Bassae frieze
The Bassae Frieze in the British Museum.
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| Material | marble |
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| Size | 31m x 0.63m |
| Created | 420-400 B.C.E. |
| Discovered | 1811-1812 by a group including Cockerell, Haller, Linkh, Foster, Legh, Gropius, Baron von Stackelberg, Peter Brondsted |
| Present location | British Museum, London |
| Identification | 1815,1020.2; 1815,1020.7; 1815,1020.11 etc |
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 programme 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, the existing temple is the last of four on the site and designated Apollo IV. Pausanias 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. 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 (since refuted), 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.
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