Temple Master. Past Temples (Number in Richter) and Year (Missing: 97, 91, 90, 88, 87) Other Structures (Number in Richter)

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1 Temple Master Temples: Privilege List (and number in Richter) 1. Zeus 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 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 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

2 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

3 98: Zeus Olympios at Akragas a) features; unusual b) additional features of Parthenon (21) 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)

4 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

5 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

6 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

7 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 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 ) Temple of Hera at Paestum II 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)

8 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 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

9 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.

10 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

11 (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 22) Zeus at Olympia 2012: (ii) (a) 10marks for either period or designer: Libon of Elis 10; Early Classical 10. Classical 7. It was designed by Libon of Elis and it was built in the early classical period about 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.

12 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 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& ). 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.

13 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

14 (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 Athens Agora bc Doric Metopes show trials of Heracles and Theseus Athens, 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 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

15 Doric with Ionic features. Second Half of 5 th Century, 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 5 th 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, 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

16 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 Bassae bc

17 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 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

18 31-33) Erectheion 2013: 2010: (iii) (a) 5 marks. Karyatid.

19 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.

20 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 Epidauros 4th Century 6 x 11 pronaos but no opisthodomos statue by Thrasymedes Architect Theodotes 35) Apollo at Didyma 2003 (iv) (a) 10 marks. (5,5) Doric and Ionic. (b) 10 marks. Two reasons (5,5)

21 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 and p 39). 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 6 th 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:

22 (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

23 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 5 th 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)

24 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.

25 INTRODUCTION TO GREEK ARCHITECTURE 1. The Bronze Age ended in destruction around 1100 BC. Followed by almost 4 centuries of poverty. 2. Now Hellenic civilization begins and its architectural needs are completely different to those of the Mycenaeans. 3. Temples were now the one great type of building and they took their form from older houses. 4. The process of the development of the Greek temple took many generations, most changes took place in the 7th and 6th centuries BC and coincided with the rise of the "polis" or city-state. 5. The height of the temple form was reached in the late fifth and early fourth centuries BC. 6. Later architects devoted most of their skill to decoration. 7. In general temples were confined to a few standard types. This has a major disadvantage in that new forms did not emerge but its big advantage was the attainment of perfection in each form. You can describe the pattern of the Greek temple as "canonical". 8. In the attempt to "achieve ideal proportions in every detail...they succeeded to a degree which no other race has emulated. The Parthenon came as near perfection as is humanly possible, both in design and in meticulous execution." Wallace. 9. Of the types, the Doric Order is generally seen as the most perfect, the others were related to it and the same few structural methods were used. Up to the very end the clear signs were there of the adaptation in stone of timber and unbaked brick buildings. 11. The purpose of the Greek temple was to house a deity, not to accommodate worshippers. It originated in the form of a Dark Age house, i.e. a room with a porch usually with two columns to support the roof. 12. It is debatable whether the Mycenaean megaron had an influence. 13. The primitive temple must have been thatched and ridge-roofed. An important early example of a grave monument at Lefkandi in Euboea (an island near Athens) dates from the 10th century BC and is surrounded by a veranda supported by wooden columns. This was probably to keep the walls dry. But it was very expensive to do this in stone or marble so very early stone temples usually had just two columns in the porch. 14. The first cut stone buildings date from the 7th century BC. Maybe influenced by Egypt, also brought on by the invention of roofing tiles (very heavy). So the design was determined by the early houses and by the demands of the roof tiles (it was easier to tile a rectangular roof). 15. The early examples seem to have had stone walls and wooden columns, later ones were made of stone. "Every detail of the whole system from the foot of the columns to the gutter is an apparent translation from carpentry...the position and shape of every portion never varied". Wallace.

26 16. The two orders took their name from the two main dialects of Greek spoken in their respective areas. Broadly Doric began and remained the style of the Greek mainland and of the Western colonies, Ionic was that of some of the Aegean islands and the coast of Asia Minor. 17. It was soon realised that there was one big problem in translating from wood and brick to stone, and that was weight. Stone is heavier and has less tensile strength so thicker proportions were needed. 18. When more confidence was gained, the tendency was reversed, especially in Doric as the columns became more slender. The early ones are very chunky. 19. Once marble came into use, it was harder and more reliable than stone the best proportions were developed. Another feature of marble was its capacity for sharp definition and polished surface. 20. One fact is often used to account for the static nature of Greek architecture and that is their failure to exploit vaults and arches. This was left to the Romans to achieve. "But the excessive conservatism of Greek architecture has been justified by its perfection and because of the infinite variety of treatment possible within each type" Wallace. BUILDING MATERIALS AND METHODS 1. We know that early temples were built of mud-brick and stone, probably with thatched, or later tiled roofs. 2. Later, the Greeks began, probably under the influence of trade with the Egyptians who were experienced builders in stone, to build their temples out of local stone, usually limestone or conglomerate. Occasionally there is evidence of temples made of a combination of wood and stone (eg. Temple of Hera at Olympia). 3. It must have become obvious quickly that building a temple entirely out of stone made it more solid and was also a better way of securing the roof support. 4. As the 6 th century continued, they began to use a particular type of stone - marble - more and more. It had pros and cons: it is a very dense stone and particularly heavy, prone to cracking in places. It was, therefore, very expensive to transport. But aesthetically, its advantages were obvious. Its creamy white colour and its consistency which meant it could be cut very finely and polished smoothly were far superior to other types of stone, which usually needed to be stuccoed and painted. The most famous quarries were at Paros, Naxos and Mount Pentelikon (16km from Athens). The coast of Asia Minor also had plentiful marble quarries. The Parthenon is built of marble from Mount Pentelikon, but its roof tiles are Parian marble. 5. Blocks of marble were cut at the quarry using wooden wedges to roughly the size and shape required by the architect. "Ancones" or lifting bosses were left on the sides for easy lifting. Sometimes holes were drilled in the blocks so that ropes could be passed through for lifting. Even the largest temples tended to be built using blocks small enough to lift fairly easily. 6. Blocks were transported from the quarry by sleds on tracks, then ox-carts and mule carts. They also probably used rolling wooden frames to haul the marble. 7. Primitive cranes based on pulleys and winches were in use. 8. No putty or cement of any kind was used to hold the blocks together. Instead they used metal cramps of various shapes to help to hold the blocks in place (commonly used were the dovetail, double T, butterfly or H shapes).

27 10. Early columns were monolithic (eg Temple of Apollo at Corinth) but in the 6 th century Theodorus of Samos seems to have invented a lathe on which stone could be turned and increasingly columns were assembled from several drums. The drums were centred using wooden dowels. 11. We know from the Temple of Apollo at Segesta in Sicily that the first element to be built on the stylobate was the peristyle (columns all around the outside). This temple was left unfinished and we can tell from it also that the column fluting was done only when the building was complete. Though it is probable that the fluting of the very top and bottom was done before the columns were assembled. 12. Tools used for the sculpting of architectural details were mallets and chisels (flat-blade, toothed and claw) Finishing was done by sanding and polishing. 13. We gather from a variety of sources (inscriptions and written accounts from the time) that the main sources of funding for these buildings were: wealthy individuals (eg. Alkmaeonids who built the Temple of Apollo at Delphi); fines from enemies or criminals; city taxes or loans guaranteed by wealthy citizens. Remarkably, from an inscription concerning the Erechtheum on the Athenian Acropolis, we see that all of the workers (including the architects) received 1 drachma a day for their labour. 14. The cost of these buildings is hard to calculate exactly but we know that the Parthenon took 22 tonnes of marble to build and cost a year's income for the city of Athens. Still not as much as the gold and ivory statue of Athene it was built to house! 15. When the roof tiles were in place (pan tiles joined by ridge tiles), the ends of the cover tiles were decorated with antefixes in the shape of heads or leaves. 16. Finally, 6 acroteria were placed at each corner of the roof and on the point of each pediment. On the Parthenon these were in the shape of huge symmetrical floral designs. 17. The effect of the antefixes and acroteria was probably to soften the line of the roof. 18. As well as all of this, the building was also decorated with sculpture and painted designs. THE DEVELOPMENT OF THE DORIC ORDER BC. 1. Much of the Doric Order and its decoration grew from its original form in timber. The Temple of Poseidon at Corinth had stone walls but wooden columns. 2. Very early temples were extremely long and narrow (eg. the Temple of Hera at Samos). 3. Early columns tend to be monolithic (Temple of Apollo at Corinth), close together, ( the Basilica\Temple of Hera at Paestum) and noticeably tapered, (the Temple of Artemis at Korkyra in Corfu). Later columns are made up of drums, are spaced more widely (as confidence was gained) and the tapering becomes more gentle. Also entasis is added for effect. 4. Early capitals tend to be very wide and bulbous (Temple "C" at Selinus) whereas the later ones become more gradual in their curve and more elegant (Parthenon). 5. Early temples were made of local stone, stuccoed with plaster, (Temple "C" at Selinus), a transitional temple (of Apollo at Delphi) had a marble facade and later the Parthenon was built entirely of marble.

28 16. The shapes of the parts of the column stayed the same (although proportions changed) except for THE DORIC ORDER 1. The earliest eg. of a stone temple is the Temple of Hera at Samos dating back to around 800BC. 2. It is the oldest known peripteral temple. It was very long and narrow. Its entrance (in common with many later temples) was facing east. It had no porch and had one row of columns down the centre of the naos. Its columns must have been of wood. 3. Most of the other very early temples found did not have peristyles. 4. By the mid-7th century most Greek mainland temples were roofed with tiles. This caused huge consequences above all stimulating the improvement of walls and a changeover from wooden to stone columns. The early tiles were very heavy (up to 30 kilos). 5. A leading part in these new structures was played by Corinth in the 7th century BC. Two crucial early temples were found here, the Temple of Apollo (see p.28) and the Temple of Poseidon. 6. The Temple of Poseidon had stone walls and a wooden peristyle. 7. By the early 6th century Greek mainland architects were beginning to construct entirely of stone up to the wooden roof beams and terracotta tiles. "In colonnades and above all in entablature the forms of developed 7th century wooden architecture were retained to the end". Lawrence. 8. So by the start of the 6th century the essential Doric order was formed. 9. The foundations were made of roughly dressed masonry, laid only below the essential areas of the building. On top was a level base for a platform which usually had three steps often very high. From the late 6th century the stylobate (top step) is not flat but slopes down to either side. This was originally for drainage but was seen to have aesthetic value. It led to the sloping inwards of columns again, aesthetically appealing. 10. In Doric columns the shaft almost invariably stands directly on the floor. Early columns are usually monolithic. Later ones are made up of drums probably turned on a lathe. Evidence from some quarries indicates that the drums were cut ready-rounded. 11. The drums were dowelled together by spikes of bronze or wood enclosed in wooden blocks so that the material could expand or contract. In temples the columns were always fluted. This was done after the column was put up. 12. The flutes are almost always concave, broad and shallow and meet to form sharp edges. The normal number of flutes was Why was it there? Possibly as an echo of the grain of wood, possibly the early wooden shafts had been carved with a rounded blade, it certainly emphasised the shaft as opposed to the masonry joins and it lifted the appearance of the column. 14. The capital consists of two parts and probably derives from a wooden original. The echinus (literally sea-urchin) is like a cushion and spreads outwards from the top of the shaft. The overlying slab is the abacus. 15. The original idea was probably to spread the weight between two slabs of wood and prevent the post from splitting. The stone capital is usually carved out of a single block which also extended a few inches down the shaft.

29 17. The early columns tend to be much thicker than the later ones and to taper more dramatically. Columns of the late 5th century are perfect to the eye but they are still in fact bulkier than is necessary. By the 4th century they are narrower again. Early architects underestimated the strength of stone columns and placed them much too close together. 18. Above the capitals of the columns was the architrave, a plain band of stone. The junctions between the beams of the architrave always stood directly above the centre of the columns. In the Doric order it was very rarely decorated. 19. Next was a thin shelf with a series of plain bands (regulae) over each triglyph. Under each of these is a row of cylindrical pegs (guttae). 20. The Doric Frieze was just above the taenia and consisted of alternating triglyphs and metopes. Each triglyph consists of one block carved to look like three upright bars each with three facets.the metopes are thin slabs between the triglyphs either plain or decorated with painting or sculpture. In theory each triglyph over a column should be centered precisely but there was a problem with the corners where two triglyphs met at right angles. 21. Gradually the whole entablature became lower which led to the lightening of the structure. In the 6th century it is half as high as the columns, by the 4th century it is one quarter as high. 22. Above the frieze is the cornice surrounding the entire temple. A second cornice slants up the gable. The underside of the horizontal cornice has carved peg shapes (derived from wood) called mutules. 23. The roof was supported on wooden cross-beams which formed a square pattern when you looked up and were covered with coffers. Wood was the normal material for ceilings despite the risk of fire. Above the ceiling were the rafters supporting the roof tiles of two main types, Lakonian and Corinthian. In the 5th and 4th centuries, marble was used. The roof was finished off with a gutter or sometimes antefixes to hide the tile ends. At each corner were acroteria. DECORATION OF THE DORIC ORDER Some of the early temples of wood and mud-brick seem to have been decorated (and protected) by terracotta facings. Even into the latest temples terracotta antefixes survived as they were easy to produce from moulds, lasted and were light. Statues of terracotta were used in early pediments, indeed the pediment may have been created to receive such sculptures. These sculptures were not merely decorative, they serve to blur the sharp geometric lines of the building, to counteract the upward sweep and perhaps were intended to frighten away evil. They also usually told a story connected with the particular cult. Colour was also applied to Greek buildings. The white Pentelic marble was dazzling newly cut and in sunlight. It is possible that varnish was used to cut down on the glare giving a yellowish tone (evidence from Macedonian tombs supplies this). But in general colour was used to emphasize and pick out detail. Traces of colour survive on some buildings. Obviously the tones have faded. The important colours are blue, imported from Egypt, red (native ochre), and yellow gold. Green is used very little. In the Doric order colour is used on the entablature mainly. The frieze is framed between two red bands (the taenia and the band under the cornice). Sometimes these bands were decorated with a gold meander pattern. The triglyphs are blue and the band over the metopes is blue also. The regulae are blue as are the mutules. Mouldings are usually coloured in blue, red and gold. On the Parthenon the painted decoration seems to have been especially elaborate on the cornice. The metopes of the Parthenon seem to have been backed in red. Also the coffered ceiling of the Parthenon had elaborate decorations. The method of colour application is not sure, some argue that it was hot wax, but often the pattern remains even when the colour is gone.

30 Another feature of the Doric Order was the entasis used on the columns. This was a slight bulge in the tapering column, about two thirds the way up which softened its lines. It is important to note that the Greek Temple was designed to be viewed externally and from all angles. The history of Doric is the perpetual search for perfect proportions without the use of detailed drawings as the Greeks do not seem to have had scale rulers. It is generally accepted that this perfection was reached in the Parthenon. THE IONIC ORDER 1. See diagram of Ionic order and differences between it and the Doric order. 2. What are they? Horizontally fluted bases; more slender columns; more fluting; flat fillet between flutes; volute (or ram s horns) capitals; often plant decoration under the capitals; very eastern in its usage; sometimes a narrow abacus above the capital, but not always; entablature often broken into three steps; frieze very important, continuous and usually decorated (either with dentals or with sculpted figures). 3. Pedley describes the Ionic order as much more restless visually. More variety and ornament. He calls the Doric order more integrated and sturdier. 4. Earliest Ionic temples were in Asia Minor at Ephesus and Didyma and Samos. Sometime in the mid-6 th century B.C. a massive Ionic temple was built on the island of Samos by Rhoikos and Theodorus, with a double colonnade all around it. It collapsed soon after it was built and a very ambitious replacement was begun surrounded by a triple colonnade. 5. Not to be outdone, Ephesus started a huge temple to Artemis which was about 115m long with massive columns with elaborately carved bases and lower drums. King Croesus helped to pay for it. 6. Another gigantic Ionic temple was at Didyma near Ephesus. This temple was unusual in that it had an open air interior sheltering a small shrine. It has splendid decoration. It was rebuilt in the 4 th century B.C. 7. Two of the most famous Ionic temples are the Erechtheum and the Temple of Athene Nike on the Acropolis in Athens. 8. Other examples you might mention are the Temple of Athene Polias at Priene and the use of the Ionic Order on the Pergamon Altar.

31 The Three Orders 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