Finally, it may be observed that not a few sculptures in the British Museum have been found under peculiar circumstances in this country. Such specimens have been brought to England by travellers, whose collections have afterwards been broken up, lost or neglected, and have been rescued by chance from warehouses, gardens, or masons' yards.42
1 For the history of the collections in the British Museum, see Edwards, Lives of the Founders of the British Museum; Michaelis, Ancient Marbles in Great Britain, introduction.
2 There is a portrait of Sloane in the Mediæval Room, and a bust by Roubiliac in the Ceramic Gallery.
3 The entries in the Sloane Catalogue are:—"218. A vase of red and grey marble with green veins, with a cover from the Earl of Arundel's Collections. 222. A busto of Tully (?) when young.—Arundel. 223. A small Venus (?).—Arundel."
4 Michaelis, Ancient Marbles, p. 6.
5 Mus. Marbles, II., pl. 39.
6 There is a bust of Mead by Roubiliac in the Ceramic Gallery.
7 Mus. Meadianum, Pars altera, p. 219.
8 Cf. Mus. Marbles, V., pl. 1, fig. 3; pl. 6, fig. 4; pl. 7, fig. 1; pl. 12, fig. 4.
10 Archæologia, III., p. 230.
11 Nos. 774, 780; Græco-Roman Guide, I., No. 140b.
12 Græco-Roman Guide, II., No. 53.
13 Mus. Marbles, I., pl. 11.
14 Græco-Roman Guide, II., No. 117.
15 Græco-Roman Guide, II., Nos. 45, 61.
17 Greek Inscriptions in Brit. Mus., No. XXXV.
18 There is a bust of Townley in the Department of Antiquities.
21 Mus. Marbles, III., pl. 6; X., pls. 3, 5; XI., pl. 37.
30 See p. 45, for a further account of the travels of Fellows.
31 Antiquities of Ionia, II. (1797), suppl., pl. 2.
35 Nos. 154, 460; cf. also No. 784.
37 Including Nos. 632, 633, 644, 710, 802, 808, 811, 812.
38 No. 206. See also Nos. 302, 627, 651, 653, 666, 678, 722.
40 No. 401; Græco-Roman Guide, I., Nos. 33, 45, 109, 132, 134; II., No. 96.
42 See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736.
The sculptures contained in the first section of this catalogue are derived from the site of Mycenae, the first four being fragments of important works of architecture. There is great uncertainty as to the date and origin of the Mycenaean monuments. A theory frequently advanced supposes that they are remains of an old civilization whose centre was Argolis, and which was swept away by Dorian invaders. If this view is accepted, Nos. 1-6 are separated by a long interval of years, and by a time of great political change, from the remaining sculptures in this volume. From No. 7 onwards we have works produced during the historical period; but the remains of Mycenae acquire interest from the consideration that they may be authentic memorials of a dynasty only dimly remembered in the Homeric Poems.
1-4.Fragments of architecture from the building, commonly known as the 'Treasury of Atreus' at Mycenae. This building is a dome-covered tomb (tholos) of beehive shape, approached by a long passage (dromos). It is cut out from the side of a hill, and built of heavy masonry, covered with earth, so as to form a tumulus. It was partially excavated by Lord Elgin, and more completely in 1879 by the Greek Archæological Society. The fragments Nos. 1-4 are parts of an elaborately decorated doorway to the tomb. They have been incorporated in a somewhat fanciful restoration which was made by Donaldson, and which has been much modified by later investigators.
For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with Donaldson's restoration). Dodwell, Pelasgic Remains, pls. 9, 10. Athenische Mittheilungen, IV., p. 177, pls. 11-13 (Thiersch); Mitchell, p. 143. Donaldson's restoration is based on an earlier attempt by Lord Elgin's artists, which is now among the Elgin drawings in the British Museum.
1.Fragment from the 'Treasury of Atreus' at Mycenae. The decoration consists of three bands of the wave pattern, separated by mouldings. Two of these bands are in low relief; the third is in high relief, with a hole bored in the centre of each spiral for the insertion of glass or metal ornaments. Among the tools employed by the artist, the chisel, saw, and the tubular drill, were plainly included. From the fact that the end of the fragment is cut at an acute angle, it is inferred that this fragment was placed above the doorway of the building, in contact with a relief of triangular form. It is also possible that it may have formed part of a triangular slab above the door. A piece of red marble, similarly decorated, which is now at Athens, exactly fits the apex of the triangular opening (Athenische Mittheilungen, iv., pl. 13, fig. 1, a.).—Elgin Coll.
Red marble. Height, 1 foot 4¼ inches; width, 3 feet 2¾ inches. Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5; Dodwell, Tour, II., p. 232; Murray, I., p. 38; Wolters, No. 3.
2.Fragment from the 'Treasury of Atreus' at Mycenae. The decoration consists of a band of the wave pattern, and a band of lozenges in low relief, the bands being separated by mouldings of similar character to those of No. 1. The saw and chisel were used by the artist.
This slab, according to Donaldson, formed a part of the architrave, over the entrance to the building. According to Dodwell, it was 'found by the excavators of the Earl of Elgin, near the Treasury of Atreus.'—Elgin Coll.
Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6 inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell, Tour, II., p. 232; Murray, I., p. 39; Wolters, No. 2.
Fig. 1.—Restored Capital from the 'Treasury of Atreus' (after Puchstein).
3.Fragment from the 'Treasury of Atreus' at Mycenae. This fragment, which is decorated with a portion of a wave pattern enclosed by two mouldings meeting at an acute angle, is a part of one of the columns that flanked the entrance to the building. These columns were decorated with an elaborate system of ornament, composed of zigzag bands of the wave pattern, best understood on reference to drawings of the complete column (cf. fig. 1). The tubular drill has been used as in No. 1.—Presented by the Institute of British Architects, 1843.
Hard green limestone; height, 11 inches; width, 9 inches. For drawings of the restored column, with its capital (formerly taken for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5, pl. 5. Dodwell, Tour, II., pl. facing p. 232; Murray, I., p. 40; Puchstein, Das Ionische Capitell, p. 50. For fragments of the capital, see Gell, Itinerary, pl. 7; Mitchell, p. 145, fig. 70.
4.Fragment from the 'Treasury of Atreus' at Mycenae. This is a part of the lower member of the capital of a pilaster flanking the great doorway (cf. fig. 1).—Presented by the Institute of British Architects, 1843.
Hard green limestone; height, 3½ inches; width, 10 inches. Puchstein, Das Ionische Capitell, p. 50.
5.Fragment of relief. Head and shoulder of rampant lion. From the shape of the fragment it appears to have been a part of a triangular relief filling the space above a doorway. (Compare No. 1 and the Gate of Lions at Mycenae.) The lion's paw is extended as if towards another lion confronting him. A pattern is drawn in fine lines on the shoulder. Behind the lion is a branch of laurel.
Fig. 2.—Relief from Mycenae (?), No. 5.
A part of this relief has been exposed to a corroding influence, which has acted uniformly on the surface, so that the design is sunk, but not obliterated.—Mycenae (?) Elgin Coll.
Limestone; height, 1 foot 10¼ inches; width, 2 feet 2 inches. Synopsis, No. 204 (158). Murray (2nd ed.), I., p. 61.
6.Fragment of relief. Forelegs and part of body of bull standing to left. A joint is worked in the stone, in front of the bull.—Mycenae (?) Elgin Coll.
Green limestone, closely resembling that of No. 5, but not identical with it. Both are composed principally of flakes of mica, which are, however, larger and more abundant in No. 6 than in No. 5. Height, 1 foot 4½ inches; width, 2 feet 5 inches. Synopsis, No. 224 (160).
Fig. 3.—Relief from Mycenae, No. 6.
The temple and oracle of Apollo at Didyma, near Miletus, in Asia Minor, were from time immemorial in the hands of the priestly clan of the Branchidae, whose name came to denote the place itself. This temple was destroyed by the Persians—probably by Darius on the suppression of the Ionian Revolt—about 495 b.c. (Herod. vi., 19. See, however, Strabo, xiv., p. 634; xi., p. 518.) After its destruction, the temple was not rebuilt till the time of Alexander. The temple was connected with the harbour Panormos by the Sacred Way. Along this the sculptures stood at intervals. They are dedicatory offerings made to Apollo, probably by the persons represented.
The following are the materials for fixing the period to which the sculptures of Branchidae must be assigned. It is certain that none of them are later than the destruction of the temple by the Persians, and the latest of them (No. 16) appears a generation earlier than the works associated with that period. On the other hand, there is no reason to place the oldest before the early part of the sixth century b.c. Thus these sculptures cover the period of (say) 580-520 b.c. On epigraphic grounds, the date may be more closely defined. It is believed that the older form for η ⊟ was changed to Η shortly before 550 b.c. By this criterion, Nos. 10, 17, belong to an older group, and No. 14 to a later group. An inscribed base now in the British Museum with the name of an artist, Terpsicles, also belongs to the older group (Roehl, I.G.A., 484). It has been suggested that Chares of Teichioussa (No. 14) was one of the local tyrants who were established after the destruction of the kingdom of Croesus (546 b.c.), and this agrees well with the epigraphical evidence.
The statues of Branchidae are of interest because they exhibit the process by which the grotesque coarseness of primitive work tends towards the stiff and formal refinement that marks the later stage of archaic art. The series in the British Museum breaks off before the second stage has been completely attained, but it can be well supplemented by a seated female figure from Miletus, now in the Louvre (Rayet et Thomas, Milet et le Golfe Latmique, pl. 21).
The sculptures of the Sacred Way were discovered by Chandler in 1765 (Antiqs. of Ionia, 1st ed., I. p. 46; Chandler, Travels in Asia Minor, 1775, p. 152). They were more accurately examined by Gell, and the second Dilettanti expedition in 1812 (Antiqs. of Ionia, 2nd ed., 1821, Part I., p. 29, vignette, and ch. III., pl. 1; Müller, Denkmaeler, I., pl. 9, fig. 33). A more accurate sketch was made by Ross (Arch. Zeit., 1850, pl. 13). Such of the sculptures as could be found in 1858 were removed by Sir C. Newton; Newton, II., p. 527. On the inscriptions see Kirchhoff, Studien, 4th ed., pp. 19, 25.
7.Female figure, seated on a chair, with her hand resting on her knees. The head is wanting, and the upper part of the body is much mutilated. The figure wears a long chiton, with sleeves, and a diploïdion. The feet of this figure (as of all the other figures) are bare. The drapery falls down in front of the legs in stiff conventional folds. The sleeve, however, of the chiton is worked in a more natural manner. There are remains of a key-pattern on the sides of the cushion of the chair.—Sacred Way, Branchidae.
Parian marble; height, 3 feet 9 inches. Mansell, No. 607.
8.Male figure, seated on a chair, with his hands resting on his knees. The head, shoulders, left forearm, and hand are wanting. The figure wears a long chiton with sleeves and a mantle. The lower part of the chiton is entirely conventional, but parts of the mantle, and the outlines of the arms are worked after nature. On the ends of the cushion there is a pattern of zigzag lines.—Sacred Way, Branchidae.
Parian marble; height, 3 feet 11¼ inches. Newton, II., p. 534; Mansell, No. 604 (left).
9.Female figure, seated on a chair with hands resting on her knees. The right hand is wanting, and also the toes and front of the base, which seem to have been attached separately. The figure wears a long chiton and a mantle, which passes over the back of the shoulders, under the right arm, and in both directions across the left shoulder. Neither garment has indications of fold, and the edges are conventionally treated. The face, as far as can be seen, was full and thick. The hair falls in pointed tresses, the undulations of which are indicated in a conventional manner. The right ear is finished with care. This chair has no cushion, the drapery of the figure being seen under the arms.—Sacred Way, Branchidae.
Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd from right); Rayet et Thomas, Milet et le Golfe Latmique, pl. 26 (right); Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11c; Wolters, No. 7.
10.Male figure, seated on a chair, with the right hand resting on the right knee, and the left hand beside the left thigh. The head, and the fingers of the left hand are wanting. The figure wears a chiton with sleeves, and a mantle, which passes round the body, under the right arm, and passes in both directions over the left shoulder, so as to hang down in folds over the knees. The ends of the cushion, the sleeves of the chiton, and a part of the chiton seen on the left knee, are decorated with the key pattern.
On the left arm of the chair is the inscription: Εὔδημός με ἐποίε(ι)ν —"Eudemos made me."—Sacred Way, Branchidae.
Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right); pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, Studien, 4th ed., p. 26; Roehl, I.G.A., 485; Roberts, Greek Epigraphy, p. 162.
11.Male figure, seated on a chair, with left hand on left knee, and right hand, with palm turned upwards, on right thigh. The head, right shoulder, and right hand are wanting. The figure wears a chiton with sleeves, and a mantle. The folds of the lower parts are entirely conventional, but those of the upper part of the chiton are indicated by delicate wavy grooves. The hair falls behind in tresses which are cut off square on the shoulders.—Sacred Way, Branchidae.
Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74 (right); Mansell, Nos. 603 (left), 604 (right).
12.Male figure, seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by right knee. The head, shoulders, and breast, and the right hand are wanting. The figure wears a chiton with sleeves, and a mantle, which passes under the right arm, while the ends cross the left shoulder in contrary directions. The artist has attempted to render the fine folds of the upper part of the chiton.
The four legs of the chair are decorated with a design which appears to be developed from the lotus bud, and is seen on Assyrian reliefs. On the back of the top rail of the chair is the late inscription: Νίκη Γλαύκου, which is either "Nikè, daughter of Glaukos," or, perhaps, a formula of the Christian period, "Victory of Glaukos!"—Sacred Way, Branchidae.
Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II., p. 531, fig. 2; p. 787; Kirchhoff, Studien, 4th ed., p. 20.
13.Male figure seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by the right thigh. The head and the right hand are wanting. The figure wears a chiton, and a mantle which passes round the body under the right arm, and passes in both directions over the left shoulder, so as to hang down in folds before the knees. The artist has attempted to render the fine folds of the upper part of the chiton, and has decorated the front legs of the chair as in No. 12. The statue has been broken and repaired in ancient times with lead cramps.—Sacred Way, Branchidae.
Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from left); II., p. 531, fig. 1; Mansell, No. 605; Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11b.
14.Statue of Chares, a male figure, seated on a chair, with left hand resting on left knee, and right hand, with palm turned upwards, by the right thigh. The head and hands are wanting. The figure wears a chiton with sleeves and a mantle which passes under the right arm, while the ends pass in contrary directions over the left shoulder. The sleeves of the chiton are bordered with a key pattern, which is doubled along the seam.
On the right leg of the chair is the inscription:
Χάρης εἰμὶ ὁ Κλε(ί)σιος Τειχιο(ύ)σ(σ)ης ἀρχὸς . ἄγαλμα το(ῦ) Ἀπόλλωνος.
"I am Chares, son of Kleisis, ruler of Teichioussa. The statue is the property of Apollo."—Sacred Way, Branchidae.
Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left); pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet et Thomas, Milet et le Golfe Latmique, pl. 25; Dieulafoy, L'Art Antique de la Perse, Part III., pl. 15; Wolters, No. 6; Kirchhoff, Studien, 4th ed., p. 19; Roehl, I.G.A., 488; Roberts, Greek Epigraphy, p. 163; Palaeographical Society, Facsimiles, I., No. 76.
15.Male figure, seated on a chair, with left hand on left knee, and right hand by right thigh. The head and right hand are wanting. The figure wears a chiton with sleeves and a mantle which passes under the right arm, while the ends cross the left shoulder in contrary directions. The fine folds of the upper part of the chiton are indicated.—Sacred Way, Branchidae.
Parian marble; height, 4 feet 2 inches.
16.Female figure, seated on a chair, with hands on her knees. The head and feet are wanting. The figure wears a sleeved chiton with a diploïdion and a veil. The sleeves terminate with long folds. The veil falls down over the shoulders, in numerous folds.
In attempting to indicate the legs with greater detail than his predecessors, the artist has rendered them as if they were nude; but in naturalness and freedom this statue is conspicuously the most advanced of the series.—Sacred Way, Branchidae.
Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, No. 603 (right); Rayet et Thomas, Milet et le Golfe Latmique, pl. 26 (left); Overbeck, Gr. Plast., 3rd ed., I., p. 94, fig. 11a; Wolters, No. 7.
17.Lion, recumbent, with right fore-paw passing in front of the body, and with left paw laid over it. The hind quarters are half turned over, the animal lying on the right haunch. The head is wanting. The mane is rendered by stiff pointed locks of hair of conventional form. The pose, however, of the animal shows careful study of nature.
On the flank is the inscription:
"The sons of Orion, the governor, Thales, Pasicles, Hegesander, Eubios and Anaxileos dedicated these statues as a tithe to Apollo."—Sacred Way, Branchidae.
Marble; height, 2 feet 6¼ inches; length, 7 feet. Newton, I., pl. 97, No. 66; II., p. 777; Kirchhoff, Studien, 4th ed., p. 26; Roehl, I.G.A., 483; Roberts, Greek Epigraphy, p. 161; Mansell, No. 615.
18.Sphinx or lion, recumbent. This figure has been called a Sphinx or a lion-sphinx. The distinguishing marks of a Greek Sphinx are wanting, as the head is lost, and the figure is wingless.—Sacred Way, Branchidae.
Marble; height, 4 feet 2 inches; length, 6 feet 11½ inches. Antiqs. of Ionia, 2nd ed., I., p. 29; Ross, Arch. Zeit., 1850, p. 132; Müller, Denkmaeler, I., pl. 9, No. 33; Newton, II., p. 535; Milchhoefer, Athenische Mittheilungen, IV., p. 50.
19.Beardless male head, from an archaic statue. The left shoulder is preserved. The hair falls in tresses, as in the case of No. 9.—Branchidae.
Marble; height, 1 foot 3 inches; Rayet et Thomas, Milet et le Golfe Latmique, pl. 27.
20.Female head (unfinished (?)) from an archaic statue. The figure wears a veil which covers the whole of the head, except the face. The ears are indicated beneath the veil.—Branchidae.
Marble; height, 9 inches.
21.Relief, with figures moving to the right, in a dance. It is incomplete at both ends, and appears to have been part of a frieze formed of several slabs. On the left are a woman and a man joining hands. On the right is a woman between two men; of the man on the right only the right leg is preserved. The right hand of the woman is seen behind, while her left hand is held by the man before her. The man on the left of this group has some object, perhaps a cup, in his right hand which is stretched out behind him. Between the two groups, and in the background, a woman rushes to the right, holding branches (?) in her raised hands.
The men are considerably larger than the women. The women wear a plain chiton, the men a chiton and mantle. All have bracelets, and long hair, which falls in a peculiar manner over the forehead; one wears a taenia, the remainder have stephanae. All the limbs are indicated under the draperies, even those of the figures in the background, which are seen through their own draperies and those of their companions.—Presented by J. Scott Tucker, Esq., R.N. Karakewi (Teichioussa), near Branchidae.
Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et Thomas, Milet et le Golfe Latmique, pl. 27; Brunn, Denkmaeler, No. 101 B.
The following sculptures were found in 1882 by Mr. George Dennis, C.B., in one of the tumuli at Bin Tepè, near Sardes. Perrot (v., p. 904) suggests that they may have been part of a series of reliefs of a hunting scene, decorating the sepulchral chamber. The date is uncertain, but the reliefs may well be earlier than the fall of Croesus.
22.Relief. Three horsemen moving to the right. They wear large helmets and cuirasses, with shoulder plates, and carry spears.
The figures are cut in a narrow panel, and appear to have served an architectural purpose.—Bin Tepè, Sardes.
Marble; height, 7¼ inches; width, 1 foot 5 inches. Perrot and Chipiez, V., p. 903, fig. 535; Murray, Gr. Sculpt., 2nd ed., I., p. 107.
23.Relief. Three deer, moving to the right, grazing. From a panel nearly similar to the preceding.—Bin Tepè, Sardes.
Marble; height, 6¾ inches; width, 1 foot 4 inches. Perrot and Chipiez, V., p. 904, fig. 536; Murray, Gr. Sculpt., 2nd ed., I., p. 107.
The great temple of Artemis (or Diana), at Ephesus, which ranked among the seven wonders of the ancient world, was built in the middle of the 4th century b.c. It was, according to tradition, the latest of a long series of buildings. Not fewer than eight successive temples have been enumerated by Falkener (Ephesus, p. 214; cf. Pliny, H. N., xvi., 213). The excavations, however, have only produced the remains of two temples. The earlier of the two, which is here described, is probably that which was begun early in the sixth century b.c., by the architects Theodoros, Chersiphron and Metagenes, was in course of construction during the reign of Croesus (Brunn, Gr. Künstler, ii., p. 382), and was burnt by Herostratos on the night of Alexander's birth (356 b.c.). The later temple, the remains of which are exhibited in the Ephesus Room, was then built to replace that which had been burnt; and the excavations have proved the interesting fact that the most remarkable features of the later temple were borrowed from its predecessor.
The extant fragments of the early temple were found by the late Mr. J. T. Wood, in excavations which he carried on at Ephesus for the Trustees of the British Museum. These fragments had, for the most part, been used as building materials, and were extracted from certain massive piers which rested against the foundations of the walls of the temple cella. Mr. Wood assigned the piers to the Byzantine period, but only adduced evidence to show that they were later than the walls of the temple. It is therefore possible that they may have been added at an early period, to strengthen the foundations.
Wood, Ephesus, pp. 190, 259. For the reconstruction of the archaic temple, see Journ. of Hellen. Studies, X. (1889), p. 1 (A. S. Murray). The material is a finely-grained marble, with occasional strongly marked blue veins.
24.Part of a wall-stone from the archaic temple.
Length, 2 feet 7½ inches; width, 1 foot 8 inches.
25.Capital of Ionic column. Several fragments have been discovered, from which it is possible to reconstruct with tolerable certainty the capitals and necking of the columns of the archaic temple.
Journ. of Hellen. Studies, X., p. 8.
26.Fragment of volute from cap of column. The groove between two mouldings is filled with two strips of lead to which gold leaf is attached.
Length, 7 inches. Wood, Ephesus, p. 245; Journ. of Hellen. Studies, X., p. 9.
27.Fluted fragment of column. The drum to which this fragment belonged was 4 feet 3 inches in diameter, and had 40 flutings.
Height, 1 foot 10 inches; width, 3 feet 6 inches.
28.Fragment of the base of an unfinished column, with torus moulding and horizontal flutings only partially carried out.
Height, 1 foot 4 inches; width, 3 feet. Journ. of Hellen. Studies, X., p. 5, part of fig. 3b.
29.Base of sculptured column. The column has necessarily been reconstructed from various fragments, which cannot be proved to have belonged originally to the same column, but the combined fragments serve to give a general idea of the appearance of the column. (Plate I.)
1.The sculpture is surmounted by an egg and tongue moulding 11½ inches high, which is not shown in the plate, Journ. of Hellen. Studies, x., pl. 3. There are considerable remains of red paint.
2.Immediately below the sculptures is a moulding, which contains fragments inscribed as follows:
ΒΑ ΚΡ ΑΝ ΕΝ,
which have been restored as Βα[σιλεὺς] Κρ[οῖσος] ἀν[έθηκ]εν. 'King Croesus dedicated (the column).' It is known from a statement of Herodotus that Croesus gave most of the columns of the temple at Ephesus [Herod. i. 92, Κροίσῳ δὲ ἔστι καὶ ἄλλα ἀναθήματα ἐν τῇ Ἑλλάδι πολλά . . . ἐν δὲ Ἐφέσῳ αἵ τε βόες αἱ χρύσεαι καὶ τῶν κιόνων αἱ πολλαί]. It is probable that the columns were inscribed with dedicatory inscriptions, of which we here have fragments. The later temple had a similar series of inscriptions. The columns offered by Croesus must be earlier than the date of his fall, 546 b.c. The inscriptions are no doubt of the same age as the columns, and they may have been seen by Herodotus (Hicks, Greek Inscriptions in Brit. Mus., dxviii.).
3.Below the moulding is the restoration of an early Ionic base. (Journ. of Hellen. Studies, x., pl. 3, and p. 8).
The following fragments are inserted in the restoration of the sculptured base:—
4.Upper part of male figure in high relief standing to the right, wearing a close-fitting tunic, with sleeves to the elbows, and having a lion's skin about the body and with long hair. The upper part of the face is broken away. The right arm was bent at the elbow, and crossed the body.
Height, 2 feet. Journ. of Hellen. Studies, X., pl. 3.
5.Lower part of male figure in high relief standing to the right, wearing what appears to be a himation, falling to the knees.
Height, 3 feet 3 inches. Murray, I., p. 112; Journ. of Hellen. Studies, X., pl. 3.
6. Female head, to the right, in high relief. The hair is enclosed by a diadem, and falls down on the shoulders. A large circular earring in the right ear. There are considerable remains of dark red paint in the hair. The chin is broken away.
Height, 1 foot ½ inch. Murray, I., p. 111.