Hand Made 3D Modelling for the Reconstructive Study of Temple C in Selinunte: Preliminary Results
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Urban Planning in the Greek Colonies in Sicily and Magna Graecia
Urban Planning in the Greek Colonies in Sicily and Magna Graecia (8th – 6th centuries BCE) An honors thesis for the Department of Classics Olivia E. Hayden Tufts University, 2013 Abstract: Although ancient Greeks were traversing the western Mediterranean as early as the Mycenaean Period, the end of the “Dark Age” saw a surge of Greek colonial activity throughout the Mediterranean. Contemporary cities of the Greek homeland were in the process of growing from small, irregularly planned settlements into organized urban spaces. By contrast, the colonies founded overseas in the 8th and 6th centuries BCE lacked any pre-existing structures or spatial organization, allowing the inhabitants to closely approximate their conceptual ideals. For this reason the Greek colonies in Sicily and Magna Graecia, known for their extensive use of gridded urban planning, exemplified the overarching trajectory of urban planning in this period. Over the course of the 8th to 6th centuries BCE the Greek cities in Sicily and Magna Graecia developed many common features, including the zoning of domestic, religious, and political space and the implementation of a gridded street plan in the domestic sector. Each city, however, had its own peculiarities and experimental design elements. I will argue that the interplay between standardization and idiosyncrasy in each city developed as a result of vying for recognition within this tight-knit network of affluent Sicilian and South Italian cities. This competition both stimulated the widespread adoption of popular ideas and encouraged the continuous initiation of new trends. ii Table of Contents: Abstract. …………………….………………………………………………………………….... ii Table of Contents …………………………………….………………………………….…….... iii 1. Introduction …………………………………………………………………………..……….. 1 2. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J. -
The Garter Room at Stowe House’, the Georgian Group Journal, Vol
Michael Bevington, ‘The Garter Room at Stowe House’, The Georgian Group Journal, Vol. XV, 2006, pp. 140–158 TEXT © THE AUTHORS 2006 THE GARTER ROOM AT STOWE HOUSE MICHAEL BEVINGTON he Garter Room at Stowe House was described as the Ball Room and subsequently as the large Tby Michael Gibbon as ‘following, or rather Library, which led to a three-room apartment, which blazing, the Neo-classical trail’. This article will show Lady Newdigate noted as all ‘newly built’ in July that its shell was built by Lord Cobham, perhaps to . On the western side the answering gallery was the design of Capability Brown, before , and that known as the State Gallery and subsequently as the the plan itself was unique. It was completed for Earl State Dining Room. Next west was the State Temple, mainly in , to a design by John Hobcraft, Dressing Room, and the State Bedchamber was at perhaps advised by Giovanni-Battista Borra. Its the western end of the main enfilade. In Lady detailed decoration, however, was taken from newly Newdigate was told by ‘the person who shewd the documented Hellenistic buildings in the near east, house’ that this room was to be ‘a prodigious large especially the Temple of the Sun at Palmyra. Borra’s bedchamber … in which the bed is to be raised drawings of this building were published in the first upon steps’, intended ‘for any of the Royal Family, if of Robert Wood’s two famous books, The Ruins of ever they should do my Lord the honour of a visit.’ Palmyra otherwise Tedmor in the Desart , in . -
Tine Statue of Athena in the Parthenon
REMARKS UPON THE COLOSSALCHRYSELEPHAN- TINE STATUE OF ATHENA IN THE PARTHENON INTRODUCTION IT is not to be expectedthat even fragmentsof the gold and ivory colossal statue of Athena in the Parthenon should have survived the ravages of time. However, a good deal is known about the statue from small copies in the round and from coins, plaques, gems and the like; also, the famous statue is mentioned by ancient writers, sometimes at considerable length. Consequently we have a fairly good idea of her appearance. And when we come to consider the pedestal on which the statue stood, we find that there are data which can be studied to advantage. Obviously the importance of the statue called for a carefully designed pedestal. Thus it is desirable that all existing data concerning the pedestal be recorded. Let us, then, make a few remarks not only about the colossal statue, but also about the pedestal on which the statue stood. I ATHENA PARTHENOS, THE CLIMAX OF THE PANATHENEA Figure 1 shows the position of the colossal statue (often referred to as the Parthenos) in the east cella of the temple. The blocks which give the position of the statue are toward the west end of the nave and on the axis of the temple. They are poros blocks of the type used for foundations. They are flush with the marble pave- ment of the nave, and they are in situ. The poros blocks, thirty in number, cover an area so extensive that they at once tell us that the statue which stood above them was of colossal size (Figs. -
Iconography of the Gorgons on Temple Decoration in Sicily and Western Greece
ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE By Katrina Marie Heller Submitted to the Faculty of The Archaeological Studies Program Department of Sociology and Archaeology In partial fulfillment of the requirements for the degree of Bachelor of Science University of Wisconsin-La Crosse 2010 Copyright 2010 by Katrina Marie Heller All Rights Reserved ii ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE Katrina Marie Heller, B.S. University of Wisconsin - La Crosse, 2010 This paper provides a concise analysis of the Gorgon image as it has been featured on temples throughout the Greek world. The Gorgons, also known as Medusa and her two sisters, were common decorative motifs on temples beginning in the eighth century B.C. and reaching their peak of popularity in the sixth century B.C. Their image has been found to decorate various parts of the temple across Sicily, Southern Italy, Crete, and the Greek mainland. By analyzing the city in which the image was found, where on the temple the Gorgon was depicted, as well as stylistic variations, significant differences in these images were identified. While many of the Gorgon icons were used simply as decoration, others, such as those used as antefixes or in pediments may have been utilized as apotropaic devices to ward off evil. iii Acknowledgements I would first like to thank my family and friends for all of their encouragement throughout this project. A special thanks to my parents, Kathy and Gary Heller, who constantly support me in all I do. I need to thank Dr Jim Theler and Dr Christine Hippert for all of the assistance they have provided over the past year, not only for this project but also for their help and interest in my academic future. -
Ancient Greek Architecture
Greek Art in Sicily Greek ancient temples in Sicily Temple plans Doric order 1. Tympanum, 2. Acroterium, 3. Sima 4. Cornice 5. Mutules 7. Freize 8. Triglyph 9. Metope 10. Regula 11. Gutta 12. Taenia 13. Architrave 14. Capital 15. Abacus 16. Echinus 17. Column 18. Fluting 19. Stylobate Ionic order Ionic order: 1 - entablature, 2 - column, 3 - cornice, 4 - frieze, 5 - architrave or epistyle, 6 - capital (composed of abacus and volutes), 7 - shaft, 8 - base, 9 - stylobate, 10 - krepis. Corinthian order Valley of the Temples • The Valle dei Templi is an archaeological site in Agrigento (ancient Greek Akragas), Sicily, southern Italy. It is one of the most outstanding examples of Greater Greece art and architecture, and is one of the main attractions of Sicily as well as a national momument of Italy. The area was included in the UNESCO Heritage Site list in 1997. Much of the excavation and restoration of the temples was due to the efforts of archaeologist Domenico Antonio Lo Faso Pietrasanta (1783– 1863), who was the Duke of Serradifalco from 1809 through 1812. • The Valley includes remains of seven temples, all in Doric style. The temples are: • Temple of Juno, built in the 5th century BC and burnt in 406 BC by the Carthaginians. It was usually used for the celebration of weddings. • Temple of Concordia, whose name comes from a Latin inscription found nearby, and which was also built in the 5th century BC. Turned into a church in the 6th century AD, it is now one of the best preserved in the Valley. -
Temples with Transverse Cellae in Republican and Early Imperial Italy
BABesch 82 (2007, 333-346. doi: 10.2143/BAB.82.2.2020781) Forms of Cult? Temples with transverse cellae in Republican and early Imperial Italy Benjamin D. Rous Abstract This article presents an analysis of a particular temple type that first appeared during the Late Republic, the temple with transverse cella. In the past this particular cella-form has been interpreted as a solution to spatial constraints. In more recent times it has been argued that the cult associated with the temple was the decisive factor in the adoption of the transverse cella. Neither theory, when considered in isolation, can fully and con- vincingly explain the particular forms of both Republican and Imperial temples. Rather, it can be argued that a combination of pragmatic and above all aesthetic considerations has played a major role in the particular archi- tecture of these temples.* INTRODUCTION archaeological evidence, even though the remains of the building itself have never been excavated. In the fourth book of his famous treatise on archi- Furthermore, this is one of the temples actually tecture, Vitruvius mentions a specific temple-type, mentioned by Vitruvius in his treatise. In yet an- whose basic characteristic is that all the features other case, the temple of Aesculapius in the Latin normally found on the short side of the temple colony of Fregellae, although construction activi- have been transferred to the long side. What this ties have destroyed virtually the entire temple basically means is that the pronaos still constitutes building, a reconstruction of a transverse cella the front part of the temple, but instead of being nevertheless seems likely on the basis of the scant longitudinally developed, the cella is rotated 90º remains we do have. -
Art Concepts
ANCIENT ART - Greece Acropolis Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). Amphora A two-handled jar used for general storage purposes, usually to hold wine or oil. Archaic Smile In Archaic Greek sculpture, the smile sculptors represented on faces as a way of indicating that the person portrayed is alive. Atlant (Atlas) A male figure that functions as a supporting column. Black-Figure In early Greek pottery, the silhouetting of dark Painting figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. Capital The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order. Caryatid A female figure that functions as a supporting column. Cella The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. ANCIENT ART - Greece Centaur In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. Contrapposto The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. Corinthian Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells. -
Greek Art – Architecture
APAH: Greek Art – Architecture Temples Evolution from shrines to temples Evolution from wood/mud-brick construction to marble Availability of marble Housed cult statues Public ritual – not private Face outward – Altar at front of temple Building as sculpture Exterior more important than interior Monuments not just buildings Built without mortise – extreme precision Reflects Greek principles: symmetry, harmony, balance, order Ideal forms Contrast to other civilizations Mathematical order – Rationality Development – complexity Temple Orders Order = Platform – Column – Entablature Doric, Ionic, Corinthian Platform – Podium Stylobate Stereobate Column (2 or 3 part) – Base, Shaft, Capital No base on Doric columns Fluting – vertical channels Doric-sharp Ionic-flat Entasis – Gradual curving (tapering) toward column top Drum – Column segment Entablature Architrave Frieze – Decorated band b/w architrave and cornice Doric Triglyphs, Metopes Ionic Open Used for reliefs Cornice – projecting crown of entablature Pediment – triangular space at the end of a building Temple Forms Elevation – drawing of building profile Cella – room Naos – room for cult statue Portico – porch Colonnade – walkway w/ columns Prostyle – in front Amphiprostyle – along ends Peripteral – around Dipteral – around twice Early Architecture Plan of Temple A (c. 625 BC) Prinias, Greece (Crete) Simple megaron Sculptural decoration Archaic Architecture Temple of Hera I (c. 550 BC) Paestum, Italy Doric order Unusual central column row Lack of central space Forced canonical break Odd -
Archaic and Classical Cult Statues in Greece
ARCHAIC AND CLASSICAL CULT STATUES IN GREECE THE SETTING AND DISPLAY OF CULT IMAGES IN THE ARCHAIC AND CLASSICAL PERIODS IN GREECE By SHERR! DAWSON, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfilment of the Requirements For the Degree Master of Arts McMaster Uni versity © Copyright by Sherri Dawson, June 2002 MASTER OF ARTS (2002) McMaster University (Classical Studies) Hamilton, Ontario TITLE: The Setting and Display of Cult Images in the Archaic and Classical Peri ods in Greece. AUTHOR: Sherri Dawson, B. A. (Uni versity of Alberta) SUPERVISOR: Dr. Gretchen Umholtz NUMBER OF PAGES: xii, 257. 11 ABSTRACT The focus of this thesis is on ancient archaic and classical Greek cult statues and how their placement reflects both the role of the statues themselves and the continuity in worship. Greek sanctuaries generally exhibited a strong continuity of cult in terms of building successive temples directly on top of the remains of their predecessors. The sanctuary of Hera on Samos and the sanctuary of Apollo at Didyma are two such sanctuaries in Asia Minor that exhibit this type of continuity even though their early temples were replaced by large superstructures. The temple of Athena Nike in Athens is another example of continuity, since the larger Classical temple was built on the same site as the archaic one. The Athenian Parthenon, the temple of Zeus at Olympia, the Classical Heraion at Argos and the Classical temple of Dionysos on the south slope in Athens, however, were not built on the same site as the archaic temples. -
Download Image Gallery
AJA IMAGE GALLERY www.ajaonline.org Supplemental Images for “Phalaris: Literary Myth or Historical Reality? Reassessing Archaic Akragas,” by Gianfranco Adornato (AJA 116 [2012] 483–506). * Unless otherwise noted in the figure caption, images are by the author. Image Gallery figures are not edited by AJA to the same level as the published article’s figures. Fig. 1. Map of Akragas (Freeman 1891, 244). Fig. 2. North Ionian Late Wild Goat Style Fig. 3. North Ionian Late Wild Goat Style plate from the Montelusa necropolis. Agri- plate from the Montelusa necropolis. Agri- gento, Museo Archeologico Regionale, inv. gento, Museo Archeologico Regionale, inv. no. S/2254 (© Regione Siciliana, Assessorato no. S/2258 (© Regione Siciliana, Assessorato Regionale dei Beni Culturali e dell’Identità Regionale dei Beni Culturali e dell’Identità Siciliana; courtesy Museo Archeologico Re- Siciliana; courtesy Museo Archeologico gionale “P. Griffo”) (= fig. 2 [left] in published Regionale “P. Griffo”) (= fig. 2 [right] in pub- article). lished article). Published online July 2012 American Journal of Archaeology 116.3 1 DOI: 10.3764/ajaonline1163.Adornato.suppl AJA IMAGE GALLERY www.ajaonline.org Fig. 4. Plan of the Hellenistic-Roman urban grid (at left are the sacred area of San Nicola, the ekklesiasterion, and the bouleu- terion) (adapted from De Miro 1994, fig. 3). Fig. 5. Drawing of the archaic “casette a schiera” (Marconi 1929a, fig. 17). Fig. 6. Plan of the fortification wall and gates at Akragas (modi- fied from Bennett and Paul 2002, fig. 11). Published online July 2012 American Journal of Archaeology 116.3 2 DOI: 10.3764/ajaonline1163.Adornato.suppl AJA IMAGE GALLERY www.ajaonline.org Fig.