These three temple pediments show the remarkable development of Greek sculptural skill from the early Archaic to the Early Classical period - roughly 150 years of artistic evolution.
Prescribed Pediments
Temple of Artemis, Corcyra (c. 580 BCE) - Archaic Temple of Aphaia, Aigina (c. 500-480 BCE) - Late Archaic/Severe Style transition Temple of Zeus, Olympia (c. 470-456 BCE) - Early Classical/Severe Style
c. 580 BCE | Limestone | Archaeological Museum of Corfu
Central Gorgon from the west pediment of the Temple of Artemis at Corcyra - one of the earliest surviving Greek pediment sculptures. Image: Wikimedia Commons
This is one of the earliest surviving Greek pediment sculptures. The temple was built on Corcyra (modern Corfu), a wealthy Corinthian colony. The west pediment features a monumental Gorgon (Medusa) at the centre.
Central Gorgon
The terrifying Medusa dominates the pediment - 3 metres tall, with snakes in her hair, fangs, and staring eyes. She runs in the "knielauf" (kneeling-running) pose, an Archaic convention for speed.
Flanking Figures
Two smaller panthers crouch beside Medusa - apotropaic (evil-averting) creatures. The scale difference is symbolic (importance) not naturalistic.
Mythological Elements
Small figures of Pegasus and Chrysaor (born from Medusa's blood when Perseus beheaded her) appear beside her - though she's shown alive. Narrative logic is secondary to symbolic power.
Corner Solutions
The corners contain completely unrelated scenes: Zeus killing a giant, battles. The artists haven't yet solved the problem of unified pediment composition.
Apotropaic Function
The Gorgon's face was meant to ward off evil - looking at the real Medusa turned viewers to stone. Placed on a temple pediment, she protected the building and terrified enemies. Function over narrative coherence.
Temple of Aphaia, Aigina
c. 500-480 BCE | Marble | Glyptothek, Munich
Reconstruction of the west pediment from the Temple of Aphaia at Aigina (Glyptothek, Munich). Image: Wikimedia Commons
The Temple of Aphaia on the island of Aigina had two complete sculptural pediments depicting battles before Troy - appropriate for an island that claimed its heroes (like Ajax) fought there.
East Pediment (Later, c. 480 BCE)
Subject
The first Trojan War - Herakles and Telamon attacking Troy. Athena stands at centre, warriors fight towards her.
Style
Severe Style influence: serious expressions, more naturalistic anatomy, warriors show real physical strain. The Archaic smile is disappearing.
West Pediment (Earlier, c. 500 BCE)
Subject
The second Trojan War (the famous one). Greek and Trojan warriors battle around the central Athena.
Style
More Archaic: figures still show Archaic smiles even when dying. Decorative patterns in armour and hair. But unified composition around the central goddess.
Transitional Importance
Comparing the two Aigina pediments (made perhaps 20 years apart) shows the rapid change from Late Archaic to Severe Style. The falling warrior from the east pediment, face twisted in pain, marks the breakthrough to emotional realism.
Temple of Zeus, Olympia: Pediments
c. 470-456 BCE | Marble | Archaeological Museum, Olympia
East Pediment: Preparation for the Chariot Race
Reconstruction of the east pediment - the moment before Pelops' fateful chariot race. Image: Wikimedia Commons
The Myth: King Oinomaos challenged suitors for his daughter Hippodamia to a chariot race; losers were killed. Pelops bribed the king's charioteer to sabotage his chariot. Oinomaos died; Pelops won Hippodamia and founded the Olympic Games.
Composition
Zeus stands at centre (invisible to the mortals), flanked by the two competitors with their chariots. The scene is frozen before the race - full of dramatic tension and impending doom.
Stillness and Tension
Unlike battle pediments, this shows a moment of ominous calm. The figures stand still, but we know the catastrophe to come. Psychological drama through restraint.
Corner Figures
Reclining figures (possibly river gods or seers) fill the corners. The seer Iamos foresees the disaster - his face shows troubled foreknowledge.
West Pediment: Centauromachy
West pediment - Apollo presides over the battle between Lapiths and Centaurs. Image: Wikimedia Commons
The Myth: At the wedding of Peirithoos, the Centaurs became drunk and tried to carry off the Lapith women. A violent battle ensued.
Central Apollo
Apollo stands calm at centre, arm outstretched, commanding order. His divine serenity contrasts with the violent struggle around him - civilisation will triumph over barbarism.
Dynamic Combat
Violent interlocking groups of Lapiths and Centaurs. Figures twist, grab, bite. The violence is intense but contained within Classical dignity.
Severe Style Mastery
Serious expressions, anatomical naturalism, powerful movement. No Archaic smiles - even the centaurs show appropriate bestial grimaces.
Essay Comparison: Pediment Development
Corcyra (c. 580): Symbolic, apotropaic, no unified narrative, scale = importance Aigina (c. 500-480): Unified battle scenes, Athena at centre, Archaic→Severe transition Olympia (c. 460): Complex narratives, psychological depth, Severe Style mastery, divine presence defining order
