Heracles supports the sky, Athena helping him.' But was this—the description we hear so often—the sculptor's idea of the episode? Was he attempting to convey merely a general idea of the assistance rendered to Heracles by Athena, in a sculptural pattern designed for beauty only? The other metopes shew him to have been a man of literal mind: here too we should expect not only beauty of design but a logical care for the subsequent movements of the three figures. The logic is there, and should be clear to those who look at the metope with eyes not obscured by the common description of it. The Titan and the hero are at a deadlock. The one offers, the other cannot receive. It is Athena who takes the initiative, giving aid which only an Olympian can give. Her left hand is placed against the sky (fig. 1)—placed lightly, for it is lower than those of Heracles, and bears little of the weight at the moment. The next moment, and the next movement, are crucial; when the daughter of the sky god will herself lift up the sky. Then Heracles will be free to take the apples, and Atlas can resume his burden.