The Glory That Was Greece: a survey of Hellenic culture and civilisation

by J. C. Stobart

---

[Contents] [Glossary] [Bibliography] [Index]: [A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [Q], [R], [S], [T], [U], [V], [W], [X], [Z] [List of Illustrations] [Illustrations in the Text] (In certain versions of this etext [in certain browsers] clicking on the image will bring up a larger version.) (etext transcriber's note)

Uniform with this Volume

THE GRANDEUR THAT WAS ROME:

A Survey of Roman Culture and Civilisation. By J. C. Stobart, M.A. With about 200 Illustrations in Colour, Gravure, Collotype, Half-tone and Line.

TO BE PUBLISHED IN 1912.

An Illustrated Prospectus will be published in due course.

THE GLORY THAT WAS GREECE

Aphrodite of Melos

Mansell & Co. Photo. Emory Walker Ph

THE GLORY THAT WAS
GREECE

A Survey of Hellenic Culture
& Civilisation: by
J. C. Stobart, M.A.
LATE LECTURER IN HISTORY
TRINITY COLLEGE, CAMBRIDGE

LONDON
SIDGWICK & JACKSON LTD.
3 Adam Street, Adelphi
1911
All rights reserved
Printed by
BALLANTYNE & COMPANY LTD
AT THE BALLANTYNE PRESS
Tavistock Street Covent Garden
London

PREFACE

With the progress of research, classical scholarship tends more and more towards narrower fields of specialisation. Real students are now like miners working underground each in his own shaft, buried far away from sight or ear-shot of the public, so that they even begin to lose touch with one another. This makes an occasional survey of the whole field of operations not only necessary for interested onlookers, whether they happen to be shareholders or not, but also serviceable to the scholars themselves. The task of furnishing it, however, is not an easy one. No man nowadays can be as fully equipped in archæology, history, and literary criticism as were great writers of general history in the last century like George Grote and Theodor Mommsen. We are driven, therefore, to one of two courses: either to compile encyclopædic works by various writers under slight editorial control, or else to sacrifice detail and attempt in a much less ambitious spirit to present a panorama of the whole territory from an individual point of view. The former plan is constantly producing valuable storehouses of information to be used for purposes of reference. But they tend to grow in bulk and compression, until, like the monumental “Paully-Wissowa,” they are nothing but colossal dictionaries.

The writer who attempts the second plan will, of course, be inviting criticism at a thousand points. He is compelled to deal in large generalisations, and to tread upon innumerable toes with every step he takes. Every fact he chronicles is the subject of a monograph, every opinion he hazards may run counter to somebody’s life-work. He will often have to neglect the latest theory and sometimes he is unaware of the latest discovery. The best that he can hope for is that his archæology may satisfy the historians and his history the archæologists. My only claim to the right of undertaking such a task is that circumstances have so directed my studies that they have been almost equally divided between the three main branches—archæology, history, and literature. I have experienced the extraordinary sense of illumination which one feels on turning from linguistic study to the examination of objective antiquity on the actual soil of the classical countries, and then the added interest with which realities are invested by the literary records of history.

It is by another title that the writer of a book like this makes his appeal to the general reading public. He must feel such a love of Greece and of things Hellenic that he is led by it into missionary enthusiasm. The Greek language has now, probably for ever, lost its place in the curriculum of secondary education for the greater part of our people. Whether this is to be deplored is beyond the question; it is, at any rate, inevitable. But there has always been a genuinely cultivated public to whom Greek was unknown, and it is undoubtedly very much larger in this generation. To them, though Greek is unknown Greece need not be wholly sealed. But their point of view will be different from that of the professional philologist. They will not care for the details of the siege of Platæa merely because Thucydides described it; they will be much less likely to overrate the importance of that narrow strip of time which scholars select out of Greek history as the “classical period.” Greek art will make the strongest appeal to them, and Greek thought, so far as it can be communicated by description. They will be interested in social life and private antiquities rather than in diplomatic intrigues and constitutional subtleties. My object is to present a general and vivid picture of ancient Greek culture. I recognise that the brush and camera will tell of the glory of Greece far more eloquently than I can. My text is intended to explain the pictures by showing the sort of people and the state of mind that produced them. Some history, some politics, some religion and philosophy must be included for that purpose. The result will be a history of Greece with statues and poems taking the place of wars and treaties.

This volume is fortunate in the moment of its appearance, for it is now possible for the first time to illustrate the prehistoric culture of Greece in a worthy manner, and to attempt, at any rate, to link it up historically with the classical periods. Both the Ashmolean Museum at Oxford, and the British Museum have recently added to their collections magnificent and faithful models of the artistic treasures of Crete and Mycenæ. These I have been allowed to reproduce in colour (Plates 5 and 7) by kind permission of Sir A. J. Evans. I must also acknowledge my obligation to the Director of the Museum of Fine Arts, Boston, Mass., U.S.A., for permission to reproduce photographs of the lately discovered reliefs from the “Ludovisi Throne,” which have not as yet been adequately reproduced anywhere (Plate [32]); to the Committee of the British School at Athens, through the kind offices of the Secretary, Mr. John Penoyre, for permission to use many of the illustrations of Cretan objects that have appeared in their Annual; to Mr. John Murray, for the use of the block representing the “Cupbearer Fresco” (Plate [6]) and the illustration on p. 27 from Schliemann’s “Tiryns”; to the Cambridge University Press for a similar accommodation in respect of the illustration (p. 37) from Professor Ridgeway’s “Early Age of Greece”; and to M. Ernest Leroux, of Paris, for courteously permitting a reproduction to be made from a plate in MM. Reinach and Hamdy Bey’s sumptuous work, “Une Nécropole Royale à Sidon.” The authorities of the Greek and Roman and of the Coin and Medal Departments of the British Museum have also allowed many subjects to be reproduced; while I have gratefully to record the fact that the task of illustrating this book has been materially lightened by the co-operation of Messrs. W. A. Mansell & Co. I must thank Mr. Robert Whitelaw and his publishers, Messrs. Longmans, for permission to quote from the former’s translation of Sophocles, and finally I must acknowledge my debt to Mr. Arnold Gomme for much assistance in the correction of the proofs of this book.

J. C. S.

Mycenæan Gems ([see p. 23])

CONTENTS

		PAGE
[LIST OF ILLUSTRATIONS]		[xiii]
[INTRODUCTION]
	Hellenism : the Land and its People	[1]
CHAP.
[I.]	[ÆGEAN CIVILISATION]
	A New Chapter in History : Crete, theDoorstep of Europe : Progress of ÆgeanCulture : The Mainland Palaces, Mycenæand Tiryns : The Makers of Ægean Art	[12]
[II.]	[THE HEROIC AGE]
	The Northern Invaders : Homer and theAchæans : The Shield of Achilles : Kingsand Gods : Art of the Epic Period : TheHero’s Home : Hesiod’s World	[35]
[III.]	[THE AGES OF TRANSITION]
	The Coming of Apollo : Athletics :Sparta : Pallas Athene : Tyranny andCulture : Ionia : The West	[65]
[IV.]	[THE GRAND CENTURY]
	The Rise of Athens : Pheidias : Ictinusand the Temple-builders : Tragedy andComedy : Aidōs	[132]
[V.]	[THE FOURTH CENTURY]
	Athens : Sparta and Thebes : Fourth-centuryCulture : Sculpture : TheOther Arts : Literature and Philosophy	[194]
[VI.]	[THE MACEDONIAN WORLD]
	Alexander and his Work : Alexander inArt : Alexandria : Athens and herPhilosophers	[237]
[VII.]	[EPILOGUE]	[260]
[GLOSSARY]		[267]
[BIBLIOGRAPHY]		[270]
[INDEX]:[A],[B],[C],[D],[E],[F],[G],[H],[I],[J],[K],[L],[M],[N],[O],[P],[Q],[R],[S],[T],[U],[V],[W],[X],[Z]		[275]

NOTE
The cameo on the front cover of this volume is from a
jasper intaglio, at Vienna, of the bust of Athena
Parthenos, signed by Aspasios.

LIST OF ILLUSTRATIONS

PHOTOGRAVURE PLATES
[HEAD AND BUST OF THE APHRODITE OF MELOS]		[Frontispiece]
Engraved by Emery Walker from a photograph by Mansell & Co. of the original in the Louvre, Paris. [See p. 251.]
		TO FACE PAGE
[BOY VICTOR. BRONZE, FIFTH CENTURY B.C.]		[160]
Engraved by Emery Walker from a photograph by Bruckmann of the original in the Glyptothek, Munich. [See p. 160]
[VASE PLATE (IN COLOUR)]		[112]
Corinthian Vase (Fig. 1)British Museum, Second Vase Room, Case 8, A 1375
Red-figured Vase (Fig. 2)British Museum, Third Vase Room, Case 17, E 453
Black-figured Vase (Fig. 3)British Museum, Second Vase Room, Case I, B 134
White Polychrome Vase (Fig. 4)British Museum, Third Vase Room, Case F, D 60
PLATE
[1]	[THE ACROPOLIS OF ATHENS (Fig. 1)]	[6]
	From a photograph
[1]	[THE CITADEL OF CORINTH (Fig. 2)]
	From a photograph by the English Photo Co., Athens. In the foreground are the columns of the oldest temple in Greece
[2]	[OLYMPIA: VALLEY OF THE ALPHEUS]	[8]
	From a photograph by Alinari. A specimen of Greek scenery in one of the few well-watered plains
[3]	[THE VALE OF TEMPE]	[10]
	From a photograph by the English Photo Co.,Athens. The famous pass at which a vain attempt was made to repel the Persian invasion of 480 B.C.
[4]	[ASSYRIAN RELIEF: KING ASSURNASIRPAL (NINTH CENTURY B.C.)]	[18]
	From a photograph by Mansell & Co. of Slab 36 in the Nimroud Gallery, British Museum. An example of stylistic Oriental art at itshighest. [See p. 19]
[5]	[FAIENCE FROM THE TEMPLE REPOSITORY OF THE SECOND PALACE, CNOSSOS, CRETE]	[22]
	Snake Goddess (Fig. 1). [See p. 34]
	Wild Goat and Young (Fig. 2)
	Painted from the facsimiles in the Ashmolean Museum, Oxford, by Diana R. Wilson, by special permission.[See p. 22]. According to Greek mythology Zeus was suckled by a she-goat in Crete
[6]	[THE “CUPBEARER” FRESCO]	[24]
	From an article by Sir A. J. Evans in the Monthly Review, March, 1901; by kind permission of Mr. John Murray. See pp. 25 and 32
[7]	[BULL’S HEAD. LIFE-SIZE RELIEF IN PAINTED STUCCO. CNOSSOS, CRETE]	[26]
	Painted from the facsimile inthe Ashmolean Museum, Oxford, by Diana R. Wilson,by special permission. [See p. 25]. The bull is a very frequent subject of artistic representation at Cnossos, where bullfighting seems to have been in vogue
[8]	[THE LION GATE, MYCENÆ]	[30]
	From a photograph by the English Photo Co., Athens. Showing the sculpture and masonry of prehistoric Greece. [See p. 29]
[9]	[VAPHIO CUPS]	[32]
	Collotype plate, from the facsimiles in the British Museum, First Vase Room, Case B. Two gold cups found on Spartan territory. The design is in relief beaten up from the back. One shows the trapping of wild cattle, the other tame cattle going to pasture. The vessels are about the size of the modern teacup. [See p. 30]
[10]	[INLAID DAGGER-BLADES]	[34]
	Collotype plate, from the electrotypes in the British Museum, as Plate [9]. They show the dress and weapons of Ægean folk. All but the blade is a restoration. [See p. 30]
[11]	[WARRIOR VASE, BLACK STEATITE (Fig. 1)]	[38]
	These vases were originally coveredwith gold-leaf. The subjects have not yet been completely explained.Probably the whole vase deals with athletic combats: runningand leaping on the top zone, bullfighting on the second,and boxing on the third and fourth
[11]	[FRAGMENT OF SILVER VASE (Fig. 2)]
	Collotype plate, from the facsimiles in the British Museum, as Plate [9].[See p. 38]. The subject is the siege of a city. We observe that here, as in the previous illustrations, the warriors are represented as almost naked.They fight with slings and arrows and protect themselves with huge shields of wicker
[12]	[THE “FRANÇOIS” VASE]	[42]
	Collotype plate, from a photograph by Alinari. See pp. 43 and 57. A masterpiece of the earlier Attic school of vase-painting. It is signed by Ergotimus and Klitias, sixth century B.C. The scenes are mythological
[13]	[HERMES KRIOPHOROS (THE LAMB-CARRIER)]	[66]
	From a terra-cotta relief, British Museum, Terra-cotta Room, Case C,B 486. A fine example of archaic relief-work, showing Hermes as the Arcadian shepherd’s god
[14]	[PANORAMA OF DELPHI]	[68]
	From a photograph by the English Photo Co., Athens. [See p. 69]
[15]	[“APOLLO” FROM ORCHOMENUS]	[70]
	From a photograph by the English Photo Co., Athens, of the original in the National Museum. See pp. 69 and 70
[16]	[“APOLLO” OF TENEA]	[72]
	Collotype plate, from a photograph by Hanfstaengl of the original at Munich
[17]	[THE “STRANGFORD APOLLO”]	[74]
	From a photograph by Mansell & Co. of the original in the Archaic Room, British Museum. These three figures may indicate the progress of early Greek sculpture in expressing the human figure. There is little ground for calling these figures “Apollo.” They may equally well be human athletes
[18]	[HEAD OF APOLLO, FROM THE WESTERN PEDIMENT, OLYMPIA]	[76]
	Collotype plate, from a photograph by the English Photo Co., Athens,of the marble at Olympia. [See p. 70]
[19]	[THE “DISCOBOLUS” OF MYRON (Fig. 1)]	[80]
	From a photograph by Anderson of a cast from the original in a private collection at Rome. The copy in the British Museum (drawn on p. 80) has the head reversed. [See p. 81]
[19]	[THE “DIADUMENUS” OF POLYCLEITUS (Fig. 2)]
	From a photograph by Mansell & Co. He is binding the victor’s garland round his forehead. This is, perhaps, the best of several copies made from the famous original, but it is much restored and probably not a very faithful copy
[20]	[THE “DORYPHORUS” OF POLYCLEITUS (Fig. 1)]	[82]
	From a photograph by Brogi
[20]	[THE “APOXYOMENUS” (Fig. 2)]
	From a photograph by Alinari. [See p. 81]. The recent discovery of the Agias (Pl. 51) has proved that this is not, as was formerly supposed, a true example of the work of Lysippus
[21]	[CHARIOTEER: BRONZE]	[84]
	From a photograph by Mansell & Co. of a cast from the original at Delphi. [See p. 81]
[22]	[VIEW OF MODERN SPARTA, WITH MOUNT TAYGETUS]	[86]
	From a photograph by the English Photo Co., Athens. [See p. 87]
[23]	[RUNNING GIRL]	[90]
	Collotype plate, from a photograph by Anderson. Represents a competitor in the girls’ foot-race which took place at Olympia in honour of Hera. The original must have been in bronze, but this marble copy reproduces its archaic character. [See p. 83]
[24]	[ATHENA PROMACHOS, FROM A PANATHENAIC AMPHORA]	[94]
	Drawn from Vase B 140 in the Second Vase Room, British Museum (Case I). See pp. 95 and 112
[25]	[DEMETER, PERSEPHONE, AND TRIPTOLEMUS (ELEUSINIAN RELIEF)]	[98]
	From a photograph by the English Photo Co. of the original marble relief at Athens. [See p. 98]
[26]	[ATHENA POLIAS]	[102]
	From a photograph by the English Photo Co., Athens, of the original bronze statuette in the Acropolis Museum. [See p. 102]
[27]	[CORINTHIAN VASES]	[104]
	Collotype plate, from a photograph of the originals in the British Museum, Second Vase Room, Case 8, A 1430, and Case 16, B 29.The style of these vases may be distinguished by the purple tones of the colouring and the Oriental character of the designs. See Vase Plate,Fig. 1, and p. 105
[28]	[OLD TEMPLE AT CORINTH]	[108]
	From a photograph by the English Photo Co., Athens. [See p. 107]
[29]	[STELE OF ARISTION (Fig. 1)]	[114]
	From a photograph by the English Photo Co., Athens, of the original in the National Museum. [See p. 114]
[29]	[HARMODIUS (Fig. 2)]
	From a photograph by Alinari of the original in the Naples Museum.[See p. 116]
[30]	[SCULPTURED COLUMN FROM THE OLD TEMPLE OF ARTEMIS AT EPHESUS (Fig. 1)]	[122]
	From a photograph by Mansell & Co. of the original in the British Museum. It was dedicated, as the inscription shows, by King Crœsus. [See p. 123]
[30]	[RELIEF FROM THE HARPY TOMB: NORTH SIDE (Fig. 2)]	[122]
	From a photograph by Mansell & Co. of the original in the Archaic Room, British Museum. In the centre, a warrior yielding up his armour to Pluto. On the right and left, Fates (“Harpies”) carrying off the souls of the dead. In the right corner, a woman mourning. [See p. 123]
[31]	[RELIEFS FROM THE “LUDOVISI THRONE”]	[124]
	From photographs by Alinari of the originals at Rome. [See p. 124]
[32]	[RELIEFS FROM THE “LUDOVISI THRONE”]	[126]
	Collotype plate, from photographs of the originals in the Museum of Fine Arts, Boston, Mass., U.S.A., by kind permission of the Director. [See p. 125]
[33]	[THE TEMPLE OF POSEIDON AT PÆSTO]	[128]
	From a photograph. [See p. 128]
[34]	[METOPES FROM THE TEMPLE OF HERA AT SELINUS]	[130]
	Perseus and Gorgon (Fig. 1)
	Hera and Zeus (Fig. 2)
	From photographs by Alinari of the originals, now in the Palermo Museum. [See p. 130]
[35]	[EARLY COINS OF SICILY AND MAGNA GRÆCIA]	[132]
	Photographed from casts in the British Museum. [See p. 131]
	Case I, Section C.
	1. Silver Didrachm of Naxos, No. 31
	Obverse: Head of Dionysus crowned with ivy. Reverse: Bunch of grapes and inscription
	2. Silver Didrachm of Tarentum, No. 7
	Reverse: Archaic head, ? Taras. Obverse: Taras (the city’s hero)riding a dolphin, cockle-shell and inscription
	3. Silver Tetradrachm of Catana, No. 25
	Reverse: Winged Victory holding a wreath. Obverse: River-god as a bull with man’s head, a fish below and a water-bird above
	4. Silver Tetradrachm of Syracuse, No. 35
	Reverse: Head of Arethusa surrounded with dolphins. Obverse:Four-horse chariot with Victory above
[36]	[THE PLAIN OF MARATHON]	[134]
	From a photograph by the English Photo Co., Athens. [See p. 134]
[37]	[THE BAY OF SALAMIS]	[138]
	From a photograph by the English Photo Co., Athens. [See p. 138]
[38]	[PERICLES]	[140]
	From a photograph by Mansell & Co. of the original in the BritishMuseum, after Cresilas. [See p. 142]
[39]	[PEDIMENTAL FIGURES FROM THE TEMPLE OF APHAIA AT ÆGINA]	[142]
	From photographs by Bruckmann of the originals at Munich. [See p. 147]
[40]	[SCULPTURES OF THE EASTERN PEDIMENT OF THE PARTHENON]	[146]
	From photographs by Mansell & Co. of the originals in the Elgin Room, British Museum. [See p. 151]
[41]	[PORTIONS OF THE EAST FRIEZE OF THE PARTHENON]	[148]
	Figures referenced, 30-48 in the British Museum. [See p. 154]
[42]	[PORTIONS OF THE WEST FRIEZE OF THE PARTHENON]	[150]
	Figures referenced, 2-3, 16-19, and 28-30 in the British Museum.From photographs by Mansell & Co. of the originals and casts in the British Museum. (Some of the marbles are still in situ at Athens.)[See p. 155]
[43]	[THE “STRANGFORD” SHIELD (Fig. 1)]	[152]
	From a photograph by Mansell & Co. of the marble copy in the British Museum. The old Greek striking down an Amazon is said to be a portrait of Pheidias by himself. [See p. 156]
[43]	[RECONSTRUCTION OF THE ACROPOLIS (Fig. 2)]S
	From a drawing by R. Bohn in the British Museum. [See p. 163]
[44]	[THE LEMNIAN ATHENA]	[154]
	Collotype plate, from a photograph by Tamme of the marble at Dresden, completed by Furtwängler from the head at Bologna. SeeP. 157
[45]	[HEAD OF THE LEMNIAN ATHENA]	[156]
	Collotype plate, from a photograph by Alinari of the marble at Bologna. [See p. 158]
[46]	[STATUE OF MARSYAS, AFTER MYRON]	[158]
	From a photograph by Mansell & Co. of the original bronze in the British Museum, after Myron. [See p. 159]
[47]	[THE VICTORY OF PÆONIUS (Fig. 1)]	[162]
	From a photograph of the original at Olympia
[47]	[THE “SPINARIO” (Fig. 2)]
	From a photograph of the original at Florence. [See p. 161]
[48]	[THE PARTHENON: MODERN VIEW FROM NORTH-WEST]	[164]
	From a photograph by the English Photo Co., Athens. [See p. 163]
[49]	[THE TEMPLE OF NIKÈ APTEROS (THE WINGLESS VICTORY)(Fig. 1)]	[166]
	From a photograph by the English Photo Co., Athens. [See p. 164]
[49]	[THE CARYATID PORCH OF THE ERECHTHEUM (Fig. 2)]	[166]
	From a photograph. [See p. 166]
[50]	[THE “THESEUM,” ATHENS]	[168]
	From a photograph by the English Photo Co., Athens. Really a temple of Hephæstus. [See p. 167]
[51]	[THE “AGIAS” OF LYSIPPUS]	[170]
	From a photograph by the English Photo Co., Athens. A marble statue recently discovered at Delphi. It can be identified as a contemporary replica of a bronze by Lysippus, and is our only certain evidence of his style. See pp. 169 and 218
[52]	[THE TEMPLE OF APOLLO AT PHIGALEIA [BASSÆ]	[172]
	From a photograph by the English Photo Co., Athens. [See p. 169]
[53]	[PORTIONS OF THE PHIGALEIAN FRIEZE]	[174]
	From photographs by Mansell & Co. of the originals, now in the British Museum (Phigaleian Room). [See p. 170]
[54]	[THEATRE AT EPIDAURUS]	[176]
	From a photograph by the English Photo Co., Athens. The best extant example of a Greek theatre. In the centre is the circular orchestra,where the chorus danced and sang, and behind it are relics of the stage-buildings.In the centre of the orchestra was an altar of Dionysus.This theatre was built about the middle of the fourth century B.C. The auditorium would hold about 15,000 spectators. [See p. 175]
[55]	[MONUMENT OF LYSICRATES AT ATHENS]	[182]
	From a photograph by Rhomaides. [See p. 182]. The whole monument would form a base for the prize tripod
[56]	[RED-FIGURED VASE AND PYXIS]	[184]
	Collotype plate, from originals in the British Museum, Third Vase Room: Vase E 155; Pyxis D 11 (see illustration, p. 45). The vase is a fine two-handled kantharos of the late fifth century. The background is painted black and the figures left red. [See p. 191]
	The Pyxis (lady’s jewel-box) shows a marriage procession, drawn in colours on a light ground. The bride is being led to the family altar,preceded by a flute-player. [See p. 191]
[57]	[WHITE POLYCHROME VASES (LECYTHI)]	[186]
	Collotype plate, from originals in the British Museum, Third Vase Room, Vases D 54 and D 60 in Case F. Vessels, specially painted, to contain the oil used in funerals and buried in the tomb. The youth in the mourning robe is holding an oil-jar and gazing at the monument of his deceased friend. Compare Vase Plate, Fig. 4, and see p. 191
[58]	[ORPHEUS AND EURYDICE [TOMBSTONE RELIEF]	[188]
	From a photograph by Alinari of the original at Rome. [See p. 192]
[59]	[THE MOURNING ATHENA]	[190]
	From a photograph by the English Photo Co. of the original in theAthens Museum. [See p. 193]
[60]	[TWO TOMBSTONE RELIEFS, FROM THE CERAMEIKOS, ATHENS]	[192]
	From photographs of originals in the Athens Museum. [See p. 193]
[61]	[APOLLO SAUROCTONOS (THE LIZARD-SLAYER) (Fig. 1)]	[194]
	Collotype plate, from a photograph by Anderson of the original in the Vatican. [See p. 217]
[61]	[THE CNIDIAN APHRODITE (Fig. 2)]
	Collotype plate, from a photograph by Mansell & Co. [See p. 214]. This Vatican statue of Aphrodite has never been photographed in its original nudity, but a cast was made and from it this photograph was taken
[62]	[GIRL’S HEAD]	[196]
	From a photograph by Bruckmann of the original at Munich. [See p. 214]
[63]	[THE MARBLE FAUN, AFTER PRAXITELES (Fig. 1)]	[198]
	From a photograph by Anderson of a copy in the Capitoline Gallery,Rome. [See p. 214]
[63]	[THE EROS OF CENTOCELLE (Fig. 2)]
	From a photograph by Anderson of a copy in the Vatican. [See p. 215]
[64]	[HEAD OF A YOUTH (Fig. 1)]	[202]
	From a photograph by Brogi of the bronze at Naples. [See p. 215]
[64]	[WINGED HEAD OF HYPNOS (SLEEP) (Fig. 2)]S
	From a photograph by Mansell & Co. of the original bronze in the British Museum. [See p. 220]
[65]	[THE HERMES OF PRAXITELES]	[204]
	From a photograph by the English Photo Co., Athens, of the original at Olympia. [See p. 215]
[66]	[THE HERMES OF PRAXITELES: HEAD]	[206]
	From a photograph by the English Photo Co., Athens, of the original at Olympia. [See p. 215]
[67]	[APOLLO AND MARSYAS]	[208]
	From a photograph by the English Photo Co., Athens, of the relief from Mantinea. [See p. 216]
[68]	[MELEAGER: HEAD, AFTER SCOPAS]	[210]
	From a photograph by Anderson of the marble at Rome. The head,which does not belong to the body, has been recognised as representing the style of Scopas (fourth century B.C.). Seep. 218
[69]	[THE DEMETER OF CNIDOS]	[212]
	From a photograph by Mansell & Co. of the marble in the BritishMuseum. [See p. 219]
[70]	[SCULPTURED COLUMN FROM THE TEMPLE OF ARTEMIS AT EPHESUS]	[214]
	From a photograph by Mansell & Co. of the originalin the British Museum. This belonged to the new temple built after the fire of 356 B.C. [See p. 219]
[71]	[FIGURE OF A YOUTH. FROM CERIGO]	[216]
	From a photograph by the English Photo Co. of the bronze at Athens.[See p. 220]
[72]	[THE “LUDOVISI” ARES]	[218]
	From a photograph by Anderson of the marble at Rome. The cupid between the god’s feet is certainly a later addition. [See p. 220]
[73]	[THE “RONDANINI” MEDUSA (Fig. 1)]	[220]
	From a photograph by Bruckmann of the marble copy at Munich. The original was in bronze. [See p. 220]
[73]	[RELIEF FROM THE MAUSOLEUM (Fig. 2)]
	From a photograph by Mansell & Co. of the original in theBritish Museum. Representing a combat between Greeks and Amazons. Seep. 222
[74]	[STATUE OF MAUSOLUS, FROM THE MAUSOLEUM]	[222]
	As the last. [See p. 222]
[75]	[A NIOBID]	[224]
	From a photograph by Anderson of the recently discovered original at Rome. [See p. 222]
[76]	[ATHLETES BOXING. FROM A PANATHENAIC AMPHORA]	[226]
	Drawn from Vase B 607 in the Fourth Vase Room, British Museum.It is inscribed with the name of the Archon Pythodelos, giving the date 336 B.C. The figures are in black, but this is a survival from the earlier style. [See p. 224]
[77]	[COINS OF THE FOURTH CENTURY]	[228]
	Photographed from casts in the British Museum. [See p. 225]
	Case III.
	1 Gold Stater of Rhodes, A 37
	Obverse: Head of the Sun-god. Reverse: A rose
	2 Athenian Gold Stater, B 30
	Obverse: Head of Athena. Reverse: Owl and olive-branch
	3 Gold Stater of Panticapæum, B 2
	Obverse: Head of Pan. Reverse: Gryphon and barley (the latter typifying the corn trade)
	4 Silver Tetradrachm of Tenedos, A 20
	Obverse: Janiform head. Reverse: Double axe and bee in a wreath
	5 Sicilian Decadrachm, C 29
	Obverse: Head of Arethusa or Persephone. Reverse: Four-horsechariot with Victory above and armour below
[78]	[GREEK GEMS]	[230]
	From photographs by Mansell & Co. of gems in the British Museum.[See p. 225]
	1A Quoit-thrower or Hyacinthus; probably fourth century B.C.
	2A Wounded Warrior
	3Harper (compare Pl. 32). Fine work of the fifth century, cornelian intaglio
	4Drunken Satyr, agate scarab
	5Homeric Scene. ? fifth century
	6Ideal Head in the Garb of Heracles; late work
[79]	[CORINTHIAN CAPITAL]	[232]
	From a photograph by Mansell & Co. of the originals in the British Museum. [See p. 226]
[80]	[FIVE TANAGRA STATUETTES]	[234]
	From photographs by Mansell & Co. of originals in the British Museum.[See p. 227]
[81]	[BUST OF “SOCRATES”]	[236]
	From a photograph by Mansell & Co. Not an authentic portrait but a later attempt to express the rugged exterior of the sage which is often a subject of humorous allusion in Plato and elsewhere. [See p. 231]
[82]	[ALEXANDER AT ISSUS.]	[242]
	Collotype plate, from a photograph by Brogi of the mosaic at Pompeii.[See p. 245]
[83]	[“THE SARCOPHAGUS OF ALEXANDER” FROM SIDON: LION-HUNT]	[244]
	From a photograph by Seban and Joaillier of the original at Constantinople.[See p. 246]
[84]	[PORTION OF THE EASTERN FRIEZE OF THE SARCOPHAGUS OF ALEXANDER]	[246]
	Reproduced in colour from Plate XXXV in “Une Nécropole Royale à Sidon,” by MM. O. Hamdy Bey and Th. Reinach, by kind permission of M. Ernest Leroux, of Paris. [See p. 246]
[85]	[ALEXANDER THE GREAT]	[248]
	From a photograph by Mansell & Co. of the bust in the British Museum.[See p. 246]
[86]	[RELIEF FROM PERGAMUM]	[250]
	Collotype plate, from a photograph by Titzenthaler of the original at Berlin. This is a clever reconstruction of the great altar of Zeus erected by the Attalids near the beginning of the second century B.C. The subject is the combat between gods and giants. [See p. 251]
[87]	[APHRODITE OF MELOS (THE VENUS OF MILO)]	[252]
	From a photograph by Alinari of the marble in the Louvre. [See p. 251]
[88]	[THE VICTORY OF SAMOTHRACE]	[254]
	From a photograph by Alinari of the marble in the Louvre. [See p. 252]
[89]	[STATUE OF ARISTOTLE]	[256]
	From a photograph by Anderson of the original in the Palazzo Spada,Rome. An ideal conception of a philosopher rather than an authentic portrait. [See p. 253]
[90]	[THE PORTLAND VASE]	[262]
	From a photograph by Mansell & Co. of the original in the British Museum. No certain interpretation of the figures has been made. Seep. 263
[91]	[THE FARNESE BULL]	[264]
	From a photograph by Brogi of the original at Naples. Depicts how Zethus and Amphion punished their stepmother, Dirce: a degenerate work by two sculptors of the Rhodian school in the first or second century B.C. [See p. 265]
	[THE PRAYING BOY]	[266]
	From a photograph by Mansell & Co. of the cast in the British Museum.Original bronze at Berlin. [See p. 220]

ILLUSTRATIONS IN THE TEXT

	PAGE
[TABLET OF CRETAN LINEAR SCRIPT, FROM CNOSSOS]	[13]
From the Annual of the British School at Athens, vi. plate ii
[BLACK VASE, FROM CYPRUS]	[18]
British Museum, First Vase Room, Case 7, C 81
[PLAN OF NEOLITHIC HOUSE]	[18]
[TERRA-COTTA FIGURE, FROM PETSOFÀ]	[20]
From the Annual of the B.S.A., ix. plate x
[TERRA-COTTA IDOL, FROM TROY]	[20]
British Museum, Terra-cotta Room, Case 1, A 38
[VOTIVE TERRA-COTTA, FROM PETSOFÀ]	[21]
From the Annual of the B.S.A., ix. plate viii
[KAMÁRES CUP]	[22]
From the Annual of the B.S.A., ix. p. 305
[KAMÁRES “HOLE-MOUTHED” JAR]	[22]
From the Annual of the B.S.A., ix. p. 306
[CRETAN FILLER]	[24]
From the Annual of the B.S.A., ix. p. 311
[CUTTLE-FISH KYLIX]	[25]
British Museum, First Vase Room, Case 19
[CLAY SEAL IMPRESSION: PUGILIST]	[25]
From the Annual of the B.S.A., ix. p. 56
[CITADEL OF TIRYNS]	[27]
After Schliemann’s reconstruction; from his “Tiryns,” by kind permission of Mr. John Murray
[BEEHIVE TOMB: SECTION]	[29]
[CRETAN CUP OF DEGENERATE STYLE]	[31]
From the Annual of the B.S.A., ix. p. 318
[CLAY SEAL IMPRESSION, CRUCIFORM SYMBOL]	[34]
From the Annual of the B.S.A., ix. p. 90
[WARRIOR STÉLÉ FROM MYCENÆ]	[37]
From Ridgeway’s “Early Age of Greece,” i. p. 314, by kind permission of the Cambridge University Press. An early representation of the arms and dress of the Northern Invaders
[MARRIAGE PROCESSION]	[45]
From a pyxis in the British Museum, Third Vase Room, Case C, D 11 (see Plate [56])
[SEATED STATUE FROM BRANCHIDÆ]	[55]
British Museum, Room of Archaic Sculpture, No. 9
[GEOMETRIC VASE]	[56]
British Museum, First Vase Room, Case 34, No. 362
[COIN OF CROTON, SHOWING TRIPOD]	[63]
British Museum, Room of Greek and Roman Life, III. 19
[SHIP OF ODYSSEUS]	[64]
From a vase in the British Museum, Third Vase Room, Case G, E 440
[LYRE AND CITHARA]	[68]
From vases, &c.
[THE “DISCOBOLUS” OF MYRON]	[80]
Outline drawing of the statue in the British Museum
[COIN OF CORINTH]	[105]
British Museum, Room of Greek and Roman Life, II. B 25. Obverse: Head of Athena wearing a Corinthian helmet. Reverse: Pegasus
[GREEK ARCHITECTURE]	[107]
Diagram illustrating Doric and Ionic styles
[COIN OF PHANES]	[123]
British Museum, Room of Greek and Roman Life, I. A 7
[OSTRAKON OF THEMISTOCLES]	[141]
[COIN OF ELIS: HEAD OF ZEUS]	[148]
British Museum, Room of Greek and Roman Life, III. B 33
[COIN OF PHILIP II. OF MACEDON: HEAD OF ZEUS]	[148]
British Museum, as above, III. B 18
[THE ERECHTHEUM: MODERN RECONSTRUCTION]	[166]
[THEATRICAL FIGURES, COMIC AND TRAGIC]	[175]
From statuettes in the British Museum
[COIN OF THRACE: ALEXANDER THE GREAT]	[246]
British Museum, Room of Greek and Roman Life, IV. B 20. ShowingAlexander as a god with the horns of Ammon
[THE LAOCOÖN GROUP]	[264]
Drawn from a photograph of the original at Rome
[LATE GREEK VASE PAINTING]	[266]
British Museum, Vase Room, IV. Case 52, F 308

INTRODUCTION

αἰ δὲ τεαὶ ξώουσιν ἀηδόνες ᾖσιν ὁ πάντων
ἁρπακτὴρ Ἀῒδης οὐκ ἐπὶ χεῖρα βαλεῖ
Callimachus.

“Still are thy pleasant voices, thy nightingales, awake,
For Death, he taketh all away, but them he cannot take.”