Introduction horse) were also invited to the feast, strands which emanate from a single where they got drunk and began point on the top of the head; over An unusual piece on display in the assaulting the Greek guests. The the forehead these form a fringe Wilcox Collection is the over- over-lifesized statue of Apollo - ending in small curls. Behind the ears, lifesized head of the god Apollo symbolizing civilized behavior - stood Apollo had long, shoulder-length hair from the temple of Zeus at in the center; his calm epiphany which seems short because it has Olympia in western Greece, carved imposes order on the melee. been gathered into a roll at the back ca. 460 B.C. of imported Parian of the head. A drilled hole in the marble. Surviving tool marks on the Iconography and Style center of the roll indicates where a body of the god indicate several The figure of Apollo is an outstanding hair pin, probably also of gilded phases of repair. Olympia bronze, was attached. Because the Archaeological Museum (Greece), example of the Severe style, which flourished between 480 and 450, right side of the head was turned to Figure L. Original H. of figure 3.1 m. the wall of the pediment, and only (8 ft. 4 in.). immediately before the High Classical period represented by the the left was visible to the spectator at Background Parthenon. The god stands frontal in ground level, the sculptor did not the center of the pediment, nude but carved the back of the head fully. In Olympia, the major mainland Greek for a cloak or mantle draped around the Wilcox display, you can see that sanctuary of Zeus (Roman Jupiter), his back which falls in flat folds over the right ear has only been roughed was located near the confluence of his right shoulder and wraps around out but not finished, and the two rivers in the northwest corner his left forearm. He turns his head to separation of strands of hair from the of the Peloponnese (Olympia is not the right and extends his right arm rest of the block stops abruptly. An to be confused with Mt. Olympus in horizontally. This arm is not "pieced" examination of the other pedimental north central Greece, the supposed from a separate block of marble: the figures reveals that many of them are home of the gods). The temple, built entire figure was carved as a single unfinished as well. Some details could of shelly limestone, was the largest entity. Consequently, this arm would have been added in paint, but most of Doric temple in the Peloponnese and have to have been supported, and it the unfinished areas would not have had an ambitious program of probably rested on the top of a been noticeable from ground after sculpture: 6 carved metopes over centaur's head who had come too the statues were installed in the each porch showing the 12 Labors of close to the god's altar. Apollo's left pediment. Since the carved metopes Herakles, and two pedimental hand reveals a rectangular cutting also include unfinished areas, it is ensembles in the triangular spaces at with a drilled hole on the wrist likely that all the sculptures were put the front and back of the building. where a bow was once attached, into place on the building in a hurry, The front (east) pediment shows perhaps of gilded bronze. The perhaps so that the temple, begun ca. Zeus himself officiating at the first, youthful head, broken from the body 470, would be complete for the mythological, chariot race at the at the neck, is oval with thick lidded Olympic games of 456 B.C. The sanctuary. The back (west) pediment eyes, a straight "classical" nose, and games were celebrated every four depicts a brawl at the wedding feast mouth with slightly parted lips and an years, and drew visitors and of the hero Pirithoös and his wife, impassive expression. The hair is contestants from all over the Greek Deidameia; centaurs (half-man, half- rendered in thick, slightly wavy world. Select Bibliography

Ashmole, B., and N. Yalouris. 1967. Olympia. The Sculptures of the Temple of Zeus (New York) 17-18, pls. 101-109. Boardman, J. 1985. Greek Sculpture. The Classical Period (London) frontispiece (head of Apollo), 33-50, figt. 21.3. Hornblower, S., and Spawforth, A. (eds.) WILCOX 1996. The Oxford Classical Dictionary (Oxford) 1065 (Olympia). [abbreviated COLLECTION OCD] LIMC II.1.183-64 (Apollo). [LIMC = Lexicon of Iconographicum Mythologiae Classicae (a comprehensive myth and art encyclopedia: Classical a copy is available in the reference section Antiquities of Spencer Art & Architecture Library at KU] Lullies, R., and M. Hirmer. 1960. Greek Department of Classics Sculpture (New York) pls. 120-121. University of Kansas Rehak, P. 1997. "Unfinished Hair and the Installation of the Pedimental Sculptures in the Temple of Zeus at Olympia," in M. Sturgeon and K. Hartswick (eds). Stephanos. Studies in Honor of Brunilde S. Ridgway --- Ridgway, B.S. 1970. The Severe Style in Greek Apollo from the West Pediment, Temple of Sculpture (Princeton) 17-23, pl. 73. Zeus at Olympia (ca. 460 B.C.). Apollo Robertson, M. 1975. History of Greek Art (---) pushes a centaur off his altar while the ---. centaur assaults a woman (head missing). Robertson, M. 1981. A Shorter History of Note how the Centaur's head supports Study Pamphlet #6 Greek Art (Cambridge) 79-89, 86 fig. 126: Apollo's arm. view of the west pediment. cast: Rolley, C. 1999. La Sculpture Grecque, 2. La période classique (Paris) ---. Stewart, A. 1990. Greek Sculpture. An HEAD OF APOLLO Exploration (New Haven) pl. 270. FROM OLYMPIA

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