Some of the marbles in the British Museum are from the Nereid Monument of Xanthos, B.C. 372, so called because the female figures display moist clinging garments, and have fishes and seabirds between their feet. These sculptures show a high degree of perfection, and were probably the work of the Athenian sculptor, Bryaxis.
Among other examples of the Greek treatment of the frieze, is that of the Erectheum, B.C. 409, with its black Eleusinian stone background, and white marble reliefs. The Temple of Nike Apteros, of about the same date is noted for the beautiful reliefs from the balustrade which crowned the lofty bastion on which the temple stands.
The frieze was an important decorative feature with the Assyrians and Greeks. The continuity of incident and rhythm of movement that was possible with the continuous frieze, together with its functional use of banding, no doubt tended to preserve its traditional form, hence we have many remains from antiquity of this beautiful decorative treatment. An early and fine example is the frieze of Archers from the palace of Darius at Persepolis, B.C. 532, now in the Louvre. This frieze, of which an illustration is here given, was executed in glazed and enamelled bricks. A dignity of conception and unity of composition were here combined with skilful modelling of relief work, and fine colouring of blue, turquoise and yellow. This treatment of the frieze no doubt influenced the later work of the Greeks, who so nobly carried on this tradition of the frieze.
Greek ornament is distinguished by simplicity of line, refinement of detail, radiation of parts, unity of composition and perfect symmetry. The anthemion, which is the typical form, is derived from the traditional lotus and bud of Egypt, Assyria, and India. It differs however in its more abstract rendering and its absence of symbolism, having a charm of composition and a unity and balance of parts, yet lacking that interest and deeper significance associated with many periods of art.
GREEK ORNAMENT. [Plate 6.]