Herakles and Kerkopes
- Made of limestone and comes from temple C at Selinus
- Quite top heavy (though arguably at its height you wouldnt see the bottom part)
- Quite geometric - triangles made with Herakles' legs and Kerkopes' legs.
- story: while Herakles sleeps they stole his weapons but he awoke, caught them and tied them upside down tied to a pole cand carrying them not.
- Symmetry aesthetically pleasing, Kerkopes mirroring each other
- Repetition - hair curls hanging down in the same way - doesnt look very natural but fitting with this idea of symmetry and at least an attempy to show effects of gravity.
- Huge bulging eyes - not very realistic but typical of the time
- Twist in Herakles' body - full frontal torso but profile legs
- Torso very broad but arms quite short and stocky - not right proportions
- Generally fills space quite well and tells a story.
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Heroic Cattle Raid
- The Dioskouroi and sons of Aphareus metope from the Sikyonian Treasury
- Good use of metope - figures use all the space
- Procession all in one direction. (good repetition) eyes follow direction figures are walking
- Hands all on spears in the same places, cattle all symmetrical (repeated)
- Bodies each all facing one way for once - looks more natural and realistic
- Cattle raid conducted by two pairs of heroic brothers (one bit lost)
- Figures full height holding spears at same angle and walk in step with cattle. All legs seem very well aligned
- Repeated pattern along - gap with spears and frontal cattle heads almost ties the image together.
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Zeus at Olympia: Nemean Lion
- Theme of metopes at Zeus at Olympia is the labours of Herakles set by Eurystheus and well chosen as it provided both a coherent story for the whole series allowing a self contained episode for each metope.
- In this metope (a popular labour to depict) the fight is actually over and the lion is dead and lies at the bottom of the metope.
- Herakles instead of looking triumphant as one would expect, looks weary as he reasts his elbow on his knee and head in hand
- We see this beginning of humanisation here - he is already exhausted and this is the first labour
- Athena stands by looking on sympathetically.
- fragment of a foot suggests Hermes was there too
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Zeus at Olympia: Creten Bull, Apples of Hesperides
- In this struggle he is shown alone
- Simple but powerful composition is based on two crossing diagonals (something that will become a basis of many later compositions)
- The two contestants, Herakles and the Bull, strain away from each other but Herakles has pulled the bull's head so as to confront him head on.
- Reward for the labours was immortality and this is symbolically indicated in the metope of him trying to get golden apples of the Hesperides
- This is where he is said to have been tricked into holding the heavens for Atlas
- on the metope Atlas is shown on the right striding towards Herakles holding the apples
- Herakles' stillness contrasts with Atlas' freedom of walking pose.
- 3 figures fill space well - three simple verticals with contrast of horizontals of Atlas' arms
- Variety of pose Atlas can be seen in 3/4 view, Herakles profile and Athena full frontal
- Athena on other side of Herakles holding hand up to the top to ease his burden
- She wears heavy peplos falling in deep sparse folds.
- The technique of showing woman form is becoming clear - straight folds interrupted by portruding knee to show form.
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Zeus at Olympia: Augean Stables
- Herakles is shown to have matured (again very human) when in this labour, cleaning the Augean Stables.
- He is bearded and confident in the midst of action.
- The metope had a speical place on the temple as it was out of chronological order because it represented a local event - it was placed at the climax, the very end of the series, on far right
- Athena's calm vertical figure contrasts with Herakles' acitvity
- Can see strong opposing diagonals formed by his arms and legs.
- Athena's arm, held roughly parallel to Herakles' gives a subtle gesture of support.
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Parthenon: Metope 1
- Originally 92 metopes in total - so had to think of something to fill them all
- Dated from about 447-442BC
- Each side depicts a mythical battle
- South Metopes show Centauromachy
- Different sculptors and interpretations - some depicted centaurs with barbaric faces some with kindly faces.
- This metope shows a centaur rearing holding a rock in one hand about to deliver a blow to the Lapith in his arm.
- At the same time the Lapith thrusts a weapon into the centaur's flank
- Poses carefully arranged to fill space
- Head of the centaur particularly distinguished by its ruggedness
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Parthenon: Metope XXVI and Metope XXVII
- Shows work of a less accomplished sculptor
- All the interest is bunched up in the centre - blank expanse to the right.
- Figures are awkward and harsh lines indicate musculature.
- Centaur seems to have no neck and the face is crude and ill executed
- Lapith's drapery meant to be slipping from his arm as he engages in the fight but theres a missing bit between left arm and left leg.
- In this metope Lapith and centaur are pulling away from each other simplar to the bull metope at Olympia.
- Lapith's cloak falls behind in deep U shaped folds called catenaries
- This mass of folds and shadows it creates dramatically contrasts with light expanse of Lapith flesh.
- Figures fill whole metope going right out to the sides.
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Parthenon: Metope XXVIII
- Lapith lies along bottom of metope crumpled in death.
- Triumphant centaur rears over body
- Left arm extended parallel to body
- Animal skin hangs from the centaur's arm - falls vertically echoing human part of body.
- Slanting horse body crossing lapith's straight legs provide two diagonals to link upper and lower parts of the metope.
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