Chapter X: Part II: Myron and Pheidias (3)

-------------------------+--------+----------+-------+-------+----------
| East. | South. | West.| North.| Total.
| ft. in.| ft. in. |ft. in.|ft. in.|ft. in.
-------------------------+--------+----------+-------+-------+----------
Originals in the British}| | | | |
Museum }| 43 0 |108 6-1/2| 7 2 | 82 6 |241 2-1/2
| | | | |
Casts in the British }| | | | |
Museum }| 21 2 | 33 9-1/2| 62 4 | 54 8 |171 11-1/2
| | | | |
Preserved only in the }| | | | |
drawings of Carrey }| 3 4 | 27 6 | | 20 7 | 51 5
| | | | |
Preserved only in the }| | | | |
drawings of Stuart }| | 0 6 | | 2 9 | 3 3
| | | | |
Drawn by Carrey and }| | | | |
Stuart but not otherwise}| 2 0 | | | 5 7 | 7 7
preserved }| | | | |
+--------+----------+-------+-------+----------
Total existing or }| | | | |
recorded }| 69 6 |170 4 | 69 6 |166 1 |475 5
| | | | |
Lost without a record | | 21 7 | | 25 10 | 47 5
+--------+----------+-------+-------+----------
Grand Total | 69 6 |191 11 | 69 6 |191 11 |522 10
-------------------------+--------+----------+-------+-------+----------

The subject of the frieze of the Parthenon has been considered, by most of the writers who have discussed it, to be connected with the Panathenaic procession at Athens. Those who have held a different view have been the early travellers, such as Cyriac of Ancona, who described the subject of the frieze as 'Athenian victories in the time of Pericles,' and a few recent authors. Davidson (_The Parthenon Frieze_) sees in the frieze a representation of a Panhellenic assembly, which Pericles tried to collect at Athens without success. Weber and Boetticher held that the scene represented is the preparation and rehearsal, rather than the procession itself. C. Petersen thought that different festivals are represented on different sides[*] (cf. Michaelis, p. 205).

*: The frieze of the Parthenon records in sculpture
the passionate delight with which Greeks, and more particularly
Athenians (cf. Hel. _Aeth._, III. 1), regarded festal processions.

A vivid commentary on the Parthenon frieze is to be found in the
third book (chaps, i.-iii.) of the _Aethiopica_ of the novelist
Heliodorus. The passage adds the sound, colour, and movement
needed for a complete conception of the scene. The writer,
however, is describing the procession of a Thessalian embassy at
Delphi, and some of the details only partially agree with those
of the frieze. "The Hecatomb led the procession, escorted by men
initiated in the mysteries. These were somewhat rustic in dress
and manner, and had their white tunics closely girded. The right
shoulder and breast were bare, and they carried an axe in the
right hand. The bulls were followed by a crowd of other victims,
each kind being led separately and in order. Meanwhile flute and
pipe were playing a melody which was, as it were, an introduction
to the sacrifice. The cattle and their escort were followed by
maidens with flowing hair. They were in two troops; the first
carried baskets of fruits and flowers, the second troop carried
flat baskets ([Greek: kana kanephorousai]) with sweetmeats and
incense, and filled the place with sweet smells. They bore their
burdens on their heads leaving their hands free, and kept their
ranks true both from front to rear and from side to side, that
they might march and dance while the first troop gave the time,
singing a hymn in honour of Thetis. The troops were so harmonious
and the sound of marching was so accurately timed to the song,
that hearing seemed better than seeing, and the spectators
followed the maidens as they passed as if they were drawn by the
melody. But at length the appearance of the youthful cavalry and
of its leader proved that a noble sight was better than any music.
There were fifty ephebi, in two troops of five-and-twenty, acting
as body-guard of the leader of the embassy. Their boots were laced
with purple thongs, and tied above the ankle. Their cloaks were
white with dark blue borders, and were fastened on their breasts
with golden brooches. The horses were all Thessalian, and breathed
the freedom of their native plains. They tried to spue out their
bits and covered them with foam, as if rebellious, yet submitted
to the will of the riders. It seemed as if there had been a
rivalry among the masters in adorning their horses with frontlets
and phalerae, silver or gilded. But, as a flash of lightning makes
all else seem dark, so, when the captain, Theagenes (the hero of
the novel), appeared, all eyes were turned to him. He also was
mounted, and wore armour, and brandished an ashen spear, tipped
with bronze. He had not put on his helmet, but rode bareheaded. He
wore a purple cloak, embroidered in gold with a fight of Centaurs
and Lapiths; on his brooch was an amber figure of Athene, wearing
the Gorgon's head on her breastplate. A gentle breeze gave him
further grace, spreading his hair about his neck, and parting the
locks on his forehead, and blowing the ends of his cloak about
the back and flanks of his horse. And the horse itself seemed
conscious of the exceeding beauty of its master, as it arched its
neck, and pricked up its ears, and frowned its brows, and
advanced proudly, giving ready obedience to the rein, balancing on
alternate shoulders, lightly striking the tips of its hoofs on
the ground, and attuning its pace to a gentle motion." Interesting
passages of Xenophon describe horses that prance as they ought
in processions, and also lay down the duty of the leaders of a
procession of horsemen (Xen. _Hipp._ 11 and _Hipparch._ 3).

Before examining how far the frieze represents the Panathenaic procession in detail, it may be well to state what facts respecting the festival have been handed down to us by ancient authors. Its origin was ascribed in antiquity to pre-historic times. Its mythic founder was Erichthonios, the son of Hephaestos and foster-son of Athene herself; and the festival is said to have been renewed by Theseus when he united all the Attic demes into one city. The goddess in whose honour it was celebrated was Athene Polias, the tutelary deity of the Athenian Acropolis, where she was supposed to dwell in the "Old Temple," and where her worship was associated with that of Erechtheus, who dwelt under the same roof.

A solemn sacrifice, equestrian and gymnastic contests, and the Pyrrhic dance, were all included in the ceremonial; but its principal feature was the offering of a new robe, _peplos_, to the Goddess on her birthday. The peplos of Athene was a woven mantle renewed every four years. On the ground, which is described as dark violet and also as saffron-coloured, was interwoven the battle of the Gods and the Giants, in which Zeus and Athene were represented. It was used to drape the rude wooden image of Athene.

The festival was originally an annual one, but after a time it was celebrated once every four years with more splendour and solemnity. The institution of this greater Panathenaia is attributed to Peisistratos. From his time (B.C. 560-527) dates the distinction between the Greater and the Lesser Panathenaia. The sons of Peisistratos added a contest of rhapsodes reciting the Homeric poems. The festival was further amplified by Pericles, who introduced a musical contest and himself acted as _athlothetes_ or judge.

On the birthday of the Goddess the procession which conveyed the peplos to her temple assembled in the outer Cerameicos, and passed through the lower city round the Acropolis, which it ascended through the Propylaea. During its passage through the city the peplos was displayed on the mast and yard of a ship, which was drawn on rollers. In the procession of Rosalia at Palermo, a ship is employed for a similar purpose (Brydone, _Tour_, Letter xxx.). In this solemn ceremony, the whole body of Athenian citizens were represented. Among those who are particularly mentioned as taking part in the procession were the noble Athenian maidens, Canephori, who bore baskets, _kanea_, with implements and offerings for the sacrifice; the Diphrophori, who attended the Canephori with stools (_diphroi_); the metoik or alien Scaphephori, whose function it was to carry certain trays, _skaphae_, containing cakes and other offerings; the aged Athenian citizens who bore olive branches, and were hence called Thallophori. It has also recently been ascertained that the selected maidens who prepared the peplos (the Ergastinae, and perhaps the Arrhephori) also took part in the Panathenaic procession. An Attic decree of 98 B.C. records that these maidens had performed all their duties, and had walked in the procession in the manner ordained with the utmost beauty and grace ([Greek: pepompeu[kenai ka]ta ta prostetagmena hos hoti k[allis]ta kai euschemone[stata]]), and had subscribed for a silver cup which they wished to dedicate to Athene. After this preamble the decree doubtless awarded certain public honours such as are enumerated in an inscription found by Mr. Murray at Petworth. (_Bull. de Corr. Hellenique_, xiii., p. 169; _Athenische Mittheilungen_, viii., p. 57.) At the Greater Panathenaia each town in which land had been assigned to Athenian settlers contributed animals to the sacrifice, perhaps a cow and two sheep. The colonies also appear to have sent envoys who had charge of the victims. Chariots and horsemen took an important part in the procession. On this occasion appeared certain quadrigae, which were only used in procession, and were hence called pompic chariots; and an escort of Athenian cavalry and heavy infantry completed the show. The arrangements for the sacrifice were under the direction of the hieropoioi, and the multitudinous procession was marshalled and kept in order by the demarchs, the hipparchs, and by the heralds of a particular gens, the Euneidae.

When, with a knowledge of these facts, we examine the composition of the frieze, we may recognise in its design the main features of the actual procession. In our description we begin with No. 1, on the left of the east side. We first observe Canephori and others leading the procession of which the main part is seen on the south side. Next are persons, perhaps Hieropoioi or magistrates receiving this procession. In the centre of this side a solemn act (commonly supposed to be the delivery of the peplos) is being performed in the presence of an assembly of deities, separated into two groups interjected among the heads of the procession who have arrived and stand waiting. These deities are supposed to be invisible, and doubtless in a picture they would have been placed in the background, seated in a semicircle and looking inwards. In the narrow space of a frieze a combined arrangement was necessary, such as we see here. Next we see the persons receiving the procession on the north side, and then at the head of that procession are Canephori, victims with their attendants, Scaphephori, Spondophori, musicians, pompic chariots and cavalry. After going down the north side, meeting the procession, we pass along the west side, where it is still in a state of preparation for departure. We then pursue the other main stream along the south side of the Temple passing the cavalry, chariots and victims. All through the frieze are magistrates and heralds marshalling the order of the procession. It has been objected that many features which we know to have formed a part of the original ceremony, as, for instance, the ship on which the peplos was borne, are not found on the frieze; but Pheidias would only select for his composition such details from the actual procession as he considered suitable for representation in sculpture, working, as he here did, under certain architectonic conditions.

NOTE. The numbers of the slabs, painted in Roman figures on the lower moulding, and placed in the right-hand margin of this catalogue, agree throughout with the numbers of Michaelis. The numbers of the separate figures assigned to them here and painted in Arabic numerals above the frieze, do not agree with those of Michaelis, except in the case of the west side.

EAST FRIEZE OF THE PARTHENON.

[Sidenote: =324.=]

[Rightnote: I.]

[Sidenote: 1.]

A man standing on the return face of slab xliv. (South Frieze),
looks back as if to make a signal to the procession approaching
along the south side, and thus makes a connection between the
south and east sides of the frieze.

[Rightnote: II.]

[Sidenote: 2-5.]

With slab ii. the band of maidens leading the southern half of the
procession begins. When complete the slab contained five maidens,
each probably carrying a circular bowl, with a boss in the centre
([Greek: phiale omphalote]); portions now remain of four alone;
compare however No. 345, _1_. They are draped in long chiton and
mantle. [Two casts of the slab are exhibited, side by side, in
order to represent the missing portion.]

[Rightnote: III.]

[Sidenote: 6-10.]

Five maidens carry each a wine jug, supposed to be of gold or
silver. Several such vessels occur in the Treasure lists of the
Parthenon. No. 6 wears a chiton with diploidion; Nos. 7-10 have a
chiton and mantle.

[Sidenote: 11-14.]

In front of these are four maidens, walking in pairs. Nos. 12 and
14 each carry in the right hand an object not unlike the stand of
an ancient candelabrum, which tapers upwards from its base. This
object is more distinctly shown on the marble between Nos. 11 and
12, than between Nos. 13 and 14. It is encircled by a double torus
moulding at the top, and above this moulding a hole is pierced in
the marble, as if there was here a ring for suspension or to serve
as a handle. It is probable that these are metallic objects
of some kind, which, like the censer carried by No. 55 on the
opposite side of the eastern frieze, were part of the sacred
furniture used in the festival and usually kept in the Treasury
of Athene. Michaelis suggests that they may be the stands,
_krateutae_, in which turned the ends of the spits used in
roasting the sacrifice. This would explain the ring at the top.

[Sidenote: 15, 16.]

A pair of maidens with empty hands leads the procession. Nos.
11-16 are all dressed alike, in long chiton, with diploidion,
together with a small mantle. They also appear to have the hair
similarly dressed. It falls in a mass on the shoulders, as in the
Caryatid of the Erechtheion (No. 407).

[Sidenote: 17.]

[Sidenote: 18.]

In front of the procession is a man, probably one of the marshals,
who seems to approach a group of five persons, and to hold out his
hand as if with a gesture of greeting to the nearest of the group.
This figure is turned towards the marshal, and leans heavily on
his staff which is seen below his knees. The marble fragment
with parts of the feet of Nos. 16 and 17 was acquired from the
collection of M. Steinhaeuser. The lower part of No. 18 is cast
from a fragment at Athens.

[Rightnote: IV.]

[Sidenote: 19-22.]

On the left of the next slab are four men of the same character as
No. 18. They all wear himation and boots. They converse in pairs
and stand in easy attitudes, leaning on their staffs. There is a
corresponding group of four male figures (Nos. 42-45) on slab vi.,
and Michaelis supposes that the group of five figures (Nos. 18-22)
and the opposite group (Nos. 42-45) of four figures represent the
nine Archons. That they are functionaries of high rank can hardly
be doubted, when we consider their privileged place between the
head of the procession on each side and the seated divinities,
but they might well be Athlothetae, who controlled all the
arrangements (Aristotle, [Greek: Ath. pol.] ed. Kenyon, 60).

[Sidenote: 23-40.]

The central portion of the eastern frieze now to be described has
been the subject of much controversy. Nearly all the authorities
who have written on this question agree in recognising the two
groups of seated figures as deities. This is indicated not only by
the dignity of their appearance but also by their scale. While the
figures of the mortals are about 3 ft. 2 in. high, those of the
deities are about 4 ft. 4 in. high. Though by the principle known
as Isokephalism the heads in a relief are usually nearly on a
level, this marked difference of scale can hardly fail to indicate
divine rank; compare the frieze of the Theseion (No. 404). There
is, however, a wide divergence of opinion as to the particular
divinities here represented. From the destruction of most of the
faces and the absence of attributes or other indications by which
the figures can be severally identified, it is very difficult to
judge between the rival schemes of interpretation which have been
proposed. In Michaelis' _Parthenon_, pp. 262, 263, a tabular view
is given of these schemes (cf. _Guide to the Elgin Room_, I.,
Table C). The attributions proposed by Michaelis himself are for
the most part adopted here, with certain changes suggested by
Flasch in his memoir: _Zum Parthenonfries_ (Wuerzburg, 1877).

The interpretations proposed by those who hold that the seated
figures are deities, are of two kinds. Most writers have tried
to identify some at least of the figures with personages who were
worshipped near the Acropolis, or connected with the mythological
history of Athens. By this system, deities of lower rank such
as the Dioscuri, or heroes like Triptolemos are admitted, on the
frieze, to the company of the Olympian Gods. Petersen and Flasch,
on the other hand, argue that the twelve Olympian deities
are represented in the two groups, without regard to local
considerations. Hestia alone is omitted, who always stays in
Olympos to keep the hearth. (Plato, _Phaedr._, 247_a_). Petersen
substitutes Peitho for Hestia; he also introduces Dionysos (24),
making No. 38 Apollo. Artemis is thus excluded from his scheme.
The arrangement of Flasch is happier, as Hestia alone is
excluded of the Olympian divinities. The attributions proposed by
Michaelis, Petersen, and Flasch are as follow, where they differ
between themselves:--

No. Michaelis. Petersen. Flasch.

24. Dionysos. Dionysos. Apollo.
25. Demeter. Demeter. Artemis.
26. Triptolemos. Ares. Ares.
27. Nike. Nike? Iris.
38. Apollo Patrooes. Apollo. Dionysos.
39. Peitho. Peitho. Demeter.

[Sidenote: 23.]

[Sidenote: 24.]

[Sidenote: 25.]

[Sidenote: 26.]

The earlier writers saw the Dioscuri, Castor and Pollux in the two
figures, Nos. 23, 24. It is now generally agreed that the youthful
elastic figure to the left is Hermes, of whom the high boots, and
the petasos spread on his knees are specially characteristic. His
right hand is pierced and has held a metallic object, probably the
herald's staff, caduceus. The drapery is a small chlamys fastened
by a brooch, but at present worn about the loins. The more robust
figure leaning on his shoulder (No. 24), has his body turned in a
direction contrary to that of Hermes, and the singular manner in
which his lower limbs are so arranged as to clasp between them
the knees of the seated goddess (No. 25) seems to indicate some
intimate and special relation between them. The goddess holds a
torch, the usual attribute of Demeter, and Michaelis sees in
the group (Nos. 24-26) the triad of Dionysos, Demeter, and
Triptolemos. Flasch recognises Apollo and Artemis in Nos. 24, 25,
on the ground of their intimate relationship. If we adopt this
interpretation of this group, it follows that the youthful
figure (No. 26) cannot be Triptolemos. We must rather look for
an Olympian deity in this figure, and the suggestion that it
represents Ares, which has found favour with several interpreters
of this frieze, seems liable only to one objection, that the form
appears too slight and youthful. The somewhat negligent attitude
is that of a person tired of sitting on a seat without a back,
and clasping his knee with his hands, to relieve the spine of the
weight of the head and shoulders. Flasch absurdly describes the
attitude as that of a passionate character, forcibly restraining
himself.

[Rightnote: V.]

[Sidenote: 27-29.]

The bearded figure (No. 29) on the left of the central group is
distinguished from the rest by the form, and ornaments of his
chair, which has a back and a side rail which is supported by a
Sphinx, while all the other figures are seated on stools. It has
been generally admitted that this deity is Zeus. It is therefore
reasonable to suppose that the goddess seated next to him (No.
28) is his consort, Hera. The type and action of this figure who
raises her veil, and looks towards Zeus, are very suitable to her.

The winged maidenly figure (No. 27) standing behind Hera must be
either Nike or Iris, and is probably Iris, whose station is close
to Hera, while Nike is usually more closely associated with Zeus
(Murray, _Class. Rev._ iii., p. 285). The head of Iris which
was discovered in 1889 in the excavations on the Acropolis is
admirably perfect. The left hand raises a mass of the hair as if
to coil it on the head (Plate vi., fig. 1).

The slab to which the head belongs was removed from its original
position at some early time, probably at the conversion of the
Parthenon into a church, when an apse was built at the eastern
end. In 1672 it stood on the ground (cf. Michaelis, pp. 47, 258),
and the faces seem to have suffered deliberate mutilation.

The exquisite preservation of the head of Iris is explained if,
as is suggested, it was broken off in the sixth century, and
immediately built into a Byzantine wall (Waldstein, _American
Journ. of Archaeology_, v. pl. 2, p. 1).

[Sidenote: 30-34.]

Between the group of Gods just described and the corresponding
group on the right side of the centre, we have a group of five
figures.

We must suppose that these figures are in front of the two groups
of Gods who sit in a continuous semicircle. (Murray, ii. pl. 1.)

No. 30 is a maiden holding an uncertain object, perhaps a casket
in her left hand, and supporting on her head a seat ([Greek:
diphros]) covered with a cushion, not unlike the seats on which
the Gods are, but smaller. She has a small pad ([Greek: tyle]) on
her head to make the weight easier to bear. The legs of the seat
are now wanting, but a rivet hole near the maiden's right elbow
shows where one leg was attached. The other may have been painted
on the ground of the frieze. The cut (fig. 10), showing one of the
slaves of Cepheus carrying a stool with a cushion, is taken from a
vase in the British Museum, No. E. 188.

No. 31 is another maiden, advancing slowly to the right, bearing
on her head a seat similar to that carried by No. 30. The foremost
leg of the seat still exists, being of marble. The position of the
hinder leg is marked by a rivet hole. On each of these stools is a
circular object, probably a thick cushion. These two figures have
been called Arrhephori, or Ersephori, on the assumption that they
are carrying those mystic objects, the nature of which it was
forbidden to divulge; but it is doubtful whether the Arrhephori
took part in the Panathenaic festival. There is evidence that the
priestess of Athene had two attendants, of whom one was called
[Greek: kosmo] (Adorner), and the other [Greek: trapezophoros]
(Table-bearer, Harpocration), or [Greek: trapezo] (Hesychius
emended), and it has been suggested that Nos. 30, 31 may have
these titles, and a corresponding ritual significance. Neither
figure, however, carries a table. (Miss Harrison, _Class. Rev._
iii., p. 378; cf. _ibid._, p. 423; and Waldstein, _Journ. of
Hellen. Studies_, xi., p. 143). The same names were proposed by C.
O. Mueller in 1820, but merely on the supposition that two of the
Ersephori were thus styled. (Mueller, _Minervae Poliadis Sacra_,
p. 15.) On the other hand, Diphrophori are mentioned by several
ancient authors as being in attendance on the noble Athenian
maidens. They were the daughters of aliens, and perhaps inferior
rank as well as youth is indicated by the scale on which they are
represented. No. 31 is confronted by a large and matronly woman
(No. 32), who raises her right hand to the under side of the
chair. Archaeologists have been uncertain whether the woman (No.
32) has just placed the chairs on the heads of the maidens, or
is just about to remove them. There can be little doubt, however,
that No. 31, if we consider the position of her feet, has hardly
ceased approaching to No. 32, who is just raising her hands to
lift down the chair (cf. Flasch, _Zum Parthenonfries_, p. 83). The
left hand instinctively prevents the himation being displaced by
the raising of the right arm.

An elderly bearded man (No. 33), wearing a long chiton with short
sleeves and shoes, stands next to No. 32. On his head are traces
of metallic rust. He therefore may have worn a metallic wreath,
for which the marble at the back of his head appears to have been
hollowed. He turns his back to No. 32, and is engaged with a
boy. The two figures between them support a large piece of cloth,
folded once lengthwise, and twice breadthwise. In this case also
archaeologists have been doubtful which is the giver and which is
the receiver of the cloth; but the action represented is not one
either of giving or receiving. From the peculiar way in which the
boy grips an angle of the folded cloth between his elbow and his
side, while his hands are otherwise occupied, the act of folding
the cloth square seems to be represented. The portion nearest to
the spectator is being dropped down till its edges are parallel
with those of the lower part, so that the two parts should be
exactly doubled.

The group of figures just described (30-34) contains the centre of
the composition, and the interpretation of the frieze as a whole
depends on the meaning we attach to this group. Leaving on one
side the writers referred to on p. 147, who hold that the frieze
does not represent the Panathenaic festival, we find that a
majority of writers describes No. 32 as a Priestess of Athene,
giving the sacred vessels to the Arrhephori or Ersephori, and No.
33 as a priest or Archon Basileus receiving or giving the
sacred peplos of Athene. This view of Nos. 30-32 was necessarily
abandoned, when it had been perceived that the objects held by the
maidens are chairs, not baskets. As regards Nos. 33, 34, the main
arguments for interpreting the cloth as the peplos are, that the
accounts of the procession preserved in ancient authors show that
the conveyance of the peplos of Athene was the principal feature
in it. If we look to the place assigned to this group in the
eastern frieze, we find that these two figures (Nos. 33, 34)
stand in the centre of the eastern front, under the apex of the
pediment, and over the eastern door of the cella. They therefore
occupy the most conspicuous place in the frieze, from the points
of view alike of the sculptured Gods and of the human spectator,
and accordingly may well be supposed to be busy with the chief
ceremony of the festival. This view is opposed by Flasch. He
argues that if the delivery of the peplos is represented, there
is a violation of the unity of time, as the act which was the main
motive of the procession is being completed, while the procession
is still in progress, and in part has not yet started. Flasch
therefore holds that we have here the priest and priestess
preparing for the sacrifice that is to take place on the arrival
of the procession. The priestess is receiving chairs for herself
and for the priest from the Diphrophori. Meanwhile the priest, who
now only wears a long chiton, with short sleeves, has taken off
his himation, and, after folding it several times, is seen giving
it to an attendant to hold.

If, however, the action represented is merely that of folding, and
is not yet completed, it is impossible to determine which is the
giver and which the receiver. Nor would the difficulty be solved
if this could be ascertained, as we do not know what ceremonies
were performed when the peplos arrived. The surface of the cloth
on the frieze is left quite plain; but, if it is the peplos,
some indication of the embroidered design may have been given in
colour.

[Sidenote: 35.]

We now reach the second group of deities, seated to the right of
the central scene. The first figure is clearly that of Athene. She
sits in a position corresponding to that of Zeus, and the Goddess
of Athens is thus put in the same rank as the supreme God. Athene
is dressed in a chiton with diploidion and has short hair. An
indistinct object about her left wrist has been supposed to be a
snake from the fringe of the aegis of Athene, or by some writers
to be the snake of Hygieia. But the object seems merely to be a
bracelet in the form of a snake, which is not uncommon, and there
is therefore no indication of an aegis. Four rivet holes in a
straight line show that Athene held some attribute, probably a
spear in her right hand.

[Sidenote: 36.]

Next to Athene is an elderly bearded figure, who turns his head
towards her. He has a knotted staff under his right arm, and leans
upon it heavily. This figure is usually known as Hephaestos. It is
supposed that his lameness may be indicated by the awkward pose of
his right foot, and by the staff on which he leans.

[Rightnote: VI.]

[Sidenote: 37.]

[Sidenote: 38.]

This slab, containing figures Nos. 37-47, now in a very
fragmentary condition, was complete when drawn by Carrey, in
1674. A bearded male figure (No. 37) with his left hand raised is
probably Poseidon. The left hand, according to Flasch, once held
a trident. The next figure (No. 38), beardless and youthful, and
seated in an easy attitude, has of late years gone by the names of
Apollo Patrooes or Dionysos. The latter title seems best suited to
the somewhat effeminate figure, more fully draped than any other
of the Gods. A series of holes round the head shows the position
of a bronze wreath, and one at the elbow shows that the left hand
may have been supported by a thyrsos or sceptre.

[Sidenote: 39.]

A matronly figure (No. 39) is seated next to Dionysos, wearing a
chiton, which is slipping off from the left shoulder, himation,
cap and sandals. This figure is called Peitho by Michaelis and
Peterson, on the ground that the worship of Peitho was associated
with that of Aphrodite Pandemos (No. 40) on the south side of
the Acropolis. Flasch with more probability makes this goddess
Demeter, arguing that Peitho was not entitled to a place among
the great Gods of Olympos, while Demeter is appropriately placed
between Dionysos and Aphrodite. Flasch suggests that the right
hand may have held an ear of corn. A hole shows that the object in
question was made of bronze.

[Sidenote: 40.]

[Sidenote: 41.]

The next figure (No. 40) most of which is only preserved in
Carrey's drawing (Fig. 11), is unmistakably shown to be Aphrodite,
by the winged boy Eros who stands at her knee. Aphrodite wears
a chiton, himation, a cap, and to judge from Carrey's drawing a
veil. She rests her left hand on the shoulder of Eros, extending
her forefinger, as if pointing out some object in the procession
to the boy. Eros (No. 41) carries a parasol which conveniently
fills the space above his head and his wings.

[Sidenote: 42-45.]

On the right of the gods is a group of four figures corresponding
to the five (Nos. 18-22) on the left. One of these (No. 43) is
young and beardless; the rest are elderly, and all have staffs and
himatia. No. 42 wears sandals. These four figures are leaning on
their staffs, and three of them are looking towards the advancing
procession, while the fourth (No. 45) turns his back to it and
appears to be conversing with his companions.

[Sidenote: 46.]

[Sidenote: 47.]

The next figure (No. 46) is an officer, more immediately concerned
with the procession. It is evident from the way in which his head
is thrown back and his arm raised that he is not addressing the
group beside him, but is making a signal to some person at a
considerable distance. He may be supposed to be making a signal to
the southern half of the procession, and thus helps the spectator
to keep the two parts connected together in his mind. The next
figure (No. 47), a similar officer, stands facing the advancing
maidens.

Slab vi., which was complete in Carrey's time, has since suffered
greatly, and the parts now exhibited have been combined from
several sources. At some unknown period the slab was broken
through No. 40, much of No. 40 being destroyed. The original
fragment, with the figures Nos. 37-39, is now at Athens, where it
was dug up in 1836. Since the cast in the Museum was made, parts
of the right hand and right foot of Poseidon have been injured
(_Trans. of R. Soc. of Lit._, v. (1856) p. 67; Baumeister,
_Denkmaeler_, p. 1187. fig. 1389). About 1787 Fauvel took a mould
from the slab as he found it, which is now in the Louvre. The slab
then existed from the middle of No. 41 to the joint after No.
47. Between 1787 and 1800 Nos. 41, 42 were lost, and the slab was
divided through No. 45, probably for convenience of transport.
To facilitate the division, No. 45, and the arm of No. 46, were
chiselled away. The main part of the figures Nos. 42-47 is the
original marble. The additions to the marble are the right foot of
No. 39, the main part of Nos. 40, 41, the lower part and the head
of No. 42, the heads and breasts of Nos. 43, 44, the whole of No.
45, and part of the head of No. 47, together with his legs. These
parts are principally derived from the mould of Fauvel in the
Louvre. Certain fragments, however, are cast from originals at
Athens, namely, the chair-leg and some drapery of No. 40, the
knees of No. 41, and the head and left foot of No. 47.

[Rightnote: VII.]

[Sidenote: 48.]

The next magistrate, or officer (No. 48), seems to hold in his
hand a _kanoun_, or dish, such as those in which the corn, sashes,
or sacrificial implements were usually brought to the altar. The
position of the left hand seems to show that the thumb is inserted
in a boss, as in a phiale omphalote. Holes in the marble may
indicate sashes of bronze, hanging from the dish.

[Sidenote: 49, 50.]

Two maidens (Nos. 49, 50) are seen standing with empty hands.
Perhaps one has given up the dish which is held by the officer
(No. 48.) In that case these would be Canephori, maidens of noble
birth, whose privilege it was to carry in the procession the
dishes just described. They are draped in long chitons, with
diploidia, and wear small mantles over the shoulders.

[Sidenote: 51.]

[Sidenote: 52, 53.]

Another officer (No. 51) stands looking towards the procession.
He has held in the right hand some object in metal, perhaps a
herald's staff. Two holes for the attachment of it are visible in
the marble. The gesture of the left hand shows that the officer is
giving some order to the two maidens before him (Nos. 52, 53), who
stand with empty hands, like Nos. 49 and 50.

[Sidenote: 54.]

[Sidenote: 55.]

The next maiden (No. 54) walks alone, carrying a bowl (phiale),
used for sacrificial libations. No. 55 looks back at the figure on
the next slab (No. 56), and helps her to carry her burden.

Slab vii. is a cast from the original, which was removed from the
Acropolis by Choiseul-Gouffier in 1787, and is now in the Louvre.
The right foot of the magistrate (No. 48) is cast from a fragment
which is still at Athens.

[Rightnote: VIII.]

[Sidenote: 56.]

[Sidenote: 57, 58]

[Sidenote: 59, 60]

The next maiden (No. 56), assisted by No. 55, holds a thymiaterion
with a conical cover, used for burning incense. Censers of this
form are not uncommon on Greek vases. (Cf. Vases in the B. M., C.
32, E. 98, E. 241, E. 285, E. 352.) Next follow two figures (Nos.
57, 58), each carrying in the right hand a jug, oinochoe, then two
more (Nos. 59, 60), carrying phialae.

In this slab the heads of Nos. 57, 59, 60, which have been
adjusted to their places since the publication of the work of
Michaelis, are cast from the originals at Athens. The slab in its
present condition is shown in Mitchell, _Selections_, pl. 4.

[Rightnote: IX.]

The east side of the frieze was completed by the short return of
a slab which was still in existence in the time of Stuart. On this
slab were two maidens, belonging to the procession. The second of
these carried a phiale.

NORTH FRIEZE OF THE PARTHENON.

[Sidenote: =325.=]

At the head of the procession on the north side we meet a troop of cows and sheep, led by an escort. Each cow is led by cords held by two youths, one on each side; each sheep is led by one boy. There are some grounds for the conjecture that the Athenian colonists contributed each a cow and two sheep to the festival, while the Athenians are not known to have sacrificed anything except cows. It is therefore presumed that the victims on this side of the frieze, on which alone sheep are represented, are some of the colonial offerings; and in that case the men by whom the victims are conducted would be the Theori sent by the Colonies.

[Rightnote: I.]

Slab i. (see Plate vii.) was complete in the time of Carrey, and
partly extant in the time of Stuart. It contains the first cow,
led by two youths, who are standing still, and the head and
shoulders of the second cow.

[Rightnote: II.]

[Sidenote: 1, 2.]

[Sidenote: 3, 4.]

Nos. 1 and 2 walk on each side of the second cow, which is going
quietly, as is shown by the way in which the youths are closely
wrapped up in their himatia. The rope by which the beast is led
was probably painted on the marble. The third cow is restive, and
only restrained with difficulty by Nos. 3 and 4. Here also the
rope was probably painted.

This slab was discovered in 1833, beneath its original position on
the Parthenon.

[Rightnote: III.]

[Sidenote: 5, 6.]

Of slab iii. only fragments remain. As drawn by Carrey, it
contains the figure of No. 4 (cf. Plate vii., and No. 345, _3_),
vigorously holding back his cow, and a fourth cow, quietly led
by two youths (Nos. 5, 6). For economy of space this slab is
compressed in the British Museum to about two-thirds of its proper
length. A cast from a head, which, perhaps, is that of No. 4, is
placed at the corner of the slab (Michaelis, plate 13, xxvii. C.).
The drapery seen on a fragment with the fore-legs of a cow belongs
to No. 5, who leads the third cow. No. 6 is made up of six pieces,
of which Michaelis had identified the feet of the figure, and part
of the fore-legs of the cow. For its hind-legs, see his plate 13,
xxvii. D. The originals of all these fragments are at Athens.

[Rightnote: IV.]

[Sidenote: 7-9.]

[Sidenote: 10.]

Slab iv. contains parts of three figures, Nos. 7-9, who conduct
three horned sheep. Of the first figure (No. 7) a part of the
mantle is now left, and perhaps also the head (cf. Plate vii., and
No. 345, _4_). In Carrey's time the head and shoulders were still
extant. At the joint between this slab and the next there is a
marshal (No. 10), who turns to the division of the procession
approaching. Slab iv. was discovered in 1840.

[Rightnote: V.]

[Sidenote: 11.]

When drawn by Carrey and Stuart, the next group in the procession
consisted of three figures, of which one only (No. 11) is now
extant. These figures carry on their shoulders oblong rectangular
trays, not unlike a butcher's tray in form. These trays have been
identified with the skaphae, or boat-shaped dishes which were
carried in the Panathenaic procession, and which contained
offerings of cakes. If we may trust Stuart's engraving, the tray
of one of the two figures which have now disappeared contained
fruits or cakes. These trays were made of silver or bronze.
Skaphae of bronze are mentioned in one of the inventories of the
treasures, deposited in the Parthenon. The Metoiks, whose duty
it was to carry these trays, were hence called Scaphephori. Their
place in the procession would naturally be immediately after the
victims led for sacrifice.

[Rightnote: VI.]

[Sidenote: 12-14.]

[Sidenote: 15.]

[Sidenote: 16.]

Slab vi. contains five male figures. Three (Nos. 12-14) carry
vases on their shoulders; a fourth (No. 15) stoops to raise from
the ground a similar vase, which is singularly misinterpreted
in Carrey's drawing as a lamb. The vase resembles in form the
three-handled water-pitcher, hydria or calpis, which was in use
in the period of Pheidias, but two handles only are shown in the
sculpture; the third handle, which was attached to the neck midway
between the other two, is not seen, except, perhaps, on the vase
of No. 15. Michaelis supposes that the vases here represented on
the frieze contained the wine used in the Panathenaic sacrifice,
and that these figures may be the Spondophori, who are mentioned
by Pollux (i. 35). On the right of this slab are the arms, flute,
and drapery of the first of the four flute-players drawn by
Carrey. This slab was found in 1833, inside the peristyle of the
Parthenon.

[Rightnote: VII.]

The persons bringing objects connected with the sacrifice are
immediately followed by a band of musicians, consisting of four
flute-players and four lyre-players, or citharists, all playing on
their instruments. The musicians, as is usual, wear long chitons
and ample mantles. Of slab vii. only two small fragments remain.
See Plates vii., viii., and Nos. 345, _5_ and _6_.

[Rightnote: VIII.]

[Sidenote: 17, 18.]

[Sidenote: 19.]

The next slab contains parts of the second pair of citharists and
the foremost of a group of male figures, principally on the two
slabs immediately following.

[Rightnote: IX., X.]

[Sidenote: 19-30.]

The figures on these two slabs are bearded men (Nos. 19-30), all
clad in the himation, and moving forward at a leisurely pace; Nos.
25 and 26 wear a band on their heads; No. 25 draws it over his
hair; Nos. 28 and 30 wear long hair, plaited in the manner of the
_krobylos_. The attire, elderly type, and general deportment of
these figures corresponds with that of the Thallophori, by which
name ancient authors designate elderly citizens who carried olive
branches in the Panathenaic procession. The right hands of three
of these figures are closed, as if they were holding a wand or
branch.

Slab ix. was discovered in 1840, and is a fragment of the slab
drawn by Carrey, which, when he saw it, contained nine figures
similar to those on x. A recently-discovered fragment, from the
left of slab ix., has not been inserted for want of space (cf.
Plate viii., and No. 345, _8_).

Slab x. was found at the north-west angle of the Parthenon in
1835. A fragment which belongs to the left-hand lower corner of
the slab, and completes Nos. 24, 25, has been adjusted since the
publication of the work of Michaelis. This slab was not drawn
by Carrey, who indicates a lacuna at this point. It is therefore
probable that the slab had already fallen from its place. The last
two complete figures on this slab are looking back, as if their
attention is directed to the advancing chariots. Michaelis has not
observed that between these figures and the marshal (No. 31) there
has been another draped figure (No. 30*), of whom nothing remains
but the shoulders and a little drapery, shown immediately in front
of the marshal (No. 31), and his right foot on slab x., seen next
to the right foot of No. 30, the left foot of No. 30 being lost.
This figure must have been the hindermost in the procession of
Thallophori, and the entire number of these persons is therefore
seventeen, not sixteen, as Michaelis makes it.

[Rightnote: XI.]

[Sidenote: 31.]

With slab xi. the chariot groups begin. This part of the frieze
has greatly suffered from mutilation. The remains of the chariot
groups still extant show that there were at least nine of these.
According to the calculation of Michaelis, that was the original
number of chariots on this frieze. All these chariots are drawn
by four horses, _harmata tethrippa_, or quadrigae; the charioteer
stands in the chariot, and is accompanied by the apobates, who is
armed with a helmet and Argolic buckler, and is represented in the
act of stepping down from the chariot or standing behind it. Each
quadriga is accompanied by a marshal, _pompeus_. The vigour and
animation of the chariot groups form a marked contrast with the
groups that immediately precede them. The transition from the
rapid motion of the chariots to the quietude of the Thallophori
is skilfully effected by a chariot seen in rapid motion but in
the act of being suddenly checked by the marshal (No. 31), who
is represented eagerly pressing back the plunging horses of
the chariot which follows on the next slab. In the haste of his
movement he has nearly thrown off his mantle, holding it from
slipping further with his right hand on his right thigh. The
original of this slab was found at Athens probably about 1834.

[Rightnote: XII.]

[Sidenote: 32.]

[Sidenote: 33.]

On the slab next on the right (xii.) is the hind quarter of one of
the horses, cut off at the joint. At the side of the chariot is
a marshal (No. 32), his face turned, and his right arm extended
towards the procession following on the right. The charioteer (No.
33), who was mistaken for a Victory by Visconti and others, but
whose figure is certainly not female, differs in costume from the
others in this frieze. He wears a long chiton, over which is a
diploidion reaching to the hips. The breast is crossed diagonally
by two bands. As a part of the hair is on a fragment known to have
been missing before the time of Stuart, his drawing of the figure
is proved to be untrustworthy.

[Sidenote: 34.]

The warrior (No. 34) attached to the chariot was complete in the
time of Carrey. The upper half was lost before the time of Stuart,
and was only re-discovered in the latest excavations on the
Acropolis in 1889. He is represented standing on the ground, and
looking back to the next chariot. His shield is raised as if
to stop its course. The wheel of this chariot, as of some that
succeed it, must have been, in part, wholly detached from the
ground. The foot of the marshal is complete, but it is easy to
trace where the wheel prevented the convenient working of the
ground beneath it. (See Plate viii., and _Stereoscopic_, No. 19.)

[Rightnote: XIII.]

Of slab xiii., which Carrey places next, nothing has been
identified with certainty, but Michaelis is probably right in
assigning to this group the fragment of four horses, of which
a cast from the original at Athens is here inserted (cf. Plate
viii., and No. 345, _9_). Above the back of the second horse is
the _hestor_ (see below), and also what appears to be a small
piece of the drapery of a marshal. This, however, cannot be the
case if the fragment described (No. 345, _9_) contains the marshal
belonging to this slab.

[Rightnote: XIV.]

[Sidenote: 35.]

[Sidenote: 36.]

[Sidenote: 37.]

Slab xiv. contains the third chariot with part of the team of
horses. The marshal (No. 35) stands beyond the horses, and looks
towards the charioteer. The charioteer (No. 36) had reins of
bronze, as indicated by two rivet holes. Like the driver on slab
xviii. he wears a chiton with long close-fitting sleeves. The
apobates (No. 37) appears about to step down from the chariot. The
wheel of this chariot as of that on slab xii. must have stood out
entirely free from the ground. When Carrey drew this slab, the
head of the charioteer (No. 36) and the head and body of the
apobates (No. 37), of which only the lower part now remains, were
extant. Close behind the wheel are traces of a horse's forefoot,
which, as we see from Carrey's drawing, belonged to the chariot
on the slab which follows next on the right (xv. according to the
order of Michaelis).

[Rightnote: XV.]

[Sidenote: 38, 39.]

Of the fourth chariot group, which was also drawn by Carrey, we
have only the mutilated group to which the charioteer (No. 38) and
an apobates (No. 39) belong; this is made up of four fragments,
of which the originals were found at Athens in 1837. In this group
the apobates (No. 39) stands in the chariot, looking back to
the chariot following so closely that the forelegs of the horses
actually overlap this group. Here also the wheel was in part
completely free from the ground of the relief.

[Rightnote: XVII.]

[Sidenote: 41.]

[Sidenote: 42.]

From Carrey's sketch we know that the chariot on slab xvii. was
drawn by the horses, which occupied slab xvi., and whose hoofs are
seen on slab xv., and that this was the fifth chariot group. The
apobates (No. 41) of this chariot leans back, supporting himself
by the right hand, which grasped the chariot rail (_antyx_), and
is about to step off the chariot. The marshal (No. 42) steps back
to the left, looking in the contrary direction; his left arm,
muffled in his mantle, is raised as a signal to the advancing
throng; his right arm is also raised; the hand, now wanting, was
just above the level of the head. His animated action forms a
strong contrast to the still, calm attitude of the marshal (No.
43) of the following group.

Slab xvii. is cast from the original, which was drawn at Athens
by Stuart, and, having been buried on the Acropolis, was
re-discovered there in 1833. The right side of this slab is broken
away, but there can be no doubt that it comes next to slab xviii.
A photograph from the original is reproduced in Baumeister,
_Denkmaeler_, p. 1186, fig. 1388.

[Rightnote: XVIII.]

[Sidenote: 43.]

[Sidenote: 44-45.]

In slab xviii. have been three figures. The marshal (No. 43)
stands beside the horses, in a calmer attitude than is usual in
this part of the frieze; of the apobates (No. 45) nothing remains
but his right arm and leg; and the lower part of his drapery,
which indicates rapid movement. Of the charioteer (No. 44), we
have only the lower part of the body and hands.

Parts of the harness can be seen on this slab, and also on slabs
xiii., xix., xxi., xxiii. The general arrangement seems uniform,
though there are differences of detail. The chariot pole ([Greek:
rhymos]) passes from below the chariot between the horses. An
upright pin ([Greek: hestor]) passes through the pole (slabs
xiii., xviii., xix., xxiii). At this point the yoke ([Greek:
zygon]) was secured by a ring ([Greek: krikos]) and by the
yoke-band ([Greek: zygodesmon]) (Hom. _Il._ xxiv.). The near end
of the yoke, foreshortened and turned back, is visible on slabs
xviii., xix., xxi., xxiii. On slabs xix., xxi. the yoke appears
to be kept in position by a piece of metal passing from the top
of the pin to the pole, which may, perhaps, serve instead of the
ring. On slab xix. there appears to be a loop of a leather thong
on each side of the piece described. This may be a part of the
yoke-band. The reins were usually guided by two rings attached to
the yoke or to the pole, but these do not appear to be shown on
the frieze. It is easy to see on slabs xviii., xix., xxi., that
the yoke was only fixed to the two middle horses, the outer pair
being attached by traces.

[Rightnote: XIX.]

The next slab (xix.) is a cast from the original at Athens, which
is broken away on the right, so that all that remains of the
charioteer (No. 47) is his right hand. At the side of the horses
is a marshal (No. 46), who turns towards the chariot following
on the right. Carrey's drawing supplies the upper part of this
figure, and shows that he was holding up with his left hand
the end of his mantle, apparently as a signal to the advancing
procession. In fig. 12, slab xix. has been drawn in juxtaposition
with the hitherto unplaced fragment No. 345, _12_. This slab was
discovered in 1834.

[Rightnote: XX.]