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beneath her. Enough remains to show that she had been in the act of turning towards the centre of the pediment in alarm. Her drapery at the back is finely if simply rendered. We are willing to accept her as the local fountain, Callirrhoè.

Thus the great shock of the deities in the centre vibrates through every figure to the remote angles. The unity of the whole pediment must have been singularly impressive in its original state. With patience we can learn this much from Carrey's drawing and the remains. The gods with their chariots were invisible, but the shock of their contention reached by some divine sound or sight the beings in Attica who were at the moment most interested in the result.

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