304 V, W. Ilissos or Kephissos and Callirrhoè (?).—(Casts) The draped female figure (W) reclining in the extreme angle of the pediment appears in Carrey's drawing leaning on her right elbow, and with her head turned towards the male figure (V) who kneels on both knees, inclining his body towards his companion, and leaning on his left arm. The manner in which these figures are here associated suggests an intimate relation between the two; the female figure has all the characteristics of a local Nymph, and the flow of her drapery would well accord with an aquatic type. It seems probable, therefore, that the celebrated Athenian fountain Callirrhoè may be personified by this figure, and in that case the male figure next to her (V), though not in the reclining attitude usually characteristic of River-gods, may be the Ilissos, out of whose bed the fountain Callirrhoè rises. Brunn holds that V is a personification of the Attic coast, Paralia. This, however, appears, from a recently-discovered inscription, to be represented as female (Athenische Mittheilungen, xiii., p. 221); W according to the same archæologist is a personification of the Myrtoan Sea. Dalton's drawing shows no indication of either of these figures, though the lower half of the Callirrhoè is to this day in position on the pediment. The torso of the male figure had been broken, and was found in two places in the excavations on the Acropolis in 1833. The head, arms, and left leg have disappeared since Carrey's time. The right leg is doubled up under the figure; the left knee must have been somewhat higher. This figure is nude with the exception of a chlamys which falls down the back and passes in front over the right ankle. For a fragment which may belong to the left hand, see No. [339, 20]. This agrees with the statement of Sauer (Athenische Mittheilungen, 1891, p. 81), that the figure leant with open hand on the ground.
The female figure (W) is reclining on her right side; the right knee has been more bent than the left. The upper part of the body seems, from the direction of the folds of the drapery, to have been slightly raised, and to have rested on the right elbow, as represented in Carrey's drawing. The dress is a long chiton, over which falls a diploïdion nearly to the waist. All that remains of the figure are the right side from below the arm to a little below the right hip, and parts of both legs wanting the knees. According to Carrey the left arm of this figure was raised so that the hand projected beyond the cornice. Between the figures V and W a hole is pierced in the bed of the pediment, in which some bronze object was inserted.
Figure V., Laborde, Le Parthénon; Michaelis, pl. 8, fig. 21; Figure W., Michaelis, pl. 8, fig. 22.
METOPES OF THE PARTHENON.
The metopes of the Parthenon are sculptured blocks which were inserted in the spaces, metŏpæ, left between the ends of the beams of the roof. These ends were represented by slabs, called triglyphs, from the three parallel vertical bands cut in them. Reference to the model of the Parthenon will show the relative position of the metopes and triglyphs.
The Parthenon had originally ninety-two metopes, thirty-two of which were on each of the long sides, and fourteen at each end. Many of these are now only preserved in the drawings by Carrey, having been destroyed in the great explosion. Unfortunately, however, Carrey was only able to sketch the metopes of the south side. Forty-one metopes still remain on the temple, but are for the most part so decayed through time and weather that there is great difficulty in making out their subject. The British Museum possesses fifteen original metopes brought from Athens by Lord Elgin. His contemporary, Choiseul-Gouffier, while ambassador at Constantinople, obtained one more (No. 313), which is now in the Louvre. These sixteen metopes are all from the south side of the Parthenon, and their subjects were taken from the contest between the Centaurs and Lapiths at the marriage-feast of Peirithoös. The first metope on the south side of the Parthenon, reckoning from the south-west angle, is still in position on the temple (Michaelis, pl. 3, 1); the second on the temple is the first of the series of fifteen in the Museum.
The sculpture of the metopes is in the highest relief attainable in marble, large portions of some of the figures being carved in the round so as to stand out quite free of the background. There is a remarkable inequality of style in the sculpture. Thus, for example, Nos. 319, 320 show traces of archaic feeling, and while No. 309 appears to be the work of an indifferent artist, Nos. 310, 316, 317 are admirable.
305. The Lapith kneels on the back of the Centaur, clasping his head with his left arm, and pressing the fingers of his left hand against his windpipe. The Centaur has been thrown on his right knee; his head is forced back, his mouth wide open as if uttering a cry of agony. His left hand vainly endeavours to dislodge the grasp on his throat, the right hand appears behind the right shoulder of the Lapith. When drawn by Carrey, the head and right foot of the Lapith and the right foreleg of the Centaur still remained. The head of Lapith may be No. 343, 6.