Introduction east frieze is symmetrical flanking the presence of the Olympian deities, the central "peplos folding scene." From presentation of sacrificial animals, and The frieze of the Parthenon (see both ends walk young priestesses, then the folding-up of the old peplos. Study Pamphlet #10) is a long sculpted there stands a group of pairs of men in band of Pentelic marble on the top of conversation, then gods sit on either Scholars have long debated special the exterior wall of the cella (the side of the "peplos" scene (on the left topics about the Parthenon's frieze. For central building inside the colonnade) are Hermes, Dionysos, Demeter, Ares, instance, which particular Panathenaic and above the columns of the end Hebe or Iris, Hera, and Zeus; on the procession is being depicted (mythical, porches. It was probably carved from right are Athena, Hephaistos, Poseidon, the one at the Parthenon's dedication, 449 and installed by 440 BCE. The total Apollo, Artemis, Aphrodite, and Eros). or any Panathenaia)? John Boardman length is 525 feet, and the height is 3 The "peplos" scene has 5 figures: at left, counts the horseman as 192, the feet 4 inches. The frieze is carved in a young girl, and in the center 2 pairs of number of the Athenian heroes who shallow relief, the 324 figures being no figures; at left, an adolescent woman died at Marathon fighting the Persians more than about 3 inches high off the and a young woman face each other, (490 B.C). The sex of the young child background. The frieze was originally and, at right, a bearded adult man and a folding the peplos is also debated: the painted, blue for the background and young child fold a large piece of cloth. "Venus rings" on its neck should various colors for the human figures indicate a girl, but no girl bares her and horses; there were also added bits The frieze concerns the procession buttocks. of metal for reins and bridles and other which took place every 4 years during objects. Most of the slabs are in the Style the Greater Panathenaia (438, British Museum; some pieces are in when the Parthenon was dedicated, Athens or elsewhere. Currently, the The carving style is "High Classical." was such a year; a Lesser Some individuals are given different Greeks are seeking the return of all the Panathenaia was celebrated in the Parthenon sculptures to Greece. costumes (e.g., some of the horsemen) intervening years). On Athena's and the gods are given "attributes" that The Subject of the Frieze birthday in mid-August (28 identify them (Demeter has her torch, Hekatombaion, the beginning of the Hermes his traveling hat) or given The frieze runs thematically from the Athenian year), all Athenians, resident different ages (adult Zeus and youthful southwest corner first along the south aliens and slaves too, took part in a Apollo). But otherwise almost all the as well as along the west and north procession that started from the main figures are ideally youthful and given sides towards the east. On these three gate, the Dipylon, in the northwest of "classical" (i.e., mathematical) sides the first subject is young men on the city, and passed through the proportions; faces are generic, not horseback (all of the west and half of market-place (agora) up to the individualized, and all are calm and the north and south sides). After this Acropolis. The culmination of the impassive. Modeling of the flesh is "cavalcade," the north and south sides procession was the presentation of a restained but fluid; costume ("drapery") present chariot racing, then old men new gown (peplos) to the cult statue of folds are also restained, nothing fluttery carrying branches, musicians (lyre Athena in the main temple to Athena as in the Parthenon's later pediments players and flautists), young men on the north edge of the Acropolis (in place by 432). carrying water jars and trays, and finally (not the Parthenon). The frieze thus men bringing bovines and sheep. The presents this procession in the For more information... Younger, J.G. 1997. "Gender and Sexuality in the Parthenon Frieze," in C. Lyons and A. Koloski- You can learn more about the Ostrow (eds), Naked Truths. Women, Sexuality, and Gender in Classical Art and Archaeology (London), Parthenon and its sculptures in CLSX 526: GREEK ARCHAEOLOGY & 120-53. Younger, John G. 2004. "Work Sections and ART offered at KU every two years). Repeating Patterns in the Parthenon Frieze," in Michael Cosmopoulos (ed), Partheneia WILCOX The Parthenon's Frieze in the (Cambridge). Wilcox COLLECTION Perseus site: http://www.perseus.tufts.edu

Of the original 115 slabs on the of building, the Wilcox presents a select Classical Antiquities few. On display are, from left to right,

East VII (Poseidon, Apollo, Artemis, and Department of Classics just the elbow of Aphrodite), East VI University of Kansas the "peplos folding scene," and North XLII showing horsemen.

The Wilcox also has most of the rest of the East frieze and more slabes of the

North and South—these are being cleaned and repaired by students in the archaeology and art classes offered by the Department of Classics, and will eventually go on display. Study Pamphlet #11

Ancient Sources casts: Plutarch, Pericles 12.5-13.

Select Modern Bibliography PARTHENON FRIEZE

Robertson, Martin, and Alison Frantz. 1975. The Parthenon Frieze (New York). © Paul Rehak Boardman, John. 1977. "The Parthenon Frieze— January 2004 Another View" in U. Höckmann and A. Krug (eds), For more information about the rev. 10.2016 Festschrift Frank Brommer (Mainz) 39-49. Wilcox Collection and Department of Boardman, John, and D. Finn, 1985. The Parthenon and Classics, please visit our websites: its Sculptures (Austin). http://www.wilcox.ku.edu Jenkins, Ian. 1994. The Parthenon Frieze (Austin). Neils, Jennifer. 2001. The Parthenon Frieze http://www.classics.ku.edu (Cambridge).