Catalogue of objects in the museum (Volume 1) online

U.C.L.A.
Arts Library







,



THE ART INSTITUTE OF CHICAGO



CATALOGUE



OBJECTS IN THE MUSEUM

PART I

SCULPTURE AND PAINTING



SECOND EDITION



CHICAGO

PRINTED FOR THE ART INSTITUTE
1896



TRUSTEES OF THE ART INSTITUTE OF CHICAGO.
1895-96.



CHARLES L. HUTCHINSON,

EDWARD E. AVER,

JAMES H. DOLE,

JOHN C. BLACK,

JOHN J. GLESSNER,

EDSON KEITH,

ALLISON V. ARMOUR,

MARSHALL FIELD,

R. HALL McCORMICK,

SAMUEL M. NICKERSON,

MARTIN A. RYERSON,

GEO. B. SWIFT, Mayor (Ex Officio).



WILLIAM T. BAKER,
NATHANIEL K. FAIRBANK,
ALBERT A. SPRAGUE,
ADOLPHUS C. BARTLETT.
CHARLES D. HAMILL,
TURLINGTON W. HARVEY,
HOMER N. HIBBARD,
HENRY H. GETTY,
BRYAN LATHROP,
ROBERT A. WALLER,
O. D. WETHERELL, Comptroller.
(Ex Officio).



OFFICERS



CHARLES L. HUTCHINSON,

President.

LYMAN J. GAGE,

Treasurer.



JAMES H. DOLE,

Vice-President.

N. H. CARPENTER,

Secretary.



WILLIAM M. R. FRENCH,

Director.



EXECUTIVE COMMITTEE

CHARLES L. HUTCHINSON. CHARLES D. HAMILL,

JAMES H. DOLE, JOHN C. BLACK,

ALBERT A. SPRAGUE, MARTIN A. RYERSON,

WILLIAM T. BAKER.



ART COMMITTEE

CHARLES L. HUTCHINSON, JAMES H. DOLE,

MARTIN A. RYERSON, BRYAN LATHROP,

ROBERT A. WALLER.



Ait Library

*,'. 53^23^ SRLF



THE ART INSTITUTE OF CHICAGO was incorporated May
24, 1879, for the " founding and maintenance of schools of
art and design, the formation and exhibition of collections of
objects of art, and the cultivation and extension of the arts
of design by any appropriate means." The Museum building
upon the Lake Front, first occupied in 1893, is open to the public
every week day from 9 to 5, and Sundays from i to 5. Admission
is free to members and their families at all times, and free to all
upon Wednesdays, Saturdays and Sundays.

The Art School, in the same building, includes departments
of Drawing, Painting, Sculpture, Decorative Designing and
Architecture.

The general catalogue of the collections now on exhibition is
divided into two parts. Part I is devoted to sculpture and paint-
ing.

Part II will include the following collections: Metal Work,
Textile Fabrics, Embroideries, Egyptian Antiquities, Classical
Antiquities, Naples Bronzes, Musical Instruments (loaned), and
Exhibits not classified.

All friends of the Art Institute are invited to become mem-
bers. Annual Members pay a fee of ten dollars for the year.
Governing Members pay twenty-five dollars a year, and an initia-
tion fee of one hundred dollars. All members are entitled, with
their families and visiting friends, to admission to all exhibitions,
receptions, public lectures and entertainments of the Institute,
and to the use of the reference library upon art.



DESIGNATION OF GALLERIES.

MAIN FLOOR.

SEE PLAN.

ROOM i, - Elbridge G. Hall Collection of Sculpture.

Egyptian and Assyrian.

ROOM 2, (Corridor) Same : Asia Minor, and Early Greek.

ROOM 3, Same: Age of Pheidias.

ROOM 4, Same: Later Greek.

ROOM 5, - Same: Roman.

ROOM 6, (Corridor) Same: Renaissance.

ROOM 7, Office of the Director.

ROOM 8, (Hall) Elbridge G. Hall Collection: Modern.

ROOM 9, - Office of the Secretary.

ROOM 10, Elbridge G. Hall Collection: Modern.

ROOM u, (Corridor) - Historical Collection of French Sculpture

and Architecture.

ROOM 12, - Same.

ROOM 13, (Corridor) Same.

ROOM 14, - - Temporary Lecture Room

ROOM 15, - Library, and Mrs. D. K. Pearsons Collection

of Braun Photographs.
ROOMS 16 to 24 are in the part not yet built.



DESIGNATION OF GALLERIES.

SECOND FLOOR.

SEE PLAN.

ROOM 25, - - - - - - Temporary Exhibitions.

ROOM 26, - - - Temporary Exhibitions.

ROOM 27, - - - - - - Temporary Exhibitions.

ROOM 28, - - - Temporary Exhibitions.

ROOM 29, (Corridor) _______

Getty Collection of Musical Instruments, Etc.
ROOM 30, - - - - -

Collection of the Antiquarians: Textiles, Embroideries, Etc.
ROOM 31, - - Higinbotham Collection of Naples Bronzes.
ROOM 32, - - - - Greek and Egyptian Antiquities.

ROOM 33, (Corridor) _______

Rycrson-IIutchinson Collection of Metal Work.
ROOM 34, - Committee Room.

ROOM 35, (Mall) - - Sculpture.

ROOM 36, - - - - - - Committee Room.

ROOM 37, (Corridor) - Braun Photographs and Sculpture.
ROOM 38, - - - - Henry Field Memorial Collection.

ROOM 39, - Oil Paintings, Modern.

ROOM 40, - - - Oil Paintings, lent by A. A. Munger.
ROOM 41, - Same.

ROOM 42, - Old Dutch Masters.

ROOM 43, Oil Paintings.

ROOM 44, (Corridor) - Braun Photographs and Sculpture.
ROOM 45, - Oil Paintings.

ROOMS 46 to 53 are in the part not yet built.



SCULPTURE.



THE ELBRIDGE G. HALL COLLECTION.

CASTS IN PLASTER FROM
REPRESENTATIVE ORIGINAL SCULPTURES.

This collection was given and named for Elbridge G. Hall,
a citizen of Chicago from 1849 to 1877, by Mrs. Addie M. Hall
Ellis. In accordance with the wishes of the donor it includes
only full sized fac-similes of original works in sculpture. These
reproductions, all in plaster or staff, occupy rooms 1-6, 8 and 10
in an order approximately chronological. They are briefly cata-
logued in the following pages under numbers i to 374, and the
greater part of them more fully in a special descriptive cata-
logue of the collection published in 1891.

Room i. Egyptian, Assyrian, Persian.



1. King Amenophis III of Egypt. From a seated statute of
black granite in the British Museum. Egyptian, Theban period,
XIV, century B. C. The two colossal statues near Thebes, one
of which was called Memnon by the Greeks, were erected by
this king.

2. Osiris, the chief god of the dead, in Egyptian mythology.
From a seated statuette of green basalt in the museum of Gizeh,
Egypt, found in a tomb at Sakkarah. Egyptian, Saitic period,
about 650 B. C.

3. King Ramses II (Sesostris) of Egypt. From the co-
lossal bust of sandstone in the British Museum, London, taken
from the facade of a rock temple at Abu-Simbel (Ipsambul),
Nubia. Egyptian, Theban period, XIV century, B. C.



lo The Art Institute of Chicago.

4. Scenes of Rural Life. Low reliefs from limestone
slabs in the Metropolitan Museum, New York, found at Sakka-
rah, in the tomb of Ti, a nobleman. Egyptian, Memphitic
period, nearly 3,000 B. C.

5. Fragments of Rock Sculpture. Five casts from reliefs
on the sides of a rectangular court, hewn out of a mountain side
at Boghaz Keui, Asia Minor. Supposed work of Hittites, about
1300 B. C. (Room 2.)

6. Sardanapalus I (Assurnazirpal of Assyria). From a lime-
stone statue about half life-size, in the British Museum, found at
Nimrud (Near site of Nineveh). Assyrian, about 825 B. C.

7. Standard Weight, in the form of a lion. Original of
bronze now in the British Museum. Assyrian, probably about
IX century, B. C.

8. A Babylonian Record, on a rude cylinder with a round
top ornamented with various figures in low relief. On one side,
cut away to make a fiat surface, is the figure of a king in low
relief. A cuneiform inscription on the other sides records the
sale of a field in the time of King Merodach Adan Akhi. From
a stone found at Hadji-Abad, now in British Museum. Assyrian,
about 1120 B. C. Height, 25 in.

9. " Lion of Nineveh." Head only. Assyrian. (Room 2.)

10. Stele of King Sargon. Front recessed and occupied by
a life-size figure in relief. Edges covered with cuneiform inscrip-
tion. The original, of dark stone, is in the Royal Museum, Berlin.
Assyrian, about 710 B. C.

11. Two Genii Adoring the Tree of Life. Relief. From an
alabaster slab in the British Museum, found at Nimrud (near
the site of Nineveh). Assyrian, IX century B. C.

12-14. Persepolis Reliefs. From gray limestone slabs, in the
British Museum, found in the ruins of Persepolis. Persian, V
century, B. C.

12. Four men with staves and two with whips.

13. Man with staff (or soldier with lance?).

14. Man and horse. Fragment.



Casts of Ancient Sculpture, Hall Collection. u

15. A Babylonian Record (fragment) in cuneiform characters
of a land sale under King Merodach Adan Akhi. From a
basalt tablet in the British Museum, found at Hadji-Abad, Meso-
potamia. Chaldean, XIII century B. C.

16-21. Nineveh Reliefs. From alabaster slabs in the British
Museum, found at Nimrud (near the site of Nineveh). Assyrian,
IX century B. C.

16. Kings and genii adoring the god Assur and the tree of

life.

17. Eunuch and winged genius, attendants of a king.

18. King besieging a city.

19. Eagle-headed deity Nisroch?

20. A winged deity or genius.

21. Man with three pomegranates.

22. Bust of a Man in Relief. From a gray limestone slab in
the British Museum, found in the ruins of Persepolis. Persian,
V century B. C.

23. Persian Chamberlain and Soldier of the royal guard.
Reliefs from a gray limestone corner block, in the British
Museum, found in the ruins of Persepolis. Persian, V century
B. C.

24-25. A Royal Lion Hunt. Relief, from alabaster slabs in the
British Museum, found at Nimrud (near the site of Nineveh).
Assyrian, IX century B. C.

26. A Wounded Lioness at Bay. Relief, from an alabaster
slab in the British Museum, found at Kuyunjik (Nineveh). As-
syrian, about 700 B. C.

27. Man Driving a Chariot. Relief, from alabaster slab in
British Museum, found at Nimrud (near the site of Nineveh).
Assyrian, IX century B. C.

28. Head of an Egyptian Princess. Two copies, from a lime-
stone original in the museum of Gizeh. Egyptian, Theban period,
XII century B. C.

29. Thoueris, the Goddess of Maternity. Statuette. Original,
of dark green basalt, in museum of Gizeh. Found at Thebes.
Egyptian, Saitic period, VII century B. C.



12 The Art Institute of Chicago.

30. The God Osiris and the Goddesses Isis and Hathor, the
last in the form of a cow supporting Psemthek under her chin.
From statuettes of dark green basalt, found in the tomb of Psem-
thek (Psammeticus), "Recorder of the Offerings," who lived
under the thirtieth dynasty, four centuries before Christ. The
original statuettes, with two other pieces from the same tomb,
are now grouped together in the museum of Gizeh. Osiris and
Isis (his sister- wife) are seated. The god wears the "Atef
Crown " and the two large feathers. The two goddesses wear
the disk and horns, and Hathor's crown also has the "uraeus" and
the feathers. These statuettes are good examples of Egyptian
sculpture of the Sa'itic period.

See also numbers 52 to 58 for additional reproductions of
Egyptian sculptures.



THE ELBRIDGE G. HALL COLLECTION.

See note on page q.

Room 2. Early Greek.



31. Combat of Gods and Giants. Nineteen pieces, casts from
fragments of a pedimental limestone group of the treasury of
Megara. Originals in the museum of Olympia. Dorian Greek,
VI century B. C.

32. Portrait Statue, Seated. From a marble in the British
Museum, one of a series found near Miletos, Asia Minor. Ionian
Greek, VI century B. C.

33. Archaic Figure, probably an Apollo, height three feet, 6#
inches. Greek, probably about 550 B. C.

34. Apollo of Tenea (or a young athlete). From a marble in
the Glyptothek, Munich, found at Tenea, near Corinth. Dorian
Greek, VI century B. C.

35. Archaic Nike (Victory), or winged goddess Artemis.
From a marble in the National Museum, Athens, found in Delos.
If the inscribed pedestal was made for the statue, the latter is the
work of Mikkiades and Archermos of Chios. Ionic Greek, VI
century B. C.

36 (a-o). Aigina Sculptures. From marbles in the Glypto-
thek, Munich, found in 1811 among the ruins of the temple of
Athena, in the Island of Aigina, in the pediments of which they
had originally been grouped to represent struggles between
Greeks and Trojans at the siege of Troy. Dorian Greek, about
470 B. C. Restored by Thorvaldsen. The figures marked a, e,f t
i, m are from the eastern pediment, the others from the western.
(Room i.) See next page.

13



14 The Art Institute of Chicago.

a. Dying Trojan warrior.

b. Kneeling Trojan archer, probably Paris.

c. The fallen Achilles.

d. Athena (Minerva) taking the part of the Greeks.

c. Nude Greek warrior reaching forward and downward for
the armor of the fallen Oikles.

f. Herakles kneeling, as an archer, about to avenge the death

of O'ikles.

g. A Greek champion (probably the Telamonian Ajax who

rescued the body of Achilles).

h. A Trojan champion, probably Aineias.

/. A Trojan champion, probably Laomedon.

j. A kneeling Greek warrior, probably Odysseus (Ulysses).

k. Kneeling Trojan warrior, probably Deiphobos, second hus-
band of Helen.

/. Kneeling Greek archer, probably Teukros (Teucer).

m. Fallen Greek warrior, probably Oikles, companion of Her-
akles.

. Dying Trojan. The original is much corroded from lying
in damp ground, and much restored.

o. Dying Greek.

37. Archaic Head of Zeus (Jupiter). From a bronze in the
museum of Olympia, found at Olympia. Greek, VI century B. C.

38. Part of a Pavement, with lotos flowers and buds, rosettes
and palmette ornaments in very low relief, arranged in rectangu-
lar panels and borders. From an alabaster slab in the British
Museum, found in the ruins of Kuyunjik, site of ancient Nineveh.
Assyrian, between B, C. 721 and B. C. 625.

39. Fragments (3) of a Sculptured Column, probably repre-
senting the deliverance of Alkestis by Herakles. From marbles
in British Museum, found in the ruins of an early temple of
Artemis (Diana) at Ephesos. Ionic Greek, about 550 B. C.

40. Heraldic Lions from the Gate of Mykenai. From the re-
lief of breccia stone over the principal gate of the citadel of
Mykenai, Argolis. Prehistoric Greek, about XII century B. C.

41. Archaic Head, with frontal crown. Greek, probably VJ
century B. C.



Casts of Ancient Sculpture, Hall Collection. 75

42. Seated Figures of a Wedded Pair, receiving after death
the homage of surviving kindred. From a limestone sepulchral
slab in Royal Museum, Berlin, found near Sparta. Dorian
Greek, VI century B. C.

43. Assos Reliefs, decorative and mythological. Seventeen
pieces. The originals, of dark gray trachite, have been dis-
tributed among the following museums: Tchinly-Kiosk, Con-
stantinople, Louvre, Paris, and Museum of Fine Arts, Boston.
They were found among the ruins of a Doric temple on the site
of the ancient city of Assos, Asia Minor, in 1838 and 1881 some
carved on metopes and some on solid blocks of the architrave of
the peripteros of the temple of Assos. This temple is said to be
the only known example of a Doric building with a sculptured
architrave. Aiolian Greek, V century B. C.

These reliefs include the following subjects:

Two sphinxes facing each other.

A lion devouring a stag.

A lion devouring a wild boar.

Two bulls butting each other.

Centaurs pursued by Herakles.

Banqueters reclining at table.

Conflict between Herakles and Triton.

44. Archaic Head. Greek, probably about VI century B.C.

45. Head and Arm of Phorrais, an Arkadian warrior. From
fragments of a marble statue found at Olympia, and now in the
museum there. Greek, VI century B. C.

46. Apollo of Naxos. Statuette seven inches high, with base,
The original, of bronze, in the Berlin Museum, was found at
Naxos, Cyclades. Ionian Greek, VI century B. C.

47. Head of a Young Athlete. From a marble sepulchral slab
in the National Museum, Athens, found built into the ancient city
wall. Attic Greek, VI century B. C.

48. Head of Athena (Minerva). From a marble found on the
Akropolis of Athens, now in the Akropolis Museum. Attic Greek,
VI century B. C,



1 6 The Art Institute of Chicago.

49. Fragment. The lower half of a man's figure. High
relief. Archaic Greek, probably of latter half of VI century B. C.

50. Archaic Head. Greek, about end of VI century B. C.

51. Harpy Monument Reliefs. Four slabs, representing the
four faces of the monument, from marbles in the British Museum
found at Xanthos, Lykia. Lykian, V century B. C.

52. Sphinx, with the body of a lion couchant, and a human head
representing an Egyptian king. Fore legs stretched out straight
in front and hind legs doubled under body. Tail curled around
right haunch. The original, of black granite, in the Museum of
Gizeh, was discovered by Marietta at Tanis, in the delta of the
Nile, in 1861. On the chest is the cartouche of P'seb-Khanu I
(Pa-seb-cha-nu) of the XXI Dynasty; but this is a substitution
for an earlier cartouche which has been chiseled out. Nor was
P'seb-Khanu the only usurper of this monument. He was pre-
ceded by Menephtah (XIX Dynasty), who substituted his car-
touche for that of Apepi (XVII Dynasty), who may have been
also a usurper of monumental advertising privileges. Such con-
fusion of history was extensively practiced by Egyptian kings.
Erman thinks that this sphinx and similar monuments may have
originated in a local Tanite school before the Asiatic invasion.

53. The Sheikh-el-Beled (Chief of the Village). From a
figure of locust wood in the museum of Gizeh, found in a tomb
at Sakkarah, Egypt, by Arabs, who gave it the above title in con-
sequence of its resemblance to their chief magistrate. The most
ancient well-preserved wooden portrait statue known. Egyptian,
latter part of IV Dynasty, Memphitic Period, nearly 3000 B. C.
(Room i.)

54. King Khafre (Chephren), builder of the second pyramid
of Gizeh. The original, of variegated diorite, now in the museum
of Gizeh, was found in a shaft near the Sphinx at Gizeh. Egyptian,
IV Dynasty, nearly 3000 B. C. (Room i.)

55. Three Panels from the Tomb of Hesi, at Sakkarah.
The originals, in the museum of Gizeh, are of wood. On each
one is carved in low relief a figure of Hesi, with hieroglyphic
inscription. These figures differ in details. The inscriptions also
vary. Older, perhaps, than the IV Dynasty. (Room i.)



Casts of Ancient Sculpture, Hall Collection. 77

56. Queen Ameneritis, of the XXV or Ethiopian Dynasty,
VII century B. C. From an alabaster statue in the Museum of
Gizeh, Egypt, found at Karnak by Mariette. (Room r.)

57. Weser-en-Re (An), a king of the V Dynasty. From a red
granite sitting statuette in the museum of Gizeh, found at Mit-
Rahineh, site of ancient Memphis, 1888. Egyptian, Theban
period. (Room i.)

58. Head of a Sphinx. Portrait of an Egyptian monarch.
The original, of dark stone, is in the museum of Gizeh. Egyp-
tian, often attributed to the Hyksos, who preceded the XVIII
dynasty (which began about 1530 B. C.); but probably earlier.
(Room i.)

60. Perseus Slaying Medusa. From a brown tufa metope,
with traces of coloring, in the museum of Palermo. Found at
Selinus, Sicily, in the winter of 1822-23. Archaic Sicilian Greek,
VI century B. C.

61. Tombstone of Philis, Daughter of Kleomedes. From a
relief in Parian marble in the Louvre, found in the island of
Thasos, 1864. The marble has traces of coloring. Northern
Ionian Greek, early V century B. C.

62. Apollo and Hermes, with Nymphs and Graces. From three
marble reliefs in the Louvre, found in the island of Thasos, once
parts of the same frieze. The original inscriptions forbid the
sheep and the pig as sacrifices to Apollo and the Nymphs, and the
goat and the pig to the Graces. An inscription of much later date
shows that these blocks had been taken from their original place
and used in the tomb of ... istokrates, son of Erotos.
Northern Ionian Greek, early V century B. C.

63. Sepulchral Slab, with man and dog in relief. From the
original marble by Alxenor of Naxos in the National Museum,
Athens. Found near Orchomenos, Bceotia. Ionian Greek, early
V century B. C.

64. Herakles and Atlas, with the Apples of the Hesperides.
From a marble metope slab of the temple of Zeus at Olympia
now in the museum of Olympia. Northern Ionian Greek, about
450 B. C,



THE ELBRIDGE G. HALL COLLECTION.

See note on page g.

Room 3. Greek, Pheidian Period.



65. The Spinario, or Thorn Extractor. From a bronze statue
in the Palazzo del Conservatori, Rome. Greek, V century B. C.

66. Ganymedes Shrinking from the Eagle (?), commonly called
Ilioneus, son of Niobe. From a statue of Parian marble in the
Glyptothek, Munich, found in Rome about the middle of the i6th
century. Head and arms wanting. Greek, IV century B. C.

67. Sepulchral Slab of Aristion, an Attic warrior. From a
marble relief (originally colored) found at Belanidetsa in Attica,
1838, and now in the National Museum, Athens. Attic Greek, by
Aristokles, VI century B. C. (Room 2.)

68. The Farnese Diadoumenos, a Greek athlete binding his
hair with a fillet. From a Pentelic marble statue in the British
Museum, brought from Rome in 1864 one of the most important
copies (made probably about the beginning of the Christian era)
of a celebrated statue by Polykleitos of Argos. Dorian Greek,
V century B. C.

69. The God Ares (Mars). From a marble statue commonly
known as the Achilles Borghese, now in the Louvre. Brought
from Rome in 1808. Greek, V century B. C.

70-81, 94. Casts of the Elgin Marbles.

The collection in the British Museum called "The Elgin
Marbles " was brought from Greece to England by Thomas Bruce,
Seventh Earl of Elgin 1801-1803.

While ambassador of Great Britain at Constantinople he ob-
tained from the Turkish government a permit to remove certain

18



Casts of Ancient Sculpture, Hall Collection. ig

rcHcs of the art of ancient Greece, chiefly from the Parthenon or
temple of Athena (Minerva) on the Akropolis of Athens. In
1816 they were purchased by the British government and placed
in the British Museum. Their origin is contemporary with that
of the Parthenon itself, which was dedicated in 438 B. C., under
the administration of Perikles. The temple, of the Doric order
of architecture, was built of Pentelic marble, and its exterior was
richly adorned with sculptures in the same material, the design
and superintendence of the execution of which have generally
been attributed to Pheidias. In the cella (that portion of the
temple enclosed by the solid walls) was one of the most cele-
brated works of Pheidias, the colossal statue of Athena, overlaid
with gold and ivory and hence called chryselephantine. (See 87.)
The walls of the cella were decorated externally by a frieze in
low relief supposed to represent the Panathenaic procession. The
spaces between the triglyphs (ends of the beams of the roof) were
filled in with blocks of marble sculptured in the very highest
relief, and from their position, called metopes. The subjects of
the fifteen metopes preserved in the British Museum and the one
in the Louvre are taken from the contest between the Centaurs
and Lapiths, at the marriage feast of PeirithoOs. The figures on
the pediments were sculptured in the round. The subject repre-
sented on the eastern pediment was the birth of Athena from the
brain of Zeus (Jupiter); on the western the victory of Athena
over Poseidon (Neptune). For model of the Parthenon and its
surroundings see 136.

Numbers 70 to 8i,and 94 below, are casts of some of the Elgin
marbles.

70. Frieze of the Parthenon about one-third.

71. Head of a cow fragment of the Parthenon frieze.

72. Figure of Eros (Cupid) fragment of the Parthenon frieze.

73. Centaur in combat with a Greek. From a marble metope
of the Parthenon.

74. Centaur carrying off a woman. From a marble metope of
the Parthenon.

75. Head of the horse of Selene (Luna, goddess of the night).



2O The Art Institute of Chicago.

From a marble originally at the north end of the eastern pedi-
ment of the Parthenon.

76. Kephisos, formerly called Ilissus, an Attic river god. From
a marble originally at the north end of the western pediment of
the Parthenon.

77. Seated female figure, called one of the Three Fates. From
a marble originally on the right hand side of the eastern pedi-
ment of the Parthenon.

78. Group of two female figures, one reclining in the other's
lap, called two of the Three Fates. Also called Aglauros and
Herse, daughters of Cecrops. From a marble originally on the
right hand side of the eastern pediment of the Parthenon.

79. Torso of the winged goddess of victory (Nike). From a
marble originally on the right hand side of one of the pediments
of the Parthenon.

80. Two seated female figures, called Demeter and Perse-
phone (Ceres and Proserpine). From marbles originally on the
left hand side of the eastern pediment of the Parthenon.

81. Reclining male figure, called Theseus. From a marble at
the south end of the eastern pediment of the Parthenon.

82. Combat Between Centaurs and Lapithai, at the wedding
of Peirithoos. From marbles of the western frieze of the sup-
posed temple of Theseus at Athens still in 4 their original posi-
tions. Attic Greek, V century B. C.

83. Trial of Hellas and Asia before the tribunal of Zeus.
From marbles of the temple of Nike Apteros (Wingless Victory)
on the Akropolis, Athens. Attic Greek, V century B. C.