shoulder of Hermes. 26 may be Artemis, the twin sister of Apollo, holding her torch in her left hand. Certainly these two figures, 25, 26, are closely interlaced, and this is hardly explicable except as indicating the twinship of Apollo and Artemis. 27 is generally accepted as Ares. The Ludovisi statue of Ares is in this same attitude, whatever the attitude may betoken. betoken. Crossing his left ankle is a band of some kind, but what it indicates is not clear. We have already accounted for the flat surface of the folds of the drapery in this slab (p. 111). The rich dress of Artemis forms a fine contrast to the nearly nude gods on each side of her.

Slab V. In the British Museum. This immense slab contains not only the chief deities, but also, in the very centre, the head of the procession, 31-35. On the left we have Hera and Zeus, the former attended by her winged maid Iris, 28. The head of Iris is from a cast in the British Museum; the original in Athens. Zeus holds his sceptre in his right, but leans his left arm back on his throne, while his consort Hera is surprised, pulling her veil aside. Iris shares in the surprise of her mistress, raising her left hand to her hair. Apparently we have here a slight conjugal scene. Possibly it is the new robe of Athenè which has awakened the jealousy of Hera. At the other extreme of the slab are Athenè, 36, and Hephaestos, 37. We have already discussed these figures in detail (pp. 89 and 103). In the centre, as we have said, is the head of the procession, consisting of a priest on the right receiving the peplos from a boy, on the left a priestess, 33, receiving stools brought to her by two girls (Diphrophori), the former of whom carries also in her left hand what appears to be a footstool.

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Drill-holes in the marble show how the legs of the stools had been attached. The priest, 34, is a most dignified figure. The boy wears an ample himation, befitting a grand ceremony. The central group as a whole seems completely overpowered by the size and number of the deities on each side. Had the priest with his stately figure been placed in the centre of the group, this effect of isolation would have been less marked; but doubtless he was intentionally placed on one side to help out this sense of separation.

Slab VI.-38-40 from a cast in the British Museum; the original in Athens. 38 is probably Poseidon, and 39 may or may not be Dionysos. Poseidon would have held a trident in his left hand; Dionysos a thyrsus in his left hand. 40 is a goddess associated with Aphroditè, behind whom she sits. Her head is preserved almost completely, and is a splendid example of the Athenian type of beauty in those days. In Carrey's drawing Aphroditè leans on the knee of this goddess. Aphroditè and Eros, 41, 42, are from a cast in the British Museum, obtained from a cast in the Louvre which had been made from this slab before it was broken up, previous to the time of Lord Elgin. The right foot of 40 is in the Museum of Palermo; a fragment of the knee of Eros is in Athens. From the same Paris cast come the head and legs of 43; the head and shoulders, the legs and right forearm of 44; the head, chest, and lower legs of 45; the whole of 46; the head, chest, right arm, and feet of 47; top of head, right forearm, and legs of 48. The remainder of this slab was brought home by Lord Elgin.

In Carrey's drawing (Pl. XVII., Fig. 3) Aphroditè is veiled, and thus corresponds to the Hera towards the other end.

She also has a winged attendant beside her, who holds her parasol. She leans her right arm on his shoulder and points out to him the advancing group of girls. The body of Eros is unsurpassed in the purity and simplicity of its forms. Had the parasol with its circular, concave surface, and the wings with their elliptical, concave surfaces, been complete, that would have been an additional charm.

43-46 form a close conversation group: in the centre an old man leaning on the shoulder of a young man; at each side an old man turning towards the central group. The old man, 43, with his back turned to Eros and the deities is unconscious of the presence of these immortals. On the right of this group is a young man who, with raised right arm, seems to be calling those before him to order. This is a noble figure. The next two, 48, 49, are turned away to meet the girls. Apparently they are both young men. 49 holds in both hands what appears to be a phialè. 52, the foremost of the officials, is already advanced among the Ergastinae. 49 and 52 are practically repeats, as also are the girls 50, 51 and 53, 54. Thus the group of officials on the right of the deities is widely different in detail from the corresponding group on the left.

Slab VII.-49-56 from a cast in the British Museum; the original in the Louvre. 49-54 have been described in connection with the last slab. We may add that the four Ergastinae who come first carry nothing; their hands fall by their sides. 55 carries a phialè, as may also have done 56, but her right hand is mostly broken off. She is turning round, and with her left hand has helped the next figure to carry the incense-burner.

Slab VIII. In the British Museum. 57 carries before her an incense-burner on stand. 58, 59 carry oenochoae, 60, 61 phialae. The heads of 57, 59, 60 are restored by casts from fragments in Athens. On this side the Ergastinae are in very open order compared with those on the left extreme. 58 and 59 repeat each other, as do also 57 and 60.

Slab IX. (Pl. XVII., Fig. 5).—From Carrey. These two figures, 62, 63, appear also to have carried phialae. They are the last of the group of Ergastinae. At the angle behind them there is no marshal as at the opposite end of this frieze. The fragmentary head of a girl in our Pl. XVII., Fig. 3, must belong to one of these Ergastinae.

South Frieze.

Slab 1-1-3 from a cast in the British Museum; the original in Athens, much damaged. The ends of the mantle of 3 flap behind the horse's mane of 2 with a curious but beautiful effect of contrast between the broad flat folds and formal lines of the mane. 4, in the British Museum, well preserved.

Slab II. From a cast in the British Museum; the original in Athens, much damaged.

Slab III.-In the British Museum. Behind 8 is the mouth of a horse. Stuart gives the rest of his head, his neck, and chest. In front of the right knee of 9 are drill-holes, such as are left in pointing sculpture. The inference is that this leg had originally been planned to fall in the ordinary manner, but for some reason, perhaps for variety, it had been bent in its present somewhat

ungainly manner. We have already noticed the deep cutting behind 8. The manes of the horses are fine, with pointed locks. On the right is the long, wavy tail of the horse on Slab IV.

Slab IV. From a cast in the British Museum; the original in Athens, except a fragment on extreme right, which is in the British Museum. This slab is given by Stuart as following upon Slab III., though the tail on that slab hardly suits the horse of this slab. On the left hand upper corner of Slab IV. is something which does not look like the forelock of the horse on III.

Slabs V-VIII.-In the British Museum. Stuart adds a fragment of the head and chest of 12. All much damaged, except head of 13, turned round with animation, and 16, with his long neck and grave face, his chiton roughly rendered. The horses of 14 and 16 are decidedly small.

Slabs IX.-XIII.—In the British Museum. As we have already said, this cavalcade on the south frieze possesses comparatively few of the charms we have found in the cavalcade of the north frieze. IX., the upper part fairly well preserved, especially head of 25, which again is poor in type. The manes of the horses are merely blocked out, as in VIII. The dress of 24, 25 is extremely rough, most of all the chiton of 25. X. is on the level of the north frieze in point of style and execution, the heads of 26 and 28 quite so. XI., the head of 29 is turned round to the front, and this, with his cuirass and high boots, gives him an air of distinction. Mane of horse of 28 rough and straggling. badly preserved, except head of 33, which is fine. both riders wear the cuirass and high boots.

XII.,

XIII.,

Head of 35