A Stone Tripod at Oxford, and the Mantinean Basis Author(S): Percy Gardner Source: the Journal of Hellenic Studies, Vol

A Stone Tripod at Oxford, and the Mantinean Basis Author(s): Percy Gardner Source: The Journal of Hellenic Studies, Vol. 16 (1896), pp. 275-284 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/623949 . Accessed: 04/05/2014 05:36

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This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions 1.-A STONE TRIPOD AT OXFORD. 275

I. A STONE TRIPOD AT OXFORD.

[PI2ATEXII.]

THEtripod represented in P1.XII. andin Fig. 1 is 261 inches(m. O 66) in height; the diameteris at the bottom211 illches(m. 0 54) and at the top

FIG. 1. -TRIPODAT OXFORD.

14 inches (m. 0 36). The material is limestone of a kind commonin most partsof Greece,especially the Peloponnesus.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions I. A STONE TRIPOD AT 276 OXFORD. The tripodwas presentedto The All Souls'C:ollege in 1771 by stand bears an inscription AnthonyLefroy. phrasein recordingthe gift, which contains which the tripodis spoken a curious in of as ' aram tripodem olim templo S. Corinthi consecratum.' matri deum may I know not what the S stand for. But the important beforeCorinthi Corinth. thing is that the monument This is again assertedin the comesfrom Goriin the lettering of a print of it Nql,mqvsqnataLefroyana, and publishedby Zopogrher repeated in a Magazine called (November,1789, p. 514), where ZEe Itmay be doubted Gori writes ' Trovatoa Corinto.' whether Lefroyhad any solid tripodcame froma reasonfor supposingthat the temple of the Mother of the exist at Corinth on Gods. Such a temple did the slope of the Acropolis Pausanias. But, so Hill, as we learn from far as I know, no remains observedin of that temple have been moderntimes. It can scarcelybe hadany reasonto regardedas likely that Lefroy supposethat the tripod came frqm temple:it is far more the actual site of that probable that the figuresof wereto him a suicient women standing on lions proof that the monumentcame theMother of the Godswhich fromthe temple of is mentioneclby Pausanias. ProfessorMichaelis, when at at Oxford,saw this tripod,and p. 592 of his admirablework has describedit didnot AnczentMas bles tn GreatBritn. fullJrappreciate its interest an(l That he bythe importancemay be explained extreme haste with which he was in part marbles,and in compelled to catalo^,uethe Oxford part by the want of parallels, light. which have only since come to I must describe the tripod in some detail. threefeet recline On a round pedesta]with three lions, on each of which along chiton girt stands a female figllre clad in at the waist, and wearingon andover that a the head a kind of stephane, round crown or polos. Each thelion graspsin one hand the tail whereonshe stands,with the other of theheads of apparentlvraises her dress. the three womenrests a basis, On inthe form of- supportedalso by a central an llour glass, with torus in column, midstof its the midst. The basis has in upper surface a hole, circular, the side,a hole 1 but with an enlargementat inches deep,'and 6i inches in one intothis hole fitted diameter. It seems evident that the stem of a large circular factturned roundin the basin. This basin was in hole until part of the upper wasworn smooth: it was surface of the support then fixed in its place by lead enlargementjust mentioned. poured through the The heat of the lead has thatpoint (see'Fig. 1).'-:X brokenthe stone at In the opinion of-Gori-'ourtripod was framentsof' two unique. - Of late years however, or three bases of somewhat found. similar characterhave been First thereiis the basis of blue Laconian marble constructedwith great skilltand' from Olympsa,re- awell talent'by Dr. Treuv2on the known small female figure and a, evidence of fraginent of a lion. We reproduce 7. 4, 1 ii. gOtyqnpia, iii. p. 26.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions 1.- A STONE TRIPOD AT OXFORD. 277 his figure (Fig. 2). Its likeness in all essential feattlresto our monumentis remarkable. Only in one or two points does the new materialwhich we have to submit suggest emendationson Dr. Treu's reconbstruction.First it seems probablethat the lowest support did not rest upon the ground all round, but was workedinto tripod form (see our Fig. 1).1 SecondlyDr. Treu seems not to be justified in acceptingProf. Furtu angler's suggestion that the objects

FlG. 2.-TR.IPOD AT OLYMPIA. in the ladies'hands are merely parts of their dress. The left hand of each figuredoes appearto graspthe dless,but the rightharld holds in eachcase the tail of the lion on whichthe figurestands.2 Dr. Trell cites other femalefigures of closelysimilar character, which

1 In a private letter Dr. Treu informsme und die nun erst ihre Erklarungfindet.'- that he has now no doubt that the basisof the 2 Earlier, they had been called snakes, Olympian tripod was not continuous. He whellce the figure passed as one of the Eu- writes, *Insbesondre scheint e.s mir sicher,dass menides. The objectsin the right hands end der untereRing sich, wie bei IhremExemplar, ill a tuft: those in the left hands do not. auf drei Fusse stutzte. Selbst die Hohe der Dr. Treu says that he did for a lnoment Fusse ist dllrch (lie Linie gegeben, welche think of the lion's tail, I.c. p. 28. note. aussenin der Mitte des Ringes entlang lauftt

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions 278 I.-A STONE TRIPOD AT OXFORD. have come to light in the excavationsat Olympiaand in the Ptoion in Boeotia.l In all probabilitythese belonged to similarvessels. We mayalso compare some basins now preserved in the CentralBIuseum at Athens,made of Naxian marble2: these appearto have had as supports six femalefigules stan(ling back to backin a circle: but here the lions are absent. All thesemonulnents, basins resting on a stand adornedwith human figures,were no doubtconnected with the serviceof the gods,perhaps as 7repippalorq^plaor vessels to holdthe waterfor purification.Dr. Treu thinks the specimenfrom Olympia to havestood in the line of the Treasuries.The Athenianspecimens were inscribedwith inscriptionsprobably (ledicating them to Athena. Largervessels of a similarcharacter are mentionedin ancientliterature. Herodotus3tells of a great bronzecrater dedicated by Colaeusand the Samiansto Hera, which rested on kneeling figures of bronze. And Pausanias4 speaks of three tripods(ledicated at Amyclae,of which the first two were supportedby bronzefigures of Aphroditeand Arterxlisby Gitiadas,and the third by a figureof Coraby Callonof Aegina. A tripodof not dissimilarcharacter, but of freer style and later date, has been foundatDelphi. M. Homollethus describesit.5 'Trois figures de femrnes,qui dansenten se tenantla main autourd'une colonne en forme.de tige de plante: elles portentla robe courte et flottante,le polus evase en caliceet orne de feuillespointues qu'on voit sur la tete des danseusesde Gioelbaschi. I1 sembleque ce fut la base d'un tripied.' M. Homolledoes not assigna dateto this work,but it wouldseem to be late. Conjecttlresin suchmatters are risky. But it naturallyoccurs to one that this dispositionof threefigures as supportsof a tripodmay lie nearthe originof manythings in Greekart; for exampleof the threefoldrepresen- tationof Hecate,xvhich is saidto have been an inventionof Alcamenes; perhapsof the Gracesand other groups. In the inferiormaterial of terra-cottawe can find severaltripod-basins whichmay be comparedwith our example. Perhapsthe most strikingof these is amongthe Etruscanvases of the Louvre. It is thus describedby M.Pottier 6 s coupei pied,supportee par quatre fetnmes formant caryatides; style du VIe siAcle.' 31.Pottier $z1ggests that this vase maybe Rhodianby origin. In any casemany imitations of the type in Etruscanbucchero nero are known;one is figuredin :Etichter'sKypros.7 The supportingfigures are quiteflat andpressed in a mould. AmongCyprian remains we find small stonebasins supported by an animal,or a wingedfemale figure.8 It wasquite natural for Gori and Lefroy to supposethat the tripod of

1 Figured in Collignon,H"g. Scz61p.Gr. i. 168, no. 396a. Mr. J. L. Myres, to whom I 123. owe this reference,informs me that the figures 2 Sthen. Mittheil. xvii. p. 41, pl. 7. ale draped,and hold theirhands to their breasts : iv. 152. in the conventionalpose. 4 iii. 18, 7. 7 Pl. cciv. 1: one winge4,figure and two 5 Bull. de Corresp.hell. 1894, p. 180. plain supports. 6 Pottier?Fases Antigt6esde terre cZ6ite, p. 8 E.g. Richter,pl. cxxxiv. 2

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions I. A STONE TRIPOD AT OXFORD. 279 Oxford belonged to the service of the Mother of the Glods,Cybele. The female figure standing on a lion, and holding his tail, must be derived from an Asiatic prototype which figured a goddess of the Cybele class. On Egyptian montlments the Syrian goddess Qadesh) a form of Anaitis, is represented as standing on a lion, passant.1 And on the cylinders of Babylon, and the wall sculptures of Asia Minorand Mesopotamiait is not unusual to find deities standing on various beasts and fabulous monsters.2 But this scheme is not adoptedin Greece,and the lion is rather held in the hand of the deity, or walking beside him, than serving as a supportto his feet. So the winged Artemis or 7rorva Sq2pzvof Greece retains traces of orientalorigin in the animalsshe masters; but she does not stand on them. On the other hand animals as architecturalsupports to pillarsalae known even in the Christianarchitecture of the Levant. There was a Metroollat Olympianear the spot where Dr. Treu'stripod was found. And there was a Metroonat Corinth,froln which our tripod lnay have come. But I am disposed to think that seriouslnythologic meaning has passed from these figuresstanding on lions, and that they have becolne merely architectonicin character. There are three such figures together, and they are used for the not very dignified purpose of supporting a basin, so that no real notions of cultus can have attached to them Thus it seems quite likely that our tripod may have belonCedto the service of any of the gods, not of Cybele only. The comparisonof the Oxford tripod with that from Olympia is most instructive. The forin, tlle use, the character, even the scale of the two vessels is the same. Evidently they are specimensof a kind of monument commonin antiquity,though now rare,and of a fixed definite type. Only in style and in period do the vessels diSer. And in orderto determinethe date of the Oxfordtripod we must examine it somewhatclosely. The work is certainly not finished or careftll: some parts,such as the pawsof the lions, are merelyblocked out in the stone. And the whole surface has greatly suffered from exposure to weather. The style is late archaic or archaizing. The characteristicsof archaic art .are preserved,but in the treatment some freedom is visible. The hair of the wotnen falls iIl a long mane over their backs,and in four long curls on their shoulders. The ear is high, almost on a level with the eye. The draperyfalls stiffly, but not as in the Olympiafigure in a solid mass: two long perpendicularfolds run from the waist-balldto the feet7and horizontalfolds are visible over the breast,as well as below the waist. The arms are not detached from the sides. The hair of the lions is renderedin detached irregularlocks. The pillar in the midst is in a form which can be traced downwardsfrom the Mycenaeanage., and occurs in early tripods of bccheronero of Etruria.3 It is decidedly early in type.

1 Perrotet Chipiez,i. p. 713. cleitystaneling on a horneellion. 2 Ibtd. ii. pp. 643, 647 etc, Cf. the, well- 3 Martha,L'art Etrusque,p. 475, known coins of Tarsus,of which the type is O

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions II.-THE MANTlNEAN BASIS 280 Our tripod then seems to be a variety dating from the earlier part of the fifth centuryo a fixed archaictype. One cletailof style especiallywell suits the periodI have named. Horizontalfolds of the chiton from breastto breast are not iIlfrequentin sculpttlre of the middle of the fifth century; for example they occur in the Hestia Gliustinialli.,the bronze girls from Herculaneumand several early Attic grave reliefs, such as those of Mynno and Tito.l On the other hand they do not seem to occurin the frieze of the Parthenonand in later grave-reliefs. These folds are notable in one of the figuresof our tnonument. The arrangementof the hair is not unlike that which we find in the Coraeof the Erechtheium,but earlierin type. It seems clear,then, that the style and type of our tripod belongsto a time not later than the middle of the fiftll century. It appears to be an originalof that age. If howeverit is a Roman copy, it is a faithful copy of an earlier type. In the forms of the back, the folds of the chiton, and., in other respects,our felzlalefigtlres present a complete contrast to the super- ficiality of ordinaryRoman work. The tripod-basisof All Souls thus appearsa much more interestingand importantwork than has beell hitherto supposed. It seems to be an original of the early fifth century B.e. And it is the only extant well-preserved exanlple of a kind of utensil, probablyquite commollin ancient Greece,and of a fixecl pattern,which was used for sacredpurposes in the variousshriiles of Greece; most likely, as I have already observed,for holding the holy water useel for the purificationof those who calue into the preAenceof the gods.

II.-THE MANTINEAN BASIS.

As Ovelbeck in the fourth edition of his GescAtchtcder Plast1,khas recantedhis doubtsas to the periodand allthenticityof the sculpturesof the Basis of Mantineia,it is fair to regardthern as undoubtedworks of about B.C. 370, and as coming at all events from the workshopof the master whose statues stood above them. Thlls the discoveryof this basis must be regarded as a very fortunateaddition to our sourcesof knowledge, both of the art of Praxiteles,and of the types of the Musesin the fourth century. Esig.3 ,ives these slabs in what I hold to be the trtle arranvement. I must begin with a brief considerationof the descriptionof the basis by Pausanias,the only ancient writer who mentions it: vo Be erepov A7RrovS evv lepoveca vcov 7ra4sov Ilpa58tTeXXsBe ra ciyaBura expeyavarotp;Tp ,uera A\za,uevq7vvcrrepov eyevea 7w0VT@V 7re7rotq7,aevaeTv e'7r rz /saSp? Mov¢a JcalMapcorces avv. As the phrase,'A 3¢use and l!/larsyasplaying the flutes,'is a very inadequate description of the reliefs as they stand, the suggestion has been made, and is generally accepted, that the true reading should be Mov¢az. This reacling,however, has no documentaryauthority, and such a correctionof the text of Pausanias seems to be vInnecessary. If

1 Mynno, StdioscheGrocbreliefs pl. XYii.; Tito, ibid. p1. XYiii. cf. pl. sxv. otc,

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions II. THE MANTINEAN BASIS. 281 we supposethat Pausanias(or his authority,for it comesto much the same thing),was describina the basisfrom autopsy, it seemsquite likely that he wasspeaking only of the groupin it whichwas most noteworthy,the group of Apollothe slaveand Marsyas. The figureof Marsyasis unmistakableto any one at a glance. But a hasttrvisitor of the Roinanage mightvery easily take the figureof the seatedApollo for a Muse. A seatedApollo, fully drapedand holcling the lyre,was a rarityin ancientsculpture, though not on vasesor coins. SeatedMuses holding the lyrewould be farfrom familiar to 1 FIG. 3.-BASIS OF MANTINEIA. an ancientconnoisseur. Thus the readingMoucra seetns defensible; Pausanias took the girl of the OlympianPediment for a groom,why shouldhe not have taken the seated Apollo at Mantineiafor a Muse? The point is perhapsone of no greatimportance: but if Mov¢abe the right readingit rendersus alinostcertain that the groupof Apolloand Marsyas stc)od in the midstof the reliefas in ourengraving; and I shall endeavourto provethe ,reat probabilityof this disposition. The basesupported a groupof tllreefigures. heto and her two children. The restorationof this group by Waldstein,which Overbeckhas now s Z "i 2# i l | %| i i i l l e e l s |110 g p

FIG. 4.-COIN OF MEGARA. adopted, is sint,ularlyunsatisfactory7 I may say impossible.-It is tnore suitableto a so-calledAsia Minor terra-cotta than to the age of Prasiteles. The centralfigure of the groupwould be not Leto, as Waldsteinmakes it, but Apollo,and the three deities wouldaltnost certainly be detached. We have not, unfortunately,upon coins,any copy of the Praxiteleangroup at Mantineia:but we possesson a coinof Severusstruck at Megaraa copyof a probablereplica made for that city by the same Master,2which I annex (Fig.4). On the left is Letoclad in a longchitont holding a sceptrein the

WaldsteiIl,Xnw. Joqqrn. Xrch vii. pL 1. Overbeck,Plastik, ed 4, ii. p. 61. 2 Paus. i 44 2 cf. Yw)nisrn. Cornxnent.on Pott6sobnio6s,P1. A. X p. 7.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions II-THE MANTINEAN 282 BASIS. light hand. In the midst stands ApolSoin plectrumand lyre. On the citharoedicdress, holding right standsArtemis, clad in apparentlywith her right hand long chiton,and hangsat her drawingall arrowfrom the qvliver back. The testimonyof this coin which be consideredin is most important,and must somedetail. Of recent writers, aware,denied that it none has, so far as I am gives us a representationof the But somearchaeologists, such as Praxiteleallgroup. that Kleinand Overbeck,1 are groupas a workof tlle Praxiteles disposedto regard a whois by somesupposed to have contemporaryof Pheidias. Furtwangler2 been elderPraxiteles, attributesit alternativelyto or to the youngerat the very the Nowthe existenceof the elder commencementof his career. Andan Praxitelesis a nnatterof the examinationof the figureson gravestdoubt. three the coin ,eems to show that types of the deities are such as all the well-known may fairly be attributedto sculptorof the name,if we nlake the nessof the figures due allowancefor the minute- andthe carelessnesswith which The type of Apollo they are executed. as standingCitharoedus clearly century. Stephani,followed by belollgsto the fourth consistingof a Overbeck3regards the citharoedic longchiton with girdle,and a dress firstgiven to Apolloin mantlefalling over the back,as the fourthcentury. It is the Bryaxisat Antioch4and of dressof the Apolloof certainstatues regardedas of Scopas.The type of Letoin long the school of lnaybe chitonwith diplois,resting on her well colYlparedwith the Eirelleof sceptre, toworks of Praxitelesis Cephissodotus,the likenessof which acknowledged.The type of guise,but wearing a long Artemisin huntress chiton, is commonlyregarded as Praxitelean.5Numerous statues of this especially apparent]y type exist in the Museums, earlierthan the fourthcentury. none class,one of the Amongextant figuresof the nearestto the type of our-coin is (Furtwangler,Masterpteces, p. the MunichArtemis We 324) regardedby Furtwangleras tnaycompare also the Praxitelean Praxitelean. All the type of Letoat Argos.6 threetypes of the coinmay thus resultof our slight be classedas Praxitelean.This inqllirymust be consideredas very tojustify us in setting a satisfactory,and tends isapt to considerablevalue on numismatic be undervaluedby those who evidence,which bronzecoins are not fatniliarwith coins. issuedat Greekcities in the time The illestimablevalue of the Antoninesare reallyof forsuch purposes as the present. It seemsmore than probablethat at Mantineiaa closely andlike schemesof the deities similargrouping ment wereadopted. A mere of the threescarcely suits our paratacticarrange- showfrom tnodernnotions of art; but it is manyinstances that it was quite easyto Andit is the kindof usual in GEreeceat this period arrangementwhich prevails in the basis The next pointto consideris the beforeus. thebasis. probablearrangement of the slabs Here it is at onceclear that they in couldnot havebeetl placed on 1Klein in Jrch. Epigraph.Mittheil. iv. 16: Overbeckin ariech. 4 Ibid. M?nztafelv. 39. 2 Plastzk(4 ed.) i. p. geisterwer7ce,p 538 500. 6 So Schreiberin 6 1!z26mDsnw. Roscher'slexikon, p. 606. 3Zu,nwtrnythol. Apollon, Comm. on Pa?ssanias Pl. K. p. 182. 36-38.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions II. ---THEMANTINEAN BASIS. 283 threesides of it. Threefigures of deities,placed side by side,if of ordinary heroicsize, would require a baseat least 12 feet in length. The three slabs togethermake up 32 feet. It is almostcertain then that the slabs of the reliefstood side by side on the frontof the base. An assumptionhas been lnade by those who have hithertodealt with these reliefsthat therewas a fourthslab, on whichwere figured three more Muses,which slab has utterlyperished. This assumptionseems to me quite gratuitousand even objectionable.It has beensupposed that the Musesre- presentedmust be nine in number. This suppositionhowever lacks all ground. It is true that to Homerand to Hesiodthe Musesare nine,and that they appearas nine on'the Frangoisvase of the early sixth century. But the numbernine is anythingbut invariableill the art of earlyGreece. The nulnberthree, the sacrednumber of the Horae,the Charitesand the Nymphs,so far sways the representationsof the Musesthat they usually appearas in numbersome Inultipleof three,that is, threesix or nine; but eventhis ruleis by no Ineansabsolute. Antipaterof Sidon1 tells us of a triadof Muses,the workof the tbree archaicartists, Aristocles, Ageladas and C:anachus.Muses appeared in the east pedimentof the Delphic terllple,works of Praxias; but as to their numberwe are not informed:but Bie 2 givesreasons for supposing that they wereonly two or three. Pausanias3 speaksin his ninthbook of the groupsof Musesin the sanctuaryat Helicon: there was one groupof nine figuresby Cephissodotlls,and three groupsof three figures each by Cephissodotus Strongylionand Olylnpiosthenes respectiveltT. When we tllrn fromsculpture to vases,we findfar greater irregularity. It is unnecessaryhere to set forththe evidence,as it has been collectedby Bie and it will be sufficientto cite his summing-up.' If we co:Lsiderthe detailsof thesevarious vase-pictures, the mostobvious point is theircomplete liberty,as regardsthe numbers,names alld attributes of the Muses. We find every numberup to nine, only that nurnber,which we shouldespecially expect,is missing. Herewe havethe best of proofshow imperfectls fixed in this age wasthe idea of the Musesas a group,and how little we can expect that undersuch circumstancesparticular names of Museswould be closely connectedwith particular attributes.' In the Hellenisticand Romanages, when every Muse had her own departmentof musicor literature,and had acquireda distincttype, it was quitenatural that in reliefsand other worksof art none of them shouldbe excluded:any choicewould clearly be invidious. The reliefof Archelausat the BritishMuseum, commonly called the Apotheosisof Homer,is a typical exampleof the treatment032 the Musesin IIellenisticart. But in the age of Praxiteles,when as we knowfrom other sourcesand from the reliefsbefore us, the types of the variousMuses were not distinguished,and provinces had not beenassigned to them,there is no clearreason why nine shouldbe represented,rather than six or three.

1 Sxthol. Palat. xti. 220. 2 Die AltacrL,p. 22, 3 ix. 30, 1.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions 4 IT. T6IE MANTINEAN BASIS. Thus there seems no sufEcientreason for assumingthe total loss of a slab of our relief. And an examinationof the three slabswhich we possesswill furnishat least a probabilitythat the groupas we have it is complete. The group of Apollothe Phrygianand Marsyasis coznpletein itself. Tlle Phrygianis the celltralfigure on eitherside of whichApollo and Marsyas balanceeach other. It seemsmore than probablethat this groupof three figureswas also the centralgroup of the wholedesign, flanked on eachside by threefigures of Muses. If we arrangethese two sets of three as in our cut, figurebalances figure and attitude attitude. The seated Museis the onlyslight deviation from a regularseries: the two outerMuses shut in the scenemost satisfactorily. The total lengthof the three slabsthus arranged side by side, as measuredon the casts,is 13 feet 7 inches,which gives 4i feet as the lengthof the basis of each of the three statues. On sucha basis three figureseifflht or nine feet hi^,hwould very appropriatelystand side by side. The figureof Apollowould surmount the grouprepresenting his own contest with Marsyas,while beneathLeto andArtemis respectively would stand a group,or rather a series,of three Muses. No doubtto a moderneye such a regulararrangement would scarcely be agreeable. But that the Greeksat their best periodsdid not feel the sameobjection which occursto us to a paratacticarrangement rnay be provedby mallyinstances, suchas the East Pedimentof Olyrnpia.In fact I am onlysupposing in the whole monumentof Praxitelesthe same principleof arranffleinentwhich certainlydominates the base. That the arrangelnentwhich I suggest allows us to keep the MS. readingof Pausanias,and does not compel us to supposethat a slab of the relief is lost appearsto me to tell stronglyill its favour. PERCYGARDNER.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions J. H. S., VOL. XVI. (1896), PL. Xll.

TRIPOD AT ALL SOULS' COLLEGE, OXFORD.

This content downloaded from 178.118.80.235 on Sun, 4 May 2014 05:36:18 AM All use subject to JSTOR Terms and Conditions