La règle de la hiérarchie et l’organisation de la composition dans la sculpture monumentale de l’antiquité grecque

Using as a starting point Hans Luschey΄s critical monograph on the relation between left and right in the iconographical repertoire of ancient Greek art, in this paper I examine the strength of what could be called the canon of hierarchy. Drawing from different examples, I first reexamine a relief in Aegina (fig. 2), which allowed the identification of the sculptural type of the so-called Hera Borghese with the much discussed Polycleitus’ Aphrodite of Amyklai (fig. 1). Considering the Athena and Marsyas group by Myron (fig. 3), a bronze votive offering from Delphi (fig. 4) and other relevant works, I comment on the Pheidian Delphic group and the restoration of the east pediment of the temple of Zeus at Olympia. Thanks to the canon of hierarchy, I conclusively argue that the problem of the east pediment of the Parthenon can also be solved ; because the figure of the new-born Athena must have definitely been standing first on the left half of the triangular composition, namely in the most prestigious place on the right of her enthroned father.