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https://doi.org/10.11588/diglit.803#0148
METOPES OF THE PARTHENON. 141
wine at the head of the offender, which brought him
lifeless to the ground*.
A general engagement then ensued between the two
parties; and the Centaurs not only sought to revenge
the death of their companion, Eurytus, but likewise
attempted to carry off the females who were guests at
the nuptials.' In this conflict, sustained on both sides
with great fury, the Centaurs were finally vanquished,
and driven out of Thessaly; after which they took up
their abode in Arcadia, where they provoked the
anger of Hercules, who completely destroyed the
whole of their race. Such is the general outline of
'he mythic history of the Centaurs.
The names of a great number of the combatants
are preserved by Hesiod, Ovid, and other authors f.
Many antient writers have introduced into their works
a description of the contest which was fought between
ftem; and we are told that it formed the entire sub-
ject of a poem, now lost, by Melisander, a native of
Miletus J. Nothing, however, more strongly proves
'he interest felt by the antients in the delineation of
wis combat, than the very frequent introduction of it
into their architectural and other works of art. Be-
side the metopes of the Parthenon, it is represented
°n the frieze of the porticoes in the temple of Theseus
at Athens § ; and was one of the subjects which en-
riched the fronton of the temple of Jupiter at Olym-
P'all- This combat was also painted on the walls of
'he temple of Theseus If, and was introduced as an
ornament on the sandals of Minerva**, in the statue
* Ovid, ut Supr. v. 235.
+ Hesiod. Scut. Here. v. 184, seq. Ovid. Met. lib. xii.v. 220, seq.
t See iElian, Var. Hist. lib. xi. c. 2.
a "f^ce S'uart, yol. iii. c. 1, pi. xxi.-xxiv.; and the engravings of
''frieze in another part of the present volume.
\\ Pausan. Eliaclib. prior, c. x.
JPausan. Attic, c. xvii.
in- *' In s°ieis vero Lapitharoirt et Centaurorum dimicalionem,"
H"i.Mat,Hist,Ub.xxKvi,c,4,
wine at the head of the offender, which brought him
lifeless to the ground*.
A general engagement then ensued between the two
parties; and the Centaurs not only sought to revenge
the death of their companion, Eurytus, but likewise
attempted to carry off the females who were guests at
the nuptials.' In this conflict, sustained on both sides
with great fury, the Centaurs were finally vanquished,
and driven out of Thessaly; after which they took up
their abode in Arcadia, where they provoked the
anger of Hercules, who completely destroyed the
whole of their race. Such is the general outline of
'he mythic history of the Centaurs.
The names of a great number of the combatants
are preserved by Hesiod, Ovid, and other authors f.
Many antient writers have introduced into their works
a description of the contest which was fought between
ftem; and we are told that it formed the entire sub-
ject of a poem, now lost, by Melisander, a native of
Miletus J. Nothing, however, more strongly proves
'he interest felt by the antients in the delineation of
wis combat, than the very frequent introduction of it
into their architectural and other works of art. Be-
side the metopes of the Parthenon, it is represented
°n the frieze of the porticoes in the temple of Theseus
at Athens § ; and was one of the subjects which en-
riched the fronton of the temple of Jupiter at Olym-
P'all- This combat was also painted on the walls of
'he temple of Theseus If, and was introduced as an
ornament on the sandals of Minerva**, in the statue
* Ovid, ut Supr. v. 235.
+ Hesiod. Scut. Here. v. 184, seq. Ovid. Met. lib. xii.v. 220, seq.
t See iElian, Var. Hist. lib. xi. c. 2.
a "f^ce S'uart, yol. iii. c. 1, pi. xxi.-xxiv.; and the engravings of
''frieze in another part of the present volume.
\\ Pausan. Eliaclib. prior, c. x.
JPausan. Attic, c. xvii.
in- *' In s°ieis vero Lapitharoirt et Centaurorum dimicalionem,"
H"i.Mat,Hist,Ub.xxKvi,c,4,