Acropolis Museum - Introduction
Good morning from Athens! Kalimera! I am Marianna. Thanks for joining me on this walk through one of the most beautiful museums in the world, the Acropolis Museum.How to Use this AudioguideAs you can see from the display window on your audio player, each of the stops on this tour has its own title. You can skip ahead or tailor your itinerary to your own tastes. But navigating on your own can be confusing, and it’s easiest to just follow the tour in the order I ‘ve laid out.Be aware that, even with the very best of directions, sightseeing this large museum can be confusing. So be flexible.Now let’s visit The Acropolis Museum.IntroductionThis museum was inaugurated on the 20th of June 2009 designed by the two famous architects the Greek Fotiadis and the Swiss French Tsoumi. It costed 200 million dollars and it is located only 300 meters across the pedestrian walk of the Acropolis Hill. The total surface of this museum is 21.000 square meters, the display area 14.000 square meters and the surrounding green area 7.000 square meters. It is made from glass, reinforced cement, and steel. It is consisting of 3 floors, and it is entirely bioclimatic. Here, all the original pieces and copies of the building of Acropolis are represented: the Propylea Gate, the temple of Nike (which, in Greek, means Victory), the temple of Parthenon and the temple of Erechtheion. Everything was dedicated to the greet goddess of Olympus, protecting the city of Athens, Athena, goddess of wisdom that’s why the name of the city today is Athens, her own city!
Stop 1 - The Entrance: Outside
Going down the steps, reaching the entrance of the museum, we must admire the beautiful transparent floor protecting the original excavation areas of 3000 years BC. Below our feet lie frescoes aqueducts of water, street parts of private houses, baths, shops, and laboratories from the prehistorical times until the byzantine ones.If you approach the handrail and look carefully above it, you will see a well full of coins. It is said that if you toss a coin and make the wish to return to Athens, it will be fulfilled. Try it if you wish.92 pillars are supporting the museum, placed carefully in the excavation, giving the impression that the building is flying over the ground! The glass floors or ceilings according to where you are is one of the most impressive architectural characteristics of the buildings. Natural air-conditioning and marble floors everywhere! In this museum, you can see the ancient Greek sculptures, modern architecture, and the thousands of years of history of this city!To the left, by the entrance floor, the marble statue of an owl is standing on a pillar, symbol of wisdom of the goddess Athena.
Stop 2 - The Entrance: Inside
Going inside the museum at the ground floor there are replicas in miniature of all the different construction phases of the Acropolis. Videos on the wall. Beautiful transparent covered floors everywhere!After the tickets control on the floor, you can observe the famous “Eggenion” (inauguration point of the museum), which means an ancient cup of wine and relics of sacrificed animals of the 3rd century BC found in the underground of an ancient house and was bringing health and happiness to the owners at that time!Let’s enter, therefore, the room of the Klities. Here, are presented findings from the sanctuaries and settlement that developed on the slopes of the Acropolis through all historical periods.
Stop 3 - The Room of the Klities: Introduction
Under your feet you can admire now parts of the urban plan of the ancient city, houses, laboratories, streets, squares, deposits of water.Left and right of the room thousands of items which were left behind by the ancient inhabitants. Most of them are made from terracotta as the most valuable ones were stolen or lost.
Stop 4 - The Room of the Klities: Left side
Starting at the left side of the room, on the wall, there are wedding cases describing the whole of the wedding ceremony in ancient Athens from the sanctuary of Nimphi (6th century BC) until the birth of the first child.Further along on the gallery’s left side, are finds from the sanctuary of Asklepios, the god of medicine and health. His symbol is the snake. From his name were established the first hospitals in Greece (Asclipeia). The many dedications, with scenes of worshippers approaching Asklepios and his family, and anatomical votive offerings, featuring depictions of the parts of the human body that had been healed, bear witness to the sanctuary’s great importance in the religious life of the city. You can give a more careful look at the ex-votos with members of the human body that witness the several therapies that were taking place. Eyes therapies, treatment for the ear, the breast, the leg, for all the body.Right after, we see some pieces from the Sanctuary and Theatre of Dionysos, the god of vegetation and wine. As the god’s foremost sanctuary in Athens, it was here that Athenians celebrated the Greater or City Dionysia, the most glorious celebration in honour of the god. From their worshipful acts that reenact the life and passions of Dionysos, drama was born, dramatic contests were established and the art of theatre eventually arose.Please, have a look at the replica of the Theatre of Dionysos, the oldest theatre in the world, stands upslope from the god’s sanctuary. In its final form, the auditorium held 17,000 spectators. All three forms of ancient drama were presented and perfected here – tragedies, comedies and satires – and the works of ancient Greece’s most important tragic and comic poets – Aeschylus, Sophocles, Euripides and Aristophanes – were performed here for the first time. Admire the women dancers and the theatre masks.
Stop 5 - The Room of the Klities: Right side
Τurning back, to the beginning of this room, we approach the right wall. Myths and legends, gods and heroes, official and popular warships, smaller and bigger sanctuaries, public buildings, private houses, collection of vases from the cemetery, children’s burials, sumposium vases, plate for fish, clay dolls, clay animals for children, miniature cases and mirrors, all the everyday life activities are here! Also, money items, kitchen cutlery of that time! And remark please: everywhere it is written the Greek language!
Stop 6 - The Room of the Klities: In the middle
Now, in the middle, you can see two roman terracotta statues of Nikeis (Victories) which were supporting once the roof of a house! Also, you can marvel at the marble Treasury of Heaven Aphrodite, part of the nuptial ceremony, where the new couple they are throwing 1 silver drachma whishing happiness and lots of children! So exciting!We leave this monumentally high ceiling room of the Klities at the ground floor, 16 meters are separating the ascent of the Klities from floor to floor as we are looking up and we see people walking! Fantastic! Architectural achievement which is underlining in a very impressive way the transparent disposition of the building! The slightly ascent way up of this room with a little imagination is very much like the way up to the Sacred Rock!Now, we follow steps up, to the 1st floor and we immerse at the Archaic period. Αlong a circular route, virtually the entire history of the summit of the Rock unfolds, from the 2nd millennium BC to the end of antiquity.
Stop 7 - The Pediment of the Ekatompedon
The poros-limestone pediment of the Ekatompedon (the temple before Parthenon) is visible!Archaic is the period from the 7th century BC until the end of the Persian Wars (480-479 BC) it is characterized from the development of the city-state and alternative changes of the political system which leads finally to democracy.Maybe they, for reasons of political glory that it was constructed a big temple at the place of the later Parthenon!The exhibits are arranged as somebody could see them getting up to the Acropolis 2.800 years ago!Let’s see this pediment from closer: to the right, you can see the 3 bodied demon with the 3 heads with bear and the snake tail is Vireus who in his struggle against Hercules was changed in water, fire, or air. In the centre, there are 2 lions that are drowning a bull while to the left, Hercules is struggling against a sea-monster called Triton. Beautiful colours very well preserved!The identity of the "Three-bodied Daemon" remains unknown. Some say it is the sea-god Nereus, while others believe it is Typhon, son of Gaia (Earth) and Tartarus. If this creature is indeed Typhon, then the standing figure in front of him has to be Zeus, who according to myth destroyed him with his thunderbolt.It is believed that the conflicts represented on this pediment signify the attempt people made to overcome nature's elements while simultaneously inspiring awe towards the greatness and the power of the gods.And now, let’s enter the garden with the statues! Please note that when entering the garden of the statues, photos are not allowed. You can use your camera again in the Caryatids room.
Stop 8 - Statues’ Garden
1.500 square meters space!75 Kores statues, the best collection in the world! These young girls were the most characteristic dedications of the aristocratic families of Athens. They were holding at the one hand an offering pomegranate, wreath, or a bird. They were the ideal of a young girl. One foot ahead, raising up the cloth with one of their hands. All of them have a beautiful smile, the famous archaic smile, a social attitude of those times and joy communication with the goddess Athena. After the Persians, they were left in big holes in the ground. So, traces of colours to the hair, the eyes and the jewellery they have been still left! They are so graceful!Let’s see and get to know some of them.
Stop 9 - Sphinx Statue
It’s a statue with a head of a woman, the body of a lion and a serpent tail, like the Egyptian ones.The Sphinx is seated on her hind legs staring straight ahead. Her large eyes are almond-shaped, her eyebrows arched and her lips form the characteristic smile of the period known as the “Archaic smile”. Her wavy hair is gathered at the back with a band and spill freely over her back and shoulders. Her long wings are folded backwards and were initially decorated with painted details. During antiquity, this Sphinx would have been set up on a tall column.
Stop 10 - The Calf-bearer
A few steps further, there is a statue of a man, nowadays, known as the "Calf-Bearer".It depicts a bearded man carrying on his shoulders a calf, his offering to the goddess Athena. He is wearing a thin himation covering his shoulders but leaving the front of his body exposed. Most likely his himation was originally painted, easily distinguishing it from his flesh. On his head, a band secures his long hair. His face remains expressive, even though the irises of his eyes, originally made from a different material, are lost. His lips form the well-known "Archaic smile", a reserved, almost amused expression. He is holding the small animal by the feet as the animal's head tilts towards his master's head, and its tail rests on his arm.On the statue's base, there is an inscription written from right to left which informs us that the statue was dedicated by Rhombos, son of Palos. It is believed that the statue depicts Rhombos himself, a wealthy Athenian who had the money to dedicate something as expensive as a marble statue on the Acropolis. The motif of a man carrying an animal is frequent in small bronze figurines but this is the first time, as far as we know, that it is used on a large scale marble statue.
Stop 11 - The Peplos Kore
Continuing, you cannot miss a female statue (Kore) with a video display next to it. The Kore has been named the "Peplos Kore" due to the garment she wears – the peplos. The peplos was fastened in the middle with a belt and on the shoulders with bronze pins which were secured in the small holes that are still preserved. Beneath her peplos, the Kore wears a longer chiton, whose slender folds encase her legs. Spectrographical analysis of the colours have shown that the belt was once blue and green and the chiton blue, with a green band at the neck. The peplos was white – its middle section decorated with vertical rows of small animals, birds and riders shown on squares of red framed by bands of colourful rosettes on a green background. The peplos borders were decorated by a double band with spirals, floral elements and a chain of volutes and palmettes alternating with lotus flowers.The Kore's hair falls over her shoulders in long curls, while behind, it is fastened with a ribbon. The red paint that covers the hair today is an undercoat over which the final brown colour was applied. The same red hue covers the irises of her eyes and her lips, while her pupils, eyelids and eyebrows were probably highlighted with black paint. Traces of metal rods are preserved in the 35 holes located on her head which supported a stephane of light rays or lotus flowers. Small holes in her earlobs indicate that she was once wearing bronze earrings and a stem projecting from the top of her head is a meniskos.The Kore's left hand was made out of a separate piece of marble and fitted into the notch still preserved nowadays. Her right hand extends downwards and she is clasping her fingers as if she was holding something. This in combination with the conservative for her time clothing, lead many to assume this is not a simple Kore, but a goddess – perhaps Artemis, who would have been gripping arrows in her right hand, and a bow in her left. This statue is the work of an important Athenian artist, perhaps the same one who crafted the "Rampin rider", which is our next stop.
Stop 12 - The Rampin Rider
The statue was found in pieces in 1886 west of the Erechtheion. Some parts are missing while the head is a plaster copy of the original which is in the Louvre Museum in Paris. The statue was conventionally named "Rampin Rider" from the name of the head's first owner, the French collector Georges Rampin.It is the oldest, most famous equestrian statue dedicated to the Acropolis. A naked youth is riding, seated forward almost on his horse's neck. The metal bridle and reins the man was holding were attached in the drilled holes in the horse's mane. The artist attempted to render the rider's physique and anatomical details of his abdomen. On his head, he wears a wreath made of wild celery or oak leaves which signifies that he was the victor at an equestrian event, perhaps at the Nemean Games, in the Peloponnese or the Olympic Games. The features of his face are typical of the period: big, almond-shaped eyes, thin eyebrows and the constricted smile known as the "Archaic smile". Traces of colour are still preserved on the rider's face and hair, as well as on the horse's mane.The expensive rider statues were dedications of the two upper socio-economic classes, the pentacosiomedimnoi and the triacosiomedimnoi or riders. These two classes had undertaken the expensive obligation to maintain war horses. In equestrian events, therefore, only affluent nobles could take part, either as athletes or horse owners. To this upper class clearly belongs our rider, who, after winning in the games, dedicated his commemorative statue up on the Acropolis.
Stop 13 - The Persian or Scythian Rider
At your left hand, next to the Rampin Rider, there is another statue, named The Persian or Scythian Rider. The statue's conventional name "Persian" or "Scythian" rider is due to his attire which is of Eastern provenance. The rider is dressed in a short chiton decorated with leaf-like motifs in green, red and blue colour with a yellow outline. His tight-fitting trousers are decorated with colorful diamonds whose size diminishes downwards, signifying the elasticity of the fabric. On his feet, he wears red boots, on which bronze pins for securing the laces can still be seen. He is an archer, as seen from the drilled holes on his left thigh, once used for attaching the quiver, a pouch for arrows. The holes in the horse's forelocks were also used to insert fixed bronze tufts of horsehair, which made the mane's appearance even more impressive.
Stop 14 - The Gigantomachy Pediment
A few steps below, on the left side, we see the Gigantomachy pediment. A beautiful goddess Athena as a warrior in the battle against the Giants. Huge piece of marble.In the centre of the pediment we see Athena attacking the Giant Engelados whose only remains are the tip of a single foot. In her now-missing right hand, she would have also wielded a spear. Next to the Giant, a second, wounded one, struggles to stand up on his feet, leaning on a now-lost shield. Two more Giants are fallen in the corners, defeated by other gods, also no longer preserved.The goddess is wearing the “Aegis” and snakes are covering the one hand while with the other one is holding a sword. She is 2 meters high! Traces of red and green paint are still preserved on the giant, as well as on Athena's hair and clothing.The quality of craftsmanship on this pediment has led to the assumption that it was the creation of one of the most important sculptors of the Archaic period, perhaps Antenor or Endoios.
Stop 15 - Antenor's Kore
Going deeper to the garden with the statues, you cannot miss a statue with the largest Kore of the Acropolis, the Antenor’s Kore, named like this by its sculptor, Antenor.The Kore is wearing an elegant, long-sleeved chiton and on top of that a himation, which is secured over her right arm with relief buttons. According to spectrographic analysis her garments were richly decorated with painted rosettes and elaborate meanders in blue and red hues that have oxidized through time.In her right hand the Kore would have held an offering to the goddess while with her left she was likely pulling aside her chiton to facilitate her step. Her wavy hair fall on her back while four curled locks frame each side of her face and spill to the front. On her head she wears a stephane decorated with paint, once further embellished with bronze jewellery – perhaps flowers. Also bronze would have been the earrings that adorned her ears while the bracelet on her left wrist was carved in relief. Her eyes were made out of glass, her eyelashes bronze and the eyelids accentuated with black colour. The bronze stem projecting from the top of her head could be a meniskos, although many scholars believe that it supported the metal crest of a helmet. This last theory is further supported by the fact that the top of the Kore's head was not sculpted in detail. In that case the figure depicted here could be the goddess Athena who would be holding a spear in her right hand and not an offering.The base where the statue stands has a carved inscription that informs us that "Nearchos the potter dedicated the statue to Athena from his first earnings.
Stop 16 - Statue of a Scribe
Right next, on your left hand, you can see the statue of a scribe. It was found in fragments in 1865 during construction works for the old Acropolis Museum. A large part of the head is a plaster copy of the original which is in the Louvre Museum in Paris since 1817. This missing piece is known as the "Head Fauvel" – from the name of the then-French-consul in Athens, who, during his intense archaeological looting in Greece, provided the sculptural fragment to his country.The scribe wears himation which leaves the right side of his body exposed. He is seated on a stool on top of a red cushion. The man has his head bent over his right hand, in which he would have been holding a pencil-like stylus to write on a tablet – carved from a separate piece or perhaps made of wood. This writing tablet would have been secured on his lap in drilled holes. Traces of coloured bands on his feet indicate that he was wearing sandals.
Stop 17 - Nike of Kallimachos
Walking through the garden and among other statues, you will notice a very high base where you can admire the victory of Calimachos.Nike (Victory) appears to be flying towards the right, with her legs loose and her short himation flowing back, giving the impression of movement. She is supported on the plinth through her long chiton that falls between her legs. Her wings were made from a separate piece of marble and then attached to her back in rectangular openings.With his vote the Athenian general made the Athenians to decide about the battle of Marathon, which was a great victory!At the time of its discovery, the statue retained a red-painted meander on the chiton's upper edge and blue and red bands on the edges of the himation. Around her neck, we can see nine small holes, in which once was fastened a metal necklace, no longer preserved. Also lost is her caduceus, which she would have held in her left hand, although many scholars believe that the bronze caduceus she was holding can be identified with ΕΑΜ Χ 7146.
Stop 18 - Kritios Boy
Τhe next statue we come across is that of a young boy, named “Kritios Boy”.The statue’s torso was found in 1865-1866 southeast of the Parthenon, while the head in 1888 near the south walls of the Acropolis. It is one of the most important works of ancient Greek art and the most characteristic of the so-called "Severe Style". Archaeologists have dubbed it the "Kritios Boy", after the name of the sculptor believed to have created it.The "Kritios Boy" is depicted standing in the nude. He supports his weight on his left leg, while the right one remains loose, bent at the knee, in the characteristic posture of the "Severe Style". His expression is solemn and his eyes, which were originally crafted from another material, have not survived. His hair follows the shape of his scalp and is tightly gathered around a ring with a few scattered strands falling on his temples and the nape of his neck. Traces of red dye are preserved on his hair.Shall we continue?
Stop 19 - Blonde Adolescent
Please, find a head of a blonde boy. It will not be difficult. It’s the only one, here.The head belongs to a youth’s statue, possibly an athlete. It was found in 1887 during archaeological excavations for the construction of the old Acropolis Museum in the area of the Sanctuary of Pandion. Its modern-day name the “blonde boy” is due to the residue of golden-yellow colour which had been retained over his hair at the time of its discovery. Traces of red colour on his lips and yellowish on his eyes were also visible at that time.The head turns slightly to the right, the eyes are large, the eyelids heavy, the nose straight and the mouth well shaped with the lower lip more prominent. The hair divided into two braids, wraps around the head and ties over his forehead under his wavy fringe. On the top of his head there is a drilled hole, probably for the attachment of a meniskos. The solemn, almost melancholic expression on his face reveals the new perception in sculptural art during the time of the so-called “Severe Style”.
Stop 20 - Athena Promachos
Walking forward, we will meet the beautiful bronze goddess Athena Promachos! Athena is always at the first line of the battle! So, armed and threatening, she seems ready to strike her opponent with the now-lost spear she once held in her upraised hand. With the other hand, she would have gripped a shield, from which only part of the handle is preserved. On her head, she wears a helmet with a spectacular crest, the top of which is in the shape of a swan's head. She wears a long chiton above which falls another garment, perhaps a peplos, and a himation. A gilded aegis with incised scales and stylised snakes along its edge covers her chest and back.And now, we are entering one of the most interesting rooms of the museum. Have your cameras ready!
Stop 21 - Statues of the Caryatids
Here they are! The famous statues of the Caryatids who were supporting the exterior roof of the temple of Erechtheion!The five of them are the original ones, the sixth is in the British Museum in London, taken by the renown English, Lord Elgin with lots of other pieces of the Acropolis, when he was the British ambassador in Turkey of those times. Look at the beautiful hair and the gracious bodies! The statue in London was cleaned up in the 1930’s with chlorium, while on the other hand the Athenian ones cleaned up with laser. 60 years later they maintain their brown colour, because of the quantity of iron contained in the Pentelic marble!The term Karyatids has been handed down to us by Vitruvius who tells the story of the women from Karyes in Laconia in the Peloponnese that were punished by the other Greeks and were thus obliged to carry on their heads the weight of their clothes and jewellery as their city had supported the Persians. However, according to Lucian, the women from Karyes were famous for their dance in honour of the goddess Artemis, which they performed with ceremonial baskets on their heads.
Stop 22 - The Kore with the lost sandal
Turning to the right, you will find some pieces from the frieze of the temple of Erechtheion. Also, a south window of the same temple in pieces and some beautiful pieces from the temple of the goddess Athena Nike showing a Gigantomachy. Very famous is the Nike who is trying to wear her sandal! The body and the dress are just wonderful! Look at it! Admire the details of the sculpture. A masterpiece. Isn’t it?
Stop 23 - The Head of Alexander the Great
We leave this room; we turn to the right and there are two interesting things here. The first one is the marble head of Alexander the Great, probably of the same times with the 300 shields dedicated to Parthenon.It was found in 1886 near the Erechtheion on the Acropolis. Alexander the Great is portrayed at a young age, as he would have been during his sole visit to Athens, after the battle of Chaironeia in 338 BC.The deep set eyes, the upward glance, the half-open lips as well as the characteristic hairstyle, with rich curls standing up over the forehead, the anastoli, are all typical features of Alexander. Red paint surviving in some areas of the hair was most probably the base-coat for the curls's final, golden hue; whereas the way the locks are formed at the back of the head suggests that the head was adorned either by a wreath or a band rendered in some other material that has not survived.
Stop 24 - The Magic Ball
The other is a Magic ball: Sun, lion, dragon, and symbols of magic. It was found at the theatre of Dionysus.It was found in 1866 in the Theatre of Dionysos. Its surface is fully covered with relief scenes, inscriptions and symbols. On one side Helios is depicted as "Kosmokrator", the all-powerful Ruler of the Universe. He is sitting on a throne beneath an arch and holds a whip and three blazing torches. The dogs at his feet most possibly symbolise the sky's bright "dog stars": Sirius and Prokyon. The remainder of the sphere is filled with astral, magical, alchemical and geometrical symbols, allegorical animal scenes, numbers and incomprehensible inscriptions, perhaps invocations to Helios. Only one word, carved inside one of five intersecting circles, is clearly read: ΑΙΘΗΡ, which is the first of nature's five elements (ether, earth, water, fire and air).The sphere is considered to be a magical object which relates to the worship of Helios. As it was found in the Theatre of Dionysos it may be connected with some form of a magical rite that would secure the victory of the sphere's owner in an athletic or a theatrical contest.Are you ready to continue?
Stop 25 - Hermaic Columns
Look these unique pieces from the main entrance of the Acropolis, the Propylaea Gate, as well as the two Hermetic columns. These columns were stone, four-sided rectangular which at the top carried a bust and sometimes a man's torso. They were placed in various parts of ancient Greece as road signs or tributes or symbols of the boundaries of a real estate. They were later adopted by the Romans, as a result of which they spread to western Europe.Before you go up to the second floor, in the corner of the room, observe Athena lying on her spear, thinking.
Stop 26 - Relief of the "Pensive Athena"
It depicts Athena standing in front of a low stele. The goddess wears a peplos, secured around the waist with a belt, and a Corinthian-type helmet. She stands leaning on her spear with one hand, while the other rests on her hip. Her feet are bare; her bodyweight is placed primarily on the right foot, while the left is extended backwards, her toes just resting on the ground. The goddess has her head bowed, directing her gaze at the low stele in front of her.This stele has been the object of various interpretations. Some consider it to be a boundary marker of the goddess's sanctuary; others suggest it was inscribed with an archive of the sanctuary's precious offerings. Still, others believe it recorded the names of fallen warriors in some battle – a subject that would fit the goddess' thoughtful, almost sad expression.Although today this relief is completely white, spectrographic analysis has shown that its background in ancient times was painted blue.
Stop 27 - 2nd Floor: Restaurant/Café
Following the steps up, here you can sit and enjoy the unique restaurant-café of the museum with a wonderful veranda with breath-taking views of the Acropolis! You can also visit the bookstore if you are a book lover. Spend as much time as you wish and when you are ready, let’s move forward to the next floor, the 3rd one.
Stop 28 - The Parthenon Gallery
Ladies and gentlemen, the Parthenon Gallery- a real magnet for everybody!The third-floor gallery has been specially designed to accommodate the sculptures of the Parthenon. The space is arranged in the form of a glass-walled chamber that wraps around a rectangular core whose orientation and dimensions match those of the Parthenon's original cella.The outer walls of the core incorporate the relief-carved blocks of the temple’s Ionic frieze, mounted in the same position as they held on the monument, but at a lower height for better viewing. The metopes are presented in pairs between the steel columns of the hall, which have the same number as the Parthenon’s columns, while the colossal figures once displayed in the building’s two pediments have been mounted on low, pedestals at the east and west side of the gallery, where they are visible from all directions.The exhibition combines the original marble sculptures with plaster copies of those retained in the British Museum or other foreign museums. The glass walls enclosing the gallery provide natural lighting and allow a direct line of sight between the sculptures and the monument from which they come.Here, you can get a taste of the Golden Age of Pericles - Classic period 5th century BC. You can see 15.000 pieces originals and replicas from the original decoration of the temple of Parthenon!As we going forward, we are reaching the main room. Please, let’s go inside.
Stop 29 - The Frieze of Parthenon
With 360 people and divine figures and 250 animals Phidias, the famous architect and sculptor has chosen as subject the most important festival of Athens, the Great Panathenaea Games. Celebrating the birthday of the goddess and held with special brilliance every 4 years! It lasts quite a few days, and it includes athletic games, horseback, musical, rhapsody and other contests.On the goddess birthday, the 28 of the month, the Katombaion, that is around the 15th of August today (think about the Dormition of Virgin Mary)!So, there is a big procession to the Acropolis on which occasion the Athenians offer the goddess a new dress, the luxurious “peplos” that they have made for her, and they hold sacrifices in her honour.The iconographic programme of a temple has political, religious, and social purposes. The Panathenaic procession depicts in a very direct way the most equitable and perfect form of government that has ever existed, Democracy!Two processions would begin at the south corner, one moving along the west end and north side and one along the south side. In this way the participants in the procession would always be seen to proceed. On the north side from right to left and on the south from left to right.The two parts of the procession would meet on the east end. Taking part in the procession were men and women, priests with there sacred utensils, horsemen, chariots, animals for sacrifice.The gods and goddesses of Mount Olympus would watch the procession, on a large scale seated on stools and placed on the east end. In the centre the moment when the “peplos” was offered. So, amid the gods and goddesses, we see the king Archon, the priestess and the 3 children playing their part in the celebration! This enormous sculptural entity was finished in 4 years! The reliefs were outlined and carved on marble blocks 65 centimetres thick! Many sculptors worked on this frieze, probably fifty! At each corner, a marshall is shown and between them horsemen in various poses. The procession moves from right to left and it includes young men preparing to ride their horses with others who are already mounted.The composition of the 1st section of the north side comprises groups of 60 horsemen, which overlap each other on successive levels.The next section shows the contest of the apobates. The precise moment of mounting or dismounting from their chariots. This is followed by the sacrificial procession bulls and rams, men carrying olive branches, musicians, men carrying jars of water and the offering trays.The procession of chariots follows and after the sacrificial procession is depicted. The sacrificial procession continues to the east end where the two files of the procession meet over the entrance to the temple. The east frieze is the most sacred and this is way no animals are shown here. It is only here moreover that women are taking part in the ceremony. At the head of each file moving toward the centre, women bring the ceremonial trays for the sacrifice jugs and swallow bowls for offering libations, incense burners and harps. The offering of the peplos (robe) is depicted at the centre above the entrance of the temple. This is the ultimate act, the local point of the Panathenaic ceremony. Five figures are shown participating in the scene. The king Archon and a boy hold the peplos.A priestess turns towards two smaller female figures. Seated to left and right are the gods and goddesses. They turn their backs on the sacred scene of the peplos(robe).Between the deities and the procession are the eponymous heroes of Attika.These are the mythical ancestors of the Athenians, who gave their name to the tribe, that is to the administrative subdivisions of the Athenian state. The replicas have been sent by the British Museum in the 19th century and they were in good condition.60% of the frieze of Parthenon is in the British Museum and 40% at the Acropolis Museum.I want to tell you that every time one of the missing frieze pieces returns here, to the museum, to its house, they welcome it with a small music concert in the museum garden, before taking its place where it belongs. You understand that the frieze is like a huge puzzle that some pieces are still missing.Now let’s see the pediments of Parthenon.
Stop 30 - The West Pediment of Parthenon
The dispute between Athena and Poseidon for the possession of the city. Athena is giving the olive tree and Poseidon a spring of fresh water. Poseidon, very disappointed inflicted floods of salt seawater on Attica. Two chariots with Nike and Amphitrite as charioteers as they ride on waves. They are visible also various sea monsters, tritons, and dolphins.Figures visible: Iris with Poseidon, Hermes with Athena, Kecrops, Pandrassos, Erysichton, Oreithya, daughter of Ericheus, wind Borias and their sons.The half-reclined figures: River Kifissos, Kalliroi spring, River Flissos.
Stop 31 - The East Pediment of Parthenon
It is depicted the great moment of the birth of the golden Athena. The rising sun and the setting moon. They are visible the head of Selini, the head of the horse of Helios, left hand of Helios. Zeus (Jupiter) in the centre, to the left the statues of Hestia, Dione and Aphrodite and to the right of Zeus they were the statues of Athena, Hephaistos, Hera, Poseidon, Hermes, Ares, Apollo, Artemis.They are also visible pieces of 92 metopes at the sides of the temple:East metopes scenes from the Gigantomachy: the struggle of the Olympian Gods against the Giants who were trying to upset the order of the world: The Gods visible are 1) Hermes, 2) Dionysus, 3) Ares, 4) Athena, 5) Amphitrite, 6) Poseidon, 7) Hera, 8) Zeus, 9) Hercules, 10) Artemis, 11) Apollo and Eros, 12) Aphrodite, 13) Hephaistos, 14) Helios with chariot.West metopes: Scenes of the Amazonomachy. Greeks with their hero Theseus confront the Amazon, a barbaric tribe of female warriors. Here they are shown clad in their usual dress, the short chiton and they are fighting, some on horseback. The Greeks are represented nude. The queen of the Amazons, Antiope is depicted on the first metope at the left riding her horse.On the north side of metopes you can see scenes from the Trojan War but also Athena with Hera and Zeus with Iris.On the south side 23 metopes with subject of the Centaromachy. The other 9 depict various subjects. The Thessalian Lapiths invited their neighbours the Centaurs to the wedding of their king Peirithoos. The myth tells us that the Centaurs were a barbaric tribe with the body of a horse and torso and head of a man. At the wedding the Centaurs had too much to drink, and they tried to carry off the Lapith women. For the Greeks the Centaromachy symbolised the confrontation of civilisation and logic with barbarity. Among the heroes you can see Theseus, the founder of Athens who was also invited to the wedding.Generally speaking, the metopes of Parthenon show 4 themes of contests and struggles, the outcome of which hangs always in the balance!
Stop 32 - The End
The views from the big windows of this floor are incredible ones!The Acropolis is up there!We close our eyes, and we imagine those times!Let’s have always in our mind the Greek words of harmony and symmetry!I hope you’ve enjoyed this tour of the Acropolis Museum. You ‘ve seen the core of this museum and its highlights. Exit into the entrance lobby, and you are back where you started. If you wish, you can go down to the excavation located just below the entrance level, with the same ticket.If you are doing more sightseeing in Athens, please navigate on this app to find more audio tours of the Acropolis hill, the old town, Plaka or the Ancient Agora. Or even better, visit our website at keytours.gr for joining a live guided tour.Enjoy the rest of your trip!
