In
1988, UNESCO pronounced Olympia a monument of world heritage. In this report,
the significance and cultural importance of the monument was praised: “The
site of Olympia, in a valley in the Peloponnesus, has been inhabited since
prehistoric times. In the 10th century B.C., Olympia became a centre for
the worship of Zeus. The Altis – the sanctuary to the gods – has one of the
highest concentrations of masterpieces from the ancient Greek world. In addition
to temples, there are the remains of all the sports structures erected for
the Olympic Games, which were held in Olympia every four years, beginning
in 776 B.C.
Placed under the protection of the cities of Pisa and later Elis, the Olympian
sanctuary experienced unequalled renown in the 8th century B.C. due
to the panhellenic games which were held every fifth year. Beginning in 776 B.C.,
the games regularly brought together athletes. Later, Orators, poets and musicians
also came to celebrate Zeus.
The Altis -the sanctuary to the gods- included the ruins of the two principal
temples: the Temple of Çera (6th century B.C.) and the Temple of Zeus (5th century
B.C). Ôï the north, stood a row of Archaic Treasuries (6th and 5th centuries
B.C.), several of which were built by residents of the distant Greek colonies
of Selinus, Cyrene and Byzantium. More recent structures –the Metroon and the
Echo Colonnade (4th century B.C.). the Philippeion, in honor of the victory at
Chaeronea in 338 B.C, and the Exedra of Herodes Atticus (157-160 A.D.)- gradually
added to the complex topography of the sanctuary whose precinct overlooks an
area ïf prehistoric settlements.
The density of buildings outside the Altis is even greater: a built uñ zone that
combines official housing and assembly rooms for the clergy and administrators
sports structures, thermal baths, lodgings and accommodation for guests. Ôï the
northwest, the Palaestra and the Gymnasium (3rd century B.C.), and to the east,
the old Stadium, rebuilt during the 1st century A.D. and remodeled iç 1961-1962,
highlight a landscape of ruins of majestic beauty. Flooding of the Alpheios carried
the Hippodrome away; only its original location is known.
The renown and universal value of Olympia are so evident that it would seem superfluous
to justify them.
Pelops and Hippodamia
The sanctuary of the Altis contained one of the highest concentrations ïf masterpieces
of the ancient Mediterranean world. Many have been lost, such as the Olympia
Zeus, a gold-and-ivory cult statue which was probably executed by Phidias between
438 and 430 B.C. It was taken to Constantinople by Theodosius II, then destroyed
when fire swept the city in 474 A.D. Other masterpieces have survived : large
votive Archaic bronze sculptures of tympanums and metopes from the temple of
Zeus, and the Hermes by Praxiteles, which was found along with its base in the
Temple of Hera. These are all major works of sculpture and key references iç
the history of art.
The influence of the monuments of Olympia has been considerable. Ôï mention just
three examples, the temple of Zeus, built in 470-457 B.C., is a model of the
great Doric temples constructed in southern Italy and in Sicily during the 5th
century B.C.; the Nike by Paeonios, sculptured c. 420 B.C., so lastingly influenced
iconographic allegories of Victory that neoclassic art of the 19th century is
still much indebted to lt; with reference to the Roman period, the Olympian Palaestra
is undoubtedly the typological reference made by Vitruvius in ‘’De Architectura’’.
Its value as a standard in architecture is in any case indisputable.
Olympia bears exceptional testimony to the ancient civilizations of Peloponnesus,
both in terms of duration and quality. The first human settlements date back
to prehistoric times when the valley was occupied from 3000 to 1100 B.C. Settlements
and necropolises from the Bronze Age have been unearthed along the banks of the
Alpheios. The Middle Helladic and Mycenaean periods are represented at the site.
Consecrated to Zeus, the Altis is a major sanctuary from the l0th century B.C.
to the 4th century A.D. corresponding to the zenith of Olympia, marked more specifically
by celebration of the Olympic Games from 776 B.C. to 393 A.D. Á Christian settlement
survived for a time at the site of the ruins of the great panhellenic sanctuary
: discovery of the workshop of Phidias under the remains of a Byzantine church
is an outstanding indication of continuous human settlement, which was interrupted
only iç the 7th century A.D. as a result of natural disasters.
Olympia is an outstanding example of a great panhellenic sanctuary with its multiple
functions, religious, political and social. Inside the peribolus of the Altis,
consecrated to the gods, alongside the principal temples of Zeus and Hera, are
very ancient sanctuaries, such as the Pelopion, and a row of Treasuries to the
north, at the foot of the Kronion hiÉÉ. ÁÉÉ around the divine precinct are the
structures used by the priests (Theokoleon) and the administration (Bouleuterion),
as well as common buildings (Prytaneion), accommodations (Leonidaion and Roman
hostel), residences for distinguished guests (Nero's House), and all the sports
structure used for the preparation and celebration of the Olympic Games : the
stadium and the hippodrome to the east, and the thermal baths, the Palaestra
and the Gymnasium to the south and west.
Olympia is directly and tangibly associated with an event-of universal significance.
The Olympic Games were celebrated regularly beginning in 776 B.C. The Olympiad
–the four-year period between two successive celebrations falling every fifth
year- became a chronological measurement and system of dating used in the Greek
world. However, the significance ïf the Olympic Games, where athletes benefiting
from a three-month sacred truce came together from all the Greek cities of the
Mediterranean world to compete, demonstrates above all the lofty ideals of Hellenic
humanism: peaceful and loyal competition between free and equal men, who are
prepared to surpass their physical strength in a supreme effort, with their only
ambition being the symbolic reward of an olive wreath.
One of the seven wonders of the ancient world, the golden and ivory statue of
Zeus stood in his temple. The sculpture was Pheidias’ work in 430 B.C. and rose
to 12.4 m., covering in height all the nave of the temple, and, in width, its
ail (6.7 m). The statue was made of gold and ivory with a skeleton of timber
and all visitors stood in owe in front of it; the poet Philippos of Thessaloniki
wrote: “Either the God came down from the sky and showed himself to you, or you,
Pheidias, rose in the skies and saw God’s face”. Following the discontinuation
of the Olympic Games, the statue was transferred to Istanbul where it was, later,
destroyed in a fire, in 475 A.D. The detailed description of the statue by Pausanias,
the Greek traveller and geographer of the 2nd century A.D., allowed
reconstructing it in images.
[Pausanias, Elis V .11.1] XI. The god sits
on a throneand he is made of gold and ivory. On his head lies a garland
which is a copy of olive shoots. In his right hand he carries a Victory,
which, like the statue, is of ivory and gold; she wears a ribbon
and – on her head – a garland. In the left hand of the god is a scepter,
ornamented with every kind of metal, and the bird sitting on the
scepter is the eagle. The sandals of the god are also of gold, as
is likewise his robe. On the robe are embroidered figures of animals
and the flowers of the lily.
[5.11.2] The throne is adorned with gold and with jewels, to say nothing of ebony
and ivory. Upon it are painted figures and wrought images. There are four Victories,
represented as dancing women, one at each foot of the throne, and two others
at the base of each foot. On each of the two front feet are set Theban children
ravished by sphinxes, while, under the sphinxes, Apollo and Artemis are shooting
down the children of Niobe.
[5.11.3] Between the feet of the throne are four rods, each one stretching from
foot to foot. The rod straight opposite the entrance has on it seven images (…)
[5.11.13] These must be intended to be copies of obsolete contests, since at
the time of Pheidias contests for boys had not yet been introduced. The figure
of one binding his own head with a ribbon is said to resemble in appearance Pantarces,
a stripling of Elis is said to have been the love of Pheidias. Pantarces too
won the wrestling-bout for boys at the eighty-sixth Festival.
[5.11.4] On the other rods is the band that with Heracles fights against the
Amazons.(…) The throne is supported not only by the feet, but also by an equal
number of pillars standing between the feet. (…)The footstool of Zeus, called
by the Athenians thranion, has golden lions and, in relief, the fight of Theseus
against the Amazons, the first brave deed of the Athenians against foreigners.
(…)
[5.11.9] I know that the height and breadth of the Olympic Zeus have been measured
and recorded; but I shall not praise those who made the measurements, for even
their records fall far short of the impression made by a sight of the image.
Nay, the god himself according to legend bore witness to the artistic skill of
Pheidias. For 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.
[5.11.10] All the floor in front of the image is paved, not with white, but with
black tiles. In a circle round the black stone runs a raised rim of Parian marble,
to keep in the olive oil that is poured out. For olive oil is beneficial to the
image at Olympia, and it is olive oil that keeps the ivory from being harmed
by the marshiness of the Altis.
[Pausanias. Description of Greece, III Books 6-8.21 (Elis 2, Achaia,
Arcadia). Translated by W. H. S. Jones, Harvard: Loeb Classical Library,
2002).]
Strabo (1st century A.D.), in his work Geographica (8, 30),
mentions both Olympia and the statue of Zeus:
The temple was adorned by its numerous offerings, which were dedicated there
from all parts of Greece. (…). But the greatest of these was the image of Zeus
made by Pheidias of Athens, son of Charmides; it was made of ivory, and it was
so large that, although the temple was very large, the artist is thought to have
missed the proper symmetry, for he showed Zeus seated but almost touching the
roof with his head, thus making the impression that if Zeus arose and stood erect
he would unroof the temple. 354Certain writers have recorded the measurements
of the image, and Callimachus has set them forth in an iambic poem. Panaenus
the painter, who was the nephew and collaborator of Pheidias, helped him greatly
in decorating the image, particularly the garments, with colours. And many wonderful
paintings, works of Panaenus, are also to be seen round the temple. It is related
of Pheidias that, when Panaenus asked him after what model he was going to make
the likeness of Zeus, he replied that he was going to make it after the likeness
set forth by Homer in these words "Cronion spake, and nodded assent with
his dark brows, and then the ambrosial locks flowed streaming from the lord's
immortal head, and he caused great Olympus to quake." A noble description
indeed, as appears not only from the "brows" but from the other details
in the passage, because the poet provokes our imagination to conceive the picture
of a mighty personage and a mighty power worthy of a Zeus, just as he does in
the p91case of Hera, at the same time preserving what is appropriate in each;
for of Hera he says, "she shook herself upon the throne, and caused lofty
Olympus to quake." What in her case occurred when she moved her whole body,
resulted in the case of Zeus when he merely "nodded with his brows," although
his hair too was somewhat affected at the same time. This, too, is a graceful
saying about the poet that "he alone has seen, or else he alone has shown,
the likenesses of the gods. (Translated by S. L. Radt.)
In
1988, UNESCO pronounced Olympia a monument of world heritage. In this report,
the significance and cultural importance of the monument was praised: “The
site of Olympia, in a valley in the Peloponnesus, has been inhabited since
prehistoric times. In the 10th century B.C., Olympia became a centre for
the worship of Zeus. The Altis – the sanctuary to the gods – has one of the
highest concentrations of masterpieces from the ancient Greek world. In addition
to temples, there are the remains of all the sports structures erected for
the Olympic Games, which were held in Olympia every four years, beginning
in 776 B.C. 
