Stuart's drawing to have consisted of an aged satyr pursuing with a blazing torch another pirate, who is trying to make his escape. The remaining figures on the sculpture do not readily admit of being grouped. They consist of a transformation into a dolphin, No. 352, similar to that we have already described in No. 359; and of a scene in which a similar satyr is dragging a pirate by the leg, and apparently about to hurl him into the sea. Only the satyr and the head of the sailor are preserved in these casts. The workmanship of this monument of Lysicrates belongs to what has been called the later school of Athens, of the period of Scopas and Praxiteles. The reliefs indicate clearly the state of art at Athens during the last half of the fourth century before Christ. The disposition and design of the figures are excellent, the expression highly animated; but the execution is less careful. The style much resembles that of the contemporary bas-reliefs from the Mausoleum at Halicarnassus. VI. MISCELLANEOUS STATUES, ETC. Having now described the most important monuments in the Elgin Room, considered whether in respect to their individual subjects or the extent with which their subjects are treated, we propose to describe briefly the remaining contents of this room, arranged under the following heads, or groups : I. DETACHED STATUES, OR Fragments of Statues. II. MISCELLANEOUS BAS-RELIEFS. III. VOTIVE MEMORIALS. IV. ALTARS. V. SEPULCHRAL MEMORIALS. VI. MISCELLANEOUS OBJECTS. VII. INSCRIPTIONS. VIII. ARCHITECTURAL FRAGMENTS. We must, however, premise that we have no intention or desire to consider this a scientific classification, but simply as one which may be conveniently adopted by those who wish to study the different objects enumerated in succession. In many cases, indeed, it may be doubtful to which of two or more divisions some monuments I ought strictly to belong. Thus, in the case of ex votos, which, when inscribed bas-reliefs, may be classed either as votive offerings or as inscribed tablets, we have generally preferred the former arrangement, as more obvious and simple. I.-DETACHED STATUES, AND FRAGMENTS OF STATUES.' The first statue which claims especial notice is a colossal torso of a statue (No. 111) of Dionysus, wanting the head, arms, and right foot. It was originally inserted in a niche or grotto of the rock on the South side of the Acropolis, above the great Dionysiac theatre, and surmounted an edifice termed the Choragic Monument of Thrasyllus, which was constructed B.c. 320, as appears from an inscription on it commemorating the Victory in a musical contest in which Thrasyllus was Choragos. There can be no doubt that this figure represents Dionysus himself. Over the shoulders may be noticed the remains of the panther's skin, the frequent dress of this Divinity: a hole sunk in the lap of the statue perhaps formed the socket in which the Tripod, the prize in the Choragic Victory, was inserted. It was natural that Choragic monuments should be decorated with sculptures illustrative of exploits of Dionysus. We have already seen that the similar monument of Lysicrates was so adorned. This statue has been well executed: the position is dignified and graceful, and the draperies are arranged with great breadth and simplicity. The next statue we shall notice is No. 113, which is called Eros (Cupid).' It is of the size of life, and of very beautiful workmanship. It was discovered by Lord Elgin during his researches at Athens, within the Acropolis, and was put together some time after its arrival in England. It has lost its head, a portion of each arm, and the ankle of each foot, while it is doubtful whether the present left foot originally belonged to this statue. It has been conjectured that this figure was one of Icarus, belonging to a group composed of Icarus and his father (Dædalus): it seems, however, most probable that the name now given to it of Eros is correct. The forms of the limbs have the grace and elegance we should expect in that Deity, represented, as we know he was by Praxiteles, in the character of a youth. The belt which may be observed crossing the body diagonally was doubtless intended to support the quiver. No. 316,2 a small statue of the Muse Polyhymnia, or, more correctly, Polymnia (Пoλúμvia), was found at Thebes, and brought to England by Lord Elgin. The position of the figure and the arrangement of the dress have led to this attribution. Polymnia presided over Lyric poetry. Her type in ancient art is difficult to distinguish from that of her mother (Mnemosyne). As the Muse of mythic tradition, the envelopment of the hands in the full and ample folds of her drapery may possibly symbolize the obscurity in which these subjects are hidden. The figure in the Museum re 1 Engr. Museum Marbles,' Part 1x. pl. ii. and iii. pp. 9, 13. 2 Ibid., pl. iv. p. 15. No. 113. No. 316. sembles one in the Vatican in the latter the face is raised, and the head slightly thrown back : "Her looks commercing with the skies, Her rapt soul sitting in her eyes." No. 327 is a torso of a male figure, obtained by Lord Elgin from the neighbourhood of Epidaurus.' It has been supposed to represent Asclepius (Esculapius), the God of the healing art, from the resemblance which it bears to one in the group of his son Telesphorus, in 1 Engr. 'Museum Marbles,' Part 1x. pl. v. p. 17. the Musée Royal at Paris. This fragment has been executed in a very good style, and the surface is in a good state of preservation. Epidaurus, near which this statue was found, was the principal seat of the worship of Asclepius in Greece. He had a temple there, surrounded by an extensive grove, within which no one was allowed to die, and no woman to give birth. The next statue to which we shall call attention is No. 128,' originally one of six female figures, which served instead of columns to support the southern portico of the Temple of Pandrosos, on the Acropolis at Athens. Such figures are called Canephora, because the type is borrowed from the figures of the females whom we see in the Northern Frieze of the Parthenon, who carried various objects used in the Sacred ceremonies of the Temple during the Panathenaic festival. The semi-globular object which surmounts the head of this figure is the Káveov (canistrum), the flat circular basket which contained the sacrificial utensils. From this vessel rises the richly-ornamented capital which supports the entablature of the portico. The composition of this figure is simple and grand, while the fine and frequent folds of the draperies give richness to the general effect. No.166.2-We insert here the description of a large fragment which belongs to the Elgin collection, though the exact place from which it originally came has not been determined. It is No. 166 in the Phigaleian Room, and represents the eighth labour of Heracles-the destruction of Diomed, King of Thrace. This marble has been sadly defaced, apparently wilfully; but enough remains to show that it has been executed with great ability. The vigour of Heracles is well expressed, and his position well conceived—the flowing drapery of the hero expressing the violence of the action. The legend was, that Diomed, King of Thrace, the reputed son of Ares and Cyrene, was in the habit of feeding his horses upon human flesh. It is probable that this monument was a metope, or architectural decoration; but it is not known to what building it was attached, or from what district it was brought. These are the separate figures most worth noticing. There are, besides, three heads broken off from statues, which may seem deserving of separate remark. The first, No. 250, which is the head of some unknown female person; the workmanship of a rather early period, and the head-dress resembling in many respects some of the coins of Corinth. 1 Engr. 'Museum Marbles,' Part 1x. pl. vi. p. 29. |