parison of such works side by side may in many instances at once show the marked difference that obtains between them; and this relief of Athene is one of the best instances in which the dualism we have dwelt upon clearly points to the genuine work of the fifth century B.C., and differs fundamentally from the peculiarities to be noted in the works of the Græco-Roman period. As a work of the fifth century B.C., however, it cannot certainly be placed earlier than the year 470. On the other hand, owing to the introduction of a certain sentiment or pathos in the attitude of the figure, which sentiment, it has been supposed, is foreign to the art of the great period of Phidias and Polycleitos, the work has been ascribed by some to the very close of the fifth century, and even to the beginning of the fourth century B.C. When we have answered the question as to the meaning and destination of this work, we shall see that there is no reason for placing the relief so late on account of the introduction of sentiment. So far, I would fix its date, as re

gards the character of the work itself, between the years 470 and 450 B.C.-a period in which, owing to the emancipating efforts not only of sculptors like Phidias, but also to the important influence of his older contemporary the painter Polygnotos, free and naturalistic art had begun to introduce itself; while, on the other hand, the severer spirit of the older artists had not completely died away and lost its predominance. But if we consider the more human side, namely, the question of the sculptor who made it, I should be inclined to ascribe this work to an artist (of which there were many at Athens) who may well have lived down to the last decades of the fifth century, but whose early training and traditions were formed by an artist of the older and severer school. In the work of such an artist there would be the traces of both periods of art mingled with one another, and even though this individual work might have been made in the year 430 B. C., the artist may have learned his craft from old-school teachers

like Hegias or Kalamis about the year 460, or even 470, B.C. And, finally, we must not forget, when dealing with such a specimen of the minor arts, the influence of some well-known type of Athene which the sculptor had before him or in his mind when he executed this more modest commission. That the sculptors of such reliefs, when they had to carve an Athene, were thus influenced by the well-known types, the sacred temple statues by great artists, is fully established by facts. And thus the sculptor of this relief may, in the second half of the fifth century B.C., have been influenced by a temple statue representing Athene which belonged to an earlier period, and manifested in its modelling the characteristics of more archaic art. In fact, the awk wardness of pose as regards the lower portion of the figure, the modelling of which recalls the more conventional temple statues of earlier dates, seems to arise from the attempt-not quite successful of putting such a severe type of temple statue into this new, definite, and expressive pose. I could adduce several other

instances of reliefs the peculiarities of which can only be explained by the attempted adaptation of an earlier temple statue to a new situation or scene.

To sum up, then, the relief might either have been produced in the years between 470 and 450 B.C.-though, in spite of what I shall have to say, the introduction of the sentiment seems to me to militate against so early a date or it would be the work of an artist who, twenty years of age in 470 B.C., would be seventy years of age in 420 B.C., and who, with the more archaic traditions of his earlier training, might have made this relief at a later period of his life; or, finally (and this stands well with the previous suppositions), the work is some years subsequent to the year 450 B.C. (not later than 420 B.C.), and the artist was influenced by a sacred statue of Athene which belonged to an earlier period, and had distinct traces of archaism in its modelling. The influence of such an earlier type commends itself more and more as we study other similar reliefs representing Athene. I may at once say that the type to

diately after the Persian war, in the time of Cimon, the predecessor of Pericles. This temple may with the greatest probability be identified in the beautiful small edifice commonly known as the Temple of Nike Apteros, which stands on the very brow of the Acropolis; and a statue to this goddess erected in the time of Cimon would, I hold, correspond in all probability to the type of Athene as rendered in our relief, standing erect, with out the definite action marked by the attitude of our figure. An interesting counterpart to this rendering of AtheneNike is that of another Attic relief in Lansdowne House, London, representing Athene-Nike holding her helmet before her in her hand, and here published for the first time. The sculptor of this Attic relief has chosen a different model for his figure. He has been distinctly influenced by the works of Phidiac art. The drapery of this figure is free from any touch of earlier conventionality or severity; in fact, in the folding and general arrangement it corresponds completely to that of the maidens on the frieze of the Parthenon, and in drapery and headdress and type of head its nearest analogies are to be found in these maidens and in the Caryatides of the Erechtheum on the Acropolis. This relief will well illustrate what the minor sculptors, immediately influenced by the work of Phidias at Athens, did when they were commissioned to make such a relief, and at the same time it distinctly shows how the sculptor of our Athene-Nike was influenced by the earlier type, which we may be justified in considering to have been established in the time of Cimon. But though our sculptor may thus have been influenced by an earlier type, he certainly marks a great advance in the freedom with which he has adapted the older figure to the expression of a new and definite meaning, which makes this almost a unique work in the history of Greek art. A still further and later modification and derivative of the earlier prototype may be found in a statue the exact position of which in the history of art has always been a puzzle. It is the celebrated Pallas of Velletri, now in the Louvre Museum, Paris, of which the colossal bust at Munich, from the Villa Albani, gives a more perfect rendering as regards the most striking head. The statue and the bust are probably copies

of a fourth-century original, yet I have always felt that in some of their characteristics of grandeur mingled with grace they pointed to some Attic influence of the fifth century B.C.; and our relief of Athene-Nike, by means of a comparison of the two heads, well serves to illustrate the earlier Attic influence in the form of this beautiful type of the so-called Velletri Pallas. But it is interesting to see what the fourth-century artist has put into his figure in contradistinction to the situation on our relief. For though in the statue and in the bust there are no accessories, such as the slab, and the lance upon which our Athene is leaning, to indicate a definite and individual situation as a motive to the drooping head, the artist of the Velletri Pallas still gives a delicate forward inclination to his head, which now serves him to express one of the leading features of the virgin goddess Athene, namely, the thoughtfulness of the Goddess of Wisdom. For here in this statue, standing erect in solemn majesty, the inclination of the head is not indicative of mourning or sorrow, but it gives to the whole work a pensive expression, and accentuates as the central point of importance and interest in the statue, to which the eye of the spectator is forcibly led by the whole composition of the work, the brow of this youthful goddess. And it is one of the many great achievements of the genius of Greek art that it should have been able to manifest the solemn and dignified characteristics of thoughtfulness without in any way impairing the charm of maidenly youthfulness, which two elements are the component features of the goddess Athene. But this great subtlety of individualization is more characteristic of the fourth century B.C. than of the more monumental character of breadth which marks the works of the fifth century B.C. And in our relief the sentiment is only justified by the definite situation and by the destination of the slab itself.

The meaning of this figure and the purpose which the slab served appear to me evident. The solemn restful attitude of the figure, with drooping head and down-cast eyes, leaning upon her spear, the point of which rests against and touches a square piece of marble upon which she is gazing, is manifestly a sign of mourning. The square stone in front of her is not a pillar, or it would have

had some finish or ornament on the top, such as the Athene holding the helmet has before her. It is a square sepulchral slab, the thin side of which faces us, whereas the broad front faces the goddess. She is thus gazing upon that side upon which the account of the grave which the stone covers is given. Whoever has seen these sepulchral slabs standing side by side along the sacred road where the Greeks buried their dead, will recognize this as the clear rendering of the side view. I must, moreover, at

tach some importance to an apparently minute point, and that is that the spear of the goddess is inverted. For there is no doubt that the point is upon the ground, whereas the finger of her left hand is resting upon the blunt end of the spear. I know of no passage in Greek authors definitely recording the fact that the inversion of a spear was a sign of mourning; yet we certainly know that the inversion especially of the torch with reference to the chthonic deities of the lower world was a mark of mourning. In