DOI Kapitel:
Divison D: The Acropolis, from the Propylaea to the statue of Athene Lemnia
DOI Kapitel:Section XIV
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61302#0525
SEC. XIV
OF ANCIENT ATHENS
351
Propylaea could well pass the monument unseen. It appears on
the left hand in the general view given in fig. 4. The pedestal is
in itself a stately monument, impressive in its plainness—a fitting
symbol of the man whose steadfast valour raised the empire to
its great height. I have not been to the top of the pedestal,
but it is said that marks still visible on the top slab show that it
supported a chariot and horses. It would have been pleasant to
picture Agrippa standing on the protv of his ship at Actium-
“ Arcluus agmen agens, cui belli insigne superbum,
Tempora navali fulgent rostrata corona.”
But for the Athenians this would have no special significance.
Athens knew him as her benefactor. The inscription7 on the basis
runs thus :—
[ Ο
Μ[αρκον] Άγρύ7Γ7τα[ν]
Λε[ν/<ίου] υιόν
Ύρϊ,ς ΰ[ττατ]ον τον [ε]α[υτ]ου
ε[ΰ€ρ]γέττ/[ν].
—(“The people [set up] Marcus Agrippa, son of Lucius, thrice
consul, their own benefactor His third consulship fell in 27
B.c. The only building of his at Athens that tradition tells ofs is
a theatre on the Kerameikos, known as the Agrippeion.
It is worth noting, and can be seen distinctly on the plan (fig.
5), that the Agrippa monument does not look direct upon the
flight of marble steps approaching the Propylaea. These steps are
not only not of Periclean, but not even of very early Roman date ;
they were built soon after the monument was set up, and neces-
sarily destroyed the old winding approach. It is probable, and,
indeed, almost certain, that the original way wound up the rock
instead of approaching directly; one of the windings would be
immediately faced by the statue of Agrippa. The orientation of
its basis is nearly, though not quite, that of the temple of Nike.
Where the statues of horsemen stood is quite uncertain, pos-
sibly on either side of the approach to the Propylaea. Tradition9
said that the two sons of Xenophon, Gryllus and Diodorus, were
called the Dioscuri ; possibly, therefore, their two statues were
conceived something after the fashion of the twin horsemen gods,
and as the Dioscuri not unfrequently acted as gate-keepers, this
may account for the uncertainty of Pausanias.
OF ANCIENT ATHENS
351
Propylaea could well pass the monument unseen. It appears on
the left hand in the general view given in fig. 4. The pedestal is
in itself a stately monument, impressive in its plainness—a fitting
symbol of the man whose steadfast valour raised the empire to
its great height. I have not been to the top of the pedestal,
but it is said that marks still visible on the top slab show that it
supported a chariot and horses. It would have been pleasant to
picture Agrippa standing on the protv of his ship at Actium-
“ Arcluus agmen agens, cui belli insigne superbum,
Tempora navali fulgent rostrata corona.”
But for the Athenians this would have no special significance.
Athens knew him as her benefactor. The inscription7 on the basis
runs thus :—
[ Ο
Μ[αρκον] Άγρύ7Γ7τα[ν]
Λε[ν/<ίου] υιόν
Ύρϊ,ς ΰ[ττατ]ον τον [ε]α[υτ]ου
ε[ΰ€ρ]γέττ/[ν].
—(“The people [set up] Marcus Agrippa, son of Lucius, thrice
consul, their own benefactor His third consulship fell in 27
B.c. The only building of his at Athens that tradition tells ofs is
a theatre on the Kerameikos, known as the Agrippeion.
It is worth noting, and can be seen distinctly on the plan (fig.
5), that the Agrippa monument does not look direct upon the
flight of marble steps approaching the Propylaea. These steps are
not only not of Periclean, but not even of very early Roman date ;
they were built soon after the monument was set up, and neces-
sarily destroyed the old winding approach. It is probable, and,
indeed, almost certain, that the original way wound up the rock
instead of approaching directly; one of the windings would be
immediately faced by the statue of Agrippa. The orientation of
its basis is nearly, though not quite, that of the temple of Nike.
Where the statues of horsemen stood is quite uncertain, pos-
sibly on either side of the approach to the Propylaea. Tradition9
said that the two sons of Xenophon, Gryllus and Diodorus, were
called the Dioscuri ; possibly, therefore, their two statues were
conceived something after the fashion of the twin horsemen gods,
and as the Dioscuri not unfrequently acted as gate-keepers, this
may account for the uncertainty of Pausanias.