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. Next in order to the center is a group of seated figures, again divided by the peplos scene but united by their unquestionably larger scale. Clearly they represent the gods. They communicate neither with the heroes nor with the mortals involved in the ritual scene. They are apparently there as witnesses though invisible to the other participants and should be understood as occupying a different plane.
The rocks under their feet have been thought to refer to Olympos. Finally, positioned over the center of the front porch of the cella, is the small group whose activity is the focus of the frieze. It includes an older man, usually identified as the archon basileus or chief magistrate of Athens, a woman thought to be a priestess of Athena or perhaps his wife, and three children. The two girls on the left may represent the Arrhephoroi, whose responsibilities include the weaving of the peplos.
In ancient times all the sculptures as well as the buildings were vividly painted and were complemented with metal attachments in the form of spears, swords, horse reins and other appropriate accessories. Interactive view of the Parthenon frieze Continuous view of the Parthenon frieze. The Parthenon Frieze The Parthenon frieze , which runs on a continuous line around the exterior wall of the cella, is 1 meter high and meters long. Also see: Parthenon Frieze Pictures.
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.
Delphi was an ancient religious sanctuary dedicated to the Greek god Apollo. Developed in the 8th century B. The Pantheon is one of the best-preserved monuments of ancient Rome.
The structure, completed around A. The Pantheon is situated on Ephesus was an ancient port city whose well-preserved ruins are in modern-day Turkey. The city was once considered the most important Greek city and the most important trading center in the Mediterranean region.
Throughout history, Ephesus survived multiple attacks and changed Live TV. This Day In History. History Vault. Who Built the Parthenon? Recommended for you. How the Troubles Began in Northern Ireland.
Peloponnesian War. Was Atlantis Located in Ancient Greece? Mayan Architecture. Understanding the illustrations on these friezes allows us a whole new appreciation of this iconic piece of architecture.
Many modern-day tourists do not realize that the Parthenon looked very different in antiquity than it does today. It is even believed that these sculptures were originally painted with bright colors , creating a whole new picture of the now monochromatic building.
These sculptures and decorations are now scattered among some of the most famous museums in the world. Despite a growing push to return all of the surviving sculptures and artwork from this building back to Greece, The Louvre, the British Museum, and the Acropolis Museum in Athens all currently house some of its artwork. The Parthenon was built between and BC when Athens was at the peak of its power.
In more ways than one, the Parthenon is a victory monument to Athens and its strength as an imperial force. It was built using funds from the Delian League, which was a group of city-states loyal to Athens, and for all intents and purposes, completely under its military and political control.
Although there was a statue of Athena in the building, the Parthenon had no priestesses or an altar for sacrifices, meaning it is not truly a temple. As a repository for state funds, the Parthenon, it can be argued, was actually a treasury. Furthermore, no ancient sources refer to the Parthenon as a temple for Athena Parthenos, strengthening the claim that it was at least in part a secular building.
C, was celebrated every fourth year. The festival was only open to Athenian citizens, making it a large nationalistic festival. The culmination of this festival was the redraping of the Athena Parthenos statue, which was considered one of the wonders of the ancient world.
The giant statue, meant to be composed of chryselephantine, gold, and ivory, was redraped in a new elaborate cloak made by prestigious Athenian citizens in a showcase of Athenian piety. All around the frieze of the Parthenon subjects march or ride horses in a long procession until they finally reach the pantheon of the Greek gods. Here they are meant to offer a sacrifice.
The frieze is actually a continuous tableau of marble sculpture that runs around the entire exterior of the inner building. The procession begins on the west end of the building, as that is the side of the temple that would have been first seen when an individual walked up the Acropolis.
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