But on the other figures Pausanias is silent; and there were certainly two beautiful mountain or river nymphs at the extremities—lying figures, with a peculiar head-dress of a thick bandage wrapped all round the hair—which are among the most perfect of the figures recovered. It seems also certain that Pirithous must have been somewhere on the pediment; and this would suggest another figure to correspond to him at the other side, for these groups were always symmetrical. In this case Pausanias has omitted four figures at least in his description, and seems to have besides mistaken the largest and most important of all. The Germans cite in proof of these strictures his passing remark on the Metopes, representing the labors of Herakles, on one of which was (he says) Herakles about to relieve Atlas, whereas this slab, which has been found, really represents Herakles carrying the globe, and one of the Hesperidæ assisting him, while Atlas is bringing to him the apple. This criticism will seem to most ordinary people too minute, and I am rather disposed to think well of Pausanias as an intelligent traveller, though he, of course, made some mistakes. But since the above words were written sufficient time has elapsed not only to bring the excavations to an end, but to study more carefully the recovered fragments, and offer a calmer judgment as to their merits. On the whole, the strong feeling of the best critics has been one of disappointment. The design of both pediments still seems to me masterly, especially that of Alkamenes, but there can be no doubt that the execution is far below that of the Parthenon marbles. There are some positive faults—inability to reproduce drapery (while the nude parts are very true to nature), and great want of care in other details. It must be urged in answer that the pediments were meant to be seen about forty feet from the ground, and that the painting of the figures must have brought out the features of the drapery neglected in the carving. However true this may be, we can answer at once that the workmen of Phidias did not produce this kind of work. The first quality of the Attic school was that conscientiousness in detail which meets us in every great age of art.