exemplified, and to make men as they are, was evidently the object of attainment*. The body is spare and short; the limbs are strong and full; the head (see Plate, No. 2,) is rather large : of the helmet there is no other example in antiquity, nor was the exact description of this species given: two pieces, γενειαστηρια, which covered the cheek were erected on the hinge, which is very exactly formed, the rest fitting the head, has a piece prolonged, which covered the nose and forehead, as far as the eyebrow. The φαλος, or rim, which carried the λοφος, or crest, was wrought in a separate piece, and was attached to the helmet at the apex; the crest retained signs of a red colour, hung down at the back: it was usually of horse hair ἵππουρις, or feathers; the helmet also was ornamented with painting in encaustic, and on the front, over the forehead, are several holes, by which something ornamental, probably in bronze, was attached: where the helmet covers the neck were also some holes, in which curls of lead were inserted: remnants of it were found in them, and in another fragment of a head, several ringlets, very exactly formed, were still remaining: detached curls in bronze have been found before: see the Bronze Herculaneum, tom. i. to v. 2 and 11; but these offer the first example of such a material. Across the breast, and over the right shoulder, are signs of the τελαμῶν, οι sword belt, and his hand was wrought hollow to receive the spear, which was of bronze or other material, and might have - been the έγχος, or κανθος, the long spear : -the other combatants, from their situation in the pediment, would only have used the δόρυ ὀρεκλον, οι κανθιον προβολιον or missile short spear; and it is interesting to observe this detail of military tactic: the archer, unable to bear a shield, requires a constant companion and protector, and the long spear would be particularly applicable to such a purpose. The motion is momentary, and the angular position of the limbs is admirable, and singularly adapted to fill his place in the pediment: it has also a character of great energy, and contrasts well with the attitudes of the surrounding figures. It

* Lysippus, who flourished about 200 years after this period, and when the art had made sublime efforts, held as a precept of the ideal, to make men as they seem to be, not as they really are. Plin. 1. 54. c.

had no other support than at the feet and point of the knee, which were attached to a plinth let in at the top of the cornice. The shields are formed with extraordinary exactness in Parian marble, and seldom more than half an inch thick, though wrought in one piece, and in some instances solid with the arm and body: it is the Argive ασπὶς ενκυκλος ; the τελαμῶν or handles were very nicely formed to the arm; the inside of them retained signs of red colour, and within a circle of the exterior, a blue colour was discovered in several, which, as a field, received, without doubt, the symbol adopted by the hero; on a fragment of one in the. east front, we found in relief a part of a nymph.

No. 3. The head, the hands, the right leg from the knee, and part of the left, were restored. The costume is highly interesting: the body is covered with a leathern jacket (Σπυλας) which is tied by several strings on the left side, under the arm; two straps of the same piece pass over the shoulders, and tie on the breast; the arms are uncovered; the ζωστήρ or μίθρα of brass in straps, in two thicknesses, covered the lower part of the body, and a small tunic, in very exact plaits, came below this, and appeared also under the arms: the quiver was found, and the manner in which it was evident, by the corresponding holes, that they were sustained at the left side, is very singular: the top of the quiver was pierced for the insertion of the heads of arrows in bronze or lead. From the action in the muscles of the arms of the remaining part of the figure in general, it was evident that he had just discharged the arrow. From below, such a position is remarkably happy in effect.

No. 4. This figure is of the most beautiful sculpture; the forms are elegant, at the same time that they are full of vigour. Except the head, which has been restored, every part is entire, and large portions of the shield; from the situation in the pedi*ment, it is evident that the spear must have been short, and in the vases are several examples from which this has been indicated. The belt, and other particulars described in No. 2, are applicable to this also, and in the whole of this figure, by the most careful observation, no other visible support was perceived than its own balance on the feet, which were attached to a plinth inserted in the upper part of the cornice. But it is on No. 5, as the principal attraction in the picture, and on which the interest chiefly rests, that the sculptor seems to have dwelt with the greatest pleasure and attention: the body and limbs are of the utmost beauty, and with the greatest possible delicacy in the execution, there is a lassitude through every part very admirably expressed; it is at the moment of falling; the hand grasping the sword, still supports him, and the left bears the shield, though the hand has dropped from its handle: the head is of singular beauty, and though found in a separate fragment, and the neck so injured as to have spoilt the joint, it undoubtedly belonged to this figure; see Plate 2, No. 5. The helmet is thrown back, and seems falling from the head; the eyes and nose, and the cheeks of it were wrought entirely hollow, and disengaged from the head, in a manner that surprises by its boldness and delicacy; the hair is finished with the utmost nicety; and though the countenance, like the rest, is unmoved, no means has been spared to give an interest extraordinary to each part of this statue: the left leg is much bent, to admit those of the Minerva, and it was this circumstance, and the shortness of the left arm in the execution of the statue, in correspondence with the spot in which it was found, which persuaded me of its position in this part of the composition. Every part of this figure, though in pieces, was found. The whole of the weight is thrown on the left hand, which was placed on a plinth, as above.

No. 6. In this magnificent statue of Minerva, who, by her action, seems from Olympus to have just alighted to animate the combat by her presence, we have the most antique costume hitherto known to us. The form of the Ægis is singular, nor have we seen it before in sculpture, surrounded with the tassels, the noise of which was said to have dismayed her opponents: we know such a sort of appendage to have been in much earlier use, than the more usual one of the serpents. These were undoubtedly of brass, or some metal which has disappeared: they were fastened by rivets of lead, most of which still remained: the holes by which the Gorgon's head was attached to her breast were evident, and the whole of the Ægis was painted with scales in encaustic, the colour could not however be discovered : ἀλυσεδωλος, λεπιδωλός, φολιδωλός were the terms used for such ornament. It is very large, and formed a cloak and breast-plate, admitting the arms to wield the shield and spear. The former had an additional τελαμῶν or collar from the elbow to the shoulder, which attached it more securely, and this had also straps which passed round the body. The head bent forward, is extremely beautiful, (see Plate II. fig. 6.) The helmet is of a singular character, painted in encaustic, and enriched besides with ornaments applied, the rivets of which still remain ; the φάλος is elevated from the head by a serpent; by the holes in her ears it cannot be doubted that she had ear-rings, the χοολος or tunic is plaited with the utmost care, and the peplos hanging from her arms, is arranged with the same regularity in the front, and at the back; it forms two large plaits, from which others diverge in regular divisions. The feet stand obliquely, the motive of which was in part the inconvenience of placing the fallen hero before her; but more, I suspect, to resemble some famous Palladium; and the same position occurs frequently in the vases. Every part of this beautiful statue is preserved entire, and the buckler solid, and of the same block of marble with the figure.

No. 7. The legs only, and portions of the thighs, sufficient to show the position of the figure, were found in this instance; but the exact resemblance of their character with the corresponding one of the East, leaves no doubt of the intention of this figure.

No. 8. The whole of this is entire, except portions of the legs and the right hand. It is to be regretted (though it is one of the most striking proofs of the devotion of the artist) that the best view of this grand and majestic figure is turned towards the tympanum. A very distinguished character is given to the head (see Plate II. fig. 8.) as one of the most important in the picture. The helmet is of that kind termed γεῖσον; the hair and beard are very nicely arranged, and at the back a cap or lining is seen underneath; the loplos descending along the back, had a small stud left in the solid of the marble, at the back of the figure, for its security and greater firmness. The shield was of the same block with the rest, and is most surprisingly supported, by the thickness of the shoulder and arm alone. On the shield is indicated the field in which the symbol of the hero was painted, but of which no certain traces remain.

No. 9. None of these statues are more singular and novel than this; it is a complete Phrygian apparel; the ἄναξυριδες, a tight dress of leather fitting the whole figure, to the ancles and wrists, was besides painted in scales with encaustic colours; the bonnet or mithra occurs frequently on medals and vases; but the singular form of it has never been so well understood, the back part of it descends on the shoulders, and two straps which occasionally came under the chin, were in this turned and tied behind the head. The hole in which the ringlets were inserted are seen all round; the jacket descends to the thighs, and is closed on the breast, and the pantaloons are under this, descending to the ancles. The ζωστήρ sustains the quiver, which was found perfect. The action of the hands and manner of holding the string and arrow are explained in Plate 2, fig. 9; the manner also of drawing the bow-string to the breast, exactly as Homer describes it, is observable in all these archers. See Homer's Il. 8, v. 123.

In every view this elegant figure is one of the most graceful and pleasing in the group; except the point of the cap, every part was found entire. The position is bold, for it is momentary, and it is singularly calculated for the observer below. Except its plinth, it had no other support than its own due balance on the fect.

No. 10. The energy of this figure is admirable; though concealed by the shield, every part is finished with attention; the sword-belt is easily traced over the shoulders, but by the position of the right hand, it evidently held the spear. Except a portion of the head and the right foot, every part of this figure is preserved.

No. 11. This recumbent figure is also entire, though much corroded from exposure to the wet, having been found near the surface. The left hand is on the left knee, in which is seen a deep incision, as of an arrow; he does not seem to extract it, but seems to press it as if in suffering pain; the hair, like the corresponding figure in the left, is exactly arranged, and hangs down: