“They are probably of as early a date as any that have reached our times, and are of different styles of art; those which belonged to the temple called Eastern, whence the sculpture of the head of the dying warrior, and the chariot drawn by horses, were taken, possess much of the Æginitan character; those of the Western are of a ruder age. In most of the figures the anatomy resembles that of the earliest coins, but differs in many respects from the Greek sculptures; and there is a short and full character in the faces approaching the Egyptian. From the short proportions, the fleshy part of the thigh overcharged, and the peculiar manner in which the hair is arranged, they might be taken for specimens of Æginitan art; but on a close inspection it will be found, that they are the work of artists educated on different principles. At a much later period it is known that the artists of Ægina were employed by the kings of Sicily; and these, therefore, are not unlikely to have been the work of Carthaginian sculptors brought to decorate a city in alliance and newly founded, which will account for the Egyptian character given to the whole. “The cast, which consists of the body and head of a dying soldier, a part of a female figure behind, formed the third metope of the Eastern Temple, and is a most valuable and curious fragment, and determines the style and character of the sculpture of the temple. It bears a marked resemblance to some of the heads in the Ægina marbles, but it has much more expression; the artist has evidently intended to mark the agonies of death, by the closed eyes, the mouth slightly opened, and the tongue appearing between the teeth; the hair and beard are most carefully and symmetrically arranged and most elaborately finished; the helmet is thrown back, and is of the kind called ‘γεῖσον’—part of the crest ‘λόφος’ is visible under the left shoulder of the figure. The fragment of the female is very spirited, and evidently in strong action. Those metopes, like those of the Parthenon, are in high relief, and in some parts detached. Thorwaldsen has pronounced them equal in execution to the Ægina. The next, which consists of three figures, one of which has a horse under the arm, is particularly interesting, from the illustration it presents of the death of the Gorgon Medusa. Perseus, emboldened by the presence of Minerva, is represented in the act of slaying Medusa; his eyes are averted from the object of his honour, while his right arm, guided by the goddess, thrusts his sword into the throat of the monster. Pegasus, a winged foal, springs from her blood, and Medusa presses him to her side with apparent solicitude. The monstrous face of the Gorgon is finely represented; the large round head and hideous face rise from the shoulders without the intervention of a neck; all the features are frightfully distorted, the nose is flat and spreading, and the mouth is nearly the whole width of the face, and is armed on each side with two