1100-100 B.C.

CHARACTERISTICS OF GREEK ARCHITECTURE

Most characteristic form is found in the temple A low building of post-and lintel construction Two upright pieces or post are surmounted by a horizontal piece Lintel is long enough to reach the other Post and lintel well adapted to woods There are 3 types of main styles or orders Doric Ionic Corinthian

A temple on the Athenian Acropolis, Greece, dedicated to the Greek Goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric Order.

The theatre, in which the theatrical and musical events of Pythia games took place, was built at the 4th cent. b.c. but was repaired in the 2nd cent b.c. and at the roman period also. With 35 rows of seats the theater had a capacity of about 5.000 spectators. On the walls of the entrances have been engraved a lot of inscriptions. The paved with slabs orchestra is surrounded by sewage stone tube for the waters of the koilon (auditorium). The scene from which only the foundations survived was separated in 3 parts, while its facade had been decorated at roman years with embossed plates that depicted the feats of Hercules (currently in the interior of the museum).

4th and 5th B.C. century

Built between 421 and 406 BC

The entire temple is on a slope, so the west and north sides are about 3 m (9 ft) lower than the south and east sides. It was built entirely of marble from Mount Pentelikon, with friezes of black limestone from Eleusis which bore sculptures executed in relief in white marble. It had elaborately carved doorways and windows, and its columns were ornately decorated (far more so than is visible today); they were painted, gilded and highlighted with gilt bronze and multi-colored inset glass beads. The building is known for early examples of egg-and-dart, and guilloche ornamental moldings.[2]

Also known less precisely as the Temple of Diana, was a Greek temple dedicated to a goddess Greeks identified as Artemis and was one of the Seven Wonders of the Ancient World. Built around 550 B. C. Served as both a market place and a religious institution.

Artemis

The Diana of Versailles, a Roman copy of a Greek sculpture by Leochares (Louvre Museum)
Goddess of the Hunt, Forests and Hills, the Moon

Symbol
Parents Siblings Roman equivalent

Bow, arrows, stags, hunting dog, and moon

Zeus and Leto Apollo Diana

also known as the Olympieion or Columns of the Olympian Zeus, is a colossal ruined temple in the centre of the Greek capital Athens that was dedicated to Zeus, king of the Olympian gods. Construction began in the 6th century BC during the rule of the Athenian tyrants, who envisaged building the greatest temple in the ancient world, but it was not completed until the reign of the Roman Emperor Hadrian in the 2nd century AD some 638 years after the project had begun.

The Jupiter de Smyrne, discovered in Smyrna in 1680[1] King of the Gods God of the Sky, Thunder and Lightning and Law, Order and Justice Abode Symbol Consort Parents Mount Olympus Thunderbolt, Eagle, Bull and Oak Hera, and others Cronus and Rhea Hestia, Hades, Hera, Poseidon and Demeter Ares, Athena, Apollo, Artemis, Aphrodite,[2] Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Jupiter

Siblings

Children

Roman equivalent

The Temple of Hephaestus and Athena was begun in 449 BC, just two years before the Parthenon. The project was sponsored by the Athenian politician Pericles and designed by an unknown architect whose handiwork can be seen throughout Attica. This temple was the first in Athens to be made of marble.

The asclepieion at Epidaurus was the most celebrated healing center of the Classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimitiria, a big sleeping hall. In their dreams, the god himself would advise them what they had to do to regain their health. There are also mineral springs in the vicinity which may have been used in healing. Asklepios, the most important healer god of Epidaurus was known for his sanctuary antiquity, brought prosperity situated about five miles from the town, to the sanctuary, which in as well as its theater, which is once the 4th and 3rd BC again in use today. The cult of Asklepios embarked on an ambitious at Epidaurus is attested in the 6th building program for century BC when the older hill-top enlarging and sanctuary of Apollo Maleatas was no reconstruction of longer spacious enough. monumental buildings.

Lysicrates is the man who paid for the monument, which commemorates a chorus that he sponsored who won first place in a competition in 334/335 BCE. The Choragic Monument of Lysicrates is located on the ancient Street of the Tripods near the Acropolis in Athens (so named for the tripod prizes awarded to choric victories. In 1669 the monument and surrounding area were incorporated into the Capuchin monastery. In the 1820s all of the buildings of the monastery, with the exception of the Choragic Monument, were destroyed by Ottoman forces.

The Choragic Monument of Lysicrates was the first Greek monument built in the Corinthian order. The frieze decoration depicts the adventure of Dionysus with the pirates, whom he turned into dolphins.

D O R I C

I O N I C

C O R I N T H I A N

No base; bottom of rest on top the step Low cushion-like shape Frieze is divided into triglyphs & metopes Doric was the earliest and the one in which the noblest monuments were erected. Theories of the origin of the Doric order are numerous. The great remaining examples of the 6th cent. B.C. are found chiefly in Sicily and at Paestum in Italy. After 500 B.C. the archaic features of the Doric disappeared; harmonious proportions were achieved; and the final exquisitely adjusted type took form at Athens, in the Hephaesteum (465 B.C.), the Parthenon (c.447432 B.C.), and the Propylaea (437 432 B.C.).

Taller and slender It has a base Capital is ornamented with scrolls on each side Architecture below the frieze is steeped

This style appeared in temples in Greece proper after 500 B.C., challenging with its slenderly proportioned columns and carved enrichments the supremacy of the simple, sturdy Doric. The most magnificent Ionic temples were those at Miletus. In Greece proper the Ionic appeared in only one temple of major importance, the Erechtheum at Athens, and otherwise the form was restricted to minor buildings, as the temple of Nike Apteros, Athens (438 B.C.), and to interiors as in the Propylaea, Athens.

Base and shaft resembling the Ionic Much more slender Distinctive feature is the capital Entablateur not distinguishable from Ionic Corinthian order, appeared in this period, reached its fullest development in the mid4th cent. B.C., but was comparatively little used. The chief examples, both at Athens, are the choragic monument of Lysicrates (c.335 B.C.) and the Tower of the Winds (100 B.C.35 B.C.). Later, the Romans used the Corinthian order extensively and adapted it into their widely used composite order.

The Tower of the Winds, also called horologion (timepiece), is an octagonal Pentelic marble clocktower on the Roman agora in Athens. The structure features a combination of sundials, a water clock and a wind vane.[1] It was supposedly built by Andronicus of Cyrrhus around 50 BC, but according to other sources might have been constructed in the 2nd century BC before the rest of the forum.

Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze, so called because of the angular channels in them, two perfect and one divided, the two chamfered angles or hemiglyphs being reckoned as one Architrave also called an epistyle is the lintel or beam that rests on the capitals of the columns. It is an architectural element in Classical architecture.

METOPES is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order

Cornice a horizontal molding projecting along the top of a wall, building, etc. the top part of an entablature

Echinus A convex molding just below the abacus of a Doric capital. Stylobate is the stepped platform on which colonnades of temple columns are placed (it is the floor of the temple).

Fillet a narrow band worn around the head as to hold the hair in place
Stereobate a foundation, as of a building, or a solid substructure or platform of masonry Shaft main part between ends of a collumn or pillar Entablature a horizontal superstructure supported by columns and composed of architrave, frieze, and cornice Frieze a horizontal band, often decorated with sculpture, between the architrave and cornice of a building

Column a slender, upright structure generally consisting of a cylindrical shaft, a base and capital; pillar. Dentil any of a series of small rectangular blocks projecting like teeth, as from under a cornice Volute spinal scroll forming one of the chief features of Ionic and Corinthian. Fluted long,rounded grooves

Grave Circle A in Mycenae is a 16th century BC royal cemetery situated on the southeast of the Lion Gate, the main entrance of the Bronze Age citadel of Mycenae, southern Greece.[1] The site was initially constructed outside the fortification walls of Mycenae, but was ultimately enclosed in the acropolis when the fortifications were extended during the 13th century BC.[1] Grave Circle A, as well as Grave Circle B, the latter found outside the walls of Mycenae, represent one of the major characteristics of the early phase of the Mycenaean civilization

Grave Circle ANative name: Greek: A' Grave Circle A (right) and the main entrance of the citadel (left). Location : Area: Mycenae Argolis, Greece 16th century BC Resting place of the Mycenae an ruling families

Formed:

Built for:

Early Greek burials were frequently marked above ground by a large piece of pottery, and remains were also buried in urns. Pottery continued to be used extensively inside tombs and graves throughout the classical period

The larnax is a small coffin or ash-chest, usually of decorated terracotta. The two-handled loutrophoros was primarily associated with weddings, as it was used to carry water for the nuptial bath. However, it was also placed in the tombs of the unmarried, "presumably to make up in some way for what they had missed in life."[
Relief from a carved funerary lekythos at the National Archaeological Museum of Athens: Hermes conducts the deceased, Myrrhine, to Hades, c. 430420 BCE

The one-handled lekythos had many household uses, but outside the household, its principal use was the decoration of tombs.[26] Scenes of a descent to the underworld of Hades were often painted on these, with the dead depicted beside Hermes, Charon or boththough usually only with Charon.[27] Small pottery figurines are often found, though it is hard to decide if these were made especially for placement in tombs

At the end of the fifth century B.C., Athenian families began to bury their dead in simple stone sarcophagi placed in the ground within grave precincts arranged in man-made terraces buttressed by a high retaining wall that faced the cemetery road Marble monuments belonging to various members of a family were placed along the edge of the terrace rather than over the graves themselves.

Agia Mavra Castle

Hellenistic tomb

The Mausoleum at Halicarnassus or Tomb of Mausolus (in Greek, ) was a tomb built between 353 and 350 BC at Halicarnassus (present Bodrum, Turkey) for Mausolus, a satrap in the Persian Empire, and Artemisia II of Caria, his wife and sister. The structure was designed by the Greek architects Satyros and Pythis. It stood approximately 45 m (148 ft) in height, and each of the four sides was adorned with sculptural reliefs created by each one of four Greek sculptors Leochares, Bryaxis, Scopas of Paros and Timotheus.The finished structure was considered to be such an aesthetic triumph that Antipater of Sidon identified it as one of his Seven Wonders of the Ancient World.