Parthenon Athens, Greece U.S. Supreme Court Washington, DC

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Parthenon Athens, Greece U.S. Supreme Court Washington, DC

SS3H1 The student will explain the political roots of our modern democracy in the United States of America. a. Identify the influence of Greek architecture (columns on the Parthenon, U. S. Supreme Court building), law, and the Olympic Games on the present. b. Explain the ancient Athenians’ idea that a community should choose its own leaders. c. Compare and contrast Athens as a direct democracy with the United States as a representative democracy. Greek Architecture- columns Athenian Direct Democracy *Every Athenian man would have one vote, and they would all meet and vote on what to do. The big meeting was called the Assembly. But all the men couldn't meet every day; they had to work. So there was also a smaller council of 500 men, who were chosen by a lottery, and changed every year. *“Citizens” of Athens were allowed to participate in government. Parthenon U.S. Supreme Court *Fairer manner of representation by ordinary people Athens, Greece Washington, DC *Elections were thought to be corrupted by the wealthy The modern day Olympic games have Greek roots. America’s Representative Democracy The first Olympics were held over 2,700 years ago. *We vote on a person who has the same beliefs and The Olympics of today have some similarities and ideals and are experts on what makes a good law to differences from the original games held in Greece. vote on laws for us. Modern Olympics *Because we choose someone to represent us, we are First Olympics Olympics Today a representative democracy. More than 2,700 years ago Athletes from countries all over the world Greek men from different City compete States could compete Men and women participate Prizes were crowns of leaves Prizes are gold, silver & bronze medals Always at Olympia, Greece Hosted in different countries every 4 years Both included: Games of running, jumping & wrestling Prizes awarded to winners .

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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.
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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.
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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.
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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.
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The Case of the Parthenon Sculptures
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Julian and the Last Oracle at Delphi , Greek, Roman and Byzantine Studies, 24:4 (1983:Winter) P.355
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