to the son of Alcmene, who was
contemporaneous with Theseus, and consequently posterior also to
Minerva. Now the mythology of Cephalus is not only in unison with
Pausanias, but the admission of that person would in no degree affect
the harmony of the Attic types, or principles of Athenian worship.
Cephalus was as celebrated for heroic virtues as for his beauty."

The fragment numbered 91 is part of a figure of Hyperion rising out of
the sea. It marked that angle of the pediment to the left of the
spectator, and the arms are stretched forward urging his coursers.
Near him are, alas, only the heads of two of his horses (92). The next
group that presents itself for notice is that of two sitting figures
(94), the one to the left leaning on the right shoulder of the other.
This is a wreck of a group that represented Ceres and her daughter
Proserpine on the pediment. Next in succession is a figure full of
action (95): this is Iris, the messenger of the gods, but the
particular property of Juno, on her way to carry to remote parts the
interesting intelligence of the birth of Minerva. A torso of Victory
is placed next in order of succession (96). The figure is now
wingless, but holes can be seen which once attached them to the
statue. Three Fates, beautifully draped (97), and a head of one of the
horses (98) of the chariot of Night which occupied the angle of the
pediment on the spectator's right, complete the recovered fragments of
the eastern pediment.

Hence the visitor should turn to the fragments from the

WESTERN PEDIMENT.

The subject illustrated on the western pediment was the contest
between Minerva and Neptune for the honour of giving a name to Athens.
The relics of these sculptures will now engage the visitor's
attention. Undoubtedly the first object that will attract his notice
will be that numbered 99. This recumbent figure has a noble presence
even now, headless and otherwise mutilated as it is. Canova stood
undecided between this figure and that of Theseus (or Cephalus,
according to Mr. Westmacott) as to which was pre-eminently beautiful.
The figure before which the visitor now stands is generally received
as the statue of Ilissus, who was the Athenian god of the river
Ilissus, which watered the southern side of the Athenian plain. Others
have declared it to be Theseus reposing after his herculean labours,
and contemplating the contest between the two deities. Having fully
examined this fine sculpture, the v