The Classical period (fifth and fourth centuries)
Classical developments in the fifth century
The kourosdiscovered by archaeologists excavating the Athenian Acropolis in the
late nineteenth century represents a remarkable advance (fig. 47b). It must have been
made before the Persians destroyed the temples in 480, and is traditionally attri-
buted to one of the leading sculptors of the period, Critios. The stiffness and rigid
symmetries of the archaic style have been relaxed in the new pose, in which the
weight is shifted on to the back leg with the hips raised accordingly. Although the
arms are incomplete, the presence of small joints on the body makes it clear that they
were fixed to the thighs as before, but the left upper arm is bent backwards slightly,
suggesting that the arm was bent at the elbow, while the right arm drops vertically.
Legs and arms are asymmetrically balanced. The slight turn of the head further
softens the rigidity of the old pose, while the recessed eyes are more lifelike, and the
shortening of the hair not only gives greater clarity to the outlines of the head, but
diminishes the effect of stylization that is a marked feature of the archaic long-haired
kouros. The centre of the torso has been filled out and its contours are gently curved.
Suddenly the stone has been given a natural life.
Three further examples from the earlier classical period illustrate different
aspects of its achievement. The sublime head of Apollo (fig. 48) from the pediment
of the temple of Zeus at Olympia (c. 460) has a godlike beauty, authority and power.
The standing god, whose body has a straight frontal pose, is situated at the central
point of the pediment, the subject of which is the battle of the Lapiths and Centaurs.
One of his arms is outstretched and his head, though not in profile, is turned and
looking towards the battling figures. The calm majesty of the god, who can be
imagined to be ordering or rebuking the bestial Centaurs, contrasts with the chaotic
movement of the inferior beings. The imperiousness of the facial attitude comple-
ments the statuesque severity of the body. The noble face is strongly supported by
the neck and crowned by the clear moulding of the hair with its orderly locks following
the curve of the temples and forehead and framing it to its best advantage. The
features of the face – the straight nose, the large eyes with fine eyebrows, the
beautifully formed lips, the strong chin and cheekbones, and the flawless complexion
present an unforgettable image of ideal male beauty.
Equally sublime and assured, but this time representing a more dynamic pose,
is the mighty bronze statue of a god, usually identified as Poseidon but sometimes
as Zeus, discovered in the sea off the coast of cape Artemisium (figs. 49 and 50). The
god is thought to be about to hurl the trident (or thunderbolt) and is an image of
concentrated energy and power. The face, gesticulating hand and foot point
unerringly in the direction of the target. The spread of the stretching arms (almost
230 THE GREEKS