PHIDIAS 207 kind of work. After the peplos had been consecrated in the temple it was placed with due solemnities upon the ancient and venerable figure of the goddess, made of olive-wood, and said to have descended from heaven. From its subject, which thus celebrates the Panathenaic procession, the frieze is often called the Pana- thenaic frieze. It is carved from Pentelic marble, of which material the marble building is constructed. Its original length, running as it did around the entire building, was 522.80 feet, of which about 410 feet remain. Of this portion, 249 feet are in the British Museum in slabs and fragments ; the remainder is chiefly in the Louvre, with scattered fragments in other places. As a connected subject this was the most extensive piece of sculpture ever made in Greece. From all that can be gathered from the study of the fragments that remain, _the design of the frieze was of the utmost simplicity and characterized by the union of perfect taste and clear purpose that marks all the work of the great sculptor. The subject begins in the frieze at the western end of the temple, where we watch the assembling of the procession. It then proceeds along the northern and southern sides of the building, in what we are to suppose one continuous line, moving toward the east, since all the faces are turned that way ; and at the eastern end, directly over the main entrance to the building, the two parts of the procession meet, in the presence of the magistrates and of the divinities who had places of wor- ship in Athens. Of the grace, the skill in arrangement, the variety of invention, the happy union of movement and repose shown in this work, not only artists — men best fitted to judge its merits from a technical point of view — but the culti- vated portion of the public, and a large and ever-increasing circle of every-day people, have by common consent agreed in praise. By the multiplication of casts, to be found now in all our principal museums, we are enabled to study and to enjoy the long procession even better than it could have been enjoyed in its original place, where it must have been seen at a great disadvantage in spite of the skill shown by'Phidias in adapting it to its site ; for, as the frieze stood thir- ty-nine feet from the floor, and as the width of the portico between the wall and the columns was only nine feet, it was seen at a very sharp angle, and owing to the projection of the roof beyond the wall of the temple the frieze received only reflected light from the marble pavement below. Apart from the marble sculptures on the exterior of the Parthenon, the two most famous works of Phidias were the statues of Athena, made for the inte- rior of the Parthenon, and of Zeus for the temple of the god at Olympia in Elis. Both these statues were of the sort called Chryselephantine, from the Greek clirou- sous, golden, and elephantinos, of ivory ; that is, they were constructed of plates of gold and ivory, laid upon a core of wood or stone. The style was not new, though its invention was at one time ascribed to Phidias. It came from the East, but it was now employed for the first time in Greece in a work of national importance. In the Athena, the face, neck, arms, hands, and feet were made of ivory, and the
