from originals still on the Parthenon. They give the beginning of the procession of horsemen up the south side.

Exigencies of space have made it necessary to interrupt the sequence by placing three slabs on the projecting pier. Their true places can be found by their slab numbers-xiv., xv., xx.

13-56. The horsemen. For the most part this side of the frieze is in poor condition compared with the northern half of the procession.

59-77. 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.) of which there is no trace in Carrey's drawings. These, therefore, must probably be placed in a break in a 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 chariot or (if it is not in motion) by its side. chariot group when complete was accompanied by a marshal.

Each

The armed figure (no. 74) 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 pin for attaching the yoke to the pole were also of bronze. The horses' heads, which are treated with more freedom on this slab than elsewhere on the frieze, are of extraordinary beauty.

Mr. Ruskin (in Aratra Pentelici, §179) has commented on the treatment of the relief as follows:- The projection of the heads of the four horses, one behind the other, is certainly not more, altogether, than three-quarters of an inch from the flat ground, and the one in front does not in reality project more than the one behind it, yet, by mere drawing, you see the sculptor has got them to appear to recede in due order, and by the soft rounding of the flesh surfaces, and modulation of the veins, he has taken away all look of flatness from the necks. He has drawn the eyes and nostrils with dark incision, careful as the finest touches of a painter's pencil; and then, at last, when he comes to the manes, he has let fly hand and chisel with their full force; and where a base workman (above all, if he had modelled the thing in clay first), would have lost himself in laborious imitation of hair, the Greek has struck the tresses out with angular incisions, deep driven, every one in appointed place and deliberate curve, yet flowing so free under his noble hand that you cannot alter, without harm, the bending of any single ridge, nor contract, nor extend, a part of them.'

88-103. These slabs give a part of the crowd of elders, who are represented by Carrey as advancing slowly, in a closely pressed throng.

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.

91 92 93 94 95 96 97 98 99 100 101 102 103 104 105

XXXVII*.

106

Carrey.

Carrey (and Athens). Fig. 30.-The South Side of the Frieze (Slabs XXIX.-XXXVII*.).

Athens and Carrey.

Athens and Carrey.

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.

On the return face of slab xliv. is the marshal (fig. 21), who forms the first figure of the east frieze, and makes a connexion between the two sides, by beckoning, as if to the advancing procession.

FRAGMENTS FROM THE PARTHENON.

There are numerous small fragments known or conjectured to have belonged to the Parthenon, which cannot be placed with the principal sculptures. They are partly original fragments, mainly from the Elgin collection, and partly plaster casts.

The most noteworthy are:

328. Fragment of colossal head. This fragment was found built into a Turkish house at the west front of the temple, and was formerly thought to have belonged to the figure of Athenè. It is, however, worked in a hard, conventional style, which does not agree with that of the pediments, and the true head of Athenè has now been found.

339. 1. Colossal female head (cast), slightly turned to its right. [Beside the door to the Nereid Room.] The hair was confined in a plait round the head, and also by a wreath or band of metal. The nose and mouth 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.

This head (commonly known as the Laborde head) was found at Venice in the house of the San Gallo family, one of whose members was secretary of Morosini, and may well have brought the head from Athens, in 1687.

The architectural remains include:

350. The capital and uppermost drum of one of the Doric columns of the north side. [Between the two halves of the east pediment.]

353. Cast of a lion's head from one of the angles of the pediment. The subject is treated with the conventionalism that is most suited to a purely decorative piece of sculpture.

357, 358. Two fragments of moulding. [Near the door to the Phigaleian Room.] These fragments, though no colour remains, show that they were once decorated with maeander patterns, by the traces left on account of the unequal exposure to the weather of the painted and unpainted parts of the surface.

In addition to the marbles of the Parthenon, the Elgin Room contains several fragments and casts, taken by Lord Elgin's agents from other Athenian buildings of the fifth century B.C.