the seventh and sixth centuries, B. ¢., belong the Apollo from 
Tenea, the Archer, the Fighting Warrior, and the fragment 
of a bas-relief, Figure Mounting a Chariot. This was the 
period during which the sculptor by slow degrees perfected 
his art, securing first a greater degree of truth and realism, 
and later combining with these the supreme qualities of 
grace and distinction. The period of sculpture which is most 
completely represented is the period when the master 
sculptor, Phidias, was working in Greece. In the sculptured 
figures from the eastern pediment of the Parthenon, broken 
and fragmentary as they are, one sees the very perfection 
of the sculptor’s art. Russell Sturgis said, “There is no 
sculpture in the world finer than this. Nude forms and 
drapery alike are the models of all perfection.” These 
figures are installed on a long pedestal at one side of the hall. 
The Aphrodite of Melos, and the Giustiniani Athena, 
which stand at either end of the central part of the hall, are 
axamples of Greek art of the fourth century B. c. 
In the Roman period, sculpture lost some of the wonder- 
ful charm of grace and beauty which characterizes Greek 
sculpture of the fifth and fourth centuries B. c., but it still 
retained great power and nobility. To this period belong 
the two statues of Augustus. 
Adjoining the Hall of Sculpture is the Hall of Archi- 
tecture. The impressive character of this hall will be felt 
by everyone who sees it. Here, in the presence of the great 
cast of the Facade of the Abbey Church of St. Gilles, one is 
impressed by the dignity and beauty of Romanesque archi- 
tecture. So exactly does the clay-colored cast reproduce 
the stones and sculptures of the original that one seems to 
stand before the old French church itself. The three great 
doorways, with their round arches and sculptured decorations 
are beautiful in proportion and in design. 
The other casts of doorways, columns, and monuments 
which are installed in the central part of the hall are so 
arranged as to give an impression of imposing dignity. To 
the right of the center of the hall are two Greek portals, and 
between them is the beautiful Greek monument of Lysicrates, 
mounted on its high base. On the right of the entrance is a 
tall Greek column with its capital and entablature. and on