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lions. The giants guard the triple deity, and separate it from a 
Ja rge recess filled with a variety of figures, male and female, in 
different attitudes; they are in tolerable proportion, but express 
no particular character of countenance: one conspicuous female, 
like the Amazons, is single breasted; the rest, whether intended 
for goddesses or mortals, are generally adorned, like the modern 
Hindoo women, with bracelets, and rings for the ancles; the men 
have bracelets only. The intervening space between these large 
figures is occupied by small aerial beings, hovering about them, 
in infinite variety. I know not whether I am correct in saying the 
larger images in these groups are in alto-relievo, and most of the 
smaller in basso-relievo, brought sufficiently forward from the 
rock to produce a good effect. 
The sides of the temple are adorned with similar compositions, 
placed at regular distances, and terminating the avenues formed 
by the colonnades, so that only one group is seen at a time, ex- 
cept on a near approach; the regularity and proportion of the 
whole are remarkably striking. The figures are generally in grace- 
ful attitudes; but those of herculean stature indicate no muscular 
strength. I believe in the finest works of Greece and Rome there 
is some peculiar distinction in this respect between the statues of 
deities and mortals: in the Apollo Belvidere the graceful attitude, 
majestic demeanor, and finely proportioned limbs, unite delicate 
softness with manly strength; or, to use the language of a celebrated 
enthusiast, “ his stature is more than human; the beauty of youth 
is diffused over the manly perfection of his frame, and gracefully 
displayed in the noble configuration of the limbs: there seems no- 
thing mortal, the body is neither warmed by veins, nor agitated 
