378 
GALLERY OF ANTIQUITIES, 
[ELGIN 
the former by being painted in red. The general order 
observed in affixing these numbers to the several objects 
is as follows:— 
1. The metopes of the Parthenon. 
2. The frieze of the Parthenon, commencing on the 
left hand of the visitor as he enters the room. 
3. Such of the sculptures placed along the middle 
of the room, as belonged to the eastern and west¬ 
ern pediments of the Parthenon. 
4. The remaining articles placed along the middle 
of the room. 
5. The casts and bas-reliefs above the frieze on the 
eastern side of the room (those nearest the en¬ 
trance being taken last in order). 
6. All the objects below the frieze, taken in their 
order of position, and commencing, as before, on 
the left of the entrance. 
The original numbers are subjoined to the descriptions 
Those which have the letter A prefixed refer to such ar¬ 
ticles as were originally placed in the room then denomi¬ 
nated the fourteenth. 
Nos. 3—16. Sixteen of the metopes belonging to the 
Parthenon, (of which No. 9 is a cast in plaster, from 
the original in the Royal Museum at Paris,) which, alter¬ 
nately with the triglyplis, ornamented the frieze of the 
entablature surmounting the colonnade: they represent the 
battle between the Centaurs and Lapithee, or rather between 
the Centaurs and Athenians, who under Theseus joined the 
Lapithae (a people of Thessaly) in this contest. In some of 
these sculptures the Centaurs are victorious, in others the 
Athenians have the advantage, while in others, again, the 
victory seems doubtful with respect to either of the com¬ 
batants. These magnificent specimens of ancient art are 
executed with great spirit in alto-relievo; they were seen 
at a height of nearly forty-four feet from the ground, 
(11, 2, 8, 12, 15, 6, 4, 5', 13, 7, 1, 3, 9, 14, 10.) 
The sculptures from 17 to 90 (inclusive) compose the 
exterior frieze of the cella of the Parthenon, which em¬ 
bellished the upper part of the walls within the colonnade 
at the height of the frieze of the pronaos, and which was 
continued in an uninterrupted series of sculpture entirely 
