Studies_, VI., p. 243, pl. 61. (_c_) A sepulchral relief from Praeneste, in the Vatican, commemorating one Tiberius Octavius Diadumenus, and having a relief of a Diadumenos, in allusion to the name. Pistolesi, _Vaticano_, IV. 84. (_d_) A gem. _Journ. of Hellen. Studies_, II. p. 352. See also No. 501.
[Sidenote: =501.=]
Graeco-Roman statue of a Diadumenos. Statue of a nude youth standing, tying a band (taenia) about his head. Both arms were raised, but the left is lost. This figure, like the Diadumenos of Vaison (No. 500), stands principally on the right leg, but the left leg is differently placed, and the whole pose is thereby altered. By the side of the figure is a stump of a palm.
The hair falls in curls, and the figure is more youthful than the Diadumenos of Vaison. Except in the similarity of subject these statues have little in common, and if the Vaison figure represents the statue of Polycleitos, this figure would appear to be either an independent rendering of the same subject, or only remotely derived from Polycleitos. It was, however, for a long time regarded as a copy of the work of Polycleitos, and this view has been held by several writers, after the discovery of the Vaison Diadumenos.--_Farnese Coll. 1864._
Pentelic marble; height, 4 feet 10-1/4 inches.
Restorations:--Nose, parts of band. The right leg appears to be ancient, but worked over. In the earliest publications (Cavalieri, &c.) the left arm is drawn as if restored. The statue is first known in the Villa Madama, near Rome (Cavalieri, _Ant. Stat. Urb.
Romae Liber_, 1569, pl. 97). It was afterwards in the Farnese Gardens, in the Farnese Palace, and at Naples. Guattani, _Mem.
Encicl._, V., pl. facing p. 83; Gerhard, _Ant. Bildwerke_, pl.
69, p. 311; Muller-Wieseler, _Denkmaeler_, I., pl. 31, fig. 136; Clarac, V., pl. 858 C, 2189 A; _Annali dell' Inst._, 1878, pl. A, p. 20 (Michaelis); Murray, I., pl. 9, p. 273; Rayet, _Monuments_, text to No. 30; Mitchell, p. 388; Wolters, No. 509; Mansell, No.
726.
The Polycleitan origin of the Farnese statue is supported by Winckelmann (_Hist. de l'Art_, Bk. VI., chap. 2), Guattani (_loc.
cit._), Newton (Rayet, _loc. cit._), Brunn (_Annali dell' Inst._, 1879, p. 218), Murray (_loc. cit._).
[Sidenote: =502.=]
Statuette copied from the Doryphoros of Polycleitos (?). Figure of youth having the arms broken off from the shoulders, and the legs from above the knees. The head is slightly bent forwards, and turned to the left of the figure. The left leg was advanced in front of the right leg.
The figure, like a bronze statuette at Athens (_Mon. dell' Inst._, viii., pl. 53), which it nearly resembles, may perhaps be a modified rendering of the Doryphoros of Polycleitos. The Doryphoros (spear-bearer) was a figure of a nameless athlete, which carried a spear, and which was the Canon or typical model of later sculptors (see above). The type was first recognized by Friederichs in a statue from Pompeii, now in the Museum at Naples, and other copies have since been identified.--_Athens._
Marble; height, 9 inches. Unpublished. The principal examples of the type are:--(_a_) Figure at Naples (Friederichs, _Doryphoros des Polyclet_; Rayet, _Monuments_, I., No. 29; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 84). (_b_) Relief from Argos (_Athenische Mittheilungen_, III., pl. 13; Mitchell, p. 386).
(_c_) Bronze bust from Herculaneum, at Naples, found with a companion bust of an Amazon (Comparetti, _La Villa Ercolanese_, pl. 8, fig. 3). (_d_) Gem at Berlin (Overbeck, _Gr. Plast._, _loc.
cit._). For other copies, see Michaelis, _Annali dell' Inst._, 1878, p. 6; Wolters, Nos. 506, 507.
[Sidenote: =503.=]
Head of Amazon, slightly inclined to the left and looking down, with an expression of pain on the face. The hair is parted in the middle, and drawn back over the ears to the back of the head, where it is gathered in a bunch. The sharp parallel lines in which it is worked suggest that the head is copied from a bronze original.
Pliny relates (_H. N._, xxxiv., 53) that four artists, Polycleitos, Pheidias, Cresilas and Phradmon, made statues of Amazons which were placed in the temple of Artemis at Ephesus. Polycleitos was accounted to have won the competition, as he obtained the second vote of each of his rivals. This account of the contest has the appearance of a late invention. There are, however, many statues and busts of wounded Amazons which appear to be copies, more or less exact, of three types, different one from another, but yet so far alike that they may have been produced by artists working on one plan.
The present head belongs to the type which various archaeologists (Klugmann, _Rhein. Mus._ 1866, p. 327; Michaelis, _Jahrb. des Arch.
Inst._, i., p. 40) have assigned to Polycleitos. The complete figure is that of a wounded Amazon, leaning with the left arm on a pillar, and having the right hand resting on the top of the head.
_Brought to England by Lyde Brown. Purchased by Townley, 1774._--_Townley Coll._
Greek marble; height of ancient portion, 10-1/4 inches.
Restorations:--Tip of nose, throat and bust. _Mus. Marbles_, X., pl. 5; _Guide to Graeco-Roman Sculptures_, I., No. 150; Murray, I., p. 280; _Jahrbuch des Arch. Inst._, I., 1886, pl. 3, No. 2; p. 16, _K_, (Michaelis). There is a drawing by Cipriani in the British Museum (_Add. MSS._ 21,118, No. 12).
The best examples of the type are:--(_a_) A statue at Lansdowne House, London. _Specimens of Ant. Sculpture_, II., pl. 10.
_Cat. of Lansdowne Marbles_, No. 83. (_b_) A bronze head from Herculaneum, now in the Museum at Naples. Comparetti, _La Villa Ercolanese_, pl. 8, fig. 1. (_c_) Compare the Amazon on the Phigaleian frieze (No. 522). For further literature and examples, see Michaelis, _loc. cit._
[Sidenote: =504.=]
Head of Hera (?). Ideal female head wearing a lofty diadem. The hair was brought to the back of the head, where it was tied in a knot, now lost.
It is thought possible that this head may be derived from the Argive statue of Hera by Polycleitos, for which the coins of Argos may be compared (_Journ. of Hellen. Studies_, vi., pl. 54, Nos.
12-15).--_Girgenti._
Marble; height, 1 foot 4 inches. The lower part of the back of the head on the right side, which had been broken, has been in modern times roughly carved on the fractured surface to represent hair, and the end of the diadem. The surface of the face has also suffered from being worked over. The genuineness of the sculpture has been questioned, without reason. _Mon. dell' Inst._, IX., pl. 1; Helbig, _Annali dell' Inst._, 1869, p. 144; Overbeck, _Gr.
Kunstmyth._, pl. 9, figs. 4, 5; II., p. 81, 3; Murray, I., p. 268; Wolters, No. 501; Furtwaengler, _Arch. Zeit._, 1885, p. 275, fig.
A; Murray, _Romische Mittheilungen_, I., p. 123.
THE TEMPLE OF APOLLO AT PHIGALEIA.
The Temple of Apollo Epicurios, at Phigaleia, in Arcadia, stands in a slight depression on the bare and wind-swept side of Mount Cotylion, above the valley of the river Neda. It was discovered towards the end of the eighteenth century, but on account of its remote position it was seldom visited before 1811. In that year the party of explorers, who had previously discovered the pedimental sculptures of Aegina, began excavations which were completed in 1812. The party included Cockerell and Haller in the first season, and Haller, Stackelberg and Brondstedt in the second season. The sculptures found were removed to Zante, and were purchased by the British Government in 1814.
The temple was visited by Pausanias, who describes it as being situated at the village of Bassae on Mount Cotylion, about five miles from Phigaleia. Pausanias states that the temple and its roof were alike built of stone, and that it might be counted among the temples of the Peloponnesus, second only to that of Tegea, for beauty of material and fineness of proportion. He adds that the temple was dedicated to Apollo Epicurios (the Helper), because the god had stayed a plague at Phigaleia in the time of the Peloponnesian war. The architect was Ictinos, the builder of the Parthenon (Paus. viii., 41, 5). The date of the temple is therefore about 430 B.C., although it is doubtful whether the plague in Arcadia was connected with the more celebrated pestilence at Athens.
The temple is built of the light grey limestone of the surrounding mountains. The sculptures, tiles, lacunaria, and capitals of the interior architecture were all of marble, which was probably obtained in the neighbourhood. The form of the building is that known as amphiprostyle peripteral hexastyle. The temple consisted of a central cella with a pronaos and opisthodomos, and was surrounded by a Doric colonnade, having six columns at the ends and fifteen columns at the sides. The pronaos and opisthodomos were each bounded by two Doric columns between antae, surmounted by metopes. The cella contained ten Ionic columns engaged in buttresses which connected them with the side walls. Towards the south end of the cella was a single Corinthian column, of remarkable form, which is now lost. Beyond it was the temple image, which by a peculiar arrangement is thought to have looked to the east, towards a side door, the orientation of the temple being nearly north and south. It has been thought that this arrangement may show that an ancient shrine was embodied in the later temple. (Curtius, _Pelop._, i., p. 329; Michaelis, _Arch. Zeit._, 1876, p. 161). The frieze was internal, and passed round the cella, with the exception of that portion which is south of the Corinthian column. (Compare the ground plan, fig. 22, and the view, plate xi.)
[Illustration: Fig. 22.--Plan of the Temple of Apollo at Phigaleia.]
The temple was discovered by a French architect, Bocher, in November, 1765 (Chandler, _Travels in Greece_, 1776, p. 295). For descriptions of the architecture and sculpture, see Stackelberg, _Der Apollotempel zu Bassae, in Arcadien_, 1826; Donaldson, in Stuart, 2nd ed., vol. IV.; Blouet, _Expedition scientifique de Moree_, II; _Museum Marbles_, IV.; Leake, _Travels in the Morea_, II., chap. xii., p. 1; Ellis, _Elgin and Phigaleian Marbles_, II., p. 175; Cockerell, _The Temple of Jupiter Panhellenius at Aegina, and of Apollo Epicurius at Bassae, near Phigaleia, in Arcadia_, 1860; Overbeck, _Gr. Plast._, 3rd ed., I., p. 449; Murray, II., p.
169; Wolters, Nos. 880-912. For literature specially relating to the frieze, see below, p. 279. Views and plans of the temple are exhibited in a table case.
ARCHITECTURAL FRAGMENTS.
[Sidenote: =505.=]
Two fragments of the cymatium cornice, with a pattern of palmettes alternating with palmettes of a plainer form, springing from acanthus leaves as on the cornice of the Erechtheion. The member to which these fragments belong surmounted the pediments.
Marble; height, 1 foot 1/8 inch; width, 4 feet 2-3/4 inches. The left-hand fragment is engraved in _Mus. Marbles_, IV., vignette.
_Synopsis_, Nos. 26, 27; Cockerell, _Phigaleia_, pl. 6; Ellis, _Elgin and Phigaleian Marbles_, II., p. 212.
[Sidenote: =506.=]
Fragment of a Doric capital, from a column of the external colonnade.
Limestone; height of fragment, 1 foot 5 inches; width. 1 foot 9 inches. _Mus. Marbles_, IV., pl. 25, fig. 4; _Synopsis_, No. 24; _cf._ Cockerell, _Phigaleia_, pl. 6.
[Sidenote: =507.=]
Fragment of the capital of one of the Doric columns of the pronaos or opisthodomos, including the lower part of the echinus, and the upper part of the flutings.
Limestone; height, 5-1/2 inches; width, 1 foot 6-1/2 inches.
[Sidenote: =508.=]
Fragment of the capital of one of the Ionic columns of the interior of the cella, with a part of the fluting. These capitals are of peculiar form, each column being connected at the back by a cross wall with the wall of the cella (see plan). The three exposed faces of the capital had each a pair of Ionic volutes. In the centre of the volute is a stud of marble separately made. The hole for it was prepared by a series of drill holes placed so as to form a ring-like depression, the centre of which was afterwards worked out. The profile of the side pairs of volutes was somewhat different to that of the front pair, whence it can be ascertained that the fragment in the British Museum contains a part of the front and right side of the cap.
Marble; height, 1 foot 6 inches. _Mus. Marbles_, IV., pl. 25, fig.