the visitor will at once perceive. Some are
carrying vessels for the libations. The next slab (18) has some
interesting figures. The four standing figures, which are to the left
of the two, supposed to represent Castor and Pollux, are supposed to
represent Hierophants explaining away mysteries, while the others are
students of the doctrines taught at the festival. The next slab, which
is the longest in the collection (19), is said to have been originally
placed above the eastern gate of the temple. Here are females
delivering offerings in baskets to one who appears to preside. On the
left, a man of dignified bearing is receiving a large roll from a
youth, which Visconti supposed to be the embroidered veil. Here seated
on a throne is Jupiter, with the arms supported by two sphinxes. Here,
too, is a goddess removing her veil, supposed by some to be Juno, and
by others Mercury. At the end of the slab the visitor will remark old
AEsculapius, and the figure of his daughter with a serpent twined
about her left arm, as Hygieia, or Health. The marble let into the
wall below the frieze, and marked 20, is a perfect cast from a marble
partly in that marked 21 and partly in that marked 22. Slabs 23, 24
have continuations of the procession, consisting of females draped,
bearing vessels and torches. These women were selected from the
noblest families of Athens. The fragment marked 25 closes those which
adorn the eastern front. It represents a mutilated figure of one of
the Metoeci, or strangers, bearing a tray filled originally with
provisions. From the eastern the visitor should proceed to the slabs
of the

NORTHERN FRIEZE.

These are marked from 26 to 46. On the first of this series a youth
was originally represented receiving a crown of honour in a chariot
race. Then follow successively five slabs, all bearing bas-reliefs of
chariots and charioteers. These slabs are greatly admired by artists,
and are said, at the present day, to be perhaps the finest specimens
of bas-relief extant. After the chariots with more notable people
forming the procession, the successive marbles marked 32 to 43 are
filled up with the groups of horsemen who followed the chariots. The
forms of the animals are beautifully grouped and executed; and may,
after the many centuries of time that have elapsed since they were
placed behind the Parthenon columns, be consulted by the modern artist
as the finest extant models upon which he can exercise his student'