DOI Page / Citation link:
https://doi.org/10.11588/diglit.3332#0035
TEMPLE OF THE DIOSCUEI.
31
pronaos, separated by the row of pillars from
the cella inside. It is worthy of notice also
that the temple faces westward, as was usual in
the case of buildings dedicated to demigods or
heroes like the Dioscuri: while the temples of
the gods usually opened towards the east.
(31) The fragments of stucco from the inner
walls of the cella were of great interest, because
they bore upon their surface, in wonderfully
good preservation, the fresco painting that once
adorned them. The colours used were very
brilliant—red and blue on a white ground;3
here and there, perhaps, a little yellow; but
this may be due merely to the discolouring of
the stucco. The designs consisted exclusively
of decorative patterns; and though no fragment
was found that was large enough to admit of a
complete restoration of the patterns used,
it was clear that most of the pieces came from a
mgeander design, varied apparently with stars
within squares—a practice not uncommon in
early Greek decorative work.
(32) Beyond the plan of the temple itself,
the second season's excavations made but a
small addition to the number of the objects
found in the temenos of the Dioscuri. No
more fragments of the fine dedicated bowl,
found in the previous season, and reproduced
in Naukratis I., PI. VI. 6, were recovered.
Nor were many other important pieces of
pottery to be seen ; one, however, is interest-
ing ; it represents men seated in a boat upon a
sea of white waves, and above is a piece of a
wing; it seems probable that the subject of
the representation was the sirens singing to
3 I am indebted to Prof. Middleton for the following facts
as to the pigments used, &c: " The blue is made of powdered
glass coloured with some salt of copper and then mixed with
lime. The red is a pure oxide of iron. The stucco is the
most wonderful stuff I ever saw—very much harder than
English Portland stone. It is made of about 3 parts of lime
to 1 of finely-ground silica or quartz—probably local sand ;
it has been made with extremest skill and care. None like
it could be made now."
Odysseus. The design is black on red; but
the types of the faces are curious; the treat-
ment of the waves with a wash of thick, white
pigment in wavy lines, is most peculiar. So
far as I know, this fragment is quite isolated
in style, and it merits more attention than can
here be bestowed upon it; it is to be seen at
the British Museum. The style of this piece
can hardly be later than the sixth century;
other fragments of the same period came to
light; but none of them call for especial notice.
Several more inscriptions record dedications
to the Dioscuri, thus proving, if more proof be
needed, that the temple and temenos do belong
to those deities. One other inscription, which
was incised upon a piece of rough pottery, is of
interest, as it contains a portion of a dedication
to Apollo. It was evidently a piece of a broken
vessel that had wandered a short distance
from the neighbouring temenos of the Milesian
Apollo ; but as it was buried in undisturbed
earth, at a depth of some eighteen inches below
the bottom of the pillar that was nearest to
it, it clearly must have been buried there before
the temple of the Dioscuri was built.
(33) This fact leads us to the last question
we need consider in connection with this
temple—that of its age. There is very little
definite evidence afforded by the objects dis-
covered ; many of them may not have belonged
to the actual building which was found; the
frescoes can hardly supply any indication of
period. There is, however, no reason for
supposing this temple to be of a very high
antiquity. The fragment from the temenos of
Apollo just referred to seems to indicate that
the temple of the Dioscuri is later at least than
the earliest one dedicated to Apollo. The plan
and construction of the temple, again, though
it is peculiar, is not necessarily of very early
date. On the whole, there is not evidence
enough to outweigh that afforded by the level
of the foundation, which can be compared with
31
pronaos, separated by the row of pillars from
the cella inside. It is worthy of notice also
that the temple faces westward, as was usual in
the case of buildings dedicated to demigods or
heroes like the Dioscuri: while the temples of
the gods usually opened towards the east.
(31) The fragments of stucco from the inner
walls of the cella were of great interest, because
they bore upon their surface, in wonderfully
good preservation, the fresco painting that once
adorned them. The colours used were very
brilliant—red and blue on a white ground;3
here and there, perhaps, a little yellow; but
this may be due merely to the discolouring of
the stucco. The designs consisted exclusively
of decorative patterns; and though no fragment
was found that was large enough to admit of a
complete restoration of the patterns used,
it was clear that most of the pieces came from a
mgeander design, varied apparently with stars
within squares—a practice not uncommon in
early Greek decorative work.
(32) Beyond the plan of the temple itself,
the second season's excavations made but a
small addition to the number of the objects
found in the temenos of the Dioscuri. No
more fragments of the fine dedicated bowl,
found in the previous season, and reproduced
in Naukratis I., PI. VI. 6, were recovered.
Nor were many other important pieces of
pottery to be seen ; one, however, is interest-
ing ; it represents men seated in a boat upon a
sea of white waves, and above is a piece of a
wing; it seems probable that the subject of
the representation was the sirens singing to
3 I am indebted to Prof. Middleton for the following facts
as to the pigments used, &c: " The blue is made of powdered
glass coloured with some salt of copper and then mixed with
lime. The red is a pure oxide of iron. The stucco is the
most wonderful stuff I ever saw—very much harder than
English Portland stone. It is made of about 3 parts of lime
to 1 of finely-ground silica or quartz—probably local sand ;
it has been made with extremest skill and care. None like
it could be made now."
Odysseus. The design is black on red; but
the types of the faces are curious; the treat-
ment of the waves with a wash of thick, white
pigment in wavy lines, is most peculiar. So
far as I know, this fragment is quite isolated
in style, and it merits more attention than can
here be bestowed upon it; it is to be seen at
the British Museum. The style of this piece
can hardly be later than the sixth century;
other fragments of the same period came to
light; but none of them call for especial notice.
Several more inscriptions record dedications
to the Dioscuri, thus proving, if more proof be
needed, that the temple and temenos do belong
to those deities. One other inscription, which
was incised upon a piece of rough pottery, is of
interest, as it contains a portion of a dedication
to Apollo. It was evidently a piece of a broken
vessel that had wandered a short distance
from the neighbouring temenos of the Milesian
Apollo ; but as it was buried in undisturbed
earth, at a depth of some eighteen inches below
the bottom of the pillar that was nearest to
it, it clearly must have been buried there before
the temple of the Dioscuri was built.
(33) This fact leads us to the last question
we need consider in connection with this
temple—that of its age. There is very little
definite evidence afforded by the objects dis-
covered ; many of them may not have belonged
to the actual building which was found; the
frescoes can hardly supply any indication of
period. There is, however, no reason for
supposing this temple to be of a very high
antiquity. The fragment from the temenos of
Apollo just referred to seems to indicate that
the temple of the Dioscuri is later at least than
the earliest one dedicated to Apollo. The plan
and construction of the temple, again, though
it is peculiar, is not necessarily of very early
date. On the whole, there is not evidence
enough to outweigh that afforded by the level
of the foundation, which can be compared with