Showing posts with label Greek Architecture. Show all posts
Showing posts with label Greek Architecture. Show all posts

Sunday, November 13, 2016

STOA OF ATTALOS

The Stoa of Attalos is the most splendid Hellenistic building in the Agora and the only one to have been restored in contemporary times using almost exclusively modern building material. It houses the Agora Museum. The building was an imposing two-storey Stoa of the Pergamene type, dominating the east side of the Agora, offering a sheltered refuge to visitors and housing a series of shops.



The building material employed in its construction reflects the attention to luxury: the columns of the west side, facing the Agora Square, were made up of white Pentelic marble, as were the columns inside the Stoa and the epistyles. The steps and the stylobate of both storeys, the toichobate, the orthostatai, the taenia coursing the façade’s wall, the door posts and the outside stairway which connected the two storeys were constructed of azure-grey Hymettian marble. The other parts of the walls were made up of hard Piraeus limestone. The foundations were made up of pebbles. The low parapet connecting the intercolumnal spaces in the exterior colonnade of the second storey was colored blue and red.

The foundations has shown that the original plan was for a rather smaller Stoa, with 14 rooms only on each storey. While part of the construction work had already been completed (the rooms of the south side and some parts of the north section), the plan was altered and the building was significantly enlarged. Four rooms were added in the south side; these were smaller than the rest, and the outside stairways were placed, each with a width of 2.21m. Finally, before this enlargement was completed a new one was made; three more rooms were added in the north side, each with a width of 4.11m. Some of these rooms were used as offices, while most of them housed shops.

The Stoa was a favored place for setting up statues and monuments in honor of the city’s benefactors.
A large square was constructed in front of the Stoa in order to create a large level space on which the Stoa could rest. The square was 7.33m wide, and together with the comfortable spaces of the storey, it allowed the viewing of athletic and other events taking place in the area of the Agora by large groups of people. The south section of the building featured a fountain, while pedestals that supported statues, a bema and other monuments have been discovered in front of the Stoa.
The Stoa was severely damaged during the raid of the Heruli. It was completely destroyed in the late 3rd century when the Late Roman defensive wall was constructed, especially as three of its turrets were erected on the spot of the doors of the Stoa's shops.
  
Parts of the building remained visible until the mid-19th century. It was then believed that the ruins belonged to two different buildings, the Stoa and the Gymnasium, but this misapprehension was rectified by the excavations of the Athenian Archaeological Society in 1859. The American School of Classical Studies conducted excavations in the Stoa’s site between 1949 and 1953. In 1953-1956 the Stoa was restored using the drawings of the architect which are considered a faithful adaptation of the ancient design. Paradoxically, the ancient building has not been published yet – some of its unearthed architectural members still remain unidentified. The American School implements a project in the context of which all of the surviving authentic material from the Stoa is documented.









Monday, October 31, 2016

Temple of Olympian Zeus- Athens, Greece, Sixth Century BC- Second Century AD




       The temple was built on the site of an ancient outdoor sanctuary dedicated to Zeus. The tyrant Pisistratus built a temple for the god around 550 BC. Around 520 BC, the current temple began to be constructed and was completed under the reign of the Roman emperor Hadrian in second century AD, about 640 years after the start. Pisistratus’s sons began the construction. The temple was intended to be built of local limestone in the Corinthian style. It was supposed to be a 134.5 foot by 353 foot platform. On the front side, there would be a double colonnade of eight columns, and on the sides, twenty one.  The project was abandoned approximately ten years after it began, when only the platform and some elements were completed. For 336 years, the site remained in this state. In 174 BC, the Seleucid king, Antiochus IV, resumed the construction of the Greek temple and put Decimus Cossutius, a Roman architect, in charge of the project. Under Cossutius, the design changed. The double colonnade in the front changed to a triple, and the twenty one columns on the sides changed to twenty totaling in 104 columns. Each column was to be seventeen meters high and two in diameter. The building material changed to Pentelic marble and the style changed to Doric; this was the first time the exterior of a major temple would be in the Doric style. Antiochus’s death in 164 BC halted the construction of the project at its midpoint. For the most part, in the following years it was damaged and neglected until Hadrian rose to power and resumed the construction. It was completed in second century AD.
Image: studyblue.com

     After he completed the construction, the temple was formally dedicated to Hadrian. The temple itself and the surrounding precinct were decorated with statues depicting Hadrian, the gods and personification of roman provinces.

     The temples era of glory was short lived- after the Herulian sack and invasion of Athens in 3rd century AD, it fell to disuse. It is unclear if it was used in its damaged state but if it was used, it would have been formally closed in 425 AD by the Christian emperor Theodosius III when he prohibited worship of old Roman and Greek gods.

     Over the following centuries, the temple was used as a quarry for building materials needed for other projects.  By the end of the Byzantine period, it was almost totally destroyed.  Today, nothing remains of the cella and only fifteen of the original 104 columns stand with one more on the ground after being toppled in a storm in 1852. The site was excavated by Francis Penrose (British) in 1889-1896, by Gabriel Welter (German) in 1922 and by a team of Greek archaeologists in the 1960s.



     Over the years, different peoples called it by different names. During the Ottoman’s times, the locals called it the Palace of Hadrian. During Turkish rule, it was called the Palace of Belkis, due to a legend that it was a palace constructed for one of King Solomon’s wives.

Sources: 
1-  Watkin, David. A History of Western Architecture: Sixth ed. New York: Thames and Hudson, 1986. Print.
2- Martin, Roland. Greek Architecture: Electa Architecture, 2003. Print

Arch of Hadrian, Athens, Greece, 131 AD


Constructed in 131 AD, the Arch of Hadrian is a monumental gateway built by the roman emperor, Hadrian as a part of a wall separating the old and new Athens. The arch spanned an ancient road from the center of Athens to the complex on the eastern side of the city that included the Temple of Olympian Zeus. British architects, Stuart and Revett did the earliest and only complete architectural study of the arch in 1751-53. They were perplexed by the fact that the arch is not aligned with the Temple of Olympian Zeus, despite the fact that it is only 20m from the boundary wall of that complex. It has been suggested that the arch was built to celebrate the arrival of the emperor to the city and to honor him at the time of the dedication of the temple. It is unclear who commissioned the arch but is likely that a group of Greek citizens designed and constructed it.



Google Maps
The entire arch is made of Pentelic marble, from Mt Pendelikon. The design is fully symmetrical from front to back and side to side. It stands eighteen meters (fifty nine feet) high, thirteen and a half meters (forty four feet) wide and two point three meters (seven and a half feet) in depth and the single arched passageway of the lower level is six and a half meters (twenty one feet) wide. The lower arch is supported by pilasters crowned with Corinthian capitals. Similar but taller pilasters are on the outer corners. The space between the outer pilasters and the arched opening were filled in with squared stones with cut edges. The top of the lower level has an Ionic architrave with dentils and a geison.  On the lower level, the side of the arch facing the Acropolis has the inscription “ΑΙΔ' ΕIΣΙΝ ΑΘΗΝΑΙ ΘΗΣΕΩΣ Η ΠΡΙΝ ΠΟΛΙΣ” - “This is Athens, the former city of Theseus” while the other side reads, “ΑΙΔE ΑΔΡΙΑΝΟΥ ΚΟΥΧI ΘΗΣΕΩΣ ΠΟΛΙΣ” -“This is the city of Hadrian and not of Theseus.” The upper level of the arch has Corinthian columns and pilasters dividing the top into three openings. The outer openings, like the lower level, had an Ionic architrave with dentils and a geison. The central opening is different, it has antae with engaged Corinthian half-columns that support a triangular pediment that rested on the dentils, geison and sima that joined the center to the two sides. The central opening was originally covered with a thin screen of stone. Today, only the slots for its mounting exist. It has been suggested that there were statues in the side arches of the upper level. Some historians believe, based on the inscriptions, the statues were of Hadrian and Theseus, the two founders of Athens.


Stuart and Revett, Elevation



In the mid-eighteenth century, Stuart and Revett did architectural records of the arch. At that time, the base of the arch was buried only three feet into the ground. It has survived the centuries in remarkable condition, just missing the columns of the lower level. Today, it stands at its full height and towers over modern Amalias Avenue. As of late, the atmospheric pollution has discolored and degraded the original stone of the monument. 

Sources: 
1-  Watkin, David. A History of Western Architecture: Sixth ed. New York: Thames and Hudson, 1986. Print.
2- Martin, Roland. Greek Architecture: Electa Architecture, 2003. Print
3- https://www2.bc.edu/~scannedc/honors2.html

Saturday, October 29, 2016

Choragic Monument of Lysicrates, Athens Greece, 334 BC

Choragic Monument of Lysicrates, Athens

The Theater of Dionysus is the birthplace of European theater as famous Greek tragedies and comedies were performed there as early as 534 BC. The theater of Dionysus contained seating constructed of wood and clay around the orchestra which was a rectangular area. Many Greek writers premiered their works at this theater during an annual theater festival known as Dionysia, named after the god Dionysus. In these competitions, plays were opposed against each other. The performances were sponsored by wealthy patrons of the arts who received a trophy as a reward for contributing to the theater performances. In 334 BC, Lysicrates received a trophy as his prize and as was customary, he built a monument for the trophy to be placed upon in 334 BC.  
Sketch of the Choragic Monument of Lysicrates

The monument has a 9.5 foot square foundation that is 13 feet high and is topped by a circular edifice that is 21 feet high. On top of the edifice can be found a tholos, circular structure supported by six Corinthian columns that is covered with a marble roof. All of this is made of Pentelic marble. Just below the marble roof can be seen a frieze. In careful detail, scenes from the play that must have won the competition are depicted. It shows Dionysus defeating Tyrrhenian pirates by turning them into dolphins. 3
Plan of the monument
Frieze on the column

The Choragic Monument of Lysicrates is one of the first Greek monuments built according to the Corinthian order which is why it might still hold so much importance today. Whereas it once held the bronze trophy, it now stands on its own in a small garden on Tripodon Street, located not far from the Theater of Dionysus. In 1669, the monument and surrounding area were perched by a French Capuchin monastery. However, the monastery was demolished during the Greek war of Independence of 1821. Later, in 1976-1887, architects Francois Boulanger and E. Loviot supervised a restoration under the auspices of the French Government. Even though it wass restored, the column capitals have been eroded greatly and the delicacy it had is not present anymore. 1
Merchant's Exchange in Philadelphia

This choragic monument has influenced other cultures so much that there are other versions of it which include the Dugald Stewart Monument on Calton Hill in the United Kingdom and another can be found in the Botanic Gardens of Sydney Australia. This choragic monument of Lysicrates became a popular symbol of ancient Greek culture in the west too as it has been used as a model in buildings such as the Merchant’s Exchange in Philadelphia. 2

Works Cited
1 Loth, Calder. "CLASSICAL COMMENTS: THE CORINTHIAN OF THE CHORAGIC MONUMENT OF LYSICRATES | Classicist Blog." Classicist Blog. N.p., 1 Apr. 2011. Web. 29 Oct. 2016.
2 "Lysicrates Monument in Athens - Greeka.com." Greeka. N.p., n.d. Web. 29 Oct. 2016.
3 Herbert F. De Cou, "The Frieze of the Choragic Monument of Lysikrates at Athens", The American Journal of Archaeology and of the History of the Fine Arts, 8. 1 (January - March 1893):42-55) summarizes the history