Metopes
- Created by: Robert Sykes
- Created on: 21-05-14 15:42
Herakles and the Kerkopes: Temple C - Silenus
575-550BC
All 3 figures have Archaic smiles
Gravity has been observed in the hair of the Kerkopes, however it is very basic (as if the hair had literally been carved upside down)
Herakles legs in profile but the rest of the body full frontal (not physically possible)
Symetrical composition (Kerkope, Herakles, Kerkope) whilst also being symmetrical
Herakles legs act as a triangle directing the eyes up at Herakles and the Kerkopes (triangular composition) also stand out against all other verticles and horizontals
Relief carving, Not very high relief, scupture not very rounded
Almond eyes
Tells story of when the Kerkopes stole Herakles weapons so he punished them by tying them to a shoulder pole
Heroic Cattle Raid, Sikoynian Treasury - Delphi
c560BC - Archaic
Depicts the brothers Kastor and Polydeukes after a successful raid
Made of Limestone
All figures identical and repeated
Herd of cattle 3 deep, legs offer a degree of depth
Almond eyes and repetitive hair, NO archaic smile
Heads of cows come out infront of the men, when their bodies are behind, physically impossible
High Relief
Rhythm (Man,cow,man,cow,man,cow)
Heracles and the Nemean Lion, Temple of Zeus - Oly
c470BC
Depicts his first labour, having to kill the Neman lion
Athene stands to the left facing an exhausted Heracles, who is resting atop the lion. Hermes was standing to the right
Exhaustion of a man contrasts with the relaxed nature of Athene a godess
No beard, shows Heracles is still fairly young
Unusual to show after the battle rather than at the climax
Sculptor thinks of the price which would Heracles would have had to pay for the victories
Heracles and the Cretan Bull, Temple of Zeus - Oly
c460BC
7th Labour of Hercules, had to capture a bull terrorising Crete
Stands in contrapposto, with a curve in his body
Musculature is dynamic, it reacts to the stresses and movement of the body
Heracles and the bull form two diagonals thats cross Heracles' abdomen
Heracles and the bull both look toward the centre, drawing the viewers gaze there
Sculptor makes great use of the space
Interest is brought in towards the cente due to Heracles pulling the head of the bull.
It is all action
Heracles and the Apples of Hesperides, Temple of Z
c460BC
11th Labour of Heracles, sent to steal an apple from garden of Hesperides. Heracles asked atlas to go retrieve it in return for holding up the universe. Heracles tricks Atlas to take the universe back
Relief carving
Athene raises an arm to help Hercules, alot less strain as she is a god
Atlas on the right holds his arms out perpendicular to his body at a right angle
Athene frontal, Heracles profile and Atlas 3/4 viewing
Athene's drapery falls freely and naturally with catanaries between her breasts
Three verticles dominate the metope, relieved by Atlas' arms
Heracles and the Augean Stables, Temple of Zeus -
475-450BC
Heracles 6th labour, ordered to clean the stables, Heracles redirects the River Alpheus to run through and hence clean the stables
Marble and high relief
Hearacles bears the severe expression, more apt for the scene than an archaic smile
The struggle of Heracles is emphasised by the contrast of Athene who is relaxed
Heavy drapery, some catanaries visible around Athene's breasts
Athena holds her arm parallel to Heracles as a gesture of support
Athena's dress, a peplos that falls in broad simple folds
Reveals distribution of her weigh
Metope I, The Parthenon - Athens
447-432BC
Centauromachy (Lapiths v Centaurs) (Civilisation v Barbarianism)
'The wrestlers hold'
Centaur has a angry expression on his face
Lapith adopts severe expression, unlikely given circumstances (in a headlock)
Lapith is clothed, whilst the centaur is naked - contrast of civilisation and barbarism
Muscularture well observed, moulded not etched
Uses the space fairly effectivly
Motion lines on the Lapith's drapery from being pulled
'Figures appear to move freely, engrossed in combat'
Metope XXVI, The Parthenon - Athens
447-432BC
Centauromachy
Fairly basic drapery for lapith, carved in very low relief. So as not to detract from action?
Musculature is fairly idealistic with no reaction to his actions
Line of muscle at the top of his legs
Centaur's musculature more realistic. Contrasts
Lapith seems to be in control of the situation while the Cenatur is in a struggle
Centaur has no neck
Detail is limited
Metope XXVII, The Parthenon - Athens
447-432BC
Centauromachy
Lapith stands in front of the centaur
Sculptor tried to give impression of depth, however makes the centaur seem very small, relative to the Lapith
Both counteract each other by pulling away
The flowing drapery behind the lapith does well to fill the space
The horizontal of the Lapiths outstretched arm and diagonal of his left leg draw the attention to his right hand, where he would be holding his weapon about to strike
The tense musculature reacts to itself, whilst providing a contrast to loose folds of the drapery
Metope XXVIII, The Parthenon - Athens
447-432BC
Centauromachy
Centaur in motion over a dying lapith on the floor
The animal skin on the Lapith's arm shows little detail or reaction
Tail is in motion
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