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Rh of attempted violence, of combat and defeat; with each grapples one of the Lapith heroes in the endeavour to rob them of their prey. In the corners of the pediment recline female figures, perhaps attendant slaves, though the farthest pair may best be identified as local Thessalian nymphs, looking on with the calmness of divine superiority, yet not wholly unconcerned in what is going forward. Though the composition of the two pediments differs notably, the one bearing the impress of a parade-like repose, the other of an overstrained activity, yet the style and execution are the same in both, and the shortcomings must be attributed to the inferior skill of a local school of sculptors compared with those of Athens or of Aegina. It even appears likely that the designs also belong to a local school. Pausanias, it is true, tells us that the pediments were the work of Alcamenes, the pupil of Pheidias, and of Paeonius, a sculptor of Thrace, respectively; but it is almost certain that he was misled by the local guides, who would naturally be anxious to connect the sculptures of their great temple with well-known names.

The metopes of the temple are in the same style of art as the pediments, but the defects of awkwardness and want of mastery are less conspicuous, because the narrow limits of the metope exclude any elaborate grouping. The subjects are provided by the twelve labours of Heracles; the figures introduced in each metope are but two or at most three; and the action is simplified as much as possible. The example shown (fig. 35) represents Heracles holding up the sky on a cushion, with the friendly aid of a Hesperid nymph, while Atlas, whom he has relieved of his usual burden, approaches bringing the apples which it was the task of Heracles to procure.

Another of the fruits of the excavations of Olympia is the floating Victory by Paeonius, unfortunately faceless (fig. 36), which was set up in all probability in memory of the victory of the Athenians and their Messenian allies at Sphacteria in 425 The inscription states that it was dedicated by the Messenians and people of Naupactus from the spoils of their enemies, but the name of the enemy is not mentioned in the inscription. The statue of Paeonius, which comes floating down through the air with drapery borne backward, is of a bold and innovating type, and we may trace its influence in many works of the next age.

Among the discoveries at Delphi none is so striking and valuable to us as the life-size statue in bronze of a charioteer holding in his hand the reins. This is maintained by M. Homolle to be part of a chariot-group set up by Polyzalus, brother of Gelo and Hiero of Syracuse, in honour of a victory won in the chariot-race at the Pythian

games at Delphi (fig. 37). The charioteer is evidently a high-born youth, and is clad in the long chiton which was necessary to protect a driver of a chariot from the rush of air. The date would be about 480–470 Bronze groups representing victorious chariots with their drivers were among the noblest and most costly dedications of antiquity; the present figure is our only satisfactory representative of them. In style the figure is very notable, tall and slight beyond all contemporary examples. The contrast between the conventional decorousness of face and drapery and the lifelike accuracy of hands and feet is very striking, and indicates the clashing of various tendencies in art at the time when the great style was formed in Greece.

The three great masters of the 5th century, Myron, Pheidias and Polyclitus are all in some degree known to us from their works. Of Myron we have copies of two works, the Marsyas (Plate III. fig. 64) and the Discobolus. The Marsyas (a copy in the Lateran Museum) represents the Satyr so named in the grasp of conflicting emotions, eager to pick up the flutes which Athena has thrown down, but at the same time dreading her displeasure if he does so. The Discobolus has usually been judged from the examples in the Vatican and the British Museum, in which the anatomy is modernized and the head wrongly put on. We have now photographs of the very superior replica in the Lancelotti gallery at Rome, the pose of which is much nearer to the original. Our illustration represents a restoration made at Munich, by combining the Lancelotti head with the Vatican body (Plate IV. fig. 68).

Of the works of Pheidias we have unfortunately no certain copy, if we except the small replicas at Athens of his Athena Parthenos. The larger of these (fig. 38) was found in 1880: it is very clumsy, and the wretched device by which a pillar is introduced to support the Victory in the hand of Athena can scarcely be supposed to have belonged to the great original. Tempting theories have been published by Furtwängler (Masterpieces of Greek Sculpture) and other archaeologists, which identify copies of the Athena Lemnia of Pheidias, his Pantarces,