The statues are made of Parian marble. They are attached to plinths which were let into the upper surface of the cornice, and are cut out of single blocks, a few small pieces of marble being separately attached. They showed clear traces of colour throughout, when first discovered. One shield from the east pediment was painted with a female figure. There were numerous adjuncts of bronze, such as arms and ornaments, which have been minutely enumerated by Brunn (_Beschreibung_, &c., p. 67). The restored pediments in the British Museum have been partially decorated in accordance with the scheme of Cockerell, who says: "The members of the entablature and pediment were discovered often in all their original vividness, which quickly disappeared on exposure to the atmosphere." (Cockerell, p. 27, pl. 6). C. R. Cockerell, _The Temple of Jupiter Panhellenius at Aegina_, &c., 1860; Blouet, _Expédition de Morée_, III., p. 23; Brunn, _Ueber das Alter der Aeginetischen Bildwerke_ in the _Sitzungsber. der k. bayer. Akad._, 1867, I., p. 405, and _Ueber die Composition der Aeginetischen Giebelgruppen_, _ibidem_, 1868, II., p. 448; Brunn, _Beschreibung der Glyptothek König Ludwig's I._, 4th ed., 1879; Wolters, Nos. 69-85. THE WEST PEDIMENT OF THE TEMPLE AT AEGINA. The subject of the West pediment is a battle, in the presence of Athenè, over the body of a wounded warrior. From the Oriental dress of the archer on the right, it is inferred that the battle is being fought between Greeks and Trojans, and that the archer in question is Paris. The scene represented does not correspond exactly with any combat described by Homer. Archaeologists have accordingly been divided in opinion as to the subject. Some hold that the battle is that waged for the body of Patroclos, which was rescued principally by Menelaos, and Ajax, son of Telamon of Aegina. (Homer, _Iliad_, xvii.; Wolters, p. 48). Others have argued that the presence of Paris points to the fight over the body of Achilles as described in the Aethiopis of Arctinos. See especially Brunn, _Beschreibung_, p. 79. On account of the discrepancies between the sculptures and the literary tradition it is impossible to decide the question. The arrangement adopted in the British Museum is that of Cockerell (pl. 16). To complete the group Cockerell supposed that nude figures similar to No. 178 of the East pediment advanced to the fallen hero from each side; and that a spearman knelt between the Paris (No. 168) and the wounded Trojan. Fragments remain of the two youths; but recent writers have put the spearman (No. 166) next the Paris. The positions of the spearmen and the archers on each side have also been reversed. The archers are on this view placed furthest from the combat, and may perhaps be supposed to be protected by the spearmen. Further changes have been proposed which are based on fragments not represented by casts, and which therefore need not here be discussed.