Post No. 13. Parthenon.
“Parthenon is a former temple, on the Athenian Acropolis ( Acropolis is the entire site), Greece, dedicated to the goddess Athena. Construction began in 447 BC when the Athenian Empire was at the peak of its power. It was completed in 438 BC although decoration of the building continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered the zenith of the Doric order. Its decorative sculptures are considered some of the high points of Greek art.

Ancient sources identify Ictinus and Callicartes as co-architects of the Parthenon.

The origin of the Parthenon’s name is from a Greek word, which referred to the “unmarried women’s apartments” in a house and in the Parthenon’s case seems to have been used at first only for a particular room of the temple. It is debated which room this is and how the room acquired its name.

Christoper Pelling asserts that Athena Parthenos may have constituted a discrete cult of Athena, intimately connected with, but no identical to, that of “Athena Polias.” According to this theory, the name of the Parthenon means the “temple of the virgin goddess” and refers to the cult of Athena Parthenos that was associated with the temple. The epithet “ Parthénos” meant “ maiden girl”, but also “ virgin, unmarried woman” and was especially used for Artemis, the goddess of wild animals, the hunt, and vegetation, and for Athena, the goddess of strategy and tactics, handicraft, and practical reason. Parthénos has also applied to the Virgin Mary, Parthénos Maria, and the Parthenon had been converted to a Christian church dedicated to the Virgin Mary in the final decade of the sixth century.
The colossal statue of Athena by Phidias was not related to any cult and is not known to have inspired any religious fervours. It did not seem to have any priestess, altar or cult name.

Archeologist Joan Breton Connelly has recently argued for the coherency of the Parthenon’s sculptural programme in presenting a succession of genealogical narratives that track Athenian identity back through the ages: from the birth of Athena, through cosmic and epic battles, to the final great event of the Athenian Bronze Age, the war of Erechteus and Eumolpos. She argues a pedagogical function for the Parthenon’s sculptured decoration, one that establishes and perpetuates Athenian foundation myth, memory, values and identity

The Parthenon is a peripteral octastyle Doric temple with Ionic architectural features. It sands of a platform of stylobate of three steps, There is a double row of columns at either end. The colonnade surrounds an inner masonry structure, the cella, which is divided into two compartment. At either end of the building the gable is finished with a triangular pediment originally occupied by sculpted figures. The columns are of the Doric order, with simple capitals, fluted shafts and no bases. Above the architrave of the entablature is a frieze of carved pictorial panels ( metopes) separated by formal architectural triglyphs, typical of the Doric order. Around the cella and across the lintels of the inner columns runs a continuous sculptured frieze in a low relief. The element of the architecture is Ionic in style rather than Doric.” (Wikipedia)

The Height is 13.72 meters (45 feet), Cella is 29.8 by 19.2 meters. Size is 69.5 by 30.9 meters.

The Parthenon Sculptures Decoding Images of Ancient Myths – Joan Breton Connelly. Time: 1:00:06:

Parthenon (Acropolis). Time: 16:03:

The Acropolis of Athens in Athens in ancient Greece- Dimensions and Proportions of Parthenon. Time: 47:08:

https://www.youtube.com/watch?v=XN44e3jmDSA


Yanni Live at the Acropolis, Greece- Santorini.  Related. Song. Time: 3:06:

Hadjidakis- Nana Mouskouri: Athina- Athens. Time: 3:28:

Melina Mercouri & Vangelis- Athina (Greek version) (1973). Time: 3:57:


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