DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0455
LYKIAN MONUMENTS.
421
motives from the picture by that great master. In the vase-painting executed
in Athens, there is the most beauty; and the graceful combination of the un-
faithful maidens there with the rest of the scene, as they look on at the fate of
their unhappy lovers, seems to give us an inkling of the power of the original,
and we better understand its influence
on all the art of later times.
On the inner side of the west wall
were two long friezes, battle-scenes
of varied purport, but most curiously
united with one another. Thus, for
a long distance in both, Amazon con-
flicts appear: then, in the middle,
comes the picture of a besieged city,
in which, in the upper row (Fig. 189, a, b, c), (in the frieze in one continuous
line), the besieged are throwing down stones on the heads of warriors in the
lower row, who are trying to protect themselves with shields. Battles between
Fig 189. Part of Reliefs which lined the Walls of the Herob'n at Gjulbaschi. Vienna.
Greeks, in which ships must have had some part, complete the decoration of
this western wall. But to return to the besieged city in its midst. A part of
the turreted walls, crowned at regular intervals by towers, appear in our cut,
but not their pointed, arched gate-
ways beneath, through which the
besiegers represented in the lower
frieze press.So6 In the midst of
the city we see the front of a
temple (Fig. 189, a), and, not far
removed from it, two throned fig-
ures (Fig. 189, b),—one bearded,
and seated on a lower throne, per-
haps an old king; and the other a female figure, and seated higher up, prob-
ably a goddess. All around the battle rages fiercely; and very remarkable is
the perspective of those armed warriors (Fig. 189, c), who, seven deep, are
preparing to receive the besiegers coming up through the gate from below.
421
motives from the picture by that great master. In the vase-painting executed
in Athens, there is the most beauty; and the graceful combination of the un-
faithful maidens there with the rest of the scene, as they look on at the fate of
their unhappy lovers, seems to give us an inkling of the power of the original,
and we better understand its influence
on all the art of later times.
On the inner side of the west wall
were two long friezes, battle-scenes
of varied purport, but most curiously
united with one another. Thus, for
a long distance in both, Amazon con-
flicts appear: then, in the middle,
comes the picture of a besieged city,
in which, in the upper row (Fig. 189, a, b, c), (in the frieze in one continuous
line), the besieged are throwing down stones on the heads of warriors in the
lower row, who are trying to protect themselves with shields. Battles between
Fig 189. Part of Reliefs which lined the Walls of the Herob'n at Gjulbaschi. Vienna.
Greeks, in which ships must have had some part, complete the decoration of
this western wall. But to return to the besieged city in its midst. A part of
the turreted walls, crowned at regular intervals by towers, appear in our cut,
but not their pointed, arched gate-
ways beneath, through which the
besiegers represented in the lower
frieze press.So6 In the midst of
the city we see the front of a
temple (Fig. 189, a), and, not far
removed from it, two throned fig-
ures (Fig. 189, b),—one bearded,
and seated on a lower throne, per-
haps an old king; and the other a female figure, and seated higher up, prob-
ably a goddess. All around the battle rages fiercely; and very remarkable is
the perspective of those armed warriors (Fig. 189, c), who, seven deep, are
preparing to receive the besiegers coming up through the gate from below.