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The narrative of the frieze begins at the southwest corner where the procession appears to divide into two separate files. The first third of the west frieze is not part of the procession but instead seems to be the preparatory stages for the participants. The first figure here is a marshal dressing, W30, followed by several men preparing the horses W28–23 until figure W22 who, it has been suggested, may be engaged in the dokimasia, the tryout or enrollment of the knights. W24 is an ambiguous figure who might be either the protesting owner of a rejected horse or a keryx (herald) whose hand held part of an otherwise lost salpinx (trumpet), but either way this point marks the beginning of the procession proper.
The following ranks W21–1 along with N75–136 and S1–61 are all of horsemen and constitute 46% of the whole frieze. They are divided into two lines of ten ranks – the same number of the Attic tribes. All are beardless youths with the exception of two, W8 and W15, who along with S2–7 wear Thracian dress of fur cap, a patterned cloak and high boots; these have been identified by Martin Robertson as hipparchs. Next are the four-horse chariots, each with charioteer and armed passenger, there are ten on the south frieze and eleven on the north. Since these passengers are sometimes depicted as dismounting they may be taken to represent the apobatai, participants in the ceremonial race found in Attica and Boeotia.
By N42 and S89 the equestrian parade is at an end, and the following 16 figures on the north and 18 on the south are taken to be the elders of Athens judging by their braided hair, an attribute of distinguished age in Classical art. Four of these figures raise their right hand in a clenched fist gesture suggestive of a pose associated with the thallophoroi and four aulos (flute) players. N16–19 and S115–118 (conjectured) are the hydriaphoroi, the water-vessel carriers, here men rather than metic girls mentioned in the literature on the Panathenaia. N13–15, S119–121 are the skaphephoroi, the tray bearers of the honeycombs and cakes used to entice the sacrificial animals to the altar. N1–12, S122–149 are the ten cows on the north and four cows and four sheep on the south meant for sacrifice on the acropolis, presumably an abbreviated form of the hecatomb usually offered on this occasion – there is an a-b-a rhythm of placid and restive cows. (olive branch bearers) who were older men chosen for their good looks in competition. No drill holes, however, exist for any branch to be inserted in their hands. Next in line (S107–114, N20–28) are the musicians: four kithara (a variant of the lyre)
As the files converge on the east frieze we encounter the first women celebrants E2–27, E50–51, E53–63. They carry the sacrificial instruments and paraphernalia including the phiale (phial or jug), oinochoai (wine jars), thymiaterion (incense burner), and in the case of E50–51 they have evidently just handed the marshal E49 a kanoun, making the girl the kanephoros. The next groups E18–23, E43–46, are problematic. Six on the left and four on the right, if one does not count two other figures who may or may not be marshals, then this group might be taken to be the ten eponymous heroes who gave their names to the ten tribes. Their proximity to the gods indicates their importance, but selecting differently then nine of them may be the archons of the polis or athlothetai officials who managed the procession; there is insufficient iconographic evidence to determine which interpretation is correct. The twelve seated gods are taken to be the Olympians, they are one third taller than any other figure on the frieze and are arranged in two groups of six on diphroi (backless) stools with the exception of Zeus who is enthroned. Their backs are turned to what must be the culminating event of the procession E31–35; five figures (three children and two adults, and though badly corroded the two children on the left are probably girls) the girls bear objects on their heads while a third, probably a boy, assists an adult who may be the archon basileus, in folding a piece of cloth. This is usually understood to be the presentation of Athena’s peplos, perhaps by the arrhephoroi.
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