DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0294
MYTH OF PELOPS AND OINOMAOS.
261
that they could not have been shoved in after the building was completed, but
must have been fitted in as rude blocks into their places, and carved afterwards,
during the process of building; i.e., between 470 and 460 B.C. It is equally
clear, that these sculptural metopes could not have been carved in place after
the building had been roofed. In their dark and confined space directly under
the roof, they would thus have been inaccessible to the artist for the produc-
tion of such carefully finished work. Hence, as the building was covered by
about 460 B.C., we have a clew to the earlier date of its metopes.
But let us now turn to the sculptures of the pediments, and consider first
those from the east end, usually the front of the sacred building. Here, accord-
ing to Pausanias, were represented the preparations for the mythic chariot-race
between Oinomaos, king of Pisa, and the Lydian Pelops.463 According to
story, Oinomaos had a daughter of great
beauty, Hippodameia, whose hand was
sought by many. But being unwilling
to give her up, having been informed by
the oracle, according to one story, that
he himself should fall at the hand of his
son-in-law, the king determined to pre-
vent her marriage. He consequently in-
stituted a chariot-race, making it a con-
dition that each suitor should run with
him, and, if unsuccessful, forfeit his life.
Thirteen times Oinomaos' winged steeds
carried off the prize; and thirteen un-
happy lovers, one after the other, were
pierced by his merciless lance as he
sped by them, their skulls to become
decorations in the temple of his father, Ares. When, however, Pelops came,
the gods, according to Pindar, favored his suit. Poseidon furnished him with
winged steeds, fleeter than those of Oinomaos ; and Aphrodite roused the
maiden's ardent love for the beautiful Lydian youth. In popular myth, Myr-
tilos, son of Hermes, was also woven into the story. He likewise loved the
maiden, but feared the fate of the unhappy suitors. In order to be near her, he
hired himself out as charioteer to Oinomaos ; his jealousy of the princely lovers
having not a little to do with their failure in the race. But, when Pelops ar-
rived, Myrtilos changed his tactics, in hopes of nearer approach to Hippo-
dameia, and now plotted, even against his master. He removed the pivot from
one of the king's chariot-wheels, or, according to another story, inserted one
of wax. In consequence the race was lost to the old king, now the victim of
Pelops' lance, who thus won the bride and the land. Pausanias describes the
sculptural group at Olympia, relating to this myth in the east pediment of the
Fig. 124. Metope from Temple of Zeus at Olympia.
Heracles cleaning Augeias' Stables.
261
that they could not have been shoved in after the building was completed, but
must have been fitted in as rude blocks into their places, and carved afterwards,
during the process of building; i.e., between 470 and 460 B.C. It is equally
clear, that these sculptural metopes could not have been carved in place after
the building had been roofed. In their dark and confined space directly under
the roof, they would thus have been inaccessible to the artist for the produc-
tion of such carefully finished work. Hence, as the building was covered by
about 460 B.C., we have a clew to the earlier date of its metopes.
But let us now turn to the sculptures of the pediments, and consider first
those from the east end, usually the front of the sacred building. Here, accord-
ing to Pausanias, were represented the preparations for the mythic chariot-race
between Oinomaos, king of Pisa, and the Lydian Pelops.463 According to
story, Oinomaos had a daughter of great
beauty, Hippodameia, whose hand was
sought by many. But being unwilling
to give her up, having been informed by
the oracle, according to one story, that
he himself should fall at the hand of his
son-in-law, the king determined to pre-
vent her marriage. He consequently in-
stituted a chariot-race, making it a con-
dition that each suitor should run with
him, and, if unsuccessful, forfeit his life.
Thirteen times Oinomaos' winged steeds
carried off the prize; and thirteen un-
happy lovers, one after the other, were
pierced by his merciless lance as he
sped by them, their skulls to become
decorations in the temple of his father, Ares. When, however, Pelops came,
the gods, according to Pindar, favored his suit. Poseidon furnished him with
winged steeds, fleeter than those of Oinomaos ; and Aphrodite roused the
maiden's ardent love for the beautiful Lydian youth. In popular myth, Myr-
tilos, son of Hermes, was also woven into the story. He likewise loved the
maiden, but feared the fate of the unhappy suitors. In order to be near her, he
hired himself out as charioteer to Oinomaos ; his jealousy of the princely lovers
having not a little to do with their failure in the race. But, when Pelops ar-
rived, Myrtilos changed his tactics, in hopes of nearer approach to Hippo-
dameia, and now plotted, even against his master. He removed the pivot from
one of the king's chariot-wheels, or, according to another story, inserted one
of wax. In consequence the race was lost to the old king, now the victim of
Pelops' lance, who thus won the bride and the land. Pausanias describes the
sculptural group at Olympia, relating to this myth in the east pediment of the
Fig. 124. Metope from Temple of Zeus at Olympia.
Heracles cleaning Augeias' Stables.