 | This article needs additional citations for verification .(February 2016) |
Among the famous ex votos of Delphi was that of Craterus, friend and general of Alexander the Great, attributed to Lysippos.
| | This article needs additional citations for verification .(February 2016) |
Among the famous ex votos of Delphi was that of Craterus, friend and general of Alexander the Great, attributed to Lysippos.
The excavations of the French Archaeological School revealed the remains of a rectangular building measuring 15.27 x 6.35 m situated between the temple of Apollo and the theatre. Its walls stand to a height of 4 meters. The building was probably a portico with Ionic or Doric columns on the facade. On its rear wall was discovered a dedicatory inscription in ten verses, according to which the building was identified with a panhellenic sanctuary, known from the ancient sources as the ex voto of Craterus, the Macedonian general and close friend of Alexander the Great. Plutarch mentions [1] that Craterus dedicated in Delphi a bronze sculpted complex, made by the famous 4th century B.C. sculptors Leochares and Lysippos. Pliny, [2] however, attributes the work solely to Lysippos. The sculpture depicted the scene of a lion hunt, i.e. a well-known incident of Alexander's life, when he was saved by Craterus during a lion hunt in the East. According to the inscription, the ex voto was dedicated not by Craterus himself, but by his son, after his father's death, probably around 320 B.C., or at the end of the 4th century B.C.
The sculpture, lost today, would have been placed on a pedestal against the back wall of the building, whereas the figures would have been arrayed one next to the other. The attempts at a reconstruction are based on ancient sources as well as on some preserved works of art that seem to be inspired by the specific ex voto. For example, a base decorated in relief with the depiction of a lion hunt found in Messina and displayed now in the Louvre, is possibly copying the Delphi sculpture. It has also been suggested that the lion hunt scene from the mosaic pavement of the "House of Dionysus" in Pella repeats the same pattern. In the ex-voto of Delphi Alexander and Craterus either on horseback or on foot- probably stood to the right and left of the lion, engaged in a heroic battle against it. Another suggestion is that Craterus was on horseback and Alexander on foot. The work was a closed composition with the hunting scene developed in the centre.
Delphi, in legend previously called Pytho (Πυθώ), was an ancient sacred precinct and the seat of Pythia, the major oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the omphalos (navel).
Plutarch was a Greek Middle Platonist philosopher, historian, biographer, essayist, and priest at the Temple of Apollo in Delphi. He is known primarily for his Parallel Lives, a series of biographies of illustrious Greeks and Romans, and Moralia, a collection of essays and speeches. Upon becoming a Roman citizen, he was possibly named Lucius Mestrius Plutarchus.
Pythia was the name of the high priestess of the Temple of Apollo at Delphi. She specifically served as its oracle and was known as the Oracle of Delphi. Her title was also historically glossed in English as the Pythoness.
The Mausoleum at Halicarnassus or Tomb of Mausolus was a tomb built between 353 and 350 BC in Halicarnassus for Mausolus, an Anatolian from Caria and a satrap in the Achaemenid Empire, and his sister-wife Artemisia II of Caria. The structure was designed by the Greek architects Satyros and Pythius of Priene. Its elevated tomb structure is derived from the tombs of neighbouring Lycia, a territory Mausolus had invaded and annexed c. 360 BC, such as the Nereid Monument.
Eretria is a town in Euboea, Greece, facing the coast of Attica across the narrow South Euboean Gulf. It was an important Greek polis in the 6th and 5th century BC, mentioned by many famous writers and actively involved in significant historical events.
The Charioteer of Delphi, also known as Heniokhos, is a statue surviving from Ancient Greece, and an example of ancient bronze sculpture. The life-size (1.8m) statue of a chariot driver was found in 1896 at the Sanctuary of Apollo in Delphi. It is now in the Delphi Archaeological Museum.
Lysippos was a Greek sculptor of the 4th century BC. Together with Scopas and Praxiteles, he is considered one of the three greatest sculptors of the Classical Greek era, bringing transition into the Hellenistic period. Problems confront the study of Lysippos because of the difficulty of identifying his style among the copies which survive. Not only did he have a large workshop and many disciples in his immediate circle, but there is understood to have been a market for replicas of his work, supplied from outside his circle, both in his lifetime and later in the Hellenistic and Roman periods. The Victorious Youth or Getty bronze, which resurfaced around 1972, has been associated with him.
The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic, Classical (480–323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the necropolis near Sidon, Lebanon. It is adorned with bas-relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.
Claros was an ancient Greek sanctuary on the coast of Ionia. It contained a temple and oracle of Apollo, honored here as Apollo Clarius. It was located in the territory of Colophon, which lay twelve kilometers to the north, one of the twelve cities of the Ionian League. The coastal city Notion lay two kilometers to the south. The ruins of the sanctuary are now found north of the modern town Ahmetbeyli in the Menderes district of Izmir Province, Turkey.
The Victorious Youth, Getty Bronze, also known as Atleta di Fano, or Lisippo di Fano is a Greek bronze sculpture, made between 300 and 100 BC, in the collections of the J. Paul Getty Museum, Pacific Palisades, California. Many underwater bronzes have been discovered along the Aegean and Mediterrean coast; in 1900 sponge divers found the Antikythera Youth and the portrait head of a Stoic, at Antikythera, the standing Poseidon of Cape Artemision in 1926, the Croatian Apoxyomenos in 1996 and various bronzes until 1999. The Victorious Youth was found in the summer of 1964 in the sea off Fano on the Adriatic coast of Italy, snagged in the nets of an Italian fishing trawler. In the summer of 1977, The J. Paul Getty Museum purchased the bronze statue and it remains in the Getty Villa in Malibu, California. Bernard Ashmole, an archaeologist and art historian, was asked to inspect the sculpture by a Munich art dealer Heinz Herzer; he and other scholars attributed it to Lysippos, a prolific sculptor of Classical Greek art. The research and conservation of the Victorious Youth dates from the 1980s to the 1990s, and is based on studies in classical bronzes, and ancient Mediterranean specialists collaboration with the Getty Museum. The entire sculpture was cast in one piece; this casting technique is called the "lost wax" method; the sculpture was first created in clay with support to allow hot air to melt the wax creating a mold for molten bronze to be poured into, making a large bronze Victorious Youth. More recently, scholars have been more concerned with the original social context, such as where the sculpture was made, for what context and who he might be. Multiple interpretations of where the Youth was made and who the Youth is, are expressed in scholarly books by Jiri Frel, Paul Getty Museum curator, from 1973 to 1986, and Carol Mattusch, Professor of Art History at George Mason University specializing in Greek and Roman art with a focus in classical bronzes.
The Temple of Apollo, also known as Apollonion, was a major part of the Panhellenic religious sanctuary located in Central Greece at Delphi. The temple and sanctuary at large were dedicated to one of the major Greek deities, Apollo, the god of archery, music, light, prophecy, the arts, and healing. There have been several temples built at Delphi throughout the history of the site, though the visible ruins seen in modernity are those of the temple built in the 4th century B.C.E. before its destruction under the orders of Theodosius I in 390 C.E.. During antiquity, the temple was home to the famous Greek prophetess the Pythia, or the Oracle of Delphi, making the Temple of Apollo and the sanctuary at Delphi a major Panhellenic religious site as early as the 8th century B.C.E., and a place of great importance at many different periods of ancient Greek history. References to Delphi, the sanctuary, the temple, and the prophecies of the Pythia are made throughout ancient Greek mythology and historical accounts from the periods of its use.
Delphi Archaeological museum is one of the principal museums of Greece and one of the most visited. It is operated by the Greek Ministry of Culture. Founded in 1903, it has been rearranged several times and houses the discoveries made at the Panhellenic sanctuary of Delphi, which date from the Late Helladic (Mycenean) period to the early Byzantine era.
Pyrgoteles was one of the most celebrated gem-engravers of ancient Greece, living in the latter half of the 4th century BC. The esteem in which he was held may be inferred from an edict of Alexander the Great, which placed him on a level with Apelles and Lysippos, by naming him as the only artist who was permitted to engrave signet rings for the king.
Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
The Monument of Aemilius Paullus was erected in the Sanctuary of Apollo at Delphi shortly after 167 BCE in order to commemorate the Roman victory over King Perseus of Macedon at the Battle of Pydna. The incomplete pillar was intended as a base for a portrait of King Perseus. It was originally created to establish the Macedonian presence in Delphi, and to remind the Delphians of the tradition of friendship existing between them and the royal family. However, the monument was taken over by Aemilius Paullus to celebrate himself and Rome's victory noting that, "it was only proper that the conquered should give way to the victors." The Monument of Aemilius Paullus stood in front of the Temple of Apollo along with two other commemorative pillars to Eumenes II of Pergamon and Prusias II of Bithynia. However, this pillar dominates over the other two. The completed monument had a bronze equestrian statue that sat on top of a rectangular pillar over 9 meters high. Although the bronze statue that originally sat atop the pillar no longer remains, the cuttings in the plinth show that the horse would have been in a rearing position. An inscription at the base of the pillar survived, L(ucius) Aimilius L(uci) f(ilius) inperator de rege Perse / Macedonibusque cepet, which translated, reads, "Lucius Aemelius, son of Lucius, Imperator, took it from King Perseus and the Macedonians."
The tenth book of the work Description of Greece by the traveler Pausanias is dedicated to Phocis; its larger part constitutes a description of the sanctuaries and buildings of Delphi. His work constituted a precious aid to travelers and archaeologists who attempted to identify the monuments revealed by the excavations, although in some cases their identifications were not enough.
The stele of Prusias is one of the ex votos at the sanctuary of Apollo in Delphi, constructed in honour of king Prusias II of Bithynia.
The Halos was a round open space close to the temple of Apollo in Delphi, where ancient rituals were being performed.
Behind the column with the Dancers of Delphi was situated the Athenian Treasury, where was located the famous ex voto of Daochos, a long marble base where stood nine statues, eight of which represented members of Daochos' family and one a god, probably Apollo. Daochos II, son of Agias, a politician from Pharsalus and supporter of Macedonia, was a hieromnemon at the delphic sanctuary from 336 to 332 B.C. He dedicated the ex voto as a sign of honour to his prominent family.