The triangular pediment space posed a unique artistic challenge. Sculptors had to create compositions where figures fit naturally into a shape that tapered from about 3 metres high at the centre to nothing at the corners.
The Parthenon's pediments (c. 438-432 BCE) represent the finest solution to this problem. The figures are nearly freestanding (carved almost in the round) and were visible from the ground nearly 15 metres below.
Pheidias' Solution
Figures at the centre stand or sit upright; moving towards the corners they recline, crouch, or stretch horizontally. This creates a natural transition while maintaining narrative coherence.
Reconstruction of the East Pediment (Pushkin Museum cast). The central figures showing Athena's birth are lost.
The Myth: Athena was born fully grown and armoured from the head of Zeus, after he swallowed her pregnant mother Metis. Hephaestus split Zeus's head with an axe to release Athena.
The Problem: The central section (with Zeus, Athena, and the birth scene) was destroyed, probably when the temple was converted to a church. We reconstruct it from drawings made in 1674 before an explosion in 1687.
Surviving Figures
Helios (Rising Sun)
Left corner: Only the horses' heads survive, emerging from the sea at dawn. Establishes the scene happens at daybreak - Athena's birth brought light to the world.
Dionysus (or Heracles)
Reclining male figure, magnificently muscled. Half-raised on one elbow, he turns towards the central action. His relaxed pose fits the corner space perfectly.
Demeter and Persephone
Two seated goddesses - one leans towards the centre (reacting to the birth), the other turns away. Demonstrates the moment of reaction spreading through Olympus.
"Three Goddesses"
Three reclining female figures (possibly Hestia, Dione, and Aphrodite). Famous for their extraordinary drapery - wet, clinging fabric reveals the bodies beneath.
Selene (Setting Moon)
Right corner: Horse's head descending below the pediment frame. As the sun rises on the left, the moon sets on the right - a cosmic framework for divine birth.
West Pediment: Contest of Athena and Poseidon
Remains of the West Pediment in situ. The central figures are known from the 1674 drawings.
The Myth: Athena and Poseidon competed for patronage of Athens. Poseidon struck the Acropolis with his trident, producing a salt spring. Athena created the olive tree. The gods judged Athena's gift more useful, and the city took her name.
Composition
The two deities formed a dramatic V-shape at the centre, pulling apart after the contest. Athena's olive tree and Poseidon's spring occupied the apex. Chariots and attendant figures filled the corners with dynamic, rearing horses.
Surviving and Recorded Figures
Athena and Poseidon
Central: The gods pull apart dramatically - Athena with her olive tree, Poseidon with his trident (now lost). Known mainly from the Carrey drawings of 1674.
Chariots
Each deity arrived by chariot (Athena driven by Nike, Poseidon by Amphitrite). The rearing horses created dynamic diagonal compositions moving towards the corners.
"Ilissos"
Reclining river god from left corner - exquisitely carved male figure showing the realistic treatment of the body in a complex twisted pose.
Legendary Athenian Figures
The flanking figures may include Athenian legendary kings and heroes (Cecrops, Erechtheus, their families) - witnesses to the contest that founded their city.
Political Significance
The west pediment faced visitors approaching the Acropolis - it was the first sculptural programme they saw. Its subject proclaimed:
Athena's special connection to Athens (she chose it)
Athens' victory over sea-power (relevant to Persian Wars)
Divine sanction for Athenian greatness
The olive tree - symbol of Athenian agriculture and trade
Artistic Achievement
Figures from the East Pediment (British Museum). Note the extraordinary carving of drapery.
Nearly Freestanding
Unlike earlier pediment figures (carved in high relief), these are nearly in the round - fully carved even on backs that viewers couldn't see. This shows remarkable dedication to quality.
Revolutionary Drapery
The "wet drapery" technique reaches its peak - fabric clings to and reveals the body beneath, creating rich patterns of light and shadow while showing anatomical form.
Unified Composition
Despite the awkward triangular space, the figures create coherent scenes. The central event ripples outward; corner figures respond to the action while fitting the available space.
Ideal Bodies
Both male and female figures display idealised Classical anatomy - muscular definition, perfect proportions, serene dignity even in dynamic poses.
Essay Points: Comparing the Pediments
East Pediment
Birth of Athena - moment of divine revelation. Cosmic framework (sun rising, moon setting). Relatively calm figures reacting to central miracle. Emphasises Athena's divine origin and special status among the gods.
West Pediment
Contest with Poseidon - moment of dramatic conflict. Dynamic, centrifugal composition (figures pulling apart). Rearing horses, movement, action. Emphasises Athena's victory and connection to Athens specifically.
Together, the pediments present Athena's cosmic significance (birth from Zeus's head) and her particular relationship with Athens (winning the patronage contest).
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