# data[].attributes.headline
Write down what you see from the source.

# data[].attributes.subject
Write down what you see from the source.

# data[].attributes.attachment_link.readable_text
Description

Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers. The Lapith has seized the Centaur by the hair with his right hand, pressing his right knee on the Centaur's breast, his left arm is drawn back. The Centaur, rearing up, grasps the Lapith by the throat, twisting his forelegs round the Lapith's right leg. The Centaurs right arm, made separately, and right hind foreleg are missing, as are the Lapith's left forearm and foot, and parts of the frame.

Curator's comments

This scene is comparable with the scene on South metope XXVI.

Exhibition history

2015, 26 Mar-5 Jul, The British Museum, Defining Beauty: the body in ancient Greek art. 2018, 26 Apr-29 Jul,The British Museum, Rodin and the art of ancient Greece.

Additional IDs

Miscellaneous number: South Metope XXXI

# data[].attributes.attachment_link.description
Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers.

# data[].attributes.body
- religon?
- culture?
- power?

# data[].attributes.attachment_link.readable_text
Description

Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers. The Lapith has seized the Centaur by the hair with his right hand, pressing his right knee on the Centaur's breast, his left arm is drawn back. The Centaur, rearing up, grasps the Lapith by the throat, twisting his forelegs round the Lapith's right leg. The Centaurs right arm, made separately, and right hind foreleg are missing, as are the Lapith's left forearm and foot, and parts of the frame.

Curator's comments

This scene is comparable with the scene on South metope XXVI.

Exhibition history

2015, 26 Mar-5 Jul, The British Museum, Defining Beauty: the body in ancient Greek art. 2018, 26 Apr-29 Jul,The British Museum, Rodin and the art of ancient Greece.

Additional IDs

Miscellaneous number: South Metope XXXI

# data[].attributes.attachment_link.description
Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers.

# data[].attributes.attachment_link.readable_text
The decoration of both the inside and the outside of this cup is dedicated entirely to illustrations of the deeds of the Athenian hero, Theseus. In the tondo (central circular panel) he drags the dead or dying Minotaur from the Labyrinth of Knossos, its maze of passages suggested by the meander squares that decorate the vertical panel at its entrance. Around this Theseus tackles (clockwise from the top) Kerkyon, Prokrustes, Skiron, the Bull of Marathon, Sinis and the Krommyonian Sow. The same groups (with the exception of the Minotaur) are shown on the outside of the cup, in corresponding positions, but seen from the other side.

Theseus was the embodiment of all that the Athenians thought best and most distinctive about themselves. While his deeds were as physically challenging as those of Herakles, he was also an intellectual and a statesman. He was credited with the establishment of the Panathenaic Festival of Athens and also with the political consolidation of Attica and the foundation of Athenian democracy.

# data[].attributes.attachment_link.title
Red-figured cup attributed to the Kodros Painter - Google Arts & Culture

# data[].attributes.attachment_link.description
The decoration of both the inside and the outside of this cup is dedicated entirely to illustrations of the deeds of the Athenian hero, Theseus. In the tondo (central circular panel) he drags the dead or dying Minotaur from the Labyrinth of Knossos, its maze of passages suggested by the meander squares that decorate the vertical panel at its entrance.

# data[].attributes.headline
Write down what the source tells you ...

# data[].attributes.subject
Write down what the source tells you ...

# data[].attributes.body
- religon?
- culture?
- wealth?

# data[].attributes.attachment_link.readable_text
The decoration of both the inside and the outside of this cup is dedicated entirely to illustrations of the deeds of the Athenian hero, Theseus. In the tondo (central circular panel) he drags the dead or dying Minotaur from the Labyrinth of Knossos, its maze of passages suggested by the meander squares that decorate the vertical panel at its entrance. Around this Theseus tackles (clockwise from the top) Kerkyon, Prokrustes, Skiron, the Bull of Marathon, Sinis and the Krommyonian Sow. The same groups (with the exception of the Minotaur) are shown on the outside of the cup, in corresponding positions, but seen from the other side.

Theseus was the embodiment of all that the Athenians thought best and most distinctive about themselves. While his deeds were as physically challenging as those of Herakles, he was also an intellectual and a statesman. He was credited with the establishment of the Panathenaic Festival of Athens and also with the political consolidation of Attica and the foundation of Athenian democracy.

# data[].attributes.attachment_link.title
Red-figured cup attributed to the Kodros Painter - Google Arts & Culture

# data[].attributes.attachment_link.description
The decoration of both the inside and the outside of this cup is dedicated entirely to illustrations of the deeds of the Athenian hero, Theseus. In the tondo (central circular panel) he drags the dead or dying Minotaur from the Labyrinth of Knossos, its maze of passages suggested by the meander squares that decorate the vertical panel at its entrance.