, iv. No. 100, p. 193.
D. Allen, Papers of the American
The first line reads from left to right, the second from right to left. reading agrees with that adopted by Collitz-Bechtel except in the The stone shows k not E, not in 1. i as well as following points.
My
in
1.
2,
Y not Y.
At the end of
Dressel-Milchhoefer ;
of the
first five letters
read Bk__ with Hirschfeld and at the beginning of 1. 2 (on the right) the reading is precarious, but I retain Velsen's 3TS M. The
1.
fifth letter
from the end
I read as I with Velsen
and Dressel-Milchhoefer,
riddle.
not as 3.
reads OUT*
The
/3cis
ov rov
inscription remains ov rbv
an unsolved
Miillensiefen
.
.
NEION
(SumW?)
-- (p.
--Hv[S]
vo
|
xv
t-ov
cu TIS
12 [142]).
INSCRIPTIONS
33
201. On a stele of greyish marble with pediment. Height -70; breadth .48; thickness -12. Above the inscription is a relief, for which see p. 158.
Of
o-irrjdfvres
irl
*Ai/<re[Tou]
The letters are carefully formed apices slight. A0TTZThe reading 'Ai/o^Tov] is almost certain, the stone showing AN ZE~.
;
"Aj/o-eros
=*Av0Tos
= 'AvdQeros.
Cf. the substitution
Of
y for
(=
av0r)Kt, No. 219), Bwpo-ea (= Ba>p&a, ibid.), &c., and of the a dv0vra (Collitz-Bechtel 4560). The list of names which followed
6 in oiwnpec for the omission
is lost.
202.
On
;
stele similar to the

;
Height -68 breadth -50 for which see p. 1 58.

Of
thickness -12.
preceding but without the pediment. Above the inscription is a relief,
extremely careless, and as the surface of the stone is part of the catalogue is illegible. Previous editors have contented themselves with reading the first line. In line 2 I read In the following lines 3NACI . . HCTTPATONIKOYPIAYOC.
writing
is
The
badly worn the greater
isolated letters only
can be distinguished.
.
The
editors,
except Foucart,
have read
o-w^&Ves eVi StSc'/cra Atâôu' Foucart (Le Bas-Foucart, note to No. 163 a) reads AEZIMAXO which he restores as AeiI adopt this paxo\s], in which he sees the first name of the catalogue.
[of
reading for the following reasons (1) The stone seems to me to show an C rather than a final letter of the word.
:
as the
(2) SiSeKTa Aet/zdxov is inadmissible:
2. TOU Ae^t/iaôv
would be
required. (3) If we read
Aeî/naôu,
it
will
be
hard to find room for

it
name and patronymic between

this Afîpaxos is the
and
'Ovao-tf/cX]^?.
Perhaps
1.
same
as Aei'/iaxos npardXa of
No. 203,
4.
203.
50;
a
On a bluish marble stele with pediment. Height -90 thickness -12. Broken in two pieces. Above the
which see
p. 158.
;
breadth
inscription is
relief, for
Collitz-Bechtel 4440 p. 64.
Michel 990.
Cf. Ziebarth,
Das griech.
Vertinswcsen,
Of
criTrjdevres
rt
NiKO^Xjfôy'
Icpcvs.
|
Aei'/Maxos UparrfXa.
Aa/utoorpaTov,
||
EvpvQdva(r<ra StSc/cra, f(ep)[a]. TvvSdprjs SiSeVra? IIpaToXa. AajuoKpari'Say EuSa/ii'8a, 5

| |
\
Ti/Mo'Sa/uos
|
yfpovcrla[s\.
||
'Aptorojuei/qs
'Aprro/ifW[8]a,
EvKpdrrjs
îXo'crrparos
ScoKpareoy, vopo(j)i>\ag,
|
Aii/OKpaT;s A/o/<Xeoy, yvvauco- 10

|
IlpardXaf Aeî/idôu.
\
Aa/zoKpar^s 'Apio-fro^pariSa, ncapv^.

\\
EvpvKpdreos, paims.
KaXXiKpdrqs NiWvos, av\Tjrds.

),
Nticav8pi8as Nt/cojudôv, 15
vo/j.ov.
\
8tSu(r[KlaXos,
Kara
MavriK\r}s
34

|
20 (Aa/iOKpdrcos), ^puawrds. Aa/io^dpto-of, Kara vo\iov.

25 Nt/cdi/Spov
KaQapTrjs.
(Tre)iai'iay.
I
&i\<ovi8a[s\
$iXtda,
c
KapvcovfiKas.
TIparoviKos
e/c
IIcp(pi\as,
i
KXaxrrds
II
NtKo^X^s
e/c
TwSdpovs,
\|/
tXii/o7roio$'.
*A.v8p6viKos Nt/coKXcos,
ZT^XOJTOS
Havre ifiias, ypaparcvs.

I
1
Aap,i7T7ros 'Ayaô/cXeoy,
\ \
poycvs.
Sreâvoy
TT/S
ôi^t'Sa, dvayvoxrras.
Au<rt7r7rov,
Trdpoôs
Aa/zofcpdNtK[^10opos ey Aapoorpdrov, virrjpfras. Ewov? e^ 'ApiaroKparfos dpro/coTros. KXa>5m Kvpias

1
t,
afpardv.
Forms
L. 2 end.
of letters
AOnSOYH:
slight
a/zm,
L,
NIKOK/ OS.
of Conze-Michaelis (Annali, 1861, 39) gave SiSfKra ..... ; hence Meister (#/. Collitz-Bechtel, ad loc.) conjectured iepa, though the other editors marked no gap after SiSeVa, and this is
.
!L D
The copy
confirmed by my reading. L. 6 Bl is plain, confirming Meister's conjecture
AYOZ
L. 8
is
:
certain.
L. 7
fEÔYZlA
previous editors have read
IEPEYZ, TE.OIE andl"..OlZ.

the second
API
:
T oMENI. Ac<l QPOZ:
and end seems to me to be H rather than O. L. 9 2HKIATCOZ appears on the stone, bearing out Meister's conjecture Soxparfos: 2<oo-[i]Kpdreos
(Le Bas-Foucart 163 a)
is
certainly 'Apiorojum'Sa, not 'Apioro/LieWoy (Miillensiefen Collitz-Bechtel after Dressel-Milchhoefer) the fourth letter from the
is
word
certainly wrong.
L. 10 I read, with Foucart,

the conjecture
TYNAIKO
Keil,
is
MOZ.
L. 14
Nh
MOZ:
NiWos, due to
<OYKIOAPIZTAZ. supported by my reading. L. 15 L. 20 0IA.QNIAAE has been engraved on the stone by error: the
reading Kapi/eoi/fiW
is is
NIKuMA
vatavias.
certain, as also Aa/*oxdpio-o? in the following line.
L.23 r CI AN
is
AZ
a false spelling for
.24
yiAINOnOIOZ
quite distinct.
it
L. 29
NIKM<J>OPOZ:
to
the fourth letter has never been
H, nor has
been corrected
the outer lines are strictly vertical,
unlike those of the

that the lapidary
elsewhere employed in the inscription, showing began the letter aright and then finished it by error L. 30 TTAPOXOZ. The last letter is quite distinct. as an M. Between lines 32 and 33 is a vacant space of one line. L. 34 AOATEIN. A<DAPEIN was read by Welcker-Henzen (Bull ddV Inst. 1844, 145) and by Vischer (Inscr. Spart. VIII. p. 16): the latter, however, adds a note attamen p minus certum mihi visum est'.
'
stele of bluish marble inscribed in front and on Height 1-95; breadth -90; thickness -18. The stele originally had a projecting portion on the r., but this has been cut off, carrying with it the 1. hand portion of the second in-
204.
On
a massive
the right side.
scription.
C.I.G. 1241.
Cf. Martha, Bull. Corr. Hell.
i.
p. 382, note
i.
In front
5 2t8eKra,
Srctpdvov
tVi/itX^s
TroXeos
||
diaêrrjs Aip.i/aea>i/ eVt IIa|(7t/cpdroi;s, eVi 'lovX/ou XapieVov, eVt

dyopa|i/o'/uor
'
eVt *AprroôuXoi;, eVt yepov\<rias vofj.o\(pv\a 10 KOI || dyopavofjLovvros rfj TroXet 6

firedrj^rjo-fv
J
A(f)Oovf]Tov,
ov
|
/cat
ir
6ei6ra\TOs
AvroKpdrwp
7
'Adpiavos,
'A.TTIKOV,
[e'JTrt
'Aptoroi/et/cta ycpovcrias TO
/S
||
[f
INSCRIPTIONS
cVi ra(iov ](<) opot 'lov\ios 'AXeaff,
\
35
20
|
AiXtoj 'Owjo-i'ôpos,
T^x^ôs
Jl6(ir\ios) rJacrwcXcous.
||
|
Me'/i/uos
Aa/iapijr,
*E(pop(ot) eVt Kao-(o-i'ou) 'ApKrroreXovs,
a>i>
7rp(e'cr/3v?)
KaXXutpcm?? (KaXXi|
Kparovs) /Souayds, Nfp/Smos' Ndqros,

'Epao-rou.
|
||
$iXocX^y (îXofcXeovs)
|
Mva(oreoi>i)
KCU Av<ri/i(ax<) Ka(cris),

/3ov(ayds),
| |
35
nd(TrXios)
AtX(toy)
||
NiKavdpldas
Nop.ocpv\aKCS &v 7rp(cV|3vy)

]
Fopy/coi/ KXeojSovXov,
|
['AJTroXXoowos NiKJôpos 'Apicrro- 3
/3ov(ayds),
nao-txX^ KaXXiKpa(rovs) ôv(ayds),
nd(rrXios
s) Xpvcroyovos (Xpv<roy6vov) Va>Tf(pos).
On
the side
(
---
,K\rjs
-- o/eXeov?)
ToC
|
Oi/j|[pai/t'a>]v
fVi 5 [ayo)]v)o^6T77S 'Apt|[o-To]/cpaTovs, J8i](a)^Vi?? At|[/ira]ea>v eVt UpaTo|[Xdov Or -VIKOV, w]/xo^>vXa^ e|[7ri Aio]i/vtr/ov, 10
|
TW
eVi Kaiera|[pos, e]<popos eVt

[ypapp.]a.To<pv\aj;
--e;ri
||
[Avat ?](n)irov.
[
---|
s Ev*cpiVov(j),
||
15
[eirl
eVi ]oy, jSiSeoy
[7rarpov]d/iov
Ava-trrrrov
o|[(|)vXa^ ?]
Trarpovd^/zou] (M)e/i/^tiov n/ou,

yep]ov<ri'as
ri
--- eVt
\
[rov $tXo]-
20
rrarpoi/dlf/iov
'lou](X)iov
,
|
Evpv/<Xc||[ous,
7ra|[rpoi/d]ôv
2ft7rd/i|[7rou
rolG 25
[o-uJi/diKcbv
cwi
|
JTraTpoji'd/iov
2etT6i||[fi]ov,
f<popos
[rt
7ra]rpoi/d/ôu
30
Forms
of letters
col. 4>. (twice in II) and contractions is a feature of this inscription.
A
The
copy,
TrdXftoy.
H H 2 A
Column
L.
I. L. 3 not SeiSeWa as
TT
KE
free use of ligatures
23
true reading is 2iSeVa as in Fourmont's Boeckh's transcription 1 L. 4 no\eos, not Fourmont read APIZTOEA5S; the stone shows
in
.
The
APIZTCTEA^Z, TE being in ligature. L. 31 Fourmont's shows APIZTO, Boeckh's transcription 'Api<n-o[/3ouXot/]. The true e. 'Aptoro/3ou(Xou) ing is APIZTOBSfiS, /3ov(ayo{5). 8 the Among minor points it may be noticed that in
i.
copy
read-
1.
stone
has
in
1.
<DYAAI,
32
fe,
not
fc;
0IAAI;
and
in
1.
in
L 10
ETTEAH,
not
EOIAH;
not
34
XPYZOTONOZ j
OKAHZ,
NEITE, not
XPYZOrONOZNEn"E.
Column II. L. i The true reading is not (see L. 13 Boeckh. Kmo-a ... I think there can be little doubt footnote). that we should restore KatVa[pos] here and in No. 374; from Le BasFoucart 286 b we
OKHZ
know
foil.,
that
patronomos
Corr. Hell.
for a year.
vi.
241
Hadrian accepted the title of eponymous L. 2 1 I restore xpeofyvXag] cf. Dareste, Bull. where evidence is cited for the existence of
:
Xpeo(pv\aKia at Aezani,
Ancyra, Aphrodisias, Chios, Philadelphia, Smyrna, Kos, Knossos, and Jerusalem. To this list must be added Nacolea in Phrygia (C.I.G. 3847 b) and Amorgos (Bull. Corr. Hell xii. 232). The XpeotyvXaKiov was an archive (cf. the terms apxelov, ypap,paTo<pv\dKiov &c.,
)
ap. Dareste, loc. cit.) for the

1
'
deposit of private contracts
and
judicial
Hell.
This error and that in Col. II, 1. I, were pointed out by Martha (Bull. Corr. i. 382, n. i) II y a peu de fautes dans la copie de Fourmont Boeckh les a Aux lignes 3 et 4 on lit sur le marbre StSe'/mz, comme 1'a copie" d'ailleurs corrige"es. Fourmont, et non 2etSra, comme 1'a corrige Boeckh. A la ligne I de la seconde colonne on lit OK\TJS, et non o/cqs.'
:
36
decisions.

The
spelling with o
is
much commoner
fifteen,
than that with

latter
e.g. in
the C.I.G. the
former occurs
the
three
Cf.
(11.
times,
though Boeckh has
in all cases corrected the xP e - forms.
XpecoKonea, xpfoXvre'eo, xpca>\VTfa>, &C.. L. 7rarpow>|/u.ov EvpvK\ô>vos ? vel EupuxXefovf ?
24 Boeckh Writes
|
-yepjovo-tap.
To
XPOKOTT, 23-25) eirl
this there are
several objections: (i) Fourmont's text gives \IOY at the beginning of 1. 24; (2) six or seven letters are wanting between the end of 1. 23 and the first preserved letters of 1. 24; (3) the name EvpvK\ea)v does not,
I believe, exist elsewhere (see below).
r.
The
|
restoration
ri
7rarpoi>d|[/Liov
'Iov](X)iou EvpvK\f\[ovs, yfp]ov<rias fulfils the TOV 27 Boeckh' s restoration
27rd/i[7rov
LI. 26, required conditions. is too long for the Eup]vKXe'o>i/os
and there is no evidence for the name EupvfcXeW. The article is indispensable, and cannot be omitted. 27rd/i[7rou ro]v KXeWo? seems the most probable conjecture, and the name KXeW is a common one in
space
;
Laconia(Nos. 205,
LI. 28, 29
1.
20,
206,
1.
46; Collitz-Bechtel 4459, 447 2 4473)>
Boeckh reads
[<rv]v8iKo>v
eVl [rovj] vop.ovs eVi [warp.]

it
the difficulties of this restoration
is
unnecessary to
Gfdrt/io?)
cf.
insist.
I,
1.
ov on For the
:
eponymous patronomos 2Y/xoj

of col.
II,
1.
(i.e.
I,
1.
col.
6:
Tt/3.
in
all
likelihood the 'Apiord/3ovXo? of col.

32.
is
identical with the
205. On a large stele of greyish marble, with pediment and with projection below for insertion in a socket. Height 1-28; breadth -58; thickness -22. At the top is a hole filled with lead.
Tmvdpioi
5 Auoi/o?.
.
I
I
iri
KaXXt/tpdreos*
||
[$i]Xdx>y Evapfpiwos.
[N]i
BftStrrTTOV.
|
['Alp^|i7T7ro? Aa/io*parfo[r].
[njaatVej/oy Ilao-t-
[0]aXiof Ai/t'|eW8a.
'
10
[B]ei8t7T7TOf
[N];KX^ff EVTVX&<*'
['
15 KpaTTjs *A0po8to-iou.
'Ayrja-'iVLKOf
>
îXtTTTro?
|
j
KaXXtcrTpaTov.
|
||
[K]aXXt/cpaTtdas (KaXXifcpari'Sa).
"
|
AtjSuff Evf3d\Kfos. Aaâpeoy. 2rpara>p 20 K\eo)V KaXXt/cpareoy. BtoXar NiKavSpov. Ayaô[cXeo]s.

||
|
Aa/iapr/s
25 *Apiord8a|ios 2a[/*]ta[p]^;o[v].
30
35
i7T7ror
EuavyeXov.
J
*cXeoy.
[X]apt/o? TopytdSa [KXJjjwKi'Sas "Ayto?. tTrn-os "Srjpiinrov. 4>i[X [Nv?]Xas 'Apwro/neWoff.

||
-|
[Aeijw/cpdrjys
Aeti/o-
||
40
'lfpoK\rjs ('IfpOKXeos).
j
[x]aipa>y
|
['A]yaô/cXfo[sl.
.
||
i8as
45 \fVKTpi[dda\ î^dprjg Tcuran\vov\. M[d]i^-is* 50 <bi\oviKL$a. KapuKfs' Eidf^fpos-. [Aaj/ioKpar^?,

I
rpa/ti/iaT
||
AvX[^r]ds'
||
Aa/io/cp[a]|ri5[ay
55 Aa/n[o]/cpaTOS
TeX?;?,
|
>
.
|
Haiaviai'
j
'Apto-rdXa?,
|
[Ev8]aftia?.
[Tor
|
(rtjv
(pepvv'
*Ayi||
KOCLKTTJP'
Evvo[vs].
|
'En-typfd l^xui/'
Atoi/uortor.
|
2o>t'w/co[s].
Mdyeipos'
'Apt'eoi/.
60 'OÔTTOIS' 8vpo-o[s].
BaXawvy'
Forms of letters
A E O TT 21
last
Since the stone was
copied several
letters
have been
lost,
especially at the 1. margin and the bottom 1. hand corner: the whole surface of the stone is gradually disintegrating and small pieces are falling off. Except that letters no longer existing on the stone are
enclosed in square brackets my text agrees with that of Collitz-Bechtel, save that in 1. 41 I read with Foucart A>Krpi[d8a] in place of AevKrpi'[8a], there being abundance of room for three letters after the t, and that in
INSCRIPTIONS
1.
37
1. (cf. No. 207, 51) space for three, or possibly four, letters before ibas and for three after Aa/z Aa/ijn-uiw], suggested by Foucart, is, I think, too long a name for the space. L.
55
I read
rbv
<r\v
fopw
In
1.
with Conze-Michaelis
is
in place of
<rlv <t>cpa>v.
40 there
---
5iAAMKPATEOZ
has been written in error, as ETTirP<l>.QN in
1.
58.
206.
On
jection for insertion in a socket. At the top is a circular hole. 15.

a stele of white marble, with pediment ; at the foot a proHeight -75; breadth -42; thickness
Taivdpiot
[e'JTTt
'Apioro/idôi;*
['Aptorjo'Sa/Mos 'ApioroifXeiSa.
'
[AafJôKparrfs
Ntxao-iTTTroff
J
\
AVTIO\KCOS.
\ \
NtKai/8pi'8as
'
Eu- 5
KaXXireXqs.
\
||
Topynriros
|
TIQ3VOS.
|
TdlOV.
2lWAX/a7T7TOV.
|
no\VK\rjf Terap- lo Topyicavos. IIo\Vl>lKOS IloXXia. ApUTTOKplTOS ||

|
\
KXe'ai/Spos 'AXica/uei/coy. Xapigcvos. 'AptordAafjLOK\rjs 2ta>w'8a. Sfi/oorpdroti. TifMyopos AaorpaTt'Sa. Mfvavdpos. 20 ddfjios NiKOKXt'oy. || HoXvviKrjs 'Ayrjo-imrov.
|
nparoviicos.
AfîWos
*i'Xa)j/
|
'OvacriK\fida.
'Ai/Spt'a.
|
|
\\
Kpare'as
Tt/iaydpov.
|
'AprnwcXeiSas 25
||
IloXuicXfiSaff *Ai/8pia.
|
[2]t8cras AaKi7T7rt8a.
|
O(f)dvfos),
|
NtKao-iTTTroy Mci/e/fparfos.
||
AapdXas ^tXoêVou.
|
NedXay 3
IIoXuoTpaTiSa.
'ApioroKpiVov. 'AptaroKX^s 35 [' A]pi<rT6dtKOs [2}rpaTtoy 2ot|ta8a. 'Oi/ao-aj/UoXvati/fiSa. IIparoviKos Aapovucida. ['AJptorafSpoff 40 Tt/idXay Tapa. Topyats Kopci'Sa. KaXXixpaT^y Evfia/zou. dpos Ti/ioyeve[osj.
|
| j
||
ropya>7ras 'AjSpia.
'AptardSapoy Sevoâpfo[s].
|
||
TpaâTfi/s'
KXfcov f| 'Ay^ras.
45
Kapv/W
Xay,
|
UparoviKOs 'ETTiorparov,
|
Eva/zepos (Eva/*6pou).
|
||
Uataviaf
|
'Aptord- 50
\
nparoiuKos Avcri/zdôv.
M(d)vrts*
Sixdprjs Tiaafjifvov.
\\
Av\r)rds'
'
|
Aa- 55
[|
e^ Evpvj3avd(T(ras. Eiriypd(f)a>V 'ATroXXdAiovvvios. Mdyipos'

\\
j
fiwpos.
Writing neat and careful, with small, well-formed apices. Forms A E MET! 2- Date first century B. c. My text agrees with that of Collitz-Bechtel, save that a few letters have been destroyed since Blondel's squeeze was made on which Foucart's text (Le Bas-Foucart 1 63d) rests. L. 4 we can read either [Aa/ôKpariys (Foucart) or [&i\]oKpdrr)s
of letters
:
'A\Kafievfos
L. 17 the reading KXe'cwSpos is certain. KXeWSpos (Conze-Michaelis). occurs again in No. 242 and in Collitz-Bechtel 4449, 1. 18. L. 42 Topycas is a shortened form of ropyarrag (1. 43): the reading In 1. 49 Conze-Michaelis rightly read Evdpepos (Evapepov) : is certain. L. 53 Foucart, followed by Collitz-Bechtel, omits the patronymic.
MANTIS.
207. On a stele of greyish marble, with pediment. Height -95; breadth -50; thickness .15. At the top are three circular holes. The stele was found according to one account in the lower part of the town near the Eurotas, according to another in Magoula.
Collitz-Bechtel 4444
;
Michel 991.
|
Tawdpioi
rrl
'AprrofcpaTi'8a*
||
HAtd/iaô? 2i7pav8pi'Sa.
'
\
T//LICOJ/
|
2r0di/oi>.
Ti'paw
noXvarpdrov.
2re'0a'os ^qpiirirov.
.
|
ApioTOKpaTrjs.
Ti/no- 5
KaXXtada;
Ev8atfJLOT\cos.
KaXXtfcpdri/y
38
15 ddpov.
|

"ApaTOS
AetKpaT6os.
'Apio~ToviKov.
nai'To/cXcos.
||
Xaipf]p.o)v
KdXXtviiceos.
|
'A/zeiViTTTrosj
Aa/zoKpa2Te<pai/o-
Tos.
I
'Attiavroy
||
KpaTtaroXas
NtKo8a/zoy
'ApiordXa.
Ntfct'a.
%T(pavos
20 K\eos.
Nifcai>8pos
|
'ApiaTOJcX^y
<$>iXe'a.
25 plTTTTOS El>eVOV.
SlTTO/ZTTOS
1
30 KaXXiKpcrreoj.
Mi/aai/fpaTeos.
<iXd<ppa)i> 2o/5a.
fj.r)8rjs
SiKX^s ScoTijpiSa. Tiito/<X^s KXe'wvo?. Qeotv Mi/ao~iKpaTeoy. Aa/zea? NiKia.

|
|
|
Âytr STpcm'ou.
40
'AXjuoWoVis
I
'irrTroSdpôi/j.
|
OXvjti7rtd8ap 'OXujtz7rtd8[a],
Ttfzoêi/ou.
|
||
NtKO|
Ntcia.
|
'Ay^tzcoi'
IleptKXeoy.
|
<E>tXo/cX^y
Tapas Tt/udXa.
|
45 KapvKfs*
||
'ApxiVas 'Apio-TOKXeos,
KX6cDi/vp,os KX^Topos.
||
Mai/rts*
'ApeTiTriros
crlv
50
Avo*i7T7rou.
AuXr/Tds' 'Aptordda/zoy.
Tiypd(pa>v'
Evdfj.fpos.
;
|
Tpap-ârevs'
Koiaicrrjp'
K.\TJVIKOS.
|
Tov
(pepwv*
Ei/jSioy.
Mayetpos*
K.TT)<n<f)u>v.
Forms of letters
A ETTZ<|)
very slight
/>.
question whether the names and KXiîKOf in 11. 49, 50 are followed by the sign denoting that their fathers bore the same names. Conze-Michaelis, followed by Foucart, with whom I agree, saw no Collitz-Bechtel, repeat the names trace of the sign of repetition.
The
only
difficulty in the text is the
208.
On
of fluting.
Height -94
a cylindrical shaft of bluish marble, with slight indications diameter .38. Broken at top and bottom the
; ;
inscription, however, is
Anp.eas 'Apapdwov.
e;
|
complete below.
r(dto?) 'lovXtos
<fciAepa>r.
j
îXovfievos ScoT^p/Sa.
Av|
oiK.pa.Tris
Aa/zoKparous.
j
||
Aa/zoi/iKoy (Aa/jLovLKov).
Ho\vfVKTos Aiovvcriov.
Syrap-
IO nar^f 2coo"i8a/jov. Evdat/L KXecwos. M(apKo^ OV\TTIOS

I
*1
Forms of
209.
36.
letters
AE0AZZ
(once C) (})fl; slight ^'<rw.
On
a cylindrical shaft of bluish marble.

TO ft
Height -91
diameter
['lo-Jo^pvffou
[KaXjXi*pari'$a
Forms of letters
to be noted.
AAGEMK
is
the form of
The
surface of the stone
much damaged, and
-f is especially of the rest
of the inscription nothing remains except traces of a Y over the of 1. i. Owing to a fault in the stone the x of 1. i was written a little above the
line
:
the ov following
line as Aet/za, the
it was twice written, once in the same horizontal second time continuing the upward direction of the a^.
210. On a stele of bluish marble, cut into three blocks for building purposes. Height -76; breadth -6; thickness -15. Le Bas-Foucart 173 a.
Nwa'a TO
*'.
|
Tt(/3eptos)
'
5 ['ETTJIKTJJTOV
|
TO y.
\\
'Aptorofjievrjs Nt[t7r7rt]8ay vbs (NiKimrida) Aa/tzo/cpaTf;? 3>[iXep]a>Tos Apia-ToviKi8c^s E]uTu^t'8a TO y.

8'.
|
KXauStoy
TO
TO y'. Tpdvios Tpa[vio\v TO y. StoavSpos 10 [Ni/e]o/3ovXov TO y. 'ApioTojSios 'A[pto-]TOj3iov.

I
Tt[ii]a>i/os
|
||
TO y. NiKOKpaTrjs 'Aytd8ac Aa/z[oAcp]an8a TO y'.

|
INSCRIPTIONS
(Zfv)[t7r7rau
Ka(trtff)].
||
39
KXauSto?
TO
/3'.
|
Tt(/3eptos)
'
'A[p/zo]i>tKos
TO
ft.
15
TO
a',
j
"AXâoroy
|
T[t/bio](*c)piTOv
Tt/LiofcXf}?
0[eo]a>pov
XaXij/os Xa\[ivo\v
?)[s
'Pou<po(u),
Ka]XXi*cparov? W(os). ---(a)ff (

).
||
[ypa/z/z]aTf[ts' r(atos)
'lotos
oouoi/
25
Mdyipos ro y'
with
Forms of letters marked apices.
NE
the
writing
is
elaborate,
The
are
1.
19,
I
only material points in which my copy differs from Foucart's where the stone shows 2<oKXt'8a?, not 2owcXei'8as, and 1. 26,
where
read
<"
|<
before
/zaytpos,
(1. 25) Foucart's copy shows
ypa/i/MaTf[tff]
for
ypaâre[vs].
In
with the consequent correction 1. tl.=.lliili2l 14 I read

:
XOYS
......
For the phrase
r<5
ddvi KOO-IS see
27: patronomus.
p. 20,
Ztvj-mrtos
occurs only here as the
name
of an
eponymous
211.
On
hand edges
a fragment of a slab of white marble; the top and are preserved. Height -37; breadth -58; thickness -18.
i.
1.
Martha, Bull. Corr. Hell.

Tepovrfs
7rl
380, No.
a.
(as
A)
--- (o) -
Forms of
In
1.
letters
AE0MSCJ):
very slight apices.
Martha restores o[vX7rtai/o{5], for which, however, there does The M. OvXmos 'A^QOVTJTOS not seem to be sufficient room on the stone. who occurs in No. 208, 1. u, is probably the same as the patronomus The restoration Tfi^pdrovs], proposed by of the present inscription. In 1. 5 he reads Martha in 1. 4, is too long for the given space. I seem to see a A after the Z, but between NFIJ *?"""E~ A~I<^
i
i :
that
and the
all
traces of letters have disappeared.
212. On a fragment of a stele of bluish breadth -35; thickness -08. Complete on the
Martha, Bull, Corr. Hell.
C.I.G. 1248.
> /
|
marble.
1.
Height -15;
i.
382, No. 8
a fragment of the longer inscription
--
KX(avStoff) A](pt)<r(TOT )[X7;ff <tXo'/u](o-)ap /cat &K<uo(r)[aTor] - diaros .... (to)? Aa/zo TJS NiKOK\(rj)[s] 5 (s) 2fpcwr/a>[i/]os |j
[Ttj3(eptos)
---
.
|
$tXoi>etKi'Sa9
*iX(t)[7r7rov].
p.os
Nt/ca
-|
Xpvo-epos (XpvaepwTos).
|
MapKos
I
'AptoroTtfios
EvSat/io^Xeovs.
10
Forms of
L.
letters
A 5^
to
prominent
apices.
11. 3-5 and n. Boeckh had corrected
Fourmont's copy (C.I.G. 1248) omits altogether
iriZiuit..
L. 5
i.HSNIKOKA'
-{.
L. 6
Fourmont's
OIAHNIKIAA
*iX[o]'oa[4
L.
40
213.
off.

On
a column shaft of bluish marble.
-35.
i.
The upper
part
is
broken
Height -40; diameter
Martha, Butt. Corr. Hell

5
eVl
|
New,
NiKt'a narpovofjiov.
Netoj/
|
(NeWos)
Forms
of
letters
Writing careful and regular. The sign at the end of 1. 8 seems merely Martha read N[aw] ornamental. K rX., but at ecp^jSos, AafMpov[s] Sparta an ephebus could hold no magistracy at all, while Neon is head of the college of vopo$v\aKs and has previously been iepoOvTrjs: he On the stone has, moreover, a son old enough to be a a-nov8o(f>6pos.
|
\
o:
vios
385, No. 13.
O7roj>|8o(pdpo[
very
slight
apices.
I see
AAMAPOYl^.
on
the
r.
214. On a block of white marble, complete Height -25; breadth -39; thickness 2O.
and
1.
2vvap\oi'
'Aptoroi/wcov.
KXqviKidas
KXrjviiccos.
|J
'Aptcr-
Forms of
Date
L. 3
: '
letters
A M 5^
first
slight apices.
B. c.
probably
century
indistinct,
ist abgekurzt/ Collitz-Bechtel. Though however, the last two letters of Svvapxoi are certainly visible Foucart rightly read Ilficria-TpaTos (1. 7) and Apiariirnov on the stone. as against the T(nWpaTos and 'Apen virov of Conze-Michaelis. (1. 8)
'
ZYN APX
das
Wort
For
215.
tion,
the formula of the inscription
compare No. 216.
On
however, about -17.
a block of white marble, broken on every side ; the inscripis complete above. Height -38; breadth -42; thickness
Le Bas-Foucart i68a.
NK^(p[opos.
j
e(]opoi
cVt
AvKovpyov
[2>i/]
Trp(eV^vs) 'Aptoro-
Evrj[p.epov].
--
Forms of letters
Date
L.
:
AE
to be
TT
apices
marked.
reign of the Antonines.
Foucart reads
to
3>]ovpvios:
<p
.
but the
damaged, seems
without
senting
me
rather than
some hesitation, written some praenomen. L. 5

(11.
. ($)vpvios, [NcJiKao-wnros is
before v, though and I have, though not the two vacant spaces repreletter
o,
certain:
Foucart reads
In C.LG. 1244
year
:
13-18) we have a second

S)v
---
[*E<opoi]
ijs
rt
AvKovpyov
3 2f/tra
(rvvef^Tjôe,
-j
Trpeaftvs
ITTTTOS
11.
ephors --- retpos, --- 'Aya^tay, --Our Etuy/xepov,

|
| |
list
of the
of this
drrjs.
present inscription enables us to restore
14, 15,
and
17.
INSCRIPTIONS
216. On a grey marble stele, with pediment and 62; breadth -32; thickness -05.
'Ayrjo-ivtKos 2o>|fcXet'8a c7rt/tte(X)[i7]|raff eVt Aa/udp(e)os.
41
acroteria.
Height
rop|-ytWov.
vov.
|
Aa/K7r7roy 'A/3o|XryTOu.
Tt/io'/cptTOS 3f\\va>vos.
&i\6fj.ov(ros 'lejpdôv.
Forms of letters
A E TT S
exaggerated
apices.
For the formula of the inscription compare No. 214. Date; probably ist century B. c. 217 A. On a stele of bluish marble with pediment. Complete on all Height -64 ; breadth -36 thickness -09. Found in the field of
;
sides.
D. Matalas to the east of the Acropolis, outside the

'ETTI fepaTrdXov rot
;
wall.
Dittenberger
482
Michel 312.
ypappaTeos
SamWo? SamdJTpov 'AXe^t/udôv TOV KapfiaptWo? 'ApêorpaTov Gvppetov,

\
\
*A|/m'oi 'Ai/aj/cropte'os, TOV Av/ctV/cov 'Ai>a||KTopteoff, Trpo/ipd/zoi/os' fie 5 fie rat /SovjXat KXedi/fipov TOV KOI (rv/iTrpo/ii/a/idi/coi/ TOV 'AvaKTopteos, 'Apto-Tdi>|8pov
At||/zj>cuov,
'ATrdAXom rot
0evfidroi TOV Scbrcoi/o?
QiXicrriavos 10
|
TOV Af^di/|5(p)ov MaTpoTToXiVa,
at Tot Kow/ot KovpoJTpoTrov e8o|6 Tat /SovXai T&V 'AKapvdvcoy KCLTO. 15 TO>V 'A.Kapvdva>v /cat cvepyeTas TOV KOIVOV TrpoêVovs] f?/iey TOV vopov rd(p)|-yii> 'AXAca/neveoy, Aapaio-idav 'Av|SpOj8ovXov, Aa^dpj; 'ETnjpaTov Kal cipfv avTols do-^dXetay /cat d||o-vXia-y, 20 AaK|8atfioWovy, avTovs KOI eicyovovs,
/ij/i/os
\\
\
Kat TToXe'/iov *at clpdvas, TO aXXa Tt'/nta cat *cat -yas *at oiKtas eyKTrj&iv, KOI /cat <f>i\cu>6p<>7ra Trdj/JTa 6o-a xat Toty aXXots npot-evois cvepyeTais TOV KOIVOV TO>V
j
| |
'
A\\Kapvdva>v virdpxci.
25
The
Date
tury
B. c.
l
letters are carefully
inscribed
the lines
show a
Forms
:
AAMXY.
slight curvature.
the second half of the third or
first
half of the second cen-
217
teria
:
B.
On
at the foot is a projection for insertion in a socket.
a large stele of greyish marble, with pediment and acroHeight 1-15;
breadth -50; thickness -14.

Collitz-Bechtel 4430; Vischer, Inscriptiones Spartanae partim ineditae VIII Cf. Swoboda, Griech. Volksbeschliisse, (Bale, 1853) No. i ; Michel 181. pp. 108, 141.
'
TToirjaap-fvov Aa/^tWoff
/cat
irc\66vTOs eVt
7T7rot|[j7]a)ff
Te Tas avvap^Las fv\pr)o-Ta KOI KOTO. KOIVOV

|
TOV Geo/cptVov Ap.j3paKio>Ta Trept irpocvlas /cat TOV /cat fia||/ioi/ aTroXoyio-a/Liei/ou & r)V 5
|
/cat
|
/caT*
idiav
Tots cvrvyxdvovo-iv
Aa/iicoj/a
T&V
Tait
8dfjL(oi
npoevov
etjuei/
Tas
TrdXcoff
fyllylovois
ey8o|(r)j)p
'A Ui/3pa/a[o>jrai/ /cat OVTOV /cat eyyovovs, Kal yas /cat oiKias eyKTT)o~iv cyfioTO) crTaXav \i6ivav, (Is av
/c]at
vTrdpftfiv
ot(K)oif(i/)
Geo/cptVov aT(\fiav avTait T6 /cat 10
[et]
\\
eX Aa/cedat/zoi/f
d
|
dvaT6f}O~Tai els TO icpbv TO.S 'AOdvas Ttav' TO de dvdXo)fjL(i 8ovra> of Tap.iai'

/cat
KCLTO.
dvaypafalo-a d dedofifva 7rpoevi(a) 15 avvypcKJidv) dv /ca ypdtyei 6 dp^trelKde OVTOV

fie
tiraivfo~ai
|
/cat
eVt Tat
I
ei/||8a)u,tat
20
dvao~Tpo<pai at
evia
Trexroi'jyTai
ei/
|
Tat TrdXct*
/caX6O~dcTa>
O.VTOV
/cat
ot
iepoOvTai
eVt
1
1
err t rdi/ /cotli'di' fO~Tiav.
Michel'
2* moitie"
v. Chr.'
du IIP
;
s.
av. J.-C.'
kurz nach 200
Dittenberger
Foucart 167-146 B.C.

;
<
vers 1'annee 220
'
Collitz
42

Forms of letters
A EG MHZ.
1
Line 13 beginning. Vischer gives very hesitatingly 01 """01 EX A, Foucart reads O K E N E A remarking that the third and seventh letters are doubtful, and that on the 1. one or possibly two letters are lost, so
I
that the restoration of
e\ AaKe6W/u<m naturally suggests itself. [el] otjxjp&M Meister (ap. Collitz-Bechtel) reads OI[K]O[C(T/] eX, but had he seen the stone he would have recognized that Foucart is justified in regarding the
Ol
at the
as certain, and in maintaining that one or two letters are 1 beginning of the line Date: 221-220 B.C. (Foucart); after 188 B.C. (Swoboda).
OIE.
lost
72
at
218. On a stele of white marble with pediment and acroteria. Height breadth -33 ; thickness .04. Found in the field of Georgopoulos ;
Magoula.
Collitz-Bechtel 4501 (pp. 41, 145) ; Bull, afe rcole Fran$aise <?Athlnes, facsimile of the inscription is given by Preger, Athen. Mitteil. p. 57.
xxii. 334.
fi&av viKr)(ras
8S>pov AC\OVTCVS dvf6rj\Kf ftoayos /cat rdde eira&Xa Xa/3a>i>.

\\
|
Forms of
letters
AEGFTZ^:
apices slight.
Between the
first
and
second pentameters is a vacant space of slightly less than two lines, proThe sum total bably intended for the insertion of a second hexameter. of the numerical values represented by the letters amounts in each line
to/3^X', i.e. 2730.
incised pediment
adjoining pieces of a thin stele of white marble, with acroteria. Height -47 ; breadth -29 ; thickness -03. Complete except for the 1. hand upper corner.
219 + 501.
Two
and
Collitz-Bechtel
4500
(pp. 41, 145); Bull, de
rcoh
Fr. tiCAthtnes, p. 57.
vetKaap Kfavav
'Apre/uri Bcopo-ea
Forms
is
of letters AETTZCJ); slight apices.

rest
Line
is
inscribed
on
(?)
No. 501, the

Date
:
on No. 219.
The groove which
held the iron sickle
almost complete.
reign
of Marcus Aurelius.
striking
example
:
of late
rvxn'
archaizing.
Written in ordinary Greek the inscription would run

&t\f)Tov
rl
'Ayatf/;
TrarpovofJLOv
Yopyimrov TOV Topyiinrov
vLKrjcras
Keavav(?)
220. On a stele with incised pediment, above which on the 1. is a palm branch and part of the groove for the insertion of the sickle. Part
of the
1.
edge
is
preserved.
Height -55
breadth .40; thickness -05.
1 Meister appeals to Vischer's facsimile where no letters are missing at the beginning, though he quotes Vischer's opinion that the space before Aafttdaifjiovi is sufficient for about ten letters, of which he tentatively gives eight.
INSCRIPTIONS
Collitz-Bechtel 4499 (pp. 46, 145)
;
43
Wide, Lakonische A'ulte, p. 326.

6
*c[at]
|
M(ap*op) Avp(r)\iop)
AevKtiTTrio'Gov
Zevnmop
KXeai/Spop
cVt
<J>tXo/iov<rG>
KOI
Ttvdapifidv,
ftovaybp
/cat
fJUKKixtd$op.\va>v
7rarpoi/o/z)
AiXt'o)
|
Aa/ioKpart'Sa TOO 'AXKai/Sptfia, apj^tepeop ra> 2f/3aora> Kat rwi/

COTCO,
Ttpoyovw
<îXo[/c|aio-]apop
'
(ptXoTrarpiSop,
at[a>|i>ico]
dyopai>o/Lia>,
10
7rapa5]oa>
/cat
dpi<rr<o
Forms
of letters
A0M!C(|>(0.
text agrees with that of Preger (Collitz-Bechtel, p. 145), except that I retain i{a\] in 1. 3 and do not alter to /{]. For the spelling Tivdapiddv
(1.
My
5)
:
cf.
Date
221.
04.
reign of
No. 447 and Collitz-Bechtel 4552. Marcus Aurelius or Commodus.

Height ^25; breadth '40; thickness
Cf.
On
a stele of white marble.
Collitz-Bechtel 4498 (pp. 40, 145).
Wide, Lakonische Kulte, p. 100.

veiKaavrep
/cacrlcrT/paTopti'
----Forms
o? Kal Nec^<pop of ot NetKT]<p6pov
KatX[a>]||av *ApTf/Lu8t
Bcopdea cxvle^/cai'
CTTI
7raTpoi/o/i|ou
*cat
Map^KoiA Avp(iyXtov) 5
TOV NetKapaji/os
^)(t)[X](oAcai'1 (o"ap)[os
0tXo7rarptSosl.
of letters
r.
A6
1.
M C CO
workmanship
careless.
Above
the
inscription to
are the ends of the hollowed grooves in which were fastened the sickles (?) dedicated to Artemis Orthia.
and
Date Line
reign of
Marcus Aurelius or Commodus.
4.
The
latter.
last letter
may be O
<fci
Foucart the
Line 8
*\
or (0 ; Preger adopts the former, Line 9 f * P.
222. On a stele of white marble, broken on the 1. and below. Height 45; breadth -22; thickness -08. Collitz-Bechtel 4496. The reference to Hirschfeld's publication of this inAdd H. von Prott, scription should read Bull, delf Inst. 1873, p. 189.
Leges Graecorum Sacrae,
fasc. I,
No.
14.
-rov Trapo
|
----- v
|
Au TaXmVa
|
[*at Avi/]<rt'a
dcKartct <poi
v6fj.os
4
KcaXvet
||
Tvpou v 8vo dXîrcoi/

|
---- TOV apros evvt ---- rp<byava' rats TO

|
|
--- 8o)V apurrov

-|
fjLfpida
0ov
--
||
TO.
----- drro --- [dfj^pi- 5 --- o StSaa/caXo) aX --------- Kpeas rpirov --- IO
*at Aa/iota
6*
a>
ou
ovdcvos
8e
|
--
j3a,
[\(8cnrv)etTav KOI
---|
a>s
Tpwyava
arirov
|
---- [*Xjotacrtov
||
Tpia.Ka.8os
not
||
[x](otpta) po.
--------
vov- 15
Forms of letters
A th.
foil.
For a discussion of some of the points raised by

Mitteil. 1904, p. 9 foil. L. i. For Zevs ToXertraj see
this inscription see
Wide, Lakon. Kulte, p. 18, 216, 219 For Avi?(rta and Aa/iot'a (Aa/*ia) cf. /. (r. iv. 1539, Le BasFoucart 286b, Hdt. v. 82-87 (Aegina), Pausan. ii. 32. 2 (Troezen), Baunack, Stud. i. 64. L. 6. djpîdiMirfe* the twenty -first of the month. L. 8. Von Prott reads o> &5ao-KdX< and conjectures e^do-Jro) S. L. 17.
L.
2.
The
p.r)v)v
first
of Phloiasios:
cf.
Steph. Byz. s.v. fcXioiV

$Xvr)o~ios'
eva GXtdaiov /caXovo-tv,
and Hesych.
Aaxcdac/AOMot T&V Kal firjv TIS. 6 'Eppris.
44
L. 18
(11.

A -i
ME.
L.
19.
'"uniA.
9);
3 , 4); [reX?XO (1- 5); VTOS] KoXXv]/3a (1. Il); rvpov TO|[/IOS] (11. 12, 13)
HW
Von
-
Prott conjectures
>
TOV
8,
U 6 (
7)
<&[#*]
(11.
(11.
cnroi/|[d]
1 6,
17).
On the front of an altar broken below. Height -25; breadth The altar has a moulding above, on which is thickness -16. In the upper surface is a hollow in the form of a shallow inscribed 1. i. At the four corners are ornaments in relief, perhaps representing bowl. birds' heads, while at the back is a crescent in relief.
223.
22;
Ait vtyiorfp
|
cvxnv.
Forms of
1.
letters
relief.
CC^CO.
The
inscription
is
complete.
Beneath
2 is
a leaf in
224.
On
a fragment of a
stele
of white marble, broken on
all sides.
Height -20; breadth -30; thickness

n.
---- ---- Ka a7To8tSa>Tt ras Kara[/as] ---(era) ---- ---- [apôjires eneKpivav' ---- o-paTa*^p{} 'Apre/un'ov ras a
'
|
ret
---- ---TCLS 7roXeo[s]

||
7rpa]-yfiaTG>i>
TO>V
dia<p6pois
l
o xpTjuaTav
<?XXav
---- ---|
T0)(i/)
---- ---|
nXctovois of apôvres 6eXoJ[Tfs ---- ------ -fv VTrcpxpovovvrav a [T]OIS evKaipovvras

j
KCL\
de
xfifiav ---- --- P.OT --jj

|
eto-^^Kfi,
ovfres' d TroXis
ervvcm\af3ea6ai [8i]a<ô[p]a fv rail 8' VTreSetâf, Stort |]
ical
T&V
vrjs
-a(^)[i"
forms
B. c.
8i(or)
---- ---- v
|
---- ---- [OVK

Se
KO[IVO>V
on
ir)<rav
Letters clearly
slight.
and
carefully cut:
first
AAE0OTT;
apices very
century My text agrees with Foucart's (i.e. Collitz-Bechtel) except in the L. i is omitted by F. I read ^.wfTPv/ above the as following points.
:
Date
second or
Kaofl
F.
2.
L.
M.N.T.
The
L. 10
7THF. TniM.N.T. L.pTHlAYF. THIA-Y ~ TTOAIZA V F. nOAIAl n M. N. T. L. 12 MO

p.
MOT M.N.T. UÂ
"*NHZA> M. N.
T.
1. 8 xpw aTa> v and 1. 10 suggested by Meister (ap. Collitz-Bechtel). Foucart reads ora[uzf âptTay] in 1. i, [^(îjo-pira in 1. 2 (where Meister conjectures Meister proposes [xpriâratv in [reXeJoTiaTa), and [of apxov]rfs in 1. 9. 1. 6 but the ypaTav is clear. Between 11. 2 and 3 is a vacant space.
restorations are due to Foucart except
OVK aX\avt
The document
from
1.
is
it
would seem that
too mutilated to allow of any restoration, but it has to do with overdue debts to the
Treasury.
225.
sides.
On a fragment of a massive stele of bluish marble, broken on Height -30; breadth -34; thickness -i 8.
all
-|
ibas 'Apt'<rTo>i{os
Aa/io/cXe[off].
j
?.
|
Ua](a)iKpaTi]s ([lIa](riAcparof ).
ia>v
Nct[aj.
|
||
Xeas
. . . .
J0 otf\a[it>y
- -
[Aa/i ?]ow/ct'8ay Aapo(/c)
TO*
TTOS
|
[KaX](X)pa[r]iSas 2
---
No/no-
INSCRIPTIONS
Letters very broad with
45
marked
L. 10
in
1.
r EN n
^^^
|
apices
A E E >Q.
may
read
[?l(<op)[oi
Perhaps we
- -
i (cf. p. 10).
226. On a white marble stele with projecting cornice above. 35; breadth -25; thickness -03.
Zai/l
Height
'EAeu|0fpioi 'Av\Ta>vivoi
2a>TJ;pt.
Forms of letters
E, in
1.
AE
leaf.
>XX
in
1.
the
is
written inside the
3 the final
inside the O.
Above
the inscription are
two palm
branches, a wreath, and a
227.
On
a block of greyish marble.

(?).
Height -37;
breadth ^42
thickness -30.
Le Bas-Foucart 189
'
Zai/t
'EXevtfjepiot
AvTa>vci\voi 2a>r^pt.
Forms of letters AE9C.Q. Above the inscription is a wreath between two palm branches. This is probably the inscription published in Le Bas-Foucart 189, though the forms used there are OS.
228. On a fragment of a circular base of greyish marble. diameter -47.
'
Height -32
Zai/t
*EXfv|0epi'oi
Av\T(i>vivot
Forms of letters
228 A. On a circular base of white marble. Height -20 ; diameter .40. Said to have been found to the north of modern Sparta at the foot of the
Acropolis
Zavl
|
hill.
'
'EXev&pi'ot
Avravcivoi
|
2a>ri}pi.
Forms of letters AEGCfl- On the 1. of the inscription is a palm branch, on the r. a wreath, branch, and another object, perhaps an ear
of corn.
229.
On
column cut
vertically diameter .21.

[Zai/t
|
the face of a block of white marble, consisting of a fluted through the centre broken at the top. Height -47 ;
:
'EXev]|&pi'|oi *Ai/||reo|i/iW
Forms of
letters
AoOSCO.
Below
the inscription a leaf.
230. On the shaft of a column of greyish marble: height -71; diameter -22. The column is fluted in the lower part of the inscribed
side.
Collitz-Bechtel 4494: to the references there given add Cauer 3 , 35.
'
[Z]aw
'EXfv&jpioi Kat
letters
'OAu/n||oi Avra>vfi\vot
2a>Ti)|pt.
Forms of
2 CO:
ligatures
and
f.
Below
are
two
palm branches with a wreath between them.
46

Height -36
;
231. On a block of white stone. ness -13.

5
breadth -23
thick-
Zavl
'E|Xfv& |pioi
letters
'Ap|ra>i'6i||i'ot 2a)|r?}pt.
are very carelessly incised: forms the inscription are a wreath and palm branch.
The
ABQC-n..
Beneath
232.
5
On
I
a block of white stone.

'Avra^vetvoi
Height -35; breadth -15; thick2<ari)|pt.
ness -13.
Zai{i]
'EXev|0epi'ot
| \
Forms of
letters
C U)
very slight apices.
Below the
inscription
a palm branch.
233.
On
a block of bluish marble.
Height -47
breadth -31
thick-
ness -08.
Dressel-Milchhoefer, 438, No. 15
(?).
Zavl
Forms of letters A E 9 C CO
apices slight.
Above
the inscription
is
a wreath between two palm branches ; below it, a leaf. The inscription seems to be the same as that published by DresselMilchhoefer, though they represent the final pi as forming a fifth line.
234.
On
|
insertion in a socket.
Zai/i
a stele of bluish marble, with a projection at the foot for Height -48; breadth -28 ; thickness -16.
||
'EXev&jpioi 'Avra>\vcivoi
Swrrjpi.
Forms
are two
of letters
AEOC-n.:
apices slight.
Below the
inscription
palm branches with a wreath between them.
a rough block of greyish marble, with indications of fluting at Height -68; breadth -21 ; thickness -15. The surface is very much worn.
235.
On
the back.
Forms of letters
are a wreath
AEH
>^X
apices slight.
is
Above the inscription
and two palm branches, below
leaf.
236. On a stele of white marble, broken at the top. breadth -22; thickness -13.
5
\Zavl
|
Height -48
'EJXev&lpicu 'AvTQ>\vcivot
letters
\\
Sawijpi.
Forms of
a wreath.
AE0CH.
Below
are
two palm branches and
237. On a stele of white stone, with projecting cornice. breadth -22 ; thickness -10.
5
Height -35;
AtroAcpdJTopos 'A\8ptavov
Forms of
238.
.33
;
letters
AOC
KcuVapo?
CO.
||
Sajrijpoy.
On
thickness -15.
a fragment of a white marble stele. Height -28; breadth Part of the top and r. hand edges is preserved.
INSCRIPTIONS
C. Bursian, Bull. delV Inst. 1854, p. xxxv; Martha, Bull. Corr. Hell.
i.
47
384,
No.
12.
--r>v
TOV
||
-- [dyo>j/o0](ff)rou
\
TTJS
---
exovarjs
-- [A](oyy)i/ov
|
rwv
6*e
p-eyaXcop
.narea>S'
---- ov
--- (M)ap(/coi;)
|
roC
--
(s)
TOV dy&vos
--
Avp(^Xiov) Na'pSoi; 5
Letters thick
and
unskilfully cut.
Forms
AEZn
1.
apices slight.
The
1.
due to Martha, except in 4 Martha conjectures [TOV /neyt'o-jrov dyS>vos and

restorations are
E N
I
Y.
In
1.
at the
beginning of
239. On a cylindrical base of bluish marble. meter -28.

c
Height -42
dia-
AvTOKpaTopos
A(8)piaj/ou Kaurapos 2e/3aoro{)
Scori/pos.
Forms of letters
A E C Q1.
The
240.
.55
;
lapidary has written 'ATpiavov by error in
2.
On a cylindrical block of bluish marble, broken above. diameter -20.

c
Height
AtiTO/tpaJTOpi
KaiVapt
A8piai/<5 2a>|r?)pt.
Forms of letters
241.
AC CO.
is
On
preserved.
a fragment of a stele of bluish marble ; only the right edge Height -15; breadth -40; thickness -15.
i.
383, No. 9.
----Xaipeiv* irodoftov
01
j
(rl(rp)arayoi
/cat
&
TroXis AaKeSai| /noi'uoy ffpopois wlai rcu TroXet
[7rot^crap< ei'a)i' TT]OTI re
rav jSouXâi/
/cat
AOVTOS
7re[pi]
---- -|
tCiarxplavos
T\OV\
( *)x
<
Ai<rxpco||[voff
*
---
rav el/CKX;|[o'ai
/cat
JTroXtrai*
ou Ka 1 'iTTTTO^pacos roC ('l7T7ro^pa)[eos

apices.
---
ro]0 eV0avt{b^(e)v[a)jv 5
.
Forms of letters Af=ooZ<l>.n; no
and 2 are due to Martha. L. i. Before 01 arparayoi there is room for a word of about ten letters ending in -a>v For (or -av), giving the name of the state from which this letter comes. L. 2 XAlPEiN; Martha gives XAl P. the formula cf. No. 262. L. 3 Martha restores TroiTjo-dfj.fvos (?), as parallel to epfpavifav in 1. 5 (see note ad loc.) the construction, however, demands a genitive absolute. I restore @ov\[av *ai rav J]Xq[*to]: Martha reads /3ouXa[i/ ....... K\rj. ]
restorations in
11.
The
L.
.
4.
.
v\ovTot, but
name
L.
5.
AiVxpiWoy, omitted by Martha, is certain he reads plainly in the early part of the line a proper (containing about six letters) of which Ae'oi/roy is the patronymic.
T[OV] after
:
The
we have
The
first
editor writes [vos
........ ]
7roXiYai> *al
e'p.<ai>i'[a>lv
rav
Tre
word, however, is clearly the ethnic giving the state to which the two persons referred to belonged, and must therefore be written - - TroXiTm/. The third word I read EN<t>ANIIo/V\EN.N, a hitherto
The
unknown use
reads A
..........
s
of the middle of epxpai/ijX

6oK\co(v)s
'to declare/
TOV
..... On
P A.
the
L. 6 Martha stone I see

stands
for
XoYKAlinno0PAEo5ToY'
as 'OvatTeXrjs for
'Oi/ao-ireX?/y
'ITTTTO^S
(Le BaS-FoUCart 283),

/xoJo-a, i.e.
for Avc-iei/i'Sas (No. 205), Scow/cos for 2axn'vwcoj (ibid.), fiwd for
48

unknown
else-
The name 'imroGpaoys is, I believe, (Nos. 218, 221), &c. where, though 'imrodepo-ris occurs in I.G. ii. 1454.
242. On a fragment of bluish marble ; only the upper and edges are preserved. Height -17 ; breadth -46; thickness -16. Martha, Bull. Corr. Hell. i. 380, No. 5.
v
1.
hand
E(<)opoi eVi
<X[i}>
('AM) ----
M ---|
'
Aa/LioKpari8as.
KXeavdpoy
AX/ca[fiei/f os].
Aa/n(o)-
Forms of letters
a
in
A PF Z.
.
The
.
surface
.
.
is
much damaged.
but I can see no sign of
L. 4 Martha reads Aap. before the second A.

'
ra
or,
is
My
reading
AAM r KA.
2API^ Trfc
KXe'ai/Spos A\Kap.fvfos figures
Collitz-Bechtel 4449,
1.
as Taivdpios in No. 206,1. 17, and as ytpovcrtas is probably the 18. Aa/no/eX^r 'Aptoro
1.
&ap.OK\jjs 'ApiarroKpaTfos
of No. 205,
B. c.
26.
Date
first
century
25.
243. On a fragment of a herm. See p. 159. Le Bas-Foucart 175

T&v irdvra
c
;
Height -35
breadth -29
thickness
Dressel-Milchhoefer, p. 368, No. 158.
a\pi<rrov KOI d(to\oya>raTov)
5 ('Oi/atriKparovs), rov dcrvifycpi^rov [K]CU
--
Forms of letters
Date
/ :
&6MZT7C
apices very slight.
reign of Antoninus Pius or
appears in a list of dyopavSpot (Le Bas-Foucart 168 (C.I.G. 1357)-
Marcus Aurelius. The same man as ap^tepeu? T>V b), and
244. On a block of stone, with cornice above. 19; thickness -15. The top edge is preserved. Conze-Michaelis, Annali deff inst. i86i,p. 45.
[Av]roKpo[Top]|os
|
Height 26
breadth
['Afytavov
[KJaiVapoy
||
[2<BTj)](p)[off ?].
Forms of
letters
s
ARC;
11.
1.
The
final v
and
of
3,
the form of the p is specially noteworthy. 4 are written inside the preceding O's.
Conze-Michaelis read in
ropos KcuVapoy remarking that
'
>JOGK, proposing
the restoration AvroKpd-
Tpatai/ov 'ASptavoO 2f/3(aoroi)] KOI A. AtX. Kaicrapos xrX.,

il
and
segno nel principio del v. 2 sembra essere ornamentale/ closer examination of the stone shows that the K at the end of 1. 2 as
its
well as the >| at
beginning
is
a later addition unskilfully scratched on
the stone, and formed no part of the original inscription.
245. On a block of dark grey stone Height -39; breadth .32; thickness -n. Le Bas-Foucart 1830.
'Airi'rraTpfoff
(/n)[ei/oy
complete above and on the
1.
TOU Scivos uno Q()[parrv>v fivoTa^ytoybs
--]
j
OTparev<ra-
Kara Utp<rS>v\.
Forms of letters
AAE0TTZ.
is
The
restoration
that
proposed by Foucart, who suggests that
this
INSCRIPTIONS
1
49
'Avriirarpos
may be the father of the priestess KXav. 'A-y^ra 'Avrnrdrpov The reference in 1. 3 is to Lucius Verus' cam(Collitz-Bechtel 4519). paign against the Parthians in the early part of his reign, or to those of Septimius Severus or Caracalla (Wolters, Athen. Mitth. xxviii. 291 foil.).
Compare
(loc.
Clt.)
X'
/3to>ora9
the inscription published afresh
and
MapKOs AvpfjXios \\egvs
Qea>vos,
:
fully discussed by Wolters (Trparcvordpevos Kara Tlepo-av, err)
(Le Bas-Foucart 203 b)

819
c<rr[pa}rc[vfyjLcvos
TTJV
Kara
n.epo\ai\v'.
C.I.G. 1253 NewcoKXi/s- veos, brôo-ios, C.I.G. 1495 Aioo-Kopa, Xa ^P ..... a.7re\6a)V
rr)V
VTvx(rrdrr)v
(rvvuaxiav
Kara He[p]crS>vy Kal
e7rai/e[p]
246.
r.
On
and
1.
a fragment of a massive stele of bluish marble Height -43 ; breadth -57 thickness -18.
;
complete on
;
C.I.G. 1365, Bull.
11.
7-15
Ross, Archdol. Aufsatze>\\. p. 658, No. 16
C. Bursian,
ddV
Inst. 1854,
rrjs
? xxxv
rois
fie-yaXo7rpe7rei|as
\yv]\p.va<Tiapxov Kal tys

j
re
rfj
ev
oXXoty &iracriv avrov

\
7ro|Xeirt;/iao-ti'
|
cnl
devrtpa
yv||/Lti/a(rtapîa,
rjv
j
avroQtv
darvvKpirov Kal
awTTfpjSX^TOv rrpovoi\as re Kal (piXorfipias,
Trpoo-Seûp.eVqs
weo-n;, TO
Forms of letters A 9 !"?({>
slight apices.
C
TroXts 2eie(oTov) 'Ayaô<cXeovs ^>iXo|Kaiorapa Kal (pi\6irarptv, rbv \\ 81s yvfjLvaa-iapxov 5 TO 15 lent alaviov irpo<r8ea[jievr)s ira\rpovonov Kal yv\nva<riapxov, KT\ Kal iravra Trpwrrjs avrov AvprjXias SSevfbs \ rrjs ai/|aXa)/ia rrjs <rfp.vordrr]s yvvai\Kos
The
inscription
when complete ran
.....
||
247. On a fragment of a bluish marble Height -18; breadth .35; thickness -17.
ra(tos)
*Ioi5(Xtoff)
stele,
complete on the
1
1.
-|
Factor) 'lov(XiOff) K\(6(pavros.
Aya6ias
2a><TiviK[ov
Or
-idaj.
Aa/zoj/et/'8a[s].
--
On
the back of the stone

Irjs.
is
the inscription
Tlpareas, S?;fioo-(to?).
letters
Forms of
In
i
A E M 2^ Q
fl".
I
marked
apices.
In
1.
2 the
vr are written in ligature,

1.
only
A u
cf.
is
left.
In
1.
4 the reading
is
probably
iv^-.
;
Aafj.ovfiKida[s] (Aa/uoi/Ki'5a).
On
the reverse
we have AI-MO^
for
the
fyfjioaioi at
Sparta
Nos. 208, 275.

stele,
248. On a fragment of a greyish marble Height -65; breadth -55; thickness -22.
i.
broken on
all
sides.
381,
No.
7.
(-
[KP^TOVS) r(ai<Bt) Avo-iVfTTOH das Api<TroKpdrov[s\. Ka(o-is). ||
--
'
--
/ca(o-ts)].
[6
dfiva
|
(rov deivos)] Evpv/cXcT

|
s 'AâiAcoC.
['Apt]oroKpaT^? Ka/xtXXou.
Collitz-Bechtel have omitted to notice the publication of this inscription in Ancient Greek Inscriptions in the Brit. Mus. ii. No. cxlii, and have consequently retained the mistaken form Aavaffjra.
50

0e?]o<ptXos KaXXiKpar/fia.
Eufia/zi'Sa.
0oa>pov.
The
The
1.
letters are large
and
irregular,
and the
apices very prominent.
Forms
only points in which
:
my
i
text differs materially
from that of
t]ar
. .
.
Martha are the following

9
. .
in
;
1.
he reads
1.
r)[p
;
.
in
. .
6(pi\os KaXXiKpdjVous]
and
11.
in
1 1
['OjiôrKpdpos-
....
[av]n8a
The
readings given above in
9, 1 1 are,
however, certain.
249.
13.
a block of bluish marble. Complete above and on the 1.

Aa/z,
|
On
Height -085; width -42; depth
SooKpcm'Sas
Aa/nofcparts *Av
:
---
Forms of letters
250.
r.
-
AMSH
apices very slight.
On a fragment of a stele of bluish marble, complete only on the Height -45; breadth -18; thickness -09.
4_
I I
fl
(a)v ToO Xv
-|
aXfJirjarav
Trjprjo-av
,lo
ntj
a6fi(rav TrT
|
-|
a>v
re
<cal
TO
|
-avrds -- ovovavcurr
criv
| |
-jj
fie
KCU
---
TovL.
|j
(o-)euros
avrovs
j
[ajureoi'
afi?ra(p)
||
TOI^
|
Trept
'Apt
(<)t re T
[
W"
K
fidi/ras
/at
I
-- [A](i;)Koup
a(v)|[r]
TQJS
i
fls
TO'
ya)t
a
|
--
[rrc](ir)oi.T)Kcvai
/(**'
&* T(O)
--
(o)
--
r(a)
.
Forms of letters
251.
AEKZH
slight apices.
On
Height -20
a small rectangular base, with a moulding at top and bottom. breadth -34; thickness -21.
'OXv/iTT/xa
|
AeuKrpiaSai/
r[oi>]
irarcpa fjpa>a.
Letters clear
and well
cut.
Forms AEHMTT-n..
For the title rjpas given to the dead we have from Sparta this example and two others No. 589 and Le Bas-Foucart 203 e (Eifiaôu
J7pa>os).
252. On a base of white marble, with a moulding above and below. See p. 159. Height -31 ; breadth -53 thickness -47.
;

'Eiriyovov
i.
385, No. 14; Dressel-Milchhoefer, p. 374, No. 181.

dv8pcias fvf \Kf v} 7rpo(rdeâp,V(av TO
J
îXoorparov
feat
/Sco/Moi/t/cf/v
5 dvdXa)/za <boij3ia)vo$
'Errt
KTITTOV
T>V
dSeX^toi'.
Writing very careful and regular.

â>fjLoviKrjs
was the
Cf.
title
given to the
Forms of letters AEZTTZCJ). boy who showed the greatest
power of endurance
Artemis Orthia.
in
at the altar of (Sia/xao-Ttytao-i?) Fab. 269: bomonicae, quia arts superpositi Hygin.
the flagellation
contendebant, qui plura posset verbera sustinere.
the honorary inscriptions C.I.G. 1364 b;
The title occurs Le Bas-Foucart 175 b.
also in
INSCRIPTIONS
253.
51
breadth
i-oo:
On
stele
of bluish
a
marble.
Height -60;
thickness -13.
Complete.
;
Le Bas-Foucart 179
Schriften,
C
Vischer, Inscriptiones Spartanae VIII, No. 8, Kleine

36.
ii.
p. 37,
No.
7roX[ts
17
2}jjivpvaia>v
r(atoi/)
/cat
'lovXtov
|
*Iov\iavbv rov
tStoi/
TrdXfirrjv
||
vfiKfjcravra rpaycpftovs
Qvpavi\d8a y
Tlvdia KOI *A.KTia KOI
Koiva 'Acrlas
irf
*at TOVS XOITTOUS
dyawa?
icai
TTfVTaerr) \piKovs Tf KOI (r^picTTjpiKovs T//, TroXet \Tfv6fvra
8e fv 0X77
777
'EXXaSi
Maf|8oi/ia
/cat
Gftro-aXta.
Kat
Kpyruv.
Forms of
reads
letters
(MET.
1 1 1
My
L. 5 JTf. IPIET. Vischer copy agrees with Foucart's except in 1. 5 where he

L. 6
I
AEGTTSn.
and
1.
reads
in place of
H,
6 where he has rpifrypiKovs.
OvpavidSa y (11. 3, 4) does not refer to the number of victories, but =r Ovpavtdfta Tpirrjv (C.I.G. 1429 ViKr)<ras iraidav iraKqv Ovpavidba Tpirrjv, which Boeckh wrongly altered to Ovpdvia [p.fyd]\a rpirrjv), Ovpavids being a term formed on the analogy of 'OXvpirids, and denoting an era. The words ml KprjTuv added at the end of the inscription should probably Come at the end Of 1. 4 Koiva 'Ao-t'ay KOI Kp^Toii/, i. e. KOIVO. 'Ao-tay /cat KOLVOV L. 6 That T/ (340) is not an impossibly large number, as KPTJT&V. Boeckh (C.I.G. 1420, 17*' portentosum esf) and Vischer thought, is proved by the case of Theagenes of Thasos, who won 1,200 (Plut. Praec. Vischer reipubl. ger. 15, p. 811 E) or 1,400 (Pausan. vi. n. 5) victories. himself later accepted this reading as correct (Kleine Schriften, ii, p. 39).
254.
On
stele
of dark grey marble.

g.
Height -50 ;
breadth -96
thickness -10.
Le Bas-Foucart 162
Me'/z/uos-
IIpard|Xas Kat
Idicov
Oi>o\ov(T(rr)\vr)
'OXv/im'â o(t
t)epfisr
rrfv 5
CK
||
T>V
Atoo-cov|pois 2<ar^p(rt.
:
Forms of letters
Cf. C.I.G.
Me(/u/itiov)
A E TT S Q
Qeols
I
apices
marked.
|
1261
2o>T77p0-i
Atoo-Kopots.
Tepovres
ri
IIo(7rXtov)
Foucart regards TretXav here as a mis-spelling of irv\av; I think, with Conze-Michaelis, that it is more probably a transliteration of the Latin pila (Annalt, 1861, p. 47).
lipaToXaov roO Ae^t/naôv,
/crX.
L. 3 Kiessling (ap. Conze-Michaelis, loc.

oTTfp els to ot
If
cit.)
proposed to emend
stands
pels.
There can be no doubt
that
OTTEP
on the
? and stone, but the difficulty of getting a satisfactory sense from onep the fact that we know (C.I.G. 1340) that in this family was vested a hereditary priesthood of the Dioscuri lead me to regard the conjecture as almost certain, in spite of Foucart's objection that il semble difficile
'
d'admettre que ot femme Volusse'na
lepfis
puisse signifier que Pratolas dtait
ifpevs,
et sa
255. On the side of a rectangular block of grey marble. Height -09 width -40 ; thickness -40. On the upper surface are two dowel-holes.
Forms of letters
AE S
apices
marked.
is
256. On a small stele, of which the r. hand top corner Height -34; breadth -30; thickness -06.
2
broken
off.
52
*iXoC<ra
|

âipe,
|
fTr} j3ia>o-a|(<r)a icy.
Forms of
in error.
letters
A6CCO. In
11.
3,
4 Bl
(OCAeA
has been engraved
257. See 258.
p. 159.
On
a small
stele
of white marble.
'
Height -30
breadth .25
thickness -04.
2o>TT7/>i&j
|
xa^P f
* Tr)
Piacras
Forms of letters
259.
A62C
stele
CO
apices slight.
On
j
a small
of white marble.
Height -25; breadth -16;
thickness -04.
Mvpaw
X a^P
* T77
/3*G>|<ras
*^
Forms of letters A E 9 Zn
260.
On
stele
of white marble.
"
Height 28
breadth -36
thick-
ness -02.
*AptoO(ra
|
x a *P
>
/3*<Dcra(ra
f"1
*y'
Forms
261.
03.
of letters
AC CO
apices slight.
On
The
lost.
a stele of white marble. lower part of the stele

\atpf,
trStv
|
is
Height -17; breadth -25 thickness broken off, the lower half of 1. 3
;
being
Aa/zoOo-a
K'.
:
Forms of letters
A6MC UU
slight apices.
262 + 408. On two adjoining fragments of a stele of greyish marble, Broken at the foot and on the 1. with pediment and acroteria. Height -50; breadth -40; thickness -14.
i.
383, No. 10.

rrefjnrrov ]cro DrvW|JjfMM'? rai TroXct T>V ovrav c(f)6pois \\ [KCLI \a\jipfiv'
|
5 C(|[JCOOT&P?
Trapcj
Vfarav av
|
--
[ypa]fjipa.Tcvs
r&
/cat
A](a)Kf8ai/M>i>iW
TOM apxfloii ev 3u/3Xta)t

Kpdrrjs 2T0a[i/ov]
ypa<j)a
?]
||
IO
(&)v 8iar()[\ei
---
vp.lv
TO dvri\[ypa(pov
11.
Forms of letters Af:AAZ([>n; and 2, the rest is on No. 262.
slight apices.
No.
408
contains
due to Martha except ei[KO(m>V] in 1. 4 and (&)? ha T and where he reads respectively. o]v For another letter addressed to the ephors and city of the Lacedaemonians see No. 241. There, as here, the name of the state by which the letter is sent has been lost. If I am right in supposing that the latter part of it is contained in what remains of 1. i, we may perhaps conjecture [T(]vcarav. [Op]vfaTav is not likely, since Thuc. (vi. 7) records the L. 6 the Spartan tyopelov is destruction of Orneae by Argos in 416 B.C.
restorations are
1.
The
in &ar(e)[XfI]
'
9,
'
called dpxtlov in Plut.
Agis
16.
INSCRIPTIONS
53
263. On a small stele of white marble, with pediment and acroteria. Complete except at the foot. Height -28 breadth -17 thickness -07.
; ;
Forms of letters
central stroke,
is
A GMCJb.
The form
of the
<o,
with a very high
noteworthy.
264. On a stele of greyish marble, with pediment and acroteria. Height -50; breadth -25; thickness -14. The lower part of the stele, being intended to be embedded in the ground, is almost wholly unworked.
Le Bas-Foucart 203 g.
Forms of letters
265.
ACCO
slight apices.
On
a stele of white marble.

No.
Height -415; breadth -20; thick7.
ness -13.
Roehl, Athen. MitteiL
i.
234,
Xmpi?
eyeirov
Me(yapevs).
Forms of
L. 3
lapidary and
ee'So>pos,
letters
AEOM.
i
Date:
METAPPY-. The
later.
1.
of GeyeiVov was
probably fourth century B.C. at first omitted by the
added Bas-Foucart 3, (Le

Ge/iwzcn-os,
The name
all
29) as
ecVt/uos,
eeyeiros occurs at Aegosthena a by-form of ecoyeirow. Cf. Evyctros, from the Megarid.
266.
top.
On
Height -34
a stele of white marble with pediment, complete only at the breadth -39 ; thickness -035. ;
i.
Roehl, Athen. MitteiL
p. 234,
No.
8.
Letters good, probably of the fourth century B.C.
Forms AE O o
Roehl reads
XAIPE/.
Height
.35
267. On a fragment of a cylindrical block of bluish marble. breadth -44. ;

Martha, Bull Corr. Hell.
(â^Kpd-njs
|
i.
386,
No.
16.
'Apeiovos
yapfipbs 'Apj^tafia rov [Aa^]||oXa ayo[pa]|i/dôy.

;
Forms of letters
A EE
apices
marked.
To
the
1.
of
11.
5,
are traces of letters written upside
down.
I/
6k
k
268.
On
a small
stele of greyish
;
marble, with incised pediment and

thickness -045.
acroteria.
Height -32
breadth -23
54

Le Bas-Foucart 2nd; Kaibel 475
;
Koumanoudes,
'A&fivaiov,
|
iii.
484, No.
I.
aV dvdpa>v Tpw'iXe X a ^P Kaj/ioii' 7ro\\rjv drpOTrbv yQov Kal ITOVTOV cnreixras crui^f) o-vxva Kvp.ara TrXevcraiv, II
\
o)g
Iva croi
TV^J; Saw;
>K
icaXbv
|
et-arrivrjs
Tt,
|
OUK eXajSes X^l/3 **'

<r^
Kafidra>v <rS)v )
ovde
ae yata
Kopcoir;
I
KaTfêt STrdprjj,
(re
TroXu 0i\raroy}
7re|7rpa>/Liei>oi>
dXXa
oi
Io
y)
Kparfi ry/ijSoty, ro
\
irpocpvydv ra t
rtaa-apaKovra p.6vovs
{rja-avra
\povovs
ew|avra)i/.
Forms
of letters
A6eMZCVc(>U).
TrXtCo-m in 1. 4, but the N is certain the word being a confusion between TrXeCo-at and TrXeva-eiv. At the beginning seemingly of 1. 6 ea.7rivr]s ri is plain Foucart reads e^. TTOV. drpoirov (1. l) drpaTTOj/.
Foucart reads
inscription is the epitaph of a Spartan merchant who was buried at Korone in Messenia, set up probably over a cenotaph in
The
Sparta.
269.
On
and bottom.
a fragment of a small column of bluish marble, broken Height -32; diameter -14.
2u/i/it/fra(Athens,i892), p. i4,No.
(t)5ia
|
at
top
Zrjffiov,
-- ftvai\
5 T^y
Tri<rKOTrrjS
n, reprintedfrom 'A^j/a,
iii.
1891.
[dvairoirircHTTa
/cat
cujwiua avr(o)) d\vaKav7rTU(S>s dirb ptv
'A^xXtou
TO
||
afi7reXt(o)i/
roC Ffpaj/Jov, OTTO Se rov KpcwouTnJXeo?

\
K is rrfv avryv T(O) dypia/iTrfXai/ r^s Aa^lvou (at) e^ dyop(aj) T()I Bpicrvor^Stv]' f ^ta 10 Toiro0(rvav || ô)pa^>ta (?) *at dypta/iTTfXa eXev|^ptKa, tva KreXi)(rat) ftevrepav, rpirr) K(OI) Trep^rrTi ev re 15 \eiTovpyies eiTOff rpt|(ri r^s cvftofjuidos ij/ucpats,
|
va^ icat eV r>v flpr]fjifvu>v

roi
8e TO> Ta</)a) TOI) dytou. rty afroo-navai e/c (c)t ic[at To\p.r)<Tci KTTjudraiv TOV vaov, e'êro) ras dpas ra>v TIH Qeo(p6pa)v irarcpuv ra>v
|
ev NtKata
icat
e/zov
TOV d/Aapro)XoO
Forms qq ASeeTlcrCU tCOY ^ or O (= <at). The restoration above adopted is that proposed by ZT/o-tov, loc.
of letters
(j
cit.
Orthographical errors are plentiful, especially the confusion between o and o> I thus we have OVTO for avTowdXos for
Stands for
xa>pd<pia is
-cats
(1.
6),
TO>
for TO
(1.
7), TOV for ra>v

(1.
'A/iv/cXci'ou
(1.
4),
Bpiarvor[S>v]
(1. 8) 8) for Bpuo-twTfoi^].
'A/wjKXi'ov
In
1.
IO
represented by lands in question lay in the two dioceses of 'A/zvKXeioj/ and KapvowroXts (Kpai/ovTroXtr, 1. 6), both of which were in the archbishopric of Aa/cfSat/ioi/t'a, though the relations of the first named to the /^TpoVoXtr
the abbreviation
XX.
The
were very chequered (Zrja-tov, loc. cit. pp. 16-18). Tcpdvos (I. 5) may be the founder or a member of the family from which the modern village of Topdvoi (capital of the deme Phellias), situated on the eastern The village of BpiW, whose slope of Taygetus, derives its name. inhabitants were called Bpvo-to>Tai (1. 8), was given to George Gemistos by Theodoros Palaiologos, and the grant was confirmed by the emperor
John Palaiologos.
270. On a fragment of a stele of greyish marble, broken on Height -14; breadth -47; thickness -13.
Tod, Brit. School Annual,
Letters
x. p. 76.
all sides.
good and
regular, without apices
AEMH.
INSCRIPTIONS
271. On a fragment of white marble: Height -165; breadth -14; thickness -13.
the
r.
55
edge
is
preserved.
V\AXOY
272. On a fragment of a circular base of white marble. breadth -075; thickness -16.
\/
Height -08
HPAl
('H)pa(*)[X--?
KO"
273.
r.
On a fragment of a thin tablet of white marble, complete on the Height -13; breadth -13; thickness -015.
C./.Z. iiL Suppl., p. 1308, No. 7245.
SU6NUN
oeAflPTAM
In
1.
3 the
C.LL. reads
but
the
/ERCEACVL,
/6RCFACUL
I
BUSAD IQIWIIA MINUA

J
SA
stone gives F as fifth letter, anc^ we mus t evidently read vero faculftatem, vel sim. 'Fortasse rescript! pars
'
alicuius
imperatorii
(Mommsen).
274.
On
ot
<?
a fragment of white marble.
Height -15;
breadth -12;
thickness -04.
__
__
|
__
(t)7ro/i
-|
-[3](e)i/o*cX
-- -|
Se
a(% - ;
Forms of
In
1.
letters
A E TT.
conjecture
e</>op]oi
we may
vel sim. f[m
--
in
1.
we
have probably part of the 275.

surface.
name
SI'TTO/XTTOS,
On
a miniature
altar
or base, with
a hollow in the upper

-10.
Height .21; breadth -n; thickness
Forms
'Avanffl
Tt0a>
of letters
(=
Ti'^j/fit)
would seem to be a mis-spelling The missing is found in Lucian.
for
first
di/ari&I;
the form
the
name
cf.
of the deity to
whom
the dedication
is
word was probably made. For %ioVtoi at
Sparta
Nos. 208, 247.
276. On a brick, of which one end is broken. The inscription is stamped in raised letters on a depressed oblong surface. Length -22
;
breadth -165; thickness -05.

Collitz-Bechtel 4461 ; P. Paris, op. C. Waldstein, The Argive
latte, p.
112,
i.
No.
R. B. Richardson,
Heraeum,
217.
|
(a) IlXivdoi 8ap.6<Ttai <TKa(i/)[o]|0^Kas eVt KaXAiKpareos
cpyowa NiKavitovos.
|
(6) [nX]iVtf[o]i 8ap.6<rtai [<rKavo\\0T)Ka$ eVt KaXXttp[aTfoy]

(c) [UXivGot d](a)/zoVtat <rK(a)vo\[6r)Kas eVi] KaXXt/epartof
epya>i/a Ni*cao-ta>i(o)[s].
|
[cpyuva N]t/ca<nWos.
56
The
is

Forms of letters A 6 9 C
is
CJL).
Cf.
No. 535.
stamped on all three narrow surfaces of the inscription brick which are preserved, and doubtless occurred also on the fourth
which
now
lost.
277. On the upper surface of a brick broken on .36; breadth -28; thickness -06.
Hirschfeld, Bull,
dell''
all sides.
Length
No.
13.
Inst. 1873, p. 191
P. Paris,
latte, p. 112,
were impressed on the brick with a stamp before on a depressed oblong surface. Forms A6C<t>. firing, Compare No. 407, and note.
letters
The
and
are in relief
281.
On
a grey marble
stele,
complete at the top and on the

No.
15.
1.
Height -45; breadth -39; thickness -03.

Martha, Bull. Corr. Hell
i.
386,
'A
c
7r[oXiff]
A.OVKIOV
|
Qv[o\ov(T(rrj^\vbv
IIep<reo[s
'Apior
|
Aa/zapous
-[
\
a7ro-]|{
yovov
Hpa[/K\ovs\
Kal
\
operas
e](v)fKfv KO[I cvvoias rds
els
rav
Letters large
The
restorations
and ornate, XT ^C are due to Martha.

of C.I.G. 1438.
AEH
the apices are marked.
member
of the
same
family, possibly the father of the person here referred to, is the
OvoXoo-ffrjvbs Aa/tzap^ff
300. See
363. See
p. 162.
p.
171.
stele
367.
Zaj/i
On
of
white
marble.
Height -50;
breadth
-17;
thickness -17.
5
Forms of
are, as usual,
letters
apices
slight.
Under the
inscription
a wreath and two palm fronds.

r.
368. On a stele of greyish marble, broken on the Height -29; breadth '20; thickness -10.
'
and below.
Zai/i
Forms
of letters
AOCCO.
all sides.
369. On a fragment of a stele of white marble, broken on Height -35; breadth -18; thickness -15.
-
5 (v)os
(-
vov)
-[|
-- -- (v)vtos Bos --|
Ml
|
-|
-/
6t>v)
[AiV]xuXos
-- -|
(o)vras
-|
--|
8a>pos
-XjS-r|
Forms of letters
L.
i
i
A02H
apices slight.
PAIV.
L. 9
0"oA~.
INSCRIPTIONS
370. On a stele of white marble, broken in three. breadth -38; thickness -03.
i.
57
Height -48
;
387,
No.
18.
e
|
M(apKos) r*XXt|o? Qeo-<ra\\tavbs
Ila\\id\\Tr)s eYeoi/
letters C CO. The writing is careless and late; a tendency throughout to flourish, and to curved instead of The form of (%>) is remarkable. straight lines.
Forms of
is
M%
there
371.
On
a small tablet of white marble, with ansae at the sides.

-08.
17.

~
i.
387, No.
j8*<ro[|ff
Sconypix 6
ayade
Xa
\P
f)
* Trl
Ky-
Forms
of letters
A 60 C 0)
apices slight.
372 500 + 568. On four adjoining fragments of a large stele of Height -65 ; breadth -45 ; thickness -09. Above was greyish marble. a relief, of which only one foot remains.
--
i8as 2a>
--- -|
-|
os 'Ay(a)
TTOS
VTT
- |
(a)vay6pa[s\
-- -|
- - np aTO V (e)[iKOV\.
(a)o-rou ----(s) (
||
--|
7 (^) ?* Ev8ai/iowd(a).
--
-)
[&v
(/u)fi>6s
Samjpt'Sa.
drrjs
10
$tXo;apeu>o(v).
ov.
Af<ovp.ios ôi/3t
Forms of letters A EM 2 (once C)

L.
i.
CJ>
very slight apices.

[<S>]avay6pas,
iii.
We may
jS*].
supply
I
['A0]avayopa[ff]
or
or the
name may
^tXoâpf tVov
11.
be complete, 'Amyo'pas (Bull Corr. Hell

Et>8a/zt'Sa r[6
p. 242).
L. 10. Probably
col. II,
L. J
as
TTOS
4>tXoâpiVou
may
in
be the
A-vo-iiriros
who appears
C.I.G. 1242,
eponymous patronomus
19, 20.
No. 204,
19,
20;
11.
373.
.18.
On
a white marble
stele.
A.vroKpa\Topos 'A\8piavov
Kaiaapos
apices strongly
Forms of
letters
A O CU/;
marked.
Beneath the
inscription are a wreath
and palm branch.

stele.
374. On a fragment of a greyish marble 20; thickness -065. Complete below.

[s]
Height -24; breadth

iSa'
-- -|
[lir]rrapxr^s eVt]
-is
vcras ypo[vcri
c
>vX](a)^ eVt Kaia[apos\.
Forms of
(1.
letters
AEM2T72.
(1.
An
and
note.
ivy leaf
inserted as
4).
mark of
Kai<r[apos]
punctuation before yepovvias

5)
cf.
3)
vop.o(pv\ag
(1.
For
No. 204,
col. II,
1.
13,
and
58

stele,
375. On a fragment of a white marble Height -24; breadth -14; thickness -08.
complete on the
r.
fCONC COCAC
--(T)Ô--o*8(e) --(v>rpo
'NTPO 'AHCK
(ONI
--(K^K
--cow
1.
376. On a fragment of bluish marble, complete on the breadth -19; thickness -12.
Height -24
Forms of letters 6C(|>a).

377.
The
fourth letter of
1.
may be
0).
On
ness -08.
Complete.
a stele of bluish marble. Height -40; breadth -22; thickFound near the Acropolis. In the top is a
Roehl, Imagines*
x.
circular hole.
A<Vr>hi'u?
I
',
No.
30, p. 31.
ei/ TToXe/ioot.
Forms of
letters
AEMP;
Alvrjo-tas)
represented by ft.
the form Alvrjhias
Date
represents h as well as 77, but o> is beginning of the fourth century B.C. With
(=
cf.
No. 387
(HatpqhwTTros),
and No. 440
passim 378.
28.
(eW/caht, WKahas, &C.).
On a fragment of a white marble To the r. of the inscribed space are

(KaXXwcpaTovs) TOV
|
column. Height -42; diameter the remains of fluting.

[^(TTOU).
this inscription is
[KajXXtKpd|[r](j;)ff
Forms of letters
I
A TT S
of red
Above
an uninscribed
At the top of the stone the letters space, very imperfectly smoothed. can be distinguished just below the line of fracture. \j I A K* f
379.
sides.
Collitz-Bechtel 4490; Le Bas, Inscript. Spart. VIII. No. 6.
KoXXt/cparj;,
j
On
stele
acroteria.
Height -70;
stone (rosso antico), with pediment and breadth -34; thickness -03. Complete on all
Revue ArchtologiqiMi 1844, 631; Vischer,
X a^P f
.'
Ato*Xia,
.
xaTpe.
Forms
of letters
AEH
380. On a white marble stele, the top of which 57; breadth .40; thickness -15.
is
broken
off.
Height
-[
X al](p),
[mi]
ta>|o-as
K.
|
Xalp*
||
7rapofi6l|ra.
sunk comformed by an the caps pletely broken off), resting on the projecting fillets which form of the side styles. Before and after the C A C of 1. 3 are leaves in relief.
Forms
of letters AGTTCGi).
The
panel, the top of
which
is
inscription is incised on a arch in relief (now almost
INSCRIPTIONS
381.
59
Height -18
<ra>\rf)pos
;
On
a circular base of bluish marble.

|
diameter -38.
AvTOKpdropos
Kcuaapos Tpata|i/oO 'Aftptavov
rds AaKcSaipovcs.
Forms of
au>rr]p
letters
A6CCO.
Compare No. 507
for
the
formula
:
ras AaKcSaipovos, which is there, as here, applied to recurs in Ath. Mitt. ii. p. 438, No. 13.
Hadrian
it
382.
On
a bluish marble
stele,
complete.
;
thickness -05. Le Bas-Foucart 211 b (pp. 109 and 145)
Kaibel 476.
'Ayvrj p.fv prjrrjp
irpoaras
p fAoxeuo{a]|To, irais wSetvay prjgapfva \ayova>v,

p.e
en
||
$av<rrov
8*
wvopao-fv
dirb 7ra|n7p idirjg

|
fj.r)rpos,
& rjWfovs rrj\vyfrrjv re Koprjv. yivaro 8S>KO TfKOVOT], TLfvBoS 8* OVTl fKVV KOI \VTTT)V
\
/iolpa
yap ovde
yovfjv ov\op.fvij Trope pot,
10
|
dXXa
fie
vrj\io>s rpiffaStv ffp\iraev dd(\(j)o>v

|
pjrpos re
yXvKfpfjs Kovptdiijs r
aXdôv.
tall
Forms of letters A6MZTTC<j)<JL): the letters are and very much crowded together. At the end of each
and narrow,
is
verse
a mark
of punctuation (), as also in the following metrical inscription. The text of the inscription in Le Bas-Foucart gives in 1. i while the transcription shows ?n; /3to>o-as the former is correct.
:
fto-as en/,
383. On a grey marble stele, with pediment and acroteria. 62 ; breadth -40; thickness -05.
Koumanoudes, 'AtHpaiw,
iii.
Height
484
Kaibel 474 a (praefat.
p. xiii).
6prroff 6 rais Movaais apeo-ar, ov | firyveo-cv 'E\\as KOI 7T(pL<ppU>V *A (TIT) KCll VOfpOl (3a(Tl\(ls,
|
ovKfn rats
6vp.f\ais rais (ixrrc<f>dvois TrapcSpeva) rcpirva (Jif\rj jceXaSa>i> rots \vyvpouri \opois, ovde (rvvfvvov opa) ovde ra reicva' ^>i\o\(r{ivyaôv
|
||
Forms of
letters
A60MTTCCO
the last line
is
written in larger
(/),
characters than the rest. as in No. 382.
Between the verses are marks of punctuation

(1.
The
vofpol fiaviXcls
3) are possibly the

:
L. Verus (Kaibel). In 1. 6 Kaibel would improve the epigram, but is not necessary
emend
emperors M. Aurelius and which would opa>[*>], certainly the v was never
engraved on the stone.

384.
On
r.
on the
a fragment of a stele of bluish marble, complete above and Height .46 ; breadth -26 ; thickness -20.
*.
Forms
of
letters
is
A E M O !H
apices prominent.
The
of 1. 5
the final letter of the line.
60

left.
385. On a block of bluish marble, complete on the breadth -24; thickness -19.
5
Height -28
TO
--
\oiavrj
--
|oi)j/Tos
-|
TOV fv
--[np]\o<r8â[^V
i vr\
\\
d](vd\a>p)[a
Forms of
s is
letters
AEzZ.
In
o.
1.
are ligatured
in
1.
2 the final
written inside the preceding
386. On a stele of grey marble, found in Magoula. breadth -24 ; thickness -12. In the top is a circular hole. Collitz-Bechtel 4420 ; David 26 ; Roehl, Imagines* x. No.
',
Height -46
20, p. 29.
hlvfros
|
fv noXffjLOt.
Forms of letters A E
MNP
The name may be

inscriptions.
read Alvtros or
Alvrjros
both names occur in
387.
08.
On
a stele of grey marble.

right.
j

Roehl, Imagines*,
x.
Complete except on the

Collitz-Bechtel 4421;
HatpJjhfwrTTOp]
David 31
No.
24, p. 30.
ev
|
7roX[e'/iot].
Forms
Hcupfjhnriros
of letters
AENP
459 r
represents both h
(AiVjyhi'ar),
and
77.
For the form
(=
,
Hcupfoiinros)
ibid.
cf.
No. 377
&c.
Collitz-Bechtel
4592
(AvhiTTTrov),
389.
ness
On
stele
of greyish marble.
190.
|
Height -50
breadth -33
thick-
io.
Le Bas-Foncart
'
Zavl 'EXev|0/>t'oi A.v\Ta>vtivoi
Somjpt.
apices very slight.
leaf.
Forms
of letters
AOZfl;
Beneath the inscription
are a wreath, two
palm branches and a
393.
On
thickness -36
a roof-block of bluish marble, broken on the width -87. ;
r.
Height -21
Aidprjs hi(a)pe[vs].
\
EvfiaXKrjs
Forms of letters A E
cf.
M o P Z.
L. 2
original
For the representation of an

Evpv/3dwicr0-a
f by
ft
in
Laconian inscriptions
(NoS. 203, 591), Botj/eas (Collitz-Bechtel 4589), Booptiea The restoration was proposed by Roehl on the (Nos. 22O, 221), &c. analogy of C.LG. 1388 (cf. ibid. 1387).
394. On a splinter of a bluish marble Length -16; breadth -15; thickness -04.
stele,
broken on
all
sides.
\P\
R
INSCRIPTIONS
395.
6l
a block of greyish marble, afterwards converted into a doorto r. and 1., but on the r. No. 548 fits on, and nothing is lost between them. Dimensions of Nos. 395 and 548 together height 13; breadth -75; thickness -40.
sill.
On
Broken
[NiK\r)<f>op
[xaip]f, err)
i|[o>o-as]
KT)'
pfaas)
8'.
Letters
slight.
much
larger than those of
No. 548.
Forms EM(J>
1.
apices
It
would be possible
commoner name and
suits the
to restore ['EXTrio'lôpe in space better.
i,
but [Nc]^$o/>f
is
396. On a block of greyish marble, formed like an anta cap. 33; breadth -65; thickness -30. From Mahmoud Bey.
'ETT!
;
Height
4.
Vischer, Inscription** Spartancu VIII.
No.
nparoviKov
Trc&apo/iot.
incised.
Forms of letters AE Ofl Y; apices very slight, letters The catalogue of names which followed is lost.
well
and
clearly
398.
On
a block of dark limestone with

;
relief; see p. 173.

8.
Dressel-Milchhoefer, p. 381, No. 196
Rouse, Gk. Votive Offerings, p. 215, n.
Aa/Jarpto? 'E7Tfye|i>eia aBavarco.
Forms
of letters
AE02
;
the
<o
appears in the remarkable form 2.

foot
-07.
x. p. 63.
1.
400. On a stele of greyish marble, broken at the hand corner. Height -52 breadth -45; thickness
*ETT!
\
and
at the top
i.
379, No. 2

|
(f)t\OKai<rapos ['Ay]a0J7 Tvxfl. # KOI Sta/SeWos 5 KOI <tXo7ra||rpiof , /3t8eou Sc IIfovKai|ou 'E7ra$po8fiVov, dpi<TTiv\8ov
Trarpovopov AUCTMTJTTOV rov Aa/imperov
avTf|7rayyeXrov Aa/wui'erov
a-avrcs ras &>/3as dveê|dpof
rov 'ApioTOKparovs,
S>v Trpeorftvs
\
o-<j>ai\\pis
NeoTroXtrwi' of
TaXrjvos SirevSfav)
^TI""|^T"
---
viica\-
10
Forms of letters
in
1.
AE0MnZ(f>Q;
:
apices.
L.
1 1
13 Td\T]vbs 2ircv8a>[vos] the reading I think I see signs of or 211 S. dyopavopos in Le Bas-Foucart 168 b.
&>/3a? is
certain,
Martha reads &pas, and and after SrreVW

Soxrti/ei/cov
ZOZ
STrej/fieoi/
occurs as
401.
On
Height
i6; breadth -10;
thickness -085.
Broken on
all sides.
\ZK
404. Fragment of a
thickness -10.
;
stele of white
marble.
Height -39
p. 66.
breadth -32
Wide, Lakonische Kulte,

|
--- [^>](a)v77? yfpovTfvcw

Forms of letters E<t>n.
[aj/e^jT/Ke
rS>i
AeX^)it'coi.
2 Apollo Delphidius is found also at Cnossus, Dittenberger 514, See Wide, op. cit. p. 87 foil. For the formula cf. Bull 12; 722, 46. Corr. Hdl. i. 380, No. 4.
An
62

tile,
407. On a fragment of a breadth -09; thickness -015.
broken on
all
sides.
Height
-u
The
letters
inscription
r.
is
1.
stamped in raised
letters
on a sunk surface
the
run from
to
Forms
C<1>.
Compare No. 277

(AvwSa), p. 112,
(cf.
No. 14
('A-yatfii/os),
(SuXioTfidar) and Paris, Elatte, p. in, No. 7 for other examples of bricks stamped
is
simply with a proper name, which Nos. 535, 712).
probably that of the contractor
408. See No. 262.

410. On a white marble stele, broken on the Height -22; breadth -22; thickness -025.
P- 337,
iii.
r.
and
at
the foot.
N O-
p. 194,
'
No. 5 ; Preger, Athen.
Mitteil. xxii.
5-
MapKos
p,iKi&](8o[jie}[va>v
Ova\e\piof
---
OvXniavos
\
A(p&6vrjros
2o>|((r)[p]arous
/3ouay||[6s
Forms of letters AE0Z(|)fl. To the r. of the inscription was the groove which contained the iron sickle (?) dedicated to the goddess. Fur p.iKixi8Sofj.i><Dv scheint der Raum zu klein (Preger).
1
'
411.
85
On a stele of white marble, complete except at the top. breadth -55 ; thickness -05.
Le Bas-Foucart i68g.
EvSai/uoov (EvSai/wows), H6(n\tos)
[lla
Height
--- TOV<T|
5 Kd(rc(i)[s\.
?]|
|
"Ewmrof
|
||
*IouXtos
I
Topyimros
(jTopyiTmov) .
Io (popoc
Xpvcroyovos AiWoff.
Nop.o(pv\aKfs'
Aa/uW
[BeXXa/ji/oy
)]
IIo(7rXtot)
M
in
1.
Forms of
!
letters
AEfTZCJ):
12
NE
are in ligature, while in
is placed inside the TTThe surface 15 FM are in ligature and the has been a good deal worn since Foucart copied the inscription, especially
the
1.
hand lower
Date
L. 2
:
portion.
latter part
of the reign of Antoninus Pius.
must be read no^Xios) with Conze-Michaelis (Annali, 1861, LI. 5, 6 'lovXto? 'ApioWa? and pp. 40, 41), not 'lov(Xios) with Foucart. rdpyiTTTro? TopyiWov recur on a catalogue of dyopavopoi (Le Bas-Foucart 1 68 The Xpvcr6yovos AiWoy of 1. 8 b), as also Aa/xiW Be'XXwi/os (11. IO, II). is probably the same as Map<os AvpfjXios X. A. of C.I.G. 1381. Topynnros Topyiirirov subsequently became eponymous patronomus (No. 219). 4
I
In
'
1.
15 only
.c.CFMAOrTEINOYte
is left.
KXeoVaôy (lOuo/uaôu)
I
was read by Conze-Michaelis and by Foucart. The former have the note L'ultima lettera non e certa/ but express no doubt as to the Y Foucart reads Aoyyco/or. The v, however, is perfectly plain on the stone,
INSCRIPTIONS
and the
63
two
$
:
I regard
as also certain, though this reading involves
difficulties
(1) It
reduces the
4.
is
number of
vopo(pv\aKcs
from
udo-is
5,
the
normal
a dative
number, to
(2) It
(cf.
1.
contrary to the general rule that
takes
3).
417.
On
a block of white marble, complete except on the

-20.
i.
1.
Height
Hoffmann,
30; breadth -40; thickness

Roehl, Athen. MitteiL SyUoge, No. 177.
idav
fie
p. 233,
No. 6
Kaibel 471 a add.
X&BV noXvatverjov
tfXe
tv o \avlx vrrep Sn-dpras (rv^vodois

fjioi
/ira/i'
cncQrjKf Trarjply
6*'
/LKH
ftrnv 'Opetot.
[aXa>ros
c<rofiai rots e
Forms of letters
AEOM.
is
The above
restoration
due
Date: fourth century B.C. to Kaibel ; Roehl proposed

eV
[OVVO/JLO
/not Trarjpls rots eTri\yivofj.vois. [Tratrtr danvrj(TT(o

,
:
pep
w w
(rvjvdSots oXdftai/* ' Se e'cni/
the name may be a by-form 'Opt 101 oppidum ignotum (Kaibel) 1 (used metri gratia] of 'Optoi, a x<*>p'iov mentioned by Lysias (xiv. 27) which in its turn may be the well-known Oreos in Euboea. See an article entitled 'Clpeos 'Gpeot, by 2. n. Adfinpos in the Neoy 'EXXî/o/zvTj/icoj',
,
vol.
i.
p. 34stele.
418. On a fragment of a white marble 12; thickness -09.
Height -23; breadth
--
XTTI
-- -I
f o-/3
-- -|
ov
- |
--
o-ê)
--
Forms of letters E
slight apices.
427. On a block of white marble, complete. In the back of the stone 13; thickness -13. probably not original.
is
Height -15; breadth an irregular hollow,
(Av)p?;Xta KaX|Xov<ra 2arv|pov 6fa ev|âpioT7;pto[v].
Writing very crude.
Forms of
letters
428. On a fragment of white marble, broken on 23; breadth -22; thickness -05.
-),
all
sides.
Height
A
I
TC A
SOY/
1
-? - ['l](ov)X( )[os - - IJo(7rXto?) -At(X)[ws] --s ? - t
0(X)[irio
ff
The MSS. vary between
the readings 'Opeovs
and
'Clpeovs in this passage.
64

;
429. On a fragment of a white marble stele Height -14; breadth -095; thickness -045.
the
r.
edge
is
preserved.
NBION
NAPIO
"Ai
432. On a block of white marble, broken on the breadth -18; thickness -10.
1.
Height -14;
KaXXioros
|
os
Meviirrr\[ov]
- -
os
'Appovei\[Kov
ra(tos)
lloNTTKA.
Forms
is
of letters
first
A EM 2.
In
1.
3 the XX are united (M), as also the
final s is
1.
After the a sign perhaps we should read KaXXio-ros (KaXXtWou). Of 4 I can make nothing, though the reading is clear; possibly yr<8'= 3324.
(E): the
a is under the horizontal stroke of the P.

:
<
435.
foot.
On a white marble stele, with pediment complete except Height -25; breadth .32; thickness -05. Found between
;
at the
KaXvftia
and
Xai/t.
Forms of
439.
letters
AE M O P n.
Height 1-50; breadth -27; thick-
On
a block of grey stone.

i.
ness -25.
5
388, No. 19.
*Opo[y]
TOV
|
|
iep|o
to'.
||
Forms of
letters
A 6.
440. On a white marble stele, broken at the foot. Height -94 ; breadth -235; thickness -16. Found by Leake at the Monastery of Above the inscription "A-yioi Sapai/ra between Sparta and Chrysapha. is a relief, for which see p. 176.
Collitz-Bechtel 4416; Meister, Jahrbilcher fur Philologie, 1882, i. 523; Bursian, Berichte der sachsischen Gesellschaft der Wissenschaften, xii. 226 foil. ; F. D. Allen, Papers of the American School at Athens, iv. 193, No. 101 (11. 1-5 only) Roehl, Imagines*, x. No. 16, p. 28 Hoffmann,
; ;
Sylloge epigr. gr. 374
(11. 1-5 only) Solmsen, Inscriptiones Graecae inlustrandas dialectos selectae, Leipzig, 1903, No. 17; David 28.
;
ad
viKiihas
|
ravTa har'
z/a)i>]
ovdrjs
||
ntfrroKa ra>v vvv.
fviKahe
TcrpaKiv
15 Aa/M(i'a)[i'j
htTTTTOtS
|
AH/MO)!
rait
avr>
(
Te&.p\i mr(>i
avT&s
I
Kal 'Addvaia TfTpd\ Kiv
K\r)\evhvvia TfrpaKtv.
hlajua,
ifat
IlohoiSata
eV^tjKjy
HeXet, Kal ho KeX^[^

K TO.V ailTO)
I
avros dvtoxi&v
htTTTrfo)].
|
e^hj/jStohats
llCTTTOKlV
\f]viKr}
htTTTTCOI/ /t^
TO) avfVlti)
Kal IlohoiSata
|
20 Actâi/cop
25 aVTCO
h/TTTTO)!/
K^/C
avros dvio\ia)v
[aluros avio\it&v ei/in7//3conaty m^Troty || ' aVTO) htTTTTG). Aa/ZO>I/0)I/ VIKT) KT]V AptOVTlttf ex raj/ avr) Yliirirciov fi/h^cohaiy hiVrrois KTJK TO) avrco
Qevpiai oKraKir'
TO)
e< rav
30 Kat
ho
||
xeX?;^
ei/tVn;
|
h[a/xa].
||
hlTTTTOiff
TCTpaKlV,
INSCRIPTIONS
|
65
Ke\T)g pi
A --- --- rjhia KOL 35 *Ew/ia(i>)-, yvv]aiKa>v, --- --- as ha [h](a) irpai{a--- -- [Vh}jj3[ffl]i{Ti htWfflt] ev v
.
. .
||
Forms of
letters
ADEBMN:
:
40
is
represented by *,
by X.
used only for h, never for TJ O represents both o and a>. Date, probably about 400 B. c. My text agrees with that of Collitz-Bechtel, save that I have been able to see on the stone a number of letters marked there as restorations, while a few have disappeared and are enclosed in my copy between
is
square brackets. L. 9. Yatap6xo).

ratao'xov.
Cf.
is
Xen. Hist. Graec.
vi. 5,
30
els
TOV
i7r7ro'Spo/ioi>
1
KOI 'EKevo-vvia (Collitz-Bechtel 4495) L. II Krj\fvhvvia = KOI *E\vhvvia or 'EXcvartW. Pausanias mentions an 'E\cvo-iviov, a sanctuary of A^-n/p 'EXeuoWa, on, or at the foot of, Taygetus. The second part of the inscription (1. 35 foil.) contained a list of the victories of a woman, unfortunately now lost save for a few letters. 8. i) it was Kyniska, daughter of ArchiAccording to Pausanias
(iii.
the earth (with earthquake) / (i) 'he who shakes 2 or (2) 'he who rides in his chariot throughout the whole earth / or 8 'he who rides beneath the earth and thereby shakes the earth / Taiafoô?
(3)
damus
II of Sparta,
who
Trpoorrj
re imroTpofaare yvvaiK&v
/cat
viKrjv
oVeiAero
L. 40 Dressel-Milchhoefer
'
saw A
1.
'
OH
\ which
may belong, asMeister

p.
suggests, to
[KTJV
Ap]iovr[i]a[s] (cf.
24; Wide, Lakon. Kulte,
141
foil.).
a stele (broken in two) with pediment and acroteria, and a projection at the foot for insertion in a socket. Height 1-40; breadth 65 ; thickness -15. Between 11. 3 and 4 is a relief, for which see p. 176. Found at Mahmoud Bey, not far from the church of 'Ay/a napao-Kevfj.
441.
Collitz-Bechtel 4516; Dittenberger 1 306; Dittenberger
|
On
451
Michel 182.
TOV 'ApiorroKpaTfoy, AoypaToypd(pa)v AVO-LVLKOV TOV SwTTjpi'Sa, N^xXeos ' cVei KajyjaoTaêi/rey TO So^êv VTTO AfivK\aifU)v' Ha.(riKpa.Tos TOV Hao~iK\eos f<popoi els TOV eVt NiKta eviavTov Hao-iTe\r)S J] TfTapTOV, EvQvpos AvcrtKpaTcos, 5 Aa/itaSas Aa/xmda ai'a> dveoTpefprja-av avTGiv Tf (eat TO.S eVêipto-êtcraff avTols
1
j
|
c'p iraa-iv
Ois
i'
firaivco-ai
||
TOV eviavrbv 8iea\yay6vTes, 8edox6at Tols TOVS ncp\ Hao~iT\ri ciri T< KaXco? TO.V apâv av IO TTOIOVVTO) 8e avTois KCU eVi Tat TrpocrrpOTrai aet /icpt'Sa, <os
aKepdms KOL
^/ttepcos
|
c<f>6povs
OTTCOS
^(f)['j
&
&>j3a p,vafj.ov(vovo-a
|
T>V yeyorav
(pi\\avOpa>7rQ>v els
avTav arro-
(j)aivr)Tai
\i6ivav
|
fls
dv8pas' TCLV
avrSiV
|
TOS KaTaglovs Tinas' eyo"6fj.V de TOVS KaTaoraOevras oraXai av dvaypa^>f)o~Tat TO doyfjia /cat o'TO.o'ai cis (T)O iepbv TO.S II 'AXe- ^5 8e fls Tavrav o~a.7rdvav SOTCO a a>/3a /cat \6yov fveyKOVTO) Trepi Tay
|
y(yvr)p.vas dandvas TOVS

KaXXueX?}.
firi
TaOTa
KaTaffTaOevTas'
7raiveo~ai 8e KOI
TOV
ypafjifJMTTj
Forms
Date
L.
1 1,
:
of letters
A EO P
first
Fl
TT
slight apices.
i.
century B. c. For the office of the 6\>y/uaroypa$oi

214.
:
second or
beschlusse, p.
(11.
1
15), as also
cf. Swoboda, Griech. VolksThese were magistrates of the eo/3a T&V 'ApvK\aia>v the tyopoi of 1. 4 on the other hand, Ntas (1. 4) is the
a
Meister, ap. Collitz-Bechtel, ad loc.
Miillensiefen 45 [175].
Wide, Lakon. Kulte,
p. 38.
66
Loeschcke, the
Collitz-Bechtel

rl
eponymous patronomus of Sparta. L. 9

first
r<5 is
quite distinct
on
the stone.
editor,
read
eVi
TO*
which has been retained by
emendation KprJTfs and
in his first edition.

ayvrjKe
and Michel, though Dittenberger made the necessary For 8teayi/7/Kei/ai cf. Hesych. dyvelv" ayeiv
(MSS.
air
dyvrjfrofi)'
cf.
dyrjo^f AaKooi/es.
iii.
L.
1 1
Af~~
L. 15
For
the temple of Alexandra

yevofievr)
Pausan.
Kafir)
19. 6
ol
'A/^Xai
Se dvaa-raros
wo
Trjv
Aa>pif<oi>
KOI
eiceivov
rrjv
diapevovo-a deas Trapetêro agiov icpov

'A/zujcXatflff
KOI
ayaXjua'
Be
is
'AXeai>Spai/
Kacr<rdv8pav
iii.
elvai.
The
cult
also
found
at
Leuctra (Pausan.
26. 5).
443. See
p. 178.
446.
On
The
in
in
stele
foot a projection for insertion in a socket.
of bluish marble with gable-top and acroteria ; at the Height i m. ; breadth -55 ;
so
thickness -15.
surface
it
11.
1.
is
damaged
that only a few letters can be read, and I have not

these.
1.
thought
18,
worth while to reproduce

rcLv
The name 'Aptarore^s
occurs
21, 31, the phrases irpds TOVS Oeovs in
3 and 5e86xOai irdvra ra rds uftds
and
u0dv
in
1.
23.
Forms
of letters
A E OTTJC1
no
apices.
p. 178.
447. Four adjoining fragments of a Dioscuri relief, for which see Height 1-13; breadth -58; thickness -10. Found at Vourlia
Collitz-Bechtel 4524;
(Sellasia).
F. D. Allen, Papers of the American School, iv. 194, No. 102; David 19 b; Roehl, Imagines* x. No. n, p. 27; Hoffmann, Sylloge, No. 307.
>
n\rj(rrid8a,s
d[vf6r]K^
Ttvdaptddv
8[i8i5/za>i']
pavi
viii.
Forms of
PI. xviii)
:
The
letters (facsimile in Athen. Mitt. are represented by e, o. restoration is that of Kirchhoff (ap. Roehl, I.G.A. 62
o> 77,
AD^/Ô^
1883,
174).
a, p.
448. Seep. 178.

456.
C
On
a fragment of a circular base of white marble.

iii.
Height
i-io.
Martha, Bult. Corr. Hell
195.
KOI
o-ax^)po|[i/f(rrar7;]i'
'
TroXis
I
[T^V
(pi\]o<ro<p<0TdTr)v
5 [roC] <pi\o(To<p(t>TdTOV KaXXi||

[Te]ura(jicvov
tfuyare'pa,
/cat
Aiipr)\iav 6e roO evyepecrrarou

5
TOV 2rpaTfX|
as xP rlliar t & i
KOI
\
[etrriai;
|
7r](d)Xea)s,
10 veav
II?;i/Xd7r||[f]ia^,
dperrjs trda-rjs
rrjs
nepl rap ^f(a)[s]

>
TTpoo-degane^vov TO avaXa)/Lt]a M(apxov) Avp(/Xiov) EwrvîavofC] roC ya/i/3]poi) avTrjs. 15 TOV Evruxll' tavov, Trarpo?]? v6p.u>v Kal 7rdX6(a))[$ ,
|
|
[fva-eftfias ei/]eKa, tXiaj/ov
s TOV
\
20 Vtypa/i/na^ôs].
(ppoo-vvrj
|
/cotr/xet
.
.
Trept
rjv
vocpirjv -rfjvde
anjyA
j|
ddrjs fl (f)i\0[Jifid(r)}
aSpc
(f)tv
:
smaller
Writing very careless and indistinct, full of ligatures 11. 1 8-2 1 are in Forms of letters A A E Z letters, seemingly by another hand.
MZTTCCCO.
My copy corrects that of Martha in

last four lines is
several points
the reading of the
very uncertain.
462.
On
Length -08
breadth -07
thickness -07.
INSCRIPTIONS
463.
67
breadth -075;
On
Height -23;
thickness -08.
-_
Forms
of letters
(0^)
_
|
_
;
_
|
_ _ Xa |
--
Xe
A A Ell
slight apices.
464. On two adjoining surfaces of a Length -13; breadth -12; thickness -09. On the front (complete above and on the
*E<f>op[oi
firl
]
|
block of bluish marble.

is
1.)
the inscription
Aa/n[o]
r.)
and on the
side (complete
above and on the

s
|
are the three letters,
ov.
Letters ornate, with prominent apices
-A
E S Q?.
breadth -20;
Seemingly a fragment of a catalogue of ephors.

466.
On
block of white marble.
Height -22;
thickness -05.
'
Zavl
|
*EXev0epi'|oi A.VTa>vi\voi Sri)||[pt].
Forms
of letters
AO2H.
Below the
inscription are
pi
two palm
branches with a wreath between them. The final omitted by the lapidary when cutting the inscription.
was accidentally
500. See No. 372.

501. See No. 219.
502.
On
stele
of
white
marble.
1.
Height .51;
K0V
breadth -27;
thickness -04.
KrjlK.
|
Complete on the
TO T0~l
|
TOTO
|
||
TrjV
the with slight apices. Forms latter is a remarkable instance of archaism in the form of letters. Possibly in 1. i we have the name Kquea (Cz'm'ca), which occurs in the form Kip usa in an inscription from Gythium (Le Bas-Foucart 247).
Letters
large
and
careful,
A:
503.
fluting.
On
a circular block of white marble, with Height -27; diameter ca. 17.
slight indications of
[Zavl 'E]\\fv6[fpi]\oi 'Avr[o>]|j/e/ot 2o>||r^pt.
Forms of letters A
506.
C CO.
a fragment of a stele of bluish marble, with a moulding of the lower and r. hand edges are preserved. Height -34; breadth .36; thickness -09.
below.
Parts
c
On
(K)CU
fiva
fis
A](y)iou IItev|f/Aaros]
t.
(8)e
tyxli>
|
BTJKTJV
Kal
j
TO
nvr)\\[iJLflov]
rfjv
evnvpov ovv
\v rov AeoTrorov 5
Qfov <v>Xaa|
fjfJilv Iprjvrjv.
cares rov Trpoyeypap-pevov
ov
|
*cal
Sore
Forms
narrow
(1.
of
letters
AE0M2C;
Before
writing
rfjv (1.
very rough, with high,

is
letters
much crowded.
5)
an ivy
leaf,
and
after
8)
68
507. On a block of white marble, broken at the back and below. Height -30; breadth -17; thickness -15.
Durrbach, Bull. Corr. Hell.
5
ix.
517, No. 7.
AvroKparopi Kcu|<rapi 'ASpiai/aJ
2e/3aoT<5 (ra)|r^pt ras
Forms of letters
ADSW
very slight apices.

[71-0X105] ;
Durrbach reads o-wT^pi ras on the analogy of No. 381.
I prefer to restore
508. On a white marble breadth -27; thickness -04.

5
TtjSepios
stele,
complete on
all
sides.
Height -48
Xe'.
KXavdios
|
Tlporoyevrjg 2aAa/i|etVioff 7rv6av\ijs
er&v
\\
Forms of letters E
509.
C CO
On
stele
of bluish
marble, broken in
Preger,
two.
Height -90;
p.
breadth -73;
thickness -30.
;
Collitz-Bechtel 4435, 4437 a Dittenberger , 898.
Athen. Mitteil. xxi.
96, note
/A
7ro[XJ/i<ii)t.
Forms of letters AE
M P ZjQ.
Date, probably third century
B. c.
The name
inscriptions
TUO-KOS
v.
'A%a,
occurs again in No. 689, and in two Cretan 365, 1. 69, and Bull Corr. Hell. xiii. 75.
all sides.
510. On a fragment of white marble, broken on breadth -21 ; thickness -13. ,| s/ ,
Length
-17;
--['
firONOZ
--
AHO^
L. 3 [2lVo](/i)7To(s)
?
--Height -17
;
521.
On
|
a circular block of white marble.

*E\v0epioi
letters
diameter
-21.
Zavl
'Avruveivoi
\
|
Swr^pt.
Forms of
A 6 Q A C CO
no
apices.
522. On a white marble breadth -27; thickness -08.
stele,
with
pediment.
Height
.37
Forms of
523.
letters
A6
of
C CO.
white
marble.
On
slab
Height -38
breadth
.32
thickness -03.
Letters very crudely formed
A60CO.
marble, broken in two.
524.
On
;
stele
of white
Height -65;
breadth -25
5
thickness -03.
I
Xatpt,
Tiave,
K[p]^s
o[8]'
\
e'a>i/,
6 iv \xapiT<r<Ti re\\\tos
iraa-i
<f)i\os
yap
f<j)v.
T$>V
lS'.
INSCRIPTIONS
Letters
apices slight.
69
good and
careful,
though somewhat crowded together;
Forms AAEMTlZ(j)n.
verse has two syllables too many, and the mason has written TWO'S as a man's name occurs only in Mionnet's reading of a Cretan coin legend, and Prof. U. von Wilamowitz therefore conjectures
first
The
KBHZOAEHN.
Xcupe, ('P)tai>j K(P)T)S 0(8)'
etoi/,
(6
ei/} âp/reo-tri reXfioy.

1.
525. On a white stone stele, complete on the Height -23; breadth -32; thickness -n. Ev Aa/iapio-[ros] 'AptoTO/cp(d)[T^s].
and below.
'Opiirnidas
5
---
||
*Apxi7nros Ni/c
|
--.
---
KaXXtreXi/s K(a)[XXi]
||
KaXXiWparos
|
2
|
Tifjuipxos Nt/cia
Aeis
IIpaip.evT]s
Ma(pKOv) 0e
--A
Avo-tKpareo(s)
Meymnos
NcooTpa[roii]
Fa(tos)
10
Forms
To.
of letters
ESE
apices strongly
marked.
In
1.
1 1
and Ma. are written
in
monogram
\R
and lf\^. Length -44

;
a block of grey stone, very roughly worked. breadth -21 ; thickness -18.
;
526.
On
David
7.
e.
noXXe/wv.
Forms of
letters
EP
a facsimile will be found in
Roehl, I.G.A. 58.
527.
On
an irregular block of grey

j
stone.
Length -28
breadth -28
thickness
io.
These
letters are
:
roughly incised on the stone by
friction rather
than
by
chiselling
there are also

letters.
form parts of
retrograde,
We
some other strokes which do not seem to appear to have the ends of two words written
there
is
(o)(pas.
a small circular base tapering towards the foot; a hollow in the upper surface. Height -18.
i/
628.
On
TOV
Forms
529.
like
of letters
A9 H
|
C CO.
On
the upper surface of a circular block of white marble, shaped
a capital: broken below.

At>TOKparo|poy KeuVapos
"38.
5
'Afiptai/oO 2e|/3aoroi) 2a>||Tj)po.
The
this class.
letters are
more
carefully
formed than in most inscriptions of
Apices
slight.
Forms AS.
Height -34; breadth -29
;
532.
1 6.
On
a block of grey marble.

TOV lepov.
thickness
Provenance unknown.
The
letters are
very irregular.
Forms f and
P, C.
70
535.

On
each of the four sides of a brick.
thickness -055.
Found
Length -31 ; breadth -31 ; in Leopoulos' field east of the theatre near the
medieval walls.
Collitz-Bechtel 4461. H\iv6oi dapoariat <TKavo\6r)Kas eVt KoXXiKpareos
epya>z>a NiKa<ria>i>os.
brick is complete, and bears on its four sides the same stamp, similar brick, also in all probability complete for which see No. 276. but unnoticed hitherto, is immured in the wall of the church called Koiprjvis TTJS QCOTOKOV in Magoula, not far from Collitz-Bechtel 4443.
The
535
A.
Fragment of a
brick.
Length -24; breadth
-31
thickness -05.
[eVji KaXXfiKpa-reos],
The inscription runs from r. to 1. It is not possible to tell whether the other three narrow surfaces had inscriptions, as they are all broken off.
542. On a fragment of greyish marble. thickness -14. From the Menelaeum.
Kastriotes, UpaKTiica rijy 'A.px<uo\oyiKrjs 'Eratpeias, 1900, p. 86.
---- OS --543.
IEthick-
On
a fragment of a brick.
Length -145; breadth '13;
ness -045.
The
letters are in relief

r.
on a depressed ground.
The
inscription is
complete on the
Forms of letters
A AH3
in ligature.
544. On the shaft of a white marble herm, broken at the top and bottom. The inscribed surface is broken away all down the 1. margin, but the inscription is complete above. Height -80; breadth -26; thickness -25. See p. 188. Found about a quarter of an hour south of the Amyclaeum.
Tsountas, TOV
'E</>i7/i.'Apx<woA.
1892, p. 23, No. 6; Wide, Lak. Kulte, pp. 368-370.

|
Tov djpîepea r&v

5 apioro)!/,
26/3a<rr[a>i/,
fepeja
AIOS-,
TOV
apta-Tov
*a[i
>
t
j
r]a>i/
ai(ioXo-ya>raroi>)
d|[7ro]
2t[*c|oTo]i'
Eua/*oi>
Kal
|
'HpctfcXeouy,
pf
AioerKOupaw,
tepea
[dy]a)VodfTr)V
*O'a(nKpaT[eo||s dia /Siov

,
OTTO
.]
K[CU
IO
re Atfoo* Kov\p(ov KOI TOV Siaj yevovs TO>V
dyavlos
|
TO)V\ p.eyaXo)V Aio(rKovp\\ei(t>v^

|
Kal dyuvodeTrfV If pea /cara T>V peydXcov [AejcovetSiwi/, S[i|a ye^vovs Kal 15 Ho(ri8S>vos *A(r^)a||[X]iou, 'AOrjvds XO\KIOLKO[V, 'Aflfyvds IloXiaôv,
|
[yeji/os
(r)[a>j/
|
a-v]vKa6t^pVfjiva)v cv [T]nSos,
Arjp.r)Tpos
Ka\l Ko|p]^ff
|
ev
C &ovp .....
Ti>xr}S
(rerp
||
q-Tp> } 'Apre/itros s cv 'EyeiXo[t]?,
25 'A0po8e/|[rj7]s Ovpavlas, Tv^r/f TTJS V &lKTVVVr),

|
MN -- ---
[dp](x)ayerov, 'Ep/LtoO O.
(A)tOS V
--
Atoixnoroi;,
A^rpos
Forms of letters A6Z0TTCCO. some places very hard to decipher.

[';]
has
*OYPAo AC - C eTP.
On
-33.
Aids in
1.
in
1.
21 his
Writing careless and irregular, in Tsountas reads [dp]x*pea in 1. i, copy shows c0i CYT 6TP, while mine
. .
546.
a small circular stone base or altar of greyish
marble.
Height
INSCRIPTIONS
Aa/uajrpi fv^[av].
71
The
letters are
exceedingly rough.
Forms
EM
<}>
some of the
in
apices are very exaggerated.
The restoration is uncertain. For the cult of see Wide, Lakon. Kulte, p. 1 7 1 foil.
Demeter
Laconia
547. On a stele of bluish marble, complete except Height -47; breadth -37 ; thickness -09.
Zavt
|
at
the
foot.
'
'E\ev6fpi\oi Kvra>vi\voi. 3<BTi)||p*.
Forms
of letters
AA
2.
Beneath the inscription are two palm

See No. 395.
No.
7.
branches and two wreaths.
548.
On
a block of bluish marble.

iii.
Martha, Bull. Corr. Hell

Tpeiy
197,
6oS>s els 'Atdao 86fJ.ov

a.Tro7rpo\inovcra <j)i\ov
KOI Traldas 8oioi>s apevas r}8e
Forms of letters AeenC<J>(0.

564. See
p. 189.
568. See No. 372.
569.
On
;
Height -49
a white marble stele, the top of which breadth -44; thickness -10.
Hav0a[\
]
is
broken
off.
(f)al
*EwTot*
j
Aioi/uortos Zaxrifjiov.
'Em
||
TOV
/nvôiJ*
'Errat^poSftTOS ('E7ra<po8etYou), 'ETT! TOU paxcXXof' 'lo(vXtos) TvXiirnos.

|
|
TpaTTTOS.
Mayetpos*
lipoyrlatv.
Letters well
and
1.
clearly incised:
forms
1.
AIOMTTZ.Q,
apices slight.
The second Y
ornaments
of
4 and both those of
6 are written inside the

incised leaves as
2, 3, 7.
preceding O's, as also the

at the ( fc)
rl
of
1.
5.
There are
beginning of
1.
and the ends of 11.
The
elsewhere.
<rvyK\f)Tov,
titles
roO pux ^
is
r!
and
a
rG>v
The formula
I.G.
T?)ff
common
eVi TOV pctKe'XXov are not, I believe, found one : cf. 6 eVt T>V vTropi/T/paTcoi/ rf/s
iv.
588
&\>v, I.G. xiv.

r^s ofcwopUof,
this
3738;
with
i
67rt
rafjueias
is
and
eVt
the
dat.
also
used in
Vt rov o-etVov, C.I.G. ; C.I.G. 2058 B, &C. 'ETTI sense, or cwi with the ace. and
608
Karaa-TaOeis,
(cf.
Cor. 298, 301, the
The /xaKfXXoi/ (macellum) is the Kaêorapei/os. x. 25; Dio Cass. 61. 18; in /.G. iv. 1484,
word
is
meat-market
11.
107, 296,
used
in the sense of 'partition,' Lat. cancellt, as in
xiv. 645,
Hesych. paKeXa- $paypara, i. 139, 141, 144

d^vptov).
p.
oiKodop.r}o-r)Tai
8pv0a/croi), the puôs the grain-market (cf. I.G. de KOI oiKiav eV rots ^topois TOVTOIS,
/Socora, P.VXOV,
589. See
591.
194.
fillet of a moulded and ornamented base of white In the upper surface marble, the 1. hand portion of which is broken off. is a groove (-035 deep, -075 wide) into which a stele was inserted.
On
the upper
72
Found on the west side of the square in which the Museum stands, during excavations for the cellars of the house of A. Demas. Height -21 ; breadth -30; thickness -17.
Forms of letters
A C.
all sides.
598. On a fragment of grey marble, broken on breadth -09; thickness -03.
Length
YTTt
--!*--
ONE
----
599. On a fragment of a white marble stele, broken on all sides. Length -20; breadth -19; thickness -07. Formerly in the Byzantine
Museum
at Mistra.
(X)eo-oai
--Forms of
--I
and
(v)
TOV Aa/i(i)
--- --|
(o)i/
roGro
Boustrophedon
letters
11.
3 read
from
1.
to
r.,
1.
2
2
AP^MHPP^:
after TOV of
and 4 from r. to 1. comes a mark of
punctuation ) as in No. 200, 1. 2, I.G.A. 54, 1. 5. The stone is so mutilated that it is not even possible to determine whether the inscription is metrical or not. The emendation of 1. i to Xecr&u naturally suggests itself, but the fourth letter alike on the stone
and the squeeze seems to be O.

600. On the thighs of a seated figure found in Magoula.
Collitz-Bechtel 441 7
;
(for
which see pp. 194-5),

xvii. 3, 3 a.
Milchhoefer, Arch. Zeitg. i 881, p. 297, and PI.
AiAEYS
The
read
loc.
it
of the inscription as I have done, and so

text
is
it
not certain.
Dressel-Milchhoefer
in the Arch. Zeitg.
was published
I
Treu (Arch. Zeitg. 1882, p. 76) corrected and the vertical stroke of the Y it to AEV, explaining that the A in Milchhoefer's copy are accidental injuries of the stone, while CollitzBechtel (loc. cit.) and Wide (Lakon. Kulte, pp. 4, 7, 243) do not even
cit.,
four years later.
mention the
Aetk
is
variant.
known (see Pape-Benseler, Griech. Eigennamen, s.v.', Meister, Griech. Dialekte, i. p. 262) as a Boeotian and Lacedaemonian form of Zew so the Boeotian in Aristoph. Acharn. 911 uses the 'Aifiev?, on the other hand, expression ITTO> Acvs (=?OTQ> Zeus, Schol.).
:
is
a unique and unparalleled form of 'AiSas, 'AtS^y. Nevertheless, the reading of the inscription given by Dressel-Milchhoefer seems to be
the correct one.
605. On a block of white marble, broken on breadth -18; thickness -045.
all sides.
Height -15;
Forms of letters
A EM,
KR$
in
monogram.
INSCRIPTIONS
611.
73
all sides.
On
a block of white marble, broken on

;
Height -205;
breadth -24
thickness -14.
Found
in
Magoula.
David 19; Roehl,
Collitz-Bechtel 4410; Hoffmann, Syll. epigr.gr. 394; Imagines'*, x. No. 10, p. 26.
VYTATO.ZED PHANTOM pA' n _ _ _ _ o I<AI PPYCDFW I

i |
The following tentative restoration of this inscription has suggested by Roehl (LG.A. 62):
['AX/a/naâ)
been
ravS*
eiK<5v'
tWor* dya6a> Kal ayavoi]

8*
fjdr)
[avSjpoff dQpfjv'
d[iapi\\a6f)s
1
re 6i]y
OVTOS
vi<as
[KO.\
Bopvfias Kara rpa]^vraTa>s e8[a/iao-$>7j orao-ev roSe aa/ua] 8]e xaptô/ifôs

H\O\VK\T)S' aXX' Atos
irais
612. On a large stele, with pediment ; later, the r. side was cut away and ornamented with low Byzantine relief. Found in Magoula serving as a doorstep. Height -95 breadth -60 ; thickness ii.
;
Tepovres
firl
['A
--J*
||
|
|
AvKOfJLrjdrjs
*Apa[r
~
]
|
Hparovucos Ato
---10
Aa/z
Ev/ncoA/a>i>
Ba>p^t[aSaj.
j
Tiav<ravias
Eu
Ti/zo/cX^s
A6î5[d/Liov].
Sevdprjs
KaXXtVoXis Evpv
[njaiarpaTos
[roplytTTTTiSfasj
os 'Ap(jy)[îWov].
..
|
IPOA.AAZ
Eu
|
KaX
Forms of letters
AE
first
TT
S
B. c.
Date, probably century L. 5 Dressel-Milchhoefer (p. 436, No. 10) read 'Eo>p& with the note 'EHPQ oder BHP0?' The B seems to me quite plain. is distinct, and must not be altered L. 6 (as in Collitz-Bechtel)
AAME
AM,
to
Aa/i[ir]
The names
;
Aap.e8a>v
and
Aa/xeVq? occur.
L. ii 'H[p)eX. .
[avov],
Collitz-Bechtel
.
L. 12
D-M.;
my
but Dressel-Milchhoefer rightly read H KA Dressel-Milchhoefer I seem to see AN'. L. 14 XI A. L. 20 copy gives D-M.;
:
.
-I
A /OZT,
AX A
AMOZZT
my
L. 21 rpATOZE, D-M. L. 22 NPEAOZAP, D-M.; copy. ANFEAOZAPII my copy. L. 23 D-M. read the fourth letter as A,
I as
A.
L. 24
..
XYKAHZKA
D-M.;
TAXYKAHZKAA my copy
617.
On
Only the top
a stele of red Laconian stone (rosso antico), with pediment. is preserved. Height -n; breadth -24; thickness -06.
|
OVIKOS
[e/x 7roX](e)/ioi.
Forms of
letters
MZ
very slight
apices.
74
618.
(at

On
a miniature altar of white marble.
.15 (above),
Height
-21
foot),
upper
-13 (above); thickness surface is a hollow.
-13 (at
foot).
breadth -15 In the
Letters very roughly inscribed.
Forms AE0TTC.
619. On a fragment of a circular abacus of greyish marble on a column. Thickness of the abacus -08. Broken on all sides.
c
A[ptai/oC
Km'<rapos]
Letters apicated The restoration
A S>O<.
is
uncertain,
and the
identification
with
C.I.G.
1310
is
merely conjectural;
the text in the latter inscription gives A,
not A.
We
might restore
in the present instance [AvroKparopos Kai<rap]os
2e/3a<rroDJ
620. On a fragment of a bluish marble stele, complete on the r. (?). The surface is badly Length -15; breadth -115; thickness -045. damaged, especially on the r.
ML HOYEM
/iAec
621. above. surface
On
a fragment of a white marble stele, complete on the In the Height -22; breadth -17; thickness -085. is a dowel hole.
|
r.
and
upper
['H TrdXjis
--- ov M(i/) --- yyo\

|
--
Letters apicated
ME
in ligature.
622. On a fragment of white marble ; but the inscription is complete above.

thickness -04.
Ai deal
QiSa<ri
the
1. edge only is preserved, breadth -09 ; Length 1 6

;
(T^)
apicated.
Letters
slightly
Forms
AGOG
letters
tall
and
narrow.
623. On two adjacent sides of a fragment of bluish marble. 12; breadth -12; thickness -10.
Height
-- OVLKOV -(6)
KX(a)
-|
Xoyl
;
-|
(rpo)
--
Forms of
than that of
letters
the writing of (3)
is
much
larger
and coarser
(a).
Apices
1.
slight.
Perhaps in (),
2,
we have some
part of the
name
INSCRIPTIONS
624.
only
is
75
On
preserved.
a fragment of a greyish marble stele. The r. hand edge Height -18 ; breadth -29 ; thickness -07.
rev\
--
ev
ola*vo\
--
OTTOS.
Forms of letters 6MC(j>UU.

625. On a fragment of a white marble Height -27; breadth -17; thickness -07.
stele,
complete only on the
1.
----|
re da
|
--
--- --- avfya

|
heXofi
--- --- o6ai

||
\
fpra\ 5
ctipai.
Boustrophedon
4 and 6 from
is
1.
11.
i,
3,
to
r.
Forms of
5 and 7 are written from r. to 1. ; 11. 2, letters ADE0A/P; the spiritus asper
represented
by B.
1.
626. On a fragment of greyish marble, complete on the 22; breadth -18 ; thickness -06.
Height
m
The
627.
is
inscription
is
complete.
On
slightly curved.
1.
a fragment of a block of white marble, the surface of which Height -29; breadth .20; thickness -13. Part of
the upper and
hand edges preserved.

'Api]|aro|3ovXa>
W--
Writing good and careful

apices.
Forms of
letters
AMFTZJCI, very
slight
On a fragment of a stone stele, broken on all sides. The of the stone is almost entirely broken away. Height .90 ; breadth .40; thickness io.
628.
surface
--- * AIL
y
---Forms of
letters
-TO.
10
E TT 2^xO<
in
11.
and
7 TO
is
written
All inscription is too mutilated to permit of any restoration. that can be seen is that it contained a list of names, probably magistrates, two of whom (11. 2, 7) were holding office for the second time.
The
629
A.
marble.
On the upper surface of a square pillar capital of white Height -47 ; breadth .30 ; thickness 2O.
I
AvroKpaTopo[s]
'Adpiavov
KaiVapos
:
Stor^pos.
Forms of letters A ASH
slight apices.
Writing very careless.
76

all
sides.
Height
OE
YoMAC
e
TTinAT
povopov
'PBHoGT NTEP
631. On a fragment of a grey marble stele of which the r. margin, with a broad moulding, is preserved. Height -14; breadth -12; thickness -085.
1C
NA
A
The
uncertain.
letters
are almost undecipherable, and the reading
is
quite
632.
On
a fragment of white marble, broken on

-04.
all
sides.
Height
085; breadth -10; thickness
BAPBA
/
all sides.
Height
O
634.
r p
On
Height -265; breadth -59; thick;
ness -03.
Dressel-Milchhoefer, p. 440, No. 22
Zrjffiov, Stf/ti/uxra
(Athens, 1892), p. 13,
No.
10.
v[j.ds
+
fjievov)
Op*tto>
|
eya> 'ApêXaejy
K\f)pov
||
irdvras TOV
rrjs
5 aia>j/i'ov+
Kpi(rca>s <al
^ dovXrj TOV 0(eo)v{s) rot's TOV OITO(S) KOI TOV p\\\ovros flvai Kara TTJS 86gr)s roO Q(fo)v ^be^fl o-vvxapTJcrai dvao-Kevdvai
|
re
vvv
TO
|
p.vrjp.a
TOVTO ev6a vvv dva.navop.ai.

letters
Forms of
three crosses.
A60M.2CCO
writing irregular.
Above
1.
are
In 1. 2 Dressel-Milchhoefer read cv\oy while zâ-iov has fv\ov. stone shows a combination of the v and y R ; probably N was
inscribed
The
first
and then
altered to
F~.
635-644, 646. These thirteen fragments of inscribed tiles (Collitze Bechtel 4513, 4514) were found at Ayia KvpiaKrj (Amyclaeum) during Mr. Tsountas' excavation, and published by him in 'E^/x. 'ApâioX. 1892, Owing to the extreme faintness of some of the letters, it is difficult p. 3. in many cases to decide how much to mark as extant, and this fact has rendered the identification of several of Tsountas' numbers somewhat
uncertain.
INSCRIPTIONS
635. On a fragment of a roof-tile. ness -015.
Tsountas,
'Efrjfji.
77
;
Length -06 ; breadth -045

No.
10.
thick-
'ApxatoX. 1892, p. 3,
\AM
ICON
Tsountas reads
I
AM
1.
in
1.
i,
but the
first
stroke does not
seem
to
me
to
be
vertical.
In
he writes CON.
roof-tile.
635 A. On a fragment of a
ness -015.
Length -23
3,
breadth i7
thick-
Tsountas, 'E^/x. 'Apxato\. 1892, p.

['A](7r)oX(X)a>["<*]
|
No.
5.
'A/uvKXcuoi.
The
legible.
first line
('A7roXXa>i>os)
j
637, has been twice stamped
The tile, like No. is almost invisible. of the second impression no letters are
Length
3,
635
B.
On
a fragment of a
"Etyrjp.
roof-tile.
-12
breadth -12
thick-
ness '015.
Tsountas,
'Ap\aio\. 1892, p.
No.
4.
[*A]7reXXo>(i>)os
'AfiuKXeuot.
1.
The
636.
ness -015.
letters in
are exceedingly faint.

roof-tile.
Forms AEMoTT^ft.
On
a fragment of a
Length i5; breadth -09; thick3,
Tsountas, 'EQrjp. 'Apxcuo\. 1892, p.
No.
2.
['ATToXXowos
e]v 'A(jiVK\aio[i].
1.
The
637.
ness -015.
letters
are very faint in
2, illegible in
1.
i.
On
a fragment of a
roof-tile.
Length -18; breadth -13;
thick-
Tsountas, 'E^/z. 'ApxouoX. 1892, p. 3, No. 6.
(a) ['AJTroXXwiôs
ev
|
'AjuwcXaioi].
()
['ATToXXwi/os
tile
cv
|
'A/iv](ic)Xa[ioc].
The onco.
638.
was stamped twice
in different places.
Forms
of letters
On
a fragment of a
roof-tile.
Length -08
3,
breadth -085
thick-
ness -02.
Tsountas, 'E^/z. 'Apxcuo\. 1892, p.
No.
7.
Forms of letters A E TT O
639.
ness -02.
Tsountas,
J
On
a fragment of a
'E^j;/*.
roof-tile.

No.
8,
thick-
'Apxaio\. 1892, p. 3,
A7r(o)[XXa>j;of]
ev
|
78
640.

On
a fragment of a
roof-tile.
Length -09
No.
12.
breadth -07
thick-
ness -02.
Tsountas,
'Etyrjfji.
'Apx<uo\. 1892, p. 3,
641. On a fragment of a roof-tile. ness -015.

Tsountas,
'E<j;/*.
Length -09
breadth -05
thick-
'Apx<uo\. 1892, p. 3, No. 9.
642.
On
a fragment of a
roof-tile.
Length .06
breadth .05
thick-
ness -015.
Tsountas, 'E^/i. 'A/>xaioX. 1892, p. 3, No. 14.
'
['A7roXXa)]i/o(s)
[eV
643.
On
a fragment of a
roof-tile.
Length
-08
breadth -085
thick-
ness -015.
Tsountas, 'E^/x. *A/>xaio\. 1892, p. 4.
[5a]/io<rioff
-- -- v
|
îXo/cAJ/
:
Forms of letters o<l> letters in relief on a sunk oblong. The word drjfjioa-ios, 8ap6<nos occurs in many tile inscriptions, cf. Nos. 276, 535; Paris, jElafie, p. no foil., Nos. 2, 3, 8, 9, ro, [n], 15, 16,
f
p.
115
644.
Waldstein, The Argive Heraeum,
i.
p. 217, p. 218, note 4.
On
a fragment of a roof- tile.
Length -06 5
3,
breadth -03
thick-
ness -015.
Tsountas, 'Efrjp. 'ApxaioX. 1892, p.
No.
II.
645.
On
a fragment of a brick.
Length
-07
breadth -05
thick-
ness -05.
2A
r.
--(a>.
on a sunk oblong
:
Letters in relief
to
1.
the
inscription reads
from
646.
On
a fragment of a
roof-tile.
Length -n; breadth -09;
thick-
ness -02.
Tsountas, 'E^/x. 'Apx<uo\. 1892, p. 3, No. 15.
'
[' Air6\\a>v]os
[eV
647.
On
.21
;
Height
a fragment of a greyish marble breadth -23 thickness -08.

;
stele,
broken on
all
sides.
x. p.
66.
?
|
-5 --- fos'
(s),
8ia(0)[fTos
\\
<r((j>)[aipels
avTrrayye\](r)ov AO[VKIOV ---ras

|
8e
--}rovs
o)v
ol
viKrj(rav]Tcs
(&>)[/3as|
TO(V) ----
-|
]vs,
&v
Letters carefully inscribed: forms

ivy leaf as
AEZH.
In
1.
4 after
fos is
an
mark of punctuation.
INSCRIPTIONS
79
648. On a fragment of a massive stele of bluish marble, complete above and on the 1. Height .33 breadth -46 ; thickness -19.
;
C.I.G. 1343.
*H
Hfvov
||
TroXis
|
Tifteptov KXavS[ioi>]
KCU
Xa/3o](ira
ras
TTJS)
IlparoXaoi/ Bpacr[i'Sov] [apioro TroXfireias reipas Kara TOP
vo/ioi/j.
:
slight.
Forms of letters AETTZ (in 1. i) C (in succeeding lines) li apices Of 1. 5 only iTATATTirr C an be seen. Tiberius Claudius
Pratolaus occurs again in No. 691 (q.v.) and his father Brasidas in No. 85. The title of aptoroTroXiTfvr^ seems to have carried with it it was certain privileges granted either for a definite period or for a lifetime, as we see from the use of the title alwios dpio-TOTroXtrcur?;? (C.I.G. 1349, 1375, 1432, No. 781).
:
669. On a cylindrical base or altar of white marble, with a rectangular depression cut in the upper surface. Height -75; diameter at the foot 30, at the top -27.
Zavl
|
'EXev depiot
|
*Avro)||vtvot
2<ur^ptr
Forms of
letters
AGZjQ.
Below
the inscription are
two palm
branches with a wreath between them.
670.
On
;
Height -32
Zavl
a stele of bluish marble, complete at the top and on the breadth -23 ; thickness -06.
'
1.
'E\e[v]\6fpioi
Forms of letters
A 60 C CO:
apices slight.
Above
the inscription are
two palm branches with a wreath between them.

671.
On
preserved.
'Apiorro
a fragment of a bluish marble stele ; the Height -17; breadth -13; thickness -08.
y
|
1.
margin alone
is
A(TK\(r})
TeX
I
Ho'^Xios) ApXtoy
?]
Large, well-cut letters

672.
is
A TT5^.
:
On
preserved.
a fragment of a bluish marble stele part of the 1. edge is Height -87; breadth -25; thickness io. The inscription
7T7ros ?
complete below.
W
||
2]a>Kpar
?]
E6/3ae
--
['AJi/Spoi'fiKOff]
?]
'
|
&ya6o(K)[\ys
--
Mmo-eo[j/]
|
l|
Saxri
|
KXew- 5
jo
KaXA[t
Forms of letters
is
AEG SjQ
:
very slight apices.
Between
11.
4 and 5
a blank space of a single line. The reading of 1. 6 seems certain, yet I know of no name which begins with Evftapf probably he is identical with the Evpdpepos Eâp6pou(?) of C.I.G. 1278.
676.
bottom.
On
a circular base of greyish marble, with moulding at top and

-49.
Height -51 ; diameter Le Bas-Foucart 194.

|
AuroKpdropi
KtuVapt
'A.8piavS>i 2f|/3aora>t
||
Scor^pt.
8o

Forms of letters AECUU:
apices elaborated.
The
685.
the
r.
omission of the
final
of 'Adpiav&i in
Le
Bas' copy
is
an
error.
On
is
Above
back half
a rough slab of greyish stone, complete above (?) and on the inscription is roughly incised a bird, of which only the preserved. Height -35 breadth -25 ; thickness -04.
;
---5 ovcrcus
||
Qcwos
|
---
--- wviais.
is
CIOAPCOAO
-|
(r)o
letters A6E0ODCOL). The workmanship of this inrougher and more unskilful than that of any other in the museum. Of 1. 2 I can make nothing, though the reading is, I think, In the certain, except in the case of the first letter, which may be 6.
Forms of
scription
mutilated condition of the stone no restoration
is
possible
the inscription
seems to be metrical, and

689.
is
probably an epitaph.
On
insertion
a large stele of bluish marble, with a projection at the foot for in a socket. Height 1-65 (including the projection, 1-76);
;
breadth -82
thickness -20.
From
the
Amyclaeum.
See pp. 202-3.

foil.
Collitz-Bechtel 4515; Schroder,
A then.
TQ>S
Mitt. 1904, p. 24
|apxou AatoSa/iaira, 'AiTtpzôi/ TdaKov.
--
'ArreXXow KOI
ora(To>s) A[ur]oKXe[i]|Sai> AVTOK\IOS,
Forms of
letters
AEMT^Cn.
:
At
least
one
line of the inscription
has been purposely deleted. Date third century B.C. In 1. 3 Tsountas ('E^/i. 'ApâicX. 1892, p. 9) reads Aa/3o8a/iaimz For the name Too-* cf. No. 509 cf. Aa/3iWa Collitz-Bechtel 4583, 4585. and note. In 1. 2 Tsountas read KATTH^^TA..., noting that the third
:
letter
might be
apxovres
and
restoration.
For the orarot

cl<ri TtapaiiKr^triav
Preger gave the true reading cf. Bekker, Anecdota Graeca,

cxovres rots dyaOofpyois dpxnv
(KAITnTAin^.)
p. 305,
e.
20
orTarSiv'
(i.
a kind
of police function), and Hdt. i. 67 ot 8e dyadoepyoi flari rS)V (TTaT&v Philol. (codd. da-T&v: oraT&v rests on a conjecture of Usener, Jahrb.fur 1889, 376).
690. On a bluish marble base, much chipped. 70; thickness -45. From the Amyclaeum.
Height 1-48; breadth
Tsountas, 'E^/xepts 'ApxaioXoyiKri, 1892, p. 21, No. 3; Skias, ibid. p. 255.

[2r)v]
[/cat
(/Lt)[V],
avag, (mwrtqi/, (*Y)[a/aV]|0ie, Sacmoi/ aXofos]

|
ir](p)oxoai TroraôC 7rd(v)[Ka\ov]

<ras 'A.p.i>K\as
r)y\d'icrav
[âjX/cou Tf crreponr) 7roXv8[ai8aj|Xos,

[fi\Ka)v
\
aXXa
Koi rj8e
\
10
[Avcrav ?]tov, TOV

cos
e'
K\civorfpas 6f]K[aro] Kv8os cs oi>(p)[avbv]\\ evpvv iKaV[i]\

opi^vfjif^vov SaTrfeStoy]
|
earS)V
(it)\cpvr)}\nevos
dpTj(r)\f)pos}
\\
dpcrfjs
ii/e(K)[i']
dvriBfov.
|
Writing very rough
the letters are narrow
and crowded.
Forms
M3incco.
The above
is
Skias'
restoration
of the
epigram.
The words
INSCRIPTIONS
restored
\<rbv\.
8l
[%].
o>y.
by Skias are
for
L.
[a-r^v]
for Tsountas'
7rd{/caXo]/].
L. 9 [Avaav
?]i'ov.
L.
1 1
L. 3 L. 13
[/cat]
for Tsountas'
[trSfje ^[ffjLvrjêvos.
L. 14
dp77(r)[77pos]
Tsountas'
api)r[i?p.].
L. 15 [Eupu]/cXeovs.
The
other
restorations are due to Tsountas.
tbv
According to Skias' interpretation, the name of the sculptor of the is found in verse 5, that of his city in verse 6, while the last (1. 7)
is
verse contains the
name of the priest who dedicated applied to Apollo in Nonnus n. 330.
it.
The
epithet
691. On a greyish marble base, from the Amyclaeum. Height 1-60; breadth -72 ; thickness -55. Tsountas, 'EQrjfjicpls 'ApxaioXoyiK'/i, 1892, pp. 19, 20, No. 2.
('H 7rd)[Xts] ray 68ovs efn-l]
|
Tij8(pw)
TO
KXav(Sioi/) IIpaTo'Xa(o)[i/]
rrjv]
\
Epa<rt8ov ayopai(o/iOi>]
7Tt
||
dw7T(pp\r)T<p Trfept
dpxfjv
/cat
\iTovpy[iav <pt]|XoTp,t'a
||
H
|
7rpo0-8(f)[a]|/xi/coi/
avaXa)/Lia Tt|/3eptov
KXavdtov AtXtov
/cat
\
HparoXaov TOV
/cat
/cat
10
Aa/Lto|/cpaTtdov, tepecos
Kara
/cat
||
yeji/os
Kapvetov Boi/cera
|
Kapi>eiov Apofiaiou
/cat
noo-etScofos AcD/zaretra
'Hpa/cXeovs yevapxa
|
/cat
Kopas
Tepeviov
TO>V cv 15
/cat
TW *EXfi
KXavftias
/cat
\
rei)i/
o vi'|/ca^ft8pi>/zeVa)i' êeov
>
V rols 7rpoy-ypa/M/u,||i/ots tepoty,
20
Aa/ioaêvet'ay
rail'
j
iraidav.
Forms of letters
A EoSj^X
marked
apices.
For the stemma of Tt/3. KXav. npardXaos (cf. No. 648) see J. M. Paton, Transactions of the American PhiloL Assoc. 1895, p. 39, and No. 85. In 1. 3 Tsountas reads dyopajôpov /cat]. I omit the /cat partly because I do not think there is sufficient space for it on the stone, partly because it seems improbable that the care of the roads devolved upon an office distinct from the dyopavofiia. In general the dyopavoôi correspond to the Roman aediles, one of whose chief duties was the conservation of roads ; and at Sparta it would seem that one or more of the dyopav6fj.oi were charged with this duty, and named ayopai/dpot Vt ras 6dovs. If the office were a distinct one, we would expect the phrase eV! T>V 68S>v.
LI. 11-20 The same priesthoods are held by Claudia Damostheneia No. 443), as we see from C.LG. 1446 and 'EcpTj/z. 'ApxaioX. 1892, Bot/c/ra Ot/cera with the addition /cat aXXa>i> 6f>v. cf. p. 25, No. 8 No. 393 note. Kapmos OtWras (Wide, Lakon. Kulte, p. 84) is mentioned by
(cf.
1
,
3): 6 8e Kdp^ftos, ov Ot/ctVaj/ eVoi/o/iaôuo-t, Tt/nay f?x V Hpa/cXet'5as KareXOelv /crX. : SO also Ilo&fidtov Aeo/naretras (Wide, Op. cit. p. 45) : 7rapa Se TOV "A\Kd)vos TO fjpaov Hoo-fiSwvos eVrti/ tfpdv, Tsountas has identified Tep.eVtos Aa>/iariT7;i/ Sf eTrovopafrvo-iv (iii. 14. 7).
(iii.
Pausanias
cv ^Trdprrj
13.
/cat
irpiv
Kore
with Orpheus or Abaris, the founder according to tradition of the temple of Soteira ('Ee/?/i. 'ApâtoX. 1892, p. 21 cf. Wide, op. cit. p. 296). *EXos is probably a locality in Sparta, and not the town of that name (Boeckh,
:
ad CJ.G. 1444).
707. Large Ionic architrave block of white marble, from a circular
building. Length 1-78; breadth -38; thickness -45. Found in the field of P. Kalamatianos called Bao-tXo7roXa (The Princess), along with many other marble blocks belonging to some ancient building.
1 Though the name of the priestess has been lost in this inscription, the verbal identity of the formulae employed with those of CJ.G. 1446 leaves no room for doubt that both refer to the same person.
82
eVc

TS>v
tbitov
Ka
Forms of
letters
00.
The
inscription is written in letters >io
m.
high on the concave surface of the block.

712. On three sides of a brick. ness -05.
(a)
['ETTI
thick-
(c) Zrjvuv.
The
with
inscriptions read
(a)
letters in relief:
from r. to 1., and are stamped on the brick and (c) are on the short sides, (<$) on one of the
long sides of the brick. Cf. Nos. 276, 535. Forms of letters AAEZ92jQ.
713. On a fragment of grey marble, broken on breadth -065 ; thickness -065.
all sides.
Height -15;
KP
Letters very roughly formed.
718. On the upper part of a white marble stele, with a very ornate pediment and acroteria, broken in three pieces complete except at the foot. Height -70; breadth -52 thickness -095. From Parori.
:
*E(fropoi
'
fTri
|
'lou(Xiov)
Forms of 'letters EOOfTZCJ);

a good deal injured on the
719.
r.
apices.
The
surface of the stone
is
Cf.
No. 719 note.

r.
On
;
Height -41
--5
a thin stele of bluish marble, complete on the breadth .30; thickness -04. Found at Parori.
vot
[
and below.
g irpoa-crrdTTjs
6{<paoTo?
||
[T^](S) dvaOea-eos
(p)os
ra(i'os)
?]pos.
*Iov(Xtor) Aa/ucu|
--- [S]fvapx&a.
:
a>vi&as
aw'8a)
\
dyados.
[2?roi/](8)o^)o/)ot'
\
[ra(i'os) 'loujXtos Ava-iKpdrrjs
[f(f)o
Letters
AA0MT72CJ)
1.
workmanship very poor and rough.

appended
to the
For the term

C./.Or.
6 dya66s,
1239,
of
8 may and with the

1.
23, 1240, 1. 36, 1252, 1. 6. be identical with the eponymous

7rpeV/3vs
name of a magistrate, cf. The lov\ios &v<nKpdTT)s

y
patronomus of No. 718,

1.
i^pov of C.I.G. 1240,
col. II,
6.
720. On a block of greyish marble, complete on breadth -20; thickness -10.

5
r.
and
1.
Height -25
Zavl
'
[*E]|X;0e|pi'ot
Forms
of letters
AEeCCJ.
INSCRIPTIONS
721. On a stele of grey marble. ness -105. Found in Magoula.
['Erri
Kpd-rrjs
83
breadth .46;
thick-
Height .75;
McveK\covs
\
ol
o-(jf>]atpets
of
v\i\Ka<ra.VTs'
|
[MAX
|
""
]|
2
\
NIKOopevrjs 5
(NiKo/tpdrovs).
BAS
\ |
Ktdas $tXoorpaTov
|j
VVIKOS. nrTrlo'as 'EniKpaTovs. [~\G>avdpos Kvo'avos 'iTTTrdpôu. Aa/UTnros Tifio- lo KaXXiKpar?;? 3>iXoorpdro[v]. Tpvcpcovos. Ei>8aifj.oK\rjs Evdapov. || 2a>orparos Qfod<b- 15 KpaTovs. KXed/zaôy (KXco^dôv).
'ETTiKT^rov.
Below the inscription are a flask, Letters very rude, IT a circular object (doubtless a o-$atpa), and a palm branch. The stone has L. i lost a certain number of letters since it was copied by Le Bas. has completely disappeared, and of 1. 2 only slight traces are still visible.
It
is
0A.
supposed that
MAX
(La) and
BAS
(1.
3) are the
beginnings of a
later (e.g.
name and patronymic accidentally omitted and added of 1. 3 was MaxfaiptW] Bao-[ri'a]). The 2 at the beginning
by Foucart, but the
inscription has
it
restored conjecturally [rdTojs
no other
the
hence Collitz-Bechtel suggest that end of another name of one of the o-(paipe1s. L. 5
Milchhoefer
;
Roman praenomina, and

'En-tM
may be
is
OMENH2 Dresselhowever,
certain.
E N H 2 Le Bas-Foucart.
The O,
L. 7 has entirely disappeared. L. 8 'ETrlNlkOS Foucart; Dressel-Milchhoefer. Probably [E]VVIKOS is to be restored.
YNlKOZ
L.
13
KAEOMAX02K: Le Bas read KAEOMAKOSK (Rev. Arch. OZKC (Voyage archeol. 164): Foucart re1844, 637) or KAEOMA
.
stored KXeoVa[x]os <. But the sign denoting the repetition of the as patronymic is throughout this inscription K.
name
69
777. On a bluish marble stele, with pediment and acroteria. breadth -40. The back of the stone is left quite rough. ;
Collitz-Bechtel
Height
4447
Michel 652.
|
Ka$o)Was
TIpaToviKOs
'Ai>5poi>i'Ko[u]
7ra.Tpov6fj.os.
\
Aa/îdâpis
MeXaiuTTTrou naTpov6\fj.os.
'E7n||0TpdTou
7raTpov6fj.os.
\
KaXXtKpart'Sas
Tipogevov
7ra.Tpov6fj.os. 5
7raTpov6fj.os.
'ApiOTOKpdrTj?
TopyiTnrov.
ira.Tpov6fj.os. Aaîdâpts Tifj.oevov EureXiSa. Evo'a.fJ.io'as KXcavvfiov. Tifj.dpio'TOS

I
Io
$i\6evos Aa/xdXa.
Tlao'iTfXrjs
KXfdvopos.
)-
EVTV(X )[OS\.
Forms of
1
letters
AEHGMHOOE (J)^
rjp
the ypa in
11.
17,
is
in
monogram,
to
as also the
first
of vrnjpeVas
(1.
19).
Date: probably
century B.C.
The
institution of the
patronomate
was due
CleomeneS III (236-220
B.C.): TO Kparos TTJS yepovvias JcaroXvo-as
The head of the TraTpovopovs KaTeo-Trjo-fv avr avTatv (Pausan. ii. 9. i). college bore, like those of the other colleges, the title of 7rpeo-/3uy, and was
eponymous
magistrate.
The second word
See Nos. 213, 219, 220, &c. of 1. 2 has been read by all previous editors
84
:

my
this is the true reading.
shows that
copy gives AapAxapis, and a photograph of the inscription A second Aa/*dâpis occurs in 1. 9. Height -60;
778. On a stele of greyish marble, with pediment. breadth -31 ; thickness -055.
Alcrxivas
3>iXo)i/os
\
QrjjSaios.
Letters careful
extremity.
no
apices,
but a slight thickening of strokes at the
Forms
AO^-^JX
inscription of another Boeotian see
For the grave

779.
No. 266.
;
On
Height -52; breadth -415

Ke'.
thick-
ness -04.
5
AOVKIOS
|
rJerpow'ou
letters
1.
BiOvvbs Nt|aevs
e|JTa>i>
Forms of
stone towards the
is
A60CU); very slight apices. The surface of the a good deal damaged, but the reading is certain.
-20.
780.
On
a cylindrical base of white marble.

'Avlroji/eii/oi
Zavl *EXfv \6fpioL
Somjpt.
Forms of
letters
A60CCO.
Below
the inscription are two
palm
branches and between them a wreath.

781.
On
broken on
all sides.
a fragment of a massive stele of white marble with dark veins, Height -50; breadth -42 thickness -14.
;

f3ov\rj[s
j
x. p. 64.
5 M(ap*ov) (A)v(pr))\ôv
(a)ra>i/
m](o>Wov --- 8ia\(3eTCo\s 8e

ras </3a
of
viKr]o\avTfs
Letters large (-04 high) and well cut, though
somewhat cramped
L. 3
forms
L. 6
AAEMS^H;
restoration has
apices
marked.
LI. 2,
MA>PII
vl.
My
been based
entirely
No. 400.
In
1.
6 [niTav]arS>v seems to
me
on the analogous inscription the most likely conjecture.
782. On a block of bluish marble, complete only on the r. Height -30; breadth 1-07; thickness -16. From Mistra. The inscription is in two columns, with a vacant space -045 broad between them.
Col.
I.
<j
-TO
(r)a>v
CKO.
77
--j
[rrjtoTrore Trepi
(TTôrepov TrpaOrjvcu
i||
^ TrapaivS) aiTKriv
|
-- odovs
|
[J.i(r6ov(r6ai
KOL
-\
rijs
fj.a(yro)[v\
?J
TTO|
-II.
êfjLvrjftai
TroXX&J
[jLeiovas
--- v KOL
[r]oiff
dypoi?
Kara pepos
.
ovs f(T(r6ai
ei
TP'LTOV TTJS vvv
--
erpa
pi<rdo)(ns y(*}[ v]{c>) l'\['ro
---joiew vpas
8(f}8a>pTjp.evov vfuv
.
crav
roO (f) (g)
CoL
iriK\f)(Ta)v /3o(j))$(f i)[a]v TOVS d8iKOV(j.\vovs o'iofiai dlv dfaipTJvOai, re dr)fj.o<ria KOI IdicoriKO, d(popnr)i> Tavrrjv ytlvf\cr6ai rots crvKocpavTovaiv a>? Ta
T>V
ovre
|
fir)
5 TeXetor&u Kara TOVS vopovs'
810
df)
ircpl /ii/ ra>i/ d/z0t||o-j3^rô-fa)i/ aini/es

t]
av
e
eXdrrovs 2 drjvapiwv Kal
fJifj\re
Kpirfjpiov
TrpoKpipa KecpaXucijs diKTjs
rj
INSCRIPTIONS
c7riKa\fi<r6ai /ie
77
85
KO>|
7Tfi6(<i)o-6ai
rots tTTiKaXeo-a/iei/ois
ivcaOai eVtrpeVa) idta KptvfTto ciriK\t)<ris 0(71-) els TO eVi TG> [r]6 8i?]| T) (oX)aff iroiflarQat er<os a Trarp/GH /nepa 77 eV.
--- [ir\oTfpov
p.r)
---- ra$
|
8e
8iKaio>s yeivovrai
--
---
KpiOf)[vai]
(apan)
ran lo
e|
Of the letters forming the Letters apicated: forms EZ02. three words of Col. II, 1. i, only small fragments are left.
is
first
783. On a stele of greyish marble, complete on the 1. On the r. a portion of the groove which held the dedicated sickle: a small Height -30; breadth -29; portion of the r. margin is preserved.
Tod, Athm. Mitt. 1904, 50.
thickness -04.
--- [ftoaybs
Forms of
/tuK](t)xtddo/ie|i'a>i'
eirl
Trarpoj I/O/MOV
TtjS(eptou)
TO
naidiKuv
Kaddrar6iov
'AreiiSi
'Oê('a
KXau||S/ov 5 10
dW^?-
letters
A
:
MITCH:
apices.
is
L. 3
has a
mark of
by way
punctuation () before -eVt at the end of 1. 6 of ornament, as also the leaf at the end of 1.
the sign
inserted
n.
Tiberius Claudius Atticus was an Athenian citizen of the deme Marathon, and father of the famous rhetorician Atticus Herodes. He is mentioned as eponymous patronomus of Sparta in C.I.G. 1241, 1245, as
patron of the Eleutherolaconian League (I.G. KTIO-TTJS of Gythium (ibid.).
iii.
668),
and as
o-wr^p
/cat
Date
784.
probably during the reign of Hadrian.

a slab of greyish marble, complete on the
r.
On
and below
probably no entire line is lost above. 18; breadth 1-02; thickness -52.
The
surface
is
much worn. Height
'AvdpoviKos 'Apio~TOK\fos ay[opav]o/ios en '
Qevivoos
'Apioreoj/os
dyopavopos
Et/Sa/zoff
ri
f^p)[i7rl(7r)ov
3
Evap,ov
Apio~Tavdpov KOI of crvva[pôi]* &evoK\eidas EUK
Apio~To8afjios 'AptoroAcXet'Sa
'
NiAcao"t7r7ros
'AvdpoviKos Apio~TOKXeo[s\
T^^/ijci/ov Ho\vcuveio*as 'Aptorai/fipoi;

'OXvjLi7ria(8a)s
Topynnros $iXt
'A-ytaSas
'Ayrfyww
*Ai/rt(/ze)i'off
['A]vSpd(v)icos ('A)pt'oT(o>)i'o(j)
(d8)?s
:
Forms of
Date
785.
:
letters
AOZFTSn
B. c.
slight
^zVw.
Trjpevov in
1.
first
century
The name
is
doubtful.
On
with a rebate; thickness -165.
one of the narrow surfaces of a large slab of white marble, the face is slightly curved. Length .77; breadth -63; Used to form one of the narrow sides of a Byzantine
Kvpia/cj?
tomb, close to the church of 'Ayia

(Amyclaeum).
As
fore
as
was not intended No. 786.
the inscription occurs on a surface which is left rough, and thereto be visible, it is in all probability a mason's mark,
86
786.

On
a similar slab of white marble. Length -89 ; breadth -70 Found in a late wall near the church of 'Ayia
;
thickness '165.
(Amyclaeum).
The $ employed, though roughly formed, has, I think, four strokes: Tsountas writes it 5. This inscription, like No. 785, is probably a mason's mark. This stone and the preceding must come from the same building, as also a third whole slab and four fragments found near by (Tsountas,
loc.
cit.).
787. On a block of grey marble, broken at the foot and lacking the hand upper corner. In the top are two circular and one rectangular dowel hole, and a hollowed groove which may be original. Height -67
1.
;
breadth .41
Found
thickness -23. The surface of the stone close to the mill of Mat&la, Sparta.
;
is
much damaged.
.....
5 &i\a>vidas
Se'iavov.
\
EVK
-||
J
[At](a)p?;p ([Atja
2axrtK/xrn?f
|
--
'lov(Xioy)
Neas
d>
10
STraprtaTTjs 2(oo-ta(S)o[v], EvSaipaKav EvKrr][p.ovos\. \\ 'lovXios Zcvi7riros Tvvddp(ov}[s\. KXavdtos Aiow(cr} ('louXiou).
|
'Ai/rcoi/t
--|
15
NfC7;(<p)[dpov].
||
--KaXXwfpa(r)
Map/cos
Forms
of letters
AEZZTTZ(J>.Q; marked
(? -yepoj/res)
:
apices.
The
inscribed
title
of these officials
and the date were probably
on a separate stone
cf.
No. 396.
slab.
805. On a fragment thickness -045.
of a
marble
Height -19; width -12;
-[r]6
&.
A-||
--
[Ne]iKo*[X
Letters have slight apices.
87
INDICES
I.
WORDS AND PHRASES

The numbers given are
those of the
Museum.
dyaO
ri5x<?,
220
aâOr, ruxfl, [219]*
4*,
20 5 .
383.
r, 204 II, 400, [781]; /StSwos, 202, 16. Cf. Introd. 203, 627. 0oay6s, 218, 411 bis, [783] ; 0ovay6s, 204 1 27. quinquies, 220, 410. Cf. Introd.
dfyaA/xa, [447].
dyopavdfjios,
07.
titl
204 I, 214, 220, 267, 784 Mr] rds oSovs, 691 ; dyopavopfta,
18.
2041.
Cf. Introd.
dypid(JiiTe\ov,
269 #w.
d7(^, 238, 253, 544.

dycavoecrrjs,
204
22.
II,
238, 544 MX,
Cf.
/3ot/Ad,
204
I,
217 A, 241
17.
/SouA^,
781.
Introd.
dfO\o6tTr]s, 690.
'A0di/ata, 440.
Cf. Introd. PvftXiov, 262.

ôj/jLovtKrjs,
aOavaros, 398.
RupOea,
252. 220, 221
Bcupata,
219.
Cf.
'Opêta.
m'wvtos, 220, 269, 634, 781.
dxcpSws, 441. 'A/ma, 253. 222.

',
269. 222. , 203. , 269. 246, 252, 385, [456], 691.

s,
267, [456]. 691. yepovffias, 203, 204 I <fof, 204 II ^W, 374; ytpovres, 2IO, 211,612; yepovreva, 404. Cf. Introd. 17.
,
, ,
7Au<ei;s, 203. 7pa/i/iaTus, 205, 206, 207, [238], 441, 777> 7 8 4; ypaparevs, 203; ypa(ârevs) /SouAas, 204 I ; ypapnaTtiis rat
/3ovAat,
690.
217
262.
A;
[7/xz/tyt]aTeys
(Twe-
217
dvioxiow,
B.
[S/wyi/ ?],
dvl<pt8pos, 400, 781.
440 quinquies.
ypanfMTo<pv\a, 204 II. 246 ; yvpvaaiapxos, 246.

203.
Santos,
dvvirp0\r)TOS, 246, 691. df(>oAo7&TaTos), 243, 544. , 548. , 690. 400.

iTevT/]S,
217 B ^w;
5a/i($(os, 276, 535,

II.
643;
Srjfjioffios,
208, 275, 782

^z'j.
SaTrdva,
441
781
dpiffT<mo\ireia,
AcA^w'Stos, 404.
AeffTTorrjs
STj/ioatos,
[648]Aprefuriov, 224.
dproitoiros, 203; apros, 222. TV* 544', 262.
Qe6s, 506.
under
782
II.
I,
Saôs.
II,
Srjvapiov,
StajScTTys,
204
204
22.
400, 647, [781].
Cf. Introd.
5t'5u/<os,
220, 544. dp\lTfKTOJV, 2O3, 2I7B. uatAt'a, 217 A.

dffVVKplTOS, 243, 246.
d(r<^dA.ta, 2 1 7 A are'Aeja, 217 B.
;
[447].
AioffKovptia, 544.
5r/ctot, 200.
807/10, 441.
do-^dAtos, 544.
drpoiros, 268.
SoyfMToypdtpos, 441. Sotds, 548. Apopatos, 691.

s,
ouA^rds, 203, 205, 206, 207. auT7rd77ATOS, 400, [647]. avroKparup, 204 I, 237, 239, 240, 244, 373, 38i, 57> 529, [6l9]> 629 A, 676. , d<aTfiV, 203.
691.
217 B;
441;
217
B.
88
217
,
INDICES
A 217
,
B.
,
222. 218.
24I-
91* A
/coti/a
205, 206; KOiafcrrip, 207.

/^r,
lo-rm,
>,
253 ; /cara KOIVOV, 2178; 217 B; /coti/d xpâra,
r .KOS, 269. f\v0epios, see Zeus. 'EAevhw'ta, 440 bis,

tvSa/jLia,
[224]. Kovporp6iros ya\v t 217 A. KpfdS, 222.

KplTTJplOV,
217 B.
782
II.
(vhrjfiuhats hiirirois,
(virvpos, 506.
tvffiTOS,
440
qziater
372;
20.
eWetros, 411,
569.
Cf.
\fiTovpyta, 269, 691. Aecuvei'Sta, 544.
Introd.
7ra0Aa, 218.
/id7pos, 205, 207, 569

210.
Zmypd<p<uv, 205, 206, 207. imicaXionai, 782 II <ky; em'/cAT/ais, 782 II
firifj.e\T]Tds,
,
/idytpoy, 203, 206,
s,
216
t7rifj.\rjTr)s TroAeos,
204
I.
569. 447. 203, 205, 206, 207. 222, 441.
Cf. Introd.
kmaKoirfj, 269.
.
19.
,
410;
782
I
;
fu/wxtSSdyueyoy,
220,
S,
528.
fJuaOuais,
782
I.
iita,
782 II. ", 440.

276, 535;
382.
MoC<rat, 383.
os, 245. 569. 218, [220], 221.
,
) TroAews, [456]
/eoivd
effria,
217
B.
,
(=
e^8o/ids), 269.
217 A
bis.
,,*ov, 427. MX*!, 223, 546. l(/)opos, 203, 204 1 ter, 20411 3w, 215, [241], 242, 262, 441 bis, 464, 718, [719].
400.
210; VfdlT(pOs), 204 I. wdhas, 440; viKdaas, 400, 721;

,
ew/,
781;
219, 253,
440
tvi/cr),
bis;
vue-fjaas,
218,
[647],
veittdap,
Vfitcfjffas,
440 quinquies;
382. 441. 251, 589'
[220]; vfiKdavTfp, 221;

783.
,
203 ^W, 217 A, 222, 456, [648],

II.
782
383.
no(f>v\at, 203,
204
I,
204
II,
374,
l8icaTiic6s,
4".
222.
B.
[4 28 ], [672]-
213, 225, Cf. Introd.
iepair6\os,
fe/>eus,
782 217 A.
ii.
IS-
203, 220, 254, 544/-, 691 ; laptfa, ? d/>xtepeus. 393 ; *fy**i 203. Cf. Introd. IfpoOvTrjs, 213, 217 B. 23. t'epoV, 217 B, 439, 441, 446, 532.
iirnapxas,
217
,
204
lrnrdp X r]s t
624.
374
aitiv,
440
,
bis.
204
i.
Cf. Introd.
22.
oXvpiriovireas,
393, 509.
230.
Ka0apT-fjs, 203.
KaOOrjpaTopiov,
783;
Kaaarjparopiv,
220,
221.
221.
KaTrop, 204
ii, 237, 239, 240, 244, 373, 374, 38i, 507, 529. [619], 629 A, 676.
i
Kapvetos, 691 bis Kapvfovfitcas, 203. Kapv, 203, 205, 206, 207.
/cdais,
j/os, 447. 218, 783. , 634. 439 532. , 440. Ovpavia, 544. Ivpdvia, 204 II ; Oitpavids, 253. oipoirots, 205.
0/jo,
204
i,
210
ter,
248 quater. 411
bis.
Tratai/tas,
27. KaaarjpaTopiv, see KaeOrjparopiov.
Cf. Introd.
Kcavav
205, 206 783. os, 220.

,
irftavias, 203.
(?),
219.
*&l
44
'^.
Si/crj,
ycy,
383. 203.
782
II.
T^/> vo/wyi/ (?),
456;
Trarfy)
TroAcws
s,
203. 634. 203.
(?),
456.
irarpiwris, 544.
20411
sexies, 213, 219, 220,
I.
WORDS AND PHRASES

Cf
383. ffwf(pr)@os, 213.
,
89
23.
221, 400, 630, 777 sexies, 783. Introd. 13.

ire5mv6fj.os, 396. ireiavias, see Traiavias.
Cf. Introd.
Spvfj.ei'os,
s,
544, 691.
Cf. Introd.
irei\a,
254.
24-
417. 400, [647], 721,781.
irevTafTijptKos, 253.
irfjiroKa,
440.
TT\lffT6vflKOS, 2 2O.
irXevffcuv, 268.
276, 535. 217 B, 241. rixtyos, 377, 386, 387,435, Cf. Introd. 32.
ir\iv0os,
226-37, 239, 240, [244], 254, 367, T^p, 368, 373, 381, 389, 466, 503, 507, 521, 2 9> 547> 5 619, 629 A, 669, 670, 676, 720, 780.
iroOodos,
59 &>,
617.
laivdpioi, 205, 206, 207.
TaAertras, 222.
ra/itas,
iroXidxos, 440, 544. IIoho/8ata, 440 bis.

Trptapvs,
217
B.
213, 215, 372, 400, 411, [627], [647], 718, [781].
204
ter, 210,
an,
TfOpimros, 440.
TTpdKiv, 440 quater.

rrjX^yeros, 382. rpayados, 253. rpiaads, 222.
rpieTr)pitc6s,
782 II. irpoevos, 217 A bis, 217 B; irpoftvia, B w. 217 irpopvdfjuov, 217 A. vpoaSixoiMt, 246, 252, 385, 456, 691.
irpo/cpifM,
rrpoffffrdTrjS,
253.
^/j.
rpwyava, 222
222.
719.
irpoarpoird, 441.
y, 508. 253.
#>7fe, 203.
-$c0affr6s ,220, 239, 507, 529, 544, 676. mi/ ( 0edv) <pepow, 205, 207.
383. 2 224. virrjperas, 203, 777. viroypannarevs, 777. vif/iffros, 223.

viratdios,
foj,
aiocf>6pos,
206.
ffirrjOevrcs,
201, 202, 203.
217 A, 441. <pi\6Kaiaap } 212, 220, 221, 400. <pi\6iraTpis, 220, [221], 400.
<pi\dv0pa)iros,
OMrorttt, 276,535, 712^.

ffKKpa.T6jj.os,
<pi\oao(f)&TaTos,
,
456
^z'j
206. (TTiwSoTrotds, 208.

Cf. Introd.
383. 222.
airovdo<p6pos, 213, 411, 719. 20.
OTaAa
XiQiva,
217
B, 441.
ffrcLTos,
689.
ffTO<pV\oSp6fMS, [393].
ffTc<pav6ir(a\is,
203.
?/)f, 26, 28, 255-61, 263, 264, 266, 268, 300, 37> 371, 379 *w, 38o &j, 382, 383, L395J, 44 8 , 5 2 2, 523, 5 2 4> 564544. 222.
ffTparayos, 24!. ffvitoQavTU, 782 II.

ffvfj,irpofji,vdfj.cav,
222.
217 A.
372,
777,
X/>o[>y'Aa], 204 n. , 456.
Cf. Introd.
22.
o-wapxos, 214, 216, avvapxia, 217 B.

ffvvypcupd,
v,
784;
203.
217 204 n.
262.
B.
203.
Cf. Introd.
22.
,
],
270,400, 441 &r, 446, [647], [781].
II.
PROPER NAMES
those
7%^ numbers given are

s,
of the Museum.
,
216.
.
612.
'A/Sptas, 206. >A 7a - -, 37 2 -
AyaOias, 247; Qvpvios (?) A., 215. 'Aya6oK\rjs, 203, 2041, 20$ bis, 248, 672,
v,
207. Ayrjaiviftos, 205, 2 1 6. 7T7TOS, 2O6.

..
,
I,
206.
as,
210, 784.
205.
523.
]s,
INDICES
,
, 506. 205, 207. s, 205, 206. t A8ptav6s, 204 1, 237, 239, 240, 244, 373, 38i, 507, 529, [619], 629 A, 676. A0ara,2i7B; 'A0aj/aia,44o; 'AOdvaia, 440.
204
I,
363.
'Airpuvios, see 'Axivdwos.
'A/>a[T]--, 612.
"Aparos, 207.
'Apeiojv,
208
foj,
267.
'Aperiiriros,
207.
'AOrjva,
544
bis.
'ABrjvaios, 363.
'At8cvs (?), 600.

'AtSrjs,
548.
Alverioas, [417].
Alveros, 386.
205 foy, 612. - -, 250. Apt Âpioima, 440, [440]. 'Apiovffa, 260. AOVKIOS Ov[o\ovffaij]vos 'Apiffr , 784 ; , 281. 'Apiffr
'Ap^tTfiros,
377. Hcup^hiTnros, 387. s, 778. , 241. 241. s, 369. 203. 'Auapvaves, 217 A ter. 'AKivSoivos, 522. J A/V5wos (AOVKIOS 'Airpuvios), 718. *A*Ttos, 217 A, 253. 'AAefdj/Spa, 441.
AiVijhi'as,
'ApiffravSpos, 206, 2 17 A,
'Apiffreas (louAtos), 411.
'ApiffTi8as} 207.
'ApiffTiiriros, 2 14.
784
bis.
'Aptoro
242, 671.
'ApiffT6&ios,
210
bis. 'A.,
'ApiffT6f$ov\os )
627
Tt/3.
204 1 ^?V ; KAauStos KAau. 'A. 204 II.
'Apiaroytvrjs, 207.
'Apiar68ano5, 205, 206 ^r, [206], 207 bis, 212, 784. 'ApiffrSSiKos, 206.
'Apio~TOK\fi8as, 206 foj, 784.
*AAeas ('lottos), 2041. 'A\6iVa X s 210, 21 7 A.

>
'AXKanevrjs, 206, 217 A, 242.

'AA/cai/Spi'Scts,
"AA/caoros, 204
*
220. 1, 210.
AXfcitriros ,
206.
*A\Kiffoi8as, 207.
'AfjiapavTOs, 208.
'An0paKiajTTjs,
'Ap.ia.VTOs,
2176
w.
'Aptiviinros, 207.
207.
'Afj.vK\ai,
'Afji-fjickiov,
690; 'A/iv\atfoi, 441 for; 269 ; 'Ap.vKXa.ioi, 635 A, B ;
'A/iv/cXcu'ot, 636, 637, [637], [638], [639], [640], 641, [642], [644], [646]. A* (râros), 372. 'AvaKTOpiffa, 21 7 A /^r.
Iv
205 /^r, 206, 207 to", 2iofoj, 777, 784 bis. 'ApiaTOKparrjs, 203, 204 II, 205, 207, 214, 248 bis, 400, 441, 525, 777. 'ApiffTOKparlSas, 203, 207. t Apiar6Kpiros, 206 w. 'Apiffr6\as, 205, 206, 207. 'Apio~T6fjLaxos, 206, 207. , 805. 'Apiffrofjifv 'ApiaTOfjLevijs, 203, 205, 210, 248 bis. 'ApiffropeviSas, 203. 'ApiffroviKioas, 2io; 'ApiffTOVfi/ciSas, 204 I. > Apiffr6viKOs ) 207, 214. 'Apt<7T($iroAts, 203.
'Apio~TOK\fjs,
---
'Apio~TOTe\T)S,
446
KA.
/tfr;
Kao-((rtos)
'A.,
2041;
TtjS.
'A., 212.
'Apio-ToTifJios,
207, [212];
'Aprr<jT/ioy,
'AvSpias, 206 foj.
215,627.
'ApiffTcw, 225,
'AvSpo&ovXos, 217 A. 'AvSpoufvrjs, 207. 'Ai>5/>ow/fos, 203, 672, 777, 784 ter; 'Ay8p6veiKos,
'Ai/êtrrta,
784
ter.
'Apicw, 205.
'Ap/ji6viKos
yî/fos,
(Ti.
KAavStos),
2lo;
'Ap/xo-
204
I.
432.
255.
"AVO-6TOS, 2OI.
'Avn&Xitijs, 206.
"Aprefjus Ecupdta, 220, 221 ; "A. B<wp<rea, 219; "A. 'Opêta, 783; "A. irarpiSms,
544.
'Avriptos, 721.
,
Cf. 'Opfleu/, 218. ov, 224.

,
510, 784. 689. , 784. 2 10 for.

,
634.
,
217
A.
f,
'AvriiraTpos, 245.
'Ai'rwj'erj'os,
368,
227, 228, 228 A, 230-36, 367, 389, 503, 521, 670, 720, 780; s, 226, 229, 466, 547, 669.
'AffK\rj
267. , 205. 207, 525. 207.

;
205.
253 -
'AoiT;,
383.
-, 671.
206.
,
'A<r<paAtos,
J^
IloertSan'.
I
;
635
A, [636], 637, [637], 638,
639, 640, 641, [642], [644], [646];

'Airf\\cav,
'ATTIKOS, 204 Avgrjaia, 222.
Ti/3.
KAavStos
'A., 783.
635
B,
689;
'A.
"AKTIOS,
217 A.
See AeA^tStos, Kdpvcios.
AvTOK\eiSas, 689. At/TO/fAts, 689.
II.
PROPER NAMES
Ova\4pios
'A.,
'A.<p06vrjTOS,
204
Map/cos
--
204
II.
Ov\iriavds 'A., 208, 211.

'A<ppo5iatos, 205.
s,
410; M. Qv\mos
Aaftoi/tt5aj,
206,
214, 225
(?)
veiKiSas, 247.
'A(ppo5firrj Ovpavia, 544.
Aapovticos, 208 quatcr, 612.
248.
bis.
AapoaQtveia (KAavSta), 443, 691. Aa/*ocny>aTOs, 203 for. Aa/j.ovaa, 26 1

, 203, 777 777.
EfiSiirrros, 205 E\\<UV, 411.
foj.
Btflwds, 779. BtdAas, 205.

Bot/ceras, 691.
EOiOJTtOS, 266.
w, 440
Aaipvos, 269.
sexies.
See Kapveios.
;
Ac*!'
-- J^
,
Atf
--
BpaaiSas, 648, 691

Epiffi6rijs
KAau(Stos) B., 85.

v
(=
Epvffi&Trjs), 269.
jtfd
AcKovpuos, 372. , 404. A. j 217

207. 2O2, 203 foj, 209. A(iviKOs, 206. Aeiiriros, 2IO.
,
Raipdia, Bwpcrea, Ba;p0td5as, 612.
A/>T6/s.
raidf oxos, 440.

rdt'os,
206; rdi'os
'lorfAios
---
247.
400.
Tfpavos, 269. IVafos 'Ap
^f's, 5 2 5Aco-TTotva, 6 1 8.
Aev'y
,
---
(?),
600.
372.
Aijfi^rrjp, see Aa/idri/p.
TopytaSas, 205.
Atd/^s, 393.
AiKTvvvrj, 544.
TopynrmSas, 6 1 2.
rdp7t7T7ros, 206, 216,
219
bis,
411
foV,
777,
Atj/oA^s, 203
AivorcpaTT]s,
Aftro/fA^y, 205.
;
784. Topyis, 21 7 A.
Topyiajv,
A*o
206.
--
203
Actvo^pdr?;?, 205.
612.
203. 379. , 787.
204
I,
Topf&iras, 206. TopyS/s, 206.

,
Aiovvff
--
210
S,
^zV.
Atovuo-tos,
204
II,
205, 206, 208, 569.
S ('louXios),
569.
569.
AtovucrdScwpos, 205. Atdvuffos. Atopoto-os, 544, 628 (?). At6aicovpot, 254, 544 for ; At<5<ra;pot,
447
AatoSd/ias, 689. Aa/i , 249,
---
612
bis.
Aioauovpeia, 544. Ato[^>di/]j;s, 210.
AapayijTos, 207.
Aa/xat
-- (Td
Aafj.aivros,
'lou.), 400 foj.
719.
Aa/xataiSas, 217 A. Aa/xa^y, 205, 213, 216, 281

Me/Lt/*tos
AtW, 205, 411. AuuviSas, 205. Apo/Mios, see K&pvcios. A<ufMTfiras,

;
U6(ir\ios)
A.,
204
1.
êiAa, 544.
"Elprjvr],
Aa/tapto-ros, 525.
Aa/*d(ri7r7ros
6 1 8.
(Map/cos OuA.rrios?), 718.

;
Aa/iOTTjp,
546
ArjurjTrjp,
544 w.
Aa/idrptos, 398. Aa/êas, 207, 208. Aa/ii 599Aa/xtd5as, 441 PIT. Ad/xi7r7ros, 203, 205, 216, 721. Aa/xtW, 206, 2178 for, 411.
---
'EAcvhuyta, 440 for. "EAAai/, 220; 'EAAds, 253, 383. "EAos, 691 ; HÂos, 440. 'EvvfMV , 440.
'Evvp.avTidSas,
'EweuppdSciTos,
'E.,
210
bis.
628 (?) ; UcSovicaios 400; Map/cos 'ETra^pdStToy, 2IO. , 217 A. 569

for,
, ,
Aa/io-
-, 212, 464. Aa/xota, 222.
225, 612. $, 205, 206, 225, 242, 248 for. 203 sexies, 205 quinquies, 206, [2C6], 207, 208, 210, [212]; T(. KAavStos Aa[/xofpdT?7s], 210.
,
--
398. 252. 721. 210, 252, 564, 721.

I.
--, 372.
,
'Eiriffrparos, 206, 777.
"EpcKTTOS,
204
Aa/*o/xm'5as, 203, 205, 206, 210, 242 II<5(7rAtos) AtAtos A., 220; 691. apoKpaTis, 249. Aa/xoAas, 206, [267], 777.
'Ep/i^s, 263, 544.
Ey
---
525, 612 bis, 787.

205.
Eua/xeptSas, 205.
Evafjiepicav,
Eud/,ipos, 205,
206
for,
207.
92
Ev&vyeXos, 205, 612. Evd/3pos, 672.
Ev0d\/tr)s, 205, 393. Eu/3tos, 207.
INDICES
s,
,
217 A.
784.
evpta, 440.
0tW,
207, 685.
EvoaifMKow, 208, 787.

EvoaifjLicav,
T)0cuos, 778.
207.
0P67TTOS, 383.
uppctos,
fjSj
203 3w, [212], 605, 6l2, 721.

372. 207.
217 A.
s,
vpaos, 205.
,
s,
Evda.fj.os,
#, 435. 203, [205], 248, 372, 777. 206, 211, 721, 784 Aer; rd(tos)
411
207.
2 1 6.
'IepoK\f)s,
20$
bis,
zioter.
'Iov\ios E.,
204!; Se/fOTos
E., 544.
'Iov\iav6s (r. 'loi/Xtos), 253.
Evripepos, [215].
Ev6vic\fjs, 203.
'lottos, 374, 376 JM, [428], 787 Wj.

"iTTTrapxoy, 721, 777.
'l7T7r<5Sa/ios,
---441. 784,
207.
'liriroOparjs,
'I7riro/*8a)j',
241
&.
s,
206; Evtc\i8as, [145].
EvKpctTTjs, 203.
203. -, 787.
EvKpivrjs,
204
ii.
209.
EvKTrjfjuw, 208, 787.
Ev/xcuAtW, 207, 612. 203, 205. , 207. , 612.
Ka
---
612.
777.
Ka/3a;i't'5as-,
---
Kdtffap, see
Ko\
---
Index
612.
I.
dSTys, 509. Evpv@dvaffffa, 203, 206, 591. EvpvK\rjs, 248 for, 690 ; T. 'lorfAtos E.,
KaAXt - -, 456, 525, 672. Ka A \ta8aj, 207 3z!r. KaAAiA^s, 441.

KaAAt/c/oar Ka\\itepaTT)s,
204
II.
EvpvKpaT-rjs, 203.
EvTAi'8as, 777. EvTvxiav6s, 456 ; 456. 'as, 205, 210, 777. s, 208, 777. , 612.
---
787. 203, 204 I ter, 205, 206, bis, 216, 276 ^^, 378 bis, 207 /g?-, 379, 535, 535 A, 612, 712, 721, 787. KaAAi/cpariSas, 205 bis, 206, 209, 225, 248, 777. KaXXiviieqs, 207. KaAA/TroAts, 612. Ka\\tff6evla, 203.
,
--
7,
210
210, 787
foV,
M(a/wcos)
I \cvOeptos,
KtiAAto-TOs,
Z.,
iJs,
220.
544
6n
Zeus
226-
36, 367, 368, 389, 466, 503, 521, 547, 669, 670, 720, 780; Z. O\vfjnrtos, 230;
Z.
Ta\TtTas, 222
203. 712. , 569.
Z. {/^KTTOS, 223.
432 (?) ; T&(ios) K., 432. KoAAto-rpaToy, 205, 525. KoAAirÂj;?, 206, 525. KaAAoO<ra (Avprj\ia) } 427. Kd/itAAos, 248. KapSa/uW, 217 A.
Kdpj/eios EotK^ras,
691
Kdpj/etos Apojwtos,
691.
KdpTTor, 205.
Kl ?'
--, 272(?),6l2.
as, 543.
,
~, 50 2 KAau&os, 787.
KA^Spos,
206, 217 A, 220, 242.
281, 544; 'H. yev&pxas, 691 205.
KAtdj/aip, 777.
2041.
-,
225
Ma(ôs) 06 -
207.
-, 525.
y,
,
06761TOS, 265. 212. ,
--
207, 411 [145].

II,
bis,
721 Wr.
KAeoâvros
(r. 'louAtos), 247.
($5ay>os,
210, 248, 721.
KAcW, 204
205, 206, 207, 208.
0(5/>tTOS, 2 1 7 B &W. c6evos, 208, 784. 60S, 506, 634^. s, 784. s, 248. 719. t, [245]. a, 253.
0(ffffa\iav6s
KXf<avi8fcav t 612.
KAecfo/t^tos, 207,
210, 672, 777.
K\t]viKT]s, 214.
K\rjviiciSas, 205, 214.
KAiJvt/fos, 207.
KAiyrcup, 207.
KAouSm, 203. Kdpa, 691 ; Ko/M7, [544].

KopctSas, 206.
(MapKos TcAAios), 370.
II.
PROPER NAMES
NtoAas, 206. NOTro\fTcu, 400.
T&kwv,
93
KopivOos, 417. KopoH/Tj, 268.
Kpavovno\ts } 269.
KparatfjLfvrjs, 207.
213
-,
ter.
Kpareas, 206.
207. , 253, 524. 207. KvScwos, 721.
205, 441.
Nta -Ntavs,
525
,
Net* -
-, 376.
212.
Aaxf Scurvies, 217 A, 241, 262. Aa/c5at>yi>, 217 B, 381, [507].

Aa<7T7rt5as, 206.
"NftKay6pas } 248. 779. Ntâta, [269]. NiKav8pi8as, 203, 206 ; Ild(irXtos) AtX(tos) N., 204 I.
Ttiicayopas.
203,205,207;
}
'Iov\(ios) N.,4ii.
Aa/*
--
6l2.
Net/tap^ 05 248. TSeiKapcw, 208, 221, 628.

N<*do-t7r7ros,
[A]d/rtS , 374.
Aa/*[wos?], 205. AaffTpariSas, 206. Aaxd/w?s, 205, 2 17 A, 6l2. Aeoj/ras, 208. , 2l8.
S,
206 to, 672
(?),
784; Nei/ra-
ffuntos, 215.
Nttfao-tW, 276
Nt/ec'as,
535.
441.
Nttefoopos, 203, 204
2 2O.
I, [395] iXciKrjcpopos, 221 to, 787; 'louXtos ftiKr]<popos, 215. Ntms, 207 /^r, 210 to, 213, 225, 525 ;
AcvtcrpidSas, 205, 251.
Aewp, 241.
Af(wj/'5ta, 544.
Aiflus, 205.
Atfjataevs,
Net/etas, 211. Ni/7nrt8as, 210; Tt. KAauSio? N., 2IO.

,
,
.
[210]. 207.
2041, 20411, 270.
NeiKOK\
--
805.
AOY -
Aipvaios, 217 A.
-, 623.
Ao-yycfi/os,
NiKOK\rjs, 203 ter, 206, 208, 212 bis.

TTjs,
205, 210, 605, 721 to; Nct/to203. 207. 205, 525.
238;
;
Ild(irAtos)
M(VA"0
A.,
248,411.
411.
,
779
Ao[v/os
?],
647.
JSlKWV, 2O3.
s,
205. 216. 217 A. s, 612.
N<5?7Tos (N6/)j3tVtos),
204
I.
205.
Sevatccav, 721.
Avicovpyos, 215, 250.

Avtrai'ias, [690].
AvffiKparTjs, 208,
441, 525
'Iou(A{os) A.,
Sevdprjs,
6 1 2.
,
,
718
rd(ios) 'Iou(Xios) A., 719.
Au<rt//axos,
204
I,
205, 206.
--
Avaiviieos, 441.
Avo'têi'os, 205.
274. 784.
205.
AvaiTTiros,
203,
204
II,
[204
II],
207,
T3(voKpa.Tr)s,
204
I.
[372?], 400; r(dios) A., 248.

253. 203. Mdpieos, 212, 787 8i. 7
,
Hei'do'TpaTOS, 206.
B(vo<pdvr]s,
206 to.
Heroxdpjys, 206, So/aw, 216.

;
M(aôs)
Avpr)\ios
-,
'OAuAr(d5ay, 207 to, 784.

,
17 A.
see
,
Z5s.
iJs,
265. 525. 777. 206. ,

t
[721].
; Ovo\ovffff^vrj 'O., 254. 784. 206. 'Ovdffavdpos, 206. , 202.
251
'M.fveKparrjs, 206.
243, 544;
'O., 243.
'Ovrjff'upopos,
MevtTnros, 432.
MvaffiKpdrijs,
207 3tr. 2041, 207, 672, [787]. 26 ; MoOaat, 383.
248, 407, AtA(os 'O., 204 I. 'OTnrta (Avprj\id), 456.

'Opcto/, 417. 'OpOtia, see "Apre/ws.
'OptTTTTt'Sas,
628;
259.
Nd^Sos
(Ma/>. Aup.)> 2 3 8 ),
787.
OuAmos
(?),
525. 428.
-, see Nt/c -.
Ovo\ovaor)vr], 254; OuoAouo'o'î'dy, 281.
94
Ovpavia, see '1 Ovpavia, 204 II
;
INDICES
,
Ovpavias, 253.
,
s,
508. 205.
427.
Haiffrparas, 6 1 2.
787.
TIav6a\ -, 569.
2etTi/Lto?,
bis.
2e/)a7Tt<yv,
204
212.
I,
204
II.
589
}
203. 207*
^rjpavSpiSas, 207.
2rjpiiriros,
,
Ilapa, 257.
205, 207 &J, 784. 202, 203 fcr, 204 I, 206.
ndpSaXts, 548.
naffiK\fjs,
204 I &, [205], 207, 441. s, 204 I, 225 bis, 411, 441.
,
214. 205.
2t7ro
Ilavo'ai'tas,
441 ^w, 612, 777. 6 1 2.

211.
2I4i 205, 207; II($(7rXtos)
, 784. 207. 207. os, 205, 207 3/j , 205, 206. 206. 206.
204
II.
nctcrtSa/ios,
Hflff'lffTpCLTOS,
253. 207. 206.

2,ir<f>TT),
.,
204
i,
I.
268, [417].
[245]. 281. ,
2TapTt(iT77S, 208, 787.
Hep<pi\a, 203.
TltTpdavtos, 779.
--,
4OO. 612.
I,
pavoK\r)s, 207.
II.
EtyycXoTreta, 456.
nfos (Mc^/itos), 204 nX77<md8as, 447.
?T(pavos, 203, 204 , 206, 207.

,
207
262.
IIXot/Toy, 206. IloXtaxos, see 'Aflarota, 'A9ijva.
205
^zV.
-, 372.
Ilo\\ficav, 526.
210, 721. 205, 206.

}
IloXXtas, 206.
206, 784. [417]. 207. S, 208, 300. Ho\vK\ei8as, 206. Uo\vK\rjs, 206, 216, [6ll]. noXuvt/CTys, 206. HO\VVIKOS, 206. IIo\vffTpaTi8a.s, 206.
s,
,
-,
216; 2<wX(8ay, 2IO. 672. 203, 267, 448.

,
777. 249, 6 1 2.
S&narpos, 217 A. , 672.

,
787.
248
,
,
^zV.
208.
no\t5<rTpaTOS, 207.
, 411. - -, 428, [671]. Tl6(ir\ios} AtXtos
IL$(7rAtos)
247
,
[203], 205, [376], 410, 787. ; Map. Aup. ôaaiveiKOs, 221.
211.
IIocrt5ci>j'
HoffeiSojv
Acw/xaretras,
691
721.
'AffcpaXtos,
TloffiSiiriros,
544
nohofScwa, 440 bis.
(voc.), 264.
206.
, 271. Ilpa TIpainevr]s (rdios), 525. npare'as, 247. nparo'Xaos, 204 II (?) ; Tifiepios K\av8ios n., 648, 691 ; lipeptos KXavSios AtXtos H., 691. n/)OT(5Xas, 203 ter, 207 ; H<5. MeVfitos n.,
Set/ran',
528. 207, 208, 258, 372, 441, 777. > 210, 371, 548. 217 A. 217 A.
,
TaXTiras,
î? Zeus.
254-
Tdpas, 206, 207. Tdtr/cos, 509, 689.
202, 203, 204 II (?), 206 ?tfter, 207, 396, 612, 777; n/xiT(5vetKos, 372. UpoToyevrjs (Tiflepios KXauSto?), 508. /, 569. 253. (rdtos 'loiJXtos), 2IO.
TIparoviKos,
TaxvX^s, 6 1 2.
Tct/z -, .sw Ttft -.
'Pta^s
(?),
524.
'PoV<pOS } 210.
205, 248,456; 1iffafjiv6s } 206. 671. 691. 206, 2IO. 441. , 784. Ttai/os, 524. Tipayopos, 206 ^zV.
,
-,
II.
PROPER NAMES
Xafpty, 265.
95
Ti/m/>i<rros, 777.
s,
525. 206.
203.
Xcupew, 205.
XaXti/oy,
210
bis.
XaX/uotffoy, 544.
6is,
207
211
(?).
210, 612; 207, 612, 721;
205, [205], Tetjto/fpdrT/y, [627]. /Z<5/MTOy, [2IO], 2l6.

/wtfpdTTjy,
Tt/i<$Xay,
Xapfpoy, 205. Xaptêpoy, 206 X - -, 805.
'louXtoy X.,
204
I.
Xputray ('Ioi;Xtoy), 411.
212
bis.
1
;
206, 207. OS, 207, 777 &r. 207 fo-r, 210.
2041, 41
),
,
na*(/woy)X., 204
1.
781.
TivSapt'Sai, 220, 447; Tw/Sa/jfScu, 7. see Tet<ra/x/<5y. ,

,
546.
'n<p\ia)V ('A.VTUVIOS), 787.
381.
,
546.
TpvQow, 721.
T/xtwXoy, 268.
- - afys, 784. 0/*OS, 6 1 2.

-
avay6pas, 372.
fo.r,
TwSdp/jy, 203
787.
TtrSapiScu. TwvSapfSai, Tux7, 268, 544; Tvxi? apxaferrjs, Cf. [219], 220, 400.
j^
-544.
dpj/s,
787
foj.
TuxT7roy, 204
'fajcivQtos,
I,
275.
690.
fo.r.
y,
382
-, 372.
apxos, 689. ao-ros, 372. ~ 372. - axos, 241. - Sas, 248. - Swpos, 369. -i 384COVIKOS, 384. - - rjhia, 440.
^s,
wvxo
**[A]--, 612,787.
207. s, 208, [210]; T. lorfXioy *., 208. j 624.
ôs,
- -
369
bis.
y,
219 ^w.
,
-, 784.
205 Ms, 212.

277.
.
.
-, 784.
--
205, 225, 372, 374. , 384. } 456. -, 274. iirmdas, 721. nnros, 205, 378. tpo8 Say, 612.
/Say,
.
iav, 225.
217 A.
-, 376.
203.
*t\o\6t5as, 205
K\i8as y 210.
Qi\on\r]s,
I
r(di'os) 'Iov(Atos)
*tAo-
- - Xeas, 225. - - ^s, 37 2 - - /iaxoy, 271.

-
721. [p]aTj;y, 348 bis.

Kt'Sas,
204 ^w, 206, 207, 209,643, 777. s, 204 II, 248 for.
S,
s,
--IKVOS, 372. -510.

/*7rpy,
2l6, 22O.
205; $i\oviKi8as, 212. s, 205, 206, 225 (?), 777. &i\offTparos, 203, 206, 252, 721 bis. s } 208, 787 bis.
,
Vf&TfU, 262. VflKO -, 805.

,
s,
s,
623. 612.
256. 207.
384. 266.
oieXfjs, II (?),
204 II
for.
*tXoxa/>efj>oy,
*t\ui/t'5as,
204
372.
*t\eo^, 206, 778.
203 --, 372.

,
bis,
206, 376, 787.
--
203. 252. - -, 544,
- - T7/, 28. - ~ rpos, 544.

-.
721. , 617, 623. Troy, 372. ffrparos, 612.
VVIKOS, 721.
<pdvr)s,
see 'A-ya&'as.
404. X'S -, 612.

cwaSay,
207.
719
bis.
96
TABLES
PASSAGES IN THE INTRODUCTION DEALING WITH EACH INSCRIPTION
MUS.NO.
97
II. SHOWING THE CONCORDANCE BETWEEN THE NUMBERING OF COLLITZ-BECHTEL AND THE MUSEUM.
C.-B.
Mus.
1379 4404 44 o8
4410 44 i6 44 T 7 4420
4421 4422 4423 4428
4430
PART
II
SCULPTURE
ABBREVIATIONS,
H.
L.
B.
&c.
Th.
Di.
D.
D-M.
F-W.
Perrot.
= = = = =
= =
=
Height.
Length.
Breadth.
R.
L.
f
r.
1.
Depth.
Dressel and Milchho
er,
= = = =
Thickness.
Diameter.
Right.
Left.
Die antiken Kunstwerke aus Sparta und
Umgebung
(Ath. Mitt. 77(1877), p. 293 seqq.).
Friedrichs-Wolters, Die Gipsabgusse antiker Bildwerke.
Perrot and Chipiez, Histoire de fart dans VantiquiU.
Collignon.
Collignon, Histoire de la sculpture grecque.
Overbeck.
Robert.
E-V.
S. Q.
/. 77. S.
= =
Overbeck, Geschichte der griechischen Plastik. Robert, Die antiken Sarkophag- Reliefs.
Fourth Edition.
B.
M.
C.
= = Journal of Hellenic Studies. - British Museum Catalogue.

468.
Arndt and Amelung, Einzelaufnahmen antiker Skulpturen (Text 1311-1324 by Sieveking). Overbeck, Antike Schriftquellen.
to
All numbers which refer to objects in the ^Museum are given in thicker type,
e.g.
For
Inscriptions,
and Miscellaneous Antiquities, see those two sections of
the Catalogue.
INTRODUCTION
THE LITERARY HISTORY OF SPARTAN ART.
what is known of the history of Spartan art should rather precede than follow a discussion of the The information that is to be drawn from the literaactual monuments. The earliest Spartan artists of whom we have record ture is not great. are various pupils of Dipoenus and Skyllis. These two artists were Cretans and pupils of Daedalus. They worked principally in the Peloponnesus \ but there is no record of their working in Sparta. But another Cretan
i.
brief account of
from
literary sources
and was
2 which lies just outside Laconia, Cheirisophus worked at Tegea in historical times a close ally of Sparta. Besides we shall see later that early Tegean art can be brought into close connexion with Besides the Spartan artists themselves, there were one or two Spartan. artists from other parts of Greece who were employed at Sparta. tabular list of all these artists will be convenient.
artist
A. Spartan
THEOCLES,
artists
5
:
Works.
(i) Atlas bearing heaven.
Material.
,
Place.
a Lacedaemonian. Before 540 B.C.
(2) Heracles,
the five Hes-
perids, the apple-tree,
and
Cedar.
] 1
Olympia, Epidamnian
Treasury.
the snake.
DORYCLEIDAS,
a Lacedaemonian. Before 540 B. c.
Themis
Horae.
as
mother of the
Gold and
ivory.
Olympia,
Heraeum.
Do NT AS,
brother of Dorycleidas. Before 540 B.C.
(i)
Heracles against Ache-
Cedar and
gold.
Deianeira, (Zeus, Achelous, Heracles, Ares,
lous
Olympia, Megarian
Treasury.
Athena).
(2)
Hera?
Zeus? Ares? Athena ?
Gold and
ivory.
Olympia,
Heraeum.
GlTIADAS, avflp tmx&pio circa 452 B.C.
Athena Chalkioecus (Hera(including voluntary labours), Rape of Leukippids, Nymphs giving to Perseus helmet and sandals, Birth of Athena, and Amphitrite and Poseidon on lower part of statue
cles'
Bronze
Sparta.
labours
(hammered?).
which was herm-shaped). Aphrodite and Artemis.

1
Bronze.
3
Amyclae.
S. Q. 321. S. Q. 345The necessary references to the following artists will be easily foun d in Overbeck' Antike Schriftquellen.
8
100

:
B. Other artists
Works.
Material.
Place.
THEODORUS,
of Samos.
circa
The
Skias.
Sparta.
576 B.C.
Zeus.
CLEARCHUS,
of Rhegium.
Bronze.
Sparta, Temple of
Athena Chalkioecus.
raz520B.C.
BATHYCLES,
of Magnesia ad
Throne of Amyclaean
Apollo.
Amyclae.
Sipylum. circa 556 B.C.
remarkable that none of these artists worked in stone. They have preferred to confine themselves to decorative work in wood or metal. As regards Clearchus of Rhegium Pausanias elsewhere says he was the master of Pythagoras of Rhegium, and was a pupil of Eucheirus of Corinth, a pupil of Syagras and Chartas, two Spartiates. Clearchus may quite possibly have learnt both from Dipoenus and Skyllis, and from Eucheirus. At all events his artistic training was derived from a
It is
seem
to
Peloponnesian school taught by the Cretans, Dipoenus and Skyllis. It is natural to expect an early artistic connexion between Crete and Laconia. Crete was one of the great foci of Mycenaean civilization Laconia, to decide only by the Vaphio cups and the wall of Las, must have been another. Districts possessing the same civilization must have had connexion with one another. And if we see in the Eleutherna statue a work of the Cretan
;
Daedalids,
we
.
statues together with
should recognize in the Frankovrysis and Hagiorgitika one at Sparta (576) the work of the Daedalids in the
1 Amongst the early athlete statues at Olympia was one of Eutelidas, a Spartiate boy who was victorious in the wrestling and the pentathlon in the thirty-eighth Olympiad (628 B.C.). There is no description of it, nor is it known how long after the victory it was set up, It may be assumed, however, that the figure was very square and flat with the arms glued to the sides like 325. Apart from these no connexion between the literature and the monuments can be made out. might, however, instance the Dhimitzana bone reliefs 2 as possibly being similar to the decorative work in wood or ivory and gold of Dontas and Dorycleidas. In this early period art at Sparta seems to have flourished. But in the golden age of Greek art we have little monumental, and still less literary', evidence for the existence of art in Sparta. For the fifth century before Gitiadas there is only Gorgias, a Laconian, who was also apparently 3 active at Athens. Artists of unknown date are Cratinus, a Spartiate, who made the statue of Philles, a boy wrestler of Elis, at Olympia and Ariston and Telestas, two Laconians, who made a colossal Zeus, eighteen feet high, for the Cleitorians at Olympia. As regards these last artists Pausanias remarked that he did not believe they had been famous, else the Eleans and still more the Lacedaemonians would have had something to tell about them. The Zeus dedicated at Olympia after a Messenian War must be assigned to an early period but its exact date is doubtful. To the fourth century belonged the statue of Kyniska but it is not known
Peloponnesus
We
Cf. E. S. Forster, Brit. School
Annual,
2 3
f.ff.S. 1891,
pi.
XL
viii. p.
274; also
;
v.
below
I.
14.
v. Brunn, G. d. g. K. i. 115 ; Overbeck, S. Q. 356 a Cat. Inscr. Acrop., p. 43, 35-38.
Lowy,
G. B. 36
Lolling,
INTRODUCTION TO SCULPTURE
if
IOI
the artists of these were Spartans or not *. Of later artists we know that one of the famous workers of toreumata during the Hellenistic period was Callicrates, a Lacedaemonian. Lastly to come to the imperial period, a certain Demetrius seems to have been active about the second His name appears on a headless herm once in Sparta and century A.D. 2 The base of an honorary statue at Hagia also on two other inscriptions Sophia bears the signature of Aurelius Nikephorus, an unknown artist of 8 A work signed by Apollonius of Athens, a Neo-Attic the same period Two artist of the first century A.D., also found its way to Sparta (363). Athenian artists of this name are known ; one the son of Nestor signed the Belvedere torso, the other the son of Archias the bronze bust of the Doryphorus from Herculaneum, and perhaps a base from the bouleuterion at Athens. The name is also found on a Satyr statue in the Leconfield 4 collection, and on an Apollo in the Despuig collection in Majorca We could conjecture that the Apollonius who signed these two latter statues was the same artist whose name appears on the Sparta fragment It is also (363), and that he worked for an export trade in Athens. recorded that there were at Sparta portraits of Lycurgus, Polydorus, and Pausanias and that at Olympia were portraits of Archidamus III, who died 5 There was also at Delphi 338 B.C., of Areus, and of an athlete Seleadas a statue of Archidamus standing with a statue of Philip II on either side of the bronze Phryne 6 This portrait Furtwangler wishes to recognize in the inscribed bust from Herculaneum as a portrait of Archidamus II 7 Wolters however prefers to take the bust as a portrait of Archidamus III, and overlooks the Delphi statue and it is not definitely known which Archidamus this represented. But since the artist of the bust is unknown it cannot be brought into a discussion of Spartan sculpture it seems to be a typical portrait of the late fourth century. As regards the other portraits mentioned, we know neither their dates nor their artists, and it
.
.
is
therefore impossible to attempt to place them in any particular period. It will be thus seen that a history of Spartan art cannot be drawn from
But in spite literary sources. seem to have been unartistic.

indicate
of their character the Spartans would not Several of the artists mentioned above are
:
described as Spartiates, and others as Lacedaemonians these names An Spartans proper as opposed to Laconians or Perioeki. attempt must now be made to reconstruct a development of art in Laconia from the extant monuments. But first it will be advisable to discuss the two principal groups of monuments peculiar to Laconia, the Hero and the Dioscuri reliefs. In all cases it must be borne in mind that the dates assigned from questions of style are assigned only by the analogy of Attic art and so due allowance must be made, since art in Laconia was probably backward. In any case the dates are only approximate.
:
Pans. v. 24. 3; vi. i. 6; Olympia^ Inschriften, 252, 160. One a headless herm in the church of Hagios Spyridon at Mistra, D-M. 157 ; the other C. I. G. 1330 S. Q. 2297 A. S. Q. 2298; C. /. .'1402. S. Q. 2214-2220. The Apollo is now in the Tacobsen collection, No. 47;
;
Hubner, No.
78.
;
S. Q. 1619, 1628, 1634, 1635 S. Q. 1270.
Pausanias,
vi. 15. 5
16. 4.
Masterpieces, 321.
i, v.
Wolters,
Rom.
Mitt. 1888, p. 113.
102
MONUMENTS. MATERIAL.
the first point to be conalmost invariably the local marble won from the steep sides of Taygetus. This local marble varies very much in grain and in colour. The latter varies from white to dull blue ; and it frequently shows greenish veins of mica. From one quarry very difficult of approach between Anavryti and Mistra a fine grained white marble very like Pentelic is obtained. From the southern ranges of Taygetus towards Taenarum comes the red marble known as Rosso antico. It is interesting to remark that this was used for sculpture as early as the second century B.C. Of marbles imported into Laconia there are several varieties. First of all comes Pentelic all the sculptures in this marble There are two pieces are, with one exception only, of the imperial period. of what looks like Parian marble. And further we find also a marble that looks very like that from Dho2.
As
is
sidered
regards the sculpture in the the material employed. This
Museum
is
liana
by Tegea *. This might be Taygetus marble or come from
elsewhere in Laconia, for there are also quarries inParnon behind

in the piece of alabaster, three pieces of a peculiar soapy marble, and a fragment of green granite. Whether these are native or imported is not certain ; but the soapy marble is probably
Chrysapha. There are also
Museum one
native.
Limestone was also oc-
casionally used for sculpture, and also a bluish marble-like stone

especially in the archaic period. And for three fragments in the
a rather coarse sandstone is the material employed. The great majority of the sculptures in the Museum are thus of local material, and therefore probably the work of local artists.
Fig.
Museum
ARCHAIC HERO RELIEFS.

Its most important monuments are 3. Archaic art is well represented. the well-known and typical Spartan Hero reliefs. Reliefs belonging to this series have been found not only in Sparta and its immediate neighbourhood, but also elsewhere in Laconia at Geraki, the ancient Geronthrae. There are several besides those in the Museum it will therefore be convenient to give a list of them. 2 Relief from Chrysapha now in Berlin No. 731. Blue gray local H. -87, B. -5565, D. -io--i3, Relief height -07. D-M. 7. stone.
:
F-W.
1
58.
Fig. i.
See Washington, Am.Journ. Arch. 1898, p. i, on the difficulty of deciding the provenance of marble. 2 I follow for the sake of convenience of reference the numbering of Milchhofer, Arch. Zeit. 1881, p. 294. For full discussions of these reliefs see Milchhofer, Ath. Mitt. 1877, P- 443 do I8 79 P- l6l Arch. Zeit. 1881, loc. cit. Furtwangler, Ath. Mitt. 1882, p. 160; do. 1883, P- 33 6 Coll. Sabouroff, Introd., p. 25; P. Gardner,
5
-
The
relief is
103
complete and undamaged.
The
heroized deceased are
shown enthroned
back ending
are
in profile to the right. The throne has a high straight above in a palmette seen en face. The front and back legs
made to imitate an animal's fore and hind legs. The arm ends in a The head of hemispherical ornament, and rests on a lathe-cut support. the male figure alone is given enface his legs are strictly in profile, while his body is in three-quarter face. He is clad in a long chiton, indicated by vertical incised lines, and a himation rendered by oblique incised lines. In his right hand he holds out a cantharus, and his left hand is held out with the thumb uppermost and the palm towards the spectator. He wears sandals. The shape of the head is round and unnatural the eyes are
:
:
Fig.
2.
prominent, and ellipsoid. The mouth is pursed up, and the corners The hair is filleted ; it is arranged curve upwards in an archaic smile. along the forehead in a row of curls, and falls down in two long plaited locks over each shoulder. The edge of the chin is flat this is probably due to the technique of cutting out the relief in parallel flat planes 1 The whole of the lower jaw and chin projects forward considerably. Behind is seen the female figure her feet and legs, head, breast and arms are the She wears a shoe with an upturned toe, and is only parts of her visible.
large,
; . :
J. H. S.
and for Totenmahl and other similar reliefs see Rouse, Greek Votive Miss Harrison, Prolegomena to Greek Religion, p. 350 von Fritze, Ath. Mitt. 1896, p. 347; F-W. 1052, and Deneken's article* Heros in Roscher's Lexikon. 1 Milchhofer (Ath. Mitt. 1877, p. 3O4),Friedrichs-Wolters (p. 29), and Perrot (vol. viii. p. 440. i) believe that the beard was intended to be indicated, and was rendered by painting.
1
884, p.
20,
Offerings, chap,
'
104
clad apparently only in a long chiton rendered by vertical incised lines. Her right hand which rests on her knee holds a pomegranate ; with her Her features are sharp and left hand she holds out her veil before her. angular the eye is shown en face. Over the back of her head she wears a cap on the forehead the hair is arranged in a broad plait, the end of which hangs down before the ear. The feet of both rest on a footstool. In profile to left below the cantharus are seen advancing towards the heroes two worshippers with offerings. They do not overlap as on B, but are placed one before the other. The man in front carries in his right hand
: :
He is clad in a plain long chiton his hair a cock and in his left an egg. Behind him comes the woman is filleted, but cut short on the neck. holding in her right hand a pomegranate flower and in her left a pomeHer hair is dressed like that of the heroine, except that there is granate. no plait before the ear, and the hair hangs in a long pigtail down the back. She is clad in a long chiton rendered by oblique incised lines. Behind
:
Fig. 3-
Fig. 4.
Fig. 5-
the throne curling upwards from beneath great, scaly, bearded snake.
it
in a decorative
manner
is
B. Museum,
3.
Fig. 2.
C. Museum, 316. D. Museum, 415. E. Museum, 451.
F. Museum, 4. Fig. 3. G. Dressel-Milchhofer, 13. Present whereabouts not known. H. Relief at Berlin No. 732. From Sparta. Bluish marble. H.
:
-20,
B. -31, Relief height -01. D-M. 15. Fig. 4. Found north-east of Magula. The lower half of the slab is wanting. It shows a draped youth in profile to the right; all below his hips is broken Above his forehead the hair is arranged in two rows of tight curls. off. The eye is not rendered in profile. He is nude save for a chlamys which falls over both shoulders. In his left hand he holds a spear, and in his Before him a snake curls up towards the left. right a pomegranate (?). I. Relief at Athens: Nat. Mus. 1417. Arch. Zeit. 1881, p. 294, pi. 17.2. Bluish marble. H. -28, B. -16. F-W. 65. E-V. 1265. Fig. 5.
From Chrysapha.
bearded male figure
is
represented standing in
profile to the
left.
He
is
clad in a himation over his

legs.
left
shoulder, across
the back,
and round the
The
right foot
is
hand holds a cantharus, his left a pomegranate (?). The hair is filleted, and is an erect snake curling up over the cantharus. rendered by long flowing locks. The folds of the drapery are incised, and the eyes are big. Very low relief, its average height is -0025. Ordi1 nary late work of about the third century B. c. K. Timocles relief, at Dhimitzana. Ath. Mitt. 1879, p. 127. Blue marble. H. .42, B. -35. Lower left-hand comer broken away. Fig. 6. An unbearded male figure is shown enthroned in profile to the left. The legs are in true profile, the body in three-quarter profile, and the head is en face. The hair is parted in the centre, and two long locks hang down over each shoulder. He is clad in a long, short-sleeved chiton and a himation, rendered respectively by vertical and oblique incised lines. An end of the himation hangs down between the arm and seat of the throne. The left hand, resting on the arm of the throne, holds a pomeOn the left is a snake erect granate, and the right holds out a cantharus.
curling over to the right above the cantharus.
His right advanced. In the air before him
The
throne
is
similar to
Fig. 6.
Fig. 7.
that
on A, but much more coarsely rendered. Both legs of the man are shown. The work is flat and clumsy, but not naturally archaic it seems to be a later relief in the archaic spirit by an unskilled artist. L. Aristocles relief, at Dhimitzana. D-M. 258. Ath. Mitt. 1879, Bluish marble. H. -40, B. -28. Fig. 7. p. 127. It shows a bearded man in three-quarter profile to the left seated on The right foot is drawn back a high square stool with turned legs. and placed behind the left heel. The features are much destroyed he wears a himation over the left shoulder, and round the lower limbs. The left hand holds the himation together on the left side the right hand
: : :
On the right behind the stool holds straight out in front a cantharus. is a snake coiled its body is extended upwards obliquely behind the man in the top left-hand corner its head and neck curve up beak-like to drink out of the cantharus. Rather late work. M. Relief in Piraeus Museum. From Sparta. Bluish marble-like stone. H. -35, B. -20, Relief, height -02. Ath. Mitt. 1881, p. 358 ; Arch. ZeiL 1881, p. 294; Rev. Et. Grecques, 1902, p. 138. i. Fig. 8. A youth is shown in profile to the left seated on a marble throne, and clad in a himation thrown round his lower limbs. His left elbow rests
:
Lowy (E-V.
loc. tit.}
suggests
it
belongs to the
fifth
century.
io6
on the arm of the throne and his right hand holds out a cantharus of narrow and elongated shape. From his right side a snake curls up to All details are drink from the cantharus, as on the Aristocles relief. rendered coarsely and rudely the limbs are thick and clumsy especially One of the body which is partly en face the execution is very unskilful.
: :
the latest of the series.
Inscribed
NIKuul
ANHZHKETVXA.
Relief at Geraki (Geronthrae). In the house of the Demarch, G. Papanikolaou. Schroder, Ath. Mitt. 1904, p. 42, fig. 5. Bluish marblelike stone. H. -35, B. .41, Relief height -005. Fig. 9. Top right-hand and lower left-hand corners broken away. Narrow flat border all round. Slightly broader at the bottom where an inscription is engraved. On the left a bearded male figure is seated in profile to the
N.
The seat so far as can be seen had a hemispherical top. He is right. clad only in a himation round the lower limbs. The body is in threeThe right the left arm and shoulder are fully indicated. quarter profile hand holds out a cantharus from which drinks a snake curling up before
:
him
his left
hand
is
held over the snake's head as though caressing
it.
one leg The man's head
Only
is
shown.
:
the hair
is
down
all
is very big long and hangs round in a solid
undetailed mass cut short on the neck. The nose projects, and the chin recedes. Before him on the right and
higher in the
relief field
(no
ground line is indicated) is a nude male figure (small)

standing in
left:
profile
to
the
in three-quarter profile, right arm raised in adoration, left dropped at
body
the
side. Both legs are seen, The chest is broad and the hips narrow. right being in front. Behind is a similar figure, slightly shorter, in a similar attitude; it is apparently female. All above the chest is broken off: but the chest
detail.
seems narrow, and the hips are broad. The relief is very flat and lacks All the forms are very sharp and angular, not rounded, and given in contour shape only. Archaic work of sixth century l Below is an
.
illegible inscription. O. Relief at Geraki
(Geronthrae). Built (upside down) into the southeast corner of a ruined Byzantine chapel just under the north-west wall of
the Kastro, about three-quarters of an hour from Geraki village 2 Fragment only. H. -31, B. .41, Relief height -oi. Ashen-coloured marble-like
.
local stone.
It
1
shows a bearded
man
'
seated in profile to the right.
His nose
is
Schroder however says, Das Relief ist nicht das Werk einer jugendlich unbeholfenen Kunst, sondern das eines Stumpers, der ein gegebenes Vorbild nachzuahmen nicht imstande ist,' Ath. Mitt. loc. cit. 2 This relief was discovered by Mr. Tod, who most kindly told me of it and has
allowed
me
to publish
it.
Unfortunately owing to
it
its
position
it
is
practically impossible
either to
photograph
it
or to examine
closely.
There long, his beard sharp and pointed, the forehead recedes. incised lines to indicate the neck, the upper edge of the right arm,
I0 7
are
and
Fig. 10.
The right the end of the sleeve of the chiton. a curve, and the hand grasps a cantharus. The of the throne (?) are not distinguishable. The right side of the relief is badly
damaged, and the whole
the lower half
is
left
arm is held upwards in arm and the details
broken.
is badly weathered; wanting, and the left side Certainly good archaic work of
the sixth century.
P. Museum, 431. Q. Museum, 505. Fig. 10. B. Museum, 683 \ Fig. n.
Their importance.
4.
This long
series of reliefs is
it
most
Fig. ii,
important.
possible to form some idea of the development of local sculpture in Laconia from the sixth century onwards, at least as far as relief is concerned. Also as
is
From them
development in the style is noticed, a change also is to be seen in the actual representation on the relief. The conservatism of religion is well illustrated by the archaistic spirit of F, K, and Q. One of the most
noticeable
simplified.
points
made more
1
is the tendency for the representation to become discussion of the representations and their style will be easy by the following classification.
The
Milchhofer (Arch. Zeit. 1883, p. 227) and Deneken (Roscher, i. 2568) include 18 also in this series however its connexion hardly seems proved.
:
would
io8

classification.
to the right.
And
I.
Heroes enthroned
planted spring in
109
is
due time fresh flowers.
The pomegranate
said also to
have been a recognized symbol of fruitfulness ; and for this reason, it is This explanation, however, hardly supposed, it is carried by Aphrodite *.
seems fully satisfactory or convincing. In the Persephone legend one idea was that by eating food in the underworld a bond with the dead was established, as a common meal But another idea was no doubt due to the food united all the guests. The tree sprang from the blood of Dionysus eaten, the pomegranate. a a pomegranate was planted on the graves of Menoeceus and Zagreus 3 The fruit expedited birth, and the flowers, it was said, of Eteocles sistunt potu menses feminarum*. It was an emblem of Hera which Pausanias refuses to explain 5 The mystae at Eleusis would not eat it nor did the Thesmophoriazusae 6 and those who took part in the Haloa 7 feast were forbidden to eat amongst other things pomegranates, domestic It therefore fowls, and eggs, all of which appear on these Spartan reliefs. 8 In fact probably had some mystic meaning which is as yet unknown Achilles Tatius, after mentioning a young and rather Apolline statue of Zeus Kasios at Pelusium who held a pomegranate in his hand, says
:
TTJS
poias 6 \6yos pvoriKos
9
.
Fowls were forbidden to the Eleusinian mystae and eggs are mentioned by Lucian as the refuse of purification/ and it seems that they were also offered to the dead. Cocks appear on three reliefs to the Dioscuri (Museum 356, the Verona relief, and one from Sparta in Athens, Nat. Mus. 1439, v. below, p. 113), who were heroes. These too then in 10 all probability had a ritual significance still unknown The dog is said to be the constant companion of Chthonian deities and the horse likewise from its appearance on many TotenmahV (Funeral feast) and Hero reliefs is said to be the attribute of the hero, though some authorities attempt to prove that the horse has a Chthonian significance. It may also be true that the horse and dog owe their appearance, as suggested by some, to the custom of slaying the steed and the hound of the deceased and of burying them with him. But it is more probably true that
: '
'
owing to the Greek's innate abhorrence of death, the hero is represented If he was a hunter, a hound is shown on the relief as he was in this life 11 This seems to be borne out, if he was a knight, the horse is represented. when it is remarked that neither the hound nor the horse is always shown on Hero reliefs in fact in the Spartan series they are chiefly conspicuous
.
by
I
their
absence
12
.
Cults of the Greek States, i. p. 216, Arch. Zeit. 1855, pp. 4, 7. 3 Clem. Alex. Protrept. ii. 19. Pans. ix. 25. I ; Philostr. Intag. ii. 29, i. 4.
v. Farnell,
ii.
p. 696.
For the egg
v. Curtius,
Plin.
N. H.
ii.
xxiii.
107, 112.
Pans.
17. 4.
Porphyr. de Abstin. iv. 16; Clem. Alex. /. c. Lucian, Dial. Meretr. vii. 4 ; Miss Harrison, Prolegomena to Greek Religion, p. 148. For use of pomegranates at modern Greek marriages see Abbott, Macedonian Mr. Dawkins tells me that in E. Crete the bride breaks a pomeFolklore, p. 177. granate on entering her new home. Pomegranate seeds are used in making the KoKv&a. eaten in memory of the dead, Schmidt, Volksleben, p. 55. 8 This is a brief summary of Sikes and Allen's note, Homeric Hymns, Demeter, 372.
9
iii.
6.
10
II
12
For the question of fowls and eggs see Miss Harrison, op. cit. pp. 149, 629. v. Frazer on Pausanias vi. 6. 8. The hound appears twice, on B and Q, ; the horse is represented only once, on Q.
no
The

cantharus too has probably the same meaning.
The
hero
is
represented as feasting, which to the ancient, as it is also to the modern Greeks, was practically the greatest pleasure. Many authorities hold that the cantharus typifies the libations offered to the dead ; and Prof. Percy
be a hint to his descendants that he does on which the snake drinks from the cantharus are not earlier than the fourth century, and probably show a misunderstanding of the type. But they may emphasize the idea that the hero is the snake he after casting the slough of the mortal body renews his existence as a snake, as that reptile by perpetually casting its slough perpetually renews itself.
it
Gardner suggests
may
desire libations \
Most
reliefs
Analogous
6.
reliefs.
are practically funereal. At first they are pure 2 Reliefs/ belonging to the cult of heroized ancestors in general but later they obviously approach very near to the ordinary grave relief,
reliefs, then,
'
These
Hero
On the other side they approach very close to especially K, L, and M. the * Totenmahl* reliefs. This is shown by an archaic (sixth century) relief
from Tegea 8 shows on the
veil
.
(Fig. 12.)
left
This
relief
woman enthroned
in profile to the right, holding out her
with her left, and a pomegranate flower in her right hand. Before her stands in profile to the right a nude
youth holding in his dropped right hand an oenochoe and in his raised left a wreath. On the extreme right,
just before the breakage, the
end of
a couch a table.
is
seen and on
before
the
it
the feet of
the hero;
This
cult is
couch stood by no means
Fig. 12.
and Laconia. The shows it existed in Arcadia. Two reliefs from Argos prove its existence there: one shows a
peculiar to Sparta
Tegea
relief
rises
warrior riding to the left, before him a snake, and behind it is a tall cantharus the other shows merely a 4 huge cantharus over which rises a snake as though to drink This latter relief finds parallels in two reliefs from Boeotia, both of which show a tall cantharus only 5 A relief from Livadhia also parallels the 6 beardless, but aged man is represented in profile to Spartan series the right. His lower limbs are covered with a himation. His foot (only one is visible) rests on a footstool: it seems to wear a shoe with an upturned point. The left hand holds out a staff, and the right a large cantharus. The whole relief is very flat, and the hair is not plastically
:
.
Pausanias mentions painted Tombstones on which hounds and a horse appear 22. 6; vii. 25. 13).
1
(vii.
Furtwangler, Ath. Mitt. 1882, p. 164. Now in Athens. Cawadias, rXun-rA TOV 'EOviitov Movffeiov, 55 Milchhofer, Ath. Mitt. 1879, P- I 35- 3 2 > pl- VII Svoronos, 'EOvtKov MovatTov, p. 100, pi. XXII. * Tne second relief bears an inscripAth. Mitt. 1879, PP- J 5^ 1 5 8 > nos * an(i 7' tion saying, I am the hero s.' 6 6 Ath. Mitt. 1878, p. 317, no. 9. Ath. Mitt. 1878, p. 331, nos. 31 and 32.
v.
3
; 5 -
/ H. S.
loc.
dt. p. 129.
III
rendered. Probably details would have been rendered by painting. The hero wreathed vase from Boeotia also shows a similar subject. His left facing to the left is reclining on a couch before which is a table. hand holds a fruit, and his right holds out a cantharus from which drinks a huge curling snake \ And to go yet further afield, a relief from Olbia belongs to the type of
2 It shows a hero enthroned; he is beardless, wears a L and himation about his lower limbs, and holds out in his hand a cantharus. From the side of the throne a curling snake erects itself. Above hangs a shield and armour ; before him is an altar, and a procession with an
.
offering approaches. Also a relief in Naples has
some connexion with this type. It shows Doric chiton and a veil-like himation held by her left hand, advancing in three-quarter profile to the right towards Heracles In his seated on the steps of a shrine in three-quarter profile to the left. left hand he carries the club and the lion's skin, his right hand holds out a Hebe carries an oenochoe cantharus 3 in her right hand
Hebe, clad
in a
: .
Again the standing type shown by and I finds some analogy in the stele of Lyseas, an Attic monument of the
early
fifth
4
It is a painted to the Lyseas right holding in his raised right hand a lustration branch, and in his dropped
century
is
stele.
shown standing
left
the cantharus.
* '
The Spende motive.

7.
Another Laconian
relief,
from
near Areopolis in the western Maina, gives further variation of the Hero type It is only a fragment, but (Fig. 13). enough remains to decide the subject. Fig. 13. On the left stands in profile to the right a maiden clad in a long chiton, and a veil-like himation which she holds out with her left hand like the female figure on A, B, and others of the Spartan series. With her right hand she pours out wine from an oenochoe into a cantharus held out by a hero who was probably enthroned
in profile to the
century The only other archaic Spende motive specimen of this motive was found at Tegea, and it seems now to have On it the female figure pours wine into a phiale 7 This is disappeared. the best known type of the Spende motive, and is very common in Neo.
left.
The
relief dates
'
from the
8
.
later sixth
This
is
what
is
known
as the
'
'Apx- 1890, pi. VII. Ouvaroff, Recherches sur 1. Ant. d. I. Russie Mtr. pi. XIII. 3 Arch. Zeit. 1862, pi. 163, 3. 4 Ath. Mitt. 1879, pi. i. Cawadias, TAvTrrd TOU 'EOviKov Movcm'ov, 30. The relief at Charuda, near Areopolis, also is connected with this type : v. Schroder, Ath. Mitt. 1904, p. 44. 5 Ath. Mitt. 1 883, p. 364, pi. XVI. Now in the Jacobsen collection, La Glyptothtque
'E</>.
Ny-Carlsberg, pi. 4, A. 6 Ath. Mitt. 1879, p. 166

7
Le
do. 1883, p. 366. ; Bas, Voyage, mon.fig. pi. 103.
112
Attic work.
It also

1
It appears on third-century reliefs at Sparta and Leyden occurs on later reliefs at Rome, Berlin, Paris, and in the British Museum 3 Since in all these instances the person holding the phiale is a god, it is probable that the phiale typifies a libation to a god, while the cantharus is the sign of the hero represented as feasting. The Hero reliefs where the phiale replaces the cantharus are not earlier than the 4 fourth century Further, on the one relief which shows a god, and on which the cantharus replaces the phiale, the god represented is Dionysus : and the cantharus is his peculiar cup. This, then, with the above reservation may be considered as the general rule for the Spende reliefs, without going further into the history of the type, which would not be to the purpose here, that the phiale indicates a god and the cantharus a hero. 8. Thus it will be seen that these Laconian reliefs are not an isolated group, at least as far as the subject is concerned. They are a class of Toten. . .
reliefs, which also illustrate the same custom as the Spartan reliefs. object in every case is to represent the dead as he was in life, and as 5 This is delighting in those things in which he had in life taken delight
mahl
'
The
the simplest
'
and most
'
rational explanation, since
reliefs,
Totenmahl
reliefs
and grave
stelae.
applies equally to Hero There is no need to conit
nect them with
was universal in Greece, and in the lands of kindred nations both prehistoric and historic, and which finds many parallels amongst uncivilized nations to-day, the cult, that is to say, that arose from the belief that where the dead is buried there the
the cult of the dead, which
And if the descendants properly feed and care for the with offerings of meat, drink and the like, the spirit remains there 6 It is from this that a rather far-fetched exto help and protect them planation of the ordinary grave relief like the stele of Hegeso is derived. The seated figure is the heroine, the slave girl the worshipper, and the 7 jewel casket she bears is the offering It cannot be said that this Spartan series in any way illustrates the funeral customs of the Lacedaemonians, unless the fact that only some of the reliefs bear names is due to the custom mentioned by Plutarch that only the tombs of those Spartans who fell in battle were inscribed with their It may perhaps be interesting to remark here that the Spartans names 8 buried their dead in the time of Lycurgus, and that their kings were probably always buried. At least, if a king died abroad his body was emspirit resides.
spirit
.
balmed and conveyed to Sparta for inhumation 9 Beliefs of a similar character. 9. There are also in Sparta Museum a few reliefs which are related to the class just discussed. The principal monument is the TotenmahV relief (573), which is a late example and of Pentelic marble, so that it is at least
.
'
Museum, 468.
Ath. Mitt. 1883,
p. 367, pi. XVIII. Schreiber, Hell. Reliefbilder, 34, 35, 36.
i.
a
3
ii.
Clarac. 122. 40, 41, 62.
Mus. Marbles,
;
13.
*
British
those at Palermo, Ath. Mitt. 1883, p. 370 ; at Paris, Clarac. 150. 266 in the ii. 41 ; and on a terra-cotta at Munich, Arch. Zeit. 1862, pi. 163. i. 5 Cf. Ernest Gardner, Ancient Athens, p. 464. 6 v. Ridgeway, Early Age, Chapter VII.
e.
Museum, Mus. Marbles,
7
8 9
Harrison-Verrall, Mythology
Inst. Lac. 18.
and Monuments of Athens,
p. 590.
Plutarch, Lycurgus 27, Ages. 60; Xen. Hell. v. 3. 19; Nepos, Ages. 8.
Diod. Sic. xv. 93. 6;
Of the other reliefs one doubtful whether the relief is local or imported l The second (5) shows merely a large coiled snake with erected head. (355) shows a snake with its mouth against an egg. This may indicate an offering to the deceased ; or the relief may refer to the legend of the
.
The third (565) is inexplicable ; it shows a man hurling something at a snake, with the obvious intention of harming it. It may be a grave relief showing how impiety caused death ; or it may indicate that there were bad as well as benign heroes.
miraculous egg
2
.
DIOSCURI RELIEFS.
10. The second important series of monuments in the Museum consists of the Dioscuri reliefs. It will be convenient to give a list of them inserting those from Laconia and not in Sparta, before proceeding to discuss them
and
their types
3
.
SIXTH CENTURY.
575. Amphorae
4
XT NO
447.
319. Horses.
FIFTH CENTURY.
No
m\ot.
588.
613.
So'/cai/a
(no
figures).
figures).
Amphorae (no
THIRD CENTURY.
nZXot. Cocks. Athens, Nat. Mus. 1439. H. .45, B. -30. D-M. 213. Gable-topped stele with acroteria. The Dioscuri stand facing one another in exactly symmetrical attitudes. Inner Inner arm rests on spear outer arm leg free and crossed over outer. resting on hips holds up chlamys falling across back from inner shoulder: both wear TrlXot. Between them by their lances are two cocks.
:
SECOND CENTURY.
201. Helen. \ 202. Helen. Horses. _~ mXo1 203. Helen. 8. Horses. J 356. Horses. Amphorae, no
'
TTtXot.
Verona.
Museo Lapidario
555. Amphorae. SoKava. Cock.
H.
538.
41, L.
.73.
i.
Roscher,
left
p.
Dutschke, 1171 fig.

Fig. 14.
(Fig. 14.)
On
1.
1
on a square base
TrtAoi,
1.
stand images of Dioscuri to right: wear
are
wrapped
it is
in
chlamydes;
arm on
165
is
chest,
r.
dropped
at side;
foot advanced.
Before them
probably also a fragment of Totenmahl relief;
also apparently of
Pentelic marble.
Seep. 1 1 6. An egg guarded by serpents appears in the gable of the early Dioscuri relief 575. 3 For a full discussion of the Dioscuri see the articles in Roscher' s Lexikon, and Pauly-Wissowa's Encyclopadie, Eitrem, Die goltlichen Zwillinge, and R. Harris, Dioscuri in Christian Legends. * After the numbers are added the attributes shown on the relief.
a
114
stand on a high base two tall amphorae of the usual type; in front of this is a low altar with a boar (horse ?) carved on one side. On the right stands a man (Argenidas) clad in chiton, holding with his right hand some object against the nearest amphora. Behind him in a harbour in an overhanging cliff is a small boat. Above, on the cliff stand
two SoWa, below which is inscribed A N A K E N from the 1. one a snake curls out towards the nearest amphora. Round the edge of the rocky harbour are carved small animals on the point of the rock is a cock. Said to have come from a Laconian seaport.
1
FIRST CENTURY.
490. Horses.
1O. Horses.
291. Horses.
7.
Amphorae.
Amphorae.
14 b.
467.
Athens, Nat. Mus. 2371. H. -49, B. -22. D-M. 206. Right hand Dioscurus only: stands en face] 1. free leg ; 1. hand shoulders sword ; wears TriXoy ; long hair ; nude. On right bordered by fluted column with leaf capital. Fragment. Mistra. Table. Amphorae. Bluish marble. M. 235. In Museum at Metropolis. H. -28, B. 4o. Only legs of Dioscuri visible en face inner legs free outer arms held Between them a kind of table on which are spears, supported chlamydes. traces of objects: under table stand two tall lidless amphorae. Fragment. Gunari. Horses. UtKos. H. -28, B. -17. D-M. 216. In church of Hagios Georgios. Left hand Dioscurus only in profile to the r. Behind his horse, which he holds with his 1. hand; r. hand holds a spear, and chlamys hangs over it: r. leg free:
wears
irtXos.
Fragment.
FIRST CENTURY,
A. D.
665. Horses. 15 a. Horses. 581. Horses.

11.
\.
IltXot.
611.
Levetzova. Horses. Amphorae. H. -57, B. -39. D-M. 208. Bluish marble. Dioscuri stand facing each other in three-quarter profile. Outer legs free r. Dioscurus, inner arm raised, outer dropped: 1. Dioscurus, outer arm raised, inner holds Each wears a chlamys over the shoulder, and a pileus. Between patera. their legs in front stand two tall, fat-bodied amphorae. In back and above horses just visible. Much worn.
:
9.
SECOND CENTURY, Horses (heads only) '. n?Xot.

Sofcam.
ii.
A.D.
The
On two of these reliefs the SoWa appear; these were the oldest images of the Dioscuri in Spartan territory, as explained by the following
1 Two reliefs given by D-M., I have not included, 207 and 220: the former has disappeared, and the provenance of the latter is doubtful.
:
115
* TO. Tra\aia T>V Aio&Kovpav a<pipv/iara ot STraprtarai passage from Plutarch 8oKava Ka\ov<ri' fan 8e 8vo gv\a 7rapaXXj;Xa 8v<rl ir\ayiois fTrffrvyfJ-eva Kal 8oKfl
T<5 (fjt\a$e\(f)(j) T>V Bftav OIKCIOV flvai rou ava0r}fj.aros TO KOIVOV Kal dfttaiperov. Further information is given by the Etymologicum Magnum as follows
:
8oKava, Tacpoi TIVCS tv AaK(8aifj.oviq' irapa TO 8egao~6ai Tas Tvv8api8as, (f)avTao~iav 2 From these passages XOV(ras racpcoi/ avfaypevav' T? Trapa ro SoKflv, 8oKavov .
put together, the explanation is obtained that the 8oWa were This is proved by the reliefs themselves : statues to dead heroes.
grave
Spartan relief (588) there is a snake on each of the snowing that that was meant to represent the hero. On the later Verona relief there is also a snake again brought in close connexion
with the 86<ava ; but curiously on this relief the SoWa are reduplicated. By the time when this relief was made the fact that the 8oWa represented the twin heroes was forgotten, and it was thought necessary to indicate The Dioscuri were obviously honoured as dead the 86Kava twice over. heroes 3 Further proof of this is given by the amphorae which are without doubt of a funereal character as shown by the snakes which 4 encircle them They are analogous to the large marble sepulchral The table so common amongst Athenian grave monuments. lekythi also has possibly some connexion with the Totenmahl/ and this 5 perhaps explains the |/ta or titogcvia offered to them . The two other the Dioscuri, the TriXot and the horses, are, as will well-known attributes of have been seen by the chronological list of the reliefs above, and as has 6 absent in the earlier represenalready been pointed out by Furtwangler tations of the heroes; and therefore are probably attributes added by a conquering race, the Lacedaemonians, to the heroes of the earlier popula.
. ' ,
on the upright beams
tion,
The Lacedaemonians wore piloi in Europe in the Iron Age helmets of a conical shape were used amongst the Celts, and helmets of the same form spread in the La Tene (late Celtic) period circa B.C. 4OO-A.D. 100 as far as Ireland 8 Thus it seems certain that the peculiar caps of the
battle
when adopting their 7 It is known that

.
worship.
in Central
Dioscuri descended from Central Europe. It is also certain that white 9 became horses, which are almost always associated with the Dioscuri known in Greece and Italy from the north ie and the sanctity universally attached to such horses seems to have accompanied them from their
, ,
original
homes 11 These points seem

.
to have escaped the attention of Wide,
who
suggests
1 3
De
Frat. amore,
ad init.
Suidas, Zonaras, Phavorinus, s. v. Eustath. ad II. 1125. 59. Cf. Forster, Hochzeit d. Zeus und Hera, p. 24, who suggests that as 86ieava rightly represented the pair of brothers, they were also used to represent the married pair, i.e. avvSvafffibs KOI crwoSos There is no proof of this however. dvdpds Kal ywaiKos.
3
Alcman,/r^.
e. g.
Pindar,
S. vii.
291, 356, and the Verona

;
Lacedaemon, /. H.
Roscher, p. 1171
Petersen
E-V.
5
Homer, Od. xi. 301, //. iii. 243. Compare also the bronze coins of p. 60, Imhoof Blumer- Gardner, Num. Comm. Paus. wrongly calls them agonistic, Rom. Mitt. 1900, p. 41, v.
x.
Nem.
56
relief.
1311.
6
8 9
10
Roscher, i. p. 1167 ; Pauly-Wissowa, ix. p. 1109. 7 Thuc. iv. 34. Roscher, i. p. 1172. Ridgeway, 'Date offirst shaping of oldest Irish Epic] Proc. Brit.
v.
v.
passim. Ridgeway, Origin and Influence of Thoroughbred Horse, pp. 105, 114, 353,
op. cit.,
Eitrem
Academy, 1905.
307, 186.
11
Ridgeway,
op. cit. pp. 105,
186-7, 294.
I
Il6
that the horses of the Dioscuri have a Chthonian significance *. Nor apparently was it noticed by von Prott, who asserted that the Dioscuri
2 their origin in phallic symbols argued that the ooxam were and that the TrlXos represented the extremity. phalli, prove this theory the TrIXos should appear on the earliest Dioscuri reliefs, and the So/mm
had
He
To
instead of being square at the top should be pointed. The 8oKava of course are merely other examples of the early aniconic images of The earliest Hera image divinities, to which we have many references.
at
SamoS
it
irporepov
is
similarly
rro8S>v es
. (lev r\v trav'is' v&Tfpov de avdpiavroeides cyevero said of the early Aphrodite by Daedalus that Kareio-i awl
. .
:
Ttrpaywov tr^/ia Mythological origin of the Dioscuri.

.
12. As regards their mythological origin it seems certain that the Dioscuri are twin heroes. Many other instances of twin heroes are known, 4 Amphion and Zethus the Apharetidae, the Molionidae, the Aloadae, and Romulus and Remus. It is noticeable that in each case there is a legend of miraculous birth it was said that Zeus was the father of the Dioscuri, and of Amphion and Zethus, that Poseidon begot the Apharetidae, the Aloadae, and the Molionidae, that Mars was the father of Romulus and Remus. The birth of twins was clearly regarded as a portent in some West African tribes to-day if twins are born, they are at once slain 5 Thus the crime of Antiope and of Rhea Silvia was not that they were mothers, Then should the twins be hidden by their but that they bore twins. mother, or should they when exposed be found and preserved, and so
,
; : .
eventually
grow to manhood, they would naturally be regarded as extraordinary men, and so probably after death become heroes. On the other hand in East Africa and in British Columbia twins are considered lucky, and they and their mothers are believed to have great 6 This would explain why the Dioscuri were influence on the weather Thus since different races consider twins lucky the patrons of sailors. and unlucky, a combination of both beliefs indicates two racial strata. In Laconia the earliest belief seems to have been that twins were unlucky. So the lucky twins who influence the weather, ride horses and wear the
.
irlKos
7 stratum. Legend relates that belong to a later, probably Dorian the two royal houses of Sparta sprang from the twin sons of Aristodemus this and the tale that the twin kings married twin sisters argue that the Dorians believed the birth of twins lucky.
,
:
The egg legend

13.
Helen and Eileithyia.
But there is the legend that the Dioscuri were born from an egg. This however seems due to contaminatio with the cult of a mother or nature
Lakonische Kulte, p. 316. i. Ath. Mitt. 1904, p. 18. S. Q. 99, 344. Compare also the bronze Apollo at Corone (S. Q. 232), the Aphrodite at Thebes (S. Q. 239), the Athena at Lindus (S. Q. 327), and the Eros at Thespiae (Paus. ix. 27. i). Usenet remarks that a 8oKava sign was and is still used as the sign of the Gemini in the Zodiac; Strena Helbigiana^. 319, 4. * Who are also called Dioscuri, Malalas, p. 234. Cf. the Acamantes, De Sanctis,
8
1
Atthis, p. 108,
5
Am
Journ. Arch. 1895,
p. 209.
ii. The mother herself takes an earthen vessel and p. 267. puts the twins in one over the other. They are then exposed, and either die of hunger or are eaten by wild beasts or ants. The women of Bonny kill the mother as well as the twins. * Frazer, Golden Bough*, i. pp. 91, 123, 466. 7 Germans and Celts worshipped the Dioscuri, v. Tacitus, Germania> 43 ; Diodorus,
Ploss,
Das Weib,
iv. 56. 4.
goddess.
:
117
A similar stiff archaic figure of Helen wearing the Constantinople of a mother goddess occurs on two other Spartan reliefs, 318 and polus 362. This Helen is an earth goddess, and in her birth from the miraculous egg parallels the Dea Syria. Her connexion with the This group, as shown Dioscuri is explained by the archaic group, 364. 4 by Marx and others, represents a birth or mother goddess in her travail attended by two male daemones. The kneeling position of the figure is shown by Marx to have been commonly adopted by women in childbirth.
3
'
The egg belongs really to Helen it was Helen alone who sprang from the marvellous egg given by Zeus to Leda or Nemesis \ And vase paintings actually show the two Dioscuri amongst the spectators Helen guarded by the Dioscuri also of the birth from the egg. occurs in 201, 202, and 203 ; somewhat similar representations are found on a Sarcophagus from Kephissia 2 and reliefs from Salonica at
,
'
It finds analogies in the Auge eV y&vcurw at Tegea, and two kneeling birth 5 these latter are probably goddesses, Damia and Auxesia at Aegina the Spartan Damoia and Auxesia (v. 222). There were also Di nixi on the Capitol at Rome before the Temple of Minerva and if von Prott's emendation is to be accepted, an exact parallel is found in Ovid's Lucinam Nixosque pares Eileithyia was worshipped at Sparta, and there called 'EXeuo-m; and Wide has shown her connexion with Demeter 7 Two points about the female figure in this group are noticeable, the goddess is nude, and has no navel. It is well known that not till comparatively late times do nude goddesses
: :
appear in Greek
records
as
that
art.
the
But Pausanias Athenians were the

feet
8
.
only Greeks
who
represented Eileithyia
draped to her
Again
that
:
Fig. 15.
she has no navel is not remarkable since she is a goddess she would not require to have been born humanly, 9 vase from Boeotia and would not have the sign of human birth. a draped female figure wearing a polus with her (Fig. 15) represents arms upraised; either side of her stand two draped male figures with their arms about her body to help the birth. The right-hand daemon is practically in the same attitude as that in the group under discussion. The left-hand daemon of the Sparta group is probably a parallel to the Roman Deus Vagitanus who opened the mouths of new-born infants 10 This group then represents a true mother goddess, that is a birth goddess,
Roscher, i. p. 1951. Roscher, i. pp. 1929, 1955. Joubin, Cat. des Sculptures, lai, 123;^. S. A. 1896-7, p. 160. See the references given under 364. Paus. vii. 48. 7; Hdt. v. 86; Wide, Lak. Kulte, p. 219. There was a Hera-
Ei eithyia at Argos, and
in Attica, Hesych. s. v. "Upa tv'Apyft, Keil, Philol. 23. 620. Paulus, p. 1 75 ; Metam. ix. 294. Paus. iii. 17. i, 14. 6; Wide, Lakonische Kulte, p. 171 seqq. i. 1 8. 5. At Aegium P. saw an Eileithyia by Damophon clad in fine linen probably the sculptor represented the goddess as nude, and her worshippers afterwards her (vii. 23. 5). v. Baur, Eileithyia, pp. 15, 28; Farnell, Cults, ii. pp. 608-614. draped
;
9
10
Rom. Myth. ii. p. 210, i. Cf. the Roman Picumnus and Pilumnus, Vitumnus and Sentinus, and Mutunus Tutunus; Preller, op. cit. pp. 236, 389, 394;
Preller,
s.
'E0. 'Ap X . 1892, pi. 9.
Roscher,
v.
Indigitamenta.
Il8
in travail assisted by two attendant daemones. were later confounded with the twin heroes,
These two birth daemones l and this coupled with the egg legend gave rise to the whole myth. Helen was the Kore of the Spartan 'EAeuon'a. In the Lysistrata the Lacedaemonian women continually use the expression in\ TO> o-io>, which is usually explained as referring to the Mother and Maiden goddesses. But since the dual is used it may more probably refer to these twin birth-daemones. And in this connexion it must be remembered that the expletives peculiar to Roman women were edepol and ecas/or 2
.
THE HISTORY OF SPARTAN SCULPTURE

The Sixth Century.
14. series of
So
far
monuments
our consideration has been confined to the two principal in the Museum, but only as far as concerns what they
It is now necessary to discuss their stylistic qualities, and to represent. It is not attempt to trace, if possible, the history of Spartan Sculpture.
necessary to suppose that from the very beginning there was a separate The first examples of plastic art in every land are Spartan school.
difficulties and limitations, and therefore the show some likeness to one another. But the individuality of the artist and his material produce technical and eventually stylistic differences. Thus, though we may separate early Greek sculpture into Attic, Boeotian, Northern Greek, and Island or Ionic groups 3 it is wrong to assume a definite school in each district, with a knowledge of the art of the rest
always subject to the same
results
of the Hellenic world, consciously keeping to its own artistic traditions. In the sixth century artistic communication was not easy consequently it is not the points of likeness shown by one group to another, but the points of difference that should call for remark. Again, in considering early
:
hardly correct to place reliefs and free statues in the same considerable differences in the technical difficulties. Therefore it is here proposed to treat reliefs and free statues separately, The two classes can be so far as technical peculiarities are concerned. roughly tabulated in order of development.
sculpture
it is
class, since there are
A.
FREE STATUES.
1.
B.
Geraki,
RELIEFS.
325. Bearded man. 576. Seated man. 364. Eileithyia group. 600. Chthonian deity. 2. Enthroned goddess.
N.
stele.
Archaic
Geraki, O.
654. Gorgoneion. 575. Dioscuri.

Berlin, 731,
3.
A.
Hero, B. 316. Hero, C. Maina (Jacobsen) spende relief. 450. Girl holding flower. 415. Hero, D. 451. Hero, E. 655. Pilaster capital (5th cent, early).
1 There was a Priapus kv ytvaffiv, Kaibel, 782, Anth. App. Planudea, 239. Vedic twins, the A9vins, were patrons of marriage, Harris, op. cit. p. 15. 2 Cf. Aulus Gellius, xi. 6. 3 See E. Gardner, Handbook, chap. ii.
The
A.
Free statues.
l
,
earliest statue is possibly the nude bearded male figure (325). a good example of the rude and coarse work typical of primitive art. The flatness of its surfaces, the squareness of the sides, and the lack of modelling show it to be little more than a square aniconic pillar, roughly hewn into human shape. It is, however, a little advanced from that stage; the arms though glued tight to the sides are bent, the fingers are clenched,
It is
The
the head leans slightly forward. This statue is especially deserving of attention, since no similar figure has yet been found. On the other hand, the seated male figure (576) is of a very familiar type. The draped The seated type would naturally be popular with a primitive artist. attitude presents the squareness he has to be content with, owing to his lack of mastery over his material, and, broadly speaking, it gives more
and
scope for generalization of effect than for precision in detail. This figure from its lack of detail, much in common with the statue of Chares of Teichiussa 2 (Fig. 16). But its closest parallel is found in a similar headless statue from Frankovrysis in Arcadia s (Fig. 1 7). This figure has
has, apart
Fig.
i 6.
Fig. 17.
,
more advanced 7 The 'Chthonian deity* shows more roundness of form ; there is less rigidity in the drapery, and an attempt to show the
.
been compared to another found at Hagiorgitika near Tegea 4 which has great likeness to the Eleutherna statue at Candia 5 (Figs. 18, 19). If this comparison holds good, we have definite monumental as well as 6 literary evidence for the artistic relationship of Crete and the Peloponnesus. However, such speculations are at present fruitless. The existence of this type in Laconia merely shows that the artists in that part of the Hellenic world were not inferior to their colleagues elsewhere. The other two figures of this type in the Museum, both statuettes (2, and 600), are
Furtwangler (Ath. Mitt. 1882, p. 170) wrongly says it is draped. B. M. Cat. i. 14; E. Gardner, op. cit. p. 106; Collignon, i. Fig. 77,
cf.
Figs. 76,
78, 81.
Cawadias, rAinrrd rov "EOv. Movaciov, 6; 'E^>. 'A/>x 1874, pi. 71, A. Cawadias, op. cit. 57; B. C. H. 1890, p. 382, pi. n. Cf. the Mycenae metope Kourouniotes,y#/^. 1901, p. 20, Fig. i. 5 6 Rev. Arch. 1893, pi. iii. See above, p. 99 seqq. 7 Cf. the seated Athena from the Acropolis, Collignon, i. Fig. 169.
*
120
contours of the body. The enthroned goddess (2) is yet further advanced, and by the rendering of the detail of the drapery, and the more accurate proportions of the figure, as well as the careful effort to model the body beneath the drapery, indicates the beginning of the formal and dainty refinement so characteristic of later archaic art *. The other monument remaining for consideration is the Eileithyia group (364). This group, from the necessities of the subject, imposed difficulties upon the artist 2 This is probably the earliest nude female statue of Greek art. The artist's knowledge of the human figure was superficial there is no framework of bone whatsoever. The statue is practically a mass of hard flesh roughly modelled to the shape of the female figure. The contours and the indications of sex are rendered, but the proportions are impossible. B. Beliefs. The Geraki relief, N, illustrates the rude and coarse work typical of
. :
primitive
art.
in relief, there
and though
to
to the figures being represented in outline practically no squareness, and the contours are round, clumsy are more natural. The seated figure however, owing
However, owing
is
its attitude,
is
square.
It also illustrates
another
difficulty felt
by
the
Fig.
it
1 8.
Fig. 19.
was easy to render the legs in profile, but not en face, and early artist while it was difficult to show the body in profile, it was easy to represent it en face. This is also well illustrated by the well-known stele (1), especially This stele in its style has some resemblance as regards the male figure. 3 and similar early reliefs. In it a fresh stage to the early Selinus metopes The earliest relief work probably of archaic relief work is reached. consisted of rude outlines rendered by incised lines on a flat surface. Next the ground was slightly cut away, and the outlined figures allowed to stand out in low relief: this is the stage reached by the Dioscuri relief (575), and in a somewhat more advanced form by the two Geraki and O. Gradually details were added, and by degrees the relief reliefs, height was increased. At first the edges were probably square and sharp: later, owing to the increased height of the relief, it was necessary to round them off. Then with the careful addition of detail, the naive precision and delicate formalism, the two most pleasing qualities of archaic art, are
;
,
obtained.
1
3
This
stele
then has reached the

Fig. 78. Figs. 118, 119.
i.
last stage
2
but one.
As
regards
Cf. Collignon,
See above, p. 117.
Collignon,
i.
the actual rendering of the heads are much too big.
,
121
human figure, it will be The women are shown
at
once seen that the
as such rather
by the
thick heavy drapery that entirely masks their forms, for the breasts are only faintly indicated. The men have abnormally long legs and feet, and prominent and essential muscular forms are exaggerated. As far as
actual technique is concerned, the small fragment 27 is probably of about But it shows, as far as can be seen, the long the same date as the stele. slender forms so characteristic of the art of the early fifth century. These
delicate and graceful, are present also in the oldest Dioscuri relief (575), which, though in technique it appears very archaic, little later than the stele from its execution seems somewhat later. Although (1) comes the beautiful relief of a girl holding a flower (450). in execution it is still somewhat unrefined, there is fine modelling. The curves are full and graceful the detail is stiff but dainty, and the whole possesses that delightful naive spirit which is the charm of archaic But there is no fault in the rendering of the body the artist, sculpture. so far as his powers allowed, showed the full beauty of the young female form. More developed than this is the Jacobsen relief 1 The forms in The body clearly seen beneath this are less full and more developed. the dainty clinging garments is long and slender ; but all the contours, though gracefully curved, are strong in outline. For all the delicate beauty of the figure strength is not lacking. The eye is big, and not in Both these figures may with advantage be compared to the reliefs profile. from the Harpy tomb from Xanthos 3 Totally different from these in many ways is the hideous Gorgoneion (654). This finds its nearest 8 The lean and wrinkled features are more parallel in a Cyrenaic vase pronounced than in other early Gorgoneia. The teeth are tusk-shaped, the tongue hangs out, the hair stands up in flame-like locks, and the two It probably served an apotropaic long plaits are rendered like beading. It has recently been identified as male, and therefore as purpose. Phobos 4 And so it has been connected with a group of Gorgoneia that are all possibly male ; but none show any stylistic likeness to this. This however does not illustrate early relief development. The latest development of the stiff and naive but dainty style is shown by the pilaster capital from Slavochori (655). The figures on it are represented in motion, and this, producing a quaint clumsy effect, shows the limitations of the
same slender forms,
'
'
style,
which
older
is
best suited to figures at rest.
Hero reliefs (Berlin 731, and 732, Museum 3, and 316) however are far more interesting. They show how a sculptor, used to treating the earlier contour or silhouette relief style, handled a more complicated
His subject consisted of the enthroned heroes seated side by side and they were to be shown in profile. The artist solved the problem by To cutting his figures out on parallel planes one behind the other. avoid the overlapping of the heads, the head of the nearest figure is shown
subject.
:
The
en face
1
5
.
Still
even with
pi.
this
ingenious technique the

7.
145'.
artist
fails
the
Ath. Mitt. 1883,

JB.
XVI.
See above
viii.
3
3
M.
Cat.
i.
94.
Perrot,
Fig.
shows no likeness to the heads on the coins of the Macedonian Neapolis, Abydos and Eretria (Head, Hist. Num. pp. 175, 468, 305), nor to the Rhodian plate (J. fl. S. 1885, pi. LIX) see also Olympia iii. pi. 8. 8 and 9
Zeit. 1881, pi. 12. 2.
It
:
Arch.
Collignon, i. Fig. 103. 4 Roscher, iii. p. 2394.

5
It is interesting to
compare an early Boeotian head with
this,
B. C. H. 1886,
pi.
VII.
122

:
planes occasionally merge into one another, and the legs of the further besides figure are on a higher plane than the left arm of the nearer figure The peculiarities of style of this class of the background curves at times. reliefs are thought to be due to wood technique, derived from the supposed practice of splitting away with the help of the grain several layers in 1 But more probably it is due to the result produced by succession attempting to place one figure behind another in the silhouette style of 8 These figures are stiff and square no trouble is taken with the relief proportions, the eye is en face> the hair is rendered like beading as already noticed in the Gorgoneion (654), and the hard, square, unmodelled edges of varying depth between the planes are distinctly a fault. The Thiokles relief (Berlin, 732) gives the effect of a relief of this type of a slightly later date showing only one figure. The other reliefs of this class (3, 415, 451, 316) carry this type down to the fifth century. The one placed first (3) shows a little more development in style ; the edges of the planes are more rounded, and the worshipThis process, as far as can be seen, pers are shown one in front of another.
.
is
illustrated also
by 415 and 451;
the last
another interesting feature.

material increases, there
is
As
the artist's
skill
example (316) presents and mastery over his
between the planes,
to bring
a marked tendency to lessen the distance them into closer relation with one another,
flatter.
and therefore
to
make
the relief
Fifth Century. 1 5. This brings us naturally to a consideration of the reliefs of this class belonging to the fifth century. These are two in number (4, and 431). They illustrate the same tendency just remarked as regards 316. The relief is very flat there is little or no difference in level between the planes. But the whole rendering has much more freedom all the lines though More detail is given, and this, coupled strong are rounded and delicate. with the retention of the old type and fineness of the execution of the flat More truly typical of early fifthrelief, produces an archaistic effect. Here the century work are the two Dioscuri reliefs (319, and 447). forms are long and slender, and are smoothly but firmly rendered. The outlines are given by bold sweeping curves, especially in 447 which in spite of its damaged condition is a most beautiful piece of work and recalls
;
;
The
good Attic monuments, but of more developed

Aristion
3
.
style, such as the stele of worth remarking that both these reliefs are very flat. The other monuments which can be dated to the fifth century are, apart from a few reliefs of no artistic value, free statues which are merely later This presents a serious difficulty, copies of fifth-century originals. since it is impossible to decide whether the originals were of Spartan workmanship. The two herm heads are in all probability copies of Attic work (57, and 582); they reproduce an original of which the best copy is the recently discovered inscribed Hermes herm from Pergamum 4 (Fig. 20).
It is
Collignon, i. p. 235; Perrot, viii. p. 441. E. Gardner, Handbook, p. 137. somewhat similar flat technique is shown by the new archaic metopes from Selinus, Man. Ant. Lined, 1892, p. 957, pis. i, 2, 3. 3 Collignon, i. Fig. 201. Cf. the Ikaria stele, Am. Journ. Arch. 1889, pi. I. In the elongation of the limbs it recalls the Cretan bronze relief, Milchhofer, Anf. d, Kunst,
a
p. 169, Fig. 65.

*
Arch. Anz. 1904,
p.
76; Jahrbuch, 1904, p. 22; Ath. Mitt. 1904,
p. 179, pi.
xviii-xxi.
I2 3
1 According to the inscription the original was a work of Alcamenes , whether the famous artist of that name or not is not yet proved. There are many copies of it, and it is worth remarking that Amelung 2 in discussing one of the best before the discovery of the Pergamum replica said it was derived from a late fifth-century original. It was very popular in the imperial period, to judge from the large number of replicas in Rome, so that it must here be excluded from a discussion of Spartan sculpture.
Asclepius (58 b) is in spite of the damage it has suffered a copy of a fifth-century work. Allowing for variations due to copyists it most resembles an Asclepius type, of which there are several replicas 3 the best
,
The
at St. Petersburg. This group Furtwangler assigns to Myron , and further he also finds kinship in style between this Asclepius and a Hermes in
being
This Hermes has some points of resemblance to the torso conjectured to be a Dioscurus of which there are two replicas in the Museum (92, and 513). The resemblance however is confined to the handling of the rather lean, but strong and wiry torso. The position of
the Vatican
.
Fig. 20.
Figs. 21, 22.
is
chlamys which is original if the Sparta type Hermes to be an addition of the copyist 6 is impossible to decide whether the Asclepius and this Dioscurus type are copies of Spartan works, or not. It seems More important is the splendid Eros torso probable that they are not. This is clearly a good copy of a bronze original, and (94) (Fig. 22). there is in St. Petersburg a replica almost complete, but much softer
the legs
is
reversed,
and
the
a Dioscurus, seems in the Under these circumstances it
v. S. Q. 808 seqq. ; Brunn, G. d. g. Sculpt, d. Vat. Mus. M. Chi. 671,
K.
p.
cf. ibid.
234; Furtwangler, Masterpieces, 675, Matz von Duhn, 325, 32!

\
73-
329*
340, &c. 3 v. Furtwangler, Masterpieces, pp. 186, 188, Fig. 79. and other details however show some differences. * Denied by Arndt, E- V. 306.
5 2
;
The modelling of the forehead
Gall. d. Statue, 417 Helbig , 221 ; Furtwangler, Masterpieces, p. 182, Fig. 76; cf. Meisterwerke, p. 379, on the Vresthena Apollo and the Sparta Apollo at Athens. 6 The rendering of the pubes is also different in the Hermes it is cut off straight above, and in the Sparta torsi it is slightly triangular.
;
124

This statue
series:
is said by Helbig and Conze Helbig says it is a copy of an
in the modelling 1 (Fig. 21). to belong to the Stephanus
Conze asserts that it is early work, but influenced by later naturalism. a true copy, Kekule agrees with Helbig. On careful comparison with the Sparta torso which is most unmistakably a true copy, the view maintained by Helbig and Kekule* is seen to be right. All the firm,
strong modelling that suits the well-built square body so well is softened and smoothed over in the Petersburg replica. The slightest inspection at once shows that this Eros type does not belong to the Stephanus series. The Stephanus athlete 2 is of slender build, with delicately shaped long limbs. All fine modelling is slurred and the hair is rendered by
;
close lying, finely chiselled, short curls, treated rather individually. The Eros shows a well-proportioned, square, well-knit torso; the limbs are
muscular and stout

severe, the look
is
the face is of a broad, and clean-cut type, although ; frank ; and the hair is handled as a whole in long, thick,
.
Furtwangler compares it in these respects and considers the type Attic 3 Michaelis 4 believes it which is perhaps more probable. A bronze male statuette Peloponnesian, from Sparta 5 belongs to this group the body recalls the Sparta torso, while the head shows the same character as the Spinario 6 and the This Eros type seems to possess most of the qualities Petersburg Eros. of the Choiseul-Gouffier athlete 7 but in a more advanced stage of artistic development. In other respects such as attitude and pose of the head
slightly waving, grained locks.
to the Spinario
it is
the forerunner of the
Terme Apollo 8
Its artistic
date
may
thus be
said to be the second quarter of the fifth century.
The Fourth Century.

1 6. The fourth century presents the same difficulties only two of the monuments, the two Hero reliefs (505, and 683), are certainly Spartan The first shows the archaic type preserved through religious originals. But though the conservatism, and still handled in the old flat relief.
:
has restrained himself, there is a freedom in the drawing especially of the dog and horse, that clearly points to a later date than the type itself would allow. This conclusion is borne out by the well-proportioned The Timocles relief at Dhimitzana may probably be classed with figure.
artist
In this the artist was less skilful the relief is higher, The bad proportions, archaism is a clumsy failure. the thighs for instance, are grotesque, and the vulgar stiffness of the whole has no archaic quality. On the other hand, the somewhat free rendering of the drapery betrays the archaistic artist. Totally different in style is the beautiful relief 683. This is in composition a little severe, but noble and dignified. The cantharus and the human figure, in spite of unequal The relief is perfectly quiet, and all size, balance one another perfectly. the lines are self-contained and the hero's gaze is directed towards the
this as archaistic.
:
and the attempt
at
01
Kieseritzky, Hermitage Cat. 153; F-W. 217, Rev. Arch, ist ser., v. p. 557, pi. Bull. Inst. 1867, p. 128 ; Roscher, i. p. 1354; Joubin, Sculpture Grecque, p. 80;
;
Olympia, pi. LVI. 2, text. a Brunn-Bruckmann, 301

*
F-W.
225.
Meisterwerke, p. 679.
Arch. Anz. 1904, p. 33, Fig. 2. near Sparta, Spinario, which is of the later type, was found 7 Reinach, Rp. in. 1437. Collignon, i. Fig. 208. 8 Furtwangler, Masterpieces, Fig. 8, cf. Meisterwerke, p. 379. Neither of these however can be called Peloponnesian.
Berlin, Inv.
6
Strassburger Festgabe, p. 29.
The Rothschild
8576
125
The somewhat flat modelling of the snake is the only blot. cantharus. But the skilled rendering of curves and curved surfaces is masterly, The plain especially in the cantharus, the chair-back, and the arms. architectural border appropriately frames this fine, simple work of art.
free statues, if defaced heads and limbless bodies can be dignified by such a name, which can be attributed to this period, are all copies of the Most important is imperial period, and with few exceptions bad copies. the Artemis torso (326), which as a copy is superior to all the others. It is derived from an original of which we have many replicas, and which It is known as the Artemis Colonna from is attributed to Praxiteles \ the Berlin replica, which is the best so far identified. One other replica, 2 This Sparta that in the Museo Naniano, came from the Peloponnesus should rank high as a good copy from its fresh and replica, however, The attribution to Praxiteles is however not certain, vigorous execution. and the type seems to be rather pre-Praxitelean, and may even be Peloponnesian. Next in importance is the Asclepius head (58 a). From the formation of the forehead, the softer lines of the features, and the free, curly hair handled as a whole, this clearly goes back to a fourth-century It however bears no resemblance to any hitherto known type. original. In some respects it may be considered like the Asclepius of the Piraeus, and the head from Melos in the British Museum 8 However, it has no stylistic kinship with either of these, which from their florid style seem rather to belong to the adaptations of the second century from an earlier
.
The
The torso called Asclepius (710) is of good workmanship, and depends on a fourth-century original, but there is no existing monument which seems to be able to be brought into connexion with it. Similarly the battered torso 629, which at first sight suggests a connexion with a fourthcentury Apollo or Dionysus, owing to its damaged condition cannot be
type.
here discussed. The Ganymede (89) is similarly in all probability a variation of a type of the same period, but it cannot be definitely placed, and at best it is inferior work. The other fragments do not merit detailed
'
'
consideration.
The Third Century.

relief at
17. In the next century two reliefs of the Hero type, the Aristocles Dhimitzana and the Piraeus example, continue that series. The
influence of good reliefs like 683 can be traced in the composition. But the style betrays morbtdezza, and gives indications of that fatal ease of
workmanship which destroys

is
all
independence of
style.
Most important
the splendid relief to Apollo and Artemis Wolters 4 concluded (468). that since the golden eagles at the Delphic omphalos were taken by the
Phocians when they despoiled the temple, and since they do not occur in 5 any representation of the omphalos except on a stater of Cyzicus any of them must be older than the middle of the fourth representation century. His conclusion that this relief is of fourth-century date appears to be strengthened by the resemblance between the Artemis and the Nike
,
balustrade
6
.
The Artemis
again
is allied
to the
Aphrodite of Epidaurus
N.
92.
7
,
Klein, Praxiteles, p. 310, 2 ; Amelung, Sculpt. Vat. Mus., Br. Pacciaudi, Man. Pelop. p. 163 ; Reinach, Rtp. 318, 5, 6. Collignon, ii. Figs. 126, 185. Atk. Mitt. 1887, p. 378. Head, Hist. Num. p. 453. Kekule", ReL an d. BaL
Figs.
M. and N.
Collignon,
ii.
Fig. 242.
126
which is supposed to be connected with the Venus Genetrix, whose origin has been traced back to the fifth-century Attic school \ The evidence about the eagles by the omphalos hardly seems conclusive and the overrefined style of the relief, especially in the handling of the drapery, is far more like third-century work. The whole type too is closely connected, as the forerunner, with a neo- Attic relief in the Louvre 2 (Fig. 23) ; and this
:
is
the
grouped naturally enough with a series of other neo- Attic reliefs showing The Apollo is the archetype of a figure common on same motive 3 neo- Attic reliefs 4 where it is usually female, and therefore a muse. The
.
5 If, as is now example of the type is a relief at Constantinople the Nike balustrade dates from the fourth century, then usually accepted, this relief stands midway between the Nike balustrade and the neo- Attic 6 reliefs which it influenced Next in interest comes the Asclepius and The Asclepius shows considerable likeness to the relief (580). Hygieia
finest
Most remarkable is fourth-century Asclepius type illustrated by 710. The figures are almost free, and are set side by side the very high relief.
on a semi-circular base before a background, from which they stand out two statuettes. However it seems to be only the natural development of relief technique, such as is shown in 683. The refined rendering of the drapery, and the exaggeration of the muscles of the male figure, are
like
This both typical of the third century. muscular exaggeration is again shown by the powerful torso 301. It is due to the attempt
to deify the human figure by exaggerating the muscular development. Later, towards the end of the third century, there was a
Fig. 23.
though so small, at once makes it
make the gods more human. This was done not by decreasing the exaggerated muscles, but by transforming them, so to An example of this is to be speak, into fat. seen in the Dionysus torso, 487. This torso, and a brief examination is of excellent workmanship clear that what at first sight appear to be muscles are
desire to
;
merely rolls of fat. The soft, flabby treatment of the whole figure is Of a different character is the Heracles head (52). in keeping with this. This shows Lysippean influence; but its qualities are rather post-Lysippean. The deep-set eyes, which in the Agias have an intense, determined look, here are rather cast upward with dramatic pathos. The type is, from the
deep-set eyes, the free, full handling of the hair, and the strong formation of a rather small skull, clearly Lysippean. But it is given a totally different expression, owing to the sentimental sensationalism so characteristic ot the dramatic ideas of later Greek art, which finds its latest and fullest The colossal female head expression in the great Pergamene frieze. (571) is interesting as showing the persistence of earlier types in spite of
and
1
3
the refinement typical of this period. It represents a mother-goddess, T is of the Helen type (cf. 318, 362) .
Clarac, 122. 41. Furtwangler, Masterpieces, p. 82. Ibid. 122. 40, 62, 120. 39 Schreiber, Hell. ReL 34, 35. * s Neu-Attische Reliefs, type 37. Inv. 1028, from Panderma. Hauser, 6 Hauser, op. cit. p. 70. 7 Cf. D-M. 97, the statue of the door of the house Kopanitza on west side of square by Metropolis; Phot. Inst. 2821.
;
The Second Century.
127
1 8. This persistence of earlier types is again illustrated in the second century by the archaistic Helen figure on the Dioscuri reliefs (201, 202, 203). In general the monuments in the Museum that are originals or are derived from originals of the second century are few and very inferior The nude male torso, Apollo or Dionysus (106), is a fair in style. specimen of the art of this period, which towards its end was largely influenced by a reaction against the dramatic and sentimental type of the l third and early second centuries This torso is executed in a simple, and clean-cut style, showing of course the morbidezza which was one fresh, Similar in style is the nymph holding of the essentials of beauty in art. a shell (99), a type that first becomes popular in this period, and which continued in favour during the imperial period, principally to serve as a With this style the Amazon sarcophagus (279) and the fountain figure 2 Aphrodite and Eros (414) can also be connected. Both are probably second-rate local originals of the period. The bearded head (341) shows the same tendency, but may be a copy after a fourth-century type. The tapering shaft of the Heracles herm (286) is said to be characteristic of this period, when more attention began to be paid to sculpture of a purely decoras tive character . The other principal quality of the art of the period is well This shows naturalism of the illustrated by the grave relief (257, 294). best kind, not realism depending on the close and accurate representation of one model, but a naturalistic type formed by observing and uniting The treatment the best qualities of many models of the class studied. of this relief is fresh and spirited, a naturalistic contrast to the rather academic character of the other side of the art of this century. Similar is It is to be remarked that in this century we the stele of a woman (28). It is only to be expected first find grave reliefs of the usual Greek type. that after the battle of Sellasia (222) and the tyranny of Nabis (207-192) Sparta must have abandoned to a large extent its former exclusiveness.
* '
.
The First Century.

Of
real
the
monuments belonging
to the first century only
one has any
This still shows value, a sarcophagus fragment (290). considerable traces of colouring, and in execution is fresh and spirited.
artistic
Greek sarcophagi of the imperial period the Bucrania are replaced by and this example, which probably dates from the early Augustan 4 period (20 B. c.), is one of the earliest specimens on which Erotes occur The Hygieia type of 289, repeated by 293 and 321, goes back to an 5 earlier original, from which also a statue in the Louvre is derived This original would have belonged to the Praxitelean School. One grave relief (455 a) is a fair specimen of naturalism influenced by And in this century we first find statuettes of Cybele archaic types. There are four other statuettes of the goddess in the (351, 302). Museum, but all of later date. So it might be allowable to place the
Erotes,
. .
On
introduction of her cult into Sparta in this period

1
6
.
More
interesting
still
Furtw'angler, Masterpieces, p. 399. 2 Cf. Reinach, Rtp. 405, 1-8. 3 Cf. D-M. 83. = Reinach, Rep. 524, 2. =Roscher, i. p. 2170, said to belong to early third century; cf. Schreiber, Alex. Toreutik, p. 452, 71. * v. Altmann, Arch. u. Orn.d. ant. Sark. p. 59 seqq. ; cf. 48 which is later in date. 5 Reinach, Rp. 298, 5, cf. a statue at Munich (Brunn, Glyptothek, 174, Furtwangler, Glyptothek, 310; Clarac, 556, 1174).
6
v.
v.
Wide, Lak. Kulte,
p.
204;
cf.
D-M. 194.= Athens
Nat. Mus. 1548.
128
is

Who
the votive relief to Alexandra (441), but only from a religious standthis goddess Alexandra was, is a matter of doubt. She was point. in later times identified with Cassandra. From her name she should be a
;
warlike goddess, but the relief shows her playing the lyre this perhaps to the Cassandra legend. Our knowledge is limited to the fact ' 1 that there was in Laconia a local goddess Alexandra, Helper of men '. The other fragments attributable to this century are of bad local
was due
workmanship. First Century, A. D.

19. The great majority of the sculpture in the Museum belongs so far as the actual date of its execution is concerned to the imperial period. Our knowledge of Roman sculpture is as yet so limited that little can be dated with any certainty to this or that century. One or two fragments however are characteristic of the first century. There are two heads which show the peculiar style of the Claudian period An original of (53, and 60). the latter part of the century is possibly to be found in 64, perhaps a Dioscurus head. The Orpheus ' relief, 6, is a good example of bad and hasty work, due to the ease with which technical skill could then be obtained. The
'
resting Heracles fragment (115)
is
of a type
very popular with

the Farnese type,
Roman
and
taste.
It is related to
in all probability derived

.
from a Lysippean original 3 But the type has suffered badly at the hands of the adapter, who added the brutal, vulgar elements that play to
'
the gallery/
The
'
'
Suovetaurilia
relief
(614)
is
characteristic of imperial triumphal monuments, and in style suggests works of the Augustan
3 Of the honorary or memorial statues period so popular in the Roman period in Greece, there are two excellent early examples in 85, and 443 4 Such statues when erected to a deceased person had in all probability a two.
Fig. 24.
fold
set
purpose.
They were on
the
one hand
up by wealthy persons
in place of the ordinary grave relief in
memory
of departed relations. On the other hand they might be honorary statues erected by friends or some local authority to a public person during his
lifetime
and sometimes
after his death.
Second Century, A. D.
For the following century there are also some good typical works. This resembles is the bald-headed philosopher (343). the Platonic type as it appears in the heads at Aix (Fig. 24), and in the Louvre 5 The upward look of the deep-set eyes, and the broad-tipped nose are essential features of the Platonic type. This is probably a
20.
Most remarkable
.
portrait of
Two
1
some local Platonist who cultivated a Platonic appearance female heads (62, 338) are apparently an attempt at the ideal, which v. Wide, op. cit. p. 333 seqq. The S. Italian Alexandra-Cassandra has no
-v.
connexion,
v.
Pauly-Wissowa,
d. d.
s.
n.
Amelung, Fiihrer
Ant. in Florenz, pp. 31, 134.

;
Cf. Relief in Louvre, 1097 Clarac, 224, 308. Others of later date are 87, 88, 110, 111, 126, 330, 616, 673, and 709. Bernouilli, Gr. Ikonogr. ii. pi. VI. I am much indebted to Miss MacDowall for these notes on the head.
129
does not seem to have been very successful. More interesting are the two engaged Heracles herms (442 a and b), to which should be added another Heracles and an Omphale head from similar herms now at Dhimitzana 1 (Fig. 25). These engaged herms certainly served some architectural purpose, probably in a gymnasium. Possibly they were used as Atlantes to support a colonnade, or they may have been placed as decoration against an otherwise bare wall to look out between the columns of a colonnade. The bearded heads show the hair handled in loose curling masses deeply undercut by the drill, and in fact worked rather by it than by the chisel. The Omphale head is remarkable for the accurate, but hard, unsympathetic treatment of line, and the total absence of any feeling for texture. These qualities are noticeable in any copy of the Antonine period, and are, apart from a dignified stiffness, the Of the portraits only remarkable features in these presumed orginals. 54 is perhaps an Antinous, 337 is a good typical head of the time of Antoninus Pius, and 574 shows the style of the reign of Marcus Aurelius. The female head 66 is interesting from the peculiar arrangement of the hair, which is a variant of the fashion adopted by Faustina the younger, Lucilla
and Crispina 2 Third Century, A.D.

.
21. In this century art which had been more or less flourishing under the Antonines, ran to seed with great rapidity ; only portraiture flourished. The
bearded head 63 shows the impressionistic

that prevailed in the early part of the century.
style
And
Fig. 25.
of the manner of its * last years it shows the beginning of the crystalline style of the Constantinian period 3 , to which it
fine portrait (70) is typical
; '
one
might perhaps belong. The Amazon sarcophagus (488) and a grave relief (589) prove that art was otherwise in a very degraded state. Popular Roman types, 22. Of statues popular in the imperial period we have one example in the Artemis represented here twice (112, 131). There are many similar statues in various museums 4 but the type cannot with certainty be traced 5 any further back than the Artemis of the Pergamene Gigantomachy As far as type is concerned it has some connexion with the 'Diana of Versailles all that is the type may go back to the fourth century certain is that it was popularized in the second century, and was a favourite with Roman taste. Also typical of Roman taste are the Dioscuri statuettes 118 and 285. They are of the type of the Dioscurus from 6 Carthage in the Louvre and to be compared with two other statuettes
,
'
in the
relief,
same Museum 7
Similar too .are the figures
on the Dioscuri
9.
2
Ath. Mitt. 1879, p. 127,
and
3.
For
portraits of this period see Bernouilli,
Rom. Ikon.
ii. 2.
Cf. Riegl, Strena Helbigiana, p. 250, &c.
A; 570, 1218 A; 570 A, 12240; 570 B, 12246; 572, Reinach, Rep. p. 310. v. Beschreib. d. Skulpt. a. Perg. p. 23. Reinach, Rep. 109, 5, Louvre, 1822 ; Furtwangler, Masterpieces, p. 231. Reinach, Rep. 109, 3, 10, Louvre, 298, 300; cf. also D-M. 89 which is now at Dhimitzana.
e.g. Clarac, 365, 1217
cf.
1224;
130
In
fact
and the Decoration of Houses.

a study of the sculpture in the Museum leads to the conclusion it must have formed part of the decoration of Roman houses and villas, which must have been common during the peaceful times of the early empire in the fertile Lacedaemonian plain. Other facts point to this also *. The fountain (143) is of a type common in Roman museums ; one very similar to it may be seen in use in the cortile of the Belvedere of the Vatican. Circular bases (e. g. 188-194, 684, 755) too, like the Spartan ones, are common in Pompeii. They were used as supports for fountain figures, or for basins by fountains in the impluvia in houses 2 , and occasionally perhaps they served as altar bases. There are also three fountain figures in the Museum (22, 99, 727) of ordinary Roman types such as would be used for house decoration. Sarcophagi and Grave Reliefs. 23. As stated above, the Spartan grave reliefs present no unusual features. They are all later than the second century B. c., and mostly of very rough and bad workmanship. They are probably such reliefs as would have been put up by poorer people. In contrast to these there are the sarcophagi and grave statues used by the wealthier Laconians. Amongst the sarcophagi it is interesting to note the great popularity of the Amazon type. Besides those in the Museum (35, 67, 279, 476-481, 498, 499) there are several others noted by Dressel and Milchhofer 3 and recently two have been found at Gunari 4 The same motives are continually repeated, but no two sarcophagi are alike. They seem to fall midway
that the bulk of
: .
between the purely Greek and the

fragments of purely
There are several classes. b, 73, 306, 765, 766) with sarcophagi (51 These are however all of rather late date. reclining figures on their lids. At least their existence points to a considerable wealthy Roman element in Laconia in the imperial period.
Roman
Roman
Christian Sculpture.
24. One late statuette is of considerable interest: this is the Good Shepherd (308). Apart from Byzantine and Prankish work it is the one piece of Christian sculpture in the Museum. The type is remarkable since it is perfectly obvious that the Christian artist imitated statues of a heathen god,
Hermes Moschophorus
There are two Good Shepherd or Kriophorus 5 types, one directly dependent on the Hermes Kriophorus in which each hand holds two legs of the sheep 6, In the other type, probably created by To this Christian art, all four legs are held together by the right hand.
.
second type the Sparta statuette belongs 7 the type is supposed by De Rossi to have originated in the third century A.D., probably in the Eastern church. For Byzantine art there are several good examples of ordinary
;
e. g. the Roman mosaics discovered at Sparta, v. D-M. 279, 280, Ae\Tiov 1889, p. 74, Arch. ZV. 1881, pi. xii. 8 There are four similar bases at Dhimitzana ; whether these came originally from Sparta or not is not known. 3 cf. Sparta Museum, 717. 238, 241 ( = #. M. Cat. 2304), 242 * One very badly damaged still at Gunari in house of loannes Nikolopoulos, L. 1-70, H. .60. The other in a magazine at Nat. Mus. Athens (no number), H. -65, L. 1-51. Unpublished: is in type similar to Robert, ii. 69 6, 71 c, 73, 75, 76. So like others it comes before the first Roman group.
1
;
8
7
Cf. Reinach, Rp. p. 551. e.g. the Lateran Statue, Reinach, Rtp. 552,
6, 7.
Replicas at Athens, Constantinople and
Rome, Reinach, ^#.552,3; 551,75
553?
1'
decorative work.
fair
131
The carved capitals (39 b, 156, 170, 413, 492) are all specimens of Byzantine architecture. Of the reliefs 297, like the capital 39 b, shows a favourite motive, a bird on a vine pecking at grapes. The peacock relief (739) is a very fine piece of work. Another relief
that the Byzantine
interesting as the rest, proves at least possessed considerable technical skill, and had great feeling for beauty of design. The one piece of Frankish sculpture in the Museum (327) is remarkable if only for the fact that Frankish sculpture is not at all common. The Franks were rough warriors with no eye for art. This rude grotesque gargoyle represents
(770),
if
not
so
good or
artists
possibly the
most they attempted \
Spartan and Ionic Art.

2 25. Klein has recently asserted that art in Sparta drew its inspiration from Ionia. He supports his view by reference to the literary traditions of the immigration of Ionian artists. He quotes no monumental evidence except Zahn's comparison of a vase fragment from Clazomenae with the Hero relief type 3 On the contrary it seems more probable that these artists came to Laconia not as missionaries, but attracted by its fame as an art centre. The Cretan Daedalid School was flourishing in the Peloponnese long before the Ionian immigration. Also the discovery of Minoan pottery 4 in Laconia proves clearly its old and close relations with
.
Till definite evidence is forthcoming, early Spartan art should Crete. rather be considered as sprung from the Daedalid School, containing of That this art developed naturally is clear : Furtcourse local elements.
says that the Jacobsen relief for all follows the old Spartan traditions. Perhaps the
wangler
its advance in style Eros (94) represents
them in the fifth century, and also perhaps the bronze Apollo of the Mantua type from Pompeii. This Wolters 6 from late coins, tries to show is of Spartan origin. But Furtwangler 7 has assigned it to Hegias the master of Pheidias, whose name rests on an emendation. It should not be said that Spartan art in the fifth century was nonA region so fertile in existent, since we have no monuments as yet. archaic art, should not have been less fertile in the great period. But the
,
spade alone can prove or disprove these conjectures.

1 There is, however, walled up in the house of loannes Sikiotes at Parori a rude warrior relief, which is probably Frankish. 2 G. d.gr. Kunst, p. 120. Cf. Furtwangler, Meisterw. p. 719, 5 ; Schroder, Ath. Mitt. 1904, p. 48, on the Geraki stele. 3 Ath. Mitt. 1898, p. 61, pi. 7, i. Zahn's reference to Furtwangler's comparison Modern (Coll. Sab. p. 26) of the pointed shoes to Hittite work has little weight. Greek peasant shoes have pointed toes. * Bosanquet,/. H. S. 1904, p. 317, cf. Introd. to Misc. Ant. 3, below. s Ath. Mitt. 1883, p. 365, v. above 7.
6
Jahrbuch, 1896,
p. I ; Klein, op. Masterpieces, pp. 52, 53.
cit.,
p. 409, v.
B. M.
C. Pelop.
PL XXV.
2.
K 2
SCULPTURE
1.
Archaic
stele.
Bluish marble.
Principal sides,
H.
-67.
Base,
H. -105110.
sides,
Relief
fields,
H.
-57.
-24--i6. Relief height, -035. D-M. 6, F-W. 55. Conze-Michaelis, Ann. Inst. 1861, p. 34. Loeschcke, Prog. d. Dorpat. 1879, De bast quadam prope Spartarn reperta. MilchPerrot, p. 445, vol. viii. hofer, Anfange d. Kunst, p. 186. Overbeck, 14. p. 127. Collignon, i. p. 232. Brunn-Bruckmann, 226. Introduction, the upper part was in later times bored It is pyramidal in shape
:
W. -4232.
Small
W.
through horizontally, and the top broken off. It was found, according to its former possessor (Manusakes), not far from the theatre, across a tomb to which it did not belong, at a place called Nepotroup/xt, S.W. of the Acropolis
and by the aqueduct (Conze-Michaelis). But according to Stamatakes, it was found S. of the ruins of old Sparta near Magula. A. A long-haired and bearded man advances to r. (both feet flat on
Fig. 26.
Fig. 27.
the ground), towards a woman who faces him and wears a long chiton and a veil. Her r. hand rests on his head, and 1. is stretched out towards His 1. hand holds her head from the sword he directs at her throat. The man's hair is in long plaits down the back and over the behind. The man's calves and the woman's face show the archaic shoulders. No detail of drapery shows on the exaggeration of necessary features. he clearly is draped the woman's veil and chiton are very man, though
:
thickly, stiffly,
similar long-haired and bearded man hand is on the back of the woman^s is shown advancing to r. whose hair is long rolled curls. She lays her r. hand on the man's neck, His r. and her 1. hand seem to have held a wreath between head. She is clad in a long plain chiton, and he in a short chiton them.
and
flatly
rendered.
B.
Similar representation.
His
1.
SCULPTURE
133
The man's hair is cut short all round, on reaching just below the hips. a level with the shoulders. C. D. On each small side is a snake curling upwards these indicate that it was a grave stele. The scenes have been variously explained as (i) A. Orestes and Clytemnestra, B. Orestes and Electra; (2) A. Eriphyle and Polynikes, B. Eriphyle and Alcmaeon; (3) A. Menelaus and Helen meeting at the sack of Troy, B. Alcmene and Zeus. It is impossible to say if any of these is right or if the true explanation is still to seek. Good, characteristic work of 6th cent. B.C. Figs. 26, 27.
:
2.
Statuette of enthroned goddess.
Bluish marble.
H.
-39.
D-M.
4.
Introd.
14.
Fig. 28.
The head
is
missing.
The
goddess, clad in a long chiton with diplois,
Fig. 28.
Her arms, over seated on a solid throne with curved back and legs. which the sleeves fall in regular curving lines, are laid on the sides of the
is
throne, her feet are set apart, but are level ; and the chiton falls in symmetrical folds between them and at the sides. Three locks fall forward symmetrically on the shoulders. The build of the figure is
square,
stiff,
and broad.
off.
roughly rounded
3.
At the back the statuette 6th cent. B.C.
is
not worked, but
Archaic hero
8, pi.
relief.
Ash-coloured marble-like limestone.
H.
-64, B. -61.
Relief height, o6.
D-M.
22,
F-W.
to
59.
Introd.
Found according
Stamatakes
3, 14. Fig. 2. in a later wall outside the
E. wall of the
134
Much defaced, especially the Acropolis, on the property of D. Matallas. head of the man, the throne, the cantharus, &c. The heroized dead, man and wife, are shown in profile to r., seated on a throne with a high sloping back, ending above in a palmette shown
en face.
is
The back legs are crooked like an animal's hind leg, and a dog seated by the front leg. Behind the throne a bearded scaly snake curls upwards. The man is shown in profile, all but the head which is shown He was bearded, and his hair was arranged as on the Berlin en face.
relief
forward
that is actually visible are the two braided locks falling the shoulders. He is clad in a long chiton, shown by vertical incised lines on the lower leg, and in an ample himation thrown
:
but
all
down
obliquely over the body across the 1. shoulder, leaving the r. arm and shoulder bare it is characterized by ten incised diagonal lines, following the direction of the garment across the body. His r. hand holds out a cantharus, his 1. hand is held out horizontally above with the palm towards the spectator. Behind him, and slightly in front, appears the
:
woman
in profile (head, legs,

;
arms and breast
only).
The
face
is
angular
hair
;
in outline
the eye
is big,
;
almond-shaped, and not in
was presumably filleted short braided over her head is a veil which she holds stretched out in front of her with her Her r. hand resting knuckles downwards on her knee holds 1. hand.
a pomegranate.
incised lines
profile. locks fall down at the side
The
The
close-fitting
:
long chiton
is
indicated
by
vertical
she wears shoes with upturned toes. On leg the r. there stand facing to the 1. in profile two adorantes, man and wife, both on a very small scale, and barely reaching to the level of knees of
on the lower
the heroes.
The man on a lower relief plane, but in advance of his wife, hand a cock, and in his 1. an egg (?). He is clad in a long The straight chiton, under which both legs show one before the other. woman holds in her r. hand a pomegranate flower, and in 1. a pomegranate: her hair falls down her back in a long broad plait: the drapery and Both faces are angular position of the legs are indicated as on the man. in outline and the hair of both is filleted. Good work, 6th cent. B.C.
holds in
r.
4. Archaic hero relief. Bluish marble. H. -32,
D-M.
12, pi. 24,

It
F-W.
W. .32 above, -29 below. Relief height, oi. 60. Ann.Inst. 1870, p. 278, pi. Q. Brunn-Bruckbuilt into the
mann, 227.
3, 15-
was formerly
3-
house of G. Vrachnos.
Introd.
Fi g-
The Similar representation to 3: but here the heroes face to 1. throne is slightly raised off the ground; its front legs are straight and lathe-moulded ; and the arm ends in a ram's head. The man is shown entirely in profile ; his hair is filleted and falls down his back and shoulders in regular braids. The under-garment is not indicated but the double edge of the himation is shown where it hangs down from the r. arm, and folds are shown on this piece and not on the body further, its two corners, with carefully shown creases, hang down between the arm and seat of the In his r. hand he holds the cantharus, and in 1. a pomegranate. throne. The woman holds out her veil with both hands, the r. holding it stretched out before her and the 1. by her neck. Her pointed shoes cover her ankles. There is no snake shown. The style of this relief is much more free than 3, and in its restraint is archaistic rather than archaic.
: :
v. Introd.
3 A.
SCULPTURE
5.
135
r.
Snake relief (Grave relief). Ash-coloured marble-like limestone
edge on
to
r.
broken.
H.
-40,
B. -20.
D-M.
21.
Bearded and
but severe.
6.
Introd. p. 113. crested snake curling
up
Style
and rendering
free,
5th cent. B.C.
Votive relief, to Orpheus (?). H. -48, B. .54. D-M. 259. Arch.

19.
Zeit.
1883,
P-
22 9-
F~
9 I 3-
Introd.
Found according to Stamatakes in a late wall outside the E. wall of the Rock background worked into three shallow caves. On 1. Acropolis. a youth seated to r. on the rock, clad in a himation over 1. shoulder and His r. hand rests on the rock, his 1. supports an eightthe lower limbs. On the rock round him appear in whole, or stringed lyre on his thigh.
In the centre, in part, four animals, a sheep, an ox, a horse and a stag. seated to 1. on a square block, is a short-bearded man in chiton and himation he holds in his lap with his 1. hand a roll, and in his raised r.
:
over his head appears an eagle just relieved from the background. standing en face on a square block (a statue ?) a youth in an ample himation holding a round shield and two spears. 1 The explanation of Ordinary, local work of about the ist cent. A.D. it is a votive relief set up to Orpheus by this relief is difficult possibly
another
On
the
r.
some
7.
local poet.
Dioscuri
1.
relief.
Bluish marble.
Upper
and
legs
H. -50, B. -49. D-M. 204. Introd. 10. and lower r. corners broken away, with head and r. arm of and amphora of r. hand Dioscurus.
:
1.
The brethren are shown standing side by side in corresponding symmetrical positions. The inner legs are the free legs the outer arms held bronze lances, as shown by a drill hole through the hand the inner hands hold uncertain objects (sticks, swords, whips ?). Each wears pileus; and chlamys on 1. shoulder, the only instance where the symmetrical arrangement is broken. By the outer leg of each stands a tall highhandled amphora with a conical lid. The bodies are strongly built, but
;
badly rendered. Ordinary local work of about the ist cent. B.C. Cf. 291, 356, 575 and 613. Above, between the heads of the Dioscuri, the inscription
:
KAAAlKPATHZTYNAAPIAAIZ
Collitz-Bechtel 4464. With the spelling Twdapidats 203, 1. 3, 24, and contrast Tivdap&av, 220, 447.
cf. Tvi/dcipip,
Twddpuvs,
8. Dioscuri relief. Bluish marble. H. -36, B. -61. D-M. 211. Introd. 10. The brethren, symmetrically arranged, stand facing one another in Both wear pileus, and have chlamys on 1. shoulder. three-quarter face. The outer legs are free legs. With their inner hands they hold their horses. The l.-hand horse paws the air impatiently with his fore leg, and
holds his head high. Flat, hasty work, not earlier than the 2nd cent. B.C.
Professors P. Gardner and Fnrtwangler have told me independently that they believe this relief to be of a much earlier date, probably of the 5th cent.
1
136
9.

Dioscuri
relief.
Soapy, grainless, white marble.

io-
H.
.33, B. .44.
D-M.
212.
Introd.
The Dioscuri symmetrically arranged as before ; both wear pileus ; they hold lances in their outer hands, and their inner arms rest on the hips, and over them falls the chlamys. The outer legs are the supporting They wear boots ; and by the side of the outer legs appear the legs. heads and necks of their horses facing outwards.
Clumsy and proportionless
late
work, 2nd cent. A.D.
10. Dioscuri relief. Bluish marble. H. -34, B. -22. D-M. 217. Introd. 10. Right upper corner only of a gable-shaped relief, showing only the r. Dioscurus down to the knees. He is nude, save for the chlamys, and wears a pileus.
Very rude,
ist cent. B.C.
local
work
probably a similar representation to 291.
11. 12, 13,
14
a.
Dioscuri
relief.
Bluish marble. Incomplete, consists only of large piece of upper 1. and small piece of lower r. hand corner. Originalsize, H. -60, B.^p. D-M. 218. Relief field enclosed by two Ionic columns supporting a flat entablaThe brethren stood side by side en face with lances ture with acroteria. in r. hands. They are nude and wear pileus, and their 1. hands hang empty
at their sides.
Introd.
10.
A. D.
Rough,
late
work, ist cent.
14 b. Dioscuri relief. Rosso antico. H. -30, B.
-22.
D-M.
215.
;
Introd.
10.
Right Dioscurus only enface ; r. leg is free leg wears pileus; the chlamys hangs over 1. shoulder and r. arm in r. hand he holds a sheathed sword and in 1. a lance. Clumsy, but spirited late work of uncertain date.
;
15
a.
Dioscuri
relief.
H. -22, B. .37. D-M. 214. Introd. 10. Bluish marble. Fragment of a relief similar to 8, but with a flat entablature above it shows only the upper half of 1. Dioscurus with his horse's head, and the ist cent. B. c. head of the other horse. He wears the pileus.
:
15 b. Zeus relief. H. .31, B. -20. D-M. 191.

Zeus bearded shown en face draped in a himation over limbs in r. hand he holds a sceptre, in 1. a fulmen.
;
1.
shoulder and round lower
Coarse, proportionless
work 2nd
cent. A. D.
16
a.
Grave
relief.
H. -39, B. -20. Coarse, bluish marble. 272. Profiled border above edge on r. broken. woman is represented in three-quarter She is clad in a long chiton with a himation over it. In r. hand she profile to r. holds an oenochoe and in her 1. some curved uncertain object.
;
D-M.
Late and bad work.
16 b. Belief with worshippers. Bluish marble. H. -23, B. -30. D-M. 199. Much broken there is a profiled border above. On
:
1.
are visible only part of the
SCULPTURE
face, the
1.
137
Facing it hands towards it in 1. is a (pomegranate ?) flower. Behind this appears, also facing to 1., the head and the upper part of the body of a draped female figure. Bad and flat late work. Cf. 18.
:
shoulder and arm which holds a sceptre of a seated bearded male figure. on r. clad in a himation stands a bearded male figure stretching out both
17.
d. k.
Bluish marble.
Semicircular relief. H. -26, Di.
-37.
D-M.
261.
Furtwangler, Sitzungsb.
bay.Akad. 1899, ii. 4, p. 599. E-V. 1314. Found at Sazanu on the 1. bank of the Eurotas, one hour E. of On a goat running r. rides Aphrodite Pandemos. She is clad in Sparta. a long chiton, and a himation which covers her legs and floats over her head behind. Her 1. hand is round the goat's neck, and her r. hand holds Also sporting with the ends of the the himation behind her head. himation are two winged Erotes, one over the goat's head, the other over Before the goat runs a dog and in front is a ladder. its hind legs.
:
On
the forehead of Aphrodite a crescent
is visible.
Ordinary work of the
early imperial period.
possibly have had however, used as an evil eye charm: v. Jahn, Sachsische Beruhte, 1855, pi. IV, 15, V, 3, p. 41, note 44; Elworthy, Evil Eye p. 371 seqq., figs. 181-183.
The
ladder
is
probably apotropaic, though

It
it
may
some connexion with Aphrodite.

-,
was
certainly,
18. Votive relief (?). Bluish marble. H. -34, B. .50. D-M. 260. Arch. Zeit. 1883, p. 227, Fig. 29. pi. XIII, 2 ; Roscher, i. 2568. Found according to Stamatakes in a later wall outside the E. wall of the Acropolis. There is a profiled border all round. On 1. is seated to r. on a throne with a lion leg-shaped foot a male figure. He wears a himation, and on his head a wreath (?) ; he holds a short staff on his shoulder with his 1. hand and in r. hand a cantharus. Before him stands a nude
in his r. hand youth (1. free leg) he holds some uncertain object (two
:
jumping weights?), and
in
1.
1.
On
the
r.
there
is
seated to
a lance. another
Fig. 29.
1.,
bearded, draped male figure ; in his r. hand he holds a patera, in rests on his lap, some uncertain object. Cf. 16 b. Imperial period.
19.
which
Grave
relief.
H.
.49, B. -29.
woman draped in a Gable-topped stele with acroteria and in pediment a shield. long chiton and a himation is shown standing en face. On her r. is a round altar raised on two steps. Over this her r. hand held some uncertain object her 1. hand holds up end of himation she wears a crobylos, otherwise her hair falls in long locks on her shoulders.
; ;
ist cent. B. c.
20. Sleeping Eros.

Eros
is
L. -62, B. .30, H. -20. 40. asleep on his 1. side on a lion's skin his 1. hand is under his head (the The r. leg is over the 1. He is winged, and by his side lies a torch. lost). Moderate decorative work of the imperial period.
Pentelic marble.
lies
:
D-M.
r.
138
21.

Sleeping Eros.
L. -37, B. .21, H. -14. D-M. 41. Similar to 20. But here there is no lion's skin, and Eros is clad in a His chlamys. r. hand clasps the quiver which lies on the ground by his 1. side and by it lies the bow. There is no torch. It probably served as the lid to a cinerary urn. Inferior decorative work of the imperial period.
on his 1. arm, which is a bore hole shows where the water flowed. supported by a wine skin The r. hand holds a pedum. His head is missing. On the edge of the base are shown a lizard and a syrinx, both out of proportion. Very moderate work of the imperial period.
reclines
;
22. Resting satyr : fountain figure. L. -50, B. -24, H. -23. D-M. 63. Introd. The satyr rests on his 1. side, with r. leg over 1. He
22.
23. Grave relief. Bluish marble. H. -56, B. -30.
D-M.
250.
Now
lost.
Similar to 19, but without the shield in the gable. lost when Georgiades took charge of the Museum.
According to Philios already
24.
Grave
relief.
spots.
Marble white with bluish
H.
-48, B. .33.
D-M.
251.
:
Oblong, but field gable-shaped with acroteria (not cut out). In the gable a mirror rude leaf capitals. In the centre stands a woman en face, dressed in a chiton, and a himation drawn over her head.
Ordinary work of
later imperial period.
Back rounded.
25.
Grave
relief.
H. .44, B. .33. D-M. 254. Bluish marble. Very much damaged, it shows only the body of a male
ankles, clad in a himation. Ordinary work of the later imperial period.
figure
from the neck to the
26.
Grave
relief.
Blue veined marble.

Bottom broken away.
a
H.
-37,
B. -30.
D-M.
is
246.
In centre stands en face
:
woman
Gable-shaped stele with acroteria. dressed in a chiton and a himation.

period.
Bad work of the imperial
On
the architrave
the inscription
MOY.A
MoS[<r]a,
XAIP6
D-M.
F-W.
xa *P c
Apicated
letters.
27. Archaic relief (to Dioscuri ?). Bluish marble. H. -25, B. -24.
Fig. 30. Formerly in the
10, 15.
silk
r.
17,
68.
Introd.
Profiled edge. factory of G. Durutis. Top corner only. It represented two figures symmetrically arranged ; their bodies faced one another in profile ; their heads are full face. Their inner arms are upraised, the hands being held flat with
the
palm towards
the spectator.
:
They wore some
Fig. 30.
uncertain object on their heads: their hair hung down the back in a long plait there are traces of the dress. Unfortunately only inner hand of the 1. and upper part of r. figure remain; and
the surface
is
belongs to the class of Dioscuri
reliefs
very badly damaged. 6th cent. B.C. ;
It
probably
28. Grave relief.
Rosso
.
antico.
H.
.32, B. -24.
:
D-M.
was
Much broken
247.
E-V.
1313.
Introd.
It
18.
above and below
originally a gable stele.
shows
SCULPTURE
139
a female figure in profile to 1. pouring a libation from an oenochoe in her She is dressed in a chiton and a ruination which covers her head. r. hand. Above is inscribed Fairly good, but hasty work of 2nd cent. B.C.
:
TH
XAIPc
.
. .
-ri]
xaip(e).
The
letters are well
and
carefully inscribed, the
forms
being those of the 3rd and 2nd centuries B.C.

271. -23. defaced : a Bacchante clad in a panther skin girt over a long chiton with a diplois stands en face holding in r. hand an uncertain object and in 1. a thyrsus (?).
29. Belief fragment. Blue grey marble. H. -28, B.
D-M.
Much
Rough and late work. 30. Sarcophagus fragment

Bluish marble.
Bacchic.
D-M. 227. Very badly damaged. On r. are seen the head and shoulders of a youth inclined forward to r. as though advancing vigorously on 1. is seen a background of vines on which a bird is perched.
H.
.32, B. -40.
:
Work
of later imperial period.
81. Satyr. Rosso antico. No head or feet
H.
In
;
by the horns. Nude Ordinary work of the
D-M. 62. hand he holds a syrinx to his mouth in 1. he holds a goat the r. is the free leg. At the back is a pillar.
-45.
r.
;
ist cent. B.C.
32.
Eros torso.
:
H. -32. D-M. 39. Pentelic marble. Head, legs, and arms broken off. The r. was the free leg he is winged and leans Over the r. shoulder hangs a belt for the quiver. against a pillar behind. Moderate work of the 1st cent. A.D.
33.
Lion
relief.
-76.
H.-55, L.
D-M.
r.
Lion shown seated to
277. Below a palmette border, and on
r.
Good
decorative
work
(a
fragment of a
frieze) of the ist cent.
a plain moulding. A.D.
r. leg, with his back turned towards the and turning partly round to 1. His head facing to 1. is thrown back his his r. hand appears 1. arm, on which hangs some drapery, is in a posture of defence to have been dropped to pick a stone to hurl at the foe. Clumsy work of the later imperial period. Possibly a fragment of a gigantomachy
34. Sarcophagus fragment. H. -52, B. -38. D-M. 232. A youth is shown advancing to r. with
spectator
sarcophagus.
relief : Sarcophagus fragment. B. -68. D-M. 239. Robert, ii. 114, pi. XLVIL Introd. Formerly at the church of Hagios Panteleimon. Fig. 31. At the top a border of the egg and dart pattern above a beading of the reel and button On 1. a nude warrior (1. leg advanced), pattern. seizes a kneeling Amazon by the hair, and while she clutches with both hands at his 1. arm, draws back his r. to deal the death blow. On r. is another Amazon rushing to 1. to the rescue of her comrade with her uplifted r. arm she holds her sword, and on her 1. she carries a round shield. g< 3I Both Amazons are dressed in the usual short chiton. Moderate work of the later imperial period.
35.
Amazon
-58,
H.
23.
140
36.
Fragment of a frieze. H. .48, B. .27. On an acanthus plant and surrounded by

Cf. 37, 38,
its
curling stems stands a high-stemmed
two-handled moulded cup.
and 715.
37. Frieze fragment. H. -40, B. -25.

Cf. 36, 38,
and 715.
38. Frieze fragment.

surrounded by its curling stems stand two high-stemmed two-handled moulded cups of a slightly different pattern from those on 36 and 37. Between them is the head of a long-eared animal (lion ?). Cf. 715. This and the two previous fragments are ordinary architectural work of about the 2nd cent. A.D.
H. -48, B. .53. On an acanthus plant and
39 a. Square pilaster H. .55, B. .42, D. .18.
capital.
in the centre in a hollow within round Decorated with a wreath of acanthus moulding is lion's head. Cf. 139, 140, 141, 299, 734, 745, 759 (16), and 655. Fair work of the imperial period. Similar capitals (one without a sunk circle in the centre) are in the court and campanile of the Metropolis at Mistra.
;
39 b. Byzantine capital.
L. -61, H. -16.
Length of abacus -27. Introd. 24. Fig. 32. Oblong shape; flattened sides; to fit a pillar -14 The carved only one side of abacus carved. square side shows a long-tailed bird perched on a vine eating
;
the grapes.
Rather
late
work.
40. Belief fragment.
Dark veined white marble.

268.
H.
-29,
B. -28.
D-M.
youth in a high girt coat and a Phrygian cap (head and shoulders only left), is shown falling to the 1., his head leaning on his 1. shoulder. His eyes are shut and his 1. arm clutches at his breast. Probably a wounded Persian from a battle frieze. Ordinary work of the imperial period.
41. Isis statuette.
H. -23. D-M. 99. Head and legs broken off, and

Fig. 32.
distinguishable.
otherwise
much
defaced.
Dressed
In her r. hand she in usual tasselled himation over the chiton. probably held a sistrum ; in her 1. the prochoos is clearly
Poor work of the imperial period.
42. Grave relief. Bluish marble. H. -16, B. -13. D-M. 266. A female figure (legs missing) is shown en face the head is in profile to 1. The She is clad in an ordinary girdled chiton. r. hand is uplifted, and the 1. rests on the hip. Bad work of the imperial period.
:
43.
Grave
relief.
Bluish marble.
Small grave
face
;
H.
-15.
D-M.
267.
1.
Inferior
hand work of the imperial period.
relief; it represents rests on the hip, and
a female figure in chiton and himation standing en r. on a small pillar at her side.
SCULPTURE
44.
141
Maenad
r.
relief,
fragment.
270.
H.
.18, B. -16.
D-M.
a profiled edge. It only shows a Maenad as far as thighs advancing to the right beating a tambourine. Her head is thrown back and up her drapery is hung only over the 1. shoulder so as to leave the r. side nude. Hauser, Neu-Attische Reliefs, Type 24.
:
On
Fair
work of
ist cent. B.C.
45. See MISCELLANEOUS ANTIQUITIES.

46.
Hecate herm.
H.
-19.
Blue-grey marble. One face missing, also

are flat
D-M.
30.
now
the lower part of the shaft which is triangular. and expressionless, each has a long lock falling down each side. Cf.
The
faces
31.
D-M.
Dhimitzana. Bad work of late, but uncertain, date.

at
47. Bacchic herm. H. -35. D-M. 66. Bluish marble. At the top the shaft is hollowed into a scotia and on this is carved in high relief a smiling, archaistic, masklike, bearded head, which is also horned. At the sides there are the oblong holes for the insertion of arms in the 1. one there is the stump of an arm run with lead. Above the face the square shaft is profiled, and on the top there
;
is
a big round hollow.
Bad
decorative
work of the imperial period.
48. Sarcophagus fragment.
H. -90, B. -65. D-M. 230. shows only a nude wingless Eros supporting a long garment on his shoulders. Border above and below. Cf. 290.
Bluish marble.
It
Inferior
work of the imperial

altar.
period.
49
a.
Square
Bluish marble. H. -57, B. -35. D-M. 188. Decorated with the usual fruit and flower garlands, hanging from the front corners on bearded Pans' heads and from the back corners from bucrania. On three sides above the garlands are masks all different, the front one being a gorgoneion. On the fourth side, the back, is a rosette.
Inferior
work of
the imperial period.
49 b. Square
Bluish marble.
altar.
H. -42. 189. The decoration corner and parts of two sides only remain. side above the garland is a seated dog, on the other a gorgoneion. corners seem to be bucrania, but are very defaced.
One
50.
D-M.
is
similar
on one
at the
The heads
L.-hand side only. ; L. 1-02, H. -87. D-M. 256. Profiled outer edge. In the centre stands on a base a female figure in high relict clad in chiton and himation, and wearing sandals (height with base -68). As it is broken away at the breast the figure when complete must have reached right up to the peak. The r. side was made in a separate piece. On 1. was, according to Dressel and Milchhofer (who give the total length as 1-68 m.), a large acroterion. This is now lost it is mentioned by Philios, but as his description is a translation of Dressel and Milchhofer, and as he gives no length, it is impossible to say if he saw it.
Bluish, very coarse marble.
:
Gable of grave monument
Bad work of the
imperial period.
Decorative support. Bluish marble. H. -58, L. 1*77 above, -90 below, D. -63. D-M. 257. According to Stamatakes it was found over a grave it thus probably served as a support for a sarcophagus. The smoothed edge of the other51
a.
:
142
wise unworked top surface clearly shows it was a support, and the absence of dowel holes proves it cannot have been architectural. An oblong block like a pilaster capital, but at the ends console-shaped. Each end oif the flat sides is cut away in a semi-ellipse. On one side in the centre is shown Atlas nude and bearded supporting on his shoulders with both hands the globe. On the other side stands a Nike (r. free leg) with outspread wings, clad in a long chiton with a diplois, and holding in both hands a long garland. She wears her hair in a crobylus. Both figures are in high relief and run over the profiled edge above. Ordinary work of the imperial period, 2nd cent. A.D. Altmann, Rom.
Grabaltdre, p. 31, Fig. 20.
51 b, 771, 771
a.
Sarcophagus
lid.
L. 2-26, H. -24--28, B. 1-15. D-M. 234. Introd. 23. The deceased, who lay to r. on a cushioned couch supporting himself on his 1. arm on a pillow, has been chiselled away, all but the 1. hand. The edge of the couch is divided by broad bands arranged in fours into four fields. On the first under the pillow is a dolphin. On the second is a Nereid clad only in a girdle below the breasts riding to r. on a Triton blowing On the next is a similar scene, only the a long shell and carrying a rudder. The last shows a Triton to r. blowing a Triton holds a fish in his r. hand. long shell. The corner is ornamented with a bird's head and an anthemion. This part is in two fragments: the r.-hand end (771, 771 a) is in two fragments, and lies apart from the rest. At the corner is a similar bird's head ornament the end has an ornamented scotia divided into four fields, the two other ends each show an Amazon shield with a rosette in the centre, the other two have diamonds also with rosettes in the centre (cf. Hey:
demann, Ant. Marmorbild. Athen, 194, from Gytheion, and the 'Alexander
Severus' sarcophagus in the Capitol, Helbig , 432). Ordinary work of imperial period, probably 3rd cent. A.D. 52. Colossal Heracles head.
2
D-M. 81. E-V. Much damaged, especially

H-6o.
1321.
Introd.
17.
at the back,
is
and on the forehead. upwards. There is a beard on the chin was
The head
full
it was only blocked out, turned slightly to 1., but it looks
where
the central part of the eyes are deep set and cast up ; there is a strong, heavy bar over them the mouth is slightly opened ; and the cheeks are full. The hair is rendered by short, rather loose, but thick
:
beard and moustache
set on.
The
;
curls.
There is, howshows, as Sieveking says, Lysippean influence. in it than in recognized Lysippean works such as the Agias. In all probability, then, this head is a work of the 3rd If a copy, it is good copy ; but it might be an original. cent. B.C.
It
ever,
more sentiment and pathos
53. Colossal male portrait. Bluish marble. H. -43. D-M. 147. Introd. 19. Very much damaged. It is beardless, and the hair is finished. Big, round,
less face.
expression-
To judge by
the hair a portrait of the Julio-Claudian period.
54. Youthful head (portrait ?). Yellowish marble (Pentelic?). H. Much damaged. The hair is filleted and
-37.
D-M.
115.
Introd.
20.
falls in
long, slightly curling locks over
the forehead and ears. It bears some resemblance to Antinous. Fair work of the imperial period.
SCULPTURE
55. Ideal female head. H. -36. Pentelic marble.
Very much damaged.
143
D-M.
is
104.
waved to the sides over the ears to a chignon behind. An ordinary work of the early imperial period after a 4th cent, original.
The
hair
parted in the centre and
56. Bearded Dionysus head. H. -38. D-M. 54. Bluish marble. Hair centre-parted and filleted each side a big lock
:
is
tucked under the
fillet,
and
falls
down
beside the ears.
Flat, expressionless, masklike, archaistic type.

(?).
:
Unfinished
work of early imperial period

57.
At the back
is
a shapeless round mass.
A replica of the Hermes Propylaios of Alcamenes found at Pergamum. has the three rows of curls on the forehead the long, square beard with each lock ending in a tight curl ; and behind the ears are traces of the plaits that fell forward on to the shoulders. Cf. 582.
It
;
Bearded Hermes Herm. H. -29. D-M. 55. Introd. 15.
Moderate work of the imperial period.
58
a.
Bearded head.
H. -28. D-M. 92. E-V. 1319, 1320. Introd. 1 6. Nose broken off. There is a rolled fillet wreath round the head. The mouth is slightly open the eyes are moderately deep, and are overhung by a heavy, but softly rendered bar. Also all the lines of the face are soft. The hair is rendered by soft, short, flowing, curly locks, and handled as a mass and very naturally.
Fine marble.
;
It is in all probability, as Sieveking says, a period) of a 4th cent. Asclepius type.
Roman
copy
(early imperial
58
b.
Bearded head.
Fine marble. H. -35. D-M. 93. E-V. 1317. Introd. 15. The back of the head, r. ear, the nose, the lips, and part of the forehead There is a rolled fillet wreath round the head as in are broken away.
58
a.
But
the expression
and
style
of the face are more severe.

is
forms are simple and rather hard; and there
no
bar.
treated in detail, in short, carefully rendered, wavy locks. look seen by Dressel and Milchhofer is due, as Sieveking says, to the broken lips. He is also right in calling it a Roman copy (early imperial
The The hair is The beast-like
period) of a
Milchhofer
calls
Philios following Dressel and 5th cent. Asclepius type. it a river-god: Kastriotes thought it a Zeus Ammon.
59. Youthful head. Parian marble. H. -27. Youthful beardless head

visible.
D-M.
:
114.
traces of attachment of a
;
bronze wreath
still
swelling eyes ; the hair rendered by thick, not very detailed, tight curls. Unfortunately the face is very badly damaged. Philios thought it the best in the Museum.
It is
Chubby, youthful face
an inferior
Roman copy
H.
-22.
(early imperial period) of a 4th cent. type.
60.
Male portrait
(beardless).
Bluish marble.
D-M.
151.
Introd.
19.
Lower
61.
part of face broken away, and otherwise badly damaged. Ordinary work of the Julio-Claudian period.
Female head.
local marble.
Dark
H.
-23.
D-M.
126.
144
was

The
hair
Cross cut in the forehead, and otherwise much damaged by Christians. centre-parted, filleted, and waved back over the ears. copy of the imperial period of 4th cent, work (?).
62.
Female ideal head.
H. -17. D-M. 103. Introd. 20. fine, soapy marble. Expressionless and rather hard but full features: eyes plastically Hair centre-parted, filleted, and drawn down over ears to rendered. knob on neck. lock fell forward on to each shoulder from behind the ears. There is an iron dowel in the neck. round breakage on the top of the head (-06 in di.) seems to indicate that she wore originally a polus or a calathus; cf. D-M. 97, also the Helen figures 201, 202, 203, 318, 362, and the colossal head 571. Moderate work, not earlier than the 2nd cent. A. D. Very
63.
Bearded male
-34.
portrait.
Introd.
21.
H.
D-M.
149.
Very badly damaged. Crisp, short, curly hair and beard. A portrait of 2nd~3rd cent. A. D.
Eyes plastically rendered.
64.
Helmeted
(?)
male head.
Introd.
19.
There are no traces either of a short beard or of a moustache. The forehead is wrinkled, and the eyes deep set. The helmet fits The hair is rendered by short, rather coarse closely and appears to be of leather.
locks.
H. -17. D-M. 128. Much damaged in front.
Very
fair
that described
work of the early imperial period. This head seems to be the same as by Conze and Michaelis (Ann. Inst. 1861, p. 36) as follows: 'La
il
testa d'un giovane pileato mostra bellezza e graziosita, ed e chia che potrebbe essere anteriore all' epoca romana.
Ma
solo pezzo nella nomarvi
manca
il
parte della bocca.' Cf. D-M. 90. It Michaelis, the head of a Dioscurus.
may
be, as apparently suggested
naso ed una by Conze and
65. Youthful male portrait. Bluish marble. H. -20. D-M. 153.

Badly damaged, and top of head missing.
straight. Inferior
Eyes plastically rendered, hair short and
work of early 3rd
cent. A. D.
66.
Female
-24.
portrait.
165.
Introd.
20.
H.
which
band.
D-M.
Youthful, chubby features.

plaits
Hair waved straight back to a chignon at the back, to are drawn up from the neck it is bound round four times by a narrow
:
Ordinary work, to judge from the hair, of the Antonine period.
67.
pi.
Sarcophagus fragment ( Amazon omachia).

marble.
Introd.
Pentelic
H.
-16,
XL VIII.
B. -24.
Fig. 41.
D-M.
237.
Robert,
ii.
118
a,
23.
1.
A small fragment of upper edge, showing only the head of a fully armed warrior to ready to strike with the spear in his uplifted r. hand. See 279.
68.
Young Dionysus
-22.
head.
H.
ivy in
D-M.
face
56.
Only the
it.
and part of the hair above remain. The hair is filleted, and there is features are full, but flat and expressionless. It seems to be a poor copy of the imperial period of an earlier, probably 4th cent., type.
The
SCULPTURE
69. Belief fragment (female head). H. -15. D-M. 273. Bluish marble.
145
Badly weathered. Flat, round face the hair centre-parted and filleted, and waved away to sides. Down each side falls a long lock. Bad work of late but uncertain date. As rightly stated by Dressel and Milchhofer, it belonged to a large vase or basin, as shown clearly by the profiled edge above.
;
70.
Youthful portrait (male).

.
D-M. 155. Introd. 21. .34. Turned a little to the 1 Eyes plastically rendered. Good, characteristic work of later 3rd cent. A.D.
H.
71.
Short, straight, coarse hair.
Sleeping Eros (fragment of urn

-i2.
lid).
43. Head only of an Eros similar to 20. Cf. also 21 and 312. Ordinary work of the imperial period.
H.
D-M.
72. Caryatid-like figure (satyr). Blue marble. H. -15, B. -16, D. -13. Head and square plinth above only. Square
pilaster is a vertical groove.
D-M.
64.
pilaster behind.
:
At
the back of the

details dis-
In the hair traces of a pine wreath

the imperial period
:
:
no other
tinguishable. Rough decorative
work of
cf.
47 and 314.
73.
V
Sarcophagus lid (small)

-13, B. -25.
fragment.
23.
1.
H.
D-M.
170.
Introd.
of a youthful male figure reclining on a cushioned couch with the head. It seems to have been the r. end of a small sarcophagus lid. Ordinary work of imperial period.
Head only
hand under
74. Lion's head.
H. .15, L. -17. Gutterspout from a cornice.

Ordinary late work.
75. Lion's head. H. -15, L. -17.

Similar to 74, but only the
1.
half remains.
76.
Hound
.30,
pillar.
.
H.
Di..i 4
:
Upper part only

the head the pillar
little
below the top
is
a lion's head carved in high
relief.
Below
broken away. Ordinary late work.

is
77. Lion's head. H. -17, L. -20.

Similar to
74 and 75, but
slightly larger.
78. Lion's head.
H.
-17, L. -20.
Similar to 77.
79. Barbarian (Scythian

Bluish marble.
H. -26. D-M. 129. R. hand resting on r. knee only remains (see He wears trunk 83). hose and thick, tunic-like coat with sleeves. Traces of colouring are still
bowman).
146
to be seen.

Not very
carefully finished,
but good, naturalistic work. in the National Museum at Athens, Nos. 822, 824, E-V. 622, 623. It probably dates from the 3rd cent. B. c. and doubtless belonged to a grave monument.
For the type compare the bowmen from the Dipylon
80. Left
L. -23. Over life
hand holding D-M. 172.

and very
fat.
grapes.
size,
Imperial period.
81.
Bight hand (female).

L. -22.
Pentelic marble.
Fair work.
D-M.
173.
Holds fragment of drapery.
82. Left hand. Fine marble (from Dholiana?).
L. -12.
Fingers broken off: holds fragment of drapery.
Good work.
83. Bight elbow of barbarian (v. 79). L. -14. D-M. 130. Bluish marble.
In style and other respects it is exactly like 70. It was presented by Matallas, a neighbour of Diamantopoulos, the donor of 79. It shows the coat-sleeve.
84. Left
male foot with fragment of base.
H.
-19, L. -23.
off
D-M.
176.
(caliga)
Broken
above ankle.
Wears shoe
drawn up over the
sides in strips.
(Baumeister, Fig. 614.) Ordinary work of imperial period.
85.
Male toga
statue.
H. 1-85. D-M. 142. Introd. 19. Found near the Leonidaeum. Head and 1. hand lost. Wears chiton with toga over. L. free leg: by 1. foot to support drapery a square R. hand on breast, 1. hangs down at side. Wears sandals scrinium.
reaching well above the ankles, but leaving the toes bare. Fair work of ist cent. A. D., on the base is the inscription
(cf. p.
7)
KAAY-BPASIAANTON
TTATEPA
86.
Male toga statue. H. 1-55. D-M. 144.

:
Head and feet with base lost. Stands in similar attitude to 85 Ordinary work of ist cent. A. D.
87.
costume also
similar.
H.
Draped female statue. D-M. 1 60. 1-30.

Wears himation over long
chiton.
Head and feet with the base missing. a similar attitude to 86.
Ordinary work of the imperial period.
Stands
in
88.
Draped female torso. Medium marble with greenish

1.
veins.
H.
:
1-25.
D-M.
161.
and r. foot missing. Clad shoulders, r. arm and chest, 1. hanging at side Common work of imperial period.
Head,
shoulder,
in long chiton r. free leg.
with himation over both
SCULPTURE
89. Statue of youth Ganymede. Fine, yellowish marble (Dholiana ?). H. -82. Arms from middle of upper arm, and legs from above knees missing. L. free leg, which
:
147
D-M.
51.
Introd.
16.
was
slightly
advanced;
on the
1.
thigh traces
r.
of the tree trunk support. chlamys fastened by a fibula
He
on
wears only a
the
shoulder.
in long curling locks. the head is a Phrygian cap ; the strings of the cap were drawn up, and probably tied over the peak,
The
hair
is
On
which is missing. He looks down in a sentimental and pathetic way to his 1. The general impression is not unpieasing, but the forms of the body are very superficially treated, and the
hair
It is confusedly and clumsily handled. resembles a Praxitelean Ganymede at Naples, it seems to be a late which has no chlamys * variation of it. Ordinary work of the imperial
:
Figs. 33, 34-
period.
Fig. 33.
90. Youthful satyr (architectural support).

Bluish marble. H. -45. D-M. 61. Fig. 34. Said to have been found on the Acropolis. No arms or body below The r. arm was stretched forward, the 1. hung down behind. the breast. On Long, coarse hair ; grinning, wrinkled face ; small horns. shoulders and head is a thick panther (?) skin serving as a cushion ; on its flat upper surface is a dowel hole -10 square. Behind, and serving as a support at the back, is a small column decorated with pointed leaves there is a band round the two uppermost leaves. It probably ended below in a tapering herm shaft. Imperial period. Such a Satyr herm is in the Museo Civico at Mantua (No. 166, Dutschke, 8 55) D-M. mention a similar fragment at Naples.
;
:
Draped female torso. Yellow, rather transparent marble (Dholiana?). H. -36. D-M. 119. No head, arms, or legs below knees. L. free leg r. arm was stretched out (traces of a support on the breast). Clad in high-girt long chiton with diplois, and with a
91.
:
himation about the lower limbs.
Folds very badly rendered.
Bad work
92.
of imperial period.
:
Male torso
.71.
Dioscurus
Introd.
(?).
H.
D-M.
86.
15.
head, r. arm, 1. forearm, r. leg, or 1. lower leg. Nude, but for chlamys fastened with fibula on r. shoulder: r. free leg: chlamys falls over 1. elbow: remains of attribute on 1. upper arm. Strong square forms
superficially
No
worked.
cent.
is
:
Moderate work of imperial period derived from a 5th ponnesian original. Probably a Dioscurus v. 513, of which it
93. Base of statuette. L. -28. D-M. 177.
Peloa replica.
Two
male
its
seated on
advanced and ree leg) hind quarters.

feet (1.
by the
r.
loot the four
paws of a panther
Ordinary work of uncertain

1
date.
Klein, Prax. p. 129,
fig.
17
replica at Florence,
Amelung, Fuhrer, No.
51.
148

yellowish marble (Dholiana ?). Ath. Mitt. 1878, p. 297, 3; Arch.
15, 25.
94. Eros torso.
Medium
218.
Introd.
H.
Zeit.
.70.
D-M.
38.
F-W.
xvi
;
1878, p. 126,
PL
Head, both arms from elbows, 1. leg, and r. leg from middle of thigh broken off. In the stump of each arm is a long dowel hole (B. -02, L. -04, D. -01) these probably indicate antique restorations on the r. In the shoulders behind are two holes thigh traces of support for arm.
:
The body is squarely (D. -04, L. .03) for the insertion of the wings. and solidly built ; the shoulders are broad, and the chest high. The The nipples are sharp and circular; the navel is similarly treated.
divisions of the torso are also sharply marked, and the handling of the surface as well points to a bronze original. The distance between the
is -20 and the proportions of the body are thus collar bone to between nipples -13, thence to navel -17, thence to pubes -n. Consequently the torso is not Polycleitan as stated by Dressel and Milchhoter.
:
:
nipples
line
95.
Draped male torso. D-M. in. -65. Head was set in. No legs from above
H.
L. free leg
:
above elbow.
A peculiar
96.
clinging chiton girt at waist,

type.
knees, r. arm, or 1. arm from on the thigh traces of a support. Clad in and a chlamys fastened on the r. shoulder.
Enthroned Zeus.
.55.
H.
D-M.
r.
24.
foot missing. Draped in himation round lower limbs and over the 1. shoulder. The front edges of the arms and sides of the throne, which are in one At the sides there are piece, are ornamented with a lion's head and foot ornament. two bands of scroll ornament and in the interspaces a St. Andrew's cross, vertically
Head, arms, and
arranged.
Bad work of imperial

97.
period.
H.
Enthroned goddess. D-M. 95. -52.
Head, arms, and r. foot missing. Draped in chiton girt at waist with diplois and in himation round legs and over 1. shoulder. Plain marble throne with high back, and
no arms.
Bad work of imperial 98.
period.
H.
Young female statuette. D-M. 124. .79.

r. arm and 1. forearm lost. L. free leg. Clad in Doric chiton L. hand rests on hip. Folds very badly rendered. work of imperial period.
Head was
set in
with diplois.
Common
H.
99.
Nymph
-74.
holding shell (fountain figure).

73.
D-M.
Introd.
18, 22.
and also r. foot and edges of shell broken away. Drapery thrown round legs shell held at waist. Common work of the imperial period. The best example of this type, which seems to have originated about the 2nd cent. B.C. and was very popular under the Empire, was found at Tralles, and is now in Constantinople. Edhem Bey, B.C.H. 1904, p. 61 Collignon, Mon. x. p. 6, Fig. i. Cf. 399. t)
:
All above waist,
SCULPTURE
.
149
100. Aphrodite with Eros. H. -57. D-M. 35 Head, r. arm and shoulder, 1. lower arm and feet are broken off. In The 1. is the free drill hole in 1. shoulder. the neck is an iron dowel She is clad in a high-girt clinging chiton and also a himation thrown leg. round the legs and over the 1. arm and shoulder. The 1. arm rests on a pillar against the hanging end of the himation on the 1. is the barely recognizable head of an Eros the rest of him is lost.
:
:
very moderate, late adaptation of a 4th cent. type.
101.
Male
statuette.
H. -44. D-M. 112. Head, r. arm, and 1. forearm missing. Iron dowel in neck and dowel hole in 1. arm at the breakage. Draped in himation round lower limbs and over the 1. elbow. Shoes indicated. R. free leg. Stout and solid chest ; proportions not good drapery fairly well handled. Clumsy reduced copy (of imperial period) of an early 4th cent. type.
; ;
102. Aphrodite torso.

32. arm, most of the 1. arm, and both legs from above the knees missing. R. free leg. Front of body nude a himation covers the back and falls over the 1. arm and the r. thigh slightly. Ends of long locks fall on shoulders. Badly weathered ; but inferior work of late, but uncertain, date.
-42.
H.
D-M.
r.
The
head, the
103. Apollo with lyre.

but hand, and part of lyre missing. R. free leg. The front of the base is profiled, the back roughly rounded, and its top slopes down to the front. He wears a chlamys falling down the back ; and on a high square pillar at his L side holds a six-stringed lyre. The r. hand holds a plectrum on the thigh. Behind the figure is a thick, oblong pillar as a support. Common late work of doubtful date.
H. with base -74 (base Head and neck, r. arm, all
-16).
D-M.
26.
104. Draped female torso. Fine (Pentelic ?) marble. H. 1-20.
D-M.
159.
Head, r. arm, and 1. hand missing. R. free leg. Clad in high-girt chiton, and himation round lower limbs and 1. elbow: wears sandals. Youthful figure, graceful, and well rendered. Very fair work of ist cent. A. D.
105.
Nude male
(?)
r.
Pentelic
Head,
torso. marble. H. .50. D-M. 65. leg and arm, 1. hand and leg below knee, broken
round
it,
side a tree trunk with a vine
on
its
top rests the
1.
off. L. free leg. By 1. forearm. Flat, soft forms.
Boyish figure
clearly Bacchic.
Very
fair
period.
106.
H. 1323. Head, arms, and legs below knees missing. L. free leg: 1. arm was raised. Two long locks fall on the breast, one on the r. shoulder. Marks of supports on each thigh. Good work and possibly an original of the 2nd cent. B.C.
;
Young nude torso. D-M. 108. E-V. -41.
107. Heracles
(?) torso.
H.. 33
D-M.
78.
legs
Head, arms, and
broken
off.
Over
r.
shoulder a belt to hold the
150
quiver

Very
strong,
on the 1. side. (still remaining) Modelling good, but rather exaggerated. Badly damaged work of ist cent. B.C.
108.
sturdy
forms.
H.
(?).
Male torso. D-M. 107.

lost
According to Kastriotes already
when Georgiades took charge
of the
Museum.
100.
Female torso (Bacchante).
H. -37. D-M. 70. Head, arms, and legs missing. Very badly damaged. Head was set on in stump of 1. arm a dowel hole. Clad in chiton with diplois over it is a panther (?) skin held round the waist by a broad girdle. Traces of further drapery on the 1. shoulder. The 1. arm was raised.
Bluish, coarse marble.
: :
A peculiar
H.
-35.
type
period uncertain.
110.

off.
Head, r. arm, and body below waist broken of body, and over 1. shoulder. Stiff, ordinary work of imperial period.
111.
Clad
in
himation round lower part
H.
-34.
Draped female torso. D-M. 163.
Head, and body below waist missing. Clad in chiton and himation which covers both arms. The r. hand was held to the face, and the 1. hand (the arm laid across the chest) supports the other arm at the elbow. Imperial period.
112.
Artemis
-44.
(?) torso.
H.
in
r.
D-M.
set
98.
Introd.
22.
all
R. arm was
:
on
as also was
below the
waist.
Dowel
holes,
two
shoulder before and behind, two in lower part of back, and one in 1. side also a hollow to set on drapery or part of 1. arm in the 1. side. Her head was turned to her r. Clad in loose chiton, and a himation fastened in a roll round the waist. Fair work, badly damaged, of uncertain date. It belongs to an Artemis type, huntress or warrior, of which the earliest dated example is in the
Pergamene
113.
Frieze.
Cf. 131.
D-M. 135. E-V. 1324. the legs are missing from the middle of the Clad in short, loose chiton with short sleeves, and girt at waist thighs. with a cord, but arrangement of drapery is not clear, since 1. arm held across the chest is completely covered by drapery, while r. which lies over The 1. hand holds a kind of small spade l in the loose end of it, is bare. that hangs from the 1. elbow appear a poppy-head and some ears drapery of corn : the kolpos also appears to be full. In the lower edge of the chiton is a drill hole bored through. The forms are coarse and fat, and
The head was
set
Draped male statuette. Fine marble (Pentelic ?). H. -37.

on
:
in these respects
all clear,
somewhat exaggerated. The motive, however, is not at the figure might be a grotesque or a Priapus in any case it seems to represent a bloated young man. Fair work of the imperial period.
:
Perhaps a tanner's scraper.
SCULPTURE
114.
151
Artemis
-25.
torso.
29.
all
H.
1.
D-M.
Head, both arms, and

shoulder
;
girdle high just
below breast missing. Clad in chiton fastened on the below the breasts over the r. shoulder a strap for the
;
quiver. late
The r. arm was raised. copy (fair work of imperial
period) after
a 4th cent, original.
115.
Heracles.
-33.
H.
D-M.
77.
Introd.
19.
Head, r. arm, 1. from middle of upper arm, and all below breast broken off. Farnese type ; nude, leans on club the end of which covered with the lion's skin still remains under the 1. arm.
Strong, but rather clumsy
116.
work of about
the ist cent. A.D.
Aphrodite.
H.
-49.
Parian marble.
D-M.
33.
tree trunk
(?).
Only remain r. leg from knee, piece of head downwards. Faint traces of colour Careful work of about ist cent. A.D.
117.
by
side, before
which
is
a dolphin
Draped female
statuette.
:
D-M. 121. -13. Only lower legs and base. R. free leg Inferior work of imperial period.
H.
118. Dioscurus.
clad in long chiton and himation.
H.
-45.
D-M.
leg,
87.
Introd.
22.
side of it only. R. free leg : traces of 1. foot on base. Round horse's neck where it springs from the base acanthus leaves. Ordinary work of imperial period. Cf. 9 and 285.
R. lower
and horse's head by
119.
H.
-35.
Female statue. D-M. 1 1 6.

it
R. end of an oblong base ; in the corner base of a square pillar, and by appearing from the bottom of the drapery. Ordinary work.
the
1.
foot
120.
Winged Sphinx.
-30.
off.
H.
Lower body, head and wings broken

121. Lion's foot.
Ordinary late decorative work.
H.
-30.
late decorative
Common,
work.
122. Seated youthful
male
figure.
H.
-26.
Only thighs and hips left, and part of 1. lower leg. Clad in short chiton. L. knee drawn up. Probably a funereal figure, a mourning slave, or Eros. Ordinary work of
imperial period.
123.
H.
period.
-40.
Draped figure. D-M. 1 68.

left
Stomach and hips only
apparently female.
Ordinary work of the imperial
124.
Dancing
-39.
girl.
H.
D-M.
71.
:
All above waist broken off

of imperial period.
loose drapery round legs
r.
foot before
1.
Rough work
152
125.

-31.
H.
Male statuette. D-M. no.

: ;
Thighs and stomach only 1. free leg by 1. side a tree trunk on which hangs some drapery in which are traces of the 1. hand. Common work of the imperial period.
126.
Draped female
-25.
statuette.
:
H.
Lower legs and base only work of about ist cent A.D.
127.
r.
free leg
Fair
Fragment of base.
of bottom of drapery.
H. -24, L. -30. On front edge remains
128. Draped statue (fragment). L. -30.

Piece of
r.
thigh and knee only.
Ordinary late work.
129.
Draped
-42.
statue.
Already
lost
H.
Lower Museum.
130.
legs with base only.
when Georgiades took charge
of the
Draped female
-20.
statuette.
H.
Knees, and upper part of lower legs only Ordinary work of the imperial period.
131.
Artemis
-15.
left
statuette.
28.
1.
H.
it.
D-M.
Introd.
thigh,
r.
22.
leg, and tree trunk and dog by side of Artemis clad in a short chiton (himation rolled round At her side runs a dog. waist) advancing briskly (r. foot first) to her r. Sketchy work of imperial period. Cf. 112.
Only
oval base,
It represented
132.
Dancing
-17.
:
(?) girl.
H.
D-M.
72.
R. arm was raised.
Pleasing,
clad in high girt chiton and himation. but superficial work ; possibly 2nd cent. B. c.
Torso only
133.
H.
-19.
Draped female D-M. 123.
statuette.
Head, r. arm, 1. forearm, and both legs from above knees wanting. Clad in chiton with diplois. The figure leans on a pillar under the 1. arm on the pillar is drapery (a himation or the chiton misunderstood). Possibly an Aphrodite ordinary work of
; :
134. Male colossal bust. Pentelic marble. H. -85. D-M. 145. Bearded. Very much defaced. Toga over shoulders Late 2nd cent. A.D. behind, and has a central support.
bust hollowed
135.
H.
-19.
Female bust. D-M. 1 66.

:
:
Headless drapery over shoulders (chiton) hollowed behind support (dowel hole): Flavian shape, ist cent. A.D.
pillar
SCULPTURE
136.
153
Bearded Triton. H. .57, L. -50. D-M.
75.
wanting. Where fish body begins it is surrounded with projecting acanthus leaves close-lying scales below. Exaggerated forms : ordinary decorative work of the imperial period.
Head, arms, and end of
fish tail
137.
Marble chest
-39,
lid,
H.
Has
138.
(cinerary). L. -33, square. through centre of which a hole

is
is
bottom edge
cut off obliquely in the centre.
bored. Perfectly plain, except that Surfaces smooth.
Marble chest
-35, L. .50,
;
(cinerary).
;
H.
is
D.
-26.
;
Has lid
front
damaged where
and back rounded perfectly plain hole in Surfaces fastening clamp has been forced.
lid
left
and on
rough.
r.
hand
side
139. Pilaster capital (P). Dholiana marble. H. -40, L. -47.

tectural
Rosette with twelve petals surrounded by acanthus stalks and leaves. work of imperial period. Cf. 39 a.
(P).
Fair archi-
140. Pilaster capital
-64, L. .94. Fig. 35. Poppy with four petals surrounded by acanthus stalks and leaves. About the same period as 139, but inferior work. Cf. 39 a.
H.
141. Pilaster capital. H. -28, L. -26.

Profiled edge, piece of acanthus, and part of inner circle with olive wreath decoration
only
cf.
39
a.
142. Frieze fragment. H. -25, L. -27.

Acanthus
scroll pattern
:
Fig 35
'
'
ordinary
work of late
period.
143. Octagonal fountain.
H. -27. D-M. 187. Introd. 22. Between eight fluted pilasters with scroll capitals are set eight shells from which the water ran down seven steep steps. In the centre a circular hollow (D. -10, Di. -18). Ordinary decorative work of the
imperial period.
144. Octagonal
Bluish marble.
column base.
H.
-50, Di. .38. then two wide and one narrow square moulding ; to suit the octagonal shape then the octagonal shaft decorated below with a scotia between two tori with intervening fillets. Late imperial, perhaps Byzantine work.
Above
circular Attic Ionic base

;
145. See INSCRIPTIONS.
146.
Marble throne. Coarse bluish marble.

Cf. 145.
On
H. -53, L. -35, D. .40. the front below the seat an ivy leaf: at the bottom
it
splays out to form a
footstool.
147.
Fragment
of Ionic capital.
:
L- -35, Di- -37Half of a volute only
volute
is
a plain circle with profiled rims.
In the centre
is
154

;
a projecting aster-like flower. The bolster is merely rough hewn a small part of the upper surface is flattened and has a hole bored in it. Late work of uncertain date.
148.
Fragment of base with

-40,
left
tree trunk.
it
H.
149.
Th.
-20.
;
Only
a piece of a tree trunk
against
at the
bottom a semicircular scrinium.
Fragment of frieze
(?).
.30, B. .22. Shows a portion of an anthemion pattern.
H.
150. Bottle-shaped object.
H.
.32.
off at
Broken
neck
in
bottom iron dowel (L. -19)
hole bored through from top
to bottom.
151.
Acanthus
.15.
:
(?)
bud.
H.
Half only bored through from top to bottom. Two similar buds are at Dhimitzana (one of rosso antico) they are possibly pine cones from decorative thyrsi.
:
152.
Acanthus
-21.
:
(?)
bud.
an iron dowel
:
H.
Nearly complete
in hole is
cf.
151.
153. Ball (or whorl ?). Rosso antico. Di. -12.

Half only
to bottom.
:
Cf.
ribbed and has a groove round the middle, and a hole bored from top 298. Similar ball at Dhimitzana.
154. Bottle-shaped object.
H.
No
H.
-34. dowel, or hole bored through.
Cf. 150.
155.
Acanthus (?) bud.

-ii.
;
Similar to 151 and 152 but no dowel.
but the leaves
lie closer
there
is
a hole bored through,
156. Byzantine capital.
H.
-16, L. -18, B. -20.

:
:
Introd.
24.
:
oblong shape flat sloping sides curving abacus decorated with a pattern of interlaced circles between two
Half only
scrolls.
Fig. 36.
157.
Roof tile with antenx.

antefix at its
L. -28, H. .12. Has an anthemion

tectural work.
end
ordinary late archi-
bolster
Volute is an acanthus stalk, and the decorated with acanthus leaves : the profiled edge above has a flame and tongue ornament. Ordinary work of imperial period.
is
158. Ionic capital (Roman). H. .33, L. .27, D. .27. R. hand volute only. Curved outline.
159. Ionic capital. H. -33> L -3 2 D. -20.

-
>
L. hand volute only
decoration
same
as on 157.
SCULPTURE
160. Small Ionic capital. H. .21, L. -13, D. -14.
R. hand volute only. Plain bolster, and profiled tipper edge Volute is grooved. Inferior work of imperial period. 161.
is
155
undecorated.
Lion's head and foot support.

-31.
:
H.
Foot broken off, and head defaced Ordinary work.
to serve as
ornament for front leg of a throne.
162.
Byzantine capital.
-29, L. -34,
:
H.
leaves
D.
.21.
Oblong
;
each corner an acanthus leaf; above decorated with lancet-shaped in centre of each long side a plain, flat, vertical moulding.
below
at
163. Corinthian capital. H. -15, Di. -28. Bluish marble.

Fragment, only showing two acanthus leaves with egg ornament between.
Common
work of imperial 164.
period.
Draped female
-28.
statuette
roll
(?).
H.
feet).
In long chiton, with himation in a
round the waist.
Legs only
left
(no base or
Bad work of imperial
period.
165. Byzantine
column base.
H. -36, On a tall
Di. -16 (above); below -18 (square). square podium an Attic Ionic base.
166. Corinthian capital. H. -23, L. -29.

In centre touching plinth above a shell between two acanthus stalks. side only. three acanthus leaves, then two rows of five small leaves each. Curved outline : acanthus stalks in corners. Late imperial period.
One
Below
167.
Byzantine pilaster capital.
-13, L. -16, D. -06. Sides flat, and plain. On front arrow between two curving lancet-shaped leaves.
H.
168. Anteflx.
Bluish marble.
H.
-22.
Anthemion ornament.
Ordinary work of
late,
but uncertain date.
169. See MISCELLANEOUS ANTIQUITIES. 170. Byzantine capital.
H. -13, L. -29. Introd. 24. Fig. 37. Square, to fit a shaft .14 in diameter. On each side of the abacus a vine leaf. At each corner between them a pine-apple-like plant with stem and leaves.
171.
Byzantine capital. H. -io, L. -16 (square). To fit a shaft -13 in diameter.
Decorated with eight

Flg> 37>
seven-pointed leaves.
172. Doric capital (fragment).
H.-i3,L.
-60.
Abacus flat : plinth above hollowed out. Hellenistic period.
Good work
of uncertain date, probably
156
173. Doric capital (fragment). H. .19, L. -36.
To fit a shaft .33 in diameter: abacus small certain date.

174. Ionic base (Attic type).
and nearly
vertical.
Late work of un-
H.
-25, Di. .50.

plinth
:
No
late imperial
work.
174 a. Ionic base (Attic type). H. .30, Di. .56.
No plinth
H.
late imperial period.

.30, Di. .50.
plinth
:
No
imperial period.
175 a. Ionic base (Attic type). H. .16, Di. -36.

Stands on square plinth
:
late imperial work.
H. .22, L. -58. Stands on square plinth
to
fit
a shaft .48 in diameter
imperial period.
177. Corinthian capital (for
engaged column).
H. -45, Di. -35On each side the heart

curl to the corners.
The end
of an acanthus plant springing up between two stalks that of the stalks are hidden by four leaves between them in
:
centre of each side an egg ornament.
Imperial period.
178. Corinthian capital (circular). H. .45, Di. -30 (below) -40 (above).
;
Decorated with sixteen lancet-shaped leaves, between their tips others appear. Their bases are hidden by acanthus leaves bottom much defaced. Fair work of late, but
:
uncertain date.
is an anthemion. Decoration in front, five broad lancet-shaped, and two acanthus leaves ; at the corners, one of each ; at 1. side one acanthus and two lancet-shaped leaves ; r. side rough. Imperial period.
179. Corinthian anta capital. H. .65, L. .75, D. .38. With end of architrave above, on which
180. Ionic capital (L H. -io, L. -17, D. -22.

Plain ordinary type
:
hand half only).

flat
:
very
bad work of imperial period.
181. Ionic capital (volute only). Di. .13, L. -14.

Inferior work.
H. -35, Di. -60. To fit a shaft .40 in
diameter on a circular plinth
imperial period.

Exactly similar to 181.
SCULPTURE
157
H. -37, L. -56. On a square plinth

period.
to
fit
a column .42 in diameter
shows ends of
fluting
imperial
185. Byzantine
column base.
(.26 square) stands an Attic Ionic base from which rises a broken unfluted shaft (.20 in diameter).
H. -60. On a tall podium
186.
Fragment of coffered
ceiling.
L. -80, B. -70, D. 36. Ordinary work of imperial period.
187. Fragment of coffered ceiling. L. .70, B. -42, D. -36.

Similar
work
to 186.
188. Circular base.
H.
-66, Di. -30 (above);

:
-45 (below).
Introd.
22.
Fluted slender shaft

of imperial period.
Ordinary work spreading base and top, latter undecorated. Four similar bases at Dhimitzana. Cf. 189-191, 684, 755.
189. Circular base.
H.
-66, Di. .35 (above)
-38 (below).
Similar to 188.
190. Circular base.
H. -67, Di. -27 (above); -32 (below). Similar to 188, but bottom ornamented with a scotia between
191. Circular base.
two
fillets.
H.
-60.
off:
Base broken
top rather
flatter,
otherwise like 188.
192. Circular base.
H.
-57. base
Top and
much damaged
similar to 188.
193. Circular base.
H.
'69, Di. -30 (above);
-33 (below).
unfluted.
Similar to 188, but rougher
and
194. Circular base
(?).
H.
.45, Di. -38.

:
Bottom only
shaft partly hollowed out
decorated below as 189.
195. Floor tile (or
mould ?).
which are
Rosso
antico.
L. -12 (square).
meander border: in the centre a circular hollow, round Profiled edge. Late work of uncertain date. four small leaf-shaped depressions.
196. Floor tile (or mould ?). Rosso antico. L. -12 (square).
Profiled edge. to those on 195.
Within an olive-wreath border
is
Same
a hollow and depressions similar
period.
197-199. See MISCELLANEOUS ANTIQUITIES.
158

201. Dioscuri relief.
Bluish
Inst.
1
Introd. 39. 10, 18. Fig. 38. Gable-topped stele in centre of gable a shield. In centre a female figure clad in long ungirt chiton and holding in each hand a fillet wreath,
2, p.
:
86 1,
marble. pi. D.
H.
-70,
B. .48.
D-M.
203.
F-W.
1848.
Ann.
On her head she wears a kind of basket, stands en face on a low base. broader at the top than the bottom, and decorated with horizontal lines. On either side looking towards her stands a Dioscurus in profile, in Each wears a pileus and a chlamys their inner legs are similar attitude. advanced and their inner arms hold spears their outer arms gesticulate. The surface of the stele is much damaged, and on r. side a large hole has
;
been cut in it. from late 2nd

TIONS.
Work
flat
cent. B.C.
and superficial good archaistic design dates Below is an inscription, for which see INSCRIP: :
202. Dioscuri relief. H. -68, B. -50. D-M. 202. Bluish marble. Introd. 10, 18. Fig. 39. pi. D. i.
similar to that
Ann.
Inst. 1861, p. 39,
In the centre a female figure exactly Flat-topped stele (profiled edge). on 201. Either side facing her stands a Dioscurus in
Fig. 38.
Fig- 39-
profile.
They are in similar positions, and have their horses with them. outer legs are the free legs; their inner arms hold their horses' Their outer hands (not in similar positions, that of the r. hand bridles. Dioscurus raised, and that of the 1. Dioscurus dropped) hold sheathed swords. Each wears a pileus. Much damaged relief rounded, and fair
The
in style. tion, for
Probably also of the late 2nd cent. which see INSCRIPTIONS.

relief.
B.C.
Below
is
an
inscrip-
203. Dioscuri
Bluish marble. Introd. 10, 18.
H.
:
-90, B. -50.
D-M.
201.
Ann.
Inst.
1861,
p. 39.
Gable-topped
stele
in centre of gable a shield.
In centre a female
on 201 and 202. Either side stands a Dioscurus en face. They wear the pileus and are in similar attitudes. Their inner arms rest on their hips, their outer arms hold lances; the outer legs are the free legs. Good design, but superficial work: 2nd cent. B.C. Below is an inscription, for which see INSCRIPTIONS.
figure exactly similar to those
2O4-242. See
INSCRIPTIONS.
SCULPTURE
243. Headless herm H. -34. D-M. 158.
:
159
male.
1.
Formerly in the factory of Rhallis. Piece of drapery on the broken shaft is an inscription, for which see INSCRIPTIONS.
shoulder.
On
the
244-251. See INSCRIPTIONS.

252.
Base of a statue of a Bomonikes.

.31, B. -53,
H.
D.
-47.
D-M.
181.
for setting in feet of a bronze statue only visible. In each is a hole for a supporting rod, and between the feet a hole for another : 1. was the free leg. On the front is an inscription, for which see INSCRIPTIONS.
Hollows

relief (two fragments). Bluish marble. H. -64, B. -50, D. -12. D-M. 252. Ath. Mitt. 1878, p. 297, 3. Introd. 18. Fig. 40.
257 and 204. Grave
Furtwangler,
Gable-topped stele: much damaged, and bottom broken away. It shows a bearded man (hair in short, tight curls) seated in profile to 1. The 1. leg is crossed over r., and on it rests the 1. hand. A small piece of drapery appears over the 1. elbow. The r. hand, held up towards the Before the man is the head of a dog face, holds a roll. looking round at
Fig. 40.
Fig. 41.
Fig. 42.
him.
Dressel and Milchhofer call it bad but characteristic work ; Furtwangler says it is the best grave relief in the Museum, and that it dates from the 3rd cent. However, judging by the superficial, impressionistic
handling, it probably belongs to the 2nd cent. B.C. is the inscription
:
On
the architrave
PAPAXAlPE
Uapa xaipf. The letters are well cut and are of the forms used in the The name Uapa does not occur elsewhere, 3rd and 2nd cents. B.C. and in all probability it is to be regarded as an abbreviation for some
longer name,
e. g.
Tlapdpovc.
258-277.
279.
See INSCRIPTIONS.
Amazon
Pentelic marble.
sarcophagus. H. -45, L.
-84.
D-M.
236.
Robert,
ii.
118, pi.
XLVII. Introd. 10, 24. Fig. 42. Found on land of brothers Sacharopoulos at Karavas, two hours north To same sarcophagus belongs 67. Fig. 41. of Sparta.
160
On r. a nude warrior, back to spectator (sword on 1. side, shield on 1. arm), stands defending himself against an Amazon galloping against him. She rides astride with her r. arm raised to strike. Behind her is another Amazon on foot leaning over to the left (shown en face] her 1. arm was Both Amazons raised, her r. seems to hold the bottom edge of her chiton. wear a short chiton girt just below the breasts. The relief is badly damaged, both Amazons are headless, and the lower legs of the standing, the feet and arms of the riding one, are broken off. The horse has only one leg left, the off foreleg its neck is not correctly drawn. The warrior is headless, has no r. arm or leg, and no 1. foot. Good, spirited, graceful work: possibly dates from the 2nd cent. B.C.
: :

282. Byzantine (?) doorstep. Blue marble. L. -66, H. -41.

Philios says there exists a slab which may be a doorstep, but gives no measurements. These are the measurements of the slab now numbered 282. In Kastriotes' catalogue the measurements are given as .70 long and .28 high.
283. Girl statuette. H. -65. D-M. 140.

:
Found
in north of town,
by house of D. Poulakos.
The head
is
broken
off.
Clad
in long chiton and himation, both girt in together just below the breasts. The himaShe may wear tion seems to be misunderstood, and the two garments are confused. only a chiton with a long diplois clumsily rendered. She wears sandals. The 1. is the
Her r. hand holds against her hip a dove (?) : her 1. hand holds against her breast, in a fold of her garment, various fruits, grapes, apples, &c. Bad work of
free leg.
284. Male statuette reliefs on base Marsyas. Bluish marble. H. -49. D-M. 76. Fig. 43.
:
:
Found by house of D. Poulakos in north of town. All above hips lost stands evenly in a strained attitude on both feet, before a tree trunk which serves as a support. On either side of the trunk hangs a flute with a beaked mouthpiece and four keys : that on the 1. has a straight, that on the r. a curved end. On the base before a landscape ground (?) a dog pursuing a boar to r., and behind a wicker-work pattern. a hare running from it to 1. Common work (local) of imperial period reliefs especially bad. It may Prof. P. Gardner suggests that this is part of a Marsyas. be the other part of Le Bas' Marsyas from Sparta ( Voy. arch. Mon. fig., pi. 94, D-M. 67), now in the Louvre (Cat. Somm. 865).
: : :
H. .50. D-M. 88. Introd. 22. on leg from knee and horse's head beside it, similar to 118 top of horse's head traces of the hand (?). Ordinary work of imperial Cf. 9. period.
Only
1.
:
285. Dioscurus.
18. Introd. 84. behind is supported by a small pilaster. Herm shaft slender, and broadening towards the top. Body and arms covered by lion's skin, which fits close to the body and is treated like drapery. Careful work ; probably after a 2nd cent. type.
286. Heracles herm. Rosso antico. H. -50.

Headless
:
D-M.
:
stands on base -22 square
SCULPTURE
287. Herm : male. Rosso antico. H. -35.
Headless, and
r.
l6l
D-M.
133.
ground
(?).
forearm badly damaged. Square shaft, worked at bottom to set in Body and arms enveloped in a clinging garment. Ordinary work of the
early imperial period.
288. Relief fragment Blue-grey marble. H.
Zeus
(?).
-15, B. -13.
D-M.
265.
All below waist broken away. Represents in low relief a standing male figure en The r. hand face, clad in a himation over the 1. shoulder and round the lower limbs. is dropped the 1. holds a sceptre, on which is perched an eagle. Zeus is probably Bad, late, local work of uncertain date. represented.
:
289. Hygieia
(?)
statuette.
Introd.
18.
H.
-30.
D-M.
46.
:
Headless, r. forearm wanting, also legs below knees ; dowel hole in neck. R. free leg clad in long-sleeved chiton, and himation over 1. arm and shoulder. On r. hip and breast traces of a snake: the dropped 1. hand holds an uncertain cylindrical (?) object (perhaps a patera). Fair work, badly damaged, possibly ist cent. B.C.
290. Sarcophagus fragment. H. -37, B. -28. D-M. 231. Introd. 18. Bluish, coarse marble. L. hand corner. It shows a winged boy en face (legs and arms wantHe looks to r. 1. free leg: both arms were raised supporting ing). a garland, to which belong apparently the grapes on the small piece of the end that remains. Most remarkable is the colouring. The hair (rendered on top by rounded, grained strands falling over the ears in corkscrew curls), the eyebrows, and pupils are black the lower lip is a rosy red and the face and nude body are covered with a pink tint (?).
:
Fair work, probably of ist cent.
B. c.
Cf.
48.

210. Dioscuri stand in three-quarter face toward one another, in similar symmetrical positions. Their outer legs are free ; their outer arms, covered with the chlamys, rest on the hips their inner arms hold their horses, of which only the heads and foreBoth wear the pileus their inner hands quarters appear, by the bridles. seem also to hold whips. Between them, on a podium with three steps, stand two amphorae with tall, square handles and conical lids ; across their bodies are diagonal bands (snakes?) running down from r. to 1.
antico.
-26,
Rosso
H.
B. -35.
D-M.
Oblong
stele, flat
gable top.
The two
For
the
amphorae
cf.
7,
356, 575, and 613.
292.
Boy
-36.
in
statuette.
H.
D-M.
Formerly
No head, right shoulder or arm, and both legs. L. free leg himation over 1. arm and shoulder and round the lower limbs. forms seem fat late work of uncertain date.
:
138. Magula.
hand on hip. Clad in Badly weathered the

:
293. Hygieia statuette. H. -75. D-M. 45. Introd. 18. Head and neck (dowel hole) are wanting. L. free leg. Clad in long shoes on feet. The r. hand chiton, and himation over both shoulders holds up a piece of drapery at the side, on which rests a snake the
: :
162
1.

is
hand
covered with an end of the himation.
imperial period.
294.
fe257.
-35.
:
295. Lion's foot. Rosso antico. H.
Ordinary decorative work
on each side a long dowel hole
broken above.
296. Bird.
Coarse, bluish marble.
H.
off.
-18.
Head and
legs are broken
Ordinary Byzantine work.
297. Belief slab (from a frieze).

Bluish marble.
H.
-15, L. -21.
Introd.
Shows a bird
to
1.
pecking at the wave-pattern vine (?)
24. on which
it
stands.
Ordinary
Byzantine work.
298. Ball (or whorl?). Rosso antico. Di. -u. Similar to 153 much worn, and
:
half (divided horizontally)
is
lost
hole bored
through.
-36, B. .33, D. -20. broken below. In a circular depression (profiled border), surrounded by the curving stalks of an acanthus plant, is a lion's head.
299. Pilaster capital Coarse, bluish marble.

Back rounded
:
(P).
H.
profiled edge above

Cf.
Ordinary architectural work.
39
a.
300 and
537.
Grave
H.
It
relief.
Bluish marble.
Flat profiled top.
r.
-50, B. -31.
D-M.
244.
face, clad in
shows a young man en

;
himation and chiton

:
free leg.
Ordinary late work
imperial period.
Above
is
the inscription
nOAY
YKTE
XAIPE
no\v[c]\vKTf
faint.
|
xa'P*'
The
surface
is
much damaged and
the letters are exceedingly
301.
H.
.35.
F-W.
1614.
:
E-V.\^22.
Introd.
17.
:
Head, arms, and legs wanting
badly weathered.
on 1. shoulder. Body bent a little to its r., r. was a support. L. free leg (?). The muscular development is very marked and strong, but somewhat exaggerated for this reason Dressel and Milchhofer call it Heracles. Sieveking calls it an athlete, and
:
Remains of drapery arm dropped on 1. side
attributes
it
to
the 4th cent.

is
Probably
fresh.
it
belongs to the 3rd cent.:
at all events the style
good and
302. Cybele, enthroned.
H.
arms, and feet. Clad in long chiton (girt at waist) and himation over 1. shoulder and round lower The throne is plain, In her 1. hand she holds the tympanum. limbs. high backed, and armless. By its r. side sits the lion. Ordinary late work, not earlier than ist cent. B. c.
head,
D-M. 48. Introd. -30. Much damaged, especially
18.
SCULPTURE
303. Youthful satyr
Bluish marble.
:
163
part of Dionysiac group. H. -21. D-M. 59. Head, shoulders, and upper part of torso only. Looks up to his r. 1. hand holds pedum. His r. arm was round the figure (Dionysus) standing on that side of him, whose 1. arm is round his shoulders and neck. It
:
belongs to a Dionysiac group, but not to one like 416, according to It is a part of a "reduced copy of the type of Dressel and Milchhofer. which the two best examples are in the Ludovisi collection and in the Museo Chiaramonti (Schreiber, Villa Ludovisi Cat. 77 ; Amelung, This type is a combination of two Sculp. Vat. Mus., M. Chi. 588). inharmonious elements, a semi-drunken, fat Dionysus standing at ease and a lithe satyr moving quickly it probably dates from the i st cent. A. D. This figure is part of a very bad copy. Cf. 729. Base of small reproduction of similar group from Sparta at Dhimitzana, D-M. 178.
:
304. Hight foot

L. -15.
and
base.
:
R. foot of a statuette on half of an oval base
toes
much damaged.
305. Lion's head.
H.
-38.
; :
latter curving forward. Broken off below just at breakage acanthus leaves round neck : square pillar behind head. Common late decorative work.
Head and neck
806. Sarcophagus lid from a child's sarcophagus. H. -20, L. -37, D. .31. D-M. 235. Introd. 23. R. hand front corner only. Remains of drapery and 1. arm of reclining Before it towards the edge of the figure which rested on that arm. cushioned couch is a round gorgoneion, and by it and apparently attached to it is a similar round, but plain disk these are probably the two halves of an opened bulla, since a narrow strip attached to them lies by them. The edge of the couch in front is decorated with narrow bands between which are floral ornaments, in groups of three, and relief fields. Only the r. hand relief remains it shows a winged youth in profile to r. (chlamys on 1. arm) attacking with a spear a lion in the background is a pine tree, and plants, &c. are also indicated. The corner is decorated by a bird's head to 1. ; on its neck is seen a bird standing on an acanthus The small end shows another hunting scene. On the 1. stands en plant. face a youth in a short chiton (r. shoulder free), with a chlamys on his 1. arm with his r. hand he holds a hound in leash and with his 1. a spear. ; Next is a similarly clad youth (much destroyed through a later dowel hole) holding out his r. arm towards the first ; before him a bitch runs to r. Then comes an oak (?) tree. Last is seen a nude winged youth with two spears on his 1. shoulder running with a hound to r. Work fair, but
:
:
very superficial
imperial period.
307. Sarcophagus, for a child.

L. 1-69, H. -40.
Fig. 44.
D-M.
228.
Arch.
r.
Zeit.
1880, p.
163,
pi.
14.
Greater part of front, and part of
end
(-31
long) remain.
The
bottom
the figures lack their lower legs. It was found at Hagios loannes, where fragments of the scale-decorated, roofshaped lid were left. triangular fragment from the front side is in the
is
broken
off,
so that
all
164
National
in three
Museum at Athens (No. 2005). It shows nine boys arranged groups of three. The first group on 1. shows a drunken boy (with drapery over the 1. arm, back and r. leg) supported by two others he clasps his 1. hand supporter who holds him under the r. arm, round
;
the neck, while the r. hand supporter, who holds a torch in his r. hand, holds him up by the 1. arm. Of the central group, the first facing to the 1. plays a double flute, the next empties an amphora into a crater on the
ground, the last facing r. clashes the cymbals (his head and shoulders are on the piece in Athens). The last group shows a youth, clad as the central one of the first group, staggering against a supporter on his r.
Fig. 44.
r. and 1. arms respectively are round one another) while with his arm he clutches at another, who holds his r. hand to his head, and in his an empty cantharus. It shows a revel just over ; on the 1. is a tired
(their
1.
1.
party being lighted home and accompanied by music, then the emptying of the last amphora, while on the r. the more lively and drunken revellers still essay to dance. The whole scene and different degrees of drunkenAt the r. hand corner ness are excellently and humorously rendered. It is is a calf's head from which a garland hangs on the short side. noticeable that the figures are surrounded by running drill grooves
following their contours.
Good work: 2nd
cent. A. D.
(?).
308.
Rossi, Bull Comm. Arch. 1889, PI. V, VI. below the waist are wanting. The lamb is headless. A young man is represented clad in a short-sleeved chiton and holding on his shoulders a lamb by the legs held by his r. hand before his neck. The style is bad and flat, the whole figure is treated rather like a relief;
The good shepherd. H. -38. D-M. 132. Cf. De

all
L. arm, and
there
24.
is
flat pillar
behind.
Late, Christian work, 3rd cent.
A. D.
Introd.
309.
Boy statuette. Bluish marble. H. -54.

1.
D-M.
136.
:
shoulder and arm wanting. Seated on a rock concave in front r. foot on ground, 1. on lowest part of rock. Clad in a short, short-sleeved chiton, with a chlamys over the breast and back. The r. hand rests on the rock at his side and holds some Two dowel holes in back and one in r. side broken, uncertain object (a cantharus?). of rock below a semicircular cut along base from back to front ; good motive ordinary work of imperial period.
Head,
310. Heracles torso (nude). Pentelic (?) marble. H. -18.
D-M.
The
80.
r.
F-W.
arm was
1583.
raised, the
;
Head, arms, and

obliquely across the
legs missing.
1.
hung
body
position of legs uncertain
a support on the
SCULPTURE
upper
r.
:
165
:
a small one above r. breast the head was sunk on the on chest and torso. Muscles very strongly work very dry and hard, of imperial period. The figure developed was probably seated, and so similar to the Belvedere torso (Helbig, 127) and a Heracles from Smyrna (Le Bas, Voy. arch., pi. 144).
thigh
: :
breast
hair
engraved
311.
Besting sheep
-io, L. -18.
lies to r.
:
(?).
1
H.
D-M.
fat
;
86.
Headless,
long coat.
Rough work,
imperial period.
312. Sleeping Eros. L. .20. D-M. 42.

Lies in similar position to 20 and 21 r. arm stretched on ground legs and r. foremissing. Chlamys on shoulders : by his side (held by r. hand) bow case and Moderate, decorative work : imperial period. quiver.
:
arm
313.
Eagle and snake (part of a statue base

;
?).
H. .50. D-M. 182. Bluish-grey marble. Eagle standing erect on a rock behind it is supported by a tree trunk. (its head is turned to its 1.) it holds a snake. Ordinary imperial work.
314.
In
its
beak
which is hollowed into a scotia above to accommodate the head and shoulders. Hair, short, but thick ; flat, round face : eyes rendered plastically. Ordinary work of imperial period.
:
Rosso antico. Much weathered
Youthful herm. H. -40.
D-M.
134.
fixed to a pillar behind, the top of
315. Female statuette. H. -23. Pentelic (?) marble.
D-M.
1.
120.
Upper
316.
-15.
part of torso and stump of

1.
arm
only.
Clad
himation over
arm and shoulder and

relief.
across back.
in high girt chiton, and Ordinary imperial work.
in
Archaic hero
Blue-grey (ash-coloured) local stone.
H.
3, 14.
-29,
B. .37.
:
Relief height
D-M.
9.
F-W.
62.
Introd.
r.,
Similar to 3 Possibly found by Leonidaeum. figures enthroned to but much damaged ; all above the seat of the throne is broken away
:
rough piece at bottom to insert in ground. Drapery hangs between seat and arm of chair. Cf. 4, 415, 505. The legs of the throne are lion legs adapted. Figures wear two garments, indicated as on 3, and shoes (?). There are no worshippers, and the snake is in front of the throne. It is its style is rounder and freer. It shows the transilater in date than 3 tion to the class to which 4, 515, 431, and 451 belong.
:
317.
Poseidon
-20, B. -16.
relief.
H.
D-M.
192.
part with head broken off. Poseidon shown en face, clad in himation over the 1. shoulder and arm, and round the lower limbs. The raised r. arm is supported on the trident the 1. arm rests against the hip. Below on either side a dolphin Common late springing out head downwards below possibly water was indicated.
Upper
work.
318.
Helen
(?) relief.
H. -27, B. -ii. D-M. 222. Female figure en face, clad in sides hang down straight long
:
Introd. 13. long, short-sleeved chiton hair falling on to shoulders.

:
a round, basket-like object, broader at top than the bottom central figure in the Dioscuri reliefs 201, 202, and 203. archaistic work of doubtful date.
arms close to On the head cf. 362, and the

Archaic or
166

stone.
F-W.
Grey-blue, marble-like, local Introd. 10, 15. 67.
H.
'3*7,
B.
-40.
D-M.
:
14,
but According to Stamatakes once in house of brothers Loulou according to Conze and Michaelis it was over the door of D. Maroudhes, having been found near by. R. hand Dioscurus and head of horse of 1. hand Dioscurus only left badly weathered. It showed the Dioscuri standing by side of their horses facing one another in profile. The r. hand one advances with the r. leg, and holds his horse by the mane with his r. hand 1. hand broken away. The horses' noses almost touch. Between the hind legs of the horse of the remaining Dioscurus are visible traces (feet and drapery below, contour of body above) of another (female ?)
:
:
figure.
Style and handling throughout forms of body in general long and thin.
is flat,
and no
details are given
Early 5th century work.
320.
H.
-75.
Draped female D-M. 117.
figure
(muse
?)
seated on rock.
Head, r. arm, 1. hand, and and himation on 1. shoulder, advanced, and placed lower 1. hand supported something
321. Hygieia.
both
feet missing. Clad in high girt chiton, arm, and round lower limbs. L. leg more than r. tip of 1. knee broken off, possibly
:
on
it.
H..8o.
Found
D-M. 44. in foundations of church of
Hagios Panteleimon north-west of
18. Sparta (Stamatakes). Introd. Head, hands, and legs below knees broken off: 1. free leg. Clad in long chiton, with a himation wrapped round the shoulders, and falling down again over 1. arm. The r. hand rests against the side, and on the drapery between it and the body rests a curling snake. Ordinary work (back not worked) of imperial period : for the type cf. 293.
322-323. Sarcophagus
Pentelic marble.
ransoming of Hector's body.
H. -88, short side L. -25. D-M. 323. Robert, ii. 51, pi. XXIV. Fig. 45. L. hand end of long side, 1. corner, and portions of 1. short side only. The bottom is broken off all along, so the feet are missing in every case. The top of the short side is decorated with an egg and dart pattern ; the long side has rather an elaborate profiled edge. At the corner and shown partly on the short side in back view and on the long side in profile to r. is a female figure clad in a long chiton with a diplois (holding a lance in her r. hand, and a shield on her 1. arm) advancing to r. from under an arched gateway. There Fig. 45. is a himation round the lower limbs the head is lost, but the figure is certainly female. The gateway is shown
L.
1-50,
:
perspectively on the short side. Before proceeds a strong, well-developed youth holding a huge crater with both hands. Before him is a chariot (bt'ga) also advancing to the r. It is driven by a cuirassed warrior (helmeted, but the
SCULPTURE
head
:
167
is badly damaged) behind him there stands in the chariot a youth Phrygian costume, bonnet, short-sleeved tunic, and trunk hose) holding on his shoulders with his r, hand a cuirass, and in his 1. hand a vase ; he In the ground is seen from the back, whereas the other two are in profile. behind him appear the hind quarters of a horse. At the heads of the
in
tween
horses of the biga (the end of the pole and part of the yoke appear betheir necks) and in the background is a nude youth in three-quarter Fair, but hard work of the 2nd profile to the r. holding them back. cent. A.D.; cf. 402.
324. Seated lion.

Bluish marble.
L. -70, H. -58.
:
D-M.
:
183.
1.
Fore legs broken away mouth open decorative work of late, but uncertain date.
tail
curled round
hind leg.
Common
325.
H.
-68.
Bearded male statue archaic. D-M. 2. F-W. 57. Furtwangler,

:
Ath. Mitt. 1882, p. 170.
Fig. 46.
Badly weathered ; all below navel, and r. hand missing. Arms slightly Beard bent back at the elbow, but tight to sides, and hands clenched.
Fig. 46.
47-
short, just reaches breast;
high plane no details given except the contours of the breasts, and the navel, a deep circular hole. The back is merely roughly rounded just above the breakage is an iron dowel. Good, strong archaic work, 6th cent. B.C. Introd. i, 14.
:
hair long, a curling lock falls on to each the neck the hair falls in a broad, square, flat undetailed mass detail on locks on shoulders rendered by oblique lines. No feature of the face is clear. The chest is rather narrow, but the front of
shoulder,
:
down
the chest
and stomach
is
continuous in one
:
flat
326. Artemis.
-80. D-M. 96. Fig. 47. Head and arms, which were set on, are missing the legs are broken off, and the shoulders much damaged. Clad in loose, long, ungirt chiton
H.
with diplois. narrow belt across the L. leg was advanced.
1.
breast
and over the
r.
shoulder.
i68
Good,
spirited

work
:
drapery naturally rendered.

4th cent, original:
good copy of a Praxitelean type, replica of Artemis Colonna (Fig. 48): v. Introd. 16.
327. Gargoyle
:
lion's head.
Introd.
24.
H.
-20, L. -47.
Open-mouthed, jagged-toothed, flat-nosed head

with staring eyes childishly executed behind cut square to set in wall was never used as a waterProbably Frankish work. spout.
:
328. Grave relief.
H. -52, B. .45. D-M. 253. Bluish marble. Upper part with head of figure broken away. It shows a nude figure in chiton, and a himation wrapped round both shoulders en face r. free leg r. hand in fold of garment, 1. hangs down at side, Rough, late work:
: :
imperial period.
329. Draped female torso. H. -125. D-M. 162.

Fig. 48.
r.
Head, and breast, and 1. arm wanting, R. free leg arm on chest, 1. was hanging at side. Clad in long
:
:hiton
and a himation.
330. Male toga statue. Bluish marble. H. 1-25. D-M. 143. Head and 1. hand, which were set on, are missing
on
chest,
1.
feet
broken
off
1.
free leg.
R. arm
local
hanging at
side.
Clad
in chiton with a toga over
it.
Common, flat,

331. Basin. Bluish marble.
period.
Di. -62.
flat
In four fragments. On outer rim four semi-circular Very shallow. Rough, common work.
handles; one missing.
332. Hydria.
Bluish marble.
Handles broken
off.
H.
-72, Di. -54.
In two pieces joined together.

?).
Rough, common work.
333.
Draped torso (female Pentelic marble. H. -38, B.

:
Fragment
-40. lower part of torso only flat behind

:
moderate work.
334. Alabastron.
Alabaster.
H.
-18.
:
Plain, round shape, flat bottom
traces of
unguent
inside.
336. Bight hand.

L. -09.
Dowel hole
object that
was
in wrist, set in.
was made
to set on
fingers clenched
round some long, round
337. Portrait, youthful bearded.
H.
-35.
D-M.
154.
Introd.
20.
:
Hair treated in thick mass of short curls beard rendered in short, close, Bar above brow tight curls. eyebrows and eyes plastically rendered. Expressionless, ordinary portrait of the Antonine period fair work.
: :
SCULPTURE
338. Ideal female head. H. -25. D-M. 102. Introd.
Inclined a
little
169
20.
and looks upward with a weak sentimental Hair centre parted, and waved away at sides to a chignon expression. work of Antonine behind. Hard, lifeless work after 4th cent, type
to its
1.
;
:
period.
339.
Female head
-25.
portrait.
small rolled
H.
fillet
Face
(?)
only
cally
round head 2nd rendered.
Hair centre parted ; badly weathered. veil (himation ?) over back of head. ; cent. A.D., Hadrianic period.
141.
Eyes
plasti-
340. Child's head.
H.
.12.
D-M.
Very badly damaged. work of imperial period.
Round, chubby
features
long, curling, silky hair.
Good
341.
H.
-15.
Helmeted head. D-M. 127. Introd.
18.
Badly damaged. Full beard, strong features, deep-set eyes, passionate expression. Ajax or Menelaus type. The 1. side is not worked. Fair work, hasty, but not spiritless. Possibly 2nd cent. B.C.
342. Silemis head. Bluish marble. H.
Very badly damaged.
details indistinguishable.
-16.
D-M.
68.
:
Bearded, pointed ears, ivy-wreathed and laughing
further
343.
Bearded portrait
philosopher.
H. -45. D-M. 150. Introd. 20. Pentelic(?) marble. Bald, hair at back of head merely chipped out, lies close ; high, furrowed forehead, eyes and eyebrows plastically rendered ; loose, fat cheeks, beard and moustache in long, tangled, grained locks ; long, oval-shaped head ;
was made
344.
to set in.
Moderate work
2nd
cent. A.D.
Helmeted Athena head. H. .32. D-M. 25. Nose and chin damaged. Corinthian helmet on back of head hair centre parted and waved away at sides to a chignon behind. Hard, inferior work after 4th cent, type imperial period.
: :
345. Lion's head
gutter-spout.
-22, L. -23. From a gutter, acted as a water-spout. Open-mouthed ; shows remains of colouring mane and eyes in black, lines and details of mouth and face picked out in black, the rest is coloured a brownish pink. Ordinary architectural work.
:
H.
346. Altar fragment

L. -38. Bucranium (Roman,
.30,
circular.
H.
skull type) with a decorated band across forehead supporting garlands, of which traces of the ends remain imperial period, very ordinary work.
:
347-348.
See MISCELLANEOUS ANTIQUITIES.
349. Cybele enthroned.

Bluish marble.
H.
Head, forearms, and
-35. feet
D-M.
49.
off,
broken
also
head of the
lion
a small
I7
dowel hole in stump of 1. arm. Statuette similar to 302. Goddess seated on a plain high-backed throne, clad in high-girt chiton, and himation over the 1. arm and shoulder. By the r. side of the throne sits a lion, her r. hand probably rested on its head her 1. hand which was raised would have held the tympanum. Common work of the imperial period.
:
350. Dionysus: statuette.
H. -56. D-M. 52. Legs from middle of

otherwise
rested
thighs,
and forearms broken
off
and whole
is
much
defaced.
on top of head ; 1. trunk by side of 1. leg. to each shoulder, its arrangement is not clear. The whole figure is supported by a square pillar behind. The type seems to belong to the 4th cent. Ordinary work, rather decorative, not earlier than the ist cent. B.C., v. Reinach, Rep. p. 123.
351. Cybele, seated on a lion statuette. H. -39. D-M. 47. Introd. 18. Bluish marble. Head broken off. On a lion standing to the r. a goddess is seated sideways. She is clad as 349, her feet rest on a footstool. Her r. hand rests on the lion's hind quarters ; the 1. holds a tympanum (?) (decorated with an eight-rayed star) on its head. The back is merely roughly rounded. Poor work ; not earlier than the ist cent. B.C.
:
Nude; 1. free leg, and advanced. R. hand hung down at side, and rested on top of a treeThe hair is long, but apart from a lock falling on
352.
H.
The
-20.
r.
Head Apollo D-M. 94.

:
(or
female P).
The
forehead
is
Only
eye and part of forehead and hair above remain.

;
low.
centre parted, and waved away to the sides been a crobylos. Good work, probably 3rd cent. B. c.
hair
was
in front there seems to have
353. Relief.
H.
figure
-14, B. .12.
D-M.
It
in
Bottom half only.

Rough,
late
274. shows the legs and hips
(all
(male or female)
work
profile proceeding to the of uncertain date.
above is broken off) of a nude r. with the 1. leg advanced.
354. Lion's
head
:
gutter-spout.
Ordinary
H.
-TO, L. -18.
Upper part only architectural work.
used as water-spout.
355.
Snake
relief.
Bluish marble. H. -42, B. -18. D-M. 22. Introd. 9. Bearded and crested snake curling up to 1. By its mouth an egg (?), perhaps as food.
5th cent. B.C.

Bluish marble.
Introd.
Fig. 49.
5, 10.
H.
-70, B. -52.
D-M.
209.
the stele is divided into two the upper field are the Dioscuri en face, standing opposite one another
Fig. 49. Gable-topped stele with acroterion in centre: in gable two cocks facing one another. Below, In relief fields by a broad horizontal band.
SCULPTURE
171
in similar symmetrical positions. They are nude, and wear no pilei: their inner hands hold their horses (seen in profile) by the bridles, their In the lower outer hands hold lances their outer legs are the free legs. field are seen the upper parts (the lower part of the stele is broken away)
:
of two tall amphorae with high, rounded handles, and conical lids ; round each amphora curls a snake. Cf. 7, 291, 575, and 613. Flat work: probably not earlier than 2nd cent. B. c. 357.
hole in under side of base Clad in long chiton, and himation loosely wrapped about the shoulders. but badly damaged possibly 2nd cent B.C.
: :
Draped female statuette. H. -34. D-M. 122. Head missing badly weathered dowel
;
r.
free leg.
Fair work,
358. Left hand. L. -05. Very small, much damaged
still
holds some
flat,
round object.
360. Statuette.
Bluish marble.
It represents a
H.
-24.
D-M.
131.
seated with his hands clasped across his knees which The breast and stomach are bare; the rest of the figure is are rather wide apart. draped. The back is totally unworked. Extremely rude, local work : possibly un-
bearded
man
finished.
361.
Female head
.35.
(portrait
P).
167. Very badly damaged, and almost completely defaced it was in later times used as The hair was parted in the building material as the leaf ornament on the back shows. centre, and waved back at sides.
:
H.
D-M.
362.
Helen
(?) relief.
H. .35, B. -18, D. -n. D-M. 221. Gable-topped stele. It shows a similar female figure to that on 318, except that the arms hang away from the body obliquely, and the hands seem clenched. Cf. 201, 202, and 203. Possibly 4th cent. Introd. 13.
Blue-grey, marble-like, local stone.
363.
Drapery fragment.
(?)
Pentelic Introd. i.
marble.
H.
-59.
D-M.
175.
Loewy,
/.
G. B, 336.
Hanging fragment of uncertain garment.

the folds the following inscription
:
Fair Neo-Attic work.
On
ATTO A A CO NIOC A0H
NAIO
y
Eno
'A7roXXo>|wof A6r)\vaios
ciroiei.
\
IEI
very carefully inscribed with
The
letters are
slight apices, in all probability
OJ
A
VI
by the sculptor himself: the forms of the are incorrectly reproduced in D-M., also that of the C in 1. 2.
:
364. Archaic group

Bluish marble,
pi.
;
fragment.
H.
-48.
D-M.
i.
Marx, Ath. Mitt. 1885,

;
von
Prott, ibid. 1904, p. 16, pi. 6
Perrot,
viii.
;
p. 438, 3
p. 177, Wolters,
'Apx.
1892, p. 225;
Baur, Eileithyia, p. 43
13, 14.
Rouse, Gk.
Votive
Offerings, pp. 254, 257.
Introd.

Found at Magula. It represents a kneeling, nude, female figure with a small male figure close to each side. Her head, both arms, 1. shoulder and legs below the knees are broken away nearly all the figure on her 1., except the stomach and hips, is lost ; of the other, only the legs below the knees are wanting. In the upper broken surface of the woman is a small dowel hole above the r. breast. Close against her r. side is a small, nude male figure, holding the fingers of both hands to its mouth and The forms apparently sucking them.
:
of its with
is
body are small, thin and narrow, no detailed rendering the head very big, has wide, staring eyes, and
:
a blunt nose:
undetailed
the neck.
Figs. 50
lt
the hair
is
in a thick,
mass cut
straight
round on
is,
The
as
possible
:
other figure to determine,
as far
similarly
but it is slightly higher up handled woman's body. Its 1. arm is held down obliquely against the woman's body in front the hand is open and pressed palm inwards The female form is fairly well rendered on the against her stomach. whole the chest and stomach are flat and in the same plane the navel the chest is broad, and the hips rather is not indicated, but the rima is narrow the back is modelled to the contours merely the thighs are pressed close together, and are shapeless. Good, archaic work 6th cent.
against the
:
B.C.
Fig. 50, 51.
365.
Male head.
-25.
fillet round the head: the hair is Other details indistinguishable. Possibly dates
D-M. 113. Very much worn and defaced: a thick round

H.
handled in short, small, flowing locks. from and cent. B.C.
366. Statuette fragment.
H.
round
.20.
A piece of a base with a tree

it.
Served as a support
trunk on which a himation is placed and hangs ordinary work of imperial period.
down
388. Frieze fragment. L. -26, H. .11.

bud
Profiled edge above, below reel and button ornament, between an anthemion and pattern. Ordinary architectural work.

\.
Grave
relief.
H. -55, B. -60. D-M. 255. Part of lower portion only. It shows the legs of a man clad in himation (r. free leg) standing en face. By his 1. side is a circular basin-shaped altar on a fluted base like 191. Very rough work imperial period.
Bluish marble.
:
SCULPTURE
397. Uninscribed base.
173
H.
-37,
L. -75, D. -48.
Philios says he found no base to correspond with these measurements. He however found a marble block that might be at first sight taken for a base. It was unnumbered, but was afterwards numbered by him. It is possibly, as he says, a theatre seat.
398. Votive relief.

Bluish limestone.
Offerings, p. 215.
H.
-52, B. -28.
D-M.
196.
Rouse, Gk. Votive
From Messenia. Two r. hands and forearms in low, round relief, hands upwards. The hands are spread out flat palm downwards, and the fingers are all separated. Rough work of late, but uncertain date. For similar reliefs v. Heydemann, Ant.
Marmorbildw.
l8 55> P- 53
;
z.
Atk., 14; Jahn, Berichtc d. sacks. Gesells. d. Wissenschaften^\\.
Above
see above, p. 27. is an inscription, for which see
INSCRIPTIONS.
399. Bight hand.

Bluish marble. L. -10, W. -lo. Fragment of a statue, possibly of a nymph holding a basin ; at least the hand still holds a fragment of a circular basin decorated on the rim with an egg and dart, and a reel and button pattern. Ordinary work
:
imperial period.
Cf.
99.
400-401.
See INSCRIPTIONS.
:
402. Sarcophagus fragment ransoming of Hector's body. H. -50, B. .57. D-M. 224. Robert, ii. 53, pi. XXIV. Fig. 52. Above decorated border, egg and dart and reel and button ornament. Similar representation to that on 322 + 323. On the 1. is a figure
in profile to r. (chlamys over 1. shoulder) holds in both hands a big metal hydria.
;
he In
the
background behind him is a helmeted, bearded barbarian. Before him is seen part of a chariot filled with shields driving it is a bearded barbarian in short-sleeved chiton, Phrygian cap, &c. Very fair work, but badly
:
damaged
of imperial period.
Fi
403. Archaistic
herm head.
H.
-57.
Bluish, fine marble.
Front of bust broken off:

:
a separate piece. Filleted, forehead two long locks falling down either side on to the shoulders, and a large flat mass falling down the neck (detail given by finely chiselled, wavy lines). High narrow forehead with slight conventionalized bar, eyes moderately deep set; high, plump, rather hard cheeks; square jaw; Dressel and hard, oval, projecting chin ; all features hard and severe.
D-M. 100. 1315-1316. dowel hole on top of head to set on hair in three rows of tight curls on edge of
EV.
Milchhofer, and Philios also call it female. Sieveking says it is male, and belongs to a class of Roman Bacchic herms depending on earlier types ; from these types the hair is derived the face he says is Scopaic. Good work of imperial period.
:
405-406.
174

See INSCRIPTIONS.
407-408.
409. Seat.
Bluish marble.
H.
-64, L. -58,
D.
:
-43.
Was
thus
q.v.
:
missing
'
Marble
Philios could not find it Kastriotes in his catalogue describes it seat broken in two, in the western room of the Museum.' 769,
Now

412. Lion's foot on base. H. -17, W. .15, L. .18.
Broken
in front of foot,
and above
ordinary decorative work.
413. Byzantine capital. L. -61, H. -14, B. -17. Introd.

Flat sides, similar to 39 b: to flat, only one side decorated, on
fit
it
24. Fig. 53. a shaft -n square. Abacus a couchant lion. Very fair
work.
414. Aphrodite
and Eros.
18.
H. -37. D-M. 34. Introd. Found in Gytheion harbour. foot and 1. forearm are missing
is
The
:
head,
r.
arm and
She
1.
is
the free leg.
clad in a long-sleeved chiton girt just under the breasts, and with bands round the shoulders : she also wears a himation flung over 1. arm and shoulder, across the back, and before the lower limbs. Her head was
53
turned round to her L, towards an Eros perched on her 1. shoulder traces of the Eros (leg, &c.,) are just visible. Pleasing work, rather hasty ; not earlier than * ate 2IK* cent> B C
;:
'
415.
Archaic hero
-36, B. -35.
relief.
Relief height, -02-03. D-M. 10, pi. 23 ; F-W. 61 ; Introd. Perrot, viii. pp. 134, 441, Fig. 74. 3, 14. Similar representation to 4. Much defaced, and lower part broken off at the level of the seat of the throne. The heroes are enthroned to 1.
H.
throne apparently exactly similar to that on 4. The head of the only is en face, otherwise he is similar to 4. The female figure which is only just distinguishable, holds out her veil with her r. hand, and in her 1. hand holds a pomegranate on her knee. The snake is before the There throne, and its head only reaches to the foot of the cantharus. are no worshippers. The relief comes next to 316 in the series ; but it shows an alteration in the type, the enthroned figures look to 1. In style
it is more developed the forms are rounder and fuller ; in some details, such as the drapery, there is more freedom in the handling. 6th cent. B.C. (?)
;
The man
and Satyr. H.-45. D-M. 57. Dionysus is headless, armless, and legless (from the knees) the lower legs of Pan are broken off; and the whole of a third figure except the
416. Dionysus, Pan,
;
r.
arm
is
wanting.
On
the
1.
he has goat's
legs, is ithyphallic,
(of the spectator) stands Pan (r. free leg), and there are traces of drapery across
SCULPTURE
the back
175
with his r. hand he holds a syrinx to his mouth, with his 1. he ; shoulders a pedum. In the centre leaning against him is Dionysus (1. free He is nude save for a nebris over r. shoulder a long lock falls on leg).
:
his
head (cf. 350), and was probably round the body of the missing figure, a satyr (?), who had his r. arm round Dionysus' waist. Ordinary work of the imperial period a combination of inharmonious types v. 303.
to each shoulder
1.
:
his
r.
arm probably
rested
on
his

419. Lion's
paw.
H.
-15.
Ordinary decorative work.
420. Base with feet. H. .20, W. -25, D. .34.

the
R. hand end of base on it is a 1. foot and ankle Base of a dancing Maenad, or Satyr ? r. foot.
:
behind the heel appear the toes of
421.
Dancing Maenad.
Clad in breast, 1. arm, and both legs wanting. clinging chiton, girt just below breasts; it left r. shoulder and breast bare: she also wears a himation over the 1. shoulder and round the lower limbs. Good, spirited work, drapery well rendered, a trifle superficial in execution
:
H. -23. D-M. 69. Head, r. arm and
probably ist cent.
B.C.
The
hair
is
long,
and hangs down the

1.
The r. arm was dropped across the body, and the back. the head and the body in general were inclined to their compare the Dancing Maenad in Berlin, No. 208.
422. Ape(?).
stretched out
1.
For the type
H.
.12.
All above navel, and the feet are missing. rough work of uncertain date.
The
figure is seated
on a low rock
423. Heracles head.
H.
-23.
D-M.
82.
Found north
hair and beard
of Acropolis.
The neck
is
inclined to
its 1.,
the head to
its r.
Short
worked almost mon work of imperial period.
entirely with the drill.
Very badly weathered.
Com-
424. Cybele enthroned
fragment.
off,
H.
.21.
Head
Cf.
50. and shoulders broken
D-M.
and
is
Similar to
302 and 349,

:
but there
the whole very badly weathered. a lion each side of the throne.
452.
gutter-spout.
.20.
425. Lion's head

Bluish marble.
Served as waterspout
H.
:
common,
late architectural
work.
426. Aphrodite and Eros. Bluish marble. H. -20.

Upper part of torso only with upper 1. and r. arms. Against her 1. arm and shoulder leans a nude Eros (neck to knees only left) by her r. shoulder is some uncertain object (drapery, or other Eros?). Common, rough work.
:
427-429.
See INSCRIPTIONS.
176
430. Relief fragment.
H. -31, B. .30. In high relief are seen the stomach and thighs of a male figure en face, r. free leg. Ordinary work, imperial period. Background not flat, and on it there seem to be traces of drapery (?).
431. Archaic hero relief.
Bluish marble.
H.
-19, B. -19.
Introd.
3.
Fragment showing only the r. hand of the male figure (drapery on arm), and the two hands of the female figure, the r. holding the cantharus The figures were enthroned out her veil, and 1. a pomegranate. holding and this fragment is of the same type as 4, 415, and 451. From to 1. the rounded forms it seems later than 415 and 451.
;
:

433. Lion's foot.
Bluish marble.
The lower
late
H. 13, D. -12, -13. of a square pillar decorated in front with a lion's foot. part
W.
Ordinary,
work.
434. Draped male statuette.
H.
-ii.
set in
;
Head was
chiton and himation
shoulders and breast, r. arm, and 1. upper r. arm laid on chest : imperial period. :
arm only
left.
Clad
in

437.
Female head.
.ii.
filleted, centre
Hair
badly damaged.
Hair
parted and waved back to a chignon on neck. The face is very in thick, loose locks. Ordinary work of imperial period.
438.
Head and shoulders

;
of a statuette.
Bluish marble. H. -17. In extremely bad condition all details unrecognizable. Originally it does not seem It is possibly a Heracles with the lion's skin over his head. to have been good work.
At the east of Sparta. top in low relief is a quadriga to 1. It is freely rendered, the second horse from the 1. has its head turned to the r. In the car, of which only The whole is handled the wheel is visible, is a figure bent forward driving. in a very spirited manner, and as far as can be seen from its bad condition the work is good; it probably belongs to the 5th cent.
440. Stele of Damonon. H. -94, B. -235, D. -16. D-M. 20. Formerly in the monastery of Hagioi Saranta,
Below
is
an
inscription, for
which see INSCRIPTIONS.
441. Votive relief to Alexandra. Bluish marble. H. 1-36, B. -64. Ath. MitL 1878, p. 164. Introd. 18. Found in church of Hagia Paraskeve at Mahmoudbey. Gable-topped On 1. is seated on a rock to r. in threestele with acroteria gable plain. and quarter profile a female figure clad in a long chiton, girt at the waist,
:
SCULPTURE
177
;
a himation over her 1. shoulder and lower limbs ; she wears sandals her hair is dressed in a crobylos. Her 1. hand holds on her knee an eightBefore her is a stringed cithara which she plays with her r. hand. round altar on a square base. Towards her advance (1. free legs) three
figures. They are in three-quarter profile and wear chitons, and The ample himatia which cover the whole body but the r. shoulder. foremost holds in his dropped r. hand a patera, and the other two hold up their r. hands in adoration. Surface badly damaged. Moderate work of ist cent. B.C. Above and below is an inscription, for which see
male
INSCRIPTIONS.
Fig. 54.
relief.
85.
^
442 a. Heracles herm in high

Bluish marble.
H.
1-85.
D-M.
Introd.
20.
Fig. 55.
:
of Magula. Broken into eight pieces, but on the front practically complete, on a plain base stands a plain pilaster of this pilaster is the herm in high relief. The herm shaft is wider
at Arapissa, part
Found
Fig- 54-
Fig. 55-
above than below. It represents a bearded man as Heracles. The hair is handled in thick, curling mass standing away from the head. The forehead is broad and high, it is wrinkled, and there is a bar above the brow. The eyes are deep set, and plastically rendered ; so also are the eyebrows. The beard is in thick, coarse, curling locks. Round the
hand
is wrapped the lion's skin held together on the chest by the r. the 1. hand holds the club. The by the hand the lion's head skin is rendered like drapery. Over all are traces of red colouring. The forms are strongly and boldly rendered, but lack refinement. Good, decorative work of Antonine period. For the type may be compared the herm from Ilium, which belongs to the 2nd cent. B.C. (Troja u. Ilion. II. Beil. 53, p. Similar herms, one Heracles, the other 430.) Omphale, from Sparta, are at Dhimitzana (Ath. Mitt.) iv. p. 127, 2, 3).
shoulders
;
442 b.
Herm
in high relief.
lost.
Bluish marble. H. 1-55. Similar to 442 a. Broken across the middle and the upper half
178
Only the
drapery.
1.

hand, which held an uncertain object, is seen, and about head by it. The lion's skin here also is rendered like
period and workmanship as
half the lion's
Same
442
a.
443. Draped female statue.
H. 1-65. Introd. 19. Pentelic (?) marble. Broken obliquely across chest, and upper part lost. Clad in long The r. arm is laid chiton and himation: r. free leg; sandals on feet. Fair work across the chest, the 1. hangs down by the side. obliquely
(portrait statue) of the ist cent. A.D.
On the
base
is
the inscription
AAAMOZGENEIAN THNeYfATEPA
[KjX(avdt'ai') Aapoo-Oeveiav
\
TTJV
1.
Qvyarcpa.
The
letters in
1.
are consider-
ably smaller than those in
i.
Slight apices.
See
p. 7.
444. Boy's head (Eros H. -12. Bluish marble.

Lies on
its r.
P).
side.
crown, and
falls in thick, silky curls
chubby
features.
down the centre from the forehead to the over the ears. Face much damaged: childish, Probably part of a sleeping Eros cf. 20, 21.
Hair has a
plait
:
445.
Female head.
.
The hair is centre-parted and waved away at especially the face. the sides to a chignon behind some hair hung down the neck, and there was a crobylos in front. Fair work: not earlier than the ist cent. B.C.; but probably after a 3rd cent. type.
;
H..i 7 Much damaged,
447. Dioscuri relief (votive).

Bluish
marble.
H.
1-13, B. -58, Relief height, -03.

viii.
Furtwangler.
18.
2.
Ath. Mitt.
(1883), p. 371,
Fig. 56.
:
pi.
Introd.
10, 15From Vurlia.
1.
Broken into four fragments the lower legs of hand Dioscurus with the ends of the lines of
the
the
inscription wanting, also

figures.
all above the waists of the Dioscuri are represented standing facing one another in profile in exactly symmetrical positions. They are nude, and have their inner legs The 1. Dioscurus holds in his 1. slightly advanced. hand a wreath. The forms are thin and graceful, but flat and somewhat stiff. Good work early 5th
The two
cent.
Fl S- 56.
Between their thighs for which see INSCRIPTIONS.

-40, B. -27.
is
a metrical inscription,
448. Grave relief. Bluish marble. H.
Bordered by plain pilasters and architrave: no gable. A male figure standing en face clad in long chiton and himation r. arm across chest, 1. hangs at side. L. free leg. Bad, rough work of imperial period. Above each side of the head is the
:
inscription
CCOKPAT
]
HXAIP6
in execution.
\aipf.
The
letters are late in
form and careless
SCULPTURE
449. Grave
Blue marble.
stele.
I 79
H.
-38, B. -22,
relief.
D.
-12.
field,
No
inscription, nor
any
It
shows plain
by two Ionic columns with the proper entablature above dowel in base. Good work 4th cent. B. C.
:
probably once painted, bordered no pediment, however. Iron

:
450. Girl holding a flower Archaic H. .30, B. -22, Relief height, -02. D-M.
;
relief.
16, pi. 25 a.
is
F-W.
66.
In-
trod.
14.
in
Broken
in
profile
two
r.
at waist,
and
all
below
lost.
It
represents a girl
to
Her
r.
arm hangs
body; her 1. is and her fingers hold (in the usual delicate archaic manner) a conventionalized pomegranate flower. She is clad in a long-sleeved chiton drapery rendered by oblique lines (cf. 3). Her hair hangs in a pig-tail down
close against her
her,
:
straight down held up in front of
The outline of the face is angular ; and, so can be distinguished, there is an effort to render the eye in profile. Of arms and body in general the
her back.
far as
contours are
cent. B.C.
merely indicated.
Pleasing
work
6th
Fig. 57'
Fig. 57.

Bluish, marble-like, local stone.
3. 15-
H.
-49, B. -49.
D-M. n.
Introd.
at
Formerly walled up in campanile

Mistra.
of Metropolis
(Hagios Demetrios)
Similar to 415 ; the feet of the Surface very badly weathered. No details recognizable except pair enthroned to 1. rest on a footstool. by comparison with other similar reliefs. The snake just traceable. About the same date as 415.
452. Cybele enthroned. H. .42. Headless. Seated on a high-backed throne, and similarly clad to 302, 349 and 351. Either side of the throne a lion cf. 424. Her 1. hand holds the tympanum on the low arm of the chair her r. lies on her thigh.
:
Common
H.
work, of imperial period.
453. Right shoulder of draped statue.

-25.
Ordinary work.
454 a.
Relief. Bluish marble.
H.
-24, B. -25.
of
Fragment within a plain border, a portion

similar to
an ornament
454 b.
454 b.
H. -70, B. -40. Fig. 58. Plain border at bottom from two acanthus leaves two stalks curl out upwards enclosing two tendrils they then curl in, and then out again, each ending in a flower hanging down outside. Above the tendrils is a bud which sends up a stalk ending up the acanthus stalks in an anthemion with an
:
Relief. Bluish marble.
p-
egg-shaped heart.
Similar
reliefs in
Good work.
house of Georgios Stakes at Slavochori and
in
Mistra Museum.
N 2
180

a.
455
Grave
relief.
Bluish marble.
Formerly
shows a youth in three-quarter His 1. is the free leg his r. hand holds a wreath, his 1. a he wears a short chiton girt at the waist his head is prochoos (?) Behind him and by his 1. foot is a low, round, inclined forward to his r. on the r. is a nude male figure (Hermes ?) \ then by decorated base side of him two females clad in long chitons and himatia with their r. hands on their hips all three figures are en face in the male figure the
profile to
1.
:
:
Bottom
H. -65, B. -35. in possession of I. Kardses. unworked to let in ground. It
D-M.
263.
Introd.
18.
r. is
the free leg, in the female figures the 1. ; further details are unrecognizAbove on the base are a phiale mesomphalos (?), and a flat grooved able.
object (a flute?) which projects upwards and obliquely from the outer edge (of the base) without any support (this is an attempt to render Very badly weathered: perspectively the objects resting on the base). not earlier than the ist cent. B.C.
455
No
b. Hydria. H. -56. Bluish marble.

;
handles. The rim is decorated with an egg and dart pattern the neck is plain, body is divided into two sections by a band of cable pattern round the middle, the upper section is decorated by a pattern of concave rays, and the lower one by convex rays there is a plain band between the body and the foot which is ornamented with acanthus leaves hanging down the base of the foot is plain. Fair, decorative work
the
; ;
of the imperial period.

457. Aphrodite statuette. H. .11.
All above the navel broken away. R. free leg : himation round legs only, held together in front of thighs by 1. hand by 1. leg remains of some unrecognizable object Ordinary work of imperial period, after a common type of Aphrodite. (a dolphin ?).
:
458. Left
L. Four
io.
hand
;
fragment.
finger-tips.
ringers only
no knuckles, thumb, or
?
Very bad work.
459. Support with drapery H..i 4

.
Tree trunk with traces of drapery on
it
support for a statuette.
460. Crater.
L. .12.
Part of rim only with a lion's head projection to serve as a handle.
Decorative work.
461. Right thigh of statuette.
H.
-105.
:
Nude
only a small fragment.
462-464. See
INSCRIPTIONS.
465. Right heel and shin.
H. -34Piece of base attached trunk support.
broken
off at instep,
and middle
01 calf
behind
is
tree-
1 Dressel and Milchhofer, and Philios call this figure female if female it certainly was never clad as the other two. Dressel and Milchhofer say it seems fast mannlich.'
:
'
SCULPTURE
l8l
467. Dioscurus relief. 10. Rosso antico. H. -22, B. -18. Introd. Plain border all round. It shows in three-quarter profile to r. a He had a chlamys about his shoulders, wears a pileus, his r. Dioscurus. hand holds a lance, and his 1. a sword. His head is inclined down to his 1. There seems to be some uncertain object before his 1. foot. Very flat relief: not earlier than ist cent. B.C.
468. Votive relief: Apollo and Artemis.

marble. H. -46, L. -57. Ath. Mitt. 1887, p. 378, 12; J.H.S. 1888, p. 295; Hermes, 1902, p. 267; Harrison, 17. Fig. 59. Prolegomena Gk. Religion, p. 322. Introd. On 1. stands Apollo in profile to r he is clad in a long high-girt chiton, with a himation over it in his 1. hand he holds a stringless (?) lyre, and in his r. a patera he wears sandals the 1. is the free leg and is slightly The god's head and r. arm and shoulder are broken away. advanced. Opposite him and facing him stands Artemis in three-quarter profile to 1. She is clad in a long clinging chiton sleeveless and ungirt, but with crossed bands under the breasts and over There is also a the shoulders. himation round her lower limbs and over the 1. shoulder. She wears sandals; 1. is free leg and
Fine, yellowish
pi.
: : : :
is
Her
r.
drawn back in a resting position. 1. hand is broken away her

:
holds out a prochoos pouring into the patera held by Apollo. The 1. side of her head is broken her hair is centre-parted and off drawn back to a chignon on the Her face is of neck behind. a beautiful ideal type, and looks
:
Fig. 59.
downwards.
figures there
Between the two

:
is a plain omphalos standing on a square plinth each side of the omphalos on the edges of the plinth stands an eagle ; they face each other, but their heads are looking round behind them. The eagles obviously refer to the legend that Zeus sent two eagles round the world
to find
I).
its centre, and that they met at Delphi (Plutarch, De defect, orac. Very good work: the drapery is exceedingly well rendered in its fine,
small, clinging folds.
Possibly a 4th cent. Attic relief imported to Sparta.
469. Female head (portrait P).
H.
-30.
D-M.
164.
:
:
of head wanting hair centre- parted and waved back over the ears holes bored for earrings in the lobes. Eyes moderately deep: ordinary idealized fat cheeks. Was made to set in a torso. Dressel and Milchhofer (if this is features, their No. 164) say the eyes are plastically rendered; on close examination it does not seem that they are. 2nd cent. A. D.
Top and back
470. Torso of an animal.

L. .36.
legs, part of hind legs, and fore part of head missing. Long-haired animal possibly a rough-coated dog, or a ram. Very rough, local work of late period.
Fore
182
471. Hygieia.

.42.
H.
Head, r. arm, 1. forearm missing. Clad in long chiton, with himation thrown over 1. shoulder and across the lower part of the body: 1. free leg iron dowel in stump of r. arm rested against the thigh. There is a snake over the 1. shoulder, its tail hangs down the back, and its head across the
:
body towards
L. .21.
ther. hand.
472. Left leg wearing boot.

Small fragment of a
statuette.
473. Right leg wearing boot.

L. -13.
Small fragment only of a statuette
statuette.
:
this
and 472 are probably parts of the same
474. Bight
L. .12.
hand of statuette.
Am.Joum.
Piece of wrist, and hand holding edge of drapery. Perhaps fragment described in Arch. 1893, p. 423 e., where the measurements are L. .95, (?) Di. -18.
475. Similar hand, smaller.
Now lost.
In a note Philios says this was noted as lost in Kastriotes' catalogue, and in Georgiades' notes made when he took charge of the Museum.
476. Horse's head.

L. -15.
Introd.
off:
Nose broken
and bridle
also.
23. small
in
size,
ordinary
work
eyes
indicated
plastically
Imperial period.
This and 477-481 are fragments of an Amazon
sarcophagus.
477.
Head in Phrygian
.
:
cap.
sides.
H..i 4
of imperial period.
Face completely broken off hair centre-parted, and waved to Probably an Amazon.
:
Ordinary work
478. Warrior head H. -20.

to
1.
helmeted.
Neck
inclined to
r.,
R. side of face entirely broken away.

Fair work
:
head turned round back
imperial period.
479. Female head. H. -io.

L. side of head, forehead and hair only. Imperial period.
Wavy
hair,
rough chiselled work.
480. Female head. H. .13.

face
Wears sphendone (?) hair centre-parted and waved back. brow rendered by a curved incised line. Imperial period.
:
Expressionless, ideal
481. Warrior head.
H.
.13.
off,
Face broken
head
is
turned to
1.
same
style as
478.
SCULPTURE
482. Youthful head H. .12.
:
183
male.
in small,
Back and top of skull, and forehead only. Short hair up from the forehead. Hard work imperial period.
:
wavy
curls
growing
483. Belief fragment: architectural.

L. .38.
Fragment of a slab of a balustrade (?). Narrow border of arms, a sword with a beaked hilt, a sword-belt, a shield, &c.
rosette pattern
:
within
it
Imperial period.
484. Right hand holding a garland.

L. -18.
Very rough work
imperial period.
485. Fringe of cuirass. L. .16, H. -12.

Part of an imperial armed statue
:
ordinary work.
486. Fragment of right thigh and drapery.

L. io.
Part of a female
(?)
statuette clad in a short chiton
spirited
work.
487. Dionysus (?) statuette. H. -30. Introd. 17. Head, arms, and r. leg below knee broken off ; 1. leg, which was set on, is A long lock hangs down on each shoulder the r. arm was missing. raised (rested on head ?), the 1. dropped the r. leg was advanced possibly the 1. was also advanced a little draped only in a himation thrown round the hips and falling over the r. leg in front he half leans, half sits on a tree trunk behind. Modelling of torso good, but soft and rather fat treatment fresh and natural drapery well rendered. Late 3rd cent. B.C.
: :
488. Left hand on tree trunk. H. -20.

Top
cf.
105.
of a tree-trunk support round which twines a vine Bad, late work imperial period.
:
on the top
rests
1.
hand
489. Tree trunk. H. -26. Similar to 488 a tree

;
trunk with a vine twining round
it,
but no hand on top.
Ordinary work.
490. Dioscurus relief

Blue marble.
fragment.
-25.
H.
-30,
W.
Introd.
10.
Portion of horse (front quarters ; no head or hoofs), and r. arm and shoulder of r. Dioscurus. The Dioscurus held his horse's bridle with r. hand ; the end of the chlamys appears on the shoulder. The position of the Dioscurus and horse is similar to 356. Fair work, rather superficial:
ist cent. B.C.
491. Dolphin. L..i 3

.
Part of a support of a statuette cf. 116. It rests head downwards on a rock its back remains of the 1. the tail is broken leg of a nude male (?) figure
: :
on
off.
Ordinary work.
184

24.
: :
492. Byzantine capital. L. .61, H. -20. Introd.
Fig. 60.
: :
Flat sides oblong shape to fit a shaft abacus -15 square one side only decorated, on it in high relief slightly curved a winged lion seated to r., before its head a bunch of grapes (?), conventional flower pattern between its paws. Good work.
493.
Draped female
-25.
statuette.
H.
Part of base and 1. foot and leg from knee only clad in long chiton and himation ; sandal on foot tree-trunk support behind. Ordinary work of imperial period.
: :
494. Oblong base with fish.
H.
.12, L. -60, B. .43.
D-M.
180.
Fig. 60.
fish
(body broken
off),
conches. On the long side to 1. there are seen (from 1. to r.) a dolphin (head only), an octopus, and a small dolphin-like fish. On the other side there are (again 1. to r.) the tail of a large a crab, and an octopus. Decorative work of imperial period.
:
Formerly in possession of P. Rusakes. It is broken at one short end and on top, and in general, is badly weathered. There is a plain square plinth round the base, above that the whole surface is indicated as sea by deep drill-cut wavy lines. On the still existing short side there are in the centre two fish (rather like cod) facing open-mouthed, and behind them two
;
495. Grave relief H. -35, L. -22.

Broken
all
fragment.
round
it
chiton and a himation that the imperial period.
shows the legs of a figure standing en face, and clad in a long flies open in front r. free leg. Rough, common work of
:
496. Bearded head Silenus. H. -36. Cf. Amelung, Sculpt.

:
Vat.
Mus., Br. N.
2
;
Helbig
I.
4;
Collignon, ii., fig. 301. Much weathered. Full beard and hair falls down neck: pine wreath round the head pointed ears the hair is rendered in thick, loose, curling masses of rather coarse texture. So far as the mutilated features are The type of the distinguishable there is rather a noble character in them. head seems to be derived from the well-known statue of Silenus carrying the infant Dionysus. In that case the original of this head would go back to the 3rd cent. B.C.
:
:
497.
Male
-30.
bust.
r.
H.
Head and
shoulder broken
off.
Drapery over
out,
:
1.
shoulder.
Back
hollowed
leaving
Ordinary work
a central Hadrianic shape.

:
support.
498. Sarcophagus Amazonomachia. L. .93, H. -64, Length of fragment of

front
-30.
Robert,
21, 23.
:
ii.
128,
pi.
XL VII.
Introd.
front only
Fig. 61.
Fig. 61.
R. hand short side, and r. hand end of top broken off so that all figures
:
lack heads,
Short side
and otherwise much disfigured. on r. riding to r. on a horse that

(all
has sunk on to
its
knees
is
an Amazon
above waist gone) clad
in
SCULPTURE
185
a short chiton and wearing high boots; she sits on a lion's-skin saddle. On the horse's hind quarters are the knees of a warrior attacking the Amazon from behind. Then there is an Amazon to 1. beaten to her knees. She kneels on her 1. knee only, her r. leg is stretched straight out in front of her. She wears a short high-girt chiton that leaves her r. breast free with her r. hand she strives to thrust away her opponent, while with her 1. she attempts to free her hair from his grasp. Her opponent, a nude warrior, en face, holds her by the hair with his 1. hand while with his right he draws back his sword for the last stroke. The remaining portion of the long side shows the legs of a female figure standing en face (1. free leg), and clad in The bottom of the sarcoa long chiton by her r. foot is a serpent (?). phagus all round is decorated by a scotia between two narrow tori.
:
:
Very rough work
3rd cent. A.D.

:
499. Sarcophagus fragment Amazonomachia. L. .45, H. -30. Introd. Robert, ii. 123, pi. XLVII. Broken away on all sides. It shows only the lower part of the torso and the thighs of a male warrior striding to r., and the torso of a kneeling Amazon clad
in the usual short chiton leaving the r. In the background behind breast free.
23.
Fig. 62.
the warrior's legs appear the hips of a fallen warrior, and on the r. a bent knee above which is a horse's hind leg. It is
Fi g> 6 2
probably a fragment of a group in which a warrior seizes a kneeling Amazon by the hair (cf. Robert, ii. 80, 86, 87). Fair, vigorous work of the imperial period.
500-503.
H.
See INSCRIPTIONS.
504. Silenus torso.

-64.
part of head, r. hand, 1. arm, all but hand, and legs from knees, are missing. bearded, and looks down to his r. his r. arm leans on a tree trunk at his side the r. is the free leg the 1. hand rests on the hip there is a panther's skin thrown over the r. shoulder. The body is fat, and the proportions are bad the beard is handled in thick, coarse, curling locks. Inferior work of imperial period.
He
Upper
is

Limestone.
Mitth.
vii.
H.
-60, B.
1
-40,
(1882), p.
Fig. 10.
60, PI.
VII
Relief height -005. Furtwangler, Aih. E-V. 1312. Introd. From ; 3, 16.
Chrysapha.
Bearded male figure in profile enthroned to 1. The throne is similar to that on 451, except that the arm ends in a circular disk, and there is a cushion on the seat. The figure is clad as that on 4, and the tail of the himation hangs down between the arm and seat of the throne his feet rest on a footstool, and he wears pointed shoes the beard is pointed ; his hair, which is filleted, hangs in a long plait on his r. shoulder, and in a broad mass down his back; his r. hand holds out the cantharus, his 1. holds a pomegranate on the arm of the throne the eye is in profile. A dog is jumping up at his knees and fawning on him. In the extreme upper 1. hand corner is seen a horse in profile to the r. standing on a narrow
;
186
fillet
:

this
left at
There is a rough piece There is no snake, and no The whole type is conventionalized and stiff, but certain worshippers. details, such as the eye, the horse, the dog and the cantharus, are more freely rendered, and clearly show the archaistic character of the relief, in
recalls Attic
reliefs,
'
Totenmahl
'
the bottom to let into the ground.
spite of
its
extreme
flatness.
Work
of 4th cent.
506-510. See INSCRIPTIONS. Dioscuri relief: fragment. H. .30, B. .28. Introd. 10. Piece of 1. hand border, and head and r. arm of 1. hand Dioscurus only. The Dioscurus is shown en face with his r. arm raised he wears the
611.
Blue marble.
pileus.
Hair rendered by long, coarse Ordinary work of imperial period.

512. Youthful statuette Bluish marble. H. .78.
:
locks
that
curl
at
the
end.
male.
arm, 1. forearm, r. leg and 1. leg from the knee are broken off. the free leg there is a chlamys fastened round the shoulders, which fell over the 1. elbow. The r. arm hung down straight at the side, there is the stump of a support on the hip. The position of the 1. arm is
Head,
1.
r.
The
is
uncertain, though there was a support on the 1. thigh ; it seems to have been held out at the side. The forms of the body are thin, slender, and
somewhat long the chest and the hips are narrow the muscle over the hips projects considerably. Ordinary, rather careless, work of the imperial period.
:
Male Torso Dioscurus (P). H. -60. Introd. 15. Fig. 63. Head, legs, and arms from middle of upper arm broken off. R. free leg chlamys round neck fastened with a fibula, and falling down back over 1. elbow the 1. hand shouldered some attribute, there is a part of it left on the upper arm, and it seems to be the end
513.
: : :
of the body are strong In the main proportions it is similar to 92 (collar bone to line between nipples 14, thence to navel -14, thence to pubes .13, distance between nipples -18), and in every respect it bears an extremely close likeness to it. As said above this statuette is, as regards the torso, very well and strongly modelled: the divisions of the
torso are clearly defined, but the transitions are not sharp the whole form is solidly and squarely built, and suggests a Peloponnesian original of the 5th cent, of which this statuette is a better copy than 92. The Dioscuri do hold swords as this figure does, cf. 7 and 291 ; for the chlamys cf. 9 and
Fig. 63.
:
of a sword-sheath. and well modelled.
The forms
14 b.
period.
The
r.
arm probably held a
spear.
A good
copy of the imperial
514.
veined. H. -62. Head, arms, r. leg, and 1. leg from the knee broken off. The head was thrown back the r. arm dropped, and the 1. raised the r. was the free
:
:
Male torso. Medium marble, bluish
SCULPTURE
:
187
The leg body slightly turned to its 1. forms are lean, hard, dry and shrunken as of an elderly man, or a semi-human creature. Probably the torso of a dancing Satyr. Fair, characteristic work of ist cent. A.D.
the whole
is
bent forward and
is
515. Youthful torso. Bluish marble. H. -35.

leg
All above waist, and : clad in a panther
all
(?)
below knees, is broken off. The 1. is the free skin over the 1. shoulder, and under the r. ; it
covers the stomach, and hangs down each hip. The whole body inclines a little to its 1. and leans on a tree trunk that is on that side. There are remains of the r. hand on the hip. The skin is rendered like drapery, and even as drapery is badly treated. A bad variation of the Satyr of
Praxiteles
:
imperial period.

519.
Female head
-io.
from a
relief.
H.
R. hand half of head only. Hair filleted, centre parted and eyes half shut expressionless ideal features. Figure to which sented in profile to r. Ordinary work of imperial period.
:
waved back over ears it belonged was repre-
Draped female torso. H. 1.65. Found in the field of Boretes near the Leonidaeum. Head and 1. forearm were set on and are missing: r. arm and foot are broken off. Clad in long chiton, and ample himation over 1. shoulder and round body, but 1. arm was held out r. free leaving r. arm free leg horizontally from the elbow, and the r. hung down at the side. Good ordinary work
530.
: :
(portrait statue) of early imperial period.
531.
Club
(of Heracles).
H.
.52, Di. .18.
Ordinary work.
534.
Male torso
statuette.
:
H. -37. Head, arms, and legs all broken off. L. free leg traces of attachment of a support on 1. flank body leans a little to the 1. Muscles very strongly marked, and exaggerated the forms, however, are not hardly or sharply indicated. Workmanship good, possibly an original of the 3rd cent. B.C., or at least a good adaptation of an earlier type, made not later than the
: :
ist cent. B.C.
Probably a resting Heracles.

See INSCRIPTIONS.
535-535
H.
a.
536. Colossal male head.

-30.
entirely defaced
:
Almost
short hair
very thick neck
looks upwards
no beard.
l88
537. See 300.
538. Sarcophagus fragment.
H. -50, B. -30. decorated with egg and dart pattern above a reel and button ornamentaUpper edge tion : broken away on the other three sides. It shows a nude youth standing en face his r. hand rests on his head, and his 1. holds a 1. free leg cornucopia (?) against his
Bluish marble.
; :
shoulder.
Very much worn, and further
details unrecognizable.
Imperial period.
539. Base of Dionysus statuette. Blue marble. H. -15.

Oblong base in centre the feet broken off at ankles side by side on 1. tree trunk with a vine twining round it on r. paws of seated panther. Ordinary late work.
:
:
540. Draped female statuette. Blue marble. H. -40.

sandals.
Legs and base only left: 1. free leg: clad Ordinary work imperial period.
:
in
long chiton and himation
wears
541. Sarcophagus fragment. Bluish marble. H. -24.

Only remain elaborately moulded border, and head of youth in high relief. The head is shown en fact, but turned a little to its r. filleted, short, curly hair treated in a mass, and growing up off the forehead. Clumsy work, similar in style to 482.
:
Imperial period.
Fragment of Heracles' labours sarcophagus ?

544. Headless herm.
Bluish marble.
:
H.
-80,
W.
-26,
D.
-25.
:
Broken off at neck (in it there is a hollow to set on the head, or is it modern ?) oblong holes for arms traces of drapery or long hair on the bust square shaft. On it is an inscription for which see INSCRIPTIONS.
:
545-548.
See INSCRIPTIONS.

554.
Draped
-36.
statuette.
Clad
in
H.
Female (?). All above waist, and all below knees broken away. and himation 1. free leg. Ordinary work of imperial period.
:
long chiton
555.
Female
-20.
statuette.
set in
H.
Inferior
Upper part of torso only head was work of imperial period.

:
clad in clinging high-girt chiton.
Draped male statuette. H. .13Lower part of torso, thighs and hand only. Clad in himation tightly wrapped round the body 1. hand holds a roll 1. free leg. Fair work
556.
1.
: :
of imperial period; (HelbigM. 683).
suggests
in
type the
Sophocles of the Lateran
557.
Head of lion's skin : relief fragment. Bluish marble. H. -35, B. -25.

:
Ordinary work, decorative

a
not earlier than the and cent.
A.D.
Herm
Possibly from
like
442
a,
and 442 b
SCULPTURE
558. Grave relief. H. .32, B. -30. Blue marble. Broken obliquely from r. to 1.
189
It represents a nude youth standing in The r. three-quarter profile to 1. ; all below the hips is broken away. hand which rests on the hip holds some uncertain object, a chlamys (?) Before the 1. arm is a snake curling the 1. arm is held out and up. upwards to the offering held in the hand ; cf. 565. Badly weathered, and relief very flat; but work seems good. Ordinary work of good
:
period.
3rd cent.
B.C. (?).
559. Cornice block. H. .25, W. .32, L. .60.

Found on land of P. Zervulakes near the Leonidaeum. L. hand corner block of a Doric entablature overhanging moulded edge with small, square consoles below.
:
560. Fortuna.
H.
.39.
off.
:
Clad in long, high-girt chiton and a himation over the 1. shoulder with both hands (the 1. holding it near the top, and the r. near the bottom) she holds on her lap and against her 1. shoulder a large cornucopia she sits on a plain square block in the middle of its upper edge behind is a dowel hole.
Head broken
and lower limbs
561. Votive relief : Heracles.
H.
1.
-25,
W.
.18.
shoulders broken off. holds lion's skin hanging at side
Head and
Stands en face
:
r.
arm
rests
on end of club at side,
in
bad condition.
Common late work of uncertain
period.
563. Decorative support.
Rosso
antico.
H.
-45,
B.
-2 2,
D.
-24.
let in: back flattened, and has a hole for the insertion of a dowel. At the top square with a profiled edge below it takes the form of a lion^s leg, and probably ended in a lion's foot. On the front, just below the profiled edge, is a female head in high relief (a Medusa head ?) the hair is parted in the centre, and hangs down either side in long waving strands. Face oval and rather flat ordinary expressionless ideal features. Fair work of the early imperial period. Cf. 121 and 295.
Foot broken
off: cut flat
on top with projection to
564.
Grave
stele
:
relief.
Bluish marble.
H.
-60,
B. -40.
upper edge adorned with gable and acroteria not cut out. It shows a youth standing en face, clad in a long chiton, and a himation over both shoulders. R. free leg r. hand laid on breast, 1. hangs at side. Common work of the imperial Each side of the head the following inscription period.
Oblong
Forms
of letters
A E E H TT
aP ices stron g!y marked.
565. Grave relief? Bluish marble. H.
-26, B. -22.
off.
Introd.
It
9.
shows a youth in three-quarter Over 1. arm and shoulder and about profile to 1. advancing with r. foot. his waist he wears a His r. hand chlamys, held up at his side by 1. hand. raised above his head holds some uncertain object, a stone, or stick, which
1.
Lower
hand corner broken
I9
he is about to throw at the snake curling up before him. It is strange that he should desire to injure the snake instead of worshipping it. Perhaps a grave relief illustrating how the deceased met his
fate.
Flat relief: Fig. 64.
good
style.
4th cent. B.C.:
cf.
558.
566. Hare.
D-M. 185. Saranda Charvouros. Fore and hind ears laid legs broken away between hind legs an iron dowel back decorative work.
Sandstone.
L. -32.
Once
:
in possession of
:
567. Aphrodite statuette.
H..i 4
All above navel broken
away
drapery round hips

:
Fig 64
R. free leg hands were legs fastened in front. probably raised doing her hair: ordinary work of
and
imperial period PP- 339, 344, L
in
bad condition.
For the type
cf.
Reinach, Rep.

571. Colossal female head.
Bluish, marble-like, local stone.
H.
.45.
E-V.
1318.
Introd.
17.
Xerokambi. Very much damaged: only the face left; a large piece of the r., and a small part of 1. cheek, and part of the chin are cut away, also the top of the polos it was cut flat at the sides and back for on the forehead and eyes are crosses, and in other building material Hair parted in the centre, and drawn respects it is very badly defaced.
at
: :
Found
head.
a polos on top of the For the type cf. 318 and 362. Good work perhaps an original of 3rd cent. B.C.; at least a very good copy of imperial period of a work of that period.
away
to sides in regular wavy strands Eyes deep set features serene

: :
there
is
and noble.
Each three similar female figures en face. wears a long chiton and a himation over her shoulders. The hair falls down on either shoulder in two long locks, and in front is made into a crobylos. The r. hand is laid Flat relief work rude across the breast, 1. hangs down at the side r. is the free leg. and clumsy, not earlier than ist cent. B.C. Votive relief to Charites, or to Nymphs.
: :
572. Votive relief. Bluish marble. H. .26, B. .21. Topped by a plain gable. It shows
573. Funeral feast relief.
H. -27, B. -27. Introd. 9. hand corner only remains. It shows a nude youth, a slave, in profile to 1. standing at the end of an oblong table on which are various vessels. Below the table is a dog to r. on the ground, gnawing at a bone held between his forepaws by the dog is seen a r. foot on a footstool. Of the figure reclining to r. on the couch, only part of the drapery hanging down in front remains. Behind the table appear the leg and
Pentelic marble.
Lower
r.
seat of the couch.
574.
Roman
portrait.
H. -28. Found
20. Introd. Header, Amer. Journ. Arch. 1893, p. 422. in excavations of round building on Acropolis. Long hair
SCULPTURE
handled as a thick mass of
plastically rendered.
falls over forehead. fine, curling locks Eyes Short beard rendered by small finely cut, close Features much damaged. clinging, wavy strands, in contrast to the hair. Philios considered it a portrait of Antoninus Pius. Header thought
:
it
resembled Caracallus.
:
It
however seems to be neither
2nd
cent. A.D.
-50, Relief height -005. B. C. H. Introd. Perrot, viii. p. 442. 1311. 10, 14. Found under the shop of G. D. Kechagias in Leon Chamaraites Street. Gable-topped stele: in the gable an egg in the centre with a snake approaching it from each corner. Below are seen the Dioscuri facing one another in profile. They stand in exactly symmetrical attitudes; their inner legs are advanced, their inner arms are held up, their outer arms carry long spears. They each wear a chlamys over both shoulders their hair is filleted and hangs down the back in a long plait the 1. hand one is certainly bearded ; the other seems not to be, but probably was (the
575. Dioscuri relief archaic. Fine, blue local marble. H. -53, B.
1899, p. 599.
E-V.
Fig. 65.
Fig. 66.
point of his chin, however, is worn away ; and in any case the cutting of the relief is not always true, one amphora has a thicker neck than the Between them stand two tall amphorae, with high, crooked other). The relief is very flat there is no handles, and peaked, conical lids.
:
rounded surface anywhere.

in contour merely: the eyes by two incised lines above it
lines.
The forms
seem
:
are sharp and angular, to be en face, and the brow
and given
is
marked
In general the
style is
the drapery is rendered by oblique curving similar to 3, and the relief dates from the 6th
cent.
For the amphorae
cf. 7,
291, 356, and 613.

:
Fig. 65.
576. Seated draped statue archaic. Limestone. H. -70. Introd. i, 14. Fig. 66. Formerly at Magula in the house of Stathopoulos, who found it there by the church of Hagios Demetrios. Headless, r. forearm broken off, and 1. arm almost worn away. The figure is probably male, since
It sits in a stiff symmetrical position on an armless throne with a solid square seat and a rounded back the back and the sides of the seat are panelled the bottoms of the legs splay out a little right at the bottom. The arms are held close against the sides and the forearms and hands are laid evenly on the thighs and knees. The feet (there is a semicircular projection of the base in front to sup-
breasts are not indicated.
192
little, but placed side by side symmetrically. drapery is thick, solid, and stiff; the bottom border is decorated with a horizontal line ; and there is an oblique line running down from the 1. shoulder across the body to show where the garment folds over. Good archaic work of the 6th cent. B.C.
port them) are separated a
The
577. Pan.
1. thigh and hip only. He has goat's legs, and a support on the 1. hip the figure is not worked at the back, and is solid, the thighs not being separated. Ordinary work of the imperial period.
H. -82. Blue marble. Found at Magula. R. thigh, and

There
is
tail.
577 a. Two fit
(i)
Three round fragments

B. hand with forearm.
(of a staff?).
is
together, total L. -15, Di. -02; third
smaller, L. .05, Di. .015.
(2)
L. -06.
It
holds some uncertain object.
578. L. leg of male statue, with part of base.
H.
.98.
at Magula on land of M. Karolas. It is supported on the outside by a tree trunk against which leans a lyre. Probably part of an Apollo statue.
Found
579. Seated female statuette. Blue marble. H. -45.

Formerly in the house of Rousopoulos. Head and r. arm broken off; also 1. arm, dowel hole in stump. Clad in long, high-girt chiton and a himation over 1. shoulder and round the lower limbs: feet rest on footstool, 1. foot in advance: throne highbacked, but armless cushion on seat. Ordinary work of the imperial period.
:
580. Votive relief to Asclepius and Hygieia. H. -46, B. -35, Relief height -10. Introd. 17. Fig. Found with 228 a at the north end of the town at
Acropolis
;
67. the foot of the
formerly in the house of Elias Karagiannakes.

relief is
The top of the the figures stand out in very high relief, to accommodate them the relief has a semicircular base projecting in front. On r.
broken
off:
is
r.
a female figure, Hygieia, standing en face ; free leg she wears a long chiton with a himation over it and sandals. Her body above her waist is entirely broken away. On the left also en face stands Asclepius clad only in a himation over 1. shoulder and round his lower His head is broken off limbs 1. is free leg. 1. hand holds the himation together at the side
:
:
r.
high
^ is a coiled snake. The figures are in extremely but are not undercut, or cut in the round at all. Good, spirited work; probably 3rd cent. B.C.
Flg
*
hand was dropped at the side against the background. Below it against the background
relief,
Rosso antico. H. -28, B. '49. Introd. 10. Formerly in the house of N. Antonopoulos in Gytheion Street, under which it was found. The Dioscuri are shown in profile facing one
SCULPTURE
:
193
both they and their horses are in exactly symanother on horseback metrical positions. Their inner hands rest on their horses' necks (holding the reins ?), their outer hands hold spears their legs on the other sides of their horses do not appear. They have long hair, and each wears both are entirely nude. Rather flat relief, but the forms are a pileus rounded. Ordinary work of the imperial period.
: :
582. Bearded
Hermes
Herm.
a.
H. -20. Found with 580 and 228

It
:
Introd.
15.
is very badly damaged. was bearded the hair is filleted and seems to have been arranged in a triple row of tight curls on the forehead; behind the ears are the beginnings
Upper part of head alone remains, and that
of long grained locks that fell down over the shoulders. and forehead, so far as can be seen, well rendered. In replica of the Hermes of Alcamenes, cf. 57.
all
Eyes, cheeks, probability a
584. Lion's head L. -28, H. -25.

Formerly walled
work.
gutterspout.
house on the road to Gytheion.
Ordinary late decorative
in in a
585. Lion's
L. -17,
Similar
head
much
gutterspout.
H.
.10.
:
work
broken.
586. L. hand.
H.
-12.
Portions of
thumb and
a profiled edge.
In the back of
three fingers resting on the top of a circular object, it is a dowel hole.
which has
587-587 b.
588. Belief, votive to Dioscuri. Bluish marble. H. .44, B. -34. Introd.
10,
u.
Fig. 68.
is
Found
at Rivi6tissa in
vineyard of Zavras.
;
At the bottom
a piece
left
rough to set in the ground from the centre of the bottom edge a semicircular 'root' (now broken) From the ground strip rise two broad projected. parallel vertical beams on each of which is a snake These are joined at the top by curling upwards. a broad horizontal beam whose rounded ends overhang, and are decorated with a hand-like floral ornament: in its centre is a lotus bud. At half
height the vertical beams are joined by a narrow horizontal cross beam. From this spring two parallel and equidistant narrow vertical beams l
their
joining the top horizontal beam either side of the lotus. This construction represents the Aoxam of the Dioscuri.
Miss Harrison suggests to me that the nearest parallel to these Soxava, especially the additional vertical beams (not present on the Verona relief, Introd. 10, fig. 14), is to be found in the type of the Temple of Aphrodite at Paphos, shown on some Cypriote coins, where the development from two upright pillars is clear: v. B. M. Cat. PI. 15, 16, 17, 25, p. cxxvii seqq.
1
194

-28.
589. Grave relief. Blue marble. H. .48, B.
Introd.
21.
According to Georgiades found outside the Museum. Broken in two, and lower half missing. Decorated at top with gable and acroteria which are not cut out, cf. 564. It shows a youth in three-quarter profile to 1., clad in long chiton and himation over 1. shoulder and round the lower limbs r. hand is held out in front and dropped slightly, 1. holds the himation at the waist. All below the waist is lost. The eyes are rendered plastically. Very bad work of imperial period, not earlier than 3rd cent. A. D. Each side of the head is the inscription
: :
TTANKPA A217AN TIAANT

The
execution
is
TIA
KPA ONY
as UavKparfan, rfr
v[l}-
ov^poa.
written, as often.
careless and the letters are hard to decipher. Possibly vov was For the formula cf. 251 and Collitz-Bechtel 4507.
590. Youthful statue. H. .70.

Head, r. forearm, 1. arm, and r. leg from knee broken off. L. leg was free leg wears chlamys fastened on r. shoulder with a fibula, it covers 1. shoulder and side, and at r. side it is drawn forward to rest on the top of the tree-trunk support on that side r. arm rests on it On to each against the front of the support some uncertain object. shoulder fall the ends of two long, wavy, silky locks. Soft, fat forms moderately well
:
rendered.
Ordinary work of the early imperial period.
592. Female head. H. .12. Much damaged, especially

a chignon behind
less, ideal type.
;
face. Hair centre-parted, and waved back to drawn up into a crobylos. Features of an expressionModerate work not earlier than the ist cent. B.C.
the
in front
it is
593-595
H.
a.

relief.
696. Grave
'12, B. -08.
Amer.Journ. Arch. 1893,
p.
42 2,
c.
Small fragment only. It shows the thighs and lower part of body of a female figure clad in a long chiton and a himation over her 1. shoulder and round the lower limbs. Thel. hand holds the himation on the hip r. free leg. Ordinary work of the imperial
:
period.
597. B. elbow. L. .12 and -09. From a statuette elbow and

:
adjoining parts of upper
arm and forearm.
598-599.
See INSCRIPTIONS.
600. Chthonian deity enthroned

Blue marble. H. '40.
Fig. 69.
D-M.
3.
statuette. Arch. Zeit. 1181,

:
p. 297, pi. 17. 3. 33.
it was formerly in the house of Panagiotes his head is seated on a high-backed throne broken off, and in the neck is a dowel hole. The arms rest rigidly on the arms of the chair ; the legs and feet are held perfectly stiff side by side The whole body (the base projects a little in front to accommodate them). is wrapped in a long, clinging garment, with no rendering of any detail.
Found
at
Magula, where
is
Thaniotes.
The god
SCULPTURE
The legs of the throne splay out a little at the bottom, and on either side of the throne is a seated animal, a dog (?), which serves to support the low arms. The back is merely roughly blocked out. The whole figure is
badly weathered.
The body
is
very thick and the chest well developed
Fig. 69.
in proportion the torso is too short : the shoulders are broad, and the arms and legs well developed, but too thick. It is a good example of
archaic
figure
art,
is
and must date from the 6th cent. Across the thighs of the an inscription for which see INSCRIPTIONS. Introd. 14.
601.
Eros riding a dolpliin, with part of base.
.25. From the same house as 600. Only head and body of dolphin, and legs and hips of Eros remain. The dolphin's head is distinguishable, but much is worn. Probably part of the decoration of a fountain ; or it might have been an attribute on the base of an Aphrodite statue. Ordinary work of the imperial period.
H.
602. Statuette base.

Pentelic
(?)
marble.
From
it
the
same house as 600 and 601.
L. -15, B. -08. Half of base only
on
it
the
1.
foot,
and by
the support of a statuette. (?) statuette. D-M. 27. L. -22.
603. Base of Apollo

Pentelic
(?)
marble.
Formerly in the house of Panagiotes Ritzinas at Magula. On it two feet wearing sandals by the left foot an omphalos covered with a fillet net, by the right a tree trunk with a snake round it. Perhaps the base of an Asclepius statuette.
:
604. Grave relief.

Bluish marble.
H.
-15, B. -23.
:
:
same house as 603. Broken above and below only central portions It shows a youth standing en face (neck to ankles) he wears a chlamys preserved. over 1. shoulder: 1. arm is uplifted, r. hand rests on the hip, and holds a torch (?) leaning against his arm the r. is the free leg. By r. side is a circular altar. Fair work not earlier than and cent. B.C.
the
:
:
From
606. Seated male statuette. Bluish marble. H. -22. D-M.

Formerly
91.
over door of K. Georgopoulos at Magula. Headless and much weathered. Seated on plain, high-backed throne with low arms. Nude but for himation over 1. arm and shoulder and round the lower limbs. Feet rest on footstool r. arm on arm of throne, 1. on knee. Inferior work of imperial period.
:
196 H.
1.

-26.
607. Base with support decorated with relief.
D-M.
at
179.
in the house of Mavrikiotes. Support probably of below breakage of support are claws of a lion's skin hanging down. On the front of the support at the bottom a boy is shown seated in profile to 1. his head is upraised ; his r. arm held up his 1. arm serves to support him, the hand resting on the ground ; r. leg is over 1. Behind him in profile to r. is a doe resting beside him, her head is turned back towards the boy. Probably Telephus and the doe possibly also the sup-
Formerly
;
Magula
foot
just
port of a statue of Heracles. Imperial period. base to a Heracles from Stadium at Athens
Sketchy work.
is
Similar
figured in Pacciaudi,
Mon.
Peloponnesia,
I,
p.
135.
608. Cybele statuette.
H.
-28.
at Magula in the house of N. Stathopoulos. Head, r. arm and shoulder broken off, also 1. forearm badly weathered. Seated on Clad in long chiton and himation plain, high-backed, but armless throne. over 1. shoulder and round the lower limbs. Her feet rest on a footstool. Her 1. arm probably rested on her lap on the head of a small lion(?) couchant to the right. Moderate work of early imperial period.
Formerly
609. Fragment of a tree trunk with a left hand.

L. -23. The tree trunk
(female
?).
is
encircled with a vine
against the side of
it,
clasping
it, is
1.
hand
Ordinary work.
610. Archaistic
herm.
H.
-38.
Formerly at Magula in the house of A. Grammatikakes. Broken off by holes for arms, and at the top of the neck; and of this part the whole r. side is broken away Remains of a long curling lock on the 1. shoulder, and of oblong mass of vertically. Cf. 57 and 582. hair, rendered by fine, wavy strands, falling down the back.

613. Votive relief (to Dioscuri ?). Blue marble. H. -82, W. -49. Introd. 10. Found in the ruins of the house of Vrachnos,
when it was destroyed. It shows two tall amphorae with smallish curved gable. Seerns handles, long bodies, and low, conical lids standing side by side. to be work of a good period. Cf. 7, 291, 356, and 575.
Topped by plain
614. Belief: suovetaurilia ?
H.
-50,
W.
.52,
D.
-io.
D-M.
264.
Conze-Michaelis, Ann. Inst. 1861,
P-I37in the same place as 613. Incomplete, and very badly defaced : the high relief has been purposely chiselled away. On r. is an ox Before the ox was something in high relief. In standing in profile to 1. front of the ox appears, also in profile to 1., a ram whose head and foreBehind the ox stands a figure (?) facing to 1. quarters alone are visible. clad in a long chiton and himation ; 1. arm seems to have rested on the ox.
all
Found
Facing these figures stands in profile to r. a horse (slab broken through behind its fore legs) on it appear traces of a rider, and above it in the It seems to have been a portion of an imperial background a wing.
:
SCULPTURE
triumphal frieze:
Introd.
19.
this slab
197
then showed the victorious general crowned by Nike, and the suovetaurilia \ It probably dates from the ist cent. A.D.
615.
Funeral feast
(?)
relief.
Pentelic
marble.
H.
-35, B. -22.
house of (?) (Philios left a blank for the name which he never rilled in). Originally a rough semicircular shape, now the r. hand half is missing. It shows standing on the r. a boy en face (head and feet in profile to 1.) he is clad in a short chiton his 1. arm hangs at his side with elbow bent outwards With his r. hand he takes by 1. arm a girl standing at his side en face: girt at the waist. she wears a similar chiton her r. arm is dropped at her side. Over their heads is a snake leading to the r. Bad work imperial period.
Formerly walled up
in the
616.
Draped female
statue.
H. 1-70. Found on the land of Kechagias, near the road from Sparta to Castania. Head missing, was set in. Clad in long chiton, and himation over both L. free leg r. hand holds himation shoulders and round the body. together on chest 1. hand dropped at side holds some uncertain object Fair work of early imperial period. shoes on feet. (flowers)
: : :

629. Male torso. Fine (Pentelic?) marble. H. -42. Introd. 16. Head and arms broken off, and all below the waist missing. A long, The r. shoulder is dropped, and the 1. curly lock falls on each shoulder. raised the head was inclined to its 1. Broad chest, well modelled. Good
:
work, after 4th cent, original
imperial period.
629 a-648.
See INSCRIPTIONS.
649. Youthful male torso. H. -33. D-M. 109.

Formerly in the house of Tsakonakes (originally the house of N. Neoneles). Head, r. arm was arms, and legs broken off. L. free leg 1. arm was raised dropped at side, remains of support on thigh. Fair work strong forms, well modelled with some exaggeration. Probably of the early imperial period, after 3rd cent,
: : :
original.
650. Seated female statuette.
Head and hands partly broken away. The figure seated in a stiff, symmetrical position on a plain, armless, high-backed throne. She is clad in a long, sleeved chiton, and a himation wrapped tightly round the lower part of the body. The arms are laid on the edges of the seat : the feet and Inferior work of imperial period after an archaic cult legs are held close together.
is
:
From
Bluish marble. H. -19. the same house as 649.
type
(?).
651.
Grave
relief.
in Gable-topped stele with acroteria shows a youth standing en face he is clad in a chiton, and an ample himation over both shoulders and wrapped closely about the body his r. hand holds the himation together on the chest, the 1. hanging at the side holds a roll all below the thighs is missing as the relief is there broken across horizontally. r. side the head of a snake. On his 1. appear three things, a staff leaning By appears against a tall vase (body in shape of a half oval) with a semicircular handle across the top, and an uncertain grooved object. Ordinary work of the imperial period. 1 Rouse (Gk. Votive Offerings, p. 25) calls it a hero relief.
:
H. -36, B. -32. Blue-grey marble. From the same house as 649 and 650.
It
centre of gable a rosette.
198

-25.
652. Sarcophagus, Bacchic. H. -50, B. Fine (Pentelic?) marble.

Formerly
in the house of Papagiannopoulos.
:
Fragment
only.
Background of vine
:
loaded with grapes. To 1. a satyr (1. hand, legs, and r. arm lost) in profile to 1. his head is turned back downwards to his 1. his r. arm held a pedum (visible) over Behind him against the his head: on his 1. shoulder traces of another figure. background a r. hand holding a hollow stem above this and to r. is a 1. arm (female) supporting a wicker basket (liknori) filled with fruits. This liknon is against the 2nd Moderate work overhanging edge over which runs the vine background.
: :
cent. A.D.
653. Semicircular relief.

Di. -57-
was formerly in the house of S. Karagiannakes. In shape threeIn centre depression marked by a moulded rim quarters of a circle. in this inner circle to 1. in profile is a stag being pulled down by In the a lion (?) which has jumped on its back from behind. two wolves (?) on 1. side in profile to r., two stags outer ring four animals on r. in profile to 1. Much weathered ; good decorative work of imperial
It
:
period.
654. Semicircular relief Gorgoneion ( Acroterion). Blue marble. Di. -32. D-M. 18. Arch. Zeit. 1881, p. 282,
:
pi. 17, i.
F-W.
p. 57.
los.
56. Introd.
Roscher,
14.
I,
1716, III, 2394.

:
Furtwangler,
Coll. Sabouroff,
Found
Fig. 70. to the north of the town
Similar in shape to 653.
formerly in the house of DiamantopouSurrounded by a broadish moulded, round
Fig. 70.
:
Fig. 71.
border is a central depression in this is the gorgoneion. Above a low forehead the hair stands up in regular flame-like locks the eyes project from below raised brows: the nose is snub. Horns above forehead (?). mouth stretched open shows a tongue protruding between two rows of the chin is sharp. The shoulders are broad, and the projecting teeth neck is thick there seems some trace of drapery on the bust. From behind each ear fall two thick, woolly locks so plaited as to resemble strings of beads. Long, rounded projection behind to attach it it seems to have been used architecturally, and for an Good apotropaic purpose. characteristic work of the late 6th or early 5th cent. It is interesting to contrast it with the The brown colouring is gorgoneion on 563.
:
modern.
655. Pilaster capital, decorated with relief. H. -30, L. .54, D. -ii. Height of volute -09. Schroder, Ath. Milt.
I
9 Q 4,
32,
pi. 2.
Introd.
14.
Fig. 71.
SCULPTURE
From
199
Broken away at the the church of Hagios Nikon at Slavochori. top and on r. side. Also, as explained by Schroder, the lower 1. corner is worked to admit of a corner-piece being fastened on to complete the
it was attached by a swallowtail clamp. In the pilaster in that corner under side is a square dowel hole. The relief field is bordered by a narrow (inside) and a wide fillet, which at the upper 1. corner curl into The narrow border outside the wide fillet is at the a simple volute. bottom replaced by a beaded fillet, or astragalus. The bolster is thicker towards the front: and this thicker part is separated from the rest of the bolster, which is otherwise quite plain, by a scotia and an angular
:
torus.
On the relief field is shown in high relief a male figure (Heracles) running to r. in pursuit of a deer whose fore quarters are missing. He wears a chlamys over both shoulders it is not fastened and both ends hang down to front in the precise archaic fashion the arms are held upwards and outwards, and the whole body is inclined towards the deer. This represents Heracles' pursuit of the Ceryneian hind. As regards the scene itself, no similar representation of this labour of Heracles is known either in archaic or later art. From the style of the relief it would date from the early 5th cent. Schroder places it in the 6th cent, from the form of the volute to which the nearest analogies are found in
:
:
1 On the other hand the actual shape of the most resembles late pilaster capitals from Didyma, Pergamum, capital 2 Schroder attempts to show Magnesia ad Maeandrum, and Priene a connexion between the style of this relief and early Ionic art 3 from this he conjectures that this capital formed the head of one of the supports of the Amyclaean throne, since Slavochori is not far from Hagia Kyriake (the site of the Amyclaeum), and it is known that This Bathycles, the artist, was a native of Magnesia ad Sipylum. The capital is a more developed conjecture does not seem probable. form of an early Ionic pilaster capital of which 763 is an example. Similar capitals are at Palaea Episkope by Tegea, and in a Turkish fountain at Mistra (with a lotus and palmette ornament). The Maeander an Italian version is found valley group shows its fully developed form in some Pompeian capitelli figurati*'. This type is therefore not purely Ionic/ but was common to all Greek architecture. Possibly 39 a, 139, 140, 141, 299, 734, 745, 759 (16), show its latest development.
early Ionic architecture
'
656. Youthful
male torso
statuette.
H.
-50.
Formerly in the house of B. Zerveas. Head, both forearms, and legs from above knees broken off. R. arm hung close to side, support on thigh r. free wears chlamys buttoned on r. shoulder, its tail fell forward over leg the bent 1. elbow. Good, strong forms anatomy well rendered pubes indicated. Good work of the early imperial period: possibly a copy after an original of the 4th or 5th cent.
;
:
Ephesus, J.H.S. 1889, p. Neandria, Mytilene, Perrot, vol.
Cyzicus, Brit. School Annual, 52, figs. 275, 276. 2 Botticher, Tektonik, pi. 37, 39. Wiegand-Schrader, Priene, a. M., fig. 171. Kohte-Watzinger, Magnesia 8 Cf. Homolle, B. C.H. 1900, p. 427. * Mau, Pompeii, fig. 254, p. 431.
9.
vii, pi.
1901-2,
figs.
pi. 6.
101-103.
200
656 H.
chest

a.
Male torso
in
r.
statuette.
.12.
the house of Leopoulos, where also were 657-675. R. side of shoulder: chlamys knotted round neck. Ordinary work: imperial
Formerly with
period.
of a fillet. On r. side of chest a support. Well-developed muscles on chest and stomach, and rather exaggerated. L. free leg. Fair work after a 4th or 3rd cent, original.
657. Male torso: statuette. H. -35. Torso only. At back of neck remains
658. Male torso H. -17.

:
statuette.
Torso only navel to neck. On the shoulders the ends of two curly locks each side. Strong forms, well modelled, though rather fat. R. shoulder slightly higher than 1. Fair work of the early imperial period.
659. Bacchic statuette H. .32.
male.
Only left legs to ankles, and stomach of a young male figure. L. free leg : by 1. leg a tree trunk with a vine twining round it, on top of it rests 1. hand. The whole figure is supported behind by a square pilaster. Common decorative work of imperial
period.
660.
Draped female
H.
in the
statuette.
-42.
D-M. 125. house of Leopoulos. Head, r. foot, and 1. arm broken off. Clad in long, high-girt chiton with a himation over 1. shoulder and round the lower limbs. The r. hand holds against the thigh a cylindrical object with a hole R. free leg. bored in each end. Common work of imperial period.
Pentelic marble.
Formerly
661. Draped herm. Pentelic (?) marble.

Head,
r.
H.
-15.
shaft broken off. The shaft gradually narrowed towards the bottom. Clad in short chiton, and chlamys over both shoulders, fastened on r. shoulder. L. arm rests on the chest. Ordinary work of imperial period.
arm and bottom of
662.
Draped female
.27.
statuette.
wears
H.
shoes.
Base, and feet and ankles only. R. foot broken off: clad in long chiton Ordinary work imperial period.
:
663. Statuette base. L. .11, D. -12.

L. hand end broken
in such a position as to
off.
Towards
show
1. edge the that the figure leant
two feet (the 1. the more advanced) on a support on its 1. side.
664. Statuette base. L. .12, D. .10.

by
Front edge profiled. Two feet, r. foot advanced : by 1. foot broken base of uncertain Cf. 603. object.
r.
foot base of square support;
665. Dioscuri relief (P). H. .17, B. -17. Introd. 10. Blue marble. Small fragment only, showing a horse's head in
Ordinary work of the imperial period 356, 490, and 581.
:
profile to
r.
it is
bridled.
cf.
8, 9, 15 a,
202, 291, 319,
SCULPTURE
666.
20 r
Grave
relief.
lost. It shows a draped male figure standing en face, head missing ; clad in long chiton, and himation over 1. shoulder and round lower limbs 1. free leg ; r. arm stretched out at side held some uncertain object, 1. arm holds himation together on the hip. Ordinary work of the imperial period.
;
H. .35, B. -35. Blue-grey marble. Broken in two horizontally, and upper portion
667.
Draped female
.20.
:
statuette.
very badly damaged, used in later times
H.
Fragment of torso only as building-material.
clad in himation
668. BaU.
Bluish marble.
Di. -09.
:
:
grooved and ribbed bored through vertically.

true sphere
Not a
at top contracts to
form a neck
hole
669-672. See
673.
INSCRIPTIONS.
Draped male
1-32.
statue.
H.
Head, legs from middle of thighs, and 1. hand broken off. Clad in long chiton, and ample himation (toga) over both shoulders. R. hand rests across breast 1. arm hangs at side r. free leg. Ordinary work of the imperial period.
:
:
674. Dioscuri relief

Bluish marble.
it
(?).
H. -48, B. -40. Broken above, and below, and a

handles.
Cf. 613.
little
on
r.
shows the upper part of the body of a

tall
Plain border on 1. side. amphora with high curved

:

677. Doric capital. H. -23.
To
fit
a shaft .36
hi
diameter
abacus rather
flat.
Found
in front of the
Museum.
678-680.
681.
Female head : fragment.

wavy
L. -23Hair centre-parted, drawn back in L. eye, and hair over forehead only. strands on crown plaits heaped into a knob. Imperial period.
:
682. Grave relief.

Bluish marble.
It
H.
-90, B. -52,
D.
-28.
:
shows a female
figure standing en face
she
is
clad in a long, high-girt chiton,
and a himation over 1. shoulder and round the lower limbs. She has long hair falling down either side on to her shoulders. Her 1. hand hanging by her side holds some fruits, her r. hand held out at the side makes an offering at a circular altar, round which twines a snake. Bad work of imperial period.
683.
Hero
relief.
H.
.53, L. -6 1.
Introd.
3, 16.
Fig.
n.
:
Bordered by square pilasters at sides, supporting a plain, flat gable this border projects considerably. The relief is much damaged, and the bottom part is missing. It shows a bearded hero, seated in three-quarter The chair on which he is seated has a round back supported profile to 1. by two vertical supports rising from the back of the seat. He is clad in an ample himation over his 1. shoulder and round the lower limbs. His
202
hair
is filleted,

The
and it and the beard are rendered by crisp, tight, curling face unfortunately is badly damaged. The 1. arm rests on the back of the chair ; the r. arm is stretched out in front, and holds a From behind the god's arm a snake rises and bends down its cantharus.
locks.
head to
1.
to drink at the cantharus.
Good work
certainly belonging
to the 4th cent. B.C.
decorated with, relief. H. -62, Di. -32. Found on the land of Matallas. Similar to 191 seqq., but unfluted. However, on the front of the shaft there is shown in relief a winged
:
684. Circular base
He stands en face ; 1. is free leg and is placed in front of r. He youth. leans against a pillar on a high base on his 1. side 1. arm hanging down his r. hand rests on his 1. shoulder, and his head is holds a wreath There is a chlamys hanging from the 1. turned towards that side. shoulder. Rough work and badly weathered, so that details are not distinguishable design good. Ordinary local work of imperial
: : :
period.
685
a, b, c. See
MISCELLANEOUS ANTIQUITIES.
686. Bight shoulder of statuette.

L. -22.
686 a. Bight shoulder of statuette.

L. .17. Slightly larger than 686.
687.
Fragment of drapery.
1893, p. 423,
f.
L. .18.
Am.Journ. Arch.,

689. Votive relief to Apollo. Blue marble. H. 1-76, B. -82, D.
-20.
Schroder, Tsountas, 'E0. 'Apx-? 1892, p. 78. Ath. Mitt., 1904, p. 24, fig. 2. Fig. 72.
From the Amyclaeum. Gable-topped stele. The whole of the relief, including the
ornamentation of the gable, has been carefully chipped away, very probably by Christians. The gable carries acroteria, the central one
being -n high. The relief field is in two bands. On 1. standing in profile A. Upper band.
to
r.
is
the archaic statue of the
Amyclaean
bow Apollo, helmeted and holding spear and 1 as described by Pausanias and as represented on the Lacedaemonian coins ascribed to 2 Before the Doson
Antigonus
(229-220
bull
B.C.)
god
Fig. 72.
1
stands an altar, and
on the
r.
is
seen
a
i
man
drawing a
towards the
Pans. N.
xvi.
altar.
III. 19.
Imhoof Blumer
Gardner,
Num. Comm.
SCULPTURE
Lower band.
:
203
The first (from Five female figures are discernible. B. the second and third are probably dancers resting (not is dancing 1.) The fourth, as shown by the spectators as suggested by Schroder). plectrum in her r. hand, is a lyre player, also resting. The fifth is a flute
player.
Below the lower band
is
an
inscription, for
is
which see INSCRIPTIONS.
Work
of the 3rd cent,
if
the inscription
dated correctly.
690-691. See
692. Bight
L. -09.
INSCRIPTIONS.
hand
of statuette.

706.
Female
statuette
nude.
H. -10. Fine, soapy marble. of torso and 1. arm only. Dowel holes in stumps of neck and r. arm. Upper part L. hand held against the shoulders a cornucopia (?) drapery also hangs over 1. elbow, which seems to have been supported on a pillar. Ordinary work of imperial period.
:

sides, L. -85. The top of the 1. end is broken off, and so is Kalogonia. The back is unworked the ends have the 1. end of the top of the front. rough hewn borders at top and bottom. The front has a rough profiled border below, and the top is decorated with a garland of fruit and flowers. At the four corners stand bearded Herms, himation held round the On 1. end shoulders by the r. hand, and in the 1. hand an aryballos (?). is a winged sphinx standing to r. with 1. fore paw raised over an uncertain On the front, first on 1. is a youth (A) seated on the ground object. (back to the spectator) supporting himself on his r. arm, just floored in a boxing match, and raising his 1. arm to keep off the victor (B), who with r. foot on A's r. thigh, attacks vigorously (all above his waist is lost). Behind them is seen an uncertain figure, a referee. Next is another youth (C) seated as A, and with his 1. arm keeping off the attack of his
708. Sarcophagus. L. 2-00, H. -85. Short
Found
at
Then victor (D), who, standing across his legs boxes at him actively. stands a referee (E) to the 1., watching this last contest and holding his
staff of office in his r. hand he wears a himation about his shoulders. Next is seen a youth (F) beaten to knees and fallen forward on the ground to r. ; his victor (G) kneels on his back, and, holding him down
:
with his 1. hand, hits hard with his r. Lastly stands en face a victor (H), (himation over 1. shoulder and body) holding a palm branch in 1. hand. On the r. end, first on 1. are two youths wrestling and just about to close ; the one on 1. has his 1. arm round the other's back, and is about to clasp him in front with the r. arm ; the other has his r. arm round his opponent, and his 1. at the side. Finally is a youth as a hoplitodromos running in profile to 1. Rough work ; coarse execution not earlier than 2nd
:
cent. A.D.
Cf. Gall. Giustiniani,
ii.
124.
709. Draped female statue. H. 1-55.

Formerly
neck),
1.
in the
r.
house of Vamvakides.
arm, and
Head (which was set on, dowel hole in hand are missing, also the feet, which apparently were set on. Iron
204
dowel
r.

in base.
Clad
in
arm
laid across waist.
long chiton, and himation over both shoulders r. free leg Flat work, drapery badly rendered. Common work of
: :
imperial period.
710. Asclepius.
H.
-65.
Introd.
16.
Fig. 73.
Formerly in the house of Vanilakes, which is near the Europa mosaic, and possibly was part of the decoration of the baths (?) on that site. Head, r. arm, 1. hand, and legs from above knees wanting dowel holes clad in himation in stumps of neck and arms. L. arm dropped, r. raised over 1. arm and shoulder and round the legs 1. free leg. Good work, forms of body strong, but somewhat fat drapery well rendered. A good
:
copy of the early imperial period

711.
after 4th cent, original.
B. elbow.
;
L. -14. Elbow and part of forearm
formerly in the gymnasium.

Fig. 73-
Fig. 74-
Amer.Journ. Arch. 1893, p. 423, h. shows a tall two-handled cup between an acanthus stalk on its 1. and a small lion's head on its r. Cf. 36, 37, and 38. Common, decorative work of imperial
It
715. Frieze fragment. Bluish marble. H. .38, B. .30.
period.
metopes of the
Similar fragment walled up in 39 Otho Street. It also resembles the small altar entablature built into the old Metropolis at Athens.
716. Slab of frieze. H. .75, B. .90.

In centre at top a bucranium (Roman type, a skull), from either side hangs down a garland of fruit and flowers. The pattern must have been continued on other slabs at the sides and bottom. Ordinary work imperial period.
:
717. Amazon frieze, with triglyph. Bluish marble. H. .50, L. 1-33. D-M. 240. Fig. 74. Formerly over the door of the house of Kopsomanikos. Two metopes each -50 long, between them a triglyph .33 wide. In 1. metope is seen a nude warrior advancing with r. leg (drapery over 1. shoulder and arm) his r. arm raised to strike the Amazon fallen before him. She is beaten to her knee (kneeling on r. knee, 1. leg stretched out in front) ; leans back
;
SCULPTURE
supporting herself
205
her
1.
to protect herself. arm, holding up She wears a long-sleeved chiton, a himation rolled round the waist trunk, hose, boots, and a Phrygian cap with a long tail hanging down the back ; her 1. breast is bare ; on her 1. side she wears a quiver. The r. metope
r.
on her
shows two Amazons similarly
clad.
One on
1.
is
en face,
and running
to
1.
The her 1. arm is raised in front of her, and her r. stretched out behind. other (with a cloak fastened on her shoulders behind) is in three-quarter profile to 1., has the r. leg advanced, and holds up both hands in front of her, palm upwards. This scene is inexplicable. All four heads have been broken off. Good design: inferior work: not earlier than the ist cent. B. c. The scene on the 1. metope is derived from the type shown by two slabs of the Mausoleum, 1006 and 1014.
722. Youthful
male
:
torso.
free leg
fat
H.
.34.
Stomach and hips only Imperial period.
navel ellipsoid
1.
forms, but not
bad work.
723. Youthful
male
torso.
H.
.18.
Found in the foundations of the new prison. navel circular remains of support on 1. flank.
:
Stomach and hips only Fair work of imperial
1.
free leg (?)
period.
724.
Female
torso.
a long
-33Found with 723. Upper part only, all below waist wanting : badly defaced Inferior work of imperial period. curling lock falls on each shoulder.
H.
725. Belief: Aphrodite.
H.
.24, B. .21.
at
her head and feet stands en face, and semi-nude leg is free the r. hand rests on the hip she leans on her 1. elbow on a she wears a himation round her hips and legs. pillar by that side In the top r.-hand corner are the thighs and torso of a flying Eros. Inferior work of imperial period.
Found
Magnla.
off.
The goddess
:
are broken
The
1.
726. Youthful male torso.
H.
1.
.25.
to navel only : a long curling lock on each shoulder : r. extended. Soft forms, but rendering hard. Imperial period. land of M. Limberopoulos at Karavas.
Neck
arm was
It
close to side,
was found on the
727. Sleeping satyr
fountain figure.
H.
off.
Found near
hand 1. arm which lies on an askos there is a hole in the front of the askos from which the water flowed, the part of the base under the askos is hollowed out. He has pointed ears, thick, woolly hair, fat features, and a swollen stomach. A favourite motive for a fountain, a drunken satyr fallen asleep on his wine skin, and, by the weight of his head, forcing the
:
Introd. 22. the Eurotas, close to Aphisu. R. leg and forearm broken He lies, with a nebris over his 1. shoulder, on his 1. side. The r. held a syrinx on the ground in front of him. His head rests on his
-24, L. .55,
B. .28.
wine to escape.
Imperial period.
206
728. Colossal

.42.
H.
Perhaps
head of Dionysus. D-M. 53. Expfd.

:
de More'e,
ii.
pi.
42.
:
v. p.
81.
Hair centre-parted, and drawn back in regular waves top and back of head not worked from behind r. ear a lock fell forward. Round the head a wreath of ivy. High, open, noble features, but almost totally defaced A fair copy of the imperial deep-set eyes, and fat cheeks. It was found at Mistra. Two dowel holes period of a 3rd cent. type.
:
(modern) on top of head.
729. Dionysus and satyr. H. -57. It shows Dionysus standing nude: 1. free leg: he has long hair which falls on to his shoulders his r. hand rests on his head he leans to the 1., and his 1. arm is placed round the shoulders of a satyr by his side. The satyr's r. arm is round Dionysus' body ; his r. arm held a pedum ; he is advancing to his 1. with the 1. leg. Both heads are badly damaged. The group is in high relief against a small square pillar, with projecting square It has a square hollow at the top, and is plinths at top and bottom. architectural For the type see 303. ordinary work of imperial period.
:
730. Portrait head.
H.
-35.
at Klada.
Found
coarse strands : 2nd cent. A. D.
Young made to set
short, crisp, curling beard and moustache ; hair long in in a statue : eyes plastically rendered. Ordinary work of
731
a.
Frieze block.
L. 1.88, H. .20. From the church of Prophetes Elias at Slavochori. Decorated with lotus bud pattern. This, 732 and 733 are from the Amyclaeum.
731
b.
Similar fragment from same frieze, with same ornament.

Fragments similar to the above two exist in and at the church of Hagios Georgios at Gunari.
frieze.
L. .50, H. -20. From Hagia Kyriake.

the
Museum
at Mistra,
732
a, b, c.
Three fragments of a
Length
Kyriake.
Bluish marble.
respectively, .59, .56, .30,
H.
.20.
From Hagia
an anthemion
Decorated with a pattern of a lotus bud and
alternately.
:
733. Architectural fragment cornice slab. H. -25, L. 1-06, D. -72. From Hagia Kyriake. Five fragments. Plain mutules: three overhanging members, the upper having a horizontal line along its centre.
734. Pilaster capital.
H.
-43, L- -55, I>. -23-
at top than bottom ; decorated with an acanthus plant whose leaves and stalks at each side enclose a circular depression with a moulded rim in which is a small rosette : cf. 39 a.
Wider
735. Decorated support. Bluish marble. H. .50, L. .47, D. .28.

Profiled edge at top at each corner a lion's foot with curved leg decorated with an acanthus leaf above between them an anthemion over an acanthus leaf.
: :
SCULPTURE
736. Byzantine capital. Bluish marble. H. -23, Di. -22.
20 7
A square profiled plinth on top. The abacus is ornamented with a row of lancetshaped leaves above a row of acanthus leaves. The centre of one side (the back) is left rough. Good work. Similar capitals at Mistra in the Metropolis and in the
Museum.
front and back a pomegranate flower between two acanthus volutes ; above is a leaf ornament. At the sides the bolsters are ornamented with four pointed leaves hanging downwards cf. 731-733.
:
737. Archaic capital Ionic type. Bluish marble. H. -23. Fig. 75. Oblong shape to fit a shaft .18 by -1 6. On
:
738. Frieze. Total length,
-28,
H. -n.
Three fragments, with a simple anthemion ornament.
738 H.
a.
Architectural (?) fragment

of a square slab
;
Byzantine.
is
'io, L. .10.
Comer
pattern.
on
it is
a circle with a profiled rim within which
a leaf
Fig. 75-
Fig. 76.
739. Byzantine relief.
H. -36, L. .32. Introd. 24. Fragment; top r. corner. Within a profiled border a peacock standing on a vine. Good, characteristic work. Somewhat similar
in
erect
relief
Museum
Di. .16.
at Mistra.
Fig. 76.
740. Volute of Ionic capital.
740
a.
Relief from Sarcophagus or altar

-54.
two fragments.
it
:
Total height,
Total length, .38.

olive garland
Bucranium (Greek type) with
hanging from
imperial period.
740 b. Similar fragment.

L. -25, H. .36. Fruit and flower garland
;
bucranium not
visible
imperial period.
740 c. Similar fragment.

L. .34,
H.
.22.
ot
Bucranium (Greek type) with piece
wreath
imperial period.
208
740
H.
d.
-20.

Tree trunk
:
fragment.
for a statue.
Bottom part of a support
741. Door moulding (?). Bluish marble. H. -50.

Plain profiled edge.
742. Grave relief. Blue marble. H. .30, B.

Upper
1.
-20.
It
corner,
and
standing en face in been purposely chiselled out.
upper and lower corners broken off. chiton and himation as 564, the r. being the
r.
free leg
shows a male figure the head has

:
Imperial period.
743. Byzantine capital.

Bluish marble. H. -18, L. -61, W. .48. Ends of long sides decorated with slightly hollowed
is
semi-ellipses.
One
short side
ornamented with seven leaves with blunt round points, the other with three broad
sharp-pointed leaves.
743 a. Fragment of similar capital;

Bluish marble.
Long
sides as
743
H. .22, L. -42, -52. the one short side left has three narrow and two broad, sharp:
W.
pointed leaves with arrow heads between.
744. Grave relief

Bluish marble.
fragment.
-15, B. '13. Top only of a naiskos-shaped stele, a gable with acroteria supported by plain antae (-05 deep).
H.
745. Architectural fragment

Bluish marble.
Corner of a
flat
Byzantine.
:
.57, L. -57. slab with edges cut obliquely
H.
on one side the outline
is
curved.
746. Byzantine pilaster capital.
H.
-19, L. .21, B. -24.

:
Square plinth above

ellipse.
plain abacus rounded, to
fit
a shaft in the shape of a half
747. Architrave (?) block.

L. .50, H. -20.
Three overlapping members
:
then above a beaded
fillet
a leaf ornament.
748. Pilaster capital.
H. .37, B. .44. Similar to 734 cf.

:
30 a.
749. Bowl.
H.
No
bottom
-16, Di. .33. : four small plain handles on rim.

(?).
750. Door moulding H. -35Cf. 741.
751. Architectural fragment. Sandstone. H. -io--i5, L. -50, D. ^37.
From
a cornice
(?).
SCULPTURE
752. Doric capital.
L. -40.
Fragment.
209
752
a.
Doric capital.
L. .42.
Fragment.
753. Ionic capital.

L. .57, H. .22.
a shaft .35 in diameter. In two pieces, and half missing. Ovolo projects and ornamented with three eggs and an acanthus leaf at each end three bands round bolster in centre. Imperial period.
fit
:
To
is flat
is
754.
Door jamb.
antico.
edge.
Rosso
L. -40, B. -20.
Byzantine work
(?).
Rounded
755. Circular base. H. -62, Di. .21.

Similar to 101, but unfluted: very
fragments.
common work
of imperial period.
In two
756. Architectural fragment. Bluish marble. H. -18, L. -25.

Overhanging moulded edge.
757.
Drapery fragment.
L. -22.
p. 422, d.
Bluish marble.
Amer. Journ. Arch. 1893,
758. Hydria.
Sandstone.
H.
-41, Di. -44.

:
Neck and top
of body only
curved handles ending in two plain spirals in
relief.
759. Box containing following not otherwise stated).

I. a.
fragments (ordinary marble where
Piece of green granite.
L.
L. .23, B. .13. in relief: medium marble. L. .21, B. .12. From 3. a Corinthian capital (?). and acanthus leaf from ovolo of Ionic capital similar to 753. L. .17. 4. Egg Cf. 168. 5. Anthemion antefix. H. -18. 6. Bluish marble shaft. Di. .09, L. -u. L. .19. 7. Piece of a flat slab. 8. Sword sheath of colossal statue (?). L. .28, B. -n.
diamond-shaped floor Acanthus leaf, and volute
Two
-27, B. .19. tiles: limestone.
9. Profiled corner of flat slab. L. -23, B. .11. 10. Flat slab with curling acanthus stalks. L. -20, B. .16. u. Fragment of lion's leg support (?) : acanthus leaves round top. 12. Fragment of bolster of Ionic capital. L. .19.
L. -22.
13. Rim of bowl egg and dart pattern. L. .u. 14. Nine triangular floor tiles. L. .17. 15 a, b, c, d. Four architectural fragments: plain mouldings 16. Pilaster capital anthemion between two curling stalks.
: :
length, .17, .16, .20, .22.
whetstones other rounded.

17.
Two
H.. 22,^.34.
Cf.
39 a.
the
(?)
black stone.
L.
.22, .25, B. -13, .16.
One
side
flat,
18. Byzantine capital
bluish marble.
L. .17: fragment.
210
760.

Box
containing following fragments (ordinary marble where
not otherwise stated). 1. Half acanthus bud similar to 151. L. -15. 2. Lower jaw of lion from gutterspout. L. .10. 3. Fragment of flat slab. L. io.
4.
5.
6.
7. 8.
9.
10.
11. 12.
13.
14. 15. 16.

17. 18.
19. 20. 21. 22. 23.
24.
25. 26. 27. 28.
29. 30. 31.
32. 33. 34. 35. 36.
37.
Piece of moulding. L. .15. Similar piece. L. -12. Similar piece. L. .15. Similar piece. L. .09. Similar piece. L. -n. Similar piece rosso antico. L. -125. Similar piece rosso antico. L. -115. Fragment of Doric capital. L. .22. Acanthus stalk from Corinthian capital. L. *ii. Corner of plinth of Byzantine capital (Corinthian type). L. 12. Piece of round moulding. L. -105. Piece of leaf ornament. L. -085. Piece of tree trunk. L. -09. Leaf ornament from an anta capital. L. .13. Shapeless fragment showing piece of circle. L. .12. Frieze fragment beaded fillet and scroll. L. .11. Piece of support. L. .09. Tree trunk. L. .26. Ionic capital half. H. .13, L. .32, Di. (?). Very flat; imperial period. Relief (?) fragment. L. -20. Indistinguishable: rough work. Plain anta capital half. H. -17, L. -20. Corinthian capital. Fragment: three acanthus leaves. L. -24. Fragment of Byzantine floral relief. L. .18. Frieze fragment : rosso antico: anthemion. L. .09. Elbow of statuette (?). L. .07. Acanthus leaf. L. -07. Drapery (?) fragment. L. .12. Corner of flat slab. L. .14. Piece of tile. .12 square. Top of Byzantine column. H. .15, Di. -095. Fragment with garland (?) in relief. L. -24. Relief fragment with acanthus leaf. L. -20. Fragment of relief with quiver (?). L. -25. Neck, and hair at back of head of small bust. H. .17. Face was set on.
:
761. Fragment of curved architectural Bluish marble. L. -31, H. -16, D. -25.
member.
761
a.
Corner of
slab.
L.-33,B.-i5.
Byzantine work.
762. Doric capital. Limestone. H. -28.
To
fit
a shaft .365 in diameter
flat
and short abacus.
763. Pilaster capital. H. .30, L.-77. Fig. 77. Small volutes at corners, otherwise plain moulding good work 6th cent. \ v. 655.
:
764.
77-
Handle of Bowl.
antico.
:
Rosso
L. -10.
:
Beaded rim
Silenus face on handle
fair
work.
765. Fragment of sarcophagus lid. H. -23, L. -70, B. -56. Introd. p. 130.
SCULPTURE
211
Cf. 51 b. Edge and figure on top purposely chiselled away. This shows 1. end of the front of the couch. The front of the couch was divided into small oblong fields for relief ornamentation two of these remain, that on 1. shows a dog seizing a hare, the other a lion bringing down a stag. Ordinary work of imperial period.
:
766.
Corner of sarcophagus
-45, L. -60,
lid.
Introd. p. 130. R. front corner. Rounded cornice above that continuous scroll pattern all round. At the corner a nude boy (?) standing in the centre of an anthemion which spreads round on to each side. Imperial period.
-40.
;
H.
W.
767. Cornice block with gutter. Bluish marble. H. -40, L. -60, D.

Plain cornice overhanging plain consoles acanthus scroll and a lion's head waterspout.
-55.
:
above is a gutter decorated with an Ordinary work-
768. Cornice block.

Bluish marble.
Plain mutules above.
:
H.
-26, L. -76,
D.
-23.
edge composed of three overhanging members with a leaf ornament
769.
Throne
(former
number 409
D.
q.v.).
Bluish marble.
H.
.58, B. .38,
:
.38.
:
Top
in front,
of back broken off very low arms grooved above it splays out at the bottom showing a cushion (?) plastically represented. Only one piece.
770. Byzantine relief.
H.
i-oo, B. .70.
Introd.
24.
In the centre a cross L. side broken off. Plain flat border all round. with broadening ends surrounded by an ivy leaf in each corner their stalks entwine at the sides. Good work.
:
771-771
a.
See 51 b.
772. Byzantine column.
H.
-65, Di. .18.

flutes that curl
Decorated with
round
it
obliquely.
772
a.
Edge
of cornice
(?).
Bluish marble.
L. .40, B. -35.
773. Cornice block, with guttae. Slab of bluish marble. L. .50, B. .50, H. -10.
rough hewn on under(?)-side remains of guttae a narrow vertical band guttae one at the top and one in the centre ; above is a broad horizontal band which shows eight similar guttae arranged close together in two rows.
side
: :
One
with two
flat
774. Cornice fragment

Bluish marble.
(?).
H.
-20, L. -65, B. -56.
corner
rough work.
(P).
775.
Fragment of relief (?) architectural

H.
-20.
:
Bluish marble.
On
one side three curving lines
the rest
is
rough.
776-776 a. H. -28, L.
Two
.51,
anta capitals. D. -20, and -14.

P 2
Ordinary plain mouldings.
212
776 b. Lion's H. -08.
Dowel hole
in

foot.
broken above.
bottom
776 c. Architectural fragment.

H.
-13.
1.:
Complete only on top and

acanthus volute.
on
1.
profiled border
on
r.
half a rosette and an

Amyclaeum. One is a piece of Byzantine ornament ; another a piece of a bowl ; another an architectural fragment showing a flame and tongue pattern ; another a piece of a round table (?) ; and the rest unintelligible pieces of drapery or the like.
the
795. From
Box
containing thirteen small fragments.

806. Hygieia, statuette with base. H. -41. Base 'i^x-og.
L. leg free clad in chiton and himation. Over 1. shoulder a serpent curls downwards. Wears shoes. Head which was set on separately is lost ; forearms (in stumps iron dowels) and hands broken off. Found at Magula by the house of M. Psychoguios, the donor. Imperial period, ist-2nd cent. A.D.
:
807. Male head.
H.
work
:
-05.
hair waved and curled on edge of forehead and cheeks. possibly a Zeus. Ordinary work of imperial period.
:
Bearded
Coarse, sketchy
INDEX
The Numbers
36, 37, 38, 39 a. Bud, 151, 152, 155, 760 (i). Leaf, 760 (29). Alabastron, 334.
given are those of the
Museum.
:
Acanthus,
Architecture (continued}
Floor
tile,
195, 196, 759 (2), 759 (14),
Alexandra, 441.
Altar ; Circular, 346. Square, 49 a, 49 b.
Frieze, 717. Sarcophagus, 35, 67, 279, 477-481, 498, 499Amyclaeum, 689, 731, 732, 733, 795.
760 (32). Fragments, 751, 756, 759 (15), 7760, 795 Byzantine, 738 a, 745, 795. Gargoyle, Prankish, 327.
;
Amazon;
Guttering, 74, 75, 77, 78, 345, 354, 425, 584, 585, 760 (2), 767. Member, curved, 761.
Moulding, 760 (4-10), 760

Relief, 483, 775.
(14).
Animal, 470.
Antefix, 157, 168, 759
(5).
Antinous?, Ape, 422. Aphrodite,
54.
102, 116, I33?>457> 5^7; and Eros, 100, 414, 426. Pandemos on a relief, 17.
Relief, 725.
157. Support, Satyr, 90. Arm; Fragment, 597, 711, 760(28). Artemis, 112, 131, 326; and Apollo, 468. Artist Inscription, 363.
tile,
Roof
Asclepius, 58
a,
58 b, 710;
relief to, 580.
and Hygieia, votive
Apollo, 6, 103, 352, 578?, 603? and Artemis, 468. Votive relief to, 689. Apollonius, 363. Archaic Group, 364.
;
Athena,
34.4.
Bacchante, 109?. Bacchic ; Herm, 47.

Relief, 29.
Hero
505.
Relief, 3, 4, 316, 415, 431, 451,
Sarcophagus, 30.
Statuette, 659.
Relief, 27, 450, 575, 654, 655.
Torso, 105.
Ball, 153, 298, 668. Barbarian, Scythian, 79, 83. Base, 93, 127, 148, 304, 313, 397?, 420, 494, 602, 603, 663, 664. Bomonikes, of statue of, 252.
Byzantine, 165, 185. Circular, 188, 189, 190, 191, 192, 193, 194, 684, 755. Ionic,i74, 1743, 175, 1753, 182, 183, 184. Octagonal column, 144. Statue, with relief, 284. Basin, 331. Bird, 296. Bottle-shaped object, 150, 154. Bowl, 749, 759 (13), 764. Boy, 292, 309.
Sculpture,
Stele, i.
2,
325, 576, 600.
Archaistic Art, 56, 57?, 403, 582?, 610. Architecture Antefix, 157, 168, 759 (5).
:
Architrave, 747. Capitals; Byzantine, 39 b, 156, 162, 170, 171, 413, 492, 736, 743, 743 a, 759 (18), 760 (13). Byzantine Pilaster, 167, 746. Corinthian, 163, 166, 177, 178, 76o (12), 760 (25). 179, 759 (3), Doric, 172, 173, 677, 752, 752 a, 760 (n), 762. Ionic, 147, 158, 159, 160, 180, 181, 740, 753, 759 (4), 759 (12), 760 (22). Pilaster, 39 a, 139, 140, 141, 299 734* 748, 759 (16), 763- Pilaster decorated with relief, 655. Ceiling, 1 86, 187. Column; Base, Byzantine, 144?, 165, 185. Base,Ionic, 174, 1743,175, 17sa, 182, 183, 184. Byzantine, 760 (33), 772. Cornice, 74, 75, 77, 78, 559, 733, 767, 768, 772 a, 773,774Door; Jamb, 754; Moulding, 744,750; Step, Byzantine? 282.
Head, 444. Bust; Female,
135.
Fragment, 760 (37). Male, i34497-
Byzantine
738
Architecture,
795.
fragments,
a, 745,
Art, 296. Capital, 39 b, 156, 162, 170, 171, 413, 492, 736, 743, 743 a, 759 ('8), 7<>
(13).
2I 4
Byzantine
Column, 760

(continued} : (33), 772. base, 165, 185.
Column
Doorstep, 282. Octagonal column base, 144.

Pilaster capital, 167, 746. Relief, 297, 739, 760 (26), 770.
Dioscurus Head, 64 ?. Dolphin, 491. Doorstep, Byzantine?, 282. Drapery, Fragments, 363, 687, 757, 760
(30).
Eagle and Snake,

;
313.
Capital; Anta, 760 (24), 776, 776 a. Byzantine, 39 b, 156, 162, 170, 171, 736, 737, 743, 743 a, 759 ( l8 ), 7 6 (*$ Byzantine pilaster, 167, 746. Corinthian, 163, 166, 177, 178, 759 (3), 760(12), 760(25).
Corinthian anta,
1
Eros, 32 and Aphrodite, 100, 414, 426. On Dolphin, 60 1.
On
Sarcophagus, 48.
Sleeping, 20, 21, 71, 312, 444?. Torso, 94.
79.
a,
Fish, 494.
760
Doric, 172, 173, 677, 752, 752
Foot
left,
male, 84.
22, 99, 727.
(n), 762.
Ionic, 147, 158, 159, 160, 180, 181, 740,
Fortuna, 494. Fountain; figures,

Octagonal, 143.
753, 759(4), 759(12), 760(22). Pilaster, 39 a, 139, 140, 141, 299, 655, 734, 748, 759 (16), 7^3.
Fragment, shapeless, 760 (18). Frankish Sculpture, 327.

Frieze, 36, 37, 38, 40, 142, 149, 388, 715, 7 I(5, 731 a, 731 b, 732, 738, 760 (19), 760 (27). With metopes and triglyph, 717.
Caryatid, Satyr, 72. Ceiling, 186, 187.
Century, B.C.
Sixth, 1,2, 3, 27,316, 325, 364,415, 450?,45i?, 575, 576, 600, 654?,
Fifth, 4, 5, 57, 58 b, 92, 94, 319, 355,
431, 440, 447, 513, 582, 588, 655. Fourth, 55, 58 a, 59, 61, 68, 89, 100, 101, "4, 326, 338, 344, 449, 505, 629, 656 ?, 657?, 683, 710. Third, 52, 79, 83, 301, 352, 445, 468, 478, 481, 487, 496, 534?, 558?, 565 ?, 571, 580, 649, 689, 728. Second, 8, 28, 99, 106, 132, 201, 202, 203, 257+ 2 94, 279, 286, 341, 356, 357, 365, 414, 449, 604. First, 7, 10, 19, 31, 44, 107, 289, 290, 302, 350, 35 1 , 421, 44 1 , 445, 455 a , 46 7, 49, 572, 592-
Q-anymede, 89. Gargoyle, Frankish, 327. Gigantomachy, Sarcophagus, 34 Girl, holding flower, Archaic
?.
relief,
45Goddess, enthroned, 2, Good Shepherd, 308. Gorgoneion, 563, 654.

Granite, green, 759
97.
(i).
Grave Monument,
;
50.
Reliefs, i6a, 19, 23, 24, 25, 26, 28, 42,
Century,
n, 32, 33, 53, 60, 64, 85, 86, 104, 115, 116, 126, 307, 443, 514, 614. Second, 9, 15 b, 36, 37, 38, 54?, 62, 65, 66, 307, 322 + 323, 337, 338, 343, 442 a, 442 b, 569, 557, 574, 652, 708, 730. Third, 51 b, 63, 70, 308, 498, 589. Chest; Marble, 137, 138. Christian Sculpture, 308. Chthonian Deity, 600. Club, of Heracles, 531.
A. D. First, 6,
43, 257 + 294, 3oo + 537, 328, 392, 448, 495, 558, 5 6 4, 5 6 5, 589, 59 6 6 4, 65 1 , 666, 742, 744. Stele, 449. Gutterspout, 74, 75, 77, 78, 345, 425, 584, 585, 76o (2), 767.
,
Hand;
left, 80, 82, 358, 458, 474, 488, 586, 609. Right, 336, 399, 484, 577 a, 692. Right, Female, 81.
Hands on
relief, 398.
Hare, 566. Head, Apollo?, 352.

Child's, 340.
Crater, 460. Cuirass Fringe, 485. Cybele, 302, 349, 351, 424, 452, 608.
Male, 536. Female, on relief, 69. Ideal, Female, 55,61, 62, 338, 352?, 437?,
Colossal, Female, 571
;
Damonon,
Dancing
440. Girl, 124, 132.
445, 480, 592.
Male, helmeted, 64?, 341, 478, bearded,

807.
Portrait,
Maenad, 420?, 421. Dionysus, 56, 68, 350, 487, 539, 728; and Satyr, 303, 416, 729.
Dioscuri, Reliefs,
7, 8, 9,
Female, 66, 339, 361?, 469, 479?, 681?; Male, 53, 54?, 60, 63, 65, 70,
10,
n,
14 b,
15 a, 27 ?, 201, 202, 203, 291, 319, 356, 447, 467, 490, 5ii, 575, 58i, 588, 613, 665, 674. Statues, 92, 1 1 8, 285, 513.
134* 365?, 730. Warrior, 481. Youthful, 482.
Hecate,
Helen*
46. Relief, 318, 362.
INDEX
Heracles, 52, 107, 115, 310, 423, 438?, 534?; and Ceryneian hind, 655. Herm, 286, 442 a, 442 b.
Labours, sarcophagus, 541. Votive relief, to, 561.
215
(continued}
:
Lion
74, 75, 76, 77, 78, 305, 327, 345, 354, 425, 46o, 584, 585, 76o (2). Head and foot support, 161.
Head,
Leg, 759
(i i).
Paw, 419.
Relief, 33.
Herm,
Archaistic, 403, 610. Bacchic, 47, 403.
Hecate, 46. Heracles, 286, 442
a,
442
b.
Seated, 324. Skin, on relief, 557. Lost, 23, 108, 129, 409, 475.
Hermes, 57, 582.

Male, headless, 243, 287, 544, 661. Youthful, 314. Hermes, of Alcamenes, 57, 582.
Maenad,
44.
Dancing, 421.
Marble, Alabaster, 334.

Blue,
i, 2, 4, 7, 8, 10, n, 15 a, i6a, i6b, 17, 18, 23, 24, 25, 26, 27, 29, 30, 42, 43, 46, 47, 48, 49 a, 49 b, 50, 51 a, 53, 5 6 , 6o > 6l 6 5, 69, 72, 79, 83, 9,
,
Horse's head, 476. Hydria, 332, 455 b, 758. Hygieia, 289, 293, 321, 471, 806;
and Asclepius, votive
relief to, 580.
Imperial period,
l8,
6, 9, n, 15 b, 17, 19, 20, 21, 22, 24, 25, 26, 30, a 31, 32, 33, 34, 35, 36, 37, 3, 39 , 41, 42,43, 44, 47, 48, 49 a, 49 b, 50, 51 a, 51 b, 53, 54, 55, 57, 58 a, 58 b, 62, 63, 64, 65, 66, 67, 68, 70, 71, 72,
4,
73, 80, 84, 85, 86, 96, 97, 98, 99, 101, 113, 114, 115, 116, 125, 126, 130, 131,
139, 160,
176, 189, 287,
87, 88, 91, 92, 95, 104, 105, 1 10, in, 117, 118, 122, 124, 133, 134, 135. J 3 6 , 140, 142, 143, 144?, 149, 158, 159, 163, 164, 174, i74a, 175, 175 a, 177, 179, 180, 182, 183, 184, 188, 190, 191, 192, 193, 194, 283, 285,
293,300+537,306,307,309,310,
3",
312, 313, 3J4, 3 21 , 322 + 323, 328, 329, 330, 337, 338, 339, 34, 343, 344, 346, 349, 365, 392, 399, 403, 416, 423,
2
, ,
7, 58i, 589, 59, 59 6 6ol 6o6 > 614, 615, 616, 649, 650, 651, 652, 656, 656 a, 658, 659, 660, 661, 662, 666, 673, 681, 682, 684, 706, 708, 710, 715, 716, 722, 723, 724, 725, 727, 728, 729, 730, 740 a, 740 b, 740 c, 742, 759 (36), 7 6 (22), 765, 766, 806. Ionic, Base, 174, 174 a, 175, 175 a, 176,
2 430, 434, 437, 44 2 a, 44 b, 443, 45 , 455 b, 457 4^9, 47 1 47 6 477, 479, 480, 482, 483, 484, 485, 488, 493,494, 495, 496, 498, 499, 504, 511, 512, 513, 5H, 5 J 5, 5 J 9, 530, 538, 54, 54 I 554, 555, 556, 557, 563, 564, 67, 574, 577,
579, 608, 653, 665, 709, 726,
>
109, 144, 146, 163, 168, 201, 202, 203, 257 + 294, 282, 284, 288, 290, 296, 297, 299, 300 + 537, 303, 309,313, 324, 328, 330, 33i, 332, 342, 349, 35 1 , 355, 356, 360, 364, 392, 399, 403, 409, 425, 426, 431,433, 438, 44 1 , 442 a, 442 b, 444, 447, 448, 449, 454 a, 454 b, 455 a, 455 b, J 490, 5"i 5 12 , 5H, 5 5, 538, 539, 54O, 541, 544, 557, 558, 564,565, 572, 575, 577, 579, 588, 589, 600, 604, 606, 613, 650, 651, 665, 666, 668, 674, 682, 732, 735 736, 737, 74 1 , 74 2 743, 743 a, 744, 745, 756, 757, 759 ( l8 ), 761, 7 6 7, 768, 769, 772 a, 773, 774, 775. Dholiana (?), 82, 89, 91, 94, 139. Parian, 59, 116. Pentelic, 20, 32, 54?, 55,67, 81, 104?, 105?, 113?, 134,279, 310?, 3151,322 + 323, 333, 343 ?, 443 ?, 573, 602, 603 ?, 615, 629?, 652?, 660. Rosso Antico, T4b, 28, 31, 153, 195, 196, 286, 287, 291, 295, 298, 314, 467, 563, 581, 754, 76o (9), 760 (10), 760 (27). 764Soapy, 9, 62, 706. Marsyas, 284. Messenia, 398. Metopes and Triglyph, 717. Muse, 320.
,
Neo-Attic, 363.
Nymph,
Fountain
figure, 99, 399.
182, 183, 184. I6 , I8o > I8l Capital, 147, 158, 159, 6 12 737, 74, 753, 759 (4), 759 C ), 7
(22). Pilaster capital, 655, 763. Isis, 41.
Omphalos, Ornament,
Orpheus,
468, 603.
leaf,
760 (15), 760 (17).
Relief, 6.
Leg, fragment, 465.

Left, 578.
Pan, 577. Panther, 93. Parian Marble, 59, 116. Pentelic Marble, 20, 55,
67, 81, 104?,

,
Left booted, 473. Right booted, 472. Lion, Foot, 121, 295, 412, 433, 735,
776
b.
+ 105?, 113?, 134, 279,310, 3*5 ? 322 323, 333, 343 ?, 443 ?, 573 ?, 602 ?, 603 ?, 615, 629?, 652?, 660, 661?. Persian, 40. Philosopher, 343.
2l6

Sarcophagus, Amazon,
477-481, 498, 499.
Bacchic, 30, 652. Erotes, drunken, 307. Fragments, 48, 290, 538. Gigantomachy, 34?. Gymnasium scenes, 708. Hector's body, ransom
35,
67,
Pilaster Capital, 39 a, 139, 140, 141, 299, 734 748, 759 ( l6 ), 763.
Byzantine, 167, 746. With relief, 655. Polychromy, 345.
279,
Portrait; Female, 66, 135, 339, 361?,

469.
Male, 53, 54?, 60, 63, 65, 70, 134, 337,

365> 730-
of,
322 + 323,
Male toga,
85, 86, 330.
Philosopher, 343.
Poseidon
Statue, Female, 87, 88, 91, 530. Relief, 317.
Belief; Acanthus, 760 (35). Alexandra, 441. Aphrodite, 725. Apollo, votive, 689 and Artemis, votive, 468. Archaic, 27, 450. Archaic Hero, 3, 4, 316, 415, 431, 451,
;
402. Heracles' labours, 541. Lid, sib, 73, 306, 765, 766. Satyr, 31. Architectural support, 90. Caryatid, 72 ; and Dionysus, 303, 416, 729. Praxitelean, variation, 515. Resting, fountain figure, 22. Sleeping, fountain figure, 727. Scythian, 79, 83. Seat, theatre ?, 397.
Shaft, 759 (6).
SOS-
Archaic on pilaster capital, 655.

Architectural, 483, 775.
Sheep, 311. Shepherd, the Good, 308. Shoulder, right, 686, 686 a.
Silenus, 342, 496, 504. Face, 764. Slab, 759 (7), 759 (9), 759 (10), 760 760 (31), 761 a. Snake Belief, 5, 355, 565.
Asclepius and Hygieia, 580. Bacchic, 29.
Bucranium and garland, 740 a, 740 740 c, 760 (34). Byzantine, 297, 739, 760 (26), 770.
b,
(3),
On
circular base, 684. Decorative, 454 a, 454 b. Dioscuri, 7, 8, 9, 10, n, I4b, 15 a, 27?, 201, 202, 203, 291, 319, 356, 447, 490, 5i ', 575, 581, 5 8 8, 613, 665, 674. Fragments, 353, 430, 541, 760 (23). Frieze, 40, 717. Funeral feast, 573, 615. Grave, i6a, 19, 23, 24, 25, 26, 28, 42, 43, 257 + 294, 300 -I- 537, 328, 392, 448, 455 a, 495, 558, 564, 565, 589, 596, 604, 651, 666, 682, 742, 744. Head, female from, 519. ' Helen,' 318, 362. Heracles, votive, 561. Hero, 683. Lion, 33. Lion's skin, 557.
Sphinx,
20.
Stags, 653. Statue, Draped fragment, 453. Female, draped, 119, 123?, 443, 616,
709.
Male, draped, 85, 86, 330, 673. Seated male, draped, archaic, 576. Youthful male, 590. Statuette, Base, 663, 664. Female, draped, 98, 117, 126, 128?, 130, 164, 283, 315, 320, 357,493, 540,
554, 579, 660, 662, 667.
Fragment, 366, 438, 461, 486. Male, draped, 113, 309, 360,
556.
434,
Maenad, 44.
Orpheus, 6. Poseidon, 317. Quiver, fragment
?,
760 (36).
Semicircular, 17, 653, 654. Snake, 5, 355, 565. On Statuette base, 284. Suovetaurilia, 614. On support, Telephus, 607.
125, 284, 292, 512, 656, 657, 658. Seated, 606. Stele, Archaic, I. Of Damonon, 440. Stone, Bluish, 316, 319, 362, 451, 571. Lime, 3, 5, 398, 505, 576, 677, 759 (2), 762. Sand, 566, 751, 758. Suovetaurilia, 614. Support ; Decorated with relief, 607. Decorative, 51 a, 76?, 121?, 161, 563,
Nude, 101,
656
a,
Vase, 69. Votive, 6, 18, 398, 441, 468, 561, 572,

580.
735-
For
statue,
760
(20).
Sword Sheath ?,
689.
28, 31, 153, 195,
759
(8).
With worshippers, i6b,

Zeus, 15 b, 288.
Bosso Antico, 14 b,
Telephus, 607. Throne, 145, 146, 409, 769.

Tile, floor, 195, 196, 759 ^2), 759 (14),
196, 286, 287, 291, 295, 298, 314, 467, 563, 58i, 754, 76o (9), 760 (10), 760 (27), 764-
760(32).
Toga Statue,
85, 86, 330, 673.
INDEX
Torso; Female draped,
333, 104,
2I 7
relief,
in,
329,
Vase, with
69.
(17).
b,
53.
Whetstone, 759
Female nude, 724. Male draped, 95, no. Male nude, 105, 106, 301, 514, 515,
629, 722, 723, 726. Tree Trunk, 459, 488, 489, 578, 609,
Whorl,
Youth,
Zeus
153?, 298?.
"Worshippers, Belief with, 16

89.
689.
740 a, 760(16), 760(21). Triton, 136.
Seated, 122.
;
Urn
Lid,
21, 71.
Relief,
Enthroned, 96. i5b.
TABLES
GIVING THE CONCORDANCE BETWEEN THE NUMBERINGS OF DRESSEL AND MILCHHOFER AND THE MUSEUM
I.
MUSEUM DRESSEL-MILCHHOFER.
Mus.
220
D-M.
PART
III
MISCELLANEOUS ANTIQUITIES
All numbers which
refer to objects in the
type, e.g.
Museum
are given in thicker
804.
$r., see
For
abbreviations
page 98.
INTRODUCTION
Prefatory Note.
i. The other antiquities in the Museum beside the inscriptions and In consequence it is impossible the sculptures are indeed miscellaneous. The majority to give any connected account of them however brief.
In
also are so ordinary and worthless that they need not be mentioned here. fact the two monuments (714, 804) which most interest the modern
Spartans
will
came from
Vaphio Tomb and the Menelaeum whose excavation, already begun by Ross in 1834 and 1841, was completed by Dr. Kastriotes in 1889 and 1900. The various finds from these sites will be mentioned: and to the leaden figurines from the Menelaeum with those from other places will be devoted a special section at the end of this introduction. But first
of
all
not be discussed at all. large number of the objects the three sites excavated in the neighbourhood. These are the and the Amyclaeum dug by Dr. Tsountas in 1889 and 1890,
the objects will be discussed in chronological order as far as
possible.
Early Civilization. 2. Some of the smallest and most unimportant,
intrinsically,
of the
Such are objects in the Museum are archaeologically of great value. the various stone implements chiefly from Xerokambi (595, 595 a,
678, 702, 703), and the small
Amyclaeum.
lization
in
flake of obsidian (693 (19)) from the These are the evidence for the existence of early civiLaconia. It must not, however, be assumed that stone
all
implements
belong to the neolithic period.

tools,
The
use
well
weapons and
period).
particularly
of obsidian,
survived
into
of stone the
succeeding bronze age of Greek civilization (Minoan and Mycenaean Obsidian has been found in many places in Laconia, at Vaphio, It is almost certainly all of Melian Geraki, Cranae, and Xerokambi. provenance, and forms one more piece of evidence for the importance of the obsidian trade in the early age of Greece *. Stone tools and celts have been found in all parts of the Peloponnesus, but no neolithic site has yet been excavated in this region. So Tsountas's find of celts in Arcadia remains the most important 2 Laconia has recently yielded two celts,
.
Pkylakopi, ch. viii (Bosanquet).
*E<. 'Apx
1901, pp. 85-90, pi. v.
222
from Koutiphari and Daemonia. Stone polishers and pounders have also been found at Geraki and Koutiphari. But these may even belong to the
historical period.
Minoan and Mycenaean Period.

3. The few fragments of pottery from the Vaphio tholos tomb This, the only unplundered tholos (551) are of considerable interest. tomb yet discovered, was excavated by Tsountas in iSSp 1 It lies on a low hill on the right bank of the Eurolas over an hour south of Sparta and half an hour from the site of the Amyclaeum. All the finds, which include the famous gold cups, are now in the National Museum, Athens.
.
jars of the
'
These Spartan fragments are however interesting they belong to large Cnossus palace style and therefore to the period called by Evans Late Minoan II V Many of the fragments at Athens are similar The gold cups with their high embossed work in style and technique.
;
are the natural development of the Cretan carved steatite bowls, such These steatite as the harvest-home procession bowl from Phaestos.
Evans
bowls were originally covered with gold leaf 3 and are assigned by to Late Minoan I.' Two other tholos tombs have been found in Laconia, at Arkina, and at Kampos 4 both had been thoroughly
,
'
:
plundered. To the same period as the Vaphio fragments belong a large number These though of similar pieces from the Amyclaeum (798 (a), 802). of the same style differ in material and fabric from the corresponding Cretan ware. The ware itself is thicker and the clay finer therefore we must consider them as local imitations of the Cretan style. This is a most important fact since it points, if not to a Cretan settlement
:
in Laconia, at least to very close trade relations between the two districts. Further, other fragments of vases, and the many terra-cotta figurines, human
and animal, from the Amyclaeum of the usual 'Mycenaean' type (794 A. 1, B. 1, 2; 798 (b)) belong to the period called 'Late Minoan III.'
Thus we not only

in
find the
Cretan
style
settled,
but also developing
must be remarked that the Mycenaean or Minoan The civilization in Laconia depended not on Mycenae, but on Crete. settlement at Amyclae B with which the Vaphio tomb was undoubtedly connected was independent of Mycenae and was in very close touch This Cretan connexion is brought out very strongly by with Crete.
Laconia.
It
the literary traditions concerning the beginnings of sculpture in the 6 biigelPeloponnesus and it is confirmed by two recent discoveries. kanne of Cretan fabric has been found in the excavations of the British School at Koutiphari (Thalamae) ; and on the hill at Vaphio a fragment of a small bowl of the green porphyry from Krokeae (Levetzova) has
,
been picked up. in the palace at

1
store of blocks of this

.
famous porphyry was found
Cnossus 7
Further, the two painted terra-cotta heads
'Apx. 1889, p. 136 seqq., pi. 7-10; Frazer, Pausanias, vol. 3, p. 134. Evans, Report Brit. Ass. 1904, p. 719. Cf. Dawkins, B. S. A. x. 1903-1904, p. 193 seqq. 3 Bosanquet,y: H. S. 1904, p. 320.
'E<p.
2
*
Probably the tomb of Hyakinthos over which the Dorians built the throne of Apollo was a shrine or heroon of the people possessing this civilization.
6 7
'E<. 'Apx- 1889, p. 131
ibid. 1891, p. 189.
v. Introd. to Sculpture, i, 14. B. S. A. viii. 1901-2, p. 78.
INTRODUCTION TO MISCELLANEOUS ANTIQUITIES

much
l
.
223
from the Amyclaeum resemble very And Tsountas head from Mycenae that it could be compared with the Cretan work in painted plaster. These heads are painted in dark red brown on a white slip. Both have big mouths, wide staring eyes rendered by a dot in an ellipse, and big The technique is childish and primitive. Both have projecting ears. long curly hair. One wears a tasselled three-cornered hat decorated with a meander. The other wears a kind of stephane and ear-rings: is it 2 These heads female, for ear-rings are not common on male figures ? of the late Minoan period are two of the most remarkable monuments
yet found.
in style the painted plaster in publishing this head remarked
Geometric and Succeeding Periods. 4. The vase fragments from the Amyclaeum (791 (1), 792, 793, 798 (2), 799 (9)) are sufficient proof that in Laconia as elsewhere in
Mycenaean was followed by a geometric period. Two more or less complete vases were taken by Tsountas to Athens. These are the only examples of Laconian geometric given by Wide 3
the Hellenic world the
' ,
'
He collected many observes that it seems to be very simple. fragments at the Amyclaeum itself, yet failed to notice the fragments The great variety of different ornaments shown by in the Museum.
who
these fragments prove that Laconian geometric and that it indulged in all the peculiar designs and patterns common elsewhere.
was by no means simple
For one thing the majority of these fragments

is
indeed remarkable; that is the bright black metallic glaze with which they are decorated. It is peculiar to the Laconian geometric
its occurrence on some whorls, pottery &c. (796 (4)) proves that these also belong Not enough attention has to this period. been paid to these fragments, which are
:
Fig. 78. important, if not from their peculiar glaze, from the fact that they are the only examples The styles succeeding the of geometric ware yet found in Laconia. geometric are represented only by two small fragments, one of Corinthian, 4 the other of red figure ware (798 (3), (4)), both from the Amyclaeum The ordinary black glazed ware of the fifth and following centuries,
though not represented in the Museum,

in Laconia.
is
common on
Bas
all historical sites
The fragment
of a pithos decorated with low relief (520) can be

at
paralleled by a similar fragment bought by Le 5 the Cabinet des M^dailles at Paris (Fig. 78).
Magula and now
in
This fragment represents two warriors, one with a round and the other with a Boeotian shield, fighting with spears over the body of a third warrior who carries a Boeotian Each wears a crested helmet, a cuirass and sword, and has long shield.
Tsountas, 'E^>. 'Apx- 1892, p. 14, pt. 4; ibid. 1902, pi. I, 2. E. S. Forster, B.S.A. viii. p. 274. Geometrische Vasen, p. 23, fig. 41, 42; v. Couve-Collignon, Cat.
d.
Vases prints^
396
bis, ter.
Tsountas found some Corinthian ware at the Amyclaeum, 'E<. 'Apx- 1892, p. 13. Le Bas, Voy. Arch. Mon.fig. pi. 105; De Ridder, Cat. Vases Bibl. Nat. 166 D-M. 19. Cf. Pettier, Mon. Grecs, 14-16, p. 56.
22 4
552
551
Fig. 79.

hair
his
225
and a beard.
Behind the left-hand warrior part of an archer bending

:
bow is observed and part of another warrior is visible on the right. The representations on both fragments have considerable likeness, allowing
1 but they of course for the different technique, to black figure vases of the other known examples of do not show very much likeness to any vases decorated with reliefs.
:
Miniature Vases.
Amongst the other vases the miniature vases (553 B (1-5), 799 (1), 803 (1, 2)) found at the Menelaeum, the Amyclaeum 2 and elsewhere near Sparta undoubtedly belong to the historical period. They
,
are clearly of cheap, local fabric: the majority are uncoloured, but some are black glazed. Judging by the prevalence of the cantharus shape, and remembering that the cantharus is the vase held by the heroes on reliefs, we may conjecture with great probability that these miniature vases served as cheap dedications at shrines, especially at those of heroes. Menelaus, we know, was worshipped as a hero ; a vase of
kind seems to have been found with the hero relief at Chrysapha s More recently a large find of similar vases has been made in the excavations of the British School near Angelbna on the probable site 4 of a heroon The Hellenistic age is represented by one lamp of excellent work
this
. .
(685
a).
Its style is refined
and
dignified,
and the type
is
somewhat
unusual.
The Amyclaeum.
This shrine, the most important site in the neighbourhood of was excavated by Tsountas in iSgo 6 More recently in 1904 it has been partly re-excavated by Furtwangler, with the result that the The decision arrived at from the first excavations must be abandoned. site lies about an hour south-east of Sparta on the low hill above This the hamlet of Tsausi where stands the church of Hagia Kyriake. church is built over the foundations of the throne of Apollo 6 which are The earlier excavation clearly visible in the middle of the south wall. 7 yielded many remains of the Minoan civilization proving that this site
5.
Sparta,
was inhabited before 1500

terra-cotta
figurines,
of vase fragments, animal, and steatite whorls. Many fragments of geometric ware were found, and are still to be seen in quantities on the site together with ordinary black glazed pottery. Corinthian and ordinary Hellenic pottery was also discovered. A large quantity of very much damaged miscellaneous bronze implements was found the bronze rods (693, 4, 5) with rounded knobs resemble those from the Argive Heraeum 8 Three bronze statuettes now in Athens are from these excavations 9 One represents a nude woman wearing long hair, a necklace and a belt over her right shoulder, and clanging
B.C.
These
consist
human and
Cf. Reinach, Rep. vases peints, pp. 82, 199.

'E</>.
'A/>X.
1892, p. ii.
P-
npcLKTma, 1900,
l
-
p. 80.
*
'E<f>.
was
B. S. A. xi. Winter, Ant. Terrakotten, III, p. xxxiii. seqq. pi. 1-4. Tsountas thought that the late semicircular foundation to the west of the church the tomb of Hyakinthos which was underneath the throne.
Atk. Mitt. 1877,
3$,
'Apx- 1892, p.
8 See above, 2. Waldstein, Argive Heraeum, De Ridder, Cat. des Bronzes, 150, 814, 815.
II, pi.
130-132.
226
Fig. 80.
It is of the archaic period, and can be compared to work 1 it was apparently a mirror handle. Another shows Cypriote a nude male figure standing evenly on both feet on a square base. The right hand is lost; but the left which is held out horizontally before him possibly held a lyre, to judge by the traces of attachment The greatest peculiarity is the head-dress, which is apparently remaining. some kind of stephane. The eyes are rendered by large solid circles
cymbals.
The forms of the body are slender, but have the archaic exaggeration of necessary muscles, e. g. in the chest, hips, and calves. It is The third ordinary work of the late sixth century B. c. is similar to this last. Other bronzes yielded by these excavations are
in ellipsoid sockets.
2 The fragments of tripods, animals (oxen, rams, &c.), and disks finds from this site include a female terra-cotta figure with remaining the sex very strongly marked, miniature vases, some iron weapons, bones of animals, rams and oxen, and lead figurines like those from the Menelaeum which will be discussed below.
.
The Menelaeum.
6. This shrine stood on the left bank of the Eurotas, on one of the southernmost points of a range of low hills which are to Sparta what the laniculum is to Rome. Near the site now stands a small chapel of Hagios Elias, which contains ancient worked blocks. Excavation
was first begun here by Ross in 1833 and continued in 1841. More recently Kastriotes, in two campaigns in 1889 and 1900, has cleared the site and made many interesting discoveries 8 . He found that the
shrine itself consisted of three stepped terraces one above the other. construction is more or less regular, and the foundation walls are of poros. In plan it was oblong: the lowest terrace being i65ox
The
The narrow ends 23-70 metres, and the uppermost 5-50 x 8-70 metres. face north and south traces were found on these sides of steps leading
:
The majority of the finds (553) are of importance, but the miniature vases already referred to are very The terra-cottas, both the archaic ones and those of more interesting. 4 developed style, resemble those from Hagios Sostis near Tegea
from one terrace to another.
little
.
the latter the hydrophoroi are remarkable, and also the polus5 wearing figures ; these last possibly have some connexion with Helen
Amongst
1
v.
Furtwangler,
N. Denk.
ant. Kunst,
III (Bay.
Sitzungsberichte,
1905,
ii),
p. 265. 2 v.
3
4
De
Ridder,
op. cit. 2, 3,
530, 815, 846, 992, 997, 1004, 1017.

III, p. xxxiv. 12.
TlpaKTiKa, 1900, pp. 74-84.

v.
Winter, Antike Terrakotten,
v. Introduction to Sculpture,
227
228

in lead
But most important of all are the little figurines cast been found in such numbers on this site.
which have
The Leaden Figurines.

7.
The importance
of these figurines
lies in the
material of which
they are made, and in the fact that they are apparently peculiar to Laconia, or at least to the Peloponnesus. They have been found at the Menelaeum, the Amyclaeum, near Vavyka (No. 679), and on the Lately some right bank of the Eurotas, a little below the iron bridge. similar figurines were purchased at Corinth for the Ashmolean Museum. but since they are of the same Their exact provenance is unknown
:
types as the Laconian examples, they possibly came from the neighbourhood of Sparta. Therefore it would be quite justifiable to conclude that Since the variety of the these figurines are peculiar to Laconian shrines. types is great, a tabulated list giving the provenance of the figurines and
their present
whereabouts
will
be useful
1
.
Figs. 79, 80, 81.
229
230
are

common
:
to all the sites. Perdrizet thought that the costume of these figures resembled the Mycenaean. This seems incorrect as far as can be seen, the female figures wear a long chiton simply girt Of the other costumes that of the warriors is alone at the waist.
some of
interesting.
They wear large crested helmets without cheek pieces, and The Macedonian shield was carry round shields with a central boss. of this character, and this shape of shield was typical of the central European tribes \ Therefore the makers of these leaden figurines were
Probably they were Dorians
;
invaders from the north.

certainty
is
but on this point
unattainable.
At Sparta we know that under the laws of Lycurgus iron and not gold 2 It seems then probable that these leaden or silver was used for coin were the Spartan substitutes for votive offerings in precious figurines metal. Offerings of gold and silver must have been common at nearly all Greek shrines. Similarly to-day flat plates of silver representing human beings, animals, &c., are commonly suspended as votive offerings
.
at Italian
and Greek
the
shrines.
Such
silver offerings are, as
remarked by
Spartan lead figurines. Leaden figurines would have been cheap, and as they could not be sold or turned to any useful purpose, there would be great accumulations of them at the shrines.
Perdrizet,
modern counterparts of
these
As regards style the figurines are always archaic. Stylistically none of them appear to be later than the first quarter of the fifth century. There is one trace, however, of the development of style. Some of the female figurines are in true profile. Others are in half profile in the archaic fashion, the heads and legs being rendered in profile, but the bodies en face. Apart from this all the figures appear to be of the same date. It is impossible, however, that they can all be of the same We must then assume that these figurines began in the sixth period. and lasted till the fourth century, the retention of archaic types being Perdrizet compared these lead due to the conservatism of religion. 3 There does not seem, figurines to some gold work from Corinth be much similarity between the two. They are all of the however, to archaic period, and the technique is the same but closer comparison in
.
:
style, &c., is
impossible. The technique of the lead figurines is simple. They are cast from flat moulds. Apparently the type was engraved in low intaglio in the stone, a flat stone was placed on top and the molten lead was then
poured in. Such a process would easily produce the low relief and flat backs of the figurines. The wreaths seem to have been cast together. The apparent stalk is really the ends of the ribbon tying the wreath. This was used as a channel for introducing the molten lead from a long narrow channel uniting the ends of the stalks of several wreaths. Thus in two cases some wreaths are found joined together by a narrow bar joining the ends of their stalks (552 a, 6). These figurines are, with the miniature vases and the Mycenaean It is to objects, the most interesting of the Miscellaneous Antiquities. be hoped that further excavation in Laconia will throw more light on
these subjects.
1
a
Ridgeway, Early Age of Greece, I, ck. vi. [Plato], Eryx. 400; Plutarch, Lycurg. 9, Lysandr. 17; Pollux, Arch. Zeit. 1884, pi. viii, i. a.
ix, 79.
D-M.
45. Eros on ram 262.
Eros, winged,
:
semicircular antefix
terra-cotta.
H.
-19.
L. -23.
He has his is shown clinging to a ram moving swiftly to 1. arms about the ram's neck, and his body hangs against its left side the Good composition spirited, but not very tips of his wings curl over. But for the position of the detailed work, probably of the 2nd cent. B. c. figure and the wings it might be thought to represent Phrixus.
:
169.
Amphora No neck or
Top broken
terra-cotta.
H.
-60.
handles.
:
197. Pyramidal weight

off
:
terra-cotta.
H.
H.
-13.
probably a loom weight.

:
198. Pithos fragment terra-cotta. Shows two bands of a plait pattern
-12.
L. -13.
cf.
199.
199. Pithos fragment: terra-cotta. H. -08. L. -08. Shows one and a half bands of plait pattern cf. 198.
:
278.
D-M.
5.
H. -21. terra-cotta (two fragments only). statuette: Winter, Antike Terrakotten, III, p. 177, 3. Found N. E. of the town near the Eurotas at the place called <f>ovpvos, where other terra-cottas and vases were found. The head, lower left arm, and all the body below the waist are lost. The left arm is completely preserved of remaining portion of body 10 l ). The forms are youthful (1. .21, height the figure is in a very stiff position, and the back is bent in behind. The left arm curves inward and, as is shown by the broken surface, the hand rested flat against the thigh with the thumb outwards.
Male
:
280. Glass
bottle.
H.
-18.
Di. 10.
It was found in Semicircular-shaped body with long neck, top broken. a tomb in the house of D. Krites (?). Kastriotes notes that under this number the first catalogue described the body of a pyxis showing a seated woman. This, according to a telegram of Stamatakes (11/23 J un e 18 ?), was stolen from the Museum.
terra-cotta.
H.
-08.
Similar to 197, but complete and has a hole bored through the top.
347. Dioscuri riding terra-cotta antefix. Both Dioscuri are seen riding to the right.
:
H.
-17.
L. -25.
:
and their chlamydes flutter out behind. The foremost Dioscurus appears from behind the other. It is considerably damaged on the right, and below in the middle. Spirited work, probably 2nd cent. B. C.
:
Both wear the pileus
348.
H.
-06.
handle of vase (fragment) : terra-cotta. warriors fighting 278. At the base of the handle where it springs from the body and on the outside of it are two nude warriors fighting. Their inside legs cross, and their
Two
D-M.
Dressel and Milchhofer say it was -19 high; they also describe the head. This if it was .09 high, as seems probable, this would account for the difference lost Kastriotes notes that it was lost as long ago as the time when in the measurements. Stamatakes made the first catalogue of the Museum.
is
now
232

bodies are bent away from one another. The warrior on the ri^ht has his shield on his left arm and strikes with his right. The one on the left covers himself with his shield on his left arm, and looks as though about
to return the
blow with
his right.
Good
composition, sketchy work,
and
cent. B. c.
terra-cotta.
:
H.
cf.
-09.
Complete, hole bored through top
197 and 335.
390. Amphora:
terra-cotta.
:
H.
-7.8.
Two
handles
:
complete.
391. Pithos
lain It is plain
H. -58. Di. at mouth -23, of body -40. of except for two bands, each c three raised lines round the body, and a similar one just above the foot.
terra-cotta.
(?)
:
405. Brooch
bronze.
L. -09.
Pin broken away. Decorated with linear ornamentation. Its shape in general is that of a wedge, joined at its thick end by a narrow piece to a semicircle, whose edge is ornamented with seven knobs. The edges of the wedge end are decorated with an open work scroll.
406. Miscellaneous
(a)
lot
of coins
silver
and 237 bronze.

COS.
III. P. P.
1.,
Hadrian
Obv.
silver denarius, i.
Head
:
to
r.
HADRIANVS AVG.
i.
Rev. Female figure en face holding cornucopia in hand AVG. Cohen, 324.
and
scales in
r.
MONETA
(^)
Maximianus; small bronze,
Obv. Head to r. ; IMP. C. M. VAL. MAXIMIANVS AVG. Rev. Victoria crowning resting Hercules ; VIRT VS AVG. ; in exergue XXI AT. Cf. Cohen, 426.
(c)
Constantine; small bronze,
i.
Obv. Rev.
Head
Two
to r. ; soldiers either side of a

in exergue
CONST ANTINVS MAX. AVG. signum CONCORDIA EXER;
CITVS;
(flQ
SHNS.
Laconia, 146-32
B.C., bronze, 7.
;
head to r. rev. Eagle, AA *I. B. M. C. 26. (2) Similar, but inscribed AA Afe. (3) Heracles, head bearded, to r. rev. club in wreath, AA 21. B. M. C. 42. B. M. C. rev. club-caduceus in wreath, AA 4I. (4) Lycurgus, head to r.
(1) Apollo,
;
20. (5) Similar,
(6) Dioscuri,
but inscribed AA NI. B. M. C. 17. heads to r. rev. two amphorae in wreath,

;
AA AIE.
B.
M.
C.
3?. (7) Similar, but inscribed

(e]
AA
(in
AT.
Byzantine
bronze, 47
bad condition).
9.
(/) Venice, colonial issues
bronze,
;
()
Miscellaneous illegible coins
bronze, 172.
436. Ideal female head: Bull. Inst. 1873, P- 2I2

Formerly
a
little
terra-cotta;
hollow.
H.
-20.
D-M.
105.
in possession of Kopsomanikos badly damaged. The head is inclined to its right. The hair is centre-parted, and waved away Round behind. It hangs down behind the ears in two corkscrew curls. top of head is a stephane ; on the hair before it are traces of an ivy (?) wreath. The ears, hanging curls and the diadem were probably separately modelled and set on. The face is oval-shaped and suggests an Aphrodite The cheeks are high and narrow, the lips parted, and the chin type.
:
233
divided in the centre. Empty, ideal type, not earlier than second century B.C. Dressel and Milchhofer do not believe that its provenance is Sparta.
516. Griffin's head
bronze.
:
H.
-09.
L. -08.
:
Found
at Riviotissa near
which was hollow

jecting eyes.
Amyclae. Open mouthed horn growing on top of head

:
broken
:
off at
:
neck
pro-
upright ears
Good work
fifth
century
B. c.
517. Various coins of bronze
and
silvered bronze, in
all
517.
A. Salonina.
Small bronze and silvered bronze
(1) Rev. (2)
(3)
:
inscr.
Fecunditas
to
1.
with cornucopia,
1.
SALONINA AVG., head to r. FECVNDITAS AVG.,
2.
Cohen 35. Rev. Goddess
seated to
1.
CORD. AVG.,
in exergue
Rev. Ceres seated to
holding patera and two cornucopiae, CONA. P., I. Cf. Cohen, 20-22. holding ears of corn and sceptre, CERERI
AVG., 4. Cohen, 18. (4) Rev. Juno to L, holding sceptre and patera, peacock by her side, IVNO REGINA, 12. Cohen, 48. (5) Rev. Aequitas to 1. with scales and cornucopia, AEQVITAS AVG., 4. Cohen, 10. (6) Rev. Veiled goddess seated to 1. holding sceptre, PVDICITIA, i. Cohen, 63. Cohen, 69. (7) Rev. Hygieia to r. feeding snake, SALVS AVG., 4. Rev. Goddess armed with shield and spear, holding helmet to 1., (8) VENVS AVG., 12. Cohen, 76. (9) Obv. Inscr. CORN. SALONINA AVG., head to r. Rev. Goddess (?) standing to r. VIRTVS (?) AVG.
(10) Illegible,
i.
B. Gallienus.
Small bronze and silvered bronze inscr. GALLIENVS AVG., head to r. (1) Rev. Aequitas to 1., AEQVITAS AVG., 9. (One inscr. GALLIENVS P. F. AVG.). Cohen, 34, 35. (2) Rev. Sol standing to 1., AETERNITATI AVG., 10. (Four inscr. GALLIENVS P. F. AVG.) Cohen, 50, 51. Rev. Saturn holding sceptre to r., AETERNITAS AVG., i. Cohen, 44. (3) (4) Rev. Aesculapius standing en face, CONSERVATOR AVG., 9. Cohen, 96. (5) Rev. Felicitas with globe and sceptre (?) to r., FELICIT. AVG. i. Cohen, 119. (5 a) Similar, but goddess holds cornucopia, i. Rev. Fortuna holding rudder and cornucopia to L, FORTVNA (6) REDVX, 2. Cohen, 175. (7) Rev. Fortuna redux holding caduceus and cornucopia to 1., FORTVNA REDVX, 7. Cohen, 173. Cohen, 181. (8) Rev. Genius before altar to 1., GENIO AVG., i. Cohen, 183. (9) Rev. Genius to 1., GENIVS AVG., i. (10) Obv. Inscr. IMP. C. P. LIC. GALLIENVS P. F. AVG. Rev. Gallienus receiving sceptre and globe from Juppiter, IOVI CONSERVATOR!., i. Cohen, 225. (n) Rev, Juppiter Stator en face, IOVI STATORI, 20. (Five inscr. GALLIENVS P. F. AVG.) Cohen, 233, 234. (12) Rev. Goddess seated to r. INDVLGENT. AVG., i. Cohen, 198.
:
(13) Rev. Gallienus armed to 1., AVG., in exergue vn c, i. Cohen, 245. Rev. Laetitia holding wreath and anchor to 1., LAETITIA AVG., 6. (14) Cohen, 249. LVCIFERA, 6. Cohen, 345. (15) Rev. Diana Lucifera to r., Rev. Mars to L, (16) CONSERV., 3. Cohen, 350. VICTOR, 3. Cohen, 348. (17) Rev. Mars to r., CONS. AVG., 3. Cohen, 362. (18) Rev. Couchant ram to r.,
IVBENTVS
LVNA
MARTI
MARS
MERCVRIO
234

AVG., in exergue vil c, I. Cohen, 364. (19) Rev. Minerva to 1., AVG., i. Cohen, 390. (20) Rev. Pax to 1., (21) Rev. Gallienus to 1., sacrificing, PIETAS AVG., 6. Cohen, 416. (22) Rev. Lion to 1. P. M. TR. P. XII. C. VI. P. P., 4. (One with head
to left.) Cohen, 454. (23) Obv. Inscr. GALLIENVS P. F. AVG. Rev. Serapis en face, P. M. TR. P. XII. COS. V. P. P., i. Cohen, 452. (24) Rev. Neptune to 1., P. M. TR. P. XV. P. P., 7. Cohen, 458. Cohen. 470. (25) Rev. Mercury to 1., PROVIDENTIA AVG., 10.
MINERVA PAX
(26) Rev. Goddess to 1., PROVID. (27) Rev. Roma seated to 1., P. F. AVG.) (28)
(29) (30)
(31)
(32) (33)
(34)
(35)
(36) (37)
(38) (39) (40) (41)
(42)
(43)
1., (On one head of emperor Cohen, 497. Rev. Apollo by tripod to 1., SALVS AVG., 6. Cohen, 499. Rev. Hygieia to r., feeding serpent from patera, SALVS AVG., 2. Cohen, 503. Rev. Sol en face, SOLI AVG., i. Rev. Pegasus to r., SOLI CONS. AVG., i. Cohen, 524. Rev. Sol to 1., SOLI INVICTO, 5. Cohen, 529. Rev. Uberitas standing to 1., VBERITAS AVG., i. Cohen, 541. Rev. Goddess with spear holding helmet, VENERVICTRICI, 10. Cf. Cohen, 550-552. Rev. Similar goddess holding shield, spear and helmet, same legend, i. Cf. Cohen, 550-552. Rev. Victoria running to 1., VICTORIA AVG., 9. (Four inscr. GALLIENVS P. F. AVG.) Cohen, 587, 589. Rev. Virtus to r., VIRTVS AVG., 7. Cohen, 661. Rev. Virtus to 1., same legend, 6. Cohen, 656. Rev. Gallienus fully armed to r., same legend, 4. Cohen, 664. Rev. Mars to r., same legend, 3. Cohen, 650. Obv. Inscr. IMP. C. P. LIC. GALLIENVS AVG. Rev. Mars to r., same legend, i. Cf. Cohen, 652. Rev. Hercules to r., same legend, in exergue vn c., 8. Cf. Cohen, 662,
GALLIENVS Cohen, 491, Rev. Stag to SAECVLARES AVG., 2.

to
1.)
ROMAE AETERNAE,
'
AVG.,
i.
Cohen, 464.
6.
(Three
inscr.
493.
663. (44) Rev. Hercules resting to
r.,
VIRTVS AVGVSTI.
and 37
illegible coins.
i.
C. Volusianus, small bronze,
Obv. Head to r., IMP. CAE. C. VIB. VOLVSIANVS Rev. Pax to 1., PAX AVG. Cf. Cohen, 39.
AVG.
D. Macrianus, small bronze, 2. (1) Obv. IMP. C. FVL. MACRIANVS P. F. AVG., head Rev. Sol to 1., SOLI INVICTO. Cohen, 9.
(2) Obv. Similar inscr.
to
r.
and
1.,
type.
Rev.
Roma
Head
seated to
ROMAE AETERNAE.
Cohen,
8.
E. Galerius, small bronze,

Obv.
to
r.,
i.
GAL. VAL. MAXIMIANVS. NOB. CAES.

r.
Rev. Galerius to
before Juppiter carrying Victoria,
CONCORDIA
EXERCITVS.
Cf.
Cohen,
59.
F. Laconia, bronze, 3. 146-32 B.C. (1) Heracles, head bearded, to r. ; rev. club B. M. C. 41. rev. two amphorae, (2) Dioscuri, heads to r.
;
in wreath,
AA
Cf.
IIET.
I.
Cf.
AA
A.
2.
B.
M.
C. 37*
G. Sicyon, bronze,
dove in wreath to
i
:
1.,
rev.
21
in wreath.
Ptolemy Euergetes,
Byzantine, 7. Ionian islands,
Illegible, 17.
i.
head to
1.,
rev. eagle,
BASIAEftS HTOAEMAIOT.
518. Hexagonal block
:
235
terra-cotta.
Top
concave with central boss.

:
H. -04. Di. -075. In the concave part around the boss
are the letters
N
3 E
*
Form
of <j> <i. It was found on the land of Matallas near the iron bridge over the Eurotas.
clay.
520. Fragment of pithos: thick, coarse Th. -02. Introd. 4. Fig. 82.
The fragment comes from
L.
-19.
H.
-14.
the upper part of the body on the left of one of the handles, whose root still exists on the right of the fragment. It is decorated with very low relief. At the top there is a projecting rim ornamented with an ovolo pattern. Below this on the body is a similar pattern ; and then an astragal. Under this part of procession of warriors is visible. On the left, driving a chariot to the right, is a bearded man clad in a chiton with ornamentation on its lower edge, and a himation over his right shoulder. Only the curved tail of the chariot is visible. Behind him walking to the left is
a fully armed warrior. He wears a large crested helmet, carries one Fig. 82. spear in his right, and two in his left hand. On his left arm he also wears a large round shield, whose pattern consists of rays springing from a central circle within which is a similar
pattern.
Good work
sixth century, B.C.
533. Spear-head, bronze. L. -53. B. -025. Found in a tomb at Anogeia. Part of socket broken away
a projecting midrib.
on each face
549. Contents of tomb found by the bank of the Eurotas.

(1) Sleeping
(2)
mill of Matallas
on the
right
dog
Bone
die.
to r. L. -03.
:
terra-cotta
H.
-02, L. '035.
.
: :
H.
:
-02.
and bottom blank, on opposite sides , part of the bone in the centre was filled up. There is a hole (3) Seven pieces of bone split in half, each -08-' 10 long. in the centre of each as though they were meant to be strung together. One piece is ribbed, and another has three belts of three incised lines on it. L. -0713, B. -0203. (4) Five flat pieces of bone pointed at one end. Four have holes bored in their flat ends. Three pieces are plain. Three pieces are decorated with belts of three engraved lines and
upper and .
:
On
side
The hollow
concentric circles. (5) Three oblong pieces of bone. Two decorated with concentric circles and belts of three engraved lines. One has a scroll pattern. (6) Small piece of bone. L. -03. D. -015. One end pointed, other end runs to a narrow shaft, at whose base a hole is pierced. On it by lines and circles is a rude representation of a human face. four are pierced at one end ; and one is carved (7) Eight fragments of bone and cut by incised lines into a double row of squares. L. -051 1. L. -035. (8) Mouthpiece of bone. L. .13. (9) Two strips of lead. (10) Three pieces of lead wire, (u) Iron nail. L. -06. L. .06. (12) Fragment of strainer in thin black ware. L. -05. H. -03. Coarse work. (13) Foot of statuette: bone.
:
236

L. -12. (14) Ribbed bronze rod. Di. -04. (15) Bronze ring. Di. -05. H. .03. Peaked top. (16) Bronze lid. (17) Neck and mouth of oenochoe, bronze : trefoil shape.
(i 8) Flat
H.
.03.
bronze lid. Di. -06. (19) Eleven fragments of bronze vessels. L. -08. W. -05. It is decorated at regular (20) Fragment of bronze belt. intervals with silver (?) gilt cone-shaped bosses (H. -03, Di. -03), two of which are still attached to belt, and two are loose. (21) Two pieces of petrified bone. L. -09.
550. Various objects from the Amyclaeum.

(1)
(2)
(3)
(4)
Two fragments of coarse common ware. All these were found during Tsountas's excavations in 1890.
L. .06. H, -035. Fragment of Mycenaean terra-cotta figurine. Female head, arms, and feet broken off. Ordinary late Mycenaean type, crescent-shaped body (of which the arms are the horns) on a columnar stand, the two legs close together breasts indicated by the attachment of two circles of clay with a dab of brown paint in the centre. Body decorated with Band of dark brown round the light brown oblique vertical stripes. H. -06. W. -04. waist. Four fragments of Mycenaean pottery all pieces of handles. Two show dark brown, and the other two light brown linear ornament.
Bronze ram.
551. Vase fragments from the Tholos tomb at Vaphi6.
Introd. 3. (1) Fifteen fragments similar in style to the Cnossus Palace ware (Late Minoan II). They show light and dark brown floral ornament on
pale brown clay.
(2)
One
piece of coarse thick unornamented ware.
552. Figurines in lead.
Introd.
7.
Fig. 79.
at
Found during
Kastriotes' excavations
the
Menelaeum
in
1889.
Various types as follows:

(1) Warriors with large round shields, spears, and large crested helmets. Fragments of eight of these shields only with attachments of limbs. Size varies from -03 to -015 long. Patterns of shields, rays (4), concentric circles (2), concentric circles and rays combined (i), St. Andrew's cross and Greek cross combined (wheel) (i). (2) Female figures in long chitons girt at the waist and with long hair. Body rendered en face, rest of figure in profile to the left. Fragments
of three.
(3)
H.
-03.
;
two types (a) pierced with six squares. B. -015 (one specimen), (J8) pierced with four squares (one specimen), .015 square. These have at the middle of one of the shorter ends an attachment, which shows which end was originally uppermost, and that they were fastened on to something else. About 274, either whole or in (4) Wreaths: or rather rayed rings. fragments. The rays vary in shape, as also does the distance between them. Usually the rays are narrow and pointed in a few cases they are clove-shaped once or twice their place is taken by round knobs, and in two cases the rays are not cut out but merely stamped on a flat band of metal outside the ring. There is a narrow ribbon-like attachOblongs pierced with squares
H.
-02.
ment (broken)
of this
is still
to each wreath in
two
cases.
attached to a narrow curving bar. (5) Fragment of palm (?) branch. -025 long. Di. .025. (6) Plain leaden ring.
One wreath by means Di. .0103.
552 a. Figurines in lead. Found by Philios on the

of Tagares.
(i)
Introd.
right
7.
Fig. 79.
bank of the Eurotas near
the garden
circles, spear,
Warrior in profile to r. shield decorated with concentric and large crested helmet. H. -03 (one specimen).
:
(2) Oblong pierced with six squares B. .015 (one specimen).
:
237
H.
-02.
attachment at one short end.
on stand. L. -025. H. -02. They wear long chitons, and high peaked caps their wings curl up at the ends chiton ornamented with oblique or vertical net-work; all in profile to 1. Three large broken specimens, H. .04 and one small, one complete, H. -03. Clad in long chitons decorated with vertical (5) Female figures, votaries. and horizontal ribbed lines the body is represented en face they wear big plumed hats, and carry in each hand a patera all in profile to r. they have long hair. About ten specimens. H. .035025. all but one, which has round knobs, are with pointed (6) Eighteen wreaths Two are still attached by their supports to a narrow curving rays. bar one is small (Di. .015), and the other large (Di. -025). At its bottom it was attached to H. -034. (7) A kind of caduceus.
(3) (4)
in profile to right,
Ox
Winged female
figures.
something.
552 b.
Figurines in lead.
Introd.
;
7.
(1)
H. -025. shields with ray pattern. (2) Four female figures in long chiton and high peaked caps. Three in profile to 1., and one en face : chitons decorated with oblique netwarriors, broken
Two
work.
(3)
H.
-035.
:
fragments of other unintelligible figures. four have round knobs, (4) Twenty-four wreaths or fragments of wreaths the rest pointed rays all have attachment supports. Di. .0102.
:
Two
553. Figurines and small vases from the Menelaeum
terra-cotta.
6.
Found
in Kastriotes' excavations,
1889 and 1900.
Introd.
A. Figurines: none are complete: the heads have been broken from whole figures.
(1) Seated archaic type
(2)
arms folded on breast pinched bird-like face arms and eyes put on separately one specimen, broken. H. .07. 1 Winter, Antike Terrakotten, III p. 28, 9. Standing archaic male type back bent in pinched bird-like face eyes put on separately. Three specimens. One has a crested hat all
: ;
;
broken. H. -10. (3) Head of a figure similar to those classed under (2), but it wears a necklace with a round stone hanging from its centre ; eyes and necklace put on separately. H. -05. Winter, Antike Terrakotten, III 1 , p. 26, 3. much broken ; clumsy late archaic work one (4) Man riding horse specimen. L. .08. H. -05. L. .06. H. .04. (5) Horses broken : clumsy late archaic work. (6) Male head : long hair prominent nose type of Apollo of Tenea
: : : ; ;
:
one specimen. H. -05. formal curls over forehead large staring (7) Male head long hair behind one specimen. eyes heavy projecting jaws. Early fifth-century work
:
H.
(8) Seated
.05.
:
arms rest on knees wears goddess long hair ; wears polus himation with heavy decorated edge clumsy work one specimen.
; ; ;
: :
(9)
H. -08. Female head
over the forehead
wears stephane hair arranged in three rows of curls one specimen. H. -07.
;
:
(10) Long-haired youthful female figure, clad in short sleeved chiton, and In four specimens carrying on her head a hydria with a peaked lid. she holds the hydria with her right hand in three specimens her arms hang stiffly at her sides ; and in one specimen she holds with both hands a fawn (?) before her. H. .12 (none complete, hollow 1 Winter, Antike Terrakotten III moulded). p. 157, Nos. i, 5, 8.
:
,
Figs. 83, 84, 85.
(n) Seated
goddess, clad in a long chiton with diplois, right arm on breast, on knee throne high backed feet rest on footstool wears polus hollow moulded three specimens. H. -08 and .12.
left rests
\
;
238

(12) Veiled female figure in long chiton and himation drawn over back of head: three specimens (i) right arm laid across waist, and left on shoulder, H. .17; (2) himation drawn across at neck, H. -08; (3) himation drawn across below breasts, H. .16 all hollow moulded. wears polus\ one specimen. H. -04. (13) Female head, long hair (14) Female head, hair in curls, himation over back of head : two specimens.
:
(15)
(16)
(17)
(18)
(19)
(20)
(21)
H. .05. Female head, wearing helmet on back of head one specimen (face only). H. -06. Hollow. Female figures in chiton, ungirt right arm hangs at side, left arm hollow: two specimens. H. ii. rests on hip Female head long hair, ear-rings, polus one specimen. H. -05. Female figures in chiton and himation: wear stephane; arms hang at H. -14. sides; hollow: two specimens. hair centre-parted and waved away to sides Head, aged female hollow one specimen. H. -04. Male figure: legs only; remains of drapery hanging behind; hollow: one specimen. H. -12. Female figure in chiton and himation: headless; carrying with left
:
Fig. 83.
Fig. 84.
Fig. 85.
(22)
(23)
(24) (25)
arm on shoulder a child; right arm on breast; hollow: one specimen. H. -n. Female figure in doric chiton: headless; arms hang at sides; hollow: one specimen. H. .17. Female figure in chiton and himation (complete but much worn) wears polus solid r. arm on breast 1. arm at side one specimen. H. >i I. Female torso in ribbed doric chiton arms bent up at sides one specimen. H. -055. one wears a sandal. two specimens Feet, from complete figures H. -08. L. .07.
;
; ;
(26) Bird
(27)
Hand
(28) (29)
Two
one specimen. L. .07. and arm, broken one specimen.

:
L. .06.
unintelligible fragments.
Fragment of seated female

Introd.
4, 6.
figure clad in chiton
and himation.
H.
-II.
B. Vases.
(i) Cantharus shape: eight specimens ; size '02505 ; one unbaked of grey clay ; two not true canthari, but more like two-handled cups ; all unpainted; handles do not come above the rim. Cf. 799 (i),
803
(i).
;
(a) Aryballus-shaped ; eight specimens the rest unpainted.

(3)
size
-04015
two black glazed,

:
Cups with two horizontal handles

size
.04502;
nine specimens ; close to bottom eight black glazed and one covered with dark red
paint.
(4) Single-handled size .0203 ;
239
cnps: two have vertical, and two horizontal handles; one black glazed.
(5)
(6) (7)
(8)
(9)
(10)
five specimens; four small, .02 high; one large, Di. -05, and black glazed; it has horizontal handles. Lamp black glazed. H. .02. Di. -04. Three fragments of black glazed bowls. Whorl, and clay ball; one specimen of each. Di. -03 and .02. Small fragment of black Megarian bowl ; moulded ware. L. -05. Fragment of bowl with horizontal handles shows black and red-brown
Two-handled cups:
H.
-025.
well-moulded ware. The decoration consists of a scroll pattern between two lines of dots on the outward curving up ; the handle at the top of the body springs from a black belt, below this is a red-brown broadish belt between two narrow black lines, and then springing out from the base to a narrow black line is a ray pattern. (i i) Four fragments of handles, three of black glazed ware ; and trefoil top of a black oenochoe and seven odd vase fragments. H. .09. (12) Tall three-handled cup ; elongated hydria shape. (13) Three fragments of a black glazed handle, studded with flat round knobs.
linear
ornament on yellowish
slip
thin,
562. Miscellaneous lot of coins : thirty-nine bronze and one (1) Achaean League silver; illegible: i.
:
silver.
(2) Gallienus, inscr. (i)
GALLIENVS AVG. with head to r. 2. Rev. Gallienus standing to r., VIRTVS AVG. Cohen, 664. (a) Rev. Goddess standing to 1, holding shield, spear and helmet,
:
VENERI VICTRICI.
Cohen, 550.
(3) Byzantine ; miscellaneous : 10. (4) Venice ; colonial issues : lo.

(5) Illegible: 25.
570. Small
lion
;
bronze.
L. -05.
;
Now lost
583. Antefix
was open mouthed

terra-cotta.
first
noted as lost by Philios.
H.
-20.
B. -17.
;
Between two acanthus stalks which curl outwards at the top into volutes is a draped youthful male bust. It appears to be of an Apollo type the hair waves away to the sides, is tied in a crobylus on top, and falls in long locks on the shoulders. Late, sketchy work imperial period. Formerly
;
in house of Kechagias.
587. Pyramidal weight terra-cotta. Top broken off, cf. 197, 335, &c.
:
H.
-14.
587 a. Pyramidal weight

Top broken
off, cf.
terra-cotta.
H.
-13.
107, 335, &c.

:
587b. Pyramidal weight

Top broken away,
cf.
rosso antico.
H.
-10.
197, 335, &c.
503. Various objects of bronze. Found near Magula on the road

(i)
to Varsova.
Two
bronze pigs.
L. -05.
H.
.04.
L. .05. H. .06. (2^ Bronze horse. All these three animals are shown in profile to the right; at the bottom their four legs are joined together to a kind of point as though they were intended to be set in to some object.
Fragment of small bronze plate. Di. -07. Fragment of terra-cotta tile. L. io. H. -07. Complete above with an egg and dart pattern below are remains of what is apparently an Eros supporting one end of a garland badly damaged.
(3)
(4)
(5)
Two
pieces of iron.
240
Cf. Korte,

H.
-14
;
594. Nude female statuette: bronze.
mirror handle.
Arch. Studien H. Brunn dargebracht, p. 25 seqq., and the bronze found by Tsountas at the Amyclaeum, 'E<. 'Apx- i89 2 pi- *
>
:
De
Ridder, Cat. des Bronzes, 150;
cf.
Introd.
5.
Feet close together rest on a square base; hands raised above the head, palms outwards and brought close together hair apparently filleted and arranged in formed curls. Not good work; late archaic period, early
;
fifth
century B. c.
595. Stone hammer.

Pale green stone.
L. -08.
Introd.
2.
595 a. Stone
Dark
celt.
L. -04.
B. -03.
Introd.
2.
greenish black stone with yellow veins.
Found
at
Hagios
Basileios
near Xerokambi.
675. Antefix:
terra-cotta.
H.
-23.
L. -16.
;
Shows part of an acanthus
scroll decoration
imperial period.
2.
678. Stone implement.

Pole-axe shape
;
L.
-10.
Introd.
of red stone.
679. Figurines
v.
in lead.
IIpcumKa, 1900, p. 76, 6. Introd. 7. Fig. 79. Said by Georgiades to have been found at Vavyka.
H. -03. (1) Warriors with large crested helmet, shield and spear. (a) In profile to r. : three specimens ; two have the two-cross pattern on their shields, and the other seven dots in a circle. In profile to 1. : six specimens ; four have simple ray patterns on their (/3) shields, one a plain central circle with rays outside combined with
seven dots, and one a plain shield. helmet.
(2)
One has a
;
double-crested
Female
(o)
figures in
long chitons, and high peaked caps
holding paterae
bodies en face.
H.
r.;
-035.
In profile to
pattern.
four specimens;
chiton has a vertical network
(0) In profile to 1.: two specimens; chiton has an oblique network pattern. (3) Unintelligible object, two ribs spring out obliquely from a broadish piece, and are joined across above by two attachments at regular
intervals.
L. .03.
680. Antefix, semicircular.

It
L.
-.23.
H.
-21.
shows a Medusa head of a young,

to the
left long flowing hair even late work.
;
refined type, en face, but slightly turned

;
marked bar
wings on head above.
Un-
685. Lamps terra-cotta. Found in tombs by Matallas on

:
his land
4.
near Sparta.
(a)
Large lamp.
Di. -18.
Introd.
Solid handle with four holes pierced through it vertically, centre is sunk and has a plain border. It shows Athena standing en face, but slightly turned to the left. She wears a long chiton with the aegis and a helmet her Her shield leans left hand rests on her spear held vertically at her side. On her right is a table against a pillar on which sits an owl on her left. with griffin (?) shaped legs ; on it is coiled a serpent to which Athena holds out her right hand as though to feed it. Above, on the left, appears the branch of a tree. Much broken ; good work of third to second century B. c.
;
(ft)
241
Small lamp.
Di. -10.
;
Half the sunken centre is broken away but enough remains to decide the It shows the Dioscuri wearing pileus and chlamys facing each subject. other with their horses. Their right legs are free. Only the right-hand
Dioscurus remains.
(y)
Late work, not earlier than
first
century B. c.
Small lamp.
Di. -07.
in
it
;
Sunken centre with hole
dot border round edge

:
pattern inside three concentric circles. Complete the bottom in low relief the inscription
APKAD
in centre merely ray On imperial period. probably the maker's
name.
688. Whetstone.
Ellipsoid
:
L. -26.
full
of dark blue stone
of small holes.
:
693. Various objects from the Amyclaeum

2, 5-
bronze and iron.
Introd.
Found by Tsountas during his excavations (1) Two bronze oxen. L. .06, H. -03.
(2)
Bronze horse.
L.
-04,
H.
-02.
j
\
:
in 1890.
archaic
riod<
Twenty-nine pieces of bronze wire armlets (?). (4) Five pieces of bronze rod with rings and round knobs projecting at
(3)
intervals.
(5) Piece of big bronze rod with three L. .18. size.
round knobs gradually decreasing in

L. .05 5.
(6) Piece round

(7) (8) (9)
knobbed bronze handle.

rings.
(10) (11) fill

(13) (14)
Three plain bands of metal, one of bronze wire wound spirally. Horse's hoof, and lion's paw of bronze. Two pieces of bronze bands, one with a single, and the other with a double anthemion pattern. Bronze knife blade. L. -09. Bronze handle. L. -10. Bronze wheel (half). Di. .14. Flat bronze ring. Di. -05. Bronze base. Di. .15, H. -03. Edge scotia shaped and bears an anthemion pattern ; hollow ; in centre a hole -05 in diameter ; good
Four bronze
Di. -02, H. .01.
work.
(15) Iron knife. L. .07. L. -23, B. .04. Double edge. (16) Sword blade, fragment, iron. L. .19, B. -04. Double edge. (17) Sword blade, fragment, iron. (18) Eleven bronze hair-pins ; various patterns, some with rings and with knobs at the end. L. -14. (19) Obsidian knife. L. -035.
some
894. Figurines
in lead.
Introd.
7.
Fig. 79.
Found near 552 a.

(1)
the right
bank of the Eurotas about the same place as

:
Winged female
(2)
one specimen. Clad in long chiton with oblique figure network pattern body en face long hair hanging down her back wings curve gently upwards, in profile to the left. H. -04. Female figure armed with bow one specimen. Wears long chiton with a hatched pattern long hair hanging down the back peaked headdress in profile to left holds before her with both hands a bow and arrow as though in the act of stretching the bow. H. -04.
;
695.
Silver coins.
Found on
(i)
the right
(a) Athens, tetradrachms (527-430 B.C.) 3
bank of the stream running north of Sparta. cf. B. M. C. 46-61.

:
Head
of Athena, to r.: archaistic style, eye en face ; helmet decorated with three olive leaves, and sprig of olive behind ; wears ear-rings ; hair in two stiff loops above the eye.
s.c.
242

Rev. Owl, archaic, to r. an olive, and a small
incuse.
(2) Similar coin: olive twig on helmet more curly, and olive leaves thinner; loops of hair hang over the eyebrow, and left-hand loop droops before
ear.
:
crescent,
above on left twig of olive with two leaves and on r. reading downwards A E all in
Rev. Similar, with similar inscription; olive leaves longer, and olive
round.
(3) Similar coin:
more spread. Hair and olive twigs as on I, but olive leaves narrower, ear-rings larger. Rev. Similar to I, but more carelessly executed.
i.
(6)
Argos, diobol:
Head and
Rev.
fore quarters of wolf to 1. ; below wolf's in incuse. Cf. B. M. C. 54 seqq.
head 2O.
696. Stele:
terra-cotta.
H.
-15.
Hollow and pyramidal

;
back rounded, top broken off. It shows a nude youth en face (head lost). Round his left arm hanging at his side is some drapery r. leg is free he apparently rests his right arm on a beam at his side holding in his right hand some unintelligible object formed of coils. Coarse work.
in shape,
;
697. Female torso:

left
terra-cotta.
lost
;
H. n.
Head, arms, and legs
clad in chiton with diplois, and himation on shoulder, fastened on the right shoulder ; back much bent in.
698. Female
Legs only
statuette
;
terra-cotta.
;
H.
;
-10.
right leg free garden of the Museum.
wears long chiton and himation. Found in the Good work third to second century B.C.
699. Female
statuette
terra-cotta.
H.
-095.
Feet lost;
clad in a skirt, and a bodice with puffy sleeves both fitting Covered tightly ; veil-like cap on back of head ; arms hang at sides. with creamy slip ; red stripe round edge of cap in front, and down each side of bodice and skirt ; marked waist. Probably modern.
700. Female head

701. Seven vases.
H. -05. terra-cotta. : Left cheek, nose, mouth, and chin only.

Locris.
(a)
)
From
/)
(8)
Deep two-handled bowl; black glazed; handles horizontal. Di. .13. Good ware. Brown glazed stemless kylix. H. .06, Di. -10. Coarse ware. Brown glazed kylix. H. .05, Di. .08. Coarse ware. Black glazed stemless kylix. H. .05, Di. .10. Good ware.
,
H.
.11,
(,
17)
Three two-handled (horizontal) cups; white slip, red-brown and black linear ornament belt of short vertical lines round top, rest H. .03, Di. -05. of decoration thick and thin horizontal belts. Moderate work.
;
702 a-f. Seven
2. stone pounders. Introd. Round, of compact greenish stone. One (a} is flattened at top and bottom, others cuboid.
-04, six are .085 in di.
some
703. Stone knife.

Dark,
slaty stone
Introd.
;
2.
is
rounded wedge shape ; at pointed end
a hole bored.
L. o6.
704. Whetstone. Same stone as 703

short ends.
oblong, hole bored through in centre of one of the L. .08, B. .02.

;
705. Terra-cotta spool. Shaped like an 8 with perforation For the glaze, cf. 792.
714.
at the waist; black glazed.
243
L. .05, B. -03.
Human
head, of
mummy.
:
Provenance unknown.
788. Miscellaneous coins
one
silver
:
and sixteen bronze.
(a) Faustina senior: large, bronze Head to r., inscr.
I.
DIVA FAVSTINA.
:
()
(c)
Rev. Goddess standing en face holding sceptre in right and palladium in left hand ; S. C. Cohen, 268. Constantine, Rome small bronze I. Helmeted female head to 1. inscr. VRBS ROMA. Rev. Wolf to 1., suckling Romulus and Remus, in exergue S B. Cohen, 13. Laconia: bronze: I. Bearded head of Lycurgus to r. Rev. Club-caduceus in wreath, inscr. A A Cf. B. M. C. 14.
:
:
MK
EA?A
bronze i. (e) Venice: colonial, bronze (/) Illegible bronze 5.

(d) Byzantine
: :
silver
7.
789. Miscellaneous coins

(<z)
one
:
silver
i.
and twelve bronze.
Numerian
Head to r., IMP. C. NVMERIANVS P. F. AVG. Rev. Emperor and soldier sacrificing over an altar before the statue of a goddess NTIA TEMP ; in exergue xxr. Cohen, 21. () Venice; colonial, bronze: 2. bronze 4. (c ) Byzantine (oT) Turkish: silver: i. Ionian islands bronze 4. (e) (/) German token (?) bronze: i.
;
small, bronze
790. Miscellaneous fragments
bronze, iron.
Provenance unknown.
(1) Piece of bronze chain. (2)
L. .05.
Bronze ring. Di. -02. (3) Thirteen small pieces of bronze. (4) Three iron nails, and four small
(5)
(6) (7)
(8)
(9)
flat pieces of iron. of lead. Root of stag's horn. Two vase handles, terra-cotta. Oenochoe; H. -n ; coarse work, covered with red- brown glaze except in centre where there is a belt of five narrow stripes. Piece of round clay tile L. io (broken in two pieces) on upper surface are stamped a number of small rosettes.
Round knob
(10) Blue mosaic
tessera.
791. Miscellaneous terra-cottas

(a) Antefix, semicircular;
and
vases.
it
Introd.
4.
H.
-16; on
a Medusa similar to 680.
()
(7)
Lion's head spout.

:
L. -09.
Female statuette in chiton and himation, r. leg free, 1. arm on waist, r. hand to chin, head lost. H. -13. Male torso. L. .06. leg, H. .07. arm, L. -08. (5) Two pyramidal loom weights complete, holes bored through tops () one -03, and the other -08 high. (0 Head (upper part) of herm-like figurine, back hollow. H. -05. H. .03. (;) Black glazed aryballus. (0) Two ky likes; one black glazed, H. -05, Di. -08, one red-brown paint on reddish slip (uncoloured belt round centre of body), H. .07, Di. -06.
;
244

(i) Miniature hydria with metallic black glaze on red; three handles; in panel on front hatched triangular ornament black on red. H. .08. For the fabric compare the fragments from the 792.
Amyclaeum,
(K)
One-handled (horizontally placed) cup; plain. H. -05, Di. .10. In it a paper containing three mosaic tesserae, and five illegible small bronze coins. two with geometrical ornament, (A) Five fragments of black glazed ware
;
the rest plain.
792. Tin containing vase fragments.
Introd.
4.
From
the
Amyclaeum.
799
Thirty-two fragments: about half of late geometric pottery, the rest OL coarse local ware covered with a metallic glaze that varies from red-brown
to black.
Cf. 713,
791
(t),
(9).
793. Tin containing vase fragments.
Introd.
4.
From
the
Amyclaeum.
;
A spout
A
of an oenochoe, and two other fragments of geometric style. One geometric fragment showing a scroll pattern and a piece of a geometric pithos showing a scroll pattern with the spaces filled with small dots. roller of coarse burnt clay. L. .07. Two fragments of tiles showing a curving wing pattern with the stripes consisting of black and red-brown alternately.
:
794. Figurines
terra-cotta.
:
Introd.
3.
From
Amyclaeum A. Human.
(1)
the
found during Tsountas's excavations in 1890.
Mycenaean female type: sixty ordinary specimens. Legs joined together into a column splaying out at base (in one case the base is bell-shaped) crescent -shaped body of which the arms are the horns pinched bird-like head flattened on top. Eyes and breasts indicated, and in
: :
many cases put on separately. Decoration linear, consists principally of zigzag wavy lines, and straight lines variously combined. Paint linear ornament rendered in red, redslip pinkish to pale yellow brown, or brown-black lustrous paint. H. -12 07. Three specimens of same type unpainted. H. .1206.
; ;
One hand, grasping
One specimen, with columnar legs and body, and pointed arms set in at H. o8. right angles; head lost. foot of a vase, may well be Mycenaean. The fingers
(2)
Nude male
On the wrist remains of a snake-like body, possibly a snake drinking from the vase. torso archaic. Head, left arm, right leg, left foot and right hand lost. Solid, rudely executed. Right arm was upraised as though
are well modelled.
:
brandishing something.
(3)
;
H.
.12.
;
;
Late terra-cottas two female heads head of enthroned goddess head and shoulders of female figure in chiton and himation. Torso, right All much damaged. leg free, hands at sides, male (?).
B. Animal.
(1)
(2)
Unpainted early terra-cottas. rams; one dog; five cows, and one cow's head; eight horses (?), one horse's head with remains of bridle, piece of horse's body with legs of rider. Clay grey to reddish; greatest H. .07 greatest L. .10. Mycenaean. Two cows; thirteen horses; all solid. Paint, red or red(a) Small.
Two
() Large,
bodies
;
L. .11045, H. -0605. Four cows' heads fifteen pieces of quadrupeds' linear ornaments of straight and eight legs. Decoration z ig za g lines, scrolls, and rosettes. Slip pinkish; paint lustrous red
lustrous colour.
brown
hollow.
to red-brown in colour.
(3)
245
Geometric
bird with outstretched wings ; and three (?). birds' heads, two large and one small. Complete bird, L. -06, H. o6. Colour, black-brown on pinkish slip. Ornament, rude linear.
One whole
796. Whorls, &c.
Introd.
4.
From
the
Amyclaeum.
Found during Tsountas's
excavations.
(1) Stone whorls: twenty-one specimens, all conoid in shape; of dark purple steatite, and highly polished, probably by use. one specimen, flat and ring- like. (2) Bone whorl (3) Clay whorls: fourteen specimens ; two flat and ring-shaped nine conoid; and three of a flat spherical shape. (4) Clay whorl, with geometric ornament in black glaze paint. Eight conoid specimens, one of which is hollow six of a flat spherical shape. (5) Two clay rings with geometric ornament in black glaze paint. of crystalline limestone. L. .06(6) Stone axe; pole-axe shape (7) Fragments of stone polisher; flattened sphere shape; of crystalline
:
limestone.
797.
Loom
From
weights terra-cotta. Tsountas's excavations at the Amyclaeum.

:
Seven specimens; of coarse clay; pyramidal; holes bored through their tops.
H. .08012.
798. Vase fragments.
Introd.
:
3, 4.
From
(1)
the
Amyclaeum
found during Tsountas's excavations.
Mycenaean.
(a)
Cnossus palace style (Late Minoan II). Eight selected fragments (see 802) all showing bold floral patterns. Fabric rather thick, but of finer clay than the corresponding Cretan jars probably local imitations. Yellowish slip decoration in lustrous paint varying from red to brown.
;
;
Eight fragments: fine fabric; lustrous colour varying from red to dark brown, which seems to be painted on the vase directly without any slip. In one case white dots are added to the pattern. With these is one fragment of thin ware covered with black paint showing a wavy leaf pattern in white.
(3)
Mycenaean proper (Late Minoan
III).
;
conventionalized floral patterns
(2) Geometric.
Forty fragments of typical geometric pottery. Paint, lustrous brown-black applied directly to the clay which varies from dull pale red to brick red. Patterns show typical geometric motives, swastika, zigzag lines, hatched triangles, oval dots, diamonds, meanders, and hatched crosses. They also represent a procession of narrow-waisted, triangular-bodied nude men, Several of the antelopes, long-necked and long-legged birds, and fish. fragments from their thickness and shape seem to come from large pithoi. In one case six pieces formed part of a large vase round whose edge was decoration consisting of meanders and antelopes (or horses ?) arranged In another case, to judge by fabric, colour, and style, seven alternately. pieces come from a large pithos decorated with men and birds.
(3) Corinthian. One small fragment showing a flame and tongue pattern between two animal
friezes,
possibly lions and griffins or sphinxes.
(4)
Red
A
From
figure. small fragment showing only part of a draped
human
figure.
799. Miscellaneous vases.
Introd.
4.
Tsountas's excavations at the Amyclaeum. Five small cantharus vases. H. .04055. Cf. 553, B. i. Two-handled mug on four feet which are ornamented with deep-cut incised lines. H. .09.
246
(3)

Two
flat
circular dishes, one stands
on four
feet, incised line
ornament.
(4) cups with one handle and a round bottom, incised line ornament. H. .04-05. (5) Similar cup with six pointed knobs round the body, no incised lines.
Two
Di. .08-09.
H.
-04.
H. .04. (6) Jug, incised circles. All these of common local fabric
and uncertain date. (7) Single-handled flask, red linear pattern. H. .05. (8) One single-handled and one two-handled cup, red linear ornament (scrolls, &c., Mycenaean in character). H. -04, Di. .05. round saucers, two-handled, geometric decoration in lustrous black (9)
Two
Di. .0608. paint. (10) Two-handled cup, red- brown with white stripes round the body and the lip. H. -03. (u) Fragment of bowl of thick, coarse fabric: has red painted coil pattern attached separately round the neck; on top it was pierced like a strainer. L. .14.
800. Various fragments from the Amyclaeum.
Found
(i)
in Tsountas's excavations in 1890. Two pieces from a large terra-cotta pithos. Moulded lip, with projecting dentil ornament, coloured with red and black lustrous colours. L. ! i
(4)
and .16. Fragment of circular like stamped with rosettes. L. .17. Piece of circular stamp showing geometric linear patterns. H. -06. Three antefixes, terra-cotta; anthemion patterns; late work. H.
.15, .16.
-13,
(5) Three fragments of yellow glazed pottery with pattern in green and
brown.
Turkish
(6) Base of white glazed
bowl with
linear pattern in blue.
Turkish ?
801.
Box containing potsherds from the Amyclaeum. Found during Tsountas's excavations. A large quantity
condition.
of unimportant vase fragments mostly unpainted, also a packet of bronze coins in very bad
802. Box containing fragments from the Amyclaeum.

:
Introd.
3.
Found during Tsountas's excavations. Contents a large quantity of fragments in very bad condition, apparently similar in style to 798,
vase
I
quantity of miscellaneous iron and bronze fragments all very broken and damaged, including many bronze rings (of these objects 693 is a fair sample).
803. Miscellaneous vases, &c.
terra-cotta.
Introd.
4.
Found near Magula.

(1) (2)
'
Three small cantharus-shaped vases. H. .04. Cf. 553, B. i, and 799, i. Three two-handled vases similar to 553, B. 3. H. .03. Painted black.
^3) Flattened spherical
loom weight.
.08.
H.
-04.
Hydria; three-handled. H. Torso and legs of nude male and bad work. H. -09.
(6)
figurine, right leg free, very

r.
badly damaged
: in centre horse galloping to rosettes alternately. L. .12. (7) Christian lamp: in centre studded cross;
Roman lamp
pattern.
round rim squares and

scroll
round rim studded

vases.
L.
ii.
fragments lamp, (8} Di. -18. (9) Plain bowl.

(10)
Two
of a
and four fragments of small
Fragment of bowl.
Di. .18.
804. Stuffed crocodile.
INDEX
The numbers given are
those
of the Museum.
BRONZES.
Amyclaeum, 550 Brooch, 405.
Fragments,
(i),
693, 802.
Mirror handle, 594.
Oxen, 693
(i).
549
(14-20),
593
(3),
693(3-14), 790(i-3), 802.

Griffin, head, 516.
Pigs, Pins,
593 (i). 693 (18). Ram, 550 (i).

Statuette, female nude,
Horse,
593
(2),
693
(2).
594.
Knife, 613 (10). Lion, 570.
Sword, 533.
COINS.
Achaean League, 562 Amyclaeum, 801.
Argos, 695 (b). Athens, 695 (a).
Byzantine, 406(e), 517(g),
(i).
Ionian islands, 517
(g),
Laconia, 406 (d), 517 Macrianus, 517 (d).
(f),
789 (e). 788 (c).
562
(3),
788
(d),
789
(c).
Maximianus, 406 (b). Numerianus, 789 (a). Ptolemy Euergetes, 517

Salonina, 517
(a).
(g).
Constantine, 406 (c), 788 (b). Faustina senior, 788 (a).
517 (e). Gallienus, 517 (b), 562

Galerius,
(2).
Sicyon, 517 (g). Turkish, 789 (d). Venice, 406 (f), 562
(4),
788
(e),
German token ?, 789 (f). Hadrian, 406 (a). Illegible, 406 (g),517 (g), 562 788 (f), 801.
789
(5),
(b).
(c).
Volusianus, 517
MISCELLANEOUS OBJECTS.
Amyclaeum, 796, 797.
Bone, 549 (2-8,
13).
Loom
weights, 197, 335, 359, 587,
Crocodile, stuffed, 804. Glass bottle, 280.
791 (c), 797. Menelaeum, 552, 553.
Mummy,
Obsidian,
head, 714.
Horn, 790
Iron,
(6).
(5),
693
(19).
549 (n), 593
790
(4),
802.
Stone implements, 595, 678, 702, 703.
595
(a)
Lamp, 553 (b), 685, 803 (6, 7). Lead, 549(9, 10), 693 (15, 17). figurines, 552, 552 (a), 552 (b), 679, 694.
Tomb,
contents, 549.
Whetstone, 688, 704. Whorls, 796.
248

TERRA-COTTAS.
Amyclaeum, 550, 794. Antefix, 45, 347, 583, 675, 680,
Statuettes
Animals, 553 a
(5),
553 a
(26),
791
(a).
794
b.
Apollo, 583. Dioscuri, 347.
553 a (1-4). Female, 553 a (9-19, 21-24, 29),

Archaic,
Dog, 649
Eros, 45.
(i).
697, 698, 699, 700, 791
(y),
794 a
(?),
(3).
Geometric
794 b
(3).
Head, female, 436, 791 (). Lion's head, 791 (/8V. Medusa, 680, 791 (a). Menelaeum, 553.
278, 553 a (6, 7, 791 (8), 794 a (2). Mycenaean, 550 (2), 794.
Male,
Stele
Tile,
(?),
20),
696.
(4).
593
Tool, 705.
VASES.
Amphora, 169, 390. Amyclaeum, 55O, 792, 793, 798, 799, 800, 801, 802. Cantharus, 553 b (i), 799 (i),
Miscellaneous,
(q-X),
790
(7,
8),
791
(i),
799, 800, 803. Mycenaean, 660(3), 551, 798 802.

Pithos, 391.
803
(i).
Corinthian,
798
(3).
Fragment, 198, 199, 520.
Fragments, 792, 793, 801, 802. Geometric, 791 (i), 792, 793,
Red
figure style,
Relief,
798 (4). on handle, 348.

520.
798
(2),
799
(9).
On
pithos,
Locrian, 701.
Vaphi6, 551.
Menelaeum, 553 b.
CASTS AND PHOTOGRAPHS

For the convenience of
libraries, &c., the
directors of cast
lists
museums and
archaeological
following
are given.
CASTS.
Obtainable from the Royal
Sparta
Museum,
Berlin
Berlin.
Cat. No.
Mould No.
Museum.
I
Cat.
No.
Mould No.
(from Sparta).
781 782
1296 1297
two
casts are
731 732
421 422
1378
It is said that the first
from moulds by Martinelli, which
were bought
auction in
after his death
Rome.
when his collection of moulds was sold by What became of his other moulds is apparently not
known.
At Sparta he also cast Nos. 3, 6, 27, 94, 201, 301, 307, 316, 319, 415, 450, and at Dhimitzana the Timocles and Aristocles reliefs. Casts of all these are extant at Berlin and in many other Museums.
CASTS AND PHOTOGRAPHS
249
PHOTOGRAPHS.
Messrs. Beck
English Photographic Company : and Barth, Athens.
OXFORD
PRINTED AT THE CLARENDON PRESS
BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY
DF
37
Central Museum Sparta. A catalogue of the Sparta
museum
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A CATALOGUE

OXFORD: AT THE CLARENDON PRESS

Price IDS. 6d. net

STUDENT OF THE BRITISH SCHOOL AT ATHENS FELLOW OF PEMBROKE COLLEGE, CAMBRIDGE

OXFORD AT THE CLARENDON PRESS

PUBLISHER TO THE UNIVERSITY OF OXFORD

NEW YORK AND TORONTO

thought necessary for the publication

of a catalogue of the Sparta

second volume of the

to replace the collection brought together

Sparta Museum, which should not merely describe the

our work would be at the same time a handbook for the

for that section

Amyclaeum, the manuscript of which was not

inscriptions the usual conventions

Marks the end of a

In square brackets are enclosed letters conjecturally

In round brackets are enclosed

inscriptions by the signs <I>IAOKAHZ< is written ^nXo/cAr??

far as possible. in the case of inscriptions published in Collitz-Bechtel l

Achaer, I, p. 7 use of it.

der griechischen Diakkt-Inschriften.

and Messenia are edited by R. Meister

Inscriptions from Laconia I. Heft, Gottingen, 1898).

SCULPTURE AND MISCELLANEOUS

Of the fragments excavated by Waldstein and Meader

(3) INDEX, &c.

MISCELLANEOUS ANTIQUITIES. WAGE:

E. David, Dialecti Laconicae monumenta epigraphica.

Inscriptions par P. Foucart

C. Michel, Recueil d> Inscriptions grecques.

Dimensions are given

Before attempting a classification of the inscriptions contained

and cogent reasoning.

SPARTA MUSEUM CATALOGUE

from the point of view of a logical

possible range, introduction of the Ionic

be discussed in connexion with

writing of these inscriptions

10 which belonged to the examples of the old Laconian alphabet

added No. 527

(No. 611), v in one, as in a retrograde

200, 599: also

found in the forms of

(No. 447), f (No. 611), E (Nos. 386,

(Nos. 386, 440),

forms gives us a ground

for arranging the inscriptions in chronological order.

No. 200 bears

other Laconian boustrophedon

SPARTA MUSEUM CATALOGUE

DECREES: LETTERS FROM FOREIGN STATES

(Collitz-Bechtel 4544), Epidaurus

SPARTA MUSEUM CATALOGUE

external display. But and the response to

The remaining Claudius Pratolaus, who

Macedonia and Thessaly

QpaKuv, Kal /3ouAeyT7)s

3208 Hfpyafiijvos.Kal Spvpvaios