Athena Marsyas Group - Knowledge (XXG)

715: 692:

carries the entire load shifted backwards to the left. Only the lower leg of the statue of the Esquiline is a modern addition, but the foot position is certain. Dancing, advancing or recoiling, Marsyas approaches an object lying on the ground, to which his gaze is directed. The muscles of the body are strong and toned, which are worked out in such detail and anatomically correct that even fine veins are displayed on the surface. The presented right foot is also followed by the right arm stretched upwards and slightly forward, while the left arm is held away from the upper body and downwards. This is answered by the flatter breast muscles of the stretched right side. The whole body is captured at the moment of an incipient turn that makes an escape from its urge to move forward. Thrown into deep wrinkles is the forehead of Marsyas, which clearly shows himself as a satyr by his pointed ears, his tail and his thick, round nose. Amazement, curiosity and fascination with the object of his gaze are expressed in his facial expressions.

899: 20: 1952: 336:

three head replicas have been identified for the Marsyas. In addition, there are representations in vase painting, in relief sculpture and on coins. All this allows a fairly confident reconstruction of the group, even if individual details continue to be the subject of discussion. Nevertheless, there are mainly American researchers who in principle deny the pertinence of the reference of Pliny and Pausanias and do not want to recognize traces of the Athena–Marsyas group in either the coin representations or in the statuary traditions. It has also been proposed to divorce the statues discussed by Pliny and Pausanias into two groups: one by Myron, whose site was not known, and one on the

356:. The replicas in Florence and Hamburg mark Athena by means of an aegis that is missing from all other examples. The upper body performs a slight turn to her left, which the head with its pushed back helmet – in the original probably the only attribute of the statue as Athena – energetically absorbs, so that it almost appears in the profile. The view is directed at a target to be found on the ground and the left arm was also resting by her side, clearly indicating downwards. With the right, which is preserved in the Frankfurt Athena as well as part of the associated arm, the goddess held a lance. Her hair is folded over the forehead and neck and pushed under the helmet – a 155: 703: 382: 923: 911: 367: 316:, known as the "Finlay Crater". However, this not quite finished work is a mirror reflection of the oinochoe: Marsyas is on the left, Athena on the right. Accordingly, Marsyas raises his left arm. His movement floating between approach and retreat is also less dramatically accentuated. Athena, who is rushing into the right of the scene, which is clearly perceived by the movement of her robe, she holds a shield in her left hand, with the right she has just thrown down the aulos. 866:

that he had recognized the remains of a small protrusion, a "puntello", on the right side of the apoptygma of Athena and reconstructed the position of the right arm in front of the body, holding a lance diagonally upwards to the compositional centre of the group. He also turned the Marsyas more into profile. With this disposition of the lance, Meier seemed to have come close for the first time to Pausanias' statement that Athena had struck the satyr.

402: 221: 87: 352:, whose right side is open. The weight weighs on the extended right leg, while the slightly angled left play leg stands out clearly below the robe. Her left foot only touches the ground with the ball and toes. With the Lancellotti and Paris replicas the robe does not reach as far as the ground, but clearly shows the feet. The Torso Lancellotti also has a hem on the edge of the robe, the 267: 293:. From the right, a satyr with a horse's tail, pointed animal ears and shaggy beard approaches the centre of the picture. His forward right leg sits roughly where the aulos will land, but he seems to be retreating with his right knee poised as if jumping. His right arm is raised high, his downward left arm balances the receding movement of his left leg. 975:, a Byzantine scholar of the 12th century. century, who still had extensive antique writings available, Athena handed over the art of the auletics to Marsyas. A conflict between Athena and Marsyas was therefore not expressed at all in the group, the presentation of such was never intended, but only as a result of the incomprehension of later times. 956:, and who sometime in the middle of the 5th century BCE wrote a dithyramb on Marsyas. Boardman thus repudiated those 18th. century scholars who saw the monument as assertion of Athenian superiority over Boeotia. Marsyas represents the wild and aulos loving Boeotia in this reading, and Athena as city goddess of civilized Athens favouring the 1076:

Reinhold Baumstark, Peter Volk (eds.): Apoll schindet Marsyas. Über das Schreckliche in der Kunst. Katalog zur Ausstellung des Bayerischen Nationalmuseums in München vom 15. März bis 18. Juni 1995. Bayerisches Nationalmuseum, München 1995. Skulpturhalle Basel, Marsyas-Schleifer-Gruppe, Inv.-Nr.: 01-4 (240); 78-103 (SH 1209).

878:

the hands of the Frankfurt Athena and which can only be the piece of a lance shaft, on the other hand, the reconstruction does not take into account the holes based on the Marsyas of the Esquiline. But the reconstruction of an aulos in the right hand of Athena also found the approval of Peter Cornelis Bol and others.

74:’ or Man Throwing a Discus, and Perseus, and The Sawyers, and The Satyr Marvelling at the Flute and Athene”. In 1830, K. O. Müller first connected these bare notes in the literature with one another and two archaeological testimonies, an Attic coin from the imperial period and a late republican relief 1630:

Raimund Wünsche: Marsyas in der antiken Kunst. In: Reinhold Baumstark, Peter Volk(Hrsg.): Apoll schindet Marsyas. Über das Schreckliche in der Kunst. Katalog zur Ausstellung des Bayerischen Nationalmuseums in München vom 15. März bis 18. Juni 1995. Bayerisches Nationalmuseum, München 1995, pp. 19–47,

881:

Regardless of further details, the question of the object in the right hand of Athena has so far been unresolved, while at least one aulos was probably at the feet of Marsyas. Raimund Wünsche argued that Athena with the lance in her right hand was directed against Marsyas, while the open left pointed

861:

At no time have both figures been discovered in the same find. And although both types of statues do not give a direct indication that they had a counterpart, the structure and movement show that they are not self-contained and stand-alone compositions. The comparison with the representations in vase

211:

followed him here and invoked directly the disdain of Athena, but thought the story of the distortion of her face as too superficial a reason for her reluctance and sought to intellectualized the interpretation: since one cannot blow and speak at the same time, the aulos is not conducive to spiritual

1686:

Karl August Böttiger: Pallas Musica und Apollo Marsyas-Töter. In: Wieland’s attisches Museum. Jahrgang 1, Heft 2, 1796, S. 279–385 (= Carl August Böttiger, Julius Sillig (Hrsg.): C. A. Böttiger’s kleine Schriften archäologischen und antiquarischen Inhalts gesammelt und herausgegeben. Band 1. Arnold,

695:

The largely preserved statue in the Vatican Museums has a notable feature: it has two depressions on the statue base, one in front of the left, conjectured foot, the other about 23 centimetres further to the left centre. They were used to fasten one or more objects now lost, which were probably made

1742:

For interpretation as the inventor of aulos music ubiquitous and popular at Myron's time as well as the change in the understanding associated with the work, see Klaus Junker: Die Athena-Marsyas-Gruppe des Myron auf der Akropolis von Athen. In: Jahrbuch des Deutschen Archäologischen Instituts. Band

1094:

Karl August Böttiger: Pallas Musica und Apollo Marsyas-Töter. In: Wieland’s attisches Museum. Jahrgang 1, Heft 2, 1796, pp.279–385. In Carl August Böttiger, Julius Sillig (eds), C. A. Böttiger’s kleine Schriften archäologischen und antiquarischen Inhalts gesammelt und herausgegeben. Band 1. Arnold,

1075:

Adolf H. Borbein: Die Statue des hängenden Marsyas. In: Marburger Winckelmannsprogramm. 1973, pp.37–52. Hugo Meyer: Der weiße und der rote Marsyas. Eine kopienkritische Untersuchung in Münchener Archäologische Studien. Band 2. Fink, München 1987. Raimund Wünsche: Marsyas in der antiken Kunst. In:

865:

Since the first reconstructions of the group of Bruno Sauer in 1907 and those of Johannes Sieveking and Adolf Furtwängler in 1908, many proposals for the composition have been made, most of which focused on the reconstruction of the arm postures, especially that of Athena. Paul Jonas Meier believed

1696:

Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus Monographie. Band 8. Liebieghaus, Frankfurt am Main 1983, p. 53 f.; Irmgard Kasper-Butz: Die Göttin Athena im klassischen Athen : Athena als Repräsentantin des demokratischen Staates. Lang, Frankfurt am Main/New York 1990, p.

877:

Sieveking tried to take a new path in 1912. He completely detached himself from the reconstruction developed in 1908 with Furtwängler and now gave Athena the two auloi in the left and right hand. On the one hand, there is the lack of expected holes in the object, which is sufficiently preserved in

1242:

Represented, for example, by: Rhys Carpenter: Observations on Familiar Statuary in Rome, in Memoirs of the American Academy in Rome. Volume 18. New York 1941, pp. 5–7; Brunilde Sismondo Ridgway: The Severe Style in Greek Sculpture. Princeton University Press, Princeton (NJ) 1970, p. 85 f.; ibid,

335:

Numerous copies of the group statues, some of which were only fragmentary, could be found in European collections of the nineteenth century. For example, there is one full statue replica of the Athena, seven body replicas and at least three head replicas. So far, a body replica, three torsos and

1658:

Raimund Wünsche: Marsyas in der antiken Kunst. In: Reinhold Baumstark, Peter Volk (Hrsg.): Apoll schindet Marsyas. Über das Schreckliche in der Kunst. Katalog zur Ausstellung des Bayerischen Nationalmuseums in München vom 15. März bis 18. Juni 1995. Bayerisches Nationalmuseum, München 1995, pp.

691:

and was found on the Esquiline in Rome, reflects the movement motif of the satyr most conscientiously. Marsyas stands on the ball of the foot, the heels are raised. His right leg is extended forward, almost right-angled to this is the left foot directed at the viewer, the slightly bent left leg

978:

So far, satisfactory interpretations of the group and the reason for its establishment, supported by a broader scholarly consensus, which is even attributed to the "special conceptual quality" of the work: Since it can be read and understood in many ways, the circle of possible donors is also

285:, Attica. It was made around 440 BCE, and is located in the State Museums in Berlin. Athena is in strict right profile, holding a lance with her left hand, throwing away with the outstretched right hand the aulos, which can still be seen falling to the right of her. She wears a helmet and 1104:

See, for example, Georg Daltrop, Peter Cornelis Bol: Athena des Myron (= Liebieghaus monograph. Volume 8). Liebieghaus, Frankfurt am Main 1983, p. 16. See discussion Helga Bumke, Statuarische Gruppen in der frühen griechischen Kunst. In Jahrbuch des Deutschen Archäologischen Instituts.

960:. An antagonism that also found violent expression. Myron was even seen in this context as a particularly pointed, humorous and satirical artist. Werner Gauer saw the group of statues specifically as an anathema directed against the Persians and to be connected with the 714: 759:

Altitude without plinth: 1.56 m. discovered in 1824 in Via dei Quadro Cantoni on the Esquiline. Head broken and discovered a few days later, once incorrectly ascribed arms removed again in 1925. Ears modernly complemented. Two ancient depressions on the plinth.

297: 869:

However, an examination of the statue and especially the puntello, which was interpreted as a bridge attachment, made by Heinrich Bulle caused him to realize that the basis for Meier's reconstruction is unjustifiable, since the supposed puntello is only a

237:, who was the first to relate the passages to the myth of Pliny and Pausanias, recognized representations of the Athena–Marsyas group in Athenian coins of the Roman Empire and in the relief of the "Finlay Krater" located in Athens. This prompted the 245:, in which, among many other finds, he discovered the statue of a satyr. A year later, the statue was acquired for the Pontifical Museum, but only exhibited in 1852 in the Museo Gregoriano Profano. As a result of an in-depth stylistic analysis, 451:

Height without plinth: 1.67 m. Frankfurt Athena. Discovered in Rome in 1884, acquired by Frankfurt citizens in 1908 and donated to the Liebieghaus in 1909 for the opening of the museum. Body made of pentelic marble, head made of parian marble.

249:

recognized this statue as based on the Myronic Marsyas. Bruno Sauer proposed in 1907 to connect the Marsyas statue with a statue of Athena, which is present in various replicas in Paris, Toulouse and Madrid. A year later, at the suggestion of

1204:

Jean N. Svoronos: Les monnaies d’Athènes.Band 6. München 1923, Tafel 89, 26–30; Arvid Andrén: Der lateranische Silen und die Gruppe von Athena und Marsyas. In: Opuscula archaeologica, 3, 1944, p. 7 Illus. 1 and

130:, he learned the aulos playing. Athena, however, who saw her reflection in a lake while playing, threw the new instrument away horrified at the disfiguration of her face. The discarded instrument was found by a 134:

who soon mastered the art of playing to such an extent that he challenged Apollo to compete. As a result, the satyr was defeated in the competition – which was the subject of another sculpture group – and was

1214:

Jean N. Svoronos: Les monnaies d’Athènes.Band 6. München 1923, Tafel 89, 33–34; Arvid Andrén: Der lateranische Silen und die Gruppe von Athena und Marsyas. In: Opuscula archaeologica, 3, 1944, p. 9 Illus.

1576:

For the reconstruction proposals until 1983, see with literature Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus monograph. Volume 8. Liebieghaus, Frankfurt am Main 1983, p. 44-47

1105:

Ergänzungs-Heft 32. De Gruyter, Berlin/New York 2004. p.151 ff. And especially, Klaus Junker: Die Athena-Marsyas-Gruppe des Myron auf der Akropolis von Athen. In JdI. Band 117, 2002, pp.148–158.

1168:

Bruno Sauer: Die Athena-Marsyasgruppe des Myron. In: Wochenschrift für klassische Philologie. Band 24, 1907, pp.1243–1249; ders.: Die Marsyasgruppe des Myron. In: JdI. Band 23, 1908, pp.125–162.

898: 1743:

117, 2002, pp. 127–183; Luise Seemann contradicted this: Zur Interpretation der Athena-Marsyas-Gruppe des Myron. In: Boreas. Münstersche Beiträge zur Archäologie. Band 32, 2009, pp. 1–18.

1697:

184; Peter Cornelis Bol: Liebieghaus – Museum alter Plastik, Frankfurt am Main. Führer durch die Sammlungen. Griechische und römische Plastik. Liebieghaus, Frankfurt am Main 1997, p. 73.

1813:

Vinzenz Brinkmann: Die Athena-Marsyas-Gruppe des Myron. In: Vinzenz Brinkmann (ed): Die Launen des Olymp. Der Mythos von Athena, Marsyas und Apoll. Liebieghaus, Frankfurt am Main 2008

578:

Height without plinth: 1.37 m. Athena Lancellotti. Missing head was worked separately. Right arm missing, left arm cut in the area of the elbow and in the forearm, probably a repair.

944:

There is no information about who commissioned the statue or the occasion of its dedication, but attempts have been repeatedly made to try to put the work in its historical context.

1752:

Peter Cornelis Bol: Liebieghaus – Museum alter Plastik, Frankfurt am Main. Führer durch die Sammlungen. Griechische und römische Plastik. Liebieghaus, Frankfurt am Main 1997, p. 73.

42:

in the high classical period, dated to c 450 BCE. Now lost, it has been reconstructed from copies, coins, other visual sources and literary testimonia. The work depicted the satyr

1668:

Vinzenz Brinkmann (ed.): Zurück zur Klassik. Ein neuer Blick auf das alte Griechenland. Ausstellungskatalog Liebieghaus Skulpturensammlung. Liebieghaus, Frankfurt 2013, pp. 46–48.

1039:

Pindar, Pythian Ode 12. See Deborah Steiner, The Gorgons’ Lament: Auletics, Poetics, and Chorality in Pindar’s Pythian 12, American Journal of Philology, 134, 2013, pp. 173-208.

1159:

Heinrich Brunn: Bullettino dell'Instituto di corrispondenza archeologica. 1853, p. 145 ff. See also, Il Marsia di Mirone. In: Annali dell'Istituto. Volume 30, 1858, p. 374–383

1603:

Heinrich Bulle: Eine neue Ergänzung der myronischen Athena zu Frankfurt am Main. In: Jahrbuch des Deutschen Archäologischen Instituts. Band 27, 1912, pp. 175–199 Abb. 22. 23.

1803:

Peter Cornelis Bol: Liebieghaus – Museum alter Plastik, Frankfurt am Main. Führer durch die Sammlungen. Griechische und römische Plastik. Liebieghaus, Frankfurt am Main 1997

241:

search amongst the stock of Roman copies for the original Greek models. In 1824, the antiquarian Ignazio Vescovali carried out excavations in Via dei Quadro Cantoni on the

1808:

Helga Bumke: Statuarische Gruppen in der frühen griechischen Kunst in Jahrbuch des Deutschen Archäologischen Instituts.Ergänzungs-Heft 32. De Gruyter, Berlin/New York 2004

78:, the so-called "Finlay Krater", both of which depict Athena in a dramatic confrontation with Marsyas, and within which the depictions of the satyr show close similarity. 889:. His observations favour the early reconstruction of Bulle, according to which the lance of Athena starts obliquely behind the body of Athena to point far to its left. 1233:

Replica list with literature by Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus monograph. Volume 8. Liebieghaus, Frankfurt am Main 1983, p. 75 ff.

1224:

Replica list with literature by Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus Monographie. Band 8. Liebieghaus, Frankfurt am Main 1983, p.74 ff.

702: 207:

with the musical effect of aulos and Socrates directly with Marsyas. Nevertheless, Plato rejected the "flute-makers and flute-players" as useless in the Republic.

2191: 862:

painting, relief and coins, on the other hand, makes it clear that these two statues are connected by isocephaly and form a coherent scene once grouped together.

1594:

Heinrich Bulle: Eine neue Ergänzung der myronischen Athena zu Frankfurt am Main. In: Jahrbuch des Deutschen Archäologischen Instituts. Band 27, 1912, p. 175–199.

1848: 971:. But the connection with Marsyas would find its justification in the fact that the satyr served as a mediator of this art to the people, because according to 1931: 1640:

Peter Cornelis Bol in: Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus Monographie. Band 8. Liebieghaus, Frankfurt am Main 1983, p. 47.

1951: 1186:

Ludwig Pollak: Die Athena der Marsyasgruppe des Myron. In: Jahreshefte des Österreichischen Archäologischen Instituts.Band 12, 1909, pp.154–165. 221 ff.

19: 1715:

Werner Gauer: Athena und Marsyas. In: Detlef Rößler, Veit Stürmer (eds.): Modus in Rebus. Gedenkschrift für W. Schindler. Mann, Berlin 1995, pp. 50–55.

1724:

Hans-Christoph von Mosch: Bilder zum Ruhme Athens. Aspekte des Städtelobs in der kaiserzeitlichen Münzprägung Athens. Ennerre, Mailand 1999, p. 33 ff.

66:

writes: “In this place is a statue of Athena striking Marsyas the Silenus for taking up the flutes that the goddess wished to be cast away for good.”

360:, as can be seen from the recess for the ears. However, with the replicas in Toulouse and Florence, a dense braid falls over the neck and shoulders. 2391: 313: 381: 2347: 2342: 484: 1941: 95: 226: 2141: 1649:

Brigitte M. Klein: Die Myronische Athena – Im Weggehen begriffen? In: Boreas. Münstersche Beiträge zur Archäologie. Band 11, 1988, pp.43–47.

2031: 1798:

Werner Gauer: Athena und Marsyas. In: Detlef Rößler, Veit Stürmer (eds.): Modus in rebus. Gedenkschrift für W. Schindler. Mann, Berlin 1995

258:

published the Frankfurt Athena in 1909, the best-preserved replica of the Athena type, as a counterpart to the Marsyas of the Esquiline.

1778:

H. Anne Weis, The "Marsyas" of Myron: Old Problems and New Evidence, American Journal of Archaeology, Vol. 83, No. 2, 1979, pp. 214-219.

1612:

Heinrich Bulle: Die samische Gruppe des Myron. In: Festschrift für Paul Arndt.Bruckmann, München 1925, pp. 62–141, hier: S. 140 Anm. 35.

567: 922: 1818:

Luise Seemann: Zur Interpretation der Athena-Marsyas-Gruppe des Myron. In: Boreas. Münstersche Beiträge zur Archäologie. Band 32, 2009

1252:

H. Anne Weis: The 'Marsyas' of Myron: Old Problems and New Evidence. In: American Journal of Archaeology. Volume 83, 1979, p. 214-219.

151:

the cause of Athena letting the aulos drop. Hyginus also writes that Athena cursed anyone who will play the instrument in the future.

910: 1841: 1465:

Georg Daltrop, Peter Cornelis Bol: Athena des Myron, in Liebieghaus Monographie. Band 8. Liebieghaus, Frankfurt am Main 1983, p. 47.

366: 327:, she is on the right. What both types have in common is the arm of the Marsyas, which is raised towards the centre of the picture. 1195:

Dagmar Grassinger: Römische Marmorkratere, in Monumenta artis romanae.Band 18. Philipp von Zabern, Mainz 1991, p. 156 f. Cat.-N. 2.

2327: 2241: 1823:

Klaus Junker: Götter als Erfinder. Die Entstehung der Kultur in der griechischen Kunst. Philipp von Zabern, Darmstadt/Mainz 2012.

2121: 1936: 1921: 1881: 1243:

Roman copies of Greek sculpture: the problem of the originals. University of Michigan Press, Ann Arbor 1984, p. 53 f. 62 n. 34.

2111: 2046: 1773:

Ellen Van Keer, The Myth of Marsyas in Ancient Greek Art: Musical and Mythological Iconography, Music in Art XXIX/1–2 (2004)

401: 1793:

Georg Daltrop, Peter Cornelis Bol: Athena des Myron in Liebieghaus Monographie. Band 8. Liebieghaus, Frankfurt am Main 1983

967:

Another approach is pursued by interpretations that focus on the invention of the aulos and emphasise Athena's aspect as a

2401: 2337: 2311: 1585:

Paul Jonas Meier: Die Marsyasgruppe des Myron. In: Neue Jahrbücher für das klassische Altertum. Band 27, 1911, pp.551–560.

945: 776:

Height: 1.12 m. found in 1932 in the area of the Papal Villa. Head, arms and lower legs are missing. Both thighs broken.

2396: 1834: 2291: 2051: 2036: 271: 169:

Since the late 18th. century the fundamental work on the subject has been "Pallas Musica and Apollo Marsyas-Töter" by

154: 1677:

John Boardman: Some Attic Fragments: Pot, Plaque and Dithyramb. In: Journal of Hellenic Studies. 76, 1956, pp. 18–25.

233:

Like almost all bronze original works of Greek antiquity, the original of the Athena–Marsyas group of Myron is lost.

2236: 353: 177:, which was accompanied by an anti-Boeotic attitude, since the sound of the instrument was too reminiscent of the 2126: 2021: 597:

Height without plinth: 1.40 m. found in 1890, both arms are missing. Shock of hair head at the nape of the neck.

2231: 1891: 1621:

Johannes Sieveking: Die Ergänzungen der Marsyasgruppe des Myron. In: Archäologischer Anzeiger. 1912, pp. 1–10.

1177:

Johannes Sieveking: Myrons Gruppe der Athena und des Marsyas. In: Archäologischer Anzeiger. 1908, pp.341–343.

885:

Most recently, Vinzenz Brinkmann documented the technical findings of the Frankfurt Athena replica following

2332: 170: 541:

Height without plinth: 1.38 m. Right shoulder and right back are missing until the strap. Pentelic marble.

143:, Marsyas was the name of the satyr, and not only was the reflection in the water but also the laughter of 2281: 2006: 1761:

Klaus Junker: Die Athena-Marsyas-Gruppe des Myron auf der Akropolis von Athen. In: JdI, 117, 2002, p. 178.

234: 63: 254:, Johannes Sieveking presented the first reconstruction of the group in plaster and a replica in copper. 2041: 1906: 1886: 874:

and cannot offer sustainable support. He repudiated his own reconstruction proposal a few years later.

2186: 2156: 2131: 2016: 1981: 788: 323:

period shows the lanceless Athena on the left side of the picture; on another coin, from the time of

251: 2306: 1911: 1896: 1857: 833: 337: 39: 1706:

Georg Lippold: Griechische Plastik, in Handbuch der Archäologie. Bd. 3. Beck, München 1950, p. 139

193:

had refused to learn the instrument. However, this is contradicted by the speech of Alcibiades in

2116: 820: 784: 630: 464: 319:

Coin portraits of the Roman imperial era also reflect the group, in two variants: a coin of the

2151: 2026: 520:

Height without plinth: 1.39 m. Both arms are missing, head was worked separately and missing.

357: 220: 199: 2226: 2221: 2216: 2181: 2161: 2056: 972: 961: 827: 667: 609: 592: 290: 144: 676:

Height: 0.25 m. Head fragment made of pentelic marble, assignment likely, but not secured.

2276: 2251: 1976: 1901: 850:

Height: 0.17 m. Only the upper part of the head from the skull to the upper lip survives.

771: 688: 549: 511: 392: 103: 67: 24: 185:

fighting by their side. The advocates of this theory invoked the anecdote handed down by

2296: 2200: 2136: 886: 811:

Height 0.28 m. Only the head made of antique Pentelic marble and set in a modern bust.

721: 246: 242: 1783:

Klaus Junker, Interpreting the Images of Greek Myths: An Introduction, Cambridge, 2012

797:

Height: 0.72 m. Acquired from the art trade in 1971. Head, arms and legs are missing.

348:

All replicas show the very youthful Athena standing upright, dressed in a high-belted

2385: 2286: 2196: 1966: 1926: 932: 671: 494: 490: 255: 312:

marble krater of around the middle of the 1st century BCE., which is located in the

2370: 2364: 2271: 2246: 2076: 1971: 1012:

Klaus Junker, Die Athena-Marsyas-Gruppe des Myron, JdI, 117, 2002, p.141, Illus. 16

968: 949: 296: 174: 86: 2266: 2256: 2146: 2096: 2001: 1996: 1991: 1986: 1876: 373: 324: 163: 159: 2011: 1916: 928: 190: 71: 618:

Height: 0.21 m. Only the neck and left lower half of the face are preserved.

2101: 1871: 953: 871: 573: 309: 266: 208: 148: 91: 2261: 2106: 2081: 586: 460: 278: 204: 186: 182: 158:

Competition between Apollo and Marsyas, on the right edge, the flaying;

2091: 2086: 626: 499:

Height without plinth: 1.35 m. Right arm and left forearm are missing.

480: 320: 301: 140: 136: 127: 115: 43: 1826: 173:. It has been argued that the aulos fell out of fashion following the 636: 605: 532: 507: 412: 388: 349: 178: 123: 119: 111: 75: 51: 277:

The oldest testimony of the group is the depiction on a red-figure

126:

was so taken with the instrument that, according to the Greek poet

1788:

Klaus Junker, Die Athena-Marsyas-Gruppe des Myron, JdI, 117, 2002.

528: 408: 295: 286: 265: 219: 194: 153: 131: 107: 85: 47: 35: 18: 1030:

K. 0. Müller. Handbuch der Archäologie der Kunst (1830) 371 § 6.

957: 641:

Height: 0.33 m. In Dresden since 1899, made of pentelic marble.

282: 1830: 90:

Competition between Apollo and Marsyas, around 330 BCE. from

655:

Height: 0.17 m. Head fragment, broken above the forehead.

1456:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 75 n. 12.

1439:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 75 n. 11.

1422:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 75 n. 10.

1303:

Band 8). Liebieghaus, Frankfurt am Main 1983, p. 74 n. 3.

558:

Greatly reduced in size with a maximum height of 0.62 m.

62:

The sculpture is mentioned twice in the ancient sources.

1567:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 76 n. 6.

1550:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 76 n. 5.

1533:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 76 n. 4.

1516:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 76 n. 3.

1499:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 76 n. 2.

1482:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 75 n. 1.

1405:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 75 n. 9.

1388:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 8.

1371:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 7.

1354:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 6.

1337:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 5.

1320:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 4.

1286:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 2.

1269:

Band 8. Liebieghaus, Frankfurt am Main 1983, p. 74 n. 1.

687:

The best-preserved replica of Marsyas, which is in the

122:

and gave it as a gift to humans for this purpose. Even

832:

Height: 0.17 m. Discovered during excavations in the

472:

Height: 1.47 m. The head and bust cutout are added.

2356: 2320: 2209: 2174: 2065: 1959: 1864: 708:Esquiline Marsyas, Rome, Museo Gregoriano Profano 106:, Athena was thought to be the inventor of the 70:records: “His other works include Ladas and a ‘ 2192:Museum of the Center for the Acropolis Studies 1842: 1057:Ovid, fasti 6,697–709; Ars amatoria 3.505 ff. 844:Rome, Capitoline Museums, Magazine Inv. 2697 340:, which could not be assigned to a sculptor. 8: 203:, in which he compares the verbal power of 2069: 1849: 1835: 1827: 952:, who was considered the innovator of the 893:Reconstruction of the Athena-Marsyas-Group 732: 424: 118:after the beheading of her mortal sister 445:Frankfurt am Main, Liebieghaus Inv. 195 314:National Archaeological Museum of Athens 270:Red-figure oinochoe from Vari (Attica), 114:, she imitated the funeral dirge of the 987: 891: 744: 734: 698: 436: 426: 362: 308:The same scene is also depicted on a 96:National Archaeological Museum, Athens 663:Rome, Antiquarium Forense Inv. 12603 227:National Archaeological Museum Athens 7: 572:Rome, from the Villa Peretti on the 110:, with which, according to the poet 1559:Georg Daltrop, Peter Cornelis Bol: 1542:Georg Daltrop, Peter Cornelis Bol: 1525:Georg Daltrop, Peter Cornelis Bol: 1508:Georg Daltrop, Peter Cornelis Bol: 1491:Georg Daltrop, Peter Cornelis Bol: 1474:Georg Daltrop, Peter Cornelis Bol: 1448:Georg Daltrop, Peter Cornelis Bol: 1431:Georg Daltrop, Peter Cornelis Bol: 1414:Georg Daltrop, Peter Cornelis Bol: 1397:Georg Daltrop, Peter Cornelis Bol: 1380:Georg Daltrop, Peter Cornelis Bol: 1363:Georg Daltrop, Peter Cornelis Bol: 1346:Georg Daltrop, Peter Cornelis Bol: 1329:Georg Daltrop, Peter Cornelis Bol: 1312:Georg Daltrop, Peter Cornelis Bol: 1295:Georg Daltrop, Peter Cornelis Bol: 1278:Georg Daltrop, Peter Cornelis Bol: 1261:Georg Daltrop, Peter Cornelis Bol: 756:Rome, Via dei Quadro Cantoni 46–48 2348:Siege of the Acropolis (1826–1827) 2343:Siege of the Acropolis (1821–1822) 1733:Johannes Tzetzes, chiliades 1,369. 948:connected the group with the poet 882:to the aulos lying on the ground. 14: 224:So-called Finlay Krater, Athens, 34:was a bronze sculptural group by 2328:Achaemenid destruction of Athens 2242:Korai of the Acropolis of Athens 1950: 921: 909: 897: 713: 701: 400: 380: 365: 2392:5th-century BC Greek sculptures 2142:Louis-François-Sébastien Fauvel 1922:Choragic Monument of Thrasyllos 1912:Theatre of Dionysus Eleuthereus 1687:Dresden/Leipzig 1837, S. 3–60). 768:Rome, Vatican Museum Inv. 9975 753:Rome, Vatican Museum Inv. 9974 2047:Church of Panagia Atheniotissa 1987:Sanctuary of Artemis Brauronia 1123:Plato, Symposium 251 a. 216 c. 1048:Plutarch, De musica 14p 1136b. 916:Frankfurt am Main, Liebieghaus 904:Rome, Museo Gregoriano Profano 1: 2338:Siege of the Acropolis (1687) 631:Staatliche Skulpturensammlung 485:Museum für Kunst und Gewerbe 262:Other visual representations 181:of the Persian army and the 23:Athena-Marsyas Group, Rome, 2052:Temple of Roma and Augustus 2037:Choragic Monument of Nikias 552:, Museo Civico Inv. 6493 C 272:Staatliche Museen zu Berlin 2418: 2237:Pediments of the Parthenon 1141:Aristotle, Politics 1341b. 2127:Giovanni Battista Lusieri 2072: 2022:Sanctuary of Zeus Polieus 1948: 1132:Plato, Republic, 399 d–e. 823:, Antiquarium Inv. 15724 300:Drawing of a coin of the 162:of the late 3rd century, 2232:Metopes of the Parthenon 1892:Odeon of Herodes Atticus 1565:Liebieghaus Monographie. 1548:Liebieghaus Monographie. 1531:Liebieghaus Monographie. 1514:Liebieghaus Monographie. 1497:Liebieghaus Monographie. 1480:Liebieghaus Monographie. 1454:Liebieghaus Monographie. 1437:Liebieghaus Monographie. 1420:Liebieghaus Monographie. 1403:Liebieghaus Monographie. 1386:Liebieghaus Monographie. 1369:Liebieghaus Monographie. 1352:Liebieghaus Monographie. 1335:Liebieghaus Monographie. 1318:Liebieghaus Monographie. 1301:Liebieghaus Monographie. 1284:Liebieghaus Monographie. 1267:Liebieghaus Monographie. 448:Rome, Via Gregoriana 32 25:Museo Gregoriano Profano 2333:Sack of Athens (267 AD) 1114:Plutarch, Alkibiades 2. 979:correspondingly large. 2282:Nike Fixing her Sandal 2007:Altar of Athena Polias 1907:Sanctuary of Asclepius 1066:Ovid, fasti 6.697-709. 834:Circus of Maxentius on 305: 274: 230: 166: 99: 27: 1887:Temple of Athena Nike 1095:Dresden/Leipzig 1837. 1085:Hyginus, Fabulae 165. 805:Rome, Museo Barracco 649:Rome, Vatican Museum 299: 269: 223: 157: 89: 22: 2402:Sculptures of Athena 2302:Athena Marsyas Group 2187:Old Acropolis Museum 2157:Panagiotis Kavvadias 2132:Reverend Philip Hunt 2017:Sanctuary of Pandion 1982:Old Temple of Athena 789:J. Paul Getty Museum 589:, Museum Inv. 30339 372:Frankfurter Athena, 289:and an ankle-length 171:Karl August Böttiger 139:alive. According to 32:Athena Marsyas Group 2397:Acropolis of Athens 2312:Three-Bodied Daemon 2307:Nike of Callimachus 1897:Pedestal of Agrippa 1858:Acropolis of Athens 1659:19–47, hier: p. 26. 836:Via Appia in 1960. 338:Acropolis of Athens 235:Karl Otfried Müller 58:Literary testimonia 40:Acropolis of Athens 2117:Francesco Morosini 933:Botanischer Garten 821:Capitoline Museums 729:Replica of Marsyas 465:Giardino di Boboli 421:Replicas of Athena 306: 275: 231: 167: 100: 38:that stood on the 28: 16:Sculpture by Myron 2379: 2378: 2170: 2169: 2152:Kyriakos Pittakis 2027:Odeon of Pericles 1960:Former structures 1865:Extant structures 854: 853: 808:Acquired in Rome 680: 679: 358:Chalcidian helmet 252:Adolf Furtwängler 82:Myth and auletics 2409: 2357:Related articles 2227:Athena Promachos 2222:Parthenon Frieze 2217:Athena Parthenos 2182:Acropolis Museum 2162:Nikolaos Balanos 2070: 2057:Parthenon mosque 1954: 1932:Cave Sanctuaries 1851: 1844: 1837: 1828: 1762: 1759: 1753: 1750: 1744: 1740: 1734: 1731: 1725: 1722: 1716: 1713: 1707: 1704: 1698: 1694: 1688: 1684: 1678: 1675: 1669: 1666: 1660: 1656: 1650: 1647: 1641: 1638: 1632: 1628: 1622: 1619: 1613: 1610: 1604: 1601: 1595: 1592: 1586: 1583: 1577: 1574: 1568: 1561:Athena des Myron 1557: 1551: 1544:Athena des Myron 1540: 1534: 1527:Athena des Myron 1523: 1517: 1510:Athena des Myron 1506: 1500: 1493:Athena des Myron 1489: 1483: 1476:Athena des Myron 1472: 1466: 1463: 1457: 1450:Athena des Myron 1446: 1440: 1433:Athena des Myron 1429: 1423: 1416:Athena des Myron 1412: 1406: 1399:Athena des Myron 1395: 1389: 1382:Athena des Myron 1378: 1372: 1365:Athena des Myron 1361: 1355: 1348:Athena des Myron 1344: 1338: 1331:Athena des Myron 1327: 1321: 1314:Athena des Myron 1310: 1304: 1297:Athena des Myron 1293: 1287: 1280:Athena des Myron 1276: 1270: 1263:Athena des Myron 1259: 1253: 1250: 1244: 1240: 1234: 1231: 1225: 1222: 1216: 1212: 1206: 1202: 1196: 1193: 1187: 1184: 1178: 1175: 1169: 1166: 1160: 1157: 1151: 1148: 1142: 1139: 1133: 1130: 1124: 1121: 1115: 1112: 1106: 1102: 1096: 1092: 1086: 1083: 1077: 1073: 1067: 1064: 1058: 1055: 1049: 1046: 1040: 1037: 1031: 1028: 1022: 1019: 1013: 1010: 1004: 1003:Nat. Hist. 34.57 1001: 995: 992: 973:Johannes Tzetzes 962:Peace of Callias 925: 913: 901: 733: 717: 705: 668:Basilica Aemilia 610:Acropolis Museum 593:Martres-Tolosane 425: 404: 384: 369: 2417: 2416: 2412: 2411: 2410: 2408: 2407: 2406: 2382: 2381: 2380: 2375: 2352: 2316: 2292:Procne and Itys 2277:Mourning Athena 2252:Euthydikos Kore 2205: 2166: 2061: 1977:Older Parthenon 1955: 1946: 1902:Stoa of Eumenes 1860: 1855: 1770: 1765: 1760: 1756: 1751: 1747: 1741: 1737: 1732: 1728: 1723: 1719: 1714: 1710: 1705: 1701: 1695: 1691: 1685: 1681: 1676: 1672: 1667: 1663: 1657: 1653: 1648: 1644: 1639: 1635: 1629: 1625: 1620: 1616: 1611: 1607: 1602: 1598: 1593: 1589: 1584: 1580: 1575: 1571: 1558: 1554: 1541: 1537: 1524: 1520: 1507: 1503: 1490: 1486: 1473: 1469: 1464: 1460: 1447: 1443: 1430: 1426: 1413: 1409: 1396: 1392: 1379: 1375: 1362: 1358: 1345: 1341: 1328: 1324: 1311: 1307: 1294: 1290: 1277: 1273: 1260: 1256: 1251: 1247: 1241: 1237: 1232: 1228: 1223: 1219: 1213: 1209: 1203: 1199: 1194: 1190: 1185: 1181: 1176: 1172: 1167: 1163: 1158: 1154: 1149: 1145: 1140: 1136: 1131: 1127: 1122: 1118: 1113: 1109: 1103: 1099: 1093: 1089: 1084: 1080: 1074: 1070: 1065: 1061: 1056: 1052: 1047: 1043: 1038: 1034: 1029: 1025: 1020: 1016: 1011: 1007: 1002: 998: 993: 989: 985: 942: 935: 926: 917: 914: 905: 902: 859: 772:Castel Gandolfo 724: 720:Marsyas, Rome, 718: 709: 706: 689:Vatican Museums 685: 635:Allegedly from 550:Reggio Calabria 512:Museo del Prado 416: 405: 396: 393:Museo del Prado 385: 376: 370: 346: 333: 264: 218: 104:Greek mythology 84: 60: 17: 12: 11: 5: 2415: 2413: 2405: 2404: 2399: 2394: 2384: 2383: 2377: 2376: 2374: 2373: 2368: 2360: 2358: 2354: 2353: 2351: 2350: 2345: 2340: 2335: 2330: 2324: 2322: 2318: 2317: 2315: 2314: 2309: 2304: 2299: 2297:Lemnian Athena 2294: 2289: 2284: 2279: 2274: 2269: 2264: 2259: 2254: 2249: 2244: 2239: 2234: 2229: 2224: 2219: 2213: 2211: 2207: 2206: 2204: 2203: 2201:British Museum 2194: 2189: 2184: 2178: 2176: 2172: 2171: 2168: 2167: 2165: 2164: 2159: 2154: 2149: 2144: 2139: 2137:Jacques Carrey 2134: 2129: 2124: 2119: 2114: 2109: 2104: 2099: 2094: 2089: 2084: 2079: 2073: 2067: 2063: 2062: 2060: 2059: 2054: 2049: 2044: 2039: 2034: 2032:Frankish Tower 2029: 2024: 2019: 2014: 2009: 2004: 1999: 1994: 1989: 1984: 1979: 1974: 1969: 1963: 1961: 1957: 1956: 1949: 1947: 1945: 1944: 1942:Infrastructure 1939: 1934: 1929: 1924: 1919: 1914: 1909: 1904: 1899: 1894: 1889: 1884: 1879: 1874: 1868: 1866: 1862: 1861: 1856: 1854: 1853: 1846: 1839: 1831: 1825: 1824: 1820: 1819: 1815: 1814: 1810: 1809: 1805: 1804: 1800: 1799: 1795: 1794: 1790: 1789: 1785: 1784: 1780: 1779: 1775: 1774: 1769: 1766: 1764: 1763: 1754: 1745: 1735: 1726: 1717: 1708: 1699: 1689: 1679: 1670: 1661: 1651: 1642: 1633: 1623: 1614: 1605: 1596: 1587: 1578: 1569: 1552: 1535: 1518: 1501: 1484: 1467: 1458: 1441: 1424: 1407: 1390: 1373: 1356: 1339: 1322: 1305: 1288: 1271: 1254: 1245: 1235: 1226: 1217: 1207: 1197: 1188: 1179: 1170: 1161: 1152: 1143: 1134: 1125: 1116: 1107: 1097: 1087: 1078: 1068: 1059: 1050: 1041: 1032: 1023: 1014: 1005: 996: 986: 984: 981: 941: 940:Interpretation 938: 937: 936: 927: 920: 918: 915: 908: 906: 903: 896: 894: 887:Heinrich Bulle 858: 857:Reconstruction 855: 852: 851: 848: 845: 842: 838: 837: 830: 824: 817: 813: 812: 809: 806: 803: 799: 798: 795: 792: 782: 778: 777: 774: 769: 766: 762: 761: 757: 754: 751: 747: 746: 743: 740: 737: 726: 725: 722:Museo Barracco 719: 712: 710: 707: 700: 684: 683:Marsyas statue 681: 678: 677: 674: 664: 661: 657: 656: 653: 650: 647: 643: 642: 639: 633: 624: 620: 619: 616: 613: 603: 599: 598: 595: 590: 584: 580: 579: 576: 570: 564: 560: 559: 556: 553: 547: 543: 542: 539: 536: 526: 522: 521: 518: 515: 505: 501: 500: 497: 491:Villa Hadriana 487: 478: 474: 473: 470: 467: 458: 454: 453: 449: 446: 443: 439: 438: 435: 432: 429: 418: 417: 406: 399: 397: 386: 379: 377: 371: 364: 345: 342: 332: 329: 263: 260: 247:Heinrich Brunn 243:Esquiline Hill 217: 214: 83: 80: 59: 56: 46:picking up an 15: 13: 10: 9: 6: 4: 3: 2: 2414: 2403: 2400: 2398: 2395: 2393: 2390: 2389: 2387: 2372: 2369: 2367: 2366: 2362: 2361: 2359: 2355: 2349: 2346: 2344: 2341: 2339: 2336: 2334: 2331: 2329: 2326: 2325: 2323: 2319: 2313: 2310: 2308: 2305: 2303: 2300: 2298: 2295: 2293: 2290: 2288: 2287:Persian Rider 2285: 2283: 2280: 2278: 2275: 2273: 2270: 2268: 2265: 2263: 2260: 2258: 2255: 2253: 2250: 2248: 2245: 2243: 2240: 2238: 2235: 2233: 2230: 2228: 2225: 2223: 2220: 2218: 2215: 2214: 2212: 2208: 2202: 2198: 2197:Elgin Marbles 2195: 2193: 2190: 2188: 2185: 2183: 2180: 2179: 2177: 2173: 2163: 2160: 2158: 2155: 2153: 2150: 2148: 2145: 2143: 2140: 2138: 2135: 2133: 2130: 2128: 2125: 2123: 2120: 2118: 2115: 2113: 2110: 2108: 2105: 2103: 2100: 2098: 2095: 2093: 2090: 2088: 2085: 2083: 2080: 2078: 2075: 2074: 2071: 2068: 2064: 2058: 2055: 2053: 2050: 2048: 2045: 2043: 2040: 2038: 2035: 2033: 2030: 2028: 2025: 2023: 2020: 2018: 2015: 2013: 2010: 2008: 2005: 2003: 2000: 1998: 1995: 1993: 1990: 1988: 1985: 1983: 1980: 1978: 1975: 1973: 1970: 1968: 1967:Pelasgic wall 1965: 1964: 1962: 1958: 1953: 1943: 1940: 1938: 1935: 1933: 1930: 1928: 1925: 1923: 1920: 1918: 1915: 1913: 1910: 1908: 1905: 1903: 1900: 1898: 1895: 1893: 1890: 1888: 1885: 1883: 1880: 1878: 1875: 1873: 1870: 1869: 1867: 1863: 1859: 1852: 1847: 1845: 1840: 1838: 1833: 1832: 1829: 1822: 1821: 1817: 1816: 1812: 1811: 1807: 1806: 1802: 1801: 1797: 1796: 1792: 1791: 1787: 1786: 1782: 1781: 1777: 1776: 1772: 1771: 1767: 1758: 1755: 1749: 1746: 1739: 1736: 1730: 1727: 1721: 1718: 1712: 1709: 1703: 1700: 1693: 1690: 1683: 1680: 1674: 1671: 1665: 1662: 1655: 1652: 1646: 1643: 1637: 1634: 1627: 1624: 1618: 1615: 1609: 1606: 1600: 1597: 1591: 1588: 1582: 1579: 1573: 1570: 1566: 1562: 1556: 1553: 1549: 1545: 1539: 1536: 1532: 1528: 1522: 1519: 1515: 1511: 1505: 1502: 1498: 1494: 1488: 1485: 1481: 1477: 1471: 1468: 1462: 1459: 1455: 1451: 1445: 1442: 1438: 1434: 1428: 1425: 1421: 1417: 1411: 1408: 1404: 1400: 1394: 1391: 1387: 1383: 1377: 1374: 1370: 1366: 1360: 1357: 1353: 1349: 1343: 1340: 1336: 1332: 1326: 1323: 1319: 1315: 1309: 1306: 1302: 1298: 1292: 1289: 1285: 1281: 1275: 1272: 1268: 1264: 1258: 1255: 1249: 1246: 1239: 1236: 1230: 1227: 1221: 1218: 1211: 1208: 1201: 1198: 1192: 1189: 1183: 1180: 1174: 1171: 1165: 1162: 1156: 1153: 1147: 1144: 1138: 1135: 1129: 1126: 1120: 1117: 1111: 1108: 1101: 1098: 1091: 1088: 1082: 1079: 1072: 1069: 1063: 1060: 1054: 1051: 1045: 1042: 1036: 1033: 1027: 1024: 1018: 1015: 1009: 1006: 1000: 997: 991: 988: 982: 980: 976: 974: 970: 965: 963: 959: 955: 951: 947: 946:John Boardman 939: 934: 930: 924: 919: 912: 907: 900: 895: 892: 890: 888: 883: 879: 875: 873: 867: 863: 856: 849: 846: 843: 840: 839: 835: 831: 829: 825: 822: 818: 815: 814: 810: 807: 804: 801: 800: 796: 793: 791:Inv. 71AA122 790: 786: 783: 780: 779: 775: 773: 770: 767: 764: 763: 758: 755: 752: 749: 748: 742:Find Location 741: 738: 735: 731: 730: 723: 716: 711: 704: 699: 697: 693: 690: 682: 675: 673: 672:Forum Romanum 669: 665: 662: 659: 658: 654: 651: 648: 645: 644: 640: 638: 634: 632: 628: 625: 622: 621: 617: 614: 611: 607: 604: 601: 600: 596: 594: 591: 588: 585: 582: 581: 577: 575: 571: 569: 568:Villa Massimo 565: 562: 561: 557: 554: 551: 548: 545: 544: 540: 537: 535:Inv. MA 2008 534: 530: 527: 524: 523: 519: 516: 513: 509: 506: 503: 502: 498: 496: 492: 488: 486: 482: 479: 476: 475: 471: 468: 466: 462: 459: 456: 455: 450: 447: 444: 441: 440: 434:Find Location 433: 430: 427: 423: 422: 414: 410: 403: 398: 394: 390: 383: 378: 375: 368: 363: 361: 359: 355: 351: 344:Athena statue 343: 341: 339: 330: 328: 326: 322: 317: 315: 311: 303: 298: 294: 292: 288: 284: 280: 273: 268: 261: 259: 257: 256:Ludwig Pollak 253: 248: 244: 240: 236: 229: 228: 222: 215: 213: 212:development. 210: 206: 202: 201: 196: 192: 188: 184: 180: 176: 172: 165: 161: 156: 152: 150: 146: 142: 138: 133: 129: 125: 121: 117: 113: 109: 105: 97: 93: 88: 81: 79: 77: 73: 69: 65: 57: 55: 53: 49: 45: 41: 37: 33: 26: 21: 2365:Perserschutt 2363: 2301: 2272:Moschophoros 2247:Antenor Kore 2077:Themistocles 1972:Hekatompedon 1768:Bibliography 1757: 1748: 1738: 1729: 1720: 1711: 1702: 1692: 1682: 1673: 1664: 1654: 1645: 1636: 1631:hier: S. 23. 1626: 1617: 1608: 1599: 1590: 1581: 1572: 1564: 1560: 1555: 1547: 1543: 1538: 1530: 1526: 1521: 1513: 1509: 1504: 1496: 1492: 1487: 1479: 1475: 1470: 1461: 1453: 1449: 1444: 1436: 1432: 1427: 1419: 1415: 1410: 1402: 1398: 1393: 1385: 1381: 1376: 1368: 1364: 1359: 1351: 1347: 1342: 1334: 1330: 1325: 1317: 1313: 1308: 1300: 1296: 1291: 1283: 1279: 1274: 1266: 1262: 1257: 1248: 1238: 1229: 1220: 1210: 1200: 1191: 1182: 1173: 1164: 1155: 1146: 1137: 1128: 1119: 1110: 1100: 1090: 1081: 1071: 1062: 1053: 1044: 1035: 1026: 1017: 1008: 999: 990: 977: 969:culture hero 966: 950:Melanippides 943: 884: 880: 876: 868: 864: 860: 745:Description 728: 727: 694: 686: 437:Description 420: 419: 347: 334: 331:The replicas 318: 307: 276: 239:Kopienkritik 238: 232: 225: 198: 175:Persian Wars 168: 101: 61: 31: 29: 2267:Peplos Kore 2257:Kritios Boy 2147:Ludwig Ross 2097:Callicrates 2002:Arrephorion 1997:Pandroseion 1992:Chalkotheke 1877:Erechtheion 374:Liebieghaus 216:Rediscovery 164:Louvre-Lens 160:sarcophagus 50:dropped by 2386:Categories 2122:Lord Elgin 2012:Eleusinion 1927:Beulé Gate 1917:Aglaureion 929:Copenhagen 696:of metal. 612:Inv. 2353 514:Inv. E-82 489:allegedly 191:Alcibiades 72:Discobolos 2210:Sculpture 2112:Mardonius 2102:Mnesikles 2042:Klepsydra 1937:Peripatos 1882:Propylaia 1872:Parthenon 954:dithyramb 872:sintering 828:Via Appia 670:from the 574:Esquiline 354:apoptygma 321:Hadrianic 310:Neo-Attic 302:Hadrianic 281:found at 209:Aristotle 200:Symposium 149:Aphrodite 92:Mantineia 64:Pausanias 2262:Kore 670 2107:Xerxes I 2082:Pericles 1150:NAMA 127 1021:NAMA 127 964:of 449. 847:unknown 794:unknown 652:unknown 587:Toulouse 555:unknown 538:unknown 517:unknown 469:unknown 461:Florence 407:Athena, 387:Athena, 279:oinochoe 205:Socrates 187:Plutarch 183:Boetians 2199:at the 2175:Museums 2092:Ictinus 2087:Phidias 750:Statue 627:Dresden 615:Athens 481:Hamburg 442:Statue 415:MA 2208 325:Gordian 189:, that 141:Hyginus 128:Korinna 116:Gorgons 98:MNA 216 44:Marsyas 2321:Events 2066:People 994:1.27.1 819:Rome, 785:Malibu 781:Torso 765:Torso 739:Museum 666:Rome, 637:Apulia 606:Athens 583:Torso 566:Rome, 563:Torso 546:Torso 533:Louvre 525:Torso 508:Madrid 504:Torso 495:Tivoli 477:Torso 457:Torso 431:Museum 413:Louvre 389:Madrid 350:peplos 304:period 291:chiton 179:shawms 137:flayed 124:Apollo 120:Medusa 112:Pindar 76:krater 52:Athena 2371:Moria 983:Notes 841:Head 826:Rom, 816:Head 802:Head 660:Head 646:Head 623:Head 602:Head 529:Paris 409:Paris 287:aegis 195:Plato 132:satyr 108:aulos 68:Pliny 48:aulos 36:Myron 958:lyre 736:Type 428:Type 395:82-E 283:Vari 147:and 145:Juno 30:The 1563:in 1546:in 1529:in 1512:in 1495:in 1478:in 1452:in 1435:in 1418:in 1401:in 1384:in 1367:in 1350:in 1333:in 1316:in 1299:in 1282:in 1265:in 197:'s 102:In 2388:: 1205:14 931:, 787:, 629:, 608:, 531:, 510:, 493:, 483:, 463:, 411:, 391:, 94:, 54:. 1850:e 1843:t 1836:v 1215:2

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index