Greek Architecture Chapter 6 PDF

Chapter 6: Greek Architecture  Chapter 6: Greek Architecture INFLUENCES: GEOGRAPHICAL ❑ Ancient Greece was located in southeastern Europ...

Chapter 6: Greek Architecture  Chapter 6: Greek Architecture INFLUENCES: GEOGRAPHICAL ❑ Ancient Greece was located in southeastern Europe along the Mediterranean Sea, which separates Europe from Africa. ❑ Other great civilizations surrounded the Greek civilization, including the Egyptians to the south, the Romans to the west, and the Persians to the east. ❑ Unlike many of these other civilizations, the ❑ The Greeks called their land Hellas Greek civilization did not develop in a river and themselves Hellenes. It was the valley, but it was surrounded by water. Ancient Romans who called them Greeks and Greece had the Mediterranean Sea to the that is the name by which we know south, the Ionian Sea to the west, and the them. Aegean Sea to the east.  Chapter 6: Greek Architecture GEOLOGICAL ❑ Marble was used in many temples, such as the Parthenon in Athens, which is decorated with Pentelic marble and marble from the Cycladic island of Paros. ❑ The quarrying and transport of marble and limestone were costly and labor-intensive, and often constituted the primary cost of erecting a temple. Chapter 6: Greek Architecture INFLUENCES: CLIMATIC ❑ The climate in Ancient Greece generally featured hot summers and mild winters. ❑ The clear atmosphere and intensity of light was conducive to the development of that love of precise and exact forms which are special attributes of Greek Architecture. ❑ The administration of justice, dramatic representations and most public ceremonies took place in the open air, and to this there are more public buildings than temples. Temple of Hephaestus, Athens ❑ Due to Greeks love for conversation, explain the Greece porticoes and colonnades which were such important features.  Chapter 6: Greek Architecture INFLUENCES: HISTORICAL & SOCIAL A. AEGEAN – the Stone and Bronze Age civilizations that arose and flourished in the area of the Aegean Sea in the periods, respectively, about 7000–3000 BC and about 3000–1000 BC. ❑ The area consists of Crete, the Cyclades and some other islands, and the Greek mainland, including the Peloponnese, central Greece, and Thessaly. ❑ The Bronze Age civilization of Crete has been called Minoan, after the legendary King Minos of Knossos, which was the chief city of the island throughout early times. ❑ The first high civilization on European soil, with stately palaces, fine craftsmanship, and writing, developed on the island of Crete. ❑ Crafts, pottery, communications and trade through coastal produced a unity of culture and economic stability.  Chapter 6: Greek Architecture INFLUENCES: HISTORICAL & SOCIAL B. MYCENAEAN or HELLADIC GREECE – was the last phase of the Bronze Age in Ancient Greece, spanning the period from approximately 1750 to 1050 BC. ❑ It represents the first advanced and distinctively Greek civilization in mainland Greece with its palatial states, urban organization, works of art, and writing system. ❑ The Mycenaean Greeks introduced several innovations in the fields of engineering, architecture and military infrastructure, while trade over vast areas of the Mediterranean was essential for the Mycenaean economy. ❑ Mycenaean Greece perished with the collapse of Bronze Age culture in the eastern Mediterranean, to be followed by the Greek Dark Ages, a recordless transitional period leading to Archaic Greece where significant shifts occurred from palace-centralized to de-centralized forms of socio-economic organization (including the extensive use of iron).  Chapter 6: Greek Architecture INFLUENCES: HISTORICAL & SOCIAL C. HELLENIC GREECE – refers to that period of ancient Greek history between 507 BCE (the date of the first democracy in Athens) and 323 BCE (the death of Alexander the Great). This period is also referred to as the age of Classical Greece. ❑ The Hellenic period of ancient Greece consisted of the Greek mainland, Crete, the islands of the Greek archipelago, and the coast of Asia Minor primarily. This is the time of the great Golden Age of Greece and, in the popular imagination, resonates as 'ancient Greece’. ❑ Great works of art and beautiful temples were created for the worship and praise of the various gods and goddesses of the Greeks, such as the Parthenon of Athens, dedicated to the goddess Athena Parthenos (Athena the Virgin) and the Temple of Zeus at Olympia (both works which Phidias contributed to and one, the Temple of Zeus, listed as an Ancient Wonder). The temple of Demeter at Eleusis was the site of the famous Eleusinian Mysteries, considered the most important rite in ancient Greece.  Chapter 6: Greek Architecture INFLUENCES: HISTORICAL & SOCIAL D. HELLENISTIC GREECE – which designates the period between the death of Alexander and Rome's conquest of Greece (323 - 146 - 31 BCE). ❑ During the Hellenistic period, Greek cultural influence and power reached the peak of its geographical expansion, being dominant in the Mediterranean world and most of West and Central Asia, even in parts of the Indian subcontinent, experiencing prosperity and progress in the arts, astrology, exploration, literature, theatre, architecture, music, mathematics, philosophy and science. ❑ This period may be seen to end either with the final conquest of the Greek heartlands by Rome in 146 BC following the Achaean War, with the final defeat of the Ptolemaic Kingdom at the Battle of Actium in 31 BC, or even the move by Roman emperor Constantine the Great of the capital of the Roman Empire to Constantinople in AD 330.  Chapter 6: Greek Architecture INFLUENCES: RELIGIOUS ❑ The chief deity everywhere in the Aegean during the Bronze Age was evidently a goddess. Perhaps there were several goddesses with different names and attributes. The extant texts refer to a Potnia (“Lady” or “Mistress”), to whom they give several epithets like “horse” or “grain.” ❑ Most mainland palaces have paintings of processions in which people bring gifts to a goddess. On Thera, frescoes show girls picking saffron crocus and offering it in baskets to a seated goddess. Clay statues of goddesses, often with upraised arms and attributes such as horns of consecration, doves, snakes, or poppies have been found in Crete; these range in date from the 14th to the early 12th century, providing evidence of a strong tradition. ❑ Worship centered on sacrificial altars, in open-air enclosures, caves, small chapels or household shrines. The religious ceremonies of the Aegeans included sacred games and ritual dances.  Chapter 6: Greek Architecture INFLUENCES: RELIGIOUS ❑ The Greek religion was also a worship of natural phenomena and highly developed. The gods were personification of particular elements, or were defined heroes, and each town or district had its own local preferences, ceremonies and traditions. ❑ Most ancient Greeks recognized the twelve major Olympian gods and goddesses— Zeus, Hera, Poseidon, Demeter, Athena, Ares, Aphrodite, Apollo, Artemis, Hephaestu s, Hermes, and either Hestia or Dionysus—although philosophies such as Stoicism and some forms of Platonism used language that seems to assume a single transcendent deity. The worship of these deities, and several others, was found across the Greek world, though they often have different epithets that distinguished aspects of the deity, and often reflect the absorption of other local deities into the Pan-Hellenic scheme.  Chapter 6: Greek Architecture THE TWELVE (12) OLYMPIANS GREEK ROMAN ZEUS JUPITER (JOVE) HERA JUNO APOLLO APOLLO ATHENA MINERVA POSEIDON NEPTUNE DOINYSUS BACCHUS DEMETER CERES ARTEMIS DIANA HERMES MERCURY APHRODITE VENUS HEPHAESTUS VULCAN ARES MARS  Chapter 6: Greek Architecture THE TWELVE (12) OLYMPIANS ZEUS - The supreme God, and ruler of the sky HERA - Wife of Zeus, goddess of marriage and family APOLLO - God of law and reason, art, music and poetry, founder of cities ATHENA - Goddess of wisdom and learning POSEIDON - God of the Sea DIONYSUS - God of wine, feasting and revelry DEMETER - Goddess of earth and agriculture ARTEMIS - Goddess of the hunt, wilderness and wild animals HERMES - Messenger of the Gods APHRODITE - Goddess of love, beauty and fertility HEPHAESTUS - God of fire, flame and forge God of handicrafts ARES - God of war  Chapter 6: Greek Architecture AEGEAN ARCHITECTURE (c. 3,000 – 1,100 BC) ARCHITECTURAL CHARACTER ❑ The development of European Architecture relied on Greek Architecture ❑ The Character of Mycenaean Architecture is very Corbel Arch different from the Hellenic Architecture, consists of rough walling of large blocks of stone, often unworked. ❑ Most prominent elements: 1. corbel system, 2. inclined blocks over openings, 3. and the true arch. Comparison of a generic "true" ❑ Three significant elements dominated our stone arch(left) and a corbel examination of Aegean architecture; palaces, arch (right). citadels and tombs.  Chapter 6: Greek Architecture TREASURY OF ATREUS ❑ The Treasury of Atreus or Tomb of Agamemnon is a large tholos or beehive tomb on Panagitsa Hill at Mycenae, Greece, constructed during the Bronze Age around 1250 BC. ❑ The stone lintel above the doorway weighs 120 tons, with approximate dimensions 8.3 x 5.2 x 1.2m, the largest in the world. ❑ The tomb was used for an unknown Treasury of Atreus, built around 1250 BC period. Chapter 6: Greek Architecture  Chapter 6: Greek Architecture ❑ THOLOS – from Ancient Greek, meaning "dome", in Latin tholus, is an architectural feature that was widely used in the classical world. It is a round structure, usually built upon a couple of steps, with a ring of columns supporting a domed roof. ❑ DROMOS – Entrance passage or avenue leading to a building, tomb or passageway. Those leading to beehive tombs are enclosed between stone walls and sometimes in- filled between successive uses of the tomb.  Chapter 6: Greek Architecture AEGEAN ARCHITECTURE (c. 3,000 – 1,100 BC) ARCHITECTURAL CHARACTER ❑ In both Crete and Mycenae, palaces were important architectural elements. The organization and form of the palaces however differs between the two civilizations. ❑ In Crete, palaces were complex multifunctional, multi-story buildings. They were designed to be colorful, relaxed and joyous in nature, reflecting the peaceful lifestyle of the people, while in Mycenae, palaces were single story, organized around a simple rectangular kingly residence, the megaron that is accessed through a series of courtyards. ❑ Gypsum, cut stone and Timber were the principal building materials of the Aegean. Gypsum was common in Crete, while limestone was common in Mycenaea. Timber was not very common in both locations. ❑ In Crete, gypsum was preferred for wall and frescoed decoration, while timber is used for columns and roofs. In Mycenae, cut stone was the most common material which was used with wooden frame for houses or in cyclopean construction for citadels. Chapter 6: Greek Architecture AEGEAN ARCHITECTURE (c. 3,000 – 1,100 BC) ARCHITECTURAL CHARACTER: THREE TYPES OF MASONRY WALLS 1. CYCLOPEAN – a type of stonework found in Mycenaean architecture, built with massive limestone boulders, roughly fitted together with minimal clearance between adjacent stones and with clay mortar or no use of mortar. The boulders typically seem Cyclopean masonry, backside unworked, but some may have been of the Lion Gate, Mycenae, worked roughly with a hammer and the Greece gaps between boulders filled in with smaller chunks of limestone. Chapter 6: Greek Architecture LION GATE, MYCENAE ❑ It was erected during the thirteenth century BC, around 1250 BC, in the northwestern side of the acropolis. In modern times, it was named after the relief sculpture of two lionesses in a heraldic pose that stands above the entrance. ❑ The gate is the sole surviving monumental piece of Mycenaean sculpture, as well as the largest surviving sculpture in the Lion Gate, Mycenae, Greece prehistoric Aegean. It is the only monument of Bronze Age Greece to bear an iconographic motif that survived without being buried underground. Chapter 6: Greek Architecture AEGEAN ARCHITECTURE (c. 3,000 – 1,100 BC) ARCHITECTURAL CHARACTER: THREE TYPES OF MASONRY WALLS 2. POLYGONAL – a technique of stone wall construction. True polygonal masonry is a technique wherein the visible surfaces of the stones are dressed with straight sides or joints, giving the block the appearance of a polygon. Stoa der Athener, Delphi, 3. RECTANGULAR – carefully hewn rectangular Griechenland blocks arranged in regular courses. Chapter 6: Greek Architecture TEMPLE OF ATHENA NIKE ❑ A temple on the Acropolis of Athens, dedicated to the goddesses Athena and Nike. Built around 420 BC, the temple is the earliest fully Ionic temple on the Acropolis. ❑ Nike was the goddess of victory in Greek mythology, and Athena was worshipped in this form, representative of being victorious in Rectangular Masonry, Temple war. of Athena Nike  Chapter 6: Greek Architecture PALACE OF KNOSSOS ❑ Located just south of modern-day Heraklion near the north coast of Crete. Built by a civilization that we call the Minoans, it covers about 150,000 square feet (14,000 square meters), the size of more than two football fields, and was surrounded by a town in antiquity.  Chapter 6: Greek Architecture PALACE OF KNOSSOS ❑ The complex was constructed ultimately around a raised central court on the top of Kephala. ❑ The great palace was built gradually between 1700 and 1400 BC, with periodic rebuilding after destructions. ❑ The 1,300 rooms are connected with corridors of varying sizes and direction, which differ from other contemporaneous palaces Reconstructed View of Palace that connected the rooms via of Knossos several main hallways. Chapter 6: Greek Architecture PALACE OF KNOSSOS ❑ The palace also includes the Minoan column, a structure notably different from Greek columns. ❑ Unlike the stone columns that are characteristic of Greek architecture, the Minoan column North Portico in Knossos, was constructed from the trunk Crete, Greece of a cypress tree, which is common to the Mediterranean. Echinus – an ovolo molding, ❑ Minoan Columns were larger at especially one having an outline the top than at the bottom, with with several radii or one carved a large, simple capital at the top. with an egg-and-dart pattern.  Chapter 6: Greek Architecture PALACE OF TIRYNS ❑ Tiryns was a hill fort with occupation ranging back seven thousand years, from before the beginning of the Bronze Age. ❑ It reached its height of importance between 1400 and 1200 BC, when it became one of the most important centers of the Mycenaean world, and in particular in Argolis. ❑ UNESCO designated Tiryns as a World Heritage Site in 1999.  Chapter 6: Greek Architecture PALACE OF TIRYNS ❑ Its most notable features were its palace, its Cyclopean tunnels and especially its walls, which gave the city its Homeric epithet of "mighty walled Tiryns". ❑ Tiryns became associated with the myths surrounding Heracles, as the city was the residence of the hero during his labors, and some sources cite it as his birthplace. Chapter 6: Greek Architecture Ruins of Palace of Tiryns Masonry Tunnel  Objective: 1. Overall comprehension of the History of Architecture, including familiarity with diverse geographical, cultures, historical periods, works of art and architecture. 2. To enable the students to discern or determine a particular architectural style from another periods covered. 3. To study the history of architecture and learn the how and why these buildings of particular periods were constructed. Chapter 6: Greek Architecture HELLENIC GREECE: ❑ Refers to that period of ancient Greek history between 507 BCE (the date of the first democracy in Athens) and 323 BCE (the death of Alexander the Great). ❑ This period is also referred to as the age of Classical Greece. ❑ The Hellenic period of ancient Greece consisted of the Greek mainland, Crete, the islands of the Greek archipelago, and the coast of Asia Minor primarily.  Chapter 6: Greek Architecture HELLENIC GREECE: ❑ Great works of art and beautiful temples were created for the worship and praise of the various gods and goddesses of the Greeks, such as the Parthenon of Athens, dedicated to the goddess Athena Parthenos (Athena the Virgin) and the Temple of Zeus at Olympia (both works which Phidias contributed to and one, the Temple of Zeus, listed as an Ancient Wonder). Parthenon, Athens: ❑ The temple of Demeter at Eleusis was the site was built in thanksgiving for the of the famous Eleusinian Mysteries, Hellenic victory over Persian invaders considered the most important rite in ancient during the Greco-Persian Wars. Greece.  Chapter 6: Greek Architecture Temple of Zeus, Olympia: Temple of Demeter, Eleusis: was the very model of the fully developed Eleusis was the site of the Eleusinian classical Greek temple of the Doric Order. Mysteries, or the Mysteries of Demeter and Kore.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD – though temples were now the chief building type the earliest ARCHITRAVE resembled the Aegean megaron in plan and in having timber laced, sun-dried brick walls, stucco-covered, on stone dadoes; timber framed portals (the origin of the door architrave), narrowing a little towards the top; timber antae or uprights Architrave – a horizontal band that protecting the free ends of the naos walls sits directly on top of the vertical where they embraced the pronaos or porch columns on a building. and a low-pitched roof showing pediments or gables over narrow ends. Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD – though temples were now the chief building type the earliest resembled the Aegean megaron in plan and in having timber laced, sun-dried brick walls, stucco-covered, on stone dadoes; timber framed portals (the origin of the door architrave), narrowing a little towards the top; timber antae or uprights protecting the free ends of the naos walls Ancient Greek Temple of where they embraced the pronaos or porch Hephaestus and a low-pitched roof showing pediments or gables over narrow ends.  Chapter 6: Greek Architecture Pronaos – the space between the outer columns and entrance of a Classical temple. Naos – the body of a temple (as distinct from the portico) in which the image of the deity is housed. Opisthodomos – refers to the rear porch of a temple.  Chapter 6: Greek Architecture Pediment – triangular gable forming the end of the roof slope over a portico. The pediment was the crowning feature of the Greek temple front. The triangular wall surface of the pediment, called the tympanum, rested on an entablature (a composite band of horizontal moldings) carried over the columns. The tympanum was often decorated with sculpture, and was always crowned by a raking, or slanted, cornice.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD – Greek columns and their entablatures were at first entirely of timber, with terra-cotta decorations in the upper trabeatation, but were converted into stone quite early in the period, about 600 BC, timber forms being imitated in stone with remarkable exactness. ❑ Greek architecture sometimes has been Dado – the portion of a pedestal called a “carpentry in marble.” between its base and cornice. A ❑ The walls became wholly of stone about the term also applied to the lower same time, yet the tradition of the dado portions of walls when decorated always survived in the special way the stones separately. were arranged at the base of the wall.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD – ceilings sometimes omitted, leaving an open roof, were treated decoratively with timber – panelled coffers or within the colonnades around temples, were of flat, stone slabs, coffered to imitate the timber. ❑ Almost all kinds of stone walls were used, from coursed rubble to the finest ashlar, Coffers – sunk panels, caissons or well-bonded but always without mortar. In lacunaria formed in ceilings, vaults such work the stones were secured together by wrought-iron cramps and dowels, or domes. protected by molten lead. Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD – ceilings sometimes omitted, leaving an open roof, were treated decoratively with timber – panelled coffers or within the colonnades around temples, were of flat, stone slabs, coffered to imitate the timber. ❑ Almost all kinds of stone walls were used, from coursed rubble to the finest ashlar, Cramps – used to hold two well-bonded but always without mortar. In such work the stones were secured together adjoining pieces of masonry by wrought-iron cramps and dowels, together to prevent them from protected by molten lead. slipping.  Chapter 6: Greek Architecture Antelixae – ornamental blocks Crepidoma – the multilevel platform on which vertically regular intervals the superstructure of the building is erected. along the lower edge of a roof, – It usually has three levels. to cover the ends of tiles. – It rests on the euthynteria or foundation, which historically was constructed of locally available stone for the sake of economy.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD ❑ Several important refinements were practised in Greek architecture in order to correct optical illusions. ❑ The long horizontal lines of such features as stylobates, architraves and cornices, which if straight in reality, would have appeared to Stylobate – the top step of the the Greek eye to sag or drop in the middle of crepidoma, the stepped platform their length, were formed with slightly upon which colonnades of temple convex outlines. columns are placed (it is the floor of ❑ Greek columns usually have an entasis. the temple).  Chapter 6: Greek Architecture Optical Illusion: Chapter 6: Greek Architecture Entasis – derives from the Greek word enteino, "to stretch or strain tight.“ – A swelling or curving outwards along the outline of a column shaft, designed to counteract the optical illusion which gives a shaft bounded by straight lines the appearance of curving inwards. Chapter 6: Greek Architecture Angle columns of temples were not only set closer to the adjacent columns, but were also stouter, as it was found that they appeared thinner against the open sky than those seen against the solid background of the ‘Noas’ wall.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD ❑ From the original two ‘orders of architecture,’ Doric and Ionic, evolved simultaneously by the two main branches of the Greek race, there at length arose a third, Corinthian a purely decorative variant which although invented by the Hellenic Greeks was only to attain its full identity in the hands of the Romans. ❑ The Etruscans developed the Tuscan, inspired by the Doric and a simpler and cruder version of it. ❑ While the last to appear was the ‘Composite,’ a Roman contribution which did not differ greatly from the Corinthian and which, like it, was an offshoot from the Ionic. ❑ These were the “FIVE ORDERS OF ARCHITECTURE” of classical times.  Chapter 6: Greek Architecture FIVE ORDERS OF ARCHITECTURE GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 1. HELLENIC PERIOD ❑ An order consists of the upright column or support including the capital, and base, if any, and the horizontal entablature or part supported. ❑ The proportions of columns and entablature vary in the different ‘orders’ as do also their mouldings and ornament.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 2. HELLENISTIC PERIOD (323-30 C) ❑ This period provided much of the decorative inspiration of some Roman building types. ❑ Architecture in the Greek world during the Hellenistic period developed theatrical tendencies, as had Hellenistic sculpture. ❑ The conquests of Alexander the Great had caused power to shift from the city-states of Greece to the ruling dynasties. ❑ Dynastic families patronized large complexes and dramatic urban plans within their cities. ❑ These urban plans often focused on the natural setting, and were intended to enhance views and create dramatic civic, judicial, and market spaces that differed from the orthogonal plans of the houses that surrounded them. ❑ Architecture in the Hellenistic period is most commonly associated with the growing popularity of the Corinthian order. Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 2. HELLENISTIC PERIOD (323-30 C) ❑ Civic design developed space and entire groups of buildings were laid out in symmetrical lines in orderly schemes, often linked by colonnade porticoes or “STOAS.” ❑ Town planning became normal. Restored Stoa of Attalos ❑ Trabeated Architecture, but arches began Ground-level colonnades. Marble to appear over wall-openings and large, c. 150 BCE. Agora, Athens, Greece niche-like recessed in building plans.  Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 2. HELLENISTIC PERIOD (323-30 C) ❑ Such 'exedra' previously had only been employed outdoors. Stone vaults with radiating voussoirs, were no longer uncommon. The Agora of Ephesus ❑ Due to the increased complexity of AGORA - was a central public space buildings, new situations arose, and the in ancient Greek city-states. The original purity of forms of the orders were agora also served as a marketplace, lost. Parts were interchanges between where merchants kept stalls or shops Doric and Ionic and were used in the same to sell their goods amid colonnades. building.  Chapter 6: Greek Architecture Voussoir - a wedge- Trabeated - a style of Exedra or Exedrae - a shaped element, architecture in Greek in which semicircular architectural typically a stone, the beam forms the recess or platform, sometimes which is used in constructive feature. crowned by a semi-dome, and building an arch or either set into a building's vault. façade or free-standing.  Chapter 6: Greek Architecture Bouleuterion - also translated as council house, assembly house, and senate house, was a building in ancient Greece which housed the council of citizens of a democratic city state. Bouleuterion of Priene Propylaea - a Priene was an ancient Greek monumental gateway. city of Ionia. Chapter 6: Greek Architecture GREEK ARCHITECTURE (c. 650 – 30 BC) ARCHITECTURAL CHARACTER 2. HELLENISTIC PERIOD (323-30 C) ❑ In Greek cities there was a place apart, usually upon the highest part, for the 'Temenos' or sacred enclosure, as at Delphi. ❑ Often topography allowed this to be a citadel too, an acropolis or upper city, where the principal sacred buildings might stand, both for dignity and safety. ❑ These were walled like the city itself, and sometimes were very irregular in shape, due to the lie of the land. ❑ Propylaea, or entrance gateways, marked the approach to the sacred enclosure in many cities such as Athens, Epidauros, Eleusis and Priene.  Chapter 6: Greek Architecture DELPHI Site plan of the upper Sacred Precinct, Delphi. The outer wall that surrounds it is 190 meters (620 ft) long by 135 meters (443 ft) wide and is pierced by nine gates.  Chapter 6: Greek Architecture DELPHI ❑ In legend previously called Pytho in ancient times was a sacred precinct that served as the seat of Pythia, the major oracle who was consulted about important decisions throughout the ancient classical world. ❑ The ancient Greeks considered the center of the world to be in Delphi, marked by the stone The Omphalos of Delphi is an ancient marble monument known as the monument that was found at the archaeological omphalos (navel). site of Delphi, Greece.  Chapter 6: Greek Architecture TEMPLE OF APOLLO ❑ Located on Mount Parnassos in Central Greece, the Temple of Apollo at Delphi is part of the Panhellenic Sanctuary at Delphi and occupies a remote, but central location relative to Greek settlements. ❑ The Temple of Apollo, god of music, harmony, light, healing, and oracles occupied the most important and prominent position in the Delphic Panhellenic Sanctuary. ❑ The edifice with the partially restored colonnade visible today dates to the 20th century BC and, according to ancient accounts, five different temples were built throughout history.  Chapter 6: Greek Architecture TREASURIES ❑ From the entrance of the upper site, continuing up the slope on the Sacred Way almost to the Temple of Apollo, are a large number of votive statues, and numerous so-called treasuries. ❑ These were built by many of the Greek city-states to commemorate victories and to thank the oracle for her advice, which was thought to have contributed to those victories. ❑ These buildings held the offerings made to Apollo; these were frequently a "tithe" or tenth The reconstructed Treasury of of the spoils of a battle. the Athenians, built to ❑ The most impressive is the now-restored commemorate their victory at Athenian Treasury, built to commemorate their the Battle of Marathon victory at the Battle of Marathon in 490 BC. Chapter 6: Greek Architecture ALTAR OF THE CHIANS ❑ Located in front of the Temple of Apollo, the main altar of the sanctuary was paid for and built by the people of Chios. ❑ It is dated to the fifth century BC by the inscription on its cornice. ❑ Made entirely of black marble, except for the base and cornice, the altar would have made a striking impression. It was restored in 1920.  Chapter 6: Greek Architecture STOA OF HE ATHENIANS ❑ The stoa, or open-sided, covered porch, is placed in an approximately east-west alignment along the base of the polygonal wall retaining the terrace on which the Temple of Apollo sits. ❑ The stoa was built in their own preferred style, the Ionic order, the capitals of the columns being a sure indicator.  Chapter 6: Greek Architecture THEATRE ❑ The ancient theatre at Delphi was built farther up the hill from the Temple of Apollo giving spectators a view of the entire sanctuary and the valley below. ❑ It was originally built in the fourth century BC, but was remodeled on several occasions, particularly in 160/159 B.C. at the expenses of king Eumenes II of Pergamon and, in 67 A.D., on the occasion of emperor Nero's visit.  Chapter 6: Greek Architecture THEATRE ❑ The koilon (cavea) leans against the natural slope of the mountain whereas its eastern part overrides a little torrent that led the water of the fountain Cassotis right underneath the temple of Apollo. ❑ The koilon was divided horizontally in two zones via a corridor called diazoma. ❑ The lower zone had 27 rows of seats and the upper one only eight. ❑ Six radially arranged stairs divided the lower The cavea (Latin for "enclosure") part of the koilon in seven tiers. are the seating sections ❑ The theatre could accommodate of Greek and Roman approximately 4,500 spectators. theatres and amphitheaters.  Chapter 6: Greek Architecture THOLOS ❑ The tholos at the sanctuary of Athena Pronaea ("Athena of forethought") is a circular building that was constructed between 380 and 360 BC. ❑ It consisted of 20 Doric columns arranged with an exterior diameter of 14.76 meters, with 10 Corinthian columns in the interior. ❑ The architect of the "vaulted temple at Delphi" is named by Vitruvius, in De architectura Book VII, as Theodorus Phoceus (not Theodorus of Samos, whom Vitruvius names separately).  Chapter 6: Greek Architecture ACROPOLIS, ATHENS The Acropolis of Athens is an ancient citadel located on a rocky outcrop above the city of Athens and contains the remains of several ancient buildings of great architectural and historical significance, the most famous being the Parthenon.  Chapter 6: Greek Architecture ACROPOLIS, ATHENS ❑ The word acropolis is from the Greek words akron, means "highest point, extremity" and polis, means "city". ❑ During ancient times the Acropolis of Athens was known also more properly as Cecropia, after the legendary serpent-man, Cecrops, the supposed first Athenian king. The Acropolis of Athens, seen from the Hill of the Muses  Chapter 6: Greek Architecture Statue of Athena Promachos Erechtheion Altar of Athena Propylaea Sanctuary of Zeus Polieus Sanctuary of Temple of Pandion Athena Nike Eleusinion Odeon of Herodes Atticus Stoa of Eumenes Asclepieion SITE PLAN  Chapter 6: Greek Architecture ACROPOLIS, ATHENS 13. Sanctuary of Zeus Polieus 1. Parthenon 14. Sanctuary of Pandion 2. Old Temple of Athena 15. Odeon of Herodes Atticus 3. Erechtheion 16. Stoa of Eumenes 4. Statue of Athena Promachos 17. Sanctuary of Asclepius or Asclepieion 5. Propylaea 18. Theatre of Dionysus Eleuthereus 6. Temple of Athena Nike 19. Odeon of Pericles 7. Eleusinion 20. Temenos of Dionysus Eleuthereus 8. Sanctuary of Artemis Brauronia or 21. Aglaureion Brauroneion 9. Chalkotheke 10. Pandroseion 11. Arrephorion 12. Altar of Athena  Chapter 6: Greek Architecture PARTHENON ❑ A former temple on the Athenian Acropolis, Greece, that was dedicated to the goddess Athena during the fifth century BC. ❑ The Parthenon was built in thanksgiving for the Hellenic victory over Persian invaders during the Greco-Persian Wars. ❑ The Parthenon was built under the general supervision of Phidias, who also had charge of the sculptural The Parthenon in 1978 decoration.  Chapter 6: Greek Architecture PARTHENON ❑ The Parthenon is a peripteral octastyle Doric temple with Ionic architectural features. ❑ It stands on a platform or stylobate of three steps. ❑ In common with other Greek temples, it is of post and lintel construction and is surrounded by columns ('peripteral') carrying an entablature. ❑ There are eight columns at either end ('octastyle') and seventeen on the sides. Floor plan of the Parthenon ❑ There is a double row of columns at either end.  Chapter 6: Greek Architecture PARTHENON ❑ The Parthenon is regarded as the finest example of Greek architecture. ❑ Measured at the stylobate, the dimensions of the base of the Parthenon are 69.5 by 30.9 metres (228 by 101 ft). ❑ The cella was 29.8 metres long by 19.2 metres wide (97.8 × 63.0 ft). ❑ Some studies of the Acropolis, including of the Parthenon and its facade, have conjectured that many of its proportions approximate the golden The east facade ratio. Chapter 6: Greek Architecture PARTHENON ❑ The cella of the Parthenon housed the chryselephantine statue of Athena Parthenos sculpted by Phidias and dedicated in 439 or 438 BC. ❑ METOPES – The frieze of the Parthenon's entablature contained 92 metopes, 14 each on the east and west sides, 32 each on the north and south sides.  Chapter 6: Greek Architecture TRIGLYPH ❑ an architectural term for the vertically channeled tablets of the Doric frieze in classical architecture, so called because of the angular channels in them. METOPE ❑ a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order.  Chapter 6: Greek Architecture TAENIA ❑ a small "fillet" molding near the top of the architrave in a Doric column. REGULA ❑ an architectural band or fillet especially when one of a series beneath the taenia in a Doric architrave of which each corresponds to a triglyph above and has a row of six guttae on its lower side. GUTTAE ❑ a small water-repelling, cone-shaped projection used near the top of the architrave of the Doric order in classical architecture.  Chapter 6: Greek Architecture ERECHTHEION ❑ The Erechtheion or Temple of Athena Polias is an ancient Greek Ionic temple- telesterion on the north side of the Acropolis, Athens, which was primarily dedicated to the goddess Athena. ❑ Externally, the temple is an Ionic hexastyle, prostyle pronaos which faces east. ❑ On the south wall of the western naos was an L- shaped staircase which leads to the higher Porch of the Maidens, a prostyle tetrastyle porch, or pteron, having six sculpted female figures as The Erechtheion, western side, Acropolis, supports, all facing south and standing on Athens, Greece. a low wall.  Chapter 6: Greek Architecture CARYATID ❑ A caryatid is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. ATLAS OR TELAMON ❑ An atlas or telamon is a male version of a caryatid, i.e. a CANEPHORA sculpted male statue serving as ❑ A caryatid supporting a an architectural support. basket on her head.  Chapter 6: Greek Architecture STATUE OF ATHENA PROMACHOS ❑ The Athena Promachos was a colossal bronze statue of Athena sculpted by Pheidias, which stood between the Propylaea and the Parthenon on the Acropolis of Athens. ❑ The Athena Promachos was one of the earliest recorded works by Pheidias and was originally a well-known and famous Athenian landmark. ❑ It originally stood between the Erechtheion and the Propylaea. Chapter 6: Greek Architecture PROPYLAEA ❑ the classical Greek Doric building complex that functioned as the monumental ceremonial gateway to the Acropolis of Athens. ❑ Built between 437 and 432 BCE as a part of the Periklean Building Program, it was the last in a series of Propylaea East Facade gatehouses built on the citadel. ❑ Its architect was Mnesikles, his only known building. Chapter 6: Greek Architecture TEMPLE OF ATHENA NIKE ❑ A temple on the Acropolis of Athens, dedicated to the goddesses Athena and Nike. ❑ Built around 420 BC, the temple is the earliest fully Painting of the Temple of Athena Ionic temple on Nike, by Werner Carl-Friedrich, from the Acropolis. 1877 Floor Plan  Chapter 6: Greek Architecture BRAURONEION ❑ The Brauroneion was the sanctuary of Artemis Brauronia on the Athenian Acropolis, located in the southwest corner of the Acropolis plateau, between the Chalkotheke and the Propylaea in Greece. ❑ The sanctuary on the Acropolis was of an unusual trapezoidal shape and did not contain a formal temple. Instead, a portico or stoa served that function. The 3D computer generated image of the stoa measured circa 38 by 6.8 m; it stood sanctuary of Artemis Brauonia. To the in front of the southern Acropolis wall, right is the Propylaea, to the left the facing north. Chalkotheke.  Chapter 6: Greek Architecture ODEON OF HERODES ATTICUS ❑ The Odeon of Herodes Atticus (also called Herodeion or Herodion) is a stone Roman theatre structure located on the southwest slope of the Acropolis of Athens, Greece. ❑ The building was completed in AD 161 and then renovated in 1950. ❑ It was built in AD 161 by Herodes Atticus in memory of his Roman wife, Aspasia Annia Regilla. ❑ It was used as a venue for music concerts The Odeon of Herodes Atticus in with a capacity of 5,000. Athens. In the distance the Monument ❑ It lasted intact until it was destroyed and of Philopappos. Athens, Greece. left in ruins by the Heruli in AD 267.  Chapter 6: Greek Architecture THEATRE OF DIONYSUS ❑ The Theatre of Dionysus is an ancient Greek theatre in Athens. ❑ It is built on the south slope of the Acropolis hill, originally part of the sanctuary of Dionysus Eleuthereus (Dionysus the Liberator). ❑ The first orchestra terrace was constructed on the site around the mid- to late-sixth century BC. ❑ The theatre reached its fullest extent in the fourth century BC under the epistates of View of the Theatre and Sanctuary of Lycurgus when it would have had a capacity Dionysus of up to 17,000, and was in continuous use down to the Roman period. Chapter 6: Greek Architecture GREEK TEMPLE – a temple built as a shrine to the ancient Greek god or goddesses to whom it was dedicated. DIFFERENT TYPES OF TEMPLES: A. According to the number of columns on the front: 1. Henostyle – one column 2. Distyle – two columns 3. Tristyle – three columns 4. Tetrastyle – four columns 5. Pentastyle – five columns 6. Hexastyle – six columns 7. Heptastyle – seven columns 8. Octastyle – eight columns 9. Decastyle – ten columns 10. Dodecastyle – twelve columns Chapter 6: Greek Architecture Distyle in Antis denotes a temple with the side walls extending to the front of the porch and terminating with two antae, the pediment being supported by two pilasters or sometimes caryatids.  Chapter 6: Greek Architecture DIFFERENT TYPES OF TEMPLES: B. By the arrangement of the exterior columns of the temple in relation to the Naos: 1. IN ANTIS – temple have from one to four columns between antae at the front and two is the usual number. In Antis Amphi-Antis 2. AMPHI-ANTIS – temples have from one to four columns between antae at front and rear. Two is the usual number. 3. PROSTYLE – temples have a portico of columns at the front. Peripteral 4. AMPHI-PROSTYLE – temples have a portico of columns at the front and rear. 5. PERIPTERAL – temples have a single line of Prostyle Amphi-Prostyle columns surrounding the naos. Chapter 6: Greek Architecture DIFFERENT TYPES OF TEMPLES: 6. PSEUDO-PERIPTERAL – temples have flank columns attached to the naos wall. 7. DIPTERAL – temples have a double line of columns surrounding the naos. 8. PSEUDO-DIPTERAL – temples are like the last Pseudo- but inner range of Peripteral Dipteral Pseudo- columns is omitted on the Dipteral flanks of the naos.  Chapter 6: Greek Architecture DORIC ORDER ❑ Characterized by a plain, unadorned column capital and a column that rests directly on the stylobate of the temple without a base. ❑ Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above. Chapter 6: Greek Architecture DORIC ORDER ❑ The Doric order had a timber origin. ❑ Greek columns began as tapered tree trunks, the function of the square abacus and circular echinus comprising the capital being to gather and transmit the load of the entablature to the column shaft. THE DORIC COLUMN ❑ It stands without a base directly on a crepidoma, usually of three steps, and has a height including the capital, of from 4 to 6 times the diameter at the base in the Hellenistic. ❑ The circular shaft, diminishng at the top from ¾ to 2/3 of this diameter is divided as a rule into 20 shallow flutes or channels separated by sharp ‘arrises.’  Chapter 6: Greek Architecture Abacus Echinus Trachelion Flutes Annulets Hypotrachelion Arris ABACUS ❑ a slab forming the crowning member of a capital. ARRIS ECHINUS ❑ the sharp edge formed by the ❑ the convex or projecting molding, resembling the meeting of two surfaces. shell of the sea urchin, which supports the abacus FLUTES of the Greek Doric capital. ❑ the vertical channeling on the ANNULETS shaft of a column. ❑ a small flat fillet encircling a column.  Chapter 6: Greek Architecture MUTULES GUTTAE ❑ projecting inclined ❑ small cones under the blocks in Doric cornices, Triglyphs and Mutules of derived from the ends of the Doric entablature. wooden beams. REGULA ❑ the short band, under TAENIA the Triglyphs, beneath ❑ a flat projecting band the tenia of the Doric capping the architrave of entablature, and to a Doric entablature. which the Guttae are attached.  Chapter 6: Greek Architecture ACROTERION ANTEFIXAE ❑ blocks resting on the vertex and lower ❑ ornamental blocks, fixed vertically at extremities of the pediment to support regular intervals along the lower edge of statuary or ornaments. a roof, to cover the ends of tiles.  Chapter 6: Greek Architecture IONIC ORDER ❑ characterized by the use of volutes. ❑ The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform while the cap is usually enriched with egg-and-dart. ❑ The Ionic order originated in the mid-6th century BC in Ionia, as well as the southwestern coastland and islands of Asia Minor settled by Ionians, where Ionic Greek was spoken. Chapter 6: Greek Architecture IONIC ORDER ❑ The ionic order is specially remarkable for its volute or scroll capital and derived from the Egyptian Lotus. ❑ Ionic columns were always comparatively slender and needed a base at their lower end to spread the weight transmitted. ❑ In the entablature, there were only two main parts; the architrave and a cornice with the ‘dentils.’ ❑ There was no frieze in the entablature of the true Ionic Order and none was acquired there until late 4th century BC. Chapter 6: Greek Architecture IONIC COLUMNS ❑ Including capital base are usually about nine times their lower diameter in height and have 24 flutes separated by fillets and not by arrises or sharp edges as in the Doric column. ❑ The moulded base evolved by stages into that known as the ‘attic’ base having been brought to this perfected form in Attica. ❑ It consists of an upper and lower torus, divided by a scotia and fillets, but until late Hellenic period there is no square plinth.  Chapter 6: Greek Architecture Egg and Dart Volute Scroll Bead Moulding Flute Fillet FILLET ❑ a small flat band between mouldings to separate them from each other. FLUTE ❑ the vertical channeling on the shaft of a column.  Chapter 6: Greek Architecture ATTICA BASE: PLINTH ❑ the lowest square member of the base of a column. Fillets TORUS ❑ the lowest molding which projects at the base of a column and above the plinth. Scotia SCOTIA ❑ similar to the cavetto but has a deeper Torus concavity partially receding beyond the face of the general surface that it ornaments. Plinth  Chapter 6: Greek Architecture DENTILS ❑ tooth like blocks in Ionic and Corinthian cornices. CYMATIUM ❑ the crowning member of a cornice generally in Dentils the form of a cyma (above). Cymatium Corona  Chapter 6: Greek Architecture CORINTHIAN ORDER ❑ the last developed of the three principal classical orders of Ancient Greek architecture. ❑ This architectural style is characterized by slender fluted columns and elaborate capitals decorated with acanthus leaves and scrolls. ❑ The name Corinthian is derived from the ancient Greek city of Corinth. ❑ According to the architectural historian Vitruvius, the column was created by the sculptor Callimachus, probably an Athenian, who drew acanthus leaves growing around a votive basket. Chapter 6: Greek Architecture CORINTHIAN ORDER ❑ This appeared in the Greek architecture in the 5th century BC as a decorative variant of the Ionic, the difference lying almost entirely in the column capital. CORINTHIAN COLUMN ❑ With base and shaft resembling the Ionic, tended to become more slender and eventually a proportion of 10 diameters was regarded as fitting. ❑ The distinctive feature is the· capital, which is much deeper then the Ionic, a proportion of about 1 1/6 diameters high. ❑ Three parts: Architrave, Frieze and Cornice – the cornice is the developed type, with small dentils in the bedmould. Chapter 6: Greek Architecture CORINTHIAN COLUMN ❑ The earlier examples appear to have been in bronze. ❑ The perfected type has a deep, inverted bell, the lower part of which is surrounded by two tiers of eight acanthus leaves and from between the leaves of the upper row rise eight Caulicoli (caulis - a stalls), each surmounted by a calyx from which emerge volutes or helices supporting the angles of the abacus and the central foliated ornaments. ❑ Each face of the moulded abacus is curved outwards to a point at the angles. Chapter 6: Greek Architecture CORINTHIAN CAPITAL ❑ The Corinthian capital is in form similar to a cylindrical vase covered by an abacus with hollowed sides and with corners cut at an angle of forty-five degrees, in plan with the sides of the square containing the abacus. ❑ Against this vase or "bell" are placed two rows of leaves whose heads are curved. ❑ The first row, which is applied directly above the astragal of the shaft, is composed of eight leaves; these are called the small leaves. ❑ From the intervals between these small leaves arise the stems of the second row of leaves which are larger. Chapter 6: Greek Architecture CORINTHIAN CAPITAL ❑ Between these large leaves and just over the centers of the small ones, 8 stems arise, from which develop 8 other leaves which, divided into two parts, recurve above the large leaves at the corners of the abacus and at the center of each of its faces. ❑ These leaves, which are very much distorted, are called caulicoli. ❑ From these caulicoli arise 16 volutes of which 8 large ones unroll in pairs, back to back, under the corners of the abacus, and 8 small ones, also in pairs extend towards the centers of the four sides of the abacus. Chapter 6: Greek Architecture Rosette CORINTHIAN CAPITAL ❑ Among the small volutes next to the bell is placed an ornament which is called the floweret, and above this, against the mouldings of Floweret the abacus, is a rosette.  Chapter 6: Greek Architecture Cymatium CORINTHIAN ENTABLATURE ❑ Corinthian and Ionic internal columns Corona share the same entablature. Modillion ❑ There are three parts to the Corinthian Frieze Dentils entablature, architrave, frieze and cornice, which is normally the developed type, with small dentils in the bedmould. Architrave ❑ Eventually in the Roman hands, the order is enriched by extra small mouldings, and an important 'modillion‘ band is added to the bed-mould; the Capital modillions being consoles or brackets, giving support to the projecting corona of the cornice. Chapter 6: Greek Architecture MODILLION ❑ a projecting member or 'bracket' to support a weights generally formed with scrolls or volutes; when carrying the upper members of a cornice, brackets are generally termed modillions or 'consoles' sometimes also termed as Ancones. ANCONES ❑ consoles on either side of a doorway supporting a cornice. Chapter 6: Greek Architecture  Chapter 6: Greek Architecture SAMPLE: MOULDINGS ❑ An architectural device whereby, with the help of the light and shade they produce definition is given to the salient lines of a building. ❑ Thus the delicacy of moulded contours is in proportion to the strength of sunlight in any given country, always making due allowance for national tendencies and the possibilities of the material used. CYMA RECTA ❑ Greek mouldings were refined and delicate in ❑ which is often carved with contour, first due to the fine-grained marble in honeysuckle ornament, which often they were carved, and secondly to the whose outline corresponds clear atmosphere and continuous sunshine which with the-section. produced strong shadows from slight projections.  Chapter 6: Greek Architecture SAMPLE: CYMA REVERSA (OGEE) OVOLO (EGG-LIKE) ❑ when enriched is carved with the ❑ when enriched is carved with the egg water leaf and tongue. and dart or egg and tongue ornament.  Chapter 6: Greek Architecture SAMPLE: FILLET ASTRAGAL OR BEAD ❑ a small plain face to separate other ❑ serves much the same as the fillet, but mouldings, is usually without approaches a circle in section. It is enrichment. sometimes carve with the "bead and reel."  Chapter 6: Greek Architecture SAMPLE: SCOTIA COVETTO ❑ is a deep hollow which occurs in bases, ❑ is a simple hollow. and is generally not enriched: CORONA ❑ The corona, or deep vertical face of the upper portion of the cornice, was frequently painted with a Greek 'Feet' ornament.  Chapter 6: Greek Architecture SAMPLE: TORUS BIRD’S BEAD ❑ is really a magnified bead moulding ❑ occurs frequently in the Doric order and which, when enriched, is carved with gives a deep shadow. the guilloche or plait ornament, or with bundles of leaves tied bands.  Chapter 6: Greek Architecture THEATERS:  Chapter 6: Greek Architecture PUBLIC BUILDING: AGORA ❑ or town square, was the centre of social and business life, around or near which were stoas or colonnaded porticoes, temples, administrative and public buildings, markets, places of entertainment, monuments and shrines. STOA ❑ a long colonnaded building, served many purposes. Stoas were used around public places and as shelters at religious shrines. PRYTANEION ❑ served as senate house for the chief dignitaries of the city and as a place where distinguished visitors and citizens might be entertained. it contained the official banqueting room and also the symbolic communal hearth on which a fire 'burnt' perpetually, associated with the cult of Hestia goddess of the hearth. BOULEUTERION ❑ or council house was a covered meeting place for the democratically-elected councils. Small and with many columns, bouleuterion are usually rectangular buildings with banked seats facing inwards on three sides, or arranged in a semi-circle.  Chapter 6: Greek Architecture PUBLIC BUILDING: ODEION ❑ A kindred type to the theatre, was a building in which musician performed their works for the Panathinaiko approval of the public and Stadium of Athens competed for prizes. STADIUM ❑ Was the foot racecourse in cities Ephesus Odeon, where games were celebrated Turkey and had a length of about 183 m (600 ft.) between banks of seats founded on convenient natural ground or on the spoil from excavation of flat sites. The starting end was straight and the other semi-circular.  Chapter 6: Greek Architecture TOMB: NEREID MONUMENT ❑ a sculptured tomb from Xanthos in Lycia, close to present-day Fethiye in Mugla Province, Turkey. ❑ It took the form of a Greek temple on top of a base decorated with sculpted friezes, and is thought to have been built in the early fourth century BC (circa 390 BC) as a tomb for Arbinas, the Xanthian dynast who ruled western Lycia under the Achaemenid Empire. ❑ Typifies Ionian sculptural luxuriance and the use in Greek Asia Minor of a temple form of tom, elevated on a podium. ❑ The entablature lacks a true frieze, but the architrave PODIUM – a continuous pedestal; also is sculptured and there are other bas-relief frieze on the enclosing platform of the arena of the podium. Between the columns stood nereids or an amphi-theater. marine nymphs. Chapter 6: Greek Architecture TOMB: LION OF KNIDOS ❑ The name for a colossal ancient Greek statue erected near the ancient port of Knidos, south-west Asia Minor (now near Datça in Turkey). ❑ This sculpture of a recumbent lion was quarried from Mount Pentelikon near Athens, the same marble used to build the Parthenon. ❑ The statue had crowned an 18-metre high funerary monument, which had commanding views over the sea and may have once acted as a navigation aid for passing sailors. ❑ The monument may have been destroyed in an earthquake, as the statue was found lying some distance from the tomb.  Chapter 6: Greek Architecture TOMB: MAUSOLEUM, HALICARASSUS ❑ The Mausoleum at Halicarnassus or Tomb of Mausolus was a tomb built between 353 and 350 BC in Halicarnassus (present Bodrum, Turkey) for Mausolus, a native Anatolian from Caria and a satrap in the Achaemenid Empire, and his sister-wife Artemisia II of Caria. ❑ The structure was designed by the Greek architects Satyros and Pythius of Priene. Mausoleum is an external free-standing ❑ The Mausoleum was approximately 45 m (148 ft) building constructed as a monument in height, and the four sides were adorned with enclosing the interment space or burial sculptural reliefs, each created by one of four chamber of a deceased person or people. A Greek sculptors: Leochares, Bryaxis, Scopas of mausoleum without the person's remains is Paros, and Timotheus. called a cenotaph. Chapter 6: Greek Architecture DOMESTIC BUILDING: ❑ The Greeks lived much of their waking life in the public and sacred parts of the city, and their houses were at first modest in scope and materials. ❑ The rooms looked towards a small court, the chief apartments being on the north side, facing 'the winter sun, with others on the east and west sides. ❑ Two-storey arrangement were quite common. ❑ The DORIAN GREEKS developed the "pastas'' house, being a long shallow room, crossing the house from side to side and partly open on the South towards the court, whilst serving too for access to the main inner rooms to the North.