The Panathenaic procession is the subject carried the entire length of this bas-relief decoration. On the portion running across one end were depicted the scenes of preparation. Men are in the act of mounting their horses, some having spirited animals to deal with, and all making ready for the start. At the opposite end is the scene of the arrival at the temple. Here sit the gods to receive the sacrifice, while the magistrates stand ready to perform the rites, and maidens approach with the vessels. On the two long sides the procession is seen actually in motion. Here are represented all the figures which took part in such occasions; old men and maidens, musicians, horsemen, charioteers, and sacrificial animals, all moving forward on their way. Group follows group, with that contrast and variety which give interest to a pageant, and with the proper orderliness to give it unity. Our panel shows us a line of horsemen riding four abreast. Though it is broken and defaced, we catch at once the spirit of the work. The horses are splendid animals; with dilated nostrils, and necks proudly arched, they seem to prance to the music of the flutes. Though they are well matched in size and type, no two are really alike. Every one has as distinct a character as a human being, and lovers of horses might choose each his own favorite from the four. Only two of the riders fall within our range of vision. They are handsome youths, with the perfectly formed head and finely cut profile which we learn to recognize as the Greek ideal of beauty. The line across forehead and nose is perfectly straight, and the line connecting nose and chin forms a corresponding angle. Both faces bear the stamp of refinement and high breeding which mark them as belonging to the class of Athenian nobles. Though the two youths have so similar a cast of countenance, they are quite unlike in temperament. The farther one is of a somewhat dreamy, poetic nature. He rides with bent head as if in a reverie. His companion is of a sterner, more virile type. He looks straight before him, and carries his head with a sense of the dignity of the occasion. Both youths sit their horses as if born in the saddle. Horse and rider are one, animated by a single dominant will. The Athenian youth were trained from childhood in all sorts of manly exercise. The normal development of the body was of first importance in the Greek educational system. These young men are typical examples of the fine specimens of manhood which that training produced. IV BUST OF HERA (JUNO) "The white armed queen, Juno, the mistress of the golden throne."