Cavalry from the Parthenon Frieze, West II, British Museum.

The Parthenon Frieze is the low relief, pentelic marble sculpture created to adorn the upper part of the Parthenon’s naos. It was sculpted between ca. 443 and 438 BC^[1] most likely under the direction of Phidias. Most of it is now at the British Museum in London (forming the major part of the controversial Elgin Marbles); the rest is in Athens. Casts of the Frieze may be found in the Beazley archive at the Ashmolean Museum, Oxford, in the Skulpturhalle at Basel, and at Hammerwood Park. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... French Republican Guard - May 8, 2005 celebrations Cavalry (from French cavalerie) were soldiers or warriors who fought mounted on horseback in combat. ... The British Museum in London, England is one of the worlds greatest museums of human history and culture. ... Pentéli or Pendeli, (Greek: Πεντέλη, ancient forms: Pentele or Pentelicus, Mendeli in medieval times) is a tall mountain and mountain range situated northeast of Athens and southwest of Marathon. ... The Parthenon seen from the hill of the Pnyx to the west. ... A cella, in Ancient Greek and Roman temples was the central room that housed cult statues. ... Phidias Showing the Frieze of the Parthenon to his Friends by Sir Lawrence Alma-Tadema Phidias (or Pheidias) (in ancient Greek, ) (c. ... The British Museum in London, England is one of the worlds greatest museums of human history and culture. ... This article is about the capital of England and the United Kingdom. ... --88. ... Athens (ancient Greek: αἱ Ἀθῆναι (plural), evolving into the modern αι Αθήναι in Greek until recently, and η Αθήνα nowadays (IPA : singular see below: Origin of the name ) is both the largest and the capital city of Greece, located in the Attica periphery. ... The Ashmolean Museum (in full the Ashmolean Museum of Art and Archaeology) in Oxford, England is the worlds first university museum. ... Basel (British English traditionally: Basle and more recently Basel , German: , French: , Italian: ) is Switzerlands third most populous city (166,563 inhabitants (2004); 690,000 inhabitants in the metropolitan area stretching across the immediate cantonal and national boundaries made Basel Switzerlands second-largest urban area as of 2003). ... Hammerwood Park is a country house in East Sussex, England near the town of East Grinstead. ...

Construction

Plutarch’s Life of Pericles,13.4-9, informs us “the man who directed all the projects and was overseer [episkopos] for him [Pericles] was Phidias... Almost everything was under his supervision, and, as we have said, he was in charge, owing to his friendship with Perikles, of all the other artists”. It is of note that the description was not architekton, the term usually given to the creative influence behind a building project, rather episkopos. But it is from this and the circumstantial evidence of Phidias’s known work on the Athena Parthenos and his central role in the Periclean building programme that we deduce his authorship of the Frieze. The Frieze consists of 378 figures, 245 animals, it is 160 meters in length (524 feet), 1 meter in height, it projects 5.6 cm forward at its maximum depth. It is composed of 114 blocks of an average 1.22 meters in length, depicting two parallel files in procession. It was a particular novelty of the Parthenon that the cella carries an Ionic frieze over the hexastyle pronaos rather than Doric metopes as would have been expected of a Doric temple. Judging by the existence of regulae and guttae below the frieze on the east wall this was an innovation introduced late in the building process and replaced the ten metopes and triglyphs that might otherwise have been placed there. Mestrius Plutarchus (Greek: Πλούταρχος; 46 - 127), better known in English as Plutarch, was a Greek historian, biographer, essayist, and Middle Platonist. ... Pericles or Perikles (ca. ... Athena Parthenos is the title of a massive chryselephantine sculpture of the Greek goddess Athena by Phidias, which was housed in the Parthenon in Athens. ... A cella, in Ancient Greek and Roman temples was the central room that housed cult statues. ... Architects first real look at the Greek Ionic order: Julien David LeRoy, Les ruines plus beaux des monuments de la Grèce Paris, 1758 (Plate XX) The Ionic order forms one of the three orders or organizational systems of classical architecture, the other two canonic orders being the Doric and... Frieze of the Tower of the Winds. ... Look up Hexastyle in Wiktionary, the free dictionary Hexastyle is an architectural term given to a temple in the portico of which there are six columns in front. ... A pronaos is the inner area of the portico of an ancient Greek or Roman temple, situated between the colonnade or walls of the portico and the entrance to the cella or shrine. ... The Doric order was one of the three orders or organizational systems of Ancient Greek or classical architecture; the other two canonic orders being the Ionic and the Corinthian. ... In classical architecture, a metope is the rectangular blank spaces on the surface between two triglyphs on a Doric frieze which were often decorated with carvings. ... Cone-shaped gutta pictured below the triglyph in the Doric order Gutta (plural guttae) is a small water-repelling, cone-shaped peg used in the architrave of the Doric order in classical architecture, below the narrow taenia (fillet) and cymatium. ... Triglyph centered over the last column in the Doric order of the Ancient Romans Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze, so called because of the angular channels in them, two perfect and one divided, the two chamfered angles or hemiglyphs being reckoned...

Imaginative Victorian reconstruction of the colour on the Parthenon Frieze.

The marble was quarried from Mt. Pentelikon and transported 19 kms to the acropolis of Athens. A persistent problem of scholarship has been whether it was carved in situ. Just below the moulding and above the tenia there is a channel 1.7cms high that would have served to give access to the sculptor's chisel when finishing the heads or feet on the relief; this scamillus or guide strip is the best evidence we have that the blocks were carved on the wall. Additionally, on practical grounds it is easier to move a sculptor than a sculpture, and to crowbar them into place could have potentially chipped the edges. No information is recoverable on the workshop, estimates range from three to 80 sculptors on the basis of style, however Jenifer Neils^[2] suggests nine on the grounds that this would be the least number necessary to produce the work in the time given. It was finished with metal detailing and painted, no colour survives so we must argue by analogy, the background was perhaps blue judging by comparison with grave stelae and the paint remnants on the frieze of the Hephaisteion. Possibly figures held objects that were also rendered in paint such as Poseidon’s trident and the laurel in Apollo’s hand. The many drill holes found in Apollo’s and Hera’s heads indicate that a gilded bronze wreath would have crowned the gods. Image File history File links Size of this preview: 800 × 531 pixel Image in higher resolution (2280 × 1513 pixel, file size: 330 KB, MIME type: image/jpeg) +/- ↑ See Parthenon Frieze Slabs at [1] Last accessed 07-Apr-2007 ↑ he introduces us to Phidias showing the frieze of the Parthenon to... Image File history File links Size of this preview: 800 × 531 pixel Image in higher resolution (2280 × 1513 pixel, file size: 330 KB, MIME type: image/jpeg) +/- ↑ See Parthenon Frieze Slabs at [1] Last accessed 07-Apr-2007 ↑ he introduces us to Phidias showing the frieze of the Parthenon to... Pentéli or Pendeli, (Greek: Πεντέλη, ancient forms: Pentele, Pentelikon or Pentelicus, and Vrilissos or Vrilittos (Greek: Βριλησσός, Βριληττός), Mendeli in medieval times) is a tall mountain and mountain range situated northeast of Athens and southwest of Marathon. ... The Acropolis of Athens is the best known acropolis (high city, The Sacred Rock) in the world. ... Temple of Hephaestus, an Doric Greek temple in Athens with the original entrance facing east, 449 BC (western face depicted) Temple of Hephaestus, Athens: eastern face The Temple of Hephaestus in central ancient Athens, Greece, is the best-preserved ancient Greek temple in the world, but is far less well... Neptune reigns in the city of Bristol. ... Lycian Apollo, early Imperial Roman copy of a fourth century Greek original (Louvre Museum) In Greek and Roman mythology, Apollo (Ancient Greek , Apóllōn; or , Apellōn), the ideal of the kouros (a beardless youth), was the archer-god of medicine and healing, light, truth, archery and also a... In the Olympian pantheon of classical Greek Mythology, Hera, (Greek , IPA pronunciation ; or Here in Ionic and in Homer) was the wife and older sister of Zeus. ...

The system of numbering the Frieze blocks dates back to Adolf Michaelis's 1871 work Der Parthenon, since then Ian Jenkins^[3] has revised the system in the light of recent discoveries^[4]. The convention, here preserved, is that blocks are numbered in roman and figures in arabic numerals, the figures are numbered left to right against the direction of the procession on the north and west and with it on the south.

Description

West frieze, XLVII, 136-132, British Museum

The narrative of the frieze begins at the south west corner where the procession appears to divide into two separate files. The first third of the west frieze is not part of the procession but instead seems to be the preparatory stages for the participants. The first figure here is a marshal dressing W30, followed by several men preparing the horses W28-23 until figure W22 who, it has been suggested^[5], may be engaged in the dokimasia or enrolment of the knights. W24 is an ambiguous figure who might be either the protesting owner of a rejected horse or a keryx whose hand hold part of an otherwise lost salpinx, either way this point marks the beginning of the procession proper. Image File history File links Metadata No higher resolution available. ... Image File history File links Metadata No higher resolution available. ...

The following ranks W21-1 along with N75-136 and S1-61 are all of horsemen and constitute 46% of the whole frieze. They are divided into two lines of ten ranks – significantly the same number of the Attic tribes^[6]. All are beardless youths with the exception of two W8 and W15, who along with S2-7 wear Thracian dress of fur cap, a patterned cloak and high boots; these have been identified by Martin Robertson as hipparchs^[7]. Next are the four-horse chariots, each with charioteer and armed passenger, there are ten on the south frieze and eleven on the north. Since these passengers are sometimes depicted as dismounting they may be taken to represent the apobates, participants in the ceremonial race found in Attica and Boeotia.

By N42 and S89 the equestrian parade is at an end and the following 16 figures on the north and 18 on the south are taken to be the elders of Athens judging by their braided hair, an attribute of distinguished age in Classical art. Four of these figures raise their right hand in a clenched fist gesture suggestive of a pose associated with the thallophoroi (olive branch bearers) who were older men chosen for their good looks in competition. However no drill holes exist for any branch to be inserted in their hands. Next in line (N107-114, N20-28) are the musicians: four kithara and four aulos players. N16-19 and S115-118 (conjectured) are the hydriaphoroi, here men rather than metic girls mentioned in the literature on the Panathenaia. N13-15, S119-121 are the skaphephoroi, tray bearers of the honeycombs and cakes used to entice the sacrificial animals to the altar. N1-12, S122-149 are the ten cows on the north and four cows and four sheep on the south meant for sacrifice on the acropolis, presumably an abbreviated form of the hecatomb usually offered on this occasion - note there is an a-b-a rhythm of placid and restive cows. The Panathenaic Games were a set of games held every four years in Athens in Ancient Greece. ... Acropolis of Athens from the south-west with the Propylaea and the Temple of Nike (left centre) and the theatre of Herodes Atticus (below left) Acropolis (Gr. ... In Ancient Greece, a Hecatomb was the sacrifice to the gods of 100 cattle (hecaton = one hundred). ...

Weavers section of the frieze, Louvre, (MR 825).

As the files converge on the East frieze we encounter the first women celebrants E2-27, E50-51, E53-63. They carry the sacrificial instruments and paraphernalia including the phiale, oinochoai, thymiaterion, and in the case of E50-51 they have evidently just handed the marshal E49 a kanoun, making the girl the kanephoros^[8]. The next groups E18-23, E43-46, are highly problemtic. Six on the left and four on the right if one does not count two other figures who may or may not be marshals then this group might be taken to be the ten eponymous heroes who gave their names to the ten tribes. Certainly their proximity to the gods indicates their importance, but selecting differently then nine of them may be the archons of the polis, there is insufficient iconographic evidence to determine which interpretation is correct. The twelve seated gods are taken to be the Olympians, they are one third taller then any other figure on the frieze and are arranged in two groups of six on diphroi stools with the exception of Zeus who is enthroned. Their backs are turned to what must be the culminating event of the procession E31-35; five figures (three children and two adults, and though badly corroded these are probably girls) two of the girls bear objects on their heads while a third assists and adult in folding a piece of cloth. This is usually understood to be the presentation of Athena’s peplos by the arrhephoroi. Image File history File links Metadata Size of this preview: 800 × 388 pixelsFull resolution (2720 × 1320 pixel, file size: 2. ... Image File history File links Metadata Size of this preview: 800 × 388 pixelsFull resolution (2720 × 1320 pixel, file size: 2. ... East frieze of the Parthenon from the so-called Ergastinai (“weavers”) section, possibly depicting the karephoroi handing the kanoun to the male figure on the extreme left. ... Look up Archon in Wiktionary, the free dictionary. ... A polis (πόλις, pronunciation pol-is) plural: poleis (πόλεις) is a city, a city-state and also citizenship and body of citizens. ... The Statue of Zeus at Olympia Phidias created the 12-m (40-ft) tall statue of Zeus at Olympia about 435 BC. The statue was perhaps the most famous sculpture in Ancient Greece, imagined here in a 16th century engraving Zeus (in Greek: nominative: Zeús, genitive: Diós), is... Helmeted Athena, of the Velletri type. ... Terracotta of a Greek woman 2. ... A maiden acolyte in the cult of Athena Polias on the Athenian Acropolis. ...

Style

Cavalcade south frieze, X XI. British Museum.

The Parthenon Frieze is the defining monument of the High Classical style of Attic sculpture. It stands between the gradual eclipse of the Severe style as witnessed on the Parthenon metopes and the evolution of the Late Classical Rich style exemplified by the Nike balustrade. What sources the designer of the Frieze drew upon is hard to gauge, certainly large scale narrative art was familiar to 5th century Athenians as in the Stoa Poikile painting by Polygnotos of Thasos, but without evidence to the contrary it is reasonable to assume the novelties of the Parthenon belong to Phidias and his workshop alone. This period is one of discovery of the expressive possibilities of the human body; there is a greater freedom in the poses and gestures, and an increased attention to anatomical verisimilitude as may be observed in the ponderated stances of the figures W9 and W4 who partially anticipate the Doryphoros of Polykleitos. There is a noticeable ease to the physiques of the Frieze compared with the stiffness of the metopes along with an eye for such subtleties as knuckle joints, veins and the careful articulation of musculature. One important innovation of the style is the use of drapery as an expression of motion or to suggest the body beneath; in archaic and early classical sculpture clothing fell over the body as if it were a curtain obscuring the form below, now we find the billowing chlamydes of the horsemen or the multi-pleated peploi of the women which lends a surface movement and tension to their otherwise static poses. The variation in the manes of the horses has been of particular interest to scholars attempting to discern the artistic personalities of the sculptors who laboured on the Frieze^[9], so far this Morellian analysis has been without conclusion. Image File history File links Metadata Size of this preview: 750 × 600 pixelsFull resolution (2375 × 1900 pixel, file size: 2. ... Image File history File links Metadata Size of this preview: 750 × 600 pixelsFull resolution (2375 × 1900 pixel, file size: 2. ...

Interpretation

Cattle led to sacrifice, XLV XLVI, British Museum.

As no description of the frieze survives from antiquity the question of the meaning of the sculpture has been a persistent and unresolved one. The first published attempt at interpretation belongs to Cyriacus of Ancona in the 15th century AD who referred to it as the “victories of Athens in the time of Pericles”^[10]. However what is now the orthodox view of the piece, namely that it depicts the Greater Panathenaic procession, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787^[11]. Subsequent interpretations have largely built on this theory even if they disallow that a temple sculpture could represent a contemporary event rather than a mythological or historical one. It has only been in recent years that an alternative thesis in which the frieze depicts the founding myth of the city of Athens instead of the festival pompe has emerged. Image File history File links Metadata Size of this preview: 794 × 600 pixelsFull resolution (2515 × 1900 pixel, file size: 2. ... Image File history File links Metadata Size of this preview: 794 × 600 pixelsFull resolution (2515 × 1900 pixel, file size: 2. ...

Procession of guards from the Apadana, Persepolis, 1st half 5th C., inspiration for the Parthenon Frieze?

The contention that the scene is a document of Athena’s festival is fraught with problems. We know from later sources that a number of classes of individual who performed a role in the procession are not present in the frieze, these include: the hoplites, the allies in the Delian league, the skiaphoroi or umbrella bearers, the female hydraiphoroi (only male hydrai bearers are portrayed) thetes, slaves, metics, the panathenaic ship and some would suggest the kanephoros, though as we have seen there is evidence she is accounted for. That what we now see was meant to be a generic image of the religious festival is problematic since no other temple sculpture depicts a contemporary event involving mortals. So locating the scene in mythical or historical time has been the principal difficulty of the line of inquiry. John Boardman^[12] has suggested that the cavalry portray the heroization of the marathonomachoi, the hoplites who fell at Marathon in 490, and that therefore these riders were the Athenians who took part in the last pre-war Greater Panathenaia. In support, he points out, the number of horsemen chariot passengers (but not charioteers), grooms and marshals comes to the same as the number Herodotos gives for the Athenian dead: 192. Equally suggestive of a reference to the Persian War is the similarity several scholars have noted of the Frieze to the Apadana sculpture in Persepolis. This has variously been posited to be democratic Athens counter posing itself to oriental tyranny^[13] or aristocratic Athens emulating the Imperial East^[14]. Further to this zeitgeist argument we have JJ Politt’s^[15] contention that the Frieze embodies a Periclean manifesto, which favours the cultural institutions of agones (or contests, as witnessed by the apobatai), sacrifices and military training as well as a number of other democratic virtues. Recent scholarship pursuing this vein has made the Frieze a site of ideological tension between the elite and the demos with perhaps only the aristocracy present and merely veiled reference to the ten tribes^[16]. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... Warfare in Hellenic Greece centered mainly around heavy infantrymen called hoplites. ... Delian League (Athenian Empire), right before the Peloponnesian War in 431 BC. Corcyra was not part of the League The Delian League was an association of Greek city-states in the 5th century BC. It was led by Athens. ... Combatants Athens, Plataea Persia Commanders Miltiades, Callimachus â€ , Arimnestus Datis â€ ?, Artaphernes Strength 10,000 Athenians, 1,000 Plataeans 20,000 - 100,000 a Casualties 192 Athenians killed, 11 Plataeans killed (Herodotus) 6,400 killed, 7 ships captured (Herodotus) a These are modern consensus estimates. ... See Apadāna for the Pali texts. ... Persepolis aerial view. ...

The peplos scene

The pediments, metopes and shield of the Parthenos all illustrate the mythological past and as the gods are observing on the East Frieze it is natural to reach for a mythological explanation. Chrysoula Kardara, ^[17] has ventured that the relief shows us the first Panathenaic procession instituted under the mythical King Kekrops. This would certainly account for the absence of the allies and the ship as these post-date the original practice of the sacrificial rite. In evidence she offer E35 as the future King Erichthonios presenting the first peplos to his predecessor Kekrops, iconographically similar to the boy’s depiction on a fragmentary kylix of the 450s (Acropolis 396). A recent, more radical, interpretation by Joan Connelly^[18] identifies the central scene on the East Frieze (hence above the door to the cella and focal point of the procession) not as the handing over of Athena’s peplos by the arrhephoroi but the donning of sacrificial garb by the daughter of King Erichtheus in preparation for the sacrifice of her life. An interpretation suggested by the text of the fragmentary papyrus remains of Euripides’s Erichtheus^[19] wherein her life is demanded in order to save the city from Eumolpos and the Eleusinians. Thus the gods turn their backs to her to prevent the pollution from the sight of her death. A hotly contentious subject in the field, Connelly's solution to the problem of meaning poses as many problems as it answers. Image File history File links Size of this preview: 800 × 397 pixelsFull resolution (1117 × 555 pixel, file size: 210 KB, MIME type: image/jpeg) File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Image File history File links Size of this preview: 800 × 397 pixelsFull resolution (1117 × 555 pixel, file size: 210 KB, MIME type: image/jpeg) File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Athena Parthenos is the title of a massive chryselephantine sculpture of the Greek goddess Athena by Phidias, which was housed in the Parthenon in Athens. ... Representation of Cecrops I The name Cecrops (Greek: ) means face with a tail and it is said that this mythical Greek king, born from the earth itself, had his top half shaped like a man and the bottom half in serpent or fish-tail form. ... King Erichthonius (also called Erechtheus I) was, according to some legends, autochthonous (born of the soil), and in other accounts he was the son of Hephaestus and Gaia or Athena or Atthis. ... A statue of Euripides Euripides (Greek: Ευριπίδης) (c. ... In Greek mythology, Eumolpus was the son of Poseidon and Chione (or Hermes and Aglaulus). ... Elefsina (Greek: Ελευσίνα, Ancient/Katharevousa: Eleusis) is a small town about 30 km NW of Athens, seat of administration of the prefecture West Attica. ...

Influence

Gemma Augustea, Kunsthistorisches Museum Vienna.

The earliest surviving works of art that exhibit traces of the influence of the Parthenon Frieze belong to the media of vase painting and grave stelae where we can find some echo not just of motifs, themes, poses but tenor as well. Direct imitation, and indeed quotation, of the Frieze begins to be pronounced around 430 BC. One striking example, an explicit copy, is a Pelike attributed to the Wedding Painter (Berlin F 2357) of a youth “parking up” a horse exactly in the manner of the figure W25 on the frieze. Such clear references hold out the possibility of dating the progress of the relief by comparison with the much more easily datable contemporary pottery. More accomplished painters also found inspiration in the sculpture, namely Polygnotos I and his group, especially the Peleus Painter, the Kleophon Painter and the late work of the Achilles Painter. Later painters of talent also managed to capture the mood of eusebeia or thoughtful piety of the procession as, for example, on the volute krater of the Kleophon Painter of a sacrifice to Apollo (Ferrara T57), which shares the quiet dignity of the best of High classical sculpture. Image File history File links Metadata Size of this preview: 644 × 600 pixelsFull resolution (1739 × 1619 pixel, file size: 646 KB, MIME type: image/jpeg) This image needs to be cleaned up, because: Can the background be transparent? For help, see Commons:Images for cleanup. ... Image File history File links Metadata Size of this preview: 644 × 600 pixelsFull resolution (1739 × 1619 pixel, file size: 646 KB, MIME type: image/jpeg) This image needs to be cleaned up, because: Can the background be transparent? For help, see Commons:Images for cleanup. ...

It is natural to look for resonances of the Frieze in Attic relief sculpture of the late 5th century, these may be discovered to some degree in the public works of the Hephaisteion frieze and the Nike Athena balustrade, where the imagery of the seated gods and the sandle-binder respectively likely owes a debt to the Parthenon. We can also look to traces found on the private commissions of grave stelae from the period, for example the “cat stele” from Aegina (NAMA 715) bears a distinct similarity to the figures N135-6. As does the Hermes of the four-figure relief known from a Roman copy (Louvre MA 854). Later classicizing art of the Hellenistic and roman eras also looked to the Frieze for inspiration as attested by the Lycian Sarcophagus of Sidon, Phoenicia, the Ara Pacis Augustae, the Gemma Augustea, and many pieces of the Hadrianic generation.

Notes

1. ^ 438 was the year of the dedication of the Parthenon and usually taken as an upper limit for completion of the frieze, see I Jenkins, The Parthenon Frieze and Perikles' cavalry of 1000, p149-150, in Periklean Athens and Its Legacy: Problems and Perspectives, 2005, for a discussion of the dating problem.
2. ^ J Neils, The Parthenon Frieze, 2001, p.87
3. ^ I Jenkins, The Parthenon Frieze, 1994, p.50-1
4. ^ Particularly the manuscript of Francis Vernon of 1675, describing the Frieze prior to the Venetian bombardment which shed new light on the Carrey drawings of 1674, see T. Bowie, D. Thimme, The Carrey Drawings of the Parthenon Sculptures, 1971, and BD Meritt, The Epigraphic notes of Francis Vernon, in Commemorative Studies in Honor of Theodore Leslie Shear (Hesperia Suppl. 8, Princeton 1949)
5. ^ M Robertson and A Frantz, The Parthenon Frieze, 1975, notes to plate 9.
6. ^ The Athenian cavalry was organised by tribe of phylai and commanded by ten officers known as phlyarchs
7. ^ M Robertson, A Frantz, The Parthenon Frieze, p.46, 1975.
8. ^ LJ Roccos, The Kanephoros and her Festival Mantle in Greek Art, AJA 99, p.641-66.
9. ^ WH Schuchhardt, Die Entstehung des Parthenonfries, JdI 45, 1930, p.218-80, detects 79 individual sculptors.
10. ^ Later Travels, ed. Clive. Foss, Edward Williams Bodnar, Ciriaco, p19, I Tatti Renaissance Library, 2003
11. ^ The Antiquities of Athens: And Other Monuments of Greece, p31, Elibron Classics edition, 2002
12. ^ J. Boardman, The Parthenon Frieze – another look, in Festschrift fur Frank Brommer, p.39-49, 1977
13. ^ A W Lawrence, The Acropolis and Persepolis, JHS, 1951, p.116-19, also B. Ashmole, Architect and Sculptor in Classical Greece, p.117, 1972.
14. ^ Margaret Cool Root, The Parthenon Frieze and the Apadana Reliefs: Reassessing a Programatic Relationship, AJA:89, p.103-20.
15. ^ J.J. Pollitt, Art and Experience in Classical Greece, 1972,p.87.
16. ^ See L. Maurizio, The Panathenaic Procession:Athens' Participatory Democracyon Display?, in Democracy, Empire and the Arts in Fifth-century Athens, 1998
17. ^ Γλαυχκώπις..., Archaiologike Ephemeris, 62-158, 1964, see also F. Brommer, Der Parthenonfries: Katalog und Untersuchung, 1977, p.149.
18. ^ JB Connelly, Parthenon and Parthenoi:A Mythological Interpretation of the Parthenon Frieze, AJA 100, 58-80
19. ^ Fragments are preserved in Lycurgus Against Leocrates, 101 and on papyrus Sorbonne 2328

See also

Wikimedia Commons has media related to:

Category:Frieze of the Parthenon

• Parthenon
• Acropolis of Athens
• Elgin Marbles
• Panathenaic Festival

Image File history File links Commons-logo. ... The Wikimedia Commons (also called Wikicommons) is a repository of free content images, sound and other multimedia files. ... The Parthenon seen from the hill of the Pnyx to the west. ... The Acropolis of Athens is the best known acropolis (high city, The Sacred Rock) in the world. ... --88. ... The Acropolis and the Propylaea in an 1846 painting by Leo von Klenze The Panathenaea (‘agfhjs fgy hjer cm ll-Athenian festival) was the most important festival for Athens and one of the grandest in the entire Greek world. ...

Bibliography

• Ian Jenkins, The Parthenon Frieze (British Museum Press, 2002)
• Jenifer Neils,The Parthenon Frieze, 2001.
• J Boardman, The Parthenon and its Sculptures, 1985.
• F Brommer, Der Parthenonfries, 1977.
• M. Robertson, A Frantz, The Parthenon Frieze, 1975.
• J. Neils (ed.), Goddess and Polis, the Panathenaic Festival in Athens, 1992.

External links

• Tour of the Parthenon Frieze, Greek Culture Ministry website
• Flash animation reconstruction of the Frieze
• Hammerwood copy of the Frieze
• Duveen gallery at the British Museum