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:-- THE FRIEZE OF THE PARTHENON. "One of the richest objects with which Phidias embellished the outside of the temple of the Parthenon, was, without doubt, that uninterrupted series of bas-reliefs which occupied the upper part of the walls within the colonnade, at the height of the frieze of the Pronaos, and which was continued entirely round the building. The situation afforded to the work only a secondary light, and, so far, prescribed to Phidias the manner in which he was to direct the execution of the figures. "From the position intended for it, it was evident that the direct rays of the sun could never reach the Panathenaic frieze. Being placed immediately below the soffit, it received all its light from between the columns, and by reflection from the pavement below. The flatness of the sculpture is thus sufficiently accounted for; had the relief been prominent, the upper parts could not have been seen; the shade projected by the sculpture would have rendered it dark, and the parts would have been reduced by their shadows. The frieze could only be seen in an angle of forty-two degrees and a half. "The subject represented the sacred procession which was celebrated every fifth year in honour of Minerva, the guardian goddess of the city, and embraced in its composition all the external observances of the highest festival of the Athenians.