The British architect and painter James Stuart (1713-1788), son of a Scottish sailor, started painting from a very early age. While still an adolescent, he was awarded a scholarship to attend the Society of Arts, where he cultivated his talent in drawing and geometry. In 1741, his siblings aided him to travel to Rome, as he had fervently desired. Stuart walked most of the journey, earning money from odd jobs on the way. In Rome, Stuart made friends with painter Gavin Hamilton and architects Matthew Brettingham and Nicholas Revett.

The British architect and designer Nicholas Revett (1720-1804) met Stuart, Hamilton and Brettingham in 1842, while he was in Rome studying painting with Cavaliere Benefiale. In April 1748, the four artists made an excursion on foot to Naples and toured the antiquities. At that time, in their treatise "Proposals for Publishing an Accurate Description of the Antiquities of Athens", Stuart and Revett first formulated the idea that would lead to their project in Greece. The idea gained the fervent support of the Society of Dilettanti in Rome, which financed the mission. Stuart and Revett arrived in Greece in the spring of 1751. They stayed there for about two and a half years, facing a multitude of adversities in their work, and returned to England in 1755.

The two worked mainly in Athens and Attica, but also visited Corinth, Thessalonica and Delphi. Revett measured the monuments and Stuart made the drawings. All the work was completed "in situ". Determined to delineate everything as accurately as possible, they excavated almost to the foundations. As they note in the introduction to the publication, no element was added to picturesque effect and even the human figures were depicted from nature.

The first volume of "The Antiquities of Athens Measured and Delineated by James Stuart F.R.S. and F.S.A. and Nicholas Revett Painters and Architects", was published in 1762, receiving a warm welcome from the British public. The work was a landmark in European classicism. Stuart became famous, was surnamed “Athenian” and elected a member of the Royal Society. Revett, on the other hand, remained relatively obscure, as he ended his collaboration with Stuart and sold him his rights to the work. Stuart turned to architecture and designed the first Neoclassical buildings in England. He died suddenly in 1788, while preparing for publication the second volume of the work. Revett continued to participate in archaeological expeditions, always as a member of the Society of Dilettanti, and also built Neoclassical houses. He died aged 84. The four-volume edition of the "The Antiquities of Athens" was completed posthumously by other prominent members of the Society of Dilettanti in 1816.

The edition includes more than three hundred drawings, with views and delineations, plans, sections and details of ancient monuments and architectural members, in exquisite copperplate engravings accompanied by explanatory texts on the use of the monument, archaeological comments and travel impressions. It inaugurated a new era, in which meticulous measurements replaced the generic, often imaginary representation of ancient monuments.

The first volume opens with a detailed introduction on the authors and the rationale behind this pioneering work. As in the rest of the series, the presentation of each monument begins with detailed explanations, followed by a panoramic view of it in its surroundings, and subsequently elevations, cross-sections, ground plans, underneath views and details of its architectural elements. The volume includes the Gate of Athena Archegetis (Pazaroporta), the Temple of Artemis Agrotera or Metroon "en Agrais" (church of the Virgin at the Rock), the Library of Hadrian, the Choregic Monument of Lysicrates (Diogenes’ Lantern) and the Horologion of Andronicus of Cyrrhus (Tower of the Winds). The representations of the last two monuments, especially the reliefs of the myth of Dionysus on Lysicrates’ monument and the personifications of the winds on the Horologion (clock-tower), are a fine example of Stuart’s accomplishment as a painter, while the meticulous architectural measurements are proof of Revett’s dexterity and diligence.

The second volume is dedicated to the monuments of the Acropolis: the Parthenon, the Erechtheion and the Propylaea, presented in the same way as the monuments of the first volume. The third volume, organized in the same way, includes explanatory texts, views and delineations of the Temple of Hephaestus (Theseion), the Temple of Olympian Zeus, the Aqueduct of Hadrian, the Temple of Apollo in Corinth, the Panathenaic Stadium, the Odeum of Herodes Atticus, the Las Incantadas monument in Thessalonica, the ruins of Delos and part of a portico near the Choregic Monument of Lysicrates. Of special interest is the Catalogue at the end of introduction, which lists the modern names of settlements, villages, monasteries and farms in Attica, with their corresponding ancient toponyms, as well as observations, drawings and references. There is also a list of ancient and modern place names of the Megaris. Another list is of ports of call and harbours on the maritime route from Sciathos to Euboea, and ports, coasts and capes from Cenchreae to Sounion.

The fourth volume describes the monuments of Pula in Istria on the Dalmatian coast, with its temples and amphitheatre, as well as the Parthenon sculptures and some other antiquities. The fifth volume was published in honour of Stuart and Revett. Five acclaimed architects and archaeologists present monuments in Acragas, Phigalia, Corfu, Messene, Mycenae, Delos, ancient theatres in Epidaurus, Dodone, Syracuse, and other antiquities.

Written by Ioli Vingopoulou

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  Title page of the third volume of the book. Antiquities from Megara.

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  Map of Greece and Asia Minor.

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  Ionic capital and inscription from Menidi.

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  Relief from the Church of Panagia Krystaliotissa, Athens.

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  Plan of the Antiquities of Athens as surveyed by J. Stuart.

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  Attica from an actual survey by Mr.Stuart.

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  Map of the greater region of Piraeus.

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  Ornamental feature from the temple of Hephaestus painted in dark ochre. In the middle, Theseus riding the Marathon bull (reconstruction based on destroyed relief).

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  Cameo depicting Theseus.

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  View of the temple of Hephaestus in Athens. In the foreground, Arvanite peasants threshing corn under the supervision of a Muslim servant who is escorting his master's son. On the left, Arvanites in provisional hut (kalyvi).

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  Plan of the Temple of Hephaestus (Theseion), Athens.

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  Temple of Hephaestus (Theseion), Athens: The elevation of the eastern Front.

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  The Elevation of the Eastern Front: Transverse section of the eastern portico. Here the front columns are removed to shew the antae and columns of the pronaos with its frize, the distribution of the beams of the ceilings of the Lacunaria.

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  Temple of Hephaestus (Theseion), Athens: Longitudinal section of the eastern portico and pronaos.

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  Temple of Hephaestus (Theseion), Athens: Fig. 1. The capital and entablature of the columns of the portico, with the metope of the north east angle. Fig.2 The sossit of the corona, and of the mutules, with the distribution of their guttae.

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  Temple of Hephaestus (Theseion), Athens: The capital and base of one of the antae; section of the entablature over the columns and antae of the pronaos and porticum, and the section of the cornice of the pediment. A. Capital of the antae on a larger scale. B. Section of the cornice of the pediment.

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  Temple of Hephaestus (Theseion), Athens: Fig. 1. The section of the entablature and lacunaria, with the mouldings, and part of the basso relievo on the front of the pronaos. Fig. 2. The plan of the soffit and lacunaria.

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  Temple of Hephaestus (Theseion), Athens: A. Profile of the capital on a large scale. B. Profile of the annulets full size. C. The flutings of the column full size. D and E. The ornaments painted in the soffit of the lacunaria. F. The manner of describing the ornament marked E.

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  Temple of Hephaestus (Theseion), Athens: Half the flank, and half the longitudinal section of the temple.

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  Temple of Hephaestus (Theseion), Athens: Six of the metopes in the Eastern front. Fig. 1. Hercules and the Nemean lion. Fig.2. Hercules and Iolaus destroying the hydra. 3. Hercules and the Ceryneian Hind. Fig. 4. Hercules and the Erymanthian Boar. Fig. 5. Hercules with the horse of Diomedes. Fig. 6. Hercules with Cerberus.

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  Temple of Hephaestus (Theseion), Athens: Four of the metopes on the South side; Fig. 7 being that in the Eastern angle, the rest follow in their proper order. Fig. 7 Theseus destroying the Minotaur Fig. 8 Theseus with the bull of Marathon Fig. 9 and Fig.10 These, as well as those which follon, of which no descriptions are given, is too much ruined to discover what the subjects are. [Theseus kills Periphetes and Sinis Pityocamptes].

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  Temple of Hephaestus (Theseion), Athens: Four of the metopes on the north side; Fig. 11, 12, 13. Theseus overcoming Skiron, Cercyon and Procrustes (b). Fig. 14. Theseus killing the Crommian sow.

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  Temple of Hephaestus (Theseion), Athens: Four of the metopes in the eastern front, succeeding in proper order those in Plate 10, that numbered 18 being in the northern angle. Fig. 15 Ruined basso relievo. Fig. 16: Hercules with the girdle of Hippolita. Fig. 17, Fig. 18 Hercules taking the golden apples from the garden of the Hesperides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture in the frieze of the pronaos. Combat of Theseus and the Pallantides.

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  Temple of Hephaestus (Theseion), Athens: The sculpture on the frieze of the posticus, representing the Centauromachy.

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  Temple of Hephaestus (Theseion), Athens:The sculpture on the frieze of the posticus, representing the Centauromachy.

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  Temple of Hephaestus (Theseion), Athens:The sculpture on the frieze of the posticus, representing the Centauromachy.

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  Temple of Hephaestus (Theseion), Athens:The sculpture on the frieze of the posticus, representing the Centauromachy.

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  Relief showing vases from a church at Vari.

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  Funerary stele from a church, possibly in Athens.

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  The Temple of Olympian Zeus, Athens, from the sanctuary of Ilissus. In the foreground women dancing.

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  The Temple of Olympian Zeus, Athens: Plan of the temple, of which only those parts are shaded that remain.

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  Temple of Olympian Zeus, Athens: A. The base of the external columns, and of that marked F, in Plate II proving it to have been an external column B. The base of the internal columns, of which the plinth is continued, and form a step entirely round the temple. C. The profile of the astragal at the top of the shafts of the columns drawn by the eye from below. D. Plan of a column, with its flutings. E. Profile of the external face of the external architrave. G. Part of the wall of the peribolus on the South side, shewing the angular buttress. H. Section of the same, shewing its inclination, with a buttress in profile.

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  Marble seats, one of which is from Kaisariani Monastery, Athens.

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  Marble altar from the church of Agios Andreas, Athens.

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  The Arch of Hadrian in Athens with the temple of Olympian Zeus. The temple of Artemis Agrotera in the background. Arvanite shepherds are taking their sheep to graze.

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  Plan of the lower part of Hadrian's Arch, Athens.

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  Plan of the upper part of the Arch of Hadrian, Athens.

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  The Arch of Hadrian, Athens: Elevation of the fronts facing the south-east.

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  The Arch of Hadrian, Athens: Fig. 1. Section through the centre of the arch, and of the niches. Fig. 2. Elevation of one end of the arch, showing the connection of the columns in the second order.

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  The Arch of Hadrian, Athens: Fig. 1. Capital and base of the antae at each extremity of the arch, with the entablature of the lower order of the building, as seen on each front. Fig. 2. A section through the front face of the capital.

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  The Arch of Hadrian, Athens: Fig. 1: Half the front of the pedestals in the lower order. Fig. 2: Half the front of the capital of the antae on the flank of the arch. Fig. 3: A section through the front of the capital. Fig. 4: The plan of half the front face, and half the flank face of the capital.

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  The Arch of Hadrian, Athens: Fig. 1: The front of the capital, and base of the antae that support the arch, with the profile mouldings of the archivolt. Fig. 2: The section through the front of the capital. Fig. 3: Half the lateral face of the capital. Fig: 4. The section of the lateral face of the capital.

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  The Arch of Hadrian, Athens: Fig. 1. The capital and base of the half columns in the upper order of the arch, with the entablature they support. Fig 2. Section through the capital. Fig. 3. Curve of the abacus of the capital, taken on its listel.

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  The Arch of Hadrian, Athens: Fig. 1. The capital and base of the Attic square columns on the upper order. Fig. 2. A section through the capital. Fig. 3. The curve of the abacus; of the capital taken upon the listel under the ovolo. Fig. 4. A section of the architrave, and lacunaria, in the soffit of the niches, with the partition between them, which still remains as low as to the bottom of the capitals. Fig. 5. Half the flower upon the apex of the pediment, in its present state.

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  Ancient sling pellet and arrows from the bed of ilissus.

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  Ancient marble seat from Athens.

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  Remains of the portico of the reservoir of the Aqueduct of Hadrian (Dexameni) at the foot of Lycabettus hill. Dairy farm belonging to Arvanites. A woman is milking her goat to make kaymak. A man has come on horseback to buy dairy products. A monk of Hagioi Asomatoi monastery is going to town with his donkey which is carrrying olives and wine. Mount Hymettus and Kaisariani monastery in the background.

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  Aqueduct of Hadrian (Dexameni), Athens: The plan, elevation and section of this frontispiece.

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  Aqueduct of Hadrian (Dexameni), Athens: The base, capital and entablature of this building.

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  Aqueduct of Hadrian (Dexameni), Athens: Fig. 1. The capital reversed. Fig. 2. The side of the capital. Fig. 3. The section through the front of the capital. Fig. 4. The section through the side of the capital. Fig. 5. The mouldings of the architrave and of the arch.

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  Ancient coins of Commagene.

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  Coins of Antiochus IV Epiphanes of Commagene and his wife Julia Iotapa.

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  The monument of Philopappus in Athens. James Stuart, Nicholas Revett, James Dawkins and Robert Wood are studying the monument. The Janissary who escorts them is preparing coffee. A shepherd with his goats. The Saronic gulf in the background.

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  Monument of Philopappus, Athens: Fig. 1: Plan of the basement. Fig. 2: Plan of the part decorated with pilasters and niches.

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  Reconstruction of the Monument of Philopappus in Athens.

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  Monument of Philopappus, Athens: A transverse section through the middle of the monument.

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  Monument of Philopappus, Athens: The mouldings of the basement, with the base of the Corintihian pilasters.

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  Monument of Philopappus, Athens: Fig. 1. The base, capital and architrave of the pilaster, in the back front. Fig. 2. The plan of the capital reversed. Fig. 3. The profile of the capital. Fig. 4. The mouldings of the niches in the curved front.

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  Monument of Philopappus, Athens: Fig. 1. The capital and entablature of the curved or principal front. Fig. 2. Section of the capital.

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  Monument of Philopappus, Athens: The central part of the basso relievo under the middle niche; Philopappus is proclaimed consul of Athens.

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  Monument of Philopappus, Athens: Philopappus is proclaimed consul of Athens.

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  Monument of Philopappus, Athens: Philopappus is proclaimed consul of Athens.

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  Monument of Philopappus, Athens: Philopappus is proclaimed consul of Athens.

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  Coins of ancient Corinth showing Pegasus, Athena, Persephone, and Bellerophon killing Chimaera.

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  The Tail-Piece is an Isthmian crown, in the center of which is a medallion of Bellerophon watering Pegasus copied from an antique gem.

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  The temple of Apollo in  Ancient Corinth. In the foreground two men on horseback and two women promenading. A small party of card players.

   

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  Temple of Apollo, ancient Corinth: Fig. 1: Elevation of what is supposed to have been the flank of the temple. The modern wall between the columns is inserted in this elevation no measures of the column which formed a part of the pronaos have been found. Fig. 2: Plan of the temple.

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  Temple of Apollo, ancient Corinth: Fig. 1: Capital and architrave of the columns with the step. There were six drops under each triglyph, but all of them broke off, for which reason they could not be measured nor drawn. Fig. 2: Annulets, or listels under the ovolo, full size.

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  View of Acrocorinth.

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  Fragment from church in Athens.

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  Relief showing an athlete, Athens.

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  View of Ilissus river and the partialy destroyed bridge which led to the Panathenaic Stadium. A group of shepherds with their flock prepare to spend the night at the site.

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  Plan of the Roman bridge over Ilissus, with the elevation of it next to the south west.

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  View of the Stadium Panathenaicum, taken as standing upon the elevated part of the circular end, which is next to the south, and looking down upon it.

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  Architectural feature of ancient column.

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  Reliefs from Daphni Monastery.

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  Pnyx: Fig. 1.The plan of the remains on the rock [...]. Fig. 2: Plan of the bema, the public speaking platform . Fig. 3. Profile of the bema.

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  Coins from Macedonia.

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  Relief from Megali Panagia church, Thessaloniki.

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  View of the sculptures of the now lost Incantadas monument at the southern entrance of the Roman Agora of Thessaloniki. The sculptures were incorporated in the house of a family of Sephardi Jewish merchants. British consul Paradise, who has come to show John Stuart and Nicholas Revett the monument, meets the owner of the house. A young servant offers the consul a cup of coffee while from above the owner's wife reprimands her husband for not having invited the consul to sit before offering him coffee. On the left, a woman who is spinning approaches the travellers. On the right, Stuart and Revett with the young son of the British consul, who is escorted by the consul's dragoman (interpreter).

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  The now lost Incantadas monument, Thessaloniki: Plan, elevation and section.

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  The now lost Incantadas monument, Thessaloniki: The capital and entablature.

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  The now lost Incantadas monument, Thessaloniki: Pedestal, base and plan reversed of the capital.

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  The now lost Incantadas monument, Thessaloniki: Moulding of the Attic, and two Macedonian medals of the same device; one barbarous, the other elegant work.

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  The now lost Incantadas monument, Thessaloniki: A figure representing Victory. [Lion's head added by Revett).

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  Aura, from the now lost Incantadas monument, Thessaloniki.

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  Dioscorus from the now lost Incantadas monument, Thessaloniki.

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  Ganymedes from the now lost Incantadas monument, Thessaloniki.

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  Leda from the now lost Incantadas monument, Thessaloniki.

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  Ariadne from the now lost Incantadas monument, Thessaloniki.

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  Dionysus with panther from the now lost Incantadas monument, Thessaloniki.

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  Maenad from the now lost Incantadas monument, Thessaloniki.

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  Inscriptions and shield reliefs from trophies, found near Stoa of Philip V, Delos.

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  Ancient altar from Myconos.

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  Map of Delos and the islands nearby.

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  Plan of Doric columns and elevation of Doric colonnade together with entablature, possibly from the Temple of Apollo, Delos.

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  Temple of Apollo, Delos: Shaft, capital, and entablature of the columns.

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  Stoa of Philip V, Delos: Plan and elevation of the portico.

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  Stoa of Philip V, Delos: The shaft, capital, and entablature of the columns. The inscription is given by Tournefort, who visited Delos in the year 1700.

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  Stoa of Philip V, Delos: Elevations and section plans of the entablature and other architectural features.

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  Votive relief found on the wall of a school close to the church of Megali Panagia, Athens.

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  Relief found at a church at Marousi, Athens.

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  Roman colonnade close to the Choregic monument of Lysicrates: Fig. 1: Elevation of the columns. Fig.2: Plan of ditto. Fig.3: Plan of the capital. Fig. 4: Flank of the capital. Fig. 5: Section through the front of ditto. Fig. 6: Section through the flank of ditto. Fig.7: The spiral line of the volute, by a larger scale. Fig. 8: The section of the volute and abacus, which, by a mistake, has been put upside down. Fig. 9: Eye of the volute.

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  Roman colonnade close to the Choregic monument of Lysicrates: Fig. 1: The base, capital, architrave and frieze. Fig. 2: Profile of the internal face of the architrave.

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  Ruins of ancient building embedded into a residence, next to the Horologion of Andronikos Kyrristos (Tower of the Winds), Athens: Fig. 1: Elevation of the part remaining, which shews that there were not fewer than three arches. Fig. 2: Plan of ditto. Fig. 3: Capitals of the pilasters with the profile of the archivolt; the spandrel, which is a rose, projects equal to the upper facia of the archivolt, as shewn upon the right hand side, where the profile of the archivolt is given; but the projection of the central filet is shewn on the left from the flat surface of the spandrel. Fig. 4: Is the profile of the impost mouldings. Fig. 5: Section through the entablature, which is probably incomplete.Fig. 6: Spandrel with the rose. Fig. 7: Profile in the center between the two capitals of the pilasters, shewing the manner in which the mouldings finish against the background.