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The Bassae Frieze is the high relief marble sculpture in 23 panels, 31m long by 0.63m high, made to decorate the interior of the cella of the Temple of Apollo Epikourios at Bassae. It was discovered in 1811 by Carl Haller and Charles Cockerell, and excavated the following year by an expedition of the Society of Travellers led by Haller and Otto von Stackelberg. This team cleared the temple site in an endeavour to recover the sculpture, and in the process revealed it was part of the larger sculptural program of the temple including the metopes of an external Doric frieze and an over-life-size statue. The find spots of the internal Ionic frieze blocks were not recorded by the early archaeologists, so work on recreating the sequence of the frieze has been based on the internal evidence of the surviving slabs and this has been the subject of controversy. Archaeological research has determined that the site of the present ruin of the temple of Apollo was in continuous use since the archaic period,〔Discovered in 1959 by N Yalouris and confirmed by a subsequent dig in 1970, see Cooper, Bassitas:1, p.81 ff.〕 the existing temple is the last of four on the site and designated Apollo IV. Pausanias〔8.41.7 ff.〕 records that this last sanctuary was dedicated to Apollo Epikourios (helper or succourer) by the Phigalians in thanks for delivery from the plague of 429 BC.〔Contemporary with, but not necessarily related to, the Plague of Athens as Pausanias would contradict Thucydides 2.54.5 that the plague didn't affect the Peloponnese. This inconsistency has led Carl Peterson to propose a date of c. 420 for the dedication of the temple. See Cooper, Bassitas:1, p.75.〕 The architecture of the temple is one of the most strikingly unusual examples of the period, departing significantly from the norms of Doric and Ionic practice and including what is perhaps the first use of the Corinthian order and the first temple to have a continuous frieze around the interior of the naos. From the style of the frieze it belongs to the High Classical period, probably carved around 400 BC. Nothing is known of its authorship: despite an ascription of the metopes to Paionios〔Made by Hofkes-Brukker, principally in ''Die Nike des Paionios und der Bassaefries'', BABesch, 36, 1961, see Madigan, Bassitas:3, p.34〕 (since refuted〔Madigan, Bassitas:3, p.35-6〕), the frieze cannot be associated with any sculptor, workshop or school. Instead Cooper identifies the artists of the frieze on morellian evidence as a group of three anonymous masters.〔Though the number is by no means agreed upon, Madigan:Bassitas:3, p.91, n.1 remarks that H. Kenner detects 9, Rhys Carpenter in unpublished notes finds 5, BS Ridgway 4 and U. Liepmann 3 groups with a pattern of influence working amongst them.〕 The frieze was bought at auction by the British Museum in 1815 where it is now on permanent display in a specially constructed room in Gallery 16.〔 While the British Museum possesses most of the sculpture, eight fragments believed to belong to the frieze are in the National Museum, Athens.〔Cooper, Madigan, Bassitas:3, p.113 ff.〕 Copies of this frieze decorate the walls of the Ashmolean Museum and London's Travellers Club. ==History== (詳細はVictoria and Albert Museum in 1914.〕 Though the temple was visited several times in the intervening years,〔Frazer, Commentary on Pausanias, vol. 4, p.404 notes 1808 by the English travellers Leake, Dodwell and Gell, but Cooper, ''Bassitas'', vol. 1, p.13, n. 9 is more detailed.〕 it wasn't until the expedition of 1812 that excavations began. Of the informal group of antiquaries who undertook the enterprise〔Peter Oluf Brondsted, John Foster, Georg Christian Gropius, Thomas Leigh, Jacob Linckh, von Stackelberg, Cockerell, Haller, Breymann and Koes.〕 it fell to Haller to record the 1812 dig in his field notebook, the two copies of which are the only surviving details of the disposition of the intact site and finds since the drawings he made in 1811 were lost at sea.〔Dinsmoor 1933:205.〕 However, though Haller's study was exacting by the standards of the day no record was kept of the findspots of the frieze, and only sketchy details that parts of the frieze were found on the temple floor inside the cella by Brondsted. Furthermore the early explores of the temple make little discussion of the sculpture in their subsequent publications, it was not until 1892 that they were formally published with Arthur Smith's catalogue of the British Museum's holdings.〔A. H. Smith, ''A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum'', vol. 1, p.270-288, (BM 520-542), 1892.〕 The site was explored in 1812 by British antiquaries who removed the twenty-three slabs of the Ionic cella frieze and transported them to Zante along with other sculptures. The frieze was bought at auction by the British Museum in 1815. This frieze's stones were removed by Charles Robert Cockerell. Cockerell decorated the walls of the Ashmolean Museum's Great Staircase and that of the Travellers Club with plaster casts of the same frieze.〔 The frieze was purchased by the British Museum from James Linkh, Thomas Legh, Karl Haller von Hallerstein, George Christian Gropius, John Foster and Charles Robert Cockerell who had bought it at auction.〔(The Bassai Sculptures / The Phigaleian Frieze ), British Museum, retrieved July 2010〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bassae Frieze」の詳細全文を読む スポンサード リンク
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