Before parting from their company we must not fail to look at two fragmentary figures (Figs. 94, 95), the most advanced in style of the whole series and doubtless executed shortly before 480.  In the former, presumably the earlier of the two, the marvelous arrangement of the hair over the forehead survives and the eyeballs still protrude unpleasantly.  But the mouth has lost the conventional smile and the modeling of the face is of great beauty.  In the other, alone of the series, the hair presents a fairly natural appearance, the eyeballs lie at their proper depth, and the beautiful curve of the neck is not masked by the locks that fall upon the breasts.  In this head, too, the mouth actually droops at the corners, giving a perhaps unintended look of seriousness to the face.  The ear, though set rather high, is exquisitely shaped.

Still more lovely than this lady is the youth’s head shown in Fig. 96.  Fate has robbed us of the body to which it belonged, but the head itself is in an excellent state of preservation.  The face is one of singular purity and sweetness.  The hair, once of a golden tint, is long behind and is gathered into two braids, which start from just behind the ears, cross one another, and are fastened together in front; the short front hair is combed forward and conceals the ends of the braids; and there is a mysterious puff in front of each ear.  In the whole work, so far at least as appears in a profile view, there is nothing to mar our pleasure.  The sculptor’s hand has responded cunningly to his beautiful thought.

It is a pity not to be able to illustrate another group of Attic sculptures of the late archaic period, the most recent addition to our store.  The metopes of the Treasury of the Athenians at Delphi, discovered during the excavations now in progress, are of extraordinary interest and importance; but only two or three of them have yet been published, and these in a form not suited for reproduction.  The same is the case with another of the recent finds at Delphi, the sculptured frieze of the Treasury of the Cnidians, already famous among professional students and destined to be known and admired by a wider public.  Here, however, it is possible to submit a single fragment, which was found years ago (Fig. 97).  It represents a four-horse chariot approaching an altar.  The newly found pieces of this frieze have abundant remains of color.  The work probably belongs in the last quarter of the sixth century.

The pediment-figures from Aegina, the chief treasure of the Munich collection of ancient sculpture, were found in 1811 by a party of scientific explorers and were restored in Italy under the superintendence of the Danish sculptor, Thorwaldsen.  Until lately these AEginetan figures were our only important group of late archaic Greek sculptures; and, though that is no longer the case, they still retain, and will always retain, an especial interest and significance.  They once filled the pediments of a Doric temple of