more fragmentary state than the other, it was more perfect in A.D. 1674, when drawings, still extant, were made of all the sculpturés of the temple by Carrey, a French artist, and we are thus enabled to supply many of the missing portions with greater certainty. Those statues which still remain at Athens are here represented by casts.

Beginning at the North end the figures are as follow:

Recumbent statue, generally called the river-god Ilissos, but more probably the Kephissos; cast of a group, commonly known as Herakles and Hebe; male torso, supposed to represent Kekrops, the first king of Attica; upper part of a female head; fragment of the breast of Athene; upper part of the torso of Poseidon; draped female torso, supposed to be Amphitrite; lower part of a seated female figure, perhaps Leto; cast of the torso of a crouching male figure, by some considered as the river-god Kephissos, but more probably the Ilissos; part of a recumbent female figure, perhaps the nymph Kallirrhoe.

On a table in the South-East angle of the room are casts from some fragments of horses discovered in excavations on the Acropolis, and now preserved there. These fragments, doubtless, belong to the chariot group on the western pediment, which Morosini broke in trying to lower it, and which, as will be seen by reference to the model, stood immediately behind the figure of Athene, balancing the chariot of Poseidon in the opposite half of the pediment.

Attached to the Western wall of the room are fifteen of the metopes, and a cast from another, which is now in the Museum of the Louvre, at Paris. They are all from the South side of the Parthenon, and represent combats between Greeks and Centaurs. Casts from three other metopes, still remaining at Athens, and representing various subjects, are inserted in the adjoining walls.

Around the room are placed in a continuous line the slabs removed by Lord Elgin from the frieze of the cella, with casts of a few other slabs still existing on the temple, forming altogether more than onehalf of the entire series. They are arranged, as far as possible, in their original order, but it is necessary to bear in mind that, owing to the absence of a considerable portion, several slabs, not formerly connected, are here brought into juxtaposition, and that the effect of the whole frieze is in one sense reversed, by being made an internal, instead of an external, decoration. The subject of the bas-reliefs is the Panathenaic procession, which took place at the festival celebrated every four years at Athens in honour of Athene.

At the East end of the temple were originally placed the slabs (numbered, in red figures,) 17-24. On two of them (Nos. 18, 19) are deities, seated; and a priest receiving from a boy the peplos, or sacred veil of Athene. On each side approach trains of females, bearing religious offerings, and under the guidance of officers or magistrates.

On the North side of the building were Nos. 25-46, representing a long cavalcade of chariots and horsemen, and including amongst the latter the most beautifully executed examples of low relief which the ancients have left us.

No. 47, representing two youthful horsemen, is the only slab from the West end of the temple. It is succeeded by fourteen casts (Nos. 48-61), taken from the remainder of the frieze at this end.

The remaining reliefs (Nos. 62-90), which are from the South side, and in a very fragmentary condition, exhibit a procession moving in the opposite direction to that hitherto described, the two lines of figures having been so arranged as to meet at the East end. These reliefs represent horsemen, chariots, and victims led to sacrifice.

The room also contains casts of a few isolated slabs from the frieze, which are still at Athens.

Towards the South end of the room is the capital of one of the columns of the temple.

Besides the remains of the Parthenon, the following miscellaneous sculptures and casts are exhibited in this room :—

On the East wall, above the frieze of the Parthenon, are some sculptures from the Temple of Wingless Victory at Athens. This building, which appears to have been nearly contemporary with the Parthenon, was probably designed to commemorate some victories of the Athenians, both over the Persians and over rival Greek states. It was of Ionic architecture, and stood near the Propylæa of the Acropolis.

The series consists, firstly, of four marble slabs, and a cast from a fifth slab, belonging to the upper frieze of the building, representing in high relief Athenian warriors combating with enemies, some in Asiatic, others in Greek costume; and secondly, of casts from four slabs belonging to the lower frieze, representing five figures of Victory, two of them leading a bull to sacrifice. These reliefs are executed in the finest style.

On the same wall are some casts obtained by Lord Elgin from sculptures still decorating the Temple of Theseus at Athens, a building erected about twenty years earlier than the Parthenon, to commemorate the removal by Cimon of the bones of Theseus from Skyros to Athens.

These casts (numbered 136-149) are from the external frieze of the temple, and represent, in high relief, a battle fought in the presence of six seated divinities.

Nos. 150-154, towards the South end, represent a contest between Centaurs and Greeks.

Adjoining these are casts of three of the metopes (Nos. 155-157), exhibiting warlike achievements of Theseus.

On the same side of the room, resting on the floor, is a coffer from the ceiling of the same temple.

Under the frieze of the Parthenon, on the same wall, are casts of the reliefs which decorated the frieze of the Choragic Monument of

Lysikrates, erected B. c. 334. They represent Dionysos transforming the Tyrrhenian pirates into dolphins.

Towards the North end of the room are some remains taken from the Erechtheum, a temple erected on the Acropolis of Athens, towards the close of the fifth century B.C., and dedicated jointly to Athene Polias, and Pandrosos, daughter of Kekrops. It is the purest and most characteristic monument of the Ionic order of architecture remaining in ancient Greece. Its form is oblong, with a hexastyle portico at the East end, and two unusual additions at its North-West and South-West angles; the one a tetrastyle portico, the other a porch supported by six Canephora, a structure which has been imitated as a decoration in St. Pancras Church, London.

The remains of the temple which are in the British Museum consist of one of the Canephora, and, by its side, the column which originally stood at the Northern angle of the Eastern portico; a considerable portion of the frieze from the wall immediately behind the same column; a large piece of the architrave, and a smaller fragment of the cornice, from other parts of the building, an ornamental coffer from the ceiling of the interior, and several minor fragments, mouldings, &c.

Opposite the Canephora is a colossal draped statue of Dionysos seated, which formerly surmounted the Choragic Monument of Thrasyllos, at Athens, erected B.C. 320.

Near these are placed some miscellaneous fragments of architecture from various buildings in Athens and Attica, including the capital of a Doric column, and a fragment of the architrave from the Propylaea, a building which stood at the entrance to the Athenian Acropolis.

Towards the North end of the room are a life-size statue of a youth, probably Eros, and a draped torso of Asklepios, found at Epidauros. Towards the South end of the room are casts of two marble chairs, from the theatre of Dionysos, at Athens. One of these chairs, which was placed in the centre of the front row in the theatre, was the seat assigned to the priest of Dionysos Eleuthereus, as appears from the inscription on it. It is richly decorated on the sides of the two arms is a group in low relief, representing a winged youth, probably the Genius of the Games, setting two cocks to fight. Inside the back of the chair are two Satyrs, and on the front two Arimaspi fighting with Gryphons. The other chair was the official seat of one of the ten Athenian Ștrategi (Generals) in the theatre.

In the Room recently added to the North end of the Elgin Room, are a colossal lion, discovered at Cnidus in 1858 (see Newton, Hist. of Discoveries II., Part 2, p. 480), a sculptured drum of a column from the temple of Diana at Ephesus, a fragment of a similar drum, an Ionic capital and a base of a column with part of lowermost drum from the same building. The lion originally surmounted a Doric tomb which stood on a promontory a little to the east of Cnidus, and which originally consisted of a square basement surrounded by a Doric peristyle, with engaged columns, and surmounted by a pyramid, the apex of which was crowned by the lion. Inside the tomb was a beehive-shaped chamber with Egyptian vaulting, similar to that of the Treasury of Atreus, at Mycenæ, and with eleven smaller cells radiating from its circumference. This tomb was evidently a public monument of the class called polyandrion, and from its position on a promontory, must have been a conspicuous sea-mark. Hence it has been conjectured, with probability, that it was intended to commemorate the naval victory gained over the Lacedæmonians by the Athenian admiral, Conon, B.C. 394.

The door on the East side leads into the

HELLENIC ROOM.

The marbles exhibited in this room have been brought, at different times, from various parts of Greece and its colonies. With them are also exhibited plaster casts of some important monuments of the period preceding that of the marbles. The description commences with the casts.

One of the earliest stages of development in the art of sculpture is represented by four casts, attached to the Western wall, which were taken from metopes of one of the ruined temples at Selinus, in Sicily. The subjects of the sculpture, which is in very high relief, are mythological.

Next in chronological order should be noticed the restorations, placed on each side of the room, of the Eastern and Western pediments of a Doric temple in the island of Egina, erected probably about B.C. 500-478, and dedicated to Athene. The figures in these pediments are casts from the original marbles, which were discovered in 1811 amongst the ruins of the temple, and are now preserved in the Museum of Sculpture at Munich. The group in the Western

pediment, here placed on the North side of the room, represents the death of Achilles; the imperfect group in the pediment opposite is thought to represent an incident of the expedition of Herakles and Telamon against Troy.

The following marbles are exhibited in this room :

First in importance is a collection of marbles discovered in 1812 amongst the ruins of the temple of Apollo Epicurius near the ancient Phigalia in Arcadia. This edifice was erected by Iktinos, the architect of the Parthenon at Athens, in commemoration of the delivery of the Phigalians from the plague, B.C. 430.

The most important part of this collection consists of twenty-three sculptured slabs, originally belonging to a frieze in the interior of the cella of the temple, and now arranged on both sides of the room. Eleven of them (Nos. 1-11) represent, in high relief, the contest between the Centaurs and Greeks, which has been noticed in describing the metopes of the Parthenon. The other twelve represent the invasion of Greece by the Amazons.

Underneath the frieze are several architectural and sculptural fragments from the same temple, including part of a Doric capital from the outer colonnade, and part of an Ionic capital from one of the columns within the cella, the external and internal architecture of the building having been of different orders.

In the Southern half of the room is an archaic draped female torso from a temple at Rhamnos, in Attica; an archaic figure of Apollo, brought from the Levant by Percy Clinton, Viscount Strangford; and a statue of Apollo of a somewhat later period, formerly in the Choiseul Gouffier Collection.

In the Northern half of the Room are two statues representing a youth winding a diadem round his head. It is probable that the original from which both these figures were derived was the celebrated Diadumenos by Polykleitos, the contemporary of Phidias.

On the East side is a mutilated figure of a Triton, in high relief, from Delos; a bust of Pericles; four terminal heads of Hermes and Dionysos; and an ancient copy of an archaic head of Apollo.

On the North side of the room, an oblong sculptured monument of uncertain use, with a relief representing apparently an offering to Juno. From Cape Sigeum, near Troy.

On one side of the Western door a bust of Eschines; on the opposite side, the bust of an unknown philosopher.

In this room are also provisionally placed four small Etruscan cists in freestone, found at Chiusi. They are ornamented with friezes in very low relief representing banquets, hunting scenes, and dancers, in an archaic style, bearing some resemblance to Assyrian sculptures.

C. T. NEWTON.