The Garden of Hephaistos
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The Athenian Agora : Museum Guide / by Laura Gawlinski ; with Photographs by Craig A
The Athenian Agora Agora Athenian The Museum Guide Above: Inside the main gallery of the Athenian Agora Museum. Front cover: Poppies in the Athenian Agora front the reconstructed Stoa of Attalos which houses the Agora Museum. Photos: C. A. Mauzy Written for the general visitor, the Athenian Agora Museum Guide is a companion to the 2010 edition of the Athenian Agora Site Guide and leads the reader through the display spaces within the Agora’s Stoa of Attalos—the terrace, the ground-floor colonnade, and the newly opened upper story. The guide discusses each case in the museum gallery chronologically, beginning with the prehistoric Gawlinski and continuing with the Geometric, Archaic, Classical, Hellenistic, Roman, and Byzantine periods. Hundreds of artifacts, ranging from ©2014 American School of Classical Studies at Athens Museum Guide common pottery to elite jewelry, are described and illustrated in color for the first time. Through brief fifth EDItION essays, readers can learn about marble- working, early burial practices, pottery Laura Gawlinski production, ostracism, home life, and the wells that dotted the ancient site. A time- ASCSA with photographs by line and maps accompany the text. Craig A. Mauzy Museum Guide ©2014 American School of Classical Studies at Athens ©2014 American School of Classical Studies at Athens The american school of classical studies at athens PRINCETON, New Jersey Museum Guide fifth EDItION Laura Gawlinski with photographs by Craig A. Mauzy ©2014 American School of Classical Studies at Athens The american school of classical studies at athens PRINCETON, New Jersey Copyright 2014. The American School of Classical Studies at Athens. -
Democracy in Ancient Athens Was Different from What We Have in Canada Today
54_ALB6SS_Ch3_F2 2/13/08 2:25 PM Page 54 CHAPTER Democracy in 3 Ancient Athens Take a long step 2500 years back in time. Imagine you are a boy living in the ancient city of Athens, Greece. Your slave, words matter! Cleandros [KLEE-an-thros], is walking you to school. Your father Ancient refers to something and a group of his friends hurry past talking loudly. They are on from a time more than their way to the Assembly. The Assembly is an important part of 2500 years ago. democratic government in Athens. All Athenian men who are citizens can take part in the Assembly. They debate issues of concern and vote on laws. As the son of a citizen, you look forward to being old enough to participate in the Assembly. The Birthplace of Democracy The ancient Greeks influenced how people today think about citizenship and rights. In Athens, a form of government developed in which the people participated. The democracy we enjoy in Canada had its roots in ancient Athens. ■ How did men who were citizens participate in the democratic government in Athens? ■ Did Athens have representative government? Explain. 54 54_ALB6SS_Ch3_F2 2/13/08 2:25 PM Page 55 “Watch Out for the Rope!” Cleandros takes you through the agora, a large, open area in the middle of the city. It is filled with market stalls and men shopping and talking. You notice a slave carrying a rope covered with red paint. He ? Inquiring Minds walks through the agora swinging the rope and marking the men’s clothing with paint. -
9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
Stoa Poikile) Built About 475-450 BC
Arrangement Classical Greek cities – either result of continuous growth, or created at a single moment. Former – had streets –lines of communication, curving, bending- ease gradients. Later- had grid plans – straight streets crossing at right angles- ignoring obstacles became stairways where gradients were too steep. Despite these differences, certain features and principles of arrangement are common to both. Greek towns Towns had fixed boundaries. In 6th century BC some were surrounded by fortifications, later became more frequent., but even where there were no walls - demarcation of interior and exterior was clear. In most Greek towns availability of area- devoted to public use rather than private use. Agora- important gathering place – conveniently placed for communication and easily accessible from all directions. The Agora Of Athens • Agora originally meant "gathering place" but came to mean the market place and public square in an ancient Greek city. It was the political, civic, and commercial center of the city, near which were stoas, temples, administrative & public buildings, market places, monuments, shrines etc. • The agora in Athens had private housing, until it was reorganized by Peisistratus in the 6th century BC. • Although he may have lived on the agora himself, he removed the other houses, closed wells, and made it the centre of Athenian government. • He also built a drainage system, fountains and a temple to the Olympian gods. • Cimon later improved the agora by constructing new buildings and planting trees. • In the 5th century BC there were temples constructed to Hephaestus, Zeus and Apollo. • The Areopagus and the assembly of all citizens met elsewhere in Athens, but some public meetings, such as those to discuss ostracism, were held in the agora. -
Classics in Greece J-Term Flyer
WANG CENTER WANG Ancient Greece is often held in reverential awe, and Excursions around Greece to places including: praised for its iconic values, contributions, • Epidaurus: a famous center of healing in antiquity and site and innovations. However, much of what has been of one of the best preserved Greek theaters in the world considered iconic is, in fact, the product of a • Piraeus, Cape Sounion, and the Battle site of Marathon western classical tradition that re-imagines and re- • Eleusis, Corinth, Acrocorinth, and Corinth Canal fashions its ancient past to meet its present • Nauplion, a charming seaside city and the first capital of AWAY STUDY J-TERM needs. In this course, you will explore the romance modern Greece – and the realities – of ancient Greece in Greece. • Mycene and Tiryns, the legendary homes of Agamemnon and the hero Herakles Explore Athens, the birthplace of democracy, and • Ancient Olympia: where the original Olympics were the ruins of Mycenae, from which the Trojan War celebrated. was launched. Examine the evidence for yourself • The mountain monastery, and UNESCO World Heritage in Greece’s many museums and archeological site, of Hosios Loukas. sites. Learn how the western classical heritage has • Delphi: the oracle of the ancient world. reinvented itself over time, and re-envision what • Daytrip to Hydra island (optional). this tradition may yet have to say that is relevant, fresh, and contemporary. Highlights include exploring Athens, its environments, and the Peloponnesus with expert faculty. Scheduled site visits include: • Acropolis and Parthenon • Pnyx, Athenian Agora, and Library of Hadrian • Temples of Olympian Zeus, Hephaistus, and Asclepius • Theaters of Dionysus and Odeon of Herodes Atticus • Plaka and Monastiraki flea market • Lycebettus Hill, and the neighborhoods of Athens • National Archeological, New Acropolis, and Benaki museums “Eternal Summer Gilds Them Yet”: The Literature, Legend, and Legacy of Ancient Greece GREECE Educating to achieve a just, healthy, sustainable and peaceful world, both locally and globally. -
INVITATION We Cordially Invite You to Participate in the World Congress in Philosophy on the Topic: the Philosophy of Aristotle
INVITATION We cordially invite you to participate in the World Congress in Philosophy on the topic: The Philosophy of Aristotle. The Congress is organized on the occasion of 2400 years since the birth of Aristotle by The International Association of Greek Philosophy, The Greek Philosophical Society and the Philosophical Society of Cyprus and will be taking place in Athens, where Aristotle lived most of his life. He studied and taught at Plato’s Academy for nearly 20 years and later he founded the Lyceum where he taught and composed many of his great works. Recent archaeological surveys and excavations have brought to light the Lyceum – the site which will be the heart and inspiration for the Congress. Athens, because of its cultural history, its geographic position and its mild climate is an ideal place for productive dialogue among philosophers and philosophizing persons, Academics and persons engaged in philosophical reflection, from all over the world on wide- ranging topics related to the philosophy of Aristotle. The 31 themes of the Congress are listed in the Circular. The Congress on The Philosophy of Aristotle extends its heartfelt welcome to old and young philosophizing thinkers and researchers, to those with an established intellectual presence and to developing intellectuals who aspire to contribute to a better future for humankind. On behalf of the Organizing Committee we invite you to participate actively in the World Congress on The Philosophy of Aristotle, which is going to be held in Athens Greece in July 2016. The Organizing Committee of the Congress is determined to continue the outstanding tradition of the previous Conferences and Congresses organized by the International Association of Greek Philosophy and the Greek Philosophical Society. -
Ciarán Lavelle 2010
THE ZIBBY GARNETT TRAVELLING FELLOWSHIP Report by Ciarán Lavelle Archaeological Conservation Agora Excavations, Athens, Greece 12 June - August 2010 Page | 1 Contents Page No…... 1. Introduction……………………………......................................................................3 2. The American School of Classical Studies at Athens………………………………4 3. The Athenian Agora………………………………………………………………….4 4. The Athenian Agora Excavations……....…………………………………………...6 5. The Agora Conservation Team & Conservation Laboratory………………...…...8 6. My work on the Conservation Team.……………………………………………...12 7. On-site Conservation…………………………………………………………….…18 8. Conservation Teaching & Workshops………………………………………….…19 9. Sightseeing in Greece…………………………………………………………….…20 10. Life in Greece…………………………………………………………………...…22 11. Conclusion………………………………………………………………………….23 Page | 2 1. Introduction My name is Ciaran Lavelle; I am a 28 year old from Northern Ireland. I am a recent graduate of the ‘Conservation of Objects for Museums and Archaeology’ Bachelor of Science degree program at Cardiff University in Wales. My goal for my career is find employment in the field of object conservation in a museum or in the private sector and become an accredited conservator. I completed the three year conservation degree in Cardiff University in two years as a direct entry student, which allowed me to combine first and second year. During my first year at Cardiff I learned about the American School of Classical Studies at Athens conservation internship program through a fellow Greek student. So during my final year I decided I should apply for the internship so as to gain post graduate experience in a world renowned archaeological excavation and was successful with my application for the nine week program. I heard about the Zibby Garnett Travelling Fellowship through a past recipient of the fund whom I worked with and became friends with while working in the Transport Museum in Glasgow. -
The "Agora" of Pausanias I, 17, 1-2
THE "AGORA" OF PAUSANIAS I, 17, 1-2 P AUSANIAS has given us a long description of the main square of ancient Athens, a place which we are accustomed to call the Agora following Classical Greek usage but which he calls the Kerameikos according to the usage of his own time. This name Kerameikos he uses no less than five times, and in each case it is clear that he is referringto the main square, the ClassicalAgora, of Athens. " There are stoas from the gates to the Kerameikos" he says on entering the city (I, 2, 4), and then, as he begins his description of the square, " the place called Kerameikoshas its name from the hero Keramos-first on the right is the Stoa Basileios as it is called " (I, 3, 1). Farther on he says " above the Kerameikosand the stoa called Basileios is the temple of Hephaistos " (I, 14, 6). Describing Sulla's captureof Athens in 86 B.C. he says that the Roman general shut all the Athenians who had opposed him into the Kerameikos and had one out of each ten of them killed (I, 20, 6). It is generally agreed that this refers to the Classical Agora. Finally, when visiting Mantineia in far-off Arcadia (VII, 9, 8) Pausanias reports seeing ".a copy of the painting in the Kerameikos showing the deeds of the Athenians at Mantineia." The original painting in Athens was in the Stoa of Zeus on the main square, and Pausanias had already described it in his account of Athens (I, 3, 4). -
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. -
Ancient Lamps in the J. Paul Getty Museum
ANCIENT LAMPS THE J. PAUL GETTY MUSEUM Ancient Lamps in the J. Paul Getty Museum presents over six hundred lamps made in production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers GETTYIN THE PAUL J. MUSEUM that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals— the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and graves. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life in antiquity. Presenting a largely unpublished collection, this extensive catalogue is ` an invaluable resource for specialists in lychnology, art history, and archaeology. Front cover: Detail of cat. 86 BUSSIÈRE AND LINDROS WOHL Back cover: Cat. 155 Jean Bussière was an associate researcher with UPR 217 CNRS, Antiquités africaines and was also from getty publications associated with UMR 140-390 CNRS Lattes, Ancient Terracottas from South Italy and Sicily University of Montpellier. His publications include in the J. Paul Getty Museum Lampes antiques d'Algérie and Lampes antiques de Maria Lucia Ferruzza Roman Mosaics in the J. Paul Getty Museum Méditerranée: La collection Rivel, in collaboration Alexis Belis with Jean-Claude Rivel. Birgitta Lindros Wohl is professor emeritus of Art History and Classics at California State University, Northridge. Her excavations include sites in her native Sweden as well as Italy and Greece, the latter at Isthmia, where she is still active. -
Zeus Temple at Olympia ROSS HOLLOWAY, R
Panhellenism in the Sculptures of the Zeus Temple at Olympia ROSS HOLLOWAY, R. Greek, Roman and Byzantine Studies; Summer 1967; 8, 2; ProQuest pg. 93 Panhellenism in the Sculptures of the Zeus Temple at Olympia R. Ross Holloway REEK ARCHITECTURAL SCULPTURE in stone is as old as the Greek G stone temple. By the early fifth century B.C. the Greeks had also developed the idea of programmatic design in archi tectural sculpture. The thematic connections were simple and concrete. The metopes ofthe Athenian Treasury at Delphi, for example, present the comparison of the labors of Herakles and of Theseus. At Aigina the program occupying the pediments of the Aphaia Temple consisted of scenes from the two Greek expeditions against Troy. A century later, however, thematic planning of architectural sculp ture had moved far beyond such simple and obvious programs and could be conceived with connections that were more suggestive and abstract than declarative and concrete. A case in point is the Nereid Monument at Xanthos in Lycia, a princely tomb designed by a Greek architect and decorated by Greek artists at the beginning of the fourth century B.C. As interpreted by Panofsky,l the frieze of the podium combines scenes from the career of the owner of the tomb with mythical scenes meant to reflect that career on an heroic plane. In the colonnade celestial abstractions suggest a benevolent atmosphere. A final motive of apotheosis is expressed by figures of the Dioskouroi in the pediments. The century between the Aphaia Temple and the Nereid Monu ment saw the design and execution of the monumental architectural sculpture of the high classical age. -
One and 'I' in the Frame (Narrative). Authorial Voice, Travelling Persona, and Addressee in Pausanias' Periegesis
One and 'I' in the Frame (Narrative). Authorial Voice, Travelling Persona, and Addressee in Pausanias' Periegesis Akujärvi, Johanna Published in: Classical Quarterly DOI: 10.1017/S0009838811000383 2012 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Akujärvi, J. (2012). One and 'I' in the Frame (Narrative). Authorial Voice, Travelling Persona, and Addressee in Pausanias' Periegesis. Classical Quarterly, 62(1), 327-358. https://doi.org/10.1017/S0009838811000383 Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Classical Quarterly 62.1 327–358 (2012) Printed in Great Britain 327 doi:10.1017/S0009838811000383JOHANNA AKUJÄRVI ONE AND ‘I’ IN THE FRAME NARRATIVE ONE AND ‘I’ IN THE FRAME NARRATIVE: AUTHORIAL VOICE, TRAVELLING PERSONA AND ADDRESSEE IN PAUSANIAS’ PERIEGESIS* I The second-century A.D.