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:—­