Architecture Flashcards
Parthenon, detail of the frieze relief
Mycenae Lions’ Gate
Proto-Geometric period: Lefkandi. Proto-Geometric building
Proto-Geometric period: Lefkandi. Proto-Geometric building and the Toumba cemetry
Proto-Geometric period: Reconstruction of Odysseus palace
Proto-Geometric period: Thermos, temple of Apollo
Proto-Geometric period: Ano Mazarakis, temple of Artemis Aontia
Karphi, Proto-Geometric settlement
The Geometric period: Kommos, templeB
The Geometric period:
a- Eleusis,, eschara (hearth and the altar for sacrifices) imperial age reconstruction
b- Olympia, ashes altar
c- Gortys, altar, imperial age reconstruction
d- Siracusa, altar, Archaic age
Use of more stable materials than mudbrick and wood.
Spread of terracotta rooftiles (heavier weight).
Establishment of stone architecture.
The Orientalizing period: architecture
- Use of more stable materials than mudbrick and wood.
- Spread of terracotta rooftiles (heavier weight).
- Establishment of stone architecture.
The Orientalizing period: architecture
Temple of Apollo at Thermon, 640 c. B.C.
The Archaic period: Architecture
A - Doric
B - Ionic
The Orientalizing period: architecture
Temple of Apollo at Thermon, Painted terracotta metopes
The Orientalizing period: architecture
Prinias, Crete. Plan of edifices A and B
A. Reconstructed front of temple A,
B. Temple A, architectural
The Orientalizing period: the sculpture
Dreros (Crete). Temple of Apollo Delphìnios:
The interior of the edifice with the sphyrelata representing the Apollonian triad. c. 700 B.C.
The Archaic period : Architecture
A- Doric
B- Ionic
C- Corinthian
The Archaic period: Architecture
Samos, Heraion, temple of Hera, Polycrates phase
Samos, extra-urban sanctuary of Hera, temple of Hera: 50 x 100m, planned by the architects Rhoikos and Theodoros around 570-560 B.C., as a dipteral edifice, with a double Ionic colonnade around the pronaos and cella (eight columns on the front and the back, twenty-one on the flanks).
It collapsed in 530 B.C. and was replaced, under the tyranny of Polycrates, by a bigger and more ambitious edifice, with a triple colonnade on the front and the back and double on the flanks.
The Archaic period: Architecture
Ephesos, temple of Atremis 560-550 B.C.
The temple of Hera at Samos became the model of other edifices in Asia Minor, such as the Artemision at Ephesus and the Didymaion at Miletus.
The Archaic period: Architecture
Plan of the temple of Hera at Olympia, c. 590 B.C.
Pan-Hellenic sanctuary of Zeus at Olympia, temple of Hera: Doric, peripteral, with six columns on the front and the back, sixteen on the flanks, organized in pronaos, cella and opisthodomos (the first and the latter with two columns in antis).
The cella has interior columns and spur walls, no longer abstructing the view of the cult statue.
The upper elements of the edifice were of mudbrick and wood, while the sylobate, platform and lower courses were of cut masonry.
The Archaic period: Architecture
Ephesos, temple of Artemis detail of the sculpted columns drums.
The Archaic period : Architecture
Typical plan of a Doric temple
A- tylobate
B - Columns in antis
C - Opisthodomos
D - Cella or Naos
E - Pronaos
F - Flank columns or pteron
G - Colonnade or peristyle
H - Anta
The Archaic period: Architecture
Temple of Apollo at Didyma, near Miletus, 540 B.C.
The Didymaion at Miletus had an open-air court sheltering a small shrine of Apollo – a temple inside the temple
The Early Classical Period: architecture
The temple of Zeus was planned by the architect Libon of Elis, between 470 and 450 B.C. The Spartans donated a golden shield to be placed in one of the pediment as a offering for a victory in 457 B.C. It was one of the greatest expression of Doric order, with 6 columns on the front and the rear and 13 on the flanks (one more the double that of the facades), a pronaos, a cella and a opisthodomos.
The Archaic period: Architecture
Corcyra, temple of Artemis Laphria: Doric, pseudo-dipteral (given the broader space between the colonnades and the walls, leaving enough space for a further row of columns), with eight columns on the front and the back, seventeen on the flanks, organized in pronaos, cella and back room (the first and the latter with two columns in antis).
Elements of the limestone metopes and pediment are preserved.
The Archaic period: Architecture
Reconstruction of the temple of Hera at Olympia, c. 590 B.C.
The Archaic period : the architecture
Plan of the temple of Apollo at Corinth, c. 560 B.C.
Corinth, temple of Apollo: Doric, peripteral, with six columns on the front and the back, fifteen on the flanks, organized in pronaos, cella, a further inner room (to accommodate the cult statue? To hoard treasures?) and opisthodomos (the first and the latter with two columns in antis). Optical corrections: the stylobate shows an upward curvature (to correct the optical illusion that straight lines appear to sink in toward the midpoint).
The Archaic period: Architecture
Corcyra (Corfu), temple of Artemis, c. 580 B.C.
The pediment shows a relief decoration representing a Gorgon (3 m) in the middle of Pegasus and Chrysaor; the trio is flanked by two araldic panthers. On smaller scale, Zeus if fighting a giant and a seated figure is being killed (Priam?). Dying figures fill in the corners.
Lack of narrative unit (scenes pertaining to different tales) and lack of a homogenous scale.
The Archaic period: Architecture
Corcyra (Corfu), temple of Artemis, c. 580 B.C.
The Archaic period: Architecture
Selinunte, temple C, 580 B.C.
Problem posed by the triangular space of the temples’ pediment. Ancient sources attribute to Corinth the invention of the double pediment (aetos).
The Archaic period: Architecture
Archaic pediments from the Athenian Acropolis, pertaining to small-size edifices.
Possible interpretations:
oikoi
Thesauroi erected by poleis or gene
Small temples
Dining rooms
The Archaic period: Architecture
The Archaic age Athenian Acropolis was marked by the presence of two main temples dedicated to Athena, worshiped as Polias (north) and as Parthenos (south).
The Archaic period: Architecture
Atena Polias temple, reconstructed by the Peisistratids around 560 B.C. Metopes and pediments are realized in marble from Paros, given the necessity of self-representation of the commissioning family. Lions killing a bull; giantomachy (unity of scale, narrative unity)
The Archaic period: Architecture
Archaic pediments from the Athenian Acropolis, pertaining to small-size edifices.
Possible interpretations:
oikoi
Thesauroi erected by poleis or gene
Small temples
Dining rooms
The Archaic period: Architecture
Athens, Acropolis, Archaic pediment possibly pertaining to the hekatompedon a building beneath the Parthenon.
The Archaic period: Architecture
Athens, Acropolis, Archaic pediment, representing the apotheosis of Herakles, limestone, Zeus, Seated on a throne, sits profile to the right. Next to him sits Hera, shown in a frontal pose. Herakles, wearing the skin of the Nemean lion and a short chiton, walks toward them, preceded by his protector goddess Athena. Traces of colors are preserved.
Athens, Acropolis, Archaic ‘olive’ pediment, (550 B.C.). Found opposite the east end of the Parthenon. It shows a building with a hooped roof, female figures, an ashlar wall with a male figure carved on it and an olive three incised on the background, maybe an indication that the scene takes place over the Athenian Acropolis. A maiden wears a pad over her head, on which maybe according to this interpretation, the building is a fountain house –> either the scene is a praising of Peisistratids water supply infrastructure in Athens or it means to represent Achilles’ ambush of Troilus at the fountain house at Troy. Another interpretation wants the maiden to be a caryatid, making the edifice the predecessor of the 5th century Erechteion. Finally, the maiden can be regarded as a kanephoros, performing a ritual on the Athenian Acropolis.
The Archaic period: Architecture
Athens, Acropolis, Archaic pediment, decorated with relief depicting Heracles overpowering the Lernean Hydra with a club, c. 600 B.C.
Originally painted, it shows Ioalos, his charioteer, while mounting the chariot and looking back at the scene. A crab, sent by Hera, is depicted in the corner
The Archaic period: Architecture
Aegina implemented a wide architectural program, involving both the urban sanctuary of Apollo and the extra-urban one dedicated to Aphaia.
The Archaic period: Architecture
Aegina, temple of Aphaia, west pediment
Parian marble pediments: Trojan wars presided by goddess Athena.
West pediment: renowned Trojan war described by Homer Athena stands in the center of the pediment, to witness and to oversee the battle. In this pediment, Athena stands uninvolved, without making any gesture towards the warriors.
The twelve warriors compose a scheme of paired opponents fighting one on one (three pairs on each side of Athena)
The Archaic period: Architecture
Trojan war presided by goddess Athena (not the one described by Homer, but an earlier campaign mentioned by Apollodorus), where the ancestral heroes of Aegina played a primary role.
The east pediment is marked by a centripetal movement, with the battle moving toward the center, from dying warriors in the corners to striding figures in the center. Unity of scale, with figures fighting, kneeling, dying to fulfil all the available space of the pediment.
The Archaic period: Architecture
Aegina, temple of Aphaia, east pediment
The Archaic period: Architecture
Pan-Hellenic sanctuary of Apollo (sport and artistic games, re-organized in 582 B.C., oracle), The temple was reconstructed thanks to the support of Alcmaeonid family, after the fire occurred in 548 B.C., as a Doric, peripteral, 6 x 15 columns Competition among Athenian gene
The Archaic period: Architecture
Pan-Hellenic sanctuary of Apollo, temple of Apollo, east pediment, marble from Paros, Apollo arrives at Delphi on a cart.
The Archaic period: Architecture
Pan-Hellenic sanctuaries hosted small, yet magnificent, buildings, known as thesauroi, usually dedicated by the cities (sometimes by tyrants). They safeguarded the offerings of the polis and they stand themselves as offerings for the gods, as a symbol of eusebeia, devotion and, at the same time, of self-representation in front of all the Hellenic communities.
They show a simple plan, usually rectangular, consisting of a cella and a vestibule with two columns in antis, and are characterized by a high-quality architecture and sculptural decoration. For instance, at Olympia, a terrace dedicated to treasures stood in the northern area of the temenos. At Delhi, numerous city-states, such as Athens, Sikyon, Siphnos, dedicated their treasures.
The Archaic period: Architecture
Pan-Hellenic sanctuary of Apollo, thesauros of the Siphnians, built around 530 B.C., thanks to the income generated by the exploitation of gold and silver mines.
The Archaic period: Architecture
Pan Hellenic sanctuary of Apollo, thesauros of the Siphnians, 530 B.C.
The Archaic period: Architecture
Athens, Acropolis, Erechtheion (421-405 B.C.)
The Archaic period: Architecture
The signature of the sculptor is inscribed around circular edge of a giant’s shield.
Every suitable surface us decorated with sculpture, embellished with paint and metal additions for weapons.
The Archaic period: Architecture
Above: detail of the east pediment with Apollo and Herakles struggling for the Delphic tripod.
Below: Paris’ judgement
The Archaic period: Architecture
Pan-Hellenic sanctuary of Apollo, thesauros ofthe Siphnians, north frieze, gigantomachy (triumph of the Greek gods over superhuman barbaric giants). Painted inscription of Themis on her chariot, Artemis and Apollo, who are firing together at giants who advance like hoplite infantry
The Archaic period: Architecture
Treasury of the Siphnians, east frieze: combat of heroes at Troy.
The Archaic period: Architecture
Seated gods and heroes dismounted from their chariots over the body of a fallen warrio in shorshortened pose. the horses and the chariots are shown in a three-quarter view.
The Archaic period: Architecture
Pan Hellenic sanctuary of Apollo, thesauros ofthe Sikyonians, 560 B.C.; on the right, detail of them showing the ship Argo with two metope musicians, including Orpheus (inscribed) on the right, and the Dioskouroion horseback on either side
The treasure of the Sikyonians is reconstructed as a monopteros, probably dedicated on the occasion of the victory in Delphic games of the tyrant Cleisthenes, ca. 600-565. This open-sided, roofed structure was supported by fourteen small columns (four by five), which carried a Doric frieze, consisting of 14 metopes, of unusual width (proportion of width to height about 3:2) Argo episode occupies several metopes experimentalism
The Archaic period: A
Pan-Hellenic sanctuary of Apollo, thesauros of the Athenians, 490-480 B.C. The metopes depicted the exploits of Heracles, the hero parexcellence and Theseus, the Athenian hero.rchitecture
The Archaic period: Architecture
Pan-Hellenic sanctuary of Apollo, thesauros of the Sikyonians, metopes:
A. A boar, presumably the Kalydonian one
B. Idas following Kastor and Polydeukes (names inscribed) with cattle, the booty of a raid. Long hair and garments are represented in detail; oxen heads are shown in frontal and profile views. sense of recessive planes.
C. A woman on a bull, presumably Europa on Zeus. high relief, use of painting.
The Archaic period: Architecture
Athens, Temple of Hephaestus. The metopes represented the labors of Theseus and Herakles
The Early Classical Period: architectural sculpture
Athens, Temple of Hephaestus, details of the frieze:
A) Frieze in the pronaos representing, maybe,
the fight between Theseus and the Pallantidai;
B) Frieze in the opisthodomos, representing a centauromachy involving also Theseus
The High Classical period: sculpture
Hephaestus temple on the Kolonos Agoraios, Athens
The Early Classical Period: the Sculpture
Athens, Temple of Hephaistos, reconstruction of the cella interior with the statues of Athena and Hephaistos by Alkamenes (421-415 B.C.)
Periclean Acropolis
Athens, 5th B.C., Acropolis, symbol of the democracy, strengthened by Perikles, and of the victory over the Persian. Perikles dominated the political scene until his death occurred in 429 B.C. due to the plague. 431-404: Peloponnesian war
Periclean Acropolis
Work began in 447 B.C., the temple, in Pentelic marble, and the chryselephantine statue were dedicated to Athena in 437 B.C., the pediment sculptures were completed in 432 B.C. Metopes Sculptures: 447– 440; Ionic Frieze: 445– 438; Pediment Sculptures: 440– 432. Episkopos: Phidias, architects working under his supervision: Iktinos and Kallikrates Not just a temple, but also a political manifesto, also aimed to represent the idealized Athenian society and to function as an economic treasure (it doesn’t have a pertaining altar)
Periclean Acropolis
Athens, Acropolis reconstruction entrance (from Stevens).
Periclean Acropolis
Athens, Parthenon, later transformed into the church of the Virgin Mary and subsequently into a mosque.
Periclean Acropolis
Athens, Parthenon, Overview of the eastern front (from Berger E., Parthenon Studien. Zweiter Zwischenbericht, in “Antk” 20, 1977, 124-141).
Periclean Acropolis
Athens, Parthenon, metopes.
92 metopes: east: giantomachy; west: amazonomachy; north: Ilioupersis; south: centauromachy. All are metaphor of the Athenian victory and of the conquest of the barbaric by the civilized
Periclean Acropolis
Parthenon, metope n. 32 North (Iris and Hera). Northern metopes are extremely damaged.
Periclean Acropolis
Centauromachy’s metopes, often showing two striding figures; the body of the Lapites are young and athletic (idealized representation of the society)
Periclean Acropolis
Athens, Parthenos, Centauromachy 1 South
Periclean Acropolis
Athens, Parthenon. East metopes. Gigantomachy.
Periclean Acropolis
Athens, Parthenon. Western metopes (Amazonomachy).
Periclean Acropolis
Periclean Acropolis
Athens, Parthenon, Southern metopes, centauromachy (crime against the organized society of the polis and the institution of marriage)
Periclean Acropolis
Parthenon, sculpted frieze, 1 m high and 160m long.
To improve visibility, the upper parts of the frieze are carved in higher relief (max 6 cm).
Periclean Acropolis
Representation of the Panatheniac festival Two cavalcades move eastward from the south-west angle, occupying a large part of the northern and southern sides, where the knights are preceded by chariots, by the elders, musicians, attendants walking forward and carrying jars, trays, by sacrificial animals. Cavalcades: There may be two processions shown in the frieze, the first representing the original (pre Cleisthenes) division of Attica into 4 tribes and the second its later democratic division into 10 tribes.
Periclean Acropolis
Athens, Parthenon frieze
Periclean Acropolis
Athens, Parthenon frieze
Periclean Acropolis
Athens, Parthenon frieze
Periclean Acropolis
Athens, Parthenon frieze
Periclean Acropolis
Athens, Parthenon frieze (Poseidon, Apollo, Artemis). On the east side, the twelve Olympian gods appear seated (larger scale than humans); the Athenian girls offer the peplos for Athena; the Attic heroes are present as well
Periclean Acropolis: The templar sculptures
Periclean Acropolis: The templar sculptures
Classical archaeology: the 4th century
Timotheos: temple of Asklepios in Epidaurus
Classical archaeology: the 4th century
Athens, Agora, Eirene and Plutos of Kephisodotos, 370 B.C., commissioned by the Athenian State
Classical archaeology: the 4th century
Athens Acropolis, female head interpreted as original of the Artemide Brauronia cult statue by Praxiteles (Athens, Acropolis Museum).
Classical archaeology: the 4th century
Mausoleum, the funerary monument of Mausolus (367-353 BC) in Halicarnassus, Caria (hypothesis of reconstruction by Krischen 1938).
Classical archaeology: the 4th century
Halicarnassus plant and location of the temenos of the Mausoleum.
Classical archaeology: the 4th century
Halicarnassus plant and location of the temenos of the Mausoleum
Classical archaeology: the 4th century
The Mausoleum of Halicarnassus: hypothetical reconstructions by Jeppesen (left) and by Hoepfner (right).
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II The (so called ‘Prince tomb’) facade, somehow resembling the royal residences, is decorated with two Doric columns flanking a marble door, a Doric frieze and a further painted frieze, depicting a hunting scene.
Classical archaeology: the 4th century
Tegea, Temple of Athena Alea (360 B.C)
Classical archaeology: the 4th century
Halicarnassus plant and location of the temenos of the Mausoleum
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb II attributed to Philip II, composed by an antechamber and a main chamber and accessible through an impressive facade, The use of stone self-supporting vaults, in addition to structural function, was a symbolic reference to the after-life dimension.
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II painted frieze, depicting young men (some of them are clothed, other are naked) hunting a deer, a boar and a lion. Some landscape elements such as trees and hills are recognizable.
Classical Archaeology. Hellenistic Art
Lefkadià /Mieza. In the site, another series of Macedonian panited chamber tombs were identified. Again, the facade resembles palatial architecture, making use of Doric and Ionic orders. Below the pediment, there are Ionic semi-columns with false paneled doors between them and, below them, a Ionic painted frieze depicting the Amazonomachy. Below, there are four Doric semi columns, surmounted by a Doric frieze articulated in metopes decorated with Lapiths fighting centaurs. Both the friezes show topics close to the Greek tradition (e.g. Parthenon). Between the inferior Doric semi columns, the images two Judges of the Dead are represented cloaked on the right side; on the left, the dead person and Hermes.
Classical Archaeology. Hellenistic Art
Lefkadià /Mieza, tomb of the anthemia chrysa
Classical Archaeology. Hellenistic Art
Kos, Sanctuary of Asklepios, reconstruction
Classical Archaeology. Hellenistic Art
Residential units in Pella are arranged in the city’s grid plan in accordance with their plan; the largest houses are located south of the agora. Two models are widely attested: the peristyle courtyard house and the pastas courtyard house. Among the most renown houses, it’s possible to mention the House of Dionysos and the House of the abduction of Helen, both named after the mosaics’ subject.
Classical Archaeology. Hellenistic Art
The house of Dionysos is organized around two peristyle courtyards, one with Doric colonnades and one with Ionic ones; each of them is surrounded by living rooms and banqueting halls. Frequent subjects of Macedonian mosaics:
-Battles
-Hunts
-Abduction scenes
Classical Archaeology. Hellenistic Art
Verghina, plan of the palace. The palace (105 per 90 m) was located in the western part of the city. The palace was used as a residence for the king, his family and his retinue and for the performance of banquets. A smaller peristyle to the west included kitchens, storage and service rooms.
Classical Archaeology. Hellenistic Art
Pergamon, Heroon dedicated to the cult of the Rulers
Classical Archaeology. Hellenistic Art
Verghina, palace The plan consists of a large Doric peristyle court, with 16 columns on each side, surrounded by rooms (three of which, in the western side, hosted dining halls; four rooms to the south were used for the Macedonian symposia). The entrance was situated on the eastern side, while the northern side included a veranda providing spectacular sights of the city. The circular building functioned as a shrine of Herakles Patroos. The building was rich in mosaic floor, stuccoed walls and marble thresholds.
Classical Archaeology. Hellenistic Art
Pergamon, details of palaces IV and V Central courtyard with colonnades, rooms with residential or representative functions, banqueting halls, decorated by mosaics and frescoes
Classical Archaeology. Hellenistic Art
Pergamon, palace V, reconstruction
Classical Archaeology. Hellenistic Art
Pergamon, sanctuary of Athena Nikephoros, reconstruction of the entrance propyleum and of north and east two-stored porches of the temenos, with Doric order on the inferior level and Ionic columns linked by balustrades decorated with weapons on the upper level
Classical Archaeology. Hellenistic Art
Pergamon, sanctuary of Athena Nikephoros, reconstruction of the entrance propyleum Berlin, Pergamonmuseum
Classical Archaeology. Hellenistic Art
Pergamon, sanctuary of Athena Nikephoros, rooms behind the two-navels north porch, including the library containing more than 200.000 volumes and statues, comparable to the renowned one of Alexandria
Classical Archaeology. Hellenistic Art
Pergamon, Acropolis, altar of Zeus and Athena, westward oriented, consisting of a π shaped wall over an high basement, surrounded by a Ionic colonnade. The two projecting walls flank the stairs that bring to the platform level, a sort of yard where the actual bomos used for sacrifices stood.
Classical Archaeology. Hellenistic Art
Athens, agora, stoa of Attalus II Variety of orders: Doric was used for the exterior at ground level, Ionic for the interior. On the second floor, Ionic columns on the exterior were linked by a balustrade, while the interior used a new capital type, named Pergamene.
Classical Archaeology. Hellenistic Art
Athens, Olympeion
-Planned by Peisitratus
-Continued by Antioch IV of Syria (175-164 B.C.)
-Completed by Hadrian (124-132 A.D.)
Classical Archaeology. Hellenistic Art
Statue base originally erected for Pergamene dynasts, just outside the Propylaia, later re-used to carry a statue of Agrippa (so called ‘monument of Agrippa’) 9 m, hymettian marble, courses of alternating heights
Classical Archaeology. Hellenistic Art
Olympieion as finished by Hadrian
Classical Archaeology. Hellenistic Art
Tower of winds, or Horologion, of Andronikos of Kyrros, mid-II century B.C. Located east of the Roman marketplace, octagonal tower, 14 m high, made of Pentelic marble. At the top of each wall, as described by Vitruvius, are sculpted representations of the winds, personified by male figures flying toward right. Inscriptions identify the winds (Boreas, Skiron, Zephyros, Lips etc.) The building served also as time-piece, as indicated by the radiating lines of a sundial incised on each wall. Inside, the tower was intended to house a water clock.
Classical Archaeology. Hellenistic Art
Athens, agora, temple of Apollo Patroos, c. 330 B.C.
Classical Archaeology. Hellenistic Art
Above the roof, there was a bronze Triton holding a rod in his right hand […] so it was driven around by the wind and always faced the current of air, with the rod as an indicator above the correct representation of the wind (Vitruvius 1, 6, 4)
Classical Archaeology. Hellenistic Art
Athens, agora, remains and reconstruction of the water clock located in the south-west corner, 330-320 B.C. c.
Classical Archaeology. Hellenistic Art
The South square of the agora, II c. B.C.
Classical Archaeology. Hellenistic Art
Samothrace, sanctuary of the Great Gods, Arsinoëion, or Arsinoë Rotunda, commissioned by Arsinoe, wife of Lysimachus
Classical Archaeology. Hellenistic Art
Samothrace, sanctuary of the Great Gods, Edifice built by Philip II (?), 340 B.C. c.
Classical Archaeology. Hellenistic Art
Samothrace, sanctuary of the Great Gods, Hieròn, 325 B.C. Pronaos, 150-125 B.C.
Classical Archaeology. Hellenistic Art
Samothrace, sanctuary of the Great Gods, Hieròn, 325 B.C. Pronaos, 150-125 B.C.
Classical Archaeology. Hellenistic Art
Samothrace, sanctuary of the Great Gods, Altar
Classical Archaeology. Hellenistic Art
Ephesus, temple of Artemis
Classical Archaeology. Hellenistic Art
Ephesus, temple of Apollo Didymaeus
Classical Archaeology. Hellenistic Art
Miletus, temple of Apollo Didymaeus
Classical Archaeology. Hellenistic Art
Rodhes, sanctuary of Athena at Lindos
Classical Archaeology. Hellenistic Art
Rodhes, acropolis
Classical Archaeology. Hellenistic Art
Kos, sanctuary of Asklepios
Classical Archaeology. Hellenistic Art
Rodhes, acropolis
Classical archaeology: the 4th century
Tegea, temple of Athena Alea (360 B.C.). Doric peripteral temple, with pronaos, cella and opisthodomos. Skopas introduced innovations in the plan and in the elevation. The interior used Corinthian semi-columns with Ionic ones above. The cella had a lateral entrance.
