The arrangement of the procession is shown in Figs. 3 and 4 (pp. 174, 175). In Fig. 3 we see the procession as it were in real life, just as it is about to enter the temple and the presence of the Twelve Gods. These gods are shaded black because in reality invisible. Fig. 4 is a diagram showing the position of the various parts of the procession in the sculptural frieze. At the west end of the temple the procession begins to form: the youths of Athens are mounting their horses. It divides, as it needs must, into two halves, one sculptured on the north, one on the south side of the _cella_. After the throng of the cavalry getting denser and denser we come to the chariots, next the sacrificial animals, sheep and restive cows, then the instruments of sacrifice, flutes and lyres and baskets and trays for offerings; men who carry blossoming olive-boughs; maidens with water-vessels and drinking-cups. The whole tumult of the gathering is marshalled and at last met and, as it were, held in check, by a band of magistrates who face the procession just as it enters the presence of the twelve seated gods, at the east end. The whole body politic of the gods has come down to feast with the whole body politic of Athens and her allies, of whom these gods are but the projection and reflection. The gods are there together because man is collectively assembled. The great procession culminates in a sacrifice and a communal feast, a sacramental feast like that on the flesh of the holy Bull at Magnesia. The Panathenaia was a high festival including rites and ceremonies of diverse dates, an armed dance of immemorial antiquity that may have dated from the days when Athens was subject to Crete, and a recitation ordered by Peisistratos of the poems of Homer. * * * * *