The Acropolis of Athens
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The Acropolis Restoration News
À ™ ª ∞ TheÀ™ª∞ Acropolis Restoration News À ¶ ¶ √ À¶¶√ 8 ñ July 2008 General view of the Acropolis from the southeast. Photo G. Paganis, January 2008 ª. Ioannidou, 2007-2008, progress of the Acropolis Anastelosis Works ª. Ioannidou, Conservation and Restoration of the Acropolis Monuments: interventions planned for the period 2009-2013 V. Eleutheriou, V. Manidakis, A. Vrouva, Restoration of the west side of the Parthenon. General programming of the work and proposals for intervention D. Mavromati, The use of orthophotography in the geometric documentation of the Parthenon E. Sioumpara, Inventorying the Scattered Members of the Acropolis D.N. Englezos, D. Moullou, Preservation of the Circuit Wall of the Acropolis: past and future F. Mallouchou-Tufano, News from the Acropolis F. Mallouchou-Tufano, Honouring the marble technicians of the Acropolis: the Gold Cross of the Order of the Phoinix to Nikos Skaris 2007-2008, progress of the Acropolis Anastelosis Works 3 Anastelosis on the Acropolis continued at vided by the 3rd Community Support Frame- was continued. During the second half of cessed by the rural and surveying engineer July 2008 the architect K. Karanasos submit- In the temple of Athena Nike, 13 restored ar- undiminished pace during the second half of work. 2007 the eight columns were reset in place Dionysia Mavromati. ted to ESMA the study for restoring the south chitectural blocks from course II (from the 2007 and the first half of the present year. and work began on resetting the entablature, Studies for structural restoration -
|||GET||| the Acropolis in the Age of Pericles 1St Edition
THE ACROPOLIS IN THE AGE OF PERICLES 1ST EDITION DOWNLOAD FREE Jeffrey M Hurwit | 9780521527408 | | | | | How the Ancient Greeks Designed the Parthenon to Impress—And Last No ratings or reviews yet No ratings or reviews yet. Full view. It was the first known democracy in the world. Save on Nonfiction Trending price is based on prices over last The Acropolis in the Age of Pericles 1st edition days. Browse related items Start at call number: DF Enlarge cover. Parthenon The Parthenon is a resplendent marble temple built between and B. The sanctuary of Athena Nike; 8. The Greek government strongly disapproves of the artifacts remaining in the hands of the British and feels the sculptures should be returned to Athens. The Erechtheion: A sacred Ionic temple made of marble which honored Athena and several other gods and heroes. Ephesus Ephesus was an ancient port city whose well- preserved ruins are in modern-day Turkey. Thanks for telling us about the problem. Bill o'Reilly's Killing Ser. Liz Leahy rated it really liked it Nov 29, Name of resource. Delphi was an ancient religious sanctuary dedicated to the Greek god Apollo. Christopher Bejarano rated it really liked it Jan 03, This Day In History. Through bombardments, occupations, neglect, vandalism and even earthquakes, the Parthenon and other structures of the Acropolis have remained standing, thanks to the sophisticated methods used in their construction. Historians believe the Mycenaeans built a massive compound surrounded by a great wall almost 15 feet thick and 20 feet high on top of the Acropolis to house the local ruler and his household. -
Full Thesis Text Only
A DIACHRONIC EXAMINATION OF THE ERECHTHEION AND ITS RECEPTION Alexandra L. Lesk, B.A., M.St. (Oxon.), M.A. Presented to McMicken College of Arts and Sciences and the Department of Classics of the University of Cincinnati in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2004 Committee: C. Brian Rose (Chair) Jack L. Davis Kathleen M. Lynch J. James Coulton Abstract iii ABSTRACT “A Diachronic Examination of the Erechtheion and Its Reception” examines the social life of the Ionic temple on the Athenian Akropolis, which was built in the late 5th century B.C. to house Athens’ most sacred cults and relics. Using a contextualized diachronic approach, this study examines both the changes to the Erechtheion between its construction and the middle of the 19th century A.D., as well as the impact the temple had on the architecture and art of these successive periods. This approach allows the evidence to shed light on new areas of interest such as the Post-Antique phases of the building, in addition to affording a better understanding of problems that have plagued the study of the Erechtheion during the past two centuries. This study begins with a re-examination of all the pertinent archaeological, epigraphical, and literary evidence, and proposes a wholly new reconstruction of how the Erechtheion worked physically and ritually in ancient times. After accounting for the immediate influence of the Erechtheion on subsequent buildings of the Ionic order, an argument for a Hellenistic rather than Augustan date for the major repairs to the temple is presented. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
The Temple of Roma and Augustus on the Athenian Acropolis: a Symbol of Roman Power?
The Post Hole Issue 40 The temple of Roma and Augustus on the Athenian Acropolis: A Symbol of Roman power? Nefeli Piree Iliou1 1 School of Classics, Swallowgate, Butts Wynd, St Andrews, Fife, KY16 9AL. Email: [email protected] The temple of Roma and Augustus (dated to the late 1st century BC) was the sole major architectural supplement to the 5th and 4th century building complex on the Athenian Acropolis (Spawforth 2006, 144). Despite this, the temple has rarely been discussed in scholarly writings in contrast to the vast literature dedicated to other structures on the Athenian citadel, such as the Parthenon or the Erechtheion. Those who have granted it attention have often, but not exclusively, seen it as a symbol of Romanization, a concept Figure. 1. The NE corner of the Parthenon with the temple which likely needs further rethinking of Roma and Augustus, late 1st century BC. Restored by G. (Spawforth 1997,183,192; Mattingly P. Stevens. Image courtesy of the American School of 2006, 17; Webster 2003). While the Classical Studies at Athens. (Stevens 1946, Fig. 1). building has largely been viewed as either a monument to Roman power or a skillful Athenian subornation of Augustus’ victory into Athenian past glory, it was arguably both: not simply an indication of Rommanness but a negotiation of mixed Athenian feelings (Keen 2004; Hurwit 1999, 279-280). This brief paper will investigate the extent to which the temple of Roma and Augustus on the Acropolis can be seen as a symbol of Roman power by examining its architecture and topographical context. -
Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
The Pedestal of the Athena Promachos 109
THE PEDESTALOF THE ATHENA PROMACHOS fr IHE FOUNDATIONS of the base of the Athena Promachos statue which once stood on the Acropolis of Athens lie about forty meters to the east of the Propy- laea and almost on.the axis of that great building (Figure 1).1 Fig. 1. The Athena Promachos As the Promachos statue was erected to commemorate the battle of Marathon, or possibly the Persian Wars in general, it is likely that the dedicatory inscription referred to this fact and that trophies won in the battles against the Persians were 1 When E. Beule wrote his great book L'Acropole d'Athe'nes, he reported (III, p. 307) as an already established fact the assignment of certain foundations and rock cuttings to the pedestal of the Promachos monument; compare also W. judeich, Topographie von Athen2, pp. 234-235; G. Lippold, R.E., s.v. Pheidias, cols. 1924-1925; C. Picard, Mai el d'Archeologie Grecql e, II, pp. 338-342. W. B. Dinsmoor assigned (A.J.A., XXV, 1921, p. 128, fig. 1) a fragment of an ovolo moulding to the capping course of the pedestal; compare also L. Shoe, Profiles of Greek Mouldings, p. 19 and plates C, 2, and IX, 6; G. P. Stevens, H:esperia, V, 1936, pp. 495, note 3, and 496, fig. 46. G. P. Stevens examined in detail the architectural remains (Hesperia, V, 1936, pp. 491-499, and figs. 42-49), and the present report is a continuation of his study based on the attribution by A. E. Raubitschek of two inscribed blocks to the lowest marble course of the pedestal (A.J.A., XLIV, 1940, p. -
The Acropolis
November 2010 The Acropolis Acropolis is actually a generic Greek term referring to citadel on high ground originally designed for defense, and a number of Ancient Greek cities could boast such, such as Argos, Thebes, and Corinth. It was Athen’s acropolis, though that has become the Acropolis to the modern world. The Acropolis was formally proclaimed as the pre-eminent monument on the European Cultural Heritage list of monuments in 2007. The Acropolis is a flat-topped rock which rises 490 ft above sea level in the city of Athens, with a surface area of about 3 hectares. By the time of Pericles, during the Golden Age of Athens (460–430 BC), a number of temples had already been build and destroyed on the Acropolis, but most of the major temples were rebuilt under Pericles, Phidias (a great Athenian sculptor) and Ictinus and Callicrates (two famous architects) . During the 5th century BC, the Acropolis gained its final shape. After winning at Eurymedon in 468 BC, Cimon and Themistocles ordered the reconstruction of southern and northern walls, and Pericles entrusted the building of the Parthenon to Ictinus and Phidias. The Parthenon is the dominant building one sees standing atop the Acropolis today. It has been judged by architects as the most perfect building ever built by Man, and it undoubtedly is one of the major reasons why the Acropolis is so famous. The entrance to the Acropolis was a monumental gateway called the Propylaea. To the south is the tiny Temple of Athena Nike. A bronze statue of Athena, by Phidias, originally stood at its centre. -
The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou
The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou 20 | MUSEUM international rsi Filippopoulou is an architect and a jurist, specialised in archaeological museums planning and programming. She served as Director Eof Museum Studies in the Greek Ministry of Culture, and was also responsible for the new Acropolis museum project over 18 years. She worked as Director of the Greek Managing Authority for the European Union, co-financed cultural projects for six years. She served as an adjunct faculty member at the Departments of Architecture of the Universities of Thessaloniki and Patras, Greece. She was elected chairperson of the ICOM International Committee for Architecture and Museum Techniques (ICAMT) twice on a three-year mandate. Since 2012, she has been working as an advisor on heritage issues to the Peloponnese Regional Governor. She recently published a book entitled Τo neo Mouseio tis Acropolis—dia Pyros kai Sidirou, which retraces the new Acropolis Museum’s tumultuous history from its inception to its inauguration (Papasotiriou Publishers 2011). Her current research project is a comparative approach to the Greek archaeological museum paradigm. MUSEUM international | 21 he visitor to the new Acropolis Museum in Athens, climbing to the up- per floor and passing through the exhibition gallery door to an all-glass space flooded with natural light, is suddenly awestruck by the breathtak- ing view of the Parthenon rising up above the surrounding city (Fig. 1). Enjoying the holistic experience inspired by the natural and cultural landscape, the viewer is unaware of past controversies about the mu- seum’s location, and is certain that is the right place to be for anyone wishing to admire the ancient monument together with its architectur- al sculptures. -
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. -
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. -
Lecture 05 Greek Architecture Part 2
Readings Pages 54-60, A World History of Architecture, Fazio, Michael, Moffet & Wodehousecopoy Pages 60– 65 Great Architecture of the World ARCH 1121 HISTORY OF ARCHITECTURAL TECHNOLOGY Photo: Alexander Aptekar © 2009 Gardner Art Through the Ages Classical Greek Architecture 480 – 431BCE: Known as the Classical Period in Greek History Assertion that human intelligence puts man above the rest of nature Architecture began in the service of religion 7th century BCE – 1st efforts to create proper shapes and design Beauty = Gods Secret of beauty lay in ratios and proportions Invented democracy and philosophy Created works of art in drama, sculpture and architecture Greek Architecture 480 – 431BCE Temples first built with wood, then stone w/ terra cotta tiles Purely formal objects Greeks pursued the beauty through architecture and materials The home of the Gods Became the principal ornaments in the cities, generally on hills or other prominent locations www.greatbuildings.com www.greatbuildings.com Temple of Hephaestus megron Athenian Treasury Classical Orders In classical Greek architecture, beauty lay in systems of the ratios and proportions. A system or order defined the ideal proportions for all the components of the temples according to mathematical ratios – based on the diameter of the columns. What is an order? An order includes the total assemblage of parts consisting of the column and its appropriate entablature which is based on the diameter of the column. Temple of Hera II (Poseidon) 450 BCE The column is vertical and supports the structure. Its diameter sets the proportion of the other parts. The entablature is horizontal and consists of many elements.