THE PARTHENON AND ITS SCULPTURES. 131 Fig. 130. — Restoration of 339-7 Fragment. also assigns to Phidias ("Masterpieces," fig. 27), shows a wonder- fully perfect and powerful use of the connecting drapery. This, indeed, forms part of the proper constructive tradition for statues by competent stone-cutters. Great confusion has been intro- duced into the technique of modern sculpture by following Roman copies in marble of bronze originals. To this cause we may attribute many fra- gile and uncomfortable jutting forms, from which it requires the insight of an Alfred Stevens to abstain. In drawing a restoration of the last two goddesses from the eastern frieze, I ha-e observed so many points of resemblance to the two Fates furthest to the right, that I cannot but conclude that the frieze figures are adapted from the great statues. The chief distinction is that one of the latter reclines much more to fill the angle of the gable. This, the right hand figure, rests with her right arm on the lap of the next figure, in the frieze as in the pediment. The left arm in each was extended horizon- tally, with the sleeve falling against the body ; the drapery was caught up around the right thigh and turned into the lap ; beneath the figure it falls like a valence. In both, the feet were crossed over one another. The second figure in each had its right hand raised against the shoulder, and again the mantle is drawn over the right thigh into the lap. If this is so, it follows, of course, that the frieze was done later than the pediment. The action of the right arm of the first of the three statues is shown by Carrey. Altogether a practically complete restored drawing of this group could be made. Between the first and second figures there is at the back room cut away for some object. VI. An interesting and valuable addition to the Athena of the west gable has recently been fitted into its place. This is the Fig. 131. — Two 01 Selene's Horses : from Indications on the Pediment.
