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| Central floral ornament which crowned the apex of each triangular pediment on the west and east sides of the Parthenon. |
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Sun god
The chariot of Helios is on the North Metatope of the Parthenon |
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| This is an Attic festival that takes placing every four years during a summer month. It is held in honor of Athena. This was the theme of the frieze found on the Parthenon. During the festival, a peplos was woven each year by the Athenian girls and women and was dedicated at the Panathenaea to the statue of Athena Polias on the acropolis. |
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goddess of harvest
seated next to Dionysos on the East Frieze of the Parthenon |
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a messenger god and the personification of rainbows
seated next to hera on the east frieze of the Parthenon |
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The son of Zeus and Hera
Athena is his half sister
hammered Athena out of Zeus’s head.
The god of technology, he is the blacksmith for the gods. Normally shown with a hammer or an axe.
Sits next to athena on the East frieze of the Parthenon. |
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columns taper in a curve, more above and less below
Thickened corner columns |
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| inward lean of columns and walls- avoids truly straight lines |
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| tension- the application of a convex curve to a surface for aesthetic purposes |
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| Iconoclasm[2] is the deliberate destruction within a culture of the culture's own religious icons and other symbols or monuments, usually for religious or political motives |
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| drew pictures of the Parthenon. His drawings of the west pediment in 1674 show how it looked prior to the explosion that wrecked the Parthenon in 1687. |
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| Parthenon wrecked by explosion |
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British ambassador to ottoman empire 1799-1803
He obtained controversial permission from the Ottoman empire to remove the Elgin Marbles from the Acropolis.
The Elgin Marbles, known also as the Parthenon Marbles, are a collection of classical Greek marble sculptures, inscriptions and architectural members that originally were part of the Parthenon and other buildings on the Acropolis of Athens |
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two goddesses in lively conversation- only metopes from north side
christians believe it could represent the angel Gabriel telling the virgin mary that she will bear the son of God
North Metope 32 |
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| centauromachy- - wedding between Hippodameia and perithoos- king of the lapiths, mythical people who shared their homeland with the centaurs. At the wedding feast the centaurs tried to kidknap and rape the Lapith women. Theseus most likely was in the battle |
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from south metope of Parthenon- youth male lapith prevent the escape fo a wounded centaur, about to deal a fatal blow.
The centaur is pressing a hidden right hand to awound in his back. His missing head was pulled back by the left arm of the lapith, his other arm would have had a weapon of some sort in it. The lapith drapery pulls attention to the critical part of the scene of the metope
Very deep relief carving, lims only attached by litlle bridges of marble left in the carving
South Metope 27 |
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fallen male lapith and celebration of a triumphant centaur
the panther skin was a prize from a previous contest and takes the artistic function of drapery in this metope. The centaur would have had some form of weapon in his left arm, and a vessell, most likely a wine-mixing bowl for the wedding feast in his right hand.
South Metope 28 |
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| this is a portion of the Parthenon frieze. This part is found on the north frieze. This troop serves as an introduction to the cavalcade narrative that takes place further along on the west frieze. It shows figures yet to mount their horses. A boy helps a rider to belt his tunic while a companion looks on impatiently |
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this is the point of the Parthenon frieze in which the two sides of the Athenian procession converge, separated by the assembly of the gods. The four on the left are believed to be magistrates or heroes. Continuing to the right is hermes, dionysos, Demeter, and ares.
Block IV |
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| A bearded man (probably the archon basileus) receives a folded cloth (probably the sacred peplos of Athena) from a child (probably a boy). Block V (fig. 34-35) from the East frieze of the Parthenon, ca. 447–433 BC. |
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| Possibly by the same sculptor as metope #30, metope #31 is also one of the least successful with an equally unconvincing interaction of figures (n.b. again the ineffectual "right hook" of the Lapith; although the intertwining of legs at center is quite promising). Also, the Lapith does not appear to touch the ground and he pirouettes like a ballet figure. In addition, the centaur's face is somewhat caricatured and mask-like. |
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| Centaur raping a Lapith woman. South Metope 29, Parthenon, ca. 447–433 BC. |
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inward lean of columns & walls
entasis
thickened corner columns |
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26 September 1687: the Venetian Count Morosini besieges the Acropolis during the Venetian-Turkish War; gunpowder stored in the Parthenon explodes
Morosini later unsuccessfully removes some sculptures from the remaining building |
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