The Acropolis in the Age of Pericles: the Citizen's Home and the Empire's
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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. -
Archaic Eretria
ARCHAIC ERETRIA This book presents for the first time a history of Eretria during the Archaic Era, the city’s most notable period of political importance. Keith Walker examines all the major elements of the city’s success. One of the key factors explored is Eretria’s role as a pioneer coloniser in both the Levant and the West— its early Aegean ‘island empire’ anticipates that of Athens by more than a century, and Eretrian shipping and trade was similarly widespread. We are shown how the strength of the navy conferred thalassocratic status on the city between 506 and 490 BC, and that the importance of its rowers (Eretria means ‘the rowing city’) probably explains the appearance of its democratic constitution. Walker dates this to the last decade of the sixth century; given the presence of Athenian political exiles there, this may well have provided a model for the later reforms of Kleisthenes in Athens. Eretria’s major, indeed dominant, role in the events of central Greece in the last half of the sixth century, and in the events of the Ionian Revolt to 490, is clearly demonstrated, and the tyranny of Diagoras (c. 538–509), perhaps the golden age of the city, is fully examined. Full documentation of literary, epigraphic and archaeological sources (most of which have previously been inaccessible to an English-speaking audience) is provided, creating a fascinating history and a valuable resource for the Greek historian. Keith Walker is a Research Associate in the Department of Classics, History and Religion at the University of New England, Armidale, Australia. -
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 Family Connection of Alcibiades and Axiochus , Greek, Roman and Byzantine Studies, 27:2 (1986:Summer) P.173
STANLEY, PHILLIP V., The Family Connection of Alcibiades and Axiochus , Greek, Roman and Byzantine Studies, 27:2 (1986:Summer) p.173 The Family Connection of Alcibiades and Axiochus Phillip V. Stanley LTHOUGH THE ANCESTRY of the Athenian general Alcibiades A III remains obscure for the sixth century, his genealogy is as sumed to be secure for the fifth. The descent of the family from Alcibiades I to Alcibiades IV has been reconstructed by Vander pool in the following way:l Alcibiades J2 I Cleinias I I Alcibiades II I I Axiochus Cleinias II I I I I Cleinias III Alcibiades III Cleinias IV I Alcibiades IV I E. Vanderpool, "The Ostracism of the Elder Alcibiades," Hesperia 21 (I952) 1-8, esp. 6. Cr. M. B. Wallace, "Early Greek Proxenoi," Phoenix 24 (I 970) 196f; 1. K. DAVIES, Athenian Propertied Families (Oxford 1971 [hereafter APF)) 10-12. According to Isoc. 16.25f (delivered by Alcibiades IV, son of the general), Alcibiades I, the ally of Cleisthenes when he expelled Hippias from Athens, was the great-grandfather (1TpO- 1Ta1T1To~) of Alcibiades III. The general difficulty stems from the apparent need to reduce the number of generations separating Alcibiades I from Alcibiades III, believed to be five: if the number is not reduced, Alcibiades I would actually be the great-great grandfather of the general. 2 Roman numerals are those assigned in PA and APF. These numerals will continue to be used even when homonyms are added to the family's genealogy. In order to avoid the confusion that might result if a major overhaul of the numerical system for this family were attempted, and to preserve the numerical descent established for the branch of the family to which Alcibiades III belongs, the newly identified individual will be assigned the next available Roman numeral, even though he may be earlier than an individual with the same name whose number is lower. -
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. -
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. -
Hellas: Then and Now
Hellas: Then and Now Classics 3700: Experiential Reflections, Summer 2019 Professor J. Walsh University of Guelph. Student: D. R. Chalykoff 0943282 Overall Word Count: 4,900 29 July 2019 1 In May of 2019 a group of mostly Classics students visited many sites of ancient and contemporary Greece. During those travels, this (mature) student, previously trained and seasoned in architecture, was most affected by three distinctly different phenomena: the meaning implicit in the architecture of the Acropolis; the shocking number of abandoned villas spotted roadside during our bus-based travels through Athens, the islands, and the Peloponnese; and, the built metaphors crying out for interpretation within the New Acropolis Museum. While all of these phenomena, and more, have been addressed within, there is no consequent claim that their treatment is exhaustive or definitive, only honest, cleanly argued, and heartfelt. As an organizing hypothesis, to carry the threads of exploration forward, the contention is that the symmetry of the Parthenon and the asymmetry of the Erechtheion, with the meanings implicit in both of those types of organization, will serve to illuminate the problem of the villas as well as the metaphors of the New Acropolis Museum. The Parthenon will be juxtaposed with the Spartan code and the Erechtheion with Pericles' Funeral Oration. In a less contextually apt series of juxtapositions, the problem of the villas will be tested against social theories of Jane Jacobs and Niall Ferguson in an attempt to understand how Japan and Israel prospered, after disastrous WWII experiences, while Greece faltered. Finally, the loads borne by the columns at the New Acropolis Museum will be analyzed to test their purpose and meaning as parts of a much greater whole. -
The Art Bulletin
THE ART BULLETIN A Quarterly Published by . the College Art Association September 2009 Volume XCI Number 3 Destruction and Memory on the Athenian Acropolis Rachel Kousser The Parthenon, constructed betl-veen 447 and 432 BCE on This analysis of the Parthenon and its antecedents has also the Athenian Acropolis, stands as the most lavish, technically a broader significance as part of the history of Orientalism, a refined, and programmatically cohesive temple on the Greek topic of much recen t interest for scholars of Classical Greece. mainland, a fitting commemoration of the Athenians' spec Philologists have researched the use of Orien talist tropes in tacular and unexpected victories in the Persian ''''ars (Fig. 1). various literary genres,5 while art historians have analyzed The immense, all-marble structure was designed around a snch topics as the depiction of Persians in Greek art,G the colossal statue of Athena Parthenos, depicted by the sculptor reception of Achaemenid material culture in Athens,? and Pheidias fully armed, and with an image of the goddess of representations of the Persian Wars in public Athenian mon victory, Nike, alighting on her left hand (Fig, 2). In its archi uments.s One hitherto neglected area of inquiry has been the tectural sculpture as well, the Parthenon repeatedly alluded interconnections betl-veen Orientalism and iconoclasm. The to the Greeks' struggle again-st the Persians, for instance, destruction of an enemy's sanctuaries was commonplace in through famous mytholOgical contests: battles between men ancient warfare, and had been practiced by Greeks as well as and centaurs, Athenians and Amazons, Greeks and Trojans, Persians. -
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. -
The Funeral Oration of Pericles
Big Takeaway: Pericles Greatly expanded Athenian Democracy by allowing more men to vote!!! The Funeral Oration of Pericles The excerpt below is taken from Thucydides’ History of the Peloponnesian War. The Ancient Greek historian Thucydides recorded a speech made by the Athenian leader Pericles in honor of those who died fighting Sparta in the first year of The Peloponnesian war (431 B.C). In the speech, Pericles describes the superior qualities of Athenian democracy as compared with life in Sparta. This speech is one of the most famous defenses of democracy of all time! “For our government (Athens’) is not copied from those of our neighbors; we are an example to them rather than they to us. Our constitution is called a democracy because it is in the hands not of the few but of the many! But our laws secure equal justice for all in their private disputes, and our public opinion welcomes and honors talent in every branch of achievement, not for any sectional reason but on grounds of excellence alone. And as we give free play to all in our public life, so we carry the same spirit into our daily relations with one another We are lovers of beauty without extravagance, and lovers of wisdom without unmanliness. Wealth to us is not mere material for vainglory but an opportunity for achievement; and poverty we think it no disgrace to acknowledge but a real degradation to make no effort to overcome. Our citizens attend both to public and private duties, and do not allow absorption in their own various affairs to interfere with their knowledge of the city’s. -
With Archaeologist Kathleen Lynch
THE LEGACY OF Ancient Greece October 13-25, 2021 (13 days | 16 guests) with archaeologist Kathleen Lynch Delphi © Runner1928 Archaeology-focused tours for the curious to the connoisseur Archaeological Institute of America xperience the glories of Greece, from the Bronze Age to the Classical era and beyond, amid the variety of springtime landscapes of the mainland Lecturer & Host and the Peloponnese peninsula. This is a superb opportunity to ignite, Kathleen Lynch Eor reignite, your passion for the wonders of Greek archaeology, art, and ancient is Professor history and to witness how integral mythology, religion, drama, and literature of Classics at the University are to their understanding. This well-paced tour, from city to mountains to of Cincinnati seaside, spends a total of four nights in the modern yet historic capital, Athens; and a classical two nights in the charming port town of Nafplion; one night in Dimitsana, archaeologist with a medieval mountain village; two nights in Olympia, home of the original a focus on ancient Olympic Games; and two nights in the mountain resort town of Arachova, Greek ceramics. She earned her near Delphi. Ph.D. from the Highlights include: University of Virginia, and has worked on archaeological projects at sites in • SIX UNESCO World Heritage Sites: Greece (Athenian Agora, Olynthos, ˚ Athens’ Acropolis, with its stunning Parthenon and Erechtheion Corinth, Pylos), Turkey (Gordion, temples, plus the nearby Acropolis Museum; Troy), Italy (Morgantina), and Albania (Apollonia). Kathleen’s research considers ˚ the greatest ancient oracle, Delphi, located in a spectacular what ancient ceramics can tell us mountain setting; about their use and users.