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629:, the explosion of the powder reserve installed in the Parthenon greatly damaged the pediments. The blast caused some of the statues to fall and others to be out of balance, making a fall possible. Morosini was then ordered by the Venetian Senate to return to the Serenissima the "work of art considered the most important and the most refined." He decided to take some sculptures from the western pediment, probably the left-wing chariot, that of Athena. However, his men were ill-equipped and the statues crashed to the ground early in 1688. Only one female head (the Weber-Laborde head) found its way to Venice. In the same way, part of the head of one of the horses of Athena's chariot traveled to the Vatican.
438:
727:. Busts (very damaged) of Athena, Poseidon, Amphitrite, Hermes and Iris (West L, M, O, H and N) are preserved. Although the Helios group and Iris suffered by the 1939 Duveen cleaning in the British Museum (the cleaning removed part of their historic surface and destroyed remnants of paint), overall the pediments escaped the cleaning compared to the frieze and metopes. A fragment of the helmet of the virgin goddess and the front of the bust of the sea god are on the other hand in the museum of the Acropolis, with fragments of the marine snake which was at the foot of Poseidon's wife.
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years), many artists must have worked there, as the differences of style and techniques show. Thus, the western pediment seems more refined, more "artificial" (almost mannerist) than the eastern pediment. It is possible that there was one artist per statue or group of statues. The accounts of 434–433 indicate that the sculptors were paid 16,392 drachmas. It is difficult to know, however, whether this is the total wage or the salary for that year alone. For comparison, the total cost of each of the (much smaller) pediments of
172:
17:
280:
157:
410:
422:
557:
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579:
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his trident, the god of the seas caused a spring (or a lake) of salty water to spring up on the acropolis. The virgin goddess with a spearhead made the first olive tree appear. The sources do not agree on the identity of the referees. They chose Athena and her olive tree. This story is first recounted by
Herodotus (VIII, 55). This myth had hitherto been little represented: the artist who conceived the ensemble, as well as the sculptors, had a complete freedom.
482:. Further, on each side, new grooves for retaining blades suggest again a very heavy statue, perhaps a biga, even if the presence of chariots here has no narrative justification; moreover, chariots (of gods) are present at the corners. These Heavy statues might be the horses of the Dioscuri, as proposed by Brinkmann and Koch-Brinkmann. In addition, the decor of a Roman well of the first century (Putéal de la Moncloa) preserved in the
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waiting to be mounted on the
Parthenon. The artists would then have chosen to finish them in their entirety. Nevertheless, the finish depends on the statues, and therefore the sculptors. On some, details, invisible from the ground were left unfinished, while on others, this was not the case. In addition, it was necessary to plane the back of some (west A for example) to make them fit their designated place.
478:. Other statues are poorly identified. Various fragments preserved in the museum of the Acropolis of Athens certainly come from this pediment. The "Wegner peplophoros" (consisting of the fragments MAcr 6711 and MAcr 6712) could have been Hera. Similarly, the torso fragment MAcr 880 could correspond to the figure is H and may have been Hephaestus or one of the
342:: he looked no longer the quarrel?, but already behind him. The bust of Iris was identified through the square holes at the shoulder blades, where her wings were originally attached. She wears a short tunic that the wind sticks to the forms of her body that can be divined in multiple folds. The tunic was retained by a thin belt, added in bronze and since lost.
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The west group B and C is very damaged because it remained on the
Parthenon until 1977, as was the western female figure W. The western group B and C (probably Cecrops and Pandrose) was not swept away by the agents of Lord Elgin at the beginning of the nineteenth century because they believed that it
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The pediments of the
Parthenon included many statues. The one to the west had a little more than the one to the east. In the description of the Acropolis of Athens by Pausanias, a sentence informs about the chosen themes: the quarrel between Athena and Poseidon for Attica in the west and the birth of
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at
Olympia, about twenty years older, and seem to have been a major influence for the realization of the pediments of the Parthenon. The dimensions are relatively equivalent: 3.44 meters high to a depth of 1 meter at Olympia. In order to make them more visible, because of the angle of vision, some of
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and golden lotus flowers). Thus, was delimited a long space of 28.35 m and high (in its center) of 3.428 m or 3.47 m to a depth of 0.90 m. All the statues were installed on the horizontal cornice which exceeded in overhanging of 70 cm, placed either on a plinth or on a laying bed. To install the
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Outside the central action, the other deities on the pediment seem to make only the "act of presence." The left end, on the south, is the best-preserved. A standing female figure (designated G) walks away from the central action she is looking at. She is dressed in a peplos and approaches two other
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On the left side were various characters from the Attic mythology whose identifications are discussed. The general theme of the pediment being a purely local myth, it is often surmised that
Athenian heroes should be represented. The western figures D, E and F have disappeared. The west group B and C
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In the central space, the two gods (Athena on the left, West L, Poseidon on the right, West M) were perhaps separated by the olive tree of Athena or even the lightning of Zeus. The representation on this pediment of an intervention of Zeus in the quarrel could be the first occurrence of this theme.
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in 439–438 BC.; sculpture work starting the following year. The accounts also show that excavation and transportation expenses were annual. This could mean that different quarries would have been used each year to obtain the highest possible quality marble. The last marble purchases in the quarries
398:
The composition of this pediment is inspired by that of the eastern pediment of
Olympia. The idea of simple "spectator" statues sitting on the exteriors and then of river gods was also borrowed from the sanctuary in the Peloponnese. The western statues B, C, L, Q and perhaps W have been copied and
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To the west, on the "minor" facade, was the quarrel between Athena and
Poseidon for Athens and Attica and the victory of the Virgin Goddess, one of the great local myths. The two divinities disputed sovereignty over the region. They decided to offer the most beautiful gifts to win. With one blow of
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Pausanias regularly informs about the authors of the works he describes. However, he gives no information on the "author" of the
Parthenon pediments. A master builder for each of the pediments may even be possible. Due to the size of the construction site (about fifty carved statues in half a dozen
590:
Block 19 of the eastern pediment's horizontal cornice was damaged and repaired in Roman times, but there is no evidence of restoration work on a statue. At the time of the transformation of the
Parthenon into a church, somewhere in the sixth or the seventh century, the statues of the center of the
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or a deity indicating the locality. He is very athletic and has his legs apart. If this is the young Dionysus, who is also on the east side of the frieze, it may well be the first example of the change in the representation of this god. While he was previously portrayed in the guise of a rude old
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It is difficult to determine where the gift of the two gods could be represented: emerging from the ground at the end of their weapon (lance for Athena and trident for Poseidon) or the olive tree well in the center of the pediment, with the sacred serpent of Athena wrapped around. It seems that
449:
The east pediment, on the most sacred facade, evokes the birth of Athena before the other gods together, a theme already developed in the decor of ceramics, but never yet in sculpture. However, we know little about it because it disappeared very early, when the Parthenon was transformed into a
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The statues are the largest pediment statues made in classical Greece and they are almost all in one piece. In addition, they were sculpted in the round. The same care was accorded to the front and the back, though the latter is hidden. It is possible that they were "exposed" on the site while
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Athena in the east. This is the only evocation in the ancient literature of the Parthenon's decoration. In addition, the traveler gives no detail outside the general theme while he describes in a very precise way the pediments of the temple of Zeus in Olympia. Perhaps he considered the
303:. The violence of the divine confrontation can be read in the tension of the tense bodies which are recoiling backward, as in the famous group Athena and Marsyas of Myron, dedicated on the acropolis a few years earlier. The movement also recalls that of the South metope XXVII.
318:(west O) is the usual charioteer of the sea god: on the drawing attributed to Carrey, she is identifiable thanks to the sea serpent at her feet, but she is found occupying this function elsewhere in the art and perhaps is on one of the east metopes. Amphitrite wears a
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the statues were inclined outwards, as in Olympia, and sometimes up to 30 cm above the void. Even the sitting statues had their feet protruding from the edge. The fixing systems (dowels and spikes) of the statues at the horizontal cornice were nearly the same in
598:
during one of his visits to Athens drew one of the pediments, probably that of the west. He represents only a carriage, probably that of Athena: that of Poseidon would have already disappeared, without his fate being known. In 1674, an artist in the service of the
715:
The two pediments included about fifty statues. Only one, identified as Dionysus on the east side, kept his head. All others have disappeared or been dispersed across Europe. The statues are preserved in the British Museum, the Acropolis Museum in Athens and the
77:
have been damaged multiple times by natural disasters, fire, religious conflicts, weathering and pollution. As the temple was in use for almost 1000 years, we must assume that some of the figures were repaired, modified or completely replaced during this phase.
535:. Brinkmann and Koch-Brinkmann argue that east K, L and M show two Horai and the locality of Attika, which was usually called Attike. At the very end, the chariot of the Moon or Night seems to descend through the bottom of the pediment.
322:
with a wide belt worn very high, just under the chest. The garment is open on the left side, floating behind in the wind, leaving the leg bare. The rearing horses allow an ideal occupation of the space between the cornices. The
461:
at his feet. In fact, there remain traces of three large metal supports of a very heavy statue: Zeus was then seated, either on his throne or on a rock at the top of Olympus. Near him were to be Athena, of course, but also
1718:; Koch-Brinkmann, Ulrike (2021). "Learning from Delphi. Provisional Thoughts on Interdependencies of Storytelling on the Siphnian Treasury and the Athenian Parthenon". In Bäbler, Balbina; Nesselrath, Heinz-Günther (eds.).
607:, made fairly accurate coloured drawings of both pediments. In these, the west pediment already lacked the chariot of the god of the seas and a few heads, including that of Athena. The pediment was already very damaged.
227:. However, for the heaviest (in the center), the Parthenon sculptors had to innovate. They were held by iron props that sank to one side in the plinth of the statue and the other deep in the horizontal cornice and
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on the right. The statue of the Ilissos is of very high quality in its rendering of the anatomical details and in its movement: it seems to be extracted from the ground while turning towards the central scene.
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are recorded in 434 BC. In the logic of the construction of the building, the sculptures of the pediments had to be installed almost at the very end (before the installation of the roof), probably in 432 BC.
514:
The right end, to the north, has retained only a group of three women (east K, L and M). The work of the sculptors is of very high quality, mainly in the play of drapery. It is most often attributed to
632:
The fate of the other fragments varied: some were used as building material for houses built on the acropolis; others were bought by European collectors passing through Athens during their
538:
The myth of the birth of Athena, reported to compose the East pediment by Pausanias, is repeated also in the East pediment of the contemporary Attic temple nearby of the Hephaisteion.
382:
The first figure on the left, male, (west A) and the last on the right, female, (west W) are symmetrical. By analogy with the pediments of Olympia, river deities have been identified:
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adapted to adorn one of the pediments of the temple of Eleusis (smaller than that of the Parthenon), completed in the second century and representing the abduction of
1477:
639:
As scholarly interest increased in the 19th century, a misapprehension developed among some German scholars, despite the existence of drawings of both pediments.
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The accounts of the construction of the Parthenon make it possible to know that the marble intended for the pediments began to be extracted from the quarries of
494:
female figures (east E and F), sitting on folded cloths placed on chests (detail only visible from behind). The proposed interpretation is that it would be
600:
379:
West T has an older child on the knees (west S). The western U and V statues are highly damaged and fragmentary but do not appear to form a group.
137:
in 1871, the statues are designated from left to right by a letter: from A to W for the western pediment and from A to P for the eastern pediment.
81:
Considered the archetype of classical sculpture, or even the embodiment of ideal beauty, several of the statues were removed from the building by
168:
Deep rectangular grooves at the corners of pediments could indicate the presence in these places of a lift-type mechanism for mounting statues.
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519:. East K is from the front. East M is carelessly lying on her neighbor east L. The trio has not been identified. However, the pattern of the
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It is then found on a vase from the end of the fifth century BC. preserved in the archaeological museum of Pella and in literature.
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1459:
Stewart, Andrew F. (2018). “Classical Sculpture from the Athenian Agora, Part 1: The Pediments and Akroteria of the Hephaisteion.”
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https://www.academia.edu/89686234/Classical_Pedimental_Compositions_the_5th_century_Post_Parthenonian_Pediments_and_their_Meanings
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Ousterhout, Robert (2005). ""Bestride the Very Peak of Heaven" : The Parthenon After Antiquity". In Neils, Jenifer (ed.).
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was a repair of the first centuries of our era that had replaced the original group by a statue tribute to the emperor
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of the Peloponnese to be more important than the Parthenon, the latter perhaps being too "local", or simply Athenian.
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707:(1682). travel narratives. The head of the horse of Helios' chariot, east C, was removed from the Parthenon in 1988.
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Fragments of this snake were found and identified in the 1980s: they are kept at the Acropolis Museum in Athens.(
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man, this youthful and turbulent version was then imposed on iconography. The god seems to salute the chariot of
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slipping subtly revealing the shoulder is seen here on east K and M. It is also on west C, identified with
490:. As it seems to owe much to the Parthenon pediment, these deities could also attend the birth of Athena.
691:, the presence of pedimental architecture on both pediments of the Parthenon has generally been accepted.
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On the right side, two seated women carry children: west Q holds two babies (west P and R), it could be
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1805:(2005). "Fire from Heaven : Pediments and Akroteria of the Parthenon". In Neils, Jenifer (ed.).
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636:. Excavations organized by the Greek state in the 1830s and 1840s brought to light many fragments.
502:. To their left and with his back to them, a male figure (east D) is lying on a rock. This might be
2402:
2062:
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is very damaged. Snake fragments (a snake or the tail of the male figure) suggest that it could be
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1474:
Classical Pedimental Compositions: the 5th-century Post-Parthenonian Pediments and their Meanings.
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1749:. Manuels de l'École du Louvre. Paris: La Documentation française / Réunion des musées nationaux.
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and his wife Sabine. This erroneous assumption was made at the end of the seventeenth century in
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The head of Hermes disappeared between 1674 (drawing attributed to Carrey) and 1749 (drawing of
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wonder if the contemporaries themselves were really capable of identifying all the characters.
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After this large central group, the tension drops and the poses of the statues are calmer.
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8:
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683:(1863). However, following the publication of "Attische Bauwerke:I, Theseion" in 1873 by
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L'Acropole d'Athènes : Monuments, cultes et histoire du sanctuaire d'Athéna Polias
1710:. L'Univers de l'art. Translated by LĂ©vy-Paoloni, Florence. Paris: Thames & Hudson.
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792:. Translated by Jones, W. H. S. Cambridge, MA: Harvard University Press. Book 1, 24.5.
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provided evidence as regards the existence of sculptures on the west pediment in his
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52:. They were probably lifted into place by 432 BC, having been carved on the ground.
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of twenty-five blocks of marble. The ranking cornices were surmounted by a painted
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The statues of the pediments are considered the archetype of classical sculpture.
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Annotated sectional view of the Parthenon with parts in the British Museum shaded
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667:(1852) that these existed in both the east and west pediments of the Parthenon.
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231:. These "L" props made the weight of the statue cantilevered on the cornice.
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was 3,010 drachmas. Robert Spenser Stanier proposed in 1953 an estimate of 17
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Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres
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314:(west G) leads that of Athena, but the statue has completely disappeared.
58:, a Greek geographer, described their subjects: to the east, the birth of
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on the eastern frieze. This sensual gesture could also be attributed to
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or those of the temple of Apollo at Delphi to Praxias and Androsthenes.
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Drawing attributed to Jacques Carrey : east pediment, north part.
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Drawing attributed to Jacques Carrey : east pediment, south part.
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Drawing attributed to Jacques Carrey : west pediment, south part.
415:
Drawing attributed to Jacques Carrey : west pediment, north part.
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He thus attributes the pediments of the temple of Zeus at Olympia to
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MA diss. National and Kapodistrian University of Athens. p. 21-24.
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85:'s agents in the early nineteenth century and transported to the
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1740:. Grands dictionnaires. Paris: Presses universitaires de France.
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So-called "Weber-Laborde head", West pediment, ca. 447–433 BC;
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The number of statues and the very precise myths evoked makes
1849:
Stanier, Robert Spenser (1953). "The Cost of the Parthenon".
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in London. Some statues and many fragments are kept at the
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to surmise that only the west pediments had this feature,
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La Sculpture grecque, vol. II : La période classique
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603:(French ambassador to the Sublime Porte), very probably
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eastern pediment were removed to make way for the apse.
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Much of what remains of the western pediment is in the
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discussed the presence of pedimental sculptures in the
1699:
Greek Sculpture : The Classical Period a handbook
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Proposed reconstruction of the east pediment in the
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Proposed reconstruction of the west pediment at the
1835:. Manuels d'art et d'archéologie antiques. Picard.
1807:The Parthenon : From Antiquity to the Present
1783:The Parthenon : From Antiquity to the Present
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1738:Dictionnaire de la mythologie grecque et romaine
97:at a smaller scale, from the Parthenon are the
2363:Museum of the Center for the Acropolis Studies
1720:Delphi. Apollons Orakel in der Welt der Antike
1586:"The Pedimental Sculpture of the Hephaisteion"
62:, and to the west the quarrel between her and
28:are the two sets of statues (around fifty) in
2013:
1902:
772:those of the temple of Heracles at Thebes to
291:Poseidon's torso was used as a model for the
1745:Holtzmann, Bernard; Pasquier, Alain (1998).
594:In the first half of the fifteenth century,
211:statue is G, the cornice had to be dug out.
93:in Athens. Other groups of sculpture, both
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1747:Histoire de l'art antique : l'Art grec
1653:The Parthenon Marbles and International Law
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2006:
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1731:. London: British Museum Publications Ltd.
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805:Architect and Sculptor in Classical Greece
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331:(west H) on the side of Athena and Nike;
1816:"La " tĂŞte Laborde " rendue Ă elle-mĂŞme"
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511:rising from the end of the pediment.
1797:. Monumenta Graeca et Romana. Brill.
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36:on the east and west facades of the
1448:Brinkmann & Koch-Brinkmann 2021
1424:Brinkmann & Koch-Brinkmann 2021
1397:Brinkmann & Koch-Brinkmann 2021
1385:Brinkmann & Koch-Brinkmann 2021
1373:Brinkmann & Koch-Brinkmann 2021
673:Principles of Athenian Architecture
368:, carrying the two sons she had of
13:
2519:Siege of the Acropolis (1826–1827)
2514:Siege of the Acropolis (1821–1822)
48:. The master builder was probably
20:Statue of Dionysus, east pediment.
14:
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621:On 26 September 1687, during the
2499:Achaemenid destruction of Athens
2413:Korai of the Acropolis of Athens
2121:
1767:. Leipzig: Breitkopf und Härtel.
1584:Thompson, Homer A. (July 1949).
681:Untersuchungen auf der Akropolis
555:
543:
432:
420:
408:
310:) and their female charioteers.
254:
198:) was an overhanging horizontal
2573:5th-century BC Greek sculptures
2313:Louis-François-Sébastien Fauvel
2093:Choragic Monument of Thrasyllos
2083:Theatre of Dionysus Eleuthereus
1689:
1643:
1466:
1453:
819:
796:
779:
710:
582:The north pediment as drawn by
153:for pediments and acroterions.
108:
2218:Church of Panagia Atheniotissa
2158:Sanctuary of Artemis Brauronia
1795:The Pediments of the Parthenon
1708:La Sculpture grecque classique
758:
739:
625:by the Venetians commanded by
234:
1:
2509:Siege of the Acropolis (1687)
1840:Saint-Clair, William (1983).
1809:. Cambridge University Press.
1785:. Cambridge University Press.
1776:. Cambridge University Press.
1524:Holtzmann & Pasquier 1998
1321:Holtzmann & Pasquier 1998
989:Holtzmann & Pasquier 1998
835:
586:in 1436, not very accurately.
1701:. London: Thames and Hudson.
1472:Peixoto, Gabriel B. (2022).
453:In the center was enthroned
7:
2223:Temple of Roma and Augustus
2208:Choragic Monument of Nikias
1916:
1851:Journal of Hellenic Studies
1754:Holtzmann, Bernard (2003).
10:
2599:
2408:Pediments of the Parthenon
1982:Pediments of the Parthenon
1844:. Oxford University Press.
1842:Lord Elgin and the Marbles
571:
567:
527:and the representation of
32:originally located as the
26:pediments of the Parthenon
2527:
2491:
2380:
2345:
2298:Giovanni Battista Lusieri
2243:
2236:
2193:Sanctuary of Zeus Polieus
2130:
2119:
2035:
1987:Statue of Zeus at Olympia
1924:
1763:Michaelis, Adolf (1871).
1662:10.1007/978-3-031-26357-6
1562:, p. 136-137 et 252.
803:Ashmole, Bernard (1972).
746:Michaelis, Adolf (1871).
657:The Antiquities of Athens
2403:Metopes of the Parthenon
2063:Odeon of Herodes Atticus
1814:Pasquier, Alain (2007).
1650:Titi, Catharine (2023).
733:
390:on the left and perhaps
306:Then came the chariots (
99:Metopes of the Parthenon
2504:Sack of Athens (267 AD)
1831:Rolley, Claude (1999).
1772:Neils, Jenifer (2006).
1736:Grimal, Pierre (1999).
1706:Boardman, John (1995).
1697:Boardman, John (1985).
1399:, p. 48-49, 53-54.
754:: Breitkopf und Härtel.
641:James "Athenian" Stuart
486:evokes the presence of
335:(west N) of the other.
117:A modern quarry on Mt.
2453:Nike Fixing her Sandal
2178:Altar of Athena Polias
2078:Sanctuary of Asclepius
1628:, p. 227 et note.
1538:, p. 18-19 et 41.
915:, p. 232 et note.
720:(Weber-Laborde head).
618:
587:
446:
287:
268:
183:
161:
122:
21:
2568:Sculptures by Phidias
2058:Temple of Athena Nike
1574:, p. 227 et 230.
950:, p. 137 et 141.
789:Description of Greece
613:
581:
440:
282:
262:
242:Panhellenic sanctuary
214:The pediments of the
182:on the west pediment
174:
159:
116:
19:
2583:Pedimental sculpture
2473:Athena Marsyas Group
2358:Old Acropolis Museum
2328:Panagiotis Kavvadias
2303:Reverend Philip Hunt
2188:Sanctuary of Pandion
2153:Old Temple of Athena
1774:The Parthenon Frieze
1727:Cook, Brian (1984).
1450:, p. 49, 61-62.
1426:, p. 50, 54-55.
1387:, p. 49, 55-58.
1176:, p. 99 et 102.
457:, probably seated,
34:pedimental sculpture
2483:Three-Bodied Daemon
2478:Nike of Callimachus
2068:Pedestal of Agrippa
2029:Acropolis of Athens
807:. London: Phaidon.
655:in Vol II of their
42:Acropolis of Athens
2288:Francesco Morosini
1716:Brinkmann, Vinzenz
1550:, p. 320-321.
1526:, p. 183-185.
1514:, p. 317-320.
1438:, p. 138-139.
1414:, p. 137-138.
1262:, p. 140-141.
1188:, p. 139-140.
1118:, p. 118-119.
1046:, p. 231-232.
786:Pausanias (1918).
627:Francesco Morosini
619:
601:Marquis de Nointel
588:
584:Cyriacus of Ancona
447:
288:
269:
184:
162:
123:
22:
2550:
2549:
2341:
2340:
2323:Kyriakos Pittakis
2198:Odeon of Pericles
2131:Former structures
2036:Extant structures
1995:
1994:
1729:The Elgin Marbles
1671:978-3-031-26356-9
829:, pp. 42–43)
685:Cornelius Gurlitt
675:(1851). This led
498:and her daughter
353:and his daughter
2590:
2528:Related articles
2398:Athena Promachos
2393:Parthenon Frieze
2388:Athena Parthenos
2353:Acropolis Museum
2333:Nikolaos Balanos
2241:
2240:
2228:Parthenon mosque
2125:
2103:Cave Sanctuaries
2022:
2015:
2008:
1999:
1998:
1977:Parthenon Frieze
1966:Lenormant Athena
1940:Athena Promachos
1933:Athena Parthenos
1911:
1904:
1897:
1888:
1887:
1882:
1845:
1836:
1827:
1810:
1798:
1786:
1777:
1768:
1759:
1758:. Paris: Picard.
1750:
1741:
1732:
1723:
1711:
1702:
1684:
1683:
1647:
1641:
1635:
1629:
1623:
1617:
1616:
1590:
1581:
1575:
1569:
1563:
1557:
1551:
1545:
1539:
1533:
1527:
1521:
1515:
1509:
1503:
1497:
1480:
1470:
1464:
1457:
1451:
1445:
1439:
1433:
1427:
1421:
1415:
1409:
1400:
1394:
1388:
1382:
1376:
1370:
1364:
1358:
1339:
1333:
1324:
1318:
1305:
1304:, p. 43-44.
1299:
1293:
1287:
1278:
1272:
1263:
1257:
1248:
1247:, p. 42-43.
1242:
1233:
1227:
1216:
1210:
1189:
1183:
1177:
1171:
1165:
1164:, p. 41-42.
1159:
1150:
1144:
1131:
1125:
1119:
1113:
1104:
1098:
1085:
1079:
1062:
1056:
1047:
1041:
1030:
1024:
1015:
1009:
992:
986:
963:
962:, p. 72-73.
957:
951:
945:
939:
933:
916:
910:
904:
898:
879:
878:, p. 40-41.
873:
864:
858:
830:
823:
817:
816:
800:
794:
793:
783:
777:
762:
756:
755:
743:
559:
547:
443:Acropolis Museum
424:
412:
364:the daughter of
297:Odeon of Agrippa
265:Acropolis Museum
143:Asclepius Temple
127:Mount Pentelikon
103:Parthenon Frieze
91:Acropolis Museum
2598:
2597:
2593:
2592:
2591:
2589:
2588:
2587:
2553:
2552:
2551:
2546:
2523:
2487:
2463:Procne and Itys
2448:Mourning Athena
2423:Euthydikos Kore
2376:
2337:
2232:
2148:Older Parthenon
2126:
2117:
2073:Stoa of Eumenes
2031:
2026:
1996:
1991:
1952:Hermes Ludovisi
1920:
1915:
1885:
1826:(4): 1951–1956.
1692:
1687:
1672:
1648:
1644:
1636:
1632:
1624:
1620:
1588:
1582:
1578:
1570:
1566:
1558:
1554:
1548:Ousterhout 2005
1546:
1542:
1534:
1530:
1522:
1518:
1512:Ousterhout 2005
1510:
1506:
1498:
1483:
1471:
1467:
1463:87 (4):681–741.
1458:
1454:
1446:
1442:
1434:
1430:
1422:
1418:
1410:
1403:
1395:
1391:
1383:
1379:
1371:
1367:
1359:
1342:
1334:
1327:
1319:
1308:
1300:
1296:
1288:
1281:
1273:
1266:
1258:
1251:
1243:
1236:
1228:
1219:
1211:
1192:
1184:
1180:
1172:
1168:
1160:
1153:
1145:
1134:
1126:
1122:
1114:
1107:
1099:
1088:
1080:
1065:
1057:
1050:
1042:
1033:
1025:
1018:
1010:
995:
987:
966:
958:
954:
946:
942:
934:
919:
911:
907:
899:
882:
874:
867:
859:
842:
838:
833:
824:
820:
801:
797:
784:
780:
763:
759:
744:
740:
736:
713:
677:Adolf Bötticher
669:Francis Penrose
663:then argued in
645:Nicholas Revett
623:siege of Athens
596:Cyriac d'Ancona
576:
570:
563:
560:
551:
548:
435:
428:
425:
416:
413:
295:that adorn the
257:
249:Bernard Ashmole
237:
135:Adolf Michaelis
111:
30:Pentelic marble
12:
11:
5:
2596:
2586:
2585:
2580:
2575:
2570:
2565:
2548:
2547:
2545:
2544:
2539:
2531:
2529:
2525:
2524:
2522:
2521:
2516:
2511:
2506:
2501:
2495:
2493:
2489:
2488:
2486:
2485:
2480:
2475:
2470:
2468:Lemnian Athena
2465:
2460:
2455:
2450:
2445:
2440:
2435:
2430:
2425:
2420:
2415:
2410:
2405:
2400:
2395:
2390:
2384:
2382:
2378:
2377:
2375:
2374:
2372:British Museum
2365:
2360:
2355:
2349:
2347:
2343:
2342:
2339:
2338:
2336:
2335:
2330:
2325:
2320:
2315:
2310:
2308:Jacques Carrey
2305:
2300:
2295:
2290:
2285:
2280:
2275:
2270:
2265:
2260:
2255:
2250:
2244:
2238:
2234:
2233:
2231:
2230:
2225:
2220:
2215:
2210:
2205:
2203:Frankish Tower
2200:
2195:
2190:
2185:
2180:
2175:
2170:
2165:
2160:
2155:
2150:
2145:
2140:
2134:
2132:
2128:
2127:
2120:
2118:
2116:
2115:
2113:Infrastructure
2110:
2105:
2100:
2095:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2050:
2045:
2039:
2037:
2033:
2032:
2025:
2024:
2017:
2010:
2002:
1993:
1992:
1990:
1989:
1984:
1979:
1974:
1969:
1962:
1959:Lemnian Athena
1955:
1948:
1943:
1936:
1928:
1926:
1922:
1921:
1914:
1913:
1906:
1899:
1891:
1884:
1883:
1863:10.2307/628237
1846:
1837:
1828:
1811:
1799:
1787:
1778:
1769:
1760:
1751:
1742:
1733:
1724:
1712:
1703:
1693:
1691:
1688:
1686:
1685:
1670:
1642:
1640:, p. 255.
1630:
1618:
1605:10.2307/146756
1599:(3): 230–268.
1576:
1564:
1560:Holtzmann 2003
1552:
1540:
1528:
1516:
1504:
1502:, p. 226.
1481:
1465:
1452:
1440:
1436:Holtzmann 2003
1428:
1416:
1412:Holtzmann 2003
1401:
1389:
1377:
1365:
1363:, p. 102.
1340:
1338:, p. 139.
1336:Holtzmann 2003
1325:
1323:, p. 185.
1306:
1294:
1279:
1277:, p. 141.
1275:Holtzmann 2003
1264:
1260:Holtzmann 2003
1249:
1234:
1232:, p. 140.
1230:Holtzmann 2003
1217:
1190:
1186:Holtzmann 2003
1178:
1166:
1151:
1132:
1130:, p. 58a.
1120:
1105:
1103:, p. 136.
1101:Holtzmann 2003
1086:
1063:
1061:, p. 225.
1048:
1031:
1029:, p. 119.
1016:
1014:, p. 137.
1012:Holtzmann 2003
993:
991:, p. 183.
964:
952:
948:Holtzmann 2003
940:
917:
905:
880:
865:
863:, p. 230.
839:
837:
834:
832:
831:
818:
795:
778:
757:
737:
735:
732:
725:British Museum
712:
709:
703:'s (1678) and
605:Jacques Carrey
569:
566:
565:
564:
561:
554:
552:
549:
542:
466:and obviously
434:
431:
430:
429:
426:
419:
417:
414:
407:
340:Richard Dalton
256:
253:
236:
233:
216:Temple of Zeus
110:
107:
87:British Museum
68:tutelary deity
66:to become the
9:
6:
4:
3:
2:
2595:
2584:
2581:
2579:
2578:Elgin Marbles
2576:
2574:
2571:
2569:
2566:
2564:
2561:
2560:
2558:
2543:
2540:
2538:
2537:
2533:
2532:
2530:
2526:
2520:
2517:
2515:
2512:
2510:
2507:
2505:
2502:
2500:
2497:
2496:
2494:
2490:
2484:
2481:
2479:
2476:
2474:
2471:
2469:
2466:
2464:
2461:
2459:
2458:Persian Rider
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2414:
2411:
2409:
2406:
2404:
2401:
2399:
2396:
2394:
2391:
2389:
2386:
2385:
2383:
2379:
2373:
2369:
2368:Elgin Marbles
2366:
2364:
2361:
2359:
2356:
2354:
2351:
2350:
2348:
2344:
2334:
2331:
2329:
2326:
2324:
2321:
2319:
2316:
2314:
2311:
2309:
2306:
2304:
2301:
2299:
2296:
2294:
2291:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2259:
2256:
2254:
2251:
2249:
2246:
2245:
2242:
2239:
2235:
2229:
2226:
2224:
2221:
2219:
2216:
2214:
2211:
2209:
2206:
2204:
2201:
2199:
2196:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2139:
2138:Pelasgic wall
2136:
2135:
2133:
2129:
2124:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2040:
2038:
2034:
2030:
2023:
2018:
2016:
2011:
2009:
2004:
2003:
2000:
1988:
1985:
1983:
1980:
1978:
1975:
1973:
1970:
1968:
1967:
1963:
1961:
1960:
1956:
1954:
1953:
1949:
1947:
1946:Elgin Marbles
1944:
1942:
1941:
1937:
1935:
1934:
1930:
1929:
1927:
1923:
1919:
1912:
1907:
1905:
1900:
1898:
1893:
1892:
1889:
1880:
1876:
1872:
1868:
1864:
1860:
1856:
1852:
1847:
1843:
1838:
1834:
1829:
1825:
1821:
1817:
1812:
1808:
1804:
1803:Palagia, Olga
1800:
1796:
1792:
1791:Palagia, Olga
1788:
1784:
1779:
1775:
1770:
1766:
1765:Der Parthenon
1761:
1757:
1752:
1748:
1743:
1739:
1734:
1730:
1725:
1721:
1717:
1713:
1709:
1704:
1700:
1695:
1694:
1681:
1677:
1673:
1667:
1663:
1659:
1655:
1654:
1646:
1639:
1634:
1627:
1622:
1614:
1610:
1606:
1602:
1598:
1594:
1587:
1580:
1573:
1568:
1561:
1556:
1549:
1544:
1537:
1532:
1525:
1520:
1513:
1508:
1501:
1496:
1494:
1492:
1490:
1488:
1486:
1479:
1475:
1469:
1462:
1456:
1449:
1444:
1437:
1432:
1425:
1420:
1413:
1408:
1406:
1398:
1393:
1386:
1381:
1375:, p. 51.
1374:
1369:
1362:
1361:Boardman 1985
1357:
1355:
1353:
1351:
1349:
1347:
1345:
1337:
1332:
1330:
1322:
1317:
1315:
1313:
1311:
1303:
1298:
1292:, p. 44.
1291:
1286:
1284:
1276:
1271:
1269:
1261:
1256:
1254:
1246:
1241:
1239:
1231:
1226:
1224:
1222:
1215:, p. 99.
1214:
1213:Boardman 1985
1209:
1207:
1205:
1203:
1201:
1199:
1197:
1195:
1187:
1182:
1175:
1174:Boardman 1985
1170:
1163:
1158:
1156:
1149:, p. 42.
1148:
1143:
1141:
1139:
1137:
1129:
1124:
1117:
1116:Boardman 1985
1112:
1110:
1102:
1097:
1095:
1093:
1091:
1084:, p. 43.
1083:
1078:
1076:
1074:
1072:
1070:
1068:
1060:
1055:
1053:
1045:
1040:
1038:
1036:
1028:
1027:Boardman 1985
1023:
1021:
1013:
1008:
1006:
1004:
1002:
1000:
998:
990:
985:
983:
981:
979:
977:
975:
973:
971:
969:
961:
956:
949:
944:
938:, p. 41.
937:
932:
930:
928:
926:
924:
922:
914:
909:
903:, p. 98.
902:
901:Boardman 1985
897:
895:
893:
891:
889:
887:
885:
877:
872:
870:
862:
857:
855:
853:
851:
849:
847:
845:
840:
828:
822:
814:
810:
806:
799:
791:
790:
782:
775:
771:
767:
761:
753:
750:(in German).
749:
748:Der Parthenon
742:
738:
731:
728:
726:
721:
719:
718:Louvre Museum
708:
706:
705:George Wheler
702:
698:
692:
690:
686:
682:
678:
674:
670:
666:
662:
658:
654:
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2418:Antenor Kore
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2248:Themistocles
2143:Hekatompedon
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1638:Palagia 2005
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109:Construction
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2438:Peplos Kore
2428:Kritios Boy
2318:Ludwig Ross
2268:Callicrates
2173:Arrephorion
2168:Pandroseion
2163:Chalkotheke
2048:Erechtheion
1128:Grimal 1999
661:Ludwig Ross
517:Agoracritus
235:Description
70:of Athens.
46:Agoracritos
2557:Categories
2293:Lord Elgin
2183:Eleusinion
2098:Beulé Gate
2088:Aglaureion
836:References
774:Praxiteles
701:Jacob Spon
634:Grand Tour
572:See also:
472:Prometheus
468:Hephaestus
401:Persephone
392:Callirrhoe
366:Erechtheus
316:Amphitrite
186:Above the
119:Pentelikon
83:Lord Elgin
2563:Parthenon
2381:Sculpture
2283:Mardonius
2273:Mnesikles
2213:Klepsydra
2108:Peripatos
2053:Propylaia
2043:Parthenon
1972:Parthenon
1879:162847224
1857:: 68–76.
1680:258846977
1536:Cook 1984
1302:Cook 1984
1290:Cook 1984
1245:Cook 1984
1162:Cook 1984
1147:Cook 1984
1082:Cook 1984
936:Cook 1984
876:Cook 1984
827:Cook 1984
768:pupil of
766:Alcamenes
649:Parthenon
533:Aphrodite
525:Pandrosus
459:his eagle
445:, Athens.
355:Pandrosus
286:(west N).
267:, Athens.
208:palmettes
192:triglyphs
176:Triglyphs
147:Epidaurus
75:pediments
56:Pausanias
38:Parthenon
2433:Kore 670
2278:Xerxes I
2253:Pericles
1793:(1993).
1593:Hesperia
1461:Hesperia
659:(1794).
504:Dionysus
480:Dioscuri
476:Ilithyia
362:Orithyia
229:tympanum
190:frieze (
101:and the
64:Poseidon
2370:at the
2346:Museums
2263:Ictinus
2258:Phidias
1918:Phidias
813:1454144
770:Phidias
752:Leipzig
697:Hadrian
568:History
529:Artemis
496:Demeter
384:Ilissos
351:Cecrops
299:in the
225:Olympia
200:cornice
196:metopes
180:metopes
151:talents
95:reliefs
50:Phidias
40:on the
2492:Events
2237:People
1925:Legacy
1877:
1871:628237
1869:
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1613:146756
1611:
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653:Athens
616:Louvre
521:chiton
509:Helios
488:Moirai
388:Cephis
373:Calais
370:Boreas
329:Hermes
325:auriga
320:peplos
293:Triton
221:Athens
133:Since
60:Athena
2542:Moria
1875:S2CID
1867:JSTOR
1676:S2CID
1609:JSTOR
1589:(PDF)
734:Notes
377:Zetes
188:Doric
1666:ISBN
809:OCLC
687:and
643:and
500:Kore
474:and
464:Hera
455:Zeus
375:and
333:Iris
312:Nike
308:biga
284:Iris
223:and
204:sima
194:and
178:and
73:The
24:The
1859:doi
1824:151
1658:doi
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651:in
470:or
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