Strictly speaking the west end is the "back" of the temple, but in fact is the side first approached by any visitor to the Acropolis. The procession then proceeds in two directions. On the west side a figure heads up a cavalcade of horses and riders, many not yet mounted, who move across the west end of the building, around the northwest corner and on up the long north side.
On the south side a similar cavalcade parallels the one on the north. The design thus envisages a procession which has split and moves around both sides of the building, converging toward the east end where it will rejoin for the enactment of the culminating ritual. A large proportion of the frieze, i. The beginning sections depict individual horses, horsemen and marshals. On the north and south sides the riders are separated into ranks.
On the south there are ten such groups; on the north side the number is greater, possibly twelve. The precise number is impossible to confirm beyond doubt owing to the extensive damage, but the number may well be significant it has been suggested that the ten groups on the south are a reference to the ten Attic tribes.
In front of the ranks of riders are chariot groups, again ten on the south and eleven or twelve on the north. Many take part in the apobates' contest in which a warrior jumps off and eventually back onto a moving chariot, a technique of ancient warfare long since abandoned on the actual battlefield but retained as a military exercise performed at the festival. Farther along both sides the focus changes to groups of men carrying objects: on the north, olive branches somewhat hypothetical, since the painted objects are no longer extant , musical instruments 4 of each kind , hydriai water jars 4 and trays 3 visible.
Still ahead are attendants with the sacrificial animals, on the north both horned sheep 4 and cows 4. The south side shows a similar arrangement but with some difference in the objects and numbers of figures: tablets instead of instruments although Boardman suggests lyres and only cows 10 as sacrificial victims.
The east side is treated somewhat differently, as it represents both a continuation of the procession and its culmination. Women head up both streams of the parade: a group of sixteen from the south and thirteen from the north. Several men accompany them. The women are sometimes identified as attendants for the sacrifice, sometimes as the Ergastinai who wove the peplos. Next to these but clearly separated from them compositionally are ten mature men, apparently one category of figures though separated by the gods and peplos scene into two sub-groups of six to the south and four to the north.
These figures are most frequently identified as the eponymous heroes of the ten Attic tribes. A recent suggestion is that they represent the athlothetai. The sub-group of four may be a reference to the original number of tribes. Each entrance has an additional six columns in front of it. The larger of the two interior rooms, the naos, housed the cult statue. The smaller room the opisthodomos was used as a treasury. Here is a plan of the temple:. It was built to replace two earlier temples of Athena on the Acropolis.
One of these, of which almost no trace remains today, stood south of the Parthenon between the Parthenon and the Erechtheum. The other, which was still being built at the time of the Persian sack in , was on the same spot as the Parthenon. We know the names of the architects Iktinos and Kallikrates and also of the sculptor Pheidias who made the massive chryselephantine cult statue of the goddess.
The three main types of columns used in Greek temples and other public buildings are Doric, Ionic, and Corinthian. The truest and most basic difference among the orders has to do with proportions Doric columns, for example, being thicker and shorter, Ionic columns taller and slimmer. As a shortcut, the orders may be distinguished most easily by their capitals the tops of the columns.
As you can see from the following examples, the Doric capital has the simplest design; the Ionic has the curlicues called volutes, and the Corinthian has the acanthus leaves:. Renovations are ongoing at the Parthenon and the entire Acropolis; however, tourists can still visit the historical site. Areas undergoing a makeover may be off-limits. Some important artifacts and remaining Parthenon sculptures were moved to the nearby Acropolis Museum.
Secrets of the Parthenon. The Glorious Parthenon. The Parthenon. Oxford Bibliographies. Reed College. The Parthenon: Religion, Art and Politics. The State University of New York. But if you see something that doesn't look right, click here to contact us! Subscribe for fascinating stories connecting the past to the present. The Acropolis of Athens is one of the most famous ancient archaeological sites in the world.
Located on a limestone hill high above Athens, Greece, the Acropolis has been inhabited since prehistoric times. Over the centuries, the Acropolis was many things: a home to kings, a Few monuments in the world are more recognizable than the Parthenon. Sitting atop a limestone hill rising some feet above the Ilissos Valley in Athens, this soaring marble temple built in tribute to the goddess Athena brings the glory of ancient Greece into the modern world. The term Ancient, or Archaic, Greece refers to the years B.
Archaic Greece saw advances in art, poetry and technology, but is known as the age in which the polis, or city-state, was Ancient Greek ruins that survive today are among the most iconic landmarks in the world. Grand structures like the Acropolis in Athens are a testament to a culture defined by advancement and innovation, especially in art and architecture. In the middle of 5th Mycenae is an ancient city located on a small hill between two larger hills on the fertile Argolid Plain in Peloponnese, Greece.
The Bronze-age acropolis, or citadel built on a hill, is one of the great cities of the Mycenaean civilization that played a vital role in classical The Hagia Sophia is an enormous architectural marvel in Istanbul, Turkey, that was originally built as a Christian basilica nearly 1, years ago.
Olier, Marquis de Nointel, French ambassador in Constantinople, to Athens where he made remarkably accurate drawings of the sculpture. Preserved today are his drawings of the east, west and parts of the long sides of the frieze. The explosion that occurred at that time destroyed a large part of the frieze of the long sides of the temple and caused irreparable damage to stones that remained in place as well as those that fell out.
The way was thus open to looters. In the mid-eighteenth century the English architects, J. Stuart and N. Revett made for the first time accurate architectural drawings of the temple, the sculpture and also whatever of the frieze still remained in place. During the first years of the 19th century, the British ambassador to the Ottoman Empire, Lord Elgin, violently removed from the ruined Parthenon as many sculptures as he could, including eighty metres of the frieze.
The backs of the frieze blocks were sawn off in order to reduce their weight for shipping. The last part of the frieze that remained in place was that on the west end, measuring approximately twenty metres. The rapid erosion of the marble in the open air and rain over the centuries made imperative the dismantling of this section in and its transferal to the Acropolis Museum. One of the most important projects of the Acropolis Restoration Service was the conservation and restoration of the Parthenon west frieze, the last part of the frieze to remain in its original position, some 20 metres long.
The west frieze comprises 16 blocks, the first and second of which are in the British Museum. The frieze blocks have suffered mechanical stress and damage, from the passage of years, from the failure of previous interventions and from atmospheric pollution.
In the frieze was sheltered in an effort to avoid acidic attack on the sculptured surface and the washing out of the gypsum formed. The result of this choice was the covering of the surface of the blocks with deposits of soot and black incrustation.
In the frieze blocks were dismantled and transferred to a specially constructed laboratory in the Acropolis Museum, so that their conservation could begin. Conservation of the blocks began in and was successfully completed in Initially the work was focussed on structural restoration of the blocks, in the course of which fragments were joined, the surfaces were consolidated and the mortars and pins of earlier interventions were removed.
The surface was then cleaned of soot deposits and the black incrustation. Following a comparative study of four cleaning methods microblasting, absorptive poultices, gypsum inversion and laser , cleaning by laser proved to be the most effective in all cases of deposits and substrates monochromatic surface layers and marble.
The cleaning system was designed and developed by the Acropolis Restoration Service in collaboration with the Institute of Electronical Structure and Laser of the Technical and Research Foundation, Crete.
The prototype system can emit both at two wave lengths infrared nm and ultraviolet nm , individually or simultaneously. The blocks of the west frieze are now on exhibition in the Acropolis Museum. Copies of artificial stone have been set in their place on the monument. Advanced Search.
The Parthenon Frieze The theme - The Panathenaia Various interpretations Designing and carving History Conservation The Parthenon Frieze The frieze of the Parthenon forms a continuous band with scenes in relief that encircles the upper part of the cella, the main temple, within the outer colonnade.
Read in parthenonfrieze. Advanced Search Search. Stone Block Numbering. Frieze Sides. Educational booklets. About Parthenon. About Parthenon Frieze. North frieze, block II. Acropolis Museum. Athens in the 3rd century A. View from the northwest showing also the Panathenaic Way. Model at scale Centre for the Acropolis Studies. Restored drawing by J.
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