Greek Art: Pedimental Sculpture

Tone

Apotropaic: both Medusa & the large felines are facing observers, to ward off evil. Medusa also has snakes bared for hair, exaggerated and bulged eyes, and her tongue stuck out alarmingly. 

Layout & Use of Space

• Chronology: inconsistent – subject matters unrelated to one another & Pegasus and Medusa are present together, even though he was born from the stump of her neck.

• Atypical & undeveloped use of space: made Zeus (clear due to his thunderbolt) and a giant incredibly small in the corners, which is unusual especially for an Olympian god. Also a dead giant at either side, even though this is unrelated to the narrative of Priam & Neoptolemus. 

• Archaic focus on symmetry – one child & one feline either side of Medusa, as well as a battle scene & dead giant in either corner. 

Anatomy & Pose

• Archaic running-kneeling pose mimics movement of Medusa.

• Anatomy is stiff & rigid – e.g. 4 straight strands of hair over each shoulder, stiff battle scenes & limbs, and the torsos of the felines are unusually elongated. 

Composition

Typically archaic: symmetrical layout (dying soldiers, archers, symmetrical battle scenes), rigid poses (mid-action, but as if paused to pose), braided hair, bulged eyes. 

The nude soldiers must be a stylistic choice to portray thanatos kalos (heroic death) — Greeks did not go into battle naked.

Key Subject Analysis:

1. Athene

• Static pose as well as soldiers facing away – presence is merely symbolic 

• Drapery alludes to the form of the leg – however, folds are entirely rigid and columnar through the centre (although this may be representative of her power)

• Wearing the aegis

2. Paris

• Phrygian dress: longer hair, long-sleeved clothing, leather cuirass & eastener’s hat. He is differentiated from the rest of the Greeks.

• Firing arrow incorrectly: arms not straightened, not leaned back (no momentum), poor centre of balance (seen as front foot is not flat to the floor). He does not embody power and is characterised as an inferior, non-Greek “other”.

3. Dying Warrior

• Archaic smile perhaps reflects their honourable death

• Triangular patterning made by limbs and symmetrical braids reveals the archaic focus on geometry and symmetry

• Rigid & posed position disrupts the realistic depiction of death

Composition

Less focus on symmetry and shift to a more sombre tone reflects the changing attitudes to war, post-Persian wars. 

Key Subject Analysis:

1. Athene

• In media res and fragments of figures facing towards her shows that her presence is now involved

• Wielding the aegis: apotropaic and powerful

2. Herakles

• Identifiable attributes: adorning the Nemean lion skin as a headdress

• Defined skeletal system, seen for example via the bones in his tensed hand

• Pose embodies power: straight arm, flat foot, leaned slightly back. Signs of skilled archery as a Greek warrior. 

3. Dying Warrior

• Addition of the shield develops the narrative and appeals to pathos as it failed to protect him

• Individuality – bearded shows his age

• Veins are visible in his ankle, and there is a smoother curve to his body which is more naturalistic

• His face aims downwards and adorns the severe expression, again evoking pathos

Layout & Use of Space

• Apollo presides over the scene as the god of order and justice, emboldened by his neat and static pose. His arm looming over the scene is particularly imposing but displays restraint. 

• Figures overlap and interact: a scene of ongoing struggle (as opposed to the static scene on the East).

Anatomy & Pose

• Greek figures retain civilised and dignified expressions (e.g. the flared nostrils of a lapith being bitten) which juxtaposes the centaurs (who scream in anguish). 

• The lapiths in the centre (Perithous and Theseus) hold weapons over their heads, while the centaurs all brawl with their hands and teeth barbarically. 

• Deidameia is seen elbowing Eurytion in the face, and peeling his hands from her waist simultaneously. 

• The exposed breasts of some women are atypical for the time and must be used to show the barbarity of the centaurs; however, their expressions remain neutral, again to retain dignity.

Layout & Use of Space

• Solution to fill the space remains a god presiding at the apex (Zeus, god of judgement) – however it also follows social hierarchy. 

• There is also a mirror-image (though not symmetrical) arrangement of figures, which makes the scene more static.

Anatomy & Pose

• Men:

Oinomaus (right) has his mouth hanging open, in the middle of telling the rules of the race, with his hand on his hip. 

Pelops (left) is juxtaposed as he is nude (heroic) and beardless, showing strength and youth.

• Women:

Sterope (right) has her head in her hand and her arm across her chest.

Hippodameia (left) adjusts her bridal veil (foreshadowing).

The women are not at all differentiated besides this small action.

• Seer & child:

The seer Iamos shows advancement in the depiction of age: sagging chest, forehead wrinkles, and balding. He displays a worried expression as he can see into the future: seen through his clenched first, distant gaze, and severe look.
This is contrasted and emphasised by the child beside him, who plays with his toes in boredom.

Layout & Composition

• Left = Helios’ chariot (Sun) & Right = Selene’s chariot (moon): innovative technique to indicate the progression of time. 

• Flow of news is observable extending from the apex: reclined figures look away while closer figures observe and interact. 

Pose & Anatomy

• Dionysos is heavily idealised: he appears youthful and has a cuirass aesthetique. He also has short, typically Greek hair, and may have previously held a kantharos. 

• Lounging women: catenary folds enhance the feminine form and modelling lines reveal the shape of the leg beneath and create heavy shadows, visual contrast, and complexity, creating a 3D effect. The wet drapery technique is also used.

• Motion lines along the drapery of the central figure proposed to be the cupbearer Hebe, conveys movement towards the scene.