The subject of these sculptures has been familiarised to the visitor
in the Phigaleian marbles. Here, again, is the war of the Athenians,
on behalf of the Lapithae, with the Centaurs, the sculptor's subject.
On entering the room, the visitor will notice various numbers on each
marble: THE RED NUMBERS are those to which we refer throughout.
The first metope to which the visitor will, in natural order, direct
his attention, is that marked 1. Here an Athenian has his knee upon
the back of a Centaur and one arm round his neck, while the other
(which is broken off) was evidently represented raised to strike a
fatal blow into the Centaur's body. The second metope (2) also
represents an Athenian subduing a Centaur. This group is much injured,
the head of the Athenian and that of the Centaur being missing; but
the Athenian has his knee firmly planted upon his brutal enemy's hind
quarters, and his arm (strongly developed) was evidently firmly
clutching the Centaur's hair. The third metope (3) shows an Athenian
under very disadvantageous circumstances. Here a Centaur is about to
deal a tremendous blow with a wine vessel at the head of his crouching
enemy, who is endeavouring to ward off its effects with his ample
shield. The heads of these figures are casts from the originals, which
are in the Royal Museum at Copenhagen. The fourth metope (4) has been
so mutilated that the figure of the Athenian, which was once upon it,
is wholly effaced, and the Centaur has the head, part of two legs, and
both arms, wanting. Originally the Centaur was holding an Athenian by
his hair. The fifth metope (5) is also much mutilated; but here both
figures were evidently represented mutually confident of victory. A
vigorous action is represented upon the sixth metope (6), where an
Athenian is seizing a Centaur by the throat, while, with the right
hand, he is prepared to deal a fatal stroke. The seventh metope (7) is
much mutilated; but the figure of an Athenian thrown, and a Centaur
trampling upon him, are clearly discernible. There is fine action in
the eighth metope (8), where the Centaur has seized his adversary by
the foot, and is hurling him backwards to the earth. Under the
Athenian the visitor will notice a circular drinking vessel,
indicative of the revel at which the cause of quarrel originated. The
next metope (9) (or rather a cast from the metope in the Louvre at
Paris) represents a Centaur in the act of seizing a female, who is
resisting him: both heads are wanted. The drapery about the female is
beautifully executed. Matters have arrived at a desperate pitch with
the combatants represented on the tenth metope (10), where the
Centaur, with starting eyes and uplifted arms, is about to strike a
determined Athenian, who has planted his foot against the Centaur's
breast, and is determined to do his work. The next metope (11) is a
fine specimen of sculpture. Here an Athenian has seized a Centaur by
the jaw, from behind. The drapery that falls from the fine form of the
Greek is exquisitely folded, and the figure itself is finished with
masterly skill. A victorious Centaur holding forth a mantle of lion's
skin, is the central figure of the next metope (12). Below lies the
dead body of an Athenian: all the muscles marked and rigid. It is
supposed that the following metope (13) represents the Centaur
Eurytion carrying off Hippodamia. The drapery of the female figure is
exquisite. The fourteenth metope (14) represents an Athenian thrown by
a Centaur. The Athenian, however, is not idle, having buried a weapon
in the left side of his adversary, and attempting to seize a stone
with his left hand. The fifteenth metope (15) represents a Centaur
holding an Athenian; while the Athenian has revenged himself by
planting that decisive kind of blow known in pugilistic circles as "a
bruiser" upon the Centaur's cheek. This metope is more angular in
execution than the other metopes; and was probably executed, under the
guidance of Phidias, by one of the old school of Greek sculptors. The
last, or sixteenth metope (16), is supposed to have been executed by
the same inferior hand as that employed upon the fifteenth. Here the
contest between the Centaur and the Athenian is undecided. Metope 16c
has been recently discovered at Athens.
Having fully examined these fine specimens of Greek sculpture, the
visitor may at once turn to other parts of the great temple, examining
now and then, to guide his impressions, the restored model which
stands near the south-east corner of the room. His business is now
with the frieze that ran round the building behind the columns, and
upon which a series of bas-reliefs were sculptured; of which Sir Henry
Ellis gives the following clear outline:--