Behind the columns, however, high up on the outside of the temple wall they set a frieze or band of figures. It extended clear around the temple, representing a procession of people on their way to the great festival of the goddess Athene. The remains are now in the British Museum; but, doubtless, you have seen casts of portions of it, and will recall some in which young men are riding, the head of each horse overlapping the body of the one in front of it. There is here no longer an actual measured repetition, as in the case of the columns. The bodies are not separated by exact intervals, nor do they repeat the same forms. The youths differ, so do the horses, and the actions of the forms are dissimilar. And yet the arching of the horses’ necks, the prancing of the forelegs, and the bodies of the youths swaying to the movement of the horses are so arranged, that there is no break or interruption or confusion, but the whole _seems_ to flow up and down regularly. There are no actual, measured intervals or actual repetitions, yet the feeling of both is suggested. The arrangement of the forms is rhythmic, in that it _suggests_ rhythm. And the principle of this also the Greeks found in nature, as you may, if you watch the waves rolling shoreward.