‘Old-fashioned and conventional’ or ‘different and daring’.

Which description of the

pediments of the Temple of Zeus at Olympia do you think is the more appropriate? You
should justify your response using detailed references to the pediment.
In consideration to the question, it is my belief that the Temple of Zeus at Olympia’s
pediments are different and daring. However, that is not to say that they cannot thought of
as different and daring. This can be held true if the depiction of the centaurs on the West
pediment which shows the mythological creatures as being nothing more than barbaric
animals who are destined to lose to men which is a general motif across Greek art. But there
are differences in this piece by Libon, such as the distinction of age which is clear in the
features of the seer’s flaccid belly and other distinguishable features.
Following along the lines of the Pediments of this temple, constructed in 460Bce, being
most appropriately described as daring is in how the sculptor has arranged the shape.
Through both scenes there is no negative space due to Libon’s effective use of the triangular
shape of the Pediment, but what is more different is how he has arranged the characters. In
the east this is more prominent as he has managed to achieve a near symmetry of the
characters involved in the myth. This has been done by placing Zeus at the centre of the
Pediment as the epicentre of the scene and therefore the characters get less important as
you go further from the centre. Around him is the main group: of which Pelops is in near
symmetry to Oinomaos and Hippodameia is almost symmetrical to Sterope. But more daring
is how in this symmetry there is contrast as Oinmaos is depicted as being arrogant and
without respect while Pelops is shown as his opposite. Equally, Sterope is shown to be
mourning which Hippodameia is in the bridal pose. By being done in this way the architect
has managed to demonstrate foreshadowing in the pediment which indicates Oinomaos
downfall in favour of Pelops. An additional features of this is pointed out by Jenifier Neils
who believes “the artist has managed to convey the personalities of the protagonists,”
which is key in achieving this foreshadowing but is all due to how there is symmetry in the
arrangement of the group. Additionally, beyond this group there is the seer who is a part of
this foreshadowing but there are also stable boys in preparation but who are depicted as
calm and almost bored, as seen by the stable boy picking his feet. This creates a conflicting
sensation to the central scene, contrasting from the tense individuals who are nervous for
the result and the labouring who are simply working, but in doing so puts the scene into a
juxtaposition which emphasizes the tenseness of the scene further. This use of the
arrangement is truly different.
Moreover, the Pediment is different in how it depicts age. A less notable observing of this is
shown in the differences between Zeus and Apollo. Zeus is shown to be the elder by a beard
while Apollo is depicted as being clean of stubble and instead exerts a youthfulness which
differs from Zeus. However, the best example of age being more distinguished is through
the Seer in the East pediment. The depiction of the seer appears to belong more to the
Hellenic era than the Early Classical, and yet a more realistic elderly body is presented in this
pediment than you would ever guess. “the artist has carefully observed the flaccid ageing
body,” was the thoughts of John Boardman on the matter as the details of the seer’s large
belly with sagging chest along with balding head and wrinkles on his forehead creates a
figure who is realistically showing the true form of an elderly man, which would not be seen
to this extent for another 127 years. This detail is truly daring, but there is also
consideration to the pose of this grieving man. With his lips slightly parted life is implied by a
suggestion of breathing, and in his mourning his fist is to his cheek: both of which involve
detail which is the result of careful consideration by Libon. Therefore, this Pediment can be
considered daring for creating characters who don’t belong to this era, let alone to other
Architectural sculptures.
And lastly, the architectural sculpture is different by the compositions of the characters,
especially in the use of horizontals to create a dynamic scene. This is true for the West
pediment as the depiction of centauromachy has meant that as well as verticals being used
the centaur’s bodies create horizontals and diagonals which are used in this case to make
the scene appear dynamic. This is appropriate for the scene as the battle between the
Lapith’s and the centaurs would have been a fast-paced battle which would be savage and
as such is best depicted dynamically. Additionally, the intertwining and overlapping of the
figures would have supported this and so would create a scene where all the individuals are
bundled together and would be a entire image of the combat instead of isolated incidences,
although we can distinguish certain centaurs such as the centaur being attacked by Lapith
woman which is a good example of a diagonal composition by how he, with his horse body
being in midrise, creates the diagonal as he fends off the lapith woman. But Judith M.
Barringer best shows the dynamicity by comparing it to East pediment which is a static
scene with a tense nature, and as such “contrasts strongly with its counterpart on the
West,” which is especially true since the scene in it’s dynamicity is more a scene of savagery
and combat than any kind of tenseness, a contrast of senses which both emphasize each
other. Much can be said for this use of the composition, but a key feature is that it is truly
daring.
However, this is not always the case. The pediments can be appropriately called old-
fashioned by the use of verticals, which is especially prominent in the East Pediment. The
characters of both the central group and the further figures such as the rivers in the corners
and the chariot boys all comprise a vertical composition where each figures lends itself to
this overall shape, which although filling the shape still does make the scene appear static.
This as a result does heighten the tension of the scene which would be appropriate to the
myth, but is a common arrangement of characters which fills the awkward shape of the
pediment and yet can still contain a moderately detailed scene in terms of chronology. But
this static scene does also affect the protagonists, who due to this combination of staticness
and vertical composition appear to be isolated from each other. Once again this lends itself
to the concept of the tense scene, since with their symmetry and order of who is with who
each character is still shown as an individual in the myth, and as such has there own risks
and rewards as the story states. It is best put by Judith Barringer who describes the overall
scene of the East pediment as “all is quiet,” using the West as a comparison to demonstrate
the extent which the East is static. This is effective for the intended purpose, to maintain the
atmosphere of a tenseness which the participants would be subjected to, but this use of
verticals is by no means extraordinary and is a common feature of earlier architectural
sculpture in pediments, although would be for different purposes. As such, this would be
conventional in pedimental sculpture of both doric and ionic architecture.
Furthermore, the early classical pediment can be considered as conventional due to the
myths we are presented with and what they represent at further inspection. In the East
pediment this consists of the story of Oinonmaos and Pelops which is a tale which at first
glance appears unassociated to Zeus except in his presence which is true for many myths,
but the involvement of Pelops is key as he was a son of Zeus and therefore this story can be
made relevant on this account. But in terms of justice this myth can also be considered
relevant as the difference between Oinomaos and Pelops was in how they held themselves
and others, with Oinomaos being arrogant while Pelops was respectful and as such justice
was served by the outcome of this competition which is in the domain of Zeus, the god of
justice. However, The West is possibly less relevant but even more conventional in what is
presented. Although there is no relevance to Zeus, the use of centauromachy was “the first
instance of the use of the myth” which is noted by Judith M.Barringer, but this use of the
myth has no adaptations from earlier tellings. The centaurs are depicted as being savage
creatures who are uncivilised, shown through their poses and facial expressions: all of which
amalgamate to clarify this barbarity. Yet their defeat is assured and clearly, even though the
combat sees them in the fighting, they have no hope and so this follows the motif that
Civilisation will always defeat barbarity. This motif is key to the essence of these myths
involving previous orders which are fated to be defeated by a new world order. In
consideration to this, the pediment is especially old-fashioned in its telling of this myth.
But there is a hint of innovation in consideration to this presentation on the West Pediment.
This is that there are women not just present but involved in the action. Figures such as the
bride and other women who would be at the wedding in which Centaurmachy occurred are
shown to be in the fighting, either attacking or being attacked by the centaurs. This is the
first glimpses of mortal women being engaged in the scene which is revolutionary, even if
they in certain examples are not being so successful, such as the lapith women being
attacked by a centaur. This revolutionary concept is, however, put down by considering the
women not as combatants but as victims of the Centaurs. This idea of women only being
victims in the eyes of the fighting would have been the result of the society of the Greeks
who saw women as domestic figures who were by no means equal to men and as such this
depiction, while new in terms of the women actually being present, is more conventional in
what those women represent in the myth and how that reflects on the society which would
judge the worthiness of this architectural sculpture.
Therefore, in concluding the question of whether the pediments of the Temple of Zeus at
Olympia are ‘Old-fashioned and conventional’ or ‘different and daring’, I remain adamant
that the pediments are more different and daring, which is due to the presence of new ideas
and uses of the composition and shape. The sculpture as a whole makes use of both the
conventional methods and the more daring uses of arrangement for the improvement of
the art and therefore it is understandable that they may leave certain aspects as they are
predominantly seen. But it is the presence of the new uses of the arrangement to suggest
foreshadowing and the detail of the characters, whether as fine as the Seer or more vague
but still nuance such as the centaurs, along with additional features which since they are
present and effective in fulfilling their purpose makes the pediments more different and
daring.