DOI Page / Citation link:
https://doi.org/10.11588/diglit.14134#0013
horses' heads, two of which still remain in position on
the temple, sketched in very .low relief on the back of the
pediment. The two other horses' heads are sculptured in
the round out of one block of marble. The necks are
represented emerging from the waves, the profile of which
is sculptured in relief on the side of the plinth. The head of
the horse nearest the eye (B) looks outwards, and has pro-
jected beyond the plane of the pedimental cornice, so that
it must have caught the light. The action of this horse's
head is most spirited, though its effect is greatly impaired
by the loss of the lower jaw, and the injury which the
surface of the marble has received from exposure to the
weather. The reins were of metal, and the points of
their attachment are marked by three dowel holes in the
plinth, a fourth behind the right ear, and a fifth inside
the mouth. The head of the other horse on this block
(C), which was advanced beyond the outside head, so as
to be visible from below, is nearly destroyed ; only the
neck and back of the head remain. (Mus. Marbles, vi.,
pi. 2 ; Harrison, No. 693 ; Caldesi, No. 3.)
Thus far the interpretation of the Eastern composition
rests upon sure grounds. Of the remaining figures two
(Gr and J) have been very generally recognised as Iris
and Nike (Victory), but none of the rest have been
satisfactorily identified, though much ingenuity and
learning have been shown in conjectural attributions.
The various schemes of interpretation which are exhibited
in the accompanying table (Table A) may be divided into
two classes. We may either suppose that the whole
pedimental space bounded by the chariots of Night and
Day represents Olympos, in which case all the figures
contained within this space must have been deities present
at the Birth; or interpreting Night and Day in their
larger sense as Kosmic symbols, we may assume that the
deities actually present at the Birth were all comprised in
the temple, sketched in very .low relief on the back of the
pediment. The two other horses' heads are sculptured in
the round out of one block of marble. The necks are
represented emerging from the waves, the profile of which
is sculptured in relief on the side of the plinth. The head of
the horse nearest the eye (B) looks outwards, and has pro-
jected beyond the plane of the pedimental cornice, so that
it must have caught the light. The action of this horse's
head is most spirited, though its effect is greatly impaired
by the loss of the lower jaw, and the injury which the
surface of the marble has received from exposure to the
weather. The reins were of metal, and the points of
their attachment are marked by three dowel holes in the
plinth, a fourth behind the right ear, and a fifth inside
the mouth. The head of the other horse on this block
(C), which was advanced beyond the outside head, so as
to be visible from below, is nearly destroyed ; only the
neck and back of the head remain. (Mus. Marbles, vi.,
pi. 2 ; Harrison, No. 693 ; Caldesi, No. 3.)
Thus far the interpretation of the Eastern composition
rests upon sure grounds. Of the remaining figures two
(Gr and J) have been very generally recognised as Iris
and Nike (Victory), but none of the rest have been
satisfactorily identified, though much ingenuity and
learning have been shown in conjectural attributions.
The various schemes of interpretation which are exhibited
in the accompanying table (Table A) may be divided into
two classes. We may either suppose that the whole
pedimental space bounded by the chariots of Night and
Day represents Olympos, in which case all the figures
contained within this space must have been deities present
at the Birth; or interpreting Night and Day in their
larger sense as Kosmic symbols, we may assume that the
deities actually present at the Birth were all comprised in