Perry, Walter Copland: Greek and Roman sculpture: a popular introduction to the history of Greek and Roman sculpture (London, 1882)

RELIEF OF THE CHARITES IN ROME.

149

its genuineness are chiefly derived from the attempt to distinguish
between the three Graces by a difference in the position of the body
and head, in the dress, and in the arrangement of the hair; the ten-
dency in genuine archaic representations being to make figures of this
kind almost exactly alike. The Gratia to the right is placed in profile,
the two others m face. All three have thick hair, but the central figure
wears a arecfxlvt] (diadem), the one on the right a cap, and the hair of
the third falls down her back.

There are several fragments of reliefs in Athens in almost exactly
the same style, which are generally acknowledged to be archaic.1

Chair of the Priests of Dionysus,

found in the theatre of Dionysus at Athens. The archaistic reliefs
on the back of this magisterial seat are in strange contrast to a
crouching figure of Eros with a fighting cock, both of which are
executed in the freest style.

1 Cavaceppi, Raccolta, iii. 13. Conf. Annul. J. Inst. 1865, p. 267, and Scholl, Arch.
Miitk, p. 26, 27, n. 12, 13.