:

now in the Museum, and two occupy their ancient position on the temple. The sculptures which decorated the Pediments of Greek temples generally had reference either to the Deity to whom the temple was dedicated, or to the State by whom it was erected. In the whole composition, a certain symmetry was observed, the character of the design being in some degree modified by the necessities of the architectural structure which formed its frame. Thus the number of figures introduced upon the Pediments appears to have depended on the number of columns which formed the front of the edifice, and was proportioned to the size of the order to which the Temple itself belonged. In the Parthenon, which was Octostyle (i.e., had eight columns in front), from twenty to twenty-five figures were inserted in the Temple of Jupiter at Olympia, which was Hexastyle (i.e., had six columns in front), the number was from eleven to fifteen: the same rule had been previously adopted in the Temple of Zeus Panhellenios at Ægina, which belonged to the same order, and was erected about a hundred years before the Parthenon. The principal figures in the design were placed under the apex of the pediment: here was the culminating point of the action, to which all other parts of the composition converged. The subordinate figures were ranged on each side of this group, in a standing, sitting, or reclining attitude, according as the slope of the pediment permitted. Colour was doubtless employed both in the architecture and the sculpture of Greek temples generally, so as to draw attention to the main lines of the structure, to detach more clearly the whole composition from its back-ground, and to distinguish figure from figure in the groups, and flesh from drapery in single figures. The weapons, the reins of the horses, and other accessories were of metal, and the eyes of some of the principal figures were inlaid.

1. Sculptures from the Eastern and Western Pediments.

The Sculptures of the Pediments of the Parthenon were not quite perfect, even when Carrey drew them, before the Venetian siege; the middle portion of the Eastern was altogether lost, and a portion of the right of the centre of the Western. A large group near the principal figure in this Pediment had fallen, and, with several of the statues near it, had for security's sake been built up with later masonry. Many, too, of the heads and of the accessory symbols had either perished, or are so imperfectly rendered in his drawings that the identification of many of the figures and the restoration of the missing portions of the compositions must necessarily be conjectural,

the more so as the only description of the designs left us by the ancients is the scanty and cursory notice of Pausanias, who contents himself with giving the titles of the two compositions, and with telling us that in the Eastern Pediment all had reference to the birth of Athene, while in the Western the subject was the contest of Poseidon with Athene for the soil of Attica. This passage must be regarded as the key to the various systems of interpretation which the ingenuity of Archæologists, from Visconti downwards, has applied to the illustration of these sculptures. Want of space will of course preclude us from stating these theories at length: in the explanation therefore of the several figures the most probable conjecture will be adopted.

We will now proceed to describe the Sculptures from the Eastern pediment. The subject of these being the birth of Athene, and the scene Olympus, we must suppose this mythic heaven to be contained within the triangular area of the pediment, and to be bounded by figurative representations of Day on the one hand, and of Night on the other. These two figures were placed by Pheidias in opposite angles, and, according to the symmetrical arrangement which governed pedimental composition, made to balance each other. In the Pediment of the Temple of Zeus at Elis, another of the works of Pheidias, the same arrangement was observed.

If we commence with the angle at the left, the first figure to be described is No. 91, Hyperion, or the God of Day, who is represented rising from the ocean; his head, arms, and shoulders have emerged from the waves, which are conventionally sculptured upon the plinth, in parallel rows like overlapping tiles. His arms are stretched forward to guide the reins of his coursers, but the hands are gone; his head also has perished. The surface of this figure having been protected by the cornice above, has preserved its original polish, from which we may form a judgment of the execution

of these sculptures, which, though their exquisite finish could not have been appreciated by the spectator below, were all elaborately wrought.

No. 92 are the heads of the two horses of Hyperion represented rising from the sea, which was under the chariot of the Sun. It has been conjectured by Mr. Cockerell, from a careful examination of the figures, as well as from Carrey's drawings, that originally two other heads in low relief were attached; and that the car of Hyperion was drawn by four horses.

No. 92.

It

No. 93 is a youthful male figure, reclining on a lion's skin, in the attitude of Heracles on the silver coins of Crotona. It has been called Theseus, Heracles, Cephalus, Cecrops, Dionysos (Bacchus), and Hermes (Mercury). The name Theseus, whereby it is most generally known, is perhaps the best that has been given to this statue. has sustained less injury than any of the other figures in the pediments, having only lost the hands, feet, and a portion of the nose. It is remarkable for the easy grace of the attitude and for the combination of strength and suppleness in the form.

No. 94 represents two seated figures, which have been usually called Ceres and Proserpine; the latter is leaning upon the shoulder of the other. These Goddesses are seated on low, square seats without backs, but covered with folded carpets for cushions. Their heads and hands are gone, but the rest of the figures are well preserved, and, like the Heracles, are finished as completely at the back which is withdrawn from the view, as in front.

No. 95 represents Iris, the messenger of the Olympian deities, and especially of Juno, on her way to announce to mortals the birth of Athene. The mass of stone behind her back is her mantle, which is distended by the wind; such a disposition of her drapery being the usual characteristic of her type.

No. 96 represents the Winged Victory. There can be but little doubt about this attribution, the holes still remaining at the back of her shoulders into which the wings have been inserted; the wings themselves were doubtless of metal, probably of bronze gilded. This figure was probably placed on the right of the central group, so as to balance the figure of Iris on the left.