REMAINS OF CHARIOT-GROUPS. 271 
charioteer as male, despite the slender and delicate arms and hands, 
which appear to be female.!_ But such effeminate male figures are not 
unknown to Attic art, which was characterized by grace and softness.” 
The line of the breast, however, shows no such fulness as archaic 
masters were wont to give to female forms, and hence this figure may 
very well be that of a male. Schrader has tried to refer the slab to the 
frieze of the Old Temple of Athena, which, he believes, survived the 
sack of the Akropolis by Xerxes,’ thus assuming a chariot-frieze 
similar to the later one appearing on the Mausoleion at Halikarnassos, 
which antedated similar scenes on the Parthenon frieze by nearly a cen- 
tury. As the Parthenon slabs represent mortal charioteers, who are 
doubtless males, the relief may also represent a mortal. However, the 
Akropolis relief may have had nothing to do with any temple frieze nor 
with the adornment of a great altar of Athena, as Furtwaengler con- 
tended,* but may be from a votive monument set up by a chariot 
victor.° 
We see a good representation in relief of a chariot-group on one side 
of the arched roof of the so-called Chimera tomb discovered by Sir 
Charles Fellows at Xanthos in Lykia. Here is represented a chariot 
drawn by four horses, in which stands a charioteer, with sleeved tunic 
and Phrygian cap, and an armed figure. Because of the figure of the 
Chimera in the lower right-hand corner, the charioteer, despite the 
absence of Pegasos, has been called Bellerophon.® : 
1This coiffure, however, appears on several female heads: ¢. g.,on the Harpy monument, F. W., 
127 f. Knapp (Nike in d. Vasenmalerei, p. 10), Brunn (Sitzb. Muen. Akad., 1870, II, pp. 213 f.), 
W. Mueller (Quaestiones vestiariae, 1890, p. 44), Collignon, Overbeck, Friedrichs-Wolters, Reisch 
(p. 49), and many others call the figure of the charioteer female. 
2F. g.,the headless draped statue, resembling the Koraz, in the Akropolis Museum: B. B., 551. 
34, M., XXX, 1905, pp. 305 f. (especially 321) and Pls. XI, XII (the rebuilding of the temple 
referred to the time of Peisistratos). He also (p. 320) favors the well-known view of Doerpfeld 
(A. M., XII, 1887, pp. 25-61, 190-211; XV, 1890, pp. 420-439) that the Hekatompedon or Old 
Temple of Athena, rebuilt by the Athenians shortly after the Persian wars, existed not only 
down to 406 B. C., when Xenophon says that it was burnt (Hell., I, 6), but down at least 
to the time of Pausanias. This view is held by J. Harrison, Mythology and Monuments of 
Ancient Athens, 1890, pp. 505 f., Dickins, J. c., and many archeologists. It has been rejected 
by many others, e. g., Petersen (4. M., XII, pp. 62-72), Wernicke (ibid., pp. 184-189), and in 
extenso Frazer (J. H. S., XIII, 1892-1893, pp. 153-187; reprinted in his edition of Pausanias, 
II, pp. 553-82). Murray, I, p. 143 and fig. 35, referred the relief to one of the metopes of the 
Old Temple of Athena. 
4Sitzb. Muen. Akad., 1906, II, pp. 147 f.; cf. also ibid., 1905, pp. 433 f. 
5S pringer-Michaelis (J. c.) think that it may represent a chariot victor; similarly Purgold (Arch. 
Eph., 1885, p. 251). Boetticher (Die Akropolis, 1888, pp. 85-6) believes that it represents a 
Panathenaic victor. 
6In the British Museum: B. M. Sculpt., II, 951 and Pl. XIII; Sir Charles Fellows, 4n Account of 
Discoveries in Lycia, 1841, p. 166. The Chimera may be introduced as a heraldic device of the 
owner of the tomb (Smith). Bellerophon appears on Pegasos on a relief from a rock tomb of 
Pinara: B. M. Sculpt., I, 760. We should also compare with these the reliefs found by Fellows 
at Xanthos and now in the British Museum. They show a two-horse chariot with a seated 
charioteer (F. W., 131; Murray, I, Pl. IV), a two-horse chariot with a charioteer and a seated 
man (F. W., 133; Murray, Pl. III), and a young rider (F. W., 134). See Fellows, pp. 172, 176; 
Murray, I, pp. 124 f. 
