DOI Page / Citation link:
https://doi.org/10.11588/diglit.9187#0018
TABLE OF CONTENTS AND INDEX
Xlll
mination of dates of tombs, 117. Third period, 118. Preservation of
part of cemetery at Athens, 118. Architectural decoration of tombs; the
acanthus, 119; the sphinx, 121; the siren, 126; goats butting, 128; the
lion, 130; the bull, 131.
CHAPTER IX.
ATHENS AND GREECE. PORTRAITS.
Portraits of the dead originate in Ionia, 133. Portraits at Athens, 134;
their ideal character, 134. Portrait statues, 135; on horseback or on foot,
136; female figures, 137. The dead as Hermes, 138. Statues of mourning
women, 139. Portraits on stelae, first period, 140 ; Aristion, Lyseas, 141;
stelae of youths, 143. Second period, stelae of citizens, 145; stelae of
warriors, 146; Dexileos, 147 ; young athletes, 149; hunters, 152; students,
153; shipwrecked men, 154; children, 154; matrons, 157; girls, 158;
priestesses, 160.
CHAPTER X.
FAMILY GROUPS.
Pathos and charm of Attic groups, 162. Predominance of women, 163.
Women and children in later Greece, 163. Stelae with father and
children, 164; mother and children, 166. Family groups, 167. Series of
groups representing leave-taking, 168; series representing self-adornment,
171. Stele of Phaenarete, 173. Stele of Ameinocleia, 176. Dressing for
a journey or offerings to the dead? 176. Domestic interiors or scenes
at the tomb? 178. Several stone lekythi on one slab, 178. Occasional
appearance of Hermes, 180.
CHAPTER XI.
MEANING AND STYLE OF THE RELIEFS.
Do the Attic reliefs refer to past or future life ? 182. Line of
connexion with Spartan stelae, 182 ; the wine-cup, the pomegranate, the
cock, 183 ; the dove, the horse, 184 ; the dog, 185. Reliefs which clearly
refer to past life, 185. The 8«£iWir, 186. We must distinguish between
origin and meaning of reliefs, 187. Oblong reliefs refer to the future, 188;
in them Herakles and Dionysus sometimes present, 189. Style of archaic
reliefs, 190 ; bear name of sculptor, 191. Lower level of style in fifth-
century reliefs, 191. Fourth-century reliefs connected with the second
Attic school of sculpture, 193.
Xlll
mination of dates of tombs, 117. Third period, 118. Preservation of
part of cemetery at Athens, 118. Architectural decoration of tombs; the
acanthus, 119; the sphinx, 121; the siren, 126; goats butting, 128; the
lion, 130; the bull, 131.
CHAPTER IX.
ATHENS AND GREECE. PORTRAITS.
Portraits of the dead originate in Ionia, 133. Portraits at Athens, 134;
their ideal character, 134. Portrait statues, 135; on horseback or on foot,
136; female figures, 137. The dead as Hermes, 138. Statues of mourning
women, 139. Portraits on stelae, first period, 140 ; Aristion, Lyseas, 141;
stelae of youths, 143. Second period, stelae of citizens, 145; stelae of
warriors, 146; Dexileos, 147 ; young athletes, 149; hunters, 152; students,
153; shipwrecked men, 154; children, 154; matrons, 157; girls, 158;
priestesses, 160.
CHAPTER X.
FAMILY GROUPS.
Pathos and charm of Attic groups, 162. Predominance of women, 163.
Women and children in later Greece, 163. Stelae with father and
children, 164; mother and children, 166. Family groups, 167. Series of
groups representing leave-taking, 168; series representing self-adornment,
171. Stele of Phaenarete, 173. Stele of Ameinocleia, 176. Dressing for
a journey or offerings to the dead? 176. Domestic interiors or scenes
at the tomb? 178. Several stone lekythi on one slab, 178. Occasional
appearance of Hermes, 180.
CHAPTER XI.
MEANING AND STYLE OF THE RELIEFS.
Do the Attic reliefs refer to past or future life ? 182. Line of
connexion with Spartan stelae, 182 ; the wine-cup, the pomegranate, the
cock, 183 ; the dove, the horse, 184 ; the dog, 185. Reliefs which clearly
refer to past life, 185. The 8«£iWir, 186. We must distinguish between
origin and meaning of reliefs, 187. Oblong reliefs refer to the future, 188;
in them Herakles and Dionysus sometimes present, 189. Style of archaic
reliefs, 190 ; bear name of sculptor, 191. Lower level of style in fifth-
century reliefs, 191. Fourth-century reliefs connected with the second
Attic school of sculpture, 193.