been lately discovered by Mr. Wood, there is
every reason to believe were contributed by Praxiteles and Scopas. The
drum of a column, with figures in bas-relief from this temple, has
been lately added to the British Museum.

The beautiful figure of a Bacchante in bas-relief in the British
Museum is generally referred to Scopas.

The following are some of the more particular characteristics of the
human form, adopted by the Grecian sculptors of this age:

In the profile, the forehead and lips touch a perpendicular line drawn
between them. In young persons, the brow and nose nearly form a
straight line, which gives an expression of grandeur and delicacy to
the face. The forehead was low, the eyes large, but not prominent. A
depth was given to the eye to give to the eyebrow a finer arch, and,
by a deeper shadow, a bolder relief. To the eyes a living play of
light was communicated by a sharp projection of the upper eyelid, and
a deep depression of the pupil. The eye was so differently shaped in
the heads of divinities and ideal heads that it is itself a
characteristic by which they can be distinguished. In Jupiter, Apollo,
and Juno the opening of the eye is large, and roundly arched; it has
also less length than usual, that the curve which it makes may be more
spherical. Pallas likewise has large eyes, but the upper lid falls
over them more than in the three divinities just mentioned, for the
purpose of giving her a modest maiden look. Small eyes were reserved
for Venuses and voluptuous beauties, which gave them a languishing
air. The upper lip was short, the lower lip fuller than the upper, as
this tended to give a roundness to the chin; the short upper lip, and
the round and grandly-formed chin, being the most essential signs of
genuine Greek formation. The lips were generally closed; they slightly
open in the statues of the gods, especially in the case of Venus, but
the teeth were never seen. The ear was carefully modeled and finished.
The beauty, and especially the execution of them, is, according to
Winkelman, the surest sign by which to discriminate the antique from
additions and restorations. The hair was curly, abundant, and disposed
in floating locks, and executed with the utmost imaginable care; in
females it was tied in a knot behind the head. The frontal hair was
represented as growing in a curve over the temples in order to give
the face an oval shape. The face was always oval, and a cross drawn in
the oval