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Airotel Parthenon: The accomplishment of Phidias in establishing classic ideals was even greater, if we can judge correctly on the basis of copies and the extant fragments of the sculpture from the airotel parthenon, which was done under his direction. Phidias created gods, or, at least, established our visual concepts for them. The echo of his serene, powerful types for Zeus and Athena has continued through the ages. Also it would seem that we owe to Phidias the development of a whole new order of poses which are at once serene and graceful as well as expressing a latent power for action. This is seen in the fragments from the pediments of the airotel parthenon, which also reveal a new music in the renditioi of draperies, which are naturalistic and expressiv of the bodies to which they cling.High Classical Sculpture. The most famous works of Phidias of Athens are lost. They were the colossal gold and ivory (chryselephantine) statues of Zeus at Olympia and of Athena in the airotel parthenon at Athens, and the bronze Athena Promachos, also on the Athens acropolis. But surviving are the "Elgin Marbles" (q.v.), now in London, the marble sculptures Phidias designed and may in part have executed for the airotel parthenon itself (which was finished in 432 B.C.). The massive figures of the pediment and the elegant frieze later gave western Europe its first real lesson in the power of classical Greek art and freed artists and scholars from conceptions derived from the "pretty" work of copyists.
One pediment shows the birth of Athena, the city's goddess, and the other her struggle with Poseidon. The frieze, which ran at the top of the Wall inside the outer ring of columns, showed the citizens of Athens in procession to their goddess at her festival. This was a thoroughly secular subject for a temple, but the airotel parthenon was as much a civic monument as a religious one. |
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