List of Illustrations
| PHOTOGRAVURE PLATES | ||
| HEAD AND BUST OF THE APHRODITE OF MELOS | Frontispiece | |
| Engraved by Emery Walker from a photograph by Mansell & Co. of the original in the Louvre, Paris. See p. 251. | ||
| TO FACE PAGE | ||
| BOY VICTOR. BRONZE, FIFTH CENTURY B.C. | 160 | |
| Engraved by Emery Walker from a photograph by Bruckmann of the original in the Glyptothek, Munich. See p. 160 | ||
| VASE PLATE (IN COLOUR) | 112 | |
| Corinthian Vase (Fig. 1) British Museum, Second Vase Room, Case 8, A 1375 | ||
| Red-figured Vase (Fig. 2) British Museum, Third Vase Room, Case 17, E 453 | ||
| Black-figured Vase (Fig. 3) British Museum, Second Vase Room, Case I, B 134 | ||
| White Polychrome Vase (Fig. 4) British Museum, Third Vase Room, Case F, D 60 | ||
| PLATE | ||
| 1 | THE ACROPOLIS OF ATHENS (Fig. 1) | 6 |
| From a photograph | ||
| 1 | THE CITADEL OF CORINTH (Fig. 2) | |
| From a photograph by the English Photo Co., Athens. In the foreground are the columns of the oldest temple in Greece | ||
| 2 | OLYMPIA: VALLEY OF THE ALPHEUS | 8 |
| From a photograph by Alinari. A specimen of Greek scenery in one of the few well-watered plains | ||
| 3 | THE VALE OF TEMPE | 10 |
| From a photograph by the English Photo Co., Athens. The famous pass at which a vain attempt was made to repel the Persian invasion of 480 B.C. | ||
| 4 | ASSYRIAN RELIEF: KING ASSURNASIRPAL (NINTH CENTURY B.C.) | 18 |
| From a photograph by Mansell & Co. of Slab 36 in the Nimroud Gallery, British Museum. An example of stylistic Oriental art at its highest. See p. 19 | ||
| 5 | FAIENCE FROM THE TEMPLE REPOSITORY OF THE SECOND PALACE, CNOSSOS, CRETE | 22 |
| Snake Goddess (Fig. 1). See p. 34 | ||
| Wild Goat and Young (Fig. 2) | ||
| Painted from the facsimiles in the Ashmolean Museum, Oxford, by Diana R. Wilson, by special permission. See p. 22. According to Greek mythology Zeus was suckled by a she-goat in Crete | ||
| 6 | THE “CUPBEARER” FRESCO | 24 |
| From an article by Sir A. J. Evans in the Monthly Review, March, 1901; by kind permission of Mr. John Murray. See pp. 25 and 32 | ||
| 7 | BULL’S HEAD. LIFE-SIZE RELIEF IN PAINTED STUCCO. CNOSSOS, CRETE | 26 |
| Painted from the facsimile in the Ashmolean Museum, Oxford, by Diana R. Wilson, by special permission. See p. 25. The bull is a very frequent subject of artistic representation at Cnossos, where bullfighting seems to have been in vogue | ||
| 8 | THE LION GATE, MYCENÆ | 30 |
| From a photograph by the English Photo Co., Athens. Showing the sculpture and masonry of prehistoric Greece. See p. 29 | ||
| 9 | VAPHIO CUPS | 32 |
| Collotype plate, from the facsimiles in the British Museum, First Vase Room, Case B. Two gold cups found on Spartan territory. The design is in relief beaten up from the back. One shows the trapping of wild cattle, the other tame cattle going to pasture. The vessels are about the size of the modern teacup. See p. 30 | ||
| 10 | INLAID DAGGER-BLADES | 34 |
| Collotype plate, from the electrotypes in the British Museum, as Plate 9. They show the dress and weapons of Ægean folk. All but the blade is a restoration. See p. 30 | ||
| 11 | WARRIOR VASE, BLACK STEATITE (Fig. 1) | 38 |
| These vases were originally covered with gold-leaf. The subjects have not yet been completely explained. Probably the whole vase deals with athletic combats: running and leaping on the top zone, bullfighting on the second, and boxing on the third and fourth | ||
| 11 | FRAGMENT OF SILVER VASE (Fig. 2) | |
| Collotype plate, from the facsimiles in the British Museum, as Plate 9. See p. 38. The subject is the siege of a city. We observe that here, as in the previous illustrations, the warriors are represented as almost naked. They fight with slings and arrows and protect themselves with huge shields of wicker | ||
| 12 | THE “FRANÇOIS” VASE | 42 |
| Collotype plate, from a photograph by Alinari. See pp. 43 and 57. A masterpiece of the earlier Attic school of vase-painting. It is signed by Ergotimus and Klitias, sixth century B.C. The scenes are mythological | ||
| 13 | HERMES KRIOPHOROS (THE LAMB-CARRIER) | 66 |
| From a terra-cotta relief, British Museum, Terra-cotta Room, Case C, B 486. A fine example of archaic relief-work, showing Hermes as the Arcadian shepherd’s god | ||
| 14 | PANORAMA OF DELPHI | 68 |
| From a photograph by the English Photo Co., Athens. See p. 69 | ||
| 15 | “APOLLO” FROM ORCHOMENUS | 70 |
| From a photograph by the English Photo Co., Athens, of the original in the National Museum. See pp. 69 and 70 | ||
| 16 | “APOLLO” OF TENEA | 72 |
| Collotype plate, from a photograph by Hanfstaengl of the original at Munich | ||
| 17 | THE “STRANGFORD APOLLO” | 74 |
| From a photograph by Mansell & Co. of the original in the Archaic Room, British Museum. These three figures may indicate the progress of early Greek sculpture in expressing the human figure. There is little ground for calling these figures “Apollo.” They may equally well be human athletes | ||
| 18 | HEAD OF APOLLO, FROM THE WESTERN PEDIMENT, OLYMPIA | 76 |
| Collotype plate, from a photograph by the English Photo Co., Athens, of the marble at Olympia. See p. 70 | ||
| 19 | THE “DISCOBOLUS” OF MYRON (Fig. 1) | 80 |
| From a photograph by Anderson of a cast from the original in a private collection at Rome. The copy in the British Museum (drawn on p. 80) has the head reversed. See p. 81 | ||
| 19 | THE “DIADUMENUS” OF POLYCLEITUS (Fig. 2) | |
| From a photograph by Mansell & Co. He is binding the victor’s garland round his forehead. This is, perhaps, the best of several copies made from the famous original, but it is much restored and probably not a very faithful copy | ||
| 20 | THE “DORYPHORUS” OF POLYCLEITUS (Fig. 1) | 82 |
| From a photograph by Brogi | ||
| 20 | THE “APOXYOMENUS” (Fig. 2) | |
| From a photograph by Alinari. See p. 81. The recent discovery of the Agias (Pl. 51) has proved that this is not, as was formerly supposed, a true example of the work of Lysippus | ||
| 21 | CHARIOTEER: BRONZE | 84 |
| From a photograph by Mansell & Co. of a cast from the original at Delphi. See p. 81 | ||
| 22 | VIEW OF MODERN SPARTA, WITH MOUNT TAYGETUS | 86 |
| From a photograph by the English Photo Co., Athens. See p. 87 | ||
| 23 | RUNNING GIRL | 90 |
| Collotype plate, from a photograph by Anderson. Represents a competitor in the girls’ foot-race which took place at Olympia in honour of Hera. The original must have been in bronze, but this marble copy reproduces its archaic character. See p. 83 | ||
| 24 | ATHENA PROMACHOS, FROM A PANATHENAIC AMPHORA | 94 |
| Drawn from Vase B 140 in the Second Vase Room, British Museum (Case I). See pp. 95 and 112 | ||
| 25 | DEMETER, PERSEPHONE, AND TRIPTOLEMUS (ELEUSINIAN RELIEF) | 98 |
| From a photograph by the English Photo Co. of the original marble relief at Athens. See p. 98 | ||
| 26 | ATHENA POLIAS | 102 |
| From a photograph by the English Photo Co., Athens, of the original bronze statuette in the Acropolis Museum. See p. 102 | ||
| 27 | CORINTHIAN VASES | 104 |
| Collotype plate, from a photograph of the originals in the British Museum, Second Vase Room, Case 8, A 1430, and Case 16, B 29. The style of these vases may be distinguished by the purple tones of the colouring and the Oriental character of the designs. See Vase Plate, Fig. 1, and p. 105 | ||
| 28 | OLD TEMPLE AT CORINTH | 108 |
| From a photograph by the English Photo Co., Athens. See p. 107 | ||
| 29 | STELE OF ARISTION (Fig. 1) | 114 |
| From a photograph by the English Photo Co., Athens, of the original in the National Museum. See p. 114 | ||
| 29 | HARMODIUS (Fig. 2) | |
| From a photograph by Alinari of the original in the Naples Museum. See p. 116 | ||
| 30 | SCULPTURED COLUMN FROM THE OLD TEMPLE OF ARTEMIS AT EPHESUS (Fig. 1) | 122 |
| From a photograph by Mansell & Co. of the original in the British Museum. It was dedicated, as the inscription shows, by King Crœsus. See p. 123 | ||
| 30 | RELIEF FROM THE HARPY TOMB: NORTH SIDE (Fig. 2) | 122 |
| From a photograph by Mansell & Co. of the original in the Archaic Room, British Museum. In the centre, a warrior yielding up his armour to Pluto. On the right and left, Fates (“Harpies”) carrying off the souls of the dead. In the right corner, a woman mourning. See p. 123 | ||
| 31 | RELIEFS FROM THE “LUDOVISI THRONE” | 124 |
| From photographs by Alinari of the originals at Rome. See p. 124 | ||
| 32 | RELIEFS FROM THE “LUDOVISI THRONE” | 126 |
| Collotype plate, from photographs of the originals in the Museum of Fine Arts, Boston, Mass., U.S.A., by kind permission of the Director. See p. 125 | ||
| 33 | THE TEMPLE OF POSEIDON AT PÆSTO | 128 |
| From a photograph. See p. 128 | ||
| 34 | METOPES FROM THE TEMPLE OF HERA AT SELINUS | 130 |
| Perseus and Gorgon (Fig. 1) | ||
| Hera and Zeus (Fig. 2) | ||
| From photographs by Alinari of the originals, now in the Palermo Museum. See p. 130 | ||
| 35 | EARLY COINS OF SICILY AND MAGNA GRÆCIA | 132 |
| Photographed from casts in the British Museum. See p. 131 | ||
| Case I, Section C. | ||
| 1. Silver Didrachm of Naxos, No. 31 | ||
| Obverse: Head of Dionysus crowned with ivy. Reverse: Bunch of grapes and inscription | ||
| 2. Silver Didrachm of Tarentum, No. 7 | ||
| Reverse: Archaic head,? Taras. Obverse: Taras (the city’s hero) riding a dolphin, cockle-shell and inscription | ||
| 3. Silver Tetradrachm of Catana, No. 25 | ||
| Reverse: Winged Victory holding a wreath. Obverse: River-god as a bull with man’s head, a fish below and a water-bird above | ||
| 4. Silver Tetradrachm of Syracuse, No. 35 | ||
| Reverse: Head of Arethusa surrounded with dolphins. Obverse: Four-horse chariot with Victory above | ||
| 36 | THE PLAIN OF MARATHON | 134 |
| From a photograph by the English Photo Co., Athens. See p. 134 | ||
| 37 | THE BAY OF SALAMIS | 138 |
| From a photograph by the English Photo Co., Athens. See p. 138 | ||
| 38 | PERICLES | 140 |
| From a photograph by Mansell & Co. of the original in the British Museum, after Cresilas. See p. 142 | ||
| 39 | PEDIMENTAL FIGURES FROM THE TEMPLE OF APHAIA AT ÆGINA | 142 |
| From photographs by Bruckmann of the originals at Munich. See p. 147 | ||
| 40 | SCULPTURES OF THE EASTERN PEDIMENT OF THE PARTHENON | 146 |
| From photographs by Mansell & Co. of the originals in the Elgin Room, British Museum. See p. 151 | ||
| 41 | PORTIONS OF THE EAST FRIEZE OF THE PARTHENON | 148 |
| Figures referenced, 30-48 in the British Museum. See p. 154 | ||
| 42 | PORTIONS OF THE WEST FRIEZE OF THE PARTHENON | 150 |
| Figures referenced, 2-3, 16-19, and 28-30 in the British Museum. From photographs by Mansell & Co. of the originals and casts in the British Museum. (Some of the marbles are still in situ at Athens.) See p. 155 | ||
| 43 | THE “STRANGFORD” SHIELD (Fig. 1) | 152 |
| From a photograph by Mansell & Co. of the marble copy in the British Museum. The old Greek striking down an Amazon is said to be a portrait of Pheidias by himself. See p. 156 | ||
| 43 | RECONSTRUCTION OF THE ACROPOLIS (Fig. 2)S | |
| From a drawing by R. Bohn in the British Museum. See p. 163 | ||
| 44 | THE LEMNIAN ATHENA | 154 |
| Collotype plate, from a photograph by Tamme of the marble at Dresden, completed by Furtwängler from the head at Bologna. See P. 157 | ||
| 45 | HEAD OF THE LEMNIAN ATHENA | 156 |
| Collotype plate, from a photograph by Alinari of the marble at Bologna. See p. 158 | ||
| 46 | STATUE OF MARSYAS, AFTER MYRON | 158 |
| From a photograph by Mansell & Co. of the original bronze in the British Museum, after Myron. See p. 159 | ||
| 47 | THE VICTORY OF PÆONIUS (Fig. 1) | 162 |
| From a photograph of the original at Olympia | ||
| 47 | THE “SPINARIO” (Fig. 2) | |
| From a photograph of the original at Florence. See p. 161 | ||
| 48 | THE PARTHENON: MODERN VIEW FROM NORTH-WEST | 164 |
| From a photograph by the English Photo Co., Athens. See p. 163 | ||
| 49 | THE TEMPLE OF NIKÈ APTEROS (THE WINGLESS VICTORY) (Fig. 1) | 166 |
| From a photograph by the English Photo Co., Athens. See p. 164 | ||
| 49 | THE CARYATID PORCH OF THE ERECHTHEUM (Fig. 2) | 166 |
| From a photograph. See p. 166 | ||
| 50 | THE “THESEUM,” ATHENS | 168 |
| From a photograph by the English Photo Co., Athens. Really a temple of Hephæstus. See p. 167 | ||
| 51 | THE “AGIAS” OF LYSIPPUS | 170 |
| From a photograph by the English Photo Co., Athens. A marble statue recently discovered at Delphi. It can be identified as a contemporary replica of a bronze by Lysippus, and is our only certain evidence of his style. See pp. 169 and 218 | ||
| 52 | THE TEMPLE OF APOLLO AT PHIGALEIA [BASSÆ] | 172 |
| From a photograph by the English Photo Co., Athens. See p. 169 | ||
| 53 | PORTIONS OF THE PHIGALEIAN FRIEZE | 174 |
| From photographs by Mansell & Co. of the originals, now in the British Museum (Phigaleian Room). See p. 170 | ||
| 54 | THEATRE AT EPIDAURUS | 176 |
| From a photograph by the English Photo Co., Athens. The best extant example of a Greek theatre. In the centre is the circular orchestra, where the chorus danced and sang, and behind it are relics of the stage-buildings. In the centre of the orchestra was an altar of Dionysus. This theatre was built about the middle of the fourth century B.C. The auditorium would hold about 15,000 spectators. See p. 175 | ||
| 55 | MONUMENT OF LYSICRATES AT ATHENS | 182 |
| From a photograph by Rhomaides. See p. 182. The whole monument would form a base for the prize tripod | ||
| 56 | RED-FIGURED VASE AND PYXIS | 184 |
| Collotype plate, from originals in the British Museum, Third Vase Room: Vase E 155; Pyxis D 11 (see illustration, p. 45). The vase is a fine two-handled kantharos of the late fifth century. The background is painted black and the figures left red. See p. 191 | ||
| The Pyxis (lady’s jewel-box) shows a marriage procession, drawn in colours on a light ground. The bride is being led to the family altar, preceded by a flute-player. See p. 191 | ||
| 57 | WHITE POLYCHROME VASES (LECYTHI) | 186 |
| Collotype plate, from originals in the British Museum, Third Vase Room, Vases D 54 and D 60 in Case F. Vessels, specially painted, to contain the oil used in funerals and buried in the tomb. The youth in the mourning robe is holding an oil-jar and gazing at the monument of his deceased friend. Compare Vase Plate, Fig. 4, and see p. 191 | ||
| 58 | ORPHEUS AND EURYDICE [TOMBSTONE RELIEF] | 188 |
| From a photograph by Alinari of the original at Rome. See p. 192 | ||
| 59 | THE MOURNING ATHENA | 190 |
| From a photograph by the English Photo Co. of the original in the Athens Museum. See p. 193 | ||
| 60 | TWO TOMBSTONE RELIEFS, FROM THE CERAMEIKOS, ATHENS | 192 |
| From photographs of originals in the Athens Museum. See p. 193 | ||
| 61 | APOLLO SAUROCTONOS (THE LIZARD-SLAYER) (Fig. 1) | 194 |
| Collotype plate, from a photograph by Anderson of the original in the Vatican. See p. 217 | ||
| 61 | THE CNIDIAN APHRODITE (Fig. 2) | |
| Collotype plate, from a photograph by Mansell & Co. See p. 214. This Vatican statue of Aphrodite has never been photographed in its original nudity, but a cast was made and from it this photograph was taken | ||
| 62 | GIRL’S HEAD | 196 |
| From a photograph by Bruckmann of the original at Munich. See p. 214 | ||
| 63 | THE MARBLE FAUN, AFTER PRAXITELES (Fig. 1) | 198 |
| From a photograph by Anderson of a copy in the Capitoline Gallery, Rome. See p. 214 | ||
| 63 | THE EROS OF CENTOCELLE (Fig. 2) | |
| From a photograph by Anderson of a copy in the Vatican. See p. 215 | ||
| 64 | HEAD OF A YOUTH (Fig. 1) | 202 |
| From a photograph by Brogi of the bronze at Naples. See p. 215 | ||
| 64 | WINGED HEAD OF HYPNOS (SLEEP) (Fig. 2)S | |
| From a photograph by Mansell & Co. of the original bronze in the British Museum. See p. 220 | ||
| 65 | THE HERMES OF PRAXITELES | 204 |
| From a photograph by the English Photo Co., Athens, of the original at Olympia. See p. 215 | ||
| 66 | THE HERMES OF PRAXITELES: HEAD | 206 |
| From a photograph by the English Photo Co., Athens, of the original at Olympia. See p. 215 | ||
| 67 | APOLLO AND MARSYAS | 208 |
| From a photograph by the English Photo Co., Athens, of the relief from Mantinea. See p. 216 | ||
| 68 | MELEAGER: HEAD, AFTER SCOPAS | 210 |
| From a photograph by Anderson of the marble at Rome. The head, which does not belong to the body, has been recognised as representing the style of Scopas (fourth century B.C.). See p. 218 | ||
| 69 | THE DEMETER OF CNIDOS | 212 |
| From a photograph by Mansell & Co. of the marble in the British Museum. See p. 219 | ||
| 70 | SCULPTURED COLUMN FROM THE TEMPLE OF ARTEMIS AT EPHESUS | 214 |
| From a photograph by Mansell & Co. of the original in the British Museum. This belonged to the new temple built after the fire of 356 B.C. See p. 219 | ||
| 71 | FIGURE OF A YOUTH. FROM CERIGO | 216 |
| From a photograph by the English Photo Co. of the bronze at Athens. See p. 220 | ||
| 72 | THE “LUDOVISI” ARES | 218 |
| From a photograph by Anderson of the marble at Rome. The cupid between the god’s feet is certainly a later addition. See p. 220 | ||
| 73 | THE “RONDANINI” MEDUSA (Fig. 1) | 220 |
| From a photograph by Bruckmann of the marble copy at Munich. The original was in bronze. See p. 220 | ||
| 73 | RELIEF FROM THE MAUSOLEUM (Fig. 2) | |
| From a photograph by Mansell & Co. of the original in the British Museum. Representing a combat between Greeks and Amazons. See p. 222 | ||
| 74 | STATUE OF MAUSOLUS, FROM THE MAUSOLEUM | 222 |
| As the last. See p. 222 | ||
| 75 | A NIOBID | 224 |
| From a photograph by Anderson of the recently discovered original at Rome. See p. 222 | ||
| 76 | ATHLETES BOXING. FROM A PANATHENAIC AMPHORA | 226 |
| Drawn from Vase B 607 in the Fourth Vase Room, British Museum. It is inscribed with the name of the Archon Pythodelos, giving the date 336 B.C. The figures are in black, but this is a survival from the earlier style. See p. 224 | ||
| 77 | COINS OF THE FOURTH CENTURY | 228 |
| Photographed from casts in the British Museum. See p. 225 | ||
| Case III. | ||
| 1 Gold Stater of Rhodes, A 37 | ||
| Obverse: Head of the Sun-god. Reverse: A rose | ||
| 2 Athenian Gold Stater, B 30 | ||
| Obverse: Head of Athena. Reverse: Owl and olive-branch | ||
| 3 Gold Stater of Panticapæum, B 2 | ||
| Obverse: Head of Pan. Reverse: Gryphon and barley (the latter typifying the corn trade) | ||
| 4 Silver Tetradrachm of Tenedos, A 20 | ||
| Obverse: Janiform head. Reverse: Double axe and bee in a wreath | ||
| 5 Sicilian Decadrachm, C 29 | ||
| Obverse: Head of Arethusa or Persephone. Reverse: Four-horse chariot with Victory above and armour below | ||
| 78 | GREEK GEMS | 230 |
| From photographs by Mansell & Co. of gems in the British Museum. See p. 225 | ||
| 1 A Quoit-thrower or Hyacinthus; probably fourth century B.C. | ||
| 2 A Wounded Warrior | ||
| 3 Harper (compare Pl. 32). Fine work of the fifth century, cornelian intaglio | ||
| 4 Drunken Satyr, agate scarab | ||
| 5 Homeric Scene.? fifth century | ||
| 6 Ideal Head in the Garb of Heracles; late work | ||
| 79 | CORINTHIAN CAPITAL | 232 |
| From a photograph by Mansell & Co. of the originals in the British Museum. See p. 226 | ||
| 80 | FIVE TANAGRA STATUETTES | 234 |
| From photographs by Mansell & Co. of originals in the British Museum. See p. 227 | ||
| 81 | BUST OF “SOCRATES” | 236 |
| From a photograph by Mansell & Co. Not an authentic portrait but a later attempt to express the rugged exterior of the sage which is often a subject of humorous allusion in Plato and elsewhere. See p. 231 | ||
| 82 | ALEXANDER AT ISSUS. | 242 |
| Collotype plate, from a photograph by Brogi of the mosaic at Pompeii. See p. 245 | ||
| 83 | “THE SARCOPHAGUS OF ALEXANDER” FROM SIDON: LION-HUNT | 244 |
| From a photograph by Seban and Joaillier of the original at Constantinople. See p. 246 | ||
| 84 | PORTION OF THE EASTERN FRIEZE OF THE SARCOPHAGUS OF ALEXANDER | 246 |
| Reproduced in colour from Plate XXXV in “Une Nécropole Royale à Sidon,” by MM. O. Hamdy Bey and Th. Reinach, by kind permission of M. Ernest Leroux, of Paris. See p. 246 | ||
| 85 | ALEXANDER THE GREAT | 248 |
| From a photograph by Mansell & Co. of the bust in the British Museum. See p. 246 | ||
| 86 | RELIEF FROM PERGAMUM | 250 |
| Collotype plate, from a photograph by Titzenthaler of the original at Berlin. This is a clever reconstruction of the great altar of Zeus erected by the Attalids near the beginning of the second century B.C. The subject is the combat between gods and giants. See p. 251 | ||
| 87 | APHRODITE OF MELOS (THE VENUS OF MILO) | 252 |
| From a photograph by Alinari of the marble in the Louvre. See p. 251 | ||
| 88 | THE VICTORY OF SAMOTHRACE | 254 |
| From a photograph by Alinari of the marble in the Louvre. See p. 252 | ||
| 89 | STATUE OF ARISTOTLE | 256 |
| From a photograph by Anderson of the original in the Palazzo Spada, Rome. An ideal conception of a philosopher rather than an authentic portrait. See p. 253 | ||
| 90 | THE PORTLAND VASE | 262 |
| From a photograph by Mansell & Co. of the original in the British Museum. No certain interpretation of the figures has been made. See p. 263 | ||
| 91 | THE FARNESE BULL | 264 |
| From a photograph by Brogi of the original at Naples. Depicts how Zethus and Amphion punished their stepmother, Dirce: a degenerate work by two sculptors of the Rhodian school in the first or second century B.C. See p. 265 | ||
| THE PRAYING BOY | 266 | |
| From a photograph by Mansell & Co. of the cast in the British Museum. Original bronze at Berlin. See p. 220 | ||