Myron's skill in suggesting movement. We get a lively impression
of an advance suddenly checked and changed to a recoil.

Thus far in this chapter we have been dealing with copies Our
stock of original works of this period, however, is not small; it
consists, as usual, largely of architectural sculpture. Fig. 107
shows four metopes from a temple at Selinus. They represent
(beginning at the left) Heracles in combat with an Amazon, Hera
unveiling herself before Zeus, Actaeon torn by his dogs in the
presence of Artemis, and Athena overcoming the giant Enceladus.
These reliefs would repay the most careful study, but the
sculptures of another temple have still stronger claims to
attention.

Olympia was one of the two most important religious centers of the
Greek world, the other being Delphi. Olympia was sacred to Zeus,
and the great Doric temple of Zeus was thus the chief among the
group of religious buildings there assembled. The erection of this
temple probably falls in the years just preceding and following
460 B.C. A slight exploration carried on by the French in 1829 and
the thorough excavation of the site by the Germans in 1875-81
brought to light extensive remains of its sculptured decoration.
This consisted of two pediment groups and twelve sculptured
metopes, besides the acroteria. In the eastern pediment the
subject is the preparation for the chariot-race of Pelops and
Oenomaus. The legend ran that Oenomaus, king of Pisa in Elis,
refused the hand of his daughter save to one who should beat him
in a chariot-race. Suitor after suitor tried and failed, till at
last Pelops, a young prince from over sea, succeeded In the
pediment group Zeus, as arbiter of the impending contest, occupies