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Athena Parthenos

Athena Parthenos was a colossal chryselephantine cult statue of the goddess Athena, crafted by the renowned Greek sculptor Phidias and dedicated in the Parthenon temple on the Acropolis of Athens in 438 BCE.^[1] Standing approximately 12 meters (40 feet) tall, it was constructed with a wooden core overlaid in ivory for the flesh and gold plates for the drapery and ornaments, making it one of the most opulent artworks of the Classical Greek period. The statue depicted Athena as the virgin protector of the city, fully armed and embodying ideals of wisdom, warfare, and civic virtue central to Athenian identity.^[2] Ancient descriptions, particularly by the traveler Pausanias in the 2nd century CE, provide the primary account of its appearance.^[3] Athena stood upright in a long tunic reaching her feet, wearing a helmet with a Sphinx on top and griffins in relief on the sides; her aegis bore an ivory head of Medusa across her breast.^[3] In her right hand, she held a smaller statue of Nike (Victory) about four cubits tall, while her left grasped a spear, with her shield resting at her feet depicting the Amazonomachy, a battle between Athenians and Amazons, in relief; a serpent, interpreted as Erichthonius, coiled beside the shield, and the statue's base illustrated the birth of Pandora.^[3]^[4] The spearhead and shield were enclosed by a bronze fence for protection, and the overall effect, illuminated within the temple's cella, was described as dazzling.^[3] Created during the leadership of Pericles as part of Athens' grand building program funded by the Delian League treasury, the statue symbolized the city's imperial power and cultural zenith following victories in the Persian Wars.^[1] It served as the focal point of the Panathenaic festival, where Athenians honored their patron deity, reinforcing themes of divine protection, democratic prosperity, and military triumph.^[5] Phidias' design integrated intricate iconography, such as the shield's Amazonomachy, to evoke Athens' historical and mythological narratives of defense against barbarism.^[6] The original Athena Parthenos was lost sometime in late antiquity, possibly during the 5th or 6th century CE amid Christian conversions of pagan sites, though ancient accounts mention repairs and gilding in the Roman era. No full-scale ancient replicas survive intact, but smaller Roman copies, like the Varvakeion Athena, and modern reconstructions, such as Alan LeQuire's 1990 version in Nashville's Parthenon replica, preserve its legacy based on literary and archaeological evidence.^[7]

Historical Context

The Parthenon as Athena's Temple

The Parthenon was constructed between 447 and 432 BCE as a central element of the Athenian Acropolis rebuilding program initiated by Pericles following the destruction wrought by the Persian invasion in 480 BCE. This ambitious project aimed to restore and elevate Athens' cultural and religious prominence in the aftermath of the Greco-Persian Wars.^[8] The temple's design is attributed to the architects Ictinus and Callicrates, with the sculptor Phidias serving as artistic overseer, ensuring integration of sculptural elements with the architecture. Measuring approximately 69.5 meters in length and 30.9 meters in width, the structure exemplifies classical Greek architecture through its peripteral form, featuring eight Doric columns on the short sides and seventeen on the long sides, while incorporating Ionic elements such as the continuous inner frieze.^[9] These stylistic choices blended the austerity of the Doric order with the refinement of Ionic details, creating a harmonious and innovative aesthetic.^[8] Dedicated to Athena Parthenos, the Parthenon functioned both as a sacred temple and as the Athenian state treasury, storing vast reserves of gold and silver.^[10] Its construction was financed through tributes from the Delian League, the alliance's treasury having been relocated to Athens in 454 BCE, underscoring the building's role in symbolizing Athenian imperial power.^[11] The total cost amounted to roughly 469 talents of silver, a sum derived from surviving ancient inscriptions detailing expenditures on materials, labor, and decoration.^[12] Within the temple's naos, or cella, the colossal statue of Athena Parthenos was installed, with Phidias overseeing its creation to align seamlessly with the architectural space.

Role of Athena Parthenos in Athenian Religion

Athena Parthenos, often translated as "Virgin Athena," represented the goddess in her aspect as an eternal maiden, embodying wisdom, strategic warfare, and the protection of the Athenian polis. The term "Parthenos" derives from the Ancient Greek word parthénos (παρθένος), meaning "maiden," "girl," or "virgin," underscoring her un wedded and independent status among the Olympian deities. As Athens' patron deity, she symbolized the intellectual and defensive strengths that defined the city's identity, guiding heroes like Odysseus in the Odyssey and serving as a divine protector against external threats.^[13] The statue of Athena Parthenos was commissioned in the mid-5th century BCE, shortly after the Persian Wars of 480 BCE, as a monumental votive offering to commemorate Athens' victory over the invaders and to invoke the goddess's ongoing favor. This dedication transformed the Acropolis into a sacred center, with the statue housed in the Parthenon as a focal point for divine gratitude and renewal. The project, initiated under Pericles during Athens' Golden Age, integrated the cult into the state's religious framework, where priestesses of Athena oversaw rituals, including preliminary sacrifices at associated altars.^[14]^[15] Central to her worship were the Panathenaic festivals, held annually but culminating in the Greater Panathenaea every four years, which featured a grand procession delivering a newly woven peplos—a sacred robe—to adorn the statue. This ritual, involving citizens from all social strata, reinforced communal bonds and Athena's role as civic guardian, with the peplos symbolizing collective devotion and renewal. Votive offerings, such as shields, jewelry, and other dedications, were routinely presented at her sanctuary, while sacrifices of animals like cows and sheep accompanied prayers for protection and prosperity. Oracles, including consultations at Delphi, occasionally guided aspects of her cult, such as the procurement of materials for sacred items.^[16]^[17]^[18] Politically, Athena Parthenos epitomized Athenian democracy and imperial ambition, standing as an icon of the city's cultural and military supremacy in the 5th century BCE. The statue and its associated rituals projected Athens' power to allies and rivals alike, linking divine patronage to the democratic ideals of citizen participation and collective defense. Through these elements, her cult not only sustained religious piety but also bolstered the ideological foundations of the Athenian empire.^[19]^[20]

Creation and Design

Commission and Phidias' Workshop

The commissioning of the Athena Parthenos statue occurred in 447 BCE, when the Athenian assembly authorized its creation as a central element of Pericles' ambitious building program on the Acropolis, aimed at glorifying Athens during its imperial height.^[21] This initiative, funded primarily through tributes from the Delian League, reflected the democratic oversight of public expenditures, with the boule (council of 500) responsible for legal and financial supervision of major projects. Phidias, already renowned for his earlier commission of the colossal bronze Athena Promachos statue on the Acropolis around 456 BCE, was selected as chief sculptor due to his demonstrated mastery in large-scale works and close ties to Pericles.^[22] Phidias' appointment was not without contention; political rivals accused him of embezzlement and impiety during the project's execution, charges that Plutarch attributes to efforts by Pericles' opponents to undermine the statesman. To counter potential financial scrutiny, Pericles advised incorporating removable gold elements into the design, allowing for periodic weighing to verify the use of public funds.^[23] These controversies culminated in Phidias' trial and exile from Athens around 432 BCE, shortly after the statue's completion, though the project proceeded under his leadership until then.^[22] The workshop, established adjacent to the Acropolis, functioned as a bustling hub employing hundreds of skilled artisans, including sculptors, goldsmiths, and painters, coordinated by Phidias to execute the complex chryselephantine technique. Preparatory work involved detailed sketches and full-scale models known as arma, which allowed for precise planning of the statue's proportions and assembly before final fabrication. This organizational approach mirrored Phidias' methods in prior projects and ensured efficiency in a collaborative environment. Construction of the statue ran parallel to the Parthenon temple's erection, which began in the same year, and concluded around 438 BCE, with the total budget drawn from Athenian public treasuries to symbolize civic piety and power.^[21] The boule maintained rigorous accounts, including allocations for materials and labor, underscoring the project's integration into broader fiscal strategies of the era.^[24]

Materials and Construction Techniques

The Athena Parthenos was crafted using the chryselephantine technique, a prestigious method combining gold (chrysos) and ivory (elephas) over a wooden core to create a monumental cult statue symbolizing divine opulence. The core consisted of a sturdy wooden frame, likely constructed from cypress wood for its durability and resistance to decay, which supported the overall structure and allowed for the attachment of outer layers. Ivory sheets, carved to represent the goddess's exposed flesh—including her face, neck, arms, and feet—were meticulously shaped and affixed to the frame using adhesives like fish glue, with additional security provided by metal pins and carefully scored joints to ensure stability in the statue's colossal scale. Gold plates, hammered thin and often about 0.75 mm in thickness, were overlaid on the wooden core for the drapery, helmet, shield, and other accessories, hammered into place and secured similarly to the ivory components.^[25]^[26]^[27] This construction enabled the statue to reach a height of approximately 11 to 12 meters (about 40 feet), including its base, making it one of the largest chryselephantine works of antiquity. The materials were sourced through extensive trade networks: ivory derived from elephant tusks imported from India, valued for its fine grain and workability in rendering lifelike skin textures, while the gold was sourced through extensive trade networks, including tributes from the Delian League. An estimated 40 talents (roughly 1,000 kg or 2,200 lbs) of pure gold were employed, reflecting the immense resources dedicated to the project under Phidias's supervision.^[28]^[29]^[30]^[31] A key innovation in the design was the removability of the gold plates, fastened in a manner that allowed them to be detached, weighed, and reinstalled without damaging the underlying structure—this feature ensured accountability for the precious metal during audits and permitted its temporary reuse amid Athens' financial strains, for example, around 296 BCE, when the plates were removed by the tyrant Lachares to pay mercenaries. The assembly incorporated flexible joints and internal supports, contributing to the statue's resilience against environmental stresses, while the temple's controlled interior likely aided in maintaining stable humidity to prevent ivory from drying and cracking over time. These techniques highlighted the advanced woodworking, metalworking, and ivory-carving expertise of fifth-century BCE Athenian artisans, setting a benchmark for large-scale chryselephantine sculpture.^[32]^[25]

Physical Description

Appearance and Iconography

Athena Parthenos was depicted as a standing colossal figure, upright with her helmeted head slightly turned to the right, embodying a poised and majestic presence. In her extended right hand, she held a small statue of Nike, the goddess of Victory, approximately four cubits tall, symbolizing Athenian military triumphs and divine favor in warfare. Her left hand grasped a spear, while at her side rested a large round shield propped against the ground, accompanied by a serpent at her feet representing Erichthonius, the mythical autochthonous hero of Athens and a foster child of Athena. She wore a long tunic reaching to her feet over a chiton, draped in the aegis—a protective goatskin mantle—adorned with the carved ivory head of Medusa at its center, evoking her role as protector against chaos.^[33] The goddess's helmet was crested with a central sphinx flanked by griffins in relief, motifs that highlighted Athenian cultural interests, such as the Oedipus myth associated with the sphinx, and protective mythical creatures symbolizing vigilance and strength. The base of the statue featured relief scenes depicting the birth of Pandora, surrounded by Olympian gods, underscoring themes of creation, human origins, and Athena's involvement in divine craftsmanship. On the shield's exterior, reliefs illustrated the Amazonomachy, the mythological battle between Greeks and Amazons, while the interior portrayed the Gigantomachy, the gods' victory over giants; the sandals included scenes from the Centauromachy, the mythological battle between the Lapiths and centaurs. These elements collectively emphasized Athena's dual attributes of strategic warfare and intellectual wisdom, with the Nike figure reinforcing her patronage of victorious endeavors and the shield's narratives celebrating Athenian resilience and divine support.^[33] The statue adhered to the classical Greek canon of proportions, estimated at a 1:8 head-to-body ratio, which contributed to its harmonious and idealized form, reflecting Phidias's mastery in conveying divine perfection through human-like symmetry. This iconographic program not only glorified Athena as the virgin protector of Athens but also integrated mythological and historical references to affirm the city's exceptionalism and cultural supremacy.

Scale and Artistic Details

The colossal scale of the Athena Parthenos underscored its role as a monumental chryselephantine sculpture, towering at approximately 12 meters (39 feet) in total height from the base to the crest of the helmet, dominating the interior of the Parthenon's cella.^[21] The statue's rectangular base measured roughly 4 by 8 meters, elevating the figure to fill much of the chamber's vertical space while allowing worshippers to circumambulate it.^[34] Its immense weight, estimated at several tons, stemmed primarily from the wooden core, overlaid with hammered gold plates totaling 44 talents (about 1,100 kilograms or 2,400 pounds) for the drapery and accessories, and ivory panels for the exposed flesh, drawn from the tusks of numerous elephants.^[34] Artistic innovations in the statue emphasized naturalism and viewer engagement through subtle optical refinements, including a gentle contrapposto pose that shifted weight to one leg for dynamic balance, countering the rigidity of earlier archaic figures when viewed from below.^[35] The eyes featured intricately carved ivory with glass inlays and painted details to achieve a lifelike gaze, enhancing the illusion of vitality in the goddess's stern expression.^[26] On the interior of the shield, held at waist level, Phidias sculpted a detailed Gigantomachy scene in low relief, positioned at an angle accessible for close inspection by visitors approaching the statue.^[21] The design incorporated lighting effects tailored to the cella's east-facing orientation, where sunlight filtered through the doorway to strike the golden surfaces, creating a radiant glow that evoked a divine aura as the reflected light danced across the ivory and metal elements.^[36] Subtle asymmetries, such as slight tilts in the helmet and spear, compensated for foreshortening from ground level, ensuring proportional harmony in perception.^[37] Specific details amplified this craftsmanship: the sphinx crowning the helmet was carved in gold to serve as a dramatic focal point, while the skin was formed from hundreds of thin ivory sheets, meticulously joined and polished to a translucent sheen that mimicked living flesh under the ambient light.^[38]

Historical Trajectory

Installation and Ancient Use

The colossal chryselephantine statue of Athena Parthenos was dedicated in 438 BCE within the Parthenon during the Great Panathenaea festival, marking the culmination of a grand procession that originated at the Dipylon Gate in the Kerameikos district and wound its way up to the Acropolis.^[39]^[40] This ceremony, attended by citizens, dignitaries, and athletes, emphasized the goddess's role as Athens' protector, with the newly unveiled statue serving as the procession's focal point amid sacrifices, music, and athletic contests.^[41] In daily worship, priestesses offered incense at the statue's base to honor Athena, while the quadrennial Greater Panathenaea involved the presentation of a specially woven peplos to Athena, dedicated in the nearby Erechtheion to the goddess's ancient wooden image.^[42] City officials managed the care of the Athena Parthenos, including periodic removal and polishing of its removable gold plates to maintain their shine and allow for inspections.^[43] The Athena Parthenos integrated deeply into Athenian civic culture, acting as a sacred focal point for oaths sworn in the assembly and public deliberations, where leaders invoked the goddess's wisdom and justice.^[44] Its image permeated visual arts, inspiring standardized depictions of Athena's helmeted head on Athenian coinage from the mid-fifth century BCE onward and frequent portrayals in vase paintings that highlighted her armed, victorious form amid mythological scenes.^[45]^[46] Positioned in the Parthenon's eastern cella on a raised pedestal, the statue faced the entrance doors, allowing controlled viewing primarily from the threshold to limit access and enhance its awe-inspiring presence through dramatic lighting contrasts.^[21] Inner barriers of wood or metal enclosed the cult image, preventing unauthorized proximity while permitting ritual interactions.^[47] During the Peloponnesian War (431–404 BCE), the statue embodied Athenian imperial strength and divine favor, bolstering morale and serving as propaganda to assert cultural superiority over rivals like Sparta.^[48]

Loss and Destruction

The original colossal statue of Athena Parthenos was likely destroyed in a fire that damaged the Parthenon around 165 BCE during the late Hellenistic period.^[43]^[49] A replica, also chryselephantine, was subsequently created and installed, despite earlier depredations on its gold elements, such as when the tyrant Lachares ordered the removable gold plates stripped and melted down around 295 BCE to finance his troops during the siege by Demetrius Poliorcetes. Although Roman emperors looted artworks from Greek sanctuaries, no direct evidence indicates they targeted the Athena Parthenos replica specifically, and it appears to have remained intact until late antiquity. The replica likely survived the Herulian sack of Athens in 267 CE, a devastating barbarian raid that severely damaged the Acropolis structures, including the Parthenon, through fire and looting, though archaeological evidence points to earlier destruction of the original.^[50] By the early 5th century CE, as Christianity spread under the Byzantine Empire, the statue was removed from the Parthenon, possibly relocated to Constantinople around 485 CE.^[43] The Parthenon's conversion into a Christian church, dedicated to the Virgin Mary (Parthenos Theotokos), occurred around the late 5th or early 6th century CE, by which time the cella had been cleared of the cult image, including the addition of an apse in the east wall. Archaeological evidence from the Parthenon cella, including traces of burning in the east naos, dates primarily to the fire of c. 165 BCE rather than later periods.^[51] During the Byzantine and subsequent Ottoman eras, further fires and structural collapses exacerbated the damage to the Parthenon, though the statue was already gone; surviving elements of the replica may have been melted down for coinage or destroyed in Constantinople. The replica was likely destroyed during the sack of Constantinople by the Fourth Crusade in 1204 CE, where its gold was melted down and other materials burned.^[43] The last indirect ancient reference to the Parthenon's interior appears in the writings of Byzantine historian Nicetas Choniates around 1204 CE, who describes the structure as a church without mentioning the once-central idol, consistent with its absence.^[52]

Legacy and Influence

Ancient Copies and Roman Replicas

Numerous ancient copies of the Athena Parthenos statue were produced during the Hellenistic and Roman periods, primarily in reduced scales using materials like marble and bronze, reflecting the original's enduring prestige as a symbol of Athenian power. These imitations varied in fidelity, with some simplifying the elaborate drapery or adjusting attributes like the Nike figure in the goddess's hand, while others closely mirrored the chryselephantine original's pose and iconography.^[43] Over 100 small-scale versions survive, often discovered in domestic or sanctuary contexts across the Mediterranean, attesting to their widespread use in worship and decoration. Among the most notable marble variants is the Varvakeion Athena, a Roman-era statuette dated to the 2nd or 3rd century CE, standing approximately 0.94 meters tall and discovered in 1880 near the Varvakeion school in Athens.^[53] Now housed in the National Archaeological Museum in Athens, it is regarded as the best-preserved and most accurate copy of Phidias's original, capturing the goddess's serene expression, crested helmet with sphinx and griffins, and flowing peplos with aegis details.^[54] Another key example is the Lenormant Athena, a smaller unfinished marble statuette from the 1st century CE, unearthed in Athens in 1859 and measuring about 0.42 meters in height.^[55] Preserved in the National Archaeological Museum, it deviates slightly with a more rigid posture and abbreviated drapery but retains core elements like the spear and shield, providing valuable insights into replication techniques.^[56] Larger-scale attempts include the Hellenistic Athena from Pergamon, a Pentelic marble statue dating to around 170 BCE, originally about 3.1 meters tall and found in the city's Library precinct within the Sanctuary of Athena Polias Nikephoros.^[57] Currently in the Pergamon Museum in Berlin, this colossal figure adapts the Parthenos type for local cultic purposes, emphasizing Pergamon's cultural ties to Athens through simplified yet monumental proportions and added civic symbolism.^[58] Roman replicas often served imperial propaganda, with emperors commissioning versions to evoke classical Greek heritage; these adaptations, typically in marble and smaller scales, appeared in elite villas, temples, and public spaces, as noted by Pliny the Elder, who highlighted Phidias's unparalleled influence on Roman sculptural traditions.^[59] Miniature bronzes and marbles, such as those in the Museo del Prado and Museum of Fine Arts, Boston, further illustrate this dissemination, blending devotion with artistic homage.^[60]^[61]

Modern Reconstructions and Cultural Significance

In the 19th century, French architect and art theorist Antoine-Chrysostôme Quatremère de Quincy produced influential drawings and a detailed written reconstruction of the Athena Parthenos statue in his 1820 publication Restitution de la Minerve en or et ivoire de Phidias au Parthenon, envisioning its chryselephantine form based on ancient descriptions and surviving Roman copies to revive classical ideals during the neoclassical revival.^[62] A prominent 20th-century effort culminated in the full-scale replica of the Athena Parthenos installed in Nashville's Parthenon, a concrete reproduction of the Athenian temple built for the 1897 Tennessee Centennial Exposition. Sculpted by local artist Alan LeQuire and unveiled in 1990 after eight years of research and construction, the 42-foot (13-meter) tall statue is crafted from plaster coated in gold leaf, with ivory-toned details, at a cost of $250,000, serving as the world's only exact-size indoor recreation of the lost original.^[63]^[64] Advancing into the 21st century, digital technologies have enabled precise reconstructions, including 3D models derived from photogrammetry scans of ancient fragments and Roman replicas. The Acropolis Museum in Athens features a holographic projection of the statue and offers downloadable 3D models via platforms like Sketchfab, created around 2022 using LiDAR scanning to visualize its original scale and iconography.^[65]^[66] Recent projects, such as archaeologist Juan de Lara's 2025 immersive 3D rendering of the Parthenon interior, incorporate AI-assisted simulations of ancient lighting to depict the statue emerging dramatically from shadows.^[67] Post-2020 virtual reality efforts, including a 2023 augmented reality app by the Acropolis Museum's Chronos project, allow users to experience the statue in its temple context via mobile devices, overlaying digital reconstructions on the physical site.^[68] Archaeological advancements in the 2010s and 2020s have refined understandings of the statue's appearance through pigment analysis on Parthenon fragments and related sculptures, revealing traces of vibrant colors like Egyptian blue, azurite, red ochre, and rare purple, indicating the original was far brighter and more polychromatic than previously assumed based on white marble replicas.^[69]^[70] These findings, using non-invasive techniques like UV-Vis spectroscopy and X-ray fluorescence, challenge 19th-century monochromatic ideals and inform modern reconstructions.^[71] The Athena Parthenos holds profound cultural significance as a symbol of Western civilization in neoclassicism, embodying ideals of reason, democracy, and artistic excellence that inspired 18th- and 19th-century architects and thinkers, such as those who designed the U.S. Capitol and neoclassical monuments across Europe and America.^[72] In literature, it influenced Romantic poets like John Keats, whose odes to Greek urns and classical beauty evoked the statue's aura of timeless wisdom and divine patronage.^[73] Modern feminist interpretations recast Athena as an empowered female figure—virgin, warrior, and strategist—challenging patriarchal myths and serving as a model for intellectual independence, evident in contemporary art and scholarship that reexamine her role beyond ancient gender norms.^[74] Ongoing controversies, particularly the Elgin Marbles dispute, underscore the statue's legacy; about half of the Parthenon sculptures, including metopes and friezes depicting Athena's myths, reside in the British Museum, prompting Greek calls for repatriation to reunite the ensemble at the Acropolis Museum.^[72] UNESCO, recognizing the Acropolis (including the Parthenon) as a World Heritage Site since 1987, has emphasized heritage preservation through reports praising conservation efforts and urging dialogue on the marbles' return, as reiterated in 2021 and 2025 statements tying the site's integrity to global cultural equity.^[75]^[76]

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3D modeling demystifies the Parthenon's lighting conditions in ...
May 18, 2025 · This approach allowed for the precise assignment of reflectance values and colors, closely replicating the appearance of real-world materials.
[36]
Restoring Sacred Power to the Parthenon - Greece Is
May 16, 2025 · Gold catches the light and marble breathes as incense drifts in the air. The goddess Athena does not emerge from the light, but from the ...
[37]
https://www.greece-is.com/restoring-sacred-power-to-the-parthenon/
[38]
[PDF] TINE STATUE OF ATHENA IN THE PARTHENON
Ivory has a decided advantage over marble for a statue constructed about a wooden core, as we shall see was the case with the Parthenos, for ivory is a fairly ...Missing: sources | Show results with:sources
[39]
[PDF] Introduction The frieze of the Parthenon - Wilcox Classical Museum
The frieze concerns the procession which took place every 4 years during the Greater Panathenaia (438, when the Parthenon was dedicated, was such a year; a ...Missing: Panathenaea Parthenos
[40]
[PDF] the parthenon frieze in recent
The Great Panathenaia was celebrated with special richness in 438 too when the Parthenon was dedicated: Schol. Ar. Peace 605. : : 54. Stewart (1997) 79. 55 ...
[41]
[PDF] The Praxiergidae Decree (IG I3 7) and the Dressing of Athena's ...
On this day, every four years, the decree calls for a new ceremony, the dressing of Athena's statue with the Panathenaic peplos; it was also dressed in a new.
[42]
Just wars, angry wars, democratic wars: the Athenian model
It engaged in a persuasive reflection about how wars can be justified in a democracy, as democratic actions.Missing: Parthenos | Show results with:Parthenos
[43]
[PDF] The Iconography of Athena in Attic Vase-painting from 440–370 BC
The Athenian citizen of the Classical period probably knew Athena as the pre- eminent goddess of city and citadel, as an armed maiden (Parthenos = virgin, with.
[44]
[PDF] THE ATHENIAN AGORA THE GREEK COINS
... Athena head/Owl types, probably in the teens of the 6th century under ... Parthenos on the obverse, this issue inaugurates the New Style coinage, which ...
[45]
Divine images 'behind bars'. The semantics of barriers in Greek ...
In some Greek temples, barriers of wood, metal or stone were placed before the cult statue, indicating a more prevalent architectural feature than previously ...
[46]
[PDF] ART IN ATHENS DURINg THE PELOPONNESIAN WAR
This book examines the effects of the Peloponnesian War on the art of Athens and the historical and artistic contexts in which this art was produced. During.
[47]
The Glorious Parthenon | NOVA - PBS
Jan 29, 2008 · Vitruvius, the Roman ... Around 295 a tyrant of Athens named Lachares actually stripped the gold off the Athena Parthenos to pay his troops.
[48]
Thirteen - The Herulian Invasion in Athens (AD 267)
Using the most up-to-date archaeological evidence, this chapter studies the sack of Athens by the Heruli in AD 267 and the city's subsequent recovery.
[49]
BYZANTINE MONUMENTS OF ATTICA
Description: Justinian's edict in 529 A.D. marked the beginning of the conversion of ancient temples to Christian churches. Thus, the biggest temple of ...
[50]
[PDF] CONCERNING THE PARTHENOS
1 Furthermore, the Parthenos, it will be remembered, had a wooden core covered with bronze plates which in turn were covered with removable sheets of gold.2 The.Missing: 407 scholarly
[51]
Destruction, Memory, and Monuments: The Many Lives of the ...
To repurpose the building, the Christians renovated the inner cella of the Parthenon. They detached it from its exterior colonnade, added an apse that broke ...<|separator|>
[52]
(PDF) NIKETAS CHONIATES: MANLY WOMEN AND WOMANLY MEN
The paper examines the representation of women and gender roles in the historical narratives of Niketas Choniates, focusing on prominent empresses such as ...Missing: Nicetas | Show results with:Nicetas
[53]
What Really Happened to the Athena Parthenos?
Jan 26, 2020 · After Lachares stripped the Athena Parthenos of its gold fixtures, all that was left was the wood and ivory. Archaeological evidence indicates ...
[54]
Varvakeion Athena Parthenos - Ancient Greco-Roman Statue
Marble · 0.94 metres · Found near Varvakeion · Roman copy of the gold and ivory statue of Athena Parthenos by Pheidias c440 B.C. · High Classical.
[55]
Athena Parthenos, National Museum, Athens
Dec 21, 2014 · A detail of a marble copy of the Athena Parthenos which stood in the Parthenon. Also known as the Varvakeion Athena, it is the best preserved such copy.<|separator|>
[56]
The Lenormant Athena - A&AePortal
The Lenormant Athena. ... StatusStatuette replicating the chryselephantine statue of Athena Parthenos within the Parthenon.
[57]
Athena Lenormant - Cornell University Library Digital Collections
This is a restored cast of the marble Athena Lenormant statuette, a reduced version of Phidias' chryselephantine Athena Parthenos that was found in 1859 near ...
[58]
Two Hellenistic Treasures from Berlin's Famed Pergamon Museum ...
Jul 13, 2016 · The impressive, 12-foot-tall, expertly carved colossal statue of Athena Parthenos originally stood in the Sanctuary of Athena—the goddess of ...
[59]
Athena Parthenos statue Pergamon - My Favourite Planet
The statue of Athena is upright, with a tunic reaching to the feet, and on her breast the head of Medusa is worked in ivory. She holds a statue of Victory ...
[60]
The Parthenon and its sculptures in Roman times (Part one)
Oct 25, 2014 · The statue of Athena is upright, with a tunic reaching to the feet, and on her breast the head of Medusa is worked in ivory. She holds a ...
[61]
Pliny, Natural History, 34 (a) - Attalus.org
[54] Pheidias, besides the Olympian Zeus, which nobody has ever rivalled, executed in ivory and gold the statue of Athena that stands erect in the Parthenon at ...Missing: 36.18 | Show results with:36.18
[62]
Athena Parthenos - The Collection - Museo Nacional del Prado
Apr 28, 2015 · A miniature Roman reproduction of the famous statue that Phidias made for the Parthenon in Athens between 447 and 438 BCMultimedia · Natural Histories. A Project... · Technical Data<|control11|><|separator|>
[63]
Statue of Athena Parthenos (the Virgin Goddess) - MFA Collection
Roman-period replica of the cult statue that once stood within the Parthenon on the Athenian Acropolis, a chryselephantine (gold and ivory) colossal statue.Missing: sources | Show results with:sources
[64]
Restitution de la Minerve en or et ivoire de Phidias au Parthenon, by ...
Restitution de la Minerve en or et ivoire de Phidias au Parthenon ; Author: Quatremère de Quincy, M. (Antoine-Chrysostome), 1755-1849 ; Note: Paris : De l' ...Missing: drawings Parthenos
[65]
Why Is There a Full-Scale Replica of the Parthenon in Nashville ...
Jul 26, 2017 · Still, it took eight more years and a total of $250,000 to build the Athena, which was unveiled in May of 1990. Tourists and Tennesseans today ...Missing: cost | Show results with:cost
[66]
Mission & History | The Parthenon
The Parthenon in Nashville is the world's only exact-size and detail replica of the original temple in Athens, Greece. ... 1990 The Nashville Athena Parthenos is ...<|separator|>
[67]
Digital Museum | Acropolis Museum | Official website
Sixty significant Museum exhibits were scanned with the use of digital photogrammetry. The three-dimensional models that were produced help our understanding of ...Missing: 2020s | Show results with:2020s
[68]
Athens - Acropolis Museum - Athena Parthenos - Download Free 3D ...
Dec 29, 2022 · Acropolis Museum, Athens, Athens, Greece - Athens - Acropolis Museum - Athena Parthenos - Download Free 3D model by Crazymaverickdc.Missing: 2020s | Show results with:2020s
[69]
The Parthenon 3D - Digital Reconstruction of the Parthenon
The Parthenon 3D - a digital reconstruction of the temple of Athena in the Acropolis of Athens. By Juan de Lara.
[70]
A new augmented reality app shows the Acropolis as ancient ...
Oct 12, 2023 · For now, virtual reconstructions using Chronos cover four monuments at the Acropolis, including the Parthenon, an adjacent Roman theatre and ...<|separator|>
[71]
Scientific analysis reveals the true colors of the Parthenon Sculptures
Oct 11, 2023 · Small traces of white and purple pigment were also detected on the sculptures. True purple pigment was very valuable in the ancient ...Missing: 2010s brighter
[72]
Scientific analysis reveals the true colours of the Parthenon Sculptures
Oct 11, 2023 · Small traces of white and purple pigment were also detected on the sculptures. True purple pigment was very valuable in the ancient ...Missing: 2010s brighter
[73]
Architectural Polychromy on the Athenian Acropolis: An In Situ Non ...
Apr 1, 2022 · The first areas of focus for investigating the nature of the pigments used in the Propylaea polychromy were the vivid red-coloured areas, ...Missing: Athena Parthenos fragments
[74]
The Parthenon Sculptures | British Museum
The Parthenon Sculptures are a collection of different types of marble architectural decoration from the temple of Athena (the Parthenon) on the Acropolis ...Missing: commission | Show results with:commission
[75]
[PDF] The influences of Hellenism in Keats' and Platonism in Shelley's poetry
May 5, 2023 · The political values of freedom and democracy that Keats perceived in ancient Greek society informed his Hellenism. He had a deep-seated hatred ...Missing: Athena Parthenos neoclassicism
[76]
Female Duality in Athenian Myth and Cult - Classics@ Journal
[100] The fact that the Athenian solution to this fear comes from a divinity of ambivalent gender, the Parthenos Athena, [101] in ritual or in her sacred area ...
[77]
Acropolis, Athens - UNESCO World Heritage Centre
Nowadays, the property is strongly protected under the provisions of Law No 3028/2002 on the “Protection of Antiquities and Cultural Heritage in general”.
[78]
https://en.protothema.gr/2025/11/04/lina-mendoni-at-unesco-i-call-on-all-member-states-to-support-the-reunification-of-the-parthenon-sculptures/