Lecture 14: Late Archaic and Early Classical Athenian architectural sculpture at Delphi and Olympia.

The Archaic Temple of Apollo at Delphi provides us with one of our few fixed chronological points in Greek archaeology. Following the Battle of Leipsydrion in 513 BC the Alkmaeonids, a rich and powerful Athenian family banished by the Peisistratid rulers of Athens, rebuilt the Doric temple at Delphi and "finished its facade in Parian marble" (Herodotos V.62), ie. decorated its east pediment with marble sculptures. The date of the Temple's sculptures thus lies somewhere between 513 and circa 505 BC. The archaeological evidence confirms that only the east pediment employed marble, the west pediment being executed in softer limestone. Both pediments seem to have been produced by the same workshop, very likely that of Antenor of Athens.

Restored drawing of the east (above) and west (below) pediments of the Archaic Temple of Apollo at Delphi, max height: 2.3m .

At the centre of both east and west pediments stood a chariot group. On the west side the chariot group formed part of a busy gigantomachy. By comparison, the composition of the east pediment was far more static: the central chariot probably carried Apollo and was flanked by three kouroi and three korai. Beyond lions savaged a bull (viewer's left) and a deer (viewer's right).

Kore from the east pediment of the Archaic Temple of Apollo at Delphi, preserved height: 1.16m, Delphi Archaeological Museum.

The three korai can probably be identified as Ge (the Earth and the source of the oracle), Themis (Ge's daughter) and Phoebe (responsible for giving the oracle to Apollo). The kouroi are probably Delphos (personification of Delphi), with two escorting Athenians. 

Nike akroterion from the east pediment of the Archaic Temple of Apollo at Delphi, preserved height: 1.13m, Delphi Archaeological Museum.

Of the akroterion figures which crowned the pediments and their cornices we know of a Nike, or Victory, figure in typical Archaic running pose, and of a sphinx. The temple metopes, now lost, were sculpted with fights between heroes and monsters.

The treasury of the Athenians at Delphi.

The Treasury of the Athenians at Delphi was a small, but elegantly decorated Doric building situated prominently on the Sacred Way below the Apollo temple and constructed throughout of costly marble. Its date is controversial: Pausanias (10.11.5) claims that it was dedicated from the booty of the Athenian victory at Marathon in 490 BC, though the architectural style and certain sculptural features seem earlier than this. Perhaps the building was already under construction when the Battle of Marathon was fought, and it was subsequently converted into a victory monument.

Plan of the Athenian Treasury at Delphi, detailing the sculptural programme.

The pedimental figures survive only in a very fragmentary state, with an unidentified battle on the west and Athena, as Athens' patron goddess, displayed prominently on the east. The pediments were crowned with akroterion figures of mounted Amazons. Thirty metopes sculptured in high relief ran around the building depicting: on the east front an Amazonomachy, on the west side Herakles fighting Geryon, on the north flank further adventures of Herakles, and on the south flank the deeds of Theseus.

Metope depicting Theseus battling an Amazon from the Athenian Treasury, height: 67cm, Delphi Archaeological Museum.

The sculptural programme incorporates two main interconnected themes: victory over the barbarian foe, and the exploits of the great heroes Herakles and Theseus.

Metope depicting Herakles wrestling with the Keryneian hind from the Athenian Treasury, height: 67cm, Delphi Archaeological Museum.

Note how by the Late Archaic period the sculptor is boldly and effectively experimenting with movement, twisting poses and anatomy, a trend which is also seen in contemporary vase-painting.

Olympia, Temple of Zeus.

Entering the Early Classical period we turn to the sculptures of the Temple of Zeus at Olympia, for which we possess an absolute date range. The Doric temple was erected by Elis, in whose territory the sanctuary at Olympia lay, following her defeat in battle of neighbouring Pisa circa 470 BC. Begun then around 470 BC, the temple was complete by 457 BC, when the Spartans defeated the Athenians in battle at Tanagra and dedicated a golden tripod to Zeus atop his new temple at Olympia. The Athenian sculptor Pheidias was commissioned to make the great chryselephantine cult-statue of Zeus seated on his throne, a work which came to be counted as one of the Seven Wonders of the Ancient World. The sculptures of the west pediment meanwhile were attributed by Pausanias (5.10.8) to Pheidias' pupil Alkamenes, while those of the east pediment he attributed - probably erroneously - to Paionios of Mende in Thrace. Whereas the temple was constructed from local dark grey limestone, costly white marble was imported for its embellishment with architectural sculpture.

Olympia. Ground plan of the Temple of Zeus showing the sculptural programme.

Dating to circa 460 BC, the sculpted figures were used to decorate both pediments and the metopes of the front and back porches, the temple's exterior metopes being left blank. Sculpted akroteria also crowned the apex and cornices of the pediments.

Restored drawing of the metopes from the Temple of Zeus at Olympia, height: 1.6m, Olympia Archaeological Meseum. Top left to bottom right: The Nemean Lion, the Hydra of Lerna, the Stymphalian Birds, the Cretan Bull, the Keryneian hind, the Girdle of the Amazon [West Porch], the Erymanthian Boar, the Mares of Diomedes, the fight with Geryon, the Apples of Hesperides, the Capture of Kerberos, the Cleansing of the Augeian Stables [East Porch].

The subject chosen for the decoration of the metopes located in the east and west porches of the temple was the Twelve Labours of Herakles. Herakles was singled out for this honour since he was son of Zeus, to whom the temple was dedicated. He was also the founder of the sanctuary at Olympia and the Olympic Games.

The Cleansing of the Augeian Stables metope from the East Porch of the Temple of Zeus at Olympia, height: 1.6m, Olympia Archaeological Museum.

Cut in high relief, the metope figures epitomise the Early Classical Style: action poses are handled with ease and musculature is convincingly treated, the contrapposto stance (as here in the figure of Athena) is employed, and the heavy drapery folds now fall with greater naturalism than in the preceding Archaic period.

The Apples of the Hesperides metope from the East Porch of the Temple of Zeus at Olympia, height: 1.6m. Olympia Archaeological Museum.

Here Athena helps Herakles bear the weight of the heavens, while Atlas fetches the golden apples guarded by the Hesperides. Here it is easy to understand why the monumental, dignified style of the Early Classical period, with its use of serious facial expressions, is sometimes also referred to as the 'Severe Style'.

Recontruction of the West pediment of the Temple of Zeus at Olympia, length: 26.4m, max height: 3.3m.

The West displayed an action-packed Centauromachy, or battle of Lapiths (northern Greeks) against centaurs. As in the East pediment, the sculpted figures are free-standing.

Apollo from the West pediment of the Temple of Zeus at Olympia. Olympia Archaeological Museum.

At the centre of the pediment stands Apollo, the divine civilising force, raising one arm commandingly over the tumultuous scene. Invisible to the protagonists, he assures the viewer that the civilised Lapiths will emerge victorious over the bestial centaurs. Apollo stands in contrapposto stance, his powerful body shown resplendent with its taut musculature, and his calm face expressionless.

Group from the West pediment of the Temple of Zeus at Olympia. Olympia Archaeological Museum.

On either side of Apollo were located Peirithoos, King of the Lapiths, and the hero Theseus, who lead the fight against the centaurs. Beyond them, the centaurs grapple with Lapith women, who attempt to fight them off.

Embattled centaur and Lapith from the West pediment of the Temple of Zeus at Olympia. Olympia Archaeological Museum.

Here a Lapith has a centaur by the throat and pulls him to the ground. The centaur responds by biting deep into the youth's arm. Despite his obvious pain, the Lapith remains in control of his emotions, with only a single troubled frown marking his brow. The centaur, by contrast, with his wild hair and facial expression, epitomises the unrestrained bestial savage.

Reconstruction of the East pediment of the Temple of Zeus at Olympia, length: 26.4m, max height: 3.3m.

The East pediment, by contrast to the West, presents a static composition. The moment depicted is that preceding the fateful chariot race of Pelops, grandson of Zeus, and of Oinomaos, king of Pisa: a race which would lead to the death of Oinomaos. In representing the final moments before the race, the outwardly calm composition would thus have been filled with dramatic psychological tension and anticipation for the ancient viewer who was familiar with the story.

Zeus in the centre flanked by Pelops (left) and Oinomaos (right) from the East pediment of the Temple of Zeus at Olympia. Olympia Archaeological Museum.

In the centre of the pediment stands the majestic figure of Zeus to whom, of course, the temple was dedicated and under whose watchful eye the race will take place. To either side stands the beardless Pelops and the older bearded figure of Oinomaos: Oinomaos is accompanied by his wife, Sterope, and Pelops by his victory prize and bride-to-be, Hippodameia, the daughter of Oinomaos. Beyond, the two chariot groups are depicted.

Figure of an aged seer from the East pediment of the Temple of Zeus at Olympia. Olympia Archaeological Museum.

Beyond Oinomaos' chariot is seated an elderly man, his age indicated by his flabby torso and balding head. His lined forehead and hand raised to his cheek belie his anxiety as a seer, or wise man, able to divine the future and therefore aware of the tragic events about to unfold.