Commentary Prepared by Dr. Julia Lenaghan, Ashmolean Museum

A 101 C
Battle of Greeks against Greeks (Temple of Athena Nike, West Frieze). London.

Marble (Parian)
Frieze
H: ca. 45 cm; W (max.): 130 cm

West frieze, block k (left half). From the Acropolis at Athens. The slab had been reused in a Turkish fortification wall and was taken away by Lord Elgin in 1802. It was later given to the British Museum in London.
United Kingdom, London, British Museum, 422
High Classical, ca. 430-420 BC

Preservation:
The entire surface is heavily worn and abraded, all figures are missing limbs. The upper left corner of the slab and the lower rim are chipped.

Description:
The slab shows seven figures involved in heavy fighting. To the left is a man dressed in a short chiton and mantle. He is depicted almost frontally but slightly turning to his right. Then follows a group of four men, all facing to the right. The first three are nude, the next one is clad in a short chiton and mantle. Two of the men, closest to the relief ground, are advancing to the right, armed with hoplite shields and helmets. In the foreground one of their companions bends down to recover the body of a comrade who lies on the ground. Further to the right are two more figures, this time facing to the left. The first, depicted nude, bends down and with his right tries to get hold of the left leg of his adversary on he ground, while protecting himself with his raised shield. The other man, draped in short chiton and mantle, takes aim with his right hand that must have held a spear, while he has wrapped his mantle around his left arm for protection.

Discussion:
This scene continues the dramatic action from the previous slab (A 101b), focusing on the fight over a wounded warrior. To the left is a lone fighter of the party about to be overwhelmed. He has turned to face the mass of enemies advancing from further to the left. Two of his foes have already gone past him and rush forward to the right. In the central foreground the two sides struggle over a wounded fighter. He holds on to one of his comrades who attempts to pull him to safety, while one of his enemies tries to prevent this, supported by a comrade. The depiction here is very powerful: figures overlap and make use of different planes of the relief ground, empty spaces are filled with flowing drapery, and poses are widely varied. For a full discussion of the frieze see A 101a.

Bibliography:
A.H. Smith, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum III (London 1904) vol. I, 242-245 Catalogue entry with basic information.
C. Blümel, "Der Fries des Tempels der Athena Nike in der attischen Kunst des fünften Jahrhunderts vor Christus" (JdI 65/66 1950) 135-161 Detailed description of the frieze.
T. Hölscher, Griechische Historienbilder des 5. und 4. Jahrhunderts v. Chr. [Beiträge zur Archäologie 6] (Würzburg 1973) 91-98 Argues that the friezes show historic battles in the wake of Marathon.
F. Felten, Griechische Tektonische Friese archaischer und klassischer Zeit (Waldsassen 1984) 118-131 pls. 33-39; 47 Interprets the south frieze as a battle against Persians, and the west and north friezes as a unified composition showing the Trojan War as mythological paradigm for the Persian Wars.
H. Knell, Mythos und Polis. Bildprogramme griechischer Bauskulptur (Darmstadt 1990) 140-149 Good summary and bibliography of recent research on the frieze.
E. B. Harrison, "The Glories of the Athenians: Observations on the Program of the Frieze of the Temple of Athena Nike", in: D. Buitron-Oliver (ed.), The Interpretation of Architectural Sculpture in Greece and Rome (Washington 1997) 109-125 Argues that the south frieze represents Marathon and that other heroic (mythical) exploits of the Athenians are depicted on the north and west friezes.