DOI Page / Citation link:
https://doi.org/10.11588/diglit.973#0051
WESTERN PEDIMENT OF PARTHENON. 43
suppose that Athene is represented as having produced
her olive, which stood in the centre of the pediment,
and was fixed in a rectangular socket, well adapted to
support it (Sauer, Athenische Mittheilungen, xvi., pi. 3,
p. 72). The salt spring produced by the trident of
Poseidon may also have had a place in the composition,
though no trace of it is to be found either among the
fragments or in Carrey's drawing. In this case the two
gods are seen starting asunder, but looting inwards, after
producing their respective tokens. Most writers have
thought that the sculpture also expressed the result. It
has, however, been recently suggested that each god is
claiming the verdict (De Kidder).
The chief divergent theory is based upon a vase-
painting representing the contest (Stephani, Compte
JRendu, 1872, pi. 1, p. 5; Journ. of Hellenic Studies, iii.,
p. 245). In that design Poseidon and Athene form an
antagonistic group, which in composition presents some
resemblance with the central group in the pediment.
The olive-tree is placed between them, and Poseidon
controls with his left hand a rearing horse. Stephani
argues from the vase-painting that Pheidias made Poseidon
produce the horse—a variant tradition, of which there are
traces in late literature—that Poseidon was represented
striking the ground with his trident and Athene striking
it with her lance to produce tho tokens, which are shown,
by anticipation, in the pediment itself. It is more likely
that on the vase the tokens have been produced and
Poseidon attacks, while Athene defends the olive. There
is not, however, sufficient correspondence between the
vase and the sculptures to justify the conclusion that the
vase-painter copied directly any portion of the pedimental
composition. On the other hand, the fragments of horses
that have been discovered in the excavations on the
Acropolis (Sauer, Athenische Mittheilungen,' xvi., pi. 3,
suppose that Athene is represented as having produced
her olive, which stood in the centre of the pediment,
and was fixed in a rectangular socket, well adapted to
support it (Sauer, Athenische Mittheilungen, xvi., pi. 3,
p. 72). The salt spring produced by the trident of
Poseidon may also have had a place in the composition,
though no trace of it is to be found either among the
fragments or in Carrey's drawing. In this case the two
gods are seen starting asunder, but looting inwards, after
producing their respective tokens. Most writers have
thought that the sculpture also expressed the result. It
has, however, been recently suggested that each god is
claiming the verdict (De Kidder).
The chief divergent theory is based upon a vase-
painting representing the contest (Stephani, Compte
JRendu, 1872, pi. 1, p. 5; Journ. of Hellenic Studies, iii.,
p. 245). In that design Poseidon and Athene form an
antagonistic group, which in composition presents some
resemblance with the central group in the pediment.
The olive-tree is placed between them, and Poseidon
controls with his left hand a rearing horse. Stephani
argues from the vase-painting that Pheidias made Poseidon
produce the horse—a variant tradition, of which there are
traces in late literature—that Poseidon was represented
striking the ground with his trident and Athene striking
it with her lance to produce tho tokens, which are shown,
by anticipation, in the pediment itself. It is more likely
that on the vase the tokens have been produced and
Poseidon attacks, while Athene defends the olive. There
is not, however, sufficient correspondence between the
vase and the sculptures to justify the conclusion that the
vase-painter copied directly any portion of the pedimental
composition. On the other hand, the fragments of horses
that have been discovered in the excavations on the
Acropolis (Sauer, Athenische Mittheilungen,' xvi., pi. 3,