Metopes are square panels that alternate with triglyphs (three-grooved blocks) in the Doric frieze - the horizontal band above the columns. Each metope typically contains a single scene, usually a combat between two figures.
The limited, square format created compositional challenges but also opportunities for focused, dramatic confrontations. Metopes show the development of Greek sculptural skill from the Archaic through Classical periods.
Prescribed Metopes
Temple C, Selinus: Herakles and the Kerkopes Temple of Zeus, Olympia: Cretan Bull, Garden of the Hesperides, Stables of Augeas Parthenon, Athens: Metopes XXVI, XXVII, XXVIII (South - Centauromachy)
c. 550-530 BCE | Limestone | Archaeological Museum, Palermo
Herakles carrying the Kerkopes - an Archaic metope from Temple C, Selinus. Image: Wikimedia Commons
The Myth: The Kerkopes were mischievous monkey-like dwarfs who tried to rob the sleeping Herakles. He captured them and hung them upside down from a pole across his shoulders. Their mother had warned them to beware "Black-Bottom" - when they saw Herakles' sun-tanned backside from below, they laughed so much that Herakles released them.
Archaic Style
Flat, frontal composition with little depth. Figures arranged decoratively to fill the square frame. Stylised anatomy and hair patterns typical of the Archaic period.
Narrative Clarity
Despite stylisation, the scene is immediately legible: the muscular hero carrying two small figures upside down. The humorous subject suits the format's intimacy.
Material
Local limestone (not marble) - common in Sicily. Originally brightly painted, which would have enhanced the details and narrative.
Context
Selinus (modern Selinunte) was a wealthy Greek colony in Sicily. Its temples show how Greek art spread throughout the Mediterranean but with regional variations.
Temple of Zeus, Olympia: The Labours of Herakles
c. 470-456 BCE | Marble | Archaeological Museum, Olympia
The Temple of Zeus at Olympia was one of the largest temples in mainland Greece, housing Pheidias' colossal gold and ivory statue of Zeus (one of the Seven Wonders). Its metopes depicted all twelve labours of Herakles - appropriate for a temple in the sacred precinct where the hero supposedly founded the Olympic Games.
Prescribed Metope: The Cretan Bull
Herakles subduing the Cretan Bull - Severe Style metope from Olympia. Image: Wikimedia Commons
Dynamic Composition
Herakles strides forward, pulling the bull's head down with a rope. Diagonal lines create tension and movement - a dramatic improvement over the static Archaic Selinus metope.
Severe Style Anatomy
Muscular, powerful body with naturalistic modelling. Serious expression (no Archaic smile). The hero's strength is evident in the straining muscles.
Prescribed Metope: Garden of the Hesperides
Herakles receiving the golden apples with Atlas and Athena. Image: Wikimedia Commons
Three-Figure Composition
Unusual for a metope - shows Atlas returning with the apples while Herakles (with Athena's help) holds up the sky. Complex narrative compressed into a square frame.
Athena's Presence
The goddess assists Herakles, cushioning the sky's weight on his shoulders. Her inclusion emphasises divine support for the hero - important at a Panhellenic sanctuary.
Prescribed Metope: Stables of Augeas
Labour's Content
Herakles was tasked with cleaning the stables of King Augeas (which had never been cleaned) in a single day. He diverted two rivers to wash them out.
Athena Again
The metope shows Athena directing Herakles as he breaks through the stable wall. Her pointing gesture guides the hero's action - divine wisdom guiding heroic strength.
The Parthenon Metopes
c. 447-440 BCE | Marble | British Museum, London / Acropolis Museum, Athens
The Parthenon had 92 metopes depicting four mythological battles, one on each side of the temple:
South: Centauromachy (Lapiths vs Centaurs) - best preserved
North: Sack of Troy (Greeks vs Trojans)
East: Gigantomachy (Gods vs Giants)
West: Amazonomachy (Greeks vs Amazons)
Symbolic Message
All four battles represent civilisation defeating barbarism - Greeks over foreign or monstrous enemies. Contemporary Athenians would have connected these myths to their victory over the "barbaric" Persians.
Prescribed Metopes XXVI, XXVII, XXVIII (South - Centauromachy)
South Metope XXVII - a Lapith wrestling with a Centaur. One of the finest surviving metopes. Image: Wikimedia Commons
Metope XXVI
A centaur rearing over a fallen Lapith. The centaur dominates the composition, showing the battle's violence. High relief - figures almost detach from the background.
Metope XXVII
The most celebrated: a Lapith grabs a centaur's hair while the centaur seizes him. Interlocked bodies create a tense X-composition. Perfect balance of opposing forces.
Metope XXVIII
A centaur carries off a Lapith woman (or triumphs over a fallen Lapith). Shows the civilisation vs barbarism theme - centaurs threatening Greek women.
Classical Achievement
Compare with Selinus: the Parthenon metopes show dynamic, three-dimensional compositions; naturalistic anatomy; drapery revealing bodies; emotional intensity within Classical restraint.
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