Parthenon Challenge
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The Conversion of the Parthenon Into a Church: the Tübingen Theosophy
The Conversion of the Parthenon into a Church: The Tübingen Theosophy Cyril MANGO Δελτίον XAE 18 (1995), Περίοδος Δ'• Σελ. 201-203 ΑΘΗΝΑ 1995 Cyril Mango THE CONVERSION OF THE PARTHENON INTO A CHURCH: THE TÜBINGEN THEOSOPHY Iveaders of this journal do not have to be reminded of the sayings "of a certain Hystaspes, king of the Persians the uncertainty that surrounds the conversion of the or the Chaldaeans, a very pious man (as he claims) and for Parthenon into a Christian church. Surprisingly to our that reason deemed worthy of receiving a revelation of eyes, this symbolic event appears to have gone entirely divine mysteries concerning the Saviour's incarnation"5. unrecorded. The only piece of written evidence that has At the end of the work was placed a very brief chronicle been adduced concerns the removal of Athena's cult (perhaps simply a chronology) from Adam to the emperor statue, mentioned without a firm date in Marinus' Life of Zeno (474-91), in which the author advanced the view that Proclus (written in 485/6, the year following the the world would end in the year 6000 from Creation. philosopher's death)1. It is not clear, however, whether The original work was, therefore, composed between this removal marked the conversion of the building to 474 and, at the latest, 508, assuming the author was using Christian worship or merely its desacralization. The two, the Alexandrian computation from 5492 BC. The we have been told, need not have been simultaneous and expectation that the world would end in the reign of it is not inconceivable that the Parthenon remained Anastasius was, indeed, quite widespread at the time6. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
Thinking Comparatively About Greek Mythology IV, Reconstructing He#Rakle#S Backward in Time
Thinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.08.15. "hinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/thinking-comparatively- about-greek-mythology-iv-reconstructing-herakles-backward-in- time/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42179409 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
Greece • Crete • Turkey May 28 - June 22, 2021
GREECE • CRETE • TURKEY MAY 28 - JUNE 22, 2021 Tour Hosts: Dr. Scott Moore Dr. Jason Whitlark organized by GREECE - CRETE - TURKEY / May 28 - June 22, 2021 May 31 Mon ATHENS - CORINTH CANAL - CORINTH – ACROCORINTH - NAFPLION At 8:30a.m. depart from Athens and drive along the coastal highway of Saronic Gulf. Arrive at the Corinth Canal for a brief stop and then continue on to the Acropolis of Corinth. Acro-corinth is the citadel of Corinth. It is situated to the southwest of the ancient city and rises to an elevation of 1883 ft. [574 m.]. Today it is surrounded by walls that are about 1.85 mi. [3 km.] long. The foundations of the fortifications are ancient—going back to the Hellenistic Period. The current walls were built and rebuilt by the Byzantines, Franks, Venetians, and Ottoman Turks. Climb up and visit the fortress. Then proceed to the Ancient city of Corinth. It was to this megalopolis where the apostle Paul came and worked, established a thriving church, subsequently sending two of his epistles now part of the New Testament. Here, we see all of the sites associated with his ministry: the Agora, the Temple of Apollo, the Roman Odeon, the Bema and Gallio’s Seat. The small local archaeological museum here is an absolute must! In Romans 16:23 Paul mentions his friend Erastus and • • we will see an inscription to him at the site. In the afternoon we will drive to GREECE CRETE TURKEY Nafplion for check-in at hotel followed by dinner and overnight. (B,D) MAY 28 - JUNE 22, 2021 June 1 Tue EPIDAURAUS - MYCENAE - NAFPLION Morning visit to Mycenae where we see the remains of the prehistoric citadel Parthenon, fortified with the Cyclopean Walls, the Lionesses’ Gate, the remains of the Athens Mycenaean Palace and the Tomb of King Agamemnon in which we will actually enter. -
Kleonai, the Corinth-Argos Road, And
HESPERIA 78 (2OO9) KLEONAI, THE CORINTH- Pages ioj-163 ARGOS ROAD, AND THE "AXIS OF HISTORY" ABSTRACT The ancient roadfrom Corinth to Argos via the Longopotamos passwas one of the most important and longest-used natural routes through the north- eastern Peloponnese. The author proposes to identity the exact route of the road as it passed through Kleonaian territoryby combining the evidence of ancient testimonia, the identification of ancient roadside features, the ac- counts of early travelers,and autopsy.The act of tracing the road serves to emphasizethe prominentposition of the city Kleonaion this interstateroute, which had significant consequences both for its own history and for that of neighboring states. INTRODUCTION Much of the historyof the polis of Kleonaiwas shapedby its location on a numberof majorroutes from the Isthmus and Corinth into the Peloponnese.1The most importantof thesewas a majorartery for north- south travel;from the city of Kleonai,the immediatedestinations of this roadwere Corinthto the north and Argos to the south.It is in connec- tion with its roadsthat Kleonaiis most often mentionedin the ancient sources,and likewise,modern topographical studies of the areahave fo- cusedon definingthe coursesof these routes,particularly that of the main 1. The initial fieldworkfor this Culturefor grantingit. In particular, anonymousreaders and the editors studywas primarilyconducted as I thank prior ephors Elisavet Spathari of Hesperia,were of invaluableassis- part of a one-person surveyof visible and AlexanderMantis for their in- tance. I owe particulargratitude to remainsin Kleonaianterritory under terest in the projectat Kleonai,and Bruce Stiver and John Luchin for their the auspicesof the American School the guardsand residentsof Archaia assistancewith the illustrations. -
The Parthenon Frieze: Viewed As the Panathenaic Festival Preceding the Battle of Marathon
The Parthenon Frieze: Viewed as the Panathenaic Festival Preceding the Battle of Marathon By Brian A. Sprague Senior Seminar: HST 499 Professor Bau-Hwa Hsieh Western Oregon University Thursday, June 07, 2007 Readers Professor Benedict Lowe Professor Narasingha Sil Copyright © Brian A. Sprague 2007 The Parthenon frieze has been the subject of many debates and the interpretation of it leads to a number of problems: what was the subject of the frieze? What would the frieze have meant to the Athenian audience? The Parthenon scenes have been identified in many different ways: a representation of the Panathenaic festival, a mythical or historical event, or an assertion of Athenian ideology. This paper will examine the Parthenon Frieze in relation to the metopes, pediments, and statues in order to prove the validity of the suggestion that it depicts the Panathenaic festival just preceding the battle of Marathon in 490 BC. The main problems with this topic are that there are no primary sources that document what the Frieze was supposed to mean. The scenes are not specific to any one type of procession. The argument against a Panathenaic festival is that there are soldiers and chariots represented. Possibly that biggest problem with interpreting the Frieze is that part of it is missing and it could be that the piece that is missing ties everything together. The Parthenon may have been the only ancient Greek temple with an exterior sculpture that depicts any kind of religious ritual or service. Because the theme of the frieze is unique we can not turn towards other relief sculpture to help us understand it. -
Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons
Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons. Photo by José Luiz) ERCULES (also known as Heracles) tually overpowered it (Figure 3) and their own master. With their appetites Hhad been told by the oracle at Delphi brought it to Greece. This labour of satisfied Heracles was able to control that if he accomplished the tasks set for Her acles might reflect the subjugation them (Figure 4) and with his way of him by Eurystheus, the king of Mycenae, of the Minoan civilization on Crete by dealing with them they were no further he would gain immortality. Part I dealt conquerors from Greece in about 1450 trouble. with the first six of these labours and BC. The Ninth Labour was to obtain Part II will deal with the remaining six. The Eighth Labour was to capture Hippolyte’s girdle. Hippolyte was the The Seventh Labour was to capture the four wild mares that belonged to queen of the Amazons, who were female the Cretan bull. This was a large bull Diomedes, who ruled the fierce tribe of warriors in Asia Minor. The word ‘ama - that terrorized the people of Crete. (Fig - the Bistones in Thrace. The horses lived zon’ means ‘no breast’, and these women ure 1 – map) Some say it was the bull on human flesh and terrorized the had their right breast cut off when they that carried Europa on its back from country. Heracles gathered a band of were young so that they were better Phoenicia to Crete. Others say it was volunteers and went to Thrace. -
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. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
The Parthenon, Part I: from Its Multiple Beginnings to 432 BCE"
1 THE FORTNIGHTLY CLUB Of REDLANDS, CALIFORNIA Founded 24 January 1895 Meeting Number 1856 March 13, 2014 "The Parthenon, Part I: From its Multiple Beginnings to 432 BCE" Bill McDonald Assembly Room, A. K. Smiley Public Library 2 [1] (Numbers in red catalog the slides) Fortnightly Talk #6 From Herekleides of Crete, in the 3rd century BCE: “The most beautiful things in the world are there [in Athens}… The sumptuous temple of Athena stands out, and is well worth a look. It is called the Parthenon and it is on the hill above the theatre. It makes a tremendous impression on visitors.” Reporter: Did you visit the Parthenon during your trip to Greece?” Shaq: “I can’t really remember the names of the clubs we went to.” Architects, aesthetes, grand tour-takers from England, France and Germany all came to Rome in the 3rd quarter of the 18th century, where they developed on uneven evidence a newly austere view of the classical world that in turn produced the Greek revival across northern Europe and in America. Johann Joachim Winckelmann (1717 – 1768) [2], a self-made scholar of ancient Greek language and texts, was their unofficial high priest. In 1755 Winckelmann arrived for the first time in Rome, where thanks not only to his brilliant publications but also to a recent and, shall we say, a timely conversion to Catholicism, he was admitted by papal authorities to the Vatican galleries and storerooms (his friend Goethe said that Winckelmann was really “a pagan”). His contemporaries in Rome saw Greek civilization as a primitive source for Roman art, and had never troubled to isolate Greek art from its successor; Winckelmann reversed that, making Greek art and 3 architecture, especially sculpture—and especially of the young male form that he especially admired—not only distinctive in its own right but the font of the greatest Western art. -
A Collection of Curricula for the STARLAB Greek Mythology Cylinder
A Collection of Curricula for the STARLAB Greek Mythology Cylinder Including: A Look at the Greek Mythology Cylinder Three Activities: Constellation Creations, Create a Myth, I'm Getting Dizzy by Gary D. Kratzer ©2008 by Science First/STARLAB, 95 Botsford Place, Buffalo, NY 14216. www.starlab.com. All rights reserved. Curriculum Guide Contents A Look at the Greek Mythology Cylinder ...................3 Leo, the Lion .....................................................9 Introduction ......................................................3 Lepus, the Hare .................................................9 Andromeda ......................................................3 Libra, the Scales ................................................9 Aquarius ..........................................................3 Lyra, the Lyre ...................................................10 Aquila, the Eagle ..............................................3 Ophuichus, Serpent Holder ..............................10 Aries, the Ram ..................................................3 Orion, the Hunter ............................................10 Auriga .............................................................4 Pegasus, the Winged Horse..............................11 Bootes ..............................................................4 Perseus, the Champion .....................................11 Cancer, the Crab ..............................................4 Phoenix ..........................................................11 Canis Major, the Big Dog