Name & Side of Temple
Temple of Artemis at Corcyra
Temple of Artemis at Corcyra: Date & Period
580 BCE (6th Century Archaic)
Temple of Artemis at Corcyra: Subject Matter
Left: Neoptolemus murdering King Priam
Centre: Medusa, Pegasus, Chrysaor, & unspecified felines
Right: Zeus fighting giant
Temple of Artemis at Corcyra: Notes
Tone Apotropaic: both Medusa & the large felines are facing observers, to ward off evil. Medusa also has snakes bared for hair, exaggerated and bulged eyes, and her tongue stuck out alarmingly.Ā Layout & Use of Space
Anatomy & Pose
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Temple of Aphaia at Aegina: Political Context
Both Athens & Aegina were rival thalassocracies that laid claim to Telamon (seen on the East pediment) and Ajax (his son, depicted on the West) as their patrons: they are likely depicted as a symbol of ownership.
This feud is derivative of Telamon being the mythical king of Salamis, an island between both nations, so by locality either one could have claimed the men as their own.
Also note: Aphaia was a localised version of Artemis.
Temple of Aphaia at Aegina: Theories on Styles
A) Some hypothesise that the Archaic West was completed pre-480 BCE Persian wars, and the Early Classical East completed much later, which would explain the artistic gap.
B) Others (inc. Robin Osborne) argue that both pediments were created after the Persian wars, sculpted simultaneously by different groups in communication, creating deliberately contrasting styles to show different attitudes about the wars.
Temple of Aphaia at Aegina: Artistic Development
Successfully changed development to structure, with Gods at the apex presiding over action scenes which allows for dynamic poses that fill the space: crouching, laying, etc.
Name & Side of Temple
Temple of Aphaia at Aegina: West pediment
Temple of Aphaia at Aegina (W): Date & Period
510-490 BCE (6th/5th Century Archaic)
Temple of Aphaia at Aegina (W): Subject Matter
Trojan War, as told in Homerās Iliad
Temple of Aphaia at Aegina (W): Notes
Composition Typically archaic: symmetrical layout (dying soldiers, archers, symmetrical battle scenes), rigid poses (mid-action, but as if paused to pose), braided hair, bulged eyes.Ā
Key Subject Analysis:
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Name & Side of Temple
Temple of Apahia at Aegina: East pediment
Temple of Apahia at Aegina (E): Date & Period
500-480 BCE (5th Century Early Classical)
Temple of Apahia at Aegina (E): Subject Matter
Earlier ransacking of Troy (before the Trojan war), led by Herakles.
Temple of Apahia at Aegina (E): Notes
Composition Less focus on symmetry and shift to a more sombre tone reflects the changing attitudes to war, post-Persian wars.Ā Key Subject Analysis:
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Name & Side of Temple
Temple of Zeus at Olympia: West pediment
Temple of Zeus at Olympia (W): Date & Period
466-456 BCE (5th Century Early Classical)
Temple of Zeus at Olympia (W): Subject Matter
Centauromachy at the wedding of Perithous and Deidameia
Temple of Zeus at Olympia (W): Context
Metaphor for the Persian wars. Centaurs were barbarians who didnāt know how to water their wine, therefore getting drunk and being violent and lustful. The way they are characterised matches Herodotusā description of Persians ā barbaric, eastern, hedonistic, excessive, and lacking self-control.
Also links to the Delphic Maxim ānothing in excessā.
Temple of Zeus at Olympia (W): Notes
Layout & Use of Space
Anatomy & Pose
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Temple Name & Side
Temple of Zeus at Olympia: East pediment
Temple of Zeus at Olympia (E): Date & Period
466-456 BCE (5th Century Early Classical)
Temple of Zeus at Olympia (E): Subject Matter
One of the foundation myths of the Olympian games: the chariot race of Pelops and King Oinomaus, for the hand of Hippodameia.
Temple of Zeus at Olympia (E): Context
Pelops famously cheated by bribing the slave-boy Myrtilos to change the kingās spokes to wax fakes, in order to win. He later murdered him by throwing him into the sea; while Myrtilos fell he cursed Pelopsā bloodline.
Both pediments share the theme of competition ā this one may warn against cheating.
Temple of Zeus at Olympia (E): Notes
Layout & Use of Space
Anatomy & Pose
Oinomaus (right) has his mouth hanging open, in the middle of telling the rules of the race, with his hand on his hip.Ā Pelops (left) is juxtaposed as he is nude (heroic) and beardless, showing strength and youth.
Sterope (right) has her head in her hand and her arm across her chest. Hippodameia (left) adjusts her bridal veil (foreshadowing). The women are not at all differentiated besides this small action.
The seer Iamos shows advancement in the depiction of age: sagging chest, forehead wrinkles, and balding. He displays a worried expression as he can see into the future: seen through his clenched first, distant gaze, and severe look. |
Name & Side of Temple
Parthenon: West pediment
Parthenon (W): Date & Period
438-432 BCE (5th Century High Classical)
Parthenon (W): Subject Matter
Athene & Poseidonās competition for Athenian patronage
Parthenon (W): Context
The competition took place on the acropolis and Atheneās olive tree stood only a few yards North.
Athene won, however the pediment still honours Poseidon as it was believed thanks to his help that they became such a strong naval power: the pediment faces Salamis, the site of a naval Greek victory over the Persians.
Parthenon (W): Notes
Layout & Use of Space
Athene & Poseidon pull away from eachother at crossing diagonals, at the apex of the pediment ā representative of conflict and competition.
Proportional issue: all figures are of divinity however they all stand at different scales throughout the pediment.
Anatomy & Pose
Musculature is intricately carved even at the back of the pediment (sculpted in the round): display of wealth/ dedication of these sculptures to the gods.Ā
The remnants of Iris (messenger) displays excellency in drapery: natural and sporadic catenary folds accentuate the breasts, thin fabric blowing in wind reveals stomach and thigh, and the movement of the extended leg.
Remnants of Hermesā torso show idealised musculature via deep Iliac crest.
Name & Side of Temple
Parthenon: East pediment
Parthenon (E): Date & Period
438-432 BCE (5th Century High Classical)
Parthenon (E): Subject Matter
The divine birth of Athene from Zeusā head after Hephaestus split it with an axe.
Parthenon (E): Compositional Theory
According to David Stuttard: read left to right, the figures represent the underworld versus overworld.
Left: Dionysus (multiple rebirths) reclining, reclined women are Demeter and Persephone (sat on chests ā related to Eleusinian mystery cult), Hecate (witchcraft and necromancy).
Right: Reclining female figures may be Leto (childbirth), Artemis (childbirth), and Aphrodite (love and sex).
(Alternatively, some suggest the two lounging women may be Aphrodite and Dione, as the pose appears to be maternal & cradling.)
This also mimics the Panathenaic procession, which celebrates Atheneās birthday, beginning at the cemetery and ending at the acropolis.
Parthenon (E): Notes
Layout & Composition
Pose & Anatomy
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Locations of River Gods
Parthenon West & Olympia East
River Gods: Notes
Olympia East:
Thin drapery ā folds mimic lapping water ripples
Defined musculature and youthful bodies show abundance and strength of Athenian landscape
Locates myth
Exaggerates muscles, schematic rib-cages, unnatural rotation of the bodies embody a stunt in naturalism and juxtaposes the nature of water
Heavy eyelids: severe style
Parthenon West:
Locates the myth
Relaxed & naturally twisting pose
Drapery laps smooth and naturally flowing, like a river
Less protruding ribs ā adds complexity rather than drawing the eye in alarm
Thigh muscle gently distinguished from the fat