The Acropolis: General Views

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!"#$%&'()(*+,-$$.#/#'0*$1+#2,$ $ View of the Acropolis from the Pnyx. Mt. Lykabettos is the conical hill to the left. The Areopagus is in the center of the photo. View from the west.$ $ The western approach to the Acropolis, showing the Propylaia, Temple of Athena Nike, and the Parthenon. View from the west (from the Pnyx). $ View of the Acropolis from the southwest, showing the Propylaia, the Temple of Athena Nike, part of the Erechtheion, and the Parthenon. Also visible on the South Slope are the Odeion of Herodes Atticus and the Stoa of Eumenes. Photo taken in 1998. $ View of the Acropolis and Parthenon from the southwest. Photo taken in 1998. $ View of the Acropolis and the South Slope from the southwest (from near the Philopappos Monument). In the background to the right of the Parthenon are Mt. Lykabettos and Mt. Penteli. Photo taken in 1998. $ The western end of the Acropolis, showing the Beule Gate, the Propylaia, Nike Bastion and Temple of Athena Nike (under scaffolding), and the Agrippa Monument. View from the southwest (from near the Philopappos Monument). Photo taken in 1998. $ View of the Erechtheion, the Parthenon, and the south wall of the Acropolis. View from the southwest (from near the Philopappos Monument). In the background to the right of the Parthenon are Mt. Lykabettos and Mt. Penteli. Photo taken in 1998. $ View of the Acropolis from the southeast. Taken from the Ardettos Hill. View of the Acropolis, its South and East Slopes, and the Olympieion from the Ardettos Hill. Especially prominent is the large East Cave. Note also the steep, projecting spur of rock immediately to the right of the East Cave. This is one of the steepest parts of the Acropolis and may have been the spot where the Persians finally scaled the citadel in 480 B.C. View from the southeast. $ View of the Acropolis and the Olympieion from the southeast (from the "Temple on the Ilissos"). $ View of the Acropolis and the South and East Slopes from the "Temple on the Ilissos." The wall in the foreground is part of the precinct wall surrounding the Olympieion. $ View of the Acropolis and the South and East Slopes from the "Temple on the Ilissos." Detail. $.

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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.
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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.
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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.
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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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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.
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Constructions of Childhood on the Funerary Monuments of Roman Athens Grizelda Mcclelland Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Summer 8-26-2013 Constructions of Childhood on the Funerary Monuments of Roman Athens Grizelda McClelland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation McClelland, Grizelda, "Constructions of Childhood on the Funerary Monuments of Roman Athens" (2013). All Theses and Dissertations (ETDs). 1150. https://openscholarship.wustl.edu/etd/1150 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Classics Department of Art History and Archaeology Dissertation Examination Committee: Susan I. Rotroff, Chair Wendy Love Anderson William Bubelis Robert D. Lamberton George Pepe Sarantis Symeonoglou Constructions of Childhood on the Funerary Monuments of Roman Athens by Grizelda D. McClelland A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2013 St. Louis, Missouri © 2013, Grizelda Dunn McClelland Table of Contents Figures ...............................................................................................................................
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SACRED SPACES and RITUALS
SACRED SPACES and RITUALS: CLASSICAL GREEK ART and ARCHITECTURE: FOCUS (The Parthenon and the Athenian Acropolis) SACRED SPACES and RITUALS: CLASSICAL GREEK ART and ARCHITECTURE: SELECTED TEXT (The Parthenon and the Athenian Acropolis) THE PARTHENON Online Links: Parthenon - Wikipedia, the free encyclopedia Golden ratio - Wikipedia, the free encyclopedia Greek temple - Wikipedia, the free encyclopedia Parthenon Frieze - Wikipedia, the free encyclopedia Phidias - Wikipedia, the free encyclopedia Pericles - Wikipedia, the free encyclopedia Greco-Persian Wars - Wikipedia, the free encyclopedia Erechtheum - Wikipedia, the free encyclopedia Ephebos - Wikipedia, the free encyclopedia Temple of Athena Nike - Wikipedia, the free encyclopedia Additional Online Links: Parthenon – Smarthistory Sculpture from the Parthenon's East Pediment – Smarthistory Parthenon Frieze – Smarthistory The Parthenon: Metopes – Smarthistory Erechtheion: Caryatid and Column – Smarthistory Secrets of the Parthenon Part One – YouTube Secrets of the Parthenon Part Two – YouTube Secrets of the Parthenon Part Three – YouTube Secrets of the Parthenon Part Four- YouTube Building of the Partheon - The Greeks - Crucible of Civliization Greek Lobby for return of Parthenon marbles to Athens Donald Duck in Mathemagic Land - YouTube Iktinos and Kallikrates. Parthenon (Athens), 447-438 BCE IMPORTANT DATES and EVENTS Battle of Marathon (490 BCE) Sack of Athens by the Persians (480 BCE) Delian League formed (477 BCE) Peloponnesian War begins between Athens and Sparta (431 BCE) Greek temples served as shrines for the gods and depositories for civic and religious treasures. Both theaters and temples functioned as public meeting places. Much like the Mesopotamian ziggurat, the Greek temple was a communal symbol of reverence for the gods, but, whereas the ziggurat enforced the separation of priesthood and populace, the Greek temple united religious and secular domains.
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Views of Greece, Egypt and Constantinople, Circa 1853-1857
http://oac.cdlib.org/findaid/ark:/13030/kt809nf7gk No online items Finding Aid for Views of Greece, Egypt and Constantinople, circa 1853-1857 Finding aid prepared by Ann Harrison. Finding Aid for Views of Greece, 2001.R.1 1 Egypt and Constantinople, circa 1853-1857 ... Descriptive Summary Title: Views of Greece, Egypt and Constantinople Date (inclusive): circa 1853-1857 Number: 2001.R.1 Creator/Collector: Robertson, James, 1813-1888 Physical Description: 5.3 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The collection comprises sixty-nine photographs of Greece, Egypt and Constantinople attributed to the British photographer James Robertson. The majority of these photographs record the ancient monuments of the city of Athens. The remainder document a small number of ancient Greek sites outside Athens, as well as various architectural monuments in Constantinople. Photographs of one ancient and one Islamic monument in Egypt are also included. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Although James Robertson's photographs have enjoyed broad popularity both in his time and today, until recently many details of his life and career have remained obscure. New research has significantly altered the facts presented in much of the earlier scholarship and helped to clarify the professional relationship between Robertson and Felice Beato, his collaborator. Of Scottish descent, James Robertson was born in Middlesex outside London in 1813.
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Gennadeion Notes, I
GENNADEION NOTES, I (PLATES 119-124) T nHE Gennadius Library, though it has been an integral part of the American School of Classical Studies since 1926, has too often remained terra incognita, or parum cognita, to many of the School's members and visitors. The reasons are not far to seek. As a collector and bibliophile,John Gennadiustook for his subject Greece, Greece in all its aspects and of all periods, classical, medieval and modern alike. Much of the collection, therefore, lies outside the normal range of classical studies. More- over, the classical section, rich though it is in certain restricted areas, notably in Renaissance editions of Greek authors and in early archaeological publications, is far from adequate for most types of research. By deliberate policy, to avoid unnecessary duplication with the main library of the School, new accessions are made almost en- tirely in the post-classical fields, and the classical portion of Gennadius' collection remains substantially as he left it. Nevertheless, it 'contains many rare items of great value and interest to the student of antiquity, and it seems appropriate, as occasion offers, to call some of these to the attention of classicists through the pages of Hesperia. The followingInote is presented, optimistically, as the first of a proposed series. I. ENGLISH ARCHAEOLOGICAL DRAWINGS OF THE XVIIITmI CENTURY' The Antiquities of Athens, measured and delineated by James Stuart, F.R.S. and F.S.A., and Nicholas Revett, painters and architects: Volume the first was printed in London in 1762. The list of subscribers, headed by the King, is long and impressive, running to five large folio pages in double columns.
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Studies in Pausanias' Periegesis Akujärvi, Johanna
Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis Akujärvi, Johanna 2005 Link to publication Citation for published version (APA): Akujärvi, J. (2005). Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis. Almqvist & Wiksell International. 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 Studia Graeca et Latina Lundensia 12 Researcher, Traveller, Narrator Studies in Pausanias’ Periegesis Johanna Akujärvi Lund 2005 Almqvist & Wiksell International Stockholm/Sweden © 2005 Johanna Akujärvi Distributed by Almqvist & Wiksell International P.O. Box 7634 S-103 94 Stockholm Sweden Phone: + 46 8 790 38 00 Fax: + 46 8 790 38 05 E-mail: [email protected] ISSN 1100-7931 ISBN 91-22-02134-5 Printed in Sweden Media-Tryck, Lund University Lund 2005 To Daniel Acknowledgements There are a number of people to whom I wish to express my gratitude.
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The Akroteria of the Nike Temple' (Plates35-37)
THE AKROTERIA OF THE NIKE TEMPLE' (PLATES35-37) T HE small Ionic Temple of Athena Nike on the Acropolis was designed by Kalli- krates, an architect of the Parthenon, as a monument to the Greek victory over the Persians. A decree of about 449 B.c. authorized plans to be drawn up, but the temple was not actually begun until after the Propylaea, and probably dates between 427 and 424 B.c.2 When the temple was completed, the bastion on which it stood was enclosed by a parapet of marble decorated with Nikai. Professor Carpenter's interest in these reliefs and his admirable study of them are well known. The sculptural decoration of the temple itself consisted of a frieze depicting an assembly of the gods (east), battle scenes between Greeks and Persians (south), and Greeks against Greeks (north and west).2 The pedimental figures, which were fastened to the floor of the pediment by mneansof round pins, have unfortunately disappearedwithout a trace. The akroteria too are lost, but they are mentioned in a number of fourth century treasury records.4 The most nearly complete of these inscriptions, I.G., 12, 1425, dated 368/7 B.C.,lists gold from the akroteria under the heading ra3&craOh IapEXL/3oEv ypvai-& a"c KcU Tr?7Kra Kaat v1roxa1iXKa (lines 85-86). Clearly the akroteria were made of bronze overlaid either partly or wholly with gold. The reference is as follows (lines 101-106): 1 I wish to express my warm thanks to Professor Evelyn B. Harrison for her sustained and friendly interest in this study; it was she also who took the photographs of the akroterion base (Pls.
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The Acropolis of Athens
The Erechtheion OPERATING RULES Please be informed that the following is strictly prohibited: The Ionic building on the north side of the Acropolis plateau (Law 3028/2002 and Official was named Erechtheion after the mythical king of Athens Erech- Government Gazette 88/B/23.1.2004) theus. Construction began either before 431 BC or after 421 • to collect, remove or damage any kind of object, including ancient THE ACROPOLIS BC and was completed in 406 BC following an interruption and contemporary works of art as well as any natural item, caused by the Peloponnesian War. • to consume food or beverages, Its peculiar shape is the result of the uneven terrain and the • to smoke, OF ATHENS need to house the age-old Sacred Tokens. It was dedicated • to produce litter of any kind, to the cults of Athena Polias as well as Poseidon Erechtheus, • to behave, dress or act in a way not compatible with the nature Hephaestus and the hero Boutes. On the north side of the edifice of the archaeological site/museum, a magnificent propylon is formed, whereas the south side is • entrance to people under the influence of substances (intoxicants, dominated by the famous Prostasis (porch) of the Maidens narcotics etc.), ( Korai) or Caryatids which constitutes the overground part of the • entrance to pets, except for dogs accompanying people with tomb of the mythical king of Athens Cecrops. disabilities, On the west side the Erechtheion was connected to the Pan droseion, • entrance to all vehicles, except for emergency vehicles and those a sanctuary dedicated to the daughter of Cecrops, Pandrosos.
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