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A GUIDE
TO THE
YSGULPTURES "OF THE PARTHENON
IN THE DEPARTMENT OF.
‘GREEK ‘AND ROMAN ANTIQUITIES.
THIRD EDITION.
WITH TWELVE ILLUSTRATIONS.
; I-PRINWTED BY ORDER OF THE ‘TRUSTEES..-
‘ ' 1886. '
' "Price Sixpenée.



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THE PARTHENON.
G. Niemann.
VJ /
1,1,; QLrW
SYNOPSIS OF THE CONTENTS
OFTHE
; ‘BRITISH MUSEUM. "
DEPARTMENT OF
GREEK AND ROMAN ANTIQUITIES: "
SOULPTURES OF THE PARTHENON.
IEIA}III IHDCHML
PART I.
THIRD EDITION.
WITH TWELVE ILLUSTRATIONS.
London;
‘IEHNTED BY ORDER OF THE TRUSTEES
' 1886.
LONDON :
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED.
‘ . STAMFORD STREET AND CHARING CROSS.
NB
CH
.127
‘15%
law
IN‘ this Guide certain works are referred to in an
abbreviated form, of which the fuller titles and references
are as follows :—
Arch. Zeit. . Arch'aologische Zeitung,. Denkm'aler und
Forschungen. Berlin, 1849-1885.
. Ch. E. Beulé. L’Acropole d’Athénes (Paris,
1853-4), II. p. 61.
. K. Bfitticher, in the Arch'aologische Zeitung,
1870, p. 59. . '
. E. Braun, in the Annali dell’ Institute di
Oorrispondenza Archeologica, Roma (1829-
1885), 1851, p. 89, p. 177, p. 325, and 1854,
p. 12.
. P. O. Brondstecl. Voyages et Recherches
dans la Grece (Paris, 1826-1830.) Pt. II.
p. 133.
. H. Brunn, in the Bullettino dell’ Institute di
Corrispondenza Archeologica, Roma. (1829—
1885), 1860, p. 69, and in the Berichte der
k6niglichen bayerischen Gesellschaft der
Wissenschaften, 1874. _
. Conrad Bursian, in the Allgemeine Encyclo-
p'adie, 1st Section, Pt. 82 (1864), p. 428, and
in the Neue Jahrbiicher fiir vPhilologie,
Lxxvn. (1858), p. 87.
Bullet. de Gorresp.}Bulletin de Oorrespondance Hellénique.
Helle’n. . Athens and Paris. From 1877, in progress.
Caldesi . . . . . L. Galdesi. Photographs of ancient Marbles,
Bronzes, Terracottas, &c., in the British
Museum. London, 1873.~
Beulé . . . .
Bo'tticher
Braun . . . .
Brb'ndsted
Brurm . . . .
Bursz'an . . .
Gockerell . . . . G. R. (Jockerell, in the Museum Marbles, VI.
p. 18, Plates 20-22. " ’ '
Oombe . . . . Taylor Combe, in the Synopsis of the Contents
of__the British Museum, 1824.
Q}.
' \
c.)
(iv)
007126 c o o
Dalton . . .
Falkener . . .
Flasch . . .
Friederz'ohs . .
Gerhard . .
Hall. Lr't. Zeitzmg .
Harrison . .
Hawk/ins . .
Hellenic Journal
Hermes . . .
Laborde . . .
Leake . . .
Lenormant . .
o o I
. Richard Dalton.
. K. Friederichs.
. Hallische
. Count Le'on de Laborde.
. Ch. Lenormant.
. A. Conze, in the Verhandlungen der Philologen
zu Hannover,1864, p. 186, and in the Gettin-
gische gelehrte Anzeigen, 1866, p. 370.
A series of Engravings
representing views in Sicily, Greece, Asia
Minor, and Egypt. London, 1751—2.
. E. Falkener, in the Museum of Classical
Antiquities, I. p. 353.
. A. Flasch. Zum Parthenonfries. Wiirzburg,
1877.
Bausteine zur Geschichte
der griechischen Plastik (D iisseldorf, 1868),
p. 141 and p. 148.
. E. Gerhard, Auserlesene Vasenbilder, I. (1840)7
p. 9, and Drei Vorlesungen iiber Gyps-
abgiisse (1844), p. 29.
Literatur-Zeitung, 1824. Erg'an-
zungsblatt, p. 84.
. C. Harrison. British Museum Photographs,
with Introduction by Charles Harrison, and
a Catalogue of the Plates. London, 1872.
. E. Hawkins, in the Museum Marbles, VIII.
. Journal of Hellenic Studies, published by
the Society for the Promotion of Hellenic
Studies, London. From 1879, in progress.
. Hermes. Zeitschrift fiir olassische Philologie.
From 1866, in progress.
Athénes (Paris,
1854) ; and Le Parthenon (Paris, 1848).
Berlin.
. Colonel W. M. Leake. Topography of Athens,
1st edit. p. 232; 2nd edit. p. 536; and
Transactions of Royal Society of Literature,
1839, p. 234.
Bas-reliefs du Parthenon et
du Temple de Phigalie, 1834 (1860).
. W. Watkiss Lloyd, in the Classical Museum, V.
(1848), p. 396, and in the Transactions of the
Royal Society of Literature, New Series VII.
(1860), p. 1.
Iv)
Miehaelis . . . . Ad. Michaelis. Der Parthenon, Leipzig, 1871,
and in the Memorie dell’Instituto di Corrie-
pondenza. Archeologica, Roma, II. (1865)
p. 183.
Millingen . . . . Millingen in the Annali dell’ Instituto di
Corrispondenza. Archeologica, Roma, IV.
p. 198.
Mi t t h e z‘ I u n g e n cl. Mittheiluugen des deutschen arch'zio-
Arehiiol. Inst. } logischen Institutes in Athen. From 1876,
in progress.
Mommsen . . . . A. Mommsen. Heortologie. Leipzig, 1864.
Monum. d’I/nst. Arch.}Monumenti dell’ Instituto di Gorrispondenza
Rom. . Archeologioa, Roma; 1829—1885.
Miiller . . . . . H. A. Miiller. Panathenaica. (Bonn, 1837),
p. 123.
Miiller . . . . . K. O. Miiller. De Phidiae Vita. et Operibus,
p. 73; see also Giittingische gelehrte An-
zeigen, 1827, p. 281, and Miiller’s Kleine
Schriften, II. p. 506.
Mus. Marbles . . . Description of Ancient Marbles in the British
Museum, 1812-1861. Published by the
Trustees of the British Museum.
Overbeek . . . . J oh. Overbeck. Geschichte der griechischen
Plastik, 1st edit. (1857), p. 241; 2nd edit.
(1869), p. 269; 3rd edit. (1881), p. 292; see
also Berichte der ktiniglichen siichsischen
Gesellschaft der Wissenscheften, 1868, p. 97
and p. 111; 1879, p. 72, Pl. I. and 1880,
p. 161.
Pervanoglu . . . . Neues schweizere Museum VI. (1866), p. 186.
Petersen . . . . . Chr. Petersen. Feste der Pallas Athena. in
Athen (Hamburg, 1855), p. 21 ; Zeitschrift
fiir die Alterthumswissenschaft, XV. (1857),
p. 193 and p. 393; Verhandlungen der Philo-
logen zu Hannover, 1864, p. 186.
Petersen . . . . Eng. Petersen. Die Kunst des Pheidias am
Parthenon und zu Olympia. Berlin, 1873.
Quatremére de Quincy . Quatremere de Quincy. Restitution des fron-
' tons du temple de Minerve (Monuments et
ouvrages d’art restitués), Paris, 1829, I. p. 1.
Reuvens . . . . . G. J. 0hr. Reuvens, in the Classical Journal,
London, 1823, p. 175.
PART I. b
(vi)
Ronchaud .
Span
Stark .
~Steplzam', Compte rendu
Stuart
Synopsis .
Viscmztz'
Weber
Welcker .
Wieseleo', Denk'miiler
Wilkins .
Wood:
. Jacob Spon and G. Wheler.
. J. Stuart.
. E. Q. Visconti.
. Woods,
. L. Ronchaud. Phidiss, so vie et ses ouvrages
(Paris, 1861), p. 249.
Voyage d’Italie
de Dalmatie, de Grece et du Levant (Lyon,
1678), II. p. 142.
. .C. B. Stark, in the Verhandlungen der Philo-
logen zu Hannover, 1864, p. 184.
L. Stephani. Oompte rendu de la. commission
impériale archéologiquo. St. Petersburg,
from 1859, in progress.
Antiquities of Athens, I. (1762);
II. (1790); III. (1794); IV. (1816).
. Synopsis of the Contents of the British
Museum, 1824.
Opere Varie, III. p. 91, and
p. 306.
. Weber, in Sohorn’s Kunstblatt, 1821, p. 213.
. Weleker, in the Zeitschrift fiir alte Kunst,
I. (1818), p. 203; in Classical Museum II.
(1845), p. 367, and VI. (1849), p. 279; Alte
Denkm'aller, I. (1849), p. 67.
. F. Wieseler, Part II. of K. O. Miiller’s
Denkm'z'tler der alten Kunst.
1869.
Gottingen,
. Wilkins, in the Rev. B. Walpole’s Travels in
various countries of the East.
London, 1820), p. 409.
in the continuation of Stuart’s
Antiquities of Athens, IV. p. 23.
(1st edit.
A. S. MURRAY.
GUIDE
TO THE
ELGIN BOOM.
PART I.

THE SCULPTURES OF THE PARTHENON.
THE Parthenon, or temple of the virgin goddess, Athene,
was constructed by Iktinos, under the administration of
Perikles between 13.0. 454 and 438. It stood on the Akro-
polis of Athens, on the site formerly occupied by the
more ancient temple of Athene, which was burnt on the
sacking of Athens by the Persians, 13.0. 480. The Par-
thenon, like the earlier temple, was of the Doric order
of architecture, and was of the form termed peripteral
octastyle. The sculptural decorations and probably the
whole design of the temple were planned and executed
under the superintendence of Pheidias.
The cella (sekos) within the colonnade contained the
colossal statue of Athene executed in gold and ivory, and
one of the most celebrated works of Pheidias. Externally,
the cella was ornamented by a frieze in very low relief.
The two pediments were filled with figures sculptured in
the round, and above the architrave the spaces between
the triglyphs were decorated with groups sculptured in
very high relief. All these sculptured decorations were
executed, like the architecture, in Pentelic marble.
PART I. B
2
After the fall of paganism, the Parthenon was converted
by the Christians into a church dedicated to the Panagia,
or Virgin Mary. After Athens had been taken by the
Turks in 1456, the Akropolis was made their citadel,
and the Christian church within the Parthenon became
a mosque. In 1674 drawings of the sculptures of the
Parthenon were made by Jacques Carrey, by direction of
the Marquis de Nointel, then French Ambassador at the
Porte. These drawings, which are preserved in the
Bibliotheque at Paris (Cabinet des Estampes), show what
was then extant of the two pedimental compositions, and
portions of the frieze and metopes. The central group
of the eastern pediment had then been destroyed, but
in other respects the Parthenon had not sustained much
injury. In 1687 Athens was taken by the Venetians
under General Morosini, and in the course of the bom-
bardment of the Akropolis a shell falling into a powder
magazine in the Parthenon caused an explosion which
destroyed the roof and much of the building. The
model in the north-west angle of the Elgin Room,
executed by Mr. R. C. Lucas, represents the temple after
this partial destruction. In 1688 Athens was restored
to the Turks, and from this date to the end of the
last century the sculptures of the Parthenon were ex-
posed to constant injury. Some of them were made
into lime, or built into walls by the Turkish garrison;
others were mutilated by the travellers who from time to
time obtained admission to the Akropolis, and broke oif
portable fragments of the sculptures. When Stuart visited
Athens in 1751-4, several fine portions of the frieze were
extant which had disappeared at the beginning of the
present century. In 1749 Dalton made some drawings
of the sculptures of the Parthenon, which were published
in 1751, but the remains on the Athenian Akrofolis
excited little interest in England till the appearance of
3
Stuart’s great work (Vol. I. in 1762; Vol. II. in 1790;
Vol. III. in 1794; and Vol. IV. in 1816).
In the years 1801-3 the sculptures of the Parthenon
here described were removed to England by the Earl of
Elgin, then British Ambassador at Constantinople, who
obtained a firman from the Porte for that object. The
Elgin collection, which includes some additional marbles
acquired after 1803, was purchased from Lord Elgin by the
British Government in 1816 for £35,000. The sculptures
and architecture of the Parthenon have been described and
illustrated by various writers. An excellent digest of
those memoirs up to the year 1871 is to be found in the
work of Miehaelis, Der Parthenon (Leipzig, 1871), to which
constant reference is made in this Guide.
EASTERN PEDIMENT OF THE PAR'I'HENON.
\Ve know from Pausanias (I, 24, 5) that the subject of
the composition in the eastern pediment had relation to
the Birth of Athene from the brain of Zeus, but, as all
the central part of this composition was already destroyed
when Carrey made his drawing of the pediment, We have
no means of ascertaining how the subject was treated;
whether the moment immediately after the Birth was
represented, as has been generally supposed, or as has '
been also suggested, the moment immediately before the
Birth. Of the figures which still remain, none have been
so satisfactorily identified as those in the angles of the
pediment.
[A.] Helios.—-There can be no doubt that this figure
, in the left angle of the pediment is the Sun-god, Helios,
rising from the Ocean, and that the corresponding figure
(N) in the opposite angle is Selene in her ear. These
two figures may be interpreted as marking the boundaries
B 2
4
of Olympos, the abode of the gods, and the scene in which
the Genesis took place; or they may be regarded as
symbols of the three Kosmic elements, air, earth and sea.
It has also been suggested that they indicate the hour in
which the Birth of Athene took place, which according to
Attic tradition was at sunrise. The figure of Helios is
represented emerging in his chariot from the waves,
which 'cover his body from the shoulders downwards.
Hence the name Hyperion has also been given to this
figure. The head is wanting, the neck has a forward
inclination corresponding with the action of the arms,
which are stretched out in front of the body, holding the
reins by which the upspringing horses of the Sun-god
were guided and controlled. Of these horses the heads
and necks only are shown. The head of Helios had been
already broken away in Carrey’s time; the wrist and
hand of the right arm, now wanting, are shown in his
drawing. The surface of the marble on the neck having
been protected from weather by the cornice retains its
“original polish; the muscular exertion of the arms is
admirably indicated by the prominence of the veins
under the skin. At the back and between the arms are
sculptured small rippling waves to represent a calm sea
at sunrise. These waves are treated in the conventional
manner usual in representations of water in Greek art, and
their profile shown on the edge of the plinth approximates
very nearly to the well-known wave pattern called by the
ancients K's/La, which so constantly recurs as an ornament.
The metal reins have been attached to the upper surface
of the plinth under the right fore-arm, and also under the
right hand, now lost; three dowel holes in this part of
the plinth served for their attachment. The waves were
probably distinguished by colour. It has been noted
by Michaelis that the angle in which this figure was
placed is the darkest spot in the eastern pediment, and


5. m. O;
.553.
c
that it is only fully illumined at the moment of sunrise.
(Mus. Marbles, vi., pl. 1; Miehaelis, p. 173; Harrison,
No. 693 ; Caldesi, No. 3.)
[B—C.]—~The chariot of Helios was represented by four
horses’ heads, two of which still remain in position on
the temple, sketched in very low relief on the back of the
pediment. The two other horses’ heads are sculptured in
the round out of one block of marble. They are repre-
sented emerging from the waves, the profile of which is
sculptured in relief on the neck of the nearest horse. The
head of the horse nearest the eye (B) looks outwards, and
has projected beyond the plane of the pedimental cornice,
so that it must have caught the light. The action of
this horse’s head is most spirited, though its effect is
greatly impaired by the loss of the lower jaw, and the
injury which the surface of the marble has received from
exposure to the weather. The reins were of metal, and
the points of their attachment are marked by three dowel
holes in the plinth, a fourth behind the right ear, and a
fifth inside the mouth. The head of the other horse on
this block (G), which was advanced beyond the outside
head, so as to be visible from below, is nearly destroyed ;
only the neck and back of the head remain. (Mus.
Marbles, vi., pl. 2; Harrison, No. 693 ; Oaldesi, No.
Thus far the interpretation of the eastern composition
rests upon sure grounds. Of the remaining figures two
(G and J) have been very generally recognised as Iris
and Nike (Victory), but none of the rest have been
satisfactorily identified, though much ingenuity and
learning have been shown in conjectural attributions.
The various schemes of interpretation which are exhibited
in the accompanying table (Table A) may be divided into
two classes. \Ve may either suppose that the whole
pedimental space bounded by the chariots of Night and ,
Day represents Olympos, in which case all the figures
6
TABLE
TABLE OF EXPLANATIONS OF THE EASTERN PEDIMENT











A. D. E. F. G.
. Leake. , 1821. The Sun. Hercules. Peitho. Venus. Iris.
. Weber. 1822. Triton. Hercules. Ceres and Proserpine. Iris.
. Visconti. 1816. Hyperion. Hercules. Proserpine. Ceres. Iris.
. .Conibe. 1824. {Hyperion’ } Theseus. Proserpine. Ceres. Iris.
' or Helios.
3. Welckcr. 1818. Helios. Iakchos. The Great Goddesses. Iris.
4. Wilkins. 1820. The Morn. Bacchus. .. l .. ..
7. Reuvens. 1823. S01. Pan. Ceres cum Proserpine? Iris.
8. Brondstedz" 1830. Day. Kephalos. Horae. ..
. Cockerell. 1830. Hyperion. {Theseus 01} Proserpine. Ceres. Iris.
Hercules.
10. Millingen. 1832. The Sun. Theseus. Thallo and Auxo. Iris.
A Youth, 1
11. Miiller. 1833. Helios. not Two Goddesses. Iris?
Theseus. l
Iakchos
12. Gerhard. 1840. Sun-god. (Hercules Demeter and Kore. Iris.
1844). .
14. Falkener. 1851. Helios. Kekrops. Ceres and Proserpine. Iris.
1 16. Lloyd. 1861. Helios. Dionysos. Karpo. ' Thallo. Iris.
1
13. \Velckcr. 1845. Helios. Kekrops. Thallo and Auxo. Oreithyia.
15. Overbcck. 1857. Helios. Theseus. Thallo and Auxo. Iris.
17. Ronchaud. 1861. The Sun. Herakles. Ceres and Proserpine. Iris.
1's.' Friederichs. 1868. Helios. Herakles. ? P P
19. Michaelis. 187 1. Helios. Dionysos ? Persephone? Demeter? Iris.
20. Petersen. 1873. Helios. Dionysos. Kore. Demeter. Iris.
21. Brunn. ‘1874. Helios. Olympos. Two Horac. Hebe.

‘*1
A.
(FROM MICHAELIS, r. 165, WITH ADDITION OF Nos. 20-21‘).















I r . .
H. J. K. L. M. N.
Vigtizgtfor Vesta. Proserpine. Ceres. ‘ Night.
Gecldesé of , Rhode. Amphitrite. Thalassa. *
ictoiy. ‘
1 Victory. ' ' The Fates. Night.
Victory. The Three Fates. _ rNight, or Selene.
Nike. The Fates. Selene.
.. Night.
Victoria. Parcze ? Luna.
’A7a9i7 Tuxn Klotho. ' Lachesis. Atropos. Night.
Victory. Klotho. Lachesis. Atropos. Night.
Divinitypr d
Allegorical The Fates? Night, or Moon.
Personage.
Nike P The Fates ? N ight.
.. Nike. Klotho. Lachesis and Atropos'. Moon-goddess.
Hephaestos. Nike. Lachesis and Atropos. Klotho. Selene.
N ike. Klotho. Lachesis. Atropos. Selene.
Prometheus. N ike. Aglauros. Herse. Pandrosos. Selene (Night).
.. N ike. The daughters of Kekrops. Selene.
Circe _
. . Victory. Amphitrite. Persé (Aphro- Luna.
(Thalassa '3) dité 1,)
Astonished deity. Nike. ? ? ? Selene.
Prometheus ? N ike. Pandrosos P Thallo? Karpo P Selene.‘
Hephaestos. Nike. Hestia ? Peitho. Aphrodite. Selene.
Hephaestos. Iris. Personifications of Clouds. Selene.


8
contained within this space must have been deities present
at the Birth; or interpreting Night and Day in their
larger sense as Kosmic symbols, we may assume that the
deities actually present at the Birth were all comprised in
the central part of the composition now wanting, and
that in either wing were figures who had a direct con-
nection with Attika, but who were not of suflicient rank
to entitle them to be present in Olympos. This latter
view has been advanced by several recent archaeologists,
and has led to attributions irreconcileable with the earlier
method of intrepretation. If we assume that the entire
pedimental space between the angles represents Olympos,
then we must regard all the extant figures as personages
who would have been present at the Birth. In accordance
with this view, Visconti and many archaeologists after
him called the three figures (K, L, M) next to the chariot
of Night the three Fates. The two seated female figures
(E, F) in the opposite wing were called by the same
authorities Demeter and Persephone, and the reclining
male figure (D) Herakles, Dionysos, or more commonly
Theseus. On the other hand it has been contended that
the female figure in the left wing of the pediment (Gr),
who is generally accepted as Iris, marks the limit of the ‘
Olympic central group, and that she is hastening to
announce the Birth to the world outside Olympos. The
three figures (D, E, F) between Iris and Helios may
either be regarded as a connected triad, or we may consider
the male reclining figure (D) as connected with the group
of Helios, towards whom he turns.
[DJ—This figure, who is commonly known as Theseus,
reclines on a rock and faces the upspringing horses’ heads .
of Helios. He leans on his left arm in an easy attitude.
The right arm is bent, but as the hand is wanting, we can
only form conjectures as to what its action may have been.
It probably held a spear, or some other long object, the end
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9
of which may have been attached to the left ankle at the
place where a dowel hole is still visible. The legs are
bent, the left drawn back under the other leg. The body
is entirely nude : over the rock on‘ which the figure rests
is thrown a mantle under which is strewn a skin, the
claws of which are certainly those of some feline animal. 0
The type and position of this figure present so much
resemblance to the Herakles on the silver coins of wKroton
in Lower Italy (Mus. Marbles, vi., title-page), that it
has been identified with that here by Viseonti, who
supposed the skin on which he reelines to-.-_§be that of
a lion. This skin, however, seems more .that of a.’
panther, on which ground the figure has been thought
to be Dionysos, who appears in a very similar reclining
attitude on another Athenian work, the Ohoragic monu—
ment of Lysikrates (compare also the statue in the Louvre,
WVieseler, Denkmaler, 11., pl. 32, No. 360). The manner
in which this figure is turned away from the ‘central
scene towards Helios led Brondsted to identify. it with
Kephalos, who on vase pictures is constantly’ associated
with Aurora, flying before her as the twilight vanishes’
before the dawn (see Vase Catalogue, Nos. 867, 868, 869,
and 1290), and who is the subject of an Attic myth.
More recently Brunn has interpreted this figure as the
mountain of Olympos itself illumined by the first rays
of the rising sun, and it must be acknowledged that the
attitude and type of the so called Theseus would be very
suitable for the personification of a mountain. (Brunn,
Berichte der bayer. Akademie der Wissen., 1874, IL,
pp. 3-50; Mus. Marbles, vi., pll. 3-4 ; Harrison, No. 694 ;
Caldesi, No. 2.) . - '
[E—F.]—The two seated figures next in the order of the
composition are so grouped together that near relationship,
such as that of a mother and a daughter, or of two sisters,
is suggested by their composition. They sit on square
10
seats, diphroi, half concealed by their drapery. They both
wear a chiton fastened on the shoulder so as to leave the
entire arm uncovered; over it is a mantle thrown over
their lower limbs in a rich composition of folds. On the
right wrist of the figure nearest the angle (E) is a dowel
hole, probably for the attachment of a bracelet. Her
companion extends her left arm towards Iris, who is
advancing towards her on the right. Her head has been
broken off at the base of the neck, but it has probably
been turned towards her companion, who rests her left arm
afi'ectionately on her shoulder, and who probably looked
towards her, as if listening to the news brought by Iris,
though the want of the neck makes it difficult to decide
the motive of this figure. The seats, on which are laid
cushions or folded carpets,‘ are carved out of the marble
with great care and delicacy of finish, the regular
geometrical lines being valuable in opposition to the
varied undulations of the drapery. In the sides and backs
of both seats are oblong sunk panels, in one of which
several archaeologists have tried unsuccessfully to read the
name of an artist (see Michaelis, p. 174; Brunn, Griech.
Ki'mstler, I. p. 104), and the one nearest the angle is orna-
mented with two large studs. Most of the writers on the
Parthenon, from Visconti downwards, have named this
group Demeter and Persephone, two Athenian deities, whose
cult in Attika ranked second only to that of Athene herself.
This attribution would be strengthened if the reclining male
figure couldbe identified with Dionysos, a deity whose
worship in Attika was closely connected with that of the
Eleusinian goddesses. The composition of this group has
suggested to other archaeologists a sisterly rather than a
filial relation. Brondsted was the first to suggest that
they were the two Seasons, and in that case we may either
attribute to them the names Thallo and Auxo, or Thallo
and Karpo, under which appellations the Seasons were


"ML Hm.“ HQ;
1
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ll
worshipped in Attika, or suppose with Brunn that they
are the Horse who guarded the gates of Olympos. On
this latter assumption the 'position of Iris woul'd repre-
sent her as on the point of passing from the boundary of
Olympos to the outer world. (Mus. Marbles, vi. pl. 5;
Harrison, No. 695 ; Oaldesi, No. 4.)
[(3.] Iris ?.——This figure is moving rapidly to the left, the
right knee bent. The left arm, broken off at the shoulder,
was probably extended; the right, now broken off below
the elbow, was bent probably nearly at a right angle. The
right and left feet are wanting from the instep. This figure 1
seems to be exactly in the same condition as when Oarrey
saw it, except that in his drawing rather more of the neck
appears than now remains. The dress is a Doric chiton,
open at the left side, so as to show the lower limbs from
the hip downwards and the side of the body from above
the girdle to the armpit. Over this falls a dt'plot'dz'mz,
reaching below the girdle in front, and a little lower at
the sides. The remnant of a mantle floats behind, bellied
out by the resistance of the air to the rapid movement of
the figure. The arms of this figure are small in proportion
to the strength of the lower limbs, and the breasts
undeveloped like those of a young girl. This would be
consistent with the type of Iris as the messenger of Zeus
and Hera, trained to swift movement. The general motive
is forcibly expressed, though the main lines of the figure
seem rather meagre. But the original composition may
have suffered much from the mutilation of the mantle
and from the loss of both arms. From the rapid move-
ment of the figure in a direction turned away from the
centre of the composition, we can hardly doubt that
she is on her way to announce the event of the Birth
to the world outside Olympos. It has been thought
that the head was half turned back towards the central
group, but too little remains of the neck to make this
12
certain. (Mus. Marbles, vi. pll. 6-7; Harrison, No. 695;
Caldesi, No. 1.)
[N Selené.—It has been already stated that the horse’s
head in the right hand angle of the pediment belongs to
the car of the Goddess of Night, who is represented by
the torso cast in plaster (N) which stands next to it.
The original of this torso, now at Athens, was discovered
in 1840 on the east side of the Parthenon. The arms and
head are wanting, the body is cut off below the waist, as
only the upper part of the figure was shown on the pedi-
ment. The dress is a sleeveless chiton girt at the waist and
fastened on each shoulder. The bosom is crossed diagonally
by two bands which pass round to the back. These bands
and the forward inclination of the body suggest that the
figure was in the act of driving her car. Two large dowel
holes in the girdle and two others on the shoulders mark
where metallic ornaments have been attached. On the
back is a remnant of drapery extending from shoulder to
shoulder: this is probably part of a peplos, the ends of
which may have fallen over the arms.
[0.] Horse’s Head.—-Originally there were the heads of
the two horses attached to the car of Selene. One of these,
which still remains in the angle of the pediment, is a mere
shapeless mass (see Michaelis, pl. 6, fig. 5, P). The head
in the Museum (O) was so placed in the pediment that
the muzzle projected over the cornice; in order to adjust
it securely in this position, a portion of the lower jaw
has been cut away. This head presents, as might have
been expected, a marked contrast in motive to the pair in
the opposite angle. The heads of the horses of Helios
are thrown upwards with fiery impatience as they spring
from the waves; the downward inclination of the head
here described and the distended nostril indicate that the
car of Selene is about to vanish below the horizon. In
the whole range of ancient art there is, perhaps, no work

. :4. Om
,
wmrmzme
await. are.
“.2 J .v:

13
in marble in which the sculptor has shown such complete
mastery over his material. The nostrils “ drink the air ”
as if animated by the breath of life ; the fiery expression
of the eye, the bold, sharply defined outlines of -the bony
structure so skilfully opposed to the sensitive flexibility of
the nose, and the brawny tenseness of the arched neck, are
so combined in this noble work that the praise bestowed
on it by Goethe is not extravagant. “ This work,” he
says, “ Whether created by the imagination of the artist
or seen by him in nature, seems the revelation of a proto-
type: it combines real truth with the highest poetical
conception.” Behind both ears is a dowel hole, another on
the nose between the eyes and the mouth, and a third on
the inner corner of the mouth. These show where a metal
bridle was attached. On the crest of the hogged mane
are eleven smaller holes, in which some metallic ornament
must have been inserted. (Mus. Marbles, vi. pl. 12 ;
Goethe, Werke, L., 109 ; Harrison, No. 698; Caldesi,
N o. 15.)
[K, L, M.]-—Next to Selene come the three female figures
which Visconti supposed to be the three Fates, and which
may be regarded either as a triad or as a group of two
associated with a third figure. Carrey’s drawing shows
that in his time two of the three figures still had heads,
and that the one nearest Selene looked towards the
angle, while the head of the figure furthest from her
(K) was half turned in the opposite direction. The right
arm of this figure, and also of the central figure (L),
are shown in Carrey’s drawing, as far as the wrist.
Both these arms at present are broken off above the elbow.
According to Carrey’s drawing, the right arm of the central
figure was bent towards the right shoulder, as if the action
had been that of drawing up the edge of the mantle with
the right hand. The body of this figure is bent forward
and the feet drawn far back, as would be the case with a
14
person wishing to spring up. This motive forms a contrast
to that of the reclining figure (M), whose right arm rests
in her companion’s lap, and whose tranquil attitude and
averted gaze seem to indicate that the news of the Birth
has not yet reached,‘ her. On comparing the composition
of this triad with that of the triad placed next to Helios
in the opposite half of the pediment, a curious analogy of
treatment may be observed. The so-called Theseus (D),
like the reclining figure (M), seems to be quite unconscious
of the great event which is being announced, and they are
respectively turned as by a law of attraction to the groups
of Night and Day which bound the scene on either side.
The central figure in either triad seems only half aroused
by the intelligence, while on either side the figure nearest
the central action appears to have just heard the news of
the Birth. If the triad near Selene were the three Fates,
as Visconti supposed, their place would more naturally be
in the central part of the composition. On the other hand,
the place of this triad in immediate succession to Selene
and the direction in which the one nearest to the angle
(M) is turned, would point to some mythic connection
between these three figures and the Goddess of Night.
Such a connection is suggested by the names given to this
triad by Welcker, who saw in them the three daughters of
Kekrops, Aglauros, Herse, and Pandrosos, three mythic im-
personations of the dew, who have a conspicuous place
in Attic legend, though Pandrosos alone of the three seems
to have been honoured with worship at Athens. The same
desire to connect this triad with Selene has led Dr. Brunn
to see in them personifications of clouds. All three figures
are clad in talaric clzz'ions clinging very close to the form.
Over the lower half of the body is thrown a mantle of
some thicker substance. In the reclining figure the chiton
falls in a fold over the girdle, which partially appears
underneath it. The forms are large, combining robustness

[J .J
NIKE
15
with extreme suppleness and grace. The breasts indicate
the perfect maturity of womanhood. The two figures
grouped together are seated on a rock, the upper surface
of which is levelled and cut in a step over which the
mantle falls. The third figure sits on a separate rock,
(Mus. Marbles, vi. pll. 10-11 ; Harrison, No. 697 ; Galdesi,
Nos. 22, 23, and 31 ; Brunn, Berichte der bayer. Akademie
der ‘Vissen, 187 4.)
[J Nike, Victory.-—It has till lately been taken for
granted, that this figure belongs to the eastern pediment,
and it has been inferred from its height that it was not
placed much nearer the centre than its present position. It
should be observed, however, that in Carrey’s drawing of
the eastern pediment this figure is not given, and though
Visconti states that it was found lying on the ground below
the front of the temple, it has been contended that he may
have been misinformed on this point, and that the figure
so closely resembles one in the western pediment as
drawn by Oarrey and Dalton that it is probably the same.
(See Michaelis, Pl. 7, Fig. N, and Hilfstafel, Fig. N.)
This resemblance may be admitted ; but if, on this ground,
we identify the torso of Nike with the figure in the
western pedin1ent_(N), which stands by the car of Amphi-
trite, we‘ have the anomaly of a Victory associated with
the defeat of Poseidon, which seems inconsistent with the
entire scheme of the composition in the western pediment.
Moreover, the figure in Oarrey’s drawing has a scarf
hanging from the left arm, which seems not in character
with thatype of ~Victory. On the other hand, the com-
positionninzthe eastern pediment would be incomplete, if
Nike were pot-‘present to welcome the new-born. éthene,
On the whole, therefore, there is a balance of probability
in favour of leaving this torso in the pediment to which
it was originally assigned by Visconti. In recent years
two valuable additions have been made to this figure.
16
In 1860 Mr. )Vatkiss Lloyd discovered the right thigh,
which had remained unidentified among the Elgin frag-
ments of the Parthenon, and in 1875 the left knee was
recognised among the same fragments. These additions
show that the chiton did not reach below the knees. An
upper fold confined by a girdle falls as low as the waist.
The chito'n was fastened on each shoulder; the arms were
bare. The figure faces the spectator, but is moving
rapidly to the left. The right arm was probably ex-
tended in the same direction. About the middle of the
left thigh a small piece of bronze is fixed in the marble.
This may mark the place of attachment of a metallic
object, possibly a teem'a, held in the left hand. This figure
is evidently hastening towards the central group; the
direction of the head is uncertain. On each shoulder-
blade is a deep oblong sinking, for the insertion of the
wings, which must have been attached by dowels in the
holes pierced round the sinkings. It may be inferred
from the size of these sinkings that the wings were of
marble, not metal. The place of this figure in the pedi-
ment depends on the original position of the wings. If
they were raised above the head, the figure must have
occupied a place much nearer the centre of the pediment
than it does at present, and would thus be more closely
associated with the new-born goddess. (Mus. Marbles, vi.
pl. 9; Visconti, Opere Varie, III., p. 110; Harrison, No.
696; Caldesi, No. 21.)
[H.] Prometheus or Hephaistos P.—This torso, the
original of which is at Athens, is the only figure which
has any claim to be assigned to the central group of the
eastern pediment. It was discovered on the east side of
the Parthenon in 1836. Though we have no knowledge
of how the central group of this pediment was composed,
we may assume that among the figures it contained the
personage would not have been omitted through whose act
17
the birth of Athens was accomplished by cleaving the
head of Zeus with an axe. In the most generally diffused
version of the myth this was done by Hephaistos, but Attic
tradition preferred to attribute the deed to Prometheus.
The ground for identifying the torso now discovered with
one or the other of these mythic beings, is that the action
of the shoulders and of the muscles of the back suggests
the notion of a figure about to strike, with both arms
lifted above his head. (Michaelis, pl. 6, figflwil ; Oaldesi,
No. 32.)
SCULPTURES OF THE WESTERN
PEDIMENT.
The subject of the western pediment of the Parthenon,
according to Pausanias (i. 24, 5) was the contest between
Athens and Poseidon for the soil of Attika. This contest,
according to tradition, took place on the Akropolis itself.
Athene, on this occasion, showed her power by making the
soil produce the olive-tree; Poseidon, striking the ground
with his trident, produced a salt spring, or, according to
another tradition, a horse and a salt spring. The victory
in this contest was adjudged to Athens. The spot where
this double miracle took place was marked in subsequent
times by two adjacent temples, the Erechtheion and the
temple of Athens Polias; within the precinct of one was
the sacred olive-tree produced by Athens, and the other
protected the salt spring of Poseidon.
In the time of Carrey, the composition in this pediment
was nearly perfect, but between his date and the visit of
Stuart, to Athens (1751-1754) the greater part of the
figures were destroyed. To understand the torsos which
remain'reference should be made to Oarrey’s drawing, or
to the model in the north west angle of the room. In the
centre of the pediment are a male and female figure (L, M),
PART I. c
18
who may at once be recognised as the two antagonists,
Poseidon and Athene. They are moving away from each
other in opposed directions. On the left of Athens is her
chariot with two horses, driven by a figure (G), doubtless
intended for Nike; on the right of Poseidon is a blank
space, which must, it is presumed, have been occupied by
his chariot, the charioteer of which appears to be Amphi-
trite On the left of Athene the angle of the pediment
contains a reclining figure (A), which has been generally
recognised as a River-god, and which is commonly called
Ilissos, though it is more probably the Kephissos. In the
opposite angle is a reclining female figure (W), which is
generally thought to represent the fountain Kallirrhoe;
the kneeling figure (V) placed next to it in the pediment
is thought to be the River-god llissos. Between the
Poseidon (M) and the reclining female figure in the
angle, Carrey gives nine figures, of which the one which
has been most probably identified is the female figure (O),
who acts as the charioteer of Poseidon, and who is marked
as a marine deity by the fish or sea-monster which ap-
pears as a symbol between her feet. Next to her is a
draped female figure (Q) seated, at whose right side
stands a boy This group may represent the marine
deity Leukothea with her son, Palaimon Melikertes.
Next comes a draped female figure (T), seated, in whose
lap is a naked female figure This is generally
supposed to be Thalassa, the Sea ; the almost entire nudity
of the female figure in her lap (S) makes it probable that
Aphrodite is here represented ; her position in the lap of
Thalassa would be a way of expressing her sea-born
origin. Next comes a seated female figure (U), who
presents no distinctive characteristic by which she may
be identified. She is probably a marine deity. Between
the horses of Athene and the reclining River-god in the
left angle of the pediment, Carrey places seven figures.
19
Of these, the male figure by the side of the chariot (H)
has been called Ares, Hermes, or one of the Attic heroes,
Erechtheus, Erichthonios, or Kekrops. Next follow the
charioteer (G), probably Nike, and a group of two female
figures and a boy (D, E, F), which may represent Demeter
and Kore with Iakchos, and between this group and the
reclining figure in the angle a male and female figure (B, O)
grouped together, who may be Asklepios and Hygieia or
Kekrops and one of his daughters.
Much as archaeologists differ in the identification of the
single figures in the western pediment as drawn by
Carrey, it is generally admitted that the space bounded
by the reclining figures in the angles represents the
Akropolis itself between the two rivers of Athens, and
that the figures to the left of Athene are Attic deities or
heroes, who would sympathise actively with her in the con-
test which is the subject of the pediment, while those to the
right of Poseidon are the subordinate marine deities who
would naturally be present as the supporters of the Ruler of
the sea. This general idea of the composition as it existed
in the time of Carrey should be kept in view in the study
of the few fragments which now remain of it.
The great destruction of the western pediment since it
was seen by Carrey may have been partly due to the explo-
sion during the siege. After taking the Akropolis, Morosini
tried to lower the horses of the car of Athene, but the tackle
he used broke, and this matchless group fell to the ground.
If the fragments had been then collected and put together,
probably much of this beautiful design might have been
saved, but they remained on the spot where they fell till
after the establishment of the Greek kingdom at Athens
(1833), when they were gathered up and placed in a
magazine on the Akropolis. They were subsequently
moulded, and casts of them are now exhibited in the
Elgin Room. Between the time of Morosini and the
c 2
20
middle of the last century, when Dalton drew the western
pediment, the work of destruction had been carried much
further. In the right wing of the composition the figures
N, O, Q, S, T, and in the left wing only four figures,
A, B, C, and F? are shown in position on the pediment
in Dalton’s Plate. In the intervening middle space, two
torsos are lying on the floor of the pediment. One of
these is probably the Poseidon; the other may be the
figure marked H. On the ground below the pediment
lies the body of a draped figure, perhaps Athene, and a
fragment which may belong to the Poseidon (M).
All that remained in position in the western pediment
when Lord Elgin’s agent came to Athens were the figures
B and C in the north angle, and in the south angle the
lower part of the reclining female figure W. The River-
god A and the torsos H, L, M, O were found under the
north-west angle of the pediment, after taking down a
Turkish house built against the columns. The lower part
of a female figure Q may also have been found on this spot.
After the Akropolis passed into the possession of the
Greek government, the ground round the Parthenon was
partly cleared of its ruins, and this led to the discovery,
in 1835, of the crouching male figure V and of many frag--
ments, among which are remains of the horses lowered by
Morosini. The sculptures removed by Lord Elgin from
this pediment are exhibited in combination with casts of
the remains from the composition now at Athens, and
may be thus described.
[L and Athené and Poseidon—It has been
already stated that the central group of Athene and
Poseidon is at present represented by the two torsos L and
M. The Athene of which L is the remnant is drawn by
Oarrey moving rapidly to the left ; her right arm, broken
off above the elbow, and her right feet are advanced in
the same direction. Her left arm is broken off below
21
the shoulder, which is lower than the right shoulder; she
wears a talaric chiton, over which is a diploi'dion reaching to
the hips, and falling in a fold over the girdle; the wgz's,
folded like a narrow band, passes obliquely across the
bosom between the breasts, and has extended from the
right shoulder to below the left armpit. It is scalloped on
its lower edge, and at the point of intersection of each
curve a hole is pierced for the attachment of a serpent of
metal. In the centre of the aegis is another hole, in which
a Gorgonez'on may have been fixed. Oarrey’s drawing
shows the base of the neck, which was broken off when
the torso L was removed by Lord Elgin. It has since
been recognised among the fragments on the Akropolis,
and a cast of it is now adjusted to the marble in the
Museum (Mus. Marbles, vi. pl. 16 ; Caldesi, N o. 18). It is
evident from this that the head of the goddess was turned
towards her antagonist.
The torso of Poseidon (M) is made up of two parts,
the shoulders and upper part of the chest removed by Lord
Elgin, and a fragment containing the remainder of the
breast and the abdomen nearly to the navel, which has
been since discovered, and of which the original is at
Athens. Though these two fragments correspond in their
main lines, the fractured surfaces cannot be perfectly
adjusted one to the other, because a portion of the marble
is wanting. Since this torso was engraved in the work of
Michaelis (pl. 8, fig. 16), a small piece of the lower part of
the abdomen has been added to the fragment now at
Athens. It appears from Oarrey’s drawing that Poseidon
was moving back in a direction contrary to that of Athens,
with the weight of his body thrown on the left knee,
which is bent. A left foot (Michaelis, pl. 8, fig. 31), now
at Athens, may also belong to this figure. Carrey’s
drawing shows a small portion of the right upper arm,
which, with the shoulder, is raised, and may have been
22
extended in a nearly horizontal direction. His left arm,
which is still preserved from the shoulder to about half-
way to the elbow, has a downward direction. The head
in Carrey’s drawing is slightly inclined over the right
shoulder. At the back the upper part of the shoulders
is roughly cut away ; the chiselling does not appear to be
ancient, but to have been done by some one who wanted
to strike the head off by a blow on the nape of the neck.
The upper part of this torso is remarkable for the grandeur
of the lines. (Mus. Marbles, vi. pl. 17 ; Caldesi, No. 16.)
Though we know from Pausanias that the strife
between Athene and Poseidon for the soil of Attika was
the subject of the western pediment, the exact action
represented by the central group cannot be determined.
Poseidon, on this occasion, striking the ground with his
trident, produced the salt spring; Athene made the earth
bring forth the olive-tree. It has been argued that the
moment chosen by the sculptor is that which immediately
preceded the accomplishment of this double miracle.
Both deities would thus be in the act of striking the
earth simultaneously, Athene with her spear, Poseidon
with his trident. Among the fragments found on the
Akropolis were three which are certainly parts of an
olive-tree (Michaelis, pl. 8, fig. 15). The scale of these
fragments, casts of two of which are exhibited in Wall-
Case F, would be suitable for a tree placed in the centre
of the pediment between the two contending deities.
There is, however, no positive proof that they belong to
the Parthenon. If the olive-tree was represented in the
centre of the pediment, the salt spring produced by the
trident of Poseidon may also have had a place in the
composition, but no trace of it is to be found either among
the fragments or in Carrey’s drawing. It has been
suggested that the horse, which, according to another
legend, was also produced by the stroke of the Sea-god’s
23
trident in this contest, may have been introduced into this
pediment between the Poseidon and the figure (O), who is
generally called Amphitrite. The vase picture published
by Stephani (Oompte-rendu pour l’année 1872, Plate I.)
gives some support to this conjecture. In that design
Poseidon and Athens form an antagonistic group, which
in composition presents considerable resemblance with
the central group in the pediment. The olive-tree is
placed between them, and Poseidon controls, with his
left hand, the upspringing horse. But neither in the
protagonists nor in the rest of the design on the vase is
there that close correspondence in type and action which
would justify the conclusion that the vase-painter copied
directly any portion of the pedimental composition, and,
on the other hand, the attitude of the so-called Amphitrite
(O), as drawn by Carrey, suggests the action of a
charioteer holding the reins with the hands in advance
of the body and the shoulders leaning forward. The
space between the Poseidon (M) and the Amphitrite as
measured on Dalton’s drawing seems rather too long
for two horses, and on this and other grounds it has been
suggested that the chariot of Poseidon was drawn by
Hippocamps. On the other hand, if the fragments of
horses, found on the Akropolis and believed to have fallen
from the western pediment, do belong to that pediment
it follows that there must have been originally a second
pair of horses, which was no longer on the pediment when
Carrey drew it.
If we assume that this second pair of horses was
attached to the chariot of Poseidon and that they occupied
about the same length on the pediment as the horses of
Athens, room may be found for a representation of the
salt spring between the left leg of the Sea-god and the
forelegs of his chariot horses. (For the vase picture already
referred to, see also de Witte, in the Monuments Grecs
24.
de l’Association pour l’encouragement des études Grecques,
No. 4, 1875 ; Brunn, Berichte d. k. bayer. Akad. 1876,
p. 477 ; and Petersen, in the Archaol. Zeitung, Berlin,
1876, p. 115. For more recent discussions on the subject of
the dispute between Athene and Poseidon, see Robert in the
‘ Hermes,’ xvi. p. 60, and in the Mittheilungen d. Inst. in
Athen, 1882, p. 48 ; Petersen in the ‘ Hermes,’ xvii. p. 124 ;
Mr. E. Gardner, in Journal of Hellen. Stud, iii. p. 244.)
[0.] Amphitrité.—It has been already stated that in
Oarrey’s drawing this torso appears as a seated figure, the
right foot on a higher level than the left, the left leg and
thigh bare nearly to the hips, the left arm drawn back as
if holding the reins; between the feet appears the head
either of a dolphin or a marine monster. The head, left
hand, and apparently the right arm of Amphitrite are
wanting. So far as Dalton’s very imperfect drawing
enables us to judge, the figure, though still on the pediment,
had in his time lost the left forearm and left leg. The
torso at present wants the head, right arm from the
shoulder, left arm from below the shoulder, and all the
lower limbs except the upper part of the left thigh. The
body is clad in a chiton without sleeves, fastened on the
shoulders, and which must have extended to the feet; an
upper fold falls over the bosom as low as the waist, passing
under a broad girdle such as would be suitable for chario-
teers. A small mantle passes obliquely across the back, one
end passing over the left shoulder and under the left arm ;
the other had passed over the right shoulder. The places
where metallic ornaments were attached on this figure are
marked by five holes pierced in the marble, one of which is
on the base of the neck, nearly between the collar-bones,
one on the right shoulder at the fastening of the chiton, and
three on the left shoulder. On the inside of the left thigh
are folds of fine drapery ; the surface of the outside is now
destroyed, but still shows that the chiton had been open at
25
the side, sehz'stos, which would account for the nakedness
cf the left thigh in Oarrey’s drawing. Though this torso
has been much mutilated, the attitude is full of spirit, and
the action suitable to a charioteer. It should be noted that
this figure was not seated, as Oarrey has drawn it, but must
have been standing with the body thrown back and the
arms extended in front, like the charioteer (xii. 33) in the
north frieze. (Mus. Marbles, vi. pl. 18 ; Oaldesi, No. 19.)
Leukothea P.——Lower limbs of a seated female
figure, which in Oarrey’s drawing appears next to the
Amphitrite, and which then had its head. On the right
of the figure, the body of a youth from the neck to the hips
appears in the drawing, and the outline of the legs of this
youth may still be traced on the marble. The head of
the female figure looks straight out of the pediment ; the
feet are placed very close together ; the left arm is broken
away. In Dalton’s drawing this figure is still in position,
but headless. In its present state, nothing remains of
this figure but the lap and legs to the ankles. If we
assume that it represents a marine goddess, the name
Leukothea seems the best attribution, as the youth at
her side would then be Palaimon. A mantle is thrown
over the thighs, falling down between the knees over the
ehz'ton. The folds are deeply undercut, as if to express
the gentle agitation of the drapery by the movement
of a light breeze (Mus. Marbles, vi. pl. 19 ; Oaldesi, No. 33).
Of the boy at her side (P), the beginning of the left thigh,
with the lower part of the buttock, is still preserved ;
of the right thigh, the outline only as far as the knee is
preserved on the marble. Three fingers of his right hand
may still be traced on the right knee of the female figure
' (Q), where they rest on an end of drapery, probably his
Ztt'matz'on, which re-appears, wound round his left thigh.
These remains show that the body of this boy faced the
right side of the female figure, pressing against her.
26
Next to this figure in Carrey’s drawing is a draped
female figure (T), on whose knees rests a naked female
figure On the left of this group is a naked boy (B).
If, as seems probable, the naked female figure is
Aphrodite in the lap of Thalassa, the boy is probably
Eros. Both the female figures were still in the pediment
when Dalton drew it. The fragment (T) representing the
right thigh of a draped female figure seated on a rock is
probably the only extant remnant of Thalassa. A mantle
has been brought round the lower limbs of this figure, so
that one edge of it falls on the rock on which she is seated.
This disposition of the drapery is indicated in Carrey’s
drawing. (Michaelis, p. 200, N o. 20.)
Next in Carrey’s drawing comes a female figure (U),
seated and draped. This had fallen out of the pediment
when Dalton drew it, and no fragment of it can now be
identified. It had lost the head and arms in Carrey’s time.
[V and (casts). Ilissos P and Kallirrh0éP.—
The draped female figure (V87) reclining in the extreme
angle of the pediment appearsin Carrey’s drawing leaning
on her right elbow, and with her head turned towards
the male figure (V) who next to her kneels on both knees,
inclining his body towards his companion, and leaning on
his left arm. The manner in which these figures are
here associated suggests an intimate relation between the
two; the female figure has all the characteristics of a.
local Nymph, and the flow of her drapery would well
accord with an aquatic type. It seems probable, therefore,
that the celebrated Athenian fountain Kallirrhoe would
be personified by this figure, and in that case the male-
figure next to her (V), though not in the reclining
attitude usually characteristic of River-gods, may be the
Ilissos, out of whose bed the fountain Kallirrhoe rises.
Dalton’s drawing shows no indication of either of these
figures, though the lower half of the Kallirrhoe is to this
27
day in position on the pediment. The torso of the male
figure had been broken, and was found in two places in the
excavations on the Akropolis in 1833. The head, arms, and
left leg and thigh have disappeared since Carrey’s time.
The right leg is doubled up under the figure ; the left knee
must have been somewhat higher. This figure is nude with
the exception of a chlamys which falls down the back and
passes in front over the right ankle. Under the right leg
is a wavy line to indicate water.
The female figure is reclining on her right side;
the right knee has been more bent than the left. The
upper part of the body seems, from the direction of the
folds of the drapery, to have been slightly raised, and
probably rested on the right elbow, as she is represented
in Carrey’s drawing. The dress is a talaric chiton, over
which falls a cliploi'dz'on nearly to the waist. All that
remains of the figure is the right side from below the
arm to a little below the right hip, and part of the left
leg below the knee. According to Carrey the right arm
of this figure was raised so that the hand projected
beyond the cornice. Beyond the feet of this figure a
round hole is pierced in the bed of the pediment, in
which some bronze object, perhaps a hydrz'a, may have been
inserted. (Michaelis, p. 201, Nos. 21, 22; Caldesi, No. 33.)
[AJ Kephissos.-—Of the eight figures which Carrey saw
in the left wing of the pediment between Athene and
the angle four only now remain. The River-god (A) in
the angle is commonly known as the Ilissos, but, as
already stated, this is more probably the Kephissos.
This figure appears not to have suffered much since
Carrey drew it. It was still in the pediment in Stuart’s
time, but had been thrown down at the date of Lord
Elgin’s mission. The body, half reclined, rests on the
left arm, over which falls the end of an himaiz'on, which,
falling behind the back in undulating lines, is drawn up
28
to the right knee. As the head and most of the right
arm are wanting, their action must be a matter of
conjecture; the general motion of the figure seems to
indicate the moment of sudden transition from repose to
action, and would be consistent with the supposition that
the head was turned towards the central group, watching
the momentous issue of the contest, and that the Rivengod
was in the act of rising. In that case his right hand may
have been drawing forward the end of his himatz'on over
his right knee. This figure has been long and deservedly
celebrated for the perfection of its anatomy. In the
front of the body, the flexibility of the abdominal muscles
is finely contrasted with the strong framework of the
ribs. The supple elastic character of the skin is here
rendered with the same mastery as in the horse’s head of
the eastern pediment. ‘ At the back some of the surface
has retained its original polish. In the undulating lines
of the drapery the sculptor has succeeded in suggesting
the idea of flowing water without having recourse to
direct or conventional imitation. The ground on which
the figure reclines is a rock. The left hand rested on the
bed of the pediment. A drawing by Pars taken during his
visit to Athens in 1765-66 shows part of the right fore-
arm not shown in Carrey’s drawing and the outline of
the four fingers of the left hand overlapping the edge of
the pediment. Between and the two next figures
(B, O) a space is shown in Dalton’s drawing sufficient for
a crouching figure, though no vestige of such a figure is
indicated by Carrey. This lacune may have been filled by
a crouching Water Nymph, associated with the River-god.
(Mus. Marbles, vi. pll. 13, 14; Harrison, No. 700 ; Caldesi,
No. 5.)
[B and (1.] Kekrops and Pandrosos (cast).--This
group still remains on the pediment at Athens, though much
injured by exposure to the weather. It consists of a male
29
figure, whose left thigh receives the main weight of his
body, which leans a little to the right, resting on his left
hand. With him is grouped a female figure, who has
thrown herself in haste on both knees, with one arm
round the neck of her companion. Her action expresses
dismay at the event occurring in the centre of the
pediment, towards which she has looked back. She
wears a talaric elation, over which is a diplot'dion falling
below the girdle, and which has slipped from the left
shoulder, leaving the left breast and side exposed. Her
left arm, now entirely wanting, was broken off a little
below the shoulder at the date of Carrey’s drawing.
The male figure has a mantle cast over his lower limbs.
His right arm, which was broken off below the elbow in
the time of Stuart, is now reduced to a stump, which
extends no further than the deltoid. The right leg and
knee and part of the right thigh are also wanting. It
appears from the statements of travellers who visited
Athens as late as 1802 that both these figures then still
retained their heads, which have since disappeared. The
careful drawing of this group made by Pars, and preserved
in the Print Room of the British Museum, shows that the
heads of both figures were turned towards the central
group, the head of the female figure being, moreover,
slightly inclined over the left shoulder. In this drawing
the right arm of the male figure is bent at a right angle,
the upper arm being nearly horizontal; the right knee of
this figure and the left arm of the female figure are
wanting. On the ground between the pair is a convex
mass, which has since been recognised to be part of the
coil of a large serpent. The remainder of this serpent
may be seen at the back of the group, passing under the
left hand of the male figure. In front of this hand the -
body of the serpent terminates in a joint with a rectan-
gular sinking, into which a fragment from the Elgin
30
collection, probably the head or tail, has been fitted.
(Mus. Marbles, vi. pl. 8, fig. 2 ; Caldesi, No. 32; Harrison,
No. 699.)
This group has received various names. The association
of the serpent with the male figure has led Michaelis
(p. 193, No. 2) to recognise in him Asklepios, in which
case the female figure would naturally be Hygieia, who
is constantly associated in Greek art with the father
of the healing art, and who was worshipped, conjointly
with Asklepios, in the recently discovered temple at the
southern foot of the Athenian Akropolis. The bearded
head, too, of the male figure, as drawn by Pars, would
well accord with the type of Asklepios. On the other
hand, the serpent in connection with that deity is usually
coiled round his staff, not winding along the ground,
as on the pediment. The whole composition of this
serpent in relation to the kneeling male figure rather
suggests the type of the earth-born Kekrops, as has been
maintained by Petersen and others. If we adopt this
attribution, then the female figure so intimately associ~
ated with the bearded figure in this group would be
one of the daughters of Kekrops, and the two female
figures (D, F), who in Carrey’s drawing follow next,
would be his other two daughters. The boy be-
tween them would be, not the infant Iakchos between
Demeter and Kore, as Michaelis (p. 186) supposes, but the
young Erysichthon, son of Kekrops.
Of the three figures D, E, F, only one fragment, now
at Athens, has been identified, representing the left knee
of a seated figure, with the right hand of a boy resting on
it, and thus corresponding with Carrey’s drawing of the
seated figure on whose knee the boy Erysichthon rests his
right hand. A cast of this fragment is exhibited in Wall-
Case S.
In Dalton’s drawing a draped female torso, broken off at
31
the knees, is placed next to C, which Michaelis (p. 191,
No. 1) conjectures to be the remains of F. Dalton has
represented this figure with the chiton slipped down from
the right shoulder so as to show the right breast and side.
But the drawing by Pars gives next to O the fragment
of a figure which accords more with D as drawn by
Carrey. This fragment consists of a right arm bent at a
right angle and advanced, and a line of drapery falling
down the right side below the armpit. There is no reason
to doubt that this fragment was in position on the pediment
when Pars drew it, and if so, Dalton’s drawing must be
wholly inaccurate in respect to this figure. (See Michaelis,
pl. 8, fig. 2.)
Next in order in Carrey’s drawing is the seated female
figure (G), who acts as charioteer to Athene, and who has
been generally recognised as Nike. The only remains
which can be attributed with any probability to this
figure are the head, formerly brought from Venice by
Count de Laborde, and a fragment of a draped arm now
at Athens. Casts of both these are exhibited in the Elgin
Room, the arm in Wall-Case S.
Hermes ?.——In the background between the figure
G and the horses, Carrey gives a male figure (H), who _
looks back at the charioteer, while he moves forward in the
same direction as the horses. The figure drawn by Carrey
has been generally recognised in the torso in the Museum
which has lost the head and lower limbs since Carrey’s
time, and is probably the same torso which Dalton re-
presents lying on the bed of the pediment. This figure
has been called Erechtheus, Erichthonios, Ares, Kekrops,
Hermes. He is evidently aiding the charioteer in the
management of the horses; an office very appropriate to
Hermes, whose general character as a guide is expressed
by such epithets as wouvra'ios, and who on other monuments
is represented conducting a chariot.
32
The drapery which hangs at the back of the torso
evidently represents .a, chlamys, which must have been
fastened in front just above the left clavicle, where a hole
is pierced to receive a metallic fastening. There is
another hole between the collar-bones. The right arm
was probably advanced nearly in a horizontal direction;
the left arm may have had the elbow a little drawn back ;
and a portion of the chlamys evidently passed round this
arm, and was probably twisted round it, a fashion of
drapery characteristic of Hermes. Among the fragments
of the Parthenon at Athens is a small piece of the left
shoulder of this figure, a cast of which has been adjusted
to the marble in the Museum. The remains of the left
thigh show that the left leg was advanced as in Carrey’s
drawing. (Mus. Marbles, vi. pl. 15 ; Caldesi, No. 20.)
The accompanying table (B) taken- from Michaelis with
some additions shows the principal schemes which have
been proposed for the interpretation of the western pedi-
mental composition.
METOPES.
The metopes of the Parthenon are sculptured blocks
which were inserted in the spaces, metopes, left between
the ends of the beams of the roof. These ends were
called triglg/phi, from the three parallel vertical channels
cut in them. Reference ‘to the model of the Parthenon
will show the relative position of the metopes and
triglyphs. The sculpture of the metopes is -in the
highest relief attainable in marble, large portions of some
of the figures being carved in the round so as to stand
out quite free of the background.
The Parthenon had originally ninety-two metopes,
thirty-two of which were on each of the long sides, and
fourteen at each end. Many of these are now only pre-
served in the drawings by Carrey; others still remain on
TABLE
TAIBLE OF EXPLANATIONS OF WEST PEDIMENT (FROM
B.
MICHAELIS P. 180-1 WITH ADDITION OF NOS. 25-26).













































/
I
A- (4*) B- 0- D- I E- F. c. H. L. M. (M.*) N. o. I P. o. n. s. T. U. .. v. w.
. . . l l | l
1. Spon. 1678. . . - e Hadrlan- Sabma. A Woman- Chlld- . . Minerva. . . Victory. Jupiter. I . . . . . . I . . Assembly of gods into which Jupiter wishes to introduce Minerva. . . . . . .
2. Woods. 1816. . . . - - - - - - - - ~ . . . . _ . . _ Minerva. J upiter. ; . . Juno. Venus. Latona with her two infants. _ Proserpine. Ceres. U own. . . Unknown. Unknown.
3. Leake. 1821. Theseus. . Kekrops with Pandrosos, Herse, Agraulos, and Erysichthon. Victory. {Eggcgfggggfigus Minerva. Jupiter. I (V ulcan.) Ceres (the Earth). June (the Sea). {Lafigfigrglegrmg AP 0110 and Dlana' m Mercury. Maia. Vesta. . . Mars. Venus,
4- Weber- 1821- Eridanus- Kekrops and his Wife- Eirené~ I Plutos-
Proserpina. Ceres. Erechtheus. Minerva. Jupiter. t .. Juno. Aphrodite. Latona with Apollo and Diana. Fortuna. Male figure. Female figure. . Ilissos. Oreithyia.
5' Quatremefé‘é? _ Ilissos. . . Hercules? Hebe? Ceres. Iakchos. Proserpine. Victory. Mars ? Minerva. Neptune. (Sea Deity ?) ? {Tfighitrigg I Diana. Latona. Apollo. Venus. Thalassa. ? . Bacchus- Libera-
. . . . . V'eto . . Pl M-Lkt-hea.
6. Visconti. 1816. 1118808. F. . . b Vulcan- Venus- C - - d P I . . {Vipt 81338. } Kekrops. Minerva. Neptune. . . . . Amphitrite. Latona and her two children. { cigiirjiighuesa} {(iIfifiZCeIeBJ} . . . . Colonus. . .
lgure PI'O - fires an 110881111116 an d the young ictory Minerva Neptune \ Ca1- dmwn 1) Persona, 9 seem_ . . . . Thetis or one of Mars and Vesta or Kc hissos
7. Cockerell. 1830. Theseus. l {Namy 21f eljlfmm} Kekrops. Pandrosos. I Iakchos_ ’ . b} I Aptems_ } Erechtheus. I imam I 21mm? } ( horses.) y}{ ingly imam. I Amphitrite. Apollo. Latona. Diana. Venus. Thalassa. { the Nereides' . . and Kalli'rrhoé p
8. Welcker. 1845. (1848). {$513,335, OS ,)I{ ‘Ivfigff‘figgefj Herakles. Hebe. Demeter. Iakchos. Persephone. Nike. Ares. Athene. Poseidon. (Hippocamps.) Thetis. Amphitrite. Melikertes. Leukothea. Eros. Aphrodite. Dione. Peitho. No Space. {P2183858 IIIIS'} Kallirrhoe.
9- Ovel'beck- 1857- (1869)- ,Irilfphissos- I - ' Kekrops and his wife. Demeter. Iakchos. Kora. Pandrosos. Ares. Athene. Poseidon. ' (Hfilgprgggmps') Tethys. Amphitrite. {Pggagilllglggljtes } Leukothea. Eros. Aphrodite. Thalassa. Galene or Doris. . . Ilissos. Kallirrhoe.
10. Bursian. 1865. { K633152821. I - - Herakles- Hebé- Demeteh IIIkChOS» I Persephone. Nike. Ares. Athené. Poseidon. (Hi ppocamps.) Sea goddess. Amphitrite. Palaimon. Leukothea. Eros. Aphrodite. Dione. Peitho. . . Ilissos. Kallirrhoé.
11. Welcker. 1818. . . - i - ~ - t - - - - . . o _ . . . . Athene. Poseidon. , , . . Amphitrite. . . Leto. . . Iakchos. Kora. Demeter. . . . . . .
12. Hall.Lit.Zeitung. 1824. Ilissos. ‘ . . Kekrops, Pandrosos, Herse, Aglauros, and Erysi » fl-mn {Nlfigtems } Theseus. Minerva. Neptune. (Zeus.) Juno. Venus. Latona with Apollo and Diana. Proserpina. Ceres. Vesta. . . Hermes. Iris.
13, Brfindsted, 1830, Ilissos. I Kekrops with his wife; Agraulos, Hersh, Erysichthon, and Pandrosos. {Wklflfiigiéo I Erichthonios. {Pailéihseng Poseidon. 1523:2355; Egggaps} Leukothea (or Halia). Amphitrit‘e. I‘i'i KOUp07p6¢09 with Children. Aphrodite Thalassfll- Pahivn- {Kffifgffgseg'gg Pmxlthea } Kallin'hoé-
' 14. Milling-en. 1832. Ilissos. . . . Kekrops. . . . . . . I . . Victory. {Egfiggéfiifigus Minerva. Neptune. (H01'ges,) . . Amphitrite. The Attic Earth ICOUPO'TP6(I>09. ? ? N ereid. . . Kephissos. Kallirrhoe.
, . ' Dau hter of lauros - . I , . . . , . . . . . . . .
_ 15. Lloyd. 1841. (1861). Kephissos. {Kekgopg } Kekrops‘ {Agmaten Pandrosos' Eryslchthon' I Herse- {fifiguzfiiskéy} {%:ie5hth0ni08_ } Athene. Poseidon. (Hippocamps.) Thalassa. Amphitrite. Melikertes. Ino. Eros. Aphrodite. Dione. Tethys. Ilissos. Kallirrhoe.
__ I x _ . One of the Oceanids _ ‘ , , , \
16, Muller, 1827, Ilissos. . . Kekrops. Herse. Pandrosos. Erysichthon. Aglauros. Victory. Erichthonios. Minerva. Neptune. No space. I or N ereids, per-I Amphitrite. Diana. Latona. Apollo. Venus. Dione. Ceres. Proserpine. Halirrhothios. Euryte.
. haps Thetis.
; 17. Leake. 1841. Kranaos. (Amphiktyom) Kekrops. Aglauros. Herse. Erysichthon. Pandrosos. {Vlgggos I Erfiililggfgsniozr} Minerva. Neptune. , , Thetis or Leukothea. Amphitrite. Tellus Curotrophus. {Vel’igf‘aemonm I {TIiiiffg’thegf} Euryte? (Kephissos.) Ilissos. Kallirrhoé.
I 18. Beulé. 1854. {Ilfissggissos ?)I (Kallirrhoé ?) Kekrops- Ag‘mulos- Hel'Bé- Erysichthon- Pandrosos. Victory. Erechtheus. Minerva. Neptune. ,_ Thetis. Amphitrite. Latona, Apollo, and Diana. Venus. Thalassa. Leukothea. .. Halirrhothios. Euryte.
19, Ronehnnd, 1861, Ilissos. l (Kallirrhoe ?) The family of Kekrops. {Wfiifg } Erichthonios. Minerva. Neptune. (Sea animals.) Thetis. Amphitiite. Latona with her two chiliiren. Venus. Dione. {Hi£§a_§1'e“k°'} (Rhone) Halirrhothios. nniyte.
. . , l
. _ . ‘ ' l I
20. Wilkins. 1820. 1118803. . . Peleus. Thetis. Venus. Love. Peitho, Apollo, Pam Minerva, Neptune, Kmig'lggfgfiigarn} Kymo. Amphitrite. Leda with Castor and Pollux. Galen‘e. Thalassa. . . . . .
. 21. Reuvens. 1823. Ilissos ? . . IEsculapius ? Hygieia ? Venus ? Cupid..- --/ Peitho? Iris. Mercury. Minerva. Neptune. Chariot of Neptune. Sea Nymph. Amphitrite? Latona? Palaemon ? Leukothea ? . . . . .
. 22. Friederichs. 1868. Kephissos. 2 . . ? ‘P . . I . . , , , ? Pallets. Poseidon. _ _ . , Amphitrite. . . . . . . . . . . .
I 23. Btitticher. 1870. Kephissos. I . . Marathon. Salamis. Demeter. I/IIakehos. Koré. Nike. Erichthonios. Athena. ,
24- Michaelis- 1871. KGPhiSSOS- I (Moria?) Asklepios- Hygieia? Demeter- /’ Iakchos. Kore. N iké. Hermes. Athena. Poseidon. (Hippocamps.) Nereid. Amphitrite. Palaimon. Leukothea. Eros. Aphrodite. Thalassa. Nereid. No space. Ilissos. Kallirrhoé.
_ 25, Petersen, 1873. Kephissos. A Brook. Kekrops. Agraulos. Pandrosos/ Erysichthon, Eel-55, Niké, Hermes_ Athelm Poseidom {Chlgiggsdmwn by} Nereid. Amphitrit‘e. Palaimon. Leukothea. Eros. Aphrodite. Thalassa. N ereid. No space. Ilissos. Kallirrhoe.
Kephissos : Abranch of the ,5 ' _ . . Personification
. ' - - s . . . . . C {of Att k from 111111 - . x . Personification
26, Brunn, 1874, I $1221. $2138.“ Kephissos. Kithaeron. Parnes. Pentehkpn. Lykabettos. Hymettos. Nike. Hermes. Athena. Poseidon. ' Horse. Ins. Amphitrite. I: 0512a to th; igimus. y I Eros. Aphrodite. Cape Kolias. { of Cape Zosten} No space. Paralos. I gaflhseefyr-
/ I
5 l'
To face p. 32.

33
‘the temple, but so decayed through time and weather
that there is great difficulty in making out their subject.
The British Museum possesses fifteen -metopes brought
from Athens by Lord Elgin. His contemporary, Choiseul—
Gouffier, while ambassador at Constantinople, obtained one
more, which is now in the Louvre. These sixteen metopes
are all from the south side of the Parthenon, and their
subjects were taken from the contest between the Centaurs
and Lapiths at the marriage feast of Peirithoos. The first
metope on the south side of the Parthenon, reckoning from
the south-west angle, is still in position on the temple;
the second is No. 1 of the series of fifteen in the Museum.
(1) In this metope the Lapith kneels with his left knee
on the back of the Centaur, clasping his head with his left
arm, and pressing the fingers of his left hand against his
windpipe. The Centaur has been thrown on his right
knee; his head is forced back, his mouth wide open as if
uttering a cry of agony. The head, right arm, and right
foot of the Lapith are wanting, as also the left arm and
right foreleg of the Centaur. His left hand vainly en-
deavours to dislodge the grasp on his threat, the right hand
appears behind the right shoulder of the Lapith. When
drawn by Carrey, the head and right foot of the Lapith
and the right foreleg of the Centaur still remained.
(Mus. Marbles, vii. pl. 1 ; Michaelis, pl. 3, ii.)
(2) In this metope the Lapith attacks the Centaur
from behind, resting his right knee on his crupper,
and extending forward his right arm to seize the neck
of his fee. The Centaur, moving to the left, turns his
human body half round to meet his adversary. A skin
is wound about his left arm by way of shield. His
head, neck, right arm from elbow, right foreleg, left fore-
leg from above the knee, and left hind leg from below the
hough, are wanting. The Lapith wants the head, right
hand, left arm from above elbow and left foot and ankle.
PART I. D
34
An ample chlamys hangs from his shoulders behind, and
he wears boots. His left arm was drawn back probably
to strike. A hole near the pit between the collar-bones
and another on the lowest left rib show where a sword-belt
has been attached. Two similar holes are to be seen on
the body of the Centaur, one on the right breast, the
other below the navel. These may have served for the
attachment of some metallic weapon held in the right
hand. The head of the Centaur still existed when Carrey
drew this metope, but had disappeared before Stuart’s
visit. (Mus. Marbles, vii. pl. 2; Michaelis, pl. 3, iii.)
(3) In this metope the Centaur is victorious; with
both hands raised above his head, he is about to hurl on
his prostrate foe a large hydrz'a. His equine body is
rearing against the Lapith, who, with his left knee bent,
vainly endeavours to defend himself with his uplifted
Argolic buckler, while the Centaur strikes at him with his
forefeet. The right forearm of the Lapith, now wanting,
has rested on the ground; his right leg and thigh are
wanting from the hip. A fragment of his right foot still
remaining on the base of the metope below the left hind
leg of the Centaur shows that this leg was extended nearly
at full length, as it is drawn by Carrey. The heads of
both these figures and the right arm of the Centaur are
cast from the originals in the museum at Copenhagen,
which were taken from Athens at the time of the siege in
1687 by a Captain Hartmand, who probably served under
Count Ktinigsmark in Morosini’s army. The head of the
Lapith is youthful and beardless. Round the head is a
sinking into which a metallic band or wreath has been
fitted. On the ground under the _body of the Lapith are
some folds of his chlamys, a fragment of which may be
traced on his left arm. All the leftgforeleg of the Centaur,
and the right foreleg to the knee, his right hand and his
left arm all but the wrist and hand, are wanting. His
a-
DJ
right hindleg is broken off above the hough, and his left
hindleg above the fetlock. Michaelis adds to this hind-
leg a foot and lower part of leg, the original of which is
in the museum at Copenhagen; but he expresses a doubt
whether this fragment does not belong to the right hind-
leg. When Carrey drew this metope, it was nearly perfect.
On the upper margin of the marble still remains the
bead and reel moulding which once ornamented the other
metopes, but of which there are few traces elsewhere.
(Mus. Marbles, vii. pl. 7. For the two heads, see Mus.
Marbles, vii. pl. 17 ; Michaelis, pl. 8, iv.)
(4) When Carrey saw this metope, the figure of the
Lapith, now wanting, was still extant, and we must
therefore supply the motive of the group by reference to
his drawing. In the original composition, the Centaur,
rearing up against his antagonist, grasps the Lapith’s
right thigh between his forelegs, extending his left arm
towards him, probably to seize the hair of his head.
The Lapith with extended right arm is trying to thrust
the Centaur back; his left arm, which is wanting in
Carrey’s drawing, must have been raised. The right arm
of the Centaur, which must have been drawn back to’
strike, was also wanting when Carrey drew this metope,
as well as the heads of both figures. All that now
remains of the Lapith is a portion of the right wrist
attached to the Centaur near his throat. A skin, fastened
round the Centaur’s neck, flies behind his back, falling over
his left upper arm. Since Carrey’s time the Centaur has
lost the right foreleg and right hindleg from below the
hough. (Mus. Marbles, vii. pl. 5 ; Michaelis, pl. 3, v.)
(5) In this metope, as drawn by Carrey, the right arm
of the Lapith is raised with the forearm bent; the right
hand, which probably held a sword, was already broken off
in Carrey’s time. His drawing gives the head and part
of the right upper arm of the Centaur, and the left leg
1) 2
36
and half the right leg of the Lapith, but not his head.
The Centaur, while pressing his left hand on the left
shoulder of the Lapith, draws back a little from the blow
with which he is menaced. The action of both figures
is rather tame, and the victory undecided. An ample
chlamys is shown falling at the back of the Lapith. Part
of the right hindleg of the Centaur has been added in
plaster from the marble fragment now at Athens. (Mus.
Marbles, vii. pl. 15 ; Michaelis, pl. 3, vi.)
(6) In this metope the Lapith presses forward, advancing
his left hand to seize the rearing Centaur by the throat,
and forcing him on his haunches; the right arm of the
Lapith is drawn back, as if about to strike; his right hand,
now wanting, probably held a sword; an ample mantle
fastened on the right shoulder falls over the left arm like
a shield, and flies back behind. The Centaur, rearing up
against his antagonist, draws back his body; the action
of his left arm shows that he is trying in vain to loosen
the grasp of the Lapith; his left hand, given in Carrey’s
drawing, but now wanting, grasps the left hand of the
Lapith. The head of the Centaur is a cast from the
original at Athens. This head, the position of which was
not ascertained by Michaelis, is engraved in his work,
pl. 4, fig. It. From the shoulders of the Centaur hangs a
small chlamys, of which the folds, flying behind, show the
violence and swiftness of the action, by which he has been
forced back. The head of the Lapith is represented by a
cast from the original, which is now in the Louvre.
Carrey’s drawing gives his right thigh and leg, his left
foot, and the left hindleg of the Centaur from below
the hough, all which parts are now missing. Even in
its present mutilated state, this is, perhaps, the finest of
all the metopes in the Museum. The action is most
spirited, and the modelling very thorough and masterly.
(Mus. Marbles, vii. pl. 3; Michaelis, pl. 3, vii.)



‘3nd'l-fl‘. ‘ea:

METOPE NO. 13
37
(7) In this metope the Lapith is kneeling on his right
knee. The Centaur, the human portion of whose body is
broken away, presses down his antagonist, resting his left
foreleg on the left thigh of the Lapith. From Carrey’s
drawing, taken when this metope was nearly complete, we
learn what the action was. He represents the Centaur
bending over the kneeling Lapith, and raising his right
hand to strike a deadly blow at his antagonist, who looks
up with his head thrown back, and stretching out his left
arm towards the breast of the Centaur. The right arm of
the Lapith, his left foot, and the left hindleg of the
Centaur from above the hough, are wanting in Carrey’s
drawing, as at present. A chlamys hangs down from the
left arm of the Lapith. His right hand must have been
raised. The right hindfoot of the Centaur rests on a
rock. (Mus. Marbles, vii. pl. 6; Michaelis, pl. 3, viii.)
(8) In this metope the Centaur has again the
advantage. The Lapith is thrown down over a large wine
vessel, pithos; the Centaur has grasped his left leg with
his left hand, rolling him back on the jar. The Lapith
seizes his antagonist by the beard with his left hand,
while his right arm, now broken off, has been vainly
extended behind him, seeking some fulcrum to support his
body. The right thigh of this figure, the head and part
of the right arm of the Centaur are casts from three frag-
ments at Athens. Carrey’s drawing does not show any
part of the right arm of the Centaur, but gives his left
arm and side, now broken away, as well as his head.
The head and right arm and hand of the Lapith are also
shown in his drawing, but not the portion of right thigh
which has been recently added. The wine vessel in this
metope, and the hydrz'a in No. 3, indicate the feast as the
scene of the contest. (Mus. Marbles, vii. pl. 4; Michaelis,
pl. 3, ix.)
(9) This metope is a cast from the one removed by
38
Choiseul-Gouffier when French ambassador at the Porte
during the embassy of Lord Elgin. The group represents
a Centaur carrying off a Lapith wife or maiden. The
brutal ravisher is rearing up ; his right foreleg, partially
concealed under the drapery of the female figure, presses
against her body at the level of the hip, while the knee of
his left foreleg presses against the back of her right knee.
His left hand presses against her left side just above the
hip, and it appears from Carrey’s drawing of this metope
that his right hand grasped her right wrist. With her
left hand she is vainly endeavouring to loosen his grasp
round her waist, and to re-adj ust her disordered drapery,
which in the struggle has been parted so as to leave the
left thigh bare. Her body inclines to the right. She is
clad in an ample chiton with diploi'dz'on fastened on the
right shoulder with a peroné. In the struggle the chiton
has fallen from the left shoulder, leaving the greater part
of the bosom exposed. On her right foot is a sandal with
a thick sole ; her left foot is broken off above the ankle.
Carrey’s drawing gives this foot resting on a rock, also
the head, right arm, and right hindleg of the Centaur
below the hough, and the right hand of the female
figure, all of which are now wanting. (Mus. Marbles, vii.
pl. 16 ; Michaelis, pl. 3, x.)
The next metope in order on the Parthenon was one
now only preserved in Carrey’s drawing, which represents
a Lapith armed with a shield, who seems to be stabbing
the Centaur in the belly. The Centaur grasps the edge of
the shield with his left hand. A fragment of this shield
with the left arm of the Lapith inside and the fingers
of the Centaur on the rim exists at Athens, and a cast
of it is exhibited. in VVall-Case M in the Elgin Room.
(Michaelis, pl. 3, xi.)
(10) This metope is cast from the original in the
museum at Athens. It represents a Centaur seizing a
39
Lapith wife or maiden. Carrey’s drawing gives the head,
left foreleg from the knee, and left hindleg of the
Centaur, and the right arm of the female figure, all which
parts are now wanting. The group presents a somewhat
involved and complicated composition. The Centaur
grasps the female figure’s left arm with his left hand; his
right arm, not shown, we must suppose to be passing round
the back of her waist. While the left foreleg of the
Centaur is firmly planted on the ground, his right foreleg
clasps the left leg of the female figure, pressing at the
back of her knee, so as to threw her off her balance. Her
dress, an ample chiton with a diploi'dz'on, is disordered in
the struggle so as to expose the right leg and thigh, and
the right side and greater part of the bosom. The action
of her right hand, as drawn by Carrey, indicates that she
is attempting to re-adjust the upper part of her chiton.
Her right leg from the knee to the ankle is supplied by a
cast from a fragment at Athens; the foot is cast from
another fragment, of which the original, exhibited in Wall-
Case C, has been in the Museum for many years, and
probably came with the marbles purchased from Lord
Elgin. It has not been possible to attach the marble foot
to its place on the cast, on account of its weight. The
action of this leg in the original design is very awkward
and ungainly. (Michaelis, pl. 3, xii.)
Next follow in Carrey’s drawings thirteen metopes of
which we have only a few fragments. Of these, xxiii.,
xxiv., represent Centaurs fighting with Lapiths ; xxii.
and xxv., Lapith women struggling with Centaurs ; xvi.,
a combat between two warriors, one of whom has fallen.
The remaining eight metopes represent subjects of which
the import is unknown to us, and in which draped female
figures predominate. From the character of these groups
it seems probable that they have a relation to the myth
and ritual of Demeter and other Attic divinities.
40
The following fragments have been recognised as
belonging to the thirteen metopes which have been
destroyed since Carrey’s time :-—(1) The body of a male
figure belonging to metope xiv., from the neck to the
navel. This fragment is engraved in the vignette to
Museum Marbles, Part vii., and was drawn by Carrey.
(2) The head and trunk of the fallen figure in metope
xvi. The trunk was one of the Elgin fragments; the
head was formerly at Chatsworth, and was presented to
the Museum by the Duke of Devonshire in 1859. This
metope was drawn by Carrey, who gives the position of the
head of the fallen figure very accurately. (3) The body
of the Lapith in the metope xxiv. from the neck to the hips.
The Museum has a cast of this fragment, of which the
original is at Athens. This metope was drawn by Carrey.
(11) This metope, the 26th in the original series, is
from the eastern half of the south side of the temple. It
represents a contest between a Centaur and Lapith. The
Centaur, rearing, has raised his arms above his head, in
order to strike his antagonist with some weapon, probably
a branch of a tree, now broken away. His antagonist
thrusts the toes of his left foot against the equine chest
of the Centaur between his forelegs, and, pressing his left
hand against his adversary’s right elbow, is trying to force
him back on his haunches. His right arm, now wanting,
has been drawn back to deal a blow ; its position is
marked by a projection on the ground of the relief. A
chZamg/s hangs down at his back, falling as low as the
right foot. From the want of apparent support for the
right foot of the Lapith, the action of this figure appears
weak and undecided. On the left upper arm are two holes
for the attachment of some object, perhaps an end of
drapery hanging free in front of the arm. Another hole
on the flank of the equine portion of the Centaur, between
the ribs and haunch, shows where the end of a skin,
41
hanging down from the back, may have been attached.
The head of the Lapith, the left foreleg of the Centaur,
his left hindleg from above the fetlock, his right hand
and wrist, and his left arm from the shoulder, have been
broken away. Carrey’s drawing shows that this metope
has suffered little since his time. (Mus. Marbles, vii.
pl. 8 ; Michaelis, pl. 3, xxvi.)
(12) In this metope, the 27th in the original series,
the Centaur, wounded in the back, attempts to fly, but is
checked by the Lapith, whose left hand grasps him round
the left side of the head, while his left leg presses against
his hind-quarters. The right arm of the Lapith is drawn
back to deal a deadly blow, perhaps with a lance. The
Centaur, rearing up in agony, presses his right hand
against the wound in his back ; his left arm, now wanting,
must have been raised, as appears from Carrey’s drawing,
in which a small piece of the upper arm is given. The
left foot of the Lapith presses firmly against a rock. An
ample mantle falls over both arms, hanging in festoons
behind his back. His head, his right arm from above the
elbow, his right leg from below the knee, and the toes of
his left foot, are wanting; also the face of the Centaur,
his right foreleg from the knee, and his right hindleg
from below the hough. Carrey’s drawing gives both the
head, and right leg, and part of the right forearm of the
Lapith. In composition and execution this is one of the
finest of the extant metopes. (Mus. Marbles, vii. pl. 9;
Michaelis, pl. 3, xxvii.)
(13) In this .metope, the 28th in the original series,
the Centaur is victorious; the Lapith lies dead under his
feet. Brandishing the lion’s skin on his extended left
arm with a triumphant gesture, the Centaur rushes
forward to meet a new foe. The movement of his tail
and the ends of the lion’s skin flying behind him indicate
the rapidity of his action. His right arm, now wanting,
42
must have wielded the weapon with which he has slain
the Lapith. His head, forelegs from above the knee, and
right hindleg from below the hough, are wanting. The
Lapith lies on his chlamys, his head thrown back, his right
leg bent up, his right hand lying over his right flank, his
whole form relaxed by death. The face and right knee
are wanting. Carrey’s drawing gives the headtleft fore-
leg, and greater part of the right arm of the Centaur,
and the face of the Lapith. For dramatic power in the
conception and truth in the modelling of the forms,
this metope is unrivalled. (Mus. Marbles, vii. pl. 10 ;
Michaelis, pl. 3, xxviii.)
(14) In this metope, the 29th of the original series, the
Centaur is carrying off a Lapith wife or maiden. Clasping
her firmly round the waist with his left hand, he has raised
her from the ground. We see from Carrey’s drawing that
his right hand, now wanting, grasped her right arm above
the elbow, so as to make her efforts to escape of no avail;
with her left hand she vainly endeavours to loosen his
hold round the waist. The disorder of her drapery shows
the violence of the struggle. Her chiton, which falls over
the girdle at the waist, has slipped from its attachment on
the left shoulder, leaving her left breast exposed. Over
her left arm is the end of a mantle, which, passing round
her back, and twisted over her right arm, floats unconfined
behind the Centaur, the direction of its folds showing
the rapidity of his onward movement. His head has the
pointed cars which are characteristic of his semi-bestial
type, but which do not occur on the other heads of
Centaurs in these metopes. The head of the female figure,
her right forearm, her left foot and ankle, and the right
foot to the instep, are wanting; also the right hindleg of
the Centaur from the stifle joint, his tail, his right foreleg
from below the knee, and his right arm. Carrey’s drawing
gives the head of the female figure, and the right arm and
43
tail of the Centaur. There are traces of the bead and
reel moulding on the margin of this metope. The drapery
is beautifully wrought, but the design in its present con-
dition seems rather tame. (Mus. Marbles, vii. pl. 11;
Michaelis, pl. 4, xxix.)
(15) This metope, the 30th in the series, much re-
sembles No. 7, both in composition and in style. The
Lapith has fallen with his left knee bent under him; his
left arm rests on a stone, which he grasps in his left hand.
His right hand, which is disarmed, presses feebly against
the left side of the Centaur, who presses his left hand
heavily on the head of his antagonist, and his left fore-
foot on his right thigh, drawing back his right arm to
deal him a deadly blow. The countenance of the Lapith
expresses bodily pain, as if he had just been half stunned
by a blow on the head. His bent knee does not touch the
ground, and his general position indicates the eifort to
spring to his feet again, but the action of the Centaur
deprives him of all chance of recovering his erect position.
A lion’s skin floats in the air at the back of the Centaur.
A chlamys hangs from the right arm of the Lapith, and
passes behind his back. The treatment of both the heads
is a little austere, but the bodies are well modelled, and
the composition is finely conceived. The figure of the
Lapith has sustained hardly any injury except on the
bridge of the nose. The right arm of the Centaur from
above the elbow, his right hindleg from above the hough,
his right foreleg from above the knee, are wanting, as was
the case when Carrey drew this metope. There are on
this metope some remains of the bead and reel moulding
on the upper margin. (Mus. Marbles, vii. pl. 12 ; Michaelis,
pl. 4, xxx.)
(16) In this metope, the 31st of the original series, the
Centaur seems to have the advantage. The Lapith has,
with his right hand, seized him by the hair, pressing his
44
right knee on the Centaur’s breast; his left arm is
drawn back, and has been slightly bent at the elbow.
The Centaur, rearing up, grasps his antagonist by the
throat, twisting his forelegs round the Lapith’s right leg,
so as to paralyse its action. The position of the Centaur
is obviously much the stronger, and the bent left knee of
the Lapith indicates that he is tottering. As the lower
half of his left arm is broken off, we do not know what
weapon he held in his hand. The composition in this
metope is very good; in the faces there is the same austere
character as in No. 15. The right arm of the Centaur
from above the elbow and his right hindleg from below
the hough are wanting ; also the left arm from below the
elbow, and the forepart of the left foot of the Lapith. This
metope seems in the same state as when drawn by Carrey.
(Mus. Marbles, vii. pl. 13 ; Michaelis, pl. 4, xxxi.)
(17) In this metope, the 32nd of the original series,
the Centaur has seized the Lapith by the back of his head
with his left hand, of which a fragment is still visible.
His right arm has been drawn back to deal a blow
probably with a spear. The left foreleg passes round the
loins of the Lapith, while the other foreleg has been
locked round his right thigh. His adversary, firmly
planted on the ground with his right leg advanced, has
drawn back his left arm to prepare a blow, probably with
a sword. The action of his right shoulder shows that he
has seized the Centaur by the hair with his right hand.
A drawing by Feodor, one of the artists employed by
Lord Elgin at Athens, shows that the left arm and left
leg of the Lapith, now wanting, were formerly perfect,
and that he probably were a bronze helmet up to the date
when the drawing was made. His right arm then, as
now, was wanting from the elbow. The direction of the
missing portions of the left arm and leg is indicated by
projections on the ground of the relief. The face of the
45
Centaur is much injured, his right arm, right foreleg from
above the knees, and left hindleg from below the hough, are
wanting. In Carrey’s drawing, all his right arm is given,
but then, as now, the fore and hind right legs were muti-
lated. (Mus. Marbles, vii. pl. 14 ; Michaelis, pl. 4, xxxii.)
Of the thirty-two metopes which originally adorned
the north side of the Parthenon, only twelve (i.—iii. and
xxiv.-xxxii. of Michaelis, pl. 4) remain in their original
position, and three of these (ii., xxvi., xxx., ibid.) are so
defaced that their subjects cannot be made out. In the
explosion of 1687, twenty metopes (iv.—xxiii., ibid.) were
destroyed, all but a few fragments. The subjects of the
metopes which have perished, may have been (iv.—xxii.)
the combats of Centaurs and Lapiths. Michaelis supposes
xxiv., xxv. to represent a scene from the taking of Troy.
(18) The only metope from the north side, of which a
cast is exhibited in the British Museum, is the last of the
series, at the north-west angle of the temple. It repre-
sents a draped female figure seated on a rock, towards
whom advances from the left another draped female
figure, extending forward her left hand muffled in
drapery. Both figures wear talaric chitons, over_which fall
diploi'dia and mantles. The figure advancing wears
sandals. The folds of the drapery are very rich and
abundant. (Michaelis, pl. 4, xxxii.)
On the western front of the Parthenon all the fourteen
metopes, except vi. and vii., remain in position on the
temple, but their surface has been so much injured, that
their subjects cannot be made out. The best preserved of
these metopes appear to represent a battle of Greeks against
Amazons.
(19) is a cast from the first of this series of metopes,
and represents a figure mounted on a horse, moving to
the right, with the right hand drawn back as if aiming a
spear, and a chlamys flying behind. If the metopes on this
46
front represented an Amazonomachia, this figure may be
considered as an Amazon. The surface is much damaged.
(Michaelis, pl. 5, i.)
The corresponding metopes on the east side of the
Parthenon remain on the building, but have all suffered
great injury. They appear to have represented scenes
from the Gigantomachia. (Michaelis, pl. 5, i.-xiv.)
PARTHENON FRIEZE.
The subject of the frieze of the Parthenon, according to
the best modern authorities, is the celebration of the
Panathenaic festival. Before describing how this celebra-
tion is represented on the frieze, it may be well to state
what facts respecting the festival have been handed down
to us by ancient authors. Its origin was ascribed in
antiquity to pre-historic times. Its mythic founder was
Erichthonios, the foster-son of the goddess Athene herself,
and the festival is said to have been afterwards renewed
by Theseus when he united all the Attic demes into one
city. The goddess in whose honour it was celebrated
was Athene Polias, the tutelary deity of the Athenian
Akropolis, where she was supposed to dwell in the “ Old
Temple,” and where her worship was associated with that
of Erechtheus, who dwelt under the same roof. The time
of its annual celebration was the last decade of the
month Hekatombaion, when, according to legend, the
birth of the goddess took place.
A solemn sacrifice, equestrian and gymnastic contests,
and the Pyrrhic dance, were all included in the ceremonial,
but its principal feature was the offering of a new robe,
peplos, to the goddess on her birthday. This original
yearly festival was after a time celebrated in every fifth
year, with more splendour and solemnity, and the institu-
tion of this quinquennial Greater Panathenaia or Penteterz's
is attributed to Peisistratos. From his time (3.0. 560—527)
47
dates the distinction between the Greater and the Lesser
Panathenaia. The sons of Peisistratos added a musical
contest of Rhapsodes, and these were amplified by Perikles,
who himself acted as distributor of the prizes, Athlothetes.
At the Greater Panathenaia each colony in which lands
had been assigned to Athenian Kleruchz' contributed a cow
and two sheep to the sacrifice. The peplos of Athene was
a woven mantle renewed every five years. On the ground,
which is described as dark violet and also as safi'ron-
coloured, was inwoven the battle of the Gods and the
Giants, in which Zeus and Athene were represented as
taking a prominent part. In the earlier period of the
Athenian republic, it was not lawful to insert in the
peplos the likeness of mortals, but in after-times, when
religious feeling had decayed, the portraits of the kings
Antigonos and Demetrios were introduced to flatter those
protectors of Athens.
On the birthday of the goddess the procession which
conveyed the peplos to her temple assembled in the outer
Kerameikos, and passed through the lower city round the
Akropolis, which it ascended through the Propylaea.
During its passage through the Kerameikos the peplos was
displayed on the mast of a ship, which was propelled on
rollers. In the procession of Rosalia at Palermo, a ship is
still employed for a similar purpose. In this solemn
ceremony on the birthday of their goddess, the whole body
of Athenian citizens were represented. Among those
who are particularly mentioned as taking part in the
procession were the envoys from the Athenian colonies in
charge of the victims for the sacrifice ; the noble Athenian
maidens, Kanephor'i, who bore baskets, kanea, with sacred
offerings for the sacrifice; the Metoiks, Skapheplzom',
whose function it was to carry certain trays, skaphoe,
containing cakes and other offerings; the elderly Athenian
citizens who bore olive branches, and were hence called
48
Thallophorz'. Chariots and horses were among the most
striking features in the procession. On this occasion
appeared certain qaadrz'gee, which were only used in
procession, and were hence called pompic chariots ; and an
escort of Athenian cavalry and heavy infantry completed
the show. The whole ceremony was under the direction
of the Hieropoz'oz', and the multitudinous throng was
marshalled and kept in order by the Demarchs and by the
heralds of a particular Gens, the Euneidae.
When, with a knowledge of these facts, we examine the
composition of the frieze, we may recognise in its design
the main features of the actual procession. On the eastern
frieze, the delivery of the peplos is represented in the
presence of certain deities whose worship we must suppose
to have been associated with that of Athene in this festival.
Towards this central point converge two lines of procession,
which, starting from the west side of the temple, proceed
along its northern and southern sides, advancing towards
the centre of the eastern front. At the head of the
procession from the north side are Kanephorz', victims and
their attendants, musicians, Skaphephori, Spondophorz',
Thallophori, pompic chariots, cavalry. On the corresponding
part of the procession on the south side, we see Kanephorz',
victims, chariots, cavalry. All through the frieze, at
intervals, are magistrates and heralds marshalling the
order of the procession. It has been objected that many
features which we know to have formed a part of the
original ceremony, as, for instance, the ship on which
the peplos was borne, are not found on the frieze; but
Pheidias would only select for his composition such
details from the actual procession as he considered suit-
able for representation in sculpture, working, as he here
did, under certain architectonic conditions. The design of
this frieze may be best understood if we begin by study-
ing the portion on the west side of the Parthenon.




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WESTERN FRIEZE. NOS. 2-3.
49
WESTERN FRIEZE.
This part of the frieze, nearly all of which still remains
in position on the temple, represents the cavalry at the
moment when they are preparing to start. Most' of them
are already mounted ; others are holding horses or drawing
on their boots. The single figure (N o. 1) at the north-west
angle is evidently a herald or marshal directing the march
of the cavalry. His right arm, which is raised, probably
held a staff of ofi’ice, as the bent fingers are not closed.
Then follow two mounted figures (Nos. 2, 3) ; in the hair of
No. 2 are holes in which probably a metal wreath was
inserted. No. 4 raises both hands as if to open his horse’s
mouth for the insertion of the bit. Behind the horse
stands a youth (No. 6), probably the groom,‘ Hippolcomos ;
from the position of his hands, it is probable that they
held a bridle. A bearded man (No. 5), probably a marshal,
turns towards the youth as if addressing him. Then
follow two more mounted figures (Nos. 7, 8), and a youth
(No 9), standing by his horse, and turning round to his.
mounted companion (No. 10), behind him. Next comes a
horseman (No 11), distinguished from all the figures in
the frieze by his richly decorated armour. On his head is.
a crested helmet, on the crown of which is in relief an
eagle with outstretched neck. A hole a little behind the
temple shows where a metallic cheek-piece, or perhaps a.
wreath, has been inserted. His body is protected by a
cuirass, on the front of which is a Gorgon’s head in relief,
intended as a charm, apotropaz'on, to avert wounds from the
most vital part; on the shoulder-straps are lions’heads,
also in relief. Between the breast-plate and back-piece of
the cuirass is an interval at the sides, .which is protected
by flexible scale armour, lepz'doton. Below the girdle are
flaps, pteryges, made of leather covered with metal,‘ which
PART I. E
50
at the upper ends are united to the girdle. Under the
cuirass appears a chiton without sleeves. The next figure
(No. 12) is on foot, and stoops forward, looking towards
the procession advancing from the right. His left foot is
raised on a rock, and he appears from the action of his
arms to be drawing on his boot. Next come two mounted
figures (Nos. 13, 14), followed by a bearded figure (No. 15),
who stands at the side of a rearing horse, trying to control
him. The violence of the action is shown by the muscular
strain and the disordered dress of this figure, who wears
a chiton exomz's, over which is a chlamys flying behind his
back. On his head is a leathern cap. The attire of this
figure is precisely similar to that of No. 8 and No. 19.
Then follow six mounted figures (Nos. 16—21), all moving
rapidly to the left. One of these (N o. 17) wears the
petasos, a flapping, broad-brimmed hat used by travellers.
N o. 19 rests his right hand between the ears of his horse.
From No. 22 onward to the south-west angle, none of the
figures are mounted. The first group (Nos. 22-24) is
not unlike that already described (Nos. 4—6). A youth
(No. 22) stands at the horse’s head, and seems to be holding
the reins. At the side of the horse stands a taller figure
(No. 23), holding up his right hand as if giving an order
to the youth (No. 22) ; in his left he holds a short wand.
This figure has been thought to be a marshal, but his
dress, a chiton girt at the waist and a chlamys, differs from
that of all the other marshals on the frieze, while it
frequently occurs among the riders. Behind the horse
is a youth (No. 24) who, from his stature and attitude,
is probably a groom; a thick garment is cast over his
\ shoulders. Next is a much mutilated figure (N o. 25), who
seems to be pressing his right feet against the heel of his
horse’s right foreleg to make him extend himself so as to
lower his back for mounting. Behind this figure a horse
springs forward, free from the control of his rider (No. 26),
51
who has let him go in order to assist a comrade (No. 27).
This latter figure tries to master a rearing horse, who
threatens to escape from his control. This group is similar
in composition to one of the celebrated groups on the
Monte Cavallo at Rome, which is inscribed Opus .Phz'dz'ae.
In the upper portion of this figure a fragment from the
original marble is adjusted to the cast. This fragment
was brought from Athens many years ago, and presented
to the Museum by M. J. J. Dubois in 1840. The next
figure (N o. 28) stands at his horse’s head, and behind him
is a rider (No. 29) not yet mounted, who is drawing on his
left boot in an attitude very similar to that of No. 12;
his right boot lies at the side of the rock on which his
left foot is raised. The horses of both these figures, in
contrast to the preceding group, stand tranquilly waiting
to be mounted. The last figure on the western frieze
(No. 30) stands holding up an ample mantle on his left
arm, and looking to the right. As this figure is on the
angle slab, he is probably a marshal, and the holding up
the cloak may be a signal to direct the procession.
Two sets of casts of this frieze are here exhibited in
parallel lines. The upper series is taken from moulds
made from the original marble in 1872; the lower
series from moulds made at Athens, 1 at the time of Lord
Elgin’s mission. A comparison of these two sets of casts
shows how much the frieze has suffered from exposure to
weather during the last eighty years.
NORTHERN FRIEZE.
If we follow the course of the ‘procession from the north-
west angle, the first group on the north side represents a
rider (No. 109) standing by his horse, and in‘ the act of
drawing down his chiton under his girdle in front, while a
E 2
52
youthful attendant (No. 110) assists him by pulling it down
behind. This attendant carries on his shoulder a folded
chlamys, probably for his master’s use. Next is a mounted
figure (No. 108), whose head and shoulders only are
shown. Ahead of this horseman is an intricate group,
which in the present state of the marble is not easy to
make out. In the foreground is a rider (No. 107),
standing by his rearing horse, whom he holds by the
rein with his right hand. His body fronts the spectator,
his left hand is raised to his head, which looks back to—
wards the group behind him. In the background beyond
this group is a mounted figure (No. 106), so entirely con-
cealed by the rearing horse in the foreground that the
only evidence of his presence is his right hand advanced
just beyond his horse’s shoulder point.
From this group onward, the horsemen advance in a
loose throng, in which no division into ranks or troops, nor
indeed any settled order, can be made out. The groups,
being very crowded, are carried on from slab to slab
continuously, so that the vertical lines of the joints inter-
sect the figures, while on the western frieze, on the con-
trary, the groups, being more scattered, are always
completed on single slabs. The general effect of a body
of horse in rapid movement is admirably rendered in
the composition of the northern frieze. Though the
entire composition is pervaded by the same general
motion, a wonderful fertility of invention is shown in the
arrangement of the successive groups. In the one hundred
and twenty-five mounted figures in this cavalcade we
do not find one single monotonous repetition.
Though the horses bound along with a fiery impatience,
which seems at every moment ready to break loose from
all control, these irregular movements never disturb the
even hand and well-assured seat of the riders. Thus, as
the cavalcade dashes along like a torrent, a rhythmical


-‘_
‘t




NORTHERN FRIEZE NOS. 106-110
53
effect is produced by the contrast of the impetuous horses
and their calm, steadfast riders. In one place only do we
find a marshal (No. 65) directing the cavalcade. He turns
to the right, and with outstretched right arm seems to
beckon the throng behind to advance quicker. Among
the figures the following may be noted either for variety
of costume or other singularity. No. 105 wears a petasos
hanging at his neck behind. No. 109 wears a chiton with
long sleeves, which we also find in Nos. 98, 97, 84, 80, 75,
73, 57 ; such a garment, though characteristic of barbarians,
is unusual in Greek art. Nos. 96, 93, and 84 wear
the same flexible cap, with a flap protecting the nape
of the neck, which occurs in Nos. 8 and 15, on the west
frieze. Nos. 92 and 62 are armed with a cuirass ; the
head of No. 62 is broken off, but he probably wore
the same kind of helmet as No. 92.
The head of No. 97 is bound with a plain band or diadem.
This head was formerly in the Pourtales Collection, at the
sale of which in 1865 it was purchased for the British
Museum, and inserted in its place on the frieze. The frag—
ment (in slab xxxii.) which contains the head of No. 75
and of a horse, after having been in the possession of the
Society of Dilettanti, passed from them to the Royal
Academy, by whom it was presented to the British
Museum in 1817. The fragment (in slab xxxv.) con-
taining the head of No. 85 and the horse’s head, having
been discovered in 1850 in the Collection of Sculptures at
Marbury Hall in Cheshire, was presented to the Museum
in 1850 by Mr. J. Smith Barry, the owner of that collection.
The fragment (in slab xxxvii.) containing the head of
No. 89 and a horse’s head, of which a plaster cast is ad-
justed to the marble, is now at Athens. The other portions
of this part of the frieze, of which the originals are at
Athens, are slabs xxix. and xxxi., which were discovered
about 1843 or 1844, and the fragment xxx.
54
In arranging the slabs xxxi. to xxiv. the order proposed
by Michaelis has been followed. He places xxiv. at the
head of the procession of horsemen, assuming that No. 54,
who is a little in advance, is leading the cavalcade, and
that the chariots were immediately in front of him. This
assumption is now proved to be right, because it has
been recently discovered that the fragment of an apobates
(No. 53), for which a place has long been wanting, belongs to
the left side of xxiv., supplying the joint on this side. If
we apply this joint to the right-hand joint of slab xxiii.,
the last in the procession of chariots, we find on the broken
margin the right arm and head of an apobates corre-
sponding sutficiently in action with the fragment No. 53,
to make it probable that they belong to one and the same
figure. It is, however, possible that another chariot group
intervened between xxiii. and xxiv., to the apobates of
which the arm and shield on xxiv. belonged, and this
missing chariot group may have been sculptured on the
right side of slab xxiii., which may very well have been
originally twice its present length. The right hand of
the rider (N o. 56) and the head of ahorse beyond are added
in plaster from the original fragment in Athens. The
fragment xxv. is the only remnant of a slab which in
Stuart’s time was at Athens, and which is engraved in his
Antiquities of Athens (ii. 0. i. pl. 12). Its original position
was between xxiv. and xxvi., whence it has been trans-
ferred through want of space. According to the note in
Stuart’s Athens (2nd edition, i. p. 50, note 6), this frag
ment was in the possession of the Society of Dilettanti
long before Lord Elgin’s mission to Athens.
Next to xxxi. comes a lacune, where space must be allowed
for one missing slab, and further on another lacune, where
we must supply another missing slab. There are two un-
appropriated fragments, the one containing No. 69, and
part of the drapery of No. 68, and the other containing
55
two youths’ heads, commonly known as the Cattaio frag-
ment (see p. 98). Michaelis assigns conjecturally the first of
these fragments to slab xxx. and the second to slab xxvii.
Immediately in advance of the horsemen came the
chariots. This part of the frieze has greatly suffered
from mutilation. The remains of the chariot groups
still extant show that there were at least nine of these.
According to the calculation of Michaelis, that was the
original number of chariots on this frieze. All these
chariots are drawn by four horses, harmata. tethrippa, or
quadrigae; the charioteer stands in the chariot, and is
accompanied by the apobates, who is armed with a helmet
and Argolic buckler, and is represented in the act of
stepping down from the chariot or standing behind it.
Each quadrz'ga is accompanied by a marshal, pompeus. In
consequence of the mutilated condition of these groups,
their original arrangement cannot be ascertained. Slabs
xxi., xxii., xxiii. form an undoubted sequence. The
chariot group xxiii. must have been, as has been shown, at
or near to the end in the procession, which explains
why the horses are represented standing still. This slab
is shorter than any of the others representing chariot
groups. The forelegs of the horses, which were want-
ing when Stuart drew this slab, and part of the head
of the apobates (No. 52), are supplied in plaster from the
original fragments at Athens. At the heads of the horses
stands an attendant (No. 50), who wears a chiton reaching
to the knees, and a short chlamys, and who appears to be
adjusting something in the harness. From the waist
downwards this figure is cast in plaster from the original
fragment at Athens, which also contains the lower half
of the next figure (N o. 49), an apobates stepping into
a chariot, and which was discovered probably about 1834.
Between the charioteer (N o. 48) and his horses is a small
fragment, showing the antya: of the chariot, and a hand
56
resting on it, of which the original is at Athens, and
which is not figured in Michaelis. When Stuart drew
slab xxii., the left upper corner, which contains the upper
part of Nos. 48, 49, was wanting. This fragment was
brought home by Lord Elgin. According to the editor of
Stuart’s Athens, (2nd ed. i. p. 50, note 0), the upper
fragment next to it, containing the upper part of No. 50,
was once in the possession of the Society of Dilettanti.
A horse’s head (Michaelis, pl. 12, xx.) now at Athens
may possibly belong to one of the chariot groups. This
fragment shows a joint on the left side. The next slab
(xix.) is a cast from the original at Athens, which is broken
away on the right, so that all that remains of the
charioteer (No. 47) is his right hand. At the side of the
horses is a marshal, pompeus (No. 46), who turns towards
the chariot following on the right. Carrey’s drawing
supplies the upper part of this figure, and shows that he
was holding up with his left hand the end of his mantle,
apparently as a signal to the advancing procession.
Between the horses we see the vertical pin, hestor, which
was fixed at the end of the pole of the chariot, and which
is constantly represented in the earlier vase pictures.
Attached to this pin is a round object, probably the
zygodesmon, through which the reins passed. This we also
find in vase pictures (see Cat. of Vases, No. 485). This
slab was discovered in 1834.
Between xix. and the next slab (xviii.) must have been
an intervening portion now lost, of which we have no
trace either in Carrey or Stuart. Slabs xvii. and xviii.
contain the greater part of two chariot groups. In xviii.
have been three figures: the apcbates (No. 45) of whom,
nothing remains but his right arm, holding on to the antyw,
and the lower part of his drapery, which indicates rapid
movement. Of his companion (No. 44), we have only
the lower part of the body, the right hand and arm
57
half-way to the shoulder, and the left hand and wrist.
Facing him, at the side of the horses, stands a marshal
(No. 43'), in a calmer attitude than is usual in this part
of the frieze. Above the crest of the horses farthest
from the eye is the hestor, as in slab xix. The front
of the chariot is very high, as in the frieze on the south
side.
Slab xvii. is cast from the original, which was drawn
at Athens by Stuart, and, having been buried on the
Akropolis, was re-discovered there in 1833. The right
side of this slab is broken away, but there can be no
doubt that it comes next to slab xviii. The composition
of this group is admirable. The marshal (No. 42) steps
back to the left, looking in the contrary direction; his
left arm, muffled in his mantle, is raised as a signal to the
advancing throng ; his right arm is also raised ; the hand,
now wanting, was just above the level of the head. His
animated action forms a strong contrast to the still, calm
attitude of the marshal (No. 43) already described. The
apobates (No. 41) is in the act of stepping down from the
chariot. His right arm is advanced, the hand having
held on to the antym, as in Nos. 45 and 49. His chiton
is fastened only on his left shoulder, falling in folds
over the girdle, so as to leave the right shoulder and
side free.
For the arrangement of the remaining five chariot
groups, we are entirely dependent on Carrey’s drawing.
The mutilated group to which the charioteer (N o. 38) and
an apobates (No. 39) belong, is made up of four fragments,
of which the originals were found at Athens in 1837.
In this group the apobates (N o. 39) stands in the chariot,
looking back to the chariot following close on the right,
of which N o. 40 may be the charioteer.
Next, in advance Carrey places slab xiv., of which
both joints are preserved (Mus. Marbles, viii. pl. 9).
58
When Carrey drew this slab, the head of the charioteer
(No. 36) and the head and body of the apobates (No. 37), of
which only the lower part now remains, were extant.
Close behind the wheel are traces of a horse’s forefoot,
which, as we see from Carrey’s drawing, belonged to the
chariot on the slab which follows next on the right (xx.
according to the order of Michaelis). Of slab xiii., which
Carrey places next, nothing has been identified with
certainty, but Michaelis is probably right in assigning to
this group the fragment of four horses, of which a cast
from the original at Athens is here inserted. Slabs
xii., xi. complete the series of chariots. Slab xi. is a
cast from the original marble fragment found at Athens
probably about 1834. It represents a marshal (No. 31)
eagerly pressing back the plunging horses of the chariot
which follows on the next slab (xii.). In the haste of his
movement he has nearly thrown off his mantle, holding it
from slipping further with his right hand on his right
thigh. We see from Carrey’s drawing that his right leg
was planted firmly on the ground, with the knee bent.
On the slab next on the right (xii.) is the hindquarter of
one of the horses, cut off at the joint, as Carrey has drawn
it. At the side of the chariot is a marshal (No. 32), his
face turned, and his right arm extended towards the
procession following on the right. The charioteer (N o.
33), who was mistaken for a Victory by Visconti and
others, but whose figure is certainly not female, differs in
costume from the others in this frieze. He wears a long
ehz'ton, over which is a diploi'dz'on reaching to the hips.
The breast is crossed diagonally by two bands.
A striking contrast to the animated chariot groups
presents itself in the group which immediately precedes
them on slabs ix., x. In this group are bearded men
(Nos. 19-30), all clad in the mantle, himatz'on, and moving
forward at a leisurely pace. Nos. 25 and 26 wear a band,
59
diadema, on their heads, which No. 25 is drawing over his
hair. The himatz'on in most of these figures is so arranged
as to leave the right shoulder and side bare. Both x. and
ix. are casts from the original marbles at Athens. Slab x.
was found at the north-west angle of the Parthenon in 1835.
A fragment which belongs to the left-hand lower corner
of this slab, and completes Nos. 24, 25, has been adjusted
since the publication of the work of Michaelis. Slab ix.
was discovered in 1840, and is a fragment of the slab
drawn by Carrey, which, when he saw it, contained nine
figures similar to those on x. The attire, elderly type,
and general deportment of these figures corresponds with
that of the Thallophom', by which name ancient authors
designate elderly citizens who carried olive branches in
the Panathenaic procession. The right hands of three of
these figures are closed, as if they were holding a wand or
branch. Michaelis places x. behind ix. because Nos. 29
and 30, the two last figures on this slab, are looking back,
and supposes that their attention is directed towards the
advancing horses on xi. But he does not notice that
between these figures and the marshal (No 31) has been
another draped figure (N o. 30*), of whom nothing remains
but the shoulders and a little drapery, shown immediately
in front of the marshal (N o. 31), and his right foot on slab
x. seen behind the right foot of No. 30. This figure must
have been the hindermost in the procession of Thallophor'i ,-
the foremost (No. 19) is sculptured on slab viii., his back
out off at the joint. The entire number of these Thallophorz'
is therefore seventeen, not sixteen, as Michaelis makes it.
The Thallophorz' were preceded by a band of music, which,
as drawn by Carrey,_ consisted of four flute-‘players, Auleiaa,
followed by four players on the lyre, Kitharz'stae.
Slab viii., cast from the original at Athens, represents
part of the leader of the Thallophorz' (N o. 19), a draped
headless figure playing on a lyre (No. 18), and opposite to
60
it the lyre and left hand of another kitharist (No. 17).
Of slab vii., which, in Carrey’s drawing, contains two
kitharists and four flute-players, only a small fragment
has been discovered at Athens. The cast of this fragment
containing the back of the head of one of the kitharists
(Michaelis, pl. 12, vii. 24) and part of the lyre of the
other (Michaelis, pl. 12, vii. 25), is, from want of space,
not inserted in its proper place in the frieze, but may
be seen in Wall-Case G. Of the four flute-players
drawn by Carrey, there remain only the arms and a flute
of the foremost figure (No. 16), which appear on the right
joint of slab vi. Another part of his arm, which had
been sculptured on the left joint of slab vii., has been
identified, and the cast of it may be seen in Wall-Case H.
The musicians wear a talaric chiton, over which is an
ample mantle falling in pteryges. Slab vi., cast from the
original at Athens, contains five male figures (Nos. 12-16),
three of whom carry vases on their shoulders; a fourth
(No. 15) stoops to raise from the ground a similar vase.
These figures wear a mantle, himatz'on, which leaves the
right arm and shoulder bare. The vase resembles in form
the three-handled water-pitcher, hydrz'a or kalpz's, which
was in use in the period of Pheidias, but two handles only
are shown in the sculpture, and therefore it may represent
a variety of the amphora of the same period. Michaelis
supposes that the vases here represented on the frieze con-
tained the wine used in the Panathenaic sacrifice, and
that these figures may be the Spondophorz', who are men-
tioned by Pollux, i. 35. This slab was found in 1833,
inside the peristyle of the Parthenon. When drawn by
Carrey and Stuart, the next group in the procession con-
sisted of three figures, of which one only (No. 11) is now
extant. These figures carry on their shoulders oblong rect-
angular trays, not unlike a butcher’s tray in form. These
trays have been identified with the skaphae or boat-
61
shaped dishes which the Metoiks carried in the Pana-
thenaic procession, and which contained offerings of cakes,
popana. If we may trust Stuart’s engraving, the tray of
one of the two figures which have now disappeared
contained fruits or cakes. These trays were made of
silver or bronze. Skaphae of bronze are mentioned in one
of the inventories of the treasures deposited in the Parthe-
non. The Metoiks, whose duty it was to carry these trays,
were hence called Skaphephori. Their place in the pro-
cession would naturally be immediately after the victims
led for sacrifice. It appears from Carrey’s drawing that
these victims (slabs i.-iv.) originally consisted of four
cows and three sheep. Of the slabs containing cows only
fragments now remain. Slab iv. is a cast from the
original discovered at Athens in 1840. On the right is a
marshal (No. 10), whose figure is completed in slab v. ; he
turns towards the approaching Skaphephorz'. The sheep
are being conducted by three young men (Nos. 7, 8, and 9).
Of the first figure (No. 7), there is now left only part of
the mantle ; when Carrey drew it, the head and shoulders
were still extant. The figures on this slab are, like the
Skaphephori, clad in a mantle, which leaves the right arm
and shoulder free. Of slab iii. we have only fragments.
No. 6 is made up of six pieces, of which Michaelis had
identified the feet of the figure, part of the forelegs of the
cow, and its hindlegs (see his plate 13, xxvii. D.). A
cast from a head, possibly that of No. 4, is conjecturally
added to this slab. The originals of all these fragments
are at Athens. Slab ii. is a cast from the original dis-
covered at Athens, in 1833, at the east end of the northern
colonnade of the Parthenon. On this slab are three figures
(Nos. 1, 2, and 3) and part of a fourth (No. 4). Two
of these figures have their whole body enveloped in a
mantle. No. 3 has the shoulders bare. N o. 4 appears to
be holding back a restive cow by a rope attached to the
62
horns‘, which was probably supplied in colour on the
marble.
In Stuart’s_time a fragment of the north-east angle of
the frieze was still extant. On the northern face of this
stone, his engraving shows a marshal standing at the head
of the procession of victims, close to the head of the fore-
most cow. This figure he represents draped in a mantle,
and with a diadem round the head. On this slab as re-
presented in Carrey’s drawing is a second figure,conducting
a cow, and the head and neck of the foremost cow in ii.
As the Athenian colonies were bound to contribute each
a cow and two sheep to the festival, it may be presumed
that the victims on this frieze represent this contribution ;
and the men by whom the victims are conducted would
thus represent the Theori sent by the colonies.
EASTERN FRIEZE.
On the eastern front of the Parthenon the two lines of
procession converge from north to south towards a
common centre. A group of male figures, probably magis-
trates or religious functionaries, receive the advancing
procession on either side. Between these two groups are
twelve seated male and female figures arranged in pairs,
six on one side, and six on_the other. Between these two
groups is a central space occupied by five standing figures,
of whom three are female. There is good ground for
believing that this central group relates to the offering of
the peplos to Athene Polias.
It has been already stated that part of the north-
east angle of the frieze was extant in Stuart’s time,
though it seems to have since entirely disappeared.“
On the return or eastern face of this stone his engrav-
ing gives two draped female figures. In advance of
these, on slabs viii. and vii., are nine female figures







EASTERN FRIEZE NOS. 56-60.
63
following each other, six of whom carry sacrificial vessels.
A marshal (No. 51) stands in front of the foremost
pair, turned towards them; he has held in his right
hand some metallic object, probably a herald’sstaif; the
holes for the attachment of which remain in the marble.
The forefinger of his left hand is advanced, and this
gesture indicates that he is giving some order to the pair
of female figures (Nos. 52, 53) at the head of the procession‘.
The next figure behind these (No. 54) carries’ the saucer,
phz'alé, used by the Greeks in sacrificial libatio'ns. The
next figure (No. 55) looks round to her companion
(No. 56) following her, and holds in her left hand a censer,
thymz'aterz'on, for burning incense, with. a conical *c'over,
Icalyptm. - Censers of this form occur on..Greek *Fictile
Vases (see Catalogue of Vases in Brit. Mus, Nos.
871, 883, 982, 1465, C. 4). Next follow twofigures (Nos.
57, 58), each carrying in the right hand a jug, oinochoé,
then two more (Nos. 59, 60) carrying phz'alae. One of the
two figures drawn by Stuart at the end of this procession
also carries a phz'alé. ' ' -
There'ican hardly be a doubt that this procession-repre-
sents .Athenian maidens, probably belonging to distin-
guished families, whose duty it was to carry in the pro’-
cession the sacrificial vessels belonging to the temple’, and
which, as we know from the Treasure Lists, were .ns'ually
kept in the Parthenon. We learn from the Salutaris in-
scription, found by Mr. Wood at Ephesos, that" in vlike
manner the precious vessels and images in gold and silver
which were kept in the temple of the Ephesian-Artemis
were carried in procession on thebirthday of .the ‘goddess,
and were escorted by the Ephebi. The objects . carried
in the Panathenaic ‘procession were hencecalledzpomjieia.
The pair‘ of female, figures A (Nest; 49,150); who stand in
advance of the rest and facing a magistrate (N o. 48), are
evidently the Kanephorz', maidens of noble birth, Whose
64
distinction it was to 'carry in the procession the kanea
or dishes in which the corn, the sashes, stemmata, and
the knife used in sacrifices were usually brought to
the altar. The magistrate (No. 48) holds in both hands
such a kanozm which he has received from the two
maidens. Slab vii. is a cast from the original which was
removed from the Akropolis by Choiseul-Gouffier, in 17 87,
and is now in the Louvre. The right foot of the magis-
trate (No. 48) is a cast from the original fragment which is
still at Athens. In slab viii. the heads of Nos. 57, 59, and
60, which have been adjusted to this slab since the publi-
cation of Michaelis’ work, are cast from the original frag-
ments at Athens. The measured and stately movement of
these maidens, and the modest grace of their attire and
demeanour, form an admirable contrast to the violent action
and dense thronging of the cavalry and chariot groups.
The next slab is made up of several fragments of the
original marble combined with casts. Behind No. 48 is
another male figure (No. 47) turned in the same direction
towards the advancing procession; next comes a male
figure (No. 46) who looks in the opposite direction; his
right arm, now nearly etfaced from the marble, has
been extended towards a group of four male figures on
the left (Nos. 42-45), to whom the forefinger of the right
hand was beckoning. These four figures are leaning on
their staffs, and three of them are looking toward the
advancing procession, while the fourth (No. 45) turns his
back to it and appears to be conversing with his com-
panions. One of these figures (No. 43) is bldardless, the
other three appear to have been all bearded, but we only
know their heads from casts taken by Fauvel before this
slab was mutilated. The attitude of these figures indicates
that they are waiting the arrival of the procession, rather
than taking a part in it, and their place next to the seated
Deities makes it probable that they are Athenian fune-
TABLE C.
TABLE or EXPL -'
ANATIONS OF THE EAST FRIEZE (FROM MICHAELIS P. 262-3 ‘WITH ADDITION on N08. 28-29)




- l 23. t 24. I
_ _ w 25- 26. 27. as. 29 a) 31 3 l
10 ' . s -- . ' ' 20 33. 34. -. I I .
Droscurl. _ Jup1ter. Theseus? Iris. Juno. V 1 - M:— ' :!:H 36. 37. 38. 39. 40
2' Mus‘ Womb?‘ 1824- I '- ‘ ' u can’ Afi'kefihfin-‘r 0r C'anepho'i. Priestess. Mal fi Youn m n i ' 41.
' ' - - . . . * . _ Venus? (Proser- J 9 , 6 sure. { Peg]. ‘)3 1.}, (gems ? N t ? .__ I
_ _ Ping ?) } uno . (Ceres?) Jove. { anephot'jh } {Priestess of Poet of tlie sacred hymn p Os ‘ 7 ep “116 . . . . . . . .
3 Visconti 1816 T ‘ —'——-I ..._~——_ __- H _ sacffiioaskets, roll._ M merva. } { Pamphos. ’} EPheboS, roll. Bilinel'l'a? Neptune ? _ , ' '
. he Anakes, Castor and Pollux. Ceres with torch. - Triptolemos. Winged Victory. Minerva J ‘ camphofir l - . _ "gm—— I. W ‘ . . ' ' ' ‘-
4- Synopsis. 18%. Castor and Pollux. C I I _ - uprter. { sacred baskets, roll f {PfisfiessaB Wife 0?} The Archon Basileus {Ephebns with l' - -
e es. Triptolernos. , , Juno. Ju its torch. _ c on asl 8118' - ' peplos_ } Hygrera, serpent. jEsculapius. Neptune. Theseus. A 1
5 L k Mercury with % Triptolemos bearded. - p 'r' A k‘ ' h - H . . H - - I . g gums. Pandrosos' Erechtheus'
. ea e. 1821,1841. petasos andH 1841: Dionysus } Ceres with torch; {Mars with} Heb; n 1223162213???’ _ _ I .. Yglera. rEsculapius. .. H H H
caduceus. bearded, thyrsos. spear, 8, V9 . Juno. Jupiter, ' Priestess of M. A h _ A young man ‘“ ' '
18M: Unknown b d . rnerva. rc on Basileus. {(1841: Boy} H 'eia snake? . '
Mercury with - staff. ‘2 m en’ withPePlos)- ygl , Escula'pms' Neptune' Theseus‘ Agmulos- P 91113170505. Erechtheus
6. Hawkins. 1339 { } . Trapeze her - l .
' Petfisos and Hercules Ne t - Tn t1 . , P ‘a?’ .
caduceus. ( _ P une ?) Ceres with torch. { ‘£13322? } Victory, wing? Juno. Jupiter Seats 01: tables; _ ob- , _ Hygeia?
. - jnezptg covered with a The Trapeze. Archon Basileug , Boy with} Virus? “3.1311 roctli ZEppulapius. _
7, w 1 k , . _ P'Bl- ' Peplos. r seeII) a all { 1110811 or} Ne tune. T . -
‘e c or 1845. lDioskuri. Demeter. ‘ Triptolemos Hebe no wing Here Z Leg of Table. ‘2 zie'gpgptt or Neptune? p heseus Aglallrofi- Pandrosos. Erechtheus_
' a ' - one. i C e -
r _ '|| 0 n . . . . ‘I ? ‘ Asklepios
. _ _ _ I. " {1! hrodjté? } ’ Poseidon. Theseus.
8. eher. 1822. Overseers. '{Basileus Archon with .-| Oficlailshi f and -Pnests assembled in 111.? 0 - th (1 -——"— LP '{ Hephastos'} Agla‘ll'os? Pfindrosos? Ereehtheus?
l Sceptre‘ h] Overseer. ‘? i PB' 13 Hick-118:? }i{Gir13 ; Sacred baskets ' ‘.1 . p15 0 omus to make arrangement-3 for Ceremonies _— '
9 6 t. h I Athenian spectators. nes ess. Priest. roll, 1 -. Pnestess. Priest. {BOY with} '
. t 10 or. 1853. Ofiicials. {Bllijabdiqnonflqs _ with} Om . 1 F Peplos. ? ? i ? ? P I p ?
I I ‘m e 0 W183: 913 5' emale _ attendants - - . i‘ I
i I { Seats with cushions: i stewardess. Keepaer‘ of the Treasury. .- } Athemgnmsliecmtors'
' '= u f _ Iris or Hebe. " r A owls‘
I: 10. E. o. Muller. 18291831,} {Castor with C C _ _ _ i
' ! 1835, 1836. 199,139,305 } Pollux. { ems: 11109 with} Vulcan with 1831: Iris? Hebe? - . .
. . torch. Sceptre. } Niké? - Juno. {Jupmler {Egsegllhora - covered } P , t f I) h B H1
-, . 0 lens. ' as t- . .- - rles ess o ' _ P ' . 0 w . _ . .I_ 11 Gerhard 1840 . . 1 wing.- ‘ es _ o as nest of Erechtheus? { graphs. 1 } Hyglem with Snake? ES 0 ulapius. {Neptune}, } Ereehtheus, S ' Venus. Eros.
_ . . . Droskuri. Demeter. Hephmstos Hebé835. Hebe. _ 'lheseus? { Hlppolytug? } uadela: 18 — 12. Beulé. 1854. Castor and Pollux. Ceres with torch Mars . Iris drap ry .113 em. Zeus. E- h h ‘i ' a H ' ' 31: Pandemos. 1836: Iakchos.
- ' - , e . uno. J ' W‘ on or: Sacra,l b- - ' ° - . ' '. _ . . . ‘ ieia. ' - .
‘I’ 5 uPrter. { jeets’ ‘pm-‘ah. 0 HT}; fiiglgrfariestess} {Prlpqsjsh 0]; Minerva, one} Chlld with Hyjrrgieia with Askleplo_s' Poseldon' Apollo. Arterms. Aphrodite. Eros.
. 13' tienormant: 1834' Anakes {Venus with sceptre or Mercuryr I ' 0 e mxlergldes' PBPIOS- } {559171161111 (bracelet ?).} ‘Escula'pms' Neptune- VulcEH1- Aglauros. Pandmsog, Erechtheus
14 R oar. } { than} VlctoIY- Juno. Jupiter. {Egiigilyiia k baskets, “Priestess of Priest of N 9131511116‘, 01‘ Youn slave . .
- _, Onchaud. 1861, Dioskmi. Venus with torch Th 0515 81?: Spuldle' Minerva Polias. } 310T]: PIPba-bly the“ Vang ’} Minerva. Vulcan {Neptune}: Th .
tI _ . eseus. Helen. Nemesis. Jupiter {Ersepkwg covered _ P . m on K1118’- ' ' Erechtheua] eseus' Proserpma CBI‘EB- Iakchos,.
15 A Man 1 . I : baSke1q,t0rch_ } pnestess. { Igfiseiilggf’oserdon Erech-} {Boy with} {Minerva ,
I . . . or. 837. Dloskuri. Diana with torch. {Mercury } victory Jun Jupiter Ema I; PBPIOS. _ (brace_let)._ } Vulcan. Neptune- Erechtheus. Proserpine. Ceres. Iakchos or
. 1 l I | 0. a I I . - - I 1 ,
. 16' ‘Park’ 1864:- Dioskuri. - Enyo with torch A Emymmg. . ~ .. { mmofix‘ag' { fugllmiwi camstrai} Prlliisiiziia of on ' Kmg, or {Boy with} if‘ i — Ilrlptolemos'
' F p ' res‘ Nike (Hebe?) Hera Teaeiu. Zeus. I , ' - wi'opows' . } P913108‘ - merva" Vulcan- Neptune. Erichthonios. Proser int C '
1 it a - - Pnestess of Athena- {guest of Poseldon ' iE-I ' ' . p ' eres' Tnptolemos'
I‘ 7. .Pervanoglu. 1866. Anakes. Artemis. Ares ' Ohloé Gaia Karo Hzeus H -__ Erechtheus. } -- . Ygleia. Askleplos. Promethellfi. Hepheestos, P81131109 {Aphrodite Pande-} Eros?
. W - . " yp— ' mos?
' trophos. sistos } I . . r -_
13_ Bmum Peirithoos . ' ' ' " - - Athena. .
f I 1851,1854- { with P81339808} Theseus, Ceres with torch {Tr‘rptégleinoés } Kreusa Pmxithea E h * Hepheestos. Apollo. POSGldOIl. Kora. Demeter. Triptolemos
1 . S . ° . 1 ‘ ' . '—- — . '
_ I a _ rec theus. GII'IS, sacred gifts. The Priestess, The High Priest {Boly 1 with} gpgmulos K k KI
r 19.--Welclrer. 1852 DiOSku ' I _ - 9P 05-
' e TOPS- anflOS. Amphictyon Pandros .'. A - .
' 131- Demeter. Tri ~ ‘ 1 . '_. _ --—_ - -._.- -I-' ‘ 0*" “515- Enchthonios.
__ ptolemos. Hebe. Hera. Z ' - ‘ .- a -
- Hermes .- _ Bus‘ ; ' ' r - .. - " A in - . .
e-.-_-____.__.__m _ __ -- P Odlt-e Urania. He hmsbo P '
' .. Ce ? P s. oseldon. Apollo Patroos. Ath . i -
20. Lloyd. 1804. rmgfpgtasoss} Eurnolpos? Demeter with teach... {Trilitolemos } {Hebia neither wing . 'Ar'lfinqbéglr- stools orlight ' C ‘Dee t d " em 3 Gwa" Erechtheus.
_ _ 12a duceus. Wlth Staff. 1101. mapery. } Here. Zeus. { .tzlbles. } Basilinna. Archon Basileus { aboycméith} Irphrodite Urania, } B: H J)
- 21. 0 , aster with ? N Y , ' - SOB e ‘ewe- e haestos. A . .
. verheck 1869. { petasos_ } Polydeukes. Demeter with 11 :ch. Triptolemos Hebe Here Zeus Arrhepd tO-rdl -th l-Peplos- P re’ ‘impel-‘IV- P P°11° Patms- Ge Kourofirophos- Athena Emehtheus,
_. - - . _ on re. s m P ' * = . a .
22 :Bmn 186 l Polieus. } { loaves. ’ y } 53323:? of Athena} Archon King. {BOY Wlth} {Aphrodite with H ,
. . . 0' “' n Vesta. Mercury ‘ Peplos' ‘ ‘' bracelet } ephgestos‘ Poseldon‘ Apollo‘ Athené- Gma- I Erichthonios
. j _ ' " ~- . . _ . Priestess of Athena i ' '
23. Chr, Petersen 1855 Hermes with ' { Polias- } " it " iAthellé- Hephaestos Poseidon A
' - ll - f. ' a . 1 . ' ‘\ n
. 1864: { peta‘sos. } Hephmstos w1th stafi. Demeter with arch. {{Elfiflemos } Kalpo drapery Hersé Z Arrhephori, ‘A l P0 10 Aphrodite. Peltho. Eros.
. _ , 10113’505- ’ ' ' e119'- mystical ob'ects ' - - -' — m
(Dloskun 3) i (18:57; Leagues), Priestess. Verhng of the sanctuary at the Plynteria. fAglauros. Zeus. Enyalios Ares { Auxo' } { Hegemone. Thallo.
,. 1. . ' ‘ —— —-~-
24. A. Mommsen. 1864. ‘,> I ? Oneal-‘£13613?! lilfigées Atef the Areopggug and other deities. _- 5 1864:-K0ra. - 1864: Demeter. {1864; Iakchos_
_.-
'- 3 - es. ? Grea. Pluto ' ' I “- .
. - - w ' o - 25. Michaelis. 1860, 1871. Hermes. Dionysos. Demeter. Triptolemos Niki? H ‘w-MI-jv h h _ ___~ ' Presentation of the Peplos. j’Athena Hygieia.
1 _ ‘ ' era. Zeus. .prop on P ' t \ . 26. (Jonas. 1864,1866. Hermes. Poseldon. Demeter. T ' 1 . . { Seatswl- "-_ushiillls-
rifdliisss'of Athena} Treasurer? I! {Atiendant :iAth '
' ' rlpto emos_ Nlke. Hem Z . _ mt], P619105} __ ena. Hepheestos. Poseidon A 0110 P t P ' ' ‘
27. Frlederichs. 1868. Hermes “1th . 1' ' ens‘ - : ‘ ' - ' . p a mos. eltho' Aphrodite‘ Eros:
. P8133508‘ ? Demeter W113}, inch. ? Hebé 0 Nk. . _ r -- u H {1864. Athena with He 11885,} S 18 a _
I 28 I l e. Hera. Zeus. { ‘Girls’ .I F 1 E , B0 _th Spear, } P o . 66: Ikaros. 1866: Dronysos? Peitho. Aphrodite, Eros
. E. Petersen. 1873. Hermes. Dionysos I cushion-ed Seats‘ } ema e gum’ Male figure‘ I { y W } T211135 with 5 H ' '
. : Demeter. I Ares? Nike? Hera Zeus 11 Girls, i mantle' ' pear‘ 61) 1mg tog‘ Poseldon' Apollo‘ Peitho- Venus Eros
_ ' - cus; ioned seats - Female {1 ' '
29_ F1 11’ .- { f t t - I’ } gllre- Male figure. 3 Boy with Ath . .
asc 187 :. Hermes. Apollo. Artemis. . Ares. Iris H _. OEiSdqpI? 1‘ I. { mantle, ena Hephaestos. Poseidon. Apollo. Peitho. Aphrodite. Eros
- ’ em‘ Zeus- Stqols for Priestl'and Priestess * . J - Boy. holding
Pug tess_ , . - Priest holding Hawaiian. prrest’s Athena, He haestos P -d .
f T ,r' . Himation. P ' ' OS 81 an’ D1011? 505.’ Demeter. Aphrodite. Eros.
' —|
Toface p. 65.

65
tionaries of very high rank, perhaps four of the archons,
as Michaelis supposes. The lower part of No. 42, and
the heads and breasts of Nos. 43 and 44 are supplied by
casts ; the whole of No. 45, and the right arm of No. 46 have
been chiselled away from the marble on which nothing but
the bare outline remains. The cast of this figure (No. 45)
which is fixed in the wall below the frieze is from a mould
now in the Louvre, but the modelling is so defective
that the original work has evidently been retouched and
tampered with. The mould was probably taken at second
hand from the marble through the medium of a cast in
plaster made from a squeeze in clay. The cast was
presented to the Museum by Sir Francis Chantrey, RA.
(Mus. Marbles, viii. p. 57, p11. 5, 6). It appears from
Michaelis that a cast of the lower part of Nos. 43, 44
from below the hips also exists in the Louvre. (Cat. des
platres du Louvre, 1864, p. 28.) In his plate 14 the whole
of this group (Nos. 42—45) is given as restored in this
cast. The lower right hand corner of this slab, including
the right arm and the greater part of the lower limbs of
No. 47, is also supplied from the same cast, except the left
foot of No. 47, which is cast from a fragment of the
marble still existing at Athens. These figures were
perfect when Carrey drew them, and the damage done
to this slab must have taken place before Fauvel made
a cast of it (Michaelis, pp. 76, 94, 259). It has been
cut in two at No. 45, and the heads of Nos. 43, 44, the
right arm of No. 46, and the whole of No. 45, have been
barbarously chiselled away. The upper part of the face
and head of No. 47 is cast from the original still existing
at Athens.
The central portion of the eastern frieze now to be
described has been the subject of much controversy.
Nearly all the authorities who have written on this ques—
tion agree in recognising the two groups of seated figures
PART I. F
66
as Deities, but there is a wide divergence of opinion as
to the particular divinities here represented. From the
destruction of most of the faces and the absence of
attributes or otheixindications by which the figures can
be severally identified, it is very difficult to judge between
the rival schemes of interpretation which have been
proposed. In Michaelis’ Parthenon, pp. 262, 263, a tabular
view is given of these schemes which is here repeated
with some additions (Table C). The attributions proposed
by Michaelis himself are for the most part adopted here
with the addition of certain changes suggested by Flasch
in his memoir: Zum Parthenonfries (Wiirzburg, 1877)..
The bearded figure (No. 29) on the left of the central
group is distinguished from the rest by the form and
ornaments of his chair, which has a back and a side rail
which is supported by a Sphinx, while all the other figures
are seated on stools. It has been generally admitted that
this Deity is Zeus. It is therefore reasonable to suppose
that the goddess seated next to him (No. 28) is his consort,
Hera, to whom, moreover, the type and action of this
female figure are very suitable. The youthful female
figure (No. 27) standing at her side we might assume from
the analogy of other monuments to be Hebe, but the out—
line of a wing is clearly visible above her left shoulder.
It is, therefore, probably 1 Iris or Nike. The figure of
Zeus on the left is balanced by a seated goddess on the
right (No. 35), whom we may assume from her position to
be of rank second only to that of Zeus himself. N 0 .other
place would seem so appropriate for Athens herself, the
tutelary Deity of Athens in whose honour the festival was
held, and it should be noted that her left hand rests on an
object which appears to be her aegis, not worn as usual on
her .breast, but crumpled upon her knee. One of the
serpents which formed its fringe encircles her wrist, its
- head‘. curling round inside her arm. The extreme indis-
67
tinctness of this attribute is due, partly to the corroded
state of the marble and partly to the absence of the colour
with which this object was originally distinguished from
the drapery. Three rivet holes, one above the bend of the
right arm, another at the side of the wrist, and a third
in the seat under the right hand, show the direction of the
spear which she doubtless held in this hand. The helmet
with which she is usually armed is wanting, but there are
other instances in ancient art where she is represented
bareheaded. The figure at her side (No. 86) is generally
thought to be Hephaistos, whose lameness may be indicated
by the staff on which he leans, and also by the forced and
awkward position of his right foot.
Next on the right comes Poseidon (No 37), whose place
so near Athene accords with the juxtaposition of their
temples under one roof in the Erechtheion. The beardless
figure next to him (No. 38) has of late years gone by the
name now of Apollo Patro'os, now of Dionysos, and there
is in the type and pose of this figure a slight tendency to
efl'eminacy which would well accord with this latter attri-
bution, while on the other hand the face seems not suitable
to Apollo. Of the three remaining figures in this group the
naked boy (No. 41) has certainly wings. He can hardly
therefore represent any other Deity but Eros. The goddess
against whom he leans (No. 40), and who rests her left arm
on his shoulder pointing with her forefinger to the advanc-
ing procession, would thus be his mother Aphrodite. The
goddess behind her (No. 39) is thought by Michaelis to be
Peitho, because her worship was associated with that of
Aphrodite Pandemos in a temple on the south side of the
Akropolis, but Flasch makes this Goddess Demeter, to
whom a place next to Dionysos would be appropriate.
On the left of the Iris~or N ike (No. 27) is a group of one
female and three male Deities (Nos. 23-26). It is gener-
ally agreed that the youthful elastic figure to the left
F 2
68
(No. 23) is Hermes, of whom the high boots, endromz'des,
and the petasos spread on his knee are specially character-
istic. His right hand is pierced and has held a metallic
object, probably the herald’s staff, kerykez'on, caduceus. The
more robust figure leaning on his shoulder (N o. 24), whom
Michaelis calls Dionysos, has his body turned in a direction
contrary to that of Hermes, and the singular manner in
which his lower limbs are so arranged as to clasp between
them the knees of the seated goddess (No. 25) seems to
indicate some intimate and peculiar relation between them.
On this and other grounds Flasch recognises Apollo and
Artemis in this group. If we adopt this interpretation
of this group, it follows that the youthful figure (No. 26)
cannot be Triptolemos, whom Michaelis recognises in this
figure on account of the association of that hero with
Demeter in Attic cult. We must rather look for an
Olympic Deity in this figure, and the suggestion that it
represents Ares, which has found favour with several
previous interpreters of this frieze, seems liable only
to one objection, that the form appears too slight and
youthful.
On comparing the two schemes of interpretation here
stated it will be seen that that of Michaelis is made up
principally of those Deities who were associated on or near
the Akropolis in a common temple, as in the case of
Poseidon and Athene, Aphrodite Pandemos and Peitho;
or whose place of worship was in the immediate neigh-
bourhood of the Akropolis, as in the case of Dionysos
and Apollo Patrtios. By this system Deities of lower
rank such as Peitho, or heroes like Triptolemos, are
admitted on the frieze among the Olympian Gods. The
scheme of Flasch on the other hand proceeds on the
assumption that all the twelve Olympian deities are repre-
sented in the two groups, with the exception of Hestia, for
whom he substitutes Dionysos. The omission of Hestia he
69
justifies by the argument that on this occasion the sculptor
intended to represent the actual presence of the Olympian
Gods at the festival, but that Hestia was the only one of
the twelve who never left Olympos, and who therefore
would not have come down to the Akropolis on this
occasion.
The left end of slab vi. which contains figures Nos. 37,
38, 39, is a cast from the original, which was dug up at
Athens in 1836. This fragment contains part of the right
arm of N o. 40, the lower half and left arm of which figure
together with the figure of Eros (No. 41) are preserved in
the cast taken by Fauvel for Choiseul-Gouflier and now in
‘the Louvre. The upper part of the female figure (No. 40)
only exists in Carrey’s sketch, in whose time the entire
slab was perfect. The cast appears to have been very
badly taken, and cannot be trusted as a true representa-
tion of the original marble, of which a small fragment,
together with a fragment of the legs of Eros, which
escaped the notice of Michaelis, still exists at Athens,
Casts of these two fragments are here inserted. The frag-
ment of No. 40 contains part of the leg of the chair, and a
portion of the drapery behind the right leg of this figure.
The object which projects from the ground of the relief
above the wings of Eros (N o. 41) is a parasol, the handle
of which he holds in his left hand. Part of this handle is
wanting in the cast, but remains on the marble in the
Museum on the edge of the portion of slab vi. which
contains figures Nos. 42-7. On this edge also remains the
part of the left forefinger of N o. 41, which is missing on the
cast. It seems to follow from this, that the mould for this
cast was made after the part of the slab now missing had
been broken off. As the mutilated remains of Nos. 40, 41,
could not be combined with the plaster, they are arranged
in immediate sequence, the Nos. of the figures being
repeated over them.
70
It has been already stated that between the two
seated groups of divinities are five standing figures,
(Nos. 30-34), two of whom are male. The taller and
older of these (No. 33) wears two garments, a chz'ion
fastened to each shoulder and reaching to the feet, and
under it a thinner chiton of which the only part seen is
the short sleeves. This figure is bearded; on his head
are traces of metallic rust. He therefore may have
worn a metallic wreath, for which the marble at the back
of his head appears to have been hollowed. With both
hands he holds up a piece of drapery folded nearly square.
The youth who stands before him (No. 34) places his left
hand on the piece of drapery; the action of his right is
concealed by its intervening mass. His attire is a large
mantle doubled so that the longer part reaches to the
ankles, the shorter and outer part somewhat lower than
the waist; it is open on the left side and falls in richly
composed vertical folds before and behind. This group
has been generally held to relate to the offering of the
peplos at the Panathenaic festival. It does not seem
clear from the action of the two figures, whether the elder
one (No. 33) is receiving the folded cloth from the youth
or handing it to him, or whether again the act of folding
it up square is not rather represented, as if the portion
nearest the spectator was being dropped down till its
edges were parallel with those of the lower part, so
that the two parts should be exactly doubled. Either
supposition is consistent with the notion that the piece
of cloth represents the Panathenaic peplos. The bearded
elderly figure (No. 33) would then be some high func—
tionary. It has been proposed to call this figure the
Basileus Archon, but it seems more probable that it
represents one of the Treasurers of the sacred property of
Athene to whose custody the peplos may have been confided.
On the left side of the bearded man but turned in the
71
opposite direction is the female figure (No. 32), who is
probably the priestess of Athené Polias. She extends
both hands to take from the head of the female figure
before her (No. 31) a four-legged stool, diphros. A
similar stool is borne on the head of the figure following
(No. 30). On each of these stools is a circular object of
which the upper surface is slightly convex and which in
form is not unlike a loaf of bread. Michaelis supposes
this to be a thick cushion on the seat of the diphros;
the shape is more like that of the cushions, proskc-
phalaz'a, on which guests reclined at a Greek banquet,
than that of a cushion on the seat of a chair as
represented in Greek art. It is possible that some
sacred object to be offered to Athens may be here repre-
sented. The stools themselves were no doubt sacred
diphri, such as we find entered in the Treasure lists, and
must have been part of the sacred furniture, pompeia,
used in the procession. The bearers of these dipbm' (Nos.
31 and 30) are of lower stature than the priestess (No. 32) :
this difi'erence of scale may indicate their youth, but
more probably their subordinate rank. The shorter figure
(No. 30) holds in her left hand some object too much broken
away to be made out, which may have some connection with
the objects borne by these figures. Between the diphri and
their heads is a circular pad, tulos, spez'ra, such as Greek
women usually were to take the weight of the water-
pitcher or any burthen carried on the head. These two
figures have been called Arrhephorz', on the assumption that
within the cushions were those mystic objects, the nature
of which it was forbidden to divulge; but there is no
evidence that the Arrhephori took part in the Panathenaic
festival. On the other hand Diphrophori are mentioned by
several ancient authors. Both legs of the stool borne by
No. 30 have been broken away, but a hole pierced through
her right upper arm close to the bend of the elbow shows
72
where one leg has been attached. In like manner the
marble behind the shoulder of N o. 31 is perforated for
the attachment of the leg wanting to this steel. These
legs so attached may have been of bronze, and the leg
carved on the marble which still remains may have been
painted to correspond in colour with them.
Though the meaning of the group of three female figures
(Nos. 30-32) remains unexplained, this group is clearly as-
sociated with that of the two male figures which, as has been
already stated, is generally interpreted to represent the
offering or delivery of the peplos. In recent memoirs on the
frieze, several distinguished German archaeologists have
disputed this interpretation, but as yet no explanation
equally satisfactory has been proposed. The accounts of
the procession handed down to us by ancient authors show
that the peplos was the principal feature in it, and its
offering to Athene Polias the main object of the Pan-
athenaic Festival. 1f, hearing this in mind, we look to
the place assigned to this group in the eastern frieze, we
find that these two figures (Nos. 33, 34) stand in the
centre of the eastern front, under the apex of the pediment
and over the eastern door of the cella. Such a central
position would be peculiarly appropriate to this group if
it was intended to represent that solemn ceremony which
was the crowning act of the festival and consequently the
key to the whole composition of the frieze. The surface
of the peplos in this group is left quite plain, but some
indication of its embroidered design may have been given
by colour. On two of the Panathenaic vases found at
Teucheira in the Cyrenaica (Third Vase Room, Case G)
the garment of Athene is richly adorned with figures
and flowers, and it is probable that the type of the
goddess represented on these vases is adapted from her
archaic statue in the temple of Athene Polias,, where
the peplos was offered. On a statue of Athene in the
73
Dresden Collection (Clarac, pl. 459, No. 855), the inwoven
ornament of the peplos is indicated by groups like metopes
relieved on a vertical strip of the peplos, which goes down
the centre of the figure. With these indications of the
ornaments of the peplos in art may be compared the
embroidered robe worn by Demeter on the vase engraved
Monum. d. Inst. Arch. Rom., ix. pl. 43 (see Third Vase
Room, Table Case This robe represents the peplos
offered to Demeter at the Eleusinian Festival.
On the left of the seated Deities (Nos. 23-26) on slab iv.
stand four male figures (19-22) who, as has already been
pointed out, correspond to the group Nos. 42-45 on slab vi.,
both in attire and action. The two most youthful of these
figures (Nos. 20 and 21) are leaning on their staffs in an
" easy attitude as if engaged in conversation with their
companions (Nos. 19 and 22). On the next slab to the left,
iii., is another similar male figure (No. 18), who appears
to belong to the same group. Michaelis supposes that the
group of five figures (Nos. 1822) and the opposite group
(Nos. 42-45) of four figures represent the nine Archons.
That they are functionaries of high rank can hardly be
doubted, when we consider their privileged place between
the head of the procession on each side and the seated
divinities. Next to the figure No. 18 on slab iii. is a male
figure (No. 17), towards whom he turns and who heads
the procession coming from the south side of the temple.
The greeting between this pair is indicated by the action
of their right hands which are about to join. We may
suppose No. 17 to be a marshal, like Nos. 46 and 47 on
the opposite side. The right foot of this figure with the
leg as far as the bottom of the calf, is preserved on a
fragment which belonged to the late sculptor M. Stein-
hauser, and has been acquired by the Museum (see Case H).
On the same fragment are the feet and part of the left leg
of N o. 16. No. 18 is represented as leaning on a staff,
74
the lower part of which, together with the lower part of
his legs, is preserved on a fragment in Athens, of which
a cast is here inserted. Next comes a row of
female figures (Nos. 2—16), corresponding to that which
has been already described as heading the procession
which approaches from the northern side (Nos. 49-60).
The first pair at the head of the procession from the south
(Nos. 15, 16) carry nothing in their hands. The next
four figures (Nos. 11—14) follow very close on each other.
Nos. 12 and 14 carry in the right hand an object not
unlike the stand of an ancient candelabrum, which tapers
upwards from its base. This object is more distinctly
shown on the marble between Nos. 11 and 12, than between
Nos. 13 and 14. It is encircled by a double torus
moulding at the top, and above this moulding a hole is
pierced in the marble, as if there was here a ring for sus—
pension or to serve as a handle. It has been conjectured
that these objects are the parasols which the daughters of
the Metoiks carried in the procession, whence they were
called Slrz'adephorz', but it is more probable that they are
metallic objects of some kind which, like the censer carried
by No. 55 on the opposite side of the eastern frieze, were
part of the sacred furniture used in the festival and
usually kept in the Treasury of Athens. Michaelis
suggests that they may be the stands, kraieutaz', in which
turned the ends of the spits used in roasting the sacrifice.
This would explain the ring at the top. Next come five
maidens (Nos. 6-10) carrying wine jugs, oinochoae, followed
by three more (Nos. 3—5) carrying shallow saucers, phz'alae,
for the libations. Carrey’s drawing shows two more of
these figures following in the rear; a fragment of the
drapery of the second (No. 2) still remains on slab ii.,
which is a cast from the original at Athens. The phz'alé
of No. 4 has a boss in the centre, and the others, probably,
had the same form. Such phz'alae were thence called
75
omphalotae or mesomphali. In using the phz'alé one finger
was placed in the hollow of the omphalos. The dress of
some of the female figures in this procession is a very long
chito'n with sleeves, of which the superfluous part is pulled
up under the girdle, falling in a fold over it. Others
wear in addition a mantle or an upper garment of which
the back parts fall as low as the knees, as in the case of
the Kanephorz' in the portico of the temple of Athené Polias,
or a mantle reaching nearly to the ankles. Next to slab ii.
comes slab i., forming the return face of slab xliv. at the
south-eastern angle.*‘ No. 1. on slab i. must have been
looking back, giving a signal to the advancing procession
with his right arm, now wanting. On the return face of
this angle, slab xliv. begins the procession of victims on
the south side of the temple.
SOUTHERN FRIEZE.
Michaelis points out that the victims on the northern
frieze are those contributed by the Athenian colonies,
because we find there sheep as well as cows. From the
absence of sheep among the victims and the greater
throng of drovers and conductors of the cattle on the
south side, he infers that these represent the Hekatomb
offered by the Athenians themselves. All the victims are
cows, in accordance with Greek ritual which ordained the
sacrifice of male animals to a god, and female animals
to a goddess.
The order in which the slabs xxxviii. to xliii. are
arranged in the Museum, differs from that of Michaelis,
because No. 84 (126 in his series) has been identified
as joining on the right side of xli. which now follows
* To fill up the vacant space on the pilaster, slab ii. is repeated here.
76
xxxvi., xxxviii. taking its place. Among the throng
who accompany the cattle we may distinguish those
who are guiding the animals along by ropes (Nos.
97, 94, 92, 88, 85, 81), from other figures who move in a
more leisurely manner. These latter we may suppose
to be the pompez's or honorary escort to the victims
who are mentioned in an Athenian decree relating to
sacrifices to Athené, probably at the Panathenaia (see the
Corpus Inscript. Attic. ii. No. 163). All are clad in
the himatz'on which, in the figures actively engaged in
controlling the cattle, slips down, leaving one or both
shoulders free. The himatz'on of No. 10% has attached to
its lower corner a small leaden weight to hold the corner
down. No. 96 has both hands raised to his head as if
adjusting a crown which must have been of metal. The
ropes by which the victims are guided must have been
painted on the marble. The left lower corner of slab x1.
is added in plaster from the original fragment at Athens.
What was the number of cattle in this part of the frieze
cannot now be ascertained, but there is evidence that there
were at least nine.
In the next part of the procession slabs xxxv., xxxvi.
are made up of two fragments, one of which, xxxvi,
is cast from the original at Athens. The slabs, of which
these fragments are the remnant, were drawn by Carrey.
The figures as he draws them, appear to be elderly
men, eighteen in number, and resembling in attire and
general character the Thallophori who have been already
noticed on the northern frieze. All are clad in the himatz'on.
Michaelis thinks that No. 72 holds in his left hand a small
object shaped like a clarionet, but he appears to have
mistaken the right arm of No. 73 hanging down for this
object. Between these supposed Thallopkori and the
victims Carrey inserts three figures, two of whom hold in
their left hands some object like a square tablet, which
77
may be the bottom of a lyre, as this is the place in the
procession where the musicians might be expected, if the
arrangement on this side corresponded with that on the
north side. The fragment (No. 7 9*) representing the upper
part of a Skaphephoros carrying a tray must also belong to
this part of the frieze, and is therefore here inserted. It
is cast from the original at Athens, which was not known
to Michaelis.
Next in the procession come the chariots, of which five
only have been preserved. In Carrey’s drawing are
eight, of which three have been identified by Michaelis
with the subjects of extant slabs. Originally there
must have been not less than nine chariot groups. In
each the charioteer is accompanied by an armed warrior,
but here the armed figure is not like the apobates of the
northern frieze in the act of stepping into the chariot in
motion, but stands either in the quadrz'ga or by its side.
Therefore Michaelis supposes that the chariots on the
north frieze have reference to that contest said to have
been instituted by Erichthonios, in which armed apobatae
took a part, leaping off and on to the quadrz'ga during the
race. The chariots in the south frieze he supposes to
represent the harmata polemz'steria in which an armed
lioplz'tes stood in the chariot by the side of the charioteer in
the race. The institution of this contest is attributed
to Theseus.
The five slabs containing the chariots are arranged in
pl. 11 of the work of Michaelis according to their sequence
in combination with four other chariots of which we have
only rough drawings by Carrey. The procession is headed
by two chariots (xxxii., xxxiii. in Michaelis’ Plate) drawn
by Carrey, the horses of which are moving slowly. Then
follow the three Elgin slabs, xxix., xxx., xxxi., in which the
horses are springing forward. In xxix., xxx. the marshal,
pompeus, at the side of the chariot is wanting. The armed
78
figure (N o. 66 in xxx.) wears the Corinthian helmet which
does not occur elsewhere on the frieze. The handle of
his shield was of bronze, of which a small portion still
remains in the rivet hole. Other rivet holes on the crests
of the horses show that the reins and the hestor for sus-
taining the pole were also of bronze. In xxix. the lower
'corner on the left side has been cast from a fragment at
Athens, which has been identified since the publication of
the work of Michaelis. This fragment supplies the
missing part of the wheel and a small piece of flying
drapery belonging to one of the figures in the chariot.
On the right hand edge of this slab just above the horse’s
forelegs and close to the joint is part of the outline of a
shield. This shield must have belonged to one of the
figures in the chariot following on the next slab (N o. 64) ; it
is evident therefore that between xxix. and xxx. was a slab
now lost, which we cannot recognise in any of Carrey’s
drawings. Behind xxix. come two chariots (xxvi., xxvii.
of Michaelis) which we only know through Carrey’s
drawings. In both, the horses are springing forward.
Next comes xxv., of which the horses’ heads now wanting
are given in Carrey’s drawing. The marshal (N o. 62) stand-
ing at the side of the horses stretches out his right hand
towards the charioteer with the forefinger extended, a
gesture which indicates that he is giving an order. The
rivet holes on the horses’ crests show that the reins were of
bronze. The armed figure (No. 61) in this chariot group,
whose appearance is more youthful than that of the other
Jwplz'tae in this part of the frieze, wears a chiton with a
double girdle; a chlamys falls from his shoulders behind.
Near the edge of his shield are two rivet holes, in the upper
one of ‘which the metal still remains. These served to
attach a bronze handle, ochanon. Of the charioteer (No. 60)
very little is nowyisible but part of his drapery. The
next slab, xxivi, ‘joins on to -xxv., as is- proved by the small
79
fragment which has been added to the lower corner on the
right of this slab since the work of Michaelis was published.
This fragment, of which the original is at Athens, gives
part of the wheel of the chariot in xxv. and the forefeet of
the horses in xxiv. Michaelis supplies the heads of these
horses by another fragment, which, however, has been
proved to belong to a group in the southern cavalcade of
horsemen (slab xxii.). Of the two figures in the chariot of
xxiv. nothing new remains but part of the shield and left
forearm of the hoplites (No. 58) with a fold of drapery hang-
ing from the arm. The upper part of both figures and of the
marshal (N o. 59) was wanting when Carrey drew this slab,
but he gives the legs of the hoplitcs, who, like the corre-
sponding figure in xxv., was standing by the wheel of the
chariot, of which a small portion remains. This position
shows that both these chariots were represented at the
moment before they started. In the shield of No. 58 are
two rivet holes similar to those in the shields of Nos. 61
and 66, for the attachment of the rivet. In the upper hole
the metal still remains. Behind the chariots follows the
cavalcade of horsemen, which, starting from the south-east
corner, moves along the south side in a direction parallel to
that of the cavalcade on the north side. On comparing
the two cavalcades it will be seen that in the one now
described the horsemen are not advancing in a tumultuous
.throng as on the northern side, but have a tendency to fall
into regular ranks such as would be the result of military
,training. Hence, it has been suggested with much proba-
bility that on this side of the temple the horsemen repre-
sent the trained cavalry, Hippez's, of Athens, while in the
northern cavalcade we have rather those richer citizens
who could afford to appear in the Panathenaia procession
mounted as became the riders in so splendid a pageant.
This part of the frieze has suffered very much from
exposure to weather, and many of the slabs present only
80
hints of what the groups have been. Between xxiv.,
which contains the hindermost chariot, and xxii. Carrey
gives what may be part of a slab with horsemen head-
ing the procession. In xxii. a fragment containing a horse’s
head and the mane of another horse, which Michaelis
assigns to the chariot horses of No. xxiv., has been since
adjusted to its place in front of No. 57, uniting with
another fragment of a horse’s head at the joint of xxii—xxiv.
The horses of xxiii., as drawn by Carrey, are going at a
foot pace, and those of xxii. are evidently slackening their
speed, as would be natural on approaching the procession
of chariots. In xxi. the head of the horse of No. 52 and
the head and shoulders of No. 53, are supplied by casts
from two fragments at Athens, of which the fragment be—
longing to No. 53 does not appear in the plate of Michaelis.
This head wears a petasos, as is the case with No. 52 and,
according to Carrey, with the two following figures,
Nos. 50, 51, in xx., of which slab only a small fragment of
the horses now remains.
Between xxi. and xxii. Carrey marks a small space.
Probably not more than one slab is missing here. Since
the publication of the work of Michaelis the upper left
hand corner of slab xix. has been supplied by the cast of
a fragment at Athens. This gives the mane of the horse of
N o. 48. The original of slab xviii. is at Athens, and was
in its present mutilated condition when drawn by Carrey.
It joins on to xvii. as is proved by the adjustment of two
fragments which supply the hindquarters of a horse of
which the rest has been in xviii. These two fragments,
which were unknown to Michaelis, also supply the fore-
hand of another horse and the body of the rider from the
waist to below the knees. On the right side of xvi. is the
outline of a horse’s crupper and floating above it in the
air appears to be the long end of a mantle of skin such as
is worn by No. 14 in the west frieze; behind No. 44
81
appears to be part of a garment of the same texture, the
outline of which is seen above the horse’s hindquarter. It
is, however, more than doubtful whether xvi. and xvii.
joined each other. Perhaps between them was a slab in
which the horsemen wore similar mantles of skin. The
originals both of xvi. and xvii. are at Athens. The
positions of xv. and xvi. are conjectural, but, as the same
costume, a chiton and a pair of high boots, is worn by the
horsemen (Nos. 39—43), it seems probable that these slabs
adjoined each other. Two of these figures (Nos. 40—41)
wear a close fitting cap with a flap hanging down the
nape of the neck. The figures (Nos. 26 to 37) on slabs
x-xiii. are evidently arranged in two ranks of six horse-
men each, and are distinguished from the rest of the riders
in the southern cavalcade by wearing a cuirass under
which is a short chiton. Two of these figures (Nos. 36—37)
have a cuirass consisting of a breastplate and backpiece,
which are united at the sides by a strip of flexible scale
armour, lepidoton. From the cuirass hang down the flaps,
pteryges, which protected the loins. The cuirass of the
rider No. 36 has shoulder-straps. All this part of the
troop wear high boots with a flap turning over below the
knee. They are all bareheaded except No. 36, who wears
a cap or helmet with a flap behind; No. 33, round whose
head is a diadem; and No. 35, who has the same diadem
over which must have been a metallic wreath, as there are
four holes for its attachment on the crown of the head. A
chlamys hangs from the left arm of Nos. 26, 27, 28. The
figures next following (Nos. 14-25) are not armed with
the cuirass, but wear a chiton or in some cases perhaps a
chlamys. The horses have manes with a large forelock
turned upwards. No. 16 wears a chiton with a double
girdle and short sleeves. N o. 21 appears to wear a chlamys.
No. 13 is armed with a close-fitting cuirass. He is look-
in g back at his comrades who are following.
PART I. G
82
On the next slab (iv.), the greater part of which
still remains on the Parthenon, are the remains of
two figures (Nos. 10, 11). On the right side are two
fragments of this slab brought away by Lord Elgin,
one of which only is given by Michaelis. The other
has been since discovered in the magazines of the Museum.
On slab iii. is a horseman (No. 8) whose chlamys is
cast back so as to show the entire right side of the body.
This is the only figure in the south frieze who is so
little clad. His petasos hangs at his back. The next
slab (ii.) is cast from the original on the Parthenon. Of
No. 7 nothing new remains on this slab but a bit of his
drapery, and on slab iii. his right foot and his horse’s nose
and forelegs. On the left edge of slab iii. Stuart’s Plate
gives the head and forehand of his horse. Of No. 6 nothing
remains but the outline of the rider, his left hand, two
small bits of his drapery and the edge of his horse’s mane.
The next figure, No. 5, whose horse is rearing, is a little
better preserved. The next slab is still on the Parthenon;
except the right side containing the figure No. 4, which
was presented to the Museum by the late Mr. O. R. Oockerell.
This horseman is a little in advance of his two comrades
Nos. 2-3, who are moving forward at a walk from the
south-west angle, where a marshal (No. 1) stands looking
the same way as the southern cavalcade. Nos. 1-4 all
wear a chiton and chlamys, and a leather cap with a flap
katablema, hanging over the nape of the neck. The end
hanging down the back of No. 5 may be this flap, but it
is more like part of a skin.
MARBLE FRAGMENTS FROM THE
PEDIMEN'I'AL SCULPTURES.
1. Fragment of colossal head. According to Hamilton’s
I Memorandum, this fragment was discovered built into a
83
Turkish house at the west front of the temple. It in-
cludes the upper part of the right check, both eyes, nearly
all the forehead, and the hair over the right side of the
face. The sockets of the eyes are hollow, and must
have once contained eyes composed of ivory, precious
stones, or enamel. (An ivory eye which must have be-
longed to a colossal statue was found in the temple of
Athens at ZE‘gina and is engraved in Cockerell, Temples
at ZEgina and Bassae, pl. xii. 4.) The top of the head
behind the hair is a plane surface, worked apparently for
a horizontal joint such as might have been required for
the adjustment of a helmet in metal. The hair is wrought
in strongly-marked snaky waves, like that of Medusa, and
the brow is rendered in a hard conventional manner.
This general harshness of style, which is not in accordance
with the pedimental sculptures, has led Michaelis to doubt
whether this fragment really belongs to the Parthenon.
The surface of the marble is highly polished, and traces
of red colour have been remarked in the hair. This
fragment was formerly thought to belong to the Athene
of the western pediment, to which its scale would
correspond, though there are no other grounds for this
attribution (Museum Marbles, vi., pl. 16; Michaelis, pl. 8,
fig. 14).
2. Two feet, both shed with leather, which have
evidently belonged to a figure striding to the right; the
left foot advanced received the weight of the body; the
heel of the right foot is drawn up. These feet are at-
tached to a fragment of the original plinth, which is
higher under the left foot, and has there a bevelled edge;
behind the left heel a stump rises from the plinth, set
obliquely to its base. This stump resembles the trunk
of a tree, and has therefore been supposed to be the stump
of the olive tree of Athens’; all the right side of the
right foot has been broken away. The feet appear to be
e 2
8—li
those of a female figure of colossal size. In that case this
figure probably wore a short chz'ton, as otherwise some trace
of the skirt would appear on the feet or plinth. The
left shoe covers the entire foot, with a division between
the great toe and the other toes. This fragment has
been assigned to the Athens of the western pediment,
and also to the male figure who attends at the side
of her chariot. There is no sure evidence as to where
this fragment was found, nor whether it belonged to either ~
pediment. It is of Pentelic marble, and was removed from
the Akropolis with the rest of the Elgin collection.
(Museum Marbles, vi. pl. 8 ; Michaelis, pl. 8, fig. 4.)
3. Part of colossal right arm of female figure, bent; it
comprises the upper arm from the shoulder and the fore-
arm half-way to the wrist; the biceps broken away; the
upper part of this arm is given by Michaelis, pl. 8, fig. 40.
Synopsis 342 (268).
4. Left arm of female figure, bent, from near the
shoulder to a little below the elbow; drapery thrown over
the arm at the elbow joint falls partly on the upper and
partly on the forearm. In the drapery of the upper
arm is a hole for the attachment of an object in metal.
(Michaelis, pl. 8, fig. 26.)
5. Right arm of female figure, slightly bent, formed of
two fragments united at the elbow. Michaelis (pl. 8, fig.
30) gives the upper arm. Synopsis 339 (269).
6. Left forearm of female figure, broken off above the
elbow (Michaelis, pl. 8, fig. 28). To this is united, rather
more than half-way to the wrist, a cast of a fragment at
Athens with the wrist, which is bent a little inwards.
The arm must have been bent at the elbow.
7. Forearm of female figure. Michaelis (pl. 8, fig. 29)
thinks that it may have belonged either to figure 0 or
W of the west pediment. Synopsis 311 (264).
8. Fragment, perhaps back of thigh. Michaelis (pl. 8,
85
fig. 39) thinks that this fragment may have belonged to
figure S of the west pediment, but it seems more likely to
have been part of figure E in that pediment. Synopsis
312 (267
9. Fore-part of right foot of female figure, resting on a
thick sole (Michaelis, pl. 8, fig.
10. Piece of drapery from a colossal figure, which must
have hung free, probably from the back of the shoulder.
At the upper extremity is part of a dowel hole, showing
that the marble had been attached here by a joint.
Synopsis 343 (144).
11. Fragment of right shoulder and arm as low as the
deltoid. The upper arm presses against the side. This
fragment may belong to the boy P on the left of Q in the
west pediment. Synopsis 303 (133).
CAS'I'S FROM FRAGMENTS OF THE PEDI—
MENTAL SCULPTURES.
(Wall-Cases, P, Q, R, S, T, Y.)
1. Female head which was formerly built into the stair-
case of a house at Venice, belonging to the San Gallo
family, one of whom, Felice San Gallo, was the Secretary
of Morosini, the Venetian General who took Athens in
1687. This head has been much restored about the nose
and mouth, but the style agrees with that of the pedi-
mental sculptures, and its provenance, as proved by the
late Count Léon de Laborde, makes it highly probable
that it was brought from Athens by Felice San Gallo,
after the siege by Morosini. It has been thought that
this head belonged to the Victory (G) who is driving the
chariot of Athens, but it may with equal probability be
assigned to several other figures in this pediment. (La-
borde, Athenes, ii., pp. 228, 230, pll. 14, 15; Michaelis,
pl. 8, fig. 6.)
86
2. Female head in Athens, very much defaced. (Mi-
chaelis, pl. 8, No. 9 ; Laborde, pl. 24, fig. 6.)
3. Fragment of wing, in Athens, with joint by which it
has been inserted into a figure, probably of Victory.
(Michaelis, pl. 8, fig. 11 ; Laborde, pl. 25, fig. 12.)
4. Smaller fragment of similar wing. (Michaelis, pl. 8,
fig. 10; Laborde, pl. 25, fig. 17.)
5. Part of draped figure, in Athens, assigned con—
jecturally to figure D in the west pediment by Michaelis
pl. 8, fig. 5; Laborde, pl. 25, fig. 22.
6. Left leg of colossal male figure, made up from two
pieces, a fragment reaching from half-way up the thigh
to below the knee, and the fragment of a leg (Michaelis,
pl. 8, fig. 36), reaching to the bottom of the calf.
7. Fragment of the right leg and thigh of a colossal
male figure, made up of two pieces, the leg from below the
knee nearly to the ankle (Michaelis, pl. 8, fig. 38), and
the knee with the beginning of the thigh. This and the
preceding fragment are on the same scale.
8. Right leg of male figure from the bottom of the calf
nearly to the heel; the foot is broken off. This fragment
is on a scale rather larger than the so-called Theseus (D)
of the eastern pediment, and may be the lower part of the
preceding fragment (No 7), though the fractured edges
cannot be adjusted.
9. A colossal right foot, broken off at the ankle, and also
half-way between the instep and the toes. Less than half
of the sole is roughly cut with a drill as if this part of the
foot had been raised. The heel and part of the sole under
the instep have been broken away. The scale is rather
larger than that of the preceding Nos. 6-8, and it may
therefore be one of the feet of the Athens in the west
pediment.
10. Right knee of colossal figure, bent, with a small
portion of the thigh, on which is the edge of a piece of
87
drapery. The action of this knee corresponds with that
of the right knee of the female figure N in the west
pediment.
11. Fragment of tail of some serpentine creature having
on the back a ridge of projections. This fragment is
supposed to be part of the tail of a Hippocamp. (Michaelis,
pl. 8, fig. 17 ; Laborde, pl. 24, fig. 4.)
12. Fragment of fold of drapery attached to portion of
plinth ; behind the fold an eye and part of a head,
apparently of a dolphin.
13. Right thigh of colossal male figure, broken off above
the knee and below the hip; possibly the right thigh of
Hermes (H) in the west pediment.
14. Right knee and beginning of calf of male figure,
slightly bent. This may be the knee of the Hermes (H)
in the West pediment.
15. Fragment of left (?) thigh, near the knee, of colossal
figure; on it falls a corner of drapery, to which is attached
a_ gland.
16. Left leg of colossal female figure; from above the
knee to near the ankle, draped; the leg has been slightly
bent. The scale corresponds with that of the figure O in
the west pediment.
17. Fragment of left thigh of female figure; on the
outside is the mark of an attachment.
18. Fragment of left leg of colossal figure, in action; it
extends from the bottom of the calf to half-way up the calf.
19. Left thigh and knee of youthful male figure, broken
off at beginning of calf, the knee slightly bent; possibly
the left leg of the boy E in the west pediment.
20. Fragment of left thigh and beginning of buttock,
possibly of the boy E in the west pediment.
21. Left knee of female figure, draped; broken off at
the beginning of the calf and on the lower part of the
thigh. ‘On the drapery of the thigh is the outline of four
88
fingers of a small hand. This has been identified as the
left knee of the draped female figure D of the west pedi-
ment. The fingers belong to the right hand of the boy
E who in Carrey’s drawing is leaning forward towards ID.
22. Fragment of right leg of small figure, broken off
above ankle and below knee. It has been attached at the
back; perhaps part of the figure of Aphrodite (S) in the
west pediment?
23. Right leg of boy, broken off above the knee, and a
little below the beginning of the calf; on a small scale.
24. Fragment of upper part of right side of the thigh of
a figure?
25. Fragment of left leg, nude, containing nearly half
of the calf; much defaced.
26. Fragment of left leg of male figure, containing
nearly the whole of the calf.
27. Left hand of colossal male (?) figure, holding what
appears to be the base of a torch; broken off at the wrist;
the forefinger and middle finger wanting. The scale of
this hand would be suitable for one of the central figures
of the west pediment; but there is no evidence that it
belongs to the Parthenon.
28. Left hand and wrist of male figure; the palm is
grooved for the reception of some object like a staff ; the
thumb, forefinger and upper joints of the other fingers are
wanting. The scale is rather larger than that of the so-
called Theseus (D) of the east pediment. The wrist is
slightly bent inwards. This hand is finely modelled.
29. Fragment of left hand and wrist of male figure, the
hand much bent back as if the figure had rested on the
open palm; broken across the middle of the metacarpal
bones; possibly the left hand of the River-God V in the
west pediment.
30. Right hand of female figure, small; the thumb and
fingers broken off.
89
31. Right hand; the thumb and fingers broken off.
32. Left forearm, broken off above the elbow-joint and
near the wrist, bent at the elbow; too small in scale for a
figure in the centre of the pediments.
33. Right forearm of female figure, from above the elbow
to near the wrist. This may be part of the arm of the
figure G in the west pediment.
34.'Left arm of female figure from above the elbow to
near the wrist; bent nearly at a right angle at the
elbow; the scale of this fragment is the same as that
of Amphitrite (O) in the west pediment.
35. Left arm of female figure, from above the elbow
to near the wrist; the scale is the same as that of
Amphitrite
36. Forearm of female figure, broken off above the elbow
and half-way to the wrist, slightly bent ; the scale is suit-
able for a central figure in the west pediment.
37. Right arm of female figure, slightly bent; the
upper arm broken about the bottom of the biceps; the
under side is worked rough.
38. Upper half of left forearm, broken off at the elbow,
which has been bent; the scale is suitable for one of the
central figures of the west pediment.
39. Right shoulder and arm down to the elbow, from a
female figure; drapery falls over the back of the shoulder,
on the arm is the sleeve of a chiton. It is doubtful
whether this fragment belongs to the Parthenon.
40. Fragment of upper left arm with drapery hanging
from it ; possibly the left arm of the figure G in the west
pediment.
41. Left arm of youth or maiden broken off at the
beginning of the deltoid. '
42. Fragment of left upper arm of female figure with
sleeve of chiton fastened with studs (Michaelis, pl. 8,
fig. 25).
90
43. Fragment of right shoulder and upper part of back
‘of arm of female figure ; over the shoulder is drapery.
44. Right shoulder and beginning of arm of female
figure with traces of drapery passing over the shoulder
before and behind.
45. Fragment of right forearm of female figure, broken
off at the elbow and with about a quarter of the forearm
preserved.
46. Fragment of right hip and right side of body nearly
to the navel, of a boy, possibly from the west pediment.
47. Left breast of female figure, draped ; the drapery has
been fastened on the left shoulder. This may be part of
the figure of Kallirrhoe in the west pediment.
48. Left breast of female figure, the drapery strained
over it; the scale is similar to that of the figure O in the
west pediment.
49. Left breast of female figure, the drapery strained
over it; the scale is smaller than that of the figure O in
the west pediment.
50. Right side of head of colossal female figure ; the hair
is gathered into a plait from the brow and bound round
the head; the top of the head is worked with drill holes
as if for the attachment of a crown ; the lobe of the ear is
broken away.
51. Portion of chz'zfon, the flowing lines of which greatly re-
semble the treatment of the Nike (J) of the east pediment.
52. Fragment from a colossal figure, apparently the
back of the right thigh with drapery flying behind.
53. Fragment of stem of an olive tree with foliage
(Michaelis, pl. 8, fig. 15).
54. Similar fragment of olive tree, larger than last.
55. Fragment of ankle and part of calf of right leg wear-
ing high boot and attached on the right side to the trunk
'of an olive tree. It is doubtful whether this or the two
preceding fragments belong to the Parthenon.
91
CASTS FROM FRAGMENTS OF OHARIOT-
HORSES OF WEST PEDIMEN'I'.
(Wall-Cases, U, V, W, X.)
1. Horse’s head broken off at the setting off of the neck.
The nose wanting. The mane, which has been hogged,
and the surface of this head in several places are broken
away (Michaelis, pl. 8, J .K. a; Laborde, pl. 26, fig. 25).
2. Horse’s head, lower half broken away. The mane
hogged, with a loose lock hanging in front. Behind the
cars a groove and two perforations are worked in the
mane, and above the ears two other perforations. These
perforations are visible only on one side of the head.
3. Fragment from left side of horse’s head, giving eye
and part of check.
4. Fragment of head of quadruped, published by
Michaelis (pl. 8, J .K. b) as belonging to one of the horses
of the west pediment. It differs in character from the
other horses’ heads, and seems more like the head of a mule
(Laborde, pl. 26, fig. 26).
5. Fragment of lower part of horse’s neck with part of
the mane.
6. Fragment from middle of horse’s head.
7. Small fragment from top of horse’s head, part of
right ear turned back (Michaelis, pl. 8, J.K. e; Laborde,
pl. 26, fig. 24).
8. Fragment, perhaps from horse’s shoulder—right side.
9. Fragment of base of neck and part of chest with band
across.
10. A right hindleg from the stifle joint to the pastern,
bent, so as to indicate a rearing action. From below the
hough to the hoof the leg is carved out of the same block
as the bed ,ofthe pediment, which is sunk to make room
for the hoof, the greater part of which was sculptured on
92
another block of the bed which is now wanting, and which
was fitted on to it at a joint roughly tooled. The outside
of the haunch and hough have been cut away, evidently to’
gain room for the left hindleg of another horse. This
limb is composed of three separate fragments. (Michaelis,
pl. 8, J .K. f; Laborde, pl. 26, fig. 40; Overbeck, Berichte
d. sachs. Gesell. d. Wissen. Nov. 1879, p. 72, pl. 1 ; and
1880, p. 161.)
11. Hough from right hindleg, bent, broken off close to‘
joint below and a little higher above (Michaelis, pl. 8, J.K.
h; Laborde, pl. 26, fig. 33).
12. Hough from right hindleg, broken off close to-
joint and bent (Michaelis, pl. 8, J .K. u; Laborde, pl. 26,
fig. 23).
13. Hough from left hindleg, bent, piece broken off
at heel, back of the joint left rough with a projection below
the heads of the lower bones, probably for support.
14. Left hindleg from stifle to below hough, bent, made
up of two fragments; the upper one may be Michaelis, pl.
8, J.K. g ; Laborde, pl. 26, fig. 36.
15. Left thigh from below stifle to above hough ; the
outside more roughly tooled (Michaelis, pl. 8, J .K. j ;
Laborde, pl. 26, fig. 27).
16. Left thigh from below stifle ; the outer side split off,
broken off in the hough joint.
17. Stifle joint, left (‘3) leg ; worked off or broken on
outside.
18. Thigh from below stifle, broken at hough ; rough
tooled on one side.
' 19. Part of left thigh.
20. Fragment, inside of thigh of horse?
21. Left buttock (Michaelis, pl. 8, J .K. d; Laborde, pl.
26, fig. 28).
22. Left buttock from a smaller horse than those in the
chariot group.
93
23. Right (‘8) hough joint; heel broken away.
24. Right forefoot; made up of two fragments of which
‘one is Michaelis, pl. 8, J .K. p; broken off below the knee;
the hoof free from the ground.
25. Hoof of forefoot, free from the ground; cut away on
-one side with rough surface ; under the foot are holes round
the edge as if for nails.
26. Hoof broken ofi‘ in the pastern, frog strongly
marked ; one side is cut or split away ; free from ground
(Michaelis, pl. 8, J .K. o ; Laborde, pl. 26, fig. 38).
27. Hoof, one side worked oif ; free from ground.
28. Hoof; on one side is a projection; left rough at
bottom; free from ground.
29. Part of pastern and upper part of hoof; one side
worked smooth.
30. Hindhoof attached to fragment of base (Michaelis,
pl. 8, J.K. m; Laborde, pl. 26, fig. 41).
31. Hindhoof attached to fragment of base worked or
split off at back (Michaelis, pl. 8, J .K. n ; Laborde, pl. 26,
fig. 39).
32. Right foreleg, bent, from above knee to below knee
(Michaelis, pl. 8, J .K. S“; Laborde, pl. 26, fig. 30).
33. Left foreleg, bent, from above knee to below knee
(Michaelis, pl. 8, J .K. s; Laborde, pl. 26, fig. 30 bis).
34. Knee of horse, apparently of a larger scale than the
others (Michaelis, pl. 8, J .K. V“; Laborde, pl. 26,
fig. 32 bis.)
35. Fragment of arm of horse.
36. Left foreleg from below knee to below fetlock;
the inside of the fetlock worked ofl‘ (Michaelis, pl. 8, J .K. r;
Laborde, pl. 26, fig. 42).
37. Lower part of foreleg and fetlock (Michaelis, pl. 8,
J .K. g; Laborde, pl. 26, fig. 43.)
38. Lower part of leg and fetlock.
39. Fragment of horse’s shoulder and base of neck.
94
40. Fragment apparently from horse’s shoulder.
41. Fragment from horse’s hind quarter.
42. Fragment of horse’s shoulder.
43. Fragment of horse’s hoof, worked off on one side.
44. Fragment of scrotum (Michaelis, pl. 8, J.K. e;
Laborde, pl. 26, fig. 29).
MARBLE FRAGMENTS 0F ME'I'OPES.
(Wall-Case C.)
1. Fragment of right arm from the wrist to the elbow,
with folds of drapery hanging as if from the hand.
Synopsis 305 (136).
2. Fragment of arm from the wrist to near the elbow.
Synopsis 306 (137).
3. Fragment of calf of leg. Synopsis 307 (138).
4. Fragment of calf of leg covered with drapery.
Synopsis 308 139).
5. Fragment of arm from the wrist to near the elbow.
Synopsis 309 (140).
6. Fragment of arm from the wrist to above the elbow,
which is bent; above the wrist is attached a corner of
drapery. Presented by M. Dubois, 1840.
7. Part of the arm (?) of a draped figure, made up of two
pieces. Synopsis 320 (141) and 322 (142).
8. Fragment of the upper arm of a draped female
figure with sleeve fastened with two studs. Synopsis
304 (134).
9. Left breast of draped female figure. Synopsis
302 (132).
10. Right shoulder and part of breast of draped female
figure; the chz'ton fastened down the shoulder with four
studs. Synopsis 301 (131).
11. Right foot of female figure with the forepart of the
95
\sole of her sandal. This fragment belongs to the female
figure in the metope, No. 10, ante p. 38.
12. Left hindleg of Centaur up to above the hough.
Presented by M. Dubois, 1840.
GASTS FROM FRAGMENTS OF THE
ME'I‘OPES.
(Wall-Cases, A, B, C, D, E, F.)
1. Left side of draped female figure, showing the folds of
an upper garment and a chiton. This fragment extends
from the waist to about the knee. This may be the left
side of the right-hand figure in the metope xxi., of the
south side, drawn by Oarrey.
2. Fragment of right side of Lapith, giving the shoulder
and beginning of the right arm, and the side under the
arm nearly to the bottom of the ribs; the right arm has
been raised and the head steeping forward; traces of
drapery behind the neck. This is possibly from the metope
xxiii., of the south side, drawn by Oarrey.
3. Torso of male figure, extending from the left shoulder
to half-way down the right thigh; drapery hangs from
the left shoulder and falls down the back to the waist;
the back is well preserved and attached to the ground.
This figure has stood on the right foot; the left leg
appears to have been bent. It may be the male figure in
metope xvii. of the south side (Michaelis, pl. 4, fig. N).
4. Body of Lapith in metope xxiv., of the south side;
see ante p. 40.
5. Body of Lapith with part of shield on his left arm;
much injured (Michaelis, pl. 4, fig. H).
6. Piece of drapery trailing on the ground. This may
belong to the female figure in metope xxii. of the south
side. The ground on which the drapery rests is formed
by a ledge set at right angles to the back-ground.
96
7. Fragment of right hand holding the end of a roll,
from metope xx. of the south side as drawn by Oarrey
(Michaelis, pl. 3, xx.).
8. Fragment, possibly part of a lyre; apparently this is
the object held in the hands of a female figure of metope xvii.
of the south side ; there are traces of fingers at the back.
9. Fragment, possibly of the skirt at the back of the
female figure in the metope xvii. of the south side.
10. Fragment on which is a foot, with a piece of drapery,
resting on a high rock (Michaelis, pl. 4, fig.
11. Fragment on which is a rock (Michaelis, pl. 4,
fig. G).
MARBLE FRAGMENT OF FRIEZE.
Head of a youth, looking to the left. This fragment
probably belongs to one of the horsemen in the north
frieze. Michaelis assigns it to the missing slab, xxvii.
It has recently been acquired by the Museum from Mr.
Steinhauser, formerly of Karlsruhe, and is exhibited in
l/Vall-Oase H.
CAS'I'S FROM FRAGMENTS or THE FRIEZE.
‘ (Wall-Cases G, H.)
North Frieze—1. Upper corner from right side of a
slab; male head, to the left, on which are traces of a
diadem. At the back of the head the upper part of a
lyre and the fingers of a left hand. ‘The head belongs ap-
parently to the foremost Kitharist in the North frieze
(Michaelis, pl. 12, vii. 24). The place of this fragment
would thus be between Nos. 16 and 17 . On the right side
is a joint not known to Michaelis.
2. Part of a charioteer standing in a chariot of which
part of the antya; appears; it is moving to the left. The
upper part of this figure from above the waist and the
97
lower part from the knees downwards are wanting. The
left forearm crosses the body as if holding the reins.
This fragment, which is not noticed by Michaelis, must
belong to the North frieze. Professor Robert (Arch. Zeit.
1875, p. 100, n) proposes to assign it to a slab of the North
frieze as drawn by Carrey (Michaelis, pl. 12, xiii., fig. 49).
3. Fragment of chariot group; an apobates standing in
a quadrz'ga, leaning forward. The head and neck, right
arm from below elbow and legs from below the knee are
wanting. On his left arm is his oval buckler of which
the convex side is turned to the spectator. He wears a
chiton which leaves the right arm and side bare, and of
which the attachment to the left shoulder is concealed by
the shield. His right hand must have grasped the antym.
On the left of this figure drapery is shown alongside of
his right arm, but this probably belongs to the charioteer,
who must have been sculptured on the next slab, as there
is a joint on the left of the figure. As the chariot must
have been moving to the left, this fragment must belong to
the Northern frieze. The figure of which it formed a part
is not to be recognised in any of Carrey’s groups, and
must have belonged to a group lost before his time. This
fragment is not given by Michaelis, or in Robert’s list
(Arch. Zeit. 187 5, pp. 95-103).
4. Horse’s head, reined back. The scale of this horse’s
head and its direction show that it belonged to a chariot
group on the North side. The head is sculptured on
the left side of the slab, close to a joint; Michaelis gives
this head under slab xx., pl. 12.
5. Fragment showing the crest and part of the mane
of one horse, and the neck of a horse beyond. They are
moving to the left, and from their parallelism are probably
from a chariot group. The action indicates that the horses
are rearing.
6. Fragment from hind-quarter of rearing horse, probably
PART I. H
98
from a chariot group on the North side, as the horse is
moving to the left.
7. Fragment with the forelegs of two horses. Of the
horse nearest the spectator there remain the left foreleg
and foot from above the knee to the hoof, and part of the
right foreleg with the knee; of the other horse the left
forearm and about half the foreleg, of the right leg rather
more than half the arm and leg. All the legs are bent,
showing that the horses were springing forward. This
fragment is erroneously combined by Michaelis with
another (pl. 12, xvi.) behind No. 39 (No. 55 in his plate).
The movement is to the left, and the fragment therefore
belongs to the North frieze.
8. Part of a male figure from the hip to below the right
shoulder. A small portion of the upper right arm remains
raised in a horizontal direction. The left side of the body
is out off at the joint of the slab. A mantle passes round
the body from under the right arm to the left shoulder,
leaving bare the right breast and side as low as the waist.
This, as Robert points out (Arch. Zeit., 1875, p. 100,1),
seems to be the marshal beside the chariot group in
Michaelis pl. 12, xiii., fig. 48. In that case the raised
mass on the left of the hip of this figure would be part
of the rump of the third horse.
9. The upper part of two horsemen and a horse’s head
and neck, all moving to the left; of the foremost of the
horsemen all that remains is the back of the head, the
shoulders and the breast. The other horseman has the
left arm advanced; the left hand must have held the
reins. The face, which is beardless, is preserved all but
the tip of the nose. At the back of the head a diadem is
shown. The horse’s head is broken off at the eye and the
frontiof the neck only is preserved. This fragment was
formerly in the Oattaio Villa belonging to the Duke of
Modem-a; andcn his death’ was beaueathed .to_ its present
99
possessor the Archduke Karl of Austria. The cast here
exhibited (Wall-Case G) was presented to the Museum
by Herr Hofrath Eitelberger, Director of the Museum
fur Kunst und Industrie at Vienna. Michaelis assigns it
to the North frieze, xxvii. (Laborde, Athenes, ii. p. 236,)
10. Fragment with left foot of draped figure moving
to the left. The skirt falls just above the ankle, and is
preserved in front of the leg nearly to the knee. Only the
inner side of the foot remains. This fragment may have
belonged to Michaelis, i. 2, in his pl. 12, or to a figure
in slab ix. pl. 12.
11. Fragment from lower part of draped female figure
from knee to right foot, the direction being to the left.
On the right side of the fragment is a joint which comes
about three quarters of an inch behind the heel. The
drapery reaches to the ankle, with an upper fold falling
half-way down the calf. It appears to consist of a chiton
and mantle arranged like those of the musician viii., 18
(Michaelis, pl. 12, viii., 27), and may have belonged to the
figure in Michaelis, pl. 12, vii. 25, of which the hand and
lyre remain on another fragment. The other foot and
remainder of the drapery must have been continued on the
next slab to the right.
12. Right foreleg of horse from elbow of arm nearly to
the fetlock ; the direction is to the left, and it must there-
fore belong to the North frieze. In front the edge of the
fragment is raised in relief; possibly this may be the
under side of another foreleg.
13. Fragment with edge of the hind-quarter of a horse
moving to the left; the left hind-leg has been more
advanced; the back of the right hind-quarter is preserved
from the hough to the insertion of the tail, of which the
part nearest the root remains; beyond the ‘tail and higher
up on the cast are folds apparently of drapery. As the
direction of the hindleg shews that the fragment belongs
n 2
100
to the North frieze, these folds may belong to the figure
standing by the chariot in Michaelis, pl. 12, xiii., 48, as
drawn by Carrey.
14. South Frieze—Part of the shoulder and arm of a
horse moving to the right. The bent knee of another
horse moving in the same direction crosses the shoulder
just above the arm. _
15. Upper part of youthful male figure looking to the
right; behind, horse’s head. His dress is a chiton
falling in a fold over the girdle. On his head may have
been a helmet, but the surface is too much defaced to
admit of this being ascertained. A small portion of
the upper arm remains. An edge of drapery, probably
of a chlamys, is shown behind his back. This fragment
probably belongs to a horseman in the South frieze, if it
is not part of one of the figures in the chariot groups
(Michaelis, pl. 11, xxvi., 64, or xxvii., 67) drawn by Oarrey,
which it closely resembles in the position of the horse’s
head.
16. Fragment showing the inner side of a left foot,
moving to the right, with drapery from below the calf to
above the ankle. The heel is raised as if the knee was
bent. On the left side of this fragment is a joint. It is
combined by Michaelis with his pl. 11, xliii., 126, which
he did not recognise as following xli., 83 (his 119). This
identification makes his conjecture as to the position of
the fragment with the foot untenable. It probably
belongs to one of the figures conducting the victims,
xxxviii. to xliv.
17 . Fragment from chariot group moving to the right.
The body of the chariot and about three quarters of the
wheel, above which is part of the antym, are preserved.
The flowing skirt of the charioteer floats behind the body
of the quadriga, and is shown through the spokes of the
wheel. The tail of one of the horses hangs down in
101
front of the body of the quadriga falling over the edge of
the wheel. This fragment may belong to one of the
chariot groups drawn by Carrey, possibly to pl. 11, xxxiii.,
82, in Michaelis.
18. Fragment of male figure moving to right; from
the hips to the beginning of the shoulder blades. The
dress is a mantle wound round the body under the
right arm, the end cast over the left shoulder. The
right arm, which is preserved from above the elbow to
the knuckles of the hand, is bare. On the right side of
this fragment is a joint. It probably belongs to a figure
in the procession of old men and musicians, slabs xxxiv-
xxxvii., or in that of men leading victims, xxxviii-xliv.
Michaelis inserts it in xxxv. (No. 97, in his pl. 11), but
his drawing is incorrect, and the fragment cannot be
adjusted there.
19. Youthful beardless head wearing a petasos and
looking to the right. The right side of the head, part
of the cheek, the outer corner of the right eye, the lower
part of the nose are destroyed, and but little is left of the
chin and mouth. A little of the neck is preserved. This
head is engraved by Michaelis, pl. 11, xix., 48, and probably
belongs either to that horseman or to one of the two
following (pl. 11, xx., 49, 50).
20. Helmeted head looking to the right. The only
parts of the face which remain are the brow, right eye,
and upper part of right cheek. The helmet has a cheek-
piece, paragnathz's, turned up at the side. The hair is
waved and drawn back under the helmet. This head
probably belongs to the horseman No. 5 in the South frieze.
21. Foreleg of a horse from below the knee to the hoof;
the direction is to the right. This fragment has been
splintered off from the slab to which it belonged, and no
part of the background was broken away with it. The
direction shows that it is from the South frieze.
102
22. Left-hand upper corner of slab on which is a
youthful male head, bound with a diadem, looking to the
left, the face shown in three quarters, all the features
destroyed except the right eye. In scale this head corre—
sponds with that of the figures at the Eastern angle of
the South frieze. It can hardly be the head of a
horseman.
23. South or North Frieze.——Fragment of helmeted
head looking to the right. The head is entirely destroyed
except the back of the helmet and its crest. This frag-
ment may either belong to a horseman or an apobates in
the South frieze or to an apobates in the North frieze.
24. Fragment of male figure turned to right; extending
from base of neck to hip. A mantle is wound round the
loins, the end falling behind over the right shoulder ; the
right arm and side are left bare. Of this arm only a portion
from the shoulder nearly to the elbow is preserved; the
backbone is also uncovered. This may belong either to one
of the conductors of victims in the South frieze, or to a
marshal in the North frieze (Michaelis, pl. 11, xxiv..
fig. A).
25. Fragment from front of body of male figure Wearing
a chiton, girt at the waist with a round narrow girdle. The
drapery extends from above the waist to below the navel.
Both sides are broken away. The figure must have turned
round to the front, and may have been either a charioteer
or a horseman.
26. East Frieze.—Fragment on which is drapery
falling in vertical folds from below the knee to the right
foot ; on the foot is a shoe with a thick sole like those of
the female figures in slab iii. of the East side. The
direction is to the right. There is a joint on the left
side of the fragment. The dress of the figure to which
this fragment belongs, is evidently a talaric chiton such as
is worn by the maidens in the Eastern frieze ii-iii.
103
Perhaps this fragment belongs to the hindermost of these
maidens, as drawn by Carrey, in Michaelis, pl. 14, ii., 2.
27. Female head looking to the left. The hair is
gathered up behind under a net. Of the face only the
left cheek, left eye and forehead are preserved. This
must have belonged to one of the figures in the pro-
cession, Michaelis, pl. 14, vii., viii. or ix.
ARCHITECTURE.
1. The capital and uppermost drum of one of the
Doric columns of the north side.
2. Part of a marble tile-front, ornamented with the
(mthemz'on, and hence called by the Greeks kalypter anthe~
motes. The roof of the Parthenon, like that of many other
Greek‘ temples, was formed of marble tiles, solenes, carefully
adjusted one to another (see Michaelis, pl. 2, fig. 8).
3. Cast of a similar tile-front, from the original at
Athens (Michaelis, pl. 2, fig. 8).
4. Cast of lion’s head from one of the angles of the
temple. Mr. Penrose (Athenian Architecture, p. 46)
describes the original of this or a similar lion’s head as
worked out of a block which forms the springing stone
both of the cymatium and the corona of a pediment. In
the modelling of those lions’ heads, and especially in the
treatment of the mane, the austere style, very much more
archaic than that of the other sculptures of the Parthenon,
is worthy of notice (Michaelis, pl. 2, fig. 9; Penrose,
Athenian Architecture, pl. 17, chap. vi., and pl. 1, chap.
5-6. Casts from two fragments of akroten'a probably
from the Western pediment (Michaelis, pl. 2, fig. 10).
7. Marble fragment of a similar akroterz'on (Inwood,
The Erechtheion, pl. 22, p. 130).
104
8. Marble fragment of moulding with painted maeander
pattern (Inwood, The Erechtheion, pl. 22, p. 129).
9. Marble fragment of moulding with painted maeander
pattern. Both these fragments appear to belong to the
moulding which surmounted either the frieze or the
peristyle (see Penrose, Athenian Architecture, chap. viii.,
pl. 23 ; Michaelis, pl. 2, fig. 17).
MISCELLANEOUS.
1. Fragment of marble shield supposed to be a rough
copy from the shield of the statue of Athene by Pheidias
within the Parthenon. Pliny states that the outside
of the shield was ornamented with the representation
of a battle between Greeks and Amazons, to which
Plutarch adds (Vit. Pericl. 31) that one of the figures
represented Pheidias himself as an old bald-headed
man raising a stone with both hands, while in another
figure who was represented fighting against an Amazon,
with one hand so raised as to conceal the face, the
sculptor introduced the likeness of Perikles. Other
writers state that in the centre of the shield was the
head of Medusa, or Gorgoneion. This head, encircled
by two serpents, forms the centre of the composition on
the marble fragment. Below the Gorgoneion is a Greek
warrior, baldheaded, who raises both hands above his head
to strike with a battle axe; a chlamys falls over his left
shoulder and breast. This figure has been thought to
correspond with that of Pheidias in the original design.
Next to him on the right is a Greek wearing a helmet,
cuirass and high boots, who plants his left foot on the
body of a fallen Amazon, and is in the act of dealing a
blow with his right hand; his right arm is raised across
his face and conceals the greater part of it. The action
of this figure again presents a partial correspondence with
105
that of Perikles as described by Plutarch. To the right
of the supposed Perikles are two Greeks, the one armed
with shield and helmet and clad in a chiton girt at
the waist; the other wearing a chlamys, and high boots.
and armed with a helmet and sword, seizes by the hair an
Amazon falling on the right. This Amazon is armed
with a pelta. Above this group is an Amazon running
to the right and a Greek striding to the left. He is
armed with a spear, a helmet and a shield having the
device of a hare; he wears a short chiton and high boots.
Above him are two Greeks, each wearing ‘a short chiton,
high boots and a helmet; one of them is armed with a shield
and spear; to the left of these two figures is another Greek
wearing a short chiton and high boots, and armed with
shield and sword; his head is broken away; above him
are remains of another figure. On the left of the figure
described as Pheidias is a Greek wearing ahelmet, cuirass
and high boots, who has fallen on his knees. Further to
the left are two fallen Amazons and the lower part of a
third figure probably that of a Greek; the left leg of
another figure is seen beside the left arm of the upper of
the two Amazons. All the Amazons on the shield wear
high boots and a short chz'ion, leaving the right breast ex-
posed ; their weapon is a double headed axe. Red colour
remains on the two serpents which encircle the Gorgon’s
head, on the shield of one of the Greeks and in several
places of the draperies. This shield was obtained in
Athens by Percy Clinton, Viscount Strangford, from whose
son it was acquired by the Museum. There is a fragment
of a similar marble shield in the Vatican. (Michaelis,
pl. 15, Nos. 34, 35 ; Conze, Arch. Zeit. 1865, pll. 196-197).
2. Marble fragment consisting of the back half of a
female head which has been split vertically. The hair is
bound twice round with a narrow diadem, and has been
gathered back from the temples and tied in a knot at the
106
roots behind. The knot is broken away. This head has
a worked joint across the neck, and has been attached by
means of a dowel, the hole of which remains. It is
doubtful whether this fragment has belonged to the
Parthenon.
3. ‘(last of marble statuette supposed to be a copy from
the chryselephantine statue of Athens by Pheidias within
the Parthenon. Athene wears a helmet, aegis, and talaric
chiton with diploi'dz'on girt round the waist; her right
hand is extended in front with the palm open upwards
as if to hold out the figure of Victory. In this part the
statuette is unfinished, the marble underneath the right
arm not having been hewn away. The left hand of the
Goddess rests on her shield, which stands on its edge
at her side; inside the shield is a serpent; outside are
reliefs representing a battle between Greeks and Amazons.
Among the attitudes in this composition which may be
recognised as the same as in the marble shield already
described are those of an Amazon fallen on her back with
her head towards the lower edge of the shield and with
both her hands over her head, and another Amazon, also
fallen on her back, along the lower edge of the shield.
From the manner in which the rest of the figure corre-
sponds to the ancient description of the chryselephantine
statue, it has been assumed, that some indication of what
Pheidias sculptured on the base would not be omitted.
The subject of this composition was the Birth of Pandora,
and the rude outlines of figures in relief on the base of
the statuette may be intended to represent the original
sculpture. The original of this statuette is at Athens,
and was’ found there West of the Pnyx; (Fr. Lenormant,
Gazette des Beaux-Arts, 1860, p. 133; Michaelis, pl. 15,
No. 1, and p. 273.)
4. (last from a- marble statuette rudely copied from the
statue \of Athene Parthenes by \Pheidiasn The Goddess
107
wears a helmet, aegis, talaric chiton with diploi'dz'on girt
round the waist, bracelets and sandals ; her left hand'rests
on her shield which stands on its edge at her side. In the
centre of the outside of the shield is a mask of Medusa, and
inside a serpent; the right hand of Athene is extended in
front and rests on a column with the palm open upwards,
holding a figure of Victory, in whose hands are remains of
what is thought to be a garland. The head of the Victory
is wanting. On the centre of the helmet of Athene is a
Sphinx, and at each side has been a Pegasos. This statuette
was found in 1880 near the Varvakion in Athens. (Bullet.
de Oorresp. Hellén. 1881, p. 54 ; Mittheilungen d. Archaol.
Inst. v., p. 370 and vi., p. 56, pll. 1—2 ; Newton, in Hellenic
Journal, ii ., pp. 1-6 ; Michaelis, Eine neue Oopie der
Parthenos des Pheidias.)
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