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

320

THE TEMPLE OF NIKE APTEROS.

only as the possessor and guardian, but as the very divine personifica-
tion of their city.1

Fig. 135.

THE TEMPLE 01" NIKE APTEROS AT ATHENS.

KaAe?Tat Iv ttj "Atti/ctj. Conf. Kurip. Iont
451, and Aristicles, 'A07)i>5, i. p. 26, ed.
Dindorf : {'ABriva) 7j /xofrj ptv atravruiv Qeuv
dfjLoius 5e trao-wv oiiK eirwvvp.os t J) s v'iKT]S
ia-Tiv &\\' dfiavv/^os. A good idea of
Athena Tsike may bo gained from a well-
known relief in the Louvre, in which a
warrior is returning thanks to a small image
of Athena Polias on a pillar for his victory,
represented by a winged Nike who comes to
meet him with a branch in her hand.

1 Although we see that Nike, at a very

early period, had a sanctuary and cult of her
own, her intimate connexion with Athene
appears never to have been lost sight of, nor
does she appear to have assumed any fixed
or permanent type in Greek art. Her image
is found in various sizes—now as a full-grown
powerful maiden, and now as a little child.
She appears with different attributes accord-
ing to the occasion—the garland, the tenia
(head-band), and the/ttjptijcflov (herald's Btafl);
and she is sometimes fully robed, and some-
times nude (vid. Gem. infra, fig. 150, p. 331).