Archaeopaedia: Temple of Zeus at Olympia

The Temple of Zeus at Olympia is one of the earliest examples of fully developed temple design in Greece, and is considered a model of Doric temple architecture (N. Yalouris). The temple was designed by local architect, Libon of Elis, and constructed between 470 BC – 456 BC to commemorate the Elean defeat of the Pisatans in 470 BC (J.Swaddling).

The hexastyle temple was constructed of local limestone, and coated with stucco. Its dimensions stretched 64.12 x 27.68 m, with six columns at each end and thirteen columns along each side. The columns were 10.43 m high and slightly tapered, measuring 2.21 – 2.25 meters in diameter at the base and 1.68 – 1.72 meters in diameter at the top. They had 20 flutings around the shaft, three incised rings around the neck, and four rings around the capital. The architrave and triglyph freize were large and colorful; paint traces suggest that the upper band of the architrave was red, and the metopes blue (E. Gardiner). The roof was originally tiled with Parian marble slabs, but these were replaced during Roman times with Pentelican marble (E. Gardiner). A continuous marble sima supported the roof, interrupted only by lion’s head water spouts. The 39 mostly intact lion’s heads found at the temple are of varying styles and material; this suggests the temple underwent constant repairs and upkeep until it was destroyed by earthquake in the 5th century AD (J. Swaddling).

Model of the Temple of Zeus: http://www.bbc.co.uk/history/ancient/greeks

The floor of the temple was originally made of limestone blocks covered in rough cement; this early flooring was replaced by the Roman times with a floor of hexagonal marble tiles. The ceiling of the temple was wooden (E. Gardiner). Like most classical temples, the structure contained three rooms: the pronaos, naos and opithodomos. The pronaos was equipped with three bronze doors that opened to the outside. At one point, the floor was covered with colorful mosaics constructed from round pebbles and shaped stones; the maritime scenes depict a Triton, fish and seabirds. Eventually these mosaics were covered with marble tiles. The pronaos itself was full of votive offerings, including the throne of Arimnestos, a statue of Iphitos, a bronze tripod and 25 bronze shields. A doorway from the pronaos led into the naos (or cella). The naos was 28.74 m long and 6.5 m wide. It was lined with seven columns on each side. This central aisle was divided into four sections. In the third section, the great statue of Zeus was erected, filling the aisle, and almost touching the ceiling. The proportions and plan of the aisle are similar to that of the Parthanon; this seems to suggest that Pheidias designed the layout of both (P. Valavanis). Important votives were also dedicated inside the naos (including the chryselephantine Statue of Zeus, a wonder of the ancient world). Behind, but not directly connected to, the naos, was the opithodomos. The opithodomos was similar in design to the pronaos, only it was open at the end and furnished with a stone bench that lined the room; it provided a place for the public to convene. The entire temple stood on a platform of three large steps, with a ramp at the East end that led up over the steps to the pronaos.

Some of the most magnificent features of the temple were the sculptured pediments on its East and West sides. The triangular pediments, which stretched 26.5 x 3.5 meters, contained a large number of sculptures created by an unknown artist.

East Pediment: http://www.sikyon.com/Olympia/Art/olymp_eg00.html

East Pediment: The statues on the East pediment depict one of the most common foundation myths of the Olympic games: the chariot race between Oinomaos and Pelops*. The scene illustrated on the pediment outlined the competitors’ pre-race preparations before the contest began. At the center of the pediment, stood Zeus, judge of the race and all human actions. To his right and left, stood the two contending couples: Oinomaos and Sterope on one side, Pelops and Hippodamia on the other. After the couples, came the racers’ chariots, each pulled by four horses, and attended by servants. Toward the edges of the pediment sat two prophets, and at the corners were two final statues, identified as the river gods Kladeos and Alpheios. Despite the highly charged scene unfolding on the West Pediment, the statues displayed the calm expression and static action characteristic of classical realism (B. Ashmole). This scene provides an interesting contrast to the livelier West Pediment.

*Although many versions of the myth exist, the most common relates the events as follows: It was prophesied that Oinomaos, king of Pisa, would be killed by his son-in-law. In an effort to escape his fate, Oinomaos decreed that he would let his daughter, Hippodameia marry only if a suitor could beat him in a chariot race. Oinomaos was confident that he was unbeatable because he drove a team of divine horses. After several suitors attempted and perished, Pelops arrived in Pisa. Before the race was to take place, Pelops bribed Myrtilos, Oinomaos’ charioteer, to insert wax lynchpins into Oinomaos’ chariot. Consequently, during the ensuing race, the wheels fell off Oinoamaos’ chariot, and the king was killed. Pelops married Hippodameia and became king of Pisa. According to legend, the race took place at latter-day Olympia, and Zeus presided as judge.

West Pediment: http://www.sikyon.com/Olympia/Art/olymp_eg00.html

West Pediment: The scene portrayed on the West Pediment was taken from the myth of the wedding feast of Peirithoos. The statues on the West Pediment depict the struggle between the centaurs and the wedding guests*. At the center of the pediment, stood Apollo. There is some debate over the presence of Apollo in the scene. Some scholars believe he represented divine power to control the events of history; others argue he functioned to bear witness to the oracular function within the temple (P. Valavanis). On each side of Apollo, statues of Peirithoos and Theseus fought to save the guests from the centaurs. The rest of the pediment was filled with the intertwining bodies of the guests and the centaurs, as both sides struggled for victory.

*According to the myth, Peirithoos, king of the Lapiths, was making preparations to marry Deidameia. As a friendly gesture, he invited his neighbors, the centaurs to the wedding feast. At the celebration, the centaurs got drunk, attacked the women and boys, and tried to carry them off. Peirithoos, with the help of Theseus, eventually succeeded in driving the beasts off. There is much debate over the reason for the selection of this scene on the Olympian temple. Although Peirithoos was a grandson of Zeus, this reason alone does not justify the choice, especially since centauromachy is not prominent in the region (B. Ashmole). One theory suggests that the scene was selected for its analogous quality of the Elian struggle with Persia, and their eventual victory over the enemy (H. Schobel). However, the Lapithian battle’s close association with the Olympic sport of wrestling is also noteworthy (H. Schobel).

The prominent placement of the gods on the pediments, and their proximity to the ensuing action, emphasized the important place the gods held at the sanctuary and in everyday Greek life .

Metope of the 10th Labor of Herakles: http://www.sikyon.com/Olympia/Art/olymp_eg01.html

Metopes: The metopes of the temple of Zeus depicted the twelve labors of Herakles. There were six metopes on either side of the temple, over the pronaos and opithodomos porches. Herakles was a fitting subject for the sculpture: not only was he a son of Zeus, both also an exemplary athlete. Herakles was also something of a local hero because many of his deeds were performed in the Peloponesse. The metopes were 1.6 meters high and 1.5 meters across, and like the pediments, were carved from Parian marble. Iron spikes were fitted into holes on the upper surface of the figures to prevent birds from nesting among the sculptures (E. Gardiner). The similarity in style between the metopes and the pediments suggest that they were designed by the same local artists that created the pediment sculptures (E. Gardiner).

References

Ashmole, Bernard. Olympia: The Sculptures of the Temple of Zeus. Phaidon Press, London; 1967

Biers, William R. The Archaeology of Greece. Cornell University Press, Ithica; 1996

Gardiner, E. Norman. Olympia: Its History and Remains. Clarendon Press, London; 1925

Pausanias. Description of Greece with an English Translation (by Jones, W.H.S.) Harvard University Press, Cambridge; 1918

Schobel, Heinz. The Ancient Olympic Games. D. Van Nostrand Compay, Princeton; 1965

Swaddling, Judith. The Ancient Olympic Games. British Museum Press, London; 2004

Valavanis, Panos. Games and Sanctuaries in Ancient Greece. Getty Publications, Los Angeles; 2004

Yalouris, Nikolaos. Olympia: Altis and Museum. Verlag Schnell & Steiner Munchen, Zurich; 1976

Greek Archaeology