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The Classical Period in Athens
Introduction to Athens in the Classic Period
Athens attained its Golden Age under Pericles in the 5th century BCE, and flourished culturally as the hegemonic power of the Hellenic world.
The Rise of Athens (508-448 BCE)
In 514 BCE, the dictator Hippias established stability and prosperity with his rule of Athens, but remained very unpopular as a ruler. With the help of an army from Sparta in 511/510 BCE, he was overthrown by Cleisthenes, a radical politician of aristocratic background who established democracy in Athens.
Prior to the rise of Athens, Sparta, a city-state with a militaristic culture, considered itself the leader of the Greeks, and enforced an hegemony. In 499 BCE, Athens sent troops to aid the Ionian Greeks of Asia Minor, who were rebelling against the Persian Empire during the Ionian Revolt. This provoked two Persian invasions of Greece, both of which were repelled under the leadership of the soldier-statesmen Miltiades and Themistocles, during the Persian Wars. In the decades that followed, the Athenians, with the help of the Spartans and other allied Greek city-states, managed to rout the Persians. These victories enabled Athens to bring most of the Aegean, and many other parts of Greece, together in the Delian League, creating an Athenian-dominated alliance from which Sparta and its allies withdrew.
Greek-Persian Duel
Athenian Hegemony and the Age of Pericles
The 5th century BCE was a period of Athenian political hegemony, economic growth, and cultural flourishing that is sometimes referred to as the Golden Age of Athens. The latter part of this time period is often called The Age of Pericles. After peace was made with Persia in the 5th century BCE, what started as an alliance of independent city-states became an Athenian empire. Athens moved to abandon the pretense of parity among its allies, and relocated the Delian League treasury from Delos to Athens, where it funded the building of the Athenian Acropolis, put half its population on the public payroll, and maintained the dominant naval power in the Greek world. With the empire’s funds, military dominance, and its political fortunes as guided by statesman and orator Pericles, Athens produced some of the most influential and enduring cultural artifacts of Western tradition, during what became known as the Golden Age of Athenian democracy, or the Age of Pericles. The playwrights Aeschylus, Sophocles, and Euripides all lived and worked in Athens during this time, as did historians Herodotus and Thucydides, the physician Hippocrates, and the philosopher Socrates.
Pericles was arguably the most prominent and influential Greek statesman, orator, and general of Athens during its Golden Age. One of his most popular reforms while in power was to allow thetes (Athenians without wealth) to occupy public office. Another success of his administration was the creation of the misthophoria, a special salary for the citizens that attended the courts as jurors. As Athens’ ruler, he helped the city to prosper with a resplendent culture and democratic institutions.
5th century Athenian Political Institutions
The administration of the Athenian state was managed by a group of people referred to as magistrates, who were submitted to rigorous public control and chosen by lot. Only two magistrates were directly elected by the Popular Assembly: strategos(or generals), and magistrates of finance. All magistrates served for a year or less, with the exception of Pericles, who was elected year after year to public office. At the end of their service, magistrates were required to give an account of their administration and use of public finances.
The most elite posts in the Athenian political system belonged to archons. In ages past, they served as heads of the Athenian state, but in the Age of Pericles they lost much of their influence and power, though they still presided over tribunals. The Assembly of the People was the first organ of democracy in Athens. In theory, it was composed of all the citizens of Athens. However, it is estimated that the maximum number of participants it witnessed was 6,000. The Assembly met in front of the Acropolis and decided on laws and decrees. Once the Assembly gave its decision in a certain matter, the issue was raised to the Council, or Boule, to provide definitive approval.
The Council consisted of 500 members, 50 from each tribe, and functioned as an extension of the Assembly. Council members were chosen by lot in a similar manner to magistrates and supervised the work of the magistrates in addition to other legal projects and administrative details. They also oversaw the city-state’s external affairs.
Athenian Defeat and Conquest By Macedon
Originally intended as an association of Greek city-states to continue the fight against the Persians, the Delian League soon turned into a vehicle for Athens’s own imperial ambitions and empire-building. The resulting tensions brought about the Peloponnesian War (431-404 BCE), in which Athens was defeated by its rival, Sparta. By the mid-4th century BCE, the northern Greek kingdom of Macedon was becoming dominant in Athenian affairs. In 338 BCE, the armies of Philip II of Macedon defeated an alliance of some of the Greek city-states, including Athens and Thebes, at the Battle of Chaeronea, effectively ending Athenian independence.
Athenian Society
Classical Athenian society was structured as a democratic patriarchy that strived towards egalitarian ideals.
Structure of the Athenian Government
In the Assembly of the People, Athenian citizens decided matters of state. In theory, it was composed of all the citizens of Athens; however, it is estimated that the maximum number of participants it included was 6,000. Since many citizens were incapable of exercising political rights, due to their poverty or ignorance, a number of governmental resources existed to encourage inclusivity. For example, the Athenian democracy provided the following to its population:
Concession of salaries to public functionaries
Help finding work for the poor
Land grants for dispossessed villagers
Public assistance for war widows, invalids, orphans, and indigents
In order to discourage corruption and patronage, most public offices that did not require specialized expertise were appointed by lot rather than by election. Offices were also rotated so that members could serve in all capacities in turn, in order to ensure that political functions were instituted as smoothly as possible regardless of each individual official’s capacity.
When the Assembly of the People reached decisions on laws and decrees, the issue was raised to a body called the Council, or Boule, to provide definitive approval. The Council consisted of 500 members, 50 from each tribe, and functioned as an extension of the Assembly. Council members, who were chosen by lot, supervised the work of other government officials, legal projects, and other administrative details. They also oversaw the city-state’s external affairs.
The Acropolis: View of the Acropolis in Athens, Greece.
Athenians in the Age of Pericles
The Athenian elite lived modestly and without great luxuries compared to the elites of other ancient societies. Wealth and land ownership was not typically concentrated in the hands of a few people. In fact, 71-73% of the citizen population owned 60-65% of the land. By contrast, thetes occupied the lowest social class of citizens in Athens. Thetes worked for wages or had less than 200 medimnoi as yearly income. Many held crucial roles in the Athenian navy as rowers, due to the preference of many ancient navies to rely on free men to row their galleys. During the reforms of Ephialtes and Pericles around 460-450 BCE, thetes were granted the right to hold public office.
Boys were educated at home until the age of seven, at which time they began formal schooling. Subjects included reading, writing, mathematics, and music, as well as physical education classes that were intended to prepare students for future military service. At the age of 18, service in the army was compulsory.
Athenian women were dedicated to the care and upkeep of the family home. Athenian society was a patriarchy; men held all rights and advantages, such as access to education and power. Nonetheless, some women, known as hetaeras, did receive an education with the specific purpose of entertaining men, similar to the Japanese geisha tradition. Hetaeras were considered higher in status than other women, but lower in status than men. One famous example of a hetaera is Pericles’ mistress, Aspasia of Miletus, who is said to have debated with prominent writers and thinkers, including Socrates.
by Dr. Beth Harris and Dr. Steven Zucker
For the ancient Greeks, the human body was perfect. Explore this example of the mathematical source of ideal beauty.
Polykleitos, Doryphoros (Spear-Bearer), Roman marble copy after a Greek bronze original from c. 450–440 B.C.E. (Museo Archaeologico Nazionale, Naples). Speakers: Dr. Steven Zucker and Dr. Beth Harris
The Athenian Acropolis is an ancient citadel in Athens containing the remains of several ancient buildings, including the Parthenon. The study of Classical-era architecture is dominated by the study of the construction of the Athenian Acropolis and the development of the Athenian agora. The Acropolis is an ancient citadel located on a high, rocky outcrop above and at the center of the city of Athens. It contains the remains of several ancient buildings of great architectural and historic significance.
The word acropolis comes from the Greek words ἄ (akron, meaning edge or extremity) and π (polis, meaning city). Although there are many other acropoleis in Greece, the significance of the Acropolis of Athens is such that it is commonly known as The Acropolis without qualification.
The Acropolis at Athens: The Acropolis has played an important role in the city of Athens from the time the area was first inhabited.
The Acropolis has played a significant role in the city from the time that the area was first inhabited during the Neolithic era. While there is evidence that the hill was inhabited as far back as the fourth millennium BCE, in the High Classical Period it was Pericles (c. 495–429 BCE) who coordinated the construction of the site’s most important buildings, including the Parthenon, the Propylaea, the Erechtheion, and the temple of Athena Nike.
The buildings on the Acropolis were constructed in the Doric and Ionic orders, with dramatic reliefs adorning many of their pediments, friezes, and metopes.
In recent centuries, its architecture has influenced the design of many public buildings in the Western hemisphere.
Early History
Archaeological evidence shows that the Acropolis was once home to a Mycenaean citadel. The citadel’s Cyclopean walls defended the Acropolis for centuries and still remains today. The Acropolis was continually inhabited, even throughout the Greek Dark Ages when Mycenaean civilization fell.
It was during the Geometric Period that the Acropolis shifted from being the home of a king to being a sanctuary site dedicated to the goddess Athena, whom the people of Athens considered their patron. The Archaic-era Acropolis saw the first stone temple dedicated to Athena, known as the Hekatompedon (Greek for hundred-footed). This building was built from limestone around 570 to 550 BCE and was a hundred feet long. It was the original home of the olive-wood statue of Athena Polias, known as the Palladium, that was believed to have come from Troy.
In the early fifth century the Persians invaded Greece, and the city of Athens—along with the Acropolis—was destroyed, looted, and burnt to the ground in 480 BCE. Later the Athenians, before the final battle at Plataea, swore an oath that if they won the battle—that if Athena once more protected her city—then the Athenian citizens would leave the Acropolis as it is, destroyed, as a monument to the war. The Athenians did indeed win the war, and the Acropolis was left in ruins for thirty years.
Periclean Revival
It was immediately following the Persian war that the Athenian general and statesman Pericles funded an extensive building program on the Athenian Acropolis. Despite the vow to leave the Acropolis in a state of ruin, the site was rebuilt, incorporating all the remaining old materials into the spaces of the new site. The building program began in 447 BCE and was completed by 415 BCE. It employed the most famous architects and artists of the age and its sculpture and buildings were designed to complement and be in dialogue with one another.
Plan of the Acropolis: Plan of the Acropolis and surrounding area. The buildings include (1) Parthenon (2) Old Temple of Athena (3) Erechtheum (4) Statue of Athena Promachos (5) Propylaea (6) Temple of Athena Nike (7) Eleusinion (8) Sanctuary of Artemis Brauronia or Brauroneion (9) Chalkotheke (10) Pandroseion (11) Arrephorion (12) Altar of Athena (13) Sanctuary of Zeus Polieus (14) Sanctuary of Pandion (15) Odeon of Herodes Atticus (16) Stoa of Eumenes (17) Sanctuary of Asclepius or Asclepieion (18) Theatre of Dionysus Eleuthereus (19) Odeon of Pericles (20) Temenos of Dionysus Eleuthereus (21) Aglaureion.Adapted from “Boundless Art History” https://courses.lumenlearning.com/bo…ssical-period/License: CC BY-SA: Attribution-ShareAlike
Learn about the great temple of Athena, patron of Athens, and the building’s long history.
Iktinos and Kallikrates (sculptural program directed by Phidias), Parthenon, 447–432 B.C.E. (Athens). Speakers: Dr. Beth Harris and Dr. Steven Zucker
The many lives of the Parthenon
The Acropolis of Athens viewed from the Hill of the Muses (photo: Carole Raddato, CC BY-SA 2.0)
The Parthenon, as it appears today on the summit of the Acropolis, seems like a timeless monument—one that has been seamlessly transmitted from its moment of creation, some two and a half millennia ago, to the present. But this is not the case. In reality, the Parthenon has had instead a rich and complex series of lives that have significantly affected both what is left, and how we understand what remains.
Iktinos and Kallikrates, Parthenon, Acropolis, Athens, 447–432 B.C.E. (photo: Steven Zucker, CC BY-NC-SA 2.0)
It is illuminating to examine the Parthenon’s ancient lives: its genesis in the aftermath of the Persian sack of the Acropolis in 490 B.C.E.; its accretions in the Hellenistic and Roman eras; and its transformation as the Roman empire became Christian. Why was the building created, and how was it understood by its first viewers? How did its meanings change over time? And why did it remain so important, even in Late Antiquity, that it was converted from a polytheist temple into a Christian church?
Investigating the many lives of the Parthenon has much to tell us about how we perceive (and misperceive) this famous ancient monument. It is also relevant to broader debates about monuments and cultural heritage. In recent years, there have been repeated calls to tear down or remove contested monuments, for instance, statues of Confederate generals in the southern United States. While these calls have been condemned by some as ahistorical, the experience of the Parthenon offers a different perspective. What it suggests is that monuments, while seemingly permanent, are in fact regularly altered; their natural condition is one of adaptation, transformation, and even destruction.
When Persians sacked Athens, they destroyed or damaged many sculptures, including the now-famous Calf-Bearer (today in the Acropolis Museum). Athenians buried many of these sculptures in a pit, which were not uncovered until the 19th century. Unknown photographer, The Calf-Bearer and the Kritios Boy Shortly After Exhumation on the Acropolis, 1865, albumen silver print from glass negative, 27.7 x 21.8 cm (The Metropolitan Museum of Art, New York)
The genesis of the Parthenon, 480–432 B.C.E.
The Moschophoros or Calf-bearer, c. 570 B.C.E., marble 165 m high (Museum of the Acropolis of Athens; photo: Marysas CC BY-SA 2.5)
The Parthenon we see today was not created ex novo. Instead, it was the final monument in a series, with perhaps as many as three Archaic predecessors. The penultimate work in this series was a marble building, almost identical in scale and on the same site as the later Parthenon, initiated in the aftermath of the First Persian War.
In the war in 492–490 B.C.E., Athens played a central role in the defeat of the Persians. Thus it is not surprising that ten years later when the Persians returned to Greece, they made for Athens; nor that, when they took the city, they sacked it with particular fervor. In the sack, they paid special attention to the Acropolis, Athens’s citadel. The Persians not only looted the rich sanctuaries at the summit, but also burned buildings, overturned statues, and smashed pots.
When the Athenians returned to the ruins of their city, they faced the question of what to do with their desecrated sanctuaries. They had to consider not only how to commemorate the destruction they had suffered, but also how to celebrate, through the rebuilding, their eventual victory in the Persian Wars.
Remains of materials from the temples destroyed during the Persian sack of the Acropolis, such as column-drums (shown here) and a triglyph-metope frieze, were incorporated into the North Wall (photo: Gary Todd)
The Athenians found no immediate solution to their challenge. Instead, for the next thirty years they experimented with a range of strategies to come to terms with their history. They left the temples themselves in ruins, despite the fact that the Acropolis continued to be a working sanctuary. They did, however, rebuild the walls of the citadel, incorporating within them some fire-damaged materials from the destroyed temples. They also created a new, more level surface on the Acropolis through terracing; in this fill, they buried all the sculptures damaged in the Persian sack. These actions, most likely initiated in the immediate aftermath of the destruction, were the only major interventions on the Acropolis for over thirty years.
Plan of the Older Parthenon (in black) superimposed on that of the Parthenon (in gray). Plan by Maxime Collignon
In the mid-fifth century B.C.E., the Athenians decided, finally, to rebuild. On the site of the great marble temple burned by the Persians, they constructed a new one: the Parthenon we know today. They set it on the footprint of the earlier building, with only a few alterations; they also re-used in its construction every block from the Older Parthenon that had not been damaged by fire. In their recycling of materials, the Athenians saved time and expense, perhaps as much as one-quarter of the cost of construction.
The Older Parthenon foundation is located below the newer construction (photo: Steven Zucker, CC BY-NC-SA 2.0)
At the same time, their re-use had advantages beyond the purely pragmatic. As they rebuilt on the footprint of the damaged temple and re-used its blocks, the Athenians could imagine that the Older Parthenon was reborn—larger and more impressive, but still intimately connected to the earlier sanctuary.
Battle of the Lapiths and Centaurs, Parthenon Metopes, south flank, marble, c. 440 B.C.E., Classical Period (British Museum, London; photo: Steven Zucker, CC BY-NC-SA 2.0)
While the architecture of the Parthenon referenced the past through re-use, the sculptures on the building did so more allusively, re-telling the history of the Persian Wars through myth. This re-telling is clearest on the metopes that decorated the exterior of the temple. These metopes had myths, for instance, the contest between men and centaurs, that recast the Persian Wars as a battle between good and evil, civilization and barbarism.
The metopes did not, however, depict this battle as one of effortless victory. Instead, they showed the forces of civilization challenged and sometimes overcome: men wounded, struggling, even crushed by the barbaric centaurs. In this way, the Parthenon sculptures allowed the Athenians to acknowledge both their initial defeat and their eventual victory in the Persian Wars, distancing and selectively transforming history through myth.
Thus even in what might commonly be understood as the moment of genesis for the Parthenon, we can see the beginning of its many lives, its shifting significance over time. Left in ruins from 480 to 447 B.C.E., it was a monument directly implicated in the devastating sack of the Acropolis at the onset of the Second Persian War. As the Parthenon was rebuilt over the course of the following fifteen years, it became one that celebrated the successful conclusion to that war, even while acknowledging its suffering. This transformation in meaning presaged others to come, more nuanced and then more radical.
Hellenistic and Roman adaptations
By the Hellenistic era if not before, the Parthenon had taken on a canonical status, appearing as an authoritative monument in a manner familiar to us today. It was not, however, untouchable. Instead, precisely because of its authoritative status, it was adapted, particularly by those who sought to present themselves as the inheritors of Athens’ mantle.
The Parthenon was altered by a series of aspiring monarchs, both Hellenistic and Roman. Their goal was to pull the monument, anchored in the canonical past, toward the contemporary. They did so above all by equating later victories with Athens’ now-legendary struggles against the Persians.
We can still see traces of the Persian shields from Alexander the Great that were at one point below the metopes. The blue circles indicate roughly were they would have been located (photo: Steven Zucker, CC BY-NC-SA 2.0)
The first of these aspiring monarchs was the Macedonian king Alexander the Great. As he sought to conquer the Achaemenid Empire—alleging, as one casus belli, the Persian destruction of Greek sanctuaries one hundred and fifty years earlier—Alexander made good propagandistic use of the Parthenon. After his first major victory over the Persians in 334 B.C.E., the Macedonian king sent to Athens three hundred suits of armor and weapons taken from his enemies. Likely with Alexander’s encouragement, the Athenians used them to adorn the Parthenon. There are still faint traces of the shields, once prominently placed just below the metopes on the temple’s exterior. Melted down long ago due to their valuable metal content, the shields must have been a highly visible memento of Alexander’s victory—and also of Athens’ subordination to his rule.
Wounded Gaul, from the Small Pergamene Votive Offering, Roman copy of the 2nd century C.E. from a Greek original of the 2nd century B.C.E. (Museo Archeologico Nazionale, Naples)
Some two centuries later, another Hellenistic monarch set up a larger and more artistically ambitious dedication on the Acropolis. Erected just to the south of the Parthenon, the monument celebrated the Pergamene kings’ victory over the Gauls in 241 B.C.E. It also suggested that this recent success was equivalent to earlier mythological and historical victories, with monumental sculptures that juxtaposed Gallic battles with those of gods and giants, men and Amazons, and Greeks and Persians. Like the shield dedication of Alexander, the Pergamene monument made good use of its placement on the Acropolis. The dedication highlighted connections between the powerful new monarchs of the Hellenistic era and the revered city-state of Athens, paying homage to Athens’ history while appropriating it for new purposes.
Holes for bronze letters of an inscription honoring the Roman emperor Nero on the east façade of the Parthenon, created and then removed in the 60s C.E. (photo: Steven Zucker, CC BY-NC-SA 2.0)
A final royal intervention to the Parthenon came in the time of the Roman emperor Nero. This was an inscription on the east facade of the Parthenon, created with large bronze letters in between Alexander’s previously dedicated shields. The inscription recorded Athen’s vote in honor of the Roman ruler, and was likely put up in the early 60s C.E.; it was subsequently taken down following Nero’s assassination in 68. The inscription honored Nero by connecting him to Athens and to Alexander the Great, a model for the young philhellenic emperor. Its removal offered a different message. It was a deliberate and very public erasure of the controversial ruler from the historical record. In this, Nero’s inscription (and its removal) was perhaps the most striking rewriting of the Parthenon’s history—at least until Christian times.
Reviewing the Hellenistic and Roman adaptations of the Parthenon, it is easy to see them purely as desecrations: appropriations of a religious monument for political and propagandistic purposes. And the speedy removal of Nero’s inscription does support this reading, at least for the visually aggressive strategies of the Roman emperor. At the same time, the changes of the Hellenistic and Roman eras are also testimony to the continued vitality of the sanctuary. Due to the prestige of the Parthenon, formidable monarchs sought to stake their visual claims to power on what was by now a very old monument, over four centuries old by the time of Nero. By altering the temple and updating its meanings, they kept it young.
Marble closure slab with relief cross, from the pulpit of the Christian Parthenon, 5th–6th century (Byzantine and Christian Museum, Athens (photo: George E. Koronaios, CC BY-SA 4.0)
Early Christian transformations
In ancient times, the most radical and absolute transformation of the Parthenon came as the Roman empire became Christian. At that point, the temple of Athena Parthenos was turned into an Early Christian church dedicated to the Theotokos (Mother of God). As with the rebuilding of the Parthenon in the mid-fifth century B.C.E., the decision to put a Christian church on the site of Athena’s temple was not just pragmatic but programmatic.
Reconstruction drawing of the church inside the Parthenon by M. Korres from Panayotis Tournikiotis, The Parthenon and Its Impact in Modern Times (New York, 1996)
By transforming the polytheist sanctuary into a space of Christian worship, it provided a clear example of the victory of Christianity over traditional religion. At the same time, it also effectively removed, through re-use, an important and long-enduring center of polytheist cult. This removal through re-use was a characteristic strategy used by the Christians throughout the Roman Empire, from Turkey to Egypt to the German frontier. In all these places, it formed part of the often violent, yet imperially sanctioned, transition from polytheism to Christianity.
The Christian transformation of the Parthenon involved considerable adaptation of its architecture. The Christians needed a large interior space for congregation, unlike the polytheists, whose most important ceremonies took place at a separate altar, outdoors. To repurpose the building, the Christians renovated the inner cella of the Parthenon. They detached it from its exterior colonnade, added an apse that broke through the columns at the east end, and removed from the interior the statue of Athena Parthenos that had been the raison d’étre of the polytheist temple.
Metope from the east side of the Parthenon showing the battle of men and Amazons, heavily cut down by early Christians (photo: Gary Todd)
An illustration showing the location of the pediment, metopes and frieze on the Parthenon.
Other sculptures from the Parthenon suffered likewise from the Christians’ attentions. Most of the metopes—the lowest down and most visible of the Parthenon’s sculptures—were cut away, rendering them difficult to interpret or to use as a focus of polytheist cult. Only the south metopes with the centaurs were spared, perhaps because they overlooked the edge of the Acropolis and were thus hard to see. By contrast, the frieze (hidden between the exterior and interior colonnades) was left almost entirely intact, as were the high-up pediments. The differentiated treatment of the various sculptures on the Parthenon suggests negotiation between traditionalists and the more fervent of the contemporary Christians. Polytheists perhaps sacrificed the relatively small-scale and blatantly mythological metopes to keep the larger, better quality sculptures elsewhere on the monument. Examining the frieze, about one hundred sixty meters long and almost perfectly preserved, it seems like the polytheists got a good deal.
19th-century photographs show the Frankish tower and Ottoman dome (not visible here) that was once part of the Acropolis. Normand Alfred Nicolas, The northwest side of the Acropolis and the surrounding area, 1851, photograph (Benaki Museum, Athens)
Conclusions
Within and beyond the ancient world, the Parthenon had many lives. Rather than ignoring them, it is useful to acknowledge these lives as contributions to the building’s extraordinary continuing vitality. At the same time, one might note that the biography of the Parthenon (though accessible to specialists) has been decidedly effaced by the way it is presented now. When contrasting its present-day state with the first photographs taken in the mid-nineteenth century, we can see how much has been intentionally removed: a Frankish tower by the entrance to the Acropolis, an Ottoman dome, mundane habitations.
Iktinos and Kallikrates, Parthenon, Acropolis, Athens, 447–432 B.C.E. (photo: Steven Zucker, CC BY-NC-SA 2.0)
In its current iteration, the Acropolis has been returned to something resembling its pristine Classical condition, with no reconstructed monuments dating later than the end of the 5th century B.C.E. This feels like a loss: a retardataire effort to reinstate a selective, approved version of the past and to erase the traces of a more difficult and complex history. As such it stands as an example, and perhaps also a warning, for our current historical moment.
Cite this page as: Beth Harris, Dr. Steven Zucker and Dr. Rachel Kousser, “The Parthenon, Athens,” in Smarthistory, December 14, 2015, accessed May 29, 2024, https://smarthistory.org/the-parthenon-athens/.
Parthenon Sculpture (pediments, metopes, and friezes)
The sculpted reliefs on the Parthenon’s metopes are both decorative and symbolic, and relate stories of the Greeks against the others. Each side depicts a different set of battles.
Over the entrance on the east side is a Gigantomachy, depicting the battle between the giants and the Olympian gods.
The west side depicts an Amazonomachy, showing a battle between the Athenians and the Amazons.
The north side depicts scenes of the Greek sack of Troy at the end of the Trojan War.
The south side depicts a Centauromachy, or a battle with centaurs. The Centauromachy depicts the mythical battle between the Greek Lapiths and the Centaurs that occurred during a Lapith wedding.
These scenes are the most preserved of the metopes and demonstrate how Phidias mastered fitting episodic narrative into square spaces.
Centauromachy: A metope from the south side of the Parthenon, of a Lapith and a centaur. Acropolis, Athens, Greece. c. 447–438 BCE.
The interior Ionic processional frieze wraps around the exterior walls of the naos. While the frieze may depict a mythical or historical procession, many scholars believe that it depicts a Panathenaic procession. The Panathenaic procession occurred yearly through the city, leading from the Dipylon Gate to the Acropolis and culminating in a ritual changing of the peplos worn by the ancient olive-wood statue of Athena. The processional scene begins in the southwest corner and wraps around the building in both directions before culminating in the middle of the west wall.
It begins with images of horsemen preparing their mounts, followed by riders and chariots, Athenian youth with sacrificial animals, elders and maidens, then the gods before culminating at the central event. The central image depicts Athenian maidens with textiles, replacing the old peplos with a new one.
Horsemen in the Processional Scene: An Ionic frieze from the interior of the Parthenon. Acropolis, Athens, Greece. c. 447–438 BCE.
The east and west pediments depict scenes from the life of Athena and the east pediment is better preserved than the west; fortunately, both were described by ancient writers. The west pediment depicted the contest between Athena and Poseidon for the patronage of Athens. At the center of the pediment stood Athena and Poseidon, pulling away from each to create a strongly charged, dynamic composition. The east pediment depicted the birth of Athena. While the central image of Zeus, Athena, and Haphaestus has been lost, the surrounding gods, in various states of reaction, have survived.
Sculpture group from the east pediment of the Parthenon: While the central image of Zeus, Athena, and Haphaestus has been lost, the surrounding gods, in various states of reaction, have survived (c. 447–439 BCE).Adapted from “Boundless Art History” https://courses.lumenlearning.com/bo…ssical-period/License: CC BY-SA: Attribution-ShareAlike
Phidias, Parthenon sculpture (pediments, metopes and frieze)
Discover stunning depictions of gods, heroes, and mythical beasts in the most influential sculptures in history.
Phidias(?), Parthenon sculptures, frieze: 438-432 B.C.E., pediment: c. 438-432 B.C.E. and metopes: c. 447-32 B.C.E. Speakers: Dr. Steven Zucker and Dr. Beth Harris.
Cite this page as: Dr. Beth Harris and Dr. Steven Zucker, “Phidias, Parthenon sculpture (pediments, metopes and frieze),” in Smarthistory, November 25, 2015, accessed May 29, 2024, https://smarthistory.org/parthenon-frieze/.
Bits of the Parthenon have been spirited all over the world—in Paris, a fragment shows religious life in Athens.
Phidias (?), Plaque of the Ergastines, 445 – 438 B.C.E., Pentelic marble (Attica), 0.96 x 2.07 m, fragment from the frieze on the east side of the Parthenon (Musée du Louvre, Paris)
The Erechtheion (421–406 BCE), designed by Mnesicles, is an ancient Greek temple on the north side of the Acropolis. Scholars believe the temple was built in honour of the legendary king Erechtheus. It was built on the site of the Hekatompedon and over the megaron of the Mycenaean citadel. The odd design of the temple results from the site’s topography and the temple’s incorporation of numerous ancient sites. The temple housed the Palladium, the ancient olive-wood statue of Athena. It was also believed to be the site of the contest between Athena and Poseidon, and so displayed an olive tree, a salt-water well, and the marks from Poseidon’s trident to the faithful.
Shrines to the mythical kings of Athens, Cecrops and Erechteus—who gives the temple its name—were also found within the Erechtheion. Because of its mythic significance and its religious relics, the Erechtheion was the ending site of the Panathenaic festival, when the peplos on the olive-wood statue of Athena was annually replaced with new clothing with due pomp and ritual.
The Erechtheion: A view from the southwest. Acropolis, Athens, Greece. c. 421–405 BCE.
A porch on the south side of the Erechtheion is known as the Porch of the Caryatids, or the Porch of the Maidens. Six, towering, sculpted women (caryatids) support the entablature. The women replace the columns, yet look columnar themselves. Their drapery, especially over their weight-bearing leg, is long and linear, creating a parallel to the fluting on an Ionic column.
While they stand in similar poses, each statue has its own stance, facial features, hair, and drapery. They carry egg-and-dart capitals on their heads, much as women throughout history have carried baskets. Between their heads and this capital is a sculpted cushion, which gives the appearance of softening the load of the weight of the building.
The sculpted columnar form of the caryatids is named after the women of the town of Kayrai, a small town near and allied to Sparta. At one point during the Persian Wars, the town betrayed Athens to the Persians. In retaliation, the Athenians sacked their city, killing the men and enslaving the women and children. Thus, the caryatids depicted on the Acropolis are symbolic representations of the full power of Athenian authority over Greece and the punishment of traitors.
The porch of the Erechtheion: The porch of the Erechtheion is held up by the caryatids. Acropolis, Athens, Greece. c. 421–405 BCE.
Perched on a cliff high above Athens, this complex temple is very different from its neighbor, the Parthenon.
The Erechtheion, 421–405 B.C.E., Classical period, Acropolis, AthensCite this page as: Dr. Beth Harris and Dr. Steven Zucker, “The Erechtheion,” in Smarthistory, December 16, 2015, accessed May 29, 2024, https://smarthistory.org/the-erechtheion/.
Caryatid and Ionic Column from the Erechtheion
by Dr. Beth Harris and Dr. Steven Zucker
These graceful female figures replace columns—how did human form and architecture relate in ancient Greece?
Caryatid (South Porch) and Ionic Column (North Porch), Erechtheion on the Acropolis, Athens, marble, 421-407 B.C.E., Classical Period (British Museum, London). Mnesicles may have been the architect.
The caryatid
The Erechtheion is perhaps the most complex building on the Acropolis. It houses shrines to several different deities, including Athena, Zeus and Poseidon. It is named for the mythic King Erechtheus who judged the contest between Athena and Poseidon for who would be the patron deity of Athens.
This caryatid is one of six elegant female figures who supported the roof of the south porch of the Erechtheion (figures who do the work of columns—carrying a roof—are called caryatids). The figure wears a garment pinned on the shoulders (this is a peplos—a kind of garment worn by women in ancient Greece). The drapery bunches up at the waist and pours over the belt. She stands in contrapposto with her left knee bent and pressing against the drapery The folds of drapery on other right side resemble the fluting (vertical grooves) on a column. She looks noble and calm despite the fact that she carries the weight of a roof on her head.
Ionic Column (North Porch), Erechtheion on the Acropolis, Athens, marble, 421-407 B.C.E., Classical Period (British Museum, London). Mnesicles may have been the architect.
The column
The Erechtheion is a highly decorated and elegant Ionic temple. The scroll forms at the top of the column (the capital) and its tall slender profile indicate that this is the Ionic order. The column is formed of four pieces (known as “drums”) and is fluted (decorated with vertical grooves). Just below the scroll shapes (also called volutes) you see decorative moldings, including one called “egg and dart” (egg shapes alternating with V-shapes), and below that a ring of plant-like shapes—an alternating palmette and lotus pattern.
These decorative patterns also appear on the entablature of the Erechtheion (the entablature is the horizontal area carried by the columns).
Entablature from the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)
Temple of Athena Nike, 421-05 B.C.E., marble, Acropolis, Athens
The temple of Athena Nike (Athena as a goddess of victory) is the smallest temple at the Acropolis in Athens, placed at its southwest corner, at the edge of a high cliff (see images above). Its construction was completed in the year 420 B.C.E., during the so called High Classical Period, according to the design of Kallikrates (the same architect who was responsible for the construction of the Parthenon). The temple by Kallikrates replaced an earlier small temple, which got completely destroyed during the Persian wars.
Reconstruction diagram of the Athenian Acropolis
The spot, highly vulnerable to attack but also well placed for defense, was very appropriate for the worship of the goddess of victory. There is some archaeological evidence, that the location was used for religious rituals already in Mycenaean age (Mycenaean was a period of early Greek history, roughly from 1600 to 1100 B.C.E.). Mycenaeans also raised the first defensive bastion on the spot; its fragments are preserved in the temple’s basement.
Temple of Athena Nike, 421-05 B.C.E., marble, Acropolis, Athens
An Ionic gem
The temple of Athena Nike, built in Ionic order of beautiful white Pentelic marble, has columns at the front and back but not on the sides of the cella; this kind of floor plan is called an amphiprostyle. Because of the small size of the structure, there are only four columns on each side. The columns are monolithic, which means that each one of them was made of a single block of stone (instead of horizontal drums, as it is in the case of the Parthenon).
Temple of Athena Nike, 421-05 B.C.E., marble, Acropolis, Athens
This small and elegant structure is sometimes called the pearl of the Acropolis, since it was designed and decorated with great care. For example, interestingly, its side columns have volutes both in the front and at the side, in order to create a pleasant view from any viewpoint. The Greeks considered their temples as a kind of monumental sculpture, which was supposed to be viewed from all sides and experienced in connection to its surroundings. The Romans later had a different concept—for them, the frontal view was most important (for example, the Roman Temple of Portunus).
Amphiprostyle plan of the Temple of Athena Nike
Another interesting detail is that the columns of the temple of Athena Nike are not as slender as those of many other Ionic buildings. Usually the proportions between the width and the height of an Ionic column was 1:9 or even 1:11. Here the proportion is 1:7—and the reason for that choice might have been the intention to create a harmonious whole with other buildings nearby. The temple of Athena Nike stands just next to the Propylaea (below), a heavy, monumental gateway to the Acropolis, built in the Doric order. To visually counteract this massive structure, the architect may have decided to widen the columns, otherwise the building might feel out of place, and too delicate in contrast to the neighboring architectural mass of the Propylaea. We know that the ancient Greeks were very aware of mathematical ratios while constructing architecture or creating statues, feeling that the key to beauty lies in correct proportion.
Mnesikles, The Propylaea, 437-32 B.C.E., marble, Acropolis, Athens
Victory
The temple of Athena Nike, as with all Greek temples, was considered a home of the deity, represented in its statue, and was not a place where regular people would enter. The believers would simply perform rituals in front of the temple, where a small altar was placed, and could take a glimpse of the sculpted figure of the goddess through the space between the columns. The privilege of entering the temple was reserved for the priestesses, who held a respected position in Greek society. As the name suggests, the temple housed the statue of Athena Nike, a symbol of victory. It probably had a connection to the victory of the Greeks against the Persians around half a century earlier. Nike usually had wings, but in this case we know that the statue had no wings, hence it was called Athena Apteros (without wings). The ancient Greek writer Pausanias later explained that the statue of Athena had no wings, so that she could never leave Athens.
Temple of Athena Nike, 421-05 B.C.E., marble, Acropolis, Athens
The history of this architectural monument has been quite tumultuous. In the 5th century C.E. the temple was converted into a Christian church, then in the 17th century it was completely dismantled by the Ottoman Turks who needed its material to build fortifications. The temple was later reconstructed after Greece regained independence in 1832. In the 1930s the building was restored again. Very recently, new concerns about the structure’s integrity prompted a new conservation project. First, a team of specialists completely dismantled the temple. Each of its parts was examined and mended, and eventually the entire building was reassembled using the original pieces, with some fill wherever it was needed. These additions can be easily recognized since they are of a lighter color than the original marble.
Nike Adjusting Her Sandal (detail), south side of the parapet of the Temple of Athena Nike, Acropolis, Athens, Greece, c. 410 B.C.E., marble, 3′ 6″ high (Acropolis Museum, Athens)
The temple of Athena Nike featured beautiful sculptural decoration, including a typical continuous Ionic frieze, which on the eastern side represented a gathering of gods. On the southern wall, the sculptor decided to show a battle between Greeks and Persians, and on the remaining sides, battles between Greeks and other warriors. Sculptures on the pediments, almost entirely lost, most probably depicted the Gigantomachy and Amazonomachy. Best known are reliefs from the outside of the stone parapet that surrounded the temple at the cliff’s edge. These represented Nike in different poses and could be admired by people climbing the stairs to the Acropolis. Most famous of these is the Nike Adjusting Her Sandal(above) which presents the goddess in a simple, everyday gesture, perhaps adjusting her sandal (or maybe taking it off) as she prepares to enter the sacred precinct. Whatever she is doing, the relief is still charming in its elegance and simplicity. Both Nike Adjusting Her Sandal and parts of the frieze can be admired today at the Acropolis Museum.
Cite this page as: Katarzyna Minollari, “Temple of Athena Nike on the Athenian Acropolis,” in Smarthistory, September 11, 2016, accessed May 29, 2024, https://smarthistory.org/temple-nike/.
Nike Adjusting Her Sandal, Temple of Athena Nike, Acropolis, Athens
Compare this off-balance image of the goddess of victory to earlier classical sculpture.
Nike Adjusting Her Sandal, from the south side of the parapet of the Temple of Athena Nike, Acropolis, Athens, Greece, c. 410 B.C.E., marble, 3′ 6″ high (Acropolis Museum, Athens)
See the mastery of form developed in the Classical period translated to private art on this solemn gravestone.
Grave stele of Hegeso, c. 410 B.C.E., marble and paint, from the Dipylon Cemetery, Athens, 5′ 2″ (National Archaeological Museum, Athens)
Cite this page as: Dr. Steven Zucker and Dr. Beth Harris, “Grave stele of Hegeso,” in Smarthistory, December 13, 2015, accessed May 29, 2024, https://smarthistory.org/grave-stele-of-hegeso/.
The porch of the Erechtheion: The porch of the Erechtheion is held up by the caryatids. Acropolis, Athens, Greece. c. 421–405 BCE.
