206 
ELGIN 
SALOON. 
Antiquities. 
of the room, as belonged to the eastern and 
western 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 entrance 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 descrip¬ 
tions. Those which have the letter A prefixed refer 
to such articles as were originally placed in the room 
then denominated the fourteenth. 
No. 1—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 triglyphs, ornamented the frieze of the 
entablature surmounting the colonnade: they represent 
the battle between the Centaurs and Lapithae, or rather 
between the Centaurs and Athenians, who under The¬ 
seus 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 combatants. 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, IS, 7, 1, 3, 9, 14, 10.) 
The sculptures from 17 to 90 (inclusive) compose the 
exterior frieze of the Celia of the Parthenon, wdiich 
embellished 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 round the temple. It is in very low 
relief. The subject represents the sacred procession 
which took place at the great Panathenaea, a festival 
which w r as celebrated every fifth year, at Athens, in 
honour 
