The Tholos of Delphi is among the ancient structures of the Sanctuary of Athena Pronaia in Delphi. The circular temple, a tholos, shares the immediate site with other ancient foundations of the Temple of Athena Pronaia, all located less than a mile east of the main ruins at Delphi, in the modern Greek regional unit of Phocis. The tholos is part of the Delphi UNESCO World Heritage Site.
The architect of the "vaulted temple at Delphi" is named by Vitruvius in De architectura Book VII as Theodorus Phoceus (not Theodorus of Samos, whom Vitruvius names separately). [1]
Externally, twenty Doric columns supported a frieze with triglyphs and metopes. The circular wall of the cella, the central chamber of the building, was also crowned by a similar frieze, metopes, and triglyphs, but to a lesser extent. Inside, a stone bench was positioned on which stood ten Corinthian style pilasters, all of them attached to the concave surface of the wall.
The manifold combination and blending of various architectural orders in the same building was completed through a natural polychromatic effect, resulting from the use of different materials. Materials used included Eleusinian thin slabs (called "titanolithos") and Pentelic marble in the superstructure and limestone at the platform. The building's eight-arched roof was also constructed of marble, and was decorated respectively by eight female statues carved in sharp and lively motion.
The sculptured decoration of the dome was also beautifully crafted by hitherto unknown craftsmen. It is dated between 380 and 370 BC. High reliefs ascribed the figures of the metopes, which contributed to being easily detached from the plates and be reused as building material and tomb covers in the early Christian years after they were smoothed over again. Following strenuous and time-consuming efforts of specialists who attempted to agglutinate the fragments around the monument, we can today have at least an incomplete picture of its original form and the stylistic and decorative elements of its relief representations. In the major metopes of the outer side there are scene representations from Amazon and Centaur battles, already known from mythology and very dear to Greek sculpture. In the inside, the figures of the frieze survived unfortunately at a very small scale and with high fragmentation. They allegedly portrayed labors, either by Hercules or Theseus.
Despite their fragmentary nature, the architectural reliefs on the Dome of Delphi reveal the great skill of their creators, as regards both the treatment of materials – especially marble – and catching details with vitality and excellent anatomical accuracy. All these novel compounds with unexpected combinations in the iconographic tradition of the 4th century BC introduce an innovative artistic movement, resulting in a creative competition between the art of relief and sculpted plastic art. Particularly to achieve the above confrontational blending of antithetical elements, the discernible elements include the high relief which may be detached from the plate of the panel, the kinesiological freedoms of the sculptures achieved through their details, as well as the dramatic intensity reflected in the figures to demonstrate the passion and the fury of the conflict of enemies in lively battle scenes. [2] [3] [4]
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.
Ancient Greek architecture came from the Greek-speaking people whose culture flourished on the Greek mainland, the Peloponnese, the Aegean Islands, and in colonies in Anatolia and Italy for a period from about 900 BC until the 1st century AD, with the earliest remaining architectural works dating from around 600 BC.
The Doric order was one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognized by the simple circular capitals at the top of columns. Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above.
The Temple of Hephaestus or Hephaisteion, is a well-preserved Greek temple dedicated to Hephaestus; it remains standing largely intact today. It is a Doric peripteral temple, and is located at the north-west side of the Agora of Athens, on top of the Agoraios Kolonos hill. From the 7th century until 1834, it served as the Greek Orthodox church of Saint George Akamates. The building's condition has been maintained due to its history of varied use.
The following outline is provided as an overview of and topical guide to classical architecture:
Greek temples were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the respective ouranic deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfill the functions of a temple often continued to follow the local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco-Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition. Most Greek temples were oriented astronomically.
Pythius, also known as Pytheos or Pythis, was a Greek architect, architecture theorist, and sculptor of the 4th century BC. He designed the Temple of Athena Polias at Priene and the Mausoleum at Halicarnassus, which was regarded in antiquity among the Seven Wonders of the World. It is presumed that he came from the Greek city of Priene. The first-century BC Roman architect Vitruvius called Pythius a "celebrated builder" and referenced lost treatises on architecture written in Greek by Pythius as sources for his Latin architecture manual de Architectura (I.1.15).
The Siphnian Treasury was a building at the Ancient Greek cult centre of Delphi, erected to host the offerings of the polis, or city-state, of Siphnos. It was one of a number of treasuries lining the "Sacred Way", the processional route through the Sanctuary of Apollo, erected to win the favor of the gods and increase the prestige of the donor polis. It was one of the earlier surviving buildings of this type, and its date remains a matter for debate, with the most plausible date being around 525 BC. Until recently it was often confused or conflated with the neighbouring Cnidian Treasury, a similar but less elaborate building, as the remains of the two had become mixed together and earlier theoretical reconstructions used parts of both.
The Parthenon frieze is the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon's naos.
Bucranium was a form of carved decoration commonly used in Classical architecture. The name is generally considered to originate with the practice of displaying garlanded, sacrificial oxen, whose heads were displayed on the walls of temples, a practice dating back to the sophisticated Neolithic site of Çatalhöyük in eastern Anatolia, where cattle skulls were overlaid with white plaster.
Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze in classical architecture, so called because of the angular channels in them. The rectangular recessed spaces between the triglyphs on a Doric frieze are called metopes. The raised spaces between the channels themselves are called femur in Latin or meros in Greek. In the strict tradition of classical architecture, a set of guttae, the six triangular "pegs" below, always go with a triglyph above, and the pair of features are only found in entablatures of buildings using the Doric order. The absence of the pair effectively converts a building from being in the Doric order to being in the Tuscan order.
In classical architecture, a metope (μετόπη) is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order. Metopes often had painted or sculptural decoration; the most famous example are the 92 metopes of the Parthenon, some of which depict the battle between the Centaurs and the Lapiths. The painting on most metopes has been lost, but sufficient traces remain to allow a close idea of their original appearance.
Callimachus was an architect and sculptor working in the second half of the 5th century BC in the manner established by Polyclitus. He was credited with work in both Athens and Corinth and was probably from one of the two cities. According to Vitruvius (iv.1), for his great ingenuity and taste the Athenians dubbed Callimachus katatêxitechnos. His reputation in the 2nd century AD was reported in an aside by Pausanias as one "although not of the first rank of artists, was yet of unparalleled cleverness, so that he was the first to drill holes through stones"—that is, in order to enhance surface effects of light and shade in locks of hair, foliage and other details. Thus it is reported that Callimachus was known for his penchant for elaborately detailed sculptures or drapery, though few securely attributed works by him survive.
The metopes of the Parthenon are the surviving set of what were originally 92 square carved plaques of Pentelic marble originally located above the columns of the Parthenon peristyle on the Acropolis of Athens. If they were made by several artists, the master builder was certainly Phidias. They were carved between 447 or 446 BC. or at the latest 438 BC, with 442 BC as the probable date of completion. Most of them are very damaged. Typically, they represent two characters per metope either in action or repose.
The Temple of Aphaia or Afea is located within a sanctuary complex dedicated to the goddess Aphaia on the Greek island of Aigina, which lies in the Saronic Gulf. Formerly known as the Temple of Jupiter Panhellenius, the great Doric temple is now recognized as dedicated to the mother-goddess Aphaia. It was a favourite of the Neoclassical and Romantic artists such as J. M. W. Turner. It stands on a c. 160 m peak on the eastern side of the island approximately 13 km east by road from the main port.
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.
Temple C at Selinus (Sicily), is a Greek temple of Magna Graecia in the Doric style. It was one of the most ancient of the temples at Selinus, having probably been built on the acropolis a little after the middle of the sixth century BC, although its dating is controversial. The temple was the object of archaeological research in the nineteenth century and beginning of the twentieth century and later the remains of a long stretch of the northern colonnade received anastylosis in 1929. After a twelve-year-long restoration, in 2011 the colonnade was freed from scaffolding and made properly visible once more.
The Heraion at Foce del Sele is an archaeological site consisting of an Ancient Greek sanctuary complex dedicated to the goddess Hera in what was Magna Graecia. When built, the complex was located at the mouth of the Sele, approximately 8 km (5.0 mi) north of the Greek city of Poseidonia that was famous for its three standing Greek temples. Due to the deposition of alluvial sediment by the river, the site now is approximately 2.3 km (1.4 mi) from the modern coast.
The Temple of Athena Pronaia was a temple at the ancient site of Delphi, in the Sanctuary of Athena Pronaia, a group of buildings comprising temples and treasuries as well as the famous Tholos of Delphi. There were in fact three successive temples built at the site. The earlier temples (38°28′49″N22°30′30″E), referred to as A and B, were built in the 7th and 6th centuries BC respectively and were made of porous stone; a third temple (38°28′49″N22°30′28″E) was built of limestone in the 4th century BC, although it is not certain that it actually was dedicated to Athena this time.
The pediments of the Parthenon are the two sets of statues in Pentelic marble originally located as the pedimental sculpture on the east and west facades of the Parthenon on the Acropolis of Athens. They were probably made by several artists, including Agoracritos. The master builder was probably Phidias. They were probably lifted into place by 432 BC, having been carved on the ground.
Media related to Tholos in Delphi at Wikimedia Commons
38°28′49″N22°30′29″E / 38.480165°N 22.507924°E
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