bluuebunny/crossref_metadata_2025_split huggingface dataset:
Marble Head of a Horse
Authors: Michaelis Ad. 
Published: May 2006

The horse's head, two photographs of which appear on Pl. XXIV., was procured in the neighbourhood of Tarentum and presented to the British Museum by J. Reddie Anderson, Esq.This presentation is a new and pleasing indication of the interest felt by private collectors in the British Museum, and of the increasing feeling that only in public collections can ancient monuments be protected from risk; a thesis which I have already had occasion in my Introduction to Ancient Marbles in Great Britain to maintain and to enforce by many sad instances.I comply with the request of the Editors of this Journal in accompanying the photographs with a few remarks.According to a note by Professor Percy Gardner, the quality of the marble is not very fine. The length of the head, from end of mane over forehead to lip, is 0·46 m., the height from bottom of cheek-bone to top of head 0·34 m. The lower lip is wanting, the ears have been broken.
On a Bronze Leg from Italy
Authors: Murray A. S. , Poynter E. J. 
Published: May 2006

Of the bronze fragment which forms the subject of Pl. LXIX., and which has been recently acquired for the British Museum, this only is certain: that it is the right leg of an armed figure in motion. With a few fragments of drapery it is, unfortunately, all that remains of a statue of heroic size: there is therefore ample room for speculation as to its subject and action. The leg is armed in a greave, and the pieces of drapery bordered with one of the forms of the Greek fret incised and originally inlaid with silver, must, from the character of the folds, have belonged to the skirt of a short chiton, such as was worn under armour. The figure was therefore that of a hero in full armour, and that it was in motion is sufficiently indicated by the fluttering movement of the pieces of drapery.It will be well to introduce here some notes which Mr. Murray was kind enough to send to me, and which were a most valuable assistance to me in the preparation of this paper:—I will offer one or two observations regarding the bronze leg recently acquired for the British Museum from M. Piot in Paris.
Two Vase Pictures of Sacrifices
Authors: Smith Cecil 
Published: May 2006

I suppose it may be thought that some apology is due, firstly for introducing in this paper what appear to be merely the scattered remains of a painted vase, and secondly because part at least of the fragments on Plate I. have been published more than once, and are already well known. I shall hope to show that both apologies are needless: for one reason, these fragments are quite sufficient to suggest to us probably all the beautiful picture that the painter had in mind; and for another reason, because the portions added since the original publication entirely alter the character of the scene.It is much to be regretted that fragments of painted vases have not always received due attention at the hands of archaeologists. Among the records of travel in Greece of the early part of this century we frequently meet with descriptions of sites which were covered with fragments of painted pottery: but it was comparatively rare to find students like Sir C. Newton, or, as in the present case, Mr. James Millingen, who took the trouble to collect and preserve the fragments themselves. Recent excavations, such as those at Tiryns and Naukratis, and more recently still on the Akropolis at Athens, have taught us how much is to be learnt from a study of these apparently insignificant potsherds. Even if they do not always, as here, combine to show us a finished picture, they often prove invaluable documents of the keramic history of the sites on which they were found.
Some Fragments of a Vase presumably by Euphronios
Authors: Harrison Jane E. 
Published: May 2006

The fragments collected on Plate VI. were found in 1888 in the excavations on the Acropolis—near to the south wall beyond the stratum of poros débris. (). I am not able to offer a complete restoration of the design, nor to explain with certainty all details, but the extant fragments are of such great artistic and archaeological importance that it seems desirable to publish them at once, without waiting either for such explanation or for a detailed examination of the mythography involved.I owe to the courtesy of M. Kabbadias permission to make the publication. The drawing is by M. Gilliéron, kindly supervised by Dr. Wolters, after I left Athens. To him is therefore due the present restored position of the fragments.The vase was obviously a cylix, the designs of both interior and exterior being painted on a white ground. The necklet and bracelet of the female figure, the head-bands of both, and other portions in slight relief and now coloured red, once bore gilding. The subject and main outline of the—most important—interior design are happily clear. Orpheus (ΟΡΦΕϒ) to the right sinks on one knee to the ground; his left hand no doubt supported him.
On the Raft of Ulysses.—OD. V.
Authors: Warre Edmond 
Published: May 2006

This was a raft, and not a boat, or even a rude imitation of a boat. Many of the difficulties connected with the well-known description of its construction in the fifth book of the Odyssey have been increased by the confusion of these ideas.Homer, ‘qui nil molitur inepte,’ is evidently well acquainted with ships, and with a seafaring life, and all its technicalities. In this respect he differs from Hesiod, who (possibly glancing at the manifest σοφία about ships displayed by the older bard) expressly tells us that, unlike his father, he isΕργ. 647.
A Dedication to Artemis
Authors: Hill G. F. 
Published: May 2006

The coin of Sicyon, of the obverse of which a drawing by Mr. F. Anderson (made over a photograph) is given here, has been twice published both times by Professor Percy Gardner.The inscription on the obverse, which lends special interest to this piece, is unique among adscititious inscriptions upon Greek coins, not only in its elaborate character, but in the manner of its execution. Such inscriptions are in other cases graffiti, scratched with a point; this is pricked into the metal with a pointed instrument.
Patrocles and the Oxo-Caspian Trade Route
Authors: Tarn W. W. 
Published: May 2006

The statement is usually made, that Greek geographers between Herodotus and Ptolemy believed the Caspian to be an inlet of the Northern ocean; that the Greeks, from the time that they first knew of the Oxus, believed it to flow into the Caspian; and that raw silk and other articles of commerce were carried down the Oxus into the Caspian and thence in due course to the Black Sea.Even before Alexander, perhaps as early as Herodotus, there was a vague notion that the Caspian was, or ought to be, connected with a circumfluent ocean, as the other large sheets of salt water then known were; but this notion did not take definite shape till after the only recorded navigation of that sea by Greeks; and it perhaps requires explanation, why a genuine voyage should have given definite shape to a false notion.
The Theatre at Megalopolis
Authors: Loring William 
Published: May 2006

The following is the principal part of a letter published in the Athenaeum of August 5th last, explaining my change of view with regard to the scenic arrangements of the theatre at Megalopolis:—‘In order to [explain my change of view] I must recall as briefly as possible the main point at issue between Mr. Gardner and Prof. Dörpfeld.‘Before the theatre at Megalopolis stood a large building—the “Thersilion”—whose portico served as the background or frons scenae, in front of which the actors in the theatre played. The original level immediately in front of this portico—i.e. the level at which the actors originally stood—was 3 ft. 3 in. above the original level of the orchestra of the present theatre; but the level immediately before the portico was afterwards lowered, to precisely this extent, by the addition of three steps to its stylobate. So far all parties are agreed. Then arises the question on which the whole controversy turns—To what period, relatively to the “Thersilion,” is the theatre to be assigned? Is it contemporary with the portico in its original form? or is it contemporary with the lower steps of the portico? Mr. Gardner holds the former view, and thence draws the inevitable conclusion that there was either a terrace or a platform, some 3 ft.
I.—A Stone Tripod at Oxford
Authors: Gardner Percy 
Published: May 2006

The tripod represented in Pl. XII. and in Fig. 1 is 26½ inches (m. 0·66) in height; the diameter is at the bottom 21½ inches (m. 0·54) and at the top 14 inches (m. 0·36). The material is limestone of a kind common in most parts of Greece, especially the Peloponnesus.The tripod was presented to All Souls' College in 1771 by Anthony Lefroy. The stand bears an inscription recording the gift, which contains a curious phrase in which the tripod is spoken of as ‘aram tripodem olim matri deum in templo S. Corinthi consecratum.’ I know not what the S before Corinthi may stand for. But the important thing is that the monument comes from Corinth. This is again asserted in the lettering of a print of it published by Gori in the Numismata Lefroyana, and repeated in a Magazine called The Topographer (November, 1789, p. 514), where Gori writes ‘Trovato a Corinto.’ It may be doubted whether Lefroy had any solid reason for supposing that the tripod came from a temple of the Mother of the Gods. Such a temple did exist at Corinth on the slope of the Acropolis Hill, as we learn from Pausanias. But, so far as I know, no remains of that temple have been observed in modern times. It can scarcely be regarded as likely that Lefroy had any reason to suppose that the tripod came from the actual site of that temple: it is far more probable that the figures of women standing on lions were to him a sufficient proof that the monument came from the temple of the Mother of the Gods which is mentioned by Pausanias.
A Counter-Protest
Authors: Furtwängler A. 
Published: May 2006

Dr. Charles Waldstein, in his article entitled ‘The Bronze Statue from Cerigotto and the Study of Style,’ which appeared in vol. xxiv, pp. 129–134 of this Journal, published a protest against the methods and results of my research.If I reply to Dr. Waldstein's statements by a counter-protest, I do so only in deference to the high scientific position occupied by this Journal, the organ of a Society which has conferred on me the distinction of honorary membership. As to the general question of Dr. Waldstein's scientific work, on which the value of his criticism depends, I have already expressed my opinion in my notice of his ‘Argive Heraeum’ written for the Berliner philologische Wochenschrift, July 1904.
Note on the Boston Counterpart of the Ludovisi Throne
Authors: Gardner Ernest A. 
Published: May 2006

I regret that an acknowledgment of the courtesy of the Director of the Museum of Fine Arts at Boston, in supplying the excellent photographs from which the illustrations of the Boston relief were produced, was accidentally omitted from my previous article.Since the appearance of my article on this relief in the last number of the Journal, I have to thank Dr. Eisler for calling my attention to the very interesting and suggestive paper published by him in the Transactions of the ‘Kunstwissenschaftliche Gesellschaft’ of Munich in the Münchener Jahrbuch für bild. Kunst, 1912. Whatever, view one may take of the artistic problems involved, the interpretation of the reliefs is extremely difficult, and is not satisfactorily solved in Prof. Studniczka's discussion. Dr. Eisler suggests that we should recognise in the Boston relief a duplication of Aphrodite— the sorrowful and the rejoicing—as well as of Adonis, and regards the whole as representing a Babylonian and Phoenician symbolism of astronomical import—the balance recalling the constellation libra and the equilibrium of night and day at the equinox, and the figures in the scales the approach of the winter and summer half-year with the elevation and depression of the sun.
The Chariot Group of the Maussolleum
Authors: Preedy J. B. Knowlton 
Published: May 2006

The following paper represents the results of a dissertation recently submitted for the M.A. degree at London. The whole question of the Maussolleum is of an exceedingly complex nature, while the composition of the Chariot Group, though only incidental to the reconstruction of the building, has been the subject of much controversy.The evidence put forward in this article cannot be regarded as entirely conclusive, but I hope to show that the margin of probability which lies on the side of those who do not think that the statues occupied the chariot is rather broader than has usually been supposed.The attitude in which I have approached the question is quite unbiassed and this will account for the fact that I appear in some parts of the paper to be arguing against both sides in turn. In reality, however, I have endeavoured to examine the evidence impartially and then to form a conclusion from those arguments only which have stood the test of examination. The conclusion I have reached on the matter is the same as that of Prof. Percy Gardner, but I do not entirely agree with him as to the grounds on which that view is to be based.
Two Notes on Pylos and Sphacteria
Authors: Compton W. C. , Awdry H. 
Published: May 2006

Thucydides (iv. 36) describes the last phase of the long contest which led to the surrender of the 292 surviving Spartans on Sphacteria.They had gradually retired to the summit of the hill at the north end of the island,—an altitude of something under 500 feet, and were making their last stand in the neighbourhood of the παλαιὸν ἔπυμα mentioned by Thucydides, which had once defended this summit, and of which small fragments are yet to be seen. These fragments are still there, for since prehistoric times this practically waterless island has probably never had inhabitants except a few nomad goatherds.The ground,—working round west, north, east, south,—is as follows, and, the photographs reproduced will help to make it clear (Fig. 1, and Plan) To the S.W. is the long slope up which the Spartans had been slowly retiring from their camp on the low level in the centre of the island. To the west the hill falls, not very steeply, to a saddle; and from this and all sides except (as they thought) the east, the Spartans were exposed to attack; then comes a shoulder before the ground slopes away westward to the open sea.
A Cup signed by Brygos at Oxford
Authors: Herford M. A. B. 
Published: May 2006

A complete drawing is reproduced in Plate IX. of a kylix in the Ashmolean Museum, signed on the handle ΒΡ∨↾ΟΣ ΕΓΕΣΕΝ. Apart from the interest of its signature, the vase is important for its subject, which appears to be rare if not unique. I have, however, been unable to determine with certainty either subject or authorship, and shall content myself with trying to establish a sound basis for further investigation, and suggesting features of probable significance.The kylix is large, with a comparatively small design in the interior. The chief measurements are: height, 12 cm., diameter, 33 cm., breadth across handles, 41 cm., diameter of inner circle, 14 cm. The cup is fragmentary, but the existing surface is well preserved, and the black, which is laid on rather thickly in parts, is deep and glossy throughout.The interior scene has a border of stopped maeander in sets of 2, 3, or 4 broken alternately by chequer squares and saltire squares with dots at the ends of the cross-arms. The two scenes on the exterior have no border but a reserved red line above and below. There is a fragmentary palmette design beneath one handle.The scene in the interior (Plate IX.) is practically complete except for a gap at the bottom of the circle, which, though it leaves the figures intact, possibly deprives us of some clue to the interpretation of the subject. All that is certain is that the two figures are kneeling on some level surface, the horizontal line of which marks off a reserved segment of the circle with depth equal to about a quarter of its diameter. The horizontal border of egg and tongue suggests, though it does not invariably denote, a definite part of the scene, such as an altar.
The Holkham Head.—A Reply
Authors: Waldstein Charles 
Published: May 2006

In the last number of the Journal of Hellenic Studies (vol. xxxiv. p. 122) Mr. Guy Dickins begins his article on the Holkham Head and the Parthenon Pediment by saying that, before accepting my own arguments as contained in my article (J.H.S. vol. xxxiii, p. 276), ‘we have the right to demand from him [myself] some evidence on the following points:—(1) That there is reason to connect the head with Athens and the Acropolis,(2) That the material is identical with the other pediment marbles,(3) That the style is Pheidian, or at any rate fifth-century Attic, and(4) That it is an architectural and not an independent piece of sculpture.'I will not needlessly occupy space by repeating what I have already written fully in my article, and I will merely take Mr. Dickins's four objections seriatim and deal with them as concisely as possible; but I must ask my readers, after they have read Mr. Dickins's exposition of his views, again to read my article carefully in order to appreciate the relative value of the evidence furnished.
Lost Fragments of the Iphigeneia Group at Copenhagen
Authors: Studniczka F. 
Published: May 2006

In the Anzeiger of the Arch. Jahrbuch 1904, pp. 224 ff., the discovery and reconstruction of a life-size marble group, now in the Ny-Carlsberg Museum, is briefly reported: it is described as an original marble work, approximately contemporary with the Niobids, and representing Artemis substituting the hind for Iphigeneia.The complete investigation and publication of this fine work have been up till now retarded by the disappearance of two important fragments, originally found with the rest at Rome in 1886, in the Gardens of Sallust, on the Spithöver Estate. Towards the end of the last century these fell into the hands of Roman dealers, and in spite of much searching have not so far been rediscovered. They were, however, known from brief written memoranda (supplemented by oral statements), and in particular from a photograph taken by Herr Joseph Haass at the time of their discovery. This photograph is here reproduced. The circular altar with the figures of seasons which is so conspicuous thereon does not belong to the group, but was at one time in the hands of a dealer at Florence.
Some Balkan and Danubian Connexions of Troy
Authors: Thallon Ida Carleton 
Published: May 2006

Prehistoric research shows us that in the troubled section of Europe known as the Near East there existed as early as the neolithic period several culture groups which may be classified under four heads as follows:—(1) The Aegean, Minoan-Mycenaean group.(2) The Thessalian.(3) The Upper Balkan and Danubian.(4) The South Russian and allied groups.The first of these is so familiar that we need only emphasize its continuity from the neolithic period through the Bronze Age, and the fact that, although eventually it was widely diffused through the Mediterranean from Spain to Cyprus and the coast of Palestine, in the Aegean area itself the northern limit on the west coast was Thessaly, which it reached in the L. M. period, and on the opposite shore the single site toward the north is Troy, where L. M. is contemporary with the VIth city. The sporadic examples on the coast from Thessaly to Troy are very late and apparently had little influence.The excavations by Messrs. Wace and Thompson in prehistoric Thessaly, which included considerably more than one hundred sites, have led them to differentiate a large number of styles of pottery, including red monochrome, red or black incised, or else painted either light on dark or dark on light in many varieties. The designs are predominantly rectilinear and more closely akin to the northern groups than to the Minoan.
The Problem of the Eumenides of Aeschylus
Authors: Livingstone R. W. 
Published: May 2006

In the play of Aeschylus the problem before the first jury of the Areopagus was this. A man kills his mother at the order of a god, because she killed his father. Can he be held guilty for an act which racial custom demanded and a god sanctioned? And yet, shall matricide go unpunished, or can that man claim to escape from the Erinyes, whose right and duty to avenge a mother is no less certain than a son's right and duty to avenge his father? The jury could not make up their minds: their votes were equally divided. It is hardly easier for us to give a clear answer to the problem which puzzled those Athenians; and we have a further problem which they were spared—what did Aeschylus think? on what grounds did he acquit Orestes? what did he mean by his solution?Editors and critics have answered these questions differently. Sidgwick holds that in the Eumenides ‘the stage is lifted from earth to heaven: it is the powers of light, Apollo and Athena, who are active to protect the morally innocent against the powers of darkness, the Erinyes and the shade of Clytaemnestra, who persecute the technically guilty. The lower view, that guilt lies in the deed, is embodied in the pursuing Furies, and here conflicts with the higher view that the innocent heart must be saved…. The gods of light fight with the gods of darkness, and overcome.’ Verrall's explanation is allied to this but more refined. He sees in the play the conflict of two Rights—of justice absolute and inexorable with the relative justice of a civic community—of the lex talionis with equity; and he sees in the reconcilement of the Eumenides a mysterious identification of Vengeance and Grace.
Aechaeology in Greece, 1927–1928
Authors: Woodward A. M. 
Published: May 2006

As the twelve months which have elapsed since my last report was completed have not witnessed any very sensational discoveries, or the inception of any very important new undertakings, I have less than usual to chronicle in the present article. Most of it relates to work done in 1927, of which particulars had not reached me in time for my last report; and I must pass over, for the same reason, several of the campaigns conducted this year. The usual arrangement is followed.American SchoolAfter a year's interval Prof. T. L. Shear this year resumed work on the Theatre at Corinth, aiming chiefly at clearing the stage and following the east parodos to its exit. Only foundations of the stage remain; there are some Greek walls, but the main structure is of Roman date. The walls of the east parodos are well preserved for their whole extent of 42 metres; about halfway along its course the parodos makes a right angle turn to the north, and then continues its course east, rising all the way by a ramp and a flight of steps. At its east end it opens on to a street running north and south, paved and with a raised side-walk. The pavement near the parodos is 5·70 metres wide and runs for a length of 62 metres, but the street continues, unpaved, southward beyond this point. To the north the street opens on to a plaza, not yet fully excavated; to the south it rises by a ramp and steps, skirting the outer wall of the east cavea. In this wall is an opening to a carefully made pit with triangular footholes in the sides; objects found in the filling of the pit date it, with the cavea wall, as early in the time of Augustus. A large number of coins, found with other small objects in a burnt layer 0·50. metre above the pavement, date from the second to the fourth century after Christ.