The Glory That Was Greece

from Xanthus, in Lycia. It shows us the “harpies” conceived as angels of death—by no means malignant, as the harpies afterwards became—carrying away the dead. Perhaps it would be better to call them Kēres, or Fates. In the centre of this north side is the dead warrior yielding up his helmet to Hades. On the west side the Queen of the Dead (Persephone) sits in majesty. Over the door is the common heraldic motive of the suckling goat, and to the right of her three worshippers bring offerings of poppies and sesame to another seated goddess. Archæologists date this monument in the latter half of the sixth century.

The other is the sculptured column from the temple at Ephesus. Great interest attaches to this work from the inscription, which tells us that it was set up by King Crœsus of Lydia. This famous monarch was in power from 560 to 546 B.C. Himself half a Greek, with strong Hellenic sympathies and in close relation to the Delphic

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