dversaries, like
pebbles. This battle was fought in the presence of divinities, who are
represented seated upon slabs (137-8-133-4.) This frieze was on the
most conspicuous part of the temple. The frieze that flanked the
building was sculptured with the exploits of Theseus; and here the
visitor will once more see the battle of the Centaurs and the Lapithae
illustrated (150-154). The Centaurs hurling huge stones, and wielding
the stems of trees; and the invulnerable Coeneus, half crushed by his
savage enemies, are again represented. The casts of three metopes
(155-157) are from the north side of the temple of Theseus. Upon the
first the hero is represented destroying the King of Thebes, Creon;
upon the second he is throwing Cercyon, King of Eleusis; and upon the
third he is overcoming the Crommyonian sow. "About this time,"
Plutarch tells us, "Crommyon was infested with a wild sow named Phoeae,
a fierce and formidable creature. This savage he attacked and killed,
going out of his way to engage her, and thus displaying an act of
voluntary valour: for he believed it equally became a brave man to
stand upon his defence against abandoned ruffians, and to seek out and
begin the combat with strong and savage animals. But some say that
Phoeae was an abandoned female robber, who dwelt in Crommyon; that she
had the name of 'sow' from her life and manners, and was afterwards
slain by Theseus."

A series of bas-reliefs from an Ionic temple, dedicated to the
Wingless Victory of Athens, are the next objects that command the
general visitor's attention. They are numbered from 158 to 161
successively. Upon these are represented battles between the Greeks
and Persians; and maidens leading a sacrificial bull. The fragments
marked successively from 165 to 175 are remarkable for the Greek
inscriptions on them, which cannot interest the general visitor. Let
the visitor, therefore, next pause before the fragment of a frieze in
green stone, marked 177, which is from the tomb of Agamemnon at
Mycenae. The sculptured scroll-work is of very remote antiquity. The
next fragment is a bas-relief, on which a bearded man is represented,
pressing a child towards him, and directing its attention to a votive
foot which he holds in his hand. Passing from this, the visitor may
next direct his attention to the fragment of a colossal statue
numbered 178. It belongs to one of the pediments of the Parthenon.
Hereabouts are various sepulchral urns and columns o