Cast of a relief, representing a female figure stepping into a chariot, holding the reins in her extended hands. The figure is probably that of a goddess. It has been conjectured, but without evidence, that the relief belonged to the Pre-Persian Parthenon. The original, which is of Parian marble, is at _Athens_. Le Bas, _Mon. Fig._, pl. 1; Overbeck, _Gr. Plast._, I., 3rd ed., p. 153, fig. 28; Murray, I., p. 196; Brunn, _Denkmaeler_, No. 21. For further literature, see Wolters, No. 97. [Sidenote: =156.=] Cast of a sepulchral relief, representing a woman enthroned. She holds a child in her arms. Before her are three figures, probably members of her family, with offerings. The original, which is of marble, is in the _Villa Albani at Rome_. It was erroneously named by Winckelmann "Leucothea nursing the infant Bacchus."--_From Athens (?)._ Winckelmann, _Monumenti Inediti_, No. 56; Zoega, _Bassirelievi Ant._, I., pl. 41; Overbeck, _Gr. Plast._, 3rd ed., I., p. 175, fig. 38. For further literature, see Wolters, No. 243. CASTS OF SCULPTURES FROM AEGINA. The temple of Athenè at Aegina stands on a commanding plateau in the north-east of the island. It is of the kind known as Doric peripteral hexastyle; that is to say, it is of the Doric order, surrounded by a colonnade, which has six columns at the ends and thirteen columns at the sides. The site was excavated in 1811 by a party of English and German explorers, and the sculptures discovered were purchased in 1812 by the Crown Prince of Bavaria. The principal figures were restored at Rome by Thorwaldsen and J. M. Wagner. In 1817 the collection was placed in the Glyptothek at Munich. With the exception of an ivory eye (Cockerell, pl. 12) attributed by the discoverers to the image inside the temple, the only sculptures found were those which originally were contained in or surmounted the pediments of the temple. The Aeginetan sculptures belong to the latest stage of archaic Greek art, and are the most important extant works of that period. For determining the date of the sculptures, political history is only so far of use that we may assume that they are not later than 456 B.C., in which year Aegina was subdued by Athens. From their style they appear to be considerably older than that date. A minute analysis of the sculptures (Brunn, _Das Alter der Aegin. Bildw._ p. 9) shows that the east pediment is distinctly more advanced than the west in the expression of emotion, in the rendering of drapery, of the features, the beards, the veins; and in the general proportions. Brunn assigns the groups to the period immediately following the battle of Salamis (480 B.C.) and suggests that the sculptor of the east pediment belonged to a younger generation than his colleague.