ry 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 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 a