The same remarks apply to the metopes and the frieze. It is evident that all these works are of the same period; but in style, design, and execution they differ from each other, as the works of various men in the same school might be expected to differ. In grouping, composition, treatment, and character of workmanship, the metopes are of quite another class from the Panathenaic Procession of the frieze. Compared with each other, the metopes are rounder and feebler in form, tamer and more labored in treatment, and they want not only the spirit and freedom of design of the figures in the frieze, but also their flat, decisive, and squared execution. The frieze is very rich, varied, and light in composition, while the metopes are comparatively monotonous and heavy. Nor do the metopes differ more from the frieze than the figures in the pediment do from both the frieze and the metopes. While in execution the pediment sculpture is more flat and squared in style than the metopes, it differs from the frieze in the treatment of the draperies and in the proportions and character of the figures. As a design, the figures on the pediment are disconnected, while those of the frieze are interwoven with remarkable skill. Again, not only do these three classes, as classes, differ from each other, but in each class there are very decided inequalities and diversities of style and workmanship between one part and another,—showing plainly that they have been executed by various hands, some of more and some of less skill. But the treatment of all is purely decorative, as it properly should be. All of these sculptures were subordinated to the temple which they decorated, and they were executed, not for near and minute examination, but to produce a calculated effect in the position they were to occupy. Fineness of workmanship, delicacy and refinement of detail, would have been out of place and unnecessary, and evidently were not attempted. This, however, was not the style of Phidias, who, as we have seen, even in the colossal statues of Zeus and Athena, elaborated to the utmost, with almost excessive labor, not only the figures themselves, but also the least of the accessories. It was in his nature to do this. He wished to leave the impress of all his arts upon these splendid works; and he wrought upon them, not only as a sculptor in the large sense of the word, but as a goldsmith, as an engraver, a damascener, an embosser. Nothing was too rich, nothing too large, nothing too small for him. He enjoyed it all—the minute detail as well as the colossal mass. It was this peculiarity of his nature that led him to select, and almost to create, the chryselephantine school of art. He had been a painter in his youth, and his eye craved color. The coldness of marble did not satisfy him and he rejected it, not only for this reason, but because as a material it did not lend itself to the art of the engraver and the goldsmith. Before his time