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FIGURE and TEMPLE in the GREEK WORLD UNTIL the BEGINNING of the LATE ARCHAIC PERIOD (Ca

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FIGURE and TEMPLE in the GREEK WORLD UNTIL the BEGINNING of the LATE ARCHAIC PERIOD (Ca Cambridge University Press 978-0-521-85797-0 - Temple Decoration and Cultural Identity in the Archaic Greek World: The Metopes of Selinus Clemente Marconi Excerpt More information ᪉᪉᪉᪉ one FIGURE AND TEMPLE IN THE GREEK WORLD UNTIL THE BEGINNING OF THE LATE ARCHAIC PERIOD (ca. 700–530) It is remarkable that the investigation of the uses of figural representation in Greek sacred architecture is not one of the main areas of present-day scholarship. There are as many monographs as there are temples and parts of the temple once used to display figures – the akroteria, pediments, and friezes; however, thus far there has been no general history of the use of figures on Greek sacred build- ings. The reasons for this odd situation become clear upon examining the history of the discipline, and in particular, the history of scholarly restorations of tem- ples in the period between the beginning and the end of the nineteenth century. For much of the nineteenth century, architects were very creative in their restorations of the original appearance of Greek temples and lavish in their imag- inings of the temples’ figural apparatus. One need only look at restorations of the Parthenon such as those of Gottfried Semper (ca. 1834), Alexis Paccard (1845–6), or Benoit Loviot (1879–81) to realize how important it was for several generations of scholars to create a model of the Greek temple in which figural decoration and architectural structure played equal roles in the original visual impact of the buildings.1 As a result, the illustrations of these studies, dedicated to the master- pieces of Greek Archaic and Classical architecture from all over the Mediterra- nean, restore the temples overwhelmed by gaily colored figures from the top of the roof down to the bottom of the cella walls. This situation changed at the end of the nineteenth century. Suddenly, re- stored temples often lacked both the figural decoration and the vivid and diffuse polychromy of their predecessors. These new restorations are symptomatic of a new iconoclastic trend in the field of Greek architectural history, one that was so radical that even buildings like the Parthenon were restored without their orig- inal, rich apparatus of figures – see, for example, Auguste Choisy’s Classical res- ᪉ 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85797-0 - Temple Decoration and Cultural Identity in the Archaic Greek World: The Metopes of Selinus Clemente Marconi Excerpt More information Temple Decoration and Cultural Identity in the Archaic Greek World toration of the Acropolis (1899), which was later to be used by Le Corbusier in Towards a New Architecture. Of course, it is not a coincidence that in the same years, Adolf Loos was writing Ornament and Crime, arguing against the use of figural decoration in buildings, which he compared to the use of tattoos on the bodies of primitives. This book heralded the advent of modernism in architec- ture, with its banishment of figural decoration, and there seems to be little ques- tion that the new iconoclastic trend in Greek architectural history was a reflec- tion of the new atmosphere in modern architectural theory and practice.2 What concerns us most is the fact that in the same years when historians of Greek architecture were giving up the original, figural decoration of buildings, historians of Greek sculpture began to make their appropriation of it. By “ap- propriation,” I mean the process by which architectural sculpture was system- atically detached from buildings and was instead reconceptualized according to the discourses that ruled, at that time, the discussion of free sculpture, such as style, authorship, and formal analysis. This process can best be seen at work in the main general books on Greek sculpture of the period (such as Murray’s His- tory of Greek Sculpture of 1890), in which akroteria and pediments were discussed beside statuary, and metopes and friezes were grouped with funerary and votive relief. Such books began the process of dissecting the original unity of Greek temple decoration. This appropriation of the figural decoration of temples by historians of sculp- ture is more than justified, considering that at the time architectural sculpture represented the largest body of original Greek sculpture, a group able to be sit- uated both chronologically and geographically. Yet, as a result of this appropri- ation, in a few decades scholarly narratives about Greek temple decoration moved from discussing temples decorated by akroteria, pedimental statues, and met- opes, to talking only about akroteria, pedimental statues, and metopes, without much consideration of either the temples themselves or the totality of their orig- inal appearance. In fact, in the first few decades of the twentieth century, the typological discussion of architectural sculpture, that is to say, the discussion of bits and pieces of temples, became a regular scholarly genre, parallel to the typo- logical discussions then being constructed for other categories of art-historical and archaeological objects, such as pottery. In these years dominated by a typo- logical approach, there were books on kraters, cups, and amphoras; indeed, soon enough dissertations and books on akroteria, pediments, or friezes also arrived.3 Such works contained detailed catalogs of surviving examples followed by sys- tematic discussions of the origins and diffusion of a given type; but while doing so, they systematically disregarded the rest of the building to which the object under investigation once belonged.4 The impact of these studies and publications on scholarship of the second half of the twentieth century has been considerable, as is best indicated by the con- tinued practice of publishing new, updated typological catalogs into the twenty- 2 ᪉ © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85797-0 - Temple Decoration and Cultural Identity in the Archaic Greek World: The Metopes of Selinus Clemente Marconi Excerpt More information Figure and Temple in the Greek World (ca. 700–530) first century.5 More than in these specialized studies, this impact is shown in general narratives on Greek sculpture that are entirely based on such dissections of temples and the consequent typological treatment of pediments, metopes, and friezes.6 Luckily, times are changing, as is shown by recent more general discussions of Greek art and architecture that address architectural sculpture in conjunction with actual buildings.7 Still, the legacy of that long-established scholarly tradi- tion is so strong that the use of figural decoration on temples is still not one of the main concerns of current research. There are two additional problems with the traditional scholarly narrative about the early stages of Greek temple decoration (ca. 700–530). The first is that, because of the nineteenth-century tendency to identify temple decoration with architectural sculpture, scholarship tends to underestimate images made of ma- terials other than stone or media other than sculpture. This is despite the fact that these images in terracotta or paint often played a major role in the visual com- munication of sacred buildings. The second problem is that we tend to think of Greek temples, all Greek temples, as being decorated by figural representations from the beginning of Greek sacred architecture, despite the fact that the use of images evolved in a consistent way over a century and a half – and largely ante- dated the formation of the architectural orders. There is in fact substantial evidence for the use of figural representation in the decoration of sacred architecture for the period from the late eighth century to the last quarter of the seventh century. This evidence demonstrates a wide variety of uses that are continued throughout the period. The limestone frieze from Chania, in western Crete, may represent our earliest evidence for this practice (end of the eighth century), since it most likely be- longed to a religious building.8 On the only surviving block of what must have been originally a continuous frieze, pairs of archers defend a temple from the as- sault of enemies in chariots. Inside this sculpted temple, the frontal cult statue of a goddess, framed by tiny walls and a flat roof, is prominently displayed. The battle frieze must have decorated the walls of the building to which it once be- longed, although the precise location remains unclear. There is, however, an ev- ident connection between this early occurrence of a stone frieze and the tradi- tion of walls made entirely of stone in the architecture of the island, which dates back to the Geometric period.9 Crete was in the forefront in the Greek world in the use of stone in architecture, and the use of a stone frieze at such an early date is thus hardly a surprise. The next piece of evidence for the use of figural representation in the decora- tion of sacred architecture may date to the early decades of the seventh century, if it is correct to think that the object in question, a small fragmentary terracot- ta plaque from Naxos, originally belonged to a frieze.10 The plaque was found in association with the third phase (ca. 680) of the temple at Iria, and it has been ᪉ 3 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85797-0 - Temple Decoration and Cultural Identity in the Archaic Greek World: The Metopes of Selinus Clemente Marconi Excerpt More information Temple Decoration and Cultural Identity in the Archaic Greek World attributed to a frieze decorating the entablature of a wooden portico that mon- umentalized the main facade of the building. The state of preservation of the plaque is so poor that any identification of its original function must remain hy- pothetical, and this is particularly regrettable in light of its possible subject.
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