Athenian Acropolis Research Papers - Academia.edu (original) (raw)

Here, the author listed eighty-nine temples that were converted into churches in the early Christian period. 1 As subsequent excavations have shown, the gure was probably at least twice as high. In the following pages, particular attention will be paid to problems associated with a speci c site, Athens, and the fate of the architecture and sculpture of her two major temples, the Parthenon and the Erechtheion. Both were dedicated to the Virgin Athena and both were rededicated to the Virgin Mary. 2 Bente Kiilerich tudes towards pagan temples are complex and o en ambivalent. Both written and material evidence indicate that no single parameter existed: in some places temples were le to crumble and decay, and o en they fell, or had long since fallen, into ruin through lack of maintenance. At other locations temples were destroyed, o en on the part of a zealous local bishop, who -at least from a modern point of view -may seem to have overreacted. At still other sites temples survived, if not as active places of worship, at least as architectural monuments. Following a period of deconsecration, which entailed removing the cult statue and the altar, some temples were turned into churches. e interval between temple and church function could be quite long: in Rome, for instance, the Pantheon was converted into a church as late as 609 (Sande 2003: 101-04).

- by
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- Greek Archaeology, Sacred Landscape (Archaeology), Parthenon, Early Christian Archaeology

We would like to present a brief history of the Brazilian Committee for the Reunification of the Parthenon Sculptures (Comitê Brasileiro para Reunificação das Esculturas do Partenon); in addition, we wish to propose some philosophical arguments in favour of the reunification of the Parthenon Sculptures, which we think will contribute to empower the international campaign for the reunification of the Parthenon Sculptures.

- by Celina Lage and +1
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- Greek Archaeology, Ancient Greek and Roman Art, Parthenon, History, Parthenon Ionian islands, cultural propery

The Parthenon has long been seen as the crowning glory of the classical Athenian acropolis. In antiquity, as now, it stood out above the city in all it's splendour for all to see. However, there have been many questions posed about its purpose and function. Was it a true temple? If not, what was it for? What did the frieze depict, and why? One major theory suggests that the structure could have been built very much for propaganda purposes, and, as the Greeks had only recently achieved peace with the Persians, it could be, in particular, anti-Persian propaganda.

- by Benjamin Messenger
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- Architecture, Sculpture, Parthenon, Greece

Nicht zur rechten Zeit ist er von uns gegangen, Hugo Meyer, der große Archäologe, dem wir für eine Reihe von wichtigen Werken zur Klassischen Archäologie, aber auch zur Ästhetik und Wissenschaftsgeschichte seines Faches Dank schuldenund auch wissen. Er ist im wahrsten Sinne des griechischen Wortes ein ἄωρος. Für alle, die ihn kannten und schätzten, ist er zur Unzeit aus dem Leben gerissen worden. Vieles, was er an Erkenntnissen und Einsichten für sich zusammengetragen hatte und im Herbst seines Lebens zu konkreten Projekten herangereift war und kurz vor der Vollendung stand, wird nun nicht mehr in Büchern und Artikeln umgesetzt werden können, wird uns nicht belehren und erfreuen können. Die letzte der drei Parzen hat seinen Lebensfaden für ihn und uns zu früh durchtrennt. Uns, seinen Freunden, Schülern und Weggefährten, bleibt nichts anderes, als seiner zu gedenken und ihm mit dieser Memorialschrift ein Blumengebinde vor seinem Denkstein niederzulegen. Diesen hat er sich mit seinem hinterlassenen Werk, das zu Beginn dieses Bandes aufgelistet istso unvollendet es auch bleiben musste-, bereits selbst errichtet. Und mit unseren ganz individuell gewählten Blüten, die wir in Respekt und Anerkennung seiner Leistung vor diesem Stein niederlegen, entbieten wir ihm nach antiker Sitte einen letzten Gruß: χρηστέ, χαῖρε. Die Autoren der Beiträge

- by Vinzenz Brinkmann
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- Archaeology, Polychromy in Ancient Art, Athenian Acropolis, Bronze sculpture
- by Ralf Krumeich
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- Greek sanctuaries, Acropolis, Athenian Acropolis, Greek and Roman Portraiture
- by Rita Sassu
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- Ancient History, Economic History, Greek sanctuaries, Athenian Acropolis

The Elgin Marbles, nowadays known as the Parthenon Sculptures, are arguably the most controversial art collection in the world. It was exactly 200 years ago, in 1816, that the British Museum acquired the Elgin Marbles from lord Elgin, former ambassador to the Sublime Porte in Constantinople. The story behind Elgin's acquisition of the "Elgin Marbles" and the collection's path to England were paved with a series of (un)fortunate events. It vividly depicts the response from the contemporary public and the question of the legality of Elgin's actions. The Greek repatriation request for the Elgin Marbles is discussed within a larger context, as the author puts a spotlight on the so-called universal museums and the patronizing attempts of the large museums to avoid any sincere discussion about the repatriation requests.

Bis heute stellt die Akropolis (Abb. 1-7) den Inbegriff des klassischen Athen und damit des antiken Griechenland überhaupt dar. 1 Ähnliches galt für die Zeit, als vermögende Aristokraten aus vielen Bereichen der hellenistischen Welt und aus Rom Athen als Studienort wählten und die Stadt später ein wichtiges Zentrum der römischen Provinz Achaia bildete, in der sich das ‚Alte Griechenland' innerhalb des Imperium Romanum manifestierte. 2 Symptomatisch für die noch im 2. Jh. n. Chr. gepflegte kulturelle Identität der griechischen Städte in Achaia, für ihren Traditionsbezug bzw. ihre Selbststilisierung, aber auch für deren Rezeption durch maßgebliche Vertreter Roms ist der Ratschlag des jüngeren Plinius an einen Bekannten, der als legatus nach Achaia entsandt werden sollte: "Bedenke, Du wirst in die Provinz Achaia gesandt, das wahre, unverfälschte Griechenland (illam veram et meram Graeciam) … Hab' Ehrfurcht vor ihren göttlichen Stadtgründern, den Namen ihrer Gottheiten! Hab' Ehrfurcht vor ihrem alten Ruhm und überhaupt vor ihrem Alter, das bei Menschen ehrwürdig, bei Städten heilig ist! Erweise ihrer Vergangenheit Ehre, ihren Großtaten, auch ihren Mythen! … Halte Dir vor Augen, … daß es Athen ist, wohin Du gehst, daß es Sparta ist, das Du verwaltest; ihnen den letzten Schatten einstiger Größe, den Rest der Freiheit zu rauben, wäre hart, grausam und barbarisch". 3 Die im wesentlichen im Laufe der perikleischen Epoche und bis etwa 400 v. Chr. errichteten Bauwerke und Götterbilder der Akropolis galten schon kurze Zeit danach als herausragende Zeugnisse für die machtpolitische Blütezeit Athens im 5. Jh. v. Chr. Bereits bei den attischen Rednern des 4. Jahrhunderts werden die Monumente auf der Akropolis immer wieder als markante Denkmäler der ehemals machtvollen Polis erwähnt. 4 Nicht zuletzt vor diesem Hintergrund sind die Stiftungen Alexanders d. Gr. oder der Attaliden von Perga-* Für ihre Diskussionsbereitschaft sowie für wichtige Anregungen und Hinweise danken wir G. DESPINIS, N. HIMMELMANN, M. KORRES, M. KREEB UND E. VOUTIRAS. 8

- by Ralf Krumeich and +1
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- Acropolis, Athenian Acropolis, Ancient Athens

En Época Clásica (s. VI – IV a.C.), la ciudad de Atenas experimentó un cambio político
y social inimaginable para el resto de poleis helenas; grandes legisladores buscaron una
isonomía del demos que se materializó, posteriormente, en la configuración de un sistema
democrático, al mismo tiempo que su capacidad bélica y naval hicieron de la polis ateniense
una de las principales potencias de toda la Hélade. En la ciudad, la vida pública y la comunidad
se mostraron imprescindibles para su configuración política, en cuyas instituciones sólo se
encontraban los varones. No obstante, las mujeres atenienses de la polis, a pesar de no responder
a los mismos mecanismos que sus compañeros los hombres, se hallaban de igual forma
enmarcadas dentro del aparato público de la ciudad. Tanto su estatus de ciudadanas, como su
participación en la esfera pública a través de la religión, ya fuera dentro de los rituales cívicos
o por su ostentación de cargos públicos, se mostraron imprescindibles para el desarrollo político
de Atenas y de su fuerte ideología autóctona durante la época clásica.

- by Charlotte Schubert and +1
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- Athenian Acropolis, Ancient Athens
- by Riccardo Di Cesare
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- Cultural Memory, Parthenon, Memory, Athenian Acropolis
- by Henning Börm
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- History, Ancient History, Classics, Greek History

The principal aim of this paper is to report on the 3D documentation- methodologies applied to the Mycenaean fortification wall of the Acropolis at Athens, which is a sub-project of the ERC Consolidator Grant Project: “SETinSTONE. A retrospective impact assessment of human and environmental resource usage in Late Bronze Age Mycenaean Monumental Architecture, Greece”. Using the method of “architectural energetics”, the overall aim of the project is to estimate the labor costs of monumental building programs in the Late Bronze Age (hereafter LBA) Greece, in order to research how and if these projects, through possible exhaustion of the necessary resources, could have had an impact on the collapse of the Mycenaean palace society at the end of the 12th c. BC. Aside from the archaeological sites located in the Argolid, which is the core region investigated, and elsewhere in Peloponnese, the Mycenaean fortification wall of the Athenian Acropolis serves as a comparative example for the most in-depth understanding of the procedures described. After a history of the research conducted so far on the Mycenaean fortification walls of the Acropolis, I aim to illuminate the gaps in the research in relation to the questions of the Acropolis sub-project. I then proceed describing the 3D integrated methodologies, which include two methods of documenting the architectural remains: a) ‘drawing’ 3D line-models in AutoCAD with the laser beam of a reflectorless laser total station, and b) digital terrestrial photogrammetry. The latter is achieved with Agisoft Photoscan, using images anchoring to photo-points measured by a total station. Both methods are able to create in a short time 3D line and photogrammetric surface models, which complement each other, and which will supply volumes of building materials to estimate labor costs later on in the investigation. The newly documented sections of the LBA fortification walls of the Acropolis at Athens are presented, as well as the reasons for selecting the sections. Some preliminary results are given at the end.

- by Elisavet P . Sioumpara
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- Archaeology, Classical Archaeology, Prehistoric Archaeology, Classics

Bereits in der archaischen und klassischen Zeit fungierte die Akropolis von Athen als Ort der persönlichen und staatlichen Repräsentation durch die Aufstellung statuarischer Anatheme unterschiedlicher Art und Kostbarkeit. 1 Zu diesen gehörten seit dem 4. Jh. v. Chr. auch Ehrenstatuen, die gelegentlich als staatliche Weihgeschenke in diesem Heiligtum errichtet wurden und der Heraushebung zumeist athenischer Honoranden dienten; insbesondere ab dem 2. Jh. v. Chr. nahm die Anzahl dieser Denkmäler signifikant zu, und zunehmend wurden nun auch römische Magistrate auf diese Weise geehrt. 2 Die genauen Aufstellungsorte der Ehrenstatuen auf der Akropolis lassen sich nur in wenigen Fällen genauer ermitteln. Jedoch spricht viel dafür, daß sie sich in ihrer Mehrzahl an der Heiligen Straße und im Bereich des großen Altares und damit an den ἐπιφανέστατοι τόποι des Heiligtums befanden; hier standen sie neben oder vor älteren Anathemen, die sie zum Teil verdeckt haben müssen. 3 Ähnlich wie in anderen Poleis und Heiligtümern wurden auf der Athener Akropolis viele Ehrenstatuen für Römer und andere Personen durch die Wiederverwendung älterer Statuen ‚gewonnen', welche bereits im Heiligtum vorhanden waren und durch die Hinzufügung einer staatlichen Ehreninschrift einfach umgeschrieben wurden. Diese Praxis der Repräsentation aktueller, zumeist römischer Honoranden durch vollkommen (oder zumindest weitgehend) unveränderte Denkmäler des 5. bis 2. Jhs. v. Chr. ist auf der Akropolis insbesondere für die Epoche des späten Hellenismus und der frühen Kaiserzeit gut bezeugt. Anhand der Kombination oder Überlagerung von Inschriften unterschiedlicher Epochen auf dem gleichen Stein wurde sie bereits seit dem 19. Jahrhundert beobachtet und stand in den letzten Jahren im Zentrum mehrerer epigraphischer und archäologischer Beiträge. 4 Nach-* Für wichtige Hinweise danke ich G. DESPINIS und K. HALLOF. K. KISSAS, A. MANTIS, E. SIOUMPARA, T. TANOULAS, C. VLASSOPOULOU und ihre Mitarbeiter(innen) halfen beim Auffinden der Statuenbasen auf der Akropolis und ermöglichten den Abbau von Steinstapeln mit Hilfe von Gabelstaplern -für ihre wertvolle und vollkommen unbürokratische Hilfe sei ihnen auch an dieser Stelle herzlich gedankt.

- by Ralf Krumeich
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- Acropolis, Athenian Acropolis, Ancient Athens, Honorific Statues
- by Ralf Krumeich
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- Greek Epigraphy, Acropolis, Acropolis of Athens, Athenian Acropolis
- by Constanze Graml
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- Iconography, Greek Archaeology, Ancient Greek Religion, Ancient Greek Iconography

With a 'visual turn' taking place in the humanities, whereby material culture has attained a status equal to textual, it is increasingly important that works of art and artifacts be properly interpreted in their historic and archaeological contexts. The new approaches on the part of archaeologists who focus on contexts (political, social, religious) provide fresh ground for interpretation as more and more humanities disciplines engage with visual culture. The aim of the collection of individual studies assembled here is to demonstrate how Classical Athenian art remains a vital field not just for art historians and archaeologists, but for ancient historians, political and social scientists, anthropologists, and those in religious studies as well. Now as new material comes to light and fresh ideas on old topics are being formulated, it is timely to re-investigate the art generated in the age of Perikles and its aftermath, the Peloponnesian War. This new research is presented here in the hope that upcoming generations of students and scholars will gain a deeper understanding of this seminal period of Greek art and architecture. The five decades (449 to 403 B.C.) covered by this volume begin with the putative "Peace of Kallias", probably an invention of the 4 th century B.C., and end with the demise of Kritias, a pro-Spartan intellectual who ended his political career as one of the notorious Thirty Tyrants. This book comprises the papers presented at the international conference "From Kallias to Kritias. Classical Culture: Athens in the Second Half of the 5 th Century B.C.", hosted in Athens by the American School of Classical Studies at Athens on June 6-8, 2019. The conference followed chronologically in the footsteps of "From Hippias to Kallias: Greek Art in Athens and Beyond 527-449 B.C.", 1 hosted by the Acropolis Museum in May 2017. That conference explored the debates concerning the last manifestations of the Archaic and the emergence of the Early Classical style. This volume, like its predecessor, raises important new issues, triggered by ongoing research on old and new excavation material, by probes into museum storerooms, and by the reshuffling of traditional premises. Bibliographical abbreviations follow the guidelines of American Journal of Archaeology. Abbreviations of ancient authors can be found in the Oxford Classical Dictionary. The editors and authors are greatly indebted to Mirko Vonderstein of de Gruyter for agreeing to publish this volume. Hans Rupprecht Goette has kindly allowed the reproduction of several photos from his archives throughout the book. Our thanks are also due to Carol Lawton, Sheila Dillon and Sheramy Bundrick for their assistance. We are grateful for the generous sponsorship of both the American School of 1 Edited by O. Palagia and E. P. Sioumpara and published in Athens by the Acropolis Museum in 2019.

- by Eirini Dimitriadou and +2
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- Ancient Greek Religion, Athenian Acropolis, Panathenaia, Classical Athens

This volume gathers together selected contributions which were originally presented at the conference 'Greek Art in Context' at the University of Edinburgh in 2014. Its aim is to introduce the reader to the broad and multifaceted notion of context in relation to Greek art and, more specifically, to its relevance for the study of Greek sculpture and pottery from the Archaic to the Late Classical periods. What do we mean by 'context'? In which ways and under what circumstances does context become relevant for the interpretation of Greek material culture? Which contexts should we look at-viewing context, political, social and religious discourse, artistic tradition. . .? What happens when there is no context? These are some of the questions that this volume aims to answer. The chapters included cover current approaches to the study of Greek sculpture and pottery in which the notion of 'context' plays a prominent role, offering new ways of looking at familiar issues. It gathers leading scholars and early career researchers from different backgrounds and research traditions with the aim of presenting new insights into archaeological and art historical research. Their chapters contribute to showcase the vitality of the discipline and will serve to stimulate new directions for the study of Greek art.

- by Marion Meyer
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- Classical Archaeology, Parthenon, Iconography and Iconology, Athenian Acropolis
- by Maurizio Paoletti
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- Topography of Athens, Athenian Agora, Acropolis, Acropolis of Athens
- by Erin Walcek Averett and +1
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- Archaeological Graphics & Illustration, Greek Archaeology, Ancient Greek and Roman Art, Archaeological Illustration

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- by Spencer Pope
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- Parthenon, Athenian Acropolis

Athenian vase-painters of the 5 th century have left a wealth of images that invite us to enter their world and see it as they did. It is strange, therefore, that they are so rarely enlisted when we seek to know about the constructed environment of the city. Through their eyes, their "gaze", we can in fact tour the Acropolis, encounter the important sculptures set in the Agora, and even view cult buildings in the outer city. 1 Their images may be careful depictions or looser reflections, but they are all valuable as they offer the dimension of the "eye witness" to enhance both archaeological results and later literary sources. Most of these images on vases are embedded in scenes of the regular life of the city and show contemporary structures, buildings and sculptures, but a few appear in imaginary myth-historical scenes and events. The aim of this paper is to explore the manner in which Athenian vase-painters approached the physical environments of their imagined narratives and how they became entangled with those that they actually knew, leading them to create simultaneously multiple identities and multiple moments in time, evoking complex ideas and emotions in the minds of their eventual users. 2 This exploration will also require simultaneous consideration of the connections between vase-painters and their fellow painters of larger, flat surfaces, whether wall, panel or stage-set, for we may be able to observe the former reflecting the works of the latter at several moments in the 5 th century. Note: I should like to thank Polly Lohmann and Ann Grosch (Heidelberg), Dennis Graen (Jena), Anne Coulié, Martine Denoyelle and Christine Merlin (Paris) and Jochen Griesbach (Würzburg) for so very kindly supplying or helping to supply images of the objects illustrated here. Several friends have helped in various other ways: Norbert Eschbach, Jasper Gaunt, Natacha Massar, Rainer Vollkommer and Susan Woodford. I should also like to thank Maria Tourna and Susanna Ipiroti (American School of Classical Studies at Athens) for kindly scanning various articles for me during the confinement. Finally, I am very grateful to the editors for their immense patience during all the difficult months of 2020.

- by Dyfri Williams
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- Iconography, Athenian Acropolis, Athena, Ancient Athens
- by Konstantinos Kalogeropoulos
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- Social Change, Athenian Democracy, Greek Vases, Athens
- by Ralf Krumeich
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- Greek Epigraphy, Acropolis, Acropolis of Athens, Athenian Acropolis

Analisi del rituale delle arrefore di Atene. Da Siris 8 (2007), pp. 5-20

- by Emiliano Cruccas
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- Pausanias, Athens, Autochtony, Athenian Acropolis
- by Eva Falaschi
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- Pausanias, Acropolis, Athenian Acropolis, Harpocration

This paper presents up-to-date texts, informed by relevant work published since 2000, of the two extant sets of fragments of the building accounts of the Erechtheion in Ionic script as a basis for translations of these accounts published simultaneously on AIO. It reviews the date of these accounts, and presents a fresh argument by John Morgan to the effect that, if certain assumptions are made, no. 2 (IG I3 477) is datable to 405/4 BC. That would make it probably the latest extant account. Morgan also finds in this fragment a supporting argument for the position initially aired in AIO Papers 5, p. 3, that the Council's year and the archon's year were not made systematically coterminous in 407 BC, as had previously been thought, but continued to be out of step, probably until ca. 403 BC.

- by Stephen Lambert
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- Ancient History, Classical Archaeology, Greek Epigraphy, Ancient Greek Religion
- by Walter Gauss and +1
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- Aegean Bronze Age (Bronze Age Archaeology), Death and Burial (Archaeology), Mycenaean era archaeology, Aegean Archaeology

The paper intends to shortly investigate the usage of ivory as precious and prestigious material for the realization of public and private dedications inside Greek sanctuaries, from the Orientalizing Age until the late-Classical period. By tracing a brief excursus of the main ivory works documented by epigraphic and philological sources or by archaeological evidence, a preliminary diachronic reconstruction of the profile of the worshippers who offered ivory items is defined, with the aim to
show how ivory, ‘excellent’ material, suitable for the relation between human community and divine beings, is lastly a relevant parameter to detect the changes in politics and in the collective mentality occurred in the concerned centuries (7th-4th centuries BC). Finally, an implicit connection between chryselephantine statues and sacred properties is suggested.

Se volessimo ravvisare nella storia ateniese dal III secolo a.C. al II d.C. 1 una cesura paragonabile a quella del 480/79 a.C., dovremmo scorgerla nel sacco sillano (87/6 a.C.) 2 , in seguito al quale la città doveva presentarsi, similmente a quanto era accaduto dopo l'invasione persiana circa quattro secoli prima, come un paesaggio in rovina. Ma è proprio questa cesura a darci la misura di come fossero cambiati i tempi: non ci fu, stavolta, un'energia civica propulsiva paragonabile a quello slancio di iniziative che aveva seguito il sacco persiano e l'intero medikos polemos. Mancò, soprattutto, una memoria storica condivisa, come quella fondata sul ruolo sostenuto da Atene contro l'impero achemenide e sui valori identitari della polis -primo fra tutti il concetto di libertà (eleutheria) del polites -dai quali i monumenti di allora erano scaturiti, si trattasse della costruzione del circuito urbano delle mura sollecitata da Temistocle, o dei numerosi erga delle età di Cimone e di Pericle. Quella coscienza storica, spesso ricondotta allusivamente al passato epico-eroico, era allora vitale e autenticamente sentita. Pur gradualmente ridotta a poco più che un cliché, essa era destinata, nel corso dei secoli successivi all'età classica, a costituire un elemento di continuo, imprescindibile confronto con il passato. In tale confronto va individuato senz'altro uno dei nodi fondamentali per comprendere molti aspetti importanti della storia di Atene nell'età ellenistica e romana, di cui prenderemo in considerazione tre momenti, vagliandoli attraverso alcune delle realizzazioni monumentali sull'Acropoli.

- by Riccardo Di Cesare
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- Athenian Acropolis, Hellenistic Athens, Roman Athens, Ancient Athens

LECTURE | LABORATORIO DI PROGETTAZIONE SULLA PREESISTENZA E ARCHITETTURA DEGLI INTERNI. Prof. Emanuele Fidone, Prof. Luigi Pellegrino

‚Klassiker' im Gymnasion. Bildnisse attischer Kosmeten der mittleren und späten Kaiserzeit zwischen Rom und griechischer Vergangenheit RALF KRUMEICH Im Jahr 1861 kamen bei der Abtragung eines im Osten des Turms der Winde gelegenen Teilstücks der spätrömischen Befestigungsmauer Athens unter anderem 33 unbärtige und bärtige Porträtköpfe der mittleren und späten Kaiserzeit zum Vorschein, die nach Ausweis der Inschriften auf sicher zugehörigen Hermenschäften zumindest in vier Fällen attische Kosmeten des 2. und 3. Jhs. n. Chr. darstellen. 1 Einiges spricht dafür, dass die Porträthermen und einige der im gleichen Kontext gefundenen Ephebeninschriften ursprünglich im Diogenes-Gymnasion aufgestellt waren, das wahrscheinlich im Osten der abgetragenen Mauer zu lokalisieren ist. 2

mei 1989 , 2de jaargang nr.l prijs los nummer ft. 12 , 95 / bfr. 249 TMA is een onafhankelijke tijdschrift dat aandacht besteedt aan het actuele archeologische onderzoek, in het bij zonder dat van Nederland en België, in de Mediterrane... more

The progress of the Acropolis restoration works V. Manidaki, J. Dourakopoulos-Restoring the orthostates of the Parthenon west pediment Ch Pinatsi, C.Koutsadelis, E. Kakogiannou-The stategic plan for the interventions on the Acropolis walls R. Christodoulopoulou, V. Manidaki-Moving and rearranging the cranes of the Parthenon E. Karakitsou, E. Petropoulou, Activities to promote research and bring the restoration works on the Acropolis monuments to the fore I. Kaimara, A. Leonti, M. Tsiolaki-«A Greek Temple»: A new web application on the architecture of ancient Greek temples E. Petropoulou-News from the Acropolis

- by Constantinos Koutsadelis and +1
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- Fortifications, Science for Conservation and Restoration of Cultural Heritage, Athenian Acropolis
- by Ralf Krumeich
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- Representation, Acropolis, Athenian Acropolis, Greek and Roman Portraiture
- by Rita Sassu
- •
- Athenian Democracy, Greek Archaeology, Ancient Greek History, Athens

In recent decades, the research on the sacred space in ancient Greece has experienced a significant increase, resulting in a decisive advancement of the state of the art in the field of ‘cult archaeology’, also thanks to the remains brought to light by the excavations carried out in Greek sanctuaries, to the fruitful reflections on ancient Hellenic religiosity and to the review of data and information derived from previous investigations. Thanks to these results, is it now possible to offer a meeting opportunity to update the scientific debate on a specific class of materials from the sacred areas, the metal artifacts, widely attested through archaeological findings, epigraphs and literary sources. There is a wide range of types of products, entailing different purposes and levels of expense, from the everyday objects (vessels, instrumentum related with the banquet), to actual and miniaturist weapons, from full-size and colossal statues to small statuettes, from big cauldrons to tripods; and coins, working tools, sportive items, jewels, etc. If for objects made of precious metals, such as gold and silver, it is above all the study of literary and epigraphic sources that allows us to reconstruct what their diffusion was, well attested are the bronze, iron and lead artefacts, widespread in the various religious centers of the Hellenic world (mainland Greece, Magna Graecia and Sicily) from the Proto-Geometric period until the Hellenism.
The seminar aims to provide to scholars an update and to promote a scientific debate on several important issues related on more or less known sanctuaries, such as the analysis of the different classes of the offered metal objects; their possible use in the sanctuary life; the relationship, if one, between these dedications and the worshipped deities; their location within the consecrated boundaries; the relationship between the richness of these gifts and the city, in whose territory the sanctuary is located (both urban and extra-urban); their financial significance to foster forms of hoarding; the cult actions performed in association to their dedication and finally the methods of disposal of the metal votives, when they were damaged, obsolete or simply too many.