Temple Master

Temples: Privilege List (and number in Richter) 1. Zeus Olympios @ Athens (37) 2. Apollo at Corinth (10) 3. C at Silenus (11) 4. Apollo at Didyma (35) 5. Apollo Epikourios at Bassae (27) 6. Hera at Olympia (9) 7. Aphaia at Aegina (20) 8. other Akropolis (30-) 9. Asklepios at Epidauros (34) 10. Apollo at Delphi (19)

11. Artemis at Ephesos (14) 12. Zeus Akragas (21) 13. Zeus at Olympia (22) 14. Parthenon (25) 15. Altar at Pergamon (38) 16. Treasury at Delphi (39) 17. Erectheion (31-33) 18. Theatre of Epidauros (41-42) 19. Hephaestion (23) 20. Hera at Paestum (17/18)

Past Temples (Number in Richter) and Year (Missing: 97, 91, 90, 88, 87) Zeus Olympios in Athens (37) 99 Parthenon (25) 15, 00, 94, 89, 86 Zeus at Olympia (22) 12, 01 Apollo at Corinth (10) 02 C at Silenus (11) 02 Hera at Paestum (17/18) 16, 03, 92, 89 Apollo at Didyma (35) 03 Apollo Epikourios at Bassae 05, 96 Hephaestion (23) 14, 06, 95 Apollo at Delphi 08 Artemis at Ephesos (14) 09 Erectheion (31-33) 13, 10, 04, 93, 85 Zeus Akragas (21) 10, 98 Theatre of Epidauros (41-42) 11, 07, 97, 85 Virgin Temples (Number in Richter) 8) Artemis at Korcyra 9) Hera at Olympia 12) Hera at Sile 15) Hera at Olympia 16) Athena at Paestum 20) Aphaia at Aegina 26) Poseidon at Sounion 29) Segesta 30) Athena Nike 34) Asklepios at Epidauros 36) Artemis at Sardis

Other Structures (Number in Richter) 38) Altar at Pergamon 39) Treasury at Delphi 40) Tholos at Epidauros 44) Telesterion at Eleusis 46) Palaestra at Epidauros 47-48) Private houses at Epidauros 49) Hotel at Epidauros

Past Questions

16 Hera at Paestum (17/18)

Study Photograph B and Photograph C on Paper X and answer the following questions. (a) Identify the temple in the photographs. (5) (b) Where is this temple located and in what order is it built? (10) (c) Using the correct architectural terms, give a full description of this temple. (20) (d) To which era of Greek architecture does this temple belong? Give reasons for your answer. (15)

15 Parthenon (25) (i) Photograph A on Paper X shows a famous temple. (a) Identify this temple and say where it is located. (10) (b) To which order of Greek architecture does this temple belong? (5) (c) Describe the materials used in its construction. (5)

(d) Using the correct architectural terms, give a full description of this temple. (30) 14 Hephaistos (23/24)

(ii) Photograph B and Photograph C on Paper X show a plan and a detail of the temple of Hephaistos in Athens. (a) To which order of architecture does this temple belong? (5) (b) What materials were used in its construction? (10) (c) What, according to Richter, was unusual about this temple? (10) (d) Give a detailed description of the temple using the correct architectural terms. (25) 13 Erectheion (31-33)

12 Temple of Zeus at Olympia (22)

11 Theatre at Epidauros

10 Karyatid/Erectheion

10 Zeus at Akragas

09 Artemis at Ephesos

08 Apollo at Delphi

07 Theatre at Epidauros

06 Hephaiston (23)

05: Apollo Epikourios at Bassae a) architect b) unusual features c) description of ground plan (27) 04: Erectheion a) identify b) description/religious aspect c) building (31-33) 03: Hera at Paestum, Apollo at Didyma a) order b) dates c) description (17, 35)

02: Apollo at Corinth, C at Selinus a) period b) order c) differences (10, 11)

01: Zeus at Olympia a) period b) order c) materials d) description (22) 00: Parthenon a) identify + architects b) Ionic feature c)“Refinements were introduced to give life to the design and correct optical illusions.” (25, 28) 99: Zeus Olympios at Athens a) period b) order c) description d) change of taste since the Parthenon (37) 98: Zeus Olympios at Akragas a) features; unusual b) additional features of Parthenon (21) 97: Theatre at Epidauros

96: Apollo Epikourios at Bassae a) description b) unusual about cella columns c) another unusual decorative feature (27) 95: Hephaistos of Athens a) identify and visible features, location b) diff. between Archaic and Classical, with examples (23, 24) 94: Parthenon (25, 28) a) draw plan, identify standard features b) special features of plan c)unusual decorative feature d) history from ancient world till today 93: Erechtheion in Athens a) identify b) main features; materials c) unusual design (31, 33) 92: Hera at Paestum a) architectural description b) comparison with Parthenon and date (17, 18) 89: Hera at Paestum /Parthenon (17,18 / 25,28) a) Compare 86: Parthenon (25, 28) a) Why beautiful? 85: 1) Erechtheion (31, 33) a) identify b) unusual architectural plan c) architectural decorations

d) workmen paid? 2) Theatre at Epidauros (41, 42) a) identify b) notes on parts c) types of performances and

why was the theatre suitable for such?

Individual Temples (by Richter Number) 8) Artemis at Korcyra 580 BC, Archaic, Doric The oldest peripteral temple in Greece is the Temple of Artemis at Korkyra in Corfu (see Richter p.27). It was made of limestone and was about twice as long as it was wide. There seem to have been two rows of columns inside the cella. Its Western pediment has been pieced together carved in high relief with a scene of Medusa the Gorgon with her two sons and two leopards. Much smaller figures at the sides show the Battle of the gods and the giants. It dates to around 580 BC. (See Richter p.63). 8 columns at front, triglyphs and plain metopes, Doric. 9) Hera at Olympia

Doric, Archaic 600 BC All normal features + two rows of columns in the cella. 16x6. The walls were built of limestone at the bottom and continued in mud-brick. It was probably finished in wood with a tiled terracotta roof and terracotta revetment. The wooden columns were later replaced in stone, with great variations in the replaced columns. (Date, Type of Limestone , Number of drums, flutes, Methods of fastening) The cella was divided by two rows of columns; an unusual feature were the spur walls which alternated with the columns. The ceiling was flat. It measures about 160X60 ft. Long compared to width SCULPTURE: large limestone base for cult statues of Hera and Zeus. Perhaps the colossal head of Hera was found. Fragment of a disk akroterion was found shows the pediment was surrounded by this feature. cella, pronaos, opisthodomos, peristyle, 6 columns back and front, 16 columns at sides.

10) Apollo at Corinth 2002:

(i) (a) 10 marks. Archaic. (b) 10 marks. Doric. (c) 30 marks. (10 X 3) This question is designed to examine candidates’ ability to read a plan and to describe a Greek temple clearly using the correct terms. Candidates should be able to point out the main differences between A and B. Doric, Archaic 540 BC It was made of stuccoed limestone. It had both a pronaos and an opisthodomos, 6 columns at the end and 15 on the side (pteron). There were two rows of columns in the cella. Seven columns still stand. It dates to the mid 6th century BC. Each shaft is a monolith (limestone) about 21 feet high with 20 flutes. Baggy echinus (therefore an older style capital). The rough limestone was faced with stucco made of marble dust. It is the earliest instance of the floor rising in a convex curve. Unusually, there was a cross-wall dividing the cella into two unequal halves. Earliest illustration of architects fixing optical illusions- upward curvature of stylobate A base for a cult statue was found in the half adjoining the opisthodomos. Its length was two and a half times its width. (See Richter p.28). cella, pronaos, opisthodomos, peristyle, 6 columns back and front, 15 columns at sides, two rows of columns inside the cella

11) C at Silenus Doric, Archaic 550 BC

It had 6 columns on end but 17 on sides. 12 columns of its peristyle still stand. There were two rows of columns in front of the pronaos. The opisthodomos was not open to the peristyle but formed a back chamber to the very narrow cella. The entablature was very high (more than half the height of the columns)., with a cornice of two stone courses, crowned with a terra cotta sima, which was decorated with guilloche, lotus and palmette ornaments and pierced to allow drainage. Pieces of this magnificent, colourful sima have survived as well as 3 metopes now at Palermo. (These metopes represent a chariot scene, Perseus cutting off the head of Medusa, and Herakles carrying the Kerkopes in a rather farouche but powerful style.) The krepidoma has an extra level in comparison to that of the Apollo and there are steps leading from the peristyle to the pronaos and from the pronaos to the cella. Gorgons heard of terracotta about 9ft high stood at the centre of the pediments. The cornice was decorated with ornaments of different designs.

cella, pronaos, peristyle, 6 columns back and front, 17 columns at sides, two rows of columns in front of, forming a back chamber of the cella 12) Hera at Sile Doric, Archaic, 550BC In Southern Italy there were many deviations from the standard pattern. Some of their temples do not seem to have been so successful architecturally. A sanctuary to Hera at the mouth of the river Silaris (Sele) has a mid-6th century temple (See Richter p.28). It is badly preserved but seems to have been lavishly decorated. The metopes and triglyphs were carved in one piece. It had Doric capitals with a widely spreading echinus and 2 anta capitals. cella, pronaos, peristyle, 8 columns back and front, 17 columns at sides, opisthodomos opens to cella rather than back, forming a back chamber of the cella, stairs leading from cella to second storey. 14) Artemis at Ephesos

09:

Ionic, Archaic 580 BC; A gigantic Ionic temple was at the Temple of Artemis at Ephesus (See Richter p.29). Made of marble except for wooden roof and terracotta tiles. It has splendid decoration, with even the bottom drums of some of the columns sculptured (Egyptian influence). Begun around 550 B.C., it was rebuilt in the 4th century B.C. King Croesus of Lydia gave some of the columns. Ionic temple with pronaos and opisthodomos (closed). Cella has columns in the interior as well as an interior cross-wall near the rear. Temple is dipteral (has two rows of columns). cella, pronaos, double peristyle (i.e. peripteral temple), 8 columns back and front, 21 columns at sides, opisthodomos opens to cella rather than back, forming a back chamber of the cella, Faced west Triple row of columns at façade, Sculptured drums at base 15) Temple of Hera at Paestum I 550 bc Doric, Archaic,

The best remains in S. Italy are at Paestum (Poseidonia). Here two 6th century temples and one from the 5th remain in good condition. (See Richter p.30). The oldest is called the "Basilica" now identified as a Temple of Hera. The entire pteron is standing with the architrave but no wall. It measures 80 x180 feet. The column capitals are unusually decorative. The capitals rise from ornamental neckings. The cella contains a central row of columns, opisthodomos opens to cella rather than back, forming a back chamber of the cella, May have divided for religious reasons and visibility of statues it has 9 columns on the ends and 18 on the sides, peristyle. Doric enchinus but introduces anthemion (leaf) decoration onto necks of column shafts. 9 x 18; broad ambulatory; porch with 3 columns in antis; axial colonnade in cella terminating in a spur wall and adyton at back 16) Athena at Paestum 500 bc 6 x 13 (classical 5th century rule of length = width x2 +1) draws attention to roof by projecting raking cornices and decorating the soffits uses both Ionic (inside) and Doric (outside) Another building with ornamented capitals is the Temple of Athena at Paestum (See Richter p.30). Its entablature was unique, it has an Ionic moulding over the architrave (egg and dart pattern) and in the frieze the triglyphs are set into the wall. There was no horizontal cornice and therefore no pediment. Its sloping cornice was very wide and carved into coffers, each with a star pattern. The capitals rise from ornamental neckings with entasis. It has a pronaos with a row of Ionic columns. enchinus is baggy Quite small, very deep pronaos, cella, no opisthodomos, 6 columns at ends and 13 at sides, peristyle. 17-18) Temple of Hera at Paestum II 470-60 bc

2016

Study Photograph B and Photograph C on Paper X and answer the following questions. (a) Identify the temple in the photographs. (5) (b) Where is this temple located and in what order is it built? (10) (c) Using the correct architectural terms, give a full description of this temple. (20) (d) To which era of Greek architecture does this temple belong? Give reasons for your answer. (15)

MS: (a) Temple of Hera at Paestum (5) (also known as Temple of Poseidon). (5 marks) (b) It is located at Paestum (5) and is of the Doric order (5). (10 marks) (c) This temple is one of the best preserved Doric temples in the Greek world. It has 6 columns front and back and 14 along each side, so it is still not the classical norm of 6 x 13 which became standard. It is the only Greek temple in which part of the second tier of columns inside the naos still stands. There are remains of a stairway in one of the recesses inside the pronaos. Its columns are quite chunky (cigar-shaped) for their height and it has a high entablature. The columns have 24 flutes instead of the usual 20. The columns have the usual Doric capital consisting of an echinus and an abacus. Above this is the plain architrave topped with the taenia, regula and guttae. Above these are the triglyphs and metopes of the

typical Doric frieze topped with the horizontal and then the slanting cornice. At roof level were the antefixes all around the gutter and at each corner of the pediments were acroteria. A full description. (7, 7, 6.) (20 marks) (d) The dating of this temple is interesting. It dates from 460 BC so it is technically early classical temple. (5) However, its style (long length, very chunky columns quite close together with pronounced tapering, bulging echinus and high entablature) all mean that it is very archaic in style. (5, 5). (15 marks) 2003:

(iv) (a) 10 marks. (5,5) Doric and Ionic. (b) 10 marks. Two reasons (5,5) A more elaborate, more complex temple; in Ionic rather than Doric; with a double row of columns and a different interior. (c) 30 marks. Two points (15,15) Candidates must use correct terms in the descriptions. As there is also a photograph of the actual temple of Hera in Richter, candidates may use their memory of this as well as the plan. However, a description of the plan will suffice. Richter (p 30-31 and p 39). 92: a) architectural description b) comparison with Parthenon and date (17, 18) 89: Hera at Paestum /Parthenon a) Compare Doric, Classical, 460BC Largest of 3: Columned porches and cella with double colonnade. The most notable Italian temple is that of "Poseidon" (really of Hera) at Paestum (See Richter pp.30-31). It is the best preserved of all temples. It dates from around 460BC (and so qualifies as a classical temple). This is very much influenced by mainland Greece. The columns have 24 flutes rather than the conventional 20. The external columns are 29 feet high and taper by about 2 feet. The columns are very thick for the period. It has two recesses between the porch and the cella, one fitted with a staircase. It has 6 columns on the ends and 14 on the sides, pronaos, naos, opisthodomos, peristyle. 19) Apollo at Delphi

2008:

(i) (a) 5 marks. Doric (b) 10 marks. (5, 5) Limestone and (Parian) marble. (c) 35 marks. (9, 9, 9, 8) Description could include the columns, columns in antis, naos, pronaos, opisthodomos, the room used for the oracle, the peristyle and stylobate. For full marks, there must be reference to the room where the oracle was located. The Temple of Apollo at Delphi built by subscriptions from the whole Greek world and the exiled Alkmaionidai family (See Richter p.31). Parian marble used for the front. Sculptures of marble on east and limestone on west pediments. Destroyed by earthquake and rebuilt later. Enclosed room for priestess to pronounce oracles. It has 6 columns on the ends and 15 on the sides, pronaos, naos, opisthodomos, peristyle, two rows of columns in cella and enclosed room, a ramp led up to the entrance. 20) Aphaia at Aegina

A fine example of an early 5th century is that of the Temple of Aphaia at Aegina (See Richter p.32). She was a local goddess. It is on a magnificent position on a ridge looking over the sea. Enough fragments survive to reconstruct its appearance. It was made of stuccoed limestone. Fragments of marble pediment sculptures survive. The columns almost all were monolithic. The columns slope sharply inwards giving an impression of great strength. They are over 17ft high. The colours used in its decoration seem to be red and black or dark blue on a cream background. The interior had a two-storeyed colonnade. It has 6 columns on the ends and 12 on the sides, pronaos, naos, opisthodomos with opening into cella, peristyle, two rows of columns in cella, a ramp led up to the entrance.

21) Zeus at Akragas

2010:

98: Zeus Olympios at Akragas a) features; unusual b) additional features of Parthenon The most remarkable Sicilian building is the Temple of Zeus at Akragas (now Agrigento) (See Richter p.32). This was the largest of all Doric temples (110 x 53m.) It was left unfinished because of the sack of the city around 406BC. (See Richter p.32). The temple was raised 5 steps above a 15ft platform. Its design is very unusual. It had a pseudo-peristyle of engaged columns along a continuous wall with a series of mouldings along the bottom. The entire structure was built with comparatively small blocks which would have saved money on transport. The joins would have been covered with stucco. The distance of axis to axis of each column was the greatest of any Doric temple, 27ft. In between each column was a massive figure of a man over 25ft high with lowered head and raised arms as if carrying the entablature. It has 7 columns on the ends and 14 on the sides, small pronaos, naos, no opisthodomos, peristyle along a continuous wall, two rows of piers (square pillars) in cella set along a continuous wall

22) Zeus at Olympia

2012:

(ii)(a)10marksforeitherperiodordesigner:LibonofElis10;EarlyClassical10.Classical7.

It was designed by Libon of Elis and it was built in the early classical period – about 470-460 BC.

(b) 20 marks. Four points of description: 5, 5, 5, 5. The correct architectural terms are required. The temple is a peripteral temple in the Doric order. It has 6 columns along the front and back and 13 along each side, the standard proportions for a Doric temple of the era. It has a ramp, a pronaos, and an opisthodomos, but the opisthodomos is not open to the cella. It has columns in antis and two rows of columns in the naos/cella and a stairs leading to a gallery for viewing the statue of Zeus made by Phidias. Besides the ramp leading up the pronaos, it has a typically simple krepadoma of the Doric classical style with one level of stereobate and it has a stylobate on which the column shafts are placed directly. The column capitals are made of an abacus and echinus. The columns are fluted in the Doric style and topped by the entablature. This consists of architrave, frieze of metopes and triglyphs above the taenia and regula with guttae below. Above the frieze there are more guttae below the mutule above which there is the cornice and the slanting cornice. (GRAFT-AMA)

The temple was built of coarse local limestone (conglomerate) covered in stucco, but its tiles and decorative features were made of Parian marble.

(c) 20 marks. Three aspects of the sculptures fully described – east and west pediments and metopes: 7, 7, 6. Reference could also be made to the later statue of Zeus for marks. The main decorative features are the two pediments and the twelve sculpted metopes over the entrance, (all made of marble). On the east pediment there are figures representing the tense moments before the start of the chariot race of Pelops and Oenomaos. Zeus unseen by the contestants stands between the two, his commanding presence towering over the mortals. To the left stands Oenomaos, explaining the conditions of the race. He is flanked by his wife with her arms anxiously folded. Oenomaos has his hand placed confidently on his hip. On the right is Pelops, head bowed modestly as he listens. Next to him is the prospective bride adjusting her veil. Horses, chariots and gods representing the two rivers flank the principal figures. The more famous west pediment shows Apollo calming the riot of Centaurs at the Lapith wedding. He dominates the scene which includes the women being manhandled by Centaurs, writhing figures and, in the corners, reclining women. It is a very successful composition where all the figures inter- related. The metopes show each of the tasks

of Heracles, again, a mix of quiet and action-packed scenes. The one shown is the Golden Apples of the Hesperides being handed over by Atlas to Heracles, with the stately Athena looking on.

2001: a) period b) order c) materials d) description

Doric, Early Classical 470-460 BC Architect Libon of Elis Doric – 6 x 13 (classical rule) Porch/ cella / opisthodomos More classical proportion for columns (4.64, 4.72) Stucco covered exterior Pediments full but exterior Metopes empty Pronaos, opisthodomos, peristyle and two rows of columns in the cella. Stairs led to a gallery and the level of the temple floor was reached by a ramp on the east side. Made of the local shell conglomerate, covered with stucco, but the tiles and sculptural decoration were marble. Much of the sculpture has survived: most of the pedimental figures (of Apollo and Zeus) and the metopes from the porches; also some lion-head waterspouts (originals and substitutions). Stylistic date conforms with Pausanias’s statement that cost of building was defrayed by the booty from the conquest of Pisa (470 BC). Pheidias’s famous huge cryselephantine Zeus must be later. Further detail on pedimental and metope sculptures: important examples- various stances and well preserved. East pediment: preparation for the race of Pelops- Zeus in centre flanked by male and female standing figures, then chariots with attendants, lastly seated and reclining spectators. *(132) West pediment: Apollo in centre, flanked by three fighting groups of Centaurs and Lapiths, and in the corn ers, two reclining women. Sense of composition- subtly interrelated design, the juxtaposition of quiet and animated figures of majestic calm and stately tumult. Metopes: Heracles’ exploits: *(133) Herakles with Atlas and Athena, fighting the Nemean lion, the Cretan bull, the Stymphalian birds, and cleaning the Augean stables. The Temple of Zeus at Olympia (See Richter p.32). was designed by a local architect, Libon of Elis, and measured 30 x 65m. It was begun around 470BC. Nothing above the lowest column drums stands but Pausanias, a Greek traveller of the 2nd century AD described it in detail and it has been lovingly excavated. It was stuccoed limestone apart from marble decoration and sculptures. Libon seems to have been deeply interested in proportions which he designed using simple ratios. It was best known in the ancient world for its cult statue of Zeus by Pheidias, one of the seven wonders of the ancient world. It was a seated statue of Zeus, 40ft high. The pediment statues are exceptionally well preserved (See Richter pp.96,101&108-109). There were two stairs leading up to two galleries to view the statue and the entrance to the porch had three double doors of bronze. It has 6 columns on the ends and 13 on the sides, pronaos, naos, opisthodomos, peristyle, two rows of columns in the cella, a ramp led up to the entrance.

23, 24) Hephaestion

2014

(ii) Photograph B and Photograph C on Paper X show a plan and a detail of the temple of Hephaistos in Athens. (a) To which order of architecture does this temple belong? (5) (b) What materials were used in its construction? (10) (c) What, according to Richter, was unusual about this temple? (10)

(d) Give a detailed description of the temple using the correct architectural terms. (25)

(a) (5.) The Doric Order (5) (b) (5,5.) Pentelic and Parian marble (10) (c) (10.) The unusual feature according to Richter is that it has a continuous frieze over the two porches which is a very unusual feature in a Doric temple. (10) (d) Three points. (9,8,8.) This is a very typical classical Doric temple with its 6 x 13 columns on a standard stylobate. It has a pronaos and an opisthodomos, each with 2 columns in antis and it faces east as is typical. The main room is the naos or shrine for the statue of the god. It is externally very well preserved with the sharp Doric fluting on the column shafts, the echinus (quite slender in the classical style), and abacus. Above this is the entablature comprised of the plain architrave, guttae, regula, taenia and the Doric frieze made up of metopes and triglyphs (some of the metopes showing Theseus and the Minotaur are still in situ and led to a wrong identification of the temple as a Theseum). Above this are the mutules and more guttae with the cornice above. At each end was a triangular pediment and there was a pitched roof with tiles. The roof line was finished off with antefixes and acroteria. (25) GRAFT-AMA

2006

(i) (a) 5 marks: Doric Order. (b) 5 marks: In the Agora. 3marks: In Athens. (c) 10 marks. 7 marks: Marble. 3 marks: Limestone.

(d) 30 marks. The description must cover the naos (cella), the pronaos, the opisthodomos, the pediment and the metopes. 95: a) identify and visible features, location b) diff. between Archaic and Classical, with examples Temple of Hephaestus @ Athens’ Agora 450-15 bc Doric Metopes show trials of Heracles and Theseus Athens, 449-444 B.c,2nd half of the 5th century, Doric The temple of Hephaiston otherwise known as “ The Theseum”. It overlooks the ancient market place. Is renowned for being the best externally preserved Greek temple. The material is Pentelic marble except for the sculptures which are parian marble.The plan is normal, with six columns at the ends, thirteen at the sides, a pronaos, cella, opisthodomos, and an epyistle. Some of the pedimental statues have been tentatively identified in figures found in the agora. The continuous frieze above the porches is typically an ionic feature but is found on this doric temple which is unusual. The frieze, some of the metopes on the east end and the adjoining parts of the sides are in situ. The cult staues of hephaiston and Athena were not added before 421-415 B.C. 25, 28) Parthenon

2015 (i) Photograph A on Paper X shows a famous temple. (a) Identify this temple and say where it is located. (10) (b) To which order of Greek architecture does this temple belong? (5) (c) Describe the materials used in its construction. (5) (d) Using the correct architectural terms, give a full description of this temple. (30) (i) (a) The Parthenon (8) on the Acropolis (2) in Athens (3) (10 marks) (b) The Doric order (5 marks) (c) Materials used are Pentelic marble (3) for the building and (Parian) marble roof tiles.(2) The foundation was made of limestone. (2) instead of the other 2 (5 marks) (d) It has 8 columns in width and 17 along each side, which is unusual. This was to accommodate the huge gold and ivory statue of Athene in the naos. It has a pronaos and an opisthodomos, a back room or treasury. I t has the usual features of the Doric order: columns directly on the stylobate, fluting, a classical, waisted echinus and an abacus, a plain architrave and then the mutules, regula, taenia, Doric frieze of alternating triglyphs and metopes, and the slanting and horizontal cornice. Antefixes and 6 acroteria would finish off the roof. Features that make the temple remarkable include: the use of a 9:4 ratio throughout the building (e.g. length to width/width to height); the curve throughout the building from side to side and front to back; the inward lean of the

columns and the entasis or curve two thirds the way up each column. Other remarkable features include two Ionic elements (the continuous frieze inside the colonnade) and four Ionic columns in the back room; the fact that all 92 metopes are carved with a scene of individual combat and the magnificent free-standing sculptures on the pediments. The quality of the sculpture and the sheer quantity of it, especially the unique bas-relief freize make the temple unique. A description of what is depicted in the reliefs is relevant to the question also. A coherent description. (10,10,10) (30 marks) 2000: a) identify + architects b) Ionic feature c)“Refinements were introduced to give life to the design and correct optical illusions.” a) Parthenon b) Iktinos, Kallicrates c) a continuous frieze inside the colonnade, a Lesbian kymation above it, carved decorations on the anta capitals, an interior colonnade and an astragal over the metopes. d) It best displays the refinements of the Second Half of the 5th Century which gave life to the design and corrected optical illusions, such as curves replacing straight lines, the stylobate and architrave curve upward, the walls of the cella and outside columns lean inward. The abacuses and the faces of the cornice lean outward. The shafts of the columns taper upward and have a slight convex curve (entasis) with their flutings more shallow at the top. 94: a) draw plan, identify standard features b) special features of plan c) unusual decorative feature d) history from ancient world till today 89: Hera at Paestum /Parthenon (17,18 / 25,28) a) Compare 86: Parthenon (25, 28) a) Why beautiful? Parthenon in Athens finished 438 bc (statues 432 bc) Architects Iktinos and Kallikrates Called Athena Parthenos (Athena the Virgin) 8 x 17 (classical rule) shallow porches- with 2 column prostyle Ionic columns in back room Continuous sculpture (Ionic) frieze on exterior of cella => mixed orders All marble Entasis (swelling profile of columns) Columns lean inward from bottom to top Entablature same => no right angles in whole building Metopes full (92) East- Gods and giants West – Greeks and Amazons North – Greeks and Trojans South – Lapiths and Centaurs Doric with Ionic features. Second Half of 5th Century, 447-438 BC. Architects Iktinos and Kallikrates designed and accomplished a temple on a scale of magnitude and quality unmatched in Classical Greece. The harmony of its proportions, refinements in structure and comparative preservation have established its fame. It best displays the refinements of the Second Half of the 5th Century which gave life to the design and corrected optical illusions, such as curves replacing straight lines, the stylobate and architrave curve upward, the walls of the cella and outside columns lean inward. The abacuses and the faces of the cornice lean outward. The shafts of the columns taper upward and have a slight convex curve (entasis) with their flutings more shallow at the top. Unlike the Akragas, the Parthenon has a pronaos and enclosed cella with a two-tiered interior colonnade for the viewing of chief sculptor Pheidias’s famous chryselephantine statue of Athena, as well as a a back chamber, probably used as a treasury. And though Doric like the Akragas, it has several Ionic features: a continuous frieze inside the colonnade, a Lesbian kymation above it, carved decorations on the anta capitals, an interior colonnade and an astragal over the metopes. The sculptural decoration was also extraordinary and survives to a considerable degree: The Western pediment depicting the contest between Athena and Poseidon for the domination of Athens; The Eastern showing the birth of Athena; The East pediment, in a radical change from the usual reclining figures, depicting Helios and Selene with accompanying horses on each end; The metopes with their single combats between Lapiths and Centaurs, gods and giants, Greeks and Amazons, and the Fall of Troy. The frieze depicts the glory of the Panathenaia, a procession starting with the mounting of riders in the SW corner;

along the N and S sides, the lively cavalcades of horsemen and charioteers, men bearing trays and leading animals to sacrifice; and on the E, the solemn procession of maidens being received by magistrates and, for a climax, the presentation of the peplos for the statue of Athena in the presence of the deities. There is no monotony, with lively and quiet poses effectively intermingled. Foreshortening has been perfected; the further parts of the figures are contracted and carved in gradually receding planes. And though there is the appearance of a uniform front plane, the variation in the depth of the relief where figures cut across each other conveys the impression of figures standing or moving alongside one another. Therefore, the horsemen appear to be in a row and everywhere the two dimensional view has given way to three and a successful illusion of depth. 26) Poseidon at Sounion 27) Apollo Epikourios at Bassae

2005

(i) (a) 5 marks The architect is Iktinos. (b) 15 marks (8,7) Any two of the following features: a continuous frieze went along the inside of the cella: a side door led from the peristyle to a chamber behind the cella: in the cella were two rows of columns, at least one Corinthian, attached to the cella wall by short spur walls. (c) 30 marks (10,10,10) Examiners will look for the use of correct terminology. Stylobate, Doric columns, cella (or naos), pronaos, opisthodomos are all present in the plan. 96: Apollo Epikourios at Bassae a) description b) unusual about cella columns c) another unusual decorative feature (27) Temple of Apollo @ Bassae 430 – 390 bc after 430B.C, 2nd half of the 5th Century, Doric North South Orientation 6 x 15

Exterior = Doric, but interior are connected to walls with spurs = Ionic and Corinthian Ionic Frieze – Greeks vs Amazons and Centaurs Situated on a rocky hill in the Arcadian mountainside it was made of the local limestone except for the sima (gutter), the capitals of the interior columns and the sculptures, which were of marble. There were 15 columns along the sides and 6 at either end with four columns (two in antis) at both the pronaos and opisthodomus. There were several unusual features including: a continuous frieze along the inside of the cella; a side door which led from the peristyle into a chamber behind the cella; and inside the cella itself were two rows of tall columns, at least one Corinthian, the other ionic attached to the cella wall by short spurs. xoxo gahan girl 29) Segesta Doric High Classical The temple at Segesta in north-western Sicily was never finished, but is said to be one of the best preserved Greek temples. It was incomplete in that the columns were not fluted, the shell conglomerate was not stuccoed, the bosses for lifting were never removed, and the joints were never dressed. It is evident that the building was planned with great refinements. This, the stylobate and steps are curved and the abaci are slightly tilted. In terms of sculptural decoration, only a palmette from the soffit survives. Gracefully designed, it is somewhat later than those from the Parthenon. Apparently the reason for the unfinished state of the temple was the Carthaginian invasion of 409-405 BC. 30) Athena Nike

Temple of Athena Nike in Athens 420s bc Ionic 4 column peristyle monolithic pillars continuous frieze above architrave

• This little temple stands on a bastion (corner of a wall) to the south of the Propylaia and was probably built between 427 and 424 BC. it was designed by Kallikrates (Callicrates) and is Ionic in style. • The bastion probably dates from Mycenaean times. • The wall of the naos is three sided, leaving the fourth (east) side open. • There are two pillars between the wall ends and at the front and back there are four Ionic pillars but none at the sides. • As it is an Ionic building it has a continuous frieze, badly damaged and therefore difficult to interpret. The theory is that part of it showed the battles between the Greeks and the Persians, perhaps even the historical battle of Plataea (479 BC) where the Persians were decisively defeated by the Greeks. The choice of subject matter for the frieze follows that of Phidias’ frieze on the Parthenon where also a real rather than a legendary event is recalled. • The bastion was surrounded by a balustrade (marble fence) over a metre high with a metal rail on top. The balustrade was to prevent people falling from the bastion. It was believed that Aegeus, a mythical king of Athens, had thrown himself from this spot after his son, Theseus, had forgotten to change the black sails on his ship to white ones, indicating that his mission to kill the Minotaur had been successful. • The parapet was composed of marble slabs decorated on the outside with fine reliefs depicting winged victories with folded or extended wings setting up trophies or leading sacrificial animals to honour the great goddess who was seated proudly on the rock. Nike is the Greek word for victory. Although the figures on the balustrade were shown with wings, Athena was never depicted with wings and so the temple is sometimes known as the Temple of Wingless Victory. Here the Athenians worshipped the Goddess of Victory, expressing their hopes for a final victory over the Spartans and their allies in the Pelopponesian War. In the seventeenth century, the Turks used much of the temple to make fortifications. Luckily, most of it has been recoverable and so it has been rebuilt. Those of the slabs that have survived that have survived are now in the Acropolis Museum.

31-33) Erectheion

2013:

2010:

(iii) (a) 5 marks. Karyatid. (b) 10 marks. (5,5). Acted as a pillar (column) in the Erectheion. (c) 15 marks. (5,5,5) Examiners will look for a description containing at least three features: the

irregular plan of the three rooms on different levels, the Karyatid porch, the Ionic columns, the partly engaged columns on the western façade, the sculptured frieze along the outside with the marble figures attached to black limestone, the beautiful architectural decorations. (d) 20 marks. (5 for period; 8,7 for evidence) Classical period or 2nd half of 5th Century BC. Any mention of Classical 3 marks. Typical of this period are: the naturalism as sculptors have mastered the accurate portrayal of the human body both static and in motion; the serene, calm, unemotional portrayal of figures human and divine; the accurate rendering of drapery. The statue is an example of the idealising classical style. A balanced and easy pose is also a feature of this statue. 2004: a) identify b) description/religious aspect c) building (31-33) (i) (a) 10 marks. Erechtheum, 5 marks; Acropolis, 5 marks (Athens, 2 marks). (b) 30 marks. A clear description of the lay-out of the temple including the three main parts 25 marks. A comment on its irregularity 5 marks. (c) 10 marks (marble 7, black limestone 3) 1993: a) identify b) main features; materials c) unusual design 1985: a) identify b) unusual architectural plan c) architectural decorations d) workmen paid? • This building is the most unusual temple on the Acropolis. • The name is taken from that of a mythical Athenian king, Erechtheus, who is said to be buried on this spot. • It was begun in 421 BC and completed around 408 BC. • Its location marks the most sacred place on the Acropolis. • The unusual shape of the temple is caused by two factors: 1. The difficult nature of the ground in that area of the Acropolis 2. The number of holy places incorporated within the same building. • The temple was devoted to the worship of several gods in including Athena, Poseidon and Hephaestos. • The building can be most simply explained as a naos with a porch at the east end, to which have been added two more porches at either side of the west end. • The East Porch had six Ionic columns surmounted by an entablature and a pediment. From here a door led into the naos which was reserved for the worship of Athena Polias, the patroness of Athens and where there was the olivewood statue to which the peplos was brought. • The North Porch also had six Ionic columns, four in front and one at each side. In this area were the signs of Poseidon’s contest with Athena, namely the marks of his trident and a salt water well. The marks of the trident were to be found in a corner of this porch, above which was an opening in the roof for religious reasons. It was beside this temple that Athena’s famous olive tree grew. • The South Porch had a roof supported by statues of girls (Caryatids) in the form of pillars. The name derives, so it is said, from Karyai in Laconia, which was famed for its statuesque women. The statues stood on a balustrade, four in front and two behind. Te ceiling of this porch was coffered and decorated. • This porch was raised above the ground and underneath it was said to be the tomb of the mythical Kekrops (Cecrops) the legendary founder of Athens.

• As this was an Ionic building there was a continuous frieze; here the figures were of white marble on a background of Eleusinian marble which was a deep grey colour. The frieze went around the main naos and along the North Porch and was on two different levels. Its theme is unknown. • Inside the building was a famous gold lamp, made by Kallimakhos (Callimachos), the artist who is traditionally credited with the invention of the Corinthian capital. • Kallimakhos may have been the architect of the Erechtheum. However, the originality of the design which overcomes the problem of accommodating so many religious and an irregular terrain points to the possibility of the architect being Mnesikles, the designer of the equally challenging Propylaia. 34) Asklepios at Epidauros

Asklepios @ Epidauros 4th Century 6 x 11 pronaos but no opisthodomos statue by Thrasymedes Architect Theodotes 35) Apollo at Didyma 2003

(iv)(a)10marks.(5,5)DoricandIonic.(b)10marks.Tworeasons(5,5)Amoreelaborate,morecomplextemple;inIonicratherthanDoric;withadoublerowofcolumnsandadifferentinterior.(c)30marks.Twopoints(15,15)

Candidatesmustusecorrecttermsinthedescriptions.AsthereisalsoaphotographoftheactualtempleofHerainRichter,candidatesmayusetheirmemoryofthisaswellastheplan.However,adescriptionoftheplanwillsuffice.Richter(p30-31andp39).

Apollo Didyma c.330 Late Classical Ionic In the second half of the fourth century several grandiose temples were to be found in Asia Minor. Built in circa 300 B.C. the temple of Apollo at Didyma was one of these. It is an elaborate and complex temple with a double colonnade along the sides. It is very large: twenty-two columns by two. It has an enormous staircase leading up to an elaborate altar. There is no opisthodomos and a very crowded pronaos with three rows of four columns. There is a large stand In the cella that presumably held a cult statue. 36) Artemis at Sardis 37) Zeus Olympios in Athens

99 a) period b) order c) description d) change of taste since the Parthenon Corinthian, Hellenistic 174 BC- AD 131 Stylobate measured 41 x 188 metres (big!). Double colonnade of 20 on the sides (pteron) and 3 rows of 8 on the ends. This temple stands on the steps of an earlier unfinished Doric structure of the 6th century. Current temple was built of Pentellic marble, begun by Antiochus IV Epiphanes of Syria from designs of the Roman architect Cossutius on a lavish scale, but not completed until Hadrian’s time. 15 columns still standing are a conspicuous feature of modern Athens. Slender shafts and elaborate capitals indicate the change from the more understated classical style of the Parthenon. d) Use of Corinthian pillars with long, slender shafts and elaborate capitals, proliferation of pillars at either end. (p39-40). Other Structures 38) Altar at Pergamon 39) Treasury at Delphi 40) Tholos at Epidauros 41-42) Theatre of Epidauros 11:

07:

(ii) (a) 5 marks. Epidauros (b) 20 marks. (7,7,6) a. 7 marks: 3 for naming correctly, 4 for the function b. 7 marks: 3 for naming correctly, 4 for the function c. 6 marks: 3 for naming correctly, 3 for the function (c) 5 marks. Tragedies such as Medea, comedies, etc. (e) 20 marks. (7,7,6) Candidates should address both parts of the comment and relate their answers to the photograph. The acoustics, the ease of access and exit, the perfect lines of sight, the size of the seats, the space in front of each seat, the extra comfort of the seats of honour are all relevant. 85: a) identify b) notes on parts c) types of performances and why was the theatre suitable for such? 44) Telesterion at Eleusis 46) Palaestra at Epidauros 47-48) Private houses at Epidauros 49) Hotel at Epidauros THE PROPYLAIA (p.42) • Most of the work on the Parthenon was finished in 437 BC and a large number of the building could move to a new project: this was the Propylaia, a monumental gateway to the sacred area of the Acropolis. • It was designed by Mnesikles (Mnesikles). • The path up to the top of the Acropolis winds around until it passes through the gateway at the West side which is marked by six Doric columns. The middle gap is wider and on a lower level than the others and approached by a slope rather than steps to allow animals and carts through. • Above the columns is an architrave and pediment as on a temple and beyond them is a long porch with three Ionic columns on either side of the path. • Beyond this again is a wall with five gates in it, the largest in the middle across the main path. • The East side of the building again consists of a porch with six Doric columns, shorter than those on the West side to allow for the slope of the land. Again at the East side there is an architrave and a pediment. • The two colonnades were too far apart to support the roof without the aid of internal supports, and so here was made use of Ionic columns; being more slender than Doric, they permitted the optimum use of the restricted space. • The building thus combined the two orders and prepared the visitor for the mixture of styles he would meet on the Acropolis itself, particularly the Parthenon. • The roof was of marble. The ceilings of both porches were made up of marble beams and cofferings (the recessed spaces between beams) and was covered with golden stars on a blue background. • The original plan was to build four wings onto this gateway, two on either side. Only one was completed; this is known as the Pinakotheke or picture gallery. Here paintings executed on wooden plaques by some of the most famous Athenian painters were exhibited. • The gateway was dedicated to Athena Hygiaie (health) and legend has it that the architect fell from the building, was badly injured and cured through the intervention of Athena.

Checklist for studying temples:

1. Order – Doric Ionic Corinthian Combination of all 3 orders (temple of Athena Alea at Tegea).

2. Period – Archaic Early Classical Second half of the 5th century B.C Fourth century B.C Hellenistic

3. Architects – if it is known who the architects are. 4. Be able to give an architectural description of a temple ground plan – cella, stylobate, pronaos, opisthodomos, stereobate, doric order etc (standard features) Note: if you are given a picture of the outside of a temple then your description will need to include features such as metopes and triglyphs etc.

5. Unusual features of a temple ex. a doric temple with Ionic columns etc.

6. Materials – marble, local limestone etc.

7. Refinements – the Parthenon & the unfinished temple at Segesta.

8. Be able to compare temples (see hints).

9. Exact location of temples – ex. Temple of Hephaistos is in Athens overlooking the ancient market place, the Erecthion and the Parthenon are on the Acropolis etc.

10. Development of temples. Hints for answering questions on temples:

• None of the temples were built in mid air. Every single temple has a stylobate so make sure that you write this down straight away when describing the temple!

• Every single temple has a cella so write this down straight away when you are being asked to describe a temple.

• There is a very obvious way to tell the difference between a Doric and an Ionic or Corinthian column. All Doric columns on the temple plans will just have a black circle whereas Ionic and Corinthian temples will have a black circle surrounded by another circle or by a square.

• When describing the number of columns if it is 6 X 13 columns state that this is the canonical (typical) number of columns.

• If you are asked to compare temple A, the temple of Zeus at Olympia and temple B, the temple of Apollo Epikourios at Bassae, do not write out the titles in full as it is very time consuming. Refer to them as temples A and B. Also when answering questions on other topics in the exam do not write out the question in full as it is a waste of time. Write down the number of the question. Example Topic 1 q(i). The following are mistakes frequently made by students on this topic so please avoid them:

A. When writing the number of columns students sometimes write 6 X 13 without stating 6 X 13 columns (you will lose if you do this in the exam).

B. Avoid writing in point form as students become a bit more casual with their answers and often leave out important points.

C. A big mistake made by students time and time again is when they are comparing Temples they write a separate paragraph on temples A and B instead of comparing them. Do your comparisons within the same sentence. Example – temple A has 6 X 14 columns whereas temple B is larger as it has 8 X 20 columns. Sometimes you will be asked to give a separate description of temples A & B so make sure you read the instructions carefully.

D. When counting the stereobate be really careful. Do not count the number of lines. Count the spaces in between the lines.

INTRODUCTIONTOGREEKARCHITECTURE1. TheBronzeAgeendedindestructionaround1100BC.Followedbyalmost4centuriesofpoverty.2. NowHelleniccivilizationbeginsanditsarchitecturalneedsarecompletelydifferenttothoseofthe

Mycenaeans.3. Templeswerenowtheonegreattypeofbuildingandtheytooktheirformfromolderhouses.4. TheprocessofthedevelopmentoftheGreektempletookmanygenerations,mostchangestook

placeinthe7thand6thcenturiesBCandcoincidedwiththeriseofthe"polis"orcity-state.5. TheheightofthetempleformwasreachedinthelatefifthandearlyfourthcenturiesBC.6. Laterarchitectsdevotedmostoftheirskilltodecoration.7. Ingeneraltempleswereconfinedtoafewstandardtypes.Thishasamajordisadvantageinthat

newformsdidnotemergebut itsbigadvantagewastheattainmentofperfection ineachform.YoucandescribethepatternoftheGreektempleas"canonical".

8. Intheattemptto"achieveidealproportionsineverydetail...theysucceededtoadegreewhichno

otherracehasemulated.TheParthenoncameasnearperfectionasishumanlypossible,bothindesignandinmeticulousexecution."Wallace.

9. Ofthetypes,theDoricOrderisgenerallyseenasthemostperfect,theotherswererelatedtoit

andthesamefewstructuralmethodswereused.Uptotheveryendtheclearsignswerethereoftheadaptationinstoneoftimberandunbakedbrickbuildings.

11. The purpose of the Greek temple was to house a deity, not to accommodate worshippers. It

originatedintheformofaDarkAgehouse,i.e.aroomwithaporchusuallywithtwocolumnstosupporttheroof.

12. ItisdebatablewhethertheMycenaeanmegaronhadaninfluence.13. Theprimitivetemplemusthavebeenthatchedandridge-roofed.Animportantearlyexampleofa

gravemonumentatLefkandiinEuboea(anislandnearAthens)datesfromthe10thcenturyBCandissurroundedbyaverandasupportedbywoodencolumns.Thiswasprobablytokeepthewallsdry.Butitwasveryexpensivetodothisinstoneormarblesoveryearlystonetemplesusuallyhadjusttwocolumnsintheporch.

14. Thefirstcutstonebuildingsdatefromthe7thcenturyBC.MaybeinfluencedbyEgypt,alsobrought

onbytheinventionofroofingtiles(veryheavy).Sothedesignwasdeterminedbytheearlyhousesandbythedemandsoftherooftiles(itwaseasiertotilearectangularroof).

15. Theearlyexamplesseemtohavehadstonewallsandwoodencolumns,lateronesweremadeof

stone. "Every detail of the whole system from the foot of the columns to the gutter is anapparent translation from carpentry...The position and shape of every portion never varied".Wallace.

16. The twoorders took theirname fromthe twomaindialectsofGreekspoken in their respectiveareas. Broadly Doric began and remained the style of the Greekmainland and of theWesterncolonies,IonicwasthatofsomeoftheAegeanislandsandthecoastofAsiaMinor.

17. Itwassoonrealisedthattherewasonebigproblemintranslatingfromwoodandbricktostone,

and thatwasweight. Stone is heavier andhas less tensile strength so thicker proportionswereneeded.

18. Whenmoreconfidencewasgained,thetendencywasreversed,especiallyinDoricasthecolumns

becamemoreslender.Theearlyonesareverychunky.19. Oncemarblecameintouse,itwasharderandmorereliablethanstonethebestproportionswere

developed.Anotherfeatureofmarblewasitscapacityforsharpdefinitionandpolishedsurface.20. OnefactisoftenusedtoaccountforthestaticnatureofGreekarchitectureandthatistheirfailure

to exploit vaults and arches. This was left to the Romans to achieve. "But the excessiveconservatism of Greek architecture has been justified by its perfection and because of theinfinitevarietyoftreatmentpossiblewithineachtype"Wallace.

BUILDINGMATERIALSANDMETHODS

1. Weknowthatearlytempleswerebuiltofmud-brickandstone,probablywiththatched,orlater

tiledroofs.2. Later, theGreeksbegan,probablyunder the influenceof tradewith theEgyptianswhowere

experienced builders in stone, to build their temples out of local stone, usually limestone orconglomerate.Occasionally there isevidenceof templesmadeofacombinationofwoodandstone(eg.TempleofHeraatOlympia).

3. Itmusthavebecomeobviousquicklythatbuildingatempleentirelyoutofstonemadeitmore

solidandwasalsoabetterwayofsecuringtheroofsupport.4. Asthe6thcenturycontinued,theybegantouseaparticulartypeofstone-marble-moreand

more.Ithadprosandcons:itisaverydensestoneandparticularlyheavy,pronetocrackinginplaces. It was, therefore, very expensive to transport. But aesthetically, its advantages wereobvious.Itscreamywhitecolouranditsconsistencywhichmeantitcouldbecutveryfinelyandpolished smoothly were far superior to other types of stone, which usually needed to bestuccoedandpainted.Themost famousquarrieswereatParos,NaxosandMountPentelikon(16kmfromAthens).ThecoastofAsiaMinoralsohadplentifulmarblequarries.TheParthenonisbuiltofmarblefromMountPentelikon,butitsrooftilesareParianmarble.

5. Blocksofmarblewerecutatthequarry usingwoodenwedgestoroughlythesizeandshape

required by the architect. "Ancones" or lifting bosses were left on the sides for easy lifting.Sometimesholesweredrilled in theblocks so that ropes couldbepassed through for lifting.Eventhelargesttemplestendedtobebuiltusingblockssmallenoughtoliftfairlyeasily.

6. Blocksweretransportedfromthequarrybysledsontracks,thenox-cartsandmulecarts.They

alsoprobablyusedrollingwoodenframestohaulthemarble.7. Primitivecranesbasedonpulleysandwincheswereinuse.8. Noputtyorcementofanykindwasusedtoholdtheblockstogether.Insteadtheyusedmetal

crampsofvariousshapestohelptoholdtheblocksinplace(commonlyusedwerethedovetail,doubleT,butterflyorHshapes).

9. Anothertechniqueusedtopreventtheblocksfromslippingwascalledanathyrosiswherethe

outer edges of the blocks were polished smooth, but the inner surfaces were left rough forbettergrip.

10. Early columns were monolithic (eg Temple of Apollo at Corinth) but in the 6th century

Theodorus of Samos seems to have invented a lathe on which stone could be turned andincreasingly columns were assembled from several drums. The drums were centred usingwoodendowels.

11. WeknowfromtheTempleofApolloatSegestainSicilythatthefirstelementtobebuiltonthe

stylobatewas the peristyle (columns all around the outside). This templewas left unfinishedand we can tell from it also that the column fluting was done only when the building wascomplete.Though it isprobable that the flutingof thevery topandbottomwasdonebeforethecolumnswereassembled.

12. Toolsusedforthesculptingofarchitecturaldetailsweremalletsandchisels(flat-blade,toothed

andclaw)Finishingwasdonebysandingandpolishing.13. Wegatherfromavarietyofsources(inscriptionsandwrittenaccountsfromthetime)thatthe

main sources of funding for these buildings were: wealthy individuals (eg. Alkmaeonids whobuilt the Temple of Apollo at Delphi); fines from enemies or criminals; city taxes or loansguaranteedbywealthycitizens.Remarkably,fromaninscriptionconcerningtheErechtheumonthe Athenian Acropolis, we see that all of the workers (including the architects) received 1drachmaadayfortheirlabour.

14. ThecostofthesebuildingsishardtocalculateexactlybutweknowthattheParthenontook22

tonnesofmarbletobuildandcostayear's incomeforthecityofAthens.StillnotasmuchasthegoldandivorystatueofAtheneitwasbuilttohouse!

15. When the roof tileswere inplace (pan tiles joinedby ridge tiles), theendsof the cover tiles

weredecoratedwithantefixesintheshapeofheadsorleaves.16. Finally,6acroteriawereplacedateachcorneroftheroofandonthepointofeachpediment.

OntheParthenonthesewereintheshapeofhugesymmetricalfloraldesigns.17. Theeffectoftheantefixesandacroteriawasprobablytosoftenthelineoftheroof.18. Aswellasallofthis,thebuildingwasalsodecoratedwithsculptureandpainteddesigns.

THEDEVELOPMENTOFTHEDORICORDER700-400BC.

1. MuchoftheDoricOrderanditsdecorationgrewfromitsoriginalformintimber.TheTempleof

PoseidonatCorinthhadstonewallsbutwoodencolumns.2. Veryearlytempleswereextremelylongandnarrow(eg.theTempleofHeraatSamos).3. Early columns tend to be monolithic (Temple of Apollo at Corinth), close together, ( the

Basilica\TempleofHeraatPaestum)andnoticeablytapered,(theTempleofArtemisatKorkyrainCorfu).Latercolumnsaremadeupofdrums,arespacedmorewidely(asconfidencewasgained)andthetaperingbecomesmoregentle.Alsoentasisisaddedforeffect.

4. Early capitals tend tobe verywide andbulbous (Temple "C" at Selinus)whereas the later ones

becomemoregradualintheircurveandmoreelegant(Parthenon).5. Early temples were made of local stone, stuccoed with plaster, (Temple "C" at Selinus), a

transitional temple (ofApollo atDelphi) hadamarble facadeand later theParthenonwasbuiltentirelyofmarble.

6. Decorationbecamericherinlatertemplesandtherewasmoreandmoreemphasisonproportion

andharmony.RefinementsculminatedintheParthenoninAthens.

THEDORICORDER

1. Theearliesteg.ofastonetempleistheTempleofHeraatSamosdatingbacktoaround800BC.2. Itistheoldestknownperipteraltemple.Itwasverylongandnarrow.Itsentrance(incommonwith

manylatertemples)wasfacingeast.Ithadnoporchandhadonerowofcolumnsdownthecentreofthenaos.Itscolumnsmusthavebeenofwood.

3. Mostoftheotherveryearlytemplesfounddidnothaveperistyles.4. By themid-7th centurymostGreekmainland templeswere roofedwith tiles. This causedhuge

consequencesaboveallstimulatingtheimprovementofwallsandachangeoverfromwoodentostonecolumns.Theearlytileswereveryheavy(upto30kilos).

5. A leadingpart in thesenewstructureswasplayedbyCorinth in the7thcenturyBC.Twocrucial

earlytempleswerefoundhere,theTempleofApollo(seep.28)andtheTempleofPoseidon.6. TheTempleofPoseidonhadstonewallsandawoodenperistyle.7. Bytheearly6thcenturyGreekmainlandarchitectswerebeginningtoconstructentirelyofstone

uptothewoodenroofbeamsandterracottatiles."Incolonnadesandaboveallinentablaturetheformsofdeveloped7thcenturywoodenarchitecturewereretainedtotheend".Lawrence.

8. Sobythestartofthe6thcenturytheessentialDoricorderwasformed.9. Thefoundationsweremadeofroughlydressedmasonry,laidonlybelowtheessentialareasofthe

building.Ontopwasalevelbaseforaplatformwhichusuallyhadthreestepsoftenveryhigh.Fromthe late6thcentury thestylobate (topstep) isnot flatbutslopesdowntoeitherside.Thiswasoriginally for drainage but was seen to have aesthetic value. It led to the sloping inwards ofcolumnsagain,aestheticallyappealing.

10. InDoriccolumnstheshaftalmostinvariablystandsdirectlyonthefloor.Earlycolumnsareusually

monolithic. Later ones aremade up of drums probably turned on a lathe. Evidence from somequarriesindicatesthatthedrumswerecutready-rounded.

11. Thedrumsweredowelledtogetherbyspikesofbronzeorwoodenclosedinwoodenblockssothat

thematerialcouldexpandorcontract.Intemplesthecolumnswerealwaysfluted.Thiswasdoneafterthecolumnwasputup.

12. The flutes are almost always concave, broad and shallow and meet to form sharp edges. The

normalnumberoffluteswas20.13. Whywasitthere?Possiblyasanechoofthegrainofwood,possiblytheearlywoodenshaftshad

beencarvedwitharoundedblade, itcertainlyemphasisedtheshaftasopposedtothemasonryjoinsanditliftedtheappearanceofthecolumn.

14.Thecapitalconsistsoftwopartsandprobablyderivesfromawoodenoriginal.Theechinus(literally

sea-urchin)islikeacushionandspreadsoutwardsfromthetopoftheshaft.Theoverlyingslabistheabacus.

15. Theoriginalideawasprobablytospreadtheweightbetweentwoslabsofwoodandpreventthe

postfromsplitting.Thestonecapitalisusuallycarvedoutofasingleblockwhichalsoextendedafewinchesdowntheshaft.

16. Theshapesofthepartsofthecolumnstayedthesame(althoughproportionschanged)exceptfor

theechinuswhichbecameamoregradualandsoftercurve.

17. Theearly columns tend tobemuch thicker than the lateronesand to tapermoredramatically.Columns of the late 5th century are perfect to the eye but they are still in fact bulkier than isnecessary. By the 4th century they are narrower again. Early architects underestimated thestrengthofstonecolumnsandplacedthemmuchtooclosetogether.

18. Abovethecapitalsofthecolumnswasthearchitrave,aplainbandofstone.Thejunctionsbetween

thebeamsof thearchitravealwaysstooddirectlyabovethecentreof thecolumns. In theDoricorderitwasveryrarelydecorated.

19. Nextwasathinshelfwithaseriesofplainbands(regulae)overeachtriglyph.Undereachofthese

isarowofcylindricalpegs(guttae).20. TheDoric Friezewas just above the taeniaand consistedof alternating triglyphsandmetopes.

Eachtriglyphconsistsofoneblockcarvedtolooklikethreeuprightbarseachwiththreefacets.Themetopesarethinslabsbetweenthetriglyphseitherplainordecoratedwithpaintingorsculpture.Intheoryeachtriglyphoveracolumnshouldbecenteredpreciselybuttherewasaproblemwiththecornerswheretwotriglyphsmetatrightangles.

21. Graduallythewholeentablaturebecamelowerwhichledtothelighteningofthestructure.Inthe

6thcenturyitishalfashighasthecolumns,bythe4thcenturyitisonequarterashigh.22. Abovethefriezeisthecornicesurroundingtheentiretemple.Asecondcorniceslantsupthegable.

The underside of the horizontal cornice has carved peg shapes (derived from wood) calledmutules.

23. Theroofwassupportedonwoodencross-beamswhichformedasquarepatternwhenyoulooked

upandwerecoveredwithcoffers.Woodwasthenormalmaterialforceilingsdespitetheriskoffire.Abovetheceilingweretherafterssupportingtherooftilesoftwomaintypes,LakonianandCorinthian.Inthe5thand4thcenturies,marblewasused.Theroofwasfinishedoffwithagutterorsometimesantefixestohidethetileends.Ateachcornerwereacroteria.

DECORATIONOFTHEDORICORDER

Someof theearly templesofwoodandmud-brickseemtohavebeendecorated (andprotected)byterracotta facings. Even into the latest temples terracotta antefixes survived as they were easy toproducefrommoulds,lastedandwerelight.Statuesofterracottawereusedinearlypediments,indeedthepedimentmayhavebeencreatedtoreceivesuchsculptures.These sculptures were not merely decorative, they serve to blur the sharp geometric lines of thebuilding,tocounteracttheupwardsweepandperhapswereintendedtofrightenawayevil.Theyalsousuallytoldastoryconnectedwiththeparticularcult.Colourwasalsoapplied toGreekbuildings.ThewhitePentelicmarblewasdazzlingnewlycutand insunlight.Itispossiblethatvarnishwasusedtocutdownontheglaregivingayellowishtone(evidencefromMacedoniantombssuppliesthis).Butingeneralcolourwasusedtoemphasizeandpickoutdetail.Tracesofcoloursurviveonsomebuildings.Obviouslythetoneshavefaded.Theimportantcoloursareblue, imported fromEgypt, red (nativeochre),andyellowgold.Green isusedvery little. In theDoricordercolourisusedontheentablaturemainly.Thefriezeisframedbetweentworedbands(thetaeniaandthebandunderthecornice).Sometimesthesebandsweredecoratedwithagoldmeanderpattern.The triglyphs are blue and the band over themetopes is blue also. The regulae are blue as are themutules.Mouldingsareusuallycolouredinblue,redandgold.OntheParthenonthepainteddecorationseemstohavebeenespeciallyelaborateonthecornice.ThemetopesoftheParthenonseemtohavebeenbackedinred.AlsothecofferedceilingoftheParthenonhadelaboratedecorations.Themethodofcolourapplicationisnotsure,somearguethatitwashotwax,butoftenthepatternremainsevenwhenthecolourisgone.An important source of information on colour is a 19th century archaeologist called Penrose whorecordedthecolourswhentheywerelessfaded.Themainfunctionofcolourwasthecleardemarcationofparts

AnotherfeatureoftheDoricOrderwastheentasisusedonthecolumns.Thiswasaslightbulgeinthetaperingcolumn,abouttwothirdsthewayupwhichsofteneditslines.ItisimportanttonotethattheGreekTemplewasdesignedtobeviewedexternallyandfromallangles.ThehistoryofDoricistheperpetualsearchforperfectproportionswithouttheuseofdetaileddrawingsas theGreeksdonot seemtohavehadscale rulers. It isgenerallyaccepted that thisperfectionwasreachedintheParthenon.

THE IONIC ORDER

1. SeediagramofIonicorderanddifferencesbetweenitandtheDoricorder.2. What are they? Horizontally fluted bases; more slender columns; more fluting; flat fillet

betweenflutes;volute(orram’shorns)capitals;oftenplantdecorationunderthecapitals;veryeasterninitsusage;sometimesanarrowabacusabovethecapital,butnotalways;entablatureoftenbrokenintothreesteps;frieze–veryimportant,continuousandusuallydecorated(eitherwithdentalsorwithsculptedfigures).

3. PedleydescribestheIonicorderas“muchmorerestlessvisually”.Morevarietyandornament.

HecallstheDoricorder“moreintegratedandsturdier”.4. EarliestIonictempleswereinAsiaMinoratEphesusandDidymaandSamos.Sometimeinthe

mid-6th centuryB.C. amassive Ionic templewasbuilt on the islandof SamosbyRhoikos andTheodorus,withadoublecolonnadeallaroundit.Itcollapsedsoonafteritwasbuiltandaveryambitiousreplacementwasbegunsurroundedbyatriplecolonnade.

5. Nottobeoutdone,EphesusstartedahugetempletoArtemiswhichwasabout115mlongwith

massivecolumnswithelaboratelycarvedbasesand lowerdrums.KingCroesushelped topayforit.

6. AnothergiganticIonictemplewasatDidymanearEphesus.Thistemplewasunusual inthatit

hadanopenairinteriorshelteringasmallshrine.Ithassplendiddecoration.Itwasrebuiltinthe4thcenturyB.C.

7. TwoofthemostfamousIonictemplesaretheErechtheumandtheTempleofAtheneNikeon

theAcropolisinAthens.8. Otherexamplesyoumightmentionare theTempleofAthenePoliasatPrieneandtheuseof

theIonicOrderonthePergamonAltar.

Sample Doric Temple descriptions from MS Hera at Paestum It has 6 columns front and back and 14 along each side, so it is still not the classical norm of 6 x 13 which became standard. It is the only Greek temple in which part of the second tier of columns inside the naos still stands. There are remains of a stairway in one of the recesses inside the pronaos. Its columns are quite chunky (cigar-shaped) for their height and it has a high entablature. The columns have 24 flutes instead of the usual 20. The columns have the usual Doric capital consisting of an echinus and an abacus. Above this is the plain architrave topped with the taenia, regula and guttae. Above these are the triglyphs and metopes of the typical Doric frieze topped with the horizontal and then the slanting cornice. At roof level were the antefixes all around the gutter and at each corner of the pediments were acroteria. Heph This is a very typical classical Doric temple with its 6 x 13 columns on a standard stylobate. It has a pronaos and an opisthodomos, each with 2 columns in antis and it faces east as is typical. The main room is the naos or shrine for the statue of the god. It is externally very well preserved with the sharp Doric fluting on the column shafts, the echinus (quite slender in the classical style), and abacus. Above this is the entablature comprised of the plain architrave, guttae, regula, taenia and the Doric frieze made up of metopes and triglyphs (some of the metopes showing Theseus and the Minotaur are still in situ and led to a wrong identification of the temple as a Theseum). Above this are the mutules and more guttae with the cornice above. At each end was a triangular pediment and there was a pitched roof with tiles. The roof line was finished off with antefixes and acroteria. (25)

Zeus at Olympia The temple is a peripteral temple in the Doric order. It has 6 columns along the front and back and 13 along each side, the standard proportions for a Doric temple of the era. It has a ramp, a pronaos, and an opisthodomos, but the opisthodomos is not open to the cella. It has columns in antis and two rows of columns in the naos/cella and a stairs leading to a gallery for viewing the statue of Zeus made by Phidias. Besides the ramp leading up the pronaos, it has a typically simple krepadoma of the Doric classical style with one level of stereobate and it has a stylobate on which the column shafts are placed directly. The column capitals are made of an abacus and echinus. The columns are fluted in the Doric style and topped by the entablature. This consists of architrave, frieze of metopes and triglyphs above the taenia and regula with guttae below. Above the frieze there are more guttae below the mutule above which there is the cornice and the slanting cornice.

The Three Orders

The temple was built of coarse local limestone (conglomerate) covered in stucco, but its tiles and decorative features were made of Parian marble. Doric Temple List of Regular Features

Period Order Size Faces? (East usually) Krepidoma (Stereobate and Stylobate) Peripteral Pronaos Opisthodomos Cella (open to?) Numbers of Columns (Standard Classical 6x13) In antis? In cella? Columns: flutes (Standard Classical 20), echinus (early: baggy/ Classical: slender), abacus Entablature: plain architrave, guttae, regula, taenia, Doric frieze (metopes and triglyphs), more guttae, mutule, horizontal cornice, slanting cornice Pediment Pitched roof with tiles, antefixes (on sima), acroteria Definitions Overall Structure Peripteral: unattached columns on the outside Pronaos: front porch/entrance Opisthodomos: back porch Cella: (open to?) central hall where the cult statue is Krepidoma (Stereobate and Stylobate): base of temple, steps, top step/temple floor is stylobate Columns Flutings: vertical grooves on columns (Doric: sharp edge) In antis: ‘anta’ is the pillar/pilaster that ends the wall ‘columns in antis’ are columns which stand between (but are unattached to) the antae Capital: head/top Echinus: (literally sea-urchin) is curves outwards from the top of the column’s shaft. Archaic: baggy echinus Classical: slender Abacus: square block over the echinus Entablature: everything above the column (archtitrave, freize, cornice) Architrave: a plain band of stone blocks. The junctions between the blocks of the architrave always stood directly above the centre of the columns. In the Doric order it was very rarely decorated. Guttae: (six) little knobs/drops/cylindrical pegs projecting downward from the regula and mutule Regula: decorative panel on the taenia of the architrave Taenia: molding along the top of the architrave Frieze: horizontal blocks over the archtitrave consisting of alternating triglyphs and metopes; usually a triglyph over each column, in the middle of the inter-columnations and on the ends Metopes: plain or decorated/sculpted/painted panels of the frieze Triglyphs: vertically grooved (with three lines) sections of the frieze Mutule: slabs on the cornice, over each triglyph and metope, decorated with drops Roof Cornice: horizontal and slanting molding- part of the roof protecting the face of the building from rain

Sima: gutter Pediment: triangular space at two ends of temple, created by pitched roof. Sculptures secured with dowels. Antefixes: decorative pieces attached to the ends of rows of roof tiles Acroteria: decorative disks or sculptures decorating three angles of pediment

Mnemonics

MOPS Materials Period Order Size SPOCK Krepidoma (Stereobate and Stylobate) Pronaos Opisthodomos Cella (open to?) CAN 613 Numbers of columns, In antis? In cella? EFA 20 flutes echinus abacus G R E A T Entablature, architrave, guttae, regula, taenia, Free MinT GuM Doric frieze (metopes and triglyphs), more guttae, mutule, PARCH SAT horizontal cornice, slanting cornice, Pediment, Pitched roof with tiles, antefixes (on sima), acroteria