Athenè and Poseidon.--The Athenè of which L is the remnant is drawn by Carrey moving rapidly to the left; her right arm, broken off above the elbow, is advanced horizontally in the same direction. Her left arm is broken off below the shoulder; she wears a long chiton, over which is a diploïdion, reaching to the hips, and falling in a fold over the girdle. The ægis, folded like a narrow band, passes obliquely across the bosom between the breasts, and has extended from the right shoulder round the left side, and probably across the back. It is scalloped on its lower edge, and at the points holes are pierced for the attachment of serpents of metal. In the centre of the ægis is another hole, in which a circular object six inches in diameter, doubtless a Gorgoneion, has been fixed. Carrey's drawing shows the base of the neck, which was broken off before the time of Lord Elgin. It has been recognised among the fragments on the Acropolis, and a cast of it is now adjusted to the marble. It is evident from this that the head of the goddess was turned towards her antagonist. _Mus. Marbles_, VI., pl. 16; Michaelis, pl. 8, fig. 13. [Sidenote: =304 M.=] The torso of Poseidon is made up of three parts. The fragment with the shoulders and upper part of the chest was removed by Lord Elgin; the fragment containing the remainder of the breast and the abdomen nearly to the navel has been since discovered, and the original is at Athens. Since this torso was engraved in the work of Michaelis (pl. 8, fig. 16), a small piece has been added to the lower part of the abdomen. It appears from Carrey's drawing that Poseidon was starting back in a direction contrary to that of Athenè, with the weight of his body thrown on the left knee, which is bent. Carrey's drawing shows the same portion of the right upper arm, which is preserved. It is raised with the shoulder and may have been extended in a nearly horizontal direction. The head in Carrey's drawing is slightly inclined over the right shoulder. At the back the upper part of the shoulders is roughly cut away; the chiselling does not appear to be ancient, but may have been done after the figure had fallen from the pediment. The upper part of this torso is remarkable for the grandeur of the lines. _Mus. Marbles_, VI., pl. 17; Lower part, Michaelis, pl. 8, fig. 16; Laborde, _Le Parthénon_. The two parts are combined, Overbeck, _Gr. Plast._, 3rd ed., I., p. 312, fig. 65; _Stereoscopic_, No. 101.