No. 17 represents two men, probably magistrates, at the head of a procession of four females, who probably carried some object in their hands, but what it is impossible now to determine. In front of the two magistrates are seven females, five of them carrying œnochoæ or jugs in their hands, and the other two, objects the character of which is not now ascertainable.

It appears from Carrey's drawings, that one slab, on which were five females bearing pateræ, intervened between the figures on the last slab and the single figure to the right of No. 90, who is doubtless a magistrate. This figure was the last on this (the Eastern) front of the Temple, and is sculptured on the end of the slab placed

No. 89.

at the S.E. angle of the Temple, ou the return of which is the commencement of a scene in which the sacrificial animals appear. Among the fragments which remain to us of the S.E. corner of the Temple, the Museum does not possess any with these cattle, but since the time of Lord Elgin one such slab has been discovered. On the extreme left of this slab appears the leg

of a figure, which must have turned round towards the advancing procession: a fragment exists, No. 89, which was not improbably the head of this figure.

Nos. 88, 86, 87, 85, 84, are slabs continuing the procession of the sacrificial animals. Some of them are represented as going on quietly, others as struggling to break loose from those who are guiding them. The animals are either bulls, oxen, or heifers, and the peculiarity of their respective treatment evinces the observation of the artist and his skill in expressing his conceptions. There is great beauty of form and indications of a good breed; the marble, however, which has been used on some of the slabs is of a rather inferior kind, exhibiting a want of compactness in its grain, and a tendency to peel off under exposure to weather, which has in many instances seriously affected the preservation of the sculptures.

No. 83. As on the other side of the temple we noticed, under No. 24, that in Carrey's drawing there occur between the victims and chariots a number of figures bearing musical instruments, so on this side also we learn from the same authority that a crowd of men, some of them aged and bearded, occupied a similar position between the victims just described and the chariots which follow on subsequent slabs. Of this portion of the frieze, No. 83, which is much muti

lated, is the only fragment now remaining. In Carrey's drawings, which are, however, very rude and ill-defined, a group of females, supposed by Visconti to be Diphrophori or carriers of folding seats, appear to have preceded the group of old men.

Nos. 82, 81, 80, 79, 78, contain representations of chariots with their horses and drivers. There were originally eight, of which the Museum possesses five. As in the arrangement of the composition of the groups of horsemen on the other side, the first figures are represented in motion, the last, apparently, just about to enter the procession, so here the same thing is observable in the case of the chariots. The earlier ones are all moving rapidly, and the horses prancing and curvetting; the last are standing still, and not as yet ready for the procession. The animals are generally executed with great care, and their anatomy is well understood. The quietness of the last group is in beautiful contrast with the animation and spirit of those which precede it.

The slabs from No. 77 to No. 62 are all composed of groups of horsemen bearing a great resemblance to those on the Northern side of the Temple. In many instances there is great beauty in the groups, and throughout there is considerable animation and spirit in the attitudes of the horsemen, with a knowledge of the anatomy and the just proportion of the horses. It will, however, be manifest, on a closer examination, that, with occasional exceptions, the Southern Frieze was not the work of the master hands which designed and sculptured the Northern. Many defects may be detected, and there is an uniformity, not to say formality, in the arrangement of some of the groups which denotes an artist not of the highest order. At the same time it is to be remembered that the surface of the marble on this side of the building has been in many cases so much corroded by the action of the weather, that the outlines of some of the figures are hardly more than distinguishable.