exquisitely graceful torso of Victory untying her sandals, of which
casts are to be seen in most of the museums of Europe.]

[Footnote B: Among the figures of this bas-relief, twelve are
recognized by their lofty stature and sitting posture as those of
divinities. One group is represented in the engraving.]

[Illustration: VICTORY UNTYING HER SANDALS.]

[Illustration: TEMPLE OF VICTORY]

[Illustration: THE PARTHENON.]

Still, as these were strictly decorations, and wholly subordinate to
the organic parts of the structure, their presence, while it would
doubtless greatly enhance the effect of the whole, is not felt to be
essential to its completeness. The whole Doric columns still bear
the massive entablature sheltered by the covering roof. The simple
greatness of the conception, the just proportion of the several parts,
together with the elaborate finishing of the whole work, invest it
with a charm such as the works of man seldom possess--the pure and
lasting pleasure which flows from apparent perfection Entering the
principal apartment of the building, traces are seen of the stucco and
pictures with which the walls were covered when it was fitted up as
a Christian church in the Byzantine period. Near the centre of the
marble pavement is a rectangular space laid with dark stone from the
Peirseus or from Eleusis. It marks the probable site of the colossal
precious statue of the goddess in gold and ivory--one of the most
celebrated works of Phidias. The smaller apartment beyond, accessible
only from the opposite front of the temple, was used by the state as