The best preserved metopes of the Parthenon belong to the south side and represent scenes from the contest between Lapiths and Centaurs (cf. page 174).  These metopes differ markedly in style from one another, and must have been not only executed, but designed, by different hands.  One or two of them are spiritless and uninteresting.  Others, while fine in their way, show little vehemence of action.  Fig. 121 gives one of this class.  Fig. 122 is very different.  In this “the Lapith presses forward, advancing his left hand to seize the rearing Centaur by the throat, and forcing him on his haunches; the right arm of the Lapith is drawn back, as if to strike; his right hand, now wanting, probably held a sword. ....  The Centaur, rearing up, against his antagonist, tries in vain to pull away the left hand of the Lapith, which, in Carrey’s drawing [made in 1674] he grasps.” [Footnote:  A. H. Smith, “Catalogue of Sculpture in the British Museum,” page 136.] Observe how skilfully the design is adapted to the square field, so as to leave no unpleasant blank spaces, how flowing and free from monotony are the lines of the composition, how effective (in contrast with Fig. 121) is the management of the drapery, and, above all, what vigor is displayed in the attitudes.  Fig. 123 is of kindred character.  These two metopes and two others, one representing a victorious Centaur prancing in savage glee over the body of his prostrate foe, the other showing a Lapith about to strike a Centaur already wounded in the back, are among the very best works of Greek sculpture preserved to us.

The Parthenon frieze presents an idealized picture of the procession which wound its way upward from the market-place to the Acropolis on the occasion of Athena’s chief festival.  Fully to illustrate this extensive and varied composition is out of the question here.  All that is possible is to give three or four representative pieces and a few comments.  Fig. 124 shows the best preserved piece of the entire frieze.  It belongs to a company of divinities, seated to right and left of the central group of the east front, and conceived as spectators of the scene.  The figure at the left of the illustration is almost certainly Posidon, and the others are perhaps Apollo and Artemis.  In Fig. 125 three youths advance with measured step, carrying jars filled with wine, while a fourth youth stoops to lift his jar; at the extreme right may be seen part of a flute-player, whose figure was completed on the next slab.  The attitudes and draperies of the three advancing youths, though similar, are subtly varied.  So everywhere monotony is absent from the frieze.  Fig. 126 is taken from the most animated and crowded part of the design.  Here Athenian youths, in a great variety of dress and undress, dash forward on small, mettlesome horses.  Owing to the principle of isocephaly (cf. page 145), the mounted men are of smaller dimensions than those on foot, but the difference does not offend the eye.  In Fig. 127 we have, on a somewhat larger scale, the heads of four chariot-horses instinct with fiery life.  Fig. 132 may also be consulted.  An endless variety in attitude and spirit, from the calm of the ever-blessed gods to the most impetuous movement; grace and harmony of line; an almost faultless execution—­such are some of the qualities which make the Parthenon frieze the source of inexhaustible delight.