It is evident that in such enduring ornaments as those of the Greeks, provision must have been made for repaintings; and, therefore, on their moulded surfaces they took care to leave an enduring mark of the pattern, more especially as these mouldings were in positions most difficult of access; whilst on the broader surfaces this labour in the beginning would not be necessary, as the ornaments may have been readily repainted without it. In the three centre bays we have attempted a still higher key of colour. The ornaments of the coffers are suggested by No. 2, from the coffers of the Propylaea. MOULDINGS ENCLOSING THE PANATHENAIC FRIEZE. The enrichment A, and the fret B and C, are published by Mr. Penrose; A, coloured exactly as I have shown it, and B and C with the fret only in gold, of which he imagines the pattern now on their surfaces may have been the trace. [Illustration: Architrave Band, as published by Mr. Penrose.] The principle of colouring on the moulding A helps to the colouring of the frets B and C, which, placed in the original 40 feet from the ground, would have been invisible in gold alone or any other tint. THE PANATHENAIC FRIEZE. I have placed in the gallery behind the Greek and Roman Courts, casts from the Elgin frieze of the British Museum,[4] for the express purpose of showing how it might possibly have been coloured. Footnote 4: The casts obtained from the British Museum were first fixed in their place; the missing portions were then supplied, by inserting casts of portions of the frieze found perfect in other parts of it. Thus, when a head, hand, or foot was wanting, a cast was taken of a head, hand, or foot, where found perfect, and then inserted. So that this frieze, although not an absolute reproduction of the original, is as nearly as possible all Greek. This restoration was confided to Mr. Raffaelle Monti, assisted by Franz Mitterlöchner and Andreas Grass. [Illustration] That it was coloured in some manner or other there can be no manner of doubt, and we think that any unprejudiced person who will examine the portion of the frieze in white at the end of gallery, with the known painted ornament above and below it, will at once admit this. There are other considerations which would lead one to imagine it destined to receive colour, even had no traces of colour been found on the architecture above and around it. As there are still many who believe, and will believe against all evidence, that this frieze never was painted, I must bring forward some arguments which appear to me so strong as to render the idea of its colourless state impossible.