The Parthenon

Prepared by: Frmesk Kawa

supervised by :Ms. Jenan Sabah

Subject: theory of architecture

Academic year (2023-2024)

1
The content:

-Introduction…………………………………3
-The architecture……………………………..4
-The sculpture………………………………..6
-Tourist attraction…………………………….7
-Restoration programs………………………..7
-References…………………………………..8

2
INTRODUCTION:
Parthenon, temple that dominates the hill of the Acropolis
at Athens. It was built in the mid-5th century BCE and dedicated
to the Greek goddess Athena Parthenos (“Athena the Virgin”). The
temple is generally considered to be the culmination of the
development of the Doric order, the simplest of the three Classical
Greek architectural orders

The purpose:
The purpose of the Parthenon has changed over its 2,500-year
history, beginning as a temple dedicated to the
goddess Athena Parthenos (“Athena the Virgin”). Some scholars,
however, question the building’s religious function, partly because
no altar from the 5th century BCE has been found. All experts
agree that early on the Parthenon was used as a treasury. In
subsequent centuries the building was transformed into
a Byzantine church, a Roman Catholic cathedral, and later
a mosque. The temple was then used to store the Ottomans’
ammunition during a war with the Venetians, which is how an
explosion led to the building’s ruin in 1687. After serving as an
army barracks at the end of Greece’s war for independence (1821–
32), the Parthenon assumed its role as tourist destination during
the late 19th century, just as restoration efforts began.

3
The importance of Parthenon:
The Parthenon is the centrepiece of a 5th-century-BCE building
campaign on the Acropolis in Athens. Constructed during the
High Classical period, it is generally considered to be the
culmination of the development of the Doric order, the simplest
of the three Classical Greek architectural orders. The temple’s
harmonic proportions, precise construction, and lifelike sculptures
have been celebrated and emulated for thousands of years. The
Parthenon is often regarded as a monument to democracy, which
was founded in Athens during this period, as well as a tribute to
the Athenians’ victory in the Greco-Persian Wars (492–449 BCE).

The architecture:
Work on the Parthenon began in 447 BCEunder the
architects Ictinus and Callicrates with the supervision of the
sculptor Phidias. The building was completed by 438, and that
same year a great gold and ivory statue of Athena, made by
Phidias for the interior, was dedicated. Work on the exterior
decoration of the building continued until 432 BCE. Although the
rectangular white marble Parthenon has suffered damage over the
centuries, including the loss of most of its sculpture, its basic
structure has remained intact. A colonnade of fluted baseless
columns with square capitals stands on a three-stepped base and
supports an entablature, or roof structure, consisting of a
plain architrave, or band of stone; a frieze of alternating triglyphs
(vertically grooved blocks) and metopes (plain blocks with relief
sculpture, now partly removed); and, at the east and west ends, a
4
low triangular pediment, also with relief sculpture (now mostly
removed). The colonnade, consisting of 8 columns on the east and
west and 17 on the north and south, encloses a walled interior
rectangular chamber, or cella, originally divided into three aisles
by two smaller Doric colonnades closed at the west end just
behind the great cult statue. The only light came through the east
doorway, except for some that might have filtered through the
marble tiles in the roof and ceiling. Behind the cella, but not
originally connected with it, is a smaller square chamber entered
from the west. The east and west ends of the interior of the
building are each faced by a portico of six columns. Measured by
the top step of the base, the building is 101.34 feet (30.89 metres)
wide and 228.14 feet (69.54 metres) long. The Parthenon
embodies an extraordinary number of architectural refinements,
which combine to give a plastic, sculptural appearance to the
building. Among them are an upward curvature of the base along
the ends and repeated in the entablature; an imperceptible
delicate convexity (entasis) of the columns as they diminish in
diameter toward the top; and a thickening of the four corner
columns to counteract the thinning effect of being seen at certain
angles against the sky.

5
The sculpture:
The sculpture decorating the Parthenon rivaled its architecture in
careful harmony. The metopes over the outer colonnade were
carved in high relief and represented mythical battles
that alluded to the Greco-Persian Wars, in which the Greeks
ultimately triumphed but not without losses of their own. On the
east metopes, Gigantomachy, a battle between gods and giants, is
depicted; on the south, Centauromachy, a battle between Lapiths,
legendary people of Thessaly, and centaurs; and, on the west,
probably Amazonomachy, a battle between Athenians and
Amazons. The sculptures on the north are almost all lost, but they
portrayed the defeat of Troy by the Greeks. The two pediments
feature complex compositions of sculptures carved in the round.
On the east, the only remaining groups are witnesses to the birth
of Athena. On the right, three female figures, probably goddesses,
sit together, one resting against the lap of another. The shapes of
their bodies are clearly visible beneath swirling fabric, and their
positions become increasingly reclined as the sculptures reach the
narrow points of the triangular pediment. On the west pediment
is Athena’s contest with the sea god Poseidon for domination of
the region around Athens. On the interior of the Parthenon there
is a continuous low-relief frieze around the top of the
exterior cella wall, likely representing the Panathenaic procession
of citizens honouring Athena. It begins on the west end with
officials and young men mounting their horses and citizens
loosely grouped. The pedestrians become more crowded, and the
cavalcade seemingly picks up speed with horses at full gallop
toward the east end, where the frieze culminates with a priest and
priestess of Athena flanked by two groups of seated gods. The
entire work is a marvel of composition and clarity, which was
further enhanced by colour and bronze accessories.

6
Tourist attraction:
• The Parthenon is most often visited on half- or full-day city
tours of ancient Athens.
• Come prepared for the weather, as the Parthenon is an
indoor/outdoor experience.
• A wheelchair lift is available to the top of the Acropolis

THE RESTORATION PROGRAMMES

The Parthenon's restoration is one of the most ambitious and
meticulously executed projects in the field of architectural
conservation. It combines traditional craftsmanship with modern
technology, setting a benchmark for similar projects worldwide. The
work is not only about preserving a monument but also about
maintaining a vital link to human heritage and cultural identity.

Historical Background:

• The Parthenon has suffered damage over the centuries from

various causes including explosions, earthquakes, pollution, and
previous restoration attempts using inappropriate materials and
methods.

Initiation of Modern Restoration:

• The modern restoration of the Parthenon began in earnest in the

1970s, led by the Greek government with the formation of the
Acropolis Restoration Service (YSMA) and the Committee for the
Conservation of the Acropolis Monuments (ESMA).

7
Goals of Restoration:

• The primary goals are to correct structural problems, conserve

existing materials, replace missing parts with new marble from the
same quarry originally used, and use reversible techniques to allow
for future work without damage.

8
References:

-www.wikipedia.com
-www.britannica.com
-www.viator.com

9
10