This frieze is a remarkable example of the Greek power of combining variety and symmetry. On the right and left of Dionysos the groups correspond with great accuracy, but the correspondent groups always differ one from another. On each side of the God we have an attendant Satyr; a Satyr with a crater; a Satyr watching the conflict; a Satyr hastening to join it; a Satyr kneeling on a pirate; a Satyr about to strike a pirate thrown to the ground; a Satyr breaking off a branch from a tree; a pirate, half transformed, leaping into the sea. The remainder of the frieze is less exactly symmetrical. Wheler, _Journey_, p. 397; Spon, _Voyage_ (ed. 1679), II., p. 132. A view of the monument from the monastery garden is shown in Stuart, I., chap. IV., pl. 1. The view from the street is in Le Roy, _Ruines_, pl. 13. A view of the interior used as a library, Dodwell, _Tour_, I., pl. facing p. 289. A view subsequent to the destruction of the monastery is given, _Exp. de Morée_, III., pl. 96. For the present state of the monument see Harrison, _Mythology and Monuments of Anc. Athens_, p. 245. The original frieze is of Pentelic marble; height, 10-1/2 inches. Stuart, I., ch. IV., pls. 1-26. Stuart's drawings which are freely restored are the basis of the inaccurate plate in Stuart, 2nd ed., Vol. I., ch. IV., pl. 30. The illustrations in most of the text-books are derived from the latter plate; e.g., Müller, _Denkmäler_, pl. 37; Overbeck, _Gr. Plast._, 3rd ed., II., p. 91. These works all repeat an erroneous order of the two groups of No. 8, which spoils the symmetry of the frieze; cf. Murray, II., p. 333. An independent and more accurate publication is that in _Mus. Marbles_, IX., pls. 22-26, taken from the Elgin casts. See also Ellis, _Elgin Marbles_, II., pp. 79-87. The British Museum also possesses a careful series of drawings from the sculptures, by Lord Elgin's artist, Lusieri. _Report of the Elgin Committee, appendix_, p. xli.; Wolters, No. 1328. [Sidenote: =430.= 1.]