of Caneus by two Centaurs, and the incident is treated in nearly the same manner as in a corresponding group from the Temple of Apollo at Phigaleia (Phigaleian Frieze, No. 4). In both, Cæneus appears half-buried, and endeavouring to protect himself by his shield from an enormous mass of rock which the Centaurs are letting fall upon him. Immediately behind the right hand Centaur, a Greek is rushing to the assistance of his comrade. The group to the right is a single combat between a Greek and a Centaur. This group is exceedingly well composed, and the vigour of the combatants and the animation of the action are well expressed.

No. 154 is a portion of the Frieze of the Temple, which originally contained a combat between a Centaur and two Greeks; now, however, the Greek on the right hand has been lost. It appears from Stuart's drawing, that there was anoth erslab adjoining this one, in which was represented a contest between a Greek and a Centaur, similar to one in the Phigaleian Frieze (No. 2), in which the Greek is destroying his antagonist by plunging a sword into his breast.

No. 155 is one of the Metopes from this Temple, of which there were originally ten on the Eastern front, recording the exploits of Heracles, the prototype of Theseus ; and four on each side, representing eight achievements of Theseus himself. The one here described is probably the destruction of Corynetes.

No. 156 is also one of the Metopes from the Temple of Theseus, the second from the East end, and represents Theseus overcoming the Arcadian Cercyon, who, having invented a new mode of wrestling, challenged all travellers to engage with him, and put to death those whom he defeated.

A vase in the Museum has a similar representation, which resembles in many respects the contest between Heracles and Antæus. The sculpture of these figures is exceedingly good, and the motion admirably expressed: this metope has suffered less mutilation than the majority of those from this Temple.

No. 157, the last Metope of which the Museum possesses casts, was originally the fourth from the East end. It represents the third of the eight labours of Theseus, the destruction of the Sow of Crommyon, an incident which is parallel to the capture of the Erymanthian Boar by Heracles. Two vases exist in the Museum which tell the same tale somewhat differently. On one, the animal is a boar, and Theseus appears to be dragging its dead body after him by the hind legs. On the other, a sow is attacking the Hero, who defends his left arm from its bite by his chlamys, while he

holds a stone in his right, which he is about to throw at it. From the mutilated state of the slab, we have no means of judging what weapon Theseus had in his hand.

No. 156.

No. 157.

V.-CASTS FROM THE CHORAGIC MONUMENT OF LYSICRATES.

The Choragic Monument of Lysicrates, Nos. 352-360, casts from which we now proceed to describe, is one of the most interesting in the Elgin collection, because we happen to know the precise period at which it was erected and its sculptures made; the name of the Archon (Evænetos) of that year being preserved in an inscription upon the building on which these sculptures exist.

It is stated in the inscription that Lysicrates of Kikyna was the Choragos in the year B.C. 335-4, and that the youths of the tribe of Acamas had been victorious in a musical contest in that year. We believe that this small monument, which was circular on a square basement, was dedicated by Lysicrates during the period that he held the office of Choragos. The building used formerly, but without any reason, to be called the Lantern of Demosthenes. The general subject of the sculptures is, the Myth of Dionysus punishing the Tyrrhenian pirates, who had treacherously attempted to carry him off to sell him for a slave, on the pretence of conveying him to the island of Naxos. The narrative of this myth in the Homeric Hymn differs slightly from its representation in these sculptures: in the Hymn the sailors, transformed into the shape of dolphins, leap over the sides of the ship in a state of frenzy; in the bas relief, the action takes place on the sea-shore.1

The centre of the composition appears to be No. 356, which on the monument itself is immediately over the inscription. It contains a representation of Dionysus as a young man reclining on a rock, and holding in his right hand a cup, while he caresses a panther with his left. On either side, but with their backs turned to him, is seated a satyr, the usual attendant on that Divinity, the one to the left holding a thyrsus in his right hand. The balance of the composition is preserved by the groups on each side of this

scene.

Thus in No. 355, we perceive a satyr holding in his left hand a

All these casts are engraved in outline in Museum Marbles,' Part IX. pl. xxiv. et seq.