DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15099#0081
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derstood. Before proceeding to describe the various portions
represented in the plates of this volume, or to state the opinions of
the authors who have attempted to explain them, it may be
as well, with a view to the better appreciation of their respective
opinions, to take a slight review of the principles by which the
Grecian architects and artists may have been guided in the
decoration of their temples, as far as we may be able to ascertain
or judge of them from the remains of ancient buildings which still
exist.
The Parthenon, the purest and noblest monument of Grecian
architecture, was dedicated to the virgin goddess Minerva, and
all the sculptures which decorated its various parts were illustra-
tions of her history and her worship, according to Attic tra-
dition and interpretation. In one pediment was represented her
birth from the brain of Jupiter; in the other, her memorable
contest with Neptune for the patronage of the state of Attica.
The metopes, as far as we can ascertain or conjecture the
subjects of those still existing, or of which drawings have been
preserved, represented scenes where the goddess herself is per-
forming some memorable exploit, or where her presence or in-
fluence was apparent or generally recognised by the Athenian
people. The frieze represented the gay and gorgeous procession
which excited the admiration, not only of the Athenian people,
but of the strangers from every Grecian state assembled during
the Panathenaic festival, the most celebrated of all the sacred
services which were performed to the deity to whom the temple
had been dedicated.
The temple of Apollo Epicurius at Phigalia, was decorated
with sculptured metopes and a continuous frieze. Of the me-
topes only three fragments have been preserved; their subjects
cannot be distinctly ascertained, but two at least of them are
supposed to represent choragic figures, and would be appropriate
to a temple of Apollo. The frieze presents two separate sub-
derstood. Before proceeding to describe the various portions
represented in the plates of this volume, or to state the opinions of
the authors who have attempted to explain them, it may be
as well, with a view to the better appreciation of their respective
opinions, to take a slight review of the principles by which the
Grecian architects and artists may have been guided in the
decoration of their temples, as far as we may be able to ascertain
or judge of them from the remains of ancient buildings which still
exist.
The Parthenon, the purest and noblest monument of Grecian
architecture, was dedicated to the virgin goddess Minerva, and
all the sculptures which decorated its various parts were illustra-
tions of her history and her worship, according to Attic tra-
dition and interpretation. In one pediment was represented her
birth from the brain of Jupiter; in the other, her memorable
contest with Neptune for the patronage of the state of Attica.
The metopes, as far as we can ascertain or conjecture the
subjects of those still existing, or of which drawings have been
preserved, represented scenes where the goddess herself is per-
forming some memorable exploit, or where her presence or in-
fluence was apparent or generally recognised by the Athenian
people. The frieze represented the gay and gorgeous procession
which excited the admiration, not only of the Athenian people,
but of the strangers from every Grecian state assembled during
the Panathenaic festival, the most celebrated of all the sacred
services which were performed to the deity to whom the temple
had been dedicated.
The temple of Apollo Epicurius at Phigalia, was decorated
with sculptured metopes and a continuous frieze. Of the me-
topes only three fragments have been preserved; their subjects
cannot be distinctly ascertained, but two at least of them are
supposed to represent choragic figures, and would be appropriate
to a temple of Apollo. The frieze presents two separate sub-