The statue was achryselephantine sculpture of ivory plates and gold panels on a wooden framework. Zeus sat on a painted cedarwood throne ornamented with ebony, ivory, gold, and precious stones. It was one of theSeven Wonders of the Ancient World.
The statue was lost and destroyed before the end of the 6th century AD, with conflicting accounts of the date and circumstances. Details of its form are known only from ancient Greek descriptions and representations on coins and art.
The statue of Zeus was commissioned by theEleans, custodians of theOlympic Games, in the latter half of the fifth century BC for their newly constructedTemple of Zeus. Seeking to outdo their Athenian rivals, the Eleans employed sculptorPhidias, who had previously made the massive statue ofAthena Parthenos in theParthenon.[2]
The statue occupied half the width of the aisle of the temple built to house it. The geographerStrabo noted early in the 1st century BC that the statue gave "the impression that if Zeus arose and stood erect he would unroof the temple."[3] TheZeus was achryselephantine sculpture, made with ivory and gold panels on a wooden substructure. No copy in marble or bronze has survived, though there are recognizable but only approximate versions on coins of nearbyElis and on Roman coins andengraved gems.[4]
The 2nd-century AD geographer and travelerPausanias left a detailed description: the statue was crowned with a sculpted wreath of olive sprays and wore a gilded robe made from glass and carved with animals and lilies. Its right hand held a small chryselephantine statue of crownedNike, goddess of victory; its left a scepter inlaid with many metals, supporting an eagle. The throne featured painted figures and wrought images and was decorated with gold, precious stones, ebony, and ivory.[5] Zeus' golden sandals rested upon a footstool decorated with anAmazonomachy in relief. The passage underneath the throne was restricted by painted screens.[6]
Pausanias also recounts that the statue was kept constantly coated with olive oil to counter the harmful effect on the ivory caused by the "marshiness" of theAltis grove. The floor in front of the image was paved with black tiles and surrounded by a raised rim of marble to contain the oil.[7] This reservoir acted as areflecting pool which doubled the apparent height of the statue.[8]
According to the Roman historianLivy, the Roman generalAemilius Paullus (the victor overMacedon) saw the statue and "was moved to his soul, as if he had seen the god in person",[9] and according toPlutarch, Aemilius Paullus "made that utterance which is now on every mouth, that Pheidias had moulded the Zeus ofHomer".[10] The 1st-centuryAD Greek oratorDio Chrysostom declared that a single glimpse of the statue would make a man forget all his earthly troubles.[11]
According toStrabo, when Phidias was asked about the model he would use for his Zeus, he answered that he would portray Zeus according to these words ofHomer:[12]
The son of Cronos spoke, and bowed his dark brow in assent, and the ambrosial locks waved from the king's immortal head; and he made great Olympus quake (English translation by A.T. Murray).[13]
The sculptor also was reputed to have immortalised Pantarkes, the winner of the boys' wrestling event at the eighty-sixth Olympiad who was said to have been his "beloved" (eromenos), by carvingPantarkes kalos ("Pantarkes is beautiful") into Zeus's little finger, and by placing a relief of the boy crowning himself at the feet of the statue.[14][15]
According to Pausanias, "when the image was quite finished Pheidias prayed the god to show by a sign whether the work was to his liking. Immediately, runs the legend, a thunderbolt fell on that part of the floor where down to the present day the bronze jar stood to cover the place."[7]
According to Roman historianSuetonius, the Roman EmperorCaligula gave orders that "such statues of the gods as were especially famous for their sanctity or their artistic merit, including that of Jupiter at Olympia, should be brought from Greece, in order to remove their heads and put his own in their place."[16] The emperor was assassinated before this could happen, in 41 AD; his death was supposedly foretold by the statue, which "suddenly uttered such a peal of laughter that the scaffolding collapsed and the workmen took to their heels."[17]
Alternatively, the statue perished along with the temple, which was severely damaged by fire in 425 AD.[18] But earlier loss or damage is implied byLucian of Samosata in the later 2nd century, who referenced it inTimon: "they have laid hands on your person at Olympia, my lord High-Thunderer, and you had not the energy to wake the dogs or call in the neighbours; surely they might have come to the rescue and caught the fellows before they had finished packing up the loot."[19][20]
The approximate date of the statue (the third quarter of the 5th century BC) was confirmed in the rediscovery (1954–1958) of Phidias' workshop, approximately where Pausanias said the statue of Zeus was constructed. Archaeological finds included tools for working gold and ivory, ivory chippings, precious stones and terracotta moulds. Most of the latter were used to create glass plaques, and to form the statue's robe from sheets of glass, naturalistically draped and folded, then gilded. A cup inscribed "ΦΕΙΔΙΟΥ ΕΙΜΙ" or "I belong to Phidias" was found at the site.[21] However, the inscription is considered by some to be a forgery.[22]
^Gisela M. A. Richter, "The Pheidian Zeus at Olympia"Hesperia 35 .2 (April–June 1966:166–170) pp. 166f, 170. Details of the sculpture in this article are corroborated in the Richter article.
^Pausanias,Description of Greece 5.11.1-.10). Pausanias was told that the paintings were by the brother of Phidias, Panaenus.
Barringer, Judith M. 2010. "Zeus at Olympia." InThe gods of ancient Greece: Identities and transformations. Edited by Jan Bremmer and Andrew Erskine, 155–77. Edinburgh: Edinburgh Univ. Press.
Higgins, Michael Denis (2023).The Seven Wonders of the Ancient World: Science, Engineering and Technology. New York, NY: Oxford University Press.ISBN9780197648155.
Lapatin, Kenneth D. S. 2001.Chryselephantine statuary in the ancient Mediterranean world. Oxford: Oxford Univ. Press.
McWilliam, Janette (2011). "The statue of Zeus at Olympia in Western imagination via the Internet". In McWilliam, Janette; Puttock, Sonia; Stevenson, Tom (eds.).The Statue of Zeus at Olympia: New Approaches. Cambridge Scholars Publishing. pp. 209–222.ISBN978-1-4438-3032-4.
Palagia, Olga, and J. J. Pollitt, eds. 1996.Personal styles in Greek sculpture. Cambridge, UK, and New York: Cambridge Univ. Press.
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