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POSTSCRIPT.

SOME ACCOUNT OF THE MUSEUM OF NATIONAL ANTIQUITIES, ATHENS.

Ir has been observed, under the head | temple, is a Silenus; then a Pan; of Athens (p. 185), that there is no published general catalogue of the objects which form collectively the National Museum of Greece. It is intended that these shall, ere long, be gathered together, and deposited in one or other of two localities those found in the Acropolis in the Museum behind the Parthenon, and all the other national antiquities in the Museum now in course of construction on the Patissia road-a building erected from the funds left for the purpose by Mr. Stornari, a Greek merchant of Alexandria. When these two buildings shall have been completed, the Hellenic national collection, which is at present scattered, and stowed away in so many out-of-theway corners that few persons ever see the whole of it, will be, no doubt, duly catalogued. There exist but few materials for compiling an instructive catalogue from, but in the mean time the following lists may be of use to travellers. They refer to some portions of the national collection as they stand in the month of January, 1872:

The Theseum.

On entering the temple, and turning to the right, there is a figure of a Lion (No. 1); beyond which lie a series of Sepulchral Monuments, of which No. 2 is that of a Gymnast or master of a school of exercise. The group numbered 19 is very beautifully executed. The Torso, No. 24, is succeeded by other sepulchral monuments. No. 34 represents Harmodius. Beyond the tombstone numbered 37, following the outside wall of the

then a sepulchral vase; then some Roman heads; then a stele, and beyond it a sepulchral vase such as was erected in commemoration of a maiden. Beyond another tombstone and monument is (176) a Hermes. Beyond 176 is a relievo brought from Patras, displaying Satyrs and Bacchantes. Nos. 259 and 276 are collections of sepulchral monuments, beyond which is a headless Hermes. (One may here recall to mind the destruction of the Hermæ, or statues of the god Mercury, in one night at Athens, on the eve of the departure of the Sicilian expedition. This mysterious event led to the recall of Alcibiades and to the downfall of the empire of Athens. Mr. Grote's description of the occurrence referred to will be read with more interest after seeing one of the headless Hermæ.) No. 308 is one of the most beautiful monuments in the temple. No. 274 represents a Harpy: this monument is very ancient, and is unfinished. Beyond it, following the wall round to the entrance door, are a series of inscriptions relating to maritime affairs or events.

In the interior of the temple, to the left of the door, No. 537 represents a child with a bird. No. 352 is a headless statue of Minerva. No. 289 is a very fine work of art, representing an Athlete: it was found about ten years since at Atalanta. Then comes an Apollo from the island of Thera, in the Archaic style of art, and similar to the Apollo of Tenos. Next to it, in a case, is the figure of Aristion, the warrior who is said to have brought to Athens the news of the battle of Marathon. Beyond it is a sepulchral

monument which was recently found to persons visiting the Collection of

in the excavations at the Agia Triada (on the Via Sacra) at Athens. Facing the door, on entering the temple, is a manificent statue, supposed to be of Apollo, with a serpent below. This beautiful and almost perfect piece of workmanship was found in the island of Andros, and is believed to be of the period of Lysippus.

Next to it is a Roman Sarcophagus, behind which is the Torso of an emperor perhaps Nero. Next to the right is a highly interesting sepulchral monument from the Agia Triada, with a Greek and a Phoenician inscription. Next to it stands a Juno; and next a Caryatid. Next stands the finest piece in the temple, representing Ceres and Proserpine with a youth between them imploring their blessing. This piece is supposed to be of a date anterior to the time of Phidias. Then stands a Roman figure in the Egyptian style. Then is an Apollo, of excellent workmanship, and very ancient; next to which is a statue of Mercury, half destroyed by water. Then stands an exquisite figure of a Siren, found at the Agia Triada; and then a Roman Sarcophagus.

On the other side of the temple, in the interior, there are some exquisitely lovely monuments, of which that standing next to the sarcophagus is especially to be noted. The one next to it is also deserving of the closest attention. It is in high relief, and may be identified by the form of a cat, without the head. The eighth from the tomb is one of the very finest monuments in the temple. It is in very high relief and represents a parting scene-a lady dying after having given birth to a child. It would be impossible to conceive any more touching picture than that which is here represented.

It may be remarked, before taking leave of the Temple of Theseus, that every monument in it is well worthy of attention, and that those outside should also be visited. One of these, half-buried in the earth, represents a gigantic Apollo. The Temple of Theseus will repay many visits.

The following notes may be of use

Antiquities at the Varvakeion, but it is to be observed that as these objects are not, for the most part, numbered, it is difficult to describe them in such a manner as to insure their being identified. The Varvakeion collection is at present (January 1872) disposed of in six rooms and a passage. In the passage stand four Hermæ, and at the window at the end are a number of masks brought from the theatre of Bacchus.

In the 1st Room, to the right of the entrance door, are sepulchral monuments of various shapes, some retaining the traces of colouring. In the corner is a broken monument, with vivid colouring. In this room there are many vases which were found in Attica. In the cabinets are arms, mirrors, &c., well executed in bronze; and above are two vases having figures in relief, one of them found in Attica, the other in Boeotia. There are likewise some polychrome vases of an ancient period-probably four centuries

B.C.

In the 2nd Room (which is entered by passing through the third) there stands, to the rt. on entering, a cast of the Apollo of Tenea-representing the Archaic style of art. Near the window at the farther end are some fine vases of each of the three marked periods. These may thus be roughly identified. To the first period belong such vases as have red, dark-brown or black figures drawn on a ground of lightred or clay-colour. To the second period belong such as have black figures on a red ground. To the third period belong such as have red figures on a black ground. By keeping these three points in mind one may readily classify, in general terms, all Greek vases. Many of these vases belong to a very remote period-some probably dating from 1000 years B.C., while all of those in this collection are believed to belong to a time before or coeval with the Christian era. It is to be regretted that the vases in this room are not by any means arranged in the order of time to which they belong. Besides the excellent collection of

vases, there are in this room two fine | near the Temple of the Winds. The marble heads-that to the right was 6th head from the left, opposite to the brought from Cyprus. To the right of door, bears a striking resemblance to the door, on entering, is a cabinet Napoleon I. In this room there is a containing antiquities from Tegea. great variety of patterns of oil-lamps, The coins in the cabinets are of no &c. At the end, opposite the entranceespecial interest. door, is a Diana, from Ephesus; then a Minotaur (from the Gymnasium of Ptolemy), of beautiful workmanship, and meant for a fountain; then a Minerva, from Euboea; and next to it a Venus, from Cheronea.

In the 5th Room are several terracotta and bronze figures, of which 3 (in a glass case), brought from Egina, deserve especial notice. They preserve their original colouring. The central

chante and a Satyr. In the cabinets are some very curious Greek implements, amongst them marble presses for smoothing (ironing) clothes. Near the window is an ancient bath, as is also a figure of Victory from Cyrene.

In the outer, or 3rd Room, there are some most beautiful statues. To the left of the door of the inner room, towards the window, the third head is that of a Roman emperor, probably Nero. Those near it are likewise of Roman emperors, and were brought from the theatre of Dionysus. In front of them is a beautifully carved marble table, from the island of Thera. It is the only table in the Athens col-group of the three represents a Baclection. On the opposite side of the room, the 3rd head from the window represents the bearded or Indian Bacchus-one of three such in the row-and dating from a time anterior to that of Phidias. Near it is a head of a winged Mercury. Next to this stands a remarkable head, with very thick hair and very low forehead. Next to it is a Siren. Then stands a Pan and Cupid, from the island of Melos; next to which is a female head, with one of the eyes painted as it was found. The Greeks, it may be stated, were in the habit of painting the eyes of all statues. The 5th from the window is a very lovely female head, and next to the window is a globe, brought from the Dionysiac Theatre.

In the 4th Room there is an unrivalled collection of 30 heads, all of Masters of Gymnasia, which were found together, about 10 years since,

In the 6th Room are some Egpytian antiquities, and a very valuable collection of implements of the stone period, presented by Mr. Finlay.

The student of art, after having studied the collection of antiquities in the Theseum and the Varvakeion, should also inspect those at the Ministry of Public Instruction; in the Temple of the Winds; and at the Communal School at the Piræus. It is to be hoped that these various collections will ere long be gathered together in the new Museum.

[graphic]

Newly excavated Street of Tombs on the road from Agora of Athens to Eleusis.

FOR

TRAVELLERS IN GREECE.

GENERAL INTRODUCTION.

A. Interest of Greek Travel; Mode of Travelling, &c.-B. Routes from England to Greece.-c. Requisites and Hints before starting; Luggage; Clothes; Presents; Letters of Introduction; Money; Passports, &c.-D. Climate and Seasons for Travelling.-E. Maxims and Rules for the Preservation of Health; Malaria; Quarantine.-F. Travelling Servants; Roads; Hire of Horses, &c.-G. Shooting; Fire-arms; Animal and Vegetable Productions, &c.-H. Yachts, Boats, &c.-1. Accommodation for Travellers; Provisions, &c.-J. Geographical Outline of Greece.-K. Practical Observations on Hellenic Architecture.-L. Outline of Greek History.-M. Sketch of the Present Condition of the Greek Church.-N. Observations on the Modern Greek Language.-o. Character, Manners, and Customs of the Inhabitants of Greece, and of the Greek Provinces of Turkey.

a. INTEREST OF GREEK TRAVEL; MODE OF TRAVELLING, &c. A JOURNEY in Greece is full of interest for a traveller of every character, except indeed for a mere idler or man of pleasure. There the politician may contemplate for himself the condition and progress of a people, of illustrious origin, and richly endowed by Nature, which, after a servitude of centuries, has again taken its place among the nations; there can he best form an accurate opinion on that most important question-the present state and future destinies of the Levant. The struggles of Greece must command the sympathy of all thoughtful minds-if not for her own sake, yet from the effects which may be expected to result from them in the East. "We do not aspire to prophesy of the future fate of Constantinople, but when we think of all those Turkish subjects who speak the Greek language and profess the Greek religion; when we think of the link which the same religion has made between them and the Slavonic tribes below and beyond the Danube; we cannot but look upon the recovery of the Christian nationality of Greece as one of the most important of modern events, or watch the development of this young kingdom without feelings of the most anxious expectation. We cannot believe that the Mahommedan tide, which was arrested at Lepanto, will ebb back no farther than Navarino."-Quarterly Review.

Nor can the artist feel less interest than the politician in the countries which we have undertaken to describe. To quote Mr. Lear:-"The general and most striking character of Albanian landscape is its display of objects, in themselves beautiful and interesting, and rarely to be met with in combination. You have the simple and exquisite mountainforms of Greece, so perfect in outline and proportion-the lake, the river, and the wide plain; and withal in Albania you have the charm of Oriental architecture, the picturesque mosque, the minaret, the fort, and the serai, [Greece.]

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