But what of the cases where the human form is repeated in a series, and does not vary? Examples of this are rare, but they do occur, and are interesting, since they throw light on what has been already said. In the whole collection of photographs only two were found where a series of identical statues of the human form occurred,--_The Porch of the Maidens_ in the Erectheum of Athens, and the _Baths of the Forum_ in Pompeii. In the former case the left knee of the caryatids on the right of the centre, and the right knee of those on the left of it, are raised a little; but aside from this slight variation the six statues are exactly alike. In the latter case a row of titans all around the interior bear the ceiling on their uplifted forearms and are all alike. These two examples are very perfect of their kind, and, far from offending us, are very satisfactory. The reason is obvious. In both cases the statues are not the æsthetic end in themselves, but are there for a purpose, namely, that of a support. They are not ends but means to something else, and as soon as we feel _that_ in regard to any work which would otherwise be of individual significance, it ceases to be individual, or to demand a peculiar expression different from all others, but may be duplicated without offence. Therefore, since the support of the superstructure obviously is dependent on the maidens in the one case and on the giants in the other, and since instead of existing simply for their own value they are there to hold up the roof, their artistic significance changes at once from _ends_ to _means_, and variation is not required. Moreover, it will be found in the majority of cases that we demand this invariability in actual supports. Although we find but these two cases where caryatids are actually identical, we find also that in most cases the caryatids do not really uphold the weight, but a pillar or pier behind them supplies the real architectural support, and, that although they have a place in front of the pillar and give an apparent assistance in bearing the weight of the roof, yet the eye is not deceived. We see that the work is really done by the pillar behind them, so they that resume their place as artistic ends demanding variation, and not as means to something else. The following examples were found: _Milan. Arca di S. Pietro Martire._ Pillars uphold the arch while four statues of women stand just in front. The pillars bear the weight although the statues add strength to the whole. The statues are varied. _Dijon. House of Caryatids._ Piers behind the caryatids give real supports to the roof, while the figures added for decoration are all varied.