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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  Fragments in the Isle of Delos. Fig. 1: Plan. Fig. 2: Front and Fig. 3: Side elevations of two bull's heads attached to the upper part of two columns.

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  Fig. 1: Plan of a Triglyph ornamented with Bull's heads. Fig. 2: Front elevation with the bull's head. Fig. 3: Side elevation. Fig. 4? Fig. 5: Supposed section of the complete order. Fig. 6: Cornice of a building on the left hand of the temple of Apollo. Fig. 7&8: Mouldings, probably of altars.

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  Other fragments of Delos. Fig. 1 & 2: appear to be capitals of Pilasters. Fig. 3& 4 are probably altars. They were found among the ruins of the Portico of Philip. Fig. 5, 6, 7 & 8 Bases of pilasters or of antae. Fig. 9, 10& 11. Other fragments of mouldings.

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

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  Map of Delos and the islands nearby.

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

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

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  Hadrian's Library in Athens: Plan and elevation of the ruins on which part of the church of Megali Panagia was built. 1. Elevation of ancient arcade 2. Plan showing the ruins of ancient structures within the church. 3. Mouldings and impost of the ancient arcade within the church. 4. Section of the architrave supported by the columns and pilaster adjacent to the church. 4. Capital of the pilaster.

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  Hadrian's Library in Athens: 1. The base of one of the four fluted columns of the portal. Fig. 2. The cornice of the lateral walls and of the exhedrae. Fig. 3. The architrave of the gate-way or entrance before which the portal in the middle of the front is placed. Fig.4. A section of the aforesaid architrave.

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  Title page.

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  Horologion of Andronikos Kyrristos (Tower of the Winds), Athens:

  Fig 1. The capital and entablature of the portico before the door. Fig. 2. A fragment of the Dentells belonging to the cornice of the entablature. Fig. 3. The profile of the cornice belonging to the circular projection under the figure of ΝΟΤΟΣ.

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  Three of the eight dials on the Tower of the Winds. Under the word ΝΟΤΟΣ is that on the south side; under ΕΥΡΟΣ is that on the south-east side; and under ΑΠΗΛΙΩΤΗΣ, that on the east side of the Tower.

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  Reliefs of the eight winds from the Horologion of Andronikos Kyrristos (Tower of the Winds): 1. ΒΟΡΕΑΣ, Boreas, north wind. 2. ΚΑΙΚΙAΣ, Kaikias, north-east wind 3. ΑΠΗΛΙΩΤΗΣ, Apeliotes, east wind. 4. ΕΥΡΩΣ, Euros, south-east wind 5. ΝΟΤΟΣ, Notos, sοuth wind. 6. ΛΙΨ, Lips, south-west wind. 7. ΖΕΦΥΡΟΣ, Zephyros, west wind. 8. ΣΚΙΡΩΝ, Skiron, north-west wind.

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  Choregic monument of Lysicrates in Athens: The base of the column with the circular zoccolos or steps which are immediately above the quadrangular basement.

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  Choregic monument of Lysicrates in Athens: The external face of the capital, with the entablature, and half one of the tripods.

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  Choregic monument of Lysicrates in Athens: Fig. 1. A quarter of the upper surface of the Tholus or Cupola. Fig. 2. A section of the cupola made on the line CD of the foregoing figure. Fig. 3. A section of part of the cupola on the line EF. Fig. 4. A section of the helix or scrol marked A in Fig. 1, and 2. Fig. 5. represents the remains of the vitruvian scrols.

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  Temple of Rome and Augustus, Pula: The base and pedestal of the columns.

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  Gate of Athena Archegetis (mod. Pazaroporta): 1. The capital of the Antae, with a section of the entablature. 2. A section of the capital of the Antae. 3. A section of the Cornice over the Pediment.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athes: Kaikias or Caecias, the north-east wind, is cloudy, wet and cold; snow, and at some seasons hail and tempest accompany this.

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  Fig. 1. A quarter of the roof of the Tower of the Winds. Fig. 2. A section of half the aforesaid roof. Fig. 3. The fragment of a capital marked B in the preceeding figure, and which in Plate III of this chapter is, with some restorations made to support the conical Marble and the Triton.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Hadrian's Library in Athens: Fig. 1. The cornice of the lateral walls and of the exhedrae. Fig. 2. The architrave of the gate-way or entrance before which the portal in the middle of the front is placed. Fig. 3. A section of the aforesaid architrave. Fig. 4. The mouldings and impost of the ancient arch in the church of the Megâle Panagía. Fig. 5. The section of an architrave supported by the three columns, and by the pilaster which are contiguous to the above mentioned church. Fig. 6. The capital of the pilaster.

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  South view of the Temple of Artemis Agrotera in Agrae (Panagia stin Petra) in Athens. The figures represent the Vaiwode, or Turkish Governor of Athens, with some of its attendants on a hunting party.

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  Ι. The external mouldings of the Tower of the Winds. ΙΙ. A section of the uppermost of the three steps which form the basis or stereobata on which the building stands.

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  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: The plan, profile, and section of an angular capital belonging to this ionic temple.

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  A view of the Acropolis taken from the situation of the ancient Piraic Gate. [In the foreground two Ottoman officials of the city.]

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  The Parthenon: Fig. 1. A section lengthways through the Portico and the Pronaus. Fig. 2. A section of the Pediment. Fig. 3. The Fillet and Cyma reversa under the Doric cymatium marked A. fig. 2. Fig. 4. The Moulding on the Corona of the Cornice marked B. fig. 2.

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  Athenian coins.

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  The Base, Capital and Entablature of the Erechtheum, with the Capital and Base of the Antae of the Portico.

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  Erechtheion: Elevation of the north side.

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  Erechtheion: Fig. 1. Capital, Base, and Entablature of the Portico. Fig. 2. The Capital and Base of the Antae. Fig. 3. Profile of the moulding under the Corona, with the ornament carved on it. Fig. 4. The same viewed from below, to shew the effect of the flower on the Angle.

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  The Erechtheion: Fig. 1. The capital and base, &c. of the pilasters of the preceding plate. Fig. 2. A section, showing the profile and projection of the pilasters. Fig. 3. A section of the lower torus of the base on a larger scale. Fig. 4. The ornaments on the mouldings of the basement.

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  View of the Odeon of Herodes Atticus, Athens. The horses of the military commander of Athens grazing at the site of the scene.

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  Choregic monument of Thrasyllus (Panagia Spiliotissa): Fig. I. The ground plan of the grotto, and of the monument placed before it. Fig. II. The plan of the part above the cornice.

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  Choregic monument of Thrasyllus (Panagia Spiliotissa): Fig. I. The profile of the part above the cornice. Fig. II. The section of that part through the middle of the steps on which the statue is seated. Fig. III. The base of the taller of the two columns with triangular capitals. Fig. IV. The base of the lesser.

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  View of the Propylaea of the Acropolis from the Temple of Athena Nike.

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  Plan of the Propylaea of the Acropolis.

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  The elevation of the Propylaea. The Pinacotheca without wings; and the edifice formerly decorated with paintings.

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  The flank of the Propylaea, with a transversal section of the Pinacotheca.

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  South metopes of the Parthenon: Centaur combating a Lapith.

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  South metopes of the Parthenon: Centaur combating a Lapith.

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  South metopes of the Parthenon: Centaur combating a Lapith.

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  North frieze of the Parthenon: Two youths preparing to mount their horses and follow the procession; others are just mounted and are beginning their march.

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  East frieze of the Parthenon: The giving of the Peplos. Athena with Hephaestus.

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  East frieze of the Parthenon: The giving of the peplos. Zeus with Hera.

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  East frieze of the Parthenon.

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  South frieze of the Parthenon: Horsemen, introduced here from the cavalcade on that side, because their dress is different from any that I saw on the northern.

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  The Parthenon: All the remaining pieces of this Freeze on a smaller scale, brought together in one view, and ranged in the order in which they originally stood. A. A. the west end, B. B. the north side, C. C. the east end, D. D. the south side.

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  Relief of Apollo Agyieus, bearing the inscription: ΑΓΑΘΗΙ ΤΥΧΗΙ. ΑΠΟΛΛΩΝΟΣ ΑΓΥΙΕΩΣ ΠΡΟΣΤΑΤΕΡΙ ΠΑΤΡΩΟΝ ΠΥΘΙΟΥ ΚΛΑΡΙΟΥ ΠΑΝΙΟΝΙΟΥ.

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  Three of the eight dials on the Tower of the Winds. Under the word ΝΟΤΟΣ is that on the south side; under ΕΥΡΟΣ is that on the south-east side; and under ΑΠΗΛΙΩΤΗΣ, that on the east side of the Tower.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Apeliotes, the east wind; brings a gradual gentle rain, and is a great friend to Vegetation.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Zephyrus, the west wind; in the summer brings very sultry weather, but in the spring is pleasant, warm, and favorable to the vegetation.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Sciron, the north-west wind; the dryest which blows in Athens. This wind is extremely cold in winter, but in the summer is scorching, violent, and accompanied with fierce and frequent lightings; it does great mischief to all vegetable productions, and affects the health of the inhabitants.

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  A view of the Choregic Monument of Lysicrates in its present condition.

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  Choregic monument of Lysicrates in Athens: The base of the column with the circular zoccolos or steps which are immediately above the quadrangular basement.

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  Choregic monument of Lysicrates in Athens: The external face of the capital, with the entablature, and half one of the tripods.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: Transformation of pirates into dolphins.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: Transformation of pirates into dolphins.

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  Gate of Athena Archegetis (mod. Pazaroporta): 1. Plan of the portico. 2. Profile of the Capital of the Columns of this Portico.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Two more of the eight dials. Under the word ΚΑΙΚΙΑΣ, is that on the north-east side; and under the word ΒΟΡΕΑΣ, that on the north side of the tower.

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  Choregic monument of Lysicrates in Athens: An attempt to restore the upper part of this building and to explain the manner which the tripod was originally placed on it.

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  Hadrian's Library in Athens: The capital and entablature of the columns on the front of the building.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frize of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: Figure of Bacchus with his tiger.

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  Hadrian's Library in Athens: The plan and elevation of some ruins on which part of the church called the Megali Panagia is built.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: Faun.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: a Faun.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: a Faun.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates: Transformation of pirates into dolphins.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

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  The library of Hadrian seen from the house of Nikolaos Logothetis, consul of Britain in Athens. In the foreground, the soap mills. An Ottoman aga receiving a visitor; an Albanian groom.

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  Hadrian's Library in Athens: The section of the portal and of the gate-way of entrance before which it is placed.

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  The elevation of the Portico of the Parthenon.

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  The Parthenon: Fig. 1. The capital and entablature of the columns of the Pronaus and Posticus. Fig. 2. The Capital of the Antae, and the Section or the Entablature of the Pronaus. Fig. 3. The Mouldings of the Capitals of the Antae, on a larger scale.

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

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

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

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

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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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  The Parthenon: A transverse section of the Portico.

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  Erechtheion: The plan reversed, and Sections of the Capital.

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  Erechtheion: Fig. 1. The capital and base of the columns on the western front, with the mouldings of the basement on which those columns stand. Fig. 2. A section of the basement, &c.

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  The Erechtheion: Fig. 1. The general form of the window. Fig. 2. One of the knees. Fig. 3. The profile of the architrave and its mouldings. Fig. 4. A perpendicular section through the window-stool, showing the depth of the jamb (a.b.) before the reveel takes place; b. c. the reveel. Fig. 5. A horizontal section through the wall.

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  The Erechtheion: Fig. 1. The head of one of the Caryatides, with the mouldings of the capital and entablature on a longer scale. Fig. 2. The mouldings of the basement.

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  The Erechtheion: The capital of one of the antae, with a plan and section of the soffit, or ceiling.

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  Plan of the Odeon of Herodes Atticus, Athens.

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  The Erechtheion: View of the back and of the profile of another of the Caryatides.

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  The Erechtheion: One of the Caryatides viewed in Front and in Profile.

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  Erechtheion: The plan reversed, and sections of the capital.

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  Erechtheion: The elevation of the western front.

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  Erechtheion: The elevation of the Portico.

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  Northeast view of the Erechtheion.

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  A view of the eastern portico of the Parthenon. [In the interior, the mosque built after the 1687 explosion].

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  The section of the Propylae, and the pier on which an inscription in honor of M. Agrippa.

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  The Propylaea of the Acropolis of Athens: Fig. I. The capital, architrave, and frieze of the front columns. Fig. II. The upper part of the shaft of the Ionic columns. Fig. III. The external cornice on the north side of this building.

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  The Propylae of the Acropolis of Athens: Fig. I. The profile of the capital, on a larger scale. Fig. II. Section of the annulets and fluting, on a still larger scale. Fig. III. Section of the beams which supported the soffite. Fig. IV. A piece of external cornice, which perhaps was on the south side. Fig. V. Cornice on the east side of the temple.

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  The Propylae of the Acropolis: Fig. I. The capital of one of the antae, with a section of the architrave and frieze. Fig. II. The profile of the capital, on a larger scale.

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  The Pinacotheca at the Propylaea of the Acropolis: Fig. I. Pilasters on each side of the windows within the temple of Victory. Fig. II. Section of the aforesaid pilasters.

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  Fig. I. Half the capital of the columns belonging to the Pinacotheca at the Propylaea of the Acropolis. Fig. II. Section of the cornice on the wall connecting the Propylaea with the Pinacotheca, and the temple opposite to it. Fig. III. The capital and base of the pillar inscribed to M. Agrippa, on which stood an equestrian statue.

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  Ancient coins of Commagene.

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  The fourth and fifth stones of the south frieze of the Parthenon: Cavalry.

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  The first and second stones of the south frieze of the Parthenon: Cavalry.

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  The eleventh stone of the north frieze of the Parthenon: Cavalry.

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  The ninth and tenth stones of the north frieze of the Parthenon: Cavalry.

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  The Parthenon: The fourth stone of the frieze of the cella on the north side of the Temple.

• 

  Part of the east pediment of the Parthenon, based upon Jacques Carrey's drawing: The birth of Athena.

• 

  Part of the east pediment of the Parthenon, based upon Jacques Carrey's drawing: The birth of Athena.

• 

  Part of the west pediment of the Parthenon, based upon Jacques Carrey's drawing: The battle of Athena with Poseidon.

• 

  Part of the west pediment of the Parthenon, based upon Jacques Carrey's drawing: The battle of Athena with Poseidon.

• 

  Arch of Sergii in Pula, Croatia: Fig. 1: The middle compartment in the soffit of the arch. Fig. 2: The impost mouldings, with the foliage ornament on its face, and the archivolt. Fig. 3: The pedestals over the entablature.

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  Arch of Sergii in Pula, Croatia: Fig. 1: Plan of the columns shewing the termination of the flutes. Fig. 2: Base and pedestal of the columns.

• 

  Outlines of architectural features from the Arch of Sergii in Pula, Croatia.

• 

  Arch of Sergii in Pula, Croatia: Fig. 1: The capital and entablature of the columns. Fig. 2: Section of the capital. Fig. 3: Soffit of the Corona.

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  Elevation of the Arch of Sergii in Pula, Croatia.

• 

  The arch of the Sergii at Pula, Croatia. Peasants of Slavic ethnicity are walking by with their ox cart. James Stuart, Nicholas Revett and their assistant are on top of the arch, making drawings. On the left a man informs the women gathered that the travellers are searching the Arch of the Sergii for treasures. 

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  Temple of Rome and Augustus, Pula: Fig. 1: The capital of the pilasters or antae. Fig. 2: The section of the capital. Fig. 3: The plan of the capital reversed, ans soffit of the architrave. Fig. 4: The base of the pilaster.

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  Temple of Rome and Augustus, Pula: Fig. 1: Plan and Fig. 2: Angular elevation of the capital.

• 

  Outlines of architectural features of the Temple of Rome and Augustus in Pula, Croatia.

• 

  Elevation of the side of the Temple of Rome and Augustus at Pula, Croatia.

• 

  Plan of the Temple of Rome and Augustus at Pula, Croatia.

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  View of the temple of Rome and Augustus and the adjacent temple of Diana in Pula, Croatia. Between the two temples is situated the Communal Palace of Pula and the city prison. Next to the building, a guard and locals who are playing a game of marbles. In the middle ground, a soldier of Slavic ethnicity conversing with a young woman. On the left, a Polish woman with her donkey and small dog.

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  The facade of the Temple of Augustus and Rome in Pula, Croatia. The building on the right is the city prison. On the stairway of the temple, inhabitants of Dignano d'Istria, today Vodnjan, Croatia. In the foreground, locals of Pula, including a fishmonger and his assistant.

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  Elevation of the Temple of Rome and Augustus at Pula, Croatia.

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  Roman Amphitheater of Pula, Croatia: Mouldings of the Second Order. Fig. 1: Plinth, capital and entablature. Fig. 2: Impost moulding.

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  Roman Amphitheater of Pula, Croatia: Mouldings of the First Order. Fig. 1: Base, capital and entablature. (The ornamental pedestal is here introduced) Fig. 2: Base of the pedestal. Fig. 3: Impost moulding of the arch.

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  Roman Amphitheater of Pula, Croatia: Mouldings of the Basement Story. Fig. 1: Elevation. Fig. 2: Section.

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  Roman amphitheater of Pula, Croatia: Basement Story. Fig. 1: Plan. Fig. 2: Elevation.

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  Roman Amphitheater of Pula, Croatia: Fig. 1: Side elevation of the contraforte, with a section of the wall of the amphitheatre. Fig.2: Longitudinal section of the upper part of the contraforte: marks of the line of steps are still visible.[...] Fig. 3: External mouldings at the summit of the contraforte. Fig. 4: Plan and Fig. 5: Section of the walls immediately surrounding the arena. These walls form what is called the podium in the description of the plan.

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  Interior view of the Roman amphitheatre of Pula. Due to an epidemics among the livestock of the region, the consumption of lamb and mutton has been forbidden. Shepherds of Slavic ethnicity have sought refuge within the amphitheatre, with their herds. A monk of the order of Saint Anthony, patron of animals according to several traditions, is giving his blessing and sprinkling the sheep with holy water; this terrifies the flock and causes the dogs to bark at the monk. On the right, some weapons, which Slav inhabitants of the area always carry with them, according to the author.

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  The Roman Amphitheatre of Pula from the west. Slovenian women are laundering their clothes in the sea. Inhabitants of the city come to take water or to water their animals at a gountain close to the amphitheatre.

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  Roman Amphitheater of Pula, Croatia: Third Order. Fig. 1: Plan. Cc are the holes in the plinth to admit the posts of the velum. Fig. 2: Elevation. [...] a.a. are spouts to carry off the water. b.b. grooves to receive the posts of the velum.

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  Erechtheion: Fig. 1: Capital of the antae, with the continued mouldings and ornaments of the front wall, and a section of the Lacunariae. Fig. 2: Elevation of the external side of the antae, shewing some difference in the ornaments. Fig. 3, 4, 5, 6: Different ornaments under the flowers. Fig. 7: Section of the ornament at a, fig. 3. Fig. 8: Ditto at b. Fig. 9: Plan of the ceiling of the portico.

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  Odeon of Herodes Atticus, Athens: Section of the theatre through the scene.

• 

  Fig. 1: Fragments of a cornice of the Ionic order found on the hill above the seats of the Theatre of Bacchus. Fig. 2: The interior face of an architrave which is built up in a modern wall under an arch of the bridge over the Ilissus. Fig. 3: The capital of a pilaster in the wall of the bastion fronting the Propylea. Fig. 4: Attic base on the convent at Colouri. Fig. 5, 6, 7: Plan, elevation and section of an Ionic capital, probably found in the church of St. George, on Mount Anchesmus.

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  ig. 1, 2, 3: Quarter plan, elevation, and part of a section of a Doric capital found in a convent at Daphne. Fig. 4: Doric capital in the church of Stauromenos Petros. Fig. 5: Fragments in the metope of Mendeli. Fig. 6: Doric capital found in a ruined church, on the left hand of the road from the town of Athens, to the Turkish burial ground, facing the gate of the Acropolis. Fig. 7. Fillets of the above capital.

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  Sculpture in the quarries at Paros.

• 

  Fragments from various Places. Fig. 1: Ionic entablature at Palaeopolis in Andros. Fig. 2: Base found at Scopelos. Fig. 3: Side elevation of a Sarcophagus at Scopelo, which serves at present as a cistern, or rather as a watering trough. Fig. 4: Part of the end of this Sarcophagus. Fig. 5: Ormanent at the angle. Fig. 6: Section of the mouldings of the side. Fig. 7: Section of the upper tablet at the angle. Fig. 8: Section of the lower ditto above the claw. Fig. 9&10: Section of the flutings.

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  Dorotheus. This, and another figure, representing a priestess of Isis, are mentioned in the journal as having been found in Andros. No drawing of the other figure has been preserved.

• 

  Fig. 1: Plan of the Castalian fountain. Fig. 2: Elevation. The upright grooves in the wall do not admit an easy explanation. Fig. 3: Section. This shews the singular form of the niche. Fig. 4: Architrave of a door in a church at Delphi. Fig. 5: Profile of the seats of the Stadium at Delphi.

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  Aura, from the now lost Incantadas monument, Thessaloniki.

• 

  Dioscorus from the now lost Incantadas monument, Thessaloniki.

• 

  Ariadne from the now lost Incantadas monument, Thessaloniki.

• 

  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.

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  Roman Amphitheater of Pula, Croatia: First Order. Fig. 1: Plan. Fig. 2: Elevation.

• 

  Roman Amphitheater of Pula, Croatia: Second Order. Fig. 1: Plan. Fig. 2: Elevation.

• 

  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.

• 

  A plan of the Acropolis.

• 

  Athenian coins.

• 

  The flank and section of the Arch of Sergii in Pula, Croatia.

• 

  Temple of Rome and Augustus at Pula, Croatia: Fig.1: The capital and entablature of the columns. Fig. 2: Section of the capital. Fig. 3: Soffit of the corona.

• 

  Roman Amphitheater of Pula, Croatia: Fig. 1: The elevation of the west-side looking towards the port. Fig. 2: A section of its shortest diameter.

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  Plan of the Roman Amphitheater of Pula: A plan of the Amphitheatre. A. A. The area; B. The podium C.C. The space occupied by the seats. D.D. The prisons in which the animals were kept. E.E. The stair-cases.

• 

  View of Pula. On the left the Roman Amphitheater.

• 

  Frontispiece: Portrait of Nicholas Revett.

• 

  Ancient coin from Istria and inscription from Pula, Croatia.

• 

  Relief from the frieze of the Temple of Athena Nike, showing a combat between Greeks and Persians.

• 

  Relief from the Temple of Athena Nike at the Acropolis of Athens: Amazonomachy.

• 

  The Propylae of the Acropolos of Athens: Fig. I. The capital of one of the antae, and the entablature of the Pinacotheca without wings. Fig. II. Profile of ditto.

• 

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

• 

  The seventh and eighth stones of the north frieze of the Parthenon: Cavalry.

• 

  View of the Erechtheion. Workmen excavating to reveal the base of the prostasis underneath the Caryatids. Ottoman official Dizdar Aǧa is leaning on his son-in-law's shoulder while two other Ottomans are supervising the excavations in order to keep him informed and to ensure that the British are not carrying away the archaeological findings. On the foreground a man, probably James Stuart, drawing the monument.

• 

  Arch of Sergii in Pula, Croatia: Trophies in the frieze on the Flanks of the Arch.

• 

  The Parthenon: Fig. 1. The Mouldings of the Capitals of the Columns of the Portico. Fig. 2. The Mouldings of the Capitals of the Columns of the Pronaus; both on a large scale.

• 

  The Parthenon: Sculptures from the east pediment.

• 

  The plan of the Parthenon.

• 

  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.

• 

  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.

• 

  Title page.

• 

  Ancient coins of Athens. Coins of the King George III.

• 

  Composition of ancient inscriptions.

• 

  Triglyph and metopes.

• 

  Votive stele and coins of the Roman era.

• 

  Street in Athens. In the background the Gate of Athena Archegetis (mod. Pazaroporta).

• 

  Front elevation of the Gate of Athena Archegetis (mod. Pazaroporta).

• 

  Lateral elevation of the Gate of Athena Archegetis (mod. Pazaroporta).

• 

  Mosaic, most probably from a building somewhere in between the Temple of Hephaestus (Thiseion) and Dipylo.

• 

  Ionian capital from the Temple of Artemis Agrotera in Agrae (Panagia stin Petra) in Athens.

• 

  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: The elevation of the Portico.

• 

  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: The south side of the Temple.

• 

  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: The section of the temple, lengthways.

• 

  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: Fig. 1. The capital and base of the columns, together with the entablature. Fig. 2. A section of one quarter of the column, to shew the number and proportion of the flutings. Fig. 3. The manner of forming the Flutings.

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  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: The capital and base of one of the antae; with the different architraves which are employed in this building. Fig. 1. A., The architrave within the portico. Fig. 2. The architrave to the Pronaos. Fig. 3. The Form of the ancient Ornament which is painted on the upper Fascia of the Architrave of the Pronaos. Fig. 4. The architrave to the Posticus.

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  The Horologion of Andronikos Kyrristos (Tower of the Winds) in Athens, with the Acropolis in the background. Seikh Mustafa, chief of the order of Whirling Dervishes, who used the monument as their tekije (dervish lodge), is standing at the entrance of the monument, leaning on a staff, with his back turned. In the foreground, a woman from an affluent family is promenading with her daughters and maidservant.

• 

  Plan of the Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens.

• 

  The elevation of the Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens.

• 

  Section of the Horologion of Andronikos Kyrristos (Tower of the Winds) in Athens.

• 

  Tower of the Winds (Horologion of Andronikos Kyrristos) Athens: Fig 1. The capital and entablature of the portico before the door. Fig. 2. A fragment of the Dentells belonging to the cornice of the entablature. Fig. 3. The profile of the cornice belonging to the circular projection under the figure of ΝΟΤΟΣ.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: The capital of one of the antae.

• 

  The internal mouldings of the Tower of the Winds: Fig. 1. The lower cornice. Fig. 2. The second cornice, enriched with dentels and modilions. Fig. 3. The soffit of the second cornice. Fig. 4. The circular fascia with the inferior part of one of the columns which it supports, likewise the capital and the entablature of those columns. Fig. 5. Explains the manner in which the cabled part of the flutings on those columns are terminated.

• 

  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Boreas, the north wind; is cold, fierce and stormy.

• 

  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Eurus, the south east wind; which at Athens is sultry and gloomy, and brings much rain.

• 

  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Notus the south wind; is sultry and very wet.

• 

  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Libs, the south-west wind; blows directly across the Saronic Gulf, full on that shore of Attica which extends from the Isthmus of Corinth, to the promontory of Sunium; and right into the Piraeus.

• 

  Coin of Athens and inscription from the Choregic monument of Lysicrates.

• 

  Plan of the Choregic monument of Lysicrates in Athens.

• 

  Elevation of the Choregic monument of Lysicrates in Athens.

• 

  Section of the Choregic monument of Lysicrates in Athens.

• 

  Choregic monument of Lysicrates in Athens: The plan reversed, and the sections of the capital, with the elevation of half the unfinished part of the capital.

• 

  Choregic monument of Lysicrates in Athens: Fig. 1. A quarter of the upper surface of the Tholus or Cupola. Fig. 2. A section of the cupola made on the line CD of the foregoing figure. Fig. 3. A section of part of the cupola on the line EF. Fig. 4. A section of the helix or scroll marked A in Fig. 1, and 2. Fig. 5. represents the remains of the vitruvian scrols.

• 

  Choregic monument of Lysicrates in Athens: Fig. 1. The flower on the top of the tholus or cupola. Fig. 2. The plan of the upper surface of the flower. Fig. 3. A perpendicular section of the top of the flower, made through the line A, B, C of the preceding figure.

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  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

• 

  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

• 

  Choregic monument of Lysicrates in Athens: Sculpture on the frieze of this building, which represents the story of Bacchus and the Tyrrhenian Pirates.

• 

  Ornamental feature from column.

• 

  Plan of Hadrian's Library.

• 

  The elevation of the portal of Hadrian's Library and the facade to the north of the portal.

• 

  Hadrian's Library in Athens: A section of the front wall with a profile of the portal and the southern pteroma, with one of the columns between the portal and the northern pteroma.

• 

  Hadrian's Library in Athens: Part of the external face of the lateral wall or flank of this building.

• 

  Hadrian's Library in Athens: The base of one of the four fluted columns of the portal.

• 

  Hadrian's Library in Athens: Fig. 1. The plan of the capital. Fig. 2. The angular view of the capital.

• 

  Portrait of James Stuart.

• 

  Title page of the second volume of the book. Medallions of three Athenian demes: Marathon, Rhamnous and Prasiai.

• 

  Funerary stele depicting the farewell to the deceased.

• 

  The Parthenon: The Capital and Entablature of the Columns of the Portico.

• 

  North frieze of the Parthenon: Cavalcade.

• 

  South frieze of the Parthenon: Cavalcade.

• 

  South frieze of the Parthenon: Cavalcade.

• 

  North frieze of the Parthenon: Cavalcade.

• 

  North frieze of the Parthenon: Charioteers.

• 

  North frieze of the Parthenon: Charioteers.

• 

  North frieze of the Parthenon: Charioteers.

• 

  North frieze of the Parthenon: Three scaphephori or men carrying trays.

• 

  East frieze of the Parthenon: Sacrificial procession.

• 

  East frieze of the Parthenon.

• 

  East frieze of the Parthenon: Sacrificers and Oxen.

• 

  Inscription in honor of Apollodora canephoros bearer of the round basket containing the implements of sacrifice, in the processions of the Panathenea. Catalogue of ex-votos of the Parthenon.

• 

  Coins of Athens. The sarcophagus of Boutos, priest of Athena and Poseidon, discovered in Erechtheion. Altar of Demeter and Persephone dedicated by Phavios, torch-bearer at the Eleusinian mysteries.

• 

  Plan of the Erechtheion.

• 

  Erechtheion: The plan reversed, and the necessary sections of the capitals.

• 

  Relief showing Dionysiac scene, from the Odeon of Herodes Atticus, Athens, which the British Ambassador at Athens, Nikolaos Logothetis took into his residence.

• 

  Relief from the frieze of Choragic monument. Plan of theater. Solar clock from the Choregic monument of Thrasyllus (Panagia Spiliotissa).

• 

  View of the Choregic Monument of Thrasyllus (Church of Panagia Spiliotissa). Mount Hymettus in the background; at its feet the church of Agios Georgios Alexandrinos. The domed building on the right is the church of Agia Paraskevi, and between the church and the rock stands the metochion of Agioi Asomatoi monastery. The people gathered are waiting for the priest who is going to perform the service at Panagia Spiliotissa.

• 

  Choregic monument of Thrasyllus (Panagia Spiliotissa): Elevation of the front.

• 

  Choregic monument of Thrasyllus (Panagia Spiliotissa): The capital and entablature.

• 

  Choregic monument of Thrasyllus (Panagia Spiliotissa): Reconstructive drawing of the statue on the top of the monument.

• 

  The bust of Pericles, from the Townley collection.

• 

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

• 

  Map of Greece and Asia Minor.

• 

  Ionic capital and inscription from Menidi.

• 

  Relief from the Church of Panagia Krystaliotissa, Athens.

• 

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

• 

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

• 

  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.

• 

  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.

• 

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

• 

  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 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.

• 

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

• 

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

• 

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

• 

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

• 

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

• 

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

• 

  Relief showing vases from a church at Vari.

• 

  Funerary stele from a church, possibly in Athens.

• 

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

• 

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

• 

  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.

• 

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

• 

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

• 

  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.

• 

  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.

• 

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

• 

  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.

• 

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

• 

  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.

• 

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

• 

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

• 

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

• 

  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.

• 

  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.

• 

  View of Acrocorinth.

• 

  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.

• 

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

• 

  Architectural feature of ancient column.

• 

  Reliefs from Daphni Monastery.

• 

  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.

• 

  Relief from Megali Panagia church, Thessaloniki.

• 

  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).

• 

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

• 

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

• 

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

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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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  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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  Ancient altar from Myconos.

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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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  Title page of the fourth volume of the book.

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  Relief from a residence at Pula, Croatia.

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  Relief from residence at Pula, Croatia.

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  Roman Amphitheater of Pula, Croatia: Fig. 1: Plan of one of the contraforti, shewing the arrangement of the stair-cases. Fig. 2: Transverse section of ditto. Fig. 3: Londitudinal section towards the body of the amphitheatre, with the steps restored. Fig. 4: Section through the outer wal of the amphitheatre, the remaining fragments of the prisons, and the podium.

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  Relief from the Temple of Rome and Augustus at Pula, Croatia.

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  Coin of Augustus.

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  Relief from Pula, Croatia.

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  Relief of the head of Asclepius from the walls of Pula, considered by the locals to be the head of Saint John the Baptist.

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  Plan of the Arch of Sergii in Pula, Croatia.

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  Arch of Sergii in Pula, Croatia: Fig. 1: Plan of the capital reversed. Fig. 2: Angular view of the capital.

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  Coins from ancient Peparethus (Skopelos).

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  Relief from Attica

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  The west and east pediment of the Parthenon, as it was in 1683, according to Jacques Carrey's drawings.

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  The fifth and sixth stones of the north frieze of the Parthenon: Cavalry.

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  The third stone of the south frieze of the Parthenon: Cavalry.

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  The tenth and eleventh stones of the south frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Reliefs from the west frieze of the Parthenon: Cavalry.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  Coins from ancient Peparethus (Skopelos).

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  Impost block from Eleusis.

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  Odeon of Herodes Atticus, Athens: Elevation of the front of the scene.

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  Odeon of Herodes Atticus, Athens: Elevation of the back of the scene.

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  View of the valley of Pleistos, Delphi.

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  View of Mount Parnassus.

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  Roman coin from Tanagra.

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  Inscriptions from church at Paros.

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  Fragments of the Isle of Paros. Fig, 1: Altar with a horned head. Fig.. 2: Altar, with roses. Fig. 3: Doric Capital. Fig. 4: Mouldings. Fig. 5: Architrave of a door. Fig. 6: Section of ditto. Fig. 7: Moulding.

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  General view of Athens, charting the main sights and monuments. Salamis, Aegina and the coast of the Peloponnese in the background.

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  Vignettes of chapters 1, 2 and 5 of Les antiquités d'Athènes by Jame Stuart and Nicholas Revett: ancient coins, inscriptions and architectural features.

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  Plan of the Gate of Athena Archegetis.

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  Drawings of the architrave and column capital of the Gate of Athena Archegetis. Bottom plan of the entablature.

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  Gate of Athena Archegetis: 1. Capital of the antae, with a section of the entablature. 2. Section of the capital of the antae. 3. Section of the cornice.

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  Plan of the Temple of Artemis Agrotera on the southern bank of Ilissus river.

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  The Temple of Artemis Agrotera at Ilissus river.

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  Elevation of the front of the Temple of Artemis Agrotera at Ilissus river.

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  1. Base and capital of the columns, entablature of the Temple of Artemis Agrotera at Ilissus river. At the time of Stuart and Revett's investigation, the frieze of the temple had already been destroyed and the relief depicted is a fragment of a relief discovered elsewhere in Athens, whose dimensions fit those of the missing part. 2. Elevation of quarter of a column. 3. Drawing of the flutings of the column.

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  Temple of Artemis Agrotera: Capital and base of one of the antae, with the different architraves which were employed in the building. Fig. 1. The architrave within the portico. Fig. 2. The architrave to the pronaos. Fig. 3. Cymatium on the upper fascia of the architrave of the pronaos. Fig. 4. The architrave to the opisthodomos.

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  The Horologion of Andronikos Kyrristos (Tower of the Winds) in Athens. The Acropolis in the background. The person standing at the entrance of the monument with his back turned is Seikh Mustafa, chief of the order of Whirling Dervishes, who used the monument as their tekije (dervish lodge). The image also depicts an woman from affluent family promenading with her daughters and maidservant.

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  Plan of the Horologion of Andronikos Kyrristos (Tower of the Winds).

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  Horologion of Andronikos Kyrristos (Tower of the Winds) in Athens: The capital of one of the antae, with traces of the entablature and the entrance frame. (Drawing based on a small remaining fragment of the capital).

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  Vignettes of chapters IV and V: Ancient coins, inscriptions and reconstructive drawing of the top of the Choregic Monument of Lysicrates in Athens.

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  Plan of the Choregic Monument of Lysicrates in Athens. The preserved part of the monument is shaded in the drawing.

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  Elevation and section of the Choregic Monument of Lysicrates in Athens.

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  Choregic monument of Lysicrates in Athens: The plan reversed, and the sections of the capital, with the elevation of half the unfinished part of the capital.

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  Hadrian's Library, seen from the house of Nikolaos Logothetis, consul of Britain in Athens. In the foreground, the soap mills, an Ottoman aga receiving a visitor and an Albanian groom.

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  Plan of Hadrian's Library, Athens. The remaning part is shaded in the drawing.

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  Hadrian's Library in Athens: 1. The elevation of the portal of Hadrian's Library and the facade to the north of the portal. 2. A section of the front wall with a profile of the portal and the southern pteroma, with one of the columns between the portal and the northern pteroma. 3. Hadrian's Library in Athens: The section of the portal and of the gate-way of entrance before which it is placed. 4. Part of the external face of the lateral wall or flank of this building.

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  Hadrian's Library in Athens: 1. The capital and entablature of the columns on the front of the building. 2. Section of the capital. 3. Bottom plan of mouldings. 4. Architrave of the interior of the portal and moulding of the abacus of the capital, continued underneath the architrave.

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  Hadrian's Library in Athens: Fig. 1. The plan of the capital. Fig. 2. The angular view of the capital.

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  Metopes from the south side of the Parthenon: Centauromachy.

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  The Parthenon: Fig. 1: Plan of the angle of the Temple, with the Lion's head. Fig. 2: Section of ditto. Fig.3: Capital of the antae. Fig. 4: Capital of the internal columns.

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  Choregic monument of Lysicrates in Athens: Fig. 1. The flower on the top of the tholus or cupola. Fig. 2. The plan of the upper surface of the flower. Fig. 3. A perpendicular section of the top of the flower, made through the line A, B, C of the preceding figure.

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  The Choregic Monument of Lysicrates seen from the court of the hospice of the Capuchin monastery, where it was situated. A Capuchin monk living at the monastery.

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  Tower of the Winds (Horologion of Andronikos Kyrristos) in Athens: Two more of the eight dials. Under the word ΚΑΙΚΙΑΣ, is that on the north-east side; and under the word ΒΟΡΕΑΣ, that on the north side of the tower.

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  The internal mouldings of the Tower of the Winds: Fig. 1. The lower cornice. Fig. 2. The second cornice, enriched with dentels and modilions. Fig. 3. The soffit of the second cornice. Fig. 4. The circular fascia with the inferior part of one of the columns which it supports, likewise the capital and the entablature of those columns. Fig. 5. Explains the manner in which the cabled part of the flutings on those columns are terminated.

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  Fig. 1. The external mouldings of the Tower of the Winds. Fig. 2. A section of the uppermost of the three steps which form the basis or stereobata on which the building stands.Fig.3. A quarter of the roof of the Tower of the Winds. Fig. 4. A section of half the aforesaid roof. Fig. 5. The fragment of a capital marked B in the preceeding figure, and which in Plate III of this chapter is, with some restorations made to support the conical Marble and the Triton.

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  Elevation and section of the Horologion of Andronikos Kyrristos (Tower of the Winds).

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  Plan, profile and section of angular capital belonging to the Temple of Artemis Agrotera.

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  1. Elevation of the southern side of the Temple of Artemis Agrotera on Ilissus river. 2. Longitudinal section of the temple.

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  The capital and the entablature of the Gate of Athena Archegetis (mod. Pazaroporta).

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  Elevation of the façade and side of the Gate of Athena Archegetis in Athens.

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  The Gate of Athena Archegetis in Athens.

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  Funerary vase. Sketch of a part of the ancient Agora. Ancient inscriptions.

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  General view of Athens from Hadrian's Aqueduct (Dexameni) in Athens.

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  Relief showing a male and female figure holding a tripod, most probably choregic.

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  Relief showing Athena and Satyr Marsyas, possibly from Myro's sculpture which was kept at the Acropolis and depicted on the obverse of Athenian coins.

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  The Erechtheion: The elevation of the front adorned with Caryatides.

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  The Erechtheion: A section through the vestibule or pronaus; showing the internal face of the western front of the building. 2. A section through the wall of the western front.

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  Plan of the Temple of Olympian Zeus.

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

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

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  Ancient marble seat from Athens.

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  Ancient sling pellet and arrows from the bed of ilissus.

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

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  Marble altar from the church of Agios Andreas, Athens.

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  Cameo depicting Theseus.

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  Propylaea of the Acropolis of Athens: Fig. 1: Mouldings of the architrave internally. Fig. 2: Capital of the antae. Pinacotheca: Fig. 3: Capital of the pilaster.

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  Relief from Pula.

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  Relifs from the Choregic Monument of Lycirates in Athens: The story of Dionysus and the Tyrrhenian pirates.

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  Athenian coins and relief from Hagios Nicolaos Teneas.

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  Inscription on throne ordered by Sagaris, treasure keeper of Achaia, in the memory of the pedagogue Turanius Maximus. The throne was found at the Church of Hagios Spyridonas in Piraeus.

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  Temple of Artemis Agrotera in Agrae (Panagia stin Petra), Athens: A plan of this Temple.

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  Ormament of architectural feature.

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

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

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  Fragment from church in Athens.

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  Relief showing an athlete, Athens.

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  Coins from Macedonia.

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