example for this period of a type which has a long history She wears the Doric chiton, a sleeveless woolen garment girded and pulled over the girdle and doubled over from the top.  The formal, starched-looking folds of the archaic period have disappeared.  The cloth lies pretty flat over the chest and waist; there is a rather arbitrary little fold at the neck.  Below the girdle the drapery is divided vertically into two parts; on the one side it falls in straight folds to the ankle, on the other it is drawn smooth over the bent knee.

Another interesting fact about these sculptures is a certain tendency toward realism.  The figures and faces and attitudes of the Greeks, not to speak of the Centaurs, are not all entirely beautiful and noble.  This is illustrated by Fig. 109, a bald-headed man, rather fat.  Here is realism of a very mild type, to be sure, in comparison with what we are accustomed to nowadays; but the old men of the Parthenon frieze bear no disfiguring marks of age.  Again, in the face of the young Lapith whose arm is being bitten by a Centaur (Fig. 112), there is a marked attempt to express physical pain; the features are more distorted than in any other fifth century sculpture, except representations of Centaurs or other inferior creatures.  In the other heads of imperiled men and women in this pediment, e.g., in that of the bride (Fig. 111), the ideal calm of the features is overspread with only a faint shadow of distress.

Lest what has been said should suggest that the sculptors of the Olympia pediment-figures were indifferent to beauty, attention may be drawn again to the superb head of the Lapith bride.  Apollo, too (Fig. 110), though not that radiant god whom a later age conceived and bodied forth, has an austere beauty which only a dull eye can fail to appreciate.

The twelve sculptured metopes of the temple do not belong to the exterior frieze, whose metopes were plain, but to a second frieze, placed above the columns and antae of pronaos and opisthodomos.  Their subjects are the twelve labors of Heracles, beginning with the slaying of the Nemean lion and ending with the cleansing of the Augean stables.  The one selected for illustration is one of the two or three best preserved members of the series (Fig. 113).  Its subject is the winning of the golden apples which grew in the garden of the Hesperides, near the spot where Atlas stood, evermore supporting on his shoulders the weight of the heavens.  Heracles prevailed upon Atlas to go and fetch the coveted treasure, himself meanwhile assuming the burden.  The moment chosen by the sculptor is that of the return of Atlas with the apples.  In the middle stands Heracles, with a cushion, folded double, upon his shoulders, the sphere of the heavens being barely suggested at the top of the relief.  Behind him is his companion and protectress, Athena, once recognizable by a lance in her right hand. [Footnote:  Such at least seems to be the view adopted in the latest official publication