Unlike the separated metopes of the Doric order, the Ionic order features a continuous frieze - an unbroken band of sculpture running around the building. This allows for extended narratives with processions, battles, or ceremonies flowing across the space.
Prescribed Ionic Friezes
Siphnian Treasury, Delphi (c. 525 BCE) - Archaic Parthenon, Athens (c. 440 BCE) - High Classical Temple of Apollo, Bassae (c. 425-420 BCE) - Late Classical
c. 525 BCE | Marble | Delphi Archaeological Museum
North frieze of the Siphnian Treasury showing the Gigantomachy - gods battling giants. Image: Wikimedia Commons
The island of Siphnos became rich from silver and gold mines and built this elaborate treasury at Delphi to house offerings to Apollo. The building was adorned with caryatids (female figure columns) and a continuous sculptured frieze.
Frieze Subjects
North: Gigantomachy
Gods battle giants in a dynamic composition. The gods fight from left, giants from right. Individual combats are labelled with inscriptions - helpful for viewers and modern scholars.
East: Assembly of Gods / Trojan War
Gods observe the battle between Greeks and Trojans over the body of a hero (Sarpedon or Patroklos). Shows divine involvement in mortal affairs.
Style
Archaic conventions: decorative patterns in armour, stylised hair, some Archaic smiles. But also innovative: overlapping figures, depth through layering, energetic movement.
Detail
Extraordinary surface detail - scales on armour, patterns on shields, elaborate drapery folds. The small scale (only 64 cm high) allowed meticulous carving.
Innovation
The Siphnian frieze is the earliest large-scale continuous relief narrative in Greek art. It establishes conventions - processions flowing in one direction, battles meeting in the middle - that the Parthenon would later perfect.
The Parthenon Frieze
c. 443-438 BCE | Marble | 160m total length | British Museum / Acropolis Museum
Section of the Parthenon frieze showing horsemen from the Panathenaic procession. Image: Wikimedia Commons
The Parthenon's Ionic frieze ran around the exterior wall of the cella (inner building), inside the colonnade. At 160 metres long with over 350 human and 250 animal figures, it's the largest and most ambitious sculptural project of the Classical world.
Subject: The Panathenaic Procession
The frieze depicts the Panathenaic procession - Athens' greatest religious festival held every four years in honour of Athena. Citizens processed from the city gates up to the Acropolis, bringing a new peplos (robe) for Athena's ancient wooden statue.
West: Preparation
Young men mount their horses; attendants help with equipment. The procession is about to begin. Creates sense of anticipation and movement about to happen.
North & South: Procession
Two streams of participants move towards the east. Cavalry, chariots, elders, musicians, offering-bearers. The pace quickens as figures approach the front.
East: Gods and Peplos
The two processions converge. The twelve Olympian gods sit in two groups, witnessing the ceremony. At the centre, the old peplos is handed over to a priest.
Innovation
Unprecedented subject: contemporary Athenian citizens in a religious ceremony (not mythological battle). Suggests civic pride and perhaps heroisation of the Athenian people.
Artistic Achievement
Relief Depth
Very low relief (only 5cm at deepest) to be seen from below at a sharp angle. Yet creates remarkable illusion of depth through overlapping figures and skilful carving.
Rhythm and Variety
Groups repeat (horsemen, offering bearers) but each figure is individual. Variations in pose, gesture, and spacing prevent monotony over 160 metres.
Idealized Citizens
All participants are young, beautiful, dignified - the ideal Athenian. No elderly, ugly, or undignified figures. The frieze presents Athens as she wished to be seen.
Divine Scale
The seated gods on the east are scaled larger than standing mortals - yet this only becomes apparent as you approach. Subtle hierarchy through size.
Temple of Apollo at Bassae
c. 425-420 BCE | Marble | British Museum, London
Section of the Bassae frieze showing combat between Greeks and Amazons. Image: Wikimedia Commons
The remote Temple of Apollo at Bassae in the Peloponnese was designed by Iktinos (co-architect of the Parthenon). Its interior featured an innovative Ionic frieze depicting the Centauromachy and Amazonomachy.
Interior Placement
Unlike external friezes, this ran inside the cella where worshippers could see it up close. The dramatic subject matter surrounded visitors in a theatrical experience.
Dynamic Violence
More violent and emotionally intense than the Parthenon. Figures twist in extreme poses; drapery swirls dramatically. Anticipates Hellenistic theatricality.
High Relief
Much higher relief than the Parthenon frieze - figures almost detach from the background. The interior lighting allowed for more dramatic sculptural depth.
Late Classical Style
Shows the move towards greater emotion and movement in late 5th century art. The restrained dignity of the Parthenon gives way to intense action.
Essay Comparison
Compare Siphnian Treasury (Archaic) → Parthenon (High Classical) → Bassae (Late Classical) to show the development of continuous relief: from decorative patterns and Archaic conventions, through idealised restraint, to emotional intensity and dramatic movement.
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