"BUM. 
 
 OF GREEK ANL> ROMAN ANTIQUITIES. 
 
 A GUIDE 
 
 BCULPTUBES OF THE 
 PAETHENON. 
 
 
 LONDON : 
 
 TIUNTKD J'.Y ORDER OF THE THUS'i I.KS, 
 1908. 
 
 Price One Shilling.
 
 A GUIDE 
 
 TO 
 
 THE SCULPTUKES OF THE 
 PABTHENON 
 
 IN THE BRITISH MUSEUM. 
 
 [Based on the Third Edition of Part IL, Volume I., of a Catalogue of 
 Sculpture in the Department of Greek and Roman Antiquities, 
 by A. H. SMITH, M.A., Assistant Keeper of tlie Department.] 
 
 LONDON : 
 PRINTED BY ORDER OF THE TRUSTEES. 
 
 1908.
 
 LONDON : 
 
 PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, 
 DUKE STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W.
 
 PREFACE. 
 
 E present Guide is based on the third edition of Part II., 
 1. I., of the Catalogue of Sculpture in the British Museum 
 *92). 
 
 According to the plan of that work, its separate parts were 
 lied singly as well as collectively. Part II. of Volume I., 
 iling with the Sculptures of the Parthenon, was quickly 
 :iausted. It was reissued, with considerable alterations, in 
 00 and 1906, and is now out of print. In the present 
 ition its form has been changed. The historical portions 
 ve been amplified ; the formal descriptions and copious 
 erences, appropriate to a catalogue, have been abbreviated, 
 d their full statement is reserved for a new edition of the 
 talogue of Sculpture. 
 
 Several new illustrations have also been added. 
 
 A large illustrated work on the Parthenon sculptures is 
 
 preparation, and it has been thought desirable to seize 
 3 opportunity of re-numbering the figures of the Frieze in 
 ler to bring them, as far as possible, into conformity with 
 3 system followed in the standard work of Michaelis, 
 ;r Parthenon. 
 
 Eeferences to the Plates in the new work have been 
 verted under the title ''Sculptures of the Parthenon." It 
 s not, however, yet been possible to give the Plate- 
 ! erences for the fragments. 
 
 CECIL SMITH. 
 
 March, 1908. 
 
 2033595
 
 CONTENTS. 
 
 PAGE 
 
 TABLE OF ABBREVIATIONS . vii 
 
 PHEIDIAS AND THE PARTHENON . 1 
 
 Athene Parthenos . . . ... . .11 
 
 East Pediment of Parthenon 15 
 
 West Pediment of Parthenon 29 
 
 Metopes of Parthenon . . . . . . .47 
 
 Frieze of the Parthenon .62 
 
 East Side .... . . . . . .71 
 
 North Side .. . . . 83 
 
 West Side 98 
 
 South side 101 
 
 Fragments of the Parthenon Sculptures .... 116 
 
 Pediments . . .116 
 
 Metopes . . . . . . . . . .122 
 
 Frieze . . .127 
 
 Architectural Fragments from the Parthenon . . .133 
 
 LIST OF PLATES. 
 
 PLATE 
 
 I. VIEW OF THE EAST END OF THE PARTHENON. 
 II. ATHENE PARTHENOS (300). 
 
 III. EAST PEDIMENT " THESEUS " (303 D). 
 
 IV. ,, THE FATES (303 K L M). 
 V. ,, TORSO OF SELENE (303 N). 
 
 HEAD OF HORSE (303 o). 
 VI. METOPE OF THE PARTHENON (310). 
 (317). 
 
 VII. FRIEZE OF THE PARTHENON, EAST SIDE (324, 28-31). 
 VIII. NORTH SIDE (325, 115-119). 
 
 IX. WEST SIDE (326,- 11, 12). 
 
 X. SOUTH SIDE (327, slab xl.).
 
 TABLE OF ABBREVIATIONS. 
 
 The following is a list of the works which are most frequently referred 
 to in this Guide under abbreviated forms : 
 
 Antike Derikmaeler. Antike Denkmaeler^herausgegeben vom k. deutschen 
 Archaeologischen Institut. Berlin : from 1886. In progress. 
 
 AtJienische Mittheilungen. Mittheilungen des k. deutschen Archaeolo- 
 gischen Instituts, Athenische Abtheilung. Athens : from 1876. In 
 progress. 
 
 Brunn, Derikmaeler. H. v. Brunn, Denkmaeler griechischer und 
 romischer Sculptur. Munich : 1888-1899. [Continued by Arndt, 
 after Brunn's death.] 
 
 Furtwaengler, Masterpieces. A. Furtwaengler, Meisterwerke der 
 griechischen Plastik. (Leipsic-Berlin : 1893.) Translated by E. 
 Sellers, as Masterpieces of Greek Sculpture, 1895. 
 
 Jahrbuch des Arch. Inst. Jahrbuch des k. deutschen Archaeologischen 
 Instituts. Berlin : from 1886. In progress. 
 
 Mansell. Photographs of objects in the British Museum, published by 
 W. A. Mansell, 405 Oxford Street, W. 
 
 MicJiaelis. A. Michaelis, Der Parthenon. Leipsic : 1871. 
 
 Mus. Marbles. A Description of the Collection of Ancient Marbles in 
 the British Museum. 1812-1861. 
 
 Roemische Mittheilungen. Mittheilungen des k. deutschen Archae- 
 ologischen Instituts, Roemische Abtheilung. Rome : from 1886. 
 In progress. 
 
 Sculptures of the Parthenon. A forthcoming work. See Preface. 
 
 Stuart. James Stuart and Nicholas Revett, The Antiquities of Athens. 
 London: 1762-1830. [Second ed., 1825-1830. The first ed. is 
 quoted unless otherwise stated.] 
 
 BRITISH AND METRIC SYSTEMS COMPARED. 
 
 1 inch = '025 metre. 
 1 foot = -304 metre. 
 8 feet = '914 metre. 
 
 1 metre = 39-371 inches.
 
 A GUIDE 
 
 SCULPTUEES OF THE PARTHENON, 
 
 PHEIDIAS AND THE SCULPTURES OP THE 
 PARTHENON. 
 
 The Sculptures of the Parthenon illustrate the style of 
 Pheidias, the greatest of Greek sculptors. 
 
 PHEIDIAS, son of Charmides, the Athenian, was born soon 
 after 500 B.C. His youth was passed during the period of the 
 Persian wars, and his maturity was principally devoted to the 
 adornment of Athens, from the funds contributed by the allied 
 Greek states during the administration of Pericles. 
 
 Among the chief of the works of this period was the 
 Parthenon, or the temple of the Goddess Athene, called par 
 excellence Parthenos, or virgin. The architect was Ictinos, but 
 the sculptural decorations, and probably the design of the 
 temple, were planned and executed under the superintendence 
 of Pheidias. The building was probably begun in B.C. 447. It 
 was sufficiently advanced to receive the statue of the Parthenos 
 in B.C. 438, and was completed a few years later. It stood on 
 the Acropolis of Athens, on a site which had been already 
 prepared for a more ancient temple, the foundations of which 
 are incorporated in those of the Parthenon. It was long 
 supposed that these were remains of a temple which was burnt 
 in the sack of Athens by the Persians, B.C. 480. Since the 
 discovery of the foundations of an early temple between the 
 Parthenon and the Erechtheum, it seemed more probable that 
 those foundations belonged to a structure begun but never 
 completed after the Persian wars. A searching investigation,
 
 2 SCULPTURES OF THE PARTHENON. 
 
 however, has led Prof. Doerpfeld to the conclusion that the 
 older Parthenon was begun but not finished before the Persian 
 sack. He suggests that it was commenced by Cleisthenes, was 
 resumed in marble (instead of limestone) after Marathon by 
 Aristeides, and was burnt with its scaffolding by the Persians. 
 
 The date of the foundation is deduced from an inscription with build- 
 ing accounts, assumed, both from its general period and its contents, to 
 refer to the Parthenon. In this document the year of the archonship of 
 Crates (434-3 B.C.) is the fourteenth and that of Apseudes (433-2 B.C.) is 
 the fifteenth from the beginning of the record, which would therefore 
 be dated 448-7 B.C. It has been inferred (from a fragment of papyrus at 
 Strasburg) that a building commission for the Acropolis had been 
 appointed ten years previously (Keil, Anonymus Argentinensis). The 
 date of 438 B.C. is obtained, by the aid of a double correction, from 
 Philochoros, as quoted by the Scholiast on Aristophanes, Pax, 605. The 
 chryselephantine statue is there stated to have been placed in the great 
 temple in the year of the archonship of Pythodoros, and Pheidias is said 
 to have been put to death in the seventh following archonship, that of 
 Skythodoros. The MSS. of Venice and Ravenna agree in their readings. 
 (^iXo^opos eVi Hvdo8a>pov ap%ovros ravrd (pr)o~i. KH\ TO (iyd\fj,a TO \pv(rovv 
 TTJS 'AOrjvas eWdtf?; fly TOV veu>v TOV peyav . . . IlfpiK\eovs (TTIO-TCITOVVTOS, 
 Qeioiov 8e Troujo-aj/ros . . . /cat (pvytav els T HAiy epyoXn^crat TO ayaX/xa TOV 
 Aiof TOV fv 'OXv/ri'a Xe'ytTcu, TOVTO 8e e^epyacrd/jifvos dnodavelv VTTO 'HXfi'coi/ 
 eVi ^Kvdodtapov, oy corn; OTTO TOUTOV e/38o/ios, K.T.X.). Inasmuch as there 
 was no archon Skythodoros, and since Theodores and Pythodoros were 
 separated by the required interval of time, and had the required relation 
 to the date of the Peloponnesian war, the name Skythodoros has been 
 corrected to Pythodoros, the archon of B.C. 432-1, and the name 
 Pythodoros has been corrected to Theodoros, the archon of B.C. 438-7. 
 The corrections are due to Le Paulmier (Exercitationes, 1678, p. 746). 
 
 The date of completion is inferred from the fragment of the building 
 inscription already mentioned, which contains entries for the year of the 
 archonship of Apseudes (433-2 B.C.), being the fifteenth from the beginning 
 of the series. Tjots eniaTaTTja-i, ols 'Ai/TtKXJJy eypap.p.dTfV, enl TIJS TTf^\TT\Tr]s 
 KOI SfKaTrjs fBov\r)s, fj KpiTidbrjs TrpwToy e'-ypa/M/iaTeue, eVt 'Ax/fevSov? ap^ovTos 
 '.\drjvaiois, Xq/i^aTa TOV fviavTov TaSe' K.T.X. (For the inscription, see 
 Inscriptions Graecae, I., 300-311 ; Suppl. p. 36, Nos. 297 a, 6; p. 74, 
 No. 311 a; p. 147, Nos. 300-302 ; for the literature, see Koepp, Jahrbuch 
 des Arch. Inst., 1890, p. 269.) 
 
 The Parthenon was of the Doric order of architecture, and 
 was of the form termed peripteral octastylc ; that is to say, it 
 was surrounded by a colonnade, which had eight columns at 
 each end. The architectural arrangements can be best learnt 
 from the model, which is exhibited in the Elgin Eooin. See 
 also the view of the west front (fig. 1), the plan (fig. 2), the 
 sectional elevation (fig. 3), and the section (fig. 4) through the 
 opisthodomos, at right angles to the axis of the building.
 
 THE BUILDINC; 
 
 B 2
 
 SCULPTUKES OF THE PARTHENON. 
 
 3N3HI.V JO Hlbia -lN3WlQ3d 
 
 PEDIMENT CONTEST OFATHENE AND POSEIDON 
 - sciM.pru,in|.M 10 20 30 40 50 FEET 
 
 Fig. 2. Plan of the Parthenon (after Doerpfeld).
 
 THE BUILDING. 5 
 
 The principal chamber (Cella or Neos Hekatompedos) within 
 the colonnade contained the colossal statue of Athene Parthenos 
 (see below, Nos. 300-302). Externally the cella was decorated 
 
 Fig. 3. Sectional view of the East end of the Parthenon (after G. Niemann). 
 
 with a frieze in low relief (see below, p. 62). The two pediments 
 (see below, Nos. 303, 304) were filled with figures sculptured in 
 the round. Above the architrave, or beam resting on the 
 columns, were metopes, or square panels, adorned with groups
 
 SCULPTURES OP THE PARTHENON. 
 
 2O FEET. 
 
 Fig. 4. Section through the Opisthodomos.
 
 HISTORY OF THE PARTHENON. 7 
 
 in very high relief (see p. 47). All these sculptured decorations 
 were executed, like the architecture, in Pentelic marble. The 
 building inscription mentioned above contains entries for the 
 quarrying and transport of the marble of Pentelicus for the 
 pediments. 
 
 The statue of the Parthenos is known to have been in 
 existence about 430 A.D. ; but not long after this date the figure 
 was removed, and the Parthenon was converted into a Christian 
 church, dedicated to the Panagia (or Virgin Mary). For the 
 purposes of the church, an apse was built at the east end of the 
 cella, and the entrance was moved to the west end. Probably 
 at this time the east pediment was much destroyed. From 
 1204 to 1458, during the period of the Prankish Dukes of 
 Athens, the Parthenon was a Latin Cathedral Church. Athens 
 was taken by the Turks in 1458, and soon after, the Parthenon was 
 converted into a Turkish mosque. A minaret was built at the 
 south-west corner. From this date it probably suffered little 
 until 1687, when Athens was taken by the Venetian General 
 Morosini. In the course of a bombardment of the Acropolis, 
 the besiegers had learnt from a deserter that the Turkish 
 powder was stored in the Parthenon. They succeeded in 
 throwing a shell into the powder magazine, and produced an 
 explosion on September 26/1687, which caused a loss of more 
 than three hundred lives, and destroyed the roof with much of 
 the long sides of the building. Further injury was done by 
 Morosini, who made an attempt to take down the central group 
 of the west pediment, which was still nearly complete. The 
 workmen had hardly begun to remove the cornice above the 
 figures when the whole of the central group fell to the ground. 
 For further details, see p. 33. 
 
 Fortunately, many of the sculptures had been drawn by a 
 competent artist before the explosion. In 1674 a painter in 
 the suite of the Marquis de Nointel, French Ambassador at the 
 Porte, commonly supposed to have been Jacques Carrey, made 
 sketches of large portions of the frieze and metopes, and of the 
 then extant portions of the pedimental compositions. These 
 drawings are preserved in the French Bibliotheque Nationale, 
 and are constantly referred to in discussions of the Parthenon 
 sculptures.
 
 SCULPTURES OF THE PARTHENON.
 
 THE ELGIN COLLECTION. 
 
 In 1688 Athens was restored to the Turks, and from that 
 date to the end of the eighteenth century the sculptures of the 
 Parthenon were exposed 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 Acropolis, and broke off 
 portable fragments of the sculptures. Chandler, who visited 
 Athens in 1765, after describing the process of destruction, 
 writes : " It is to be regretted that so much admirable sculpture 
 as is still extant about this fabric should be all likely to perish, 
 as it were immaturely, from ignorant contempt and brutal 
 violence. Numerous carved stones have disappeared; and 
 many, lying in the ruinous heaps, moved our indignation at the 
 barbarism daily exercised in defacing them " (Travels in Greece, 
 p. 50). 
 
 In 1749, when the west pediment was drawn by K. Dalton 
 (cf. p. 36), many figures still remained in position which had 
 disappeared before the time of Lord Elgin. Several portions 
 also of the frieze, which were seen by Stuart (1752), had 
 disappeared at the beginning of the present century. On the 
 other hand, the east pediment, being inaccessible, suffered no 
 important change between 1674 and 1800. 
 
 In the year 1799, the seventh Earl of Elgin was appointed 
 British Ambassador to the Porte. Being resolved to make his 
 time of office of service to the cause of art, he engaged a body 
 of draughtsmen and formatori to make casts, plans and drawings 
 from the remains in Greece, and more particularly at Athens. 
 While this work was in progress Lord Elgin became aware of 
 the rapid destruction of the Athenian monuments. The success 
 of the British arms in Egypt made the disposition of the Porte 
 favourable to the British Ambassador, and Lord Elgin was thus 
 enabled in the year 1801 to obtain extended powers, under 
 which he was permitted to remove the original sculptures. The 
 collection thus formed, which includes, besides many of the 
 sculptures of the Parthenon, other marbles obtained from 
 Athens and elsewhere, together with casts and drawings, was 
 purchased from Lord Elgin by the British Government in 1816 
 for 35,000. Several portions of the sculptures of the Parthenon 
 have been discovered since the time of Lord Elmn on the
 
 10 SCULPTURES OF THE PARTHENON. 
 
 Acropolis itself, or in various parts of Europe, to which they 
 had been taken by travellers. These are represented for the 
 most part in the British Museum by plaster casts. 
 
 As far as possible the casts of fragments have been united 
 to the principal sculptures to which they belong. The majority 
 of the unplaced fragments are reserved for the use of special 
 students. 
 
 The following aids to the study of the Parthenon will be 
 found in the Elgin Eoom : 
 
 Model of the Athenian Acropolis, by H. Walger (1898), 
 showing the results of recent investigations. 
 
 Model of the Parthenon. The model was made by E. C. 
 Lucas, on the scale of one twentieth, and represents the state of 
 the temple in 1687, after the explosion, but before Morosini had 
 attacked the west pediment. 
 
 Carrey's drawings of the pediments. Photographic repro- 
 ductions of the originals are exhibited. (See also figs. 8, 11.) 
 
 A drawing by Pars (1765) of the east end of the Parthenon 
 (see Plate I.). Indifferently engraved in Stuart II., chap. I., pi. 1. 
 
 A view of the Parthenon in 1802. By Sir E. Smirke. 
 
 A portrait of the seventh Earl of Elgin. From the picture 
 in the possession of the Earl of Elgin, K.G. 
 
 A view of the Acropolis from the Propylaea, by H. W. 
 Williams, taken in 1817. 
 
 Photograph of the Acropolis from the south west, and a 
 photograph of the north side of the Parthenon, taken so as to 
 show the curvature of the steps. 
 
 A restored view of the Athenian Acropolis. By Eichard Bohn. 
 
 Eeproductions of coins with representations of the Parthenos ; 
 also of two gold medallions, now in the Hermitage Museum. 
 
 Bibliography of the Parthenon. 
 
 The work of Michaelis, Der Parthenon (Leipsic, 1871), collects the 
 material for the study of the Parthenon, and contains an 
 excellent digest of all that had been written on the subject up 
 to the year 1871. For the name Parthenon, see Furtwaengler, 
 Meisterwerke, p. 172, and Masterpieces, p. 429. For the 
 chronology of Pheidias, and for the question as to his master, 
 see Gardner, Handbook of Gr. Sculpture, p. 248 ; Furtwaengler, 
 Masterpiece*, pp. 36, 49. For the older temple on the site of
 
 BIBLIOGRAPHY. 11 
 
 the Parthenon, see Penrose, Journ. of Hellenic Studies, XII., 
 p. 275 ; XIII., p. 32 ; Doerpfeld, in Athenische Mittheilungen, 
 XVII., p. 158; XXVIL, p. 379; Furtwaengler, Masterpieces, 
 p. 419. The plan given above is taken from Doerpfeld, 
 Athenische Mittheilungen, VI., pi. 12, p. 283. For the parts of 
 the temple, see Frazer, Journ. of Hellenic Studies, XIII., 
 p. 153 ; J. W. White, The Opisthodomus on the Acropolis at 
 Athens. 
 
 For the mediaeval history of the Parthenon, see Laborde, Athenes 
 aux XV, XVP, et XVIP Siecles (1854) ; Gregorovius, Athen 
 im Mittelalter (1889). Facsimiles of Carrey's drawings are 
 completely published by Omont, Athenes au XVIP siecle : 
 Dessins des Sculptures du Parthenon, attribues a J. Carrey, etc. 
 (Paris, 1898). For the discussion of Carrey's supposed author- 
 ship, see ibid., p. 4. The remains of Athens were little known 
 till the appearance of The Antiquities of Athens, by James 
 Stuart and Nicolas Bevett. (London: vol. I., 1762; vol. II., 
 1787 ; vol. III., 1794 ; vol. IV., 1816 ; vol. V., 1830. A second 
 edition, with additional matter, but having inferior illustra- 
 tions, was issued in 1825-1830.) Stuart's drawings for the 
 views engraved are preserved in the Library of the Eoyal 
 Institute of British Architects. Bevett revisited Athens in 
 1765, in company with Bichard Chandler, the leader of the 
 Dilettanti Expedition, and William Pars. Some of the drawings 
 of Pars were incorporated in the second and fourth volumes of 
 Stuart and Bevett. The originals passed in part into the 
 collection of Sir Bichard Worsley (p. 112), and the remainder 
 were presented to the British Museum (in 1800) by the Society 
 of Dilettanti, and are at present divided between the Depart- 
 ments of Prints and Drawings and of Greek and Boman 
 Antiquities. The official inquiry into the proceedings of Lord 
 Elgin is contained in the Report of the Select Committee of the 
 House of Commons on the Earl of Elgin's Collection of 
 Sculptured Marbles; &c. (London, 1816). The architectural 
 and other, drawings by Lord Elgin's artists are in the Depart- 
 ment of Greek and Boman Antiquities. 
 
 STATUE OP ATHENE PARTHENOS. 
 
 The colossal statue of Athene Parthenos by Fheidias was 
 placed within the central chamber of the Parthenon. The 
 figure was made of gold and ivory, and was, with its base, about 
 40 feet high. Athene stood, wearing chiton and aegis ; with 
 her left hand she supported her spear and the edge of her 
 shield ; between her and her shield was the serpent Erichthonios. 
 On her outstretched right hand was a winged Victory, six feet 
 high, holding a wreath. The helmet of the Goddess was 
 adorned, according to Pausanias, with a Sphinx and Gryphons. 
 From detailed copies of the head we learn that the Gryphons
 
 12 SCULPTURES OF THE PARTHENON. 
 
 were on the cheek-pieces, and that there was a figure of Pegasos 
 on each side of the Sphinx ; there was also a row of small 
 horses at the front of the helmet. All available space was 
 covered with decoration. A battle between Greeks and Amazons 
 (see below, Nos. 301, 302) was seen on the exterior of the 
 shield, and one between Gods and Giants on its interior. On 
 the base was a representation of the birth of Pandora (see 
 No. 301), and on the edges of the sandals was a battle between 
 Centaurs and Lapiths. 
 
 The statue disappears from our view with the fall of 
 paganism. Nos. 300-302 afford some of the materials for its 
 reconstruction. Eough reproductions of the figure also occur 
 on Attic reliefs, such as Nos. 771-773. 
 
 The column beneath the hand of Athene (in No. 300) presents some 
 difficulty, as it is not mentioned in descriptions of the statue and seldom 
 occurs in reproductions of it. It is seen in an Attic relief (Michaelis, 
 pi. 15, fig. 7), on a lead ticket (Zeitschr. fur Numismatik, x., p. 152), 
 and in the form of an olive tree, on a coin of Nagidus (in Cilicia), of the 
 first half of the fourth century B.C. (Journ. of Hellenic Studies, 
 viii., p. 22.) It is more probable that an existing support should be 
 omitted in reliefs, than that it should be inserted if non-existent. It is 
 possible, however, that the support was not a part of the design of 
 Pheidias, but was an addition subsequently found to be necessary. 
 
 300. (Plate II.) Cast of a statuette copied from the Athene 
 Parthenos. The Goddess wears a helmet, aegis, tunic with 
 lappet (apoptygma) girt round the waist, bracelets and sandals. 
 The tunic is a split tunic, but worn so that the leg is carefully 
 concealed. 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. On the centre of 
 the helmet of Athene is a Sphinx, and at each side has been a 
 
 The statuette was found in a shrine in a private house. 
 It is interesting to note that the biographer of the neo- 
 platonist philosopher Proclus (who lived at Athens about 430- 
 485 A.D.) relates that Proclus was bidden in a dream to prepare 
 his house for " the lady of Athens," when the statue was 
 being moved from the Parthenon, by those " who moved that
 
 ATHENE PAKTHENOS. 13 
 
 which ought to be immovable," i.e. by the Christians (Mariuus, 
 Proclus, 30 ; Michaelis, p. 270). 
 
 The original, which is of Pentelic marble, is in the National Museum 
 at Athens. Found in 1880, near the VarvaTcion in Athens, 
 Brunn, DenJcmaeler, Nos. 39, 40 ; Gardner, Handbook of Gr. 
 Sculpture, p. 253 ; Mansell, No. 1358. 
 
 300 A. Cast of a statuette copied from the Athene Parthenos. The 
 head and right arm were separate pieces, inserted in sockets, 
 and are now lost. The drapery resembles that of No. 300 in 
 its general lines, but is worked throughout with more subtlety 
 and consideration. The aegis is smaller, with scalloped edges, 
 and smooth surface ; the Gorgoneion is of the early type, with 
 protruding tongue. The figures preserved on the shield include 
 the prostrate figure (c; cf. No. 302), which is an Amazon on 
 other copies, but in this case has the forms of a male figure. 
 The vanquished Amazon seized by a Greek (d) is preserved 
 in part. Of the Greek, only the feet remain. 
 
 The original, which is of Pentelic marble, was found at Patras 
 (where it remains) probably in 1896. The cast was presented 
 by M. Cavvadias. British School Annual, III., pi. 9 ; C. Smith, 
 ibidem, p. 121. 
 
 301. Cast of a statuette copied from the statue of Athene 
 Parthenos. Athene wears a helmet, aegis, and tunic with 
 lappet (apoptygma) 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. Inside the shield of the Goddess is a serpent ; outside 
 are reliefs representing the battle between Greeks and Amazons, 
 which is seen in more detail in No. 302. 
 
 Among the figures, we recognise several which occur on No. 302. 
 The figure of Pheidias (a, see No. 302) is near the top of the relief, and 
 holds a stone, as described by Plutarch. Next him perhaps is Pericles (6) 
 separated from the fallen Amazon (c), which is at the bottom of the 
 shield, as in No. 302. The group of the Greek seizing an Amazon (d) is 
 seen on the right as in No. 302. The fallen Amazon (e) with hands 
 above her head is high up, on the left of the relief. In place of the 
 group of an Amazon supporting her companion (/) which is in No. 302, 
 we have here the same subject, but differently treated.
 
 14 SCULPTURES OF THE PARTHENON. 
 
 The Gorgon's head is roughly indicated near the middle of 
 the shield. The rude outlines of figures in relief on the base of 
 the statuette may be supposed to represent the birth of Pandora 
 (Paus., L, 24, 7). 
 
 The original of this statue, which is of marble, is in the National 
 Museum at Athens. It is commonly known from the name of 
 its discoverer as the Lenormant copy. Found in 1859 near the 
 Pnyx, at Athens. Michaelis, pi. 15, fig. 1, p. 273; Brunn, 
 DenJtmaeler, No. 38 ; Gardner, Handbook of Gr. Sculpture, 
 p. 254. 
 
 302. Fragment of shield supposed to be a rough copy from the 
 shield of the statue of Athene Parthenos. Pliny (H. N., xxxvi., 
 18) and Pausanias (i. 17, 2) state that the outside of the shield 
 was ornamented with the representation of a battle between 
 Greeks and Amazons. Plutarch adds (Pericles, 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, 
 which was represented fighting against an Amazon, with one 
 hand holding out a spear in such a way as to conceal the face, 
 the sculptor introduced the likeness of Pericles. He also states 
 that the placing of these portraits on the shield was one of the 
 pretexts for the disgrace of Pheidias. But the story is probably 
 of late origin, and was invented to account for two characteristic 
 figures on the shield. A head of Medusa, encircled by two 
 serpents, forms the centre of the composition. 
 
 Below is a Greek warrior (a, cf. No. 301), bald-headed, who raises 
 both hands above his head to strike with a battle-axe. This figure has 
 been thought to be Pheidias of the original design. Next to him on the 
 right is a Greek (6) who plants his left foot on the body of a fallen 
 Amazon (c) 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 corresponds with that of Pericles as 
 described by Plutarch. To the right are two Greeks : the one advances 
 to the right : the other (d) seizes by the hair an Amazon falling on the 
 right. Above this group is an Amazon running to the right and a Greek 
 striding to the left. His shield has the device of a hare. Above him are 
 three armed Greeks, and the remains of another figure. On the left of 
 the figure described as Pheidias is a Greek who has fallen on his knees. 
 Further to the left are a fallen Amazon (e) and a wounded Amazon (/) 
 supported by a companion of whom but little remains. The lower part 
 of a third figure, probably that of a Greek, is also seen. 
 
 All the Amazons wear high boots and short chiton, leaving 
 the right breast exposed ; their weapon is a double-headed axe.
 
 THE EAST PEDIMENT. 15 
 
 lied colour remains on the two serpents which encircle the 
 Gorgon's head, on the shield of one of the Greeks and in several 
 places on the draperies. The back of the shield is roughly 
 worked, with a suggestion of the handle. Traces also remain of 
 painted figures, including a bearded man, bending to the right. 
 These may be supposed to suggest the scene of Gigantomachia 
 with which the inside of the shield was decorated, and to 
 indicate that the interior ornament consisted only of paintings 
 on a smooth surface. Obtained ~by Viscount Strangford from 
 Athens. 
 
 Pentelic marble ; Conze, ArcJieologische Zeitung, 1865, pis. 196, 197 ; 
 Michaelis, pi. 15, fig. 34 ; Mansell, No. 729. For the traces of 
 paint see C. Smith, British School Annual, III., p. 137. There 
 is a fragment of a similar shield in the Vatican; Amelung, 
 Sculpturen des Vaticanischen Museums, I., Mus. Chiar. 300, 
 pi. 54. 
 
 EASTERN PEDIMENT OP THE PARTHENON. 
 
 303 ^ e k now from Pausanias * that the subject of the composi- 
 ' tion in the eastern pediment had relation to the birth of 
 Athene, who, according to the legend, sprang forth, fully armed, 
 from the brain of Zeus. As all the central part of this compo- 
 sition was already destroyed when Carrey made his drawing of 
 the pediment, we have no direct information as to how the 
 subject was treated. 
 
 A relief surrounding a puteal or well-head (fig. 6), now at 
 Madrid, has been thought to throw light on this question. 
 There Zeus is enthroned, looking to the right ; Athene is before 
 him, armed, and advances to the right. Victory flies towards 
 her with a wreath. Behind the throne of Zeus is Hephaestos, 
 who has cleft the skull of Zeus with his axe, and starts back in 
 astonishment. On the extreme right of the composition are the 
 three Fates. The last named figures have not a sufficient 
 resemblance to those which are still extant of the Parthenon 
 pediment to allow us to assume a direct connexion between the 
 
 * Paus. I., 24, 5. 'Ef 8e TUV vabv ov TlapBevMva (tvo^id^ovuiv, (S TOVTOV 
 f(jiov(n,v OTroaa tv mis KO\ovp.fvois dfrols Kelrai, iravra es rr)v 'Adyvus f'xft. 
 ytvfffiv TCI 8f oTTivOev TJ Hocr(i8a)vo<? Trpos ' ' Kdrfvav etrriv fpis inrep rf/s y^s.
 
 16 
 
 SCULPTURES OP THE PARTHENON. 
 
 pediment and the relief. Some such arrangement, however, of 
 the principal group seems more consonant with the dignity of 
 
 Athene than the scheme which 
 occurs on vases and Etruscan 
 mirrors (e.g. on a vase in the 
 British Museum, No. E 410 ; 
 fig. 7) where the Goddess is 
 represented as a diminutive 
 figure above the head of Zeus. 
 This conclusion is confirmed by 
 Sauer's recent examination of 
 the ground of the pediment. It 
 is now proved that the middle 
 of the east pediment was occu- 
 pied by two figures of equal 
 importance, and not by a single 
 central figure of Zeus, such as 
 is required if we suppose that 
 the subject was treated accord- 
 ing to the tradition of the vase 
 painters. It is further shown 
 to be probable that Zeus was 
 seated on the left of the centre, 
 seen in profile and turned to 
 the right, and that Athene stood 
 on the right of the centre, hold- 
 ing a spear in her outstretched 
 right hand. 
 
 The further suggestion has 
 been made that a figure of 
 Victory, such as occurs on the 
 Madrid relief, may have occu- 
 pied the apex of the pediment. 
 
 Attempts have been made to 
 adapt the central group of the relief 
 to a pedimental form (1) by Six, 
 Jahrbuch des Arch. Inst., 1894, p. 84 ; (2) by Schwerzek, Reconstruction 
 des oestlichen Parthenongiebels, 1904; (3) by Malmberg, in the Trans- 
 actions of the Classical Section of the Imp. Russian Arch. Society, I. 
 (1904), pis. 27, 28, fig. 4 ; (4) by Prandtl, Jahrbuch des Arch. Inst. 1906, 
 p. 38. Cf. also C. Smith, Journ. of Hellen. Studies, 1907, p, 246,
 
 THE EAST PEDIMENT. 
 
 17 
 
 If we confine our attention to the extant pedimental figures, 
 we find wide differences of opinion as to their interpretation. 
 
 The figures in the angles are the only ones as to which there 
 can be no doubt. On the left the sun-god, Helios, rises from 
 
 o
 
 SCULPTURES OF THE PARTHENON. 
 
 the ocean, driving his car, and on the 
 right the moon-goddess Selene sets be- 
 neath the horizon. 
 
 Thus far the interpretation rests upon 
 sure grounds. Of the remaining figures 
 in the pediment, J has been generally 
 recognised (on the assumption that it 
 belongs in fact to this pediment) as 
 Victory greeting the newly born Goddess, 
 z and G has been generally taken for Iris, 
 announcing the news to the world (but 
 t= see below, G). None of the remaining 
 (2 figures have been conclusively identified. 
 J As regards the general principles of 
 "o interpretation it is to be observed that 
 g the numerous schemes that have been 
 | proposed may be divided into two 
 PH classes. We may either suppose with 
 1 the earlier critics, and, also, with Furt- 
 ^ waengler, that the space bounded by 
 Helios and Selene represents Olympos, 
 , and that all the figures contained within 
 | this space are definite mythological per- 
 sonages, probably deities, who may be 
 supposed to have been present at the 
 S birth; or we may assume that all the 
 deities present were comprised in the 
 od central part of the pediment, and that 
 |P the figures towards the angles belong to 
 the world outside Olympos, to which 
 the news is brought. These may be 
 definite mythological persons, or they 
 may be figures personifying parts of the 
 natural world. Compare the Homeric 
 Hymn to Athene, and Pindar, Olymp., 
 vii. 35. 
 
 The best views of the East pediment are 
 (1) the drawing of Carrey in the 
 Bibliotheque Nationale (fig. 8). See 
 Omont Dessins des Sculptures du
 
 THE EAST PEDIMENT. 19 
 
 Parthenon, pi. 1, and Antike Denkmaeler, I., pi. 6 (exhibited in 
 Elgin Boom) ; (2) sketch by Pars, exhibited in the Elgin Boom 
 (PI. I. of. p. 10). For a list of proposed restorations, see Schneider, 
 Geburt der Athena, p. 23, pis. 2-7 ; Schwerzek, Erlduterungen 
 zu dem Versuch einer Rekonstruction des oest. Parthenon- 
 
 t ; Furtwaengler, Sitzungsber. d, phil. hist. Cl., k. bayer. 
 Akad., 1898, p. 371. For Sauer's examination of the pediment, 
 see Athenische Mittheilungen, XVI., pi. 3, p. 59, and Antike 
 Denkmaeler, I., pi. 58 ; Furtwaengler, Masterpieces, p. 454. 
 The ends of the pediment are reproduced in figs. 9A and 10A. For a 
 table of proposed interpretations, see Michaelis, Der Parthenon, 
 p. 165 ; Newton, Guide to the Elgin Boom, I., Table A. For 
 the Madrid puteal, see Arndt-Amelung, Einzelaufnahmen, nos. 
 1724-1729. 
 
 303 A. Helios in his chariot emerging from the waves. 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. The wrist and hand of the right arm of 
 Helios, now wanting, are suggested in Carrey's drawing. The 
 surface of the marble on the neck having been protected from 
 weather by the cornice retains its original polish. 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 ; their profile shown on the edge of the plinth approximates 
 to the well-known wave-pattern. The metal reins have been 
 attached to the upper surface of the plinth under the right 
 forearm, and also under the right hand, now lost ; three drilled 
 holes in this part of the plinth served for their attachment. It 
 has been noted by Michaelis that the angle in which this figure 
 was placed is the darkest spot in the eastern pediment, and that 
 it is only fully illumined by the early morning sun. 
 
 Sculptures of Parthenon, pi. 1 ; Mus. Marbles, VI., pi. 1 ; Michaelis, 
 pi. 6, fig. 8 ; Brunn, Denkmaeler, No. 186 ; Mansell, No. 693. 
 
 303 B, Two horses of Helios. The team of Helios was represented 
 C. by four horses' heads, two of which still remain in position on 
 the temple, at the back of the pediment. The two which are 
 here are sculptured in the round out of one block of marble. 
 They are represented emerging from the waves, which are 
 sculptured in relief on the plinth and neck of the nearest horse. 
 The head of the horse nearest the spectator (B) looks outwards, 
 
 c 2
 
 20 SCULPTURES OF THE PARTHENON. 
 
 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 attachment of reins and 
 bridle are marked by three drilled 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 (C), which was advanced beyond 
 the outside head, so as to be visible, is much injured ; only the 
 neck and back of the head remain. 
 
 Sculptures of Parthenon, pi. 1 ; Mus. Marbles, VI., pi. 2; Michaelis, 
 pi. 6, fig. 9; Mansell, No. 693; Brunn, Derikmaeler, No. 186. 
 For the two heads still on the pediment, see Athenische 
 Mittheilungen, XVI., p. 81. 
 
 303 D. (Plate III.) This figure, which is commonly known as 
 Theseus, reclines on a rock and faces the horses 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. A hole near the left ankle may 
 have served for the attachment of the laced work of a sandal in 
 bronze. Over the rock on which the figure rests is thrown a 
 mantle under which is spread a skin; the claws and mask 
 (with the teeth partly preserved beneath the left forearm of the 
 figure) are those of some feline animal. The figure is distin- 
 guished for its combination of easy grace in the pose and of 
 ideal grandeur of form, not marred by any exaggeration or 
 extravagance in the rendering of its various parts. 
 
 For the name of Theseus, though universally current, little 
 can be said. The figure was identified with Heracles by 
 Visconti, and many others, who supposed the skin on which he 
 reclines to be that of a lion. This skin, however, seems more 
 like 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 Choragic monument of 
 Lysicrates (No. 430). The resemblance is yet nearer to a 
 figure of Dionysos on a dramatic relief from the Piraeus, and 
 this attribution still seems the best.
 
 THE EAST PEDIMENT. 21 
 
 Brunn interpreted this figure as the mountain of Olympos illuminated 
 by the first rays of the rising sun, and it must be acknowledged that the 
 attitude and type of the so-called Theseus are very suitable for the per- 
 sonification of a mountain. Compare the figures of mountains from 
 Eoman reliefs, collected by Waldstein (Essays, pp. 173, 174). The name 
 of Kephalos, the Attic hunter, always closely associated with dawn, has 
 been suggested by Furtwaengler, going back to Brondsted (1830). 
 
 Sculptures of Parthenon, pi. 2 ; Mus. Marbles, VI., pis. 3, 4 ; 
 Michaelis, pi. 6, fig. 10 ; Mansell, No. 694 ; Brunn, Denkmaeler, 
 No. 187 ; Furtwaengler, Masterpieces, p. 468. For the Piraeus 
 relief, see Studniczka, Melanges Perrot, p. 307 ; Jahrbuch des 
 Arch. Inst., 1904, p. 1. 
 
 303 E, Persephone and Demeter. Two female figures seated. They 
 P. each wear a sleeveless tunic, girt at the waist, and a lappet 
 (apoptygma). Over it is a mantle falling in a rich composition 
 of folds. On the right wrist of the figure nearest the angle (E) 
 is a drilled hole, probably for the attachment of a bracelet. 
 Her companion (F), who wore metal brooches on each shoulder, 
 extends her left arm towards the figure, which is advancing 
 towards her. Her head was probably turned to call her com- 
 panion, who rests her left arm affectionately on her shoulder, 
 and who probably looks straight forwards. It has lately been 
 shown that the two figures are seated upon two square chests. 
 That of E has the semi-circular hinge at the back, and has two 
 large bosses to decorate the front. That of F has the hinge to 
 the left side. Folded carpets are laid on each seat, that on F 
 being folded with two extra thicknesses. A loosely piled 
 cushion of drapery is also added to give greater height to F. 
 Most of the writers on the Parthenon have named this group 
 Demeter and Persephone, two deities whose cult in Attica 
 ranked second only to that of Athene herself. The fact that 
 the goddesses are seated on chests is almost conclusive, though 
 the objection has been raised, that the chests should be round, 
 not square. If the figures are Demeter and Persephone, there 
 is no clear indication which is which. 
 
 Brondsted (Voyages et Becherches, II., p. xi.) had suggested that these 
 two figures, with G, were the three Horae or Seasons, worshipped in 
 Attica under the names Thallo, Auxo and Karpo. Furtwaengler agreed 
 with respect to the two seated figures, whom he called Thallo and Karpo. 
 Brunn supposed that the two figures are Horae, but that they must be 
 viewed as the warders of the gates of Olympos (Horn. II., v., 749) rather 
 than as Attic deities. On this theory the position of the figure G, if it 
 represents Iris, would indicate that she is on the point of reaching the 
 boundary of Olympos and passing to the outer world.
 
 22 
 
 SCULPTURES OF THE PARTHENON 
 
 There is an admirable ease in the pose of the two figures, 
 and extraordinary contrasts of light and shade occur in. the 
 deeply wrought folds of the drapery. 
 
 Sculptures of Parthenon pi. 3 ; Mus. Marbles, VI., pi. 5 ; Michaelis, 
 pi. 6, fig. 11 ; Mansell, No. 695 ; Brunn, Denkmaeler, No. 188.
 
 THE EAST PEDIMENT. 
 
 23 
 
 For the chests see Furtwaengler and Reichhold, Griech. Vasen- 
 malerei, I., p. 215 ; Jahrbuch des Arch. Inst., 1904, p. 5. 
 
 303 G. Iris (?). This figure is moving rapidly to our left, the right 
 knee bent. The left arm was probably extended ; the right was 
 slightly bent at the elbow. Both hands held parts of the
 
 24 SCULPTUKES OF THE PARTHENON. 
 
 mantle, of which a remnant floats behind, bellied out by the 
 resistance of the air to the rapid movement of the figure. A 
 vertical surface worked at the back of the mantle indicates the 
 original plane of contact with the back of the pediment. The 
 plinth of the figure was let into a socket, about two inches deep, 
 on the floor of the pediment. The dress is a Doric split tunic, 
 open down the left side, except for the girdle. Over this falls 
 a lappet (apoptygma). 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. The head may have 
 been half turned back towards the central group. From the 
 rapid movement of the figure in a direction turned away from 
 the centre of the composition, many archaeologists have thought 
 that the figure is Iris on her way to announce the event of the 
 birth to the world outside Olympos. But the action is not that 
 of a steady flight through the air. It is rather that of a 
 person starting aside in alarm. Moreover, the figure has not 
 the wings or costume of Iris. 
 
 On these grounds she has been called Eileithyia (Murray, II., p. 71) ; 
 Hebe (Brunn, Ber. d. Jc. layer. AJcad., Phil. hist. Cl, 1874, II. , p. 19; 
 Furtwaengler, Masterpieces, p. 465), or simply a terrified maiden (Wolters, 
 p. 254). 
 
 Sculptures of Parthenon, pi. 3; Mus. Marbles, VI., pis. 6, 7; 
 Mansell, No. 695A ; Michaelis, pi. 6, figs. 12, 12a; Brunn, 
 DenJemaeler, No. 189. 
 
 303 H. Cast of a torso of Hephaestos or Prometheus. Powerful 
 male torso, from the neck to the groin. The action of the 
 shoulders, and of the muscles of the ribs and back, shows that 
 both arms were raised, but the right shoulder was rather higher 
 than the left. This is the only fragment besides No. 303 J 
 which has any claim to be assigned to the central group of the 
 eastern pediment. Though we have little knowledge of how 
 the central group of this pediment was composed, we may 
 suppose that the personage would not have been omitted through 
 whose act of cleaving the head of Zeus \vith an axe the birth of 
 Athene was accomplished. In the most generally diffused 
 version of the myth this was done by Hephaestos (to whom 
 this massive torso would be appropriate), but Attic tradition 
 (Eur., Ion, 455) preferred to attribute the deed to Prometheus.
 
 THE EAST PEDIMENT. 25 
 
 Michaelis, pi. 6, figs. 13, 130; Mansell, No. 1449; Furtwaengler, 
 Masterpieces, p. 465, compares the pose with that of the Marsyas 
 of Myron (Bronze Room, No. 269), but this view of the position 
 of the left arm seems inadmissible ; cf. Schwerzek, Erlauter- 
 ungen, etc., p. 25. The original, which was discovered on the 
 east side of the Parthenon in 1836, is at Athens. 
 
 303 J. Victory (?). Torso of a female figure, moving rapidly to 
 the front, and to our left, with the right arm extended in the 
 same direction. The figure wears a short sleeveless tunic with 
 a lappet (apoptygma) which is confined under the girdle, to 
 facilitate rapid motion. At the back the drapery is tied 
 together, so as to leave the shoulder-blades bare. On each 
 shoulder-blade is a deep oblong sinking, which can only have 
 served for the insertion of the wings, which must have been 
 attached by large dowels. It may be inferred from the size 
 of these sinkings that the wings were of marble, not metal. 
 The attempts, however, which have been made to insert any 
 extant fragments of wings have not been successful. 
 
 On the buttocks are indications of a piece of flying drapery, 
 probably from arm to arm, having contact with the torso. 
 
 Several additions have been made to the principal torso, namely the 
 right shoulder (in 1817-8), the right thigh (in 1860), the left knee 
 (in 1875). A left arm (catalogued as 331) was added on a cast in 1905. 
 It has not, however, been added to the original torso, as the connexion 
 cannot be proved. 
 
 There is good ground for thinking that the figure is derived 
 from the west pediment, but it has not yet been removed from 
 the place to which it has been assigned for nearly a century. 
 The evidence for and against that attribution is reviewed below. 
 
 The torso 303 J is not shown in the East pediment : (1) in the 
 drawing of Carrey (1674) ; (2) in the drawing of W. Pars (1765), 
 exhibited in the Elgin Room PI. I. and Stuart and Revett, II., 
 chap. 1, pi. 1 ; (3) in the comments of Fauvel on the condition of the 
 pediment, communicated by Le Grand in 1802 B. M. Dept. of G. and 
 R. Antiqs., Greek Views and, Buins, fo. 28 cf. Stuart and Revett, IV., 
 p, 20; (4) in the restoration of the East pediment (1801-2) by Lord 
 Elgin's draftsman Feodor, who makes careful use of the other 
 materials B. M. Dept. of G. and R. Antiqs., Elgin Drawings, 
 III., pi. 4. 
 
 A different origin is stated in the Elgin records. On August 6, 1801, 
 Lusieri reported to Lord Elgin: " En faisant des excavations dessous le 
 fronton du Partenon du cote de 1'ouest nous avons trouve plusieurs 
 morceaux de statues, entre lesquelles le buste de Jupiter. . . . Une 
 grande partie d'une figure assise, et d'une autre qui pourroit etre celle de
 
 26 SCULPTURES OF THE PARTHENON. 
 
 la Victoire, ou de Minerve meme, ont des draperies d'une delicatesse 
 qu'on ne peut pas assez admirer." Dr. Hunt had written a week before 
 (July 31, 1801) : "On the western front of the Parthenon was the 
 celebrated groupe of Jupiter presenting Minerva, as his daughter, to the 
 Council of the Gods. The whole has disappeared, except a few 
 fragments ; but being convinced that the bodies of such massive statues 
 could not have been transported far, we therefore procured leave to pull 
 down an old house, that. has been built beneath, hiring another for the 
 occupier. On digging to a considerable depth we found the shoulders and 
 breast of a naked Jupiter and a number of mutilated female statues, with 
 drapery so light and elegant as to resemble the finest muslin, and to 
 show all the contours of the form beneath. One of them Lusieri thinks 
 superior to the celebrated Flora at Rome " (MSS. of the Earl of 
 Elgin, K.G.). 
 
 In the printed Memorandum on the Subject of the Earl of Elgin's 
 Pursuits in Greece (1811), p. 13, Lord Elgin's secretary, W. E. Hamilton, 
 states : " By purchasing the house of one of the Turkish janizaries, built 
 immediately under and against the columns of the [West] portico, and 
 by demolishing it in order to excavate, Lord Elgin has had the satisfaction 
 of recovering the greatest part of the statue of Victory, in a drapery 
 which discovers the fine form of the figure, with exquisite delicacy and 
 taste." At that date the only " Victory " was the torso J, identified by 
 the wing sockets. It is not difficult to understand how certain parts of 
 the drapery suggested comparison with the Farnese Flora. 
 
 J. Woods, writing in the period 1812-6, while the marbles were still 
 in Lord Elgin's possession, identifies the torso J with the figure drawn 
 by Carrey on the right of the "Jupiter" (i.e. Poseidon) Stuart and 
 Eevett, IV., p. 22. So also the writer in the Quarterly Review of 
 Jan. 1816, p. 524. A sketch design for the arrangement of the figures, 
 which must have been made immediately after the purchase in 1816, 
 places J in the same p'osition B. M. Dept. of G. and R. Antiqs., Greek 
 Views and Ruins, fo. 29. 
 
 In the autumn of 1814 E. Q. Visconti had visited London, and had 
 proposed the name of " Wingless Victory " for the torso of Amphitrite, 
 and at this point confusion begins. In the Catalogue . . . Prepared from 
 the MS. of Mons. Visconti annexed to the Report of the Select 
 Committee (1816), one of the two supposed Victories is said to be from 
 the Western Pediment. The other figure [JJ is classed among the 
 " fragments of statues from the pediments, the names or places of which 
 are not positively ascertained." In the Memoir of Visconti (Eng. 
 version, 1816, p. 45), he says that the figure " has been found thrown down 
 on the floor of the [East] pediment," but in reviewing the 4th vol. of Stuart 
 and Bevett in Jan. 1817, he only states that the torso "was probably " 
 in the East pediment (Op. var., III., p. 308), Visconti's interpretation 
 of the Amphitrite as Nike Apteros and his attribution of J to the East 
 pediment were accepted by Taylor Combe (Synopsis, 1817, pp. 117, 118, 
 and subsequent editions), but contemporary dissent was expressed by 
 Burrow (Elgin Marbles, 1st ed., 1817, p. 205), and by Quatremere de 
 Quincy in June 1818 (Lettres a Canova, p. 84). 
 
 For the modern controversy, see Furtwaengler, Masterpieces, p. 455 ; 
 Schwerzek, Erlduterungen zu der Reconstruction des Westgiebels des 
 Parthenon, p. 21 ; Prandtl, Jahrbuch des Arch. Inst., 1906, p. 86. 
 
 Sculptures of Parthenon, pi. 4 ; Mus. Marbles, VI., pi. 9 ; Michaelis, 
 pi. 6, figs. 14, 14a ; Mansell, No. 696 ; Brunn, Denkmaeler, No. 189.
 
 THE EAST PEDIMENT. 27 
 
 303 K, (Plate IV.) The Fates (?). Group of three female figures 
 LJ M. (or, perhaps, a group of two, with a third figure less closely 
 associated, the figure K being made of a different block from 
 L and M). The figures are seated on rocks, levelled on the 
 top, and in the case of L, M, cut in step form to suit the 
 composition. The rocks are covered with draperies. These 
 three figures were considerably more complete in Carrey's 
 time than now, and the motives can best be understood with 
 the aid of his drawings. The figure K half turned her head 
 towards the central scene. The right arm was bent at the 
 elbow towards the front of the body. The figure L was 
 headless in Carrey's time. The right arm, according to 
 Carrey's drawing, was bent towards the right shoulder, as if 
 the action had been that of drawing up the edge of the 
 mantle from behind the shoulder with the right hand. The 
 body of this figure is bent forward and the feet are drawn far 
 back, as would be the case with a person wishing to spring up. 
 This motive forms a contrast to that of the reclining figure (M), 
 whose tranquil attitude and averted gaze, shown by Carrey's 
 drawing to have been directed towards the angle of the 
 pediment, seem to indicate that the news of the birth has not 
 yet reached her. 
 
 The group is noted for the extraordinary richness and 
 variety of the drapery, of which in each case the component 
 parts are simply the tunic and mantle. There is a finely 
 studied contrast between the smaller creases of the garments 
 and the broad folds of the heavy woollen draperies. 
 
 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 turned outwards to the groups of Sun and Moon which 
 bound the scene on either side. The central figure of either 
 triad seems only half aroused, while on each side the figure 
 nearest the central action appears to have heard the news of 
 the birth. From the time of Visconti many writers have inter- 
 preted this group as the Three Fates, who would naturally take 
 part in the scene of the birth of the goddess, and who occur on
 
 28 SCULPTURES OF THE PARTHENON. 
 
 the puteal at Madrid (cf. p. 16), and this view is again advocated 
 by the most recent critics. 
 
 Against this it is objected that the place of the Fates would more 
 naturally be in the central part of the composition, or at least that they 
 might be supposed to be more on the alert with respect to what was 
 passing. Various writers have attempted to trace a connexion with the 
 Moon or with Night. Thus the three figures have been interpreted (by 
 Welcker and Schwerzek) as the daughters of Cecrops, viz., Aglauros, 
 Herse, and Pandrosos, mythic impersonations of the Dew, who have a 
 conspicuous place in Attic legend. By Brunn they were interpreted as 
 personifications of clouds ; Furtwaengler has pointed out that the Fates 
 were daughters of Night. 
 
 Among the writers who have regarded K as separate from L and M, 
 the most common opinion has been that K is Hestia ; L and M have 
 been called Aphrodite in the lap of Thalassa (Bonchaud), or of Peitho 
 (Petersen), or Thalassa, the Sea, in the lap of Gaia, the Earth 
 (Waldstein). 
 
 K. Sculptures of Parthenon, pi. 5 ; Mus. Marbles, VI., pi. 10 ; 
 Michaelis, pi. 6, fig. 15; Mansell, No. 697 ; Brunn, DenJcmaeler, 
 No. 186. In the drawing by Pars (pi. I., original exhibited in 
 the Elgin Boom) the figure K is represented as overthrown 
 backwards. 
 
 L, M. Sculptures of Parthenon, pi. 5 ; Mus. Marbles, VI., pi. 11 ; 
 Michaelis, pi. 6, fig. 16 ; Mansell, No, 695 ; Brunn, DenJcmaeler, 
 No. 186. 
 
 303 N. (Plate Y.) Selene. It has been already stated that the 
 horse's head in the right-hand angle of the pediment belongs to 
 the Goddess of the Moon, who is represented by the torso cast 
 in plaster (N) which stands next to it. The body is cut off 
 below the waist, as only the upper part of the figure was shown 
 on the pediment. The dress is a sleeveless tunic, girt at the 
 waist and fastened on each shoulder. The bosom is crossed 
 diagonally by two bands which pass round to the back. Two 
 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 mantle the ends of which may have fallen 
 over the arms. 
 
 That Selene was driving a chariot is conclusively proved by 
 the fact that the heads of two horses are still in position on the 
 pediment, with indications of a fourth head now lost. 
 
 The figure here called Selene has been named by Visconti and many of 
 his successors Night, and it is worth notice that the birthday of the 
 goddess was two days before the new moon, whereas a simultaneous
 
 THE WEST PEDIMENT. 29 
 
 sunrise and moonset would imply a full moon. It is unsafe, however, to 
 press an astronomical objection very far. The figures which have been 
 identified with most probability as Night are winged, and the name of 
 Selene is therefore retained in this case. 
 
 Sculptures of Parthenon, pi. 6 ; Michaelis, pi. 6, figs. 17, Yla ; 
 C. Smith, Journ. of Hellenic Studies, IX., p. 8 ; Mansell, 
 No. 1138; Furtwaengler, Masterpieces, p. 465. The original of 
 this torso, now at Athens, was discovered in 1840, on the 
 east side of the Parthenon. 
 
 303 O. (Plate V.) Horse's Head. The head was so placed in the 
 pediment that the muzzle projected over the cornice ; in order 
 to adjust it accurately in this position, portions of the lower 
 jaw and of the top of the head were cut away. It was secured 
 by a large cramp from the baek. 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 up with fiery impatience as they spring from the waves ; 
 the downward inclination of the head here described indicates 
 that the car of Selene is about to vanish below the horizon. 
 In the whole range of ancient art there is, perhaps, no work in 
 marble in which the sculptor has shown such complete mastery 
 over his material, suggesting in every part the various qualities 
 of texture that belong to the living form. It has been com- 
 mended by Goethe as a typical horse, in which the artist has 
 combined natural truth with the highest poetical conception. 
 Behind the ears is a drilled hole : another is 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. Two 
 horses' heads still remain in the angle of the pediment. See 
 above, 303 K 
 
 Sculptures of Parthenon, pi. 6 ; Mus. Marbles, VI., pi. 12 ; 
 Michaelis, pi. 6, figs. 18, I8a, p. 178 ; Mansell, No. 698 ; Brunn, 
 Denkmaeler, No. 190. 
 
 WESTERN PEDIMENT OF THE PARTHENON. 
 
 304. The subject of the western pediment of the Parthenon 
 according to Pausanias (i. 24, 5, cf. p. 15 note) was the strife of 
 Poseidon with Athene for the soil of Attica. This contest,
 
 THE WEST PEDIMENT. 31 
 
 according to tradition, took place on the Acropolis itself. 
 Poseidon, striking the ground with his trident, produced a salt 
 spring, or, according to a doubtful and late version, a horse. 
 Athene showed her power by making the soil produce the 
 olive-tree. The victory in the contest was adjudged to Athene. 
 The award was made with Cecrops acting as judge, or as witness 
 before a tribunal of gods. (For the variant forms of the story 
 in literature see p. 32.) The spot where this double miracle 
 took place was marked in subsequent times by the joint temple 
 of Erechtheus and Athene Polias, within the precincts of which 
 were the sacred olive-tree produced by Athene, and the salt 
 spring of Poseidon. 
 
 In the time of Carrey, the composition in this pediment 
 was nearly perfect, and to understand the torsoes which remain, 
 reference should be made to Carrey's drawing. If we omit a few 
 of the early writers on the Parthenon, who mistook the western 
 pediment for that which contained the representation of the 
 birth of Athene, we find that it has been usually supposed that 
 the space bounded by the reclining figures in the angles repre- 
 sents the Acropolis between the two rivers of Athens, and 
 that the figures to the left of Athene are Attic deities or 
 heroes, who would sympathize actively with her in the contest 
 which is the subject of the pediment, while those to the right 
 of Poseidon have been taken to be the subordinate marine 
 deities who might be present as the supporters of the Euler of 
 the sea. 
 
 A dissentient theory is that of Brunn (Ber. d. k. bayer. AJcad. Phil, 
 hist. Cl., 1874, II., p. 23). By an ingenious but inconclusive series of 
 arguments he endeavoured to show that the west pediment contains a 
 personified representation of the whole coast of Attica, from the borders 
 of Megaris to Cape Sunium. According to this scheme A is the 
 Eleusinian stream Kephissos ; a tributary occupied the next place ; B, C 
 are Mounts Kithaeron and Parnes ; D E F Lycabettos between Pentelicon 
 and Hymettos ; P Q are the coast of Attica from Munychia to the 
 Piraeus ; T is a personification of Cape Kolias, on which stood a shrine 
 of Aphrodite (S) ; U is Cape Zoster ; V is the Attic Coast Paralia (which 
 however should be feminine, see Athenische Mittheilungen, XIII., 
 p. 221) ; W is the Myrtoan Sea. 
 
 Another elaborate system of interpretation was lately offered by 
 Furtwaengler (Masterpieces, p. 456), who suggested that while the 
 supporters of Athene are Cecrops and his family, Erechtheus and his 
 daughters are on the side of Poseidon. The two ancient heroic cults of 
 Athens are thus connected with the deities to which they were attached.
 
 32 
 
 SCULPTURES OF THE PARTHENON. 
 
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 THE WEST PEDIMENT. 33 
 
 Difficulties, however, arise in the interpretations of the individual figures. 
 Only one, namely Cecrops, can be identified with any certainty, and his 
 presence is required by the form of the myth. One figure (S) is regarded 
 as masculine, seemingly against the evidence, and the figure of 
 Erechtheus, upon whose presence the whole scheme depends, is assumed 
 to have stood in a place where the existence of a lost figure is doubtful. 
 
 If we examine the pediment composition as a whole, it will 
 be seen that it is necessary to distinguish between the central 
 group and the figures in the angles. 
 
 The central group of the two combatants, with their 
 charioteers and two other figures (H and N) are of a larger 
 scale, and the personages are keenly engaged in the contest. 
 The charioteers must be supposed to be in sympathy with their 
 respective protagonists. The two figures H and N" (perhaps 
 Hermes and Iris) may be messengers of the gods, not 
 specially partisans of either side. On the other hand, the 
 figures that occupy the extremities of the pediment, are on a 
 smaller scale, and they are evidently established in the field as 
 spectators. They have not arrived in the trains of the two 
 deities, and there are no convincing grounds for the assumption 
 that their sympathies belong to the deity who stands nearest to 
 them. Nor is there anything to suggest that they are acting as 
 judges, or that Cecrops (B) has any pre-eminence as a judge. 
 They are rather personages representative of the general body 
 of mythic inhabitants, in whose presence takes place the 
 creation of the tokens on which the Olympian gods must give 
 judgment. [As to the moment represented, see p. 41.] 
 
 If it is assumed that the company of spectators must be 
 regarded as continuous, behind the central incident, close 
 parallels can be cited from fifth century art, such as the East 
 side of the Parthenon frieze, and the frieze of the Theseum. 
 
 The destruction of the middle of the western pediment was 
 the work of the Venetian General Morosini. Before evacuating 
 Athens, he endeavoured to take down the horses of the central 
 group, and the Poseidon. But the workmen had hardly begun 
 to raise the great overhanging stones of the cornice, when the 
 whole of the group fell to the ground. Morosini reported that 
 by an extraordinary chance none of the workmen were hurt. 
 He attributed the accident to the fact that the stones were 
 fitted together without the use of mortar, and disconnected by 
 
 D
 
 34 SCULPTURES OF THE PARTHENON. 
 
 the shock of the explosion. After the accident he abandoned 
 further attempts, in the absence of suitable gear, and on account 
 of the imperfect state of the remaining sculptures. Those 
 portions of the group which were not burnt into lime were 
 gradually buried, and were not excavated and gathered up until 
 the year 1835, when the capital of the Greek kingdom had 
 been established at Athens. Casts of them are in the British 
 Museum. Between the time of Morosini and the middle of the 
 eighteenth 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, 0, Q, S, T, 
 W, and in the left wing only four figures, A, B, C, and D (?), 
 are shown in position on the pediment in Dalton's Plate (pi. iii.). 
 In the intervening middle space two torsoes 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 belonging to the Poseidon. (Of. Stuart and 
 Revett, iv., p. 20.) 
 
 Towards the close of the 18th century a resident, one 
 Mahomet Ali Aga, a man of sixty, informed Fauvel that he 
 remembered having seen many figures in the pediment. One 
 having fallen, the others were broken up for building purposes, 
 for fear of accident. One fell in the winter of 1790.- (Rev. 
 Arch., 3rd Ser., xxv., p. 29.) 
 
 When Lord Elgin's agents came to Athens the figures B and 
 C were still in the north angle, and in the south angle was the 
 lower part of the reclining female figure W. These figures are 
 still in position. The River-god A and the torsoes H, L, M, 
 are said to have been found after taking down a Turkish house 
 built under and against the columns. A figure of Victory 
 (probably 303 J ; see p. 25) is also assigned to this site. There 
 is evidence, however, that the River-god A was still in position 
 in 1795, and it was therefore probably removed by Lord Elgin's 
 agents from the pediment. This is indeed asserted in the first 
 edition of Hamilton's Memorandum, though the figure is 
 attributed, by error, to the east pediment. The excavations of 
 1835, already referred to above, led to the discovery of the 
 crouching figure V and of other fragments.
 
 THE WEST PEDIMENT. 35 
 
 The best views of the west pediment are (1) the drawing of Carrey 
 in the Bibliotheque Nationale (tig. 11). See Omont, Dessins 
 des Sculptures du Parthenon, pis. 2, 3, and Antike Denkmaeler, 
 I., pis. 6, 6A (exhibited in Elgin Room) ; (2) sketch by 
 B. Dalton, published 1751-2 (fig. 12). The sketch known as 
 " Carrey's Anonymous " has no independent authority, being an 
 indifferent copy of Carrey. 
 
 The following is a list of attempted restorations of the whole pediment 
 (1, 2, 5, 6), or of the central group (3, 4, 7, 8) : 
 
 (1) 1812. Quatremere de Quincy, Restitution des deux Frontons du 
 
 temple de Minerve, 1825. (Head in 1812.) 
 
 (2) 1830. C. B. Cockerell, in Museum Marbles, VI., pi. 22. 
 
 (3) 1845. B. C. Lucas, Remarks on the Parthenon. 
 
 (4) 1867. J". Overbeck, Sitzungsber. der k. sacJis. Ges. d. Wissensch., 
 
 1868, p. 118. 
 
 (5) 1870. A. Michaelis, Parthenon, Hilfstaf. fig. 2. 
 
 (6) 1896. K. Schwerzek, Erlduterungen zu der Reconstruction des 
 
 Westgiebels des Parthenon. 
 
 (7) 1907. F. Studniczka, in Boscher's Lexikon, III., p. 2862. 
 
 (8) 1907. C. Smith in Journal of Hellenic Studies, 1907, p. 248. 
 
 For a full collection of ancient passages relating to the myth, see 
 Stephani, in St. Petersburg Compte Rendu, 1872, p. 64. 
 
 For Sauer's examination of the floor of the pediment, see AtJienische 
 Mittheilungen, XVI., pi. 3, and p. 59 ; Antike Denkmaeler, I., 
 pis. 58A, 58c ; Furtwaengler, Masterpieces, p. 454. 
 
 For tables of proposed interpretations of the figures, see Michaelis, 
 Der Parthenon, pp. 180-1 ; Newton, Guide to the Elgin Room, I., 
 Table B. 
 
 The sculptures removed by Lord Elgin are exhibited in 
 combination with casts of the remains now at Athens. The 
 description that follows begins from the left or northern angle 
 of the pediment. 
 
 304 A. Ilissos or Kephissos (?). This figure, reclining in the angle 
 of the pediment, is commonly thought to be a River-god, and is 
 popularly known as the Ilissos; but it may equally well 
 represent the Athenian Kephissos. The interpretation of this 
 figure and of the figures which occupy analogous places in the 
 pediment of the temple of Zeus at Olympia, as River-gods, has 
 been- disputed (Furtwaengler, Masterpieces, p. 457), on the 
 ground that this type of local personification is not proved in 
 fifth century art. This view, however, requires us to reject the 
 testimony of Pausanias (v., 10, 7) for the figures at Olympia, 
 and we have also the fact that recumbent River-god types 
 became common somewhat later. Furtwaengler proposed 
 
 D 2
 
 SCULPTURES OF THE PARTHENON. 
 
 instead the Attic hero of agriculture, 
 Buzyges, not elsewhere recognised in 
 art. 
 
 The figure appears not to have 
 suffered much since Carrey drew it. 
 The body, half reclined, rests on the 
 left arm, over which is the end of a 
 mantle, which falls behind the back 
 in undulating lines, and is drawn up 
 to the right knee. As the head and 
 J most of the right arm are wanting, 
 a their action must be a matter of con- 
 j jecture ; the general pose of the figure 
 seems to indicate that the attention 
 -g of the figure is partially aroused, but 
 | that he has not yet quitted the atti- 
 1> tude of rest. The right hand probably 
 -g held an edge of drapery over the 
 t| right knee. This figure has been 
 long and deservedly celebrated for 
 g the perfection of its anatomy. In 
 | the front of the body, the flexibility 
 | of the abdominal muscles is finely 
 Q contrasted with the strong framework 
 "g of the ribs. The supple elastic char- 
 =3 acter of the skin is here rendered 
 with the same mastery as in the 
 horse's head of the eastern pediment. 
 .SP At the back some of the surface has 
 retained its original polish. In the 
 lines of the drapery, the sculptor has 
 succeeded in suggesting the idea of 
 rippling water without having re- 
 course to direct or conventional imi- 
 tation. The ground on which the 
 figure reclines is a rock. The left 
 hand rested on the bed of the pedi- 
 ment. A drawing by Pars made in 
 1765 (photograph exhibited in Elgin
 
 THE WEST PEDIMENT. 87 
 
 Eoom ; engraved Stuart, ii., chap. I., pi. 9), shows part of the right 
 forearm and the four fingers of the left hand overlapping the 
 edge of the pediment. In the original drawing, however, this 
 appears to bo conjectural, and the left hand was evidently 
 placed too far back. A small attribute, probably of marble, 
 was attached to the floor of the pediment in front of the 
 figure. 
 
 Sculptures of Parthenon, pi. 7 ; Mus. Marbles, VI. , pis. 13, 14 ; 
 Mansell, 700 ; Brunn, Denkmaeler, No. 191 ; Michaelis, pi. 8, 
 fig. 1 ; B. B. Haydon, Erreur de Visconti relative a I 'action de 
 la statue de Vllissus, 1819. On the Eiver-god question, see 
 J. Lange, Darstellung des Menschen, p. 195. 
 
 Between A and the next figure (B) a space is shown in the 
 drawings sufficient for a crouching figure, though no vestige of 
 such a figure is indicated by Carrey. Traces also remain on 
 the floor of the pediment. This gap may have been filled by a 
 crouching Water Nymph, associated with the Elver-god. 
 Furtwaengler suggests the wife of Buzyges, a person not 
 mentioned by the mythographers. 
 
 304 B, Cecrops and Pandrosos (?). (Cast.) This group still re- 
 C. mains in the pediment at Athens, though much injured by 
 exposure to the weather. It consists of a male figure, whose 
 left thigh receives the main weight of his body, which leans a 
 little to his left, 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 surprise at the event occurring in the centre of the 
 pediment, towards which she has looked back. Her left arm, 
 now entirely wanting, was broken off a little below the shoulder 
 at the date of Carrey's drawing. The right arm of the male 
 figure which was preserved below the elbow in the time of 
 Pars and stretched out, is now reduced to a stump. It appears 
 from the statements of travellers (cf. Michaelis, p. 194) that 
 these figures lost their heads in the years 1802 and 1803. The 
 careful drawing of the group made by Pars 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. She is said to have worn a bronze 
 diadein, indicated by a row of small holes. On the ground
 
 38 SCULPTURES OF THE PARTHENON. 
 
 between the pair is a convex mass, which is a part of the coil 
 of a large serpent. In front of the left hand of the male figure 
 the body of the serpent terminates in a joint with a rectangular 
 sinking, into which a fragment from the Elgin Collection has 
 been fitted. The remainder of the serpent may be seen at the 
 back. 
 
 This group has received various names. Spon took it to 
 represent Hadrian and Sabina, and this opinion, which was 
 current till the time of Payne Knight, had considerable effect 
 in delaying the recognition of the merit of the Parthenon 
 sculptures. The association of the serpent with the male figure 
 led Michaelis (p. 193) to recognise in him Asclepios, in which 
 case the female figure would naturally be Hygieia, who is 
 constantly associated with the father of the healing art. The 
 relation, however, of the serpent to the kneeling male figure 
 rather suggests the type of the earth-born Cecrops. If we 
 adopt this attribution, then the female figure so intimately 
 associated with the bearded figure in this group would be one 
 of the daughters of Cecrops, perhaps Pandrosos. 
 
 Other interpreters, however, prefer to consider the figure as Aglauros, 
 wife of Cecrops (cf. Miss Harrison, Class. Eev. 1895, p. 87). For the 
 topographical interpretations of Boetticher (Marathon and Salamis) and 
 of Brunn (Kithaeron and Parnes) there is no evidence. 
 
 Sculptures of Parthenon, pi. 8 ; Michaelis, pi. 8, fig. 2 ; Mansell, 
 No. 699 ; Brunn, Denkmaeler, No. 192. For the drawing of 
 Pars cf. p. 36. A copy of this group recently discovered at 
 Eleusis is of doubtful antiquity (Ephemeris, 1890, pi. 12). 
 
 304 D, If B and C are Cecrops and one of his daughters, the two 
 E, F. female figures (D, F), who in Carrey's drawing follow next, 
 might be his other two daughters. The boy (E) between them 
 would be, in that case, not the infant lakchos between Demeter 
 (D) and Kore (F), as several writers have supposed, but 
 Erysichthon, son of Cecrops, who is said to have died young. 
 
 Of the three figures D, E, F, 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. (No. 339, 8.) A frag- 
 ment, now at Athens, with the drapery on the right side of a 
 figure seated on a rock, has been conjecturally assigned by
 
 THE WEST PEDIMENT. 39 
 
 Michaelis (pi. 8, fig. 5) to figure D or U. A part of the torso 
 of a boy, perhaps E, is also extant. 
 
 In Dalton's drawing a draped female torso, broken off at 
 the knees, is placed next to C, which Michaelis (p. 191) 
 conjectures to be the remains of F. Dalton has represented 
 this figure with the tunic slipped down from the right shoulder 
 so as to show the right breast and side. But the drawing by 
 Pars (see p. 36) shows next to C the side of a figure which 
 accords more with D as drawn by Carrey. The part shown 
 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 the figure to which the arm 
 belonged 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. The notes communicated by Fauvel 
 (cf. above, p. 25) show by a dotted line that only the right side 
 of the figure D (as drawn by Pars) was extant at the end of the 
 eighteenth century. 
 
 304 G. Next in order in Carrey's drawing is the seated female 
 figure (G), who acts as charioteer to Athene, and who has been 
 generally interpreted as Nike. For the head, obtained from 
 Venice, in the collection of Count de Laborde, which was 
 formerly attributed to this figure, cf. No. 339, 1. A cast is 
 exhibited in the Elgin Boom. 
 
 304 H. 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 represents lying on the bed of the pediment. 
 This figure has been called Erechtheus, Erichthonios, Ares, 
 Cecrops, Theseus, Pan, or Hermes. 
 
 The drapery which hangs at the back of the torso is part 
 of a chlamys, which must have been fastened in front just above 
 the left collar-bone, 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
 
 40 SCULPTURES OF THE PARTHENON. 
 
 back ; a portion of the chlamys evidently passed round this 
 arm, and was probably twisted round it, a fashion of drapery 
 characteristic of Hermes. 
 
 Sculptures of Parthenon, pi. 9, fig. 1 ; Mus. Marbles, VI., pi. 15 ; 
 Michaelis, pi. 8, fig. 3 ; Mansell, No. 1495. 
 
 304 L, Athene and Poseidon. The Athene of which L is the 
 M. remnant is drawn by Carrey moving rapidly to the left ; her 
 right arm, broken off above the elbow, is advanced in the same 
 direction. Her left arm is broken off below the shoulder ; she 
 wears a long tunic, over which is a lappet (apoptygma) reaching 
 to the hips, and falling in a fold over the girdle. The aegis, 
 folded like a narrow band, passes obliquely across the bosom, 
 and has extended from the right shoulder round the left side 
 and probably across the back. It is scalloped on its lower edge, 
 and at the points holes are pierced for the attachment of 
 serpents of metal. In the centre of the aegis is another hole, 
 in which a circular object six inches in diameter, doubtless a 
 Gorgon's mask, has been fixed. Carrey's drawing shows no 
 head, but gives the base of the neck, which was broken off 
 before the time of Lord Elgin. The greater part of the helmeted 
 head, and the base of the neck have been separately recognised 
 among the fragments on the Acropolis, and casts are now 
 adjusted to the marble. There are holes indicating that the 
 figure wore earrings, and perhaps metal curls. The head was 
 identified in 1907. 
 
 Sculptures of Parthenon, pi. 10, fig. 1 ; Mus. Marbles, VI., pi. 16 ; 
 Michaelis, pi. 8, fig. 13 ; Mansell, No. 1494. 
 
 304 M. The torso of Poseidon is made up of three parts. The 
 fragment with the shoulders and upper part of the chest was 
 removed by Lord Elgin ; the fragment containing the remainder 
 of the breast and the abdomen nearly to the navel was dis- 
 covered in 1835, and the original is at Athens. Since this 
 torso was engraved in the work of Michaelis, a small piece has 
 been added to the lower part of the abdomen. It appears from 
 Carrey's drawing that Poseidon was drawing back in a direction 
 contrary to that of Athene. The right upper arm is raised with 
 the shoulder, and must have been extended slightly above the
 
 THE WEST PEDIMENT. 41 
 
 horizontal 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 ; part of the chiselling 
 does not appear to be ancient, but may have been done after the 
 figure had fallen from the pediment. Behind the left shoulder- 
 blade are the remains of a protuberant surface, perhaps the 
 place of attachment of a small piece of drapery. The upper 
 part of this torso is remarkable for the grandeur of the lines. 
 
 Sculptures of Parthenon, pi. 10, fig. 2 ; Mus. Marbles, VI., pi. 17. 
 The two principal parts are combined, Michaelis, pi. 8, fig. 16 ; 
 Mansell, No. 1494. 
 
 Though we know from Pausanias that the strife between 
 Athene and Poseidon for the soil of Attica, was the subject of 
 the Western pediment, the exact action represented by the 
 central group cannot be determined. Among the fragments 
 found on the Acropolis were three which are certainly parts 
 of an olive-tree. The scale of these fragments (see below, 
 Nos. 339, 16-18), would be suitable for a tree placed in the 
 centre of the pediment between the two deities. If these 
 fragments belong to the Parthenon (of which there is no positive 
 proof), it seems natural to suppose that Athene is represented 
 as having produced her olive, which stood in the centre of the 
 pediment and was fixed in a rectangular socket, well adapted to 
 support it (Sauer, Athenische Mitteilungen, xvi., pi. 3, p. 72). 
 The salt spring produced by the trident of Poseidon may also 
 have had a place in the composition, though no trace of it is to 
 be found either among the fragments or in Carrey's drawing. 
 
 Many interpreters of the pediment have attempted to 
 distinguish between the actions of the two figures, as that one is 
 the attacker, and the other the defender, or that one strikes 
 downwards, and the other draws back from a stroke. So far, 
 however, as the evidence goes, there is a close responsion 
 between the action of the two. The only difference of motive 
 is due to the fact that the action of the legs is reversed, while 
 both figures are right-handed. It is easy to ascertain by 
 experiment that the pose of Poseidon is a more balancing one 
 than that of Athene. 
 
 The literary sources are divided as to the degree of hostility 
 that attended the contest. While some ancient writers tell of
 
 42 SCULPTURES OF THE PARTHENON 
 
 the anger of Poseidon, others lay stress on the fact that the 
 gods refused to fight on such a matter. In deciding which version 
 was represented on the pediment, the earlier interpreters con- 
 ceived that the sculptor has represented the triumph of Athene, 
 and the astonishment and mortification of Poseidon. More 
 recent writers have been inclined to suppose that there is less 
 contrast between the motives of the two figures. Both gods 
 are regarded as having produced the tokens, and as claiming a 
 verdict. The action of the two figures, both striking down- 
 wards, after the producing of the tokens, has been explained 
 (Studniczka, s. v. Poseidon in Eoscher's Lexikoii), as the action 
 of driving a spear into the ground to claim possession of the 
 soil a current piece of symbolism in antiquity, which corre- 
 sponded to the modern hoisting of a flag. It has been further 
 suggested that a Victory may have occupied the centre of the 
 olive-tree, and so have indicated the victory of Athene. Com- 
 pare the vase painting described below, and C. Smith, Journ. 
 of Hellenic Studies, 1907, p. 248. 
 
 An elaborate theory- has been based upon a vase-painting representing 
 the contest (Stephani, Compte Rendu, 1872, pi. 1, p. 5 ; Journ. of 
 Hellenic Studies, III., p. 245). In thatjdesign Poseidon and Athene form 
 an antagonistic group, which in composition presents some resemblance 
 with the central group in the pediment. The olive-tree is placed between 
 them, and Poseidon controls with his left hand a rearing horse. 
 Stephani argued from the vase-painting that Pheidias made Poseidon 
 produce the horse a variant tradition, of which there are traces in late 
 literature that Poseidon was represented striking the ground with his 
 trident and Athene striking it with her lance to produce the tokens, 
 which are shown, by anticipation, in the pediment itself. However, the 
 fragments of horses that have been discovered in the excavations on the 
 Acropolis (Sauer, Athenische Mittheilungen,Xyi.,pl. 3, p. 73) leave little 
 doubt that the figure known as Amphitrite (O) acted as the charioteer of 
 Poseidon, and drove a pair of horses which corresponded closely to the 
 team of Athene, and completed the symmetry of the composition. Inas- 
 much therefore as each deity has a similar pair of horses, it is impossible 
 to regard those of Poseidon as his distinctive token in the combat. 
 
 If we assume that this second pair of horses was attached to the 
 chariot of Poseidon, room may be found for a representation of the salt 
 spring either between the left leg of the Sea-god and the forelegs of his 
 chariot-horses, or beneath the horses. 
 
 For the subject of the dispute between Athene and Poseidon, see 
 Stephani, in St. Petersburg Compte Rendu, 1872, p. 5 ; Robert 
 in Hermes, XVI., p. 60, and in Athenische Mittheilungen, VII., 
 p. 48; Petersen in Hermes, XVII., p. 124; E. A. Gardner, in 
 Journ. of Hellen. Studies, III., p. 244, and Handbook, p. 277 ; 
 Furtwaengler, Masterpieces, p. 451 ; De Bidder, Rev, Arch. 3rd
 
 THE WEST PEDIMENT. 43 
 
 ser., XXXII., p. 389 ; Wizeman, Giebelgruppen des Parthenon, 
 1895 ; Klein, Gesch. d. Griech. Eunst, II., p. 102 ; Studniczka, 
 in Eoscher, Lexicon, III., p. 2863; C. Smith in Journ. of 
 Hellen. Studies, 1907, p. 248. 
 
 304 N. This figure has been entirely lost since the time of Dal ton, 
 unless we can identify it with the supposed Victory of the east 
 pediment. As to the evidence, see p. 25. In that case, Victory 
 would clearly be out of place in the train of Poseidon. It is 
 therefore suggested that the figure may be Iris, communicating 
 the will of Zeus. The short drapery hardly reaching the knee 
 is appropriate to Iris. (Studniczka, Jahrbuch des Arch. Inst. 
 1904, p. 10.) Another suggestion is Eris, the personification of 
 strife (C. Smith, loc. cit.). 
 
 304 O. Amphitrite (or possibly a Nereid) acting as charioteer to 
 Poseidon. In Carrey's drawing this torso appears as a seated 
 figure, the right foot on a higher level than the left, the left 
 arm drawn back as if holding the reins; between the feet 
 appears the head of a marine monster. The head, left hand, 
 and apparently the right arm of Amphitrite are wanting. In 
 Dalton's time the figure had lost the left forearm and left leg, 
 and half a century later it was a mere torso. The body is clad 
 in a long chiton without sleeves ; an upper fold falls over the 
 bosom as low as the waist, passing under a broad girdle such as 
 would be suitable for charioteers. The places where metallic 
 ornaments were attached on this figure are marked by five holes 
 pierced in the marble. The surface of the thigh still gives 
 indications that the chiton had been open at the side, schistos, as 
 in Carrey's drawing. It should be noted that this figure was 
 not seated, as Carrey probably conceived it, but must have been 
 standing with the body thrown back and the arms extended in 
 front like a charioteer (No. 46) in the north frieze. 
 
 Sculptures of Parthenon, pi. 11, fig. 1 ; Mus. Marbles, VI., pi. 18 ; 
 Michaelis, pi. 8, figs. 18, 18a ; Mansell, No. 1493. This figure 
 was the " Wingless Victory " of Visconti, which he placed in 
 the chariot of Athene. 
 
 304 P, So-called Leucothea, with boy. Lower limbs of a seated 
 
 Q- female figure, which in Carrey's drawing appears on the right 
 
 of the Amphitrite, and which was then complete. In Dalton's 
 
 drawing this figure is still in position, but headless, and the boy
 
 44 SCULPTUEES OF THE PARTHENON. 
 
 is not shown. In its present state, nothing remains of this 
 figure but the lap and legs to the ankles. On the right of the 
 figure, the body of a youth (P) appears in Carrey's drawing. 
 The beginning of the left thigh, with the lower part of the 
 buttock, is still preserved attached to the principal fragment ; 
 of the right thigh, the outline as far as the knee. 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, pro- 
 bably his himation, which reappears, wound round his left thigh. 
 The upper part of this boy has been recognised (by Schwerzek) 
 in a torso that had formerly been taken for a fragment of a 
 Lapith from a metope. The right arm was still preserved in 
 the time of Carrey, but the head and left arm were in their 
 present state. 
 
 On the supposition that the principal figure is a marine 
 goddess, of the train of Poseidon, the names of Leucothea and 
 Palaemon have been assigned to the woman and youth. Accord- 
 ing to Furtwaengler's scheme, in which we have on this side the 
 daughters of Erechtheus, this figure is Oreithyia, represented by 
 anticipation with the children that she bore to Boreas, when he 
 carried her off from Athens. The deeply undercut folds of drapery, 
 which appear to be agitated by a breeze, are thus explained. 
 
 Sculptures of Parthenon, pi. 11, fig. 2; Mus. Marbles, VI., pi. 19 ; 
 Michaelis, pi. 8, fig. 19 ; Journ. of Hellenic Studies, XIII., pi. 5, 
 p. 88 ; Mansell, No. 1493 ; Furtwaengler, Masterpieces, p. 460. 
 
 304 R. A figure of a child appears in Carrey's drawing on the left 
 of the figure Q. It is doubtful whether it should be associated 
 most nearly with Q or with the figure next to the right (S). 
 On the former supposition, the figure called above Leucothea 
 has been interpreted as Leto with Apollo and Artemis ; as 
 Leda with the Dioscuri ; as Fostering Earth, Tr) Kovporpofos, 
 with children ; or as Oreithyia with the Boreads (see above). 
 On the latter supposition Pt has generally been called Eros 
 associated with Aphrodite (S). 
 
 304 S, Next in Carrey's drawing comes a draped female figure (T), 
 
 T. seated, in whose lap is a naked figure (S), evidently supposed 
 
 by Carrey and by Dalton to be female. The figure (T) has 
 
 been interpreted as Thalassa, the Sea ; the almost entire nudity
 
 THE WEST PEDIMENT. 45 
 
 of the 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 seaborn origin. Furtwaengler, placing 
 the daughters of Erechtheus on this side of the pediment, inter- 
 prets T as Creusa with Ion on her knees. If, as seems preferable, 
 the naked figure is Aphrodite, the boy (K) is probably Eros. 
 The marble 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, pi. 8, fig. 20; Furtwaengler, Masterpieces, p. 461. 
 
 304 U. 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 fragments of it can now be identified. It had 
 lost the head and arms in Carrey's time. The figure presents 
 no distinctive characteristic by which she may be identified. 
 Furtwaengler calls her a daughter of Erechtheus, who was 
 sacrificed for the public good. 
 
 Between U and V the system of Prof. Furtwaengler requires 
 the interpolation of a considerable male figure (Erechtheus). 
 Carrey shows a small interval at this point, but the marks on 
 the floor of the pediment appear to be unfavourable, and 
 Schwerzek's reconstruction showed that there was not room 
 even for the figure of a child. 
 
 Sauer, Athenische Mittheilungen, 1891, p. 67 ; Furtwaengler, Master- 
 pieces, p. 462 ; Schwerzek, Erlduterungen, p. 31. 
 
 304 V, Ilissos or Kephissos and Callirrhoe (?). (Casts.) The draped 
 W. female figure (W) reclining in the extreme angle of the pediment 
 appears in Carrey's drawing (fig. 13) leaning on her right elbow, 
 and with her head turned towards the male figure (V) who 
 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 the character of a local Nymph,
 
 46 
 
 SCULPTURES OF THE PARTHENON. 
 
 and it is therefore suggested that the celebrated Athenian foun- 
 tain Callirrhoe may 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 Kiver-gods, may be the Ilissos, 
 out of whose bed the fountain Callirrhoe rises. Furtwaengler 
 calls V and W Butes and his wife. The former was associated 
 with Erechtheus, and was worshipped in the Erechtheion. The 
 latter was called Chthonia, and is sometimes identified with 
 the sacrificed daughter of Erechtheus (Furtwaengler's U). 
 
 The lower half of the Callirrhoe is to this day in position on 
 the pediment. The torso of the male figure was found in two 
 pieces beneath the west end of the pediment in 1835. The 
 head, arms, and left leg have disappeared since Carrey's time. 
 The right leg is doubled up under the figure ; the left knee must 
 
 Fig. 13. 
 Figure W, according to Carrey. 
 
 Fig. 14. 
 Figure W, according to Gell. 
 
 have been somewhat higher. The result of Sauer's examination 
 of the pediment (Athenische Mittheilungen, 1891, p. 81) is that 
 the figure leant with open hand on the ground. 
 
 The female figure (W) is reclining on her right side ; the 
 right knee has been more bent than the left. The upper part 
 of the body was slightly raised, and rested on the right elbow. 
 All that remains of the figure are the right side from below the 
 arm to a little below the right hip, and parts of both legs 
 wanting the knees. According to Carrey, the left arm of this 
 figure was raised so that the hand projected beyond the cornice. 
 The nnnexed illustrations show the state of the figure (1) in 
 Carrey's time (fig. 13), (2) in 1805, from a sketch by Sir William 
 Gell, inscribed " Figure on E. of Parthenon Pediment, 1805 " 
 (fig. 14). Owing to difficulty of access Gell has misunderstood 
 the legs, but his sketch is evidence as to the condition of the
 
 THE METOPES. 47 
 
 upper part of the torso. Between the figures V and W a hole 
 is pierced in the bed of the pediment, in which some bronze 
 object was inserted. 
 
 Figure V, Sculptures of Parthenon, pi. 9, fig. 2 ; Michaelis, pi. 8, 
 fig. 21 ; Mansell, No. 1496 ; Figure W, Sculptures of Parthenon, 
 pi. 12; Michaelis, pi. 8, fig. 22; Mansell, No. 1497; Gell 
 Draivings, Book VIII., No. 34 (Brit. Mus. Dept. of Prints and 
 Drawings). 
 
 METOPES OF THE PARTHENON. 
 
 The Metopes of the Parthenon are sculptured blocks which 
 were inserted in the spaces, metopae, left between the ends of 
 the beams of the roof. These ends were represented by slabs, 
 called triglyphs, from the three parallel vertical bands cut in 
 them. Eeference to figs. 1-4, or to the model of the Parthenon, 
 will show the relative positions of the metopes and triglyphs. 
 
 The Parthenon had originally ninety-two metopes, thirty- 
 two of which were on each of the long sides, and fourteen 
 at each end. The metopes at the two ends remain on the 
 temple, greatly mutilated by time and weather. One only from 
 the West end is here represented by a cast (No. 323). On the 
 North side eleven metopes, for the most part in position, retain 
 traces of sculpture, and a few fragments must also be assigned 
 to this side. (Cf. No. 322.) 
 
 On the South side, one metope (No. 304*) is still on the 
 Parthenon, one (No. 314) is at Athens, one is in the Louvre, 
 and the British Museum possesses fifteen original metopes. 
 
 Fourteen of these were obtained at Athens by the agents of Lord 
 Elgin. See Report, p. 96 ; and Appendix, p. xxix. His contemporary, 
 Choiseul-Gouffier, while ambassador at Constantinople obtained two more, 
 of which one (No. 313) is now in the Louvre, and one (No. 309) is in the 
 British Museum. One of Choiseul-Gouffier's metopes (No. 313) was sent 
 to France in Feb. 1788, and was purchased by the Louvre in 1818. The 
 other was blown down by a storm, which broke it into three pieces. It 
 was obtained by Fauvel in Dec. 1788, but was not shipped from Athens 
 till 1802. It was then captured by a British cruiser. It was finally 
 bought out of the custom-house by Lord Elgin, who offered to return it 
 to Choiseul-Gouffier in 1815. The latter took no steps to recover it, and it 
 passed with the Elgin Collection to the British Museum, " deposited in 
 this collection until M. de Choiseul shall cause it to be removed." 
 The metope in question is No. 309. This is the only metope of the 
 fifteen in the Museum not drawn by Lord Elgin's artists ; it was formerly 
 "No. 15" (cf. Visconti, Memoir, Engl. ed., p. 101), and it is in three
 
 48 SCULPTURES OF THE PARTHENON. 
 
 pieces. Beport, p. 45 ; Eev. Arch., 3rd ser. XXV., p. 29, XXVI., p. 238. 
 Choiseul-Gouffier died in 1817, and in 1818 the metope, which had not 
 been included in the Synopsis of 1817, was incorporated in the Elgin 
 series. Eighteen are thus accounted for. The fourteen remaining 
 metopes of the South side are only represented by the drawings of 
 Carrey, and by such fragments as can be assigned to their respective 
 places by the help of the drawings. 
 
 The subjects of the extant metopes of the South sides were 
 taken from the story of the contest between the Centaurs and 
 Lapiths. According to the legend, the Centaurs attended as 
 guests at the wedding feast of Peirithoos, King of the Lapiths, 
 and of Hippodameia. Frenzied with wine, one of the Centaurs 
 seized the bride. In the general conflict that followed, the 
 Lapiths were the victors. 
 
 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. There 
 is a remarkable inequality of style in the sculpture. Thus, for 
 example, Nos. 315, 319, 320, show traces of archaic composition 
 and treatment, with grotesque exaggeration of the Centaur's 
 features. Nos. 310, 312, are more free in style, but still 
 exaggerate the grotesque. Nos. 305, 307, 308, 316, 317 are 
 free in action and developed in style, the grotesque element is 
 reduced, and pathos is expressed. Nos. 304,318 are peculiar in 
 the fact that the Centaurs have pointed Satyrs' ears. A small 
 group, 309, 313, 314, 321 appear to be of the free period, but 
 weak and conventional both in composition and expression. 
 304*. This metope is a cast from the original, which is still in 
 position at the south-west angle of the Parthenon. The Centaur 
 holds the Lapith's neck under his left arm, and is about to 
 thrust with a branch held out in his right hand. The Lapith 
 has a weak position, standing on the right leg only, and thrusting 
 with the left knee, while he attempts feebly to loosen the 
 Centaur's grasp with his left hand. The Centaur's tail was a 
 separate piece fixed with a square dowel. 
 
 Sculptures of Parthenon, pi. 16, fig. 1 ; Michaelis, pi. 3, i. (from an 
 older, mould). A piece of left hough which is present in the 
 older mould, had been broken away when the mould was made 
 from which the cast is derived. The fragment is in the 
 Antiquarium at Munich, and a cast from it has been inserted. 
 A fragment with left hind hoof and part of ground, which has
 
 THE METOPES. 
 
 49 
 
 also been replaced on the cast, is in the Museum at Athens. 
 It appears to be indicated in the drawing of Pars, but was lost 
 before the older mould was made. For Pars, see Dilettanti 
 Expedition, L, No. 58 (Brit. Mus., Dept. of G. and R. Antiqs.). 
 
 305. The Lapith kneels 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. His left hand, of which the fingers 
 remain, vainly endeavours to dislodge the grasp on his throat ; 
 the right hand grasps the right shoulder of the Lapith. For the 
 state of the metope in Carrey's time, see fig. 15. 
 
 Sculptures of Parthenon, pi. 16, fig. 2 ; Mus. Marbles, VII., pi. 1 ; 
 Michaelis, pi. 3, ii. ; Brunn, Denltmaeler, No. 183 ; Mansell, 
 No. 619. 
 
 306. The Lapith attacks the Centaur from behind, resting his 
 right knee on his crupper, and extending forward his right arm 
 
 Fig. 15. Metopes 305, 308 (from Carrey). 
 
 to seize the neck of his foe, while the left arm is drawn back to 
 strike. The Centaur, standing to the left, turns his human 
 body half round to meet his adversary. A skin is wound about 
 his left arm and held in his clenched fist by way of shield. 
 The Lapith wears high boots. 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. These may have served for 
 
 E
 
 50 SCULPTURES OP THE PARTHENON. 
 
 the attachment of a bronze weapon held in the right hand. 
 The Centaur's tail is unfinished. The. head of the Centaur still 
 existed when Carrey drew this metope (fig. 15), but had 
 disappeared before the time of Stuart. 
 
 Sculptures of Parthenon, pi. 17, fig. 1 ; Mus. Marbles, VII., pi. 2; 
 Michaelis, pi. 3, iii. ; Brunn, Denkmaeler, No. 183 ; Mansell, 
 No. 620. 
 
 307. The Centaur is victorious ; with both hands raised above 
 his head, he is about to hurl on his prostrate foe a large pitcher. 
 His equine body is rearing against the Lapith, who vainly 
 endeavours to defend himself with his uplifted buckler, while 
 the Centaur treads him down with his forefeet. The outline of 
 the right forehoof is seen on the Lapith's left shoulder. The 
 right forearm of the Lapith, now wanting, has rested on the 
 ground. Traces remain of the point of contact of the right foot 
 with the ground of the relief, below the left hind leg of the 
 Centaur, and show 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 sent from 
 Athens in 1688 by a Captain Hartmand, who probably served 
 under Count Konigsmark in Morosini's army. Eound the head 
 of the Lapith 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, which also hangs over the left 
 arm and left thigh. He wears boots. The upper part of the 
 pitcher was a separate piece, attached by a dowel. When 
 Carrey drew the metope it was nearly perfect. On the upper 
 margin of the marble still remains the bead-and-reel moulding 
 which once ornamented all the metopes, but of which there are 
 few traces elsewhere. 
 
 Sculptures of Parthenon, pi. 17, fig. 2 ; Mus. Marbles, VII., pi. 7 ; 
 Michaelis, pi. 3, iv. ; Mansell, No. 621 ; Brunn, Denkmaeler, 
 No. 185. For the two heads, see Mus. Marbles, VII., pi. 17. 
 
 308. 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 (fig. 16). 
 The Centaur, which is rearing up against his antagonist, and
 
 THE METOPES. 51 
 
 extending his left arm towards him, probably to seize the hair 
 of his head, is shown in the drawing as grasping the Lapith's 
 right thigh between his forelegs. The Lapith with extended 
 right arm is trying to keep the Centaur at arm's length, while 
 he struggles to escape; his left arm must have been raised. 
 The right arm of the Centaur must have been drawn back to 
 strike. The head of the Centaur is cast from the original at 
 Wiirzburg, and was added in 1897. The thumb and fingers of 
 the Lapith are seen in the Centaur's beard, and a part of his 
 
 Fig. 16. Metopes 308, 309 (from Carrey). 
 
 wrist is 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. 
 
 Sculptures of Parthenon, pi. 18, fig, 1 ; Mas. Marbles, VII., pi. 5 ; 
 Michaelis, pi. 3, v. ; Mansell, No. 622. For the head see Treu, 
 Jahrbuch des Arch. Inst., 1897, p. 101. 
 
 309. In this metope, as drawn by Carrey (fig. 16), 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. The Centaur, while pressing his left hand on the left 
 shoulder of the Lapith, draws back a little from the blow with 
 which lie is menaced. The action of both figures is rather tame 
 and undecided. The Centaur's body is conspicuously weak. 
 
 The metope has been broken into three pieces, and was once 
 the property of Choiseul-Gouffier (see above). 
 
 Sculptures of Parthenon, pi. 18, fig. 2 ; Mus. Marbles, VII., pi. 15 ; 
 Michaelis, pi. 3, vi. ; Mansell, No. 623. 
 
 E 2
 
 52 
 
 SCULPTURES OF THE PARTHENON. 
 
 310. (Plate VI.) The Lapith presses forward, with left hand 
 advanced and grappling with the left hand of the Centaur ; the 
 right arm of the Lapith is drawn back, as if to strike ; his right 
 hand, now wanting, probably held a sword : a 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, 
 tries to pull away the left hand of the Lapith. The head of the 
 Centaur is a cast from the original at Athens, and that of the 
 Lapith from the original in the Louvre. From the shoulders of 
 the Centaur hangs a small chlamys ; the folds fly behind, and 
 show the violence and swiftness of the action. Carrey's drawing 
 
 Fig. 17. Metopes 310, 311 (from Carrey). 
 
 (fig. 17) gives the action of the clasped hands, and missing parts 
 of the legs of this group. This is, perhaps, the finest of all the 
 metopes in the Museum. The action is most spirited, and the 
 modelling very thorough and masterly. The tail, however, is 
 unfinished. 
 
 Sculptures of Parthenon, pi. 19, fig. 1 ; Mus. Marbles, VII., pi. 3 ; 
 Michaelis, pi. 3, vii. ; Brunn, Denkmaeler, No. 184 ; Mansell, 
 No. 624 : Waldstein, in Journ. of Hellen. Studies, III., pi. 23, 
 p. 228; Essays, pis. 1, 2, p. 97. 
 
 311. The Lapith is fallen on his right heel. The Centaur presses 
 down his antagonist. From Carrey's drawing (fig. 17), 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
 
 THE METOPES. 
 
 53 
 
 blow at his antagonist, who looks up with his head thrown back, 
 and stretches out his left arm across the breast of the Centaur. 
 His right arm must have been raised. The right hind foot of 
 the Centaur rests on a rock. The hoof is not expressed, and the 
 tail is unfinished. 
 
 Sculptures of Parthenon, pi. 19, fig. 2; Mus. Marbles, VII., pi. 6; 
 Michaelis, pi. 3, viii. ; Mansell, No. 625. 
 
 312. The Centaur has again the advantage. The Lapith is thrown 
 down over a large wine jar ; the Centaur has grasped his left 
 
 Fig. 18. Metopes 312, 313 (from Carrey). 
 
 leg with his left hand, rolling him back on the jar. The 
 Lapith seizes his antagonist by the hair with his left hand, 
 while his right arm, now broken off, has been vainly extended 
 behind him, seeking some support. The right thigh of this 
 figure, the head and part of the right arm of the Centaur, are 
 casts from three fragments at Athens. The Centaur's arm and 
 Lapith's thigh were already lost in the time of Carrey, who, 
 however (fig. 18) gives other portions, now missing. The wine 
 vessel in this metope, and the pitcher in Xo. 307, indicate the 
 wedding feast of Peirithoos as the scene of the contest, and 
 wine as the occasion of the fray. 
 
 Sculptures of Parthenon, pi. 20, fig. 1 ; Mus. Marbles, VII. , pi. 4 ; 
 Michaelis, pi. 3, ix. ; Brumi, Denkmaeler, No. 182 ; Mansell, 
 No. 626.
 
 54 SCULPTURES OF THE PARTHENON. 
 
 313. This metope is a cast from one obtained by Choiseul- 
 Gouffier when French ambassador at the Porte, in the year 1788, 
 and now in the Louvre. The group represents a Centaur 
 carrying off a Lapith wife or maiden. The Centaur is rearing 
 up ; he grasps the woman between his forelegs. His left hand 
 presses against her left side, and it appears from Carrey's 
 drawing (fig. 18) 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. She wears a split chiton 
 with lappet fastened on the right shoulder with a brooch. In 
 the struggle the chiton has fallen from the left shoulder. On 
 her right foot is a sandal with a thick sole. Her left foot is 
 broken off above the ankle. Carrey's drawing gives the left 
 
 Fig. 19. , Metopes XI. (Michaelis) and 314 (from Carrey). 
 
 foot resting on a rock, also other parts of the group which are 
 now wanting. 
 
 Sculptures of Parthenon, pi. 20, fig. 2 ; Mus. Marbles, VII., pi. 16; 
 Michaelis, pi. 3, x. ; Brunn, Denkmaeler, No. 193 ; Mansell, 
 No. 627. For the letter of Consul Gaspari, who shipped the 
 metope in 1788, see Rev. Arch., 3rd ser., XXIV., p. 78 ; XXVI., 
 p. 238. 
 
 The next metope in order on the Parthenon is now r only 
 preserved in Carrey's drawing (fig. 19), 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
 
 THE METOPES. 55 
 
 left arm of the Lapith inside and the fingers of the Centaur on 
 the rim exists at Athens ; cf. No. 343, /. Other fragments 
 include the right shoulder of the Centaur (343, 2}, the right 
 arm of the Lapith, and the hind quarters of the Centaur. 
 
 Michaelis, pi. 3, xi. ; Malmberg, Ephemeris Archaiologike, 1894, 
 pis. 10, 11. 
 
 314. This metope is cast from the original in the Acropolis 
 Museum at Athens. It represents a Centaur seizing a Lapitli 
 woman. Carrey's drawing (fig. 19) gives several parts which 
 are now wanting. The Centaur grasps the woman's left arm 
 with his left hand ; his right arm we must suppose to be 
 passing round the back of her waist, the wrist being preserved. 
 While the left foreleg of the Centaur is firmly planted on the 
 ground, his right foreleg clasps the left leg of the woman 
 pressing at the back of her knee, as in wrestling, to throw her 
 off her balance. Her dress, a chiton with lappet, is disordered 
 in the struggle. Two fingers remain of her right hand, and the 
 action, as drawn by Carrey, is that of attempting to readjust 
 the upper part of the chiton. Her right foot is cast from a 
 fragment, of which the original, No. 342, 1, exhibited in a Wall 
 Case, probably belonged to the Elgin Collection. 
 
 Sculptures of Parthenon, pi. 21, fig. 1 ; Michaelis, pi. 3, xii. ; 
 
 Mansell, No. 627a. 
 
 Next follow in Carrey's drawings thirteen metopes (Michaelis, xiii.- 
 xxv.) of which we have only a few fragments. Of these the first eight 
 (xiii.-xx.) represent subjects of which the import is uncertain, and in 
 which draped female figures predominate. Nos. xxii.-xxv. represent 
 combats between Centaurs and Lapiths or Lapith women. No. xxi., 
 which represents two women standing by an archaic statue, was formerly 
 regarded as belonging to the Centaur series, and as representing two 
 women seeking sanctuary. There is, however, a clear correspondence 
 between the metopes xii. and xxii., which may be supposed to terminate 
 the Centaur series. The nine intervening metopes have been ingeniously 
 interpreted as relating to the story of Erichthonios, the mythical founder 
 of the Panathenaic procession (cf. p. 64). See Pernice, Jahrbuch des 
 Arch. Inst., 1895, p. 93. 
 
 Fragments have been recognised with more or less certainty as 
 belonging to some of the thirteen metopes which have been destroyed 
 since the time of Carrey. They are more fully described below. 
 
 Metope XIII. (?) Breast. See No. 342, 5. Lower part of figure on left. 
 See No. 343, 3. Cf. also 342, 7. 
 
 XIV. Torso with some drapery. See No. 343, 4. 
 
 XV. (?) Arm. See No. 342, 6; Belly of horse. See No. 
 
 343, 5.
 
 56 SCULPTURES OF THE PARTHENON. 
 
 Metope XVI. Male head and torso. See No. 342, ,1. Male torso. 
 
 See No. 343, 6. 
 XVII. Male torso. See No. 343, 7. Draped arm. See 
 
 No. 343, X. Fragment of lyre (?). See No. 343, 9. 
 XIX. Arm and drapery. See No. 342, 7. Torso of fig. on 
 
 r. See Sauer, Festschr. f. Ovcrbeck, p. 73. 
 XX. Hand with cloth. See No. 343, 10. Booted foot and 
 
 ends of drapery. See No. 343, 11. 
 ,, XXI. For upper part of figure on right, see Malmberg, in 
 
 Ephemeris, 1894, pis. 10, 11. 
 XXII. Lower part of drapery. See No. 343, 12. Waist of 
 
 Centaur. See No. 343, 13. 
 ,. XXIII. For proposed Lapith head, see Malmberg, Ephcmeris, 
 
 1894, pis. 10, 11. 
 
 XXIV. Torso of Lapith. See No. 343, 14. 
 ,, XXV. Hoof treading on human toes. See No. 343, 7.7. 
 
 315. This metope, the 26th in the original series, is from the 
 eastern half of the south side of the temple. The Centaur, 
 rearing, has raised his arms above his head, in order to strike 
 his antagonist with some weapon, perhaps a branch of a tree. 
 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. The action of the 
 Lapith, whose left foot seems to want support, and who is 
 obviously unable to exert much force in his present position, 
 appears weak. 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, the upper part of his garment having 
 been chiselled away, between arm and thigh. Another hole 
 near the left haunch of the Centaur shows where the end of a 
 skin, hanging down from the back, may have been attached. 
 The right hind leg appears to have been broken and repaired. 
 
 Sculptures of Parthenon, pi. 21, fig. 2; Hue. Marbles, VII., pi. 8; 
 Michaelis, pi. 3, xxvi. ; Mansell, No. 628 ; Brunn, Denkmaeler, 
 No. 181. The metopes from here to the end (315-321) are also 
 drawn with fair accuracy by Dalton. 
 
 316. 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
 
 THE METOPES. 
 
 57 
 
 head. The right hand of the Lapith is drawn back to deal a 
 blow, perhaps with a lance. The Centaur, rearing up in agony, 
 presses his right hand against the wound in his back ; his left 
 arm was raised and bent back at the elbow. The wrist remains 
 at the back of the head. In Carrey's drawing (fig. 20) a small 
 piece of the upper arm is given. By a singular oversight the 
 tail is merged in the folds of the Lapith's drapery. The left 
 
 Fig. 20. Metopes 316, 317 (from Carrey). 
 
 foot of the Lapith presses firmly against a rock. Carrey's draw- 
 ing gives both the head and right leg, and part of the right 
 forearm of the Lapith. A cast of the head was identified and 
 attached, in 1907. This is one of the finest of the extant 
 metopes, in its dramatic force. 
 
 Sculptures of Parthenon, pi. 22, fig. 1 ; Mus. Marbles, VII., pi. 9 ; 
 Michaelis, pi. 3, xxvii. ; Brunn, Denkmaeler, No. 184 ; Mansell, 
 No/629. 
 
 317. (Plate VI.) 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, and lashing his tail, the Centaur rushes 
 forward to meet a new foe, with the ends of the lion's skin 
 flying behind him. His right arm, now wanting, wielded some 
 object. The piece of marble attached to the background 
 suggests that it may have been a large bowl (kylix). The 
 Lapith lies on his cloak, his head thrown back, his right leg
 
 58 SCULPTURES OF THE PARTHENON. 
 
 bent up, his right hand lying over his right flank, his whole 
 form relaxed by death. Carrey's drawing (fig. 20) gives the 
 head, left foreleg, and greater part of the right arm of the 
 Centaur. For dramatic power in the conception and truth in 
 the modelling of the forms, this metope is unrivalled. 
 
 Sculptures of Parthenon, pi. 22, fig. 2; Mus. Marbles, VII., pi. 10 ; 
 Michaelis, pi. 3, xxviii. ; Brunn, Denkmaeler, No. 185 ; Mansell, 
 No. 630. 
 
 318. In this metope, the 29th of the original series, the Centaur 
 is carrying off a Lapith woman. 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 want- 
 ing, grasped her right arm at the elbow, behind his head ; with 
 her left hand she vainly endeavours to loosen his hold round 
 her waist. Her chiton 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. His head has the pointed ears which only occur 
 here and on No. 304*. Carrey's drawing gives the head of 
 the female figure, and the right arm, hind leg, and tail of the 
 Centaur. The drapery of the Ionic chiton is finely wrought, its 
 minute folds being markedly different from the leathery texture 
 of the mantle and most of the drapery of the metopes. 
 
 Sculptures of Parthenon, pi. 23, fig. 1 ; Mus. Marbles, VII., pi. 11 ; 
 Michaelis, pi. 4, xxix. ; Mansell, No. 631 ; Brunn, Denkmaeler, 
 No. 193. 
 
 319. This metope, the 30th in the series, much resembles No. 311, 
 both in composition and in style. The Lapith has fallen on his 
 left heel ; his left arm rests on a stone, which he grasps in his 
 left hand. His right hand, which may once have held a sword, 
 presses feebly against the left side of the Centaur, who with 
 his left hand seizes the hair of his antagonist, and treads him 
 down with his forelegs, drawing back his right arm to deal a 
 blow. The face 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 yet touch the ground, but the action of the 
 Centaur deprives him of all chance of recovering his erect
 
 THE METOPES. 59 
 
 position. A lion's skin floats in the air at the back of the 
 Centaur. The treatment of both the heads is a little austere, 
 but the bodies are well modelled, and the composition is finely 
 conceived. The tail of the Centaur is left unfinished. There 
 are on this metope some remains of the bead-and-reel moulding 
 on the upper margin. 
 
 Sculptures of Parthenon, pi. 23, fig. 2 ; Mus. Marbles, VII., pi. 12 ; 
 Michaelis, pi. 4, xxx. ; Mansell, No. 632. 
 
 320. In this metope, the 31st of the original series, the Centaur 
 has the advantage. The Lapith has, with his right hand, seized 
 him by the hair ; 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. We do not 
 know what weapon he held in his hand. The Lapith wears 
 boots. The projecting right forearm of the Centaur was 
 a separate piece, joined to a worked surface by a large 
 dowel. In the faces there is the same austere character as in 
 Xo. 319. 
 
 Sculptures of Parthenon, pi. 24, fig. 1 ; Mus. Marbles, VII., pi. 13 ; 
 Michaelis, pi. 4, xxxi. ; Mansell, No. 633 ; Brumi, Derikmaeler, 
 No. 182. 
 
 321. 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 strike. The left foreleg passes round the 
 loins of the Lapith, while the other foreleg has been locked 
 round his right thigh. The Lapith, firmly planted on the 
 ground with his right leg advanced, has drawn back his left 
 arm to prepare a blow. The right arm appears to have been 
 bent back also. A drawing by 'Lord Elgin's draughtsman, 
 Feodor (fig. 21), shows that ithe left arm and left leg of the 
 Lapith, now wanting, were then perfect. Their positions are 
 now only indicated by -'projections on the ground of the relief. 
 Carrey, Pars, and Feodor indicate that he wore a helmet. In
 
 60 SCULPTURES OF THE PARTHENON. 
 
 Carrey's drawing, all the right arm of the Centaur is given ; . 
 but his legs were mutilated. 
 
 Soulptures of Parthenon, pi. 24, fig. 2 ; M-us. Marbles, VII., pi. 14 ; 
 Michaelis, pi. 4, xxxii. ; Mansell, No. 634 ; Brunn, Denkmaeler, 
 No. 181. For Feodor's drawing, see Elgin Drawings (Dept. of 
 Greek and Roman Antiqs.), vol. 4, No. 32. 
 
 Fig. 21. Metope 321 (from Feeder). 
 
 Of the thirty- two metopes which originally adorned the 
 north side of the Parthenon, only twelve (i.-iii. and xxiv.- 
 xxxii. ; cf. Michaelis, pi. 4) remain in their original position, 
 and three of these (ii., xxvi., xxx.) are so defaced that no trace 
 of sculpture remains. In the explosion of 1687, twenty 
 metopes (iv.-xxiii.) were destroyed, all but a few fragments. 
 Michaelis recognised that xxiv., xxv., represent a scene from 
 the taking of Troy. 
 
 Robert (Iliupcrsis des Polygnot, p. 60) assigned this subject to the 
 group of metopes xxi.-xxxii. For the idea, probably erroneous, 
 that Centaur groups also occurred on the north side, cf. Pernice, 
 Jahrb. des Arch. Inst., 1895, p. 95. 
 
 322. 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 represents a draped female 
 figure (seemingly a goddess, perhaps Athene) seated on a rock, 
 towards whom advances from the left another draped female
 
 THE METOPES. 
 
 01 
 
 figure, extending forward as if by way of salutation her left 
 hand muffled in drapery. Both figures wear long chitons, one 
 Doric and one Ionic, over which fall lappets, and mantles. The 
 figure advancing wears sandals. The folds of the drapery are 
 very rich and abundant. There is a careful drawing of this 
 metope by Feodor in the British Museum, taken when it was 
 in a considerably better state (fig. 22). 
 
 Sculptures of Parthenon, pi. 25, fig. 1 ; Michaelis, pi. 4, xxxii."; 
 Mansell, No. 634a. For the drawing of Feodor (?) see Elgin 
 Drawings (Dept. of Greek and Roman Antiqs.), vol. 3, No. 6. 
 
 Fig. 22. Metope 322 (from Feodor). 
 
 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. (See 
 Amer. Jo urn. of Archaeology, 2nd ser., iii., p. 409.) 
 323. This is a cast from the first of the metopes of the west side 
 and represents a figure mounted on a horse, moving to the 
 right, with the right hand drawn back as if aiming a spear, and 
 having a cloak flying behind. If the metopes on this front
 
 62 SCULPTURES OF THE PARTHENON. 
 
 represented an Amazonomachia, this figure may be an Amazon. 
 The surface is much damaged, and the sex cannot be determined 
 with certainty. A drawing by Pars in the British Museum 
 makes this a male figure, and the somewhat spare outlines of 
 the limbs seem to confirm this view. On the other hand, the 
 remains of the waist and right breast are better suited to the 
 figure of an Amazon. 
 
 Michaelis, pi. 5, West side, i. ; Mansell, No. 634&. 
 
 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 war of the 
 gods and giants. 
 
 Sculptures of Parthenon, pi. 25, fig. 2 ; Michaelis, pi. 5, East side, 
 i.-xiv., p. 142; Robert, Arch. Zeit., 1884, p. 47. Elgin Draw- 
 ings (Dept. of Greek and Roman Antiqs.), voL 3, No. 4. 
 
 THE FRIEZE OF THE PARTHENON. 
 
 The Frieze of the Parthenon is a continuous band of 
 sculpture in low relief, which encircled and crowned the central 
 chamber or cella of the temple, together with the smaller 
 porticoes that immediately adjoined each end of it. 
 
 The frieze is nearly 3 ft. 4 in. high. The projection of the 
 relief is somewhat greater at the top than at the bottom. At 
 the top the height of the relief may be as much as 2\ in., with 
 an average height of about 1 in. At the bottom it varies 
 between low relief and about 1 in. The whole surface of the 
 relief is thus slightly tilted over towards the spectator, in order 
 to compensate as far as possible for the disadvantageous 
 conditions under which the frieze had to be viewed. The 
 length of each end of the Parthenon frieze was 69 ft. 6 in. ; the 
 length of each long side was 192 ft. (> in.* The length of the 
 entire frieze was therefore 524 ft. 1 in. 
 
 * This amount, which differs from that given by Michaelis, is obtained 
 from Penrose, pis. 4 and 16. Long side - 193 '733 - 2 (2-955) + 4 '735 
 feet = 192 -558 feet.
 
 THE FRIEZE INTRODUCTION. 
 
 63 
 
 The frieze, which was nearly complete in the time of Carrey, 
 suffered greatly in the explosion, particularly about the middle 
 of the two long sides. Unfortunately, however, Carrey's 
 drawings only include the west end ; the east end, except its 
 central slab, which had been taken down ; about 70 ft. in the 
 middle of the south side ; and about 70 ft. at the east end of 
 the north side. Stuart and Pars drew a considerable amount of 
 the frieze, but not much of what has since been entirely lost. 
 The following table shows approximately the state of the whole 
 frieze : 
 
 
 
 East. 
 
 South. 
 
 West. 
 
 North. 
 
 Total. 
 
 
 
 ft. 
 
 in. 
 
 ft. 
 
 in. j 
 
 ft. in. 
 
 ft. 
 
 in. ft. 
 
 in. 
 
 Originals in the British 
 Museum .... 
 
 } 
 
 50 
 
 10 
 
 106 
 
 5 ! 
 
 7 3 
 
 82 
 
 9 247 
 
 3 
 
 Casts in the British^ 
 Museum / 
 
 15 
 
 8 
 
 36 
 
 5 ! 
 
 62 3 
 
 58 
 
 7 
 
 172 
 
 11 
 
 Only drawn by Carrey 
 
 
 1 
 
 4 
 
 27 
 
 4 
 
 
 19 
 
 7 48 
 
 8 
 
 Only drawn by Stuart 
 
 
 
 
 
 
 6 
 
 
 2 
 
 8 3 
 
 2 
 
 Drawn by Carrey and\ 
 
 I 
 
 8 
 
 
 
 
 J 
 
 7 
 
 7 
 
 
 Stuart 
 
 / 
 
 
 
 
 
 
 
 
 
 
 
 Total existing or recorded . 
 
 
 69 
 
 6 
 
 170 
 
 8 
 
 69 6 
 
 169 
 
 2 478 
 
 10 
 
 Lost without a record 
 
 
 
 
 21 
 
 104 i 
 
 
 23 
 
 4i 45 
 
 8 
 
 Grand Total . . . 
 
 
 69 
 
 6 
 
 192 
 
 "sr! 
 
 69 6 
 
 192 
 
 6^ 524 
 
 1 
 
 The Slabs of the Frieze. In order to ascertain and control the 
 arrangement of the frieze, it is important to note the principle (first 
 pointed out by Michaelis, Arch. Zeit., 1885, p. 53) governing the slab 
 lengths. With the exception of the East side, the slabs are of uniform 
 lengths except at the ends, where they are increased, and there is'a near 
 correspondence between the two ends of each side. Thus, on the West 
 side : 
 
 fSlab I. (Return) 
 I XVI. (Return) 
 f II. 
 I XV.. 
 Slabs III.-XIV. 
 
 ft. in. 
 
 1 7 
 
 1 7 
 
 5 7* 
 
 5 71 
 
 55 1 
 
 On the North and South sides the materials are less complete, but if 
 we assume that the same principle holds good we obtain the following 
 results. Conjectured dimensions are placed in brackets.
 
 64 SCULPTURES OF THE PARTHENON. 
 
 North. I South. 
 
 ft. in. ft. in. 
 
 /Slab I. . [5 44] ' /Slab I. . . 5 6i 
 
 \ XLII. . 5 4 I XLIV. . [5 64] 
 
 /!!.. . 4 7f / II. . .4 7|- 
 
 \ XLI. . . 4 71 \ "XXXVIII." 4 74 
 
 / III. . .[43] j III. . .40 
 
 \ XL. . .43 J "XLII." . 4 6i 
 
 41 slabs at 4 ft. 164 41 slabs at 4 ft. . 164 
 
 47 slabs = 192 6J 47 slabs = 192 104 
 
 Discrepancy, add OJ Discrepancy, deduct 3| 
 
 192 6.1 192 64 
 
 So far as can be ascertained the only serious irregularity is in slabs 
 III. and XLII. South. Their combined length (8 ft. 6| in.) is nearly 
 equal to that of the corresponding slabs of the North (8 ft. 6 in.), but the 
 whole excess above the normal length (8 ft.) is assigned to one of the 
 pair. The length of the intermediate slabs is very nearly 4 feet. The 
 average excess is less than -^ of an inch (or 0'008 m.). 
 
 It should be noted that Carrey's drawings of the frieze have in some 
 parts a lateral extension of about 30 per cent. He draws the frieze in 
 continuous lengths. In certain places, where he breaks off at the joints 
 of the slabs, a word not hitherto deciphered indicates that there was a 
 gap already existing in the frieze. 
 
 The subject of the frieze of the Parthenon has been con- 
 sidered, by most of the writers who have discussed it, to be 
 connected with the Panathenaic procession at Athens. 
 
 Those who have held a different view have been the early travellers, 
 such as Cyriac of Ancona, who described the subject of the frieze as 
 " Athenian victories in the time of Pericles," and a few recent authors. 
 Davidson (The Parthenon Frieze) sees in the frieze a representation of a 
 Panhellenic assembly, which Pericles tried to collect at Athens without 
 success (cf. Furtwaengler, Masterpieces, p. 423). Weber and Boetticher 
 held that the scene represented is the preparation and rehearsal, rather 
 than the procession itself. C. Petersen thought that diffei-ent festivals 
 are represented on different'sides (cf. Michaelis, p. 205). 
 
 Before examining how far the frieze represents the Pan- 
 athenaic procession in detail, 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 (see above, p. 55). 
 the son of Hephaestos and foster-son of Athene herself; and 
 the festival is said to have been re-founded by Theseus when he 
 united all the Attic denies into one city. The goddess in whose 
 honour it was celebrated was Athene Polias, the tutelary deity
 
 THE FRIEZE INTRODUCTION. 65 
 
 of the Athenian Acropolis, 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. 
 
 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. The peplos of Athene was a woven mantle renewed 
 every four years. On its ground, which is described as dark 
 violet and also as saffron-coloured, was interwoven the battle of 
 the Gods and the Giants, in which Zeus and Athene were 
 represented. It was used to drape the rude wooden image of 
 Athene. 
 
 The festival was originally an annual one. Peisistratos, 
 in the middle of the sixth century B.C., appointed a celebration 
 of special splendour and solemnity every four years, and from 
 this time dates the distinction between the Greater and the 
 Lesser Panathenaia. Hipparchos, the son of Peisistratos, added 
 a contest of rhapsodes reciting the Homeric poems. The 
 festival was further amplified by Pericles, who introduced a 
 musical contest and presided over it in person. 
 
 On the appointed day, which was perhaps the birthday of 
 the goddess, the procession which conveyed the peplos to her 
 temple assembled in the outer Cerameicos, and passed through 
 
 the lower city round the Acropolis, 
 
 which it ascended through the 
 Propylaea. During its passage 
 through the city the peplos was, 
 at any rate in later times, dis- 
 played on the mast and yard of a 
 ship, which was drawn on rollers. 
 The only known representation 
 of the ship occurs on an Athenian 
 calendar relief (fig. 23). Unfor- 
 tunately the subject is partly ' Fig. 23. The Panathenaic Ship, 
 obliterated by the insertion of a 
 
 Christian cross, which has been left in relief by the removal 
 of the adjoining surfaces. Enough, however, remains to show 
 the ship upon its massive rollers (Philologus, 1865). In the 
 procession of Rosalia at Palermo, a ship is employed for a 
 
 F
 
 66 SCULPTURES OF THE PARTHENON. 
 
 similar purpose (Brydone, Tour, Letter xxx.). In this solemn 
 ceremony, the whole body of Athenian citizens were represented. 
 Among those who are particularly mentioned as taking part 
 in the procession were the noble Athenian maidens, Canephori, 
 who bore baskets, kanea, with implements and offerings for 
 the sacrifice; the Diphrophori with stools (diphroi) for the 
 use of divine guests (cf. p. 78) ; the metoik or alien Skaphe- 
 phori, whose function it was to carry certain trays, skaphae, 
 containing cakes and other offerings ; the aged Athenian 
 citizens who bore olive branches, and were hence called 
 Thallophori. It has recently been ascertained that the 
 selected maidens who prepared the peplos (the Ergastinae, and 
 perhaps the Arrhephori) also took part in the Panathenaic pro- 
 cession. An Attic decree of 98 B.C. records that these maidens had 
 performed all their duties, and had walked in the procession in 
 the manner ordained, with the utmost beauty and grace, and had 
 subscribed for a cup which they wished to dedicate to Athene 
 (Bull, de Corr. Hellenique, xiii., p. 169 ; compare Athenischc 
 Mittheilungen, viii., p. 57). At the Greater Panathenaia each 
 town in which land had been assigned to Athenian settlers 
 contributed animals to the sacrifice, a cow (or possibly an ox), 
 and, it has been conjectured, two sheep (cf. Dittenberger, 
 Sylloge 19). The colonies also appear to have sent envoys who 
 had charge of the victims. Chariots and horsemen took part in 
 the procession, and an escort of Athenian infantry completed 
 the show. The arrangements for the sacrifice were under the 
 direction of the Hieropoioi, and the multitudinous procession 
 was marshalled and kept in order by the Demarchs, and by the 
 heralds of a particular gens, the Euneidae. The Hipparchs 
 were in immediate command of the cavalry. The whole was 
 under the authority of ten elected officers, the Athlothetae. 
 
 The functions of the Athlothetae are described in the recently 
 discovered treatise of Aristotle on the Constitution of Athens. " They 
 choose ten men by lot, one from each tribe, as Athlothetae. After 
 confirmation they hold office for four years. They manage the 
 Panathenaic procession and the musical and gymnastic contests, and 
 the horse racing. In conjunction with the assembly, they see to the 
 making of the peplos, and the ainphoras, and give the olive oil to the 
 (successful) athletes 
 
 In general, the treasurers store the oil in the Acropolis, but at 
 the Panathenaia, they measure it out to the Athlothetae, who give it to
 
 THE FRIEZE INTRODUCTION. 67 
 
 the victorious competitors. For prizes of gold and silver are given to 
 victors in the musical contests, shields are awarded in the contest of 
 manly beauty, and olive oil is given to those who win the gymnastic 
 contest and the horse-race." Aristotle, 'Ad. TroA. 60. 
 
 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. 
 
 It must be noted that the incidents of the frieze are arranged 
 symmetrically, as far as the conditions admit, with reference 
 to the centre of the east side. The diagram (fig. 24) shows 
 in a conventional scheme the relation of the parts of the pro- 
 cession to its architectural setting. 
 
 In the centre of the east side a solemn ceremony (commonly 
 supposed to be the act of delivering the new peplos) is taking 
 place. On each side, to right and left, are groups undoubtedly 
 representing deities. These must be supposed to be in the 
 background, seated in a semicircle and looking inwards, as shown 
 on the diagram. To right and left again are groups of citizens 
 (their precise rank is undetermined), who stand for the mortal 
 spectators of the ceremony. Next, on either side, are the 
 maidens who head the procession ; behind them the long train 
 of victims, tray-bearers, musicians, elders, chariots and horse- 
 men. These extend the whole length of the north and south 
 sides. The scenes of preparation on the west side are treated 
 as a continuation of the northern half of the procession. 
 
 In our description we begin, for convenience, with No. 1, 
 at the left end of the east side. We observe the maidens at 
 the head of the southern procession, the citizens, and the first 
 group of deities. Next is the central act of the delivery of the 
 peplos, followed by the second group of deities, the second group 
 of citizens, and the maidens at the head of the northern half of 
 the procession. These complete the reliefs of the east side. 
 
 At the head of the procession on the north side are victims, 
 with their attendants, Skaphephori, Spondophori, musicians, 
 chariots and cavalry. After going down the north side, 
 meeting the procession, we pass along the west side, where it is 
 still in a state of preparation for departure. We then pursue 
 the other main stream along the south side of the Temple, 
 overtaking the cavalry, chariots and victims. It has been 
 
 F 2
 
 68 
 
 SCULPTURES OF THE PARTHENON. 
 
 
 ^ ^ 
 Horsemen preparing;. 
 
 
 
 WEST SIDE. 
 
 I 
 
 
 
 
 Horsemen. 
 
 
 i 
 
 Horsemeii. 
 
 i 
 
 Chariots. 
 
 uj z 
 
 S 
 
 co H 
 I ^ 
 
 o o 
 
 1 
 
 Chariots. 
 
 Elders. 
 
 
 Eldei-s. 
 
 
 
 Musicians. 
 
 Musicians. 
 
 
 Pitcher-bearers. 
 
 Tray-bearers. 
 
 
 Tray-bearers. 
 Sheep. 
 
 Cattle. 
 
 
 Cattle. 
 
 
 EAST SIDE. 
 1. 63. 
 
 
 
 
 I 
 
 V 
 
 S^ Deities. Deities. ^\ 
 Citizens. Peplos. Citizens 
 
 \ 
 
 Marshals. Maidens. Maidens. 
 
 t t 
 
 Fig. 24. Diagram of the Procession, as represented on the Parthenon Frieze 
 (Compare fig. 2.)
 
 THE FRIEZE INTRODUCTION. 69 
 
 objected that many features which we know to have formed a 
 part of the ceremony of the Panathenaic procession, as, for 
 instance, the ship on which the peplos was borne, are not found 
 on the frieze. There is, however, no reference to the ship 
 before the close of the fifth century, and, in any case, Pheidias 
 would only select for his composition such details from the 
 actual procession as he considered suitable for representation in 
 sculpture, working, as he here did, under certain architectonic 
 conditions. 
 
 Notwithstanding all the mutilations that it has suffered, the 
 frieze of the Parthenon is sufficiently complete to enable the 
 spectator to grasp the general scheme without difficulty, and 
 to appreciate its incomparable vitality and grace. Though 
 much of it is doubtless lost for ever, the list (on p. 127) of frag- 
 ments replaced will indicate how much has been done in the 
 iast forty years to restore it to its original form. Often the 
 replacing of a small fragment is found to give new meaning 
 and beauty to a considerable area of the reliefs. 
 
 While the architectural conditions prescribe a general 
 unity of treatment, the sentiment of the sculpture seems to vary 
 according to the divisions of the theme. On the east side, a 
 skilfully devised increase of scale gives dignity and repose to 
 the figures of the gods. The figures of the Athlothetae, or 
 whatever they may be, awaiting the procession are studied from 
 Athenian life. The maidens are endowed with that beauty and 
 grace which is commended in the inscription quoted above 
 (p. 66). The cattle and sheep are studied with observation and 
 sympathy. The chariots in rapid movement, and the thundering 
 cavalcades (especially that of the north side) have unequalled 
 animation and spirit. 
 
 The frieze of the Parthenon records in sculpture the passionate delight 
 with which Greeks, and more particularly Athenians, regarded festal 
 processions. 
 
 A vivid commentary on the Parthenon frieze is to be found in the 
 third book (chaps, i.-iii.) of the Aethiopica of Heliodorus (circ. 390 A.D.). 
 The passage adds the sound, colour, and movement needed for a complete 
 conception of the scene. The writer, however, is describing the pro- 
 cession of a Thessalian embassy at Delphi, and some of the details only 
 partially agree with those of the frieze. "The Hecatomb led the procession, 
 escorted by men initiated in the mysteries. These were somewhat rustic 
 in dress and manner, and had their white tunics closely girded. The 
 right shoulder and breast were bare, and they carried an axe in the right
 
 70 
 
 SCULPTURES OF THE PARTHENON. 
 
 hand. The bulls were followed by a crowd of other victims, each kind 
 being led separately and in order. Meanwhile flute and pipe were 
 playing a melody which was. as it were, an introduction to the sacrifice. 
 The cattle and their escort were followed by maidens with flowing hair. 
 They were in two troops ; the first carried baskets of fruit and flowers, 
 the second troop carried flat baskets (nava Kavrjfopov-jai) with sweetmeats 
 and incense, and filled the place with sweet smells. They bore their 
 burdens on their heads, leaving their hands free, and kept their ranks 
 true both from front to rear and from side to side, that they might march 
 and dance while the first troop gave the time, singing a hymn in honour 
 of Thetis . . . But at length the appearance of the youthful cavalry and 
 of its leader proved that a noble sight was better than any music. There 
 were fifty young men, hi two troops of five-and-twenty, acting as body-guard 
 of the leader of the embassy. Their boots were laced with purple thongs, 
 and tied above the ankle. Their cloaks were white with dark blue borders, 
 and were fastened on their breasts with golden brooches. The horses 
 were all Thessalian, and breathed the freedom of their native plains. 
 They tried to spue out their bits and covered them with foam, as if 
 rebellious, yet submitted to the will of the riders. It seemed as if there 
 had been a rivalry among the masters in adorning their horses with 
 
 Previous 
 Numbers. 
 
 Present 
 Numbers and 
 Michaelis. 
 
 Previous 
 Numbers. 
 
 Present Numbers and 
 Michaelis. 
 
 EAST SIDE. 
 
 
 SOUTH SIDE. 
 
 1 
 
 1 
 
 1-56 
 
 1-56 
 
 
 
 2 
 
 
 
 57,58 
 
 2-60 
 
 3-61 
 
 58-62 
 
 59-63 
 
 ; 
 
 63-69 
 
 71-77 
 
 
 70 
 
 88 
 
 NORTH 
 
 SIDE. 71, 72 
 
 91,92 
 
 
 73 
 
 93 
 
 1-11 
 
 3-13 73* 
 
 95 
 
 12-16 
 
 16-20 74-77 
 
 97-100 
 
 17-19 
 
 26-28 77* 
 
 101 
 
 19*-19*** 
 
 29-31 78, 79 
 
 102, 103 
 
 35-52 
 
 51-68 
 
 N^mbel Michaelis. 
 
 53 
 
 72 
 
 rro 
 
 
 
 54 
 
 to 
 
 74 79 * 
 
 JQg 
 
 56, 57 
 58-60 
 61-110 
 
 75, 76 anoa 
 78-80 
 
 85 - 134 85-91 
 
 107-110 116-119 
 111 126 
 112-118 109-115 
 
 
 92-94 
 
 124-126 106-108 
 
 
 95-99 
 
 119-123 120-124 
 
 WEST 
 
 SIDE. 
 
 v s 
 
 
 inn 
 
 127 
 
 No change. 101, 102 
 
 128 
 
 
 103-105 
 
 129-131
 
 THE FRIE/E INTRODUCTION. 71 
 
 frontlets and phalerae, silver or gilded. But, as a flash of lightning 
 makes all else seem dark, so, when the captain, Theagenes (the hero of 
 the novel) appeared, all eyes were turned to him. He also was 
 mounted, and wore armour, and brandished an ashen spear, tipped with 
 bronze. He had not put on his helmet, but rode bareheaded. He wore 
 a purple cloak, embroidered in gold with a fight of Centaurs and Lapiths ; 
 on his brooch was an amber figure of Athene, wearing the Gorgon's head 
 on her breastplate. A gentle breeze gave him further grace, spreading 
 his hair about his neck, and parting the locks on his forehead, and 
 blowing the ends of his cloak about the back and flanks of his horse. 
 And the horse itself seemed conscious of the exceeding beauty of its 
 master, as it arched its neck, and pricked up its ears, and frowned its 
 brows, and advanced proudly, giving ready obedience to the rein, 
 balancing on alternate shoulders, lightly striking the tips of its hoofs on 
 the ground, and attuning its pace to a gentle motion." Interesting 
 passages of Xenophon describe horses that prance as they ought in pro- 
 cessions, and also lay down the duty of the leaders of a procession of 
 horsemen (Xen. De re eq. 11 and Hipparch. 3). 
 
 NOTE. A list of the minor fragments incorporated in the frieze will 
 be found on p. 127. The numbers of the slabs, painted in Koman figures 
 on the lower moulding, and placed in the right-hand margin of this 
 catalogue, agree throughout with the numbers of Michaelis, with the 
 exception of the interpolated slab-numbers, distinguished by asterisks. 
 The numbers now assigned to the separate figures, and painted in Arabic 
 numerals above the frieze, also agree with those of Michaelis, except in 
 the case of the east end of the South side, which has been renumbered. 
 
 The table on the preceding page will allow reference from the present 
 numbers to those which were used in the Elgin Room between 1880 
 and 1905. 
 
 EAST FRIEZE OF THE PARTHENON. 
 
 24. 1. A man standing on the return face of slab xliv. (South I. 
 Frieze), looks back and beckons as if to make a signal to the 
 procession approaching along the south side, and thus makes a 
 connection between the south and east sides of the frieze. The 
 end of a rod seems to be indicated in his left hand. 
 3_g, With slab ii. the band of maidens leading the southern half IT. 
 of the procession begins. When complete the slab contained 
 five maidens, each carrying a circular bowl, with a boss in the 
 centre ; portions now remain of four only, on the principal 
 fragment. The left-hand lower corner of the slab is also extant, 
 with the feet of the fifth figure. 
 
 7-11. Five maidens richly draped carry each a wine jug, perhaps of III. 
 gold or silver. Several such vessels occur in the treasure lists 
 of the Parthenon, with a note of the inscriptions, the weights, 
 and the condition.
 
 72 
 
 SOULPTUKES OF THE PAETHENON. 
 
 12-15. In front of these are four maidens, walking in pairs. Be- 
 tween each pair is an object not unlike the stand of an ancient 
 candelabrum, which tapers upwards from its base. It is en- 
 circled by a double moulding at the top ; and above this 
 moulding a hole is pierced in the marble, as if for an attachment 
 in metal. It is probable that these are metallic objects of 
 some kind, which, like the censer carried by No. 57 on the 
 opposite side of the eastern frieze, were part of the sacred furni- 
 ture used in the festival, and usually kept in the Treasury of 
 Athene. They may be the lower parts of censers, or perhaps, 
 as Michaelis suggests, they may be the stands, Jcrateutae, in 
 which turned the ends of the spits used in roasting the sacrifice. 
 None of the four maidens grasps the main stem of the imple- 
 
 (Athens) London. Carrey and Athens. London and Carrey. 
 
 Fig. 25. The East Frieze (Slabs I.-III.) restored. 
 
 ment. It may have been carried by a large loose ring, or a pair 
 of handles. 
 
 16, 17. A pair of maidens with empty hands, and a corresponding 
 pair on the opposite side (Nos. 50, 51), lead the procession. 
 They may perhaps be the four maidens who were specially 
 appointed to direct the weaving of the peplos. The first 
 six (Nos. 12-17) are all dressed alike, in long tunic with 
 lappet (apoptygma), together with a small mantle. They also 
 appear to have the hair similarly dressed. It falls in a 
 mass on the shoulders, as in the Caryatid of the Erechtheion 
 (No. 407). There is a formality in their pose which recurs in 
 the first six figures (Nos. 50-55) on the other half of the east 
 side.
 
 THE FRIEZE EAST SIDE. 73 
 
 18. In front of the procession is a man, probably one of the 
 marshals, who seems to approach a group of live persons, and 
 to hold out his hand as if with a gesture of greeting to the 
 
 19. nearest of the group. This figure is turned towards the 
 marshal, and leans heavily on his staff, which is seen below his 
 knees. 
 
 20-23. On the left of the next slab are four men of the same IV. 
 character as No. 19. They all wear mantle and boots. They 
 converse in pairs and stand in easy attitudes, leaning on their 
 staffs. There is a corresponding group of four male figures 
 (Nos. 43-46) on slab vi. Their privileged place between the head 
 of the procession on each side and the seated divinities would 
 seem to indicate official rank. Perhaps they may (with No. 18 
 or 47) be the ten Athlothetae, who controlled all the arrange- 
 ments for the procession, as well as for the contests (cf. p. 66). 
 They have also been interpreted as mere typical citizens. 
 
 More recently attempts have been made to identify the ten 
 figures 18-23 and 43-46 with the ten legendary heroes whose names 
 were given to the ten Attic tribes of Cleisthenes. (Arvanitopullos in 
 Athenische Mittheilungen, 1906, p. 38 ; Weissmann, in Hermes, 1906, 
 p. 619.) 
 
 24-41. 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 question agree in recog- 
 nising the two groups of seated figures as deities. This is 
 indicated not only by the dignity of their appearance, but also 
 by their scale. While the figures of the mortals are about 3 ft. 
 2 in. high, those of the deities, if standing erect, would be about 
 4 ft. 4 in. high. Though by the principle known as isokepha- 
 lism the heads in a relief are usually nearly on a level, this 
 marked difference of scale can hardly fail to indicate divine 
 rank ; compare the frieze of the Theseion (No. 404). Moreover, 
 the attendant figures (28, 42) are both winged, as befits the 
 companions of deities. There is, however, a wide divergence of 
 opinion as to the particular divinities here represented. In 
 Michaelis's Parthenon, pp. 262, 263, a tabular view is given of 
 the various schemes of interpretation proposed before 1871. 
 
 The interpretations proposed by those who hold that the 
 seated figures are deities are of two kinds. Most of the earlier
 
 74 SCULPTURES OF THE PARTHENON. 
 
 writers tried to identify some at least of the figures with 
 personages who were worshipped near the Acropolis, or con- 
 nected with the mythological history of Athens. By this 
 system, deities of lower rank, such as the Dioscuri, or heroes 
 like Triptoleinos, are admitted, on the frieze, to the company of 
 the Olympian Gods. The more recent writers have argued in 
 favour of the view that the twelve Olympian deities are 
 represented, to whom the younger Peisistratos consecrated an 
 altar in the Athenian agora. The names of the twelve deities 
 are the following, according to the usually accepted list. On 
 the Borghese altar in the Louvre (Clarac. ii., pis. 173, 174) 
 they are grouped in pairs : 
 
 (Side A) Zeus and Hera. Poseidon and Demeter. 
 
 (Side B) Apollo and Artemis. Hephaestos and Athene. 
 
 (Side C) Ares and Aphrodite. Hermes and Hestia. 
 
 Inasmuch as we have seven male and five female figures 
 on the frieze, the above series must be subject to some modifi- 
 cation. Hestia, the hearth-goddess, must be left out, because 
 Plato says that when the Olympians go forth, they go as eleven 
 only, since Hestia remains at home (Plato, Phaedr. 247a). Of 
 male deities not included in the Olympian twelve, Dionysos 
 is the most likely to be added to such a company as the 
 present. 
 
 If we substitute Dionysos for Hestia, and try to assign 
 the respective names, there can be little doubt as to several. 
 The slim figure (No. 24) with short cloak and traveller's hat 
 must be Hermes, the fleet messenger. The bearer of the great 
 torch (No. 26) is probably Demeter. The stately pair (30 and 
 29) must be Zeus and Hera. No. 36 is evidently Athene, and 
 No. 37 is the clumsy craftsman god Hephaestos. No. 38 must 
 be Poseidon, and No. 41 must be Aphrodite accompanied by 
 the winged boy Eros. After striking out the above from the 
 list, there remain : 
 
 Male deities : Apollo, Dionysos, Ares. Female deity, 
 Artemis. 
 
 The figures wanting names are : male 25, 27, 39 ; female 40. 
 
 Artemis would thus necessarily be No. 40. The figure next 
 to her, with ample cloak, and (probably) a wreath, is well fitted 
 for her twin brother, Apollo. The powerful athletic figure of
 
 THE FKIEZE EAST SIDE. 75 
 
 No. 27 must be Ares. The only remaining figure (No. 25), 
 intimately associated with Demeter, and reclining somewhat 
 indolently against his companion, must be Dionysos. 
 
 The above attributions coincide with those of the late Prof. 
 Furtwaengler, which form the most complete series. In the annexed 
 table they are compared with those of other recent writers, so far as 
 there are any differences. 
 
 No. Michaelis. 1 Petersen.2 Flasch.s Furtwaengler. * 
 
 25. Dionysos. Dionysos. Apollo. Dionysos. 
 
 26. Demeter. Demeter. Artemis. Demeter. 
 
 27. Triptolemos. Ares. Ares. Ares. 
 
 39. Apollo Patroos. Apollo. Dionysos. Apollo. 
 
 40. Peitho. Peitho. Demeter. Artemis. 
 
 (1) Michaelis, Parthenon, p. 262 ; (2) E. Petersen, Kunst des 
 Pheidias, 1873, p. 247 ; (3) Flasch, Zum Parthenonfries, 1877 ; (4) Furt- 
 waengler, Masterpieces, p. 430. 
 
 The earlier writers saw the Dioscuri, Castor and Pollux, in j 
 
 24. the two figures Nos. 24, 25. It is now generally agreed that 
 the youthful elastic figure to the left is Hermes, of whom the 
 high boots and the traveller's hat spread on his knees are 
 specially characteristic. His right hand is pierced and has 
 held a metallic object, probably the herald's staff, caduceus. 
 The drapery is a small chlamys fastened by a brooch, but at 
 present worn about the loins. The more robust figure leaning 
 
 25. on his shoulder (No. 25) is seated on a cushion ; his legs cross 
 
 26. those of the goddess (No. 26). in a singularly complex fashion. 
 The goddess holds a torch, of which the upper part was com- 
 pletely undercut, except at the point of attachment. This is 
 the usual attribute of Demeter, and as we have seen above ? 
 No. 25, by a process of exclusion, is probably Dionysos, here 
 represented in intimate association with Demeter. 
 
 27. For No. 27 we have already proposed the name of Ares 
 for the powerful figure with a small cloak. The somewhat 
 negligent attitude is that of a person tired of sitting on a seat 
 without a back, and clasping his knee with his hands, to relieve 
 the spine of the weight of the head and shoulders. The left 
 ankle rests on a staff or spear to assist the balance. 
 
 28-30. (Plate VII.) The bearded and sceptred figure (No. 30) on V. 
 the left of the central group is distinguished from the rest by 
 the form and ornaments of his chair, which has a back with a
 
 76 SCULPTURES OF THE PARTHENON. 
 
 top bar terminating in a circular disk, and a side rail supported 
 by a winged Sphinx, while all the other figures are seated on 
 stools ; the throne is further marked by a cross-bar connecting 
 the legs, and a panel. It is generally admitted that this deity 
 is Zeus. It is therefore reasonable to suppose that the goddess 
 seated next to him (No. 29) is his consort, Hera. The type and 
 action of this figure, who raises her veil with both hands and 
 looks towards Zeus, are very suitable to her. The leaves of a 
 wreath are clearly indicated in marble, to right of the head. 
 They appear to be pointed and serrated, and perhaps are meant 
 for the foliage of the willow, which was sacred to Hera in 
 her Samian sanctuary (cf. Paus. vii., 4, 4 ; Athenaeus xv., 
 p. 672). 
 
 The winged maidenly figure (No. 28) standing behind Hera 
 must be either Nike or Iris, and has been called Iris on the 
 ground that her station is close to Hera, while Nike is usually 
 more closely associated with Zeus. The dress, however, is that 
 of Nike. The head, which was discovered in 1889 on the 
 Acropolis, is admirably perfect. The left hand raises a mass of 
 the hair as if to coil it on the head. 
 
 The exquisite preservation of the head of Iris is explained 
 if, as is suggested, it was broken off in the sixth century, and 
 immediately built into a Byzantine wall (Waldstein, American 
 Journ. of Archaeology, v., pi. 2, p. 1). 
 
 31-35. Between the group of gods just described and the corre- 
 sponding group on the right side of the centre, we have a group 
 of five figures. 
 
 We must suppose that these figures are in front of the two 
 groups of gods who sit in a curve (see diagram, p. 68). 
 
 No. 31 is a maiden holding an unexplained object on her 
 left arm, and supporting on her head a seat (Stypos) covered 
 with a cushion, not unlike the seats on which the gods are, but 
 smaller. She has a small pad on her head to make the weight 
 easier to bear. The legs of the seat are now wanting, but a 
 rivet hole near the maiden's right elbow shows where one leg 
 was attached. The other may have been undercut and free 
 from the ground of the frieze. The cut (fig. 26), showing one 
 of the slaves of Cepheus carrying a stool with a cushion, is 
 taken from a vase in the British Museum, No. E 169.
 
 THE FRIEZE EAST SIDE. 
 
 77 
 
 No. 32 is another maiden, advancing slowly to the right, 
 bearing on her head a cushioned seat similar to that carried by 
 No. 31. The foremost leg of the seat still exists, being of 
 marble. The position of the hinder leg is marked by a rivet 
 hole and a roughness in the marble. No. 32 is confronted by a 
 large and matronly woman (No. 33), who raises her right hand 
 to the under side of the chair. Archaeologists have been 
 uncertain whether the woman (No. 33) has just placed the 
 chairs on the heads of the maidens or is just about to remove 
 them. There can be little doubt, however, that No. 32, if we 
 consider the position of her feet, has hardly ceased approaching 
 to No. 33, who is just raising her hands 
 to lift down the chair. The left hand in- 
 stinctively prevents the mantle being 
 displaced by the raising of the right 
 arm. 
 
 An elderly bearded man (No. 34), 
 wearing a long tunic with short sleeves 
 (a dress of antique fashion in the time 
 of Pheidias), and shoes, stands next to 
 No. 33. On his head are traces of 
 metallic rust. He therefore may have 
 worn a metallic wreath or fillet, for which 
 the marble at the back of his head has 
 been hollowed. He turns away from 
 No. 33, and is engaged with a boy. The 
 
 Fig. 26. Slave with seat. 
 
 two figures between them support a large piece of cloth, folded 
 once lengthwise, and twice breadthwise. According to the 
 scale of the figures it would measure about four feet by seven 
 feet. In this case also archaeologists have been doubtful which 
 is the giver and which is the receiver of the cloth; but the 
 action represented is not one either of giving or receiving. From 
 the peculiar way in which the boy grips an angle of the folded 
 cloth between his elbow and his side, while his hands are other- 
 wise occupied, the act of folding the cloth square seems to be 
 represented. The portion nearest to the spectator is being 
 dropped down till its edges coincide with those of the lower part. 
 The group of figures just described (31-35) contains the 
 centre of the composition, and the interpretation of the frieze as
 
 78 SCULPTURES OF THE PARTHENON. 
 
 a whole depends on the meaning we attach to this group. 
 Leaving on one side the writers referred to on p. 64, who hold 
 that the frieze does not represent the Panathenaic festival, we 
 find that the older writers describe No. 33 as a Priestess of 
 Athene, giving the sacred vessels to the Arrhephori or Ersephori, 
 and No. 34 as a priest or Archon Basileus receiving or giving 
 the sacred peplos of Athene. This view of Nos. 31-33 was 
 necessarily abandoned when it had been perceived that the 
 objects carried are chairs, not baskets. The maidens can hardly 
 be other than the Diphrophori or stool-bearers, who are known 
 to have taken part in the procession. It has been generally 
 supposed, on the authority of a scholiast (Schol. Aristoph. Aves, 
 1551), that the Diphrophori carried the seats for the convenience 
 of the Canephori, and they therefore seemed unworthy of a 
 central position. It has however been shown that this is 
 probably an error (Furtwaengler, Masterpieces, p. 429), and that 
 the seats were probably carried in order that they might be 
 solemnly set out to invite and to suggest the presence of the 
 gods at the ceremony. The arrival of the Diphrophori would 
 thus be a piece of ritual of co-ordinate importance with the 
 delivery of the peplos. (See below.) As regards Nos. 34, 35, 
 the main argument for interpreting the cloth as the peplos is, 
 that the accounts of the procession preserved in ancient authors 
 show that the conveyance of the peplos of Athene was the 
 principal feature in it. If we look to the place assigned to this 
 group in the eastern frieze, we find that these two groups 
 (Nos. 31-35J stand in the centre of the eastern front, under the 
 apex of the pediment, and over the eastern door of the cella. 
 They therefore occupy the most conspicuous place in the frieze, 
 from the points of view alike of the sculptured Gods watching 
 the festival and of the human spectator examining the frieze. 
 They accordingly may well be supposed to be busy with the 
 chief ceremony of the festival. 
 
 To this it has been objected that if the delivery of the peplos is 
 represented, there is a violation of the unity of time, as the act which 
 was the main motive of the procession is being completed while the 
 procession is still in progress and in part has not yet started. Hence, a 
 suggestion was made (by Flasch, Zum Parthenonfries) that we have a 
 mere scene of preparation, and that the priestess is receiving chairs for 
 herself and for the priest. Meanwhile the priest has taken off his 
 himation and gives it to an attendant to hold. It would seem that on
 
 THE FRIEZE EAST SIDE. 79 
 
 this theory unity of time is only secured by the assumption that trivial 
 incidents are selected for the central theme. 
 
 It was also suggested by E. Curtius, on the authority of a sacrificial 
 inscription from Magnesia, that the cloth is not the peplos, but a carpet 
 to be put before the seats of the gods. The incident is thus made a single 
 one, and the unity of time is preserved. There remains however the 
 improbability that the peplos would be entirely omitted, and, on the 
 whole, the peplos theory continues to hold the field. (Cf. E. Curtius, 
 Arch. Anzeiger, 1894, p. 181 ; Klein, Gesch. d. Griech. Kunst, II., p. 89.) 
 Hill (Class. Eeview, 1894, p. 226) suggests that the old peplos is being 
 put away. 
 
 36. We now reach the second group of deities, seated to the 
 right of the central scene. The first figure is clearly that of 
 Athene. She sits in a position corresponding to that of Zeus, 
 and the Goddess of Athens is thus put in the same rank as the 
 supreme God. Her hair is gathered in a close coil round the 
 head. Her left hand appears to rest on her aegis, gathered 
 together on her knee. Three or four of the snakes of the snake 
 fringe can be distinguished. Four rivet-holes in a straight line 
 show that Athene held some attribute, probably a spear, in her 
 right hand. 
 
 37. Next to Athene is an elderly bearded figure, who turns his 
 head towards her. He has a knotted staff under his right arm, 
 and leans upon it heavily. This figure is usually known as 
 Hephaestos. His lameness may be indicated by the clumsy 
 thickness of his feet, and by the staff on which he leans. 
 
 The central slab was removed from its original position at some early 
 time, probably at the conversion of the Parthenon into a church, when an 
 apse was built at the east end. Lord Elgin's agents found it built into the 
 upper part, on the inner side, of the south wall of the Acropolis. They 
 sawed off the back for transport, and in consequence it broke in half, in 
 course of transit to the Piraeus. It was sunk in the wreck of the Mentor, 
 and on account of the great weight of the two pieces, was only salved with 
 great difficulty. 
 
 38. This slab, containing figures Nos. 38-48, now in a veryvi. 
 fragmentary condition, was complete when drawn by Carrey. 
 
 A bearded and dignified figure (No. 38), with his left hand 
 raised as he talks to his neighbour, is no doubt Poseidon. The 
 next figure (No. 39) is beardless and youthful, and seated in an 
 easy attitude. A series of holes round the head shows the 
 position of a bronze wreath. He has of late years gone by the 
 names of Apollo or Dionysos, but we have already seen that 
 the name of Apollo is to be preferred.
 
 80 
 
 SCULPTURES OF THE PARTHENON. 
 
 40. Ail unveiled woman's figure (No. 40) is seated next, wearing 
 a tunic, which is slipping off from the left shoulder, mantle, 
 cap and sandals. This figure was called Peitho by Michaelis 
 and Petersen, on the ground that the worship of Peitho was 
 associated with that of Aphrodite Pandemos (No. 41) on the 
 south side of the Acropolis. Peitho, however, was not entitled 
 to a place among the great gods of Olympos, and we have 
 already assigned to this figure the name of Artemis. 
 
 41. The next figure (No. 41), most of which is only preserved 
 in Carrey's drawing (fig. 27), is unmistakably shown to be 
 
 ATHENS AND CARREY. PALERMO. ATHENS, PARIS MOULD AND LONDON. 
 
 Fig. 27. East Frieze of the Parthenon, Nos. 40-45. 
 
 Aphrodite, by the winged boy Eros, who stands at her knee. 
 Aphrodite wears a cap and a veil. A small portion of a 
 head, including the ear, together with part of the cap and veil, 
 is in the Acropolis Museum at Athens, and a cast x has been 
 inserted in this place. The close correspondence with Carrey's 
 drawing, and with the scale and treatment of the head of the 
 Artemis, seems to make the identification certain. Aphrodite 
 rests her left hand on the shoulder of Eros, extending her fore- 
 finger, as if pointing out some object in the procession to the 
 42. boy. Eros (No. 42) carries a parasol which conveniently fills 
 the space above his head and his wings.
 
 THE FRIEZE EAST SIDE. 81 
 
 43-46. On the right of the gods is a group of four figures 
 corresponding to the five (Nos. 19-23) on the left. One of 
 these (No. 44) is young and beardless ; the rest are elderly, 
 and all have staffs and mantles. These four figures are 
 leaning on their staffs, and three of them are looking towards 
 the advancing procession, while the fourth (No. 46) turns his 
 back to it and appears to be conversing with his companions. 
 
 47. The next figure (No. 47) is an officer more immediately 
 concerned with the procession. It is evident from the way in 
 which his head is thrown back and his arm raised that he is 
 not addressing the group beside him, but is making a signal to 
 some person at a considerable distance. He may be supposed 
 to be making a signal to the southern half of the procession, 
 and thus helps the spectator to keep the two parts connected 
 
 48. together in his mind. The next figure (No. 48), a similar 
 officer, stands facing the advancing maidens. 
 
 Slab vi., which was complete in Carrey's time, has since suffered 
 greatly, and the parts now exhibited have been combined from several 
 sources. At some unknown period the slab was broken through No. 41, 
 much of No. 41 being destroyed. The original fragment, with the 
 figures Nos. 38-40, is now at Athens. It was found in 1836 under the 
 East end of the Temple. About 1787 Fauvel took a mould from the slab 
 as he found it, which is now in the Louvre, and includes from the middle 
 of 41 to the joint after 48. The mould, however, would seem to have 
 been trimmed, as it includes a part, but not the whole, of the extant 
 fragment with the right foot of No. 40. Between 1787 and 1800 what 
 remained of No. 41, No. 42, and the lower parts of Nos. 43-45, 48 were 
 broken away. No. 46, and the arm of No. 47 were chiselled away, and 
 the slab was divided below No. 46. The main part of the figures 
 Nos. 43-48 is the original marble. The additions in plaster from Fauvel's 
 mould are shown unshaded in fig. 27. At the right end of the slab the 
 whole of No. 46, the head and arm of 47, and the legs of 48 are derived 
 from the mould. Certain fragments, however, distinguished in fig. 27 by 
 dotted boundaries, are recent casts from extant originals (cf. p. 127). 
 
 49. The next magistrate, or officer (No. 49), seerns to hold in VII. 
 his hand a dish, such as those in which the corn, sashes, or 
 sacrificial implements were usually brought to the altar. The 
 position of the left hand seems to show that the thumb is 
 inserted in a boss, as in a phiale omphalote. Holes in the 
 marble may indicate sashes of bronze, hanging from the dish. 
 
 50, 51. Two maidens (Nos. 50, 51) are seen standing with empty 
 hands. They closely correspond to the pair (Nos. 16, 17) that 
 leads the other half of the procession. 
 
 G
 
 82 
 
 SCULPTURES OF THE PARTHENON. 
 
 52. Another officer (No. 52) stands looking towards the pro- 
 cession. He has held in the right hand some object in metal, 
 perhaps a herald's staff. Two holes for the attachment of it 
 are visible in the marble. The gesture of the left ha'nd shows 
 that the officer is giving some order to the two maidens before 
 
 53, 54. him (Nos. 53, 54), who stand with empty hands, like Nos. 50 
 
 and 51. 
 55. The next maiden (No. 55) carries a bowl, used for sacrificial 
 
 56, 57. libations. The following maidens (Nos. 56, 57) carry between 
 
 them a censer (thymi-ateriori) with a conical cover and pro- [VIII, 
 
 58, 59. jecting handles. Next follow two figures (Nos. 58, 59), each 
 
 60, 61. carrying in the right hand a jug, then two more (Nos. 60, 61), 
 carrying bowls. 
 
 The frieze from figs. 49 to 61, is divided into two parts between 
 figs. 56 and 57, and has been numbered by Michaelis as two slabs 
 (vii. and viii.), one being in the Louvre and 
 the other in the British Museum. Neither 
 slab, however, has a true joint, and it has lately 
 been proved by fitting a cast of the right- 
 hand end of the Louvre relief to the left- 
 hand end of that in the Museum, that the 
 two supposed slabs are in fact one, broken 
 into two. The Louvre portion was extracted 
 by Fauvel from the rubbish at the East end 
 of the Temple, Jan. 25, 1789, for Choiseul- 
 Goufner. "When found, three of the figures 
 had heads intact, which were afterwards broken 
 off by the clumsiness of the workmen who 
 sawed off the back of the slab. The heads were 
 shipped with the relief, but were lost. Rev. 
 Arch., 3rd Ser., XXV., p. 31 ; XXVI., p. 237. 
 
 A marble head (345, 2) is extant at Athens 
 which has sometimes been assigned to fig. 57. 
 There is, however, no actual contact of fractured 
 surfaces, and the experiments that have been 
 made with the cast did not give a completely 
 satisfactory result. The head has therefore 
 not been attached to the marble in the British 
 Museum. 
 
 Fig. 28. 
 
 The last figures of the 
 East side (from Stuart). 
 
 The east side of the frieze was completed by the short IX. 
 return of a slab (fig. 28) which was still in existence in the 
 time of Stuart. On this slab were two maidens, belonging to 
 the procession. The second of these carried a bowl.
 
 NORTH FRIEZE OF THE PARTHENON. 
 
 325. The eastern end of the north frieze, which Carrey had seen 
 complete, was a total ruin in the time of Stuart. Such frag- 
 ments as remain from this part of the frieze were for the most 
 part buried in the time of Lord Elgin, and are therefore now 
 represented by casts in the British Museum. 
 
 Thus slabs ii., vi. were found in 1833 ; slab x. in 1835 ; 
 fragments of slab iii. in 1836 ; and slabs iv., viii., ix. in 1840. 
 
 It was* shown above (p. 64) that the north frieze contained 47 slabs. 
 Michaelis's enumeration contains 42, and it is, therefore, necessary to 
 distribute the slabs hitherto unrepresented by a number. The following 
 arrangement appears best to satisfy the conditions, i.-xiii., xiii*., xiv.- 
 xvi., xvi*., xvi**., xvii., xviii., xviii*., xix.-xxix., xxix*., xxx.-xlii. This 
 makes in all 47 slabs, that is, Michaelis's i.-xlii. with five interpolated 
 numbers, distinguished by an asterisk. Material changes have also been 
 made in the objects denoted by the original slab numbers, especially 
 nos. xvi., xx., xxvii. 
 
 The arrangement, so far as the eastern half is concerned, is shown in 
 the annexed diagrams. In some of these, Carrey's drawings (which are 
 usually too long in proportion to the height) have been compressed so 
 that the slab lengths are brought into conformity with the rule stated on 
 p. 64. 
 
 At the head of the procession on the north side we meet a 
 troop of cows and sheep, led by an escort. Each cow is led by 
 cords held by two youths, one on each side ; each sheep is led 
 by one boy. There are slight grounds for the conjecture that 
 the Athenian colonists contributed both cows and sheep to the 
 festival, while the Athenians are not known to have sacrificed 
 anything except cows. It is therefore presumed that the 
 victims on this side of the frieze, on which alone sheep are 
 represented, are some of the colonial offerings ; and in that case 
 the men by whom the victims are conducted would be the 
 delegates sent by the Colonies. 
 
 Slab i. (see fig. 29) was complete in the time of Carrey, and I. 
 partly extant in the time of Stuart. It contains the first cow, 
 led by two youths, who are standing still, and the head and 
 shoulders of the second cow. This principle, of a figure in 
 repose at the angle, is observed throughout. A fragment is 
 extant with cow's hoofs (No. 345, <3A). 
 
 3, 4. Nos. 3 and 4 walk on each side of the second cow, which is II. 
 going quietly, as is shown by the way in which the youths are 
 
 G 2
 
 84 
 
 SCULPTURES OF THE PARTHENON.
 
 THE FRIEZE NORTH SIDE. 
 
 85
 
 86 SCULPTURES OF THE PARTHENON. 
 
 closely wrapped up in their mantles. The rope by which the 
 beast is led was probably painted on the marble. The third 
 
 5. cow is restive, and only restrained with difficulty by Nos. 5 
 
 6. and 6. Here also the rope was probably painted. 
 
 Of slab iii. only fragments remain. As drawn by Carrey, III. 
 it contains the figure of No. 6 (cf. fig. 29), vigorously holding 
 back his cow, and a fourth cow, quietly led by two youths 
 7, 8. (Nos. 7 and 8). For want of space this slab is compressed in 
 the British Museum to about two-thirds of its proper length. 
 The drapery seen on a fragment with the fore-legs of a cow 
 belongs to No. 7, who leads the fourth cow. The remainder of 
 the slab, so far as it exists, is made up of casts of nine fragments 
 (cf. p. 127). 
 
 9-11. Slab iv. contains parts of three figures, Nos. 9-11, who IV. 
 conduct three horned sheep. Of the first figure (No. 9) a part 
 of the mantle and ankles is now left. In Carrey's time the 
 head and shoulders were still extant. At the joint there is a 
 
 12. marshal (No. 12), who turns to the division of the procession 
 approaching. 
 
 When drawn by Carrey and Stuart, the next group in the V. 
 
 13. procession consisted of three figures, of which one only (No. 13) 
 is now extant. This is the only piece of the first eleven slabs 
 which is in the British Museum. These figures carry on their 
 shoulders oblong rectangular trays, not unlike a butcher's tray 
 in form. These trays have been identified with the skaphae, or 
 trough -shaped dishes which were carried in the Panathenaic 
 procession, and which contained offerings of cakes. If we 
 could trust Stuart's engraving, the trays of the three figures 
 contained fruits or cakes. The engraving is, however, inaccurate 
 for that part which still survives. These trays were made of 
 silver or bronze. An entry of 100 bronze skaphae is in the 
 inventories of the treasures deposited in the Parthenon. The 
 Metoiks, or resident aliens, whose duty it was to carry these 
 trays, were hence called Skaphephori. Their place in the 
 procession would naturally be immediately after the victims 
 led for sacrifice. 
 
 16-20. Slab vi. contains five male figures. Three (Nos. 16-18) VI". 
 carry vases ou their shoulders; a fourth (No. 19) stoops to raise 
 from the ground a similar vase, which is singularly misinter-
 
 THE FRIEZE NORTH SIDE. 87 
 
 preted in Carrey's drawing as a lamb. It is easy to understand 
 his mistake, if the fractured surface of the relief is looked at 
 from below. The vases resemble in form the three-handled 
 water-pitchers, or hydriae, which were in use in the period of 
 Pheidias, but two handles only are shown in the sculpture ; the 
 third handle, which was attached to the neck midway between 
 the other two, is not seen. Michaelis supposes that the vases 
 here represented on the frieze contained the wine used in the 
 Panathenaic sacrifice, and that these figures may be the 
 20. Spondophori, or libation-carriers. On the right of this slab are 
 the arms, flute, and drapery of the first of the four flute-players 
 drawn by Carrey. 
 
 The persons bringing objects connected with the sacrifice VII. . 
 are immediately followed by a band of musicians, consisting 
 of four flute-players and four lyre-players, all playing on their 
 instruments. The musicians, as is usual, wear long tunics and 
 ample mantles. Of slab vii. only two small fragments remain. 
 See figs. 29, 30, and Nos. 345, 5 and 6. 
 
 26, 27. The next slab contains parts of the second pair of lyre- VIII. 
 28. players and the foremost of a group of figures, who are princi- 
 pally on the two slabs immediately following. 
 
 The figures on these two slabs are mainly bearded men IX., X. 
 28-43*. (Nos. 28-43*), all clad in the himation, and moving forward at 
 a leisurely pace ; Nos. 38 and 39 wear a band on their heads ; 
 No. 38 draws it over his hair ; Nos. 41 and 43 wear long hair, 
 in plaits, brought round the head. The attire, elderly type, 
 and general deportment of these figures corresponds with that of 
 the Thallophori, 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. 
 
 Slab ix., when drawn by Carrey, contained nine figures 
 similar to those on x. Fragments previously catalogued as 
 345, 4 and 8, and another have lately been incorporated, and 
 give the left end of the slab (cf. fig. 30). 
 
 Slab x. This slab was not drawn by Carrey, who indicates 
 a lacuna at this point in his drawings. The last two complete 
 figures on this slab are looking back, as if their attention is 
 directed to the advancing chariots. Between these figures and
 
 88 SCULPTURES OF THE PARTHENON. 
 
 the marshal (No. 44) there has been another draped figure 
 (No. 43*), of whom nothing remains but the shoulders and 
 a little drapery, shown immediately in front of the marshal 
 (No. 44), and his right foot on slab x., seen next to the right 
 foot of No. 43, the left foot of No. 43 being lost. This figure 
 must have been the hindermost in the procession of Thallo- 
 phori, and the entire number of these persons is therefore 
 seventeen. 
 
 Slabs xi.-xxiii. contain the chariot groups. XI.- 
 
 XXIII. 
 
 Of these Carrey only drew slabs xi.-xvi. (after which he marks a 
 lacuna) and xix. The middle of the frieze was overthrown by the 
 explosion of 1687, and brought into great confusion. Stuart only drew 
 five slabs, without being able to establish their sequence, and Lord 
 Elgin's agents only found Nos. xii., xiv., xviii., and parts of xxi.-xxiii. 
 With the exception of part of xxii. brought home by Chandler, the 
 remainder of this part of the frieze is at Athens. Slab xvii. was found in 
 1833, slabs xi., xii., xix., xxii. were probably found in 1834, and slab xv. 
 in 1837. The smaller fragments have been adjusted at various times. 
 
 All the chariots are drawn by four horses ; the charioteer 
 stands in the chariot, and is accompanied by the so-called 
 apobates, who is armed with a helmet and buckler, and is 
 represented in the act of mounting or dismounting from the 
 chariot or standing behind it. In the Panathenaic contests, the 
 apobatae competed with one another in dismounting, running 
 and remounting the chariots. The frieze, however, must be 
 supposed to represent a processional parade, rather than the 
 actual contest which was a part of the Panathenaic festival. 
 Most of the chariots are accompanied by a marshal. The 
 vigour and- animation of the chariot groups form a marked 
 contrast with the groups that immediately precede them. The XL 
 transition from the rapid motion of the chariots to the quietude 
 of the Thallophori is skilfully effected by a chariot seen in rapid 
 motion but in the act of being suddenly checked by the marshal 
 
 44. (No. 44), who is represented eagerly pressing back the plunging 
 horses of the chariot which follows on the next slab. 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. 
 
 45. On the slab next on the right (xii.) is the hind quarter of XII. 
 one of the horses. At the further side of the chariot is a
 
 THE FRIEZE NORTH SIDE. 89 
 
 marshal (No. 45), who is turned with his right arm. extended 
 towards the procession following on the right. The charioteer 
 
 46. (No. 46), 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 chiton, 
 over which is a lappet reaching to the hips. The breast is 
 crossed diagonally by two bands, frequently worn by charioteers, 
 to confine the loose drapery. 
 
 In Stuart's engraving (Vol. II. ch. I., pi. 20) the head is drawn as 
 female. As, however, a part of the hair, which is shown as complete in 
 the engraving, was already lost with the upper part of the apobates, the 
 untrustworthiness of the plate as evidence is proved. 
 
 47. The warrior (No. 47) attached to the chariot wears a cuirass, 
 of which the shoulder straps terminate in panthers' heads. He 
 is represented standing on rough ground, and looking back to 
 the next chariot. His shield is raised as if to stop its course. 
 The wheel of this chariot, as of some that succeed it, was, in 
 part, detached from the ground. The left foot of the marshal 
 is complete, but it is easy to trace on its surface where the wheel 
 prevented the convenient working of the sculpture, behind it. 
 
 Of slab xiii., which Carrey places next, nothing has been XIII. 
 identified with certainty. Michaelis assigns to this group the 
 fragment of four horses, of which a cast is here inserted 
 (cf. fig. 30). Above the back of the second horse is the yoke- 
 pin (see below), and also what appears to be a small piece of 
 the drapery of a marshal. 
 
 This, however, cannot be the case if the fragment (formerly 345, 9) 
 which has been incorporated here, contains the marshal (48) belonging 
 to this slab. The resemblance of the figure to that of Carrey is indis- 
 putable. The resemblance of the horses is less satisfactory, but the slab 
 has not been displaced, since it is impossible to find a group to which it is 
 more appropriate. The fragment 345, 11, has also been drawn (fig. 30) as 
 part of the group. The Carrey drawings assigned by Michaelis to xiii. 
 are in fact the length of two slabs (xiii., xiii*.) with the joint passing 
 through the figure of the marshal. 
 
 Slab xiv. contains the third chariot with part of the team of XIV. 
 
 51. horses. The marshal (No. 51) stands beyond the horses, and 
 
 52. looks towards the charioteer. The charioteer (No. 52) had reins 
 of bronze, as indicated by two rivet holes. Like the driver on 
 slab xviii. he wears a chiton with long close-fitting sleeves.
 
 90 
 
 SCULPTURES OP THE PARTHENON. 
 

 
 THE FRIEZE NORTH SIDE. 91 
 
 53. The apobates (No. 53) appears about to step down from the 
 chariot. The wheel of this chariot, as of that on slab xii., must 
 have stood out entirely free from the ground. When Carrey drew 
 this slab, it was complete. Close behind the wheel are traces 
 of a horse's forefoot, which belonged to the chariot group on the 
 slab which follows next on the right. 
 
 Of the fourth chariot group, which was drawn by Carrey, XV., 
 the only certain piece is the hoof already mentioned. Michaelis XVI. 
 assigned to -it the fragment (now called xvi*) with portions of 
 the driver and apobates, and portions of the following group of 
 horses. But the additional fragments added since his publica- 
 tion increase the discrepancies from Carrey. 
 
 In particular the leg of the apobates, the drapery over his arm, and 
 the position of the head of the following horse are different. Moreover 
 the joint on the right of the fragment is inconsistent with the law of 
 slab lengths. We have too much on the left of the joint (but not enough 
 for two slabs) and too little on the right of the joint. 
 
 It therefore seems better to regard the fragments as 
 belonging to one of the slabs net drawn by Carrey, and to 
 attribute to Carrey's group a shield and other fragments not 
 hitherto catalogued (See fig. 31 and 345, HA.-E). 
 
 Carrey gives the greater part of the horses of the following 
 (or fifth) group, and then indicates a joint and a gap, followed 
 by slab xix. Two fragments at Athens are drawn in fig. 31 as 
 part of this group. 
 
 A part of the hind quarters of the horses must have been on the right 
 side of the joint shown by Carrey, so slab xvii. cannot have been joined 
 to xvi. A chariot and a group of horses must have been interposed, and 
 this would require two complete slabs (xvi*., xvi**.). The first of these vyr* 
 might have contained the group of fragments attributed by Michaelis to V YM* 
 the previous group. The present mounting of the fragments is defective, X V L 
 since both upper and lower portions have a joint on the right side, and 
 their margins ought therefore to be in one vertical line. The second 
 would have contained the horses of the following chariot, which we have 
 on slab xvii. 
 
 57, The apobates (No. 57) of this chariot leans back, supporting XVI T. 
 himself by the right hand, which grasped the chariot rail, and 
 
 58. is about to step off the chariot. The marshal (No. 58) 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
 
 92 SCULPTURES OF THE PARTHENON. 
 
 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 calm attitude of the marshal 
 (No. 59) of the following group. 
 
 The right side of this slab (which was drawn by Stuart) is 
 broken away, but there can be no doubt that slab xvii. comes 
 next to slab xviii. 
 
 59. In slab xviii. have been three figures. The marshal (No. 59) XVIII. 
 stands beside the horses, in a calmer attitude than is usual in 
 
 60, 61. this part of the frieze ; of the apobates (No. 61) nothing remains 
 but his right arm and leg, and the lower part of his drapery, 
 which indicates rapid movement. Of the charioteer (No. 60), 
 we have only the lower part of the body and hands. He wears 
 a tunic with long sleeves. 
 
 Parts of the harness can be seen on this slab, and also 
 on slabs xiii., xix., xxi., xxiii. The general arrangement seems 
 uniform, though there are differences of detail. The chariot 
 pole (pvpos) passes from below the chariot between the horses. 
 An upright pin (ea-rwp) passes through the pole (slabs xiii., 
 xviii., xix., xxi., xxiii.). At this point the yoke (vy6v) was 
 secured by a ring (/cpi/cos) and by the yoke-band (^vyoBea-fiov ; 
 cf. Horn. //. xxiv.). The near end of the yoke, foreshortened 
 and turned back, is visible on slabs xviii., xix., xxi., xxiii. On 
 slabs xix., xxi. the yoke appears to be kept in position by a 
 piece of metal passing from the top of the pin to the pole, 
 which may, perhaps, serve instead of the ring. On slab xix. 
 there appears to be a loop of a leather thong on each side of the 
 piece described. This may be a part of the yoke-band. It is 
 easy to see on slabs xviii., xix., xxi., that the yoke was only 
 fixed to the two middle horses, the outer pair being attached 
 by traces. (For the chariot yoke cf. Eeichel, Homer. Wa/en, 
 2nd ed., p. 128). After xviii. a slab is missing (xviii*. ; see XVIII.* 
 fig. 31). The existence of a marshal has been assumed in the 
 drawing to fill the slab. 
 
 62, 63. The next slab (xix.) is a cast. The surface is broken away XIX. 
 on the right, so that all that remains of the charioteer (No. 63) 
 is his right hand. At the side of the horses is a marshal 
 (No. 62), who turns towards the chariot following on the right. 
 Carrey's drawing supplies the upper part of this figure, and
 
 THE FRIEZE NORTH SIDE. 
 
 93
 
 94 SCULPTURES OF THE PARTHENON. 
 
 shows that he was holding up with his left hand the end of his 
 mantle, as if making a signal to the advancing procession. 
 Slab xix. has lately been placed in juxtaposition with a 
 previously unplaced fragment (No. 345, 12} which gives the XX. 
 body and shield of an apobates, and a part of the drapery of 
 the charioteer. It is, however, uncertain whether the two are 
 rightly connected. The combination requires us to allow an 
 exceptional width for the body of the chariot. 
 
 The remainder of slab xx. is lost. From slab xxi. to slab 
 xxvi. we have a continuous run of frieze which gives the last 
 two chariot groups, and the leading horseman. Slab xxi. consists XXI. 
 mainly of the horses of the 9th chariot group. The fragment 
 with the head which has been inserted (No. 345, 13 ; Michaelis, 
 pi. 12, xx.) has not an actual surface of contact, but the lines of 
 cleavage and the width of the fragment are in favour of the 
 attribution. 
 
 64, 65. On the left of slab xxii. (fig. 32) is a chariot with the XXII. 
 charioteer (No. 64) and apobates (No. 65), who is stepping into 
 the chariot. The question whether a man is represented as 
 entering or leaving his chariot is an old problem (cf. Pliny, 
 H.N., xxxv., 59). It is, however, a matter of observation and 
 experience that to descend the foot is brought forward, as in 
 slab xvii., while in ascending the foot that leaves the ground 
 last, is left behind. On the right of this slab is an attendant 
 66. (No. 66) standing at the heads of the horses of the last chariot 
 group. 
 
 The lower fragments of this slab are at Athens. The left-hand upper 
 comer, which was broken away before the time of Stuart, was brought 
 home by Lord Elgin. The upper fragment next to it was once in the 
 possession of the Society of Dilettanti, and was presented by that body 
 (cf. p. 97). It had probably been brought from Athens by Chandler 
 (Chandler's Travels in Greece, chap. x. ; Stuart, 2nd ed., II., p. 50, note C). 
 
 The chariot group on slabs xxii., xxiii. (fig. 32) is represented XXIII. 
 as standing still, and was doubtless the last chariot in the 
 procession. Part of the helmeted head of the apobates (No. 68) 
 68. is supplied by a cast. A fragment of an apobates, which may 
 
 well belong to the figure No. 68, has been fitted to the left of XXIV 
 slab xxiv., thus proving that No. xxiv. is the first slab of the 
 cavalry, and making it very probable that No. xxiii. is the last 
 slab of the chariots.
 
 THE FRIEZE NORTH SIDE. 95 
 
 72-133. From this point to the north-west angle of the frieze we XXIV. 
 have a continuous procession of Athenian cavalry. The horse- XLIL 
 men advance in a loose throng, in which no military division 
 into ranks or troops of equal size, nor indeed any settled order, 
 can be made out. There is, however, a certain measure of 
 uniformity in the recurrence of lines of horsemen, nearly abreast, 
 with a figure riding on the left of the line, who often looks 
 round as if responsible for the progress of the cavalry (cf. Nos. 
 88, 96, 111, 118, 125, 129). The attempt in fig. 33 to express 
 the relative positions of the horsemen who ride in the northern 
 procession serves to indicate the degree of order preserved by 
 the horses. The groups, being very crowded, are here carried 
 on from slab to slab continuously, while on the western frieze 
 the groups 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, and is 
 particularly fine in slabs xxxi.-xlii., in which the effect has been 
 least marred by mutilation. Through the entire composition a 
 wonderful fertility of invention is shown, which prevents any 
 monotonous repetitions, while preserving the general uniformity 
 required by the subject. (See Plate VIII., for slabs xxxvii., 
 xxxviii.) 
 
 While the horses bound and prance with a fiery impatience 
 which seems at every moment ready to break loose from all 
 control, their irregular movements never disturb the even hand 
 and well-assured seat of the riders, as the cavalcade dashes 
 along like a torrent. 
 
 In this part of the frieze there is great variety in the 
 costumes and accoutrements of the horsemen. Crested helmets 
 are worn by Nos. 79, 116 ; flexible leather caps by Nos. 108, 
 
 117, 120 ; a fillet by No. 121, and a traveller's hat by No. 129. 
 Some figures wear high boots with flaps at the knee, as Nos. 
 106, 108, 110, 122, 127, etc., while others wear boots without 
 flaps, as Nos. 114-116 ; a few have bare feet, as Nos. 96, 111, 
 113. The usual dress is a sleeveless tunic and a cloak. Some 
 riders, however, wear a tunic only, as Nos. 79, 80, 87, 96, etc., 
 and others wear a cloak only, as Nos. 88, 100, 103, 111, 
 
 118. It may be noted that, according to Theophrastus, it was 
 a mark of the man of small ambitions, when he took part
 
 Slab. 
 
 XLII. 
 XLI. 
 XL. 
 XXXIX. 
 XXXVIII. 
 XXXVII. 
 XXXVI. 
 XXXV. 
 XXXIV. 
 XXXIII. 
 XXXII. 
 XXXI. 
 
 
 Figure. 
 
 134 
 133 
 132 
 131 
 130 
 
 2 
 
 oV 
 
 129 
 
 128 127 
 
 126 
 
 !!!? 
 
 122 
 121 
 120 
 
 119 
 118 
 117 
 116 
 115 
 114 
 113 
 112 
 111 
 110 
 109 
 108 
 
 107 106 
 105 
 104 
 103 
 102 10 i 
 
 100 
 99 
 98 
 97 
 96 
 95 94 
 93 
 92 
 
 9! 
 89 W 
 
 87 
 86 
 85 
 
 80 
 79 
 78 
 
 77 
 76 
 75 7 . 
 73 74 
 
 72 
 
 V 
 
 / 
 
 / 
 
 o/ 
 
 t 
 
 / 
 
 / 
 
 m 
 
 / 
 
 \$ 
 
 XXX. 
 
 / 
 
 XXIX*. 
 
 nJ 
 
 XXIX. 
 
 5 
 
 XXVIII. 
 
 y 
 
 XXVII 
 
 V 
 
 oQ 
 
 
 # 
 
 XXV 
 
 On,/ 
 
 xxrv. 
 
 v l/y v 
 
 Fig. 33. Plan of the horsemen, 
 Slabs XXIV.-XLII. 
 
 if 

 
 THE FRIEZE NORTH SIDE. 97 
 
 in a cavalry procession, to give all his garments to a slave 
 to carry home except only his cloak, in which he would display 
 himself, walking about the agora. The chiton may have either 
 one girdle, as No. 96, or two girdles as Nos. 76, 79, etc. In a 
 few instances it has long sleeves, as in Nos. 97, 99, 104, 108, 
 121, 122, 133. Two riders wear a cuirass, viz. Nos. 86, 116. 
 The reins and bridles were in nearly every instance of bronze, 
 indicated by rivet holes behind the horse's ear, at his mouth and 
 in the rider's hands. Marble reins are seen in the right hands 
 of Nos. 122, 127. 
 
 The first portion of the cavalry procession, slabs xxiv.-xxxi., was over- 
 thrown by the explosion of 1687 ; and as Carrey is not available as a 
 guide in this part of the frieze, the order of the slabs must be settled by 
 internal evidence. 
 
 Slab xxiv. is shown, as has been stated, to have contained the first of XXIV. 
 68. the cavalry, by the figure of the apobates which has been fitted to its 
 left. The head of No. 73 is a recent addition. [Nos. 69-71 are non- 
 existent, having been dropped by accident in the numeration of 
 Michaelis.] 
 
 Slab xxv. (fig. 32) was complete when drawn by Stuart, and the XXV. 
 sequence of xxiv., xxv., xxvi. is certain. Only a fragment of slab xxv., 
 75, 76. containing parts of Nos. 75, 76, now survives. This is not inserted in its 
 place in the frieze, but is placed on the floor. 
 
 Between slabs xxvi. and xxxi. the order is uncertain. It may be XXVI. 
 assumed that one slab (xxvii.) is missing between xxvi. and xxviii. A XXXI 
 considerable fragment has recently been adjusted to represent xxvii., and 
 fitting at the left side of xxviii. (fig. 32). Slab xxix. follows xxviii. A 
 place must be found for the important fragment, No. 345, 15, formerly 
 at Catajo, and this has been placed conjecturally in fig. 34, at the left 
 side of an assumed slab No. xxix.* It has been ascertained by trial that 
 the fragment could not be a part of slab xxx. The joint, shown by^ 
 Michaelis on the right side of slab xxx. is incorrect, and it may have fitted 
 to slab xxxi., as on fig. 34. In this way the required 47 slabs are 
 accounted for (cf. p. 83). 
 
 Slab xxviii. is original; slabs xxvii., xxix.-xxxi. are casts from the 
 originals at Athens. 
 
 Slabs xxxii.-xlii. From this point to the angle the slabs were 
 removed from the Parthenon by Lord Elgin's agents, and there is no 
 doubt as to the correct order. Various fragments, however, which had 
 previously been detached have been acquired from other sources, or cast 
 from originals at Athens or elsewhere. 
 
 99. The fragment (in slab xxxii.) containing the head of No. 99 and the XXX 1 1. 
 horse's head, was presented to the Museum in 1850 by J. H. Smith 
 Barry, Esq., of Marbury Hall, Cheshire. The right-hand lower corner of 
 xxxiv. was identified in the cellars of the Museum in 1902. XXX IV. 
 
 109. The fragment (in slab xxxv.) which contains the heads of No. 109 and XXXV. 
 ' of a horse, was formerly in the possession of the Society of Dilettanti. 
 Together with the fragment mentioned above (p. 94) it was for a time in 
 the custody of the Royal Academy, but both were presented by the 
 Society of Dilettanti in"l817. 
 
 H
 
 98 SCULPTURES OF THE PARTHENON. 
 
 HO. The fragment with the head of No. 110, which completes slab xxxvi., XXXVI, 
 was found in 1902 in a rockery at Colne Park, Essex. Murray, Journ. 
 of E. Inst. of Brit. Architects, 3rd series, X., p. 31 ; Catalogue of 
 Ancient Greek Art (Burlington Fine Arts Club), pi. 17. 
 
 Slab xli. may be said to conclude the thundering cavalcade. XLII. 
 In slab xlii. it is still suggested by the two riders (Nos. 130, 
 132) in the background, but the principal incidents in the fore- 
 ground are scenes of preparation. The transition is thus care- 
 fully arranged to the preparation scenes of the west side, and 
 the invariable rule of having a restful figure at the ends of the 
 131. sides is observed. The rider (No. 131) stands by his rearing 
 horse, which he holds by the rein with his right hand. 
 
 133. To the right is a rider (No. 133) standing by his horse and 
 in the act of drawing down his tunic under his girdle in front, 
 
 134. while a youthful attendant (No. 134) assists him by pulling it 
 down behind, or perhaps by tying the lower girdle over which 
 the folds were drawn. It has been suggested (Passow, JaJtrbuch 
 des Arch. Inst., 1900, p. 48 ; cf. ibid. Anzeiger, p. 117) that the 
 boy holds the reins while the rider adjusts his tunic, but it 
 seems clear that the two figures are a single group. The 
 attendant carries on his shoulder a folded cloak, probably that 
 of his master, who wears a tunic only. 
 
 WEST FEIEZE OF THE PAKTHEXOX. , 
 
 326. The west side of the frieze contains a continuation of the 
 " procession of the north side, but here the procession is mainly 
 in course of preparation, and the scene may be supposed to be 
 laid in the Cerameicos. In part, doubtless, on account of the 
 character of the subject, on this side of the frieze there is less 
 continuity of composition than elsewhere. The subjects are 
 disconnected, and are composed as single slabs, though some- 
 times a hoof or a tail is carried over a joint. There is the same 
 variety of dress and accoutrements here as among the riders of 
 the north side ; but there are more figures in armour (Nos. 3, 7, 
 11, 12, 18, 20), and two of the riders are bearded men. 
 
 It may be noted, as showing that the west and north sides were 
 produced by different hands or at different times, that on the west side 
 the bridles were fixed to the heads of the horses by four rivet holes, not 
 by two, as on the north. The details of the rivet holes on the west side 
 are given by Liiders, ArcJi. Zeit., 1872, p. 32.
 
 THE FRIEZE WEST SIDE. 99 
 
 Slabs i., ii are originals brought by Lord Elgin. The 
 remainder of this side (with the exception of No. 27) is cast 
 from the original slabs, which are still in position on the temple. 
 
 Two sets of casts of this frieze are 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 
 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 during seventy years. No. 4, for example, has lost 
 his arms ; No. 5, his face and the horse's head ; No. 6, his hands ; 
 No. 10, his arm and face; No. 15, his face, and so on (cf. 
 Arch. Zeit. y 1872, p. 31). A careful comparison of large-scale 
 photographs taken in 1897 with the casts made in 1872 shows 
 further lamentable injuries. 
 
 1. The single figure (No. 1) at the north-west angle is evidently I. 
 a herald or marshal directing the march of the cavalry. In 
 like manner Hippias, or, according to Aristotle, Hipparchos, 
 was in the outer Cerameicos, " arranging how each part of the 
 Panathenaic procession ought to go forward," when he was 
 attacked by Harmodios and Aristogeiton (Thuc. vi., 57 ; 
 Aristotle, 'A0. TTO\., 18). His right hand probably held a staff 
 of office, as the bent fingers are not closed. Then follow two 
 2, 3. mounted figures (Nos. 2, 3) ; in the hair of No. 2 are holes in II. 
 which probably a metal wreath was inserted. No. 2 is a youth- III. 
 fid figure of especial grace and beauty, with loose floating locks, 
 
 4. and flying cloak. No. 4 turns away his head and raises both 
 hands. It has been thought that he is about to open his horse's 
 mouth for the insertion of the bit. A better interpretation would 
 seem to be that he is engaged in tying a fillet about his head, 
 
 6. while the reins are held by the youth (No. 6), (Passow, 
 Jahrluch des Arch. Inst., 1900, p. 42). The action of turning 
 
 5. away the head is thus accounted for. A bearded man (No. 5), 
 probably a marshal, turns towards the youth as if addressing 
 him. Then follow two more mounted figures, one of them 
 
 7, 8, 9. armed with a cuirass (Nos. 7, 8), and a youth (No. 9), holding IV., V. 
 his horse by the bridle, and turning round to his mounted 
 
 10. companion (No. 10), behind him. Next comes a horse- 
 
 11. man (No. 11), distinguished from all the figures in the frieze VI. 
 by his richly decorated armour (Plate IX.). On his head 
 
 H 2
 
 100 SCULPTURES OF THE PARTHENON. 
 
 is a crested helmet, on the crown of which is an eagle in relief 
 with outstretched neck. A hole above the ear shows where 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, 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. Below 
 the girdle are flaps made of leather covered with metal, which 
 at the upper ends are united to the girdle. Under the cuirass 
 appears a tunic without sleeves. The horse of No. 11 is one of 
 the few on the frieze that have all four legs off the ground. 
 (Of. north, 115, 121 ; west, 19 ; south, 14, 30.) 
 12. 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 hands to be tying 
 a high boot. He wears a sword. 
 
 13, 14. The next slab contains two mounted figures (Nos. 13, 14). VII. 
 
 No. 14 wears a mantle of skin. He is the only figure, on this 
 15. side of the frieze, thus decorated. No. 15 stands at the side of VIII. 
 a rearing horse, trying to control him. The violence of the 
 action is shown by the muscular strain, by the right foot resting 
 against a rock, and by the disordered dress of this figure, who 
 wears a tunic, leaving one shoulder bare, and a cloak flying 
 behind his back. On his head is a leathern cap. The attire of 
 this figure is similar to that of No. 8 and No. 19. Then follow 
 
 16-21. six mounted figures (Nos. 16-21), all moving rapidly to the left. IX.-XI. 
 One of these (No. 17) wears the petasos, a flapping broad-brimmed 
 hat used by travellers. 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). XII. 
 22. A youth (No. 22) stands at the horse's head, and seems to be 
 holding the reins, but permits the horse to rub his muzzle 
 against his leg. At the side of the horse stands a taller figure 
 (No. 23), holding up his right hand as if giving an order to a 
 person at some little distance. In his left hand he holds a 
 wand (or perhaps a whip) which is expressed in marble, but 
 was prolonged in bronze at each end, as shown by rivet holes 
 in the original marble. This figure, though his action is that of
 
 THE FfilEXE SOUTH SIDE. 101 
 
 a marshal, would seem from his costume to be the rider of the 
 
 24. horse. Behind the horse is a youth (No. 24) who, from his 
 stature and attitude, is a groom or attendant ; a thick garment 
 is cast over his shoulders. Next is a much mutilated figure 
 
 25. (No. 25), who seems to be pressing his .right foot against the XIII. 
 heel of his horse's right foreleg to make him extend himself so 
 
 as to lower his back for mounting. The whole of the middle 
 of this slab has been split away since the time of Lord Elgin. . 
 Behind this figure (No. 25) a horse springs forward, free from 
 
 26. the control of his rider (No. 26), who has let him go in order to XIV. 
 
 27. assist a comrade (No. 27). This latter figure tries to master a 
 rearing horse, who threatens to escape from his control. In the 
 upper portion of this figure is a fragment of the original marble 
 which was presented by Mons. J. J. Dubois in 1840. The next XV. 
 
 28. figure (No. 28) stands at his horse's head, and behind him is a 
 
 29. 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 of the 
 
 30. western frieze (No. 30), on the return of the first slab of the XVI. 
 south side, stands holding up an ample mantle on his left arm, 
 
 and seems to be putting it on. From the size of the mantle 
 this figure might be that of a marshal, though his youthful 
 appearance suggests that he is a rider. 
 
 SOUTH FIUEZE OF THE PARTHENON. 
 
 327. In examining the frieze along the south side from west 
 to east, we pursue one branch of the procession which corresponds 
 in the main with that on the north side. The main difference 
 is that on the south the victims consist of cows only, while on 
 the north there are sheep as well as cows. All the victims are 
 cows, in accordance with Greek practice, which in many cases 
 ordained the sacrifice of male animals to a god, and female 
 animals to a goddess. 
 
 The left-hand side of slab i. is still on the Parthenon ; the I. 
 1-4. right-hand portion, containing the figure No. 4, was presented
 
 102 SCULPTURES OF THE PARTHENON. 
 
 
 to the Museum by Mr. C. K. Cockerell. A marshal (No. 1) 
 stands at the angle ; the first horsemen (No. 2) advances at a 
 walk, thus conforming to the rule that the movement is always 
 gentle at an angle of the frieze. The horsemen of this slab all 
 wear tunic, cloak, boots, and a leather cap with a flap hanging 
 over the nape of the neck. 
 
 Slab ii. is cast from the original on the Parthenon, which is II. 
 5-7. in a very mutilated condition (cf. No. 345, 16). Of No. 7 
 nothing now remains on this slab but the drapery about the 
 waist, and on slab iii. his right foot and his horse's nose and III. 
 8-9. forelegs. The horseman (No. 8) wears a cloak only, which is 
 cast back so as to show the entire right side of the body. This 
 is the only figure on the south frieze who is so little clad. 
 
 10-12. On slab iv., the greater part of which still remains on the IV. 
 Parthenon, are the remains of three horsemen (Nos. 10, 11, 12). 
 [At this point it has been necessary to interrupt the 
 sequence by placing slabs xiv., xv., xx., on the sides of the pier. 
 These slabs are described below in their respective places.] 
 
 12-14. On slab v., No. 13 wears a close-fitting cuirass, but is bare- V. 
 headed. Compare the figures 26-35, and the description of 
 Theagenes in the passage of Heliodorus, quoted on p. 71. Slabs 
 
 15-25. vi.-ix. contained unarmed Athenian horsemen, riding bare- VI.-IX. 
 headed and for the most part wearing tunic with double girdle 
 and boots only. The head of the rider, No. 15, is unfinished. 
 The horses at this part of the frieze have manes with a large 
 forelock turned upwards. 
 
 There is a break in the composition at the beginning of X.-XIII. 
 slab x., and a change of subject is marked by the group not 
 
 26-37. being carried across the joint. The figures (Nos. 26-37) on 
 slabs x.-xiii. are evidently arranged in two ranks of six horse- 
 men each, and are distinguished from most of the riders in the 
 southern cavalcade by wearing a cuirass under which is a short 
 tunic. Three of these figures (Nos. 33, 36, 37), have a cuirass 
 consisting of a breastplate and backpiece, which are united at 
 the sides by a strip of flexible scale armour. From the cuirass 
 hang down the flaps which protected the loins. These cuirasses 
 also have shoulder straps. The riders, Nos. 26-32, wear the 
 plain cuirass, rigid and close-fitting. All the riders in this part 
 of the procession wear high boots with a flap turning over
 
 THE FRIE/E SOUTH SIDE. 103 
 
 below the knee. They are all bare-headed except No. 36, who 
 wears a cap or helmet with a flap behind ; No. 33, who also 
 wears a cap ; and No. 35, who has a diadem over which must 
 have been a metallic wreath, as there are four holes for its 
 attachment on his head. Slab xiv., which is a cast from XIV.- 
 the original at Athens, and slab xv. are now exhibited on the XVI. 
 pier. Slab xvi., which is also a cast from the original at Athens, 
 is in its place. Slab xiv., contains the head of the horse of 
 No. 37. In front of it is a space marking a division, and 
 38-43. another body of six horsemen (Nos. 38-43). These appear 
 to be uniformly dressed in helmet, tunic without cuirass, and 
 boots, and, although the positions of xv., xvi. are conjectural, 
 the sequence proposed seems highly probable. In front of 
 No. 43 there is a space similar to 
 that between Nos. 37, 38. 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 appears 
 to be part of a garment of the 
 
 same texture, the outline of which _, Fig- 35. 
 
 South Frieze, slab XVII. 
 
 is seen above the horses hind 
 
 quarter. The two parts do not fit however with the precision 
 usual on the frieze, and we must suppose a missing slab (xvi.*) 
 between them, in which the horsemen wore similar mantles of 
 skin. The table on p. 109 shows that there may have been a 
 second slab (xvi.**) in this interval. 
 
 From this point the military order of the procession becomes 
 less marked, or is obscured by the defective state of the frieze. 
 There is also more variety in the costumes of the riders. 
 
 Slab xvii. is a cast from the original at Athens. Since the XVII. 
 publication of the work of Michaelis, three fragments have been 
 adjusted on the right which prove the connexion of the slab 
 with No. xviii. by supplying the hind quarters of a horse of 
 which the rest has been in xviii. These three fragments also 
 supply the forehand of another horse and the body of the rider 
 45*. (No. 45*) from the waist to below the knee (see fig. 35).
 
 104 SCULPTURES OF THE PARTHENON. 
 
 The original slab xviii. is at Athens, and was in its present XVIII. 
 mutilated condition, so far as the surface is concerned, when 
 seen by Carrey, whose drawings again become available at this 
 point. 
 
 48. For a fragment engraved by Michaelis, as the head of No. 48, XIX. 
 cf. No. 345, 18. 
 
 Slab xx. (on the pier) is a cast from the original at Athens. XX. 
 This slab, which now only contains parts of the legs of two 
 horses and a rider (No. 49) was nearly complete in the time of 
 Carrey, and contained two riders wearing petasi or broad- 
 brimmed travellers' hats. 
 
 51. In slab xxi. the head of the horse of No. 51 and the head XXI. 
 
 52. and shoulders of No. 52 are supplied. by casts from originals at 
 Athens. These fragments were already lost in the time of Carrey. 
 Between slabs xxi. and xxii. he indicates a gapof uncertain length, 
 for which we may assume one missing slab (xxi.*, cf. fig. 36). 
 
 Slab xxii. and slab, xxiii., which, with the exception of a XXII., 
 small fragment, is only preserved in Carrey's drawing, contained XXIII. 
 the leading horsemen of the procession. Those on slab xxii. 
 are evidently pulling up their horses, while the two horsemen 
 on slab xxiii. are going on at a foot-pace. All the paces of a 
 horse are thus displayed within a short distance, at this part of 
 the frieze. 
 
 The horsemen are immediately preceded in the procession XXIV.- 
 by the chariot-groups. XXXIV. 
 
 Carrey draws eight chariots, of which four partially survive and four 
 are totally lost. On the other hand, a part remains of two groups 
 (slab xxix.), of which there is no trace in Carrey's drawings. These, 
 therefore, must probably be placed in a break in the sequence of slabs 
 indicated by Carrey. Originally there must have been not fewer than ten 
 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 entering or leaving the chariot 
 in motion ; he stands either in the chariot or (if it is not in 
 motion) by its side. It is therefore suggested (Michaelis) that, 
 while the chariots on the north frieze have reference to that 
 contest in which armed apobatae took a part, leaping off and on 
 to the quadriga during the race, the chariots in the south frieze 
 suggest the chariots of war, in which an armed hoplite stood in

 
 106 SCULPTURES OF THE PARTHENON. 
 
 the chariot by the side of the charioteer. Each chariot group, 
 when complete, is seen to be accompanied by a marshal. 
 
 Of the two figures to the chariot of slab xxiv., nothing now XXIV. 
 remains but part of the shield and left arm of the hoplite 
 59. (No. 59), with a fold of drapery hanging from the arm. The 
 lower part of the slab is supplied by Carrey. This position of 
 the hoplite in the last two chariot groups shows that both these 
 chariots were represented at the moment before they started. 
 In the shield of No. 59 are two rivet holes for the attachment 
 of a bronze handle. In the upper hole the metal still remains. 
 Similar rivet holes occur in the shields of Nos. 62 and 74. 
 
 In slab xxv. the horses' heads now wanting are given in XXV. 
 
 61. Carrey's drawing. Of the charioteer (No. 61) nothing is now 
 
 62. visible but part of his drapery. The armed figure (No. 62) in 
 this chariot group, whose appearance is more youthful than that 
 of the other hoplites in this part of the frieze, wears a tunic 
 with a double girdle and a cloak. Near the edge of his shield 
 are two rivet holes for a bronze handle ; in the upper one the 
 
 63. metal still remains. The marshal (No. 63) standing 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. 
 
 Slabs xxvi., xxvii., contained two chariot groups which we XXVI., 
 know through Carrey's drawings. In both, the horses are XXVII. 
 springing forward. In fig. 36, two fragments have been attri- 
 buted to this slab (Nos. 345, 19, 19 A). The latter of the two 
 might however have formed a part of fig. 79, in slab, xxxii. 
 
 Michaelis inserts to represent slab xxviii. a fragment which XXVIII. 
 belongs to the north side, slab xxiv. 
 
 The lower corner on the left side of xxix. has been cast XXIX. 
 from a fragment at Athens, which supplies the missing part of 
 the wheel and a small piece of flying drapery belonging to one 
 of the figures in the chariot. In this group the marshal at the 
 side of the chariot is wanting. On the right-hand edge of this 
 slab, just above the horses' forelegs and close to the joint, is 
 part of the outline of a shield. This shield must have belonged 
 . to one of the figures (No. 72) in the chariot represented on 
 the next slab ; it is evident, therefore, that on the right of
 
 gffi 
 
 V' ' 
 
 a 
 
 Iw.
 
 108 SCULPTURES OF THE PARTHENON. 
 
 xxix. was a slab, now lost. The two (xxix. and its lost 
 companion) were not drawn by Carrey, but must be inserted at 
 this point, where alone he indicates a gap in the sequence of 
 chariots. 
 
 74. The armed figure (No. 74) wears the Corinthian helmet, XXX. 
 which does not often occur on the frieze. The handle of his shield 
 was of bronze, of which a small portion still remains in the 
 rivet holes. Other rivet holes on the crests of the horses show 
 that the reins and the pin for attacliing the yoke to the pole 
 were also of bronze. Here, as in xxix., the marshal is wanting. 
 The horses' heads, which are treated with more freedom on this 
 slab than elsewhere on the frieze, are of extraordinary beauty. 
 (Cf. Euskin, Aratra Pentelid, pi. xiii., p. 174. Mr. Euskin 
 emphasizes the skill with which the recession and the round- 
 nesses of the various surfaces are expressed within the limits of 
 an extremely flat relief.) 
 
 On slab xxxi., as in the preceding, the reins and the pin XXXI. 
 were of bronze. 
 
 Slabs xxxii.-xxxiv. are now lost, except in Carrey's drawings. XXXII.- 
 They contained two chariots, both at a standstill, or moving XXXIV. 
 slowly, and the four last persons of the crowd on foot. For a 
 fragment which may, perhaps, belong to xxxii. cf. No. 345, 19 A. 
 In fig. 37, a fragment (345, 21), has been assigned to the right 
 of the slab, to figure No. 87. Michaelis assigned it to figure 
 No. 97, to which in Carrey's drawing it has a closer resemblance. 
 It is however impossible to combine it with the lower part of 
 No. 97, on the principal fragment. 
 
 Slabs xxxv. and xxxvi., contained the remainder of the XXXV.- 
 persons on foot drawn by Carrey. Fragments alone remain, XXXVI. 
 although the slabs were complete in the time of 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. Next to the supposed Thallophori Carrey inserts four 
 figures, three of whom hold in their left hands some object 
 drawn like a square tablet, which may be the bottom of a 
 lyre. This is the place in the procession where the musicians 
 might be expected, if the arrangement on this side corre- 
 sponded with that on the north side; and the only example
 
 THE FRIEZE SOUTH SIDE. 109 
 
 extant (No 102) is not unlike the base of a lyre (see, however, 
 I'ernice, Jahrbuch des Arch. InsL, 1895, p. 98). The fragment 
 106 (No. 106) representing part of a Skaphephoros carrying a tray 
 must belong to this part of the frieze, and is therefore here 
 inserted. 
 
 This insertion implies that one slab at least was wanting here. 
 Michaelis attributes the figures 104, 105 to slab xxxvii , but they probably 
 completed slab xxxvi. as in fig. 37. Carrey indicates a joint, through 
 No. 105, followed by a gap. A part of the word used for a gap is extant 
 on the drawing. He gives no indication whatever of a joint such as is 
 shown by Michaelis between Nos. 103 and 104. 
 
 The remainder of the south frieze is occupied with the pro- XXXVIII. 
 cession of victims for the sacrifice. Cows only are represented, -XLIV. 
 and, as has been observed, this may indicate that we have here 
 the native Athenian part of the procession. 
 
 The order of these slabs and the (Arabic) numbers of the figures differ 
 from those given by Michaelis in Dcr Parthenon, p\. 11. As far as 
 possible the (Roman) slab numbers of Michaelis have been retained. 
 
 The order of the whole side now runs as follows : 
 
 Slabs. 
 
 I.-XVI. 
 XVI.*, XVI.** 
 
 XVII. 
 XVIII.-XXI. 
 
 Sequence. 
 Gap, shown by non-sequence. 
 
 1 
 
 Sequence. 4 
 
 Gap, marked by Carrey and | ^ 
 
 proved by non-sequence. / 
 
 XXII.-XXVII. Sequence. 6 
 XXIX. 
 
 XXIX.* Gap proved by non-sequence. l 
 XXX.-XXXVI. Sequence. 
 
 XXXVII*. Slab proved by fragment. 
 
 Sequences. 5 
 
 Probably follows XLII. 1 
 
 Parts of one slab. 1 
 
 47 
 
 XXXVIII. 
 XLIII. (127, 128), XLIV. 
 
 In this way we obtain the required 47 slabs (see p. 64). We have 
 the 44 slabs of Michaelis minus xxviii. and xxxvii., andjpZw 5 additional 
 slabs, marked by asterisks. The arrangement of the cattle groups 
 coincides with that proposed by Michaelis, Arch. Zett., 1885, p. 57 ; xliy. 
 is the corner slab, and was sufficiently long to contain the fragment xim., 
 127, 128. By the rule of diminishing lengths, xxxvin. was second from 
 the end, and xlii. was third.
 
 110 SCULPTURES OF THE PARTHENON. 
 
 The present arrangement suits the conditions as to space. 
 It also suits the composition, since it places the cows with most 
 action in the middle of the series, according to the general rule 
 of the frieze. 
 
 Each cow is escorted by two youths, one on each side, and 
 a third figure, perhaps a marshal, at the head. Those of the 
 escort who are on the side of the spectator are represented in 
 vigorous action, guiding and restraining the animals by ropes, 
 which may have been painted on the marble. All are clad in 
 the mantle, which in the figures actively engaged in controlling 
 the cattle is worn so as to leave one or both shoulders free. 
 Compare the description of Heliodorus, p. 69. In slab xxxix. 
 112. the action is very animated. The youth, No. 112, leans back 
 with his foot pressed against the rock, to restrain the cow. This 
 motive is a favourite one in fifth-century art. 
 
 Compare the west frieze, No. 15 : a metope of the Theseion repre- 
 senting Theseus and the bull of Marathon ; the balustrade of the temple 
 of Nike Apteros (No. 429) ; and vase paintings as in Journ. of Hellen. 
 Studies, II., pi. 10. 
 
 120. In slab xlii., No. 120 has both hands raised on his head, as 
 if adjusting a wreath. Compare the north frieze, No. 38. In 
 slab xxxviii. the cow's right horn must have been carved in the 
 round, only the tip being attached to the background of the 
 relief. What was the number of cattle in this part of the frieze 
 cannot now be ascertained. "We have remains of nine, but 
 there may have been ten. 
 
 127, 128. The fragment with the two heads, Nos. 127 and 128, may 
 be, as Michaelis suggests, a part of the corner slab xliv., the 
 
 128. head (128) and the leg on the left of the corner slab being 
 different parts of the same figure. The positions of the head 
 and the foot appear to agree (see fig. 38). On the other hand, 
 the surfaces of the two fragments have weathered very 
 differently. 
 
 The angle is supplied by a cast of a fragment adjusted in 
 1906. Here, as always, the figures at the angle are stationary. 
 
 On the return face of slab xliv. is the marshal, (cf. p. 72) who 
 forms the first figure of the east frieze, and makes a connexion 
 between the two sides, by looking back, as if to the advancing 
 procession.
 
 THE FRIEZE SOUTH SIDE. 
 
 Ill
 
 112 
 
 SCULPTURES OF THE PARTHENON. 
 
 In the following conspectus of publications of the frieze, only the 
 Museum Marbles, the (forthcoming) Sculptures of the Parthenon, the 
 work of Michaelis, and the photographic reproductions are referred to in 
 detail. For a fuller list of early publications the reader is referred to the 
 work of Michaelis. In the last column, C. indicates that the slab was 
 drawn by Carrey ; S. that it was drawn by Stuart, and published in the 
 Antiquities of Athens, II., chap, i., or IV., chap, iv., pis. 11-14. 
 P. indicates that a slab was drawn by Pars, during the Dilettanti 
 Expedition, and was published in the Antiquities of Athens, IV., 
 chap, iv., pis. 6-10, 15-28. The editor of that volume only used such of the 
 drawings of Pars as were needed to supplement those "of Stuart. The 
 complete set was engraved in the Museum Worsleyanum, such prints 
 being here indicated by W. The original drawings were burnt in a recent 
 fire at Brocklesby Park. [The plates of the Milan edition of the Museo 
 Worsleiano, in the collected works of E. Q. Visconti, being revised, do not 
 give the work of Pars.] 
 
 The British Museum possesses a series of drawings of the frieze, so 
 far as it was still in position, by one of Lord Elgin's artists, probably 
 Feodor. The series extends from slab xxxii. of the north side to slab xiii. 
 of the south side, and includes the west end. With the exception, 
 however, of the first three slabs on the south side, which have suffered 
 subsequent injury, it substantially represents the present condition of the 
 frieze, or of the Elgin casts. 
 
 PARTHENON FRIEZE, EAST SIDE. 
 
 ri. i*. 
 
 
 x tit inetwit. 
 
 otu. 
 
 Slab. 
 I. 
 
 PI. 
 XXXIX. 
 
 PI. No. 
 30 1984 
 
 C. 
 
 II. 
 
 
 30 1984 
 
 C. 
 
 III. 
 
 XXXVIII., XXXVII. 
 
 30, 31, 32 1985-7 
 
 C. S. 
 
 IV. 
 
 XXXVI., I. 
 
 32, 33 1987-9 
 
 C. S. 
 
 V. 
 
 II., III., IV. 
 
 34, 35, 36 1990-3 
 
 S. W. 
 
 VI. 
 
 V., VI. 
 
 36, 37, 38 1994-6 
 
 C. 
 
 VII. 
 [VIII.] 
 
 VII. 
 VIII. 
 
 ( } 1997-8 
 38,39 
 [ j 1999 
 
 C. 
 
 C. S. 
 
 IX. 
 
 
 
 C. S. 
 
 Slabs IV., V. are given by Brunn, Denkmaeler, Nos. 106-110 
 Slab VI., ibidem, Nos. 194, 195.
 
 THE FRIEZE 
 
 113 
 
 PARTHENON FRIEZE, NORTH SIDE. 
 
 Museum 
 
 Sculpture, 
 
 Early 
 
 H.J8.18. 5?vm. 
 
 Parthenon. Photographs. 
 
 Drawings. 
 
 Slab. PI. 
 I. 
 
 
 No. 
 
 C. S. 
 
 II. 
 
 40 
 
 1907 
 
 C. 
 
 III. 
 
 40,41 
 
 1908 
 
 c. 
 
 IV. 
 
 
 41 
 
 1909 
 
 c. 
 
 V. 
 
 VIII. 
 
 42 
 
 1910 
 
 c. s. 
 
 VI. 
 
 
 
 1911 
 
 c. 
 
 VII. 
 
 
 
 
 c. 
 
 VIII. 
 
 
 43 
 
 1912 
 
 c. 
 
 IX. 
 
 
 
 1913 
 
 c. 
 
 X. 
 
 
 44 
 
 1914 
 
 
 XI. 
 
 
 
 1915 
 
 c. 
 
 XII. 
 
 IX. A. 
 
 45 
 
 1916 
 
 c. s. 
 
 XIII. 
 
 1917 
 
 c. 
 
 XIV. IX. B. 46 
 
 1918 
 
 c. s. 
 
 XV.-XVI. (XVI.*) .. 1919 
 
 c. 
 
 XVII. XI. 47 1920 
 
 s. w. 
 
 XVIII. X. c. .. 1921 
 
 
 XIX. 
 
 
 48 
 
 1922 
 
 c. 
 
 XX. 
 
 
 [ ] 
 
 1923 
 
 
 XXI. 
 
 X. D. 
 
 49 
 
 1924 
 
 
 XXII. 
 
 XII. 
 
 49,50 
 
 1925 
 
 s. 
 
 XXIII. 
 
 XII. 
 
 50 
 
 1926 
 
 s. 
 
 XXIV. 
 
 XIII. A. 
 
 50,51 
 
 1927 
 
 
 XXV. 
 
 
 51 
 
 1928 
 
 s. 
 
 XXVI. 
 
 XIV. 
 
 52 
 
 1929 
 
 s. 
 
 XXVII. 
 
 
 [. .] 
 
 
 [Fig. 27.] 
 
 XXVIII. 
 
 XIII. B. 
 
 52, 53 
 
 1930 
 
 
 XXIX. 
 
 
 53 
 
 1931 
 
 
 XXX. 
 
 
 
 1932 
 
 
 XXXI. 
 
 54 
 
 1933 
 
 
 XXXII. 
 
 XV. 
 
 
 1934 
 
 P. W. 
 
 XXXIII. 
 
 XVI. 
 
 55 
 
 1935 
 
 P. W. 
 
 XXXIV. 
 
 XVI. 
 
 
 1936 
 
 P. W. 
 
 XXXV. 
 
 XVII. 
 
 56 
 
 1937 
 
 P. W. 
 
 XXXVI. 
 
 XVII. 
 
 
 1938 
 
 P. W. 
 
 XXXVII. 
 
 XVIII. 
 
 57 
 
 1939 
 
 P. W. 
 
 XXXVIII. XVIII. 
 
 
 1940 
 
 P. W. 
 
 XXXIX. XIX. 
 
 58 
 
 1941 
 
 P. (S.) W. 
 
 XL. 
 
 XIX. 
 
 
 1942 
 
 s. w. 
 
 XLI. 
 
 XX. 
 
 59 
 
 1943 
 
 s. w. 
 
 XLII. 
 
 XXI. 60 
 
 1944 
 
 s. w. 
 
 Slab XXXVII. is given by Brunn, Denkmaeler, No. 113; Slab 
 XXXVIII. - Denhmaeler, No. 114 ; Slab XLII. = Denkmaeler, No. 115. 
 
 I
 
 114 
 
 SCULPTURES OF THE PARTHENON. 
 
 PARTHENON FKIEZE, WEST SIDE. 
 
 MICHAELIS, 
 PI. 9. 
 
 Museum 
 Marbles, 
 PI. VIII. 
 
 Sculpture* 
 of the 
 Parthenon. 
 
 Mansell's 
 Photographs. 
 
 Early 
 Drawings. 
 
 Slab. 
 
 PI. 
 XXII. 
 
 61 1890 C. P. W. 
 
 II. 
 
 XXII. 
 
 1891, 2 C. P. W. 
 
 III. 
 
 XXIII. 
 
 62 1893 
 
 C. P. W. 
 
 IV. 
 
 XXIV. 
 
 63 1894 C. P. W. 
 
 V. 
 
 XXV. 
 
 64 
 
 1895 
 
 C. P. W. 
 
 VI. 
 
 XXVI. 
 
 64, 65 
 
 1896 C. P. W. 
 
 VII. 
 
 XXVII. 
 
 65 
 
 1897 
 
 C. P. W. 
 
 VIII. 
 
 XXVIII. 
 
 66 
 
 1898 
 
 C. P. W. 
 
 IX. 
 
 XXIX. 
 
 66, 67 1899 
 
 C. P. W. 
 
 X. 
 
 XXX. 
 
 67 
 
 1900 
 
 C. P. W. 
 
 XI. 
 
 XXXI. 
 
 68 
 
 1901 
 
 C. P. W. 
 
 XII. 
 
 XXXII. 
 
 69 1902 
 
 C. P. W. 
 
 XIII. 
 
 XXXIII. 
 
 69, 70 1903 
 
 C. P. W. 
 
 XIV. XXXIV. 
 
 70 1904 
 
 C. P. W. 
 
 XV. XXXV. 
 
 71 1905, 6 
 
 C. P. W. 
 
 XVI. XXXV. 
 
 1906 C. P. W. 
 
 For slabs III., IV., see Brunn, Denlcmaeler, No. 522; V., ibid., 
 No. 503 ; VIII., IX., ibid., No. 571 ; XII., ibid.., No. 503 ; XVI., ibid., 
 No. 195. These are (except XVI.) from the original marbles. The west 
 side was also drawn by Dalton.
 
 THE FRIEZE. 
 
 115 
 
 PARTHENON FRIEZE, SOUTH SIDE. 
 
 MlCHAELIS 
 PI. 10, 11. 
 
 Museum 
 Marbles, 
 Pt. VIII. 
 
 Sculptures 
 of the 
 Parthenon. 
 
 Mansell's 
 Photographs. 
 
 Early 
 Drawings. 
 
 Slab. 
 
 PI. 
 
 
 No. 
 
 
 I. 
 
 LVI. 
 
 72 
 
 1946, 7 
 
 s. 
 
 II. 
 
 
 72,78 
 
 1947. 8 
 
 s. 
 
 III. 
 
 LV. 
 
 73 
 
 1949 
 
 s. 
 
 IV. 
 
 
 74 
 
 1950 
 
 s. 
 
 V. 
 
 LV. 
 
 
 1951 
 
 s. 
 
 VI. 
 
 LIV. 
 
 75 
 
 1952 
 
 P. W. 
 
 VII. 
 
 LIV. 
 
 
 1953 
 
 P. W. 
 
 VIII. 
 
 LIII. 
 
 76 
 
 1954 
 
 P. W. 
 
 IX. 
 
 LIII. 
 
 
 1955 
 
 P. W. 
 
 X. 
 
 LII. 
 
 77 
 
 1956 
 
 P. W. 
 
 XI. 
 
 LII. 
 
 
 1957 
 
 P. W. 
 
 XII. 
 
 LI. 
 
 78 
 
 1958 
 
 s. 
 
 XIII. 
 
 LI. 
 
 
 1959 
 
 s. 
 
 XIV. 
 
 
 79 
 
 1960 
 
 
 XV. 
 
 L. 
 
 
 1961 
 
 
 XVI. 
 
 
 80 
 
 1962 
 
 
 XVII. 
 
 
 
 1963 
 
 
 XVIII. 
 
 
 si 
 
 1964 
 
 c. 
 
 XIX. 
 
 XLIX. 
 
 
 1965 
 
 c. 
 
 XX. 
 
 
 82 
 
 1966 
 
 c. 
 
 XXI. 
 
 XLIX. 
 
 
 1967 
 
 c. 
 
 XXII. 
 
 XLVIII. 
 
 83 
 
 1968 
 
 c. 
 
 XXIII. 
 
 
 
 
 c. 
 
 XXIV. 
 
 XLVII. 
 
 84 
 
 1969 
 
 c. 
 
 XXV. 
 
 XL VII. 
 
 
 1970 
 
 c. 
 
 XXVI.-VII. 
 
 
 
 
 c. 
 
 [XXVIII.] 
 
 
 
 
 
 XXIX. 
 
 XLVI. 
 
 85 
 
 1971 
 
 
 XXX. 
 
 XLV. 
 
 
 1972 
 
 c. 
 
 XXXI. 
 
 XLV. 
 
 86 
 
 1973 
 
 c. 
 
 XXXII.-IV. 
 
 
 
 
 c. 
 
 XXXV. 
 
 XLIV. 
 
 87 
 
 1974 
 
 c. 
 
 XXXVI. 
 
 
 
 1975 
 
 c. 
 
 [XXXVII.] 
 
 
 
 
 [C.] 
 
 XXXVIII. 
 
 XLIII. 
 
 90 
 
 1981 
 
 
 XXXIX. 
 
 XLII. 
 
 88 
 
 1978 
 
 
 XL. 
 
 XLI. 
 
 89 
 
 1979 
 
 s. 
 
 XLI. 
 
 XLI. 
 
 88 
 
 1976 
 
 s. 
 
 XLII. 
 
 XL. 
 
 89,90 
 
 1980 
 
 
 XLIII. 
 
 
 < 88 \ 
 \ 91 / 
 
 1977 
 1982 
 
 
 XLIV. 
 
 XXXIX. 
 
 91 
 
 1983 
 
 
 
 
 
 
 
 Slab X. is given by Brunn, Denkmaeler, No. Ill ; Slab XI. = 
 
 Denkmaeler, No. 
 
 112. 
 
 
 
 
 
 
 I 2
 
 116 SCULPTURES OF THE PARTHENON. 
 
 FRAGMENTS OP THE PARTHENON 
 SCULPTURES. 
 
 Numerous small fragments of the Parthenon sculptures 
 were taken from Athens either by Lord Elgin or by travellers 
 who visited Athens. Others have been more recently dis- 
 covered in excavations on the Acropolis, or on its south slope, 
 and are still at Athens. Casts of such fragments, so far as 
 they could be obtained, are in the British Museum, and efforts 
 are being made to complete the collection. As far as possible 
 the fragments have been adjusted in their correct positions on 
 the sculptures, and have been described in the respective 
 places in this Catalogue. Of the remainder, all the original 
 marble fragments, and a few of the casts, are exhibited in the 
 Elgin Eoom. 
 
 MARBLE FRAGMENTS ATTRIBUTED TO THE PEDIMENTAL 
 SCULPTURES. 
 
 [328. Fragment of colossal head. According to Hamilton's 
 Memorandum, this fragment was discovered by excavating 
 under a Turkish house at the west front of the temple. It 
 contains the upper part of a face and head. The sockets of 
 the eyes are hollow, and must have once contained eyes com- 
 posed of ivory, precious stones, or enamel. The surface of the 
 marble is highly polished, and traces of red colour have been 
 remarked in the hair. The hard conventional style, however, 
 is not in accordance with that of the pedimental sculptures. 
 This fragment was formerly thought to belong to the Athene of 
 the western pediment. The style, however, is inappropriate, 
 and the recent identification of a large part of the true head of 
 Athene is conclusive against it. 
 
 Mus. Marbles, VI., pi. 16; Michaelis, pi. 8, fig. 14.] 
 
 329. Two feet, shod with leather, attached to a plinth. The feet 
 belonged to a figure striding to the (spectator's) right. The left 
 foot was advanced, and bore the weight of the body. Between 
 the feet a stump of a tree is attached to the plinth. The frag-
 
 PEDIMENTAL FRAGMENTS. 
 
 117 
 
 merit has been assigned by different writers to the Athene of 
 the west pediment, which is impossible on account of the 
 attitude : to the Poseidon, which is impossible on account of 
 the scale ; and to the Athene of the east pediment, about whom 
 we have no information. It has also, with more plausibility, 
 been assigned to the figure of Hermes (H ; see Carrey's draw- 
 
 Fig. 
 
 Marble Fragments in the British Museum, 330-338. 
 
 ing), who accompanies the chariot of Athene on the west 
 pediment. It is very probable that the plinth does not belong 
 to the pedimental sculptures at all, and Sauer's plan of the 
 floor of the pediment seems to leave no room for it. 
 
 Mus. Marbles, VI., pi. 8; Michaelis, pi. 8, fig. 4, p. 194; Journ. of 
 HeUen. Studies, III., p. 251. 
 
 330. (Fig. 39.) Part of colossal right arm of female figure, bent 
 at a right angle at the elbow. This fragment may, perhaps,
 
 118 SCULPTURES OF THE PARTHENON. 
 
 have belonged to figure G of the west pediment. (See Carrey's 
 drawing.) 
 
 Cat. of Sculpture, I., pi. 6, fig. 2 ; Michaelis, pi. 8, figs. 27, 40. 
 
 331. (Fig. 39.) Left arm of female figure, bent, from near the 
 shoulder, to a little above the elbow. Drapery, thrown over 
 the arm at the elbow joint, falls partly on the upper and 
 partly on the forearm. This fragment seems best suited to the 
 figure N of the west pediment, as drawn by Carrey. An 
 attempt, however, which was made in 1905, to prove that the 
 arm belonged to the torso J (probably to be identified with N) 
 did not lead to any satisfactory result. (Michaelis, pi. 8, 
 fig. 26.) 
 
 332. (Fig. 39.) Eight arm of female figure, slightly bent, formed 
 of two fragments united at the elbow. This may, perhaps, 
 belong to figure F of the west pediment. Michaelis (pi. 8, 
 fig. 30) gives the upper arm. 
 
 333. (Fig. 39.) Left forearm of female figure, broken off above 
 the elbow (Michaelis, pi. 8, fig. 28). To this is united 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. 
 
 334. (Fig. 39.) Left (?) forearm of female figure. Michaelis 
 (pi. 8, fig. 29) thinks that it may have belonged either to 
 figure O or W of the west pediment. 
 
 335. (Fig. 39.) Fragment of left thigh, above life size. Michaelis 
 (pi. 8, fig. 39) calls this a female fragment, and suggests the 
 nude seated female figure S of the west pediment, but he seems 
 to be in error as to the sex. 
 
 336. (Fig. 39.) Fore part of right foot of female figure, resting 
 on a thick sole. The foot belonged to a colossal figure, which 
 can hardly have been other than the Athene of the west 
 pediment. It has, however, been lately ascribed to the Athene 
 of the east pediment. 
 
 Michaelis, pi. 8, fig. 32 ; Prandtl, Jahrbuch des ArcJi. Inst., 1906, 
 pp. 40, 41. 
 
 337. (Fig. 39.) Piece of drapery, which must have hung free, 
 apparently from the shoulder and outstretched right arm of a 
 colossal figure. At the upper extremity is part of a dowel
 
 PEDIMENTAL FRAGMENTS. 119 
 
 hole, showing that the marble had been attached here by a 
 joint. 
 
 338. (Fig. 39.) Fragment of right shoulder and arm as low as 
 the deltoid. The upper arm presses against the side. 
 
 SELECTED CASTS FROM FRAGMENTS OF THE 
 PEDIMENTAL SCULPTURES. 
 
 339. 1. Colossal female head, slightly turned to its right. The hair 
 was confined in a plait round the head, and also by a wreath or 
 band, which was of metal, as is shown by the holes for its 
 attachment. The nose, mouth and chin have been restored; 
 but the grand style of the antique parts of the head agrees with 
 that of the Parthenon pediments. 
 
 It is impossible, however, to determine to which figure the 
 head belongs. It has been assigned by Laborde and others to 
 the figure (G) who is driving the chariot of Athene in the west 
 pediment. But it may have belonged to one of the figures N, 
 Q, S, of the same pediment. It has been shown by Sauer that 
 the unrestored 'head had a slanting groove cut at the back, 
 which makes it probable that it is derived from the right half 
 of a pediment. He attributes it to a lost figure, which stood 
 (next to J supposing J must be retained) in the east pediment. 
 
 The probability that the head is derived from the Parthenon 
 is increased by what is known of its history. It was found 
 in a house of the San Gallo family at Venice. A member of 
 this family, Felice San Gallo, was secretary of Morosini, and 
 may well have taken the head as a trophy from Athens, in 1687. 
 The head passed in 1823 into the possession of David Weber, 
 and afterwards into that of Laborde, in the possession of whose 
 family it remains. 
 
 Michaelis, p. 195 ; pi. 8, fig. 6 ; Brunn, Denkmaeler, No. 362 ; Sauer, 
 Der Weber-Laborde'sche Kopf. 
 
 4. Fragment of a wing, with a joint for attachment, and a 
 heavy support below. The figure of " Victory " (J) probably 
 had large wings ; but the attempts that have been made to 
 attach this cast to the statue have been unsuccessful. 
 
 Michaelis, pi. 8, fig. 11; Overbeck, Ber. d. Tt. siiclis. Ges. d. 
 Wifisenschaften, 1880, pi. 3.
 
 120 SCULPTURES OF THE PARTHENON. 
 
 7. Portion of the right side of a draped figure wearing chiton 
 and mantle, and sitting on a rock. Attributed by Michaelis to 
 the west pediment (fig. D, or fig. U). 
 
 Michaelis, pi. 8, fig. 5. See above No. 304, D. 
 
 8. Left knee of seated draped figure, with the fingers of a small 
 right hand on it. (West pediment, figs. D, E.) See No. 304, 
 D, E, and below, No. 339, 30. 
 
 9. Left leg of colossal male figure, bent nearly at a right angle 
 at the knee. It is made up from two pieces, a fragment reach- 
 ing from half way up the thigh to below the knee, and the 
 fragment of a leg (Michaelis, pi. 8, fig. 36), reaching to the 
 bottom of the calf. 
 
 The scale and the attitude seem to agree well with the 
 figure of Hermes (H) of the west pediment. 
 
 10. 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, pi. 8, fig. 38), and the knee 
 with the beginning of the thigh. This leg is slightly bent at 
 the knee. It is on the same scale as the preceding No. 9, and 
 appears to be in the required position for the right knee of the 
 figure of Hermes (H) in the west pediment. 
 
 11. 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 slightly raised from the ground. This may be the foot of 
 the Athene in the west pediment, but compare No. 336. 
 (Michaelis, pi. 8, fig. 31.) 
 
 17. Fragment of an olive-tree with foliage. 
 
 18. Similar fragment of olive-tree larger than last. (Michaelis, 
 pi. 8, fig. 15.) 
 
 20. 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, to which the fragment has been attributed by 
 Overbeck. The wrist is slightly bent inwards. The hand is 
 finely modelled. Overbeck, Ber. cl. Jc. sacks. Ges. d. Wissen- 
 schaften, 1880, p. 43.
 
 PEDIMENTAL FRAGMENTS. 121 
 
 30. Back and rump of a boy, in two pieces, joined together. 
 The right leg was extended at right angles to the body, and the 
 fragment seems well suited to the boy E of the west pediment. 
 Malmberg and Michaelis, Jahrbuck des Arch. Inst., 1897, 
 p. 92. 
 
 [340. Cast of a marble head in the Bibliotheque Nationale at 
 Paris, wrongly assigned by C. Lenormant to a pediment of the 
 the Parthenon. 
 
 Gaz. Arch., 1875, pi. 1 ; Wolters, No. 1280 ; Laborde, Athenes, I., 
 157 ; Michaelis, p. 
 Bibl. Nat., pi. 20.] 
 
 , . , , ., 
 
 p. 157 ; Michaelis, p. 202, B* ; Babelon, Cabinet des Antiques a 
 la 
 
 CASTS FROM FRAGMENTS OF CHARIOT-HORSES OF WEST 
 PEDIMENT. 
 
 341. A large number of fragments of horses from the west 
 pediment has been discovered. Parts of four horses are extant, 
 and many of the fragments must have belonged to the horses 
 of Poseidon, which were lost before the visit of Cyriac of 
 Ancona, in 1447. Others belonged to the group of horses 
 which was let fall by Morosini's workmen. Casts of these 
 are preserved in the British Museum. 
 
 1. Horse's head, broken off at the setting off of the neck. This 
 fragment and the two following are assigned by Sauer to the 
 chariot of Poseidon. 
 
 Michaelis, pi. 8, J, K, a ; Sauer, Athenische Mittheilungen, 1891, 
 pi. 3. 
 
 2. Horse's head, lower half broken away. The mane is hogged, 
 with a loose lock in front. Behind the ears a groove and two 
 perforations are worked in the mane, and above the ears two 
 other perforations for the attachment of trappings of metal. 
 
 Overbeck, Ber. d. Jc. sacks. Ges. d. Wissenschaften, 1879, pi. 1, 
 fig. 3. 
 
 3. 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 a block resting on the bed of the 
 pediment. The greater part was sculptured on another block 
 also set in the bed, which is now wanting, and was fitted to the
 
 122 
 
 SCULPTURES OF THE PARTHENON. 
 
 first block at a joint roughly tooled, of which a small part 
 remains. The outside of the haunch and hough have been cut 
 away, evidently to gain room for the left hindleg of another 
 horse, or, according to Sauer, for the chariot-pole. This limb 
 is composed of three separate fragments. (Michaelis, pi. 8, 
 J, K,/.) 
 
 MARBLE FKAGMENTS OF METOPES. 
 
 342. The following fragments can be assigned to their respective 
 places on the south side. 
 
 Fig. 40. Marble Fragments of Metopes. No. 342. 
 
 1. (Fig. 40.) Metope XII. (No. 314). Eight foot of female 
 figure. See ante, No. 314. 
 
 3. (Fig. 40.) Metope XVI. The head and trunk of a figure 
 who has fallen in a combat between two men. The trunk was 
 one of the Elgin fragments, and is engraved in the vignette to 
 Museum Marbles, Part. vii. The head was formerly at Chats- 
 worth, and was presented to the Museum by the Duke of 
 Devonshire in 1859. Carrey gives the position of the head of 
 the fallen figure very accurately. (Michaelis, pi. 3, xvi.)
 
 FRAGMENTS OF METOPES. 123 
 
 The following fragments are either of doubtful or unknown 
 origin. Probably they are all derived from metopes on the 
 south side. 
 
 ">. (Fig. 40.) Left breast of draped female figure. South side, 
 Metope No. XIII. ? (Michaelis, pi. 4, fig. K.) 
 
 6. (Fig. 40.) Fragment of right arm from the wrist to above 
 the elbow, which is bent ; above the wrist is attached a corner 
 of drapery. Presented ly M. Dubois, 1840. South side, Metope 
 No. XV. (?) 
 
 7. (Fig. 40.) Fragment of right arm from the wrist to the 
 elbow, placed across the breast and left shoulder, with folds of 
 drapery hanging as if from the hand. South side, Metope 
 No. XIX. (?) 
 
 Michaelis (p. 141), and Pernice, Jahrbuch des Arch. Inst.,1895,p. 96, 
 attribute this fragment to Metope XIII. 
 
 8. (Fig. 40.) Fragment of left arm from the wrist to near the 
 elbow. 
 
 9. (Fig. 40.) Fragment of calf of leg, worked separately and 
 attached by a dowel. 
 
 10. (Fig. 40.) Fragment of calf of leg covered with drapery. 
 
 11. (Fig. 40.) Fragment of left arm from the wrist to near the 
 elbow. 
 
 12. (Fig. 40.) Part of the arm (?) of a draped figure, made up of 
 two pieces. 
 
 13. (Fig. 40.) Fragment of the right upper arm of a draped 
 female figure with sleeve fastened with two studs. 
 
 14. (Fig. 40.) Eight shoulder and part of breast of draped female 
 figure ; the chiton fastened down the shoulder with four studs. 
 (Michaelis, pi. 4, fig. 0.) 
 
 15. (Fig. 40.) Left hind leg of Centaur up to above the hough. 
 Presented ly M. Dubois, 1840. 
 
 16. (Fig. 40.) Pdght foot (forepart only).
 
 124 SCULPTUKES OF THE PARTHENON. 
 
 CASTS FEOM FRAGMENTS OF METOPES. 
 
 343. A large number of fragments have been discovered in the 
 course of excavations at Athens. Casts of these have been 
 attached, as far as possible, to the Metopes. Of the fragments 
 which could not be so attached, the following are the most 
 important. 
 
 1. (Fig. 41.) South side, Metope XL Fragment of shield, 
 held by left hands of both Centaur and Lapith. See p. 54, 
 Ephemeris Archaiologike, 1894, pi. 10, fig. 1. 
 
 2. (Fig. 41.) Metope XI. (?) Neck and breast of a Centaur, 
 half turned to right. Cf. No. 1, ante. 
 
 3. (Fig. 41.) Metope XIII. Lower left corner, with the legs 
 of a female figure, wearing chiton and himation, half turned to 
 right. This fragment agrees closely with Carrey's drawing. 
 
 4. (Fig. 41.) Metope XIV. Male torso, half turned to right. 
 Folds of drapery pass over the left shoulder and down the back. 
 The right arm was raised. This fragment must be substituted 
 for that drawn by Michaelis, which is now 304 P. 
 
 5. (Fig. 41.) Metope XV. (?) Belly of horse to right. 
 
 6. (Fig. 41.) Metope XVI. Male torso (surface mutilated), 
 half turned to left, with right arm raised. (Michaelis, pi. 4, M.) 
 
 7. (Fig. 41.) Metope XVII. 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. This figure has stood on the right foot ; the left 
 leg appears to have been bent. 
 
 Michaelis, pi. 4, N ; Ephemeris Archaiologike, 1894, pi. 10, fig. 4. 
 
 8. (Fig. 41.) Metope XVII. Eight shoulder and arm of a 
 draped figure to right. This agrees well with Carrey's drawing 
 of the right hand figure in the metope.
 
 FRAGMENTS OF METOPES. 
 
 125
 
 126 SCULPTURES OF THE PARTHENON. 
 
 9. (Fig. 41.) Metope XVII. Fragment, possibly the base of 
 a lyre. Apparently this is the object held in the hands of the 
 draped figure of this metope. There are traces of the fingers of 
 a hand supporting it underneath. [But cf. Pernice, Jahrbuch 
 des Arch. Inst., 1895, p. 98.] 
 
 10. (Fig. 41.) Metope XX. Fragment of right hand holding 
 up the corner of a folded and rolled piece of drapery. This 
 metope, as drawn by Carrey, contained two draped figures, one 
 of whom holds a scroll, half unrolled. There can, however, be 
 no doubt that the texture of the object is that of drapery. 
 (Michaelis, pi. 3, xx.) 
 
 11. (Fig. 41.) Metope XX. (?) Booted right foot, half turned 
 to right, and covered with drapery. The front of the foot is 
 wanting. 
 
 12. (Fig. 41.) Metope XXII. Lower margin with part of the 
 drapery of a standing figure. 
 
 13. (Fig. 41.) Metope XXII. Forepart of Centaur's equine 
 body and human abdomen. The forelegs appear to have been 
 stretched straight down, as in Carrey. 
 
 14. (Fig. 41.) Metope XXIV. Torso of Lapith, with both 
 arms raised and left leg extended. In the complete metope, 
 as drawn by Carrey, the Lapith holds the fallen Centaur by the 
 hair, and places his left foot on his body. (Michaelis, pi. 3, 
 xxiv.) 
 
 15. (Fig. 41.) Metope XXV. Hoof to right of a Centaur, 
 treading on the toes of a human right foot to the front. 
 
 16. (Fig. 41.) Head of Lapith, perhaps from Metope No. 305. 
 (Journ. of Hellen. Studies, xiii., p. 94.)
 
 127 
 
 FEAGMENTS OF THE FEIEZE. 
 
 LIST OF INCOBPOKATED FEAGMENTS. 
 
 The following list contains the minor fragments, which, either in the 
 original or as plaster casts, have been incorporated with the principal 
 slabs. They are not noted in the text, except in special cases. Descrip- 
 tions by Robert, in the Archaeologische Zeitung, 1875, pp. 97-103, are 
 quoted as " Robert." 
 
 EAST SIDE. 
 
 Slab. 
 I. 
 
 T 
 
 
 1 
 
 II. 
 
 2 
 
 III. 
 
 17,18 
 
 
 19 
 
 V. 
 
 28 
 
 VI. 
 
 40 
 
 
 41 
 
 
 41 
 
 
 42 
 
 
 48 
 
 
 48 
 
 VII. 
 
 49 
 
 
 58 
 
 
 60 
 
 
 61 
 
 NORTH SIDE. 
 
 III. 
 
 6 
 
 
 6 
 
 
 7 
 
 
 8 
 
 IX. 
 
 29-31 
 
 X. 
 
 37, 38 
 
 Right hand. Cast. Athens. Formerly 345, 24. 
 
 Added, 1907. 
 
 Part of ground. Cf. South, xliv. 
 Feet. Cast. Athens, 1027. Formerly 345, 1. 
 
 Added, 1907. 
 
 Feet. Marble. Steinhauser Coll. 
 Feet. Cast. Athens, 1066. Robert, C, b. 
 Head. See text. 
 
 Foot. Palermo. Boem. Mitth., 1893, 
 
 p. 76. 
 Head (Fig. 27). Cast. Athens, 1194. Added, 
 
 1906. 
 
 Chair leg, drapery. Cast. Athens. Robert, C, c. 
 Knees. 
 
 Head and ground. ,, ,, 1144. 
 
 Left foot. Cast. Athens, 1226. 
 Right foot. Robert, B, a. 
 
 Head 1191. Robert, C,/. 
 
 Head 1189. Robert, C, g. 
 
 Head and shoulders. Cast. Athens, 1138. 
 
 Robert, C, h. 
 
 Head. Cast. Athens, 1141. Michaelis, pi. 13, 
 
 xxvii., C. 
 
 Elbow, 345, 3. Cast. Athens. Robert, B, g. 
 Drapery, legs of cow. Cast. Athens, 1139. 
 
 Michaelis, pi. 12, iii., 7. 
 Figure, and hind quarters of cow. Made up of 
 
 nine fragments. Athens, 1192, 1160, 1163, 
 
 1068, 1159, 1116, and three others. Robert, 
 
 B, e. 
 Drapery, etc. Cast. Athens, 3739. Journ. 
 
 Hellen. Studies, xiii., p. 96. 
 Lower part of drapery (Fig. 30). Cast. Athens, 
 
 1047. Head of 29. Cf. 345, 4- Added, 1906. 
 Feet. Cast. Athens. Robert, B, i.
 
 128 
 
 SCULPTURES OF THE PAETHENON. 
 
 LIST OF INCORPORATED FRAGMENTS continued. 
 
 NORTH SIDE. 
 
 Slab. 
 
 XII. 
 
 XIII. 
 
 Figs. 
 
 47 
 
 48 
 
 49,50 
 XV., XVI. 54, 55 
 
 XIX*. 
 
 63* 
 
 XXI. 
 
 XXII. 64, 65 
 
 XXIII. 
 XXIV. 
 
 XXVII. 
 XXXII. 
 
 XXXIV. 
 XXXV. 
 
 XXXVI. 
 XXXVII. 
 
 XXXIX. 
 XLI. 
 
 XLII. 
 
 64, 66 
 
 68 
 68 
 
 73 
 74 
 
 85 
 99 
 
 109 
 110 
 113 
 
 121 
 126 
 
 130 
 
 WEST SIDE. 
 IX. 
 
 XI. 
 XIV. 
 
 '27 
 
 Head and shoulders. Cast. Athens, 3369. Journ. 
 
 Hellen. Studies, xiii., p. 97. 
 Body, right arm. Cast. Athens, 1033. Robert, 
 
 B,J. 
 
 Drapery, arm. Cast. Athens, 1176. Robert, B, n. 
 Bodies. ,, 1061. Michaelis, 
 
 pi. 12. 
 Muzzle of horse. 1224. Michaelis, 
 
 pi. 12. 
 
 Chariot wheel. 1147. Robert, B,^. 
 
 Drapery; hoofs. ,, 1177. 
 
 Forelegs. 1154. In place of 
 
 fragment, Michaelis, pi. 12. Robert, B, p. 
 Body and shield. Cast. Athens, 1065. Robert, B,r. 
 Head of horse. 1130. Michaelis, 
 
 pi. 12, xx. 
 Right side. 878. Robert, 
 
 p. 103. 
 
 Upper part. Marble. Elgin Coll. Michaelis, pi. 12. 
 Upper part. Marble. Dilettanti Soc. Michaelis, 
 
 pi. 12. 
 
 Lower part. Cast. Athens. Michaelis, pi. 12. 
 Right lower corner. Cast. Athens. 
 Head Cast. Athens, 1170. Robert, B, Jc. 
 Arm and shield. Marble. Elgin Coll. Michaelis, 
 
 pi. 11, xxviii. 
 
 Head (Fig. 32). Cast. Athens, 940. Added, 1906. 
 Hand; head of horse. Cast. Athens, 1149. 
 
 Robert, B, s. 
 Rider and horse (Fig. 32). Casts. Athens, 1035, 
 
 1602. Added, 1906. 
 Head and shoulders; head of horse. Marble. 
 
 Smith Barry Coll. Michaelis, pi. 12. 
 Right lower corner. Marble. Elgin Coll. 
 Head and shoulders ; head of horse. Marble. 
 
 Dilettanti Coll. Michaelis, pi. 12. 
 Head and shoulders ; head of horse. Cast. 
 
 Colne Park. See p. 98. 
 Head and shoulders ; head of horse. Cast. 
 
 Athens, 1110. 
 
 Head. Fauvel and Pourtales Colls. 
 Head and ground. Cast. Athens, 1150. Robert, 
 
 B, t. 
 Head of rider and horse. Cast. Athens, 1045. 
 
 Added, 1906. 
 
 Right lower corner. Cast. Athens, 1031. Robert, 
 
 B, m. 
 
 Right lower corner. Cast. Athens, 1157. 
 Torso. Marble. Dubois Coll.
 
 FRAGMENTS OF THE FRIEZE. 
 
 129 
 
 LIST OF INCORPORATED FRAGMENTS- 
 SOUTH SIDE. I 
 
 continued. 
 
 Slab. 
 
 IV. 
 
 Figs. 
 
 XVII. 
 
 45* 
 
 XIX. 
 XXI. 
 
 02 
 
 XXII. 
 
 
 XXIII. 
 XXIV. 
 
 
 XXIX. 
 
 
 
 106 
 
 XLIII. 
 
 111 
 
 XL. 
 
 
 XLIV. 
 
 131 
 
 Piece from right side. Marble. Elgin Coll. 
 
 Michaelis, pl.'lO. 
 Breast and horse's mane. Cast. Athens, 868. 
 
 Eobert, A, b. 
 Thigh, etc. Casts. Athens, 1129, 1045. Robert, 
 
 A, g, h. 
 
 Left top corner. Cast. Athens. Eobert, A, a. 
 Shoulder. Head of horse. Cast. Athens, 1127. 
 
 Michaelis, pi. 11, xxi. 
 Head. 1134. 
 
 Michaelis, pi. 11, 125. 
 Right top corner. 1230. 
 
 Michaelis, pi. 11, xxiv. 
 
 Left top corner. ,, 1168. 
 
 Right lower corner. ,, ,, 1156. 
 
 Robert, A, c. 
 Left lower corner. Robert, 
 
 A, e. 
 Head and shoulders. ,, ,, 1140. 
 
 Robert, A, /. 
 Head and shoulders. 1064. 
 
 Michaelis, pi. 11, 126. 
 Left lower corner. ,, ,, 1151. 
 
 Michaelis, pi. 11, xl. 
 Left shoulder and return face. Cast. Athens, 
 
 1165. Added, 1906. 
 
 MARBLE FRAGMENT OF FRIEZE. 
 
 344. Head of a youth, looking to the left, in low relief. This 
 fragment probably belongs to one of the horsemen in the north 
 frieze. It is placed by Michaelis (pi. 13) in the space between 
 slabs xxxi. and xxviii. This head was formerly in the posses- 
 sion of Mr. Steinhauser, at Karlsruhe. 
 
 CASTS FROM FRAGMENTS OF THE FRIEZE. 
 
 345. The fragments are here arranged, as far as possible, in the 
 order followed in the description of the frieze. 
 
 EAST FRIEZE. 
 
 2. Head attributed to East Frieze, no. 57 (cf. p. 82). 
 Athens, 1190. Robert, C, e.
 
 130 SCULPTURES OF THE PARTHENON. 
 
 NORTH FRIEZE. 
 
 '3 A . Eight-hand lower corner of slab i*, with the hind hoof of the 
 first cow and front hoof of the second cow (not shown in 
 fig. 29). 
 
 Ht. 10| in. Athens, 1162. Eobert, B, d. 
 
 4. 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. This seemed to agree best with Carrey's 
 drawing of the figure with the sheep, slab iv., No. 9. The com- 
 bination, however, was found by trial to be impossible, and it 
 was tentatively assigned to No. 29 in 1906 (fig. 30). 
 
 Ht. 74 in. Athens, 1135. 
 
 4A. Fragment of male figure, turned to the left, extending from 
 the neck to the hip. The drapery consists only of a mantle, 
 which is seen passing over the left shoulder and round the body. 
 This figure, formerly assigned to the south frieze, is composed 
 like the conductor of victims, north frieze, No. 11, but it seems 
 not to fit. 
 
 Ht. 1 ft. J in. Michaelis, pi. 11, slab xxiv., A (misdrawn to the right). 
 Athens, 1166. 
 
 5. Fragment containing the back of the head of one of the 
 lyre-players (No. 24) and part of the lyre of the other (No. 25). 
 
 Ht. llf in. (See fig. 30.) Athens, 1137. Michaelis, pi. 12, vii. 
 
 6. Fragment from lower part of draped figure from knee to 
 right (?) foot, the direction being to the left. On the right side 
 is a joint. This fragment seems to have belonged to the 
 musician on slab vii., whose lyre is preserved on the preceding 
 fragment, and is thus drawn in fig. 30. Michaelis is in error 
 in marking a joint on the left of No. 26. 
 
 Ht. 1 ft. 7i in. Athens, 1063, and another. Eobert, B, h. 
 
 7 A. Fragment with left foot, from a draped figure moving to the 
 left. Drawn in tig. 30, as part of No. 33. 
 
 Ht. 7 in. Athens, 941.
 
 FRAGMENTS OF THE FRIEZE. 131 
 
 HA-G. Fragments conjectured to belong to the 4th and 5th chariot 
 groups. See fig. 31. 
 
 A, B. (Fig. 31.) Two fragments of the front part of a group of 
 chariot horses. The fragments join. The lower bed is in part 
 preserved. 
 
 A. Ht., 1 ft. 5 in. B. Ht., 1 ft. Athens, 1044, 1070. 
 
 c, D. (Fig. 31.) Two fragments of the hind legs of a group of 
 chariot horses. The fragments join. The lower bed is in part 
 preserved. 
 
 c. Ht., 7 in. D. Ht., 7 in. Athens, 1136, 1143. 
 
 E. (Fig. 31.) Fragment with lower part of shield, showing its 
 outer side, and part of the drapery of the apobates. 
 
 Ht., 1 ft. 
 
 F. (Fig. 31.) Fragment containing a part of the neck and 
 lower part of the mane of one of the horses of a chariot group, 
 together with a part of the neck of a second horse. This 
 fragment, which was discovered in the excavations on the 
 Acropolis of 1889, has been drawn as part of the fifth group 
 (slab xvi.) 
 
 Ht., 1 ft. 3 in. 
 
 G. (Fig. 31). Fragment with edge of hind quarter of horse, 
 rearing to the left, with part of the tails of two horses (?). This 
 fragment has been drawn as part of the fifth chariot group 
 (slab xvi.*). 
 
 Ht., 1 ft. 8 in. Athens, 1040. 
 
 15. The upper part of two horsemen with part of the mane of 
 the horse ridden by the second, and part of the head and neck 
 of a succeeding horse. The second rider, whose hand is pre- 
 served, held metal reins. The horse had a metal bridle. This 
 fragment was formerly in the Catajo Villa, and afterwards the 
 property of Archduke Karl of Austria. It must have belonged 
 to the fragmentary portion of the north frieze, and is drawn 
 (fig. 34) as part of slab xxix.* 
 
 Ht., 1 ft. 3 in. Michaelis, p. 13, xxvii. 
 
 K 2
 
 132 SCULPTURES OF THE PARTHENON. 
 
 SOUTH FEIEZE. 
 
 16. Helmeted head looking to the right. The helmet has a 
 cheekpiece turned up at the side. The head probably belongs 
 to the horseman No. 5, in the south frieze. 
 
 Ht., 5 in. Athens, 1193. 
 
 18. Youthful beardless head wearing a petasos and looking to 
 the right. The right side of the head is broken away. 
 Michaelis engraved this head, pi. 11, slab xix., No. 48. 
 
 Ht., 7 in. Athens, 1222. 
 
 19. Upper part of youthful male figure looking to the right; 
 behind, a horse's head. The figure wore a chiton with girdle 
 and skirt flowing behind ; a close-fitting helmet or leather cap. 
 Part of the shoulder of a second figure and the rim of a shield 
 seem to be visible on the right edge of the fragment. 
 
 In fig. 36 this fragment has been drawn as part of slab 
 xxvi., being in close correspondence with Carrey's drawing. 
 
 Ht., 1 ft. 4 in. 
 
 19 A. Fragment of an armed figure, including the outline of the 
 face, part of the cloak, shield and left hand. Part of the 
 upper bed is preserved. This fragment has been drawn in 
 fig. 36 as part of slab xxvi., but it may have belonged to 
 slab xxxii. 
 
 Ht., 1 ft. 14 in. Athens, 1155. 
 
 19fi. Heads of three (?) chariot horses to right. 
 Ht., 1 ft. 2 in. Athens, 1128. 
 
 21. Fragment of elderly male figure, moving to the right; from 
 the hips to the beginning of the shoulder blades. He wears a 
 mantle closely wrapped about him and leaving the right arm 
 bare. See p. 108 and fig. 37. 
 
 Ht. 10 in. Athens, 1167.
 
 ARCHITECTURAL FRAGMENTS. 133 
 
 SOUTH OR NORTH FRIEZE. 
 
 23. Fragment of helmeted head looking to the right. The head 
 is entirely destroyed except the back of the helmet and its crest. 
 This head perhaps belongs to one of the warriors that accompany 
 the chariots in the north frieze. 
 
 Ht., 11 in. 
 
 ARCHITECTURAL FRAGMENTS FROM THE 
 PARTHENON. 
 
 350. The capital and uppermost drum of one of the Doric columns 
 of the north side. The capital was sawn in half for transport 
 by Lusieri, Lord Elgin's agent. 
 
 Penrose, Athenian Architecture, pi. 19, fig. 1. 
 
 351. P ar t f a marble tile-front. The roof of the Parthenon, like 
 that of many other Greek temples, was formed of marble tiles, 
 carefully adjusted. In the case of the Parthenon the tiles were 
 placed side by side. Eidge tiles covered the joints, and the 
 lower end of each ridge terminated in an an them ion or palmette 
 ornament. See the model of the Parthenon, and Michaelis, 
 pi. 2, fig. 8.Inwood Coll. 
 
 352. Cast of a similar but more perfect tile-front, from an original 
 at Athens. 
 
 Michaelis, pi. 2, fig. 8 ; Inwood, Erechtheion, pi. 22. 
 
 353. Cast of lion's head from one of the angles of the pediment. 
 This head is worked from a block which forms the springing 
 stone of both the cymatium and the corona of the pediment. 
 In the modelling of the lion's head, and especially in the 
 treatment of the mane, there is a noticeable austerity and con- 
 ventionalism, such as is appropriate to a purely decorative piece 
 of sculpture. 
 
 See the model of the Parthenon ; Penrose, Athenian Architecture, 
 pi. 17 ; Michaelis, pi. 2, fig. 9 ; Brunn, Denkmaeler, No. 82 B.
 
 134 SCULPTURES OF THE PARTHENON. 
 
 354-5. Casts from two fragments of acroteria, probably from the 
 western pediment. 
 
 The acroteria were ornaments placed on the three angles of 
 the pediments. For an example of a relief with ornament of 
 acroterion type, see No. 438, in the Phigaleian Room. 
 
 Michaelis, pi. 2, fig. 10, i, 1. 
 
 356. Marble fragment of a similar acroterion. Inwood Coll. 
 Inwood, Erechtheion, pi. 22. p. 130. 
 
 357, 358. Marble fragments of moulding with painted mseauder 
 pattern. Both these fragments (357, 358) appear to belong to 
 the moulding which surmounted the frieze and passed round 
 the interior of the peristyle. 
 
 (357) Inwood Coll. Inwood, Erechtheion, pi. 22, p. 129 ; (358) Elgin 
 Coll. Penrose, Athenian Architecture, pi. 20, fig. 27a ; pi. 23 ; 
 Michaelis, pi. 2, fig. 17. 
 
 359. Slab of the cornice that surmounted the frieze of the 
 Parthenon, with a hawk's-bill and other mouldings. There are 
 traces of colour on the under surfaces of the hawk's bill. This 
 member has been placed in position above slab ii. of the north 
 frieze in order to show the architectural setting of the frieze. 
 
 The stone is complete, with a joint at each end. The painted 
 fragments, Nos. 357, 358 are a part of the same member. Penrose, 
 Athenian Architecture, pi. 20, fig. 27a ; Cat. of Sculpture, 2734. 
 
 LONDON : VRIXTED BV WILLIAM CLOWES AND SONS, LIMITED, 
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 COPY OF THE STATUE OF ATHENJ& PABTHENOS. No. 300.
 
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