The frieze of the Parthenon forms a continuous band with scenes in relief that encircles the upper part of the cella, the main temple, within the outer colonnade. The theme represented was the procession toward the Acropolis that took place during the Great Panathenaia, the festival in honour of the goddess Athena.
All around the frieze of the Parthenon subjects march or ride horses in a long procession until they finally reach the pantheon of the Greek gods. Here they are meant to offer a sacrifice. Here they are meant to offer a sacrifice.
The Parthenon frieze, which runs on a continuous line around the exterior wall of the cella, is 1 meter high and 160 meters long. The sculptures are executed in low relief and depict the people of Athens in two processions that begin at the southwest corner and parade in opposite directions until they converge over the door of the cella at the east end of the Parthenon.
The frieze of the Parthenon is a continuous band with representations in relief that encircles the upper part of the cella, the main part of the temple within the outer colonnade. The theme represented was the procession to the Acropolis that formed part of the Great Panathenaia. The west side depicts the preparation for the procession. The long sides, North and South, depict …
The Parthenon frieze is the defining monument of the High Classical style of Attic sculpture. It stands between the gradual eclipse of the Severe style, as witnessed on the Parthenon metopes, and the evolution of the Late Classical Rich style, exemplified by the Nike balustrade.
The Parthenon frieze is the high-relief pentelic marble sculpture created to adorn the upper part of the Parthenon ’s naos. It was sculpted between c. 443 and 437 BC , most likely under the direction of Pheidias.
It is composed of 114 blocks of an average 1.22 meters in length, depicting two parallel files in procession. It was a particular novelty of the Parthenon that the cella carries an Ionic frieze over the hexastyle pronaos rather than Doric metopes, as would have been expected of a Doric temple.
In all, the Parthenon frieze was believed to have measured about 525 feet (160 meters) long and 3.35 feet (1.06 meters) tall. Stretched out from end to end, it would be nearly the length of two football fields! Phidias showing off his frieze to friends.
The temple was built in Athens, Greece, with construction believed to have started in 447 BC ...
The Parthenon frieze pictures a procession which includes more than 200 animals, mostly horses pulling chariots, as well as 378 images of gods and the Greek people. The people are carrying vessels (containers) of wine and other foods, and some are leading animals to be sacrificed.
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The temple and its decoration are entirely of local Pentelic marble, prized for its pure whiteness and golden glow in sunlight. Like King Erechtheus, the building is autochthonous, sprung from the Attic earth. Restorers of the Parthenon remark how, as the light moves over the structure, it seems almost to be breathing.
The Great Panathenaia occurred, like the Olympics, every four years; it was a festival of athletic games and poetry and music competitions , culminating in a procession to the temple of Athena, goddess of weaving, war, and wisdom. Her statue was then presented with a new peplos, a robe woven by the women of Athens.
He had a wife, Praxithea, and three daughters. (The Athenian royal houses ran to daughters.) When Eumolpus, king of nearby Eleusis, threatened a siege of the city, King Erechtheus got an unpleasant oracle from Delphi: He must sacrifice one of his daughters to Athena to save the city.
The Parthenon frieze is the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon’s naos. It was sculpted between c. 443 and 437 BC, most likely under the direction of Pheidias. Of the 160 meters (524 ft) of the original frieze, 128 meters (420 ft) survives—some 80 percent. The rest is known only from the drawings attributed to French artist Jacques Carreyin 1674, thirte…
Plutarch’s Life of Pericles, 13.4–9, informs us “the man who directed all the projects and was overseer [episkopos] for him [Pericles] was Phidias... Almost everything was under his supervision, and, as we have said, he was in charge, owing to his friendship with Perikles, of all the other artists”. The description was not architekton, the term usually given to the creative influence behind a b…
The narrative of the frieze begins at the southwest corner where the procession appears to divide into two separate files. The first third of the west frieze is not part of the procession, but instead, seems to be the preparatory stages for the participants. The first figure here is a marshaldressing, W30, followed by several men preparing the horses W28–23 until figure W22 who, it has been suggeste…
The Parthenon frieze is the defining monument of the High Classical style of Attic sculpture. It stands between the gradual eclipse of the Severe style, as witnessed on the Parthenon metopes, and the evolution of the Late Classical Rich style, exemplified by the Nike balustrade. What sources the designer of the frieze drew upon is difficult to gauge, certainly large scale narrative art was fa…
As no description of the frieze survives from antiquity and many religious rituals involved secret symbolism and traditions left unspoken, so the question of the meaning of the sculpture has been a persistent and unresolved one. The first published attempt at interpretation belongs to Cyriacus of Ancona in the 15th century, who referred to it as the “victories of Athens in the time of Pericles”. W…
The earliest surviving works of art that exhibit traces of the influence of the Parthenon frieze belong to the media of vase painting and grave stelae where we may find some echo not just of motifs, themes, poses, but tenor, as well. Direct imitation, and indeed quotation, of the frieze begins to be pronounced around 430 BC. One example, an explicit copy, is a pelikeattributed to the Wedding Pai…
• Metopes of the Parthenon
• Pediments of the Parthenon
• Ashmole, B. (1972) Architect and Sculptor in Classical Greece.
• Boardman, J. (1985). The Parthenon and its Sculptures, University of Texas Press. ISBN 0-292-76498-7
• Boardman, J. (1999) The Parthenon Frieze: a closer look, Revue Archeologique, 99:2, p. 305–330.