Making our way through the opening in the back, opposite the Nave, we enter a covered atrium, commonly attached to the portion of the agora here reproduced. The massive _antæ_, or square pillars, and the panelled ceiling--the form of the latter adapted from the Temple of Apollo at Bassæ in Arcadia--give the visitor another specimen of Greek architecture. We proceed, to the right, down this atrium, occasionally stepping out to examine the sculpture arranged in the gallery, and the restored and coloured frieze of the Parthenon of Athens, which extends its length along the wall. The coloured portion has been executed under the direction of Mr. Owen Jones, the golden hair being founded on authentic examples which still exist on analogous remains of ancient Greek art.[7] The tints on the different figures are put forth rather as suggestions than restorations. We really know nothing certain of the manner in which these celebrated relievos were coloured. Acknowledging this fact, Mr. Jones, in thus boldly supplying pigment, has proceeded upon the known principle of the Greeks--using the tints so as to enhance the effect of the sculpture. This frieze represents the Panathenaic procession to the temple of Athene Polias, which formed part of the display at this greatest of the Athenian festivals, and took place every fourth year. Dividing the frieze, is one of the most interesting objects in the Crystal Palace, a model of the western front of the Parthenon itself, about one-fourth the size of the original structure. This is the largest model that has ever been constructed of this beautiful temple, and possesses the great charm of a veritable copy. The scale is sufficiently large to give a complete idea of the original. This admirable model is due to the intelligent and successful researches prosecuted in Athens by Mr. Penrose, whose labours have thrown so much new light upon the refinements practised by the Greeks in architecture. Mr. Penrose has himself directed the construction of the model. In this gallery are ranged statues and groups, including the celebrated Niobe group, from Florence (187 to 187 L, inclusive). This subject of the punishment of Niobe’s family by the gods was frequently treated by Greek artists; and certainly the group before us is one of the most beautiful examples of Greek sculptural art. It is supposed that the portion of the group at Florence occupied the pediment of the temple of Apollo Sosianus at Rome. The Niobe group belongs to one of the brightest periods. Casts from those most beautiful and wonderful remains of ancient art, the colossal figures from the pediment of the Parthenon at Athens, are also here (185 to 186 B). The originals, brought over to England by Lord Elgin in 1801-2, are in the British Museum, and the nation is indebted for the acquisition to the painter Haydon, who was the first British artist to recognise the value, and appreciate the beauty, of these