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... whole statues, nor do they suggest where the works were once displayed. Many of the stone bases upon which these statues once stood have been moved far from their original locations or have disappeared altogether. Pausanias, walking through Athens in the 2nd century after Christ, described the build ...
... whole statues, nor do they suggest where the works were once displayed. Many of the stone bases upon which these statues once stood have been moved far from their original locations or have disappeared altogether. Pausanias, walking through Athens in the 2nd century after Christ, described the build ...
2100 BC
... walled part of the city where everyday life took place. There were marketplaces, theaters, public buildings, and homes. The market was called the agora. It was usually in the center of the city. ...
... walled part of the city where everyday life took place. There were marketplaces, theaters, public buildings, and homes. The market was called the agora. It was usually in the center of the city. ...
Master thesis by Emily de Bree - BORA
... In 1835 a Turkish fortification was dismantled on the Athenian Acropolis. In the materials used to build this fortification archaeologists found marble blocks and fragments that were thought to have belonged to the classical temple of Athena Nike, last documented by travellers to Athens in 1675. By ...
... In 1835 a Turkish fortification was dismantled on the Athenian Acropolis. In the materials used to build this fortification archaeologists found marble blocks and fragments that were thought to have belonged to the classical temple of Athena Nike, last documented by travellers to Athens in 1675. By ...
from past to present: heritage and conflict - E
... «Haven’t we (the Athenians) got women, children and fathers? They languish in exile and misery, death and menaces from all sides!… Regarding these monuments of our ancestors, sacrifice them if you must, in order to win our liberty, which will bring us our new monuments» (Voutier 1823: 239). This pas ...
... «Haven’t we (the Athenians) got women, children and fathers? They languish in exile and misery, death and menaces from all sides!… Regarding these monuments of our ancestors, sacrifice them if you must, in order to win our liberty, which will bring us our new monuments» (Voutier 1823: 239). This pas ...
Untitled - Agora Excavations
... their own local limestone, were inspired by contacts with Egypt to carve large-scale statues from a hard stone such as marble. The Egyptians themselves preferred even harder stones such as basalt or granite, but the Greeks quickly developed a preference for their own crystalline white marbles. For m ...
... their own local limestone, were inspired by contacts with Egypt to carve large-scale statues from a hard stone such as marble. The Egyptians themselves preferred even harder stones such as basalt or granite, but the Greeks quickly developed a preference for their own crystalline white marbles. For m ...
Marbleworkers in the Athenian Agora
... their own local limestone, were inspired by contacts with Egypt to carve large-scale statues from a hard stone such as marble. The Egyptians themselves preferred even harder stones such as basalt or granite, but the Greeks quickly developed a preference for their own crystalline white marbles. For m ...
... their own local limestone, were inspired by contacts with Egypt to carve large-scale statues from a hard stone such as marble. The Egyptians themselves preferred even harder stones such as basalt or granite, but the Greeks quickly developed a preference for their own crystalline white marbles. For m ...
PDF 7MB - Flinders University
... Figure 4.2 – Map of South Adelaide (city centre) and location of buildings ............ 50 Figure 4.3 – Economic conditions in Adelaide and the construction of classical style buildings ............................................................................................. 52 Figure 4.4 – Econ ...
... Figure 4.2 – Map of South Adelaide (city centre) and location of buildings ............ 50 Figure 4.3 – Economic conditions in Adelaide and the construction of classical style buildings ............................................................................................. 52 Figure 4.4 – Econ ...
THE WALL DECORATION OF THE HIERON IN SAMOTHRACE
... rites, the cella must have been rich in contrasts, now gleaming as light fell on the marble pavement and the white upper wall or picked out the metallic edges of the shadowy coffers, now muted as it struck the firm full colors of the lower wall. For the walls of the Hieron were faced on the interior ...
... rites, the cella must have been rich in contrasts, now gleaming as light fell on the marble pavement and the white upper wall or picked out the metallic edges of the shadowy coffers, now muted as it struck the firm full colors of the lower wall. For the walls of the Hieron were faced on the interior ...
An Overview: Greek Sanctuaries and Worship
... Simple altars might be waist high, a block of stone a meter square or a cylinder equally tall. Monumental altars were often features of panhellenic sanctuaries. The altar of Zeus at Nemea, for example, was a rectangular structure over 41.5 meters long and 2.42 meters wide and that of Zeus at Olympia ...
... Simple altars might be waist high, a block of stone a meter square or a cylinder equally tall. Monumental altars were often features of panhellenic sanctuaries. The altar of Zeus at Nemea, for example, was a rectangular structure over 41.5 meters long and 2.42 meters wide and that of Zeus at Olympia ...
People and cities: economic horizons beyond the Hellenistic polis
... Hellenistic monarchies and the rise of the Roman Empire. Greek poleis had developed institutions — legal, social, and political mechanisms — that enabled the community to engage in, and exploit, as best as possible the economic and political contexts of the period. Just how these communities governe ...
... Hellenistic monarchies and the rise of the Roman Empire. Greek poleis had developed institutions — legal, social, and political mechanisms — that enabled the community to engage in, and exploit, as best as possible the economic and political contexts of the period. Just how these communities governe ...
Ancient Greek architecture
The architecture of Ancient Greece is the architecture produced by the Greek-speaking people (Hellenic people) whose culture flourished on the Greek mainland and Peloponnesus, the Aegean Islands, and in colonies in Asia Minor and Italy for a period from about 900 BC until the 1st century AD, with the earliest remaining architectural works dating from around 600 BC.Ancient Greek architecture is best known from its temples, many of which are found throughout the region, mostly as ruins but many substantially intact. The second important type of building that survives all over the Hellenic world is the open-air theatre, with the earliest dating from around 350 BC. Other architectural forms that are still in evidence are the processional gateway (propylon), the public square (agora) surrounded by storied colonnade (stoa), the town council building (bouleuterion), the public monument, the monumental tomb (mausoleum) and the stadium.Ancient Greek architecture is distinguished by its highly formalised characteristics, both of structure and decoration. This is particularly so in the case of temples where each building appears to have been conceived as a sculptural entity within the landscape, most often raised on high ground so that the elegance of its proportions and the effects of light on its surfaces might be viewed from all angles. Nikolaus Pevsner refers to ""the plastic shape of the [Greek] temple.....placed before us with a physical presence more intense, more alive than that of any later building"".The formal vocabulary of Ancient Greek architecture, in particular the division of architectural style into three defined orders: the Doric Order, the Ionic Order and the Corinthian Order, was to have profound effect on Western architecture of later periods. The architecture of Ancient Rome grew out of that of Greece and maintained its influence in Italy unbroken until the present day. From the Renaissance, revivals of Classicism have kept alive not only the precise forms and ordered details of Greek architecture, but also its concept of architectural beauty based on balance and proportion. The successive styles of Neoclassical architecture and Greek Revival architecture followed and adapted Ancient Greek styles closely. Several issues related to interpretation, restoration or/and reconstruction of Ancient Greek architectural monuments are often assisted by new technologies, including 3D and virtual or augmented reality environments.