“Such was the simple construction of this magnificent building, which, by the united excellencies of materials, design, and decorations, was the most perfect ever executed.  Its dimensions of two hundred and twenty-eight feet by a hundred and two, with a height of sixty-six feet to the top of the pediment, were sufficiently great to give an impression of grandeur and sublimity, which was not disturbed by any obtrusive subdivision of parts, such as is found to diminish the effects of some larger modern buildings, where the same singleness of design is not observed.  In the Parthenon, whether viewed at a small or at a great distance, there was nothing to divert the spectator’s contemplation from the simplicity and majesty of mass and outline, which forms the first and most remarkable object of admiration in a Greek temple; and it was not until the eye was satiated with the contemplation of the entire edifice, that the spectator was tempted to examine the decorations with which this building was so profusely adorned; for the statues of the pediments, the only decoration which was very conspicuous by its magnitude and position, being enclosed within frames, which formed an essential part of the design of either front, had no more obtrusive effect than an ornamented capital to a single column.”

Bearing this outline of the building in mind, the visitor may at once proceed to examine the ruins of this fine monument of ancient genius, which are deposited in the Elgin Saloon of our National Museum.  First, he may notice those alto-relievos, known as the

Metopes[9] of the Parthenon.

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