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|||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. -
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 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. -
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 11Th Birthday of the Acropolis Museum
The 11th birthday of the Acropolis Museum On Saturday 20 June 2020 the Acropolis Museum celebrates 11 years of operation and welcomes back its visitors. The Museum has undertaken all the necessary measures for the protection of the health of its visitors. On this day, the Museum will be open from 8 a.m. until 8 p.m., with reduced entry (5 euro) to all exhibition areas. Additionally, visitors will have the opportunity to see the temporary exhibition ‘Chisel and Memory. The contribution of marble craftsmanship to the restoration of the Acropolis monuments’, which will continue until 30 September 2020, with free entrance. On Saturday 20 June, the Museum second floor restaurant will operate until 12 midnight (reservations for dinner can be arranged by telephone on 210 9000915). Moreover, gallery talks held by the Museum’s Archaeologist-Hosts will commence this week. Visitors wishing to participate are required to wear a protective mask (not provided by the Museum) and to use the whisper guide system headsets (provided by the Museum to participants). ‘The lost statue of Athena Parthenos’ The Acropolis Museum brings to life, digitally, the statue of Athena Parthenos. Made of gold and ivory, this masterpiece was designed by Phidias for the Parthenon. The Museum invites you on a walk of knowledge about its construction materials and techniques, its myths and allegories, its radiance and its adventures. Greek: Every Friday at 1 p.m. English: Every Friday at 11 a.m. Duration: 50 minutes Participation: Limited to 10 visitors per session. For registration, please refer to the Information Desk at the Museum entrance on the same day. -
Tine Statue of Athena in the Parthenon
REMARKS UPON THE COLOSSALCHRYSELEPHAN- TINE STATUE OF ATHENA IN THE PARTHENON INTRODUCTION IT is not to be expectedthat even fragmentsof the gold and ivory colossal statue of Athena in the Parthenon should have survived the ravages of time. However, a good deal is known about the statue from small copies in the round and from coins, plaques, gems and the like; also, the famous statue is mentioned by ancient writers, sometimes at considerable length. Consequently we have a fairly good idea of her appearance. And when we come to consider the pedestal on which the statue stood, we find that there are data which can be studied to advantage. Obviously the importance of the statue called for a carefully designed pedestal. Thus it is desirable that all existing data concerning the pedestal be recorded. Let us, then, make a few remarks not only about the colossal statue, but also about the pedestal on which the statue stood. I ATHENA PARTHENOS, THE CLIMAX OF THE PANATHENEA Figure 1 shows the position of the colossal statue (often referred to as the Parthenos) in the east cella of the temple. The blocks which give the position of the statue are toward the west end of the nave and on the axis of the temple. They are poros blocks of the type used for foundations. They are flush with the marble pave- ment of the nave, and they are in situ. The poros blocks, thirty in number, cover an area so extensive that they at once tell us that the statue which stood above them was of colossal size (Figs.