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ANOTHER NOTE ON THE OF THE LATER AT EPHESUS.

WHEN I wrote my former notes I was undecided as to the meaning of two of the sculptured fragments. No. 1215 is described in the Catalogue as ' Fragment of sculptured pier, with portions of two figures wrestling; one is half kneeling, and his left thigh is clasped by the hand of his opponent —perhaps the contest of Herakles and Antaeus.'1 (Fig. 1.)

FIG. 1.

The high relief shows that the fragment indeed belonged to a pedestal, and in re-examining it more carefully I find that a portion of the right-hand return still exists. Small as the trace is, it is enough to fix the place of the fragment in regard to the angle of the pedestal together with the vertical direction. It is plain, further, that the hand which grasps the leg is a left hand. These data are enough to define the general type of the design—a type which is well known for the struggle of Herakles and Antaeus (Fig. 2). The subject is that proposed in the Catalogue, but its treatment was not that which is there suggested. In Reinach's Repertoire four or five examples are illustrated of statue groups which conform to the same formula, and one is given in his collection of Reliefs (iii. p. 75). Another similar design from an engraved gem appears in Daremberg and Saglio's Dictionary under ' Antaeus.' Our Ephesus relief is by far the oldest of these, and in several other cases these give the earliest known versions of their subjects.

1 This suggestion was first made by Dr. Murray, R.I.B.A. Jour. 1895. 25 26 W. R. LETHABY Beneath the restored pedestal (Fig. 2) is shown a square block A B, such as would have been necessary for the support of the projecting figures. A complete base for the sculptured pedestals is suggested (to a smaller scale) by D, the projection of the sculpture being indicated by S. The ordinary base, which was probably repeated under the sculptured drums, is represented at C. It will be observed that D projects as much as C while having a level upper surface to receive the sculpture. There could not have been bases of the C type under the sculptured pedestals because they have no level upper surfaces, and if any such were provided by bringing the moulded forms further out, an impossibly awkward profile would have resulted and the projection would have, been absurdly great; finally, no straight-sided moulded bases were found.

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FIG. 2.

The second of the fragments is No. 1217, from a sculptured drum. It is small, and described as ' much mutilated, with a female hand holding up a veil; a spiral bracelet on the wrist.' The hand is turned palm outwards, and it grasps a fillet or ' sash' rather than a veil. To the right of the hand is a trace of the head of the figure to which it belonged, in a position which shows that the arm was extended and lifted high. To the left in front of this figure was another, of which the elbow of a raised arm is preserved. These figures must have been somewhat widely spaced. Above the hand and the head are traces of masses falling in curves as if suspended, and it appears- that these must be parts of a series of festoons which surrounded the top of this drum. Along the lower edges of these festoons seem to be traces of leaves (Fig. 3). This fragment must be part of a drum on which were about six figures engaged in suspending festoons, or rather in attaching fillets to festoons. ON THE SCULPTURE OF THE LATER TEMPLE OF ARTEMIS 27 We may be reminded of the relief of Dionysos at the , where an attendant is hanging up festoons; this relief is probably of the second century B.C. A second relief in the British Museum—that of Homer and the Muses, by an artist of Priene, which seems to be of the third century B.C.—has similar festoons around a circular altar; and a real altar of fairly good style found in the theatre of Dionysbs at Athens has fine festoons.2 The temple at Magnesia had festoons on the walls. An altar at Delphi is practically a copy of our drum.

FIG. 3.

Even if it requires a few words of repetition, it may now be convenient to collect under the several numbers of the sculptures in the Catalogue a few further observations, which are mainly of the nature of footnotes to my former papers. When careful revised restorations are made the smallest hints may prove of use. 1200, Pedestal block; the story of Herakles and Omphale. The lion- skin of Herakles must have been worn with the skin of the fore-legs tied around his throat as on many vases and reliefs.3 Fig. 4 is a restoration of what remains. Found at the west front. 1201, Pedestal block; Herakles in the Garden of the Hesperides. The pendent lion's skin carried by H. should be compared with that of the Lansdowne House statue, which is supposed to be a copy of a work by Scopas. Compare the seam of the serpent's skin with Figs. 1 and 2 in Miss Harrison's Prolegomena. Found at the west front. 1202, Drum ; procession of men in Persian dress. It may be suggested that they were represented as bringing the gifts of Croesus to the Temple. They might almost be the prototypes in art of the Wise Men of the East. West front.

2 Miss Harrison's Mythology and Monu- 3 See Roscher's Dictionary, iii. p. 246. ments, p. 291. 28 W. R. LETHABY 1203, Drum; another fragment of the same. West front. 1204 (a), Pedestal blocks (#); Combat of Herakles and Kyknos.

FIG. 4.

Fig. 5 is a restoration. These two blocks are not of equal width. A cross is scratched on one of the surfaces.

FIG. 5.

1204 (b), Pedestal block; Artemis warning someone beyond, doubtless Herakles attacking the Keryneian stag, of which a trace seems to remain at ON THE SCULPTURE OF THE LATER TEMPLE OP ARTEMIS 29 the left-hand bottom corner. A late relief of this subject at the British Museum is on a tall panel, which is of suitable proportion for the space to be filled on the pedestal. West front. 1205, Pedestal block; Herakles and a . A Triton blowing a shell, but otherwise of similar type to the one of which a restoration was before given, was carved on the base of a at Branchidae.4 A Triton also blowing a shell, but later in style, is in the British Museum on a relief from the theatre at Ephesus. The constantly repeated motive of old Triton's ' wreathed horn' must have had some noteworthy original, and it seems probable that this subject may have been on another side of the Triton pedestal at the Artemision. All the facts suggest that the Tritons and Nereids of Ephesus must have been designed by Scopas, the master of a famous group of marine deities. West front. 1206, Drum,; Alkestis released from Hades. For the attitude of Hermes with the hand against his hip covered by drapery, compare the Uffizi Athene figured in Furtwangler's Masterpieces. Can the diadem or fillet carried by Persephone have been given back by the departing Alkestis ? The forefinger of the lifted hand of Thanatos was not extended as beckoning, but closed against the thumb. (On representations of Thanatos see Heine- mann's Thanatos, 1913, and F. P. Weber's Aspects of Death, 1914.) Hermes was speaking. Any photograph of this drum will show the technical skill with which the figures are so modelled as not to interfere with the contour of the column; the general cylindrical surface is so much maintained for the parts in relief that the sculpture hardly breaks up the form more than painting would have done. West front. 1207-1210, Pedestal blocks; Nereids riding Hippocamps. On the return in front of the two most perfect pieces, there are full traces of another great coiled tail which was like the other. There is evidence for Nereids on three sides of the pedestal and, doubtless, the fourth was similar. West"1 front. 1211, Drum; Family groups of Citizens assembled at the Temple. This is in the style of many votive reliefs of the fourth century; see Figs. 3, 5, 12. 87, 101, 102 in Miss Harrison's Prolegomena. At first, Wood thought that No. 1215 and No. 1213 were parts of one drum, but he corrected this in his errata. The standing woman's figure has her arms shrouded under her mantle in an attitude commonly used in terra-cottas, it is found also on the relief of the Muses found at Mantineia and attributed to . Our figure stands mainly on the left foot which throws the hip out in a curve. From the east end. 1212, Pedestal block; Victories leading animals to the sacrifice. In my sketch of a restoration a ledge under the figures was shown, but there was in fact only a piece of raised ground and not a continuous projection. It seems that in all cases the bed joint was at the level of the feet of the figures who must have seemed to rest on a course below. This is

4 Pontremoli and Haussoullier, Didymts, p. 153. 30 .- R. LETHABY further confirmed by comparison with the great sculptured plinth of the Altar at Pergamos, where the figures were supported in a similar manner. West front. 1213, Drum; The Muses. The figure on the left was standing in profile, and seems to have had her chiton caught up over the raised heel of a foot which rested on its toes (Fig. 6). This attitude may be compared with that of a Muse on the Priene relief at the British Museum. In the Catalogue it is said that the latter is ' generally recognised as Polyhymnia, of whom this is the typical attitude.' A similar figure appears on the Halicarnassus pedestal also in the British Museum, and Reinach illustrates three Muses from Delos in this pose (IV, 180, &c.) The figure seated with her left hand resting on the seat may also be compared with a Muse on the Priene relief. The Ephesus figures were certainly very beantiful, the fall of the drapery over the feet of the seated one is most skilfully managed, both feet are

FIG. 6. shown almost as in a front view by taking advantage of the turn of the curve, the figure standing to the front has drapery very like that of Persephone on the Hermes drum. The strongly driven vertical furrows of the drapery of the standing figures on both these drums still show the Pheidian tradition. From the east end. 1214, Drum; Theseus and Sinis. From the west front, probably from an inner row. 1215, Pedestal; Herakles and Antaeus. Place of finding does not seem to have been stated, but doubtless it was at the West with the other labours of Herakles. 1216, Fragment; sheep's head (from Croesus' temple ?). The joint makes it difficult to account for. 1217, Drum,; women hanging fillets to festoons. Apparently from the east end, where fragments of a drum were found, which were described as ON THE SCULPTURE OF THE LATER TEMPLE OF ARTEMIS 31 ' mere splinters proving only that it had been six feet in height with plain spaces between the figures.' From the indications of the record we may suppose that most of the sculptures of the western facade represented the adventures of Herakles and Theseus. The}' appeared thus together in the metopes of the Theseum. One pedestal had Victories conducting animals to the sacrifice, one drum had people bearing gifts, and we may assume the existence of at least a pair of each of these disposed so as to balance one another, and these may best be assigned to the two outer at each end of the western front. At the eastern end, or back of the temple, no pedestals were found, but only sculptured drums. - These drums may have been arranged so as to have the Muses with a group of Artemis, , and Leto, and possibly other gods and attendants in the centre; then columns with priestesses putting up festoons for a festival, and beyond came the assembling of the citizens. Such a scheme would follow more or less closely that of the eastern frieze of the Parthenon. The oxen and sheep for the sacrifice and the gifts at the west front would follow the precedent of the rest of the frieze and form part of the festival scheme. The whole may be explained as the deeds of the two great Greek heroes and a festival of the Goddess Artemis. One other fragment of sculpture which may be mentioned here is the lion's head 47(53) which has been assigned to the gutter of the archaic temple. It must, as I have before said, be fifth-century work, and have belonged to a statue group. On re-examining it I noticed an attachment on the left, shoulder where the lion must have been in contact with another figure. Wood must have observed this, for he describes a fragment thus—' A fine lion's head, part of a statue, belonging probably to one of the former temples was also found here [in the naos], with fragments of sculpture and architectural enrichment, below the pavement.' (Discoveries, p. 258)—' A lion's head of an earlier period [than the fourth century], evidently a portion of a statue, was found within the cella and is now exhibited (p. 261). He says further—' One or two fragments of sculpture, including part of a female arm, and another with the elbow, both from figures about eleven feet high, were found beneath the pavement' (p. 246). It seems probable enough that these fragments should have been parts of a figure associated with a lion or with two lions, and it is not unlikely that our Jion's-head is part of a group of the goddess as ' the Lady of wild things.' During the last exploration of the site of the temple some small and early examples of such a motive were found; also 'a fragment of late sculpture, a hand resting on a lion's-head, doubtless from a statuette of the goddess' (Hogarth, &c, p. 27). It would be going too far to suppose that the large fragments formed part of the great cult image, but our lion's-head may represent some important votive statue of Artemis. A carved architectural member which has recently been put in the gallery is probably a part of the cymatium of the great doorway or of the pediment. It can be restored fairly well by comparing it with the gutter- front of the Mausoleum (Fig. 7). A fragment of a now in the base- 32 W. R. LETHABY ment has a convolvulus-like flower between the loops at the end of the channels of the side-rolls of the volutes. Some wall-stones at the British Museum have slightly recessed margins.5 In the Journal of the Royal Institute of British Architects (February, 1915) I have set out the evidence for a difference of design between the front and the back of the Temple, and the evidence that the sculptured drums were not raised upon the sculptured pedestals. Some of the inscriptions printed at the end of Wood's volume suggest points of interest in regard to the ' common temple of Asia and Ephesus' The great festival was ' the birthday of the mighty goddess,' which was in May. At this time a distribution of an endowment was to take place in ' the Pronaos ' of the Temple to the Theologoi, the singers, and others. The Pronaos is so frequently mentioned (while no other part of the Temple is named) that it is evident that it was regarded as a great hall, and it is

¥vt. 7. doubtful if there was even any other treasury. Here were kept certain gold and silver images, which were to be carried from ' the Pronaos' to the Theatre and back and ' deposited in the Pronaos of Artemis.' One of these was a ' golden Artemis and two silver deer attending,' another being a ' silver Artemis bearing a torch'—interesting types. ' The Priests, who wear golden ornaments, and the Victors in the Sacred Games carry and carry back the effigies.' One inscription is a grant to an actor ' after his victory in the contest at the great festival of the Artemisia, the president of the games being Lucius Aurelius Philo;' a second commemorates ' the victory in a musical or poetical contest under the patronage of the Muses, who are

5 In the recently published Fifth Part of had similar walling-stones. This was a mistake Antiquities of Ionia I have stated that Priene for Teos. ON THE SCULPTURE OF THE LATER TEMPLE OF ARTEMIS 33 thanked;' and another records the dedication of a statue to Artemis and to the youth of the Ephesian citizens.' The sculptures of the Artemision were probably related to the birth- day festival of the goddess as much as were those of the Parthenon to the pan-Athenaic festival. I mentioned before that one of the ' citizens ' is making a sign of warning or a gesture of worship which may remind us of one of the ' magistrates' of the Parthenon; it is a further con- firmation of the view now proposed, which is that the general scheme was suggested by the Athenian temple. It may now be hazarded that the men in ' Persian' dress on one of the drums who resembled gift- bearers were indeed forerunners of ' the priests who wore golden ornaments' and carried precious images of Artemis in the procession. These later-given images were, of course, but a small part of the ceremonial treasure. It was provided that the victors in the 'sacred games were also to join in the procession, and this may be some sort of explanation why on the sculptured pedestal the sacrificial animals are led by Victories. Further, a musical contest under the care of the Muses helps to show that they were well in place on one of the columns. Dr. Hogarth cites a record of a valuable prize won in such a contest at the dedication of the temple. When we recall the prominence given to boys on the Drum of the Citizens it is curious to find in these inscriptions more than one reference to ' the Youth of the Ephesian citizens' who were to be brought up in the right ways. Finally the keeping of the gold and silver images in the pronaos of the temple helps to confirm a view that I have put forward before, that the sanctuary proper was not roofed but open to the sky as were the temples of Apollo at Bassae and Branchidae. To the many points of resemblance between the work of Scopas and the sculptures at Ephesus which have been noticed may be added the fact that the carved cymatium of the gutter at Ephesus was very similar to one which has been found at Tegea. Further, the construction of the sculptured pedestals at Ephesus which are divided into four by vertical joints seems to me like sculptor's architecture; no mason would have thought of such an unsound scheme of building. Comparison of Ephesus with Priene.—Wilberg has recently re-opened the question as to whether the of the temple of Priene had a frieze,6 and this involves Ephesus too, for the details which have been recovered ot the of the two temples are so closely alike that it is evident one was copied from the other. Wilberg tries to show that the Priene entablature as restored by Wiegand without a frieze hardly raised the sloping rafters of the roof high enough to pass over the margin stones of the lacunaria, and he brings back a frieze to get this height. The difficulty is only in regard to a few inches while the frieze raises the roof some feet. Wilberg seems to exaggerate the difficulty by adding a thick deeply recessed cover stone. Very few of the marginal stones were found—literally only two or three, and

• Alh. Mitth. 1914. H.S.—VOL. XXXVI. D 34 W. R. LETHABY those that came under the slanting roof may have been trimmed away to give the rafters room. The fitting together of the stones of the entablature by Wiegand is to me convincing, but there may easily be an error of a few inches in his drawing. Wilberg cannot show that there was any sculptured frieze, and ends his arguments thus—' But either with or without reliefs the temple certainly had a frieze, and we do not need to ascribe to Pythios, the gifted builder of the Mausoleum and the temple of Priene, a design which is artistically unsatisfactory.' No argument can be founded on taste. The question involves a large group of buildings besides Priene and Ephesus. The Mausoleum entablature was also similar in its details, and in none of these three buildings has a frieze been shown to exist; the Amazon ' frieze ' at the Mausoleum could not have belonged to the order, for I have recently observed that a large Lesbian moulding, of which fragments are in a case, surmounted the sculptured stones. At* the Nereid Monument, which I believe followed the Mausoleum, there is no frieze; and although it was desired to have sculpture, the figures were carved on the epistyle rather than that a frieze should be introduced. Even a building so late as the great altar at Pergamos had what seems to have been the traditional Ionic entab- lature. At Priene itself, Wiegand found no friezes either at the altar or at Hhe temple of Asklepios. At Ephesus the entablature without the frieze would have been about 11 feet deep; with a frieze it would have been as much as 15 or 16 feet, between a third and a fourth of the height of the column. At Ephesus there is no question of great lacunar coffers of the Priene type, indeed the probability is that the ceiling of the Pteron was of wood. Since the part to this point has been in print I have examined Pullan's original note-books which were used to record his finds from day to day at Priene. Some new facts thus disclosed, together with further reasons, are sufficient to show that Wilberg's theory is ill-founded and entirely breaks down. (1) One of his arguments is that a ledge cut out at the back of the dentil course of the entablature, which was given by Wiegand as 14 cm. deep, varies from 13 to 16 cm. and could not therefore have been made to take similar stones of the lacunaria. In Greek building such slight varia- tions are general. Pullan's notes, for instance, give the heights of the several disc-members of the column-bases of the east front of the temple as 95, -98, •99, T02, and T08 feet. Wilberg might just as well contend that these bases could not have been associated together side by side. (2) A more elaborate argument is built up on the width of this same ledge, founded on the supposition that the lower lacunar stones which fitted into it, according to Wiegand, were formed of four marginal pieces of equal lengths disposed thus I I. As Pullan's sketches show, these marginal I stones were of various lengths, and they seem to have been arranged with two short ones coming between two longer ones. The parts of the width of ON THE SCULPTURE OF THE LATER TEMPLE OF ARTEMIS 35 all these stones which were occupied by mouldings were jointed by mitres (these parts may be supposed to be inside the two diagrams); but the flat parts of two of the stones ran on beyond the mitred joints, overlapping the ends of the other pair of stones, and being two to four feet longer than they were. This not only removes all difficulty on the point, but is a strong reinforcement of Wiegand's solution, as it explains the changes in width of the recesses as Wilberg's own scheme does not. (3) At both Priene and the Mausoleum the lower lacunar stones were put together as just described ; the next course of each coffer was in one large stone, with a square piercing through it which was moulded all round; this piercing required a covering-stone. Wilberg assumes that the covering- stone at Priene was deeply hollowed out on the underside with more mouldings arid was about 9 inches thick. It is this stone which makes the chief difficulty in regard to the rafters of the roof. That no fragments of such deeply recessed covering-stones were found, at either Priene or the Mausoleum, is strong evidence against such having ever existed, Now Pullan found at Priene two or three fragments of corner pieces of slabs about 3| inches thick which he at first thought might be parts of a frieze, for they were in white marble, but they had raised, roughly tooled margins about 5 to 9 inches wide, the panels being smooth. These slabs seem perfectly suitable for the covering-stones, as the rough margins would have rested on the course below. As to the lower course it seems to me that there was room for the rafters even in the case as presented in Wilberg's diagram. (4) Wilberg's supposititious frieze not only lifts the roof above the lacunaria excessively, but the fact that there was no such height indeed, is brought out by comparison with the Mausoleum, where the cross-beams which supported the lacunar stones were much notched down on the epistyle, obviously to get just sufficient height for the coffers. (5) The construction of the entablature as shown by Wiegand is sound and workmanlike, and, as he says,' it is so interlocked that there cannot be a doubt of its correctness.' It must further be noticed that it is entirely made up of known stones, and that they should so fit together by accident seems impossible. The restoration proposed by Wilberg, although he could make his hypothetical stones of any size and shape, is extremely poor and improb- able as construction. (6) Not only has no identifiable fragment of the frieze been found, as Wilberg admits, but his restoration requires, what he does not point out, a third course of egg-and-tongue moulding, while only two are known to have existed. (7) Wiegand's solution not only agrees with the fact that no friezes have been found at the other buildings before-mentioned, but, again, at Sardes the American explorers have found no frieze. (8) The friezeless scheme falls in with the traditional Ionian type of order as described by Choisy. W. R. LETHABY. D 2