In the east room of the Parthenon at the west end of the south corridor is the head of one of Selene’s steeds, considered by many as the finest example of a horse’s head in the world. Just beyond, through the door at the end of the corridor, is seen in the west room the figure of Heracles. It is interesting to note that in the report of the artists who passed on the value of the Elgin marbles a statement was incorporated to the effect that the back muscles of the Heracles represented the finest example of physiological art known to the world of that day. Another most interesting group of sculptures, the three Fates, is seen near by in the west end of the east room. This group, thought to be the work of Phidias, is generally regarded as one of the most beautiful examples of sculptural art existing today. The casts of the Elgin marbles in the Parthenon at Nashville, which were made by the British Government, were not obtained primarily as an exhibit but as a study for the reproduction of those sculptures now on the building. However, it was not thought inappropriate to mount the fragments and use them as an exhibit so as to permit visitors to compare the completed figures with them. The comparison can only cover approximately half the figures on the pediments as the remainder have been lost beyond recovery. Quite naturally, the question arises in the mind of the reader as to how it was possible for the artists to reproduce all of them. In 1674, just thirteen years before the explosion which destroyed the Parthenon, young Jacques Carrey, a French artist attached to the French embassay to Turkey, on a voyage from Paris to Constantinople with the ambassador stopped off at Athens and sketched the temple sculptures. These sketches are preserved in the National Library at Paris and were made available for the artists. From a study of the Elgin marbles and the Carrey drawings, supplemented by further study of Greek contemporary art and Greek history, the artists at Nashville succeeded in making a wonderful reproduction of the Parthenon’s sculptures. [Illustration: Figures from the Ionic Frieze] The Ionic and Doric Friezes The inner or Ionic frieze, sometimes erroneously called _the_ frieze, was one of the most beautiful of the groups of sculptures on the original Parthenon. It was almost unknown to distinctly Doric temples and owes its place on the Parthenon to some one or more Ionic temples from which the idea was without doubt copied. In the Ionic frieze is found most of the atmosphere of ancient Assyria that is associated with the Parthenon. This frieze was low in relief, forty inches in height; and of necessity the figures of the men and women and animals which went to make up the frieze were small, typical of the Assyrian bas-relief.