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 ARCHAEOLOGY ment of the mind and the exercise of the body. (See Epidatjrus.) Many other sites in Greece proper have yielded valuable results. At Megalopolis, a party of English students have recovered the plans of various buildings, in particular of the theatre and the hall of assembly where the representatives of the cities of Arcadia met in conclave. The ground plan of Corinth is being rapidly recovered by American archaeologists, who have also succeeded in revealing the phases which the Argive Heraeum passed through in the course of long ages. The temples of Apollo Ptoos in Boeotia, of Athena Alea at Tegea, of the great goddesses at Lycosura have also been in part brought to light, with happy results for the history of Greek sculpture. Of these results we shall have to speak further in the course of this article. Among the islands of the Aegean, there has been of late years much research and excavation. The results belong in great part to the prehistoric age of Greece, and are spoken of in the article on Mycena-ean Civilization. But Delos in particular has furnished us not only with the foundations of temples and the plans of private houses, but also with some very important examples of sculpture, which may be said to give us the clue to the history of the rise of the art. Mr Petrie’s important excavations in Egypt, and the more recent and equally striking discoveries of Mr A. J. Evans in Crete, have been valuable as fixing the dates of early classes of Aegean and Mycenaean pottery, and revealing to us the nature of the early Aegean civilization. And the site of Naucratis in particular, excavated by Mr Petrie and Mr Ernest Gardner in 1884-86, has given us dates for various kinds of early Ionian pottery, as well as furnished us with valuable data for recovering the history of the Greek alphabet. Partial excavations have been made on the sites of some of the great Ionian cities of Asia Minor. At Ephesus, the researches of Wood, which have enriched the British Museum with many architectural and sculptural fragments from the great temple of Artemis, have been resumed by the Austrian Government. The temple of Apollo at Miletus has been explored by MM. Bayet and Thomas; further excavations are taking place on this site. The Americans have made extensive excavations at Assos. The site of Pergamon, which has been occupied by the German Archaeological Institute, has yielded results which have added an important chapter to Greek art, and shown us the sculptors of Greece working under new conditions and in a new style. Clazomeme and other cities have furnished us from their burying-grounds sarcophagi and painted vases which throw light on the origin and early history of Ionian art. It is unnecessary to proceed further with this enumeration; what has been written will be sufficient to give the reader some idea of the energy with which excavation has been carried on in Greece of late years, and of the richness and variety of the results which it has attained. Turning to Italy, we naturally think first of Rome. In that centre of the world, the main interest of all excavation must be topographic and historic, and for results of this character the reader must turn to the article Rome. But in the course of investigation a great number of important works of ancient sculpture and painting have been brought to light, most of which now adorn the museums of the Capitol and the new museum of the Terme. We may instance the wonderful bronze figures of a Hellenistic king and of a pugilist, and the wall-paintings of the house at Prima Porta. Of other excavations in Italy, an excellent summary will be found in Prof, von Duhn’s article in vol. xvi. of the Journal of Hellenic

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Studies. At Locri two Ionic temples have been discovered. The building of an arsenal at Tarentum has been the occasion of the discovery of very rich deposits of terra-cotta votive offerings. At Pompeii a house of great beauty and interest, which bears the name of the Yettii, has been found, and has furnished a number of fresh paintings. Excavations at Falerii deserve a particular mention, because their results are separately arranged in a special museum at Rome, that of the Villa Papa Giulio, giving us materials for tracing the artistic history of the city from period to period. At this museum is also a very attractive restoration of a Greek temple, with its decoration in terracotta and its brilliant colouring. The researches of Signor Orsi in Sicily on the sites of Megara and Syracuse have resulted in the establishment of an archaeological history of Sicily, which may be traced in the museums of Syracuse and Palermo from the earliest days down to the period of Greek invasion, and onwards to the Roman age. The site of Selinus, which has long been a valuable mine of sculpture of the early period, has again in recent years furnished us with metopes from its temples of great interest; and the plan of the city has now been in great measure laid bare, as well as of the fortifications erected by Hermocrates, when at the end of the 5th century he turned the ruins of the town into a fortress whence to wage war against the Carthaginians. No country is more full of the memorials of history than Sicily; but we cannot pursue this subject; we must refer the reader to the ample and most interesting history of Sicily by Mr Freeman, a writer who fully understood how much light existing remains may cast on the past history of a city. A class of ancient buildings which has received special attention in recent years is the great open-air theatres with which every Greek city was provided. Theatres Fresh theatres have been excavated at Piraeus, Eretria, Delos, Megalopolis, Epidaurus, and other places; and the model of all such erections, the theatre of Dionysus at Athens, has been most carefully investigated.' In this work the leading part has been taken by Dr Ddrpfeld of Athens. The result has been the setting forth by Dr Dorpfeld, with the utmost skill, of the view that there was no stage in use in Greek theatres, but that the actors and the chorus performed together in the space at the back of the orchestra, and in front of the stage buildings. (See Dorpfeld and Reisch, Das griechische Theater?) This novel view has met with severe criticism in Germany, and especially in England. The arguments against it are set forth by Haigh, in his Attic Theatre. It is likely that scholars will long be divided in their opinions as to the existence or non-existence of a stage among the Greeks. In the opinion of the present writer it can be proved from extant remains that a stage was in use in Greek theatres of the 3rd century B.c., and although we cannot demonstrate that the same was the case in the days of the great Attic tragedians, it is by far the most likely supposition. However this be, the researches and the book of Dr Dorpfeld have enabled us to approach all questions in regard to the staging of Greek plays with far greater knowledge. The materials for a reconstruction of the private houses of the Greeks have also been rapidly accumulating. At Delos,* at Assos, • * at Priene,* and on other sites,J the Houses plans of ancient houses have been brought to light. At present, few of these plans have been published; but it has become clear that we have hitherto been misled by Vitruvius into the belief that Greek houses were of uniform plan, like the temples; whereas they varied greatly according to the ground, the fortune of the builder, or the fashion of the district. For gaining a sense of the