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A pediment is an architectural element found particularly in Classical, Neoclassical and Baroque architecture, and its derivatives, consisting of a gable, usually of a triangular shape, placed above the horizontal structure of the lintel, or entablature, if supported by columns. The tympanum, the triangular area within the pediment, is often decorated with reliefsculpture. A pediment is sometimes the top element of a portico. For symmetric designs, it provides a centre point and is often used to add grandness to entrances.[1]
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East Pediment sculptures, Parthenon, including Helios, Horses and Dionysus (Heracles?)
Desert Landforms podcast
East and West Pediments, Temple of Aphaia, Aegina
Transcription
[MUSIC PLAYING]
SPEAKER 1: We're in
the British Museum,
and we're looking at some of
the most famous sculptures
from all of history.
In fact, perhaps the
most famous sculptures.
This is the pediment
sculptures from the east end
of the Parthenon on the
Acropolis in Athens.
SPEAKER 2: Created
in the fifth century
BC, which was the classical
period of Ancient Greece.
The period when Athens is a
democracy, the golden age,
and the Parthenon was its
most important monument.
SPEAKER 1: It was a
treasury, in fact,
for the new confederations
in Greece itself.
And so it was a symbol of
wealth, of power, of wisdom.
SPEAKER 2: And dedicated
to the Goddess Athena, who
was the goddess of the
city-state of Athens.
SPEAKER 1: And a
goddess of both wisdom
and also war,
interestingly enough.
SPEAKER 2: A warrior goddess.
The sculptures
that we're looking
at from the east pediment.
And pediment is that
triangular shape
on either end of an
Ancient Greek temple.
SPEAKER 1: Right,
really a gable.
SPEAKER 2: The figures
had to be arranged--
must have been a
difficult composition
to fill an elongated triangle.
SPEAKER 1: In fact,
the figures rise,
and you can still
see the triangle.
The fact is, though,
that the middle figures
are completely missing.
Let's give a quick
overview of the narrative.
Athena would be born from
the head of her father, Zeus,
in the middle.
And we have a series of gods
and goddesses reacting to that.
The three figures that
survive on the right side
of the east pediment
we think might
be Hestia, who would be
closest to the middle;
Aphrodite, who is reclining
on the lap of her mother;
and then to the
right of Aphrodite,
we think that that would've
been the goddess of the moon,
leading a chariot to
the moon's setting.
On the left side
of the pediment,
we have the opposite of that.
We have the sun actually
rising and the god of the sun
actually bringing the sun on
his chariot into the new day.
Representing, of course,
the birth of Athena.
SPEAKER 2: The thing that
is most remarkable to me
is how lifelike these are.
And how filled with movement.
SPEAKER 1: Even though
we don't have any heads
except for the one male
reclining nude, which
is severely damaged, and
is thought to probably
be Dionysus.
Even without the heads,
even without the hands,
which are often the most
expressive part of a body,
and despite the fact that
the bodies themselves
are largely clothed, the bodies
are still incredibly expressive
in terms of their energy, in
terms of their responsiveness,
and in terms of the
relationship to each other.
SPEAKER 2: There is a kind
of integration of the figures
that's very complicated
compositionally.
So that the figure
to the left of center
moves away, but
turns back, and is
interrelated to the figure
next to her who's seated,
who's also reacting to her
into the event in the center
but then is kind
of more stabilized
by that frontal seated
figure just to the left.
And then the reclining nude
who looks over to the left.
So there's real integration of a
whole here that's very complex.
SPEAKER 1: The thing that
I find so interesting
is the psychological
understanding, as well as
this anatomical understanding,
and simultaneously this respect
for and love of the
beauty of the body.
Now, the women are clothed.
But the way that the
artist is handling
the drapery in
some ways actually
defines the turn of the
muscles of the body,
in a sense revealing
more about the body--
SPEAKER 2: Than the
body would itself.
SPEAKER 1: If it was nude.
SPEAKER 2: It's important
to remember, I think,
something that we often
forget because we think
about sculptures as white, which
is these all would have been
painted in very bright colors.
Which seems very strange and
almost garish to us today.
SPEAKER 1: And probably really
important because, of course,
these would have been much
higher and much further away
from the viewer
than they are now.
SPEAKER 2: But that paint would
have helped viewers far below
to see details in the sculpture.
SPEAKER 1: But there's
a kind of nobility
that is very much emblematic
of this high classical moment
in Ancient Greece.
And if you look, for instance,
at the figure that we think
is Dionysus.
I mean, here's the
god lying, right?
Completely relaxed,
and yet there's
still this kind of nobility.
There's still this
kind of balance.
SPEAKER 2: He's a god.
SPEAKER 1: Absolutely.
SPEAKER 2: And we know it.
There's no doubt about it.
When we look at
him, he's divine.
We're on Mount Olympus.
SPEAKER 1: It's so easy to see
why later cultures, later ages,
would look back to
this kind of sculpture
and see this as a kind of
apex, as a kind of high point,
of human achievement.
SPEAKER 2: You imagine an
entire culture that's somehow
about perfection and
transcendence and beauty
and the heroic and the noble.
It's like the art
so much embodies
those values that
one imagines them
in the ancient
Athenians themselves.
[MUSIC PLAYING]
The pediment is found in classical Greek temples, Etruscan, Roman, Renaissance, Baroque, Rococo, Neoclassical and Beaux-Arts architecture. A prominent example is the Parthenon, where it contains a tympanum decorated with figures in relief sculpture. This architectural element was developed in the architecture of ancient Greece and first appeared as gable ends of Greek temples. In ancient Rome, the Renaissance, and later architectural revivals, the pediment was used as a non-structural element over windows, doors and aediculae. Some used to protect windows and openings from weather.[2] As classical architecture moved to Britain during the Renaissance, pediments wouldn't fit with the steeply pitched roofs and became detached from the structure to only create an impression.[3] The form of the pediment is dictated by the primary function of the roof which in several areas is the dismissal of rainwater.[2]
A variant is the "segmental" or "arch" pediment, where the normal angular slopes of the cornice are replaced by one in the form of a segment of a circle, in the manner of a depressed arch. Both traditional and segmental pediments have "broken" and "open" forms. In the broken pediment the raking cornice is left open at the apex. The open pediment is open along the base – often " sculpture, "tondo" paintings, mirrors or windows. These forms were adopted in Mannerist architecture, and applied to furniture designed by Thomas Chippendale. The terms "open pediment" and "broken pediment" are often used interchangeably.[4] Another variant is the swan's neck pediment and is a refinement of a broken pediment with two "S"-shaped profiles resembling a swan's neck. Non-triangular variations of pediments are usually found over doors, windows, and porches.[5]
Gallery
One of the few sections of the sculpture of the pediment of the Parthenon still in place; others are the Elgin marbles in the British Museum (London)
Illustrations with the sculptures of the two pediments of the Parthenon, by James Stuart & Nicholas Revett in 1794
![The Madeleine Church in Paris. The sculpture from the pediment (1830-1837) by Pierre-Jean David depict St Geneviève[6]](/wikipedia/commons/thumb/3/3e/%C3%89glise_de_la_Madeleine.jpg/167px-%C3%89glise_de_la_Madeleine.jpg)
This page was last edited on 8 January 2021, at 08:25