[1] I. 28. 36: ‘Iniecto ter pulvere curras.’

[2] Benndorf, Griech. und Sicil. Vasenbilder, pl. i.

[3] Benndorf, Griech. und Sicil. Vasenbilder, pl. xxxiii.

[4] Mon. dell’ Inst. ix. 39.

[5] Rayet, Monum. de l’Art Antique, pl. lxxv.

[6] Rayet, text to above plate.

[7] See below, Ch. VII, VIII.

[8] Iliad, xvi. 666.

[9] Klein, Euphronios, p. 272. Iris and a female figure stand on either side. Some writers, interpreting the latter as Eos, have seen in the dead body that of Memnon. The point is immaterial to our present purpose.

[10] Dumont, Céramiques de la Grèce propre, pl. xxvii.

[11] Mon. dell’ Inst. ix. 32. We reproduce only the central group of the painting.

[12] Gräber der Hellenen, p. 42, pl. viii. Stackelberg found the coffin himself near the Acharnian Gate at Athens, and drew it immediately on discovery.

[13] Pottier et Reinach, La Nécropole de Myrina, p. 101.

[14] Herodotus, iv. 26. The word γευέσια may perhaps mean, as some have suggested, the anniversary of the death, if death be regarded as birth into a new life. The early Christians seem to have adopted this view.

[15] P. 519; Charon, 22.

[16] II. p. 926; De Luctu, 9.

[17] Plutarch, Solon, 21.

[18] Athen. Mittheil. i. 143.

[19] Plutarch, Aristides. 21.

[20] Athen. Mittheil. 1893, p. 53.

[21] See below, Chap. VI.

[22] Ephem. Archaiol. 1886, pl. iv.

[23] Benndorf, Griech. und Sicil. Vasenb. pl. xxi, 2: cf. xxi. 1, xxii, xxv, &c.

[24] Dumont, Céram. de la Grèce, pl. xxv.

[25] Pottier, Lécythes blancs, pl. iv: cf. p. 74.

[26] No. 735 of the Athens Museum.

[27] Pl. lx.

[28] In a later Chapter (X) I show by instances how close is sometimes the resemblance in reliefs and on vases between the toilet scenes of daily life and scenes of offering to the dead.

[29] Catalogue of Vases, IV. pl. iv. I cannot accept the view of the author of the Catalogue, that all three figures are those of mourners.

[30] As to the pillar (κίων) and table (τράπέζα), see Chap. VIII.

[31] Psyche, Seelencult und Unsterblichkeitsglaube der Griechen, 1894.

[32] Odyssey, iv. 560.

[33] x. 28. Cf. Robert, Die Nekyia des Polygnot. Halle, 1892.

[34] Antike Denkmäler, published by the German Archaeological Institute, vol. i. pl. xxiii. 3.

[35] Nos. 1 and 2 on the plate already cited.

[36] Pottier, Lécythes blancs, pl. 3: cf. Benndorf, Griech. und Sicil. Vasenb. pl. 27.

[37] X. 28. 7.

[38] See Wiener Vorlegeblätter, Series E, pl. i-iii: cf. Baumeister, Denkmäler, article ‘Unterwelt.’

[39] Cf. the relief published in Athen. Mittheil. iv. pl. ix.

[40] L. 50.

[41] I. 28. 6.

[42] Agesilaus, xi. 8.

[43] See Chap. XI.

[44] II. p. 364 E (translation of Davies and Vaughan).

[45] Chap. XII.

[46] Plutarch, Pelopidas, 20-22.

[47] Odyssey, xi. 602.

[48] For this see, among other works, Schliemann, Mycenae and Tiryns; Schuchhardt, Excavations of Schliemann (Eng. trans.); Perrot et Chipiez, La Grèce Primitive; Gardner, New Chapters in Greek History.

[49] Schuchhardt, Schliemann’s Ausgrabungen, p. 176.

[50] Perrot et Chipiez, La Grèce Primitive, p. 638.

[51] Schliemann, Mycenae, pl. E.

[52] Perrot et Chipiez, pl. vi.

[53] Journal of Hellenic Studies, ii. p. 136, pl. xiii.

[54] Helbig, La Question mycénéenne. 1896.

[55] Schliemann, Mycenae, p. 81.

[56] Ibid. p. 86.

[57] Perrot et Chipiez, p. 770.

[58] The most recent account of these, by M. Joubin, will be found in the Bulletin de Corresp. hellén. 1895, p. 69.

[59] II. 22, 2 (Ταντάλου) ἰδὼν οἰδα ἐν Σιπύλῳ τάφον Θέας ἄξιον.

[60] Texier, Description, pl. cxxx.

[61] Weber, Le Sipyle, pl. i.

[62] Perrot et Chipiez, v. 83. Mr. Ramsay, while allowing the general excellence of this drawing, disputes its accuracy in some particulars. See Journ. Hell. Stud. 1889, p. 155.

[63] Perrot et Chipiez, v. p. 103.

[64] Perrot et Chipiez, v. p. 111. Another drawing in Journ. Hell. Stud. 1888, p. 368 (Ramsay).

[65] Journ. Hell. Stud. pl. xviii.

[66] With M. Perrot’s work on Phrygia, it is necessary to compare Mr. Ramsay’s ‘Study of Phrygian Art’ in the Journal of Hellenic Studies for 1889 and 1890.

[67] I. p. 61.

[68] See the Catalogue of Sculpture of the British Museum, or Perrot and Chipiez, vol. v.

[69] Brit. Mus. Cat. of Sculpture, i. No. 80; cf. Perrot and Chipiez, vol. v. p. 396.

[70] Anabasis, vi. 29.

[71] Odyssey, xx. 66.

[72] Catalogue of Sculpture, i. p. 53, No. 93.

[73] Brit. Mus. Cat. of Sculpture, i. No. 86. Engraved in Murray, Hist. Sculpture, i. pl. iii-v; Cesnola, Cyprus, pl. 16, 17; Brunn, Denkmäler, pl. 102.

[74] Cat. of Sculpture, No. 97; Murray, i. pl. v.

[75] Ann. dell’ Inst. xix. pl. F.

[76] Plutarch, Lycurgus, 27.

[77] Athen. Mittheil. vii. 163.

[78] Journal of Hellenic Studies, v. 131. I return to the subject in the next chapter.

[79] Athen. Mittheil. x. 160.

[80] See Maspéro, Life in Ancient Egypt and Assyria, p. 145.

[81] Athen. Mittheil. ii. 25.

[82] Catalogue, No. 1417.

[83] Perrot et Chipiez, ii. p. 107.

[84] Athen. Mittheil. iv. pl. 7.

[85] See a paper by Pervanoglu, Das Familienmahl auf altgriech. Grabsteinen.

[86] Brit. Mus. Cat. of Coins: Thrace, p. 90.

[87] Journ. Hell. Stud. v. p. 116.

[88] Ibid. v. p. 106.

[89] Athen. Mittheil. 1879, p. 165.

[90] Cf. Furtwängler, Sabouroff Coll. Introd. p. 39.

[91] Buchholz, Homerische Realien, iii. 1, 334.

[92] Chap. vii. p. 20, ed. Kenyon.

[93] Brit. Mus. Cat. of Marbles, No. 753.

[94] Here the female figure seems decidedly the taller, but this may be the result of the law of Greek reliefs, to place the heads of persons represented on one level.

[95] Coll. Sabouroff, pl. 29.

[96] Pl. 16.

[97] Roscher, Lexikon, i. p. 2555.

[98] La Collection Sabouroff, Introd. p. 28.

[99] Athen. Mittheil. viii. 16; Le Bas, Voyage, pl. 103.

[100] Athen. Mittheil. iii. 380; Friedrichs-Wolters, Gipsabgüsse, No. 1076; Roscher, Lexikon, i. p. 2557.

[101] Museum Marbles, ix. pl. 34.

[102] Mon. dell’ Inst. xi. 55.

[103] Journ. Hell. Stud. vii. 1.

[104] Arch. Zeitung, 1883, p. 285.

[105] Monum. Grecs, pl. i; Roscher, Lexikon, i. p. 405, where the figures are wrongly called Ares and Aphrodite.

[106] Roscher, Lexikon, i. p. 2571.

[107] Chap. I.

[108] Il. xi. 371; Od. xii. 14, &c. Cf. the phrase, τύμβῳ τε στήλῃ τε, τὸ γὰρ γέρας ἐστὶ θανόντων.

[109] II. 26.

[110] ‘Opere tectorio exornari.’

[111] ‘Columellam, aut mensam aut labellam.”

[112] These passages are collected by Messrs. Pottier and Reinach in the Bulletin de Corresp. hellénique, 1882, p. 396.

[113] Gerhard, Auserl. Vasenbilder, pl. 199: cf. Mon. dell’ Inst. viii. pl. 5; Benndorf, Griech. und Sicil. Vasenbilder, pl. 24.

[114] Arch. Jahrbuch, 1891, p. 197.

[115] e.g. Mon. dell’ Inst. viii. 5.

[116] Stackelberg, Gräber der Hellenen, xlv. 3. The deceased lady, seated on the τράπεζα, was, no doubt, represented as draped, but the wash of colour has worn away.

[117] Paus. ix. 30, 7.

[118] Ibid. ix. 25, 2.

[119] Ibid. iv. 32, 3.

[120] VII. 700.

[121] Athen. Mittheil. x. pl. 13.

[122] Ecclesiazusae, l. 996. Cf. l. 538.

[123] Ibid. l. 1110.

[124] An exhaustive article on these vases will be found in Athen. Mittheil. 1891, p. 371 (Wolters). The writer maintains that they appear only on the tombs of the unmarried. For a representation of a terra-cotta vase on a χῶμα see p. 379.

[125] Athen. Mittheil. 1887, pl. ix.

[126] Athens Cat. 884. The lekythos on the right, however, is a restoration, all except part of its foot.

[127] Anthology, vii. 182.

[128] Ad Leocharem, p. 1086.

[129] For the colouring of these votive figures see Collignon, Hist. de la Sculpture grecque, vol. i, frontispiece; Ephemeris Arch. 1887, pl. ix; Antike Denkmäler des Arch. Inst. i. pl. 39.

[130] Athen. Mittheil. 1893, p. 83.

[131] This matter is treated in detail in Brückner’s Ornament und Format der Attischen Grabstelen: see pl. i. of that work.

[132] Perrot et Chipiez, ii. 270.

[133] Brückner, Ornament und Formen der Att. Grabstelen, pl. i. 2.

[134] Athens Cat. 975.

[135] Ibid. 729.

[136] Ibid. 754.

[137] Ibid. 28.

[138] Athen. Mittheil. vol. iv.

[139] Gräber der Hellenen, pl. 56.

[140] Septem c. Theb. 524.

[141] Athen. Mittheil. xii. 105.

[142] Chap. I, above.

[143] Athens Cat. No. 775.

[144] L. 168.

[145] Athens Cat. No. 783.

[146] Athens Cat. No. 744.

[147] Athens Cat. No. 770.

[148] Anthol. Palat. vii. 344.

[149] See F. Imhoof-Blumer and P. Gardner, Numismatic Commentary on Pausanias, pl. E, p. 19.

[150] Published in the Journ. Hell. Stud. vi. p. 32.

[151] Anth. Palat. vii. 169.

[152] Plutarch, Cic. 26.

[153] VII. 37. Cf. 707.

[154] Anth. Palat. vii. 62.

[155] See especially a paper by Professor Loeschcke in Athen. Mittheil. iv. 292.

[156] Pliny, N. H. xxxv. 153.

[157] Athen. Mittheil. iv. pl. vi.

[158] For example, Dr. Waldstein, in the first volume of the Journal of Hellenic Studies, p. 168.

[159] Athen. Mittheil. iv. pl. iii.

[160] I. 90. τειχίζειν δὲ ... φειδομένους μήτε ἰδίου μήτε δημοσίου οἰκοδομήματος.

[161] The head also does not belong to the statue, and the right arm and other parts are restorations. See the Berlin Denkmäler, i. pl. 31, 32.

[162] For the basket see Fig. 62: for the attitude cf. Pl. XXVI. Epigrams to be placed on tombs adorned with statues of women are to be found in the Anthology, vii. 649, &c. As a replica of the ‘Penelope’ in very high relief exists in the Vatican, we may regard it as likely that the original was not entirely detached from the background.

[163] Athens Cat. No. 218.

[164] Athens Cat. No. 219.

[165] e.g. Kaibel, No. 505, from Tricca. The formula of dedication is Ἑρμάον Χθονίου.

[166] See Plates XXV, XXVI.

[167] Athen. Mittheil. iv. pl. i, ii. Cf. C. A. G. pl. i.

[168] Michaelis, Ancient Marbles in Great Britain, p. 385, whence our engraving is taken.

[169] C. A. G. pl. iv. As to the pentathlon, see the Journ. Hell. Stud. i. p. 210.

[170] Athen. Mittheil. iii. pl. 14.

[171] These are lost, but the holes in which they were fixed remain over the forehead.

[172] Reins, sword, and lance were added in metal, as is shown by the remaining holes in which these were fixed. Colour was doubtless freely added.

[173] Bull. Corr. Hellén. iv. pl. 7.

[174] Athens Cat. No. 873.

[175] Athens Cat. No. 828.

[176] It has been suggested that the gesture is one of adoration in presence of the deities of the next world.

[177] Anthologia, vii. 338.

[178] For instance, Athens Cat. No. 1192.

[179] At Rome. Published in the Ann. e Mon. dell’ Inst. 1855, pl. xv. Cf. Friedrichs-Wolters, Gipsabgüsse, No. 1010.

[180] Athens Cat. No. 752.

[181] VII. 279.

[182] Athens Cat. No. 731.

[183] C. A. G. pl. xv.

[184] C. A. G. pl. xvii.

[185] Br. Mus. Cat. of Marbles, No. 721; Mus. Marb. ix. pl. 38.

[186] Journ. Hell. Stud. vi. pl. B.

[187] Such as Friedrichs-Wolters Gipsabgüsse, No. 1024: Arch. Zeitung, 1871, pl. 53.

[188] Anthol. Palat. vi. 280.

[189] Athens Cat. No. 1196.

[190] C. A. G. pl. xxxvii.

[191] Museum Marbles, x. 3.

[192] Athens Cat. No. 711.

[193] Ibid. No. 765; C. A. G. pl. xlviii.

[194] The two notions that in such groups it is always the seated or that it is always the standing person who is dead are alike fallacious.

[195] Kaibel, No. 557.

[196] C. A. G. Nos. 134, 139.

[197] Ibid. No. 158.

[198] Athens Cat. No. 717.

[199] Athens Cat. No. 870.

[200] Ibid. No. 749. A photograph of the relief being unsatisfactory, we copy the engraving at p. 70 of the C. A. G.

[201] VII. 730, by Perses.

[202] C. A. G. No. 333, pl. lxxxiv.

[203] I have a vivid recollection of the admiration expressed for the examples in the British Museum by Mr. Ruskin.

[204] Pl. xxxix; cf. Athens Cat. No. 724.

[205] Sabouroff Coll. Introd. p. 12.

[206] Plato, Theaetetus, p. 198 A.

[207] Rangabe, Antiq. Hell. ii. pp. 539, 842; cf. C. I. G. 1012 b, 7034, and Aristophanes, Acharn. l. 49.

[208] Benndorf, Griech. und Sicil. Vasenbilder, pl. xv.

[209] e.g. Benndorf, op. cit. pl. xxv; Dumont, Cér. de la Grèce propre, i. pl. xxv.

[210] Op. cit. pl. ix.

[211] Griech. Vasenbilder, pl. xi.

[212] 950 and 951 in the National Museum, Athens: No. 323, pl. lxxvii, and No. 357, pl. lxxxviii, of the C. A. G.

[213] Figured in Brückner’s Griech. Grabreliefs, p. 12.

[214] Gazette archéol. i. pl. vii.

[215] Hermes also appears on a monument of the British Museum, a sort of round altar on which are sculptured a man and woman hand in hand. Br. Mus. Cat. Sculpture, No. 710.

[216] The example in our plate is that at Paris. The inscriptions, Zetus, Amphion, Antiopa, are modern, and utterly incorrect.

[217] Good statements of the arguments will be found in the Introduction to Furtwängler’s Sabouroff Collection, and in Brückner’s Griech. Grabreliefs, 1888.

[218] C. A. G. No. 1, pl. i. See above, p. 141.

[219] C. A. G. No. 36, pl. xv.

[220] Athen. Mittheil. viii. pl. 17.

[221] Ibid. pl. 2.

[222] Ibid. pl. 3.

[223] C. A. G. No. 22, pl. xiii.

[224] Ibid. No. 66, pl. xxviii.

[225] Michaelis, Anc. Marbles in Gr. Britain, p. 229, No. 7.

[226] Luke ii. 24.

[227] C. A. G. No. 19, pl. xi.

[228] Ibid. No. 14, pl. ix. Barracco Collection.

[229] C. A. G. pls. ciii, cxxxi, &c.

[230] A physician named Jason examining a patient, on a stele of the British Museum: Cat. No. 629.

[231] Epitaph. 13.

[232] See above, Chap. III.

[233] Arch. Zeitung, 1871, pl. 49; Journ. Hell. Stud. v. p. 138.

[234] Roscher, Lexikon, i. p. 2539. The relief is in the Louvre.

[235] I. 2. 3.

[236] VII. 22. 6.

[237] Overbeck, Geschichte der gr. Plastik, ed. 4. ii. p. 22.

[238] I have transcribed these inscriptions as they stand, letter by letter, retaining χσ for ξ, ο for ω, οι for ῳ, and so on.

[239] VII. 304, by Peisander.

[240] VII. 463, by Leonidas.

[241] Grabgedichte der griechischen Anthologie. Vienna, 1889.

[242] Jahrbuch des Inst. 1895, p. 204.

[243] New Chapters in Greek History, chap. x.

[244] Kaibel, Epigrammata Graeca, No. 461; C.I.G. i. 1051. Cf. Paus. i. 43. 3.

[245] The published copy is very defective, and of the last two lines only the general sense can be made out.

[246] Brit. Mus. Greek Inscr. i. p. 102. Cf. New Chapters in Greek History p. 322.

[247] Kaibel, No. 183.

[248] Kaibel, No. 179. Roehl, Inscrr. Gr. Antiqq. No. 342.

[249] This is the rendering of Roehl. The conceit is rather far-fetched for so early a period.

[250] Kaibel, No. 180: Roehl, No. 343.

[251] Kaibel, No. 182.

[252] Ibid. No. 487.

[253] Ibid. No. 486.

[254] Ibid. No. 488.

[255] Ibid. No. 209.

[256] Ibid. No. 490.

[257] Kaibel, No. 38.

[258] Ibid. No. 34.

[259] Kaibel, No. 189.

[260] Ibid. No. 482.

[261] Ibid. No. 493.

[262] Ibid. No. 491.

[263] Fortune, Τύχη, was represented in art as holding a rudder and a cornucopia.

[264] That is, the Charitesia, games held at Orchomenus.

[265] Kaibel, No. 191.

[266] Ibid. No. 224.

[267] Ibid. No. 496.

[268] Ibid. No. 497.

[269] Kaibel, No. 473.

[270] Anth. Palat. vii. 64, anonymous.

[271] Stephani, Der ausruhende Herakles, p. 59. The relief has disappeared.

[272] Kaibel, No. 463.

[273] Ibid. No. 462.

[274] VII. 545.

[275] Journ. Hell. Stud. 3 p. 112.

[276] Kaibel, No. 465.

[277] Ibid. No. 218.

[278] Ibid. No. 195.

[279] Ibid. No. 190.

[280] Anth. Palat. vii. 163. Version of J. Williams.

[281] Anth. Palat. vii. 489. Version of J. Williams.

[282] Ibid. vii. 451. Version of J. Williams.

[283] Ibid. vii. 321. Version of J. Williams.

[284] Anth. Palat. vii. 657. Version of J. Williams.

[285] Ibid. vii. 207. Version of J. Williams.

[286] Anth. Palat. vii. 476. Version of J. Williams.

[287] Ibid. vii. 554. My version.

[288] Ibid. vii. 465.

[289] Ibid. vii. 735. My version.

[290] Anth. Palat. vii. 145. My version.

[291] Brit. Mus. Cat. of Sculpture, i. No. 766; Fellows, Lycia, p. 116; Petersen, Reisen in Lykien, ii. p. 193.

[292] For a full account of this monument see Annali dell’ Inst. 1874 and 1875; Mon. dell’ Inst. x.; cf. also Benndorf and Niemann, Reisen in Carien und Lykien, p. 89, pl. xxiv.

[293] From Overbeck, Geschichte der gr. Plastik, ii. 191.

[294] Annali dell’ Inst. 1875, pl. DE.

[295] All that is preserved of steed and rider is the foreleg of the rearing horse.

[296] Arch. Zeit. 1882, p. 359.

[297] Das Heroon von Gjölbaschi-Trysa. O. Benndorf and G. Niemann. Wien, 1889. Our engraving is taken from pl. i. of this admirable work.

[298] Newton, Travels and Discoveries, ii. pl. 23.

[299] As to these see the Antiquités du Bosphore Cimmérien, a magnificent work, now republished at a moderate price by M. Salomon Reinach. Also Newton, Essays in Art and Archaeology, ch. ix., Greek Art in the Kimmerian Bosporos.

[300] The Antiquary, vol. liv. pp. 273-362.

[301] Mr. Oldfield has kindly allowed me to copy a drawing in which his latest views are incorporated.

[302] Fab. 223.

[303] ‘Aere ... uacuo pendentia Mausolea.’ Epig. 1.

[304] Comparing Martial, Epig. ii. 14: ‘Inde petit centum pendentia tecta columnis.’

[305] N. H. 36, 30.

[306] v. l. cvi.

[307] v. l. centenos sexagenos.

[308] v. l. pedes ccccxl.

[309] v. l. uocauere circumitum.

[310] v. l. altitudinem inferiorem aequat.

[311] In a rough statement like this it is unnecessary to take into account the slight difference between the English and the Greek foot.

[312] Hist. Disc. ii. p. 191.

[313] Funérailles et diverses manières d’ensevelir, &c., quoted by Newton in his History of Discoveries, vol. i. p. 76.

[314] Journ. Hell. Stud. xiii. p. 188.

[315] The whole of the Amazon frieze is now figured in the Berlin Denkmäler, vol. ii., and in Overbeck’s Plastik, 4th ed., ii. p. 106.

[316] For an account of these see the Berlin Antike Denkmäler, vol. i. part 4; also Bulletin de Corr. hellén. 1895, p. 69.

[317] Une nécropole royale à Sidon. Hamdy Bey and Théodore Reinach. A good account by Studniczka in the Jahrbuch of the German Institute for 1894, p. 204.

[318] This and the subsequent engravings are taken from the plates of the magnificent work of Hamdy Bey and M. Théodore Reinach, Une nécropole royale à Sidon, by kind permission of authors and publisher.

[319] Chaps. IX, X.

[320] 2 Sam. i. 24.

[321] Hicks, Greek Historical Inscriptions, p. 155. The marble is in the Oxford Museum.

[322] The evidence is put together by Mr. Chinnock in the Classical Review of June, 1893.

[323] Cyropaedeia, viii. 3, 10.

[324] It must be observed that although we are obliged in the engraving to bisect this relief, it is really continuous. The head of the lion in the upper line fits on to the body of the lion in the lower line.

[325] It is figured not only in the works already cited, but also in Overbeck’s Geschichte der Plastik, ii. p. 403, and in other works.

[326] As to this and all other details, see the valuable remarks of M. Reinach, op. cit. p. 325.

[327] Robert, Die antiken Sarkophag-Reliefs, ii. pl. 27.