SCULPTURE. 19 
and women of the city; in the north were choirs with flute and cither- 
players, bearers of vessels and offerings (ascophorw, canephore, hydraphore), 
and furthest in front and on both sides bullocks for sacrifice with their 
attendants. On the east side are seated, surrounded by virgins who bring 
the offerings and the presiding magistrates, twelve gods, between whom the 
priestess of Pallas Polias and the priest of Poseidon Erechtheus form the 
central group. 3. Statues in the pediments. The pediments are 114 feet 
high and 94 feet long; the depth of the lower cornice is 2 feet 114 inches. 
The British Museum possesses nine figures from the eastern pediment, and 
from the western pediment one figure and five considerable fragments. 
Carrey’s drawing gives the western pediment almost complete. In the 
eastern pediment is represented Athene’s first appearance amongst the 
gods; in the western pediment, Pallas contending with Neptune for the 
sovereignty of Athens conquers him by causing Erichthonius to harness up 
the horses which Neptune had made. Here belong the horse’s head 
(pl. 8, fig. 18) and the animals’ heads (jigs. 19 and 20), which however are 
taken from the frieze. 
The influence of the school of Phidias, which had left the early stiffness 
completely behind it, manifested itself also in the temple sculptures of 
other parts of Greece, but modified by the genius and taste of other masters 
and pupils. We may instance the sculptures of the temple in Olympia, 
which, although freed from the fetters of the early style, are far from 
having attained the grandeur of the ideal conceptions of Phidias. The 
reliefs from the friezes of the temple of Apollo Epicurius in Phigalia, 
which are in the British Museum in an almost perfect state of preservation, 
represent the Combat of the Centaurs and the Amazons in the sight of 
Apollo and Diana, and betray in individual groups unmistakable indications 
of Athenian models. They display in the composition a matchless power 
of invention and a most lively fancy ; nevertheless there appears in them a 
far less refined feeling for forms, a fondness for excessively violent gestures 
and incorrect attitudes, a hang of the garments with peculiarly awkward 
folds almost as if rufiled by the wind, and in the general treatment of the 
subject itself a harsher character than is to be found in the school of 
Phidias. 
Along with the Attic school there arose under Polycletus that of Sicyon 
and Argos. Although Polycletus in his colossal statue of Hera in Argos 
had brought the art of casting and graving to a higher state of perfection, 
he showed himself far inferior in invention to Phidias in his statues of 
gods; but the art of modelling statues of athlete in brass which prevailed 
in the Peloponnesus was brought by him to the greatest perfection, since 
here all that was required was to represent the most symmetrical propor- 
tions of the youthful body. And hence one of the statues of Polycletus, 
the Doryphorus, became the canon of proportions of the manly form, 
which however was then somewhat shorter and stouter than it afterwards 
became. To Polycletus is also ascribed the establishment of the principle 
of throwing the weight of the body in a statue principally on one foot; 
whence resulted the beautiful contrast between the supporting and com- 
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