[148] [Chapter IV]., p. 87.
[149] Some examples of these jars, still more interesting on account of the great depth at which they were found, are seen in [Plate XI]., p. 290.
[151] For a further description and discussion of this splendid relief, see the Introduction, see [p. 32-34]. An acute critic has suggested to us that the metopé is a sculpture of the best age of Greek art, before or about the time of Alexander, inserted in a Doric frieze of late debased work, as is proved by the difference of styles, and by the evident fact that the metopé was originally too large for the space between the triglyphs. The temple to which it belonged, in Dr. Schliemann’s final opinion, was a temple of Apollo, which he discovered later (comp. Chap. XIV., p. 223, and Chap. XVII., p. 257).—[Ed.]
[152] Iliad, VI. 302-304:—
Ἡ δ’ ἄρα πέπλον ἑλοῦσα Θεανὼ καλλιπάρῃος
Θῆκεν Ἀθηναίης ἐπὶ γούνασιν ἠϋκόμοιο,
Εὐχομένη δ’ ἠρᾶτο Διὸς κούρῃ μεγάλοιο.
“But fair Theano took the robe and placed
On Pallas’ knees, and to the heavenly maid,
Daughter of Jove, she thus addressed her prayer.”
[153] The reader should bear in mind that Dr. Schliemann finally came back to this opinion. It is not “second thoughts” (say the authors of ‘Guesses at Truth'), but first and third thoughts, that are “best.”—[Ed.]
[154] Compare the sections shown on [Plate XXI].