Pediments

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Temple of Artemis - Corcyra

580BC Archaic

Medusa the gorgon in the centre. Chryasor on her left and Pegasus on her right

Two panthers a compositionally symmetrical

Giantomachy to right, King Priam to the left

Dead men in the corners. Although lying down, hair isnt affected by gravity

No unified story, all unrelated

Made of limestone

No unity of scale, Priam is tiny in comparison to Medusa

Archaic features on medusa, smile, beaded repetitive hair

Giant's head profile but body frontal

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East Pediment, Siphnian Treasury - Delphi

c525BC

Depicts Apollo and Heracles fighting over the trident

Uniform story and scale

Zeus is the focal point of the pediment as he is king of the gods

Heracles legs face the opposite way to the rest of his body, impossible

Foreshortening is used because it is designed to be seen from far below

Story related to Apollo as it is in the Sanctury at Delphi

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West Pediment, Temple of Athena Aphaia - Aegina

500-490BC

Archaic 

Depicts second Trojan War and Ajax besieging Troy

Very basic

Symmetrical composition based around Athena in the centre 6-1-6

Drapery on Paris is very basic and would have been simply painted on 

No strain in Paris' muscles as there would be if drawing a bow

Long hair used to support the neck

Dying warrior in left corner has very basic musculature and an uncomfortable pose

The archaic smile detracts from the fact that he should be dying, and would therefore be unlikely smiling

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East Pediment, Temple of Athena Aphaia - Aegina

490-480BC Classical

1st Trojan War. Expedition of Telamon and Heracles to Troy

Earlier war scene, later pediment

Less cluttered, but still symmetrically composed around Athena 5-1-5

Much more realistic

The back of Athena's aegis was elaboratly decorated despite the face no human eye would ever see it. Emphasises made for the god not just to be seen by people

Archers face inwards, directing the view to the centre

Heracles drapery falls below his waist. His arms muscles are tensed and stressed as he draws his bow

Dying warrior looks like he is struggling and he looks weak. You can see emotion in his face by the way he looks down, defeated. Shows great development from the West Pediment

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East Pediment, Temple of Zeus - Olympia

c470-456BC

Parian Marble

Depicts Pelops v Onimaos race to win Hippodameia as his bride

Symmetry of composition

No action in the scene

Corners were personifications of rivers in Olympia to set the scene. Claudius and Aupheus. (they both have flowing drapery)

Seer is great example of depiction of age. Sense of foreboding and nervousness. Holds his had up to his face as if biting his nails. Sagging skin and has a beard. Contrasted by a young boy next to him who is picking his toes, clearly bored

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West Pediment, Temple of Zeus - Olympia

c470-456BC - Classical

Centauromachy, wedding of Perithoos

Impression of chaos through an order scuplture

Uses shape to advantage, having people on the floor apparing to be hiding in the corners

Parian marble

Uniform scale

Facial expressions on the women emphasise the fear of the situation

Flow of drapery on the women being grapple with a centaur, contrasts with the beast like centaur

Centaurs depicted as barbaric, one grabbing the breast of a female Lapith

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West Pediment, Parthenon - Athens

5th Century BC

Depicts the contest between Poseidon and Athena to be the patron of Athens

The olive tree was believed to have been in the centre, flanked by Athena and Poseidon

Again there is the personification of two rivers in the corners Illisos and Kallshoe

Illisos' drapery gives the impression that it is flowing, like a river

All parts of the pediment are free standing and carved in the round

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East Pediment, Parthenon - Athens

5th Century BC

Depicts the birth of Athena on Mt Olympus

Just after she had been born out of Zeus' head fully armoured

Symmetrical composition of figures

On the right hand side the chariot of Selene (the moon) landing, horse looks exhausted, mouth open as if gasping for breath

Helios' chariot is rising on the other side, full of energy as they have just started their journey

Leto, Artemis and Aphrodite have heave catanaries emphasising their breasts. Aphrodite's drapery the most illusionary transparent

Heavy folds of Aphrodites drapery contrast from the light folds of the couch, showing she is seperate

Leto is full frontal view, Artemis 3/4 and Aphrodite is profile, giving contrast in pose

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