Marble metope from the Parthenon (South metope XXVI). 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 right, rearing up to strike a Lapith, has raised his arms above his head. The Lapith thrusts his left foot against the equine chest of the Centaur and presses his left hand against the Centaur’s right elbow. A chlamys hangs down at the Lapith’s back. On the left upper arm are two holes for the attachment of metal decoration. There is another attachment hole on the flank of the Centaur. Parts of the right hind leg appear to have been attached by metal rivets. The Lapith’s head and right arm, the Centaur’s left foreleg, left hind foreleg, left arm and right hand and parts of the frame are missing. Plaster drapery possibly was added to the roughly worked patch of the background between the Lapith’s raised arm and leg.

The Metopes of the Parthenon are a series of marble panels, originally 92 in number, on the outside walls of the Parthenon in Athens, Greece, forming part of the Doric frieze. The metopes of each side of the building (14 each on the eastern and western walls, 32 each on the northern and southern walls) had a different subject, and together with the pediments, Ionic frieze, and the statue of Athena Parthenos contained within the Parthenon, formed an elaborate program of sculptural decoration. Fifteen of the metopes from the south wall were removed and are now part of the Parthenon Marbles in the British Museum, and others have been destroyed. They are famous examples of the Classical Greek high-relief.

The metopes of the southern wall (Plaques No. 1–12 and 21–32) present the Battle of the Lapiths and Centaurs, also known as the Centauromachy, in which the mythological Athenian king Theseus took part. The battle between the Centaurs and the Lapiths broke out during the wedding feast of the king of the Lapiths and personal friend of Theseus, Pirithous. According to one version of the myth, the Centaurs, insulted from being excluded from the celebrations, attacked the Lapiths while according to another, during the feast drunken Centaurs reacted violently under the influence of wine. The result was a fight between the Centaurs and the Lapiths and an attempt of the former to abduct the Lapith women.

The Centaurs have faces with animal features whose linear drawings strongly recall theatrical masks. They are shown wearing animal skins and they are armed with tree-branches. On the other hand, the Lapiths fight nude or wearing a chlamys, several of them hold a sword or a spear which, as they were formerly metallic attachments, are now lost, while in some cases, the Lapiths use shields to protect themselves.

There is a tendency to recognize the bridegroom Pirithous on metope 11 and the bride Deidamia on metope 25 but there is no conclusive evidence for these identifications. On metope 29, features of the mature Classical style can be traced on the face and the dress of the Lapith woman.

The presence of household utensils such as hydrias (ceramic pots with three handles used for mainly for storing water), which are also used as provisional weapons by the combatants, indicates a battle fought indoors. Certain compositions are repeated whereas the overall execution of the scenes is less ambitious than the initial plans. Contrary to the eventual outcome of the battle and to the moral of the myth which emphasizes on the superiority of the civilized world over the primeval disorder, the winning party in this fearless fight are the Centaurs and not the Lapiths. However, it is possible that the battle is still in its initial stages.

In 1687, a cannonball struck the Parthenon during an attack on Athens by the Venetians. This event destroyed many metopes on the south wall, especially the central ones. The existence of these metopes is now known only from Carrey's drawings executed in 1674 and from their remaining fragments. Their subject matter is not altogether clear as the metopes present uncommon iconographical details. Some experts recognize on them the representation of Attic dynastic myths (the stories of the royal families of Cecrops and Erechtheus) while others, attempting to unify mythologically the afore-mentioned scenes with the ones of the Centauromachy, propose a subject related to the myths of the Centauromachy heroes.