Sacred Grove and the Temple of Time
“The Sacred Realm is a mirror that reflects what is in the heart . . . If an evil heart, the Realm will become full of evil; if pure, the Realm will become a paradise.”
— Zelda, Ocarina of Time
— Zelda, Ocarina of Time
The Temple of Time is considered to be the most historied building within The Legend of Zelda mythos. The original temple from its earliest era was an integral part of the landscape of the desert of Lanayru Province, yet almost nothing is known about it. Far more central to this cyclical saga is the current iteration of this temple, found deep within the Sacred Grove. Thus, a brief account of its history is needed.
Hyrulean cosmogony states that the three Golden Goddesses, Din, Nayru, and Farore, created the world, the moral and physical laws that permeated it, as well as all living things that dwelt upon it. Having completed their work, the Goddesses created a world parallel to Hyrule called the Sacred Realm (or, in Japanese, the Holy Land) wherein they left a powerful artifact known as the Triforce to be guarded by another deity, the goddess Hylia. And the world, for a while, knew peace.
This artifact, sacred symbol of the Goddesses, contains within it untold power, and it is capable of giving reality to thought and desire. However, it itself has no knowledge of good or evil, and so can give life to desires either base or noble. Yet the Triforce is ultimately a judge of balance; if the one who touches the Triforce has achieved the necessary balance of power, courage, and wisdom, the desire will be made fully manifest. If one of these aspects dominates the others, however, the Triforce fragments into three pieces, leaving the one who touches it with the value the individual holds above all else.
Hyrulean cosmogony states that the three Golden Goddesses, Din, Nayru, and Farore, created the world, the moral and physical laws that permeated it, as well as all living things that dwelt upon it. Having completed their work, the Goddesses created a world parallel to Hyrule called the Sacred Realm (or, in Japanese, the Holy Land) wherein they left a powerful artifact known as the Triforce to be guarded by another deity, the goddess Hylia. And the world, for a while, knew peace.
This artifact, sacred symbol of the Goddesses, contains within it untold power, and it is capable of giving reality to thought and desire. However, it itself has no knowledge of good or evil, and so can give life to desires either base or noble. Yet the Triforce is ultimately a judge of balance; if the one who touches the Triforce has achieved the necessary balance of power, courage, and wisdom, the desire will be made fully manifest. If one of these aspects dominates the others, however, the Triforce fragments into three pieces, leaving the one who touches it with the value the individual holds above all else.
After the downfall of Demise and the reunification of Skyloft with the underlands, the Kingdom of Hyrule was established as the legitimate protector of creation under the auspices and blessings of the Goddesses. Still, legends and tales of the Triforce spread across the land, eventually igniting war between Hyrule and those that sought to overthrow it and gain access to the relic it guarded. Thought by many to be the Interloper War spoken of by the Light Spirit of Lanayru Province, this conflict eventually led to the exile of those who would eventually become the Twili via the Mirror of Twilight, as well as the sealing off of the Sacred Realm. This era is known as the Era of Chaos.
Rauru, leader of the Sages, is held as the fundamental creator of the Temple of Light, which housed the Triforce after the Battle for the Sacred Realm. The only entrance to the Sacred Realm was sealed away behind the Door of Time within the Temple of Time, and locked away using the Spiritual Stones of forest, fire, and water, as well as the Master Sword. These elemental keys were given by Rauru to their respective peoples, the Kokiri, the Gorons, and the Zora, and an altar to house the stones was laid out within the Temple of Time. It is generally believed that Rauru built this new temple upon the remains of the Sealed Temple years after the events of Skyward Sword, putting an end to the Era of Chaos that pivoted around controlling the power of the Triforce. [1]
By the time of the Era of Twilight, the Temple of Time was in a deep state of ruin. Though still identifiable as the storied temple of the past, it was all but wiped from time and knowledge.
Rauru, leader of the Sages, is held as the fundamental creator of the Temple of Light, which housed the Triforce after the Battle for the Sacred Realm. The only entrance to the Sacred Realm was sealed away behind the Door of Time within the Temple of Time, and locked away using the Spiritual Stones of forest, fire, and water, as well as the Master Sword. These elemental keys were given by Rauru to their respective peoples, the Kokiri, the Gorons, and the Zora, and an altar to house the stones was laid out within the Temple of Time. It is generally believed that Rauru built this new temple upon the remains of the Sealed Temple years after the events of Skyward Sword, putting an end to the Era of Chaos that pivoted around controlling the power of the Triforce. [1]
By the time of the Era of Twilight, the Temple of Time was in a deep state of ruin. Though still identifiable as the storied temple of the past, it was all but wiped from time and knowledge.
Part of the beauty of the Sacred Grove is its hiddenness within a familiar region. It is nestled within the primeval Faron Woods, quite near to the Forest Temple and protected by the technology of those that constructed it; the familiar wooden constructs — in the form of wind-powered bridges and swinging wooden beams — can be seen along the pathway into the deeper forest. Inexplicably, at the end of this path, the forest changes wholly, from a forest of twisted and gnarled trees suspended in golden haze to a darker, colder one of tall, straight trees held in a silver glamour.
When Link and Midna first enter the initial clearing, they are met by two flickering torches and a Howling Stone faintly breathing Zelda’s Lullaby into the still air. A precursory protection for this area is evidenced by this stone, which summons a guide only after a connection to the Royal Family has been established. Disturbingly, this guide is all too familiar to us. A Skull Kid is a Kokiri that goes missing in the Lost Woods, and who is eventually transformed into the playful imps known well to us. And we are given reason to believe that this particular spirit is connected to the one from the Era of the Hero of Time. As Link traverses through the trees, hesitantly pursuing this being, Skull Kid can be heard distantly playing Saria’s Song upon an airy flute.
And, oh, the music. It is, quite honestly, the most soothing, mystery-laden, and intoxicating theme within this game. I find it to be the perfect embodiment and vessel of what this area is supposed to portray, which is an unsure return to the past. In traveling through the woods, it invokes unearthly feelings of an unknown nostalgia brought about by the subtle Lost Woods theme within the larger musical setting and the existence of the Skull Kid, who serves as guide. These things instantaneously return the individual to older times and an enigmatic grove near to Kokiri Forest. And, by the end of the journey, beautiful and unsettling though it is, we are met with the ruins of a place in which we are very much at home. The Temple of Time was, for ages, an inviolable sanctuary, and even in ruins it is meant to wrap the player in security. To find it unexpectedly in a furtive glade, then, is an unlooked-for blessing.
When Link and Midna first enter the initial clearing, they are met by two flickering torches and a Howling Stone faintly breathing Zelda’s Lullaby into the still air. A precursory protection for this area is evidenced by this stone, which summons a guide only after a connection to the Royal Family has been established. Disturbingly, this guide is all too familiar to us. A Skull Kid is a Kokiri that goes missing in the Lost Woods, and who is eventually transformed into the playful imps known well to us. And we are given reason to believe that this particular spirit is connected to the one from the Era of the Hero of Time. As Link traverses through the trees, hesitantly pursuing this being, Skull Kid can be heard distantly playing Saria’s Song upon an airy flute.
And, oh, the music. It is, quite honestly, the most soothing, mystery-laden, and intoxicating theme within this game. I find it to be the perfect embodiment and vessel of what this area is supposed to portray, which is an unsure return to the past. In traveling through the woods, it invokes unearthly feelings of an unknown nostalgia brought about by the subtle Lost Woods theme within the larger musical setting and the existence of the Skull Kid, who serves as guide. These things instantaneously return the individual to older times and an enigmatic grove near to Kokiri Forest. And, by the end of the journey, beautiful and unsettling though it is, we are met with the ruins of a place in which we are very much at home. The Temple of Time was, for ages, an inviolable sanctuary, and even in ruins it is meant to wrap the player in security. To find it unexpectedly in a furtive glade, then, is an unlooked-for blessing.
Abruptly, the music stops, leaving only the sound of the wind blowing through the trees. Darker paths open up onto a sunlit dell littered with toppled-over rocks and the skeletons of buildings. The labyrinthine paths of the Sacred Grove lead to different vantage points within the glade that culminate in shells of structures that would have once brushed up against the Temple of Time. Crumbling pillars blend in with the trees of the wood, and the only roof of this hall is now the sky. Near what was once the entrance, a solitary door stands atop a platform that is reached by no stairway, and at the end of the aisle, a small passageway leads past two statues and into a fated clearing. There is a noticeable magic at work here, even in death. Drawing the sword is one step in a process that eventually helps to transport Link back in time. The secluded portal at the entrance to this place reads “Time Door” and is engraved with the winged crest that existed prior to the foundation of Hyrule. Where the Triforce should be is a simple circle, and perhaps this is intentional. The full crest is found within the Temple of Time in countless locations, and it probably also once existed upon this door. One possibility is that it was carved over so as to adumbrate the true purposes of this temple — to protect the Sacred Realm and Triforce. Conversely, this door could simply have been built prior to the establishment of Hyrule by a preternaturally far-sighted Rauru. But this is simply speculation.
And now, some quotes.
“The ancestors of the Hylians created the temple . . . Signs of their civilization — ancient, but very sophisticated — are everywhere.”
— Rusl, Twilight Princess
“Yes, according to legend, Hyrule was made by the Hylians, who, as we all know, are the closest race to the gods . . . truth be told, there’s also a theory saying that in ancient times there was a race even closer to the gods than the Hylian people, and THEY created it. And they, simultaneously with the birth of the Hylian people, created a new capital, a capital that floated in the heavens.” — Shad
“Among the legends of my clan, there is a story from the time when the Oocca still maintained contact with the royal family. Yes, it said that a mysterious rod was handed down from the people of the sky, and it was called the Dominion Rod . . . The rod was only to be carried by the messenger to the heavens when the royal family needed to communicate with the Oocca.” — Impaz
“The ancient technology of our people sleeps in this place . . .” — Ooccoo
These quotes are mildly confusing. There are many theories in the wider world that conflate the Oocca with the people of Skyloft, and posit that this temple is actually the Tower of the Gods — and judging solely by the mechanisms within each place, they could be right. But my guess is that this is not so. Though there are, in fact, many similarities between these locations, they are yet different from one another, and are, in layout, completely dissimilar. To return to the quotes, though, they all hint at something undeniable: there was a connection that once existed between the Hyrule Kingdom of old and the Oocca, and that it has since been severed. The technology of the highly-advanced Oocca as evidenced in the City in the Sky was known to the Royal Family, and knowledge of a device that enabled them to communicate was protected by the Sheikah for generations. But this is not to say that the Oocca were involved in the creation of Hyrule or of the temple, though it is certainly hinted at throughout this game. The Oocca may have merely left a heraldic staff behind when they retreated to their capital in the skies. So what is this place within the Temple of Time that protects both the Sacred Realm and the only device capable of uniting two of the most advanced peoples within Hyrule? Though not the first to expound this theory, I believe it to be the Temple of Light. [2]
“The ancestors of the Hylians created the temple . . . Signs of their civilization — ancient, but very sophisticated — are everywhere.”
— Rusl, Twilight Princess
“Yes, according to legend, Hyrule was made by the Hylians, who, as we all know, are the closest race to the gods . . . truth be told, there’s also a theory saying that in ancient times there was a race even closer to the gods than the Hylian people, and THEY created it. And they, simultaneously with the birth of the Hylian people, created a new capital, a capital that floated in the heavens.” — Shad
“Among the legends of my clan, there is a story from the time when the Oocca still maintained contact with the royal family. Yes, it said that a mysterious rod was handed down from the people of the sky, and it was called the Dominion Rod . . . The rod was only to be carried by the messenger to the heavens when the royal family needed to communicate with the Oocca.” — Impaz
“The ancient technology of our people sleeps in this place . . .” — Ooccoo
These quotes are mildly confusing. There are many theories in the wider world that conflate the Oocca with the people of Skyloft, and posit that this temple is actually the Tower of the Gods — and judging solely by the mechanisms within each place, they could be right. But my guess is that this is not so. Though there are, in fact, many similarities between these locations, they are yet different from one another, and are, in layout, completely dissimilar. To return to the quotes, though, they all hint at something undeniable: there was a connection that once existed between the Hyrule Kingdom of old and the Oocca, and that it has since been severed. The technology of the highly-advanced Oocca as evidenced in the City in the Sky was known to the Royal Family, and knowledge of a device that enabled them to communicate was protected by the Sheikah for generations. But this is not to say that the Oocca were involved in the creation of Hyrule or of the temple, though it is certainly hinted at throughout this game. The Oocca may have merely left a heraldic staff behind when they retreated to their capital in the skies. So what is this place within the Temple of Time that protects both the Sacred Realm and the only device capable of uniting two of the most advanced peoples within Hyrule? Though not the first to expound this theory, I believe it to be the Temple of Light. [2]
Above: the Temple of Time as it may have appeared in the past. Beyond the two guardian statues lies the Chamber of the Master Sword, and, beyond that, what is perhaps the Temple of Light.
It is known that the Temple of Light is housed within the Temple of Time resting within Hyrule; and it is also known that it can only be accessed through the Chamber of the Master Sword. So when Link enters the Door of Time within the Sacred Grove, he travels to the only logical destination: a centuries-older Temple of Time.
Inside, a permutation of this temple can be seen, similar yet different from the one found in The Ocarina of Time. Somewhere along the way, the aisles were lost, as was the altar made for the Spiritual Stones. There is no clerestory and the ceiling is shrouded in darkness. The sides are divided into five modules, instead of the four found in the previous incarnation, yet in essence it is clearly the same place, and the feelings it evokes are the same. Another beautiful tradition of this series can be summed up as such: new guise, same essence. Even though many locations feature heavily in sequential games, the slight changes fascinate us all the while the continuity reconnects us to our previous experiences.
Inside, a permutation of this temple can be seen, similar yet different from the one found in The Ocarina of Time. Somewhere along the way, the aisles were lost, as was the altar made for the Spiritual Stones. There is no clerestory and the ceiling is shrouded in darkness. The sides are divided into five modules, instead of the four found in the previous incarnation, yet in essence it is clearly the same place, and the feelings it evokes are the same. Another beautiful tradition of this series can be summed up as such: new guise, same essence. Even though many locations feature heavily in sequential games, the slight changes fascinate us all the while the continuity reconnects us to our previous experiences.
In the picture directly above, the gate reads "Time Door" in Hylian, and this label sits below a partial Wingcrest, though the Triforce has been replaced with a simple circle. At the bases of the columns are found what is either the sun, or a daisy, which has a specific linguistic tie to the sun itself. Upon the balusters to either side, a symbol quite similar to the Light Medallion given to Link by Rauru in The Ocarina of Time can be found. Above the lintel, within the circular pediment, is another image of the sun/flower ensconced in further arches of petals or sun-rays. In all, the embellishments in this temple all circle around light and growth.
Pale white light filters past the ornate metalwork upon the tall windows and illuminates the two guardian statues who watch over the large Triforce that forms the centerpiece of the floor. Upon the balusters of the staircase are carved small medallions of light. These echo more significant light medallions in the true temple and corroborate the theory that this place is, in fact, leading to the Temple of Light. The architectural details of this cathedral were covered in a previous post, so I will not enumerate them again, but I do want to draw attention to something quite unique upon the wall just above eye level.
Above: perhaps the most common frieze design within all of the Zelda franchise. Not only found within the Temple of Time, but in Hyrule Castle Town, as well, this processional frieze gives an air of deep spirituality and piety to the character of the Hylian people.
Thymiaterion and phiale bearers, from Block VIII of the east frieze of the Parthenon, ca. 447–433 BCE — Unknown artist under the direction of Pheidias — Twospoonfuls (2008), GFDL, https://commons.wikimedia.org/w/index.php?curid=3641236
One of the most notable friezes within the world of art history is that which encircles the Parthenon in Athens. Traditionally, this frieze is thought to represent the Panathenaic Festival, in which new garbs were offered to Athena and placed upon her statue that stood in the naos, or innermost shrine. What exactly the procession means is unknown, but it is a persistent and unresolved question in the history of art. [3] What is most important about it for our discussion, though, is that it gives us a clear, real-world tie to historical friezes. Both the bas relief at the Parthenon and that which features here within the Temple of Time immortalize an unidentified procession upon monuments of central importance within their respective cultures.
Above the black stone nearest to the tiled ground are several sunken panels that bear a relief of seven figures processing toward the entrance of the temple. (To me, they appear to be women, although they could also conceivably be the Seven Wise Men spoken of in Hyrulean Legend — which would be highly appropriate to the setting. I will treat them as women hereafter, however.) On the frieze above the door leading to the Chamber of the Master Sword, it can be seen that these processional figures all emanate from one central figure that is represented only here in the center. This person faces the sanctuary with one arm to either side, gently issuing forth those who participate in the procession. She is unique unto herself, and might represent the current incarnation of the Goddess Hylia or something different entirely. The other panels feature seven different figures. And it is always these same seven women or sages; the central figure, with arms outstretched, bears a scepter — likely a depiction of the Dominion Rod protected by this temple — and does not move. Five other women all walk with heads bowed, and the last woman, who like the central figure does not move, carries a vase held aloft in her right arm and supported by her left. The religious symbolism, if it is religious in nature, is not known, nor is the meaning behind the scepter or vase. Through the archway underneath the web-work of stone and engraved Hylian is the Chamber of the Master Sword, from which this procession originates and flows outward to the Door of Time.
Above the black stone nearest to the tiled ground are several sunken panels that bear a relief of seven figures processing toward the entrance of the temple. (To me, they appear to be women, although they could also conceivably be the Seven Wise Men spoken of in Hyrulean Legend — which would be highly appropriate to the setting. I will treat them as women hereafter, however.) On the frieze above the door leading to the Chamber of the Master Sword, it can be seen that these processional figures all emanate from one central figure that is represented only here in the center. This person faces the sanctuary with one arm to either side, gently issuing forth those who participate in the procession. She is unique unto herself, and might represent the current incarnation of the Goddess Hylia or something different entirely. The other panels feature seven different figures. And it is always these same seven women or sages; the central figure, with arms outstretched, bears a scepter — likely a depiction of the Dominion Rod protected by this temple — and does not move. Five other women all walk with heads bowed, and the last woman, who like the central figure does not move, carries a vase held aloft in her right arm and supported by her left. The religious symbolism, if it is religious in nature, is not known, nor is the meaning behind the scepter or vase. Through the archway underneath the web-work of stone and engraved Hylian is the Chamber of the Master Sword, from which this procession originates and flows outward to the Door of Time.
This last room is starkly different from previous renditions. The Pedestal of Time rests under the light of a huge glass dome, and eight stained glass windows are set within deep archways that form a system of vaults overhead. Everything is once again octagonal in design, but the changes set an entirely different mood. Clean white light flows in from the glass of the dome, but each window lets in a colored light through a design of interlocking spheres — one blue, one pink-red, and one pale green. These are likely the symbolic colors of the Goddesses.
The Pedestal of Time also takes on a new form resembling a cog, which feeds into the larger theme of time that is so pivotal to this setting. Once the Master Sword is thrust back into the pedestal, an ethereal blue staircase climbs upward, revealing a hidden space behind one of the central windows. And this is perhaps the entrance to the Temple of Light, spiritual heart of Hyrule.
If this truly is the Temple of Light, then its hidden entrance is humble. A small hallway leads downward, opening up into a vast chamber of grey stone and trim of gold. Enormous vaults are overhead, while stone circles are carved into archways made to look like famous windows of Byzantium. The processional relief carries on through this room, and small Gothic windows are carved into recesses in the wall, though they yield no light. Like the Temple of Time, this inner sanctuary is guarded by stone statues, though these are different in nature, more mechanical than humanoid. The royal crest sits above the lintel in the heart of the half-lotus above the door to the older areas beyond this room.
This place, as we have discussed, is planted firmly within a Western religious setting, and thus the middle of the room holds a large gold bell which rests under a baldachin — an ornate canopy which traditionally rests over people or items of great significance in Catholic cathedrals or basilicas. [4] Encircling the lowest portion of the bell is a ring bearing the Light Medallion on repeat, and above that are maze-like markings and a symbol central to this dungeon — a simplified depiction of the Dominion Rod. This symbol is a tiered vertical line above which hovers a large circle. This symbol can be found etched upon many artifacts within this temple, but most notably all of the statues are branded with it, but with one difference. The statues all have large holes in their chests where the energy from the Dominion Rod houses itself; below this rests the portrayal of the staff itself. In total, when the statues come to life, the entire illustration is completed and mirrors the actual item itself, from black staff to the yellow light which emanates from the end of it.
The Pedestal of Time also takes on a new form resembling a cog, which feeds into the larger theme of time that is so pivotal to this setting. Once the Master Sword is thrust back into the pedestal, an ethereal blue staircase climbs upward, revealing a hidden space behind one of the central windows. And this is perhaps the entrance to the Temple of Light, spiritual heart of Hyrule.
If this truly is the Temple of Light, then its hidden entrance is humble. A small hallway leads downward, opening up into a vast chamber of grey stone and trim of gold. Enormous vaults are overhead, while stone circles are carved into archways made to look like famous windows of Byzantium. The processional relief carries on through this room, and small Gothic windows are carved into recesses in the wall, though they yield no light. Like the Temple of Time, this inner sanctuary is guarded by stone statues, though these are different in nature, more mechanical than humanoid. The royal crest sits above the lintel in the heart of the half-lotus above the door to the older areas beyond this room.
This place, as we have discussed, is planted firmly within a Western religious setting, and thus the middle of the room holds a large gold bell which rests under a baldachin — an ornate canopy which traditionally rests over people or items of great significance in Catholic cathedrals or basilicas. [4] Encircling the lowest portion of the bell is a ring bearing the Light Medallion on repeat, and above that are maze-like markings and a symbol central to this dungeon — a simplified depiction of the Dominion Rod. This symbol is a tiered vertical line above which hovers a large circle. This symbol can be found etched upon many artifacts within this temple, but most notably all of the statues are branded with it, but with one difference. The statues all have large holes in their chests where the energy from the Dominion Rod houses itself; below this rests the portrayal of the staff itself. In total, when the statues come to life, the entire illustration is completed and mirrors the actual item itself, from black staff to the yellow light which emanates from the end of it.
Many have likened this temple to the Tower of the Gods, and it is true that the similarities are certainly obvious. The circuit-like design running along the walls and bases of pillars, the mechanical enemies (for instance, the Beamos branded with the royal crest), the use of strange energy sources, and the necessary implementation of unfamiliar ancient statues are all present within both of these dungeons. Moreover, they are uncannily similar thematically. As I wrote in the article on the Tower of the Gods, that location was used as a place of judgment to discern the true hero of the gods, as it housed guardian enemies, not enemies bent upon wanton and senseless violence. It was a place sanctioned by its creators to protect itself in order to test those that entered. Likewise, those themes are all present here. One of the most memorable chambers within this Temple of Light is the room of judgment, wherein rests a giant scale marked with the light medallion of Rauru. Tests are given to Link in each game, as his future incarnations after the events of Skyward Sword dictate that the power of the Goddesses be passed on through generations to those with natural virtue. Therefore, this temple exists as another test for another life of the Hero.
Chambers here are classically beautiful, showing all the trappings of ancient Western heritage in full bloom. Most iconic is the room guarding the Dominion Rod. The creators of Zelda use many archetypal buildings in their designs, and the chosen structure used in this temple is the Pantheon of Rome. The Pantheon is more than just beautiful, however; it is a testament to human ingenuity, perseverance, and mastery of materials.
Chambers here are classically beautiful, showing all the trappings of ancient Western heritage in full bloom. Most iconic is the room guarding the Dominion Rod. The creators of Zelda use many archetypal buildings in their designs, and the chosen structure used in this temple is the Pantheon of Rome. The Pantheon is more than just beautiful, however; it is a testament to human ingenuity, perseverance, and mastery of materials.
Conceptually, the drum and dome of the Pantheon are based upon the intersection of two circles. The space was to be imagined as the orb of the earth and the dome of the heavens. As simple as it sounds theoretically, the actual construction had no precedent off of which to work. The drum was built level by level using concrete of various makes; the recipe was altered from bottom (containing basalt) to the top (utilizing pumice) in order to lighten the load as the dome rose higher to its focal point. The dome also reflects this as it decreases in width near the oculus. The coffering (small sunken panels) of the dome also served to lessen the immense weight of the dome without weakening the structure. [5] (This can also be seen in the dome in the Temple of Time.) The very existence of an oculus also makes it so that no large stress would be present in the weakest part of the dome — the center. Basically, this project would have been absolutely impossible without the advent of concrete and its masterful use by the Romans. The interior space was also incredibly religious, as its name (Temple to All Gods) suggests. And it was a place of simplicity, allowing the space — not the embellishments — to speak for it, to engage its audience. When the door was closed, the only light source present was the oculus above, which, like the solitary window in the chamber of the Master Sword, would trace the hours across the floor in a ray of focused light. Else, a chill darkness hovered around the outside wall, providing stark and lovely contrast to the center. This homage to the Pantheon in the Temple of Time is slightly different, though equally lovely. A tall, Gothic window with plain white panes illumines the large-order medallion of light upon the floor and accentuates the shadows that form within the sunken arches and coffering of the dome above.
Oddly, there seem to exist older — or at least more run-down — passages and rooms within this complex. While most of the walls and floors are covered with marble tiles of varying shades, dusky and unpolished stones make up the boundaries of several inner areas. The engaged columns of these areas, the torches, the post-and-lintel structures, and ceilings are all of a different design, which may hint at a multi-stage construction process. These may also be parts of the original temple, for they appear far older and more simplistic than anything found in the main part of the dungeon.
This should not be surprising, though, as it is one of the oldest creations of this universe
charged with a task as great as its age.
charged with a task as great as its age.
Works Cited:
[1] Richardson, Mike, Patrick Thorpe, and Shigeru Miyamoto. The Legend of Zelda Hyrule Historia. Milwaukie: Darkhorse, 2013. 77. Print.
[2] New light has been shed upon this theory recently, with the publication of the Zelda Encyclopedia. The temple that Link is transported to through time is simply the Temple of Time as it once was. The myriad Light Crests placed in the structure by Rauru are likely just a symbol of his involvement in its construction as the Sage of Light.
“Historical Records: Traditions & History.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 155.
[3] Kleiner, Fred S. "Chapter 5: Ancient Greece." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 116-117. Print.
[4] The Editors of Encyclopædia Britannica. "Baldachin." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 27 May 1999. Web. 05 Mar. 2017.
[5] Kleiner, Fred S. "Chapter 7: The Roman Empire." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 187-189. Print.
[1] Richardson, Mike, Patrick Thorpe, and Shigeru Miyamoto. The Legend of Zelda Hyrule Historia. Milwaukie: Darkhorse, 2013. 77. Print.
[2] New light has been shed upon this theory recently, with the publication of the Zelda Encyclopedia. The temple that Link is transported to through time is simply the Temple of Time as it once was. The myriad Light Crests placed in the structure by Rauru are likely just a symbol of his involvement in its construction as the Sage of Light.
“Historical Records: Traditions & History.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 155.
[3] Kleiner, Fred S. "Chapter 5: Ancient Greece." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 116-117. Print.
[4] The Editors of Encyclopædia Britannica. "Baldachin." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 27 May 1999. Web. 05 Mar. 2017.
[5] Kleiner, Fred S. "Chapter 7: The Roman Empire." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 187-189. Print.