age. Again, in the face of the young Lapith whose arm is being
bitten by a Centaur (Fig. 112), there is a marked attempt to
express physical pain; the features are more distorted than in any
other fifth century sculpture, except representations of Centaurs
or other inferior creatures. In the other heads of imperiled men
and women in this pediment, e.g., in that of the bride (Fig. 111),
the ideal calm of the features is overspread with only a faint
shadow of distress.

Lest what has been said should suggest that the sculptors of the
Olympia pediment-figures were indifferent to beauty, attention may
be drawn again to the superb head of the Lapith bride. Apollo, too
(Fig. 110), though not that radiant god whom a later age conceived
and bodied forth, has an austere beauty which only a dull eye can
fail to appreciate.

The twelve sculptured metopes of the temple do not belong to the
exterior frieze, whose metopes were plain, but to a second frieze,
placed above the columns and antae of pronaos and opisthodomos.
Their subjects are the twelve labors of Heracles, beginning with
the slaying of the Nemean lion and ending with the cleansing of
the Augean stables. The one selected for illustration is one of
the two or three best preserved members of the series (Fig. 113).
Its subject is the winning of the golden apples which grew in the
garden of the Hesperides, near the spot where Atlas stood,
evermore supporting on his shoulders the weight of the heavens.
Heracles prevailed upon Atlas to go and fetch the coveted
treasure, himself meanwhile assuming the burden. The moment chosen
by the sculptor is that of the return of Atlas with the apples. In
the middle stands Heracles, with a cushion, folded double, upon