be the fragment of a Niobe; others of a Diana. It is generally allowed
to be a noble sample of Greek sculpture. Hereabouts, also, is the
well-known imperfect statue of Icarus (113), brought in fragments from
the Acropolis. The urn marked 122 is a sepulchral vessel, with figures
in bas-relief; 123 is a sepulchral column, with an Athenian name upon
it; and then the visitor will pass rapidly the fragments of Doric and
Ionic columns from various Greek temples. With the casts beginning
from 136, the visitor will start with his examination of the fragments
from the

TEMPLE OF THESEUS.

When the ashes of Theseus, long after his death, were conveyed in
state to Athens, festivals were instituted in his honour; and a
magnificent temple was erected to his memory nearly five centuries
before our era. The sculptures of the temple represented the exploits
of Theseus, and of Hercules, with whom Theseus was always on terms of
great friendship, and to whom he gave the highest honours his country
could afford. The subject of the frieze (which the visitor will find
against the eastern wall of the saloon, numbered from 136 to 149), has
been variously explained, but is shrewdly conjectured to be the Battle
of the Giants, in which Hercules played a prominent part, and in which
the giants are said to have hurled rocks at their adversaries, like
pebbles. This battle was fought in the presence of divinities, who are
represented seated upon slabs (137-8-133-4.) This frieze was on the
most conspicuous part of the temple. The frieze that flanked the
building was sculptured with the exploits of Theseus; and here the
visitor will once more see the battle of the Centaurs and the Lapithae
illustrated (150-154). The Centaurs hurling huge stones, and wielding
the stems of trees; and the invulnerable Coeneus, half crushed by his