Parthenon
The fifth century BCE, in Athens, was a time of great prosperity and culture. Democracy became the new government. In 449 BCE, after years of war, the unsuccessful Persians made peace, and in 445 BCE the hostilities with Sparta (Athens' long time rival) subsided. The conclusion of warfare left Athens with unnecessary money from the Delian league. Pericles, General of Athens, used this money to complete the rebuilding and beautification of Athens; with Phidias as artistic supervisor. The concrete symbol of this rebirth is the Parthenon, a temple to Athena, the patron Goddess of Athens. Standing tall and proud on top of the Acropolis, it was the largest temple of its kind on the Greek peninsula. Construction began in 447 BCE and was finished shortly thereafter in 438 BCE. (Kebric, p.142-143) The sacred and the secular meet at the Parthenon, symbolizing Athens' piety and greatness. The sheer size and quality of the Parthenon is a specific statement about how Athenians viewed themselves and how they wished to be viewed in fifth century BCE Greece. The Parthenon stands as a symbol of the strength, superiority, and power of Athens and is, in fact, a form of propaganda. All aspects of the Parthenon unite to serve
The materials to be used are marble, bronze, ivory, gold, ebony, and the carpenter, molder, bronzeworker, mason and sculptor, dyer, The interior relief sculpture on the ionic frieze, which runs all the way around the central interior block, serves to remind the viewer of Athens' rich culture and rituals. The frieze depicts the Panathenaic procession. This was a festival in Athens, every year on Athena's birthday, in which everyone in the city processed to the Parthenon bearing gifts and a new peplos for Athena. On the west frieze horsemen ride towards the Acropolis, and the north and south friezes depict charioteers preparing for the games after the festival. Women are shown walking towards the Acropolis, and twelve Olympian Gods are seated watching and waiting for the procession, on the east frieze. (Pedley, p.246-251) The artist sculpted the procession with no confusion or monotony, and there are suggestions of recession into space. These show the advanced talent and skill of the sculptor. Whether or not this was a depiction of a specific Panathenaic procession or an idealized version of all panathenaic festivals, the Athenians showed great audacity by placing Gods among mortals. Even though the Gods are depicted in a larger scale, the depiction of Gods and mortals together emphasizes the confidence and pride of Athens. attached to it. practically every able-bodied man is employed and is receiving pay for his work. (Pedley, p.252) the head of Medusa, made of ivory, is represented.
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Approximate Word count = 1699
Approximate Pages = 7 (250 words per page double spaced)
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