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May 2023 (Part 08)

Greece/Spain Trip - Day 2, May 14 - Athens, Greece (First Half of the Day - the Acropolis)

We had an early start the next day, our first full day in Greece.  We hadn't known how jet-lagged we would be, so had no real plan the previous day.  But, with this being the only full day in Athens, we had arranged for a private tour with a guide and driver to help maximize our time.  Not cheap, but such a good call.  Our driver, Michael, and guide, Maro, met us at our hotel at 0730.  They drove us to the main Acropolis parking lot on the southwest side of the structure, getting us in line about ten minutes before the complex opened.  This allowed us to begin our hike up without the hoards of people who would soon descend on the area, and while it was still relatively cool.

The Acropolis is a limestone plateau at the heart of Athens and is the most important ancient site in the Western World.  It is faced with sheer, 100-foot cliffs and had several natural springs, making it a substantial natural fortress in use since the beginning of recorded time.  The word acropolis (meaning high-city) is from the Greek words aκρον (akron, "highest point, extremity") and πόλις (polis, "city").  During ancient times, the Acropolis of Athens was also known more properly as Cecropia, after the legendary serpent-man, Cecrops, the supposed first Athenian king.  The Myceneaens (c 1400 BC) ruled the area from their palace on this hilltop during the late Bronze age, while the worship of Athena and prior ancient temples to her as the patron goddess of the city date back to 800 BC on the hill.  When the Persians invaded a second-time in 480 BC, the Athenians evacuated the city and all of the ancient temples on the Acropolis were burned to the ground.  In 478 BC, Athens helped form and provided the leadership for the the Delian League, "an association of Greek city-states (polis), numbering between 150 and 330, whose purpose was to continue fighting the Persian Empire after the Greek victory in the Battle of Plataea and the improbable naval victory at the Battle of Salamis, at the end of the Second Persian invasion of Greece."  The league was centered on the island of Delos, which acted as the treasury, and from which Athens removed all residents to ensure its power and prestige didn't usurp that of Athens.  After the battle of Plataea, the Greeks swore never to rebuild their sanctuaries destroyed by the Persians during their invasion of Greece, but to leave them in ruins, as a perpetual reminder of the war.  At the height of classical Athens during an era referred to as the Golden Age of Athens (460-430 BC), Pericles (image at right) funneled the newfound wealth into a massive building program to erect new temples.  Led by the architect/sculptor Pheidias and Ictinus and Callicrates, two famous architects, the Athenians transformed the Acropolis into a complex of super-sized, ornate temples worthy of the city's protector, Athena.  The four major monuments - the Parthenon, Erechtheion, Propylaea, and Temple of Athena Nike - were all build as a coherent ensemble within two generations in only 50 years time (450-400 BC).  Construction of the monuments, particularly the Propylaea, was interrupted during the Peloponnesian War, then finished during the time of Nicias' peace, between 421 BC and 409 BC.   The Athenians self-serving approach quickly led to conflicts between Athens and the less powerful members of the League.  By 431 BC, the threat the League presented to Spartan hegemony combined with Athens's heavy-handed control of the Delian League, prompted the outbreak of the Peloponnesian War.  The League was dissolved upon the war's conclusion in 404 BC under the direction of Sparta.

While still high above us, we could see the Temple of Athena Nike standing out on the west side.  The main buildings on the complex, built by 400 BC, are almost 2500 years old.  That's almost a thousand years before the Mayans built the pyramid at Chicken Itza which we saw over spring break.  It was even 400 years before the Roman Colosseum and Pantheon were built (although Rome was founded around 753 BC, while the Roman Republic was declared around 509 BC) and over 200 years before the Great Wall of China was built (although some parts date to the 7th Century BC, while the best known sections were built in the 1400s).  Still that's half the age of the pyramids of Giza, which were constructed around 2500 BC, about the same time as Stonehenge in England.  Of importance, the complex was built not by slaves, but by free men who drew a salary (although it's possible that slaves worked at the quarries).

During the Hellenistic and Roman periods, many of the existing buildings in the area of the Acropolis were repaired to remedy damage from age and occasionally war.   Both the Greeks and Romans erected monuments to kings across the summit.  During the Julio-Claudian period, the Temple of Roma and Augustus, a small, round edifice about 23 meters from the Parthenon, was built as the last significant ancient construction on the summit of the rock. 

During the Byzantine period, the Parthenon was used as a church dedicated to the Virgin Mary, and as a way of discouraging pagan religion and rituals.  At the same time, the Acropolis functioned as the city's administrative center, with the Parthenon as its cathedral, and the Propylaea as part of the ducal palace.  After the Ottoman conquest of Greece (1422 AD), the Parthenon was used as the garrison headquarters of the Turkish army, and the Erechtheum was turned into the governor's private harem (domestic space for the women of his household).  The buildings of the Acropolis suffered significant damage during the 1687 siege by the Venetians in the Morean War.  The Parthenon, which was being used as a gunpowder magazine, was hit by artillery shot and damaged severely.  During subsequent years, the Acropolis was a site of bustling human activity with many Byzantine, Frankish, and Ottoman structures. The dominant feature during the Ottoman period was a mosque inside the Parthenon, complete with a minaret.  During the Greek War of Independence, the Acropolis was besieged three time  — two sieges from the Greeks in 1821–1822 and one from the Ottomans in 1826–1827.  A new bulwark named after Odysseas Androutsos was built by the Greeks between 1822 and 1825 to protect the recently rediscovered Klepsydra spring, which became the sole fresh water supply of the fortress.  After independence, most features that dated from the Byzantine, Frankish, and Ottoman periods were cleared from the site in an attempt to restore the monument to its original form, "cleansed" of all later additions.  German Neoclassicist architect Leo von Klenze was responsible for the restoration of the Acropolis in the 19th century.  During the Axis occupation in World War II beginning in 1941, German soldiers raised the Nazi German War Flag over the Acropolis, which was taken down by Manolis Glezos and Apostolos Santas in one of the first acts of Greek resistance.

The Acropolis Restoration Project began in 1975 to reverse the decay of centuries of attrition, pollution, destruction from military actions, and misguided past restorations. The project included the collection and identification of all stone fragments, even small ones, from the Acropolis and its slopes, and the attempt was made to restore as much as possible using reassembled original material (anastylosis), with new marble from Mount Pentelicus used sparingly.  The Parthenon colonnades, largely destroyed by Venetian bombardment during the 17th century, were restored, with many wrongly assembled columns now properly placed. The roof and floor of the Propylaea were partly restored, with sections of the roof made of new marble and decorated with blue and gold inserts, as in the original.  Restoration of the Temple of Athena Nike was completed in 2010.  The restoration of the Parthenon began in 1976, which means the reconstruction has taken more than four times what it took for the original construction which was done without modern tools.  The goal is to produce a shored-up and stable temple, much like what it currently looks like.  To see a fully restored building, there is a full size replace in Nashville, Tennessee.

Looking up from the entrance to the area on the west side, we could see the Temple of Athena Nike sticking up and out over the edifice.

Our first stop was overlooking the Odeon of Herodes Atticus.  This is a Roman music theater constructed in AD 161 by Herodes Atticus in memory of his Roman wife, Aspasia Annia Regilla.  The word odeon comes from the Greek word for song, as does the English word "ode."  This was originally a steep-sloped theatre with a three-story stone front wall and a wooden roof made of expensive cedar of Lebanon timber.  It was used as a venue for music concerts and philosophical events.  The semi-circular theater contained 39 rows of marble seats providing a capacity for up to 6,000 spectators.   It lasted intact until it was destroyed, burned, and left in ruins by the Heruli (A Germanic tribe) in AD 267.  It was later incorporated into the Roman fortification wall for the Acropolis, which remained in use until 1877 (which helped prevent pillaging of the stones).  It was renovated in 1950 and again holds concerts and other performances.  While it originally had a roof over the stage, only the back wall remains.

In the background, on Philopappos Hill is the Athens Observatory along with several other ruins and monuments.  The tall structure may be the Philopappos Monument, a tomb and monument ruins erected in the 2nd century, with an ancient chiseled frieze & inscription.

We entered the Acropolis through the Propylaea, which is on the west side.  There was originally a long ramp that allowed sacrificial animals to make the climb, but it was replaced with a marble staircase in Hellenistic times (the three centuries of Greek history between the death of the Macedonian king Alexander the Great in 323 B.C.E. and the rise of Augustus in Rome in 31 B.C.E.) and later with a winding road in the Middle Ages.  The Propylaea is U-shaped and was constructed in five short years just after the Parthenon was completed, with a large central hallways faced with six Doric columns originally brightly painted and topped by a triangular pedestal (similar to the Parthenon and providing a hint of what lay beyond it).  The left wing housed artwork and dignitaries, providing them a visible perch above the ascending masses.  The entrance mirrors the Parthenon, with Doric columns with similar width-to-height ratios and aligned east-west.  The central hall was once roofed with a marble-tile ceiling which was painted blue and covered with stars.  The interior columns are ionic and a bit thinner than the outside columns.

To the right is the Temple of Athena Nike.  While the other temples feature Doric external columns, this one has Ionic columns with elegant scroll-tops.  Like the rest of the complex, this was devoted to the worship of Athena, but focused on her bringing the Athenians victory ("Nike") in battle (both over the Persians and in the future against the Spartans).  The statue of Athena inside was never given wings, as the Athenians wanted her to stay and protect their city, thus the nickname as the Temple of Wingless Athena.  Construction begin as the Propylaea was being finished.  The temple has been disassembled and put back together three times.  The Ottomans pulled it down in the 17th century and the Greeks reassembled it after gaining their independence.  It was done again in 1935 for conservation, but the effort was faulty and it was redone between 2001 and 2010 to shore it up and clean it.

Here is a view looking back at the Propylaea from the Acropolis.

While the surface of the Acropolis is limestone, there were a number of marble ruins strewn around and roped off for protection.  The top of the Acropolis is mostly flat and covers seven acres, almost all of which is scattered with ruins.  This area once held a massive 30-foot bronze statue of Athena Promachos, one of three statues of the goddess in the complex.  Here she appeared as a frontline soldier (promachos), carrying a spear and shield.  The tip of the spear shone in the sun and was visible by ships at sea.  The area also held two ancient buildings, now gone, one for storage of sacred artifacts and offering gifts and the other to house young virgins who worked on looms to weave a dress for the goddess which was presented every four years and intended for the life-sized wooden statue kept in the Erechtheion.

As you reach the top of the hill, the scene is dominated by the massive Parthenon to the right, the Erechtheion to the left, and the Panathenaic Way running between them. 

The Parthenon is regarded as the finest temple in the ancient world, was dedicated to the Virgin Athena, and stood on the highest point on the Acropolis, enabling it to be see from far to sea and inland.  The large temple was completed in less than a decade (447-438 BC), although the sculptural decorations took a few years more and were finished in 432 BC.  The name "Parthenon" means the "temple of the virgin goddess," referring to the cult of Athena Parthenos that was associated with the temple.  It has also been suggested that the name of the temple alludes to the maidens (parthénoi), whose supreme sacrifice guaranteed the safety of the city.  There is also significant possibility that Athena is named after the town of Athens, as a city-god and not vice-versa where the city was named after her.  Here are the east, north, and west sides of the temple.

It has survived somewhat intact, despite being converted into a Christian church in the 5th century (by Emperor Theodosius to prevent pagan worship) and used for Christian worship for a thousand years in several different instantiations, then converted into a mosque complete with a minaret by the Turks in 1456 (who used the Propylaea as a palace for the Turkish ruler of Athens - the Turks disrespected the temple, taking it apart to get at lead they used for bullets and storing gunpowder inside - the Ottomans also gave British Lord Elgin "permission" to gather and buy sculptures and take them to England).  It was still mostly intact until it was hit by a Venetian mortar shell in 1687 which ignited gunpowder the Ottoman's had stored inside.  Once the Greeks won their independence, they tore down the mosque and other non-classical buildings and returned the Acropolis to an archaeological zone. 

The Parthenon "is 225 feet long and 101 feet wide.  Each end held 8 outer and 6 inner Doric columns, with 17 columns along each side, plus 23 inner Doric columns and 4 Ionic columns. This makes the number of columns along the side one more than twice the number on the ends, creating what has become a classical proportion.  The outer columns are 34 feet tall and 6 feet in diameter" in the Doric style with no base and lightly fluted.  It was decorated with statues and carved reliefs.  The eastern triangular pediment depicted the birth of Athena, born from Zeus' head after he got a headache.  The frieze consisted of a 525-foot depiction of the "Panathenaic parade - women, men on horseback, musicians, sacrificial animals being led to the slaughter, all while the gods looked on.  The capitals on top of the columns weigh eight to nine tons. All of the sculptures - metopes, pediment, and frieze - were originally painted in bright colors (see web image above).  The total cost to build the Parthenon (in today's dollars) has been estimated at over a billion dollars.

 The structure housed a statue of Athena (the 40-foot tall statue of Athena Parthenos - Athena the Virgin made from gold and ivory over a wooden core) along with the treasury of Athens (which included the treasury of the Athenian League).  The Athena statue depicted her as a warrior, wearing a helmet, resting her shield at her side, and holding a spear propped on the ground.  In her upturned right hand was a statuette of Nike - she literally held Victory in the palm of her hand.  In front of the statue was a reflecting pool in the center of the room, which provided humidity to help preserve the ivory.  The statue was either carried off in 425 AD to Constantinople or burned by the Herulians in AD 267.  A Roman copy is on display at the Athens Natural Archaeological Museum (shown above from a web image).

While we approached from the east, Maro recommended we wait until we were at the western end to take group pictures, as it is less crowded and not behind scaffolding.

Coming from the Propylaea, you approach the Parthenon from the west side.  This end is currently being restored and is covered with scaffolding.  Everyone had stopped to take pictures anyways, so Maro hurried us past along the Panathenaic Way along the north side of the Parthenon and to the main entrance on the east side.  There is a huge difference in the number of people between pictures taken when we first arrived and there were minimal crowds and other pictures taken about an hour later as we prepared to leave.

You can see they've assembled much of the remaining pieces for eventual reconstruction.  You can also see that Maro clearly enjoyed her job, even if she comes to the Acropolis almost every day. 

When we got to the other, east end which is the original entrance to the temple, Maro whipped out her visual aids and helped describe the construction and optical illusion techniques used to "give an ever-so-subtle feeling of balance, strength, and harmonious beauty" despite having virtually no straight lines or right angles.  The "tricks" used by the designers take it from simply being a huge monument to something that looks extraordinary and harmonious.  The clever refinements form a powerful impression that brings the building to life.  Amazingly, they were planned and implemented in stone nearly 2500 year ago.

Because the Parthenon had few straight lines and right angles, its designers and builders had to hand-craft each individual piece, among a total of over 70,000 architectural members, and then fit them into their own specific place within the temple’s structure. Differences amounting to as little as a few millimeters often distinguish these members.  As a result, today’s restorers have had their work literally cut out for them in order to find the original positions of all the Parthenon’s surviving blocks.

Looking up at the metopes (the outer panels), you can tell they are tilted out to make them more visible from the ground, but really only because Maro said it first.  There are 92 different metopes, 14 each on the east and west sides, 32 each on the north and south sides. They were carved in high relief, a practice employed until then only in treasuries (buildings used to keep votive gifts to the gods).  The metopes of the east side of the Parthenon, above the main entrance, depict the Gigantomachy (the mythical battle between the Olympian gods and the Giants). The metopes of the west end show the Amazonomachy (the mythical battle of the Athenians against the Amazons). The metopes of the south side show the Thessalian Centauromachy (battle of the Lapiths aided by Theseus against the half-man, half-horse Centaurs). On the north side of the Parthenon, the metopes are poorly preserved, but the subject seems to be the sack of Troy.  The mythological figures of the metopes of the East, North, and West sides of the Parthenon had been deliberately mutilated by Christian iconoclasts in late antiquity.

The capitals spanning the columns weigh eight to nine tons.

Here is the western end.  We couldn't get close enough for a good picture showing the curve of the base, but it is still apparent. 

Maro had an example of the original Pentelic marble, which is incredibly whiter and translucent, showing the effect of the centuries of weather and modern pollution.  The marble used for the buildings of the Acropolis was sourced from the quarries of Mount Pentelicus, a mountain to the northeast of the city.

The horse and other statues in the corner of the upper Pediment are faithful replicas (along with the gargoyles and metopes), installed to protect the originals from the pollution and elements (the originals are in the Acropolis Museum).  The triangular pediment depicted the central event in Athenian history - the birth of Athena, their patron goddess.  She was born at a banquet of the gods, when Zeus got a headache and asked Hephaistos to relieve it, who then split Zeus' head open and out came Athena.

You can still tell some of the images in the outer metopes and the inner frieze, which depicted the Panathenaic parade bringing sacrificial animals along with people, goods, and gods to the quadrennial celebration of Athena.

We then went around to the south side, which was the most damaged (the Venetian artillery hit here).  It was interesting looking down on the part of Athens to the south, and all the way to the sea.  We could see the ruins of a theater (the Theatre of Dionysus) directly south and up against the Acropolis.  The Acropolis Museum was also nearby.  You could see how the bottom floors were aligned with the streets, but the top floor was skewed to align with the Parthenon.

From the east end of the Acropolis, we could look over the sprawl of Athena.  To the east is the tallest mountain in Athens, the Lycabettus Hill.  This is crowned by the Chapel of St. George which can be reached by a cable car up the hill.  This, along with many of the hills in the Athens region, was formed by the erosion of the same limestone nappe as the Acropolis.  The rock was formed as sediment during the late Jurassic period, which was then thrust over the Athens schist by compressional tectonic forces, forming a nappe or overthrust sheet, which was then unevenly eroded to form the nearby hills.  In the distance (not really visible in the smog of the day), are the Pentelic quaries visible as hills with lighter-colored bits and the source of the marble for much of the monuments on the Acropolis.

We could also see the Metropolitan Cathedral of Athens we had walked by last evening. 

Farther south-east was the large Temple of Olympic Zeus and the Panathenaic Stadium.

We also made out way to the north edge and were able to look back across the Plaka to see the Ancient Agora and the Temple of Hephaestus to the north-west, along with Hadrian's Library and the Roman Agora/Forum.

The other temple on the Acropolis is also stunning, and we took images of it as we walked up and past the elegant Erechtheion.  While overshadowed by the larger Parthenon, is perhaps more prestigious.  It stands on the oldest sites on the Acropolis, where the Mycenaeans built their palace.  The stunning white building had painted capitals and a frieze of white relief on a darker blue-gray background.  Inside the Erechtheion was a life-size, olive-wood statue of Athena in her role as Athena Pilias ("Protector of the City").  Pericles took the statue with him when the Athenians evacuated their city to avoid the invading Persian yet again.

The unique, two-story structure fits nicely into the slope of the hill.  It was built between 421-406 BC with a complex plan which took account of the extremely uneven ground and the need to circumvent several shrines in the area.  The upper entrance is on the east end lined with six Ionic columns.  The lower entrance is on the north side, 10 feet lower, lined with another six Ionic columns.  These columns are the face of the Acropolis, which Athenians see from the Plaka.  Unusually, the temple has two porches, one on the northwest corner borne by Ionic columns, the other, to the southwest, supported by huge female figures or caryatids.  The inner worship hall, the cella, is divided in two by a wall.  This complex layout accommodated the worship of several gods over time.  The eastern part of the temple was dedicated to Athena Polias (Athena protector of the polis or city), while the western part, serving the cult of the archaic king Poseidon-Erechtheus, housed the altars of Hephaestus and Voutos, brother of Erechtheus.   Here, Erechtheous was an early kings of Athens, founder of the polis (city) and attached to the god Poseidon.  Athenians thought of themselves as Erechtheidai, the "sons of Erechtheus".  In Homer's Iliad (2. 547–48) Erechteus is the son of "grain-giving Earth", reared by Athena.  The earth-born son was sired by Hephaestus - after trying and failing to rape Athena, she wiped his semen from her thigh and cast it to earth, by which Gaia was made pregnant.

The focal feature of the temple is the Porch of the Caryatids, the balcony has six beautiful maidens functioning as columns to support the roof.  Each of the lady-columns has a base beneath her feet, pleated robes as the fluting, and a fruit-basket hat as the capital.  Both feminine and functional, they pose gracefully, exposing a hint of leg, proving a fascinating combination of architectural elements and sculpture.  The neck, which being thin would provide a weak point in the structure, is widened by long and thick braided hair.

Here are some images of the west side.

Here is the east side and main entrance to the cellas.

On the west side is a conspicuous olive tree.  Legend says this is the spot where Athena and Poseidon fought for naming rights to the city.  Poseidon threw his trident, which opened a gash in the earth to bring forth water (a salt spring known as the Sea of Erechtheus).  It left a diagonal crack that you can still see in the pavement of the entrance farthest from the Parthenon (although lightening is a more likely cause).  Athena won the contest by stabbing the rock with her spear, sprouting an olive tree.  The twin cellas of the Erechtheion allowed the worship of both gods - Athena and Poseidon - side by side to show they were still friends.

Had to take a picture of Steve taking pictures.

With the crowds starting to arrive, it was time for us to head down.  We stopped on the stairs leading up to the Propylaea to take some more group pictures.

Looking northwest, there was a great view over the Ancient Agora and the Areopagus Hill (the rock outcrop at the south end of the Agora and next to the Acropolis, also called the Hill of Ares or Mars Hill)

To the southwest is Pnyx Hill (or Nymphs Hill), with the National Observatory of Athens and its several towers.

There were several sculptures at the base of the stairs.

One more look back at the Temple of Athena Nike.

We turned left at the Odeon of Herodes Atticus to head along the south side of the Acropolis towards another exit from the complex.  This brought us past some ancient bronze foundries, used in the construction of the temples, and then to the Sanctuary of Asclepius or the Asclepieion.   This was a temple for both spiritual and physical healing dedicated to Asclepius, the first doctor and a demigod in Greek mythology.  Maro explained it was popular with competitors in the Panathenaeic games.  She said the sanctuary complex had several rooms, allowing the patients to stay several days where treatment included purifying baths, feasts (and purgation), and prayer or sacrifice to the gods.  Then the patient would be given a sedative (likely an opiate) and go to sleep in the temple, after which one of the healers would interpret any dreams and determine the needed cure, often a visit to the baths or a gymnasium,  Some of the cures listed in records at other Asclepieion include opening of abdominal abscesses or removal of foreign objects.  Several famous Greek physicians were trained at Asclepieia including Hippocrates and Galen.  The original Hippocratic Oath began with the invocation "I swear by Apollo the Healer and by Asclepius and by Hygieia and Panacea and by all the gods ..."

In Greek mythology and religion, Asclepius was the god of medicine – son of the god Apollo (also a god of medicine) and mortal Coronis.  In Homer's Iliad, Asclepius was a man, a physician to soldiers wounded on the battlefield at Troy. But by Hippocrates' day, he had become elevated to the status of a god.  As one story goes, Asclepius was killed by Zeus at the request of Hades, the god of the underworld, who feared Asclepius was stealing souls away from him.  Before his death, however, Asclepius had four sons who were all great warriors or kings, and five daughters who were all goddesses of some facet of healing: Panacea (the goddess of universal health), Hygieia ("Hygiene", the goddess/personification of health, cleanliness, and sanitation), Iaso (the goddess of recuperation from illness), Aceso (the goddess of the healing process), and Aegle (the goddess of radiant good health)

Starting around 350 BCE, the cult of Asclepius became increasingly popular. He was admired for serving people despite their class and social status, which was not a common practice.  Doctors claiming to be the direct descendants of Asclepius referred to themselves as “Asclepiads."  The symbol of the cult was the Asklepian (or Staff of Aesculapius), a snake wrapped around a staff.  Along with the similar caduceus (which has two snakes and was the magic wand carried by Hermes/Mercury, the messenger of the gods), it is now one of the predominant modern symbol for medicine and health care.

Next to this and just downhill was the Stoa of Eumenes, a Hellenistic colonnade built around 160 BC and donated to the city of Athens by the king of Pergamon, Eumenes II (197–159 BC).  This was a long two-story arcade with staircases at the ends housing stalls for merchants and other use.

This then brought us to the Theatre of Dionysus (god of wine-making, festivity, insanity, and theatre; also known as Bacchus).  Originally part of a sanctuary of Dionysus, it was built as a terraced theater in the 4th and 5th century BC to host a festival celebrating Dionysus, the City Dionysia.  It was continually expanded, reaching a capacity of up to 25,000 people in the 4th century BC and was in  continuous use down to the Roman period. The theatre then fell into decay in the Byzantine era and was not identified, excavated and restored to its current condition until the nineteenth century.  The auditorium was divided by twelve narrow stairways into thirteen wedge-shaped blocks, kerkides, two additional staircases ran inside the two southern supporting walls. There is a slight slope to each step, the front edge is almost 10 cm lower than the back. The seats were 33 cm in depth and 33 cm in height with a forward projecting lip, with seventy-eight rows in total. The two fronts rows, still partially preserved today, consist of Pentelic stone chairs or thrones; these were the prohedria or seats of honor.  Originally sixty-seven in number, the surviving ones each bear the name of the priest or official who occupied it, the inscriptions are all later than the fourth century, albeit with signs of erasure, and from the Hellenistic or Roman periods.  The central throne, which is tentatively dated to the first century BC, belonged to the priest of Dionysus.  Maro explained the top and many areas were covered with statues and other commemorations to the financial backers of the events in the theater (Choregic Monuments), providing them prestige for their public contribution.

Above the theater, on the side of the Acropolis is the Choregic Monument of Thrasyllos (Panagia Speliotissa), one of the Choregic monuments to the wealthy Athenians who helped fund the theater.  It was converted into a Christian church allowing it to remain intact for 2.000 year, before being destroyed in 1827 by Turks.

Below this, on the way to the exit, were the ruins of a later Temple of Dionysus.

It was a short walk to the Acropolis Museum.  This opened in 2009 and was built to house every artifact found on the rock and on the surrounding slopes, from the Greek Bronze Age to Roman and Byzantine Greece (with a clear message that it was ready to receive the artifacts now in the British Museum and Louvre). As the Acropolis Museum also lies over the ruins of part of Roman and early Byzantine Athens, provisions were made in the design to allow visitors to see these ruins.  The museum is essentially built on a platform over them, allowing access to them or viewing through portals and glass.

One of the first items in the museum, just inside the door, is a progression of models of the Acropolis showing how it looked at various points in history.  The first model shows the Mycenaean fortress on the rock, followed by the early temples prior to the Persian invasion and sacking.

Next was the model for the Golden Age of Athens, showing the long ramp up to the top.

This was succeeded by a model of how it appeared in Roman times ...

... and how it appeared during the Byzantine era, then under the Ottomans with a mosque and minarets.  Later, we came across more detailed models of some of the other ruins.

The museum begins with a ramp depicting artifacts discovered in the sanctuaries and houses on the slopes leading up to the Acropolis.

One of the items was a statuary of an Asclepieion, with the patients coming to Asclepius to be treated (he is recognized by the snake wrapped around his staff).

The first level is dedicated to the ancient temples on the Acropolis prior to the ones erected by Pericles in 450-400 BC, as there were three temples of Athena where the Parthenon now stands.  The fragments below once adorned the Hekatompedon, the first of those temples.  On the left, Hercules fights the sea monster Triton, with two lions killing a bull in the middle, and a three-headed demon with a snake tail on the right.

The archaic gallery contains a progression of statues, showing how the design slowly progressed over time.  The kouros (naked male) and kore/kori/korai (clothed female) statues show the Egyptian influence on the archaic period with their stiff, flat poses with feet side by side, stiff arms at the sides, braided, static hair, and generic faces with little smiles.  The women all hold something, as they shouldn't approach the gods without an offering.  As you progress through, the sculptures gain more "life" with clothes depicted as "wet drapery" providing the ability to portray the bodies underneath, feet moved forward and back as though the image is in mid-stride and moving, with arms in more realistic poses or almost swinging with the stride, faces become more distinct, and the hair becomes more flowing.

The owl was a symbol of Athena.  Maro also pointed out the Nike statue, a symbol of victory, which were often preserved through the Christian era as they resembled angels.

There was an interesting display showing how they made colors, as most of the statues were actually brightly painted.

The next area included five of the original six Caryatid states (the sixth is in the British museum).  Despite their graceful appearance, these korai (ancient Greek female) sculptures were structurally functional.  Each has a fluted column for a leg, a capital-like fruit basket for a hat, and buttressing locks of hair down the back to reinforce the otherwise narrow neck.  The explanation at the museum is these were libation bearers (their missing arms carried baskets) rendering tribute to the dead king, Kekrops, whose tomb is under the porch they decorate.  Originally called simply korai, they were later given the name Caryatids to honor the young women on Karyai, near Sparta.  Karyatides literally means "maidens of Karyai", an ancient town on the Peloponnese with a temple dedicated to the goddess Artemis, where young women did a ring dance around an open-air statue of the goddess Artemis. 

Some still show evidence of their original coloring.

Further on were some models showing how the wooden roof beams were laid in, then covered with marble tiles (which were semi-transparent, allowing some light inside) and models of the cranes they used to place the marble.

There were also models of the Parthenon, especially of the pediment designs on each end.  The east pediment originally contained 10 to 12 sculptures depicting the Birth of Athena. Most of those pieces were removed and lost during renovations in either the eighth or the twelfth century.  Only two corners remain today with figures depicting the passage of time over the course of a full day. Tethrippa of Helios is in the left corner and Selene is on the right. The horses of Helios's chariot are shown with livid expressions as they ascend into the sky at the start of the day.   Selene's horses struggle to stay on the pediment scene as the day comes to an end.

The western pediment depicts the mythological battle between Athena and Poseidon for control of Athens.  Poseidon pierces the ground with his trident, yielding a jet of water between his legs.  Athena uses her spear to cause an olive tree to grow, visible behind her.  The supporters of Athena are extensively illustrated at the back of the left chariot, while the defenders of Poseidon are shown trailing behind the right chariot.  It is believed that the corners of the pediment are filled by Athenian water deities, such as the Kephisos river, the Ilissos river, and nymph Kallirhoe.  This belief emerges from the fluid character of the sculptures' body position which represents the effort of the artist to give the impression of a flowing river.  Next to the left river god, there are the sculptures of the mythical king of Athens (Cecrops or Kekrops) with his daughters (Aglaurus, Pandrosos, Herse).  The statue of Poseidon was the largest sculpture in the pediment until it broke into pieces during Francesco Morosini's effort to remove it in 1688.  The posterior piece of the torso was found by Lusieri in the groundwork of a Turkish house in 1801 and is currently held in British Museum. The anterior portion was revealed by Ross in 1835 and is now held in the Acropolis Museum of Athens. 

Every statue on the west pediment has a fully completed back, which would have been impossible to see when the sculpture was on the temple; this indicates that the sculptors put great effort into accurately portraying the human body.

The top floor is the highlight of the museum and re-creates the exterior of the Parthenon.  It is aligned with the orientation of the Parthenon, visible out the window, to provide a comparison.  The displays of the frieze, metopes, and pediment are shown from the outside, as they would have been on the monument.

Against the inner wall is the 525-foot frieze which once wrapped all the way around the outside of the Parthenon, depicting the Great Panathenaic procession held every four years to celebrate Athena.  It shows men on horseback, oxen pulling carts, gods, chariots, musicians, priests, and sacrificial animals all headed uphill to the temple.  At the heart of the procession are maidens dressed in pleated robes, carrying gifts for the gods in offering bowls.  All of these were originally painted in vivid colors.  Despite the variety of poses, the frieze has a unifying element in that all the people's heads are on the same level, creating a single ribbon around the temple.  Of the original frieze, the museum only has a scant 32-feet.  These sections were so acid worn that Lord Elgin didn't bother taking them with him to England.  The originals are clear from their brown color, which replicas are nearly white.  To add insult to injury, Maro claimed the British Museum made them pay to make the impressions for the copies. 

On the outer wall are the 92 metopes, depicting different scenes, including the battle between the gods and giants (east side), Athenians against the Amazons (west side), Thesus battling the Centaurs (south side), and the battle of Troy (north side).

The statues from the piedmonts are shown on the east and west sides.

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The whole building is made of Pentelic marble quarried 16 miles away.  It was built not by slaves, but by free men paid for their labor (although it is possible that slaves worked in the quarries).  Maro had a piece of the marble, which was incredibly lighter in color and was somewhat translucent when held to the sun.  Clear that 2500 years in the sun and elements had significantly changed the color of the ruins.

           

While most of the statues and carved reliefs which once decorated the outside are gone (controversially many are in the British Museum), a few remain in the Acropolis Museum (replicas are now in their place to protect the originals from the weather and polution).

           

       

           

           

               

                       

Inside are remnants of interior walls which formed an open-air porch around the main building, which held the entry hall and cella (inner sanctum).  The whole expanse was covered with marble roof tiles fitted together on top of wooden beams.  These were thin enough that light would shine through.  The south side is the least intact as a result of the shelling by Venetian forces in 1687 during the Morean War, exploding the munitions the Ottomans had stored inside.  The restoration effort has been in progress since 1976, meaning its been going more than four times as long as it took the build it originally.

   

       

On the other side of the Panathenaic Way is the Erechtheion and the inspired Porch of the Caryatids, the balcony with six beautiful maidens functioning as columns that support the roof.  Each has a fruit basket hat as the capital and are gracefully posed with with one leg forward showing a hint of leg.  Their hair is braided, allowing the thin neck to be supported and preventing a weak structure.  Maro informed us that the statues we see are copies, placed to ensure the originals are not damaged by the weather and pollution.  Five are on display in the Acropolis Museum, while the sixth is in the British Museum.  The whole structure is elegant Ionic design and once was a stunning white building with painted capitals and a frieze of white relief on a darker blue-gray background.  While not as impressive as the Parthenon, it is perhaps more prestigious.  It stands on the site where the Mycenaeans built their palace.  It held a life-size, olive-wood statue of Athena in her role as Athena Polias (Protector of the City) which was much older and dated from about 900 BC.  The building fit into the slope of the hill, with the east end with six Ionic columns as the upper-level entrance and the lower entrance on the north side with six more Ionic columns (providing the face of the Acropolis seen by Athens from the Plaka).  The Porch of the Caryatids is attached to the south side of the building.  The inner worship hall, the cella, is divided in two by walls, allowing worship of both Athena and Poseidon.

Love these wider pictures taken early with only a handful of people in the background.  When we were leaving, Steve had to fight through a large crowd to get images o the inside.

       

       

       

           

           

The Caryatids were supposedly modeled on Karyatides - women from Karyai (near Sparta) who were famous for their upright posture and noble character.

           

           

               

           

Near the building is a ceremonial olive tree, representing "the gift of Athena to Athens."  The story is that Athena and Poseidon were vying on the Acropolis to be patrons of the city and for the city to be named after them.  Poseidon threw his trident and a spring appeared where it hit (legend says this is a crack in the pavement).  Athena threw her spear and it turned into an olive tree when it landed, providing both food and wisdom.  The city chose the olive tree and made Athena their patron.

               

       

       

Just as you can see the Acropolis from most of Athens, you can see most of Athens from the Acropolis.  The Acropolis is not the tallest hill in Athens, Lycabettus Hill to the north-east is the tallest.  But the top is narrow, so it wouldn't make a good stronghold like the Acropolis did.  It now has a chapel on top.

           

Farther east you could see Athens laid out stretching to far hills, while closer to the northeast was the cathedral.  To the south, you could see the Theater if Dionysus and beyond it is the Acropolis Museum.  The base of the museum is aligned with the streets, but the top flow is aligned with the Parthenon, allowing the friezes displayed inside to be replicated outside as you look back up at the Parthenon.

   

       

To the south-east, you could see the Panathenaic Stadium beyond the Temple of Olympic Zeus.

           

To the north-west, you could see the Temple of Hephaestus at the far edge of the Ancient Agora of Athens (the large open area), which is just past the Stoa of Attalos, which is just beyond the Roman Agora.  You could also see the Areopagus Hill, a closer rock outcrop whose name means Rock of Ares and is also known as Mars Hill.  Here, the Athenian judicial council or court tried cases of deliberate homicide, wounding and religious matters, as well as cases involving arson of olive trees, because they convened in this location.  The war god Ares was supposed to have been tried by the other gods on the Areopagus for the murder of Poseidon's son Halirrhothius.  It is also the site of where the Apostle Paul preached to the Athenians, talking about an altar he'd seen to an unknown god in the Agora.  Although the Athenians were famously open-minded, Paul encountered a skeptical audience and only netted a couple converts (including Dionysus the Areopagite and namesake of the street running to the south of the Acropolis), so he soon moved on to Corinth where he enjoyed a much better reception.

           

As we descended, we stopped to take a couple more pictures in the Propylaea.

               

           

               

               

We then passed the Odeon of Herodes Atticus again, turning left this time to head out the other gate and go to the museum.  This allowed us to pass the site of ancient bronze foundries, the Temple of Themis, and the Temple of Asklepios, which are at the base of the Acropolis on the south side.  The Temple of Asklepios was a healing center to treat contestants in the Panathenaic games, mostly by praying and sacrifice to the gods.  As such, it had several rooms for the patients to stay in for several days and a common dining room.  Asclepius is a hero and god of medicine. He is the son of Apollo and a Thessalian princess; his daughters, the "Asclepiades", are: Hygieia ("Health, Healthiness"), Iaso "healing, recovering, recuperation"), Aceso ("healing"), Aegle (the goddess of good health) and Panacea (the goddess of universal remedy). The rod of Asclepius, a snake-entwined staff, (similar to the caduceus) remains a symbol of medicine today. Those physicians and attendants who served this god were known as the Therapeutae of Asclepius

       

       

       

Below that on the hill was the Stoa of Eumenes ΙΙ.  This two-story gallery or arcade with columns and a roof was built around 160 BC.  The ground floor facade was formed by a colonnade with 64 Doric columns, while along the lengthwise axis of the building there was a second series of 32 columns of the Ionic order. On the upper storey, the exterior colonnade had the equivalent number of double-semicolumns of Ionic order and the interior columns had the rather rarer type of capitals, the Pergamene order.  The two floors were connected externally by two stairs that formed at either end of the arcade. Viewers from the lower part of the theatre had access to the ground floor of the gallery through the western parodos The Stoa of Eumenes bears a great resemblance to the form of the Stoa of Attalos in the Ancient Agora of Athens erected by Eumenes' brother, Attalos II.  The gallery was in use until the 3rd century AD, when it was destroyed and its material used in the construction of the Valerian wall

           

Past that was the Theatre of Dionysus, a huge, tiered performance space seating around 15,000 people.  Originally a large grass stage with circular dirt seating on the hillside, it was built up in the 4th and 5th century BC and was in continuous use through the Roman period.  The two fronts rows, still partially preserved today, consist of Pentelic stone chairs or thrones; these were the prohedria or seats of honor. Originally sixty-seven in number, the surviving ones each bear the name of the priest or official who occupied it, the inscriptions are all later than the fourth century, albeit with signs of erasure, and from the Hellenistic or Roman periods.  Given the long history of this place, it is widely regarded as where Western cultures long tradition of theater was born.

                   

       

           

Above the theater against the Acropolis is the Choregic Monument of Thrasyllos (Panagia Speliotissa).  This commemorates the Choregos, someone who funded the chorus and parts of the theater not funded by the government.  It also marks the opening of a large natural cave which housed a representation of Apollo and Artemis slaughtering the children of Niobe.

               

       

           

Once we exited the Acropolis, the Acropolis Museum was only a short walk away.  Mora explained that when it was being constructed they discovered ruins at the site.  Their solution was pretty neat.  They lifted the museum up, allowing access to the ruins with walkways, overlooks and Plexiglas floors.

           

The entrance includes models depicting the Acropolis during different eras

• First was the earliest fortifications from the Mycenaeans, who built a megaron palace and a massive circuit wall which was 760 meters long, up to 10 meters high, and ranging from 3.5 to 6 meters thick.  This wall was built between 1300-1200 BC) and would serve as the main defense for the Acropolis until the 5th century.

• Next was the Archaic Acropolis during the  7th and the 6th centuries BC.  This period included a nine-gate wall, the Enneapylon, built around the acropolis hill and incorporated the biggest water spring, the Clepsydra, at the northwestern foot.  A temple to Athena Polias, the tutelary deity of the city, was built where the Parethenon is now.  Fragments of the sculptures in its pediments are in the Acropolis Museum.  Most of the statues were white against a blue painted background.  This was known as the Hekatompedon.  Nearby was  the Pisistratids, the Old Temple of Athena or "ancient temple" built between 529 and 520 BC.  Around 500 BC the Hekatompedon was dismantled to make place for a new grander building, the "Older Parthenon" (often referred to as the Pre-Parthenon, "early Parthenon").  In 485 BC, construction stalled to save resources as Xerxes became king of Persia, and war seemed imminent.  The Older Parthenon was still under construction when the Persians invaded and sacked the city in 480 BC. The building was burned and looted, along with the Ancient Temple and practically everything else on the rock.

• Next was the Golden Age of Athens (460-430 BC), which began with the unifed Greek victory over the Persians at Eurymedon in 468 BC.  Pericles, the legendary Athenian General and politician directed the building of the major temples  with Phidias, an Athenian sculptor, and Ictinus and Callicrates, two famous architects, were responsible for the reconstruction.  Construction began with Phidias' gigantic bronze statue of Athena Promachos ("Athena who fights in the front line"), built between 450 BC and 448 BC, dominated. The base was 1.50 m (4 ft 11 in) high, while the total height of the statue was 9 m (30 ft). The goddess held a lance, the gilt tip of which could be seen as a reflection by crews on ships rounding Cape Sounion, and a giant shield on the left side, decorated by Mys with images of the fight between the Centaurs and the Lapiths,  The Propylaea was built between 437 and 432 BC, while the Temple of Athena Nike was begun at the same time but wasn't completed until around 420 BC during the time of Nicias' peace, due to an interruption caused by the Peloponnesian War with Sparta.  Construction of the elegant temple of Erechtheion in Pentelic marble (421–406 BC) was by a complex plan which took account of the extremely uneven ground and the need to circumvent several shrines in the area.  Construction on the Parhenon started in 447 BC when the Delian League was at the peak of its power. It was completed in 438; work on the decoration continued until 432.  Access was via a long ramp, which allowed them to more easily bring up sacrificial animals.

• Hellenistic and Roman Periods.  This era saw the addition of many statues to the Acropolic and the small Temple of Rome and Augustus.  At the base, they added the Odeon of Herodes Atticus, the Stoa of Eumenes ΙΙ, and the Theatre of Dionysus.  During the 3rd century, under threat from a Herulian invasion, repairs were made to the Acropolis walls, and the Beulé Gate was constructed to restrict entrance in front of the Propylaia, thus returning the Acropolis to use as a fortress.

• During the Byzantine period, the Parthenon was used as a church dedicated to the Virgin Mary.  During the Latin Duchy of Athens, the Acropolis functioned as the city's administrative center, with the Parthenon as its cathedral, and the Propylaea as part of the Ducal Palace.  A large tower was added, the "Frankopyrgos" demolished during the 19th century

• The Ottomans used the Parthenon as the garrison headquarters of the Turkish army and the Erechtheum was turned into the governor's private harem house. The dominant feature during the Ottoman period was a mosque inside the Parthenon, complete with a minaret.  The buildings of the Acropolis suffered significant damage during the 1687 siege by the Venetians in the Morean War. The Parthenon, which was being used as a gunpowder magazine, was hit by artillery shot and damaged severely.

• The Acropolis was besieged thrice during the Greek War of Independence (two sieges from the Greeks in 1821–1822 and one from the Ottomans in 1826–1827. A new bulwark named after Odysseas Androutsos was built by the Greeks between 1822 and 1825 to protect the recently rediscovered Klepsydra spring which became the sole fresh water supply of the fortress.  After independence, most features that dated from the Byzantine, Frankish, and Ottoman periods were cleared from the site in an attempt to restore the monument to its original form, "cleansed" of all later additions.  German neoclassicist architect Leo von Klenze was responsible for the restoration of the Acropolis in the 19th century.

• During World War II, Greece was occupied beginning in 1941.  German soldiers raised the Nazi German War Flag over the Acropolis. It would be taken down by Manolis Glezos and Apostolos Santas in one of the first acts of resistance.  There us a large Greek flag there now, visible from much of he city, partially to commemorate this act of defiance.

       

       

       

           

The museum progresses along the timeline of the different eras, beginning with statues and artifacts dating to the Archaic period.

               

   

There were several displays showing how the statues were painted and where the pigments came from.

               

       

This relief depicts Asclepius, notable for his snake-entwined staff, greeting people seeking treatment.  There is also an owl, which is significant to Athena, goddess of wisdom.  Last is a Nike, a human-headed bird which symbolized victory.  One book noted that Nike statues had a better chance of surviving to modern times as anti-pagan Christians often mistook them for angels.

           

It was interesting to see the progression of styles from the archaic period which were heavily influenced by Egyptian status depicting figures nearly planar with feet together, shoulders straight, and stylized features.  These statues of clothed young women are called kore/kirai, while the statues of naked young men are called kouros/kouri.  As the Greek influence took over, the statues assumed a more fluid stance with one foot back, almost striding and more defined and realistic features. 

           

           

Near the top are five of the original Caryatids statues, the six beautiful maidens functioning as columns that support the roof of the Erechtheion.  The sixth is in the British Museum.  They survived time and the elements over centuries.  As recently as the 17th century, they had fragile arms holding ritual bowls for libations.  Even in the 1950s, before modern smog, their faces still had crisp noses and mouths.

                   

               

                   

Here is a model showing the scaffolding they used to raise the marble blocks and another model depicting how the roof was constructed using wooden beams under marble tile.  They also showed how the posts and columns were assembled using wooded (or lead) pegs between the sections to hold them in place.

               

In the middle of the top floor are models showing the friezes and different views of the Parthenon and other monuments on the Acropolis.

           

This model of the west pediment shows Athena and Poseidon competing for Athens' favor by giving gifts to the city.  Poseidon spurts water (beneath him) and Athena presents an olive tree (behind the two of them).  A big, heavenly audience looks on.

       

The eastern pediment features Nike crowning newly born Athena with a wreath of olive branched, inaugurating the Golden Age of Athens, while the other gods look on in amazement at her birth from Zeus' head.  Helios is at the right, dragging the sun out of the sea with his four horses to bring dawn to Athens (symbolizing the rise of Athens with the birth of Athena).  Next to them is Selene, the moon goddess, following the horses back as she sets into the sea.

       

       

You then walk outward past what would be the walls of the Parthenon and are able to look back and see the inner and outer walls with all the friezes lade out as they would have been displayed, exactly recreating the Parthenon (although they are mounted lower for easier viewing).  The friezes are shown with the originals, visible by their aged appearance and brown color and reproductions identified by their lighter color.  To add insult to injury, the Greeks had to pay the British Museum to allow the casts to be made of the originals housed there (some other panels are in the Paris' Louvre and in Copenhagen).  There were also several blank spots where the images have been lost to time.  Of the original frieze, the museum owns only 32-feet of panels.  These were already so decayed and acid washed in 1801 that Lord Elgin didn't bother taking them.  The columns around the floor mark the marble columns on the original.  The relief panels span a 525-foot frieze depicting the Great Panathenaic, the procession held every four years in which citizen climbed up to the Parthenon to celebrate the birth of their city.

           

           

Some of the panels have holes, where gleaming bronze reigns and other items were fitted.  Of course, all of the panels were originally painted in bright colors.  To help unify the images, most of the people's heads are at the same level.

           

       

           

All of the status from the two ends are replicas, as all of them were taken to Britain as part of the Elgin Marbles.

           

Here is the view from the museum back up at the Acropolis.

   

       

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