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. De re eq. 11 and Hipparch. 3).

NOTE.-A list of the minor fragments incorporated in the frieze will be found on p. 127. The numbers of the slabs, painted in Roman figures on the lower moulding, and placed in the right-hand margin of this catalogue, agree throughout with the numbers of Michaelis, with the exception of the interpolated slab-numbers, distinguished by asterisks. The numbers now assigned to the separate figures, and painted in Arabic numerals above the frieze, also agree with those of Michaelis, except in the case of the east end of the South side, which has been renumbered.

The table on the preceding page will allow reference from the present numbers to those which were used in the Elgin Room between 1880 and 1905.

324. 1.

3-6.

7-11.

EAST FRIEZE OF THE PARTHENON.

A man standing on the return face of slab xliv. (South I. Frieze), looks back and beckons as if to make a signal to the procession approaching along the south side, and thus makes a connection between the south and east sides of the frieze. The end of a rod seems to be indicated in his left hand.

With slab ii. the band of maidens leading the southern half II. of the procession begins. When complete the slab contained five maidens, each carrying a circular bowl, with a boss in the centre; portions now remain of four only, on the principal fragment. The left-hand lower corner of the slab is also extant, with the feet of the fifth figure.

Five maidens richly draped carry each a wine jug, perhaps of III. gold or silver. Several such vessels occur in the treasure lists of the Parthenon, with a note of the inscriptions, the weights, and the condition.

12-15.

In front of these are four maidens, walking in pairs. Between each pair is an object not unlike the stand of an ancient candelabrum, which tapers upwards from its base. It is encircled by a double moulding at the top; and above this moulding a hole is pierced in the marble, as if for an attachment in metal. It is probable that these are metallic objects of some kind, which, like the censer carried by No. 57 on the opposite side of the eastern frieze, were part of the sacred furniture used in the festival, and usually kept in the Treasury of Athenè. They may be the lower parts of censers, or perhaps, as Michaelis suggests, they may be the stands, krateutae, in which turned the ends of the spits used in roasting the sacrifice. None of the four maidens grasps the main stem of the imple

16, 17.

(Athens) London.

ment.

Fig. 25. The East Frieze (Slabs I.-III.) restored.

It may have been carried by a large loose ring, or a pair of handles.

A pair of maidens with empty hands, and a corresponding pair on the opposite side (Nos. 50, 51), lead the procession. They may perhaps be the four maidens who were specially appointed to direct the weaving of the peplos. The first six (Nos. 12-17) are all dressed alike, in long tunic with lappet (apoptygma), together with a small mantle. They also appear to have the hair similarly dressed. It falls in a mass on the shoulders, as in the Caryatid of the Erechtheion (No. 407). There is a formality in their pose which recurs in the first six figures (Nos. 50-55) on the other half of the east side.

18.

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 19. nearest of the group. This figure is turned towards the marshal, and leans heavily on his staff, which is seen below his knees.

20-23. On the left of the next slab are four men of the same IV. character as No. 19. They all wear mantle and boots. They converse in pairs and stand in easy attitudes, leaning on their staffs. There is a corresponding group of four male figures (Nos. 43-46) on slab vi. Their privileged place between the head of the procession on each side and the seated divinities would seem to indicate official rank. Perhaps they may (with No. 18 or 47) be the ten Athlothetae, who controlled all the arrangements for the procession, as well as for the contests (cf. p. 66). They have also been interpreted as mere typical citizens.

24-41.

More recently attempts have been made to identify the ten figures 18-23 and 43-46 with the ten legendary heroes whose names were given to the ten Attic tribes of Cleisthenes. (Arvanitopullos in Athenische Mittheilungen, 1906, p. 38; Weissmann, in Hermes, 1906, p. 619.)

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, if standing erect, would be 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). Moreover, the attendant figures (28, 42) are both winged, as befits the companions of deities. There is, however, a wide divergence of opinion as to the particular divinities here represented. In Michaelis's Parthenon, pp. 262, 263, a tabular view is given of the various schemes of interpretation proposed before 1871.

The interpretations proposed by those who hold that the seated figures are deities are of two kinds. Most of the earlier

writers 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. The more recent writers have argued in favour of the view that the twelve Olympian deities are represented, to whom the younger Peisistratos consecrated an altar in the Athenian agora. The names of the twelve deities are the following, according to the usually accepted list. On the Borghese altar in the Louvre (Clarac. ii., pls. 173, 174) they are grouped in pairs:

(Side A) Zeus and Hera.

(Side B) Apollo and Artemis.
(Side C) Ares and Aphrodite.

Poseidon and Demeter.
Hephaestos and Athenè.
Hermes and Hestia.

Inasmuch as we have seven male and five female figures on the frieze, the above series must be subject to some modification. Hestia, the hearth-goddess, must be left out, because Plato says that when the Olympians go forth, they go as eleven only, since Hestia remains at home (Plato, Phaedr. 247a). Of male deities not included in the Olympian twelve, Dionysos is the most likely to be added to such a company as the present.

If we substitute Dionysos for Hestia, and try to assign the respective names, there can be little doubt as to several. The slim figure (No. 24) with short cloak and traveller's hat must be Hermes, the fleet messenger. The bearer of the great torch (No. 26) is probably Demeter. The stately pair (30 and 29) must be Zeus and Hera. No. 36 is evidently Athenè, and No. 37 is the clumsy craftsman god Hephaestos. No. 38 must be Poseidon, and No. 41 must be Aphrodite accompanied by the winged boy Eros. After striking out the above from the list, there remain :

-

Male deities: Apollo, Dionysos, Ares. Artemis.

Female deity,

The figures wanting names are: male 25, 27, 39; female 40. Artemis would thus necessarily be No. 40. The figure next to her, with ample cloak, and (probably) a wreath, is well fitted for her twin brother, Apollo. The powerful athletic figure of

No. 27 must be Ares. The only remaining figure (No. 25), intimately associated with Demeter, and reclining somewhat indolently against his companion, must be Dionysos.

The above attributions coincide with those of the late Prof. Furtwaengler, which form the most complete series. In the annexed table they are compared with those of other recent writers, so far as there are any differences.

(1) Michaelis, Parthenon, p. 262; (2) E. Petersen, Kunst des Pheidias, 1873, p. 247; (3) Flasch, Zum Parthenonfries, 1877; (4) Furtwaengler, Masterpieces, p. 430.

The earlier writers saw the Dioscuri, Castor and Pollux, in IV. 24. the two figures Nos. 24, 25. It is now generally agreed that the youthful elastic figure to the left is Hermes, of whom the high boots and the traveller's hat spread on his knees are specially characteristic. His right hand is pierced and has held a metallic object, probably the herald's staff, caduceus. The drapery is a small chlamys fastened by a brooch, but at present worn about the loins. The more robust figure leaning 25. on his shoulder (No. 25) is seated on a cushion; his legs cross 26. those of the goddess (No. 26) in a singularly complex fashion. The goddess holds a torch, of which the upper part was completely undercut, except at the point of attachment. This is the usual attribute of Demeter, and as we have seen above, No. 25, by a process of exclusion, is probably Dionysos, here represented in intimate association with Demeter.

27. For No. 27 we have already proposed the name of Ares for the powerful figure with a small cloak. The somewhat negligent attitude is that of a person tired of sitting on a seat without a back, and clasping his knee with his hands, to relieve the spine of the weight of the head and shoulders. The left ankle rests on a staff or spear to assist the balance.

28-30.

(Plate VII.) The bearded and sceptred figure (No. 30) on V. the left of the central group is distinguished from the rest by the form and ornaments of his chair, which has a back with a