ANOTHER NOTE ON THE SCULPTURE OF THE LATER TEMPLE OF ARTEMIS 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 sculptures 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. •M ""•.;; {&w 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 British Museum, 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 Triton. 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 column 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 Praxiteles. 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.