DOI Page / Citation link:
https://doi.org/10.11588/diglit.18217#0023
THE NEliEID MONUMENT.
9
On the other hand, there is much in the decoration of
this monument that is not Attic, such as the details
of Oriental life, especially on the second frieze, and the
picturesque rendering of landscape in sculpture, such as
occurs in later Greek reliefs. The cycle of subjects
chosen for representation is also characteristic of monu-
ments of Asia Minor.
Hence it seems more likely that the monument was
designed by a local artist, either Lycian or Eastern Greek
(according to Benndorf, a Ehodian), who had studied at
Athens, rather than by Athenian artists who went to
Xanthos to execute the tomb. If, however, we suppose
Athenian artists to have been imported, they must have
accepted the local form of monument and have left the
subsidiary friezes to local workmen. The fact that the
fourth frieze was never finished proves that it was of
minor consequence.
Bibliography. For the discovery, see Fellows, Journal . . . in Asia
Minor, p. 233 ; Lt/cia, plates facing pp. 176, 177. For the naval
expedition, see Fellows, Xanthian Marbles : their acquisition and
transmission to England, 1843 (reprinted in Travels and Researches,
p. 421). For the works of Fellows, see ante, I., p. 45. A plan,
showing the position of the slahs when found, is in the portfolio
of Lycian Drawings in the British Museum. This is repeated
on a small scale by Fellows. For original dimensions of slabs,
measured by Rohde Hawkins, see Falkener, Mus. of Classical
Antiijs., L, p. 274. The Museum also possesses a careful
series of drawings by Scharf (cf. Michaelis, Annali, 1874, p. 217).
For the restoration of the structure, see references given above.
The Museum possesses draft restorations by Westmacott and
Rohde Hawkins. See also for the latter, W. Lloyd, Xanthian
Marbles and Arch. Zeit., 1847, pi. 12, figs. 6, 7.
The monument is assigned to the end of the fifth century (Benndorf,
Heroon v. Giol-Baschi, p. 243 ; Wolters, p. 308) ; to the period
following the war of Evagoras, king of Cyprus, with the
Persians, about 38U B.C. (Welcker, in Miiller's Ilandbuch, 3rd ed.
(1848), p. 129) ; and to the period following the capture of
Telmessos by Pericles, king of Lycia, assigned to about 372 B.C.
A lost book of the Philippka of Theopompos is said to have
9
On the other hand, there is much in the decoration of
this monument that is not Attic, such as the details
of Oriental life, especially on the second frieze, and the
picturesque rendering of landscape in sculpture, such as
occurs in later Greek reliefs. The cycle of subjects
chosen for representation is also characteristic of monu-
ments of Asia Minor.
Hence it seems more likely that the monument was
designed by a local artist, either Lycian or Eastern Greek
(according to Benndorf, a Ehodian), who had studied at
Athens, rather than by Athenian artists who went to
Xanthos to execute the tomb. If, however, we suppose
Athenian artists to have been imported, they must have
accepted the local form of monument and have left the
subsidiary friezes to local workmen. The fact that the
fourth frieze was never finished proves that it was of
minor consequence.
Bibliography. For the discovery, see Fellows, Journal . . . in Asia
Minor, p. 233 ; Lt/cia, plates facing pp. 176, 177. For the naval
expedition, see Fellows, Xanthian Marbles : their acquisition and
transmission to England, 1843 (reprinted in Travels and Researches,
p. 421). For the works of Fellows, see ante, I., p. 45. A plan,
showing the position of the slahs when found, is in the portfolio
of Lycian Drawings in the British Museum. This is repeated
on a small scale by Fellows. For original dimensions of slabs,
measured by Rohde Hawkins, see Falkener, Mus. of Classical
Antiijs., L, p. 274. The Museum also possesses a careful
series of drawings by Scharf (cf. Michaelis, Annali, 1874, p. 217).
For the restoration of the structure, see references given above.
The Museum possesses draft restorations by Westmacott and
Rohde Hawkins. See also for the latter, W. Lloyd, Xanthian
Marbles and Arch. Zeit., 1847, pi. 12, figs. 6, 7.
The monument is assigned to the end of the fifth century (Benndorf,
Heroon v. Giol-Baschi, p. 243 ; Wolters, p. 308) ; to the period
following the war of Evagoras, king of Cyprus, with the
Persians, about 38U B.C. (Welcker, in Miiller's Ilandbuch, 3rd ed.
(1848), p. 129) ; and to the period following the capture of
Telmessos by Pericles, king of Lycia, assigned to about 372 B.C.
A lost book of the Philippka of Theopompos is said to have