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40:
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mentions. The three plaques could instead be arranged next to one another, with Apollo and
Marsyas in the centre and the Muses on either side, but there are no traces of attachments for connecting the plaques on their sides, which argues against this hypothesis. It has been proposed to see the plaques as the decoration for a platform for the competitors of a musical contest which took place every year in Arcadia according to
407:
28:
227:
20:
182:
The other two plaques represent the Muses, who, in some versions of the myth of
Marsyas, were the judges of the contest. The Muses are differentiated. On NAMA 215, the one on the left holds an aulos, the one in the centre holds the folds of her himation, and the one on the right is seated and plays a
222:
are common, there are no known representations of
Marsyas playing the flute with a single Muse. To resolve the problem, it has been suggested that Pausanias, whose descriptions are often very vague, was confused and has mistaken Apollo for a Muse. Fougères proposed to emend Μοῦσα (Muse) to Μοῦσαι
234:
The main objection to this hypothesis concerns the proposed arrangement of the base, with the plaque of Apollo and
Marsyas on the front, the plaques of the Muses on the sides. This would create a base measuring 1.36 x 1.36 metres, which would be too small for the three statues that Pausanias
191:. On NAMA 217, the left Muse holds some unrolled parchment, the central Muse holds a rolled-up scroll in her left hand, and the right Muse holds up a kithara in her right hand. Canonically, there were nine Muses, so presumably there was a fourth plaque depicting the missing three Muses.
122:. The three plaques have very similar dimensions: NAMA 216 is 1.35 m wide and 0.96 m high; NAMA 215 and 217 are 1.36 m by 0.96 m and 0.98 m respectively. Their depth varies from 8 to 12 cm. They are decorated in the same way: on the upper part, an
126:
moulding above a broad flat band, on the lower edge there is a concave moulding and another broad flat band. Each panel has three attachment holes in the same locations. These aspects indicate that they were all made together.
546:
102:
church. The upper part had been heavily worn by the passage of the parishioners, but the side facing downwards still bore sculpted decoration in a good state. The plaques were immediately transferred to the
1007:
539:
199:
When he published the discovery, Fougères suggested that the three plaques decorated the sides of a rectangular pedestal and suggested that they be associated with a passage of
239:. Indeed, one of the heads of the Muses of NAMA 217 was recovered from the ruins of the theatre. However, this reconstruction is not supported by any archaeological evidence.
664:
532:
997:
218:
This text which has been transmitted mentions only a single Muse and presents a difficulty in that while representations of
Marsyas playing the flute with a single
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1012:
104:
83:
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1027:
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468:
1022:
992:
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Each plaque depicts three figures on a blank background. They are juxtaposed simply, without any complicated compositional features.
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327:
987:
868:
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170:(trousers), holding a knife in one hand. Based on the identifications of the other two figures, he must be the servant who
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603:
1002:
951:
931:
669:
524:
474:
322:, Paris, éditions de l'École nationale supérieure des Beaux-Arts, coll. « Beaux-Arts histoire », 2002 (
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586:
154:
in his left hand which rests on his left knee. With his right hand he grabs a fold in his himation. At right,
1017:
941:
873:
810:
727:
636:
463:, catalogue de l'exposition au musée du Louvre, 23 mars-18 juin 2007, éditions du Louvre & Somogy, 2007
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75:
98:, the archaeologist Gustave Fougères discovered the three plaques, which had been reused in the floor of a
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608:
200:
926:
858:
805:
631:
412:
383:, vol. I, Beck und Barth, Athènes, 1908 (German translation of the Greek original of 1903), p. 192.
878:
188:
722:
623:
230:
Hypothetical reconstruction of the plaques in order to force them to match
Pausanias' description.
908:
850:
840:
790:
424:(edited by Olga Palagia and J. J. Pollitt), Cambridge University Press, 1998 (1st edition 1996)
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and were probably decoration for a statue base. They have been attributed to the sculptor
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215:; on their base there are carvings of a Muse and a Marsyas playing the aulos."
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Musen und dichterinnen
Figuren des vierten und frühen dritten Jahrshunderts
162:(double flute). In the centre a bearded man is standing, wearing a kind of
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They are made of white marble, which was once identified as the marble of
19:
514:, Manuels d'art et d'archéologie antiques, Picard, 1999, p. 252–253.
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70:. They were discovered in 1887 on the site of the ancient Gree city of
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825:
560:
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139:
66:, and a slave, and the other two of which each show a group of three
59:
442:
Gustave Fougères, "Bas-reliefs de Mantinée. Apollon et les Muses,"
94:
On 11 August 1887 in the course of excavations at
Mantineia by the
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Berichte der
Koniglich Sachsischen Gesellschaft der Wissenschaften
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or another member of his workshop. They are currently kept in the
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38:
26:
18:
204:
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459:, "Praxitèle aujourd'hui ? La question des originaux," in
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who mentions in his description of
Mantineia, "a sanctuary of
223:(Muses), a correction which has been widely accepted since.
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Marsyas after he loses his musical contest against Apollo.
320:
La Sculpture grecque. Sources littéraires et épigraphiques
512:
La Sculpture grecque, vol. II : La période classique
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Hellenistic Sculpture I. The Styles of ca. 331-200 B.C.
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is shown with a beard, his left leg bent, playing the
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688:
645:
622:
594:
567:
392:
Ridgway , p. 207 ; Pasquier, p. 111.
86:, where their inventory numbers are NAMA 215–217.
446:12 (1888) p. 105–128, pl. I, II et III.
142:is represented seated, with long hair, wearing a
497:, University of Wisconsin Press, Madison, 2001
483:, University of Wisconsin Press, Madison, 1997
1008:Archaeological discoveries in the Peloponnese
540:
517:Charles Waldstein, "The Mantineian Reliefs,"
8:
211:who made the statues, two generations after
471:, p. 92–93 and no.16, p. 110–111.
547:
533:
525:
521:(1891), vol. 7, no.1-2, p. 1–18.
31:From left to right; Apollo, a servant in
481:Fourth-Century Styles in Greek Sculpture
105:National Archaeological Museum of Athens
84:National Archaeological Museum of Athens
247:
998:National Archaeological Museum, Athens
437:Die Basis des Praxiteles aus Mantineia
287:
285:
283:
273:
271:
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259:
257:
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16:Three ancient Greek bas relief plaques
444:Bulletin de correspondance hellénique
318:PauDes (8.9.1). Marion Muller-Dufeu,
309:e.g HygFab (165.4) and Libanios (14).
7:
422:Personal Styles in Greek Sculpture
35:dress, and Marsyas (NAMA 216)
14:
869:Group of Aphrodite, Pan and Eros
796:Funerary naiskos of Aristonautes
585:
405:
1013:1887 archaeological discoveries
453:, Cologne, 1971, p. 32–42.
420:Aileen Ajootian, "Praxiteles,"
557:National Archaeological Museum
519:American Journal of Archæology
118:, but is now recognised to be
58:plaques, one of which depicts
1:
1033:Sculptures of women in Greece
1028:Sculptures of Greek goddesses
801:Funerary Stela of Demokleides
134:Apollo and Marsyas (NAMA 216)
107:, where they were restored.
1023:Sculptures of men in Greece
993:Marble sculptures in Greece
43:Three muses (NAMA 217)
23:Three muses (NAMA 215)
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381:Das Athener Nationalmuseum
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475:Brunilde Sismondo Ridgway
207:and her children; it was
178:Muses (NAMA 215 and 217)
51:is an ensemble of three
988:Ancient Greek sculpture
874:Heracles of Antikythera
811:Great Eleusinian Relief
655:Grave stelai of Mycenae
637:Wall Paintings of Thera
96:French School at Athens
713:Dedication of Nikandre
555:Major exhibits at the
379:Johannes N. Svoronos,
361:Ridgway , p. 206.
352:, 1888, p. 184ff.
339:Fougères, p. 107.
291:Fougères, p. 106.
277:Pasquier, p. 110.
263:Fougères, p. 105.
231:
44:
36:
24:
927:Aphrodite of Syracuse
859:Antikythera mechanism
806:Grave Stele of Hegeso
632:Akrotiri Boxer Fresco
413:Ancient Greece portal
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30:
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879:Jockey of Artemision
449:Inge Linfert-Reich,
300:Rolley, p. 254.
723:Dipylon inscription
348:Johannes Overbeck,
330:), no 1394, p. 485.
909:Themis of Rhamnous
894:Mithridates relief
841:Xenokrateia Relief
791:Antikythera Ephebe
614:Spool-shaped pyxis
505:, p. 253–254.
491:, p. 206–209,
432:, p. 122–124.
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45:
37:
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1003:Reliefs in Greece
975:
974:
967:Varvakeion Athena
952:Hermes Criophorus
904:Poseidon of Melos
889:Lycosoura Demeter
884:Lycosoura Artemis
831:Nike of Epidaurus
773:Stele of Aristion
703:Artemision Bronze
660:Mask of Agamemnon
469:978-2-35031-111-1
435:Walther Amelung,
185:string instrument
138:At left, the god
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962:Lenormant Athena
957:Hermes of Aegium
942:Bust of Antinous
753:Phrasikleia Kore
728:Grave stele 7901
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577:Karditsa Thinker
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937:Atalante Hermes
932:Armed Aphrodite
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718:Dipylon Amphora
698:Apollo Omphalos
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665:Octopus amphora
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510:Claude Rolley,
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899:Nike of Megara
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53:ancient Greek
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29:
21:
821:Marathon Boy
815:
758:Pitsa panels
743:Lemnos stele
680:Warrior Vase
675:Theseus Ring
670:Nestor's Cup
609:Frying pan 2
604:Frying pan 1
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187:– perhaps a
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164:Phrygian cap
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48:
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851:Hellenistic
195:Attribution
90:Description
982:Categories
947:Diadumenos
243:References
209:Praxiteles
168:anaxyrides
80:Praxiteles
56:bas relief
864:Aristonoe
783:Classical
647:Mycenaean
569:Neolithic
461:Praxitèle
213:Alcamenes
201:Pausanias
100:Byzantine
72:Mantineia
596:Cycladic
477: :
237:Polybius
148:himation
33:Scythian
708:Daidala
690:Archaic
189:bandora
183:little
156:Marsyas
152:kithara
124:Echinus
114:, near
112:Doliana
76:Arcadia
64:Marsyas
826:Myrtis
624:Minoan
561:Athens
501:
487:
467:
428:
326:
220:Maenad
144:chiton
140:Apollo
60:Apollo
919:Roman
172:flays
160:aulos
116:Tegea
68:Muses
499:ISBN
485:ISBN
465:ISBN
426:ISBN
324:ISBN
205:Leto
146:and
47:The
559:of
74:in
984::
282:^
268:^
250:^
62:,
548:e
541:t
534:v
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