The work was originally published in 1871; but so rapid has been the progress of discovery during the last ten years that, in order to bring the book up to the requirements of the present time, a thorough revision of it was needed, together with the addition of much new matter and many new illustrations. This labor of revision and addition has been jointly performed by the author and the translator, the latter having had the advantage of doing the greater part of his work with the immediate assistance of Dr. Reber himself, and of bringing to it fresh resources of his own, the result of original study and investigation. The translator having been absent from the country, engaged in archæological research, during the printing of the volume, the last revision and the correction of the text have been in the hands of Professor William R. Ware, of the School of Mines of Columbia College.

Charles Eliot Norton.

Cambridge, Massachusetts, May, 1882.

In view of the great confusion which results from an irregular orthography of Greek proper names, a return to the original spelling of words not fully Anglicized may need an explanation, but no apology: it is only adopting a system already followed by scholars of the highest standing. The Romans, until the advent of that second classical revival in which the present century is still engaged, served as mediums for all acquaintance with Hellenic civilization. They employed Greek names, with certain alterations agreeable to the Latin tongue, blunting and coarsening the delicate sounds of Greek speech, much in the same manner as they debased the artistic forms of Greek architecture by a mechanical system of design. The clear ον became um, ος was changed to us, ει to e or i, etc. This Latinized nomenclature, like the Roman triglyph and Tuscan capital, was exclusively adopted by the early Renaissance, until, with the increasing knowledge of Greek lands and works of art, names were introduced which do not happen to occur in the writings of Roman authors. These were either changed in accordance with the more or less variable standard in use during the sixteenth and seventeenth centuries, or were adopted in their Greek form without change, the latter method being more and more generally employed. This has gradually led to a partial revision of Greek names and their spelling. Zeus and Hermes, Artemis and Athene, have resumed, as Greek deities, their original titles;—Sunium and Assus have been changed to Sunion and Assos; while other names have only been reformed in part, as in the case of the unfortunate Polycleitos, who at times appears as Polycletos, and at times as Polycleitus. Confusion and misunderstanding cannot but result from this unreasonable triple system of Latinized, Anglicized, and Greek orthography. Peirithoos may be sought in alphabetically classified works of reference under Per and Pir as well as under Peir. Πέργαμον, Pergamon, is written Pergamum, Pergamus, and Pergamos, in the two latter forms being naturally confused with the Cretan Πέργαμος, Pergamos, which, in its turn, is Latinized to Pergamus. In the present book the Greek spelling of Greek names has been adopted in all those cases where the word has not been fully Anglicized; that is to say, changed in pronunciation, when it would sound pedantic to employ its original form, as, for instance, to speak of the well-known Pæstum and Lucian as Poseidonia and Loukianos. The English alphabet provides, however, two letters for the Greek κάππα, and the more familiar c has been employed, as in Corinth, acropolis, etc., except in cases where the true sound is not thereby conveyed,—namely, before e, i, and y,—when the k is substituted. Moreover, the final αι is transformed to æ, according to the universal usage of our tongue.

Joseph Thacher Clarke.

CONTENTS.

[EGYPT.]
PAGE.
The Delta. The Oldest Monuments, if not the most Ancient Civilization of the World[1], [2]
Changeless Continuity of Life and Art[2]
ARCHITECTURE.
The Age, Purpose, and Architectural Significance of the Pyramids[3-5]
The Pyramids of Gizeh[5-7]
Variety of Pyramidal Forms[8], [9]
The Pyramids of Saccara, Meydoun, Dashour, Abousere, and Illahoun[9-12]
Table of Dimensions[12]
The Younger Pyramids of Nubia. Truncated Pyramids[12]
Rock-cut Tombs[13]
Development of Column from Pier[14]
The Tombs at Beni-hassan[14], [15]
Development of the Lotos-column[16], [17]
The Invasion of the Hycsos. Restriction of the Prismatic Shaft. Extended Application of the Floral Columnin the New Theban Empire[18], [19]
The Calyx Capital[20], [21]
Piers with Figures of Osiris and Typhon. Entablature[21]
Cavern Sepulchres[22]
Temple Plan, Obelisks[23]
Peristyle Court[25]
Hypostyle Hall[26], [27]
The Dwellings of Kings and Priests[28]
Peripteral Temples[29]
Rock-cut Temples[30]
The Monuments at Abou-Simbel[31], [32]
Palatial and Domestic Architecture[33]
Interiors[34]
The Labyrinth[35]
Unimportant Character of Secular Architecture[36]
SCULPTURE.
Fundamental and Changeless Peculiarities[36]
Conventional Types[37]
The Formation of the Head[38]
Head-dresses. Conjunction of Human Trunks and Animal Heads[39]
The Body. Lack of Progressiveness and of History[40]
Animal Forms[41]
Materials[42]
Reliefs[43]
Coilanaglyphics[44]
The Variety and Interest of the Subjects Illustrated[45]
PAINTING.
Intimate Relation to Sculpture. Hieroglyphics[46]
Painting as an Architectural Decoration. Retrospect[47]
[CHALDÆA, BABYLONIA, AND ASSYRIA.]
The Traditional Age. The Land and People[48]
Building Materials. Clay and Bitumen[49]
Perishable Character of the Monuments. Hills of Rubbish Recognized as Cities[50]
ARCHITECTURE.
Chaldæa.
The Ruins of Mugheir, or Ur[50]
Warka and Abou-Sharein[51]
The Principle of the Arch[52]
Political History[53]
Babylon.
The Fabulous Account of Herodotos[54]
The Temple Pyramid at Borsippa[56]
Palace Structures. The Hanging Gardens of Semiramis[57]
Private Dwellings. Works of Engineering[58]
Assyria.
Nineveh[59]
The Discoveries of Layard and Botta[60]
The Hills of Coyundjic and Nebbi-Jonas[61]
Royal Dwellings[62]
The Palace at Kisr-Sargon[63-65]
Terrace Pyramids[66]
Lighting and Roofing[66], [67]
The Restriction of Columnar Architecture[68]
The Forms of Small Columns[69-71]
Vaulted Construction[71]
The Pointed Arch[72]
The General Appearance of the Palaces[73]
Sacred Architecture[74]
Terrace Pyramids[75]
The Cella[76]
The Dwellings of the Priests[77]
Altars and Obelisks[78]
Domestic Architecture[79], [80]
SCULPTURE.
Little Represented in Chaldæa[81]
Babylonian Seals and Gems[82]
Enamelled Tiles[83]
Statues[85]
Conventional Types[85], [86]
Cherubims[87]
Mural Reliefs[87-89]
Variance from Egyptian Sculpture[90]
Historical Reliefs[91-93]
Religious Representations[94]
Formal Landscapes. Bronzes[95], [96]
PAINTING.
Upon Tiles and Stucco[96]
Colors[97]
The General Appearance of Assyrian Architecture, as Decorated by Reliefs and Paintings[98]
[PERSIA.]
Historical Considerations[99]
The Artistic Poverty of the Medes. The Achæmenidæ. Their Chief Cities[100]
ARCHITECTURE.
Persepolis[101], [102]
The Characteristic Differences of Persian and Mesopotamian Building[102]
The Introduction of Columns[103]
Columnar Forms[103], [104]
Capitals[105-107]
The Entablature[108]
Plan of the Palace of Darius[109-113]
Its State of Preservation[110]
Illumination[110], [111]
Upper Stories[111-113]
The Palace and Hall of Xerxes[114]
The Propylæa[115]
The Harem[116], [117]
The Disposition of the Terrace[117]
Fire Altars[118]
Funeral Monuments[119-121]
Tomb of Cyrus[119]
Tombs of the Later Achæmenidæ[120]
Tombs of Subjects[121]
Domestic Architecture[121]
SCULPTURE.
Its Dependence upon the Art of Assyria[121]
Egyptian and Hellenic Influences[122]
Mythological and Ceremonial Representations[123-125]
The Sculptured Decoration of Palaces and Terraces[126], [127]
Rarity of Historical Scenes[128]
PAINTING.
Chiefly Ornamental[128]
General Harmony of the Three Arts[129]
[PHŒNICIA, PALESTINE, AND ASIA MINOR.]
Extensive Artistic Influence of Mesopotamia in Point of Distance as well as of Time[130]
The Seleucidæ. The Sassanidæ[131], [132]
Phœnicia.
Explorations in Recent Times[132], [133]
The Chief Cities[133]
ARCHITECTURE.
Ruins at Amrith[134], [135]
The Monuments known as El-Meghazil[135-137]
The Grotto Tombs of Central Phœnicia. Sarcophagi at Jebeil[137], [138]
Domestic Architecture[138]
SCULPTURE.
Work of Driven Metal (Sphyrelaton)[139]
Bronzes[139], [140]
Inlaid Work. Ivory Carvings. Glass[140]
Influence of the Sphyrelaton upon Sculptural Style[141]
Stone-cutting[142]
The Decisive Influence of both Egypt and Mesopotamia[143]
Palestine.
The Dependence of the Jews in Artistic respects upon Egypt[143]
The Tabernacle[143-147]
Its Disposition[144], [145]
Its Columns. The Horns of the Altar. The Seven-armed Candlestick[145], [146]
The Holy of Holies. Cherubim[146], [147]
Solomon’s Temple[147-156]
Untrustworthiness of Biblical Accounts[147]
Construction of the Building. Its Site[148]
The Brazen Laver[149]
“Jachin and Boaz”[149-151]
The Tower[151], [152]
Interior. Upper Story[153], [154]
Materials[154]
Decoration. The Molten Sea. The Mercy-seat and Cherubim[155]
The Destruction and Rebuilding of this Temple[156]
Its Architectural Character[157]
Rock-cut Tombs[157], [158]
Cyprus and Carthage.
The Rock-cut Tombs at Paphos[160]
The Temple of Aphrodite at Golgoi. Cesnola’s Discoveries[161], [162]
The Ruins of Carthage[163]
Malta, the Balearic Isles, Sardinia[163]
Asia Minor.
An Independent Art Found only in Lycia, Phrygia, and Lydia[164]
The Rock-cut Tombs of Lycia. The Timbered Dwelling Carved in Stone[165], [166]
The Monument of the Harpies at Xanthos[167]
Lycian Sarcophagi[168]
Temple Façades Imitated upon Cliffs[169]
The Rock-cut Tombs of Phrygia[171], [172]
The Tumuli of Lydia[173], [174]
[HELLAS.]
The Ægean Sea the Centre of Greek Civilization[175]
The Dorians and the Ionians[176]
The Development of Poetry Earlier than that of Art[177]
ARCHITECTURE.
The Tholos of Atreus[179-183]
The Phœnician Character of its Decoration[183]
The Grave at Menidi[183]
The Treasure-houses of the Pelopidæ[184]
Tumuli[185]
The Common Modes of Burial[186]
Pyramids[186], [187]
Primitive Fortifications. Tiryns[187]
Mykenæ[188]
Gateways and Portals[189-193]
The Agora of Mykenæ[192]
Primitive Temple Cellas without Columns[192], [193]
The Structure upon Mt. Ocha. Timbered Roofs and Ceilings. The Origin of the Doric Entablature[195-197]
The Decorative Painting of Woodwork[197]
The Doric Column[197-199]
Its Egyptian Prototype[198]
The Development of the Temple-plan[199-202]
The Temple in Antis[199]
Prostylos[200]
Amphiprostylos. Peripteros[201]
Stone Construction[202]
The Entasis[203]
The Capital[204]
The Inclination of the Columns[205]
The Details of the Entablature[206-209]
Polychromy[210]
Curvatures[211], [212]
The Pteroma and Ceiling[213]
Illumination[214]
Archaic Doric Temples[215]
The Progress of this Style. Selinous[216]
Corinth[217]
Acragas[219]
Olympia. Ægina[222]
The Supremacy of Athens[223]
The Theseion[224]
The Parthenon[225]
The Propylæa[226]
Phigalia[227]
Eleusis[228]
The Ionic Style. Its Intimate Relation to Oriental Architecture[229], [230]
The Capital[231-233]
The Entablature[234]
Its Want of Historical Development[235]
Phigalia[236]
The Ionic Monuments of Asia Minor[237-240]
The Ionic Monuments of Attica[240-245]
The Temple upon the Ilissos[241]
The Propylæa[242]
The Erechtheion[243-245]
Caryatides[245]
The Corinthian Capital[246-249]
The Temple of Olympian Zeus in Athens[249]
Monumental Tombs[250]
The Mausoleum of Halicarnassos[251], [252]
The Monument of the Nereides at Xanthos[252]
The Choragic Monument of Lysicrates[253]
The so-called Tower of the Winds at Athens[253]
The Stoa[253-255]
The Palæstra[255]
The Gymnasion[256]
The Stadion and Hippodrome[257]
The Theatre and Odeion[258-260]
Domestic Architecture. Palaces[260], [261]
The Boundless Luxury of the Diadochi[261]
SCULPTURE.
The Unrivalled Perfection of the Art. Its Fundamental Deviation from the Principles of Egyptian Sculpture[264], [265]
Its Dependence upon Western Asia[266]
Empaistic Work. Xoana[267]
Dædalos[268]
The Homeric Shield of Achilles. Its Workmanship and Artistic Importance[269-271]
Pseudo-Hesiodic Shield of Heracles[272]
The Gate of the Lions at Mykenæ[273], [274]
Schliemann’s Excavations upon the Acropolis of Mykenæ[274], [275]
The Chest of Kypselos. The Throne of Apollo at Amyclæ[276-278]
The Introduction of Bronze Casting. Marble-cutting and Chryselephantine Work[278-281]
The Potter Boutades[278]
Glaucos. Rhoicos and Theodores[279]
Boupalos and Athenis[280]
Dipoinos and Skyllis[281], [282]
The First Metopes at Selinous[283], [284]
Archaic Statues at Miletos[285]
Reliefs at Assos. The Apollo of Thera[286]
The Stele of Aristion[287], [288]
The Second Metopes at Selinous[290]
Archaistic Works[291], [292]
The Gable Sculptures of the Temple of Ægina[293-296]
The School of Ægina: Callon and Onatas[296], [297]
The School of Attica: Hegias, Critios, and Nesiotes[297]
Canachos[298]
Agelades[299]
Calamis[300]
Pythagoras[301]
Myron[302], [303]
The Progress of Athens after the Persian Wars[303]
Pheidias[304-315]
The Athene Parthenos[310-313]
The Panathenaic Frieze[313-315]
The Metopes[316]
The Scholars of Pheidias. Agoracritos[316], [317]
The Gable Sculptures of the Temple of Olympia[317], [318]
The Victory of Paionios[319]
The Scholars of Myron[320]
The Phigalian Frieze[321]
Callimachos and Demetrios[322]
Polycleitos[322-326]
The Third Metopes at Selinous[327], [328]
The Extent of the School of Attica and Argos. Kephisodotos[329]
Scopas[330-333]
The Niobids[331], [332]
Praxiteles[333]
The Scholars of Scopas and Praxiteles. The Sculptures of the Mausoleum of Halicarnassos[334]
The Hermes of Olympia[335], [336]
The Venus of Melos[338], [339]
Silanion and Euphranor[340]
Lysippos[340-344]
The School of Lysippos[344], [345]
The Sculpture of the Hellenistic Period[346], [347]
The Altar at Pergamon[347], [348]
The so-called Dying Gladiator[348], [349]
The School of Pergamon[349], [350]
The School of Rhodes. The Laocoon[351-353]
The Farnese Bull[353-355]
The Apollo Belvedere[356-358]
The Introduction of Greek Sculpture into Rome[358-360]
The Borghese Gladiator[361]
The Belvedere Torso[362]
The Hellenic Renaissance in Rome[363-366]
PAINTING.
Lack of all Remains[366]
Its Early Development Fictitiously Related by Pliny. Eumaros. Kimon[367]
Polygnotos[368], [369]
The Scenography of Agatharchos. Of Apollodoros[370]
Zeuxis[371], [372]
Parrhasios[373], [374]
Timanthes[374]
The School of Sikyon: Eupompos, Pamphilos[375]
Melanthios. Pausias[376]
The School of Thebes and Athens: Nicomachos, Aristides, Euphranor[377], [378]
Nikias[378]
Apelles[379-382]
Protogenes[383]
Antiphilos. Ætion. Asclepiodoros. Theon[384]
Hellenistic Painting. Timomachos[385]
Trivial and Obscene Subjects. Mosaic. Sosos[386]
[ETRURIA.]
Relationship to the Arts of Greece[387]
ARCHITECTURE.
The so-called Cyclopean Walls. Arched Gates[388]
Vaulted Canals[389]
Cemeteries. Tumuli. The Tomb of Porsena[390]
Imitations of Dwellings upon Tombs[391], [392]
Grotto Sepulchres[392]
Imitations of Temple Façades upon Cliffs[393], [394]
Norchia[394], [395]
The Etruscan Temple[396], [397]
The Dwelling-house[397]
Its Court[398], [399]
Lack of Progressive Architectural History[399], [400]
SCULPTURE.
Museums. The Oldest or Decorative Period. Phœnician Importations[400]
The Influence of Western Asia Superseded by that of Greece[401], [402]
The Sarcophagus of Cære[402]
Realism. Sculpture in Marble[403]
The Bronze Chariot from Perugia[404]
The Capitoline Wolf. Engraved Mirrors[405]
Height of Etruscan Art. Hellenistic Influences[406]
Sculptured Sarcophagi[406], [407]
Terra-cottas and Bronzes[408]
The Similarity of late Etruscan to Roman Sculpture[408], [409]
PAINTING.
Its Development Similar to that of Sculpture. The Ornamental and Dependent Period[409]
Realistic Characteristics[409], [410]
The Wall-paintings of Cære and Corneto[409], [410]
The Influence of Greece[411]
Artistic Manufactures[411], [412]
Sgraffiti. The Importance of Etruscan Art[412]
[ROME.]
The Conditions of Civilization Similar to those of Etruria[413]
ARCHITECTURE.
Primitive Walls[414], [415]
Gates. Vaulted Canals[416]
Temples: their Tuscan Character. The Temple of Jupiter Capitolinus[417]
Hellenic Influences[418]
Prostylos and Pseudo-peripteros[419], [420]
The Tuscan Order[420]
The Doric Order[420], [421]
The Ionic Order[421], [422]
The Corinthian Order[423], [424]
The Composite Capital[424]
Constructive Advances. Arching and Vaulting[425]
Aqueducts and Sewers[425], [426]
Baths[426-429]
The Baths of Agrippa. The Pantheon[427]
The Baths of Caracalla and of Diocletian[428], [429]
The Circus, Theatre, and Amphitheatre[430-436]
The Theatre of Marcellus[433]
The Flavian Amphitheatre (Colosseum)[436]
Funeral Monuments[436], [437]
Commemorative Columns[437]
Triumphal Arches[438-440]
Public Buildings. Basilicas[441-443]
Dwellings[444]
Private Courts of Justice the Prototypes of the Christian Basilica[445-447]
SCULPTURE.
Lack of Statues during the Earliest Period. Decorative Work[447], [448]
The Influence of Etruria[448]
The Influence of Greece[449]
Rise of Sculpture after the Samnite War[449], [450]
Importations of Statues from Greece[451]
Coponius[452]
Portrait Sculpture[453-455]
Iconic Statues[453]
The Horses of St. Mark’s[454]
Shortcomings of Roman Reliefs[456], [457]
Historical Representations[457-459]
Trajan’s Column[458]
The Arch of Titus[459]
The Monument of Antoninus Pius[460]
The Degeneration of Sculpture[461]
Portraiture[461], [462]
The Arch of Constantine[463]
PAINTING.
The Earliest Paintings by Greek Artists. The Temple of Ceres[464]
Fabius Pictor[464], [465]
Pacuvius and Metrodoros[465]
Battle-scenes[465], [466]
Panel-painting. Collections[466]
Wall Decorations after the Alexandrian Fashion[466-470]
The Golden House of Nero[467]
Landscapes. Architectural Ornamentation[468], [469]
Mosaics[470], [471]
From Herculaneum and Pompeii[471]
Conclusion[471], [472]
The Christian Paintings of the Catacombs[472]
[GLOSSARY:][A],[B],[C],[D],[E],[F],[G],[H],[I],[L],[M],[N],[O],[P],[Q],[R],[S],[T],[V],[X],[Z][473]
[INDEX]: [A],[B],[C],[D],[E],[F],[G],[H],[I],[J],[K],[L],[M],[N],[O],[P],[R],[S],[T],[U],[V],[W],[X],[Z][479]

LIST OF ILLUSTRATIONS.

(Some images have been moved slightly from within paragraphsfor ease of reading. If viewing in a web browser click on the image to bring upa larger version. [note of etext transcriber])
EGYPT.
FIGURE PAGE
[1.]The Pyramids of Gizeh[1]
[2.]The Great Pyramid of Gizeh. Section N. and S., looking West[6]
[3.]Section of the Great Pyramid of Saccara[9]
[4.]The Pyramid of Meydoun[10]
[5.]Southern Stone Pyramid of Dashour[11]
[6.]Section of the Middle Pyramid of Abousere[13]
[7.]Egyptian Wall-painting. Transport of a Colossus[14]
[8.]Section and Plan of the Northernmost Rock-cut Tomb at Beni-hassan[15]
[9.]Second Rock-cut Tomb at Beni-hassan[16]
[10.]Pier Decoration from the Tombs of Sauiet-el-Meytin[17]
[11.]Lotos-column of Beni-hassan[18]
[12.]Column from Sedinga[19]
[13.]Lotos-columns from Thebes[20]
[14.]Calyx Capital from Carnac[21]
[15.]Capitals from Edfou[22]
[16.]Osiris Pier[23]
[17.]Royal Grave near Thebes[24]
[18.]Southern Temple of Carnac[25]
[19.]Temple of Edfou[26]
[20.]Great Temple of Carnac[27]
[21.]Section of the Hypostyle Hall, Great Temple of Carnac[28]
[22.]Chapel upon the Platform of the Temple of Dendera[29]
[23.]Temple of Philæ[30]
[24.]Façade of the Rock-cut Temple of Abou-Simbel[31]
[25.]Hall of the Rock-cut Temple of Abou-Simbel[32]
[26.]Egyptian Wall-painting. Interior of a House[33]
[27.]Labyrinth of the Fayoum[35]
[28.]Egyptian Profile. Greek Profile[38]
[29.]Husband and Wife. (Munich Glyptothek.)[39]
[30.]The Schoolmaster of Boulac[40]
[31.]Lion of Reddish Granite. (British Museum.)[41]
[32.]Egyptian Wall-painting. Sculptural Work[43]
[33.]Egyptian Wall-painting. Lance-maker[44]
[34.]Egyptian Wall-painting. Prisoners of Different Nationalities[45]
CHALDÆA, BABYLONIA, AND ASSYRIA.
[35.]Relief from Corsabad. Assyrian Shrines[48]
[36.]Temple at Mugheir (Ur)[49]
[37.]Ruins of Warka[51]
[38.]Patterned Wall. Warka[51]
[39.]Tomb at Mugheir[52]
[40.]Bors-Nimrud. Temple-terrace at Borsippa[54]
[41.]Plan and Elevation of the Temple at Borsippa[56]
[42.]Plan of Babylon[59]
[43.]Plan of Nineveh[61]
[44.]Plan of the Palace of Kisr-Sargon, Corsabad[63]
[45.]Ornamented Pavement from the Northern Palace of Coyundjic[64]
[46.]Cornice of the Temple Substructure at Corsabad[66]
[47.]Plan of the Northwestern Palace of Nimrud[67]
[48.]Relief from Coyundjic[68]
[49.]Plan of the Palace of Esarhaddon at Nimrud[69]
[50.]Various Capitals and Bases, from Assyrian Reliefs[70]
[51.]Table, from an Assyrian Relief[71]
[52.]Mouth of a Tunnel under the N. E. Palace, Nimrud[72]
[53.]Tunnel under the S. E. Palace, Nimrud[72]
[54.]View of an Assyrian Palace, Restoration[73]
[55.]Terraced Pyramid, from a Relief, Coyundjic[74]
[56.]Plan and Section of the Terraced Pyramid, Nimrud[75]
[57.]Relief from the Northern Palace, Coyundjic[76]
[58.]Entrance to One of the So-called Temples, Nimrud[77]
[59.]Obelisk from Nimrud[78]
[60.]Assyrian Dwellings. Relief from Coyundjic[79]
[61.]Tent-like Dwelling. Relief from Coyundjic[80]
[62.]Susa. Relief from Coyundjic[81]
[63.]Babylonian Seal, and its Impression[82]
[64.]Wall Decoration of Enamelled Tiles[83]
[65.]Statue of a King, from Nimrud[84]
[66.]Winged Lion, ""[85]
[67.]Winged Bull, ""[85]
[68.]Lion, ""[86]
[69.]King and Warrior. Relief from Corsabad[88]
[70.]Heads. Reliefs from Nimrud[89]
[71.]Temple. Relief from Corsabad[90]
[72.]A Besieged City. Relief from Nimrud[91]
[73.]Wounded Lioness. Relief from Coyundjic[92]
[74.]Transportation of Stone. Relief from Coyundjic[93]
[75.]Transport of a Cherubim[94]
[76.]Glazed Terra-cotta, from Nimrud[97]
PERSIA.
[77.]Restoration of the Palace of Darius, Persepolis[99]
[78.]Plan of Persepolis[101]
[79.]Fragment of a Base from Pasargadæ[103]
[80.]Persian Columns with Bull Capitals[104]
[81.]Spiral Ornaments upon Chairs[105]
[82.]Columns from the Eastern Portico of the Hall of Xerxes[106]
[83.]Rock-cut Tomb of Darius[107]
[84.]Entablature of the Palace of Darius[109]
[85.]Plan of the Palace of Darius at Persepolis[110]
[86.]Persian Door-casing[112]
[87.]Relief from the Portal of the Hall of a Hundred Columns[113]
[88.]Propylæa of Xerxes at Persepolis[115]
[89.]Altar Pedestals at Pasargadæ[118]
[90.]The Tomb of Cyrus[119]
[91.]Relief from a Portal, Persepolis[124]
[92.]Relief from the Stairs of the Palace of Darius[127]
PHŒNICIA, PALESTINE, AND ASIA MINOR.
[93.]Rock-cut Tombs at Myra[130]
[94.]Temple Cella (El-Maabed) at Amrith[134]
[95.]The Monuments El-Meghazil at Amrith[136]
[96.]Façade of a Rock-cut Tomb at Jebeil[138]
[97.]From a Relief at Saida[141]
[98.]From the monument El-Meghazil at Amrith[141]
[99.]From Rock-cut Relief at Mashnaka[142]
[100.]The Mosaic Tabernacle[143]
[101.]Relief at Thabarieh[146]
[102.]Vase Discovered in Cyprus[150]
[103.]Hypothetical Plan and Section of Solomon’s Temple[151]
[104.]Rock-cut Tomb at Siloam[158]
[105.]Rock-cut Tomb at Hinnom[158]
[106.]Tomb at Paphos in Cyprus[160]
[107.]Cyprian Pilaster Capitals[161]
[108.]Votive Figure from Cyprus[162]
[109.]Cyprian Head[163]
[110.]Rock-cut Tomb at Antiphellos[164]
[111.]Rock-cut Tomb at Antiphellos[165]
[112.]Rock-cut Tomb at Myra[166]
[113.]The so-called Monument of the Harpies at Xanthos[167]
[114.]Sarcophagus at Antiphellos[168]
[115.]Rock-cut Tomb at Telmissos[169]
[116.]Details of Columns from Telmissos, Myra, and Antiphellos[170]
[117.]The so-called Tomb of Midas[171]
[118.]Phrygian Rock-cut Tomb near Doganlu[172]
[119.]The so-called Grave of Tantalos[174]
GREECE.
[120.]View of the Athenian Propylæa. Restoration[175]
[121.]Plan and Section of the Tholos of Atreus[179]
[122.]Restoration of the Tholos of Atreus. Portal[180]
[123.]Fragments of an Engaged Column from the same[181]
[124.]The Pyramid of Kencreæ[186]
[125.]Plan of the Acropolis of Tiryns[188]
[126.]The Gate of the Lions at Mykenæ[189]
[127.]The Smaller Gate at Mykenæ[189]
[128.]Portal from Samos[190]
[129.]Gateway of Phigalia[190]
[130.]Portal upon Delos[191]
[131.]Gate of Missolonghi[192]
[132.]Gate of Messene[192]
[133.]Gate of Thoricos[193]
[134.]Gate of Ephesos[193]
[135.]Interior of a Structure upon Mount Ocha, Eubœa[194]
[136.]Elevation of the Corner of the Middle Temple, Selinous[203]
[137.]Entablature of the Parthenon[206]
[138.]Scheme of the Doric Entablature[207]
[139.]Plan and Elevation of the so-called Temple of Theseus[208]
[140.]Painting over the Pteroma of the same[209]
[141.]Coffered Pteroma Ceiling, Selinous[211]
[142.]Coffered Ceilings from the Parthenon[212]
[143.]Plan of the Middle Temple, Selinous[213]
[144.]Capital from the Northern Temple, Selinous[216]
[145.]Capital from the Middle Temple, Selinous[216]
[146.]Capital from the Temple at Assos[216]
[147.]Capital from the Eastern Plateau, Selinous[217]
[148.]Capital from the Temple of Zeus, Selinous[217]
[149.]Capital from the Temple of Heracles, Acragas[217]
[150.]Capital from the Temple of Theseus, Athens[218]
[151.]Capital from the Portico of Philip, Delos[218]
[152.]Capital from the Temple of Demeter, Pæstum[218]
[153.]Plan of the Great Temple at Pæstum[219]
[154.]Plan, Section, and Elevation of the Temple of Zeus, Acragas[220]
[155.]Entablatures of the Older and of the Present Parthenon[221]
[156.]Plan of the Temple of Zeus at Olympia[222]
[157.]Plan of the Parthenon[225]
[158.]Plan and View of the Propylæa, Athens[226]
[159.]Plan of the Temple of Apollo, Bassæ[227]
[160.]Plan of the Temenos at Eleusis[228]
[161.]Ionic Order of the Mausoleum at Halicarnassos[232]
[162.]Plan of the Normal Ionic Capital[233]
[163.]Plan of the Corner Ionic Capital[233]
[164.]Ceiling of the Peripteros of the Mausoleum. Restored[235]
[165.]Base and Capital from Bassæ[236]
[166.]Base from the Heraion at Samos[237]
[167.]Base from the Temple of Apollo Didymæos, Miletos[237]
[168.]Base from the Temple of Athene, Priene[237]
[169.]Base from the Propylæa, Cnidos[237]
[170.]" " Temple of Wingless Victory, Athens[237]
[171.]Ruins of the Temple at Aphrodisias[239]
[172.]The Temple upon the Ilissos[241]
[173.]Plan of the Erechtheion[242]
[174.]Northwestern View of the Erechtheion[243]
[175.]Order of the Eastern Portico of the Erechtheion[244]
[176.]Corinthian Capital from Bassæ[248]
[177.] " " from the Temple of Apollo, Miletos[248]
[178.]Corinthian Capital from the Tower of the Winds, Athens[248]
[179.]Tomb at Mylassa[251]
[180.]The Mausoleum at Halicarnassos. Restoration[252]
[181.]The Monument of the Nereides at Xanthos[253]
[182.]Plan of the Stoa Diple at Thoricos[254]
[183.]Plan of the Stadion at Messene[256]
[184.]Plan of the Hippodrome at Olympia[257]
[185.]Plan of the Greek Theatre, according to Vitruvius[258]
[186.]The Theatre at Segesta. Restored[259]
[187.]The Cover of Dodwell’s Vase.(Munich.)[271]
[188.]The Relief over the Gate of the Lions, Mykenæ[273]
[189.]Steles from the Acropolis of Mykenæ[275]
[190.]Golden Mask from Mykenæ[276]
[191.]Figures from the Vase of Clitias and Ergotimos[277]
[192.]Metope Relief from Selinous[284]
[193.]Statues from Miletos[285]
[194.]The Apollo of Thera[286]
[195.]Archaic Relief from Sparta[287]
[196.]The Stele of Aristion[288]
[197.]A Stele found at Orchomenos[290]
[198.]Head of a Warrior, Selinous[291]
[199.]Archaistic Artemis, from Pompeii[292]
[200.]Central Figures from the Western Gable, Ægina[294]
[201.]Harmodios and Aristogeiton[297]
[202.]Apollo, after Canachos[298]
[203.]The Discos-thrower[302]
[204.]Statuette of the Athene Parthenos[305]
[205.]Fragment Imitated from the Shield of Athene Parthenos[306]
[206.]Coins of Elis[307]
[207.]Demeter and Persephone, from the Parthenon[311]
[208.]Aphrodite and Peitho, from the Parthenon[312]
[209.]Fragment from the Frieze of the Cella of the Parthenon[314]
[210.]Figure from the Temple of Zeus, Olympia[316]
[211.]Figure from the Temple of Zeus, Olympia[317]
[212.]Head of Apollo, from the Temple of Zeus, Olympia[318]
[213.]Metope from the Temple of Zeus, Olympia[319]
[214.]The Victory of Paionios, Olympia[320]
[215.]From the Frieze of the Temple at Phigalia[321]
[216.]Copy of the Doryphoros, Naples[323]
[217.]Amazon, after Polycleitos[325]
[218.]Head of Hera, Naples[326]
[219.]The Ludovisi Juno, Rome[326]
[220.]Metope from the Eastern Plateau, Selinous[328]
[221.]Eirene and Ploutos, after Kephisodotos[329]
[222.]The Apollo Kitharoidos[330]
[223.]Niobids. (Florence.)[331]
[224.]Head of Niobe[332]
[225.]Fragment of the Frieze at Halicarnassos[334]
[226.]Head of Eros. (Vatican.)[335]
[227.]The Hermes of Praxiteles[336]
[228.]The Head of the Hermes[337]
[229.]The Venus of Melos[338]
[230.]Copy of the Apoxyomenos of Lysippos[341]
[231.]The Farnese Hercules[343]
[232.]The Zeus of Otricoli[344]
[233.]Boreas, from the Tower of the Winds[346]
[234.]Notos, from the Tower of the Winds[346]
[235.]Coins of the Diadochi[347]
[236.]The Dying Gladiator[348]
[237.]The Laocoon[352]
[238.]The Farnese Bull[354]
[239.]The Wrestlers[356]
[240.]The Apollo Belvedere[357]
[241.]The Artemis of Versailles[359]
[242.]The Borghese Gladiator[361]
[243.]The Belvedere Torso[362]
[244.]Group from the Villa Ludovisi[364]
[245.]The Capitoline Centaur[365]
ETRURIA.
[246.]The Campana Tomb at Veii[387]
[247.]The Gate of Falerii[388]
[248.]Canal of the Marta[389]
[249.]Restored Plan and Elevation of the Tomb of Porsena[391]
[250.]Ceiling of a Tomb at Cervetri[392]
[251.]Plan and Section of a Tomb at Cervetri[393]
[252.]Interior of a Tomb at Cervetri[394]
[253.]Temple Tomb at Norchia[395]
[254.]Elevation of the Etruscan Temple, according to Vitruvius[397]
[255.]Tomb at Corneto[398]
[256.]Etruscan Sarcophagus[399]
[257.]Bust from the Grotto dell’ Iside in Vulci[402]
[258.]Sarcophagus of Terra-cotta from Cære[403]
[259.]Etruscan Relief[404]
[260.]The Capitoline Wolf[405]
[261.]Etruscan Stone Sarcophagus[407]
[262.]Painting from Cære[410]
ROME.
[263.]The Janus Quadrifrons in the Forum Boarium[413]
[264.]Gateway in the Walls of Norba[414]
[265.]Remains of the Servian Wall[415]
[266.]The Cloaca Maxima[417]
[267.]Plan of the Temple of Fortuna Virilis[419]
[268.]Plan of the Temple of Antoninus and Faustina[419]
[269.]Tuscan Column from the Coliseum[420]
[270.]The Temple at Cori[421]
[271.]View of the Temple of Fortuna Virilis[422]
[272.]Corinthian Capital from the Pantheon[424]
[273.]Composite Capital[424]
[274.]Section of the Aqua Marcia Tepula and Julia[426]
[275.]Section of the Pantheon, in its Present Condition[427]
[276.]Section of the Pantheon. Restoration by Adler[428]
[277.]Plan of the Baths of Caracalla[429]
[278.]Chief Hall of the Baths of Caracalla[430]
[279.]Plan of the Circus of Romulus[431]
[280.]Scheme of the Roman Theatre, according to Vitruvius[432]
[281.]Theatre of Marcellus, Rome[433]
[282.]Plan of the Flavian Amphitheatre[434]
[283.]Section of the Auditorium of the Flavian Amphitheatre[435]
[284.]Façade and Section of a Rock-cut Tomb at Petra[438]
[285.]Triumphal Arch of Titus[439]
[286.] " " Septimius Severus[440]
[287.]Section of the Primitive Roman Basilica[442]
[288.]Plan of the Primitive Roman Basilica[442]
[289.]Plan of the Basilica of Maxentius[443]
[290.]Section of the House of Pansa in Pompeii[444]
[291.]Plan of the House of Pansa in Pompeii[444]
[292.]The Flavian Palace[445]
[293.]Court of the Palace of Diocletian at Spalatro[446]
[294.]Fragment of the Cista Prænestina[447]
[295.]Janus Bifrons upon an Ancient Roman Coin[448]
[296.]Statue of Isis. (Museum of Naples.)[450]
[297.]Relief of Mithras. (In the Louvre.)[451]
[298.]Vertumnus (Silvanus). (In Berlin.)[452]
[299.]Relief of Bonus Eventus. (British Museum.)[453]
[300.]Statue of Augustus. (In the Vatican.)[454]
[301.]Equestrian Statue of Nonius Balbus, Jun.[455]
[302.]Relief from the Arch of Titus in Rome.[458]
[303.]Relief of Trajan, from the Arch of Constantine in Rome.[450]
[304.]Relief upon the Pedestal of the Column of Antoninus Pius[460]
[305.]Victory, from the Arch of Constantine[463]
[306.]Wall-painting from the Aurea Domus of Nero[466]
[307.]Ceres. Pompeian Wall-painting[467]
[308.]Wall-painting from Herculaneum[468]
[309.]Landscape-painting from Pompeii[469]
[310.]Wall-painting of Decorative Architecture, Pompeii[470]