^{page 22 note 1} The number enclosed in brackets is that of the excavation-inventory of marble objects.

^{page 22 note 2} Cf. S.M.C. pp. 102 ff., Figs. 1 and 3.

^{page 22 note 3} A seated sphinx is often employed as an arm-support, e.g. on the Harpy Tomb, Richter, Ancient Furniture, Fig. 62, and on the Demetria-Pamphile grave-relief in the Ceramicus, ibid., Fig. 66; but I can find no Gorgoneion used for this purpose.

^{page 23 note 1} Richter, op. cit., pp. 45 ff.

^{page 23 note 2} S.M.C. Fig. 1; cf. also S.M.C. 505, Fig. 10.

^{page 23 note 3} S.M.C. p. 105, Fig. 6.

^{page 23 note 4} Op. cit. p. 10, note 3.

^{page 23 note 5} For the relation of these reliefs to other works of archaic Spartan art see Langlotz, , Frühgriechische Bildhauerschulen, pp. 90 ffGoogle Scholar.

^{page 25 note 1} The locus classicus for this statue is Lucian,Anacharsis, c. 7, καὶ τὸ ἄγαλμα δὲ αὐτου̑ ὁρα̢̑ς, τὸν ἐπὶ τη̣̑ στήλη̣ κεκλιμένον, τη̣̑ ἀριστερα̣̑ μὲν τὸ τὸξον ἔχοντα, ἡ δεξιὰ δὲ ὑπὲρ τη̑ς κεφαλη̑ς ἀνακεκλασμένη ὥσπερ ἐκ καμάτου μακρου̑ ἀναπαυόμενον δείκνυσι τὸν θεὸν.

^{page 25 note 2} Apollon, pp. 212 ff., Class X. e, 1. For the other version cf. also Furtwängler, , Masterpieces, p. 337Google Scholar, note 2; for another replica, from Gortyn, , Mon. Ant. xviii. p. 256 fGoogle Scholar. and Fig. 34.

^{page 25 note 3} The drawings in Creed's description of the Pembroke collection (published in 1731) are shewn reversed; cf. Michaelis, p. 665.

^{page 25 note 4} In his catalogue of the Glyptothek.

^{page 26 note 1} In this connection it is worth calling attention to the Laconian coin-type of Claudius, which I have not found published, with the Emperor's head sometimes to r., sometimes to l., and as reverse Apollo standing with r. arm on his head and l. resting on a column. The l. arm seems to hold a cloak, but the legs are crossed. (Two examples were found on the Acropolis, one at the Theatre.) In the circumstances this could hardly be meant to represent our statue.

^{page 28 note 1} Nuovo, Braccio, Amelung, , Cat. I. 124Google Scholar and Pl. 20.

^{page 28 note 2} Caskey, , Cat. of Gr. and R. Sculpt. No. 134Google Scholar.

^{page 28 note 3} Sala degli Imperatori, 70; cf. Die Antike, II. Pl. 6.

^{page 28 note 4} Cf. Strong, E., Roman Sculpture, p. 374 fGoogle Scholar.

^{page 28 note 5} Cortile, 2; Conservatori Cat., ed. Jones, H. Stuart, Pl. IGoogle Scholar.

^{page 28 note 6} Galleria, 19; op. cit. Pl. XXX.

^{page 28 note 7} Die Antike, II. Pl. 9.

^{page 28 note 8} For discussion of later Imperial portraiture see, in addition to Mrs. Strong's Roman Sculpture, Riegl's, paper, in Strena Helbigiana, pp. 250 ff.Google Scholar, and Kaschnitz-Weinberg, G., Spätrömische Porträts, Die Antike, II. pp. 36 ffGoogle Scholar. with admirable illustrations.

^{page 30 note 1} There is a certain resemblance to the Boston Balbinus (v. supra, p. 28, note 2), but not close enough to make the identity at all probable.

^{page 31 note 1} Compare the long series of female statues of the Imperial age reproduced in Reinach, , Rép. ii. pp. 665 ff.Google Scholar; most of these have the right hand exposed, but vary little in essentials from our example. Of similar statues in the Sparta Museum, S.M.C. 443 and 616 shew a bolder and more effective handling of the drapery, No. 709 is on about the artistic level of our example.

^{page 31 note 2} Cf. p. 5 f.

^{page 33 note 1} Reinach, , Rép. ii. p. 714Google Scholar.

^{page 33 note 2} Sala degli Animali, 212; a small and rather mild beast.

^{page 33 note 3} A suggestion for which I am indebted to Professor Droop.

^{page 35 note 1} Giardino, 101.

^{page 35 note 2} S.M.C. 442a, 442b; B.S.A. xii. p. 412Google Scholar, Fig. 2.

^{page 35 note 3} Perhaps this is a reminiscence of the Elis coin-type, Seltman, , Temple Coins of Olympia, p. 42 and Pl. iv. BNGoogle Scholar; Gardner, P., Types of Greek Coins, Pl. viii. 22Google Scholar. Seltman dates it ca. 432–ca. 421.

^{page 36 note 1} Cf. Richter, op. cit., p. 44, for this type on vase-paintings. In any case, when made of marble, owing to its cumbrous nature it must always have been more of a ‘fixture’ than a piece of domestic furniture.