The Parthenon is a former temple on the Athenian Acropolis, Greece, that was dedicated to the goddess Athena during the fifth century BC. Its decorative sculptures are considered some of the high points of classical Greek art, an enduring symbol of Ancient Greece, democracy and Western civilization.
Erechtheus in Greek mythology was a king of Athens, the founder of the polis and, in his role as god, attached to Poseidon, as "Poseidon Erechtheus". The name Erichthonius is carried by a son of Erechtheus, but Plutarch conflated the two names in the myth of the begetting of Erechtheus.
Pandrosos or Pandrosus was known in Greek myth as one of the three daughters of Kekrops, the first king of Athens, and Aglaurus, daughter of King Actaeus.
Fifth-century Athens is the Greek city-state of Athens in the time from 480 to 404 BC. Formerly known as the Golden Age of Athens, the latter part being the Age of Pericles, it was buoyed by political hegemony, economic growth and cultural flourishing. The period began in 478 BC, after the defeat of the Persian invasion, when an Athenian-led coalition of city-states, known as the Delian League, confronted the Persians to keep the liberated Asian Greek cities free.
Religious practices in ancient Greece encompassed a collection of beliefs, rituals, and mythology, in the form of both popular public religion and cult practices. The application of the modern concept of "religion" to ancient cultures has been questioned as anachronistic. The ancient Greeks did not have a word for 'religion' in the modern sense. Likewise, no Greek writer known to us classifies either the gods or the cult practices into separate 'religions'. Instead, for example, Herodotus speaks of the Hellenes as having "common shrines of the gods and sacrifices, and the same kinds of customs."
The Panathenaea was a multi-day ancient Greek festival held annually in Athens that would always conclude on 28 Hekatombaion, the first month of the Attic calendar. The main purpose of the festival was for Athenians and non-Athenians to celebrate the goddess Athena. Every four years, the festival was celebrated in a larger manner over a longer time period with increased festivities and was known as the Great Panathenaea. In the years that the festival occurred that were not considered the Great Panathenaea, the festival was known as the Lesser Panathenaea. The festival consisted of various competitions and ceremonies, culminating with a religious procession that ended in the Acropolis of Athens.
The Temple of Athena Nike is a temple on the Acropolis of Athens, dedicated to the goddesses Athena and Nike. Built around 420 BC, the temple is the earliest fully Ionic temple on the Acropolis. It has a prominent position on a steep bastion at the south west corner of the Acropolis to the right of the entrance, the Propylaea. In contrast to the Acropolis proper, a walled sanctuary entered through the Propylaea, the Victory Sanctuary was open, entered from the Propylaea's southwest wing and from a narrow stair on the north. The sheer walls of its bastion were protected on the north, west, and south by the Nike Parapet, named for its frieze of Nikai celebrating victory and sacrificing to their patroness, Athena and Nike.
The Parthenon frieze is the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon's naos.
Arrhephoria was a feast among the Athenians, instituted in honor of Athena. The word is derived from the Greek term Ἀρρηφόρια, which is composed of ἄρρητος, "unspoken, not to be divulged", and φέρω, "I carry". This feast was also called Hersiphoria, from Herse, the daughter of Cecrops, on whose account it was established.
An Arrephoros was a girl acolyte in the cult of Athena Polias on the Athenian Acropolis. They were seven to eleven years old. According to Pausanias, two Arrephoroi lived for a year on the Acropolis and concluded their term with a mystery rite called the Arrhephoria: they carried unknown objects into a cavern, and there exchanged them for other unknown objects.
In Greek mythology, Nike is the goddess who personifies victory in any field including art, music, war, and athletics. She is often portrayed in Greek art as Winged Victory in the motion of flight; however, she can also appear without wings as "Wingless Victory" when she is being portrayed as an attribute of another deity such as Athena.
The Chalkeia festival, the festival of Bronze-workers, was a religious festival devoted to the goddess Athena and the god Hephaestus. It was celebrated on the last day of Pyanepsion. The festival celebrated Athena and Hephaestus, in honor of both gods as patron deities of Athens, and as deities of handicrafts.
Joan Breton Connelly is an American classical archaeologist and Professor of Classics and Art History at New York University. She is Director of the Yeronisos Island Excavations and Field School in Cyprus. Connelly was awarded a MacArthur Fellowship in 1996. She received the Archaeological Institute of America Excellence in Undergraduate Teaching Award in 2007 and held the Lillian Vernon Chair for Teaching Excellence at New York University from 2002 to 2004. She is an Honorary Citizen of the Municipality of Peyia, Republic of Cyprus.
Bouzyges is a culture hero from Greek mythology, credited with the invention of many agricultural practices; most notably, he was the first man to yoke oxen to a plough and introduced cultivation to Athens. He has been associated with Epimenides.
The festival calendar of Classical Athens involved the staging of many festivals each year. This includes festivals held in honor of Athena, Dionysus, Apollo, Artemis, Demeter, Persephone, Hermes, and Herakles. Other Athenian festivals were based around family, citizenship, sacrifice, and women. There were at least 120 festival days each year.
The study of the lives of women in classical Athens has been a significant part of classical scholarship since the 1970s. The knowledge of Athenian women's lives comes from a variety of ancient sources. Much of it is literary evidence, primarily from tragedy, comedy, and oratory; supplemented with archaeological sources such as epigraphy and pottery. All of these sources were created by—and mostly for—men: there is no surviving ancient testimony by Classical Athenian women on their own lives.
Eritha was a Mycenaean Greek priestess. She was one of the most significant priestesses in the Mycenaean state of Pylos, in southwestern Peloponnese. Eritha was in charge of a sanctuary dedicated to the goddess Potnia. She was also involved in a dispute with the local authorities over the taxable assets of the sanctuary.
Hiereiai was the title of the female priesthood or priestesses in ancient Greek religion, being the equivalent of the male title Hierei. Ancient Greece had a number of different offices in charge of worship of gods and goddesses, and both women and men functioned as priests. While there were local variations depending on cult, the Hiereiai had many similarities across ancient Greece. Normally, their office related only to a specific sanctuary or Greek temple.
The Priestess of Demeter and Kore, sometimes referred to as the High Priestess of Demeter, was the High Priestess of the Goddesses Demeter and Persephone (Kore) in the Telesterion in Eleusis in Ancient Athens. It was one of the highest religious offices in Ancient Athens, and its holder enjoyed great prestige. It was likely the oldest priesthood in Athens, and also the most lucrative priesthood in all of Attica.
The Temple of Roma and Augustus was a monopteral circular Ionic temple built on the Acropolis of Athens c. 19 BCE, likely coincident with Augustus' second visit to Athens. The structure was axially aligned with the eastern entrance of the Parthenon, placed 23 m (75 ft) eastward. The temple, which asserted the divinity of Rome and the Imperial cult in the context of the religious centre of the Acropolis, was a propaganda monument erected at a time of tension between Rome and Athens. Its ruins remain on the Acropolis.
