A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume 1 (of 2)

by A. H. Smith

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 height 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 2¼ inches, with an average height of about 1½ inch. At the bottom it varies between low relief and about 1¼ inch. 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 191 ft. 11 in. The length of the entire frieze was therefore 522 ft. 10 in.

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 only made drawings of the west end; the east end, except its central slab which had been taken down; about 74 feet in the middle of the south side; and about 78 ft. 6 in. 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.	ft. in.	ft. in.	ft. in.
Originals in the British Museum	43 0	108 6½	7 2	82 6	241 2½
Casts in the British Museum	21 2	33 9½	62 4	54 8	171 11½
Preserved only in the drawings of Carrey	3 4	27 6	..	20 7	51 5
Preserved only in the drawings of Stuart	..	0 6	..	2 9	3 3
Drawn by Carrey and Stuart but not otherwise preserved	2 0	..	..	5 7	7 7
Total existing or recorded	69 6	170 4	69 6	166 1	475 5
Lost without a record	..	21 7	..	25 10	47 5
Grand Total	69 6	191 11	69 6	191 11	522 10

The subject of the frieze of the Parthenon has been considered, 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. Weber and Boetticher held that the scene represented is the preparation and rehearsal, rather than the procession itself. C. Petersen thought that different festivals are represented on different sides* (cf. Michaelis, p. 205).

* The frieze of the Parthenon records in sculpture the passionate delight with which Greeks, and more particularly Athenians (cf. Hel. Aeth., III. 1), 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 the novelist Heliodorus. The passage adds the sound, colour, and movement needed for a complete conception of the scene. The writer, however, is describing the procession 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 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 fruits and flowers, the second troop carried flat baskets (κανᾶ κανηφοροῦσαι) 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. The troops were so harmonious and the sound of marching was so accurately timed to the song, that hearing seemed better than seeing, and the spectators followed the maidens as they passed as if they were drawn by the melody. 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 ephebi, in 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 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 Athenè, 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 processions, and also lay down the duty of the leaders of a procession of horsemen (Xen. Hipp. 11 and Hipparch. 3).

Before examining how far the frieze represents the Panathenaic 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, the son of Hephaestos and foster-son of Athenè herself; and the festival is said to have been renewed by Theseus when he united all the Attic demes into one city. The goddess in whose honour it was celebrated was Athenè Polias, the tutelary deity 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 on her birthday. The peplos of Athenè was a woven mantle renewed every four years. On the 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 Athenè were represented. It was used to drape the rude wooden image of Athenè.

The festival was originally an annual one, but after a time it was celebrated once every four years with more splendour and solemnity. The institution of this greater Panathenaia is attributed to Peisistratos. From his time (b.c. 560-527) dates the distinction between the Greater and the Lesser Panathenaia. The sons of Peisistratos added a contest of rhapsodes reciting the Homeric poems. The festival was further amplified by Pericles, who introduced a musical contest and himself acted as athlothetes or judge.

On 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 Propylæa. During its passage through the city the peplos was displayed on the mast and yard of a ship, which was drawn on rollers. In the procession of Rosalia at Palermo, a ship is employed for a 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, who attended the Canephori with stools (diphroi); the metoik or alien Scaphephori, whose function it was to carry certain trays, skaphæ, containing cakes and other offerings; the aged Athenian citizens who bore olive branches, and were hence called Thallophori. It has also recently been ascertained that the selected maidens who prepared the peplos (the Ergastinae, and perhaps the Arrhephori) also took part in the Panathenaic procession. 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 (πεπομπευ[κέναι κα]τὰ τὰ προστεταγμένα ὡς ὅτι κ[άλλισ]τα καὶ εὐσχημονέ[στατα]), and had subscribed for a silver cup which they wished to dedicate to Athenè. After this preamble the decree doubtless awarded certain public honours such as are enumerated in an inscription found by Mr. Murray at Petworth. (Bull. de Corr. Hellénique, xiii., p. 169; Athenische Mittheilungen, viii., p. 57.) At the Greater Panathenaia each town in which land had been assigned to Athenian settlers contributed animals to the sacrifice, perhaps a cow and two sheep. The colonies also appear to have sent envoys who had charge of the victims. Chariots and horsemen took an important part in the procession. On this occasion appeared certain quadrigæ, which were only used in procession, and were hence called pompic chariots; and an escort of Athenian cavalry and heavy infantry completed the show. The arrangements for the sacrifice were under the direction of the hieropoioi, and the multitudinous procession was marshalled and kept in order by the demarchs, the hipparchs, and by the heralds of a particular gens, the Euneidæ.

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. In our description we begin with No. 1, on the left of the east side. We first observe Canephori and others leading the procession of which the main part is seen on the south side. Next are persons, perhaps Hieropoioi or magistrates receiving this procession. In the centre of this side a solemn act (commonly supposed to be the delivery of the peplos) is being performed in the presence of an assembly of deities, separated into two groups interjected among the heads of the procession who have arrived and stand waiting. These deities are supposed to be invisible, and doubtless in a picture they would have been placed in the background, seated in a semicircle and looking inwards. In the narrow space of a frieze a combined arrangement was necessary, such as we see here. Next we see the persons receiving the procession on the north side, and then at the head of that procession are Canephori, victims with their attendants, Scaphephori, Spondophori, musicians, pompic 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 passing the cavalry, chariots and victims. All through the frieze are magistrates and heralds marshalling the order of the procession. It has been objected that many features which we know to have formed a part of the original ceremony, as, for instance, the ship on which the peplos was borne, are not found on the frieze; but Pheidias would only select for his composition such details from the actual procession as he considered suitable for representation in sculpture, working, as he here did, under certain architectonic conditions.

NOTE. The numbers of the slabs, painted in Roman figures on the lower moulding, and placed in the right-hand margin of this catalogue, agree throughout with the numbers of Michaelis. The numbers of the separate figures assigned to them here and painted in Arabic numerals above the frieze, do not agree with those of Michaelis, except in the case of the west side.

East Frieze of the Parthenon.

324. 1. I. A man standing on the return face of slab xliv. (South Frieze), looks back 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.

2-5. II. With slab ii. the band of maidens leading the southern half of the procession begins. When complete the slab contained five maidens, each probably carrying a circular bowl, with a boss in the centre (φιάλη ὀμφαλωτή); portions now remain of four alone; compare however No. 345, 1. They are draped in long chiton and mantle. [Two casts of the slab are exhibited, side by side, in order to represent the missing portion.]

6-10. III. Five maidens carry each a wine jug, supposed to be of gold or silver. Several such vessels occur in the Treasure lists of the Parthenon. No. 6 wears a chiton with diploïdion; Nos. 7-10 have a chiton and mantle.

11-14. In front of these are four maidens, walking in pairs. Nos. 12 and 14 each carry in the right hand an object not unlike the stand of an ancient candelabrum, which tapers upwards from its base. This object is more distinctly shown on the marble between Nos. 11 and 12, than between Nos. 13 and 14. It is encircled by a double torus moulding at the top, and above this moulding a hole is pierced in the marble, as if there was here a ring for suspension or to serve as a handle. It is probable that these are metallic objects of some kind, which, like the censer carried by No. 55 on the opposite side of the eastern frieze, were part of the sacred furniture used in the festival and usually kept in the Treasury of Athenè. Michaelis suggests that they may be the stands, krateutae, in which turned the ends of the spits used in roasting the sacrifice. This would explain the ring at the top.

15, 16. A pair of maidens with empty hands leads the procession. Nos. 11-16 are all dressed alike, in long chiton, with diploïdion, 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).

17. In front of the procession is a man, probably one of the marshals, who seems to approach a group of five persons, and to hold out his hand as if with a gesture of greeting to the nearest of the group. This figure is turned towards the marshal, and leans heavily on his staff which is seen below his knees. The marble fragment with parts of the feet of Nos. 16 and 17 was acquired from the collection of M. Steinhäuser. The lower part of 18.No. 18 is cast from a fragment at Athens.

19-22. IV. On the left of the next slab are four men of the same character as No. 18. They all wear himation 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. 42-45) on slab vi., and Michaelis supposes that the group of five figures (Nos. 18-22) and the opposite group (Nos. 42-45) of four figures represent the nine Archons. That they are functionaries of high rank can hardly be doubted, when we consider their privileged place between the head of the procession on each side and the seated divinities, but they might well be Athlothetae, who controlled all the arrangements (Aristotle, Ἀ θ. πολ. ed. Kenyon, 60).

23-40. 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 recognising 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 are about 4 ft. 4 in. high. Though by the principle known as Isokephalism 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). There is, however, a wide divergence of opinion as to the particular divinities here represented. From the destruction of most of the faces and the absence of attributes or other indications by which the figures can be severally identified, it is very difficult to judge between the rival schemes of interpretation which have been proposed. In Michaelis' Parthenon, pp. 262, 263, a tabular view is given of these schemes (cf. Guide to the Elgin Room, I., Table C). The attributions proposed by Michaelis himself are for the most part adopted here, with certain changes suggested by Flasch in his memoir: Zum Parthenonfries (Würzburg, 1877).

The interpretations proposed by those who hold that the seated figures are deities, are of two kinds. Most writers have tried to identify some at least of the figures with personages who were worshipped near the Acropolis, or connected with the mythological history of Athens. By this system, deities of lower rank such as the Dioscuri, or heroes like Triptolemos are admitted, on the frieze, to the company of the Olympian Gods. Petersen and Flasch, on the other hand, argue that the twelve Olympian deities are represented in the two groups, without regard to local considerations. Hestia alone is omitted, who always stays in Olympos to keep the hearth. (Plato, Phaedr., 247a). Petersen substitutes Peitho for Hestia; he also introduces Dionysos (24), making No. 38 Apollo. Artemis is thus excluded from his scheme. The arrangement of Flasch is happier, as Hestia alone is excluded of the Olympian divinities. The attributions proposed by Michaelis, Petersen, and Flasch are as follow, where they differ between themselves:—

No.	Michaelis.	Petersen.	Flasch.
24.	Dionysos.	Dionysos.	Apollo.
25.	Demeter.	Demeter.	Artemis.
26.	Triptolemos.	Ares.	Ares.
27.	Nikè.	Nikè?	Iris.
38.	Apollo Patroös.	Apollo.	Dionysos.
39.	Peitho.	Peitho.	Demeter.

23. IV. The earlier writers saw the Dioscuri, Castor and Pollux in the two figures, Nos. 23, 24. It is now generally agreed that the youthful elastic figure to the left is Hermes, of whom the high boots, and the petasos 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 on his shoulder 24.(No. 24), has his body turned in a direction contrary to that of Hermes, and the singular manner in which his lower limbs are so arranged as to clasp between them the knees of the seated goddess (25.No. 25) seems to indicate some intimate and special relation between them. The goddess holds a torch, the usual attribute of Demeter, and Michaelis sees in the group (Nos. 24-26) the triad of Dionysos, Demeter, and Triptolemos. Flasch recognises Apollo and Artemis in Nos. 24, 25, on the ground of their intimate relationship. If we adopt this interpretation of this group, it follows that the youthful figure 26.(No. 26) cannot be Triptolemos. We must rather look for an Olympian deity in this figure, and the suggestion that it represents Ares, which has found favour with several interpreters of this frieze, seems liable only to one objection, that the form appears too slight and youthful. 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. Flasch absurdly describes the attitude as that of a passionate character, forcibly restraining himself.

27-29. V. The bearded figure (No. 29) on the left of the central group is distinguished from the rest by the form, and ornaments of his chair, which has a back and a side rail which is supported by a Sphinx, while all the other figures are seated on stools. It has been generally admitted that this deity is Zeus. It is therefore reasonable to suppose that the goddess seated next to him (No. 28) is his consort, Hera. The type and action of this figure who raises her veil, and looks towards Zeus, are very suitable to her.

The winged maidenly figure (No. 27) standing behind Hera must be either Nikè or Iris, and is probably Iris, whose station is close to Hera, while Nikè is usually more closely associated with Zeus (Murray, Class. Rev. iii., p. 285). The head of Iris which was discovered in 1889 in the excavations on the Acropolis is admirably perfect. The left hand raises a mass of the hair as if to coil it on the head ([Plate vi.], fig. 1).

The slab to which the head belongs 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 eastern end. In 1672 it stood on the ground (cf. Michaelis, pp. 47, 258), and the faces seem to have suffered deliberate mutilation.

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 Archæology, v. pl. 2, p. 1).

30-34. Between the group of Gods just described and the corresponding 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 continuous semicircle. (Murray, ii. pl. 1.)

Fig. 10.—Slave with seat.

No. 30 is a maiden holding an uncertain object, perhaps a casket in her left hand, and supporting on her head a seat (δίφρος) covered with a cushion, not unlike the seats on which the Gods are, but smaller. She has a small pad (τύλη) 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 painted on the ground of the frieze. The cut (fig. 10), showing one of the slaves of Cepheus carrying a stool with a cushion, is taken from a vase in the British Museum, No. E. 188.

No. 31 is another maiden, advancing slowly to the right, bearing on her head a seat similar to that carried by No. 30. The foremost leg of the seat still exists, being of marble. The position of the hinder leg is marked by a rivet hole. On each of these stools is a circular object, probably a thick cushion. These two figures have been called Arrhephori, or Ersephori, on the assumption that they are carrying those mystic objects, the nature of which it was forbidden to divulge; but it is doubtful whether the Arrhephori took part in the Panathenaic festival. There is evidence that the priestess of Athenè had two attendants, of whom one was called κοσμώ (Adorner), and the other τραπεζοφόρος (Table-bearer, Harpocration), or τραπεζώ (Hesychius emended), and it has been suggested that Nos. 30, 31 may have these titles, and a corresponding ritual significance. Neither figure, however, carries a table. (Miss Harrison, Class. Rev. iii., p. 378; cf. ibid., p. 423; and Waldstein, Journ. of Hellen. Studies, xi., p. 143). The same names were proposed by C. O. Müller in 1820, but merely on the supposition that two of the Ersephori were thus styled. (Müller, Minervae Poliadis Sacra, p. 15.) On the other hand, Diphrophori are mentioned by several ancient authors as being in attendance on the noble Athenian maidens. They were the daughters of aliens, and perhaps inferior rank as well as youth is indicated by the scale on which they are represented. No. 31 is confronted by a large and matronly woman (No. 32), who raises her right hand to the under side of the chair. Archæologists have been uncertain whether the woman (No. 32) 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. 31, if we consider the position of her feet, has hardly ceased approaching to No. 32, who is just raising her hands to lift down the chair (cf. Flasch, Zum Parthenonfries, p. 83). The left hand instinctively prevents the himation being displaced by the raising of the right arm.

An elderly bearded man (No. 33), wearing a long chiton with short sleeves and shoes, stands next to No. 32. On his head are traces of metallic rust. He therefore may have worn a metallic wreath, for which the marble at the back of his head appears to have been hollowed. He turns his back to No. 32, and is engaged with a boy. The two figures between them support a large piece of cloth, folded once lengthwise, and twice breadthwise. In this case also archæologists 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 otherwise 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 are parallel with those of the lower part, so that the two parts should be exactly doubled.

The group of figures just described (30-34) contains the centre of the composition, and the interpretation of the frieze as a whole depends on the meaning we attach to this group. Leaving on one side the writers referred to on p. 147, who hold that the frieze does not represent the Panathenaic festival, we find that a majority of writers describes No. 32 as a Priestess of Athenè, giving the sacred vessels to the Arrhephori or Ersephori, and No. 33 as a priest or Archon Basileus receiving or giving the sacred peplos of Athenè. This view of Nos. 30-32 was necessarily abandoned, when it had been perceived that the objects held by the maidens are chairs, not baskets. As regards Nos. 33, 34, the main arguments for interpreting the cloth as the peplos are, that the accounts of the procession preserved in ancient authors show that the conveyance of the peplos of Athenè 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 figures (Nos. 33, 34) stand in the centre of the eastern front, under the apex of the pediment, and over the eastern door of the cella. They therefore occupy the most conspicuous place in the frieze, from the points of view alike of the sculptured Gods and of the human spectator, and accordingly may well be supposed to be busy with the chief ceremony of the festival. This view is opposed by Flasch. He argues 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. Flasch therefore holds that we have here the priest and priestess preparing for the sacrifice that is to take place on the arrival of the procession. The priestess is receiving chairs for herself and for the priest from the Diphrophori. Meanwhile the priest, who now only wears a long chiton, with short sleeves, has taken off his himation, and, after folding it several times, is seen giving it to an attendant to hold.

If, however, the action represented is merely that of folding, and is not yet completed, it is impossible to determine which is the giver and which the receiver. Nor would the difficulty be solved if this could be ascertained, as we do not know what ceremonies were performed when the peplos arrived. The surface of the cloth on the frieze is left quite plain; but, if it is the peplos, some indication of the embroidered design may have been given in colour.

35. We now reach the second group of deities, seated to the right of the central scene. The first figure is clearly that of Athenè. 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. Athenè is dressed in a chiton with diploïdion and has short hair. An indistinct object about her left wrist has been supposed to be a snake from the fringe of the aegis of Athenè, or by some writers to be the snake of Hygieia. But the object seems merely to be a bracelet in the form of a snake, which is not uncommon, and there is therefore no indication of an aegis. Four rivet holes in a straight line show that Athenè held some attribute, probably a spear in her right hand.

36. Next to Athenè 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. It is supposed that his lameness may be indicated by the awkward pose of his right foot, and by the staff on which he leans.

37. VI. This slab, containing figures Nos. 37-47, now in a very fragmentary condition, was complete when drawn by Carrey, in 1674. A bearded male figure (No. 37) with his left hand raised is probably Poseidon. The left hand, according to Flasch, once held a trident. The next figure 38.(No. 38), beardless and youthful, and seated in an easy attitude, has of late years gone by the names of Apollo Patroös or Dionysos. The latter title seems best suited to the somewhat effeminate figure, more fully draped than any other of the Gods. A series of holes round the head shows the position of a bronze wreath, and one at the elbow shows that the left hand may have been supported by a thyrsos or sceptre.

39. A matronly figure (No. 39) is seated next to Dionysos, wearing a chiton, which is slipping off from the left shoulder, himation, cap and sandals. This figure is called Peitho by Michaelis and Peterson, on the ground that the worship of Peitho was associated with that of Aphroditè Pandemos (No. 40) on the south side of the Acropolis. Flasch with more probability makes this goddess Demeter, arguing that Peitho was not entitled to a place among the great Gods of Olympos, while Demeter is appropriately placed between Dionysos and Aphroditè. Flasch suggests that the right hand may have held an ear of corn. A hole shows that the object in question was made of bronze.

40. The next figure (No. 40) most of which is only preserved in Carrey's drawing (Fig. 11), is unmistakably shown to be Aphroditè, by the winged boy Eros who stands at her knee. Aphroditè wears a chiton, himation, a cap, and to judge from Carrey's drawing a veil. She rests her left hand on the shoulder of Eros, extending her forefinger, as if pointing out some object in the procession to the boy. Eros 41.(No. 41) carries a parasol which conveniently fills the space above his head and his wings.

Fig. 11.—East frieze of the Parthenon, Nos. 39-41.

42-45. On the right of the gods is a group of four figures corresponding to the five (Nos. 18-22) on the left. One of these (No. 43) is young and beardless; the rest are elderly, and all have staffs and himatia. No. 42 wears sandals. These four figures are leaning on their staffs, and three of them are looking towards the advancing procession, while the fourth (No. 45) turns his back to it and appears to be conversing with his companions.

46. The next figure (No. 46) 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 together in his mind. The next figure47. (No. 47), 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. 40, much of No. 40 being destroyed. The original fragment, with the figures Nos. 37-39, is now at Athens, where it was dug up in 1836. Since the cast in the Museum was made, parts of the right hand and right foot of Poseidon have been injured (Trans. of R. Soc. of Lit., v. (1856) p. 67; Baumeister, Denkmaeler, p. 1187. fig. 1389). About 1787 Fauvel took a mould from the slab as he found it, which is now in the Louvre. The slab then existed from the middle of No. 41 to the joint after No. 47. Between 1787 and 1800 Nos. 41, 42 were lost, and the slab was divided through No. 45, probably for convenience of transport. To facilitate the division, No. 45, and the arm of No. 46, were chiselled away. The main part of the figures Nos. 42-47 is the original marble. The additions to the marble are the right foot of No. 39, the main part of Nos. 40, 41, the lower part and the head of No. 42, the heads and breasts of Nos. 43, 44, the whole of No. 45, and part of the head of No. 47, together with his legs. These parts are principally derived from the mould of Fauvel in the Louvre. Certain fragments, however, are cast from originals at Athens, namely, the chair-leg and some drapery of No. 40, the knees of No. 41, and the head and left foot of No. 47.

48. VII. The next magistrate, or officer (No. 48), seems to hold in his hand a kanoun, or 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 phialè omphalotè. Holes in the marble may indicate sashes of bronze, hanging from the dish.

49, 50. Two maidens (Nos. 49, 50) are seen standing with empty hands. Perhaps one has given up the dish which is held by the officer (No. 48.) In that case these would be Canephori, maidens of noble birth, whose privilege it was to carry in the procession the dishes just described. They are draped in long chitons, with diploïdia, and wear small mantles over the shoulders.

51. Another officer (No. 51) stands looking towards the procession. 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 hand shows that the officer is giving some order to the two maidens before him 52, 53.(Nos. 52, 53), who stand with empty hands, like Nos. 49 and 50.

54, 55. The next maiden (No. 54) walks alone, carrying a bowl (phialè), used for sacrificial libations. No. 55 looks back at the figure on the next slab (No. 56), and helps her to carry her burden.

Slab vii. is a cast from the original, which was removed from the Acropolis by Choiseul-Gouffier in 1787, and is now in the Louvre. The right foot of the magistrate (No. 48) is cast from a fragment which is still at Athens.

56.VIII.The next maiden (No. 56), assisted by No. 55, holds a thymiaterion with a conical cover, used for burning incense. Censers of this form are not uncommon on Greek vases. (Cf. Vases in the B. M., C. 32, E. 98, E. 241, E. 285, E. 352.) Next follow two figures 57, 58.(Nos. 57, 58), each carrying in the right hand a jug, oinochoè, then two more (Nos. 59, 60), carrying phialae.

In this slab the heads of Nos. 57, 59, 60.59, 60, which have been adjusted to their places since the publication of the work of Michaelis, are cast from the originals at Athens. The slab in its present condition is shown in Mitchell, Selections, pl. 4.

IX.The east side of the frieze was completed by the short return of a slab 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 phialè.

North Frieze of the Parthenon.

325.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 some grounds for the conjecture that the Athenian colonists contributed each a cow and two 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 Theori sent by the Colonies.

I.Slab i. (see [Plate vii].) was complete in the time of Carrey, and 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.

1, 2. II. Nos. 1 and 2 walk on each side of the second cow, which is going quietly, as is shown by the way in which the youths are closely wrapped up in their himatia. The rope by which the beast is led was probably painted on the marble. The third cow is restive, and only restrained with difficulty by 3, 4.Nos. 3 and 4. Here also the rope was probably painted.

This slab was discovered in 1833, beneath its original position on the Parthenon.

III. 5, 6. Of slab iii. only fragments remain. As drawn by Carrey, it contains the figure of No. 4 (cf. [Plate vii]., and No. 345, 3), vigorously holding back his cow, and a fourth cow, quietly led by two youths (Nos. 5, 6). For economy of space this slab is compressed in the British Museum to about two-thirds of its proper length. A cast from a head, which, perhaps, is that of No. 4, is placed at the corner of the slab (Michaelis, plate 13, xxvii. c.). The drapery seen on a fragment with the fore-legs of a cow belongs to No. 5, who leads the third cow. No. 6 is made up of six pieces, of which Michaelis had identified the feet of the figure, and part of the fore-legs of the cow. For its hind-legs, see his plate 13, xxvii. d. The originals of all these fragments are at Athens.

7-9. IV. Slab iv. contains parts of three figures, Nos. 7-9, who conduct three horned sheep. Of the first figure (No. 7) a part of the mantle is now left, and perhaps also the head (cf. [Plate vii]., and No. 345, 4). In Carrey's time the head and shoulders were still extant. At the joint between this slab and the next there is a marshal 10.(No. 10), who turns to the division of the procession approaching. Slab iv. was discovered in 1840.

11. V. When drawn by Carrey and Stuart, the next group in the procession consisted of three figures, of which one only (No. 11) is now extant. 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 boat-shaped dishes which were carried in the Panathenaic procession, and which contained offerings of cakes. If we may trust Stuart's engraving, the tray of one of the two figures which have now disappeared contained fruits or cakes. These trays were made of silver or bronze. Skaphae of bronze are mentioned in one of the inventories of the treasures, deposited in the Parthenon. The Metoiks, whose duty it was to carry these trays, were hence called Scaphephori. Their place in the procession would naturally be immediately after the victims led for sacrifice.

12-14. VI. Slab vi. contains five male figures. Three (Nos. 12-14) carry vases on their shoulders; a fourth (No. 15) stoops to raise from the ground a similar vase, which is singularly misinterpreted in Carrey's drawing as a lamb. 15.The vase resembles in form the three-handled water-pitcher, hydria or calpis, which was 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, except, perhaps, on the vase of No. 15. 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 Spondophori, who are mentioned by Pollux 16.(i. 35). On the right of this slab are the arms, flute, and drapery of the first of the four flute-players drawn by Carrey. This slab was found in 1833, inside the peristyle of the Parthenon.

VII.The persons bringing objects connected with the sacrifice are immediately followed by a band of musicians, consisting of four flute-players and four lyre-players, or citharists, all playing on their instruments. The musicians, as is usual, wear long chitons and ample mantles. Of slab vii. only two small fragments remain. See Plates [vii]., [viii]., and Nos. [345], 5 and 6.

17, 18, 19. VIII. The next slab contains parts of the second pair of citharists and the foremost of a group of male figures, principally on the two slabs immediately following.

19-30. IX., X. The figures on these two slabs are bearded men (Nos. 19-30), all clad in the himation, and moving forward at a leisurely pace; Nos. 25 and 26 wear a band on their heads; No. 25 draws it over his hair; Nos. 28 and 30 wear long hair, plaited in the manner of the krobylos. 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. was discovered in 1840, and is a fragment of the slab drawn by Carrey, which, when he saw it, contained nine figures similar to those on x. A recently-discovered fragment, from the left of slab ix., has not been inserted for want of space (cf. [Plate viii]., and No. 345, 8).

Slab x. was found at the north-west angle of the Parthenon in 1835. A fragment which belongs to the left-hand lower corner of the slab, and completes Nos. 24, 25, has been adjusted since the publication of the work of Michaelis. This slab was not drawn by Carrey, who indicates a lacuna at this point. It is therefore probable that the slab had already fallen from its place. The last two complete figures on this slab are looking back, as if their attention is directed to the advancing chariots. Michaelis has not observed that between these figures and the marshal (No. 31) there has been another draped figure (No. 30*), of whom nothing remains but the shoulders and a little drapery, shown immediately in front of the marshal (No. 31), and his right foot on slab x., seen next to the right foot of No. 30, the left foot of No. 30 being lost. This figure must have been the hindermost in the procession of Thallophori, and the entire number of these persons is therefore seventeen, not sixteen, as Michaelis makes it.

XI.With slab xi. the chariot groups begin. This part of the frieze has greatly suffered from mutilation. The remains of the chariot groups still extant show that there were at least nine of these. According to the calculation of Michaelis, that was the original number of chariots on this frieze. All these chariots are drawn by four horses, harmata tethrippa, or quadrigæ; the charioteer stands in the chariot, and is accompanied by the apobates, who is armed with a helmet and Argolic buckler, and is represented in the act of stepping down from the chariot or standing behind it. Each quadriga is accompanied by a marshal, pompeus. The vigour and animation of the chariot groups form a marked contrast with the groups that immediately precede them. The 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 31.(No. 31), 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. The original of this slab was found at Athens probably about 1834.

32. XII. On the slab next on the right (xii.) is the hind quarter of one of the horses, cut off at the joint. At the side of the chariot is a marshal (No. 32), his face turned, and his right arm extended towards the procession following on the right. The charioteer 33.(No. 33), who was mistaken for a Victory by Visconti and others, but whose figure is certainly not female, differs in costume from the others in this frieze. He wears a long chiton, over which is a diploïdion reaching to the hips. The breast is crossed diagonally by two bands. As a part of the hair is on a fragment known to have been missing before the time of Stuart, his drawing of the figure is proved to be untrustworthy.

34. The warrior (No. 34) attached to the chariot was complete in the time of Carrey. The upper half was lost before the time of Stuart, and was only re-discovered in the latest excavations on the Acropolis in 1889. He is represented standing on the 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, must have been, in part, wholly detached from the ground. The foot of the marshal is complete, but it is easy to trace where the wheel prevented the convenient working of the ground beneath it. (See [Plate viii]., and Stereoscopic, No. 19.)

XIII.Of slab xiii., which Carrey places next, nothing has been identified with certainty, but Michaelis is probably right in assigning to this group the fragment of four horses, of which a cast from the original at Athens is here inserted (cf. Plate viii., and No. 345, 9). Above the back of the second horse is the hestor (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 described (No. 345, 9) contains the marshal belonging to this slab.

35. XIV. Slab xiv. contains the third chariot with part of the team of horses. The marshal (No. 35) stands beyond the horses, and looks towards the charioteer. The charioteer (No. 36) 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. The apobates (No. 37) 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, the head of the charioteer 36, 37.(No. 36) and the head and body of the apobates (No. 37), of which only the lower part now remains, were extant. Close behind the wheel are traces of a horse's forefoot, which, as we see from Carrey's drawing, belonged to the chariot on the slab which follows next on the right (xv. according to the order of Michaelis).

38, 39. XV. Of the fourth chariot group, which was also drawn by Carrey, we have only the mutilated group to which the charioteer (No. 38) and an apobates (No. 39) belong; this is made up of four fragments, of which the originals were found at Athens in 1837. In this group the apobates (No. 39) stands in the chariot, looking back to the chariot following so closely that the forelegs of the horses actually overlap this group. Here also the wheel was in part completely free from the ground of the relief.

41. XVII. From Carrey's sketch we know that the chariot on slab xvii. was drawn by the horses, which occupied slab xvi., and whose hoofs are seen on slab xv., and that this was the fifth chariot group. The apobates (No. 41) of this chariot leans back, supporting himself by the right hand, which grasped the chariot rail (antyx), and is about to step off the chariot. The marshal 42.(No. 42) steps back to the left, looking in the contrary direction; his left arm, muffled in his mantle, is raised as a signal to the advancing throng; his right arm is also raised; the hand, now wanting, was just above the level of the head. His animated action forms a strong contrast to the still, calm attitude of the marshal (No. 43) of the following group.

Slab xvii. is cast from the original, which was drawn at Athens by Stuart, and, having been buried on the Acropolis, was re-discovered there in 1833. The right side of this slab is broken away, but there can be no doubt that it comes next to slab xviii. A photograph from the original is reproduced in Baumeister, Denkmaeler, p. 1186, fig. 1388.

43. XVIII. In slab xviii. have been three figures. The marshal (No. 43) stands beside the horses, in a calmer attitude than is usual in this part of the frieze; of the apobates (No. 45) nothing remains but his right arm and leg; and the lower part of his drapery, 44-45.which indicates rapid movement. Of the charioteer (No. 44), we have only the lower part of the body and hands.

XVIII.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 (ῥυμός) passes from below the chariot between the horses. An upright pin (ἕστωρ) passes through the pole (slabs xiii., xviii., xix., xxiii). At this point the yoke (ζυγόν) was secured by a ring (κρίκος) and by the yoke-band (ζυγόδεσμον) (Hom. Il. 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. The reins were usually guided by two rings attached to the yoke or to the pole, but these do not appear to be shown on the frieze. 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.

Fig. 12.—North Frieze, slab xix.

XIX. The next slab (xix.) is a cast from the original at Athens, which is broken away on the right, so that all that remains of the charioteer (No. 47) is his right hand. At the side of the horses is a marshal (No. 46), who turns towards the chariot following on the right. Carrey's drawing supplies the upper part of this figure, and shows that he was holding up with his left hand the end of his mantle, apparently as a signal to the advancing procession. In fig. 12, slab xix. has been drawn in juxtaposition with the hitherto unplaced fragment No. 345, 12. This slab was discovered in 1834.

XX.Slab xx. is now lost, but a horse's head now at Athens (No. 345, 13; Michaelis, pl. 12, xx.) may perhaps belong to it.

XXI.Slab xxi. contains the bodies and hind quarters of the horses drawing the chariot seen on slab xxii. Between the charioteer (No. 48) and his horse is a fragment, showing the front of the chariot, and the tails of the horses, of which the original is at Athens, and which is not figured in Michaelis.

48, 49. XXII. On the left of slab xxii. is a chariot with the charioteer (No. 48) and apobates (No. 49) who is stepping into the chariot. On the right of this slab is an attendant (No. 50) (50.)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 corner, which was wanting in 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. It had probably been brought from Athens by Chandler.

Stuart, 2nd ed., II., p. 50, note C.

52. XXIII. The chariot group represented on slabs xxii., xxiii. is represented as standing still, and was probably the last chariot in the procession. This slab is shorter than any of the others representing chariot groups. Part of the head of the apobates (No. 52) is supplied in plaster from the original fragment at Athens. A fragment of an apobates, which may well belong to the figure No. 52, has recently been fitted to the left of 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. This fragment, incorrectly drawn, is assigned by Michaelis to slab xxviii. of the south side.

54-109. XXIV.-XLII. From this point to the north-west angle of the frieze we have a continuous procession of Athenian cavalry. The horsemen advance in a loose throng, in which no division into ranks or troops, nor indeed any settled order, can be made out. The groups, being very crowded, are carried on from slab to slab continuously, so that the vertical lines of the joints intersect the figures, while on the western frieze, on the contrary, the groups, being more scattered, are always completed on single slabs. The general effect of a body of horse in rapid movement is admirably rendered in the composition of the northern frieze, and is particularly fine in slabs xxx.-xlii., in which the effect has not been marred by mutilation. Though the entire composition is pervaded by the same general motion, a wonderful fertility of invention is shown in the arrangement of the successive groups. In the one hundred and twenty-five mounted figures in this cavalcade we do not find one single monotonous repetition.

Though the horses bound along with a fiery impatience, which seems at every moment ready to break loose from all control, these irregular movements never disturb the even hand and well-assured seat of the riders. Thus, as the cavalcade dashes along like a torrent, a rhythmical effect is produced by the contrast of the impetuous horses and their calm, steadfast riders.

In this part of the frieze there is great variety in the costumes and accoutrements of the horsemen. Crested helmets are worn by Nos. 59, 62; flexible leather caps by Nos. 84, 93, 96; a taenia by No. 97, and a petasos by No. 105. Some figures wear high boots with flaps at the knee as Nos. 98, 103, &c., while others wear boots without flaps as Nos. 90, 91, 92; a few have bare feet, as Nos. 72, 87, 89. The usual dress is a sleeveless chiton and a cloak. Some riders, however, wear a chiton only, as Nos. 59, 60 63, 72, &c., and others wear a cloak only, as Nos. 64, 76, 79, 87, 94. It may be mentioned that, according to Theophrastus, it was a mark of the man of small ambitions, when he took part 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. 72, or two girdles, as Nos. 57, 59, &c. In a few instances it has long sleeves, as in Nos. 73, 75, 80, 84, 97, 98, 109. Two riders wear a cuirass, viz. Nos. 62, 92. The reins and bridles were in nearly every instance of bronze, marked 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. 98, 103.

52. XXIV. Slab xxiv. is shown, as has been already stated, to have contained the first of the cavalry, by the figure of the apobates which has been fitted to its left side. Neither this fragment nor that at the upper right hand corner have been engraved by Michaelis.

57. XXV. Slab xxv. was complete when drawn by Stuart. Only a fragment, containing part of No. 57, now survives. This is not inserted, in its place in the frieze, but is fixed beside the south door to the Elgin Room.

XXVI. Slab xxvi. is proved by Stuart's drawing to be continuous with the fragmentary slab xxv. Between slabs xxvi. and xxxi. the order is uncertain. The arrangement of plate 13 of Michaelis has been followed. It may be assumed that a slab (xxvii.) is lost between xxvi. and xxviii.,XXVII.-XXXI. which may have included the fragment No. 345, 15. Slab xxx. when complete may have fitted to xxix.; but, as it has the joint preserved on the right, there can be no doubt that it did not fit to No. xxxi. Between these two, therefore, another slab may be supposed to be missing. The three slabs enumerated as lost, viz. xx., xxvii., and the slab between xxx., xxxi., may be supposed to have been about 12 feet long. The missing part of xxx. may be 2 feet. Of the 25 ft. 10 in. of the frieze lost without record 14 feet are thus accounted for; the remaining 11 ft. 10 in. may be due to the loss of two more slabs, containing a chariot group, or to miscalculated proportions in Carrey's drawing.

Fig. 13.—Slab xxv. restored from Stuart (from Michaelis).

Slab xxviii. is original; slabs xxix.-xxxi. are casts from the originals at Athens; No. 65 (on slab xxix.) is a marshal beckoning to the riders.

75. XXXII. The fragment (in slab xxxii.) containing the head of No. 75 and the horse's head, having been discovered in 1850 in the collection of Sculptures at Marbury Hall in Cheshire, was presented to the Museum in 1850 by J. H. Smith Barry, Esq., the owner of that collection. A small fragment, cast from the original at Athens, and added to slab xxxiv., is not engraved by Michaelis.

85. XXXV. The fragment (in slab xxxv.) which contains the head of No. 85 and of a horse, after having been in the possession of the Society of Dilettanti, passed from that body to the Royal Academy, by whom it was presented to the British Museum in 1817.

89. XXXVII. The fragment (in slab xxxvii.) containing the head of No. 89 and a horse's head, of which a plaster cast is adjusted to the marble, is now at Athens.

97. XXXIX. The head of No. 97, on slab xxxix. was formerly in the Pourtalès Collection, at the sale of which in 1865 it was purchased for the British Museum, and inserted in its place on the frieze.

107. XLII. On the last slab of the north side, the procession is still in a state of preparation, so that this slab prepares a transition to the west side. In the foreground is a rider (No. 107), standing by his rearing horse, whom he holds by the rein with his right hand. In the background beyond this group is a mounted figure 106.(No. 106), so entirely concealed by the rearing horse in the foreground that the only evidence of his presence is his right hand advanced just beyond his horse's shoulder point.

109, 110. To the right is a rider (No. 109) standing by his horse, and in the act of drawing down his chiton under his girdle in front, while a youthful attendant (No. 110) assists him by pulling it down behind, or perhaps by tying the lower girdle over which the folds were drawn. The attendant carries on his shoulder a folded chlamys, probably that of his master.

West Frieze of the Parthenon.

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, in this part of the frieze there is less continuity of composition than elsewhere. The subjects are disconnected, and are usually on single slabs, and seldom 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). 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.

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 to weather during seventy years. As the frieze is still in position and unsheltered, it must be presumed that the decay of the originals continues.

1. I. The single figure (No. 1) at the north-west angle is evidently 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, Ἀ θ. πολ. ed. Kenyon, 18.) His right hand probably held a staff of office, as the bent fingers are not closed. This figure is repeated, in a plaster cast. 2, 3.Then follow two mounted figures II.(Nos. 2, 3); in the hair of No. 2 are holes in which probably a metal wreath was inserted. III.No. 4 raises both hands as if to open his horse's mouth for the insertion of the bit. Behind the horse stands a youth 4, 6, 5.(No. 6), either the groom or attendant; his hands may have held a bridle. A bearded man (No. 5), probably a marshal, turns towards the youth as if addressing him. Then follow two more mounted figures IV., V.(Nos. 7, 8), and a youth 7, 8, 9.(No. 9), standing by his horse, and turning round to his mounted companion (No. 10), behind him. Next comes a horseman VI.(No. 11), 10.distinguished from all the figures in the frieze by his richly decorated armour. On his head is a crested helmet, on the crown of which is in relief an eagle with outstretched neck. 11.A hole a little behind the temple 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 (θώραξ λεπιδωτός). Below the girdle are flaps (pteryges) made of leather covered with metal, which at the upper ends are united to the girdle. Under the cuirass appears a chiton without sleeves. The horse of No. 11 is one of the few on the frieze that have all four legs off the ground. (Cf. north, 91, 97; 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 arms to be tying his boot.

13, 14. VII. The next slab contains two mounted figures (Nos. 13, 14). No. 14 wears a mantle of skin. He is the only figure, on this side of the frieze, thus decorated. No. 15VIII. stands at the side of a rearing horse, trying to control him.15. The violence of the action is shown by the muscular strain and the disordered dress of this figure, who wears a chiton, exomis, over which is a chlamys flying behind his back. On his head is a leathern cap. The attire of this figure is precisely similar to that of No. 8 and No. 19. Then follow six mounted figures 16-21.(Nos. 16-21)IX.-XI., all moving rapidly to the left. 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)XII. is not unlike that already described (Nos. 4-6). A youth 22, 23.(No. 22) stands at the horse's head, and seems to be holding the reins. At the side of the horse stands a taller figure (No. 23), holding up his right hand as if giving an order to a person at some little distance. In his left hand he holds a short wand. This figure seems to be a marshal, though his dress, a chiton girt at the waist and a chlamys, differs from that of all the other marshals on the frieze, while it frequently occurs among the riders. Behind the horse is a youth 24.(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)XIII., who seems to be pressing his right foot against the heel of his horse's right fore leg to make him extend himself so as to lower his back for mounting. Behind this figure a horse springs forward, free from the control of his rider 26, 27.(No. 26)XIV., who has let him go in order to assist a comrade (No. 27). This latter figure tries to master a rearing horse, who threatens to escape from his control. In the upper portion of this figure a fragment from the original marble is adjusted to the cast. This fragment was brought from Athens many years ago, and presented to the Museum by M. J. J. Dubois in 1840. The next figure 28, 29.(No. 28)XV. stands at his horse's head, and behind him is a rider (No. 29) not yet mounted, who is drawing on his left boot in an attitude very similar to that of No. 12; his right boot lies at the side of the rock on which his left foot is raised. The horses of both these figures, in contrast to the preceding group, stand tranquilly waiting to be mounted. The last figure on the western frieze 30.(No. 30)XVI. on the return of the first slab of the 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 Frieze of the Parthenon.

327. In following the procession 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. It may therefore be the case that this side represents the Hecatomb offered by the Athenians themselves. All the victims are cows, in accordance with Greek ritual, which ordained the sacrifice of male animals to a God, and female animals to a Goddess.

1-4. I. The left-hand side of slab i. is still on the Parthenon; the right-hand portion, containing the figure, No. 4, was presented to the Museum by the late Mr. C. R. Cockerell. A marshal (No. 1) stands at the angle; the first horseman (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 chiton, chlamys, boots, and a leather cap with a flap (katablema) hanging over the nape of the neck.

5-7. II. Slab ii. is cast from the original on the Parthenon, which is in a very mutilated condition (cf. No. 345, 16). Of No. 7 nothing now remains on this slab, but a bit of his drapery, and on slab iii. his right foot and his horse's nose and forelegs. Slab iii.III. was complete on the left edge in the time of Stuart, who gives the head and forehand of the horse of No. 7. The horseman 8-9.(No. 8) wears a chlamys 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. IV. On slab iv., the greater part of which still remains on the Parthenon, are the remains of three figures (Nos. 10, 11, 12). On the right side are two fragments of this slab, brought away by Lord Elgin, one of which only is given by Michaelis. The other has been since discovered in the magazines of the Museum.

[At this point it has been necessary to interrupt the sequence by placing slabs xiv., xv., xx. on the sides of the pilaster. These slabs are described below in their respective places.]

12-14. V. On slab v., No. 13 wears a close-fitting cuirass, but is bare-headed. Compare the figures 26-35, and the description of Theagenes in the passage of Heliodorus, quoted on p. 148. 15-25.Slabs vi.-ix.VI.-IX. contain unarmed Athenian horsemen, riding bare-headed and for the most part wearing chiton 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.

X.-XIII. There is a break in the composition at the beginning of slab x., and a change of subject is marked by the group not being carried across the joint. The figures 26-37.(Nos. 26-37) on slabs x.-xiii. are evidently arranged in two ranks of six horsemen each, and are distinguished from most of the riders in the southern cavalcade by wearing a cuirass under which is a short chiton. 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. 26-36, wear the plain cuirass, rigid and close-fitting (θώραξ στάδιος). All the riders in this part of the procession wear high boots with a flap turning over below the knee. They are all bareheaded except No. 36, who wears a cap or helmet with a flap behind; No. 33, 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 the crown of the head. A chlamys hangs from the left arm of Nos. 26, 27, 28. XIV.-XVI.Slab xiv., which is a cast from the original at Athens, and slab xv. are now exhibited on the pilaster. 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 another body of six horsemen 38-43.(Nos. 38-43). These appear to be uniformly dressed in helmet, chiton 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 is seen above the horse's hind quarter. It is, however, doubtful whether xvi. and xvii. joined each other. Perhaps between them was a slab in which the horsemen wore similar mantles of skin.

From this point the military order of the procession becomes less marked, or is obscured by the defective state of the marble. There is also more variety in the costumes of the riders.

45*. XVII. Slab xvii. is a cast from the original at Athens. Since the publication of the work of Michaelis, two fragments have been adjusted on the right, which prove the connection of the slab with No. xviii. by supplying the hind quarters of a horse of which the rest has been in xviii. These two fragments, which were unknown to Michaelis, also supply the forehand of another horse and the body of the rider (No. 45*) from the waist to below the knee (see fig. 14).

Fig. 14.—South frieze, slab xvii.

XVIII. The original of slab xviii. is at Athens, and was in its present mutilated condition when drawn by Carrey.

47. XIX. The cast of the small fragment at the upper left-hand corner of slab xix., giving the mane of the horse of No. 47, has been added since the publication of the work of Michaelis. For a fragment engraved by Michaelis, as the head of 48.No. 48, cf. No. 345, 18.

XX.Slab xx. (on the pilaster) is a cast from the original at Athens. This slab, which now only contains parts of the legs of two horses and a rider (No. 48) was nearly complete in the time of Carrey and contained two riders wearing petasoi or broad-brimmed travellers' hats.

51, 52. XXI. In slab xxi. the head of the horse of No. 51 and the head and shoulders of No. 52 are supplied by casts from originals at Athens. The fragment containing the head of 53.No. 53, a figure wearing a petasos, does not appear in the plate of Michaelis.

XXII., XXIIISlab xxii. and slab xxiii., which, with the exception of a small fragment, is only preserved in Carrey's drawings, contained 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 at a foot-pace. All the paces of the horse are thus displayed within a short distance, at this part of the frieze. In slab xxii. a fragment containing a horse's head and the mane of another horse, which Michaelis assigns to the team on slab xxiv., has been since adjusted to its place in front of No. 56; to this has been fitted the small fragment of the corner of slab xxiii.

XXIV. The horsemen are immediately preceded in the procession by the chariot-groups. 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.),XXXIV. 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 stepping out of the chariot in motion, but stands either in the quadriga or (if it is not in motion) by its side. Therefore Michaelis supposes 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, harmata polemisteria, in which an armed hoplite stood in the chariot by the side of the charioteer. Each chariot group, when complete, is seen to be accompanied by a marshal.

XXIV. Of the two figures in the chariot of slab xxiv., nothing now remains but part of the shield and left arm of the hoplite 58.(No. 58), with a fold of drapery hanging from the arm. The upper part of the slab was wanting in the time of Carrey, but he gives the legs of the hoplite, who, like the corresponding figure in slab xxv., was standing by the wheel of the chariot, of which a small portion remains. This position shows that both these chariots were represented at the moment before they started. In the shield of No. 58 are two rivet holes for the attachment of a bronze handle. In the upper hole the metal still remains. Similar rivet holes occur in the shields of Nos. 61 and 66. Michaelis supplies the heads of the horses on this slab by a fragment which belongs to the cavalcade of horsemen. (See [slab xxii]., above.)

The connection between slabs xxiv. and xxv. is proved by a fragment which has been added to the lower corner on the right of slab xxiv. since the work of Michaelis was published. This fragment, of which the original is at Athens, gives part of the wheel of the chariot of xxv. and the forefeet of the horses of xxiv.

XXV.In slab xxv. the horses' heads now wanting are given in Carrey's drawing. Of the charioteer 60.(No. 60) very little is now visible but part of his drapery. The armed figure 61.(No. 61) in this chariot group, whose appearance is more youthful than that of the other hoplites in this part of the frieze, wears a chiton with a double girdle and a chlamys. Near the edge of his shield are two rivet holes for a bronze handle; in the upper one the metal still remains. The marshal 62.(No. 62) 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.

XXVI., XXVII.Slabs xxvi., xxvii., of Michaelis, contained two chariot groups which we only know through Carrey's drawings. In both the horses are springing forward; cf. No. 345, 20.

XXVIII.Michaelis inserts to represent slab xxviii. a fragment which belongs to the north side, slab xxiv.

XXIX.The lower corner on the left side of xxix. has been cast from a fragment at Athens, which has been identified since the publication of the work of Michaelis. This fragment supplies the missing part of the wheel and a small piece of flying drapery belonging to one of the figures in the chariot. 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 in the chariot following on the next slab; it is evident, therefore, that between xxix. and xxx. was another slab, now lost, which we cannot recognise in any of Carrey's drawings.

66. XXX. The armed figure (No. 66) wears the Corinthian helmet, which does not occur elsewhere on the frieze. The handle of his shield was of bronze, of which a small portion still remains in the rivet hole. Other rivet holes on the crests of the horses show that the reins and the hestor for attaching 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.

XXXI.On slab xxxi., as in the preceding, the reins and the hestor were of bronze.

XXXII.-XXXIV.Slabs xxxii.-xxxiv. are now wholly lost, except in Carrey's drawings. They contained two chariots, both at a standstill, or moving slowly, and the four last persons of the crowd on foot.

XXXV.-XXXVII.Slabs xxxv., xxxvi., and part of slab xxxvii. contained the remainder of the persons on foot. Fragments of xxxv. and of xxxvi. (original at Athens) alone remain, 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. All are clad in the himation. Michaelis thinks that 72, 73.No. 72 holds in his left hand a small object shaped like a clarionet, but he appears to have mistaken the right arm of No. 73 hanging down for this object. Between these supposed Thallophori and the victims Carrey inserts four figures, two of whom hold in their left hands some object like a square tablet, which may be the bottom of a lyre, as this is the place in the procession where the musicians might be expected, if the arrangement on this side corresponded with that on the north side. The fragment 79*.(No. 79*) representing the upper part of a Scaphephoros carrying a tray must also belong to this part of the frieze, and is therefore here inserted. It is cast from the original at Athens, which was not known to Michaelis. It probably implies that one slab was wanting here, as well as the second half of slab xxxvii., of which Carrey seems to have only drawn the first half.

XXXVIII.-XLV.The remainder of the south frieze is occupied with the procession of victims for the sacrifice. Cows only are here represented, and, as has been observed, this may indicate that we have here the native Athenian part of the procession. The order in which these slabs are exhibited differs from that given by Michaelis in Der Parthenon, pl. 11., because slab xliii., No. 84 (= Michaelis, No. 126; cf. 345, 22), which is the top left corner of a slab, has been proved to join to the right side of xli. Other changes have also been made, but the slab numbers of Michaelis have been preserved for convenience of reference, and the order now stands:—xli., joined by xliii., No. 84 (= Michaelis, No. 126); xxxix., which may join xliii.; xl., which joins xxxix.; xxxviii., which may perhaps join xl.; after an interval of one slab, xlii.; xliii., Nos. 100, 101 (= Michaelis, 127, 128); xliv., the corner slab. Michaelis has proposed a revised arrangement in Arch. Zeit., 1885, p. 57, which agrees with the foregoing, except that slabs xxxviii. and xlii. are transposed. Michaelis holds that xlii. joins xl., and xxxviii. joins xlii. This arrangement suits the conditions as to space, but the suggested joinings are very doubtful.

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 himation, 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. 147. In slab xxxix. the action is very animated. The youth, 85.No. 85, leans back with his foot pressed against a 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 representing Theseus and the bull of Marathon; the balustrade of the temple of Nikè Apteros (No. 429); and vase paintings as in Journ. of Hellen. Studies, ii., pl. 10.

In slab xl. the left lower corner is added in plaster, from the original fragment at Athens. 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. In slab xlii., 96.No. 96 has both hands raised to his head, as if adjusting a wreath. Compare the north frieze, No. 25. What was the number of cattle in this part of the frieze cannot now be ascertained, but there is evidence that there were at least nine, and more probably ten.

Michaelis (Arch. Zeit., 1885, p. 57), in placing xlii. after xl., makes the right hand seen on the left of xlii. to be the hand of 91.No. 91 (= Michaelis, No. 115), and the portion of a cow's belly seen between 90 and 91 to be part of the cow on the left of xlii. It is to be noticed that the hind legs of this cow have been altogether omitted.

There is a curious inequality in the depths of the relief in this part of the frieze. Slabs xxxix., xl. are worked more in the round than the remaining groups with cattle.

100, 101. The fragment with the two heads, Nos. 100 and 101, may be, as Michaelis suggests, a part of the corner slab xliv., the two parts at present numbered as 101, 102 being different parts of the same figure. 102.The positions of the head and the foot appear to agree. On the other hand, the surfaces of the two fragments have weathered very differently.

On the return face of slab xliv. is the marshal, who forms the first figure of the east frieze, and makes a connection between the two sides, by looking back, as if to the advancing procession.

In the following conspectus of publications of the frieze, only the Museum Marbles and 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. Deficiencies in the published illustrations, as compared with the present state of the frieze, are noted in the description. In the fourth 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., pls. 11-14. A diagram showing all the slabs drawn by Stuart is given in Antiquities of Athens, II., chap. i., pl. 30. P. indicates that a slab was drawn by Pars, during the Dilettanti Expedition, and was published in the Antiquities of Athens, IV., chap. iv., pls. 6-10, 15-28. W. denotes slabs published, from drawings of Pars, in the Museum Worsleyanum.

Parthenon Frieze, East Side.

Michaelis, Der Parthenon, Pl. 14.	Museum Marbles, Pt. VIII.	Mansell's Photographs.	Early Drawings, &c.
Slab.	Pl.
I.	XXXIX.	684	C.
II.		684	C.
III.	XXXVIII., XXXVII.	685, 686	C.S.
IV.	XXXVI., I.	687, 688	C.S. Brunn, Denkmaeler, Nos. 106, 107.
V.	II., III., IV.	689, 690	S.W. Brunn, Denkmaeler, Nos. 108, 109, 110.
VI.	V., VI.	691, 692	C. Baumeister, p. 1187.
VII.	VII.		C.
VIII.	VIII.	692a	C.S.
IX.			C.S.

The East Frieze is also published by the Stereoscopic Company, Nos. 1-13.

Parthenon Frieze, North Side.

Michaelis, Pl. 12, 13.	Museum Marbles, Pt. VIII.	Mansell's Photographs.	Early Drawings.
Slab.	Pl.
I.-V.	VIII.		C.S.
VI.		656	C.
VII.-XI.			C. (except X.)
XII.	IX. A.	655	C.S.
XIII.			C.
XIV.	IX. B.	654	C.S.
XV.-XVI.			C.
XVII.	XI.		S.W.
XVIII.	X. C.	653
XIX.			C.
XX.
XXI.	X. d.	652
XXII.	XII.	651	S.
XXIII.	XII.	650	S.
XXIV.	XIII. a.	649
XXV.			S.
XXVI.	XIV.	648	S.
XXVII.
XXVIII.	XIII. b.	647
XXIX.
XXX.
XXXI.
XXXII.	XV.	646	P. W.
XXXIII.	XVI.	645	P. W.
XXXIV.	XVI.	644	P. W.
XXXV.	XVII.	643	P. W.
XXXVI.	XVII.	642	P. W.
XXXVII.*	XVIII.	641	P. W.
XXXVIII.*	XVIII.	640	P. W.
XXXIX.	XIX.	639	P.S.W.
XL.	XIX.	638	S. W.
XLI.	XX.	637	S. W.
XLII.	XXI.	636	S. W.
* Slab XXXVII. is given by Brunn, Denkmaeler, No. 113; Slab XXXVIII. = Denkmaeler, No. 114; Slab XLII. = Denkmaeler, No. 115. The North Frieze is also published by the Stereoscopic Company, Nos. 14-38.

Parthenon Frieze, West Side.

Michaelis, Pl. 9	Museum Marbles, Pt. VIII.	Stereoscopic Company's Photographs.	Early Drawings.
Slab.	Pl.	No.
I.	XXII.		C.P.W.
II.	XXII.	39	C.P.W.
III.	XXIII.	40, 40a	C.P.W.
IV.	XXIV.	41	C.P.W.
V.	XXV.	42	C.P.W.
VI.	XXVI.	43	C.P.W.
VII.	XVII.	44	C.P.W.
VIII.	XXVIII.	45	C.P.W.
IX.	XXIX.	46	C.P.W.
X.	XXX.	47	C.P.W.
XI.	XXXI.	48	C.P.W.
XII.	XXXII.	49	C.P.W.
XIII.	XXXIII.	50	C.P.W.
XIV.	XXXIV.	51	C.P.W.
XV.	XXXV.	52	C.P.W.
XVI.	XXXV.	53	C.P.W.

Parthenon Frieze, South Side.

Michaelis, Pl. 10, 11.	Museum Marbles, Pt.VIII.	Mansell's Photographs.	Early Drawings.
Slab	Pl.
I.	LVI.	661	S.
II.			S.
III.	LV.	658	S.
IV.			S.
V.	LV.	659	S.
VI.	LIV.	660	S.W.
VII.	LIV.	657	S.W.
VIII.	LIII.	662	S.W.
IX.	LIII.	663	S.W.
X.*	LII.	664	S.W.
XI.*	LII.	665	S.W.
XII.	LI.	666	S.
XIII.	LI.	667	S.
XIV.
XV.	L.	668
XVI.
XVII.
XVIII.			C.
XIX.	XLIX.	669	C.
XX.			C.
XXI.	XLIX.	670	C.
XXII.	XLVIII.	671	C.
XXIII.			C.
XXIV.	XLVII.	672	C.
XXV.	XLVII.	673	C.
XXVI.			C.
XXVII.			C.
XXVIII.
XXIX.	XLVI.	674
XXX.	XLV.	675	C.
XXXI.	XLV.	676	C.
XXXII.			C.
XXXIII.			C.
XXXIV.			C.
XXXV.	XLIV.	677	C.
XXXVI.			C.
XXXVII.			C.
XXXVIII.	XLIII.	678
XXXIX.	XLII.	679
XL.	XLI.	680	S.
XLI.	XLI.	681	S.
XLII.	XL.	682
XLIII.
XLIV.	XXXIX.	683
* Slab X. is given by Brunn, Denkmaeler, No. 111; Slab XI. = Denkmaeler, No. 112. The South Frieze is also published by the Stereoscopic Company, Nos. 53-97.