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A ANCIENT GREECE Background Information 7: The Athenian Acropolis The Acropolis and Parthenon When Perikles planned a large-scale construction programme for Acropolis (447/446 BC) he placed Pheidias in charge of the whole architectural and sculptural undertaking. Pheidias was an artist and sculptor from Athens. He created the colossal statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World. The outstanding feature of the Acropolis was the Temple of Athena Parthenos (the Maiden) – or, the Parthenon. The Parthenon: It was designed by the architect Iktinos and constructed by the master-builder Kallikrates. It was of the Doric order with some variations and refinements: • There were 8 columns instead of 6 at the front and rear. • The columns lean slightly inward. • The upper portions of the building incline slightly outward Sculptures of the Parthenon The sculptures are too numerous and varied to be the work of Phidias alone. The project probably needed around 70 or 80 sculptors. – 1 – www.ancientgreece.co.uk | © The British Museum 2005 Metopes: These were set in the outer colonnade of the temple. They are in high relief. They show ‘Greek’ victories – eg the Lapiths fighting the Centaurs. Frieze: The frieze was on the external wall of the inside ‘chamber’ of the Parthenon. It is in shallow relief. It depicts a procession culminating in a reception committee of Olympian gods. A small group hand over the sacred robe given to Athena’s statue at the Great Panathenaic festival. Other buildings of the Acropolis were the Propylaea, the Temple of Athena Nike and the Erechtheion. Propylaea: This was the entrance way to the main buildings of the Acropolis. It was an impressive building in itself. Temple of Athena Nike: A small temple dedicated to Athena Nike. – 2 – www.ancientgreece.co.uk | © The British Museum 2005 Erechtheion: The temple was dedicated to Athena Polias and Poseidon-Erechtheus. The ancient wooden statue of Athena stood here (the statue that was clothed in the new robe at the Great Panathenaic festival). The south porch is decorated with caryatids (columns in the form of women). – 3 – www.ancientgreece.co.uk | © The British Museum 2005 .

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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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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.
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Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article.
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Lord Elgin and the Ottomans: the Question of Permission
Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed.
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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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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.
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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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LXII. the TEACHINGS of ANAXAGORAS. a S Pericles Was a Very Cultivated Man, He Liked to Meet and Talk with the Philoso- Phers, and to Befriend the Artists
of stealing part of the gold entrusted to him. Phidias vainly tried to defend himself; but they would not listen to him, and put him in prison, where he died. Phidias showing the frieze of the Parthenon to his friends, painting by Lawrence Alma-Tadema. Between the temple of Athena and the city, there were a series of steps and beautiful porticoes, decorated with paintings and sculptures, which have never been surpassed. Many other beautiful buildings were erected under the rule of Pericles; and the beauty- and art-loving Athenians could soon boast that their city was the finest in the world. Artists from all parts of the country thronged thither in search of work, and all were well received by Pericles. Z LXII. THE TEACHINGS OF ANAXAGORAS. A S Pericles was a very cultivated man, he liked to meet and talk with the philoso- phers, and to befriend the artists. He was greatly attached to the sculptor Phidias, and he therefore did all in his power to save him from the envy of his fellow-citizens. An-ax-ag´o-ras, a philosopher of great renown, was the friend and teacher of Pericles. He, too, won the dislike of the people; and, as they could not accuse him also of stealing, 114 they charged him with publicly teaching that the gods they worshiped were not true gods, and proposed to put him to death for this crime. Now, Anaxagoras had never heard of the true God, the God who created the heavens and the earth. He had heard only of Zeus, Athena, and the other gods honored by his people; but he was so wise and so thoughtful that he believed the world could never have been created by such divinities as those.
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Parthenon 1 Parthenon
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Hellas: Then and Now
Hellas: Then and Now Classics 3700: Experiential Reflections, Summer 2019 Professor J. Walsh University of Guelph. Student: D. R. Chalykoff 0943282 Overall Word Count: 4,900 29 July 2019 1 In May of 2019 a group of mostly Classics students visited many sites of ancient and contemporary Greece. During those travels, this (mature) student, previously trained and seasoned in architecture, was most affected by three distinctly different phenomena: the meaning implicit in the architecture of the Acropolis; the shocking number of abandoned villas spotted roadside during our bus-based travels through Athens, the islands, and the Peloponnese; and, the built metaphors crying out for interpretation within the New Acropolis Museum. While all of these phenomena, and more, have been addressed within, there is no consequent claim that their treatment is exhaustive or definitive, only honest, cleanly argued, and heartfelt. As an organizing hypothesis, to carry the threads of exploration forward, the contention is that the symmetry of the Parthenon and the asymmetry of the Erechtheion, with the meanings implicit in both of those types of organization, will serve to illuminate the problem of the villas as well as the metaphors of the New Acropolis Museum. The Parthenon will be juxtaposed with the Spartan code and the Erechtheion with Pericles' Funeral Oration. In a less contextually apt series of juxtapositions, the problem of the villas will be tested against social theories of Jane Jacobs and Niall Ferguson in an attempt to understand how Japan and Israel prospered, after disastrous WWII experiences, while Greece faltered. Finally, the loads borne by the columns at the New Acropolis Museum will be analyzed to test their purpose and meaning as parts of a much greater whole.
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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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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.
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