Greece - Korina Miller [70]
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This is the third time the temple has been dismantled. The Turks took it apart in 1686 and put a huge cannon on the platform. It was carefully reconstructed between 1836 and 1842, but was taken apart again 60 years later because the platform was crumbling.
STATUE OF ATHENA PROMACHOS
Continuing ahead along the Panathenaic Way you will see, to your left, the foundations of pedestals for the statues that once lined the path, including one that held Pheidias’ 9m-high statue of Athena Promachos (promachos means ‘champion’). Symbolising Athenian invincibility against the Persians, the helmeted goddess held a shield in her left hand and a spear in her right. The statue was carted off to Constantinople by Emperor Theodosius in AD 426. By 1204 it had lost its spear, so the hand appeared to be gesturing. This led the inhabitants to believe that the statue had beckoned the Crusaders to the city, so they smashed it to pieces.
PARTHENON
The Parthenon is the monument that more than any other epitomises the glory of ancient Greece. Parthenon means ‘virgin’s apartment’ and it is dedicated to Athena Parthenos, the goddess embodying the power and prestige of the city. The largest Doric temple ever completed in Greece, and the only one built completely of Pentelic marble (apart from its wooden roof), it took 15 years to complete.
Built on the highest part of the Acropolis, the Parthenon had a dual purpose – to house the great statue of Athena commissioned by Pericles, and to serve as the new treasury. It was built on the site of at least four earlier temples dedicated to Athena. It was designed by Iktinos and Kallicrates to be the pre-eminent monument of the Acropolis and was completed in time for the Great Panathenaic Festival of 438 BC.
The temple consisted of eight fluted Doric columns at either end and 17 on each side. To achieve perfect form, its lines were ingeniously curved to create an optical illusion – the foundations are slightly concave and the columns are slightly convex to make both look straight. Supervised by Pheidias, the sculptors Agoracritos and Alcamenes worked on the architectural sculptures of the Parthenon, including the pediments, frieze and metopes, which were brightly coloured and gilded.
The metopes on the eastern side depicted the Olympian gods fighting the giants and on the western side they showed Theseus leading the Athenian youths into battle against the Amazons. The southern metopes illustrated the contest of the Lapiths and Centaurs at a marriage feast, while the northern ones depicted the sack of Troy.
Much of the frieze, depicting the Panathenaic procession (boxed text), was damaged in the explosion of 1687 or later defaced by the Christians, but the greatest existing part (over 75m) consists of the controversial Parthenon Marbles, now in the British Museum in London. The British government continues to ignore campaigns for its return.
The ceiling of the Parthenon, like that of the Propylaia, was painted blue and gilded with stars. At the eastern end was the holy cella (inner room of a temple), into which only a few privileged initiates could enter.
Here stood the statue for which the temple was built – the Athena Polias (Athena of the City), considered one of the wonders of the ancient world. Designed by Pheidias and completed in 432 BC, it was gold plated over an inner wooden frame and stood almost 12m high on its pedestal. The face, hands and feet were made of ivory, and the eyes were fashioned from jewels. Clad in a long gold dress with the head of Medusa carved in ivory on her breast, the goddess held a statuette of Nike (the goddess of victory) in her right hand, and in her left a spear with a serpent at its base. On top of her helmet was a sphinx with griffins in relief at either side.
In AD 426 the statue was taken to Constantinople, where it disappeared. There is a Roman copy (the Athena Varvakeion) in the National