DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15097#0072
59
METOPE X.
The nine Metopes, which have been just described, were from
the western end of the south side of the Temple. This and the
six following are from the eastern end of the same side. The
contest represented upon this Metope is one of doubtful issue.
The Centaur has raised himself against the Greek, and occupies
both hands in aiming a furious blow with some missile, or weapon,
which however does not appear ; he is resisted by the Greek, who
is endeavouring to repress him by placing his left foot against the
monster's chest, and is checking the threatened blow by pressing
his left hand against the uplifted elbow of his antagonist, while his
right arm has been drawn back to give force to the blow which he
is contemplating against the human side of his enemy. This
Metope is perhaps one of the least interesting in the whole collec-
tion ; at the first view it appears full of animation and spirit, but a
further inspection dissipates the illusion, and there is an evident
want of power in the execution. The intent of the Greek is
vigorous resistance to an immediate impending danger, but there
does not appear to be much muscular exertion; the left arm appears
weak, with no strongly marked sinews as in No. VI., and though the
extremities of the left foot are forcibly pressed back, the position
is such as to give the appearance of sliding away, rather than of
firmly repelling the pressure of an assault. There is an apparent
harshness in the composition, which was probably not perceptible
in the unmutilated state of the marble; the folding of the drapery,
when perfect, would have relieved the square between the bodies
of the combatants, and perhaps a lion's skin from the back of the
Centaur may have added grace to the composition. A projection
in the marble near the side of the Greek clearly indicates the posi-
METOPE X.
The nine Metopes, which have been just described, were from
the western end of the south side of the Temple. This and the
six following are from the eastern end of the same side. The
contest represented upon this Metope is one of doubtful issue.
The Centaur has raised himself against the Greek, and occupies
both hands in aiming a furious blow with some missile, or weapon,
which however does not appear ; he is resisted by the Greek, who
is endeavouring to repress him by placing his left foot against the
monster's chest, and is checking the threatened blow by pressing
his left hand against the uplifted elbow of his antagonist, while his
right arm has been drawn back to give force to the blow which he
is contemplating against the human side of his enemy. This
Metope is perhaps one of the least interesting in the whole collec-
tion ; at the first view it appears full of animation and spirit, but a
further inspection dissipates the illusion, and there is an evident
want of power in the execution. The intent of the Greek is
vigorous resistance to an immediate impending danger, but there
does not appear to be much muscular exertion; the left arm appears
weak, with no strongly marked sinews as in No. VI., and though the
extremities of the left foot are forcibly pressed back, the position
is such as to give the appearance of sliding away, rather than of
firmly repelling the pressure of an assault. There is an apparent
harshness in the composition, which was probably not perceptible
in the unmutilated state of the marble; the folding of the drapery,
when perfect, would have relieved the square between the bodies
of the combatants, and perhaps a lion's skin from the back of the
Centaur may have added grace to the composition. A projection
in the marble near the side of the Greek clearly indicates the posi-