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GardenerHarttJanson-
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Art Through the Ages
History of Art
Instructor's Guide
GardnerStudy Guide
Janson- History of Art
Chapter 5: Greece
4)
Architecture
(Unless otherwise noted, fig ref are to illustrations in H. A. Groenewegen -Frankfort and Bernard Ashmole, Art of the Ancient World.)
Code = GFA Groenewegen -Frankfort
J Janson
G Gardner
R Rosenthal
H Hartt
Map
Greek architecture & sculp on large scale must have begun to
develop long before mid 7th c BC
Before then sculp & archit mainly out of wood
nothing survives but a few foundations
Greek architecture & sculp on large scale must have begun to
develop long before mid 7th c BC
Desire to build/ sculp in stone = most imp new idea that entered
Greece during Orientalizing period
Pre-Archaic Architecture
= wood and mud brick
Geometric Architecture
GFA182
GFA183
Early Greek temples derived their main features from private
houses. Their appearance is preserved in clay models GFA 182,
GFA183) of the 8th c BC.
Geometric
900-700 BC
GFA185
The larger temples erected at Thermon (GFA185) between 1000
and 700 BC, which were probably made from sun dried clay and
wood, cannot have looked very different, since they have much
the same ground plans as the models
Homeric epics
c 750 BC
The 7th c BC seems to have been one of cautious architectural
experimentation on a small scale (see plan of Temple "A",
Prinias, GFA 219)
Archaic
700-480 BC
GFA 219
Plan of Temple
"A", Prinias
Orientalizing
c 735-650 BC
c. 600 the Doric and Ionic orders evolve.
essential features of Doric already evident at Temple of
Artemis, Corfu
c 600 BC
Corinthian = variant
of Ionic
xIB-43
Parthenon
Arrangement of architectural parts
May vary somewhat according to size or regional preference
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Three distinct influences -Egypt
Mycenae,
pre-Archaic Greek architecture
(wood & mud brick
Mycenae
J153
Mycenaean Megaron
Contribution most tangible
Prob NOT MOST IMPORTANT
Central unit of Greek temple = cella & porch
= derives from megaron
by continuous tradition
or existing megaron
G4-23
Lion Gate
X6-68
Sculp pediments
on DORIC
pediments
East Pediment
Reconstruction of
Temple of Zeus,
Olympia
E. Classical
480 - 450
High Classical
450-430
Pel War
431 - 404
Late Classical
430 - 323
Entire Mycenaean era incorporated into Greek mythology
remember: Homeric epics
Hellenistic
323 - 30
Mycenaean fortresses believed to be built by mythical
giants- Cyclops
Relationship between Myc Lion Gate & Doric pediments
8 226 0321
Doric
echinus & Abacus
shaft
Temple of
Poseidon,
c 450 BC
c. 750 Homeric
Epics
Megaron= Mycenaean royal hall
= converted to dwelling place of Greek gods
date
XXX1
Minoan capital
Archaic
700 - 480
Columns
Capitals
flaring cushion-like capital of Minoan - Mycenaean
= closer to DORIC echinus & abacus than any Egyptian
column
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62028
J79A
Djoser
ca. 2750 BCE
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Egyptian Influence
Shaft
Minoan tapers downward
Greek tapers upward- thus closer to Egyptian
Fluted half columns of Zoser, Saqqara
apx 2000 yrs. before Greek fluting
Egyptian Influence
Egyptian in ideas that
= temples should be built of stone
= temple required large # of columns
Greeks prob learned stone cutting & masonry techniques
from Egyptians
From E= architectural ornament & knowledge of geometry
needed in order to layout temple & fit parts together
Egyptian designed to be experienced from inside
Greek = experienced from outside
Few allowed to enter the dimly lighted cella
Religious ceremonies took place at altars erected out of
doors
temple facade = backdrop
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Luxor Plan
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Using the Temple at Luxor as an example, discuss the social
hierarchy achieved by the Egyptian temple.
begun 1390- Amenhotep III
Completed by Rameses II
Gateway (pylon)- Court-pillared hall-2nd courtpillared hall-temple w halls/chapels shielding
Holy of Holies (sq. room with 4 columns)
All enclosed by high wall that shut off the
outside world
Designed to be experienced from within
Ordinary worshipper confined to court/ could
but marvel at forest of columns that screen
dark recesses of sanctuary.
central axis parallel to Nile
Post and Lintel
4 major features of a typical pylon temple =
1) simple massive pylon facade- Pylon =
Greek for gateway
2) bilaterally symmetrical along a single
axis, that runs from an approaching
avenue through a colonnaded court
3) and hypostyle hall--- little open space
4) into a dimly lighted sanctuary- Holy of
Holies- Square room with 4 columns
Greek temple
designed to be experienced from the outside.
Geometric
900-700 BC
Stress stone more than texture of the subject.
Significant buildings began primarily as simple shrines to
protect statues to their gods
Homeric epics
c 750 BC
Eventually belief may have developed that qualities of god were
embodied in the buildings themselves
Orientalizing
c 735-650 BC
Archaic
700-480 BC
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Figure sculpture =
important part of the construction program
- to embellish the protective building
- tell something about the deity inside
- votive offering
Early Classical
480-450
Building itself was conceived as sculpture, abstract in form
and possessing the power of sculpture to evoke human
qualities
Marble was
expensive
Bluish-white stone
from Hymettus,
just east of
Athens
it was important as inspiration point of public life
X4-48
Acropolis
Athens
Elevated site on acropolis hill above city
Earliest temples were wood, later translated into stone,
limestone, and marble
High Classical
450 - 430
Glittering white particularly good
for carving from
Pentelicus (NE
of city)
and varying qualities
from Aegean
islands
particularly
PAROS
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Still the
Athenian
Acropolis,
Athens
G5-20
6 plans
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J182
In plan the Greek temple has close affinity with Mycenaean
megaron and even at most complex it retains the simplicity of
the megaron
Basic Plan
A single or double room (the Naos) with no windows and one
door (two for a double naos)
(a) portico with 2 columns between the extended walls
(columns in antis.
(b) colonnade across the front (prostyle)
(c) a colonnade across the front and back (amphiprostyle)
(d) plans surrounded by single(peripteral
(e) or double (dipteral) colonnade .
Remarkable for its order, compactness, and symmetry, in
contrast to the rambling groupings of Egyptian temples.
Answer lies in Greek sense of proportion and effort to
achieve ideal forms in terms of regular numerical
relations and the rules of geometry.
Classical Greek architecture had a simple core or theme from
which a series of complex but always quite intelligible variations
is developed
antaean ends
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Development of Greek temple scheme
G5-20 (d)
Plan of Temple
of Hera at
Olympia
= similar to another great Greek invention - geometry
Insistence on proportional order guided experiments with
proportions of temple plans and was reflected in their sculpture,
Archaic
Earlier
Archaic temples tended to be long and narrow proportions with
ends to sides apx 1:3
Late Classical/ Hellenistic apx 1:2
Late Classical temples=
little longer than twice their width
Hellenistic
little shorter than twice their width
Proportion in architecture / sculpture and harmony in music
60293
J181
G5-21
Elevation of Greek building described in terms of the platform,
column and entablature
Entablature =includes everything that rests on the
columns
Doric / Ionic orders
The combination and relationship
of the 3 units = order
Entire structure


built of stone blocks fitted together w/o mortar
stone blocks shaped w/ precision to achieve smooth joints

when needed
fastened together w/ metal dowels or clamps

Columns with rare exceptions composed of drums


Roof = terra cotta tiles
supported by wooded rafters

wooden beams for ceiling

Constant threat of fire
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Comparison of Doric and Ionic Orders
Basically post and lintel with architrave as lintel
Doric Order
Ionic Order
Developed on Greek mainland
capitulate, shaft
no base
Developed on Aegean islands, & coast of Asia Minor
capitulate, shaft base
dev by Greek architects of mainland Greece
dev by Greek architects of Asia Minor
In ancient times DORIC and IONIC temples were contrasted
as
In ancient times DORIC and IONIC temples were contrasted
as
DORIC = masculine
IONIC = feminine
weighty and severe
in comparison
IONIC
seems light, airy and much more decorative
Columns are more slender and rise from molded bases
one theory =
DORIC = translation of earlier timber structures into stone
the organization of the frieze
into triglyphs and metopes = best explained as a
translation from wood to stone
triglyphs = ends of crossbeams
metopes = voids between end beams
Doric - decoration applied only to the "voids" of the metopes and
the pediment
Ionic - willing to decorate the entire frieze
and sometimes the lower drum of the columns
willing to have caryatids
Shallow vertical grooves = flutes
fluting ridges are flat (fillets )
flutings meet in sharp ridges (arrises)
Flutings are not decoration but emphasizes the vertically and
rotundity - the form and function of the column
Fluted shafts look stronger
more energetic
more resilient
Occasionally replaced columns with caryatids. (probably not Doric
architects)
To Greeks, it was unthinkable to use surfaces the way the
Egyptians used their gigantic columns - as fields for complicated
ornamentation
Corinthian column did not develop until 5thc BC (c. 400)
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-----still----G5-21
Doric / Ionic
orders
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------still ----temple plan
CORINTHIAN order
not developed until c 600 BC when it appeared on the inside
of the temples
Corinthian not widely used on exterior until Roman times
Painted
architectural
sculpture
Sculptural ornamentation was concentrated on upper
part of building in frieze and pediments.
Sculpture was painted.
Paint usually applied
to parts that served no sculptural support
Primarily painted in red and blue with touches of green,
yellow, black , and perhaps gold
The Greek temple must have the clarity of Euclidean
demonstration in its plan, elevation, and function
enhancing decoration
Greek architects thought of the temples as monumental
sculpture rather than as buildings.
Building placement strengthened the sculptural aspect
Rites performed in front of the Temple
Building itself housed the cult statue, ( and perhaps
treasures, trophies)
Public ritual prevailed ( private cults frowned upon)
So exterior building & surface were concentrated on in effort
to make it a suitable monument to deity.
The history of Greek architecture is history of artists'
unflagging efforts to express the form of the temple
in its most satisfactory or perfect proportions
Check
this
out
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Temple of Hera at Olympia
X5-57
?-GFA276 -?
Temple of Hera at
Olympia
GFA277
Wood structures like the Temple of Hera at Olympia
(GFA276), were gradually rebuilt in stone.
This temple had piers projecting from the walls to help
support the roof. (GFA277)
GFA283
Temple of
Apollo at
Thermon
c. 640 - 630 BC ,
The same (roof support) function was performed in the
Temple of Apollo at Thermon (c. 640 - 630 BC ,
GFA283) by a row of columns down the center,
Begin with Archaic DORIC architecture of the Greek colonies
especially Sicily and southern Italy
(Here = best preserved examples)
Development of human figure = not only contemporaneous
in painting and sculpture
to the development in architecture but also show the same
concern for proportions
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Hera I, at Paestum
Basilica, Paestum - south of Naples
G5-22
G5-23
Plan
The "Basilica",
Paestum, Italy, c 550
BC
The "Basilica",
Paestum, Italy,
c 550 BC
c 550 BC
Typical Archaic Doric Style
called Basilica by early investigators who thought it
resembled the Roman building type
c. mid 6th c BCE
Seems low sprawling
compared to Temple
of Poseidon
c. 460 BCE
2/4 5thc BCE
dedicated to Hera
Plan differs from most other Greek temples
central row of columns divides the naos into 2 aisles
columns directly under the ridge pole to support the
roof
(This feature is found only in a few early Archaic temples
including the Temple of Apollo at Thermon)
Disadvantages of Floorplan =
- central row of columns left no place for cult statue
- peripteral colonnade in order to correspond to the interior
had to have an odd number of columns across the
facade
- which also ruled out a central doorway through which a
cult statue could be viewed.
J184
Corner of
The "Basilica",
Paestum, Italy,
c 550 BC
Elevation
pronounced entasis

large, bulky, pillow-like capitals
seem more elastic, distended by weight

high, massive, entablature makes columns seem squat

Heaviness of the design, and narrowness of space
between columns is probably the uncertainty of Archaic
builders in the strength of their materials -- thus trying to
have a large margin of safety.
entasis =
curvature of shaft
capital =
abacus
echinus
enlarged capitals =
narrow gap spanned by
blocks of architrave
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Typical Greek construction =
Comparative Doric
order over time
Columns = dry jointed drums square metal plugs (dowels) prevent twisting & shifting
whole temple this way with metal clamps holding horizontal
elements and metal dowels holding vertical courses to
those above and below
Column evolution
earliest columns (not shown ) were extremely
slender under massive capitals
shafts thickened to "Basilica " type
then -constantly refined shafts became more slender
entasis subtler
capitals smaller
entablature lighter
Final classical proportions
were considered to be "ideal ones"
beyond which further refinement
was impossible
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Temple of Poseidon
Hera II at Paestum
c 460 BC
G5-26
Temple of Hera II
at Paestum, Italy,
c 460 BC
62702
G5-27
Plan and section
of Temple of
Poseidon
G5-27
Plan of the Temple
of Hera II at
Paestum, Italy,
c 460 BC
R11601
Temple of
Poseidon
c 450 BC
(mid 5th c BC)
c 450 BC
(mid 5th c BC)
J185
Interior
Temple of
Poseidon
Paestum
c 460 BC
(mid 5th c BC)
Probably dedicated
to Hera
Built at a time when
Doric order had already
achieved classical proportions on the mainland in
Temple of Aphaia at Aegina
among the best preserved of DORIC sanctuaries




even number of facade columns
central doorway
open middle aisle of 3 aisled naos
permits placement of cult stature
on central axis of temple,
visible from outside
2 rows of Doric columns flanking the middle aisle
Each row - a double tier of Doric columns. Small ones on
stone course supported by larger columns below
(This is standard where Doric columns supported the roof)
Double tier = practical necessity for cellas of larger Doric
temples
Later interior supports were Ionic or Corinthian columns
which were taller than Doric in relation to their diameters
Tapering seems
continuos despite
architrave inbetween
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Temple of Aphaia, Aegina
(c 490 BC, GFA284, J187)
J187
Sectional view of
Temple of Aphaia,
Aeginia
c 490 BC,
had a double row in order not to obscure the altar.
1st see here the 2 story interior
Became a practical necessity of larger DORIC temples
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Treasury of the Siphnians
from the Sanctuary of Apollo at Delphi,
3-316-0030
G5-28A
Treasury of the
Siphnians
from the Sanctuary of
Apollo at Delphi, c.
530 BC, ArchMus,
Delphi (Facade
reconstructed)
Pediment and
Frieze
c. 530 BC,
ArchMus, Delphi (Facade reconstructed)
One of the earliest IONIC buildings in Greece
Has no IONIC columns
Supports = caryatids whose style and drapery
match the Ionian Kore of Athenian Acropolis
(Kore of Chios)
(G5-28)
Identifying Ionic feature = continuous frieze that here is a
part of a heavy entablature
The irregular silhouettes of caryatids would never fit in a
Doric temple
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High (Mature) Classical Period
450 - 430 BC
Geometric
900-700 BC
Homeric epics
c 750 BC
Athenians became the dominant force in the Greek world as a
result of their leadership role defeating the Persians and the
powerful fleet that they built in the process.
Acropolis
The Athenians developed a sea based empire called the Delian League under the guise of a religious, more or
less democratic alliance of city - and island - states
They were more the subjects of Athens than allies and Athens
siphoned off a large amount of the common treasury for
own use.
Orientalizing
c 735-650 BC
Archaic
700-480 BC
Early Classical
480-450 BC
Pericles
Athens under the adroit statesman PERICLES became immensely
prosperous and proud community
Brief period of Athenian glory under Pericles saw concentration of
human creative energy and triumph of drama, philosophy
and art known in no other place or time in western history.
Athenian Acropolis
Athens sacked by Persians in 480 BC
destroyed the Athens Acropolis
shortly before the defeat of the Persians
Acropolis
Acropolis sacred hill above Athens
had been fortified site since Mycenaean times
High Classical
450 - 430 BC
Socrates
470- 399 BC
Plato
427-347 BC
Athenians, led by Pericles,
completely rebuilding the Acropolis, one of the greatest
building projects of antiquity before Roman times.
G5-42
X4-5
Plan and Aerial of
the Acropolis of
Athens, restored
as of 400 BC
G5-43
Reiteration
(model) of the
Acropolis)of
Athens toward the
end of the 5th c
BC;
the Parthenon,
(upper center), t
he Erechtheion
(left center),
and the Propylaia
and the Temple of
the Athena Nike
(right foreground).
Royal Ontario
Muss, Toronto.
Aristotle
384-322 BC
Athenian acropolis on towering platform of rock
Archaic
700-480
Buildings on acropolis =
= Classical phase in full maturity
Early Classical
480-450
Of the Periclean buildings on the Acropolis
High Classical
450m-m430
the Parthenon sacred to Athena Parthenos
was the first and largest to be built
Peloponnesian War
431-404
Late Classical
430-323
only one built before Peloponnesian War
Alexander
Hellenistic
323 - 30
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DORIC
Parthenon
448- 432 BC
G5-44
IKTINOS and
KALLIKRATES, the
Parthenon,
Acropolis, Athens,
448 - 432 BC (view
from Northwest)
G5-45
IKTINOS and
KALLIKRATES,
Southeast Corner of
the Parthenon,
Acropolis, Athens,
448 - 432 BC (view
from Northwest)
Ic-TINE-us
perfect embodiment of Classical Doric Architecture
final example of the evolution in architecture:
the columns are more slender,
the capitals smaller,
the entablature lighter,
and the entasis is more subtle.-to keep them from
appearing hollow
Architects -
IKTINOS and KALLIKRATES,
ICTINUS and CALLICRATES,
peripteral temple
short side = slightly less than its long side
in ruin since 1687Turks stored
gunpowder in cella.
Exploded during
siege
Gardner
Janson
peripteral = single
colonnade around
naos
Cella= unusually wide ,
shorter than other temples
accommodates 2nd room behind
G5-44
Parthenon columns
Parthenon interior
with Athena
Parthenon
Pronaos/ counterpart
almost disappeared
extra row of columns in front of either entrance
Naos = subdivided into two parts
1. Larger part contained the
cult statue of the Athena Parthenon
(by Phidias, apx 40' tall)
2.
Smaller division of naos =
Treasury of the Delian League
but most of revenues spent on bldg projects
The interiors were organized differently
naos- two double rows of small columns
for roof support
Perhaps for 2nd floor gallery from which visitors
could view the statue.
Pericles spent funds
collected from citystates which were
allies w/ Athens
against Persians
Athens=
chief victim and
victor in war against
Persia
This = weakened the
position of Athens &
contributed to their
defeat in
Peloponnesian War
Only sanctuary to serve 4 diff faiths in succession:
Greek
Byzantine
Catholic Cathedral
Mosque (under Turks)
Sculptures of the Parthenon
by Phidias
one of the great sculptors of all times
Phidias
FID-i-ass
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Parthenon epitomizes DORIC architecture
Except for 2 IONIC elements:
1.
4 Ionic columns in Treasury part of naos
2.
Continuos frieze of sculpture
that runs along exterior of naos wall
Despite larger size of Parthenon
it seems much less massive than Temple of Poseidon
J183
Temple of
Poseidon
foreground
c 460 BCE
Parthenon
entablature = lower in relation to width/ height of columns
Cornice projects less
Columns more slender, tapering & entasis less pronounced
Load carried by columns = decreased
Back
Basilica
550 BCE
The architects, IKTINUS and KALLIKRATES,
ICTINUS and CALLICRATES,
realized that
abstract geometric & mathematical rules were inadequate
for the perfection they sought;
break the rules
to give the illusion that
the rules had been followed-The organic must modify the mathematical to allow for human
perception
To make the building look perfectly balanced, they made a number of
adjustments
In addition to the
subtle entasis used on the columns to keep them from
appearing hollow,
they were concerned that the building would look thinner on
the corners
where the light could show
through the columns.
They counteracted this by making
the corner columns slightly thicker and
by moving them closer together.
Columns slanted inward, a device called "batter,"
and
they gave the entablature a slight batter outward.
continued upward
In order to keep the temple from
appearing to sag in the middle they
raised the stylobate or base
four and one half inches in the center.
Greek architecture not as rational as Greek logic
each capital =
distorted slightly to
fit curving
architrave
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DORIC FREIZE
G5-45
IKTINOS and
KALLIKRATES,
Southeast Corner
of the Parthenon,
Acropolis, Athens,
448 - 432 BC
(view from
Northwest)
DORIC Frieze organized according to 3 inflexible rules
1. triglyph must be exactly
over the center of each column
2.
a triglyph must be over the
center of each intercolumniation
3.
triglyphs at the corners of the frieze
must meet so that no space is left over.
This problem of the corner triglyph was probably a
constant irritation and embarassment
and probably contributed
to the eventual decline of the
Doric order c 4th c BC
and to the continuous friezes
which eliminate the problem
In order to solve the problem of how to have triglyphs meet at each
corner,
as well as have one over each column,
they widened the metope space just slightly
from the center outward.
the insistence on clarity in argument
that led Greeks
to invent logic operates in their architecture
Syllogism - early triumph of Greek thought
3 propositions ending in logical correct conclusion cannot be
matched in Doric order.
conclusion cannot be
harmonized
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Phidias prob planned and designed
the pedimental groups and friezes
students and assistants carved them
among most marvelous of all surviving Greek works of
sculptures and among the supreme masterworks of all times
Sculptures of the pediments, metopes, and great frieze compose
the most elaborate sculptural program in the history of Greek
art
debate the arrangement of figures
Agree1. East pediment group = birth of Athena
= various deities, mostly sitting/ reclining witnessing birth of
Athena from head of Zeus
2.
West pediment group =
Athena's battle with Poseidon
for possession of the city
British museum
Elgin marbles.
1801-03 -- removed
Lord Elgin British ambassador to Ottoman court at Constantinople
was permitted to dismantle the sculptures and ship the
best preserved ones to England
He eventually sold them at a loss to the British Museum
It is now believed that his removal of the sculptures
was an humanitarian attempt
to save them from destruction
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Dionysos (Herakles)
East Pediment (Birth of Athena)
J209
G5-46
Dionysos
(Herakles?),
from the east
pediment of the
Parthenon, Marble,
over lifesize, British
Museum, London,
c 448 - 432 BC
Final relaxation of all limitations of Archaic figurative art
Knowledge of organic, coordinated human body -convincing consistency in all its parts
spaciousness
complete ease of movement
neither violence nor pathos (suffering)
deep poetry of meaning
relaxed masculine body
at feet of Dionysus and goddesses
Phidias placed 2 horses heads
repres chariots of rising sun & waning moon
emerging & dying below the pedimental space.
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Three Goddesses,
East Pediment (Birth of Athena)
R4447
G5-47
Three Goddesses,
from the east
pediment of the
Parthenon, Marble,
over lifesize, British
Museum, London,
c 448 - 432 BC
Shows the reinforcing and complementary actions of the
principles of monumentality of scale
and simplicity of pose
with the "essential detail of actual life"
Typically Phidian
majestic and "real" in the reading of the relaxed forms
soft fullness
enveloped in thin drapery
Thin and heavy fold of drapery which
alternately reveal and conceal
the main and lesser masses of the body
Drapery unifies the group
Bodies are fluidly related to each other
and the drapery as well
Fluid- flows, eddies around forms underneath
Treatment of body and drapery =
different but in functional relationship
to one another
complete ease of movement
at feet of Dionysus and goddesses
Phidias placed 2 horses heads
repres chariots of rising sun & waning moon
emerging & dying below the pedimental space.
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Metopes
Lapith and Centaur
G5-48
Lapith and Centaur
metope from the
Parthenon,
Marble, 56" high,
British Museum,
London,
c 448 - 432 BC
3/4 5th c BCE
Sculptured metopes
set between the triglyphs
in the outer face of the Doric frieze
Accent of movement
by use of diagonal forms
compositions of pairs of struggling figures in high relief
centaurs and lapiths
gods and giants
Greeks and Amazons
In general the metopes display the ingenuity of the
Phidian school in varying the poses and
attitudes of the figures and avoiding the
monotony that regularly repeated space would
impose
The Greeks and opponents have about the same win /
loss record
Wedding
Theseus was a
Lapith
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J211
R4446
G5-49
Horsemen,
from the west
frieze of the
Parthenon, Marble,
apx. 43" high
British Museum,
London,
c 448 - 432 BC
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G5-29
Battle of the Gods
and Giants, from
the north frieze of
the Siphnian
from the Sanctuary
of Apollo at Delphi,
c. 530 BC,
ArchMus, Delphi
(Facade
reconstructed)
Continuos frieze of Exterior wall of naos
Within the colonnade at top of the
external naos wall a
continuous Ionic frieze ran around the four sides forming
an unbroken band of bas- relief sculpture some
524' (525") long
Poorly lit
difficult to see
placed immediately below the ceiling
Illusion of space and rounded forms = more advanced than
Treas of Siphnians
3/4 5th c
Horsemen
rhythmic grace
spirited movement of horsemen
G5-50
Head of the
Procession, from
the east frieze of
the Parthenon,
Marble, apx 43"
high. Louvre, Paris
Subject is still a matter of scholarly dispute
1) Procession honoring Athena in presence of other
Olympic gods
or probably represents
2)
Panathenianaic procession
took place every 4 years when
citizens of Athens gathered in market place &
carried the Peplos (or robe) for the statue of
Athena to the Parthenon
(an Archaic sculpture of Athena not Phidias's)
This = the first non- mythological subject in Greek
temple reliefs
= unique in the ancient world for its
careful creation of the passage of time
effect is achieved by use of a
sequence of figures posed
to present a gradation of motion.
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G5-42
Plan of the
Acropolis of
Athens, restored
as of 400 BC
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J191
G5-51
IMNESIKLES,
the Propylaia,
Acropolis, Athens,
437 - 432 BC (view
from the east)
X4-62
Plan of Propylaia
and Athena Nike
Propylaia,
(Propylaea) G5-51
MNESIKLES,
437 - 432 BC
MNESICLES,= architect
Other buildings of the Acropolis, Athens
Monumental entry gate at west end of Acropolis
part of Periclean building project
Marble
Begun immed following completion Parthenon
1. never finished (main part built)
partly due to financial burden of the Peloponnesian
War2.
X4-52
Plan of Propylaia
one of wings would have trepasses on sanctuary of
Artemis Bauronia
Resting place after steep climb before going on to sacred
buildings
Built on irregular steeply rising site
X4-59
Cross Section of
Propylaea
J193
Propylaea
(view from east and
Temple of Athena
Nike
(427-424), Acropolis,
Athens
MNEE-sik-lees
East FacadeWest facade would have been similar
Modification of the Doric regularity
in broadening the space betw central columns
make passageway wide for wheeled traffic
West FacadeJ192
The Propylaea
(w/ pinakoheke),
Western entrance
flanked by two wings
Gate Hall itself flanked by buildings containing a library and
perhaps the first picture gallery (pinakotheke) in history
Contains IONIC elements 1. columns that line the corridor
(that give greater height to support central roof
structure
Greek buildings ordinarily existed in isolation, self-sufficient, and
relatively independent of surroundings
Athenian
architecture
at time
= trend toward using
IONIC elements
inside
DORIC structures
Remember sculpt
frieze inside
Parthenon)
G5-54
Reconstructed
elevations of the
east and west
facades of the
Erechtheion,
Acropolis, Athens,
421 - 405 BC
Propylaia = innovative in that buildings of different types &
functions (propylene &halls)
were combined into axially aligned groupings
that look ahead to later Hellenistic designs
& axial composition of Roman imperial forums.
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IONIC TEMPLES
Athens=
strong Aegean orientation
hospitable to eastern Greek building style
from mid 5th c on
Previous known dev of IONIC= fragmentary
Huge Archaic IONIC temples
= on Samos
|
gen. known
= at Ephesus
|
only in plans
IONIC columns diff from Doric
= ornate profiled base
= more slender shaft
= less tapering and entasis
= large double scroll, volute, capital
IONIC columns
echo from of growing plant
formalized palm plant
J194
Aeolian capital, from
Larissa,
c 600 BC
Archaeological
Museum, Istabul
J194
Aeolian capital, from Larissa,
c 600 BC
early ancestor of Ionic capital
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Temple of Athena Nike
Built under direction of KALLIKRATES
c. 427 - 424 BC
X4-62
Plan of Propylaea
and Temple of
Athena Nike
LaCour slide
Temple of Athena
NKK
G5-52
KALLIKRATES,
the Temple of Athena
Nike, Acropolis,
Athens, 427 - 424 BC
(view from the east)
amphiprostyle ionic temple
on site of Mycenaean bastion near Propylaia
Slender, exquisite proportions contrast Doric severity of
gate unit
Earliest completely Ionic building in existence on the
Acropolis
Before now IONIC order had been employed in construction of a
whole building only in cases of a few treasures
at Olympia
and Delphi (Treasury of Siphnians)
these buildings were constructed by Aegean islanders
not by Greeks on mainland
Athens rule of the islands opened the city to eastern Greek and
Ionian influences
Athenian architects took up Ionic order c 450 BC
1st thought only suitable for small temples of simple plan
a prostyle temple
(a colonnade
across front)
plus a porch added
at rear.
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Erechtheion
421- 405 BC perhaps erected by Mnesicles
R4461
G5-55
G5-53
The Erechtheion,
Acropolis, Athens,
421 - 405 BC
Porch of Maidens,
The Erechtheion,
Acropolis, Athens,
421 - 405 BC
J196
The Erechtheum
(view from the
south), Acropolis,
Athens.
421-405 BC
Ionic
Last of the Periclean program
Most unusual in plan and
unlike any other Greek temple
largely due to its irregular site
and partly due to the number of shrines included in it.
Northern edge of
Acropolis opposite
the Parthenon
Named after the mythological Athenian hero ERECTHEUS--king of Athens
Erechtheion stands on traditional site
of contest between Poseidon and Athena
for domination over Athens
Adapted to irregular, sloping site
X4-66
Plan of Erechtheion
X4-65
Erechtheion
North Doorway
Asymmetrical plan resulted from
need to bring traditionally revered sites together
&the pious reluctance to disturb sacred places included
terracing sacred ground.
as a result
=several levels
with porches projecting from three sides
& an unusual screen wall closing off the fourth.
eastern room =
dedicated to Athena
Polias
Athena= city
goddess
believe the Erechtheion=finished according to plan.
Asymmetrical form =
effective counterpoint to
the symmetrical unity of the Parthenon
several religious
functions
Sculpture confined to frieze except for caryatids
Bare pediments lack of resources due to Peloponnesian War?
Delicate/ rich ornamental carving on bases/ capitals frames of
doorways/ windows
Erechtheion
421- 405 BC
Porch of Maidens
Early Classical
480-450
-----still ----G5-55
Porch of Maidens,
The Erechtheion,
Acropolis, Athens,
421 - 405 BC
small porch facing Parthenon
Graceful caryatids
Striking complement to
the severity of Parthenon's doric columns
High Classical
450-430
Late Classical
430-323
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AFTER CLASSICAL SCULPTURE
Emphasis on ornament = characteristic of late 5th c
J195
corinthian capital,
from the Tholos at
Epidaurus, c 350 BC,
Museum, Epidaurus
Corinthian capital
= elaborate substitute for Ionic capital
shape = inverted bell
covered with curly shoots/ leaves of acanthus plant
1st only used on interiors
Monument of Lysicrates
Athens
c. 334 BC
J198
The Monument of
Lysicrates, Athens,
c 334 BC
G05-70A
The Monument of
Lysicrates, Athens,
distant view
c 334 BC
Earliest use of Corinthian capital on exterior
Not really a building
The hollow interior has no entrance
Elaborate support for tripod won by Lysicrates in a contest
Miniature version of a tholos
Engaged columns to make monument more compact
Later was employed on larger building
IN Roman times
Corinthian = standard capital for almost any purpose
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Architectural vocabulary aesthetically and technically remained
essentially that of the temples of late 5th c
Only increase in repertory = Open Air Theatre
Open Air Theatre
Theater, Epidaurus
c 350 BC
achieved regular, defined shape
Before 4th c
auditorium
= natural slope
= perfectly curved
= equipped with stone benches
R23072
J199
The Theatre
Epidaurus, c 350
BC
J200
Plan of the Theater
Epidaurus, (after
PicardCambridge)
Now- hillside =
concentric row of seats at regular intervals
Center = orchestra
where most of action took place
Extreme right = remains of hall like building
formed backdrop/ supported scenery
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Limitations of Greek Architecture
Concern with monumental exteriors at expense of interior space
concentration of effort on temples of one particular type
Lack of interest in any system other than post and lintel