AP®︎/College Art History
- The classical orders
- The Athenian Agora and the experiment in democracy
- Anavysos Kouros
- Peplos Kore from the Acropolis
- Making Greek vases
- Niobid Painter, Niobid Krater
- Polykleitos, Doryphoros (Spear Bearer)
- Polykleitos, Doryphoros (Spear-Bearer)
- Parthenon (Acropolis)
- The Parthenon
- Who owns the Parthenon sculptures?
- Phidias, Parthenon sculptures (pediments, metopes and frieze)
- "Plaque of the Ergastines" fragment from the frieze on the east side of the Parthenon
- Victory (Nike) Adjusting Her Sandal, Temple of Athena Nike (Acropolis)
- Grave Stele of Hegeso
- Winged Victory (Nike) of Samothrace
- Great Altar of Zeus and Athena at Pergamon
- Alexander Mosaic from the House of the Faun, Pompeii
- Apollonius, Seated Boxer
by The British Museum
Athens and democracy
By around 500 B.C.E. ‘rule by the people,’ or democracy, had emerged in the city of Athens. Following the defeat of a Persian invasion in 480–479 B.C.E., mainland Greece and Athens in particular entered into a golden age. In drama and philosophy, literature, art and architecture Athens was second to none. The city’s empire stretched from the western Mediterranean to the Black Sea, creating enormous wealth. This paid for one of the biggest public building projects ever seen in Greece, which included the Parthenon.
The temple known as the Parthenon was built on the Acropolis of Athens between 447 and 438 B.CE. It was part of a vast building program masterminded by the Athenian statesman Perikles. Inside the temple stood a colossal statue representing Athena, patron goddess of the city. The statue, which no longer exists, was made of gold and ivory and was the work of the celebrated sculptor Pheidias.
The building itself was decorated with marble sculptures representing scenes from Athenian cult and mythology. There are three categories of architectural sculpture. The frieze (carved in low relief) ran high up around all four sides of the building inside the colonnades. The metopes (carved in high relief) were placed at the same level as the frieze above the architrave surmounting the columns on the outside of the temple. The pediment sculptures (carved in the round) filled the triangular gables at each end.
Although the building was to undergo a number of changes, it remained largely intact until the seventeenth century. The early Christians turned the temple into a church, adding an apse at the east end. It was probably at this time that the sculptures representing the birth of Athena were removed from the centre of the east pediment and many of the metopes were defaced. The Parthenon served as a church until Athens was conquered by the Ottoman Turks in the fifteenth century, when it became a mosque. In 1687, during the Venetian siege of the Acropolis, the defending Turks were using the Parthenon as a store for gunpowder, which was ignited by the Venetian bombardment. The explosion blew out the heart of the building, destroying the roof and parts of the walls and the colonnade.
The Venetians succeeded in capturing the Acropolis, but held it for less than a year. Further damage was done in an attempt to remove sculptures from the west pediment, when the lifting tackle broke and the sculptures fell and were smashed. Many of the sculptures that were destroyed in 1687, are now known only from drawings made in 1674, by an artist probably to be identified as Jacques Carrey.
Marble metope from the Parthenon
The sculpted decoration of the Parthenon included ninety-two metopes showing scenes of mythical battle. Those on the south flank of the temple included a series featuring human Lapiths in mortal combat with Centaurs. The Centaurs were part-man and part-horse, thus having a civil and a savage side to their nature. The Lapiths, a neighboring Greek tribe, made the mistake of giving the Centaurs wine at the marriage feast of their king, Peirithoos. The Centaurs attempted to rape the women, with their leader Eurytion trying to carry off the bride. A general battle ensued, with the Lapiths finally victorious.
Here a young Lapith holds a Centaur from behind with one hand, while preparing to deliver a blow with the other. The composition is perfectly balanced, with the protagonists pulling in opposite directions, around a central space filled by the cascading folds of the Lapith's cloak.
Fragment from the frieze
This block was placed near the corner of the west frieze of the Parthenon, where it turned onto the north. The horsemen have been moving at some speed, but are now reining back so as not to appear to ride off the edge of the frieze. The horseman in front twists around to look back at his companion, and raises a hand (now missing) to his head. This gesture, repeated elsewhere in the frieze, is perhaps a signal. Although mounted riders can be seen here, much of the west frieze features horsemen getting ready for the cavalcade proper, shown on the long north and south sides of the temple.
The east pediment of the Parthenon showed the birth of goddess Athena from the head of her father Zeus. The sculptures that represented the actual scene are lost. Zeus was probably shown seated, while Athena was striding away from him fully grown and armed.
Only some of the figures ranged on either side of the lost central group survive. They include these three goddesses, who were seated to the right of centre. From left to right, their posture varies in order to accommodate the slope of the pediment that originally framed them. They are remarkable for their naturalistic rendering of anatomy blended with a harmonious representation of complex draperies.
The figure on the left is on the point of rising and tucks her right foot in to lever herself up. To the right another figure cradles a companion reclining luxuriously in her lap. They are perhaps, from left to right, Hestia, goddess of the hearth and home, Dione, and her daughter Aphrodite. However, another suggestion is that the two figures on the right are the personification of the Sea (Thalassa) in the lap of the Earth (Gaia).
© Trustees of the British Museum
B.F. Cook, The Elgin Marbles (London, The British Museum Press, 1997).
Want to join the conversation?
- I may be reading this wrong, but when I'm confused when I read "it remained largely intact until the seventeenth century. The early Christians turned the temple into a church" then "Athens was conquered by the Ottoman Turks in the fifteenth century,". As I read this it seems to be out of chronological order. I apologize if I'm simply not reading this correctly.(7 votes)
- You aren't reading it incorrectly. The text first refers to the fact that the temple was largely intact for some 2000 years, from the 430s B.C.E. to 1687. It next mentions the Early Christian era when it was made a church, and finally mentions Ottoman era in the 15th century.(12 votes)
- Isn't Aphrodite formed by the blood of Kronus (ichor, aka golden blood) that splattered into the ocean when Zeus cut him up?(2 votes)
- Aphrodite was formed from the blood of Uranus (or Ouranos), Kronos' father, when Kronos threw the pieces into the sea, creating seafoam. One day out of the blue Aphrodite emerged from the sea foam. Other legends say she did not arise from Ouranos' remains, just out of the sea.(8 votes)
- Throughout the entire passage, it never said why the Parthenon is there.(1 vote)
- The Parthenon is there according to mythology because of the competition between Athena and Poseidon to have the city named after one of each other (it was named Athens because Athena won.) what happened was that Poseidon struck the ground with his trident and summoned a tiny saltwater spring, the Athenians didn't care about a tiny spring. But Athena created the olive tree and the Athenians loved her so they decided she won and named the city after her.(5 votes)
- Why hasn't there been any discussion of The Parthenon in Nashville? I think it brings up a lot of interesting questions about whether art should be consumed in recreations "accurate to the time" or if the sculptures should be left alone in ruins.(2 votes)
- How did the Statue of Athena vanish, or completely deteriorate into nothingness if the materials used to craft it were Gold and Ivory and probably stronger than the Materials used to make the actual Temple it resided in? I doubt the Athenians would allow the (arguably) most prized and honored statue of the era crumple right before their eyes. While I do know that it was reportedly standing in Constantinople during the 10th century what happened after that? Although you stated in Paragraph 4 that the Early Christians probably defaced it, I'm pretty sure that the Romans took the Statue when they conquered Greece.(1 vote)
- Yes, the Romans are assumed to have taken it, it being the symbol of Greece and their prosperity. It could have been the Persians too, when Athens and Sparta united, though I personally think the latter is more believable.(3 votes)
- she is half god and half water nymph(0 votes)
- No Athena was birthed from the forehead of her father Zeus.(5 votes)
- was it commemorated for an event(0 votes)