acropolis museum

short guide

text
Dimitrios Pandermalis
Alexandros Mantis
Alkestis Choremi
Christina Vlassopoulou
Stamatia Eleftheratou

editorial
Stamatia Eleftheratou

translation
Angeliki Kosmopoulou
 contents
the gallery of the slopes of the acropolis 6
the archaic gallery 14
the parthenon gallery 32
propylaia, athena nike, erechtheion 40
from 5th cent. BC to 5th cent. AD 46
The first Museum of the Acropolis was established in a cavity of the hill opposite the Parthenon in
1865. This museum never accommodated the antiquities of the Acropolis in a satisfactory manner,
despite successive additions built on to it. Today, the new Museum, ten times larger in size than the
original, provides a safe haven for the masterpieces of the Acropolis and ensures that they are given the
prominence they deserve. This is achieved with ideal interior atmospheric conditions, natural lighting, as
well as easy visitor access, panoramic views and superior layout of the exhibition areas.
In the international architectural tender of 2001, the winning proposal was submitted by the Swiss
architect Bernard Tschumi, Dean of the School of Architecture of the University of Columbia, New York,
with the Greek architect Michalis Photiadis. Their design aptly met the needs of erecting a new building with
respect to the underlying excavation site, as well as providing visual contact between the Parthenon Hall
and the temple itself.
Excavations carried out at the site of the new Museum unearthed an important part of the ancient city
of Athens, featuring many architectural phases and thousands of finds that provided valuable insight
into everyday activities, as well as in the peculiarities encountered in life under the towering form of the
Acropolis. The final preparation of the archaeological excavation to receive visitors and the construction of
a dedicated exhibition area are expected to be completed in 2010. Until that time, visitors to the Acropolis
Museum will be provided with a glimpse of the excavation through the openings and glass floors at the
ground level of the Museum.
The new Acropolis Museum aspires to give visitors the opportunity to discover for themselves the
unsurpassed quality of the masterpieces of ancient Athens that have fascinated western civilization. Visitors
can enjoy, for the first time, the entire sculpted decoration of the Parthenon as it was on the ancient building,
even if this is achieved through combining original sculptures with copies of those in the British Museum.
The demanding yet fascinating task of the mounting of the Museum’s exhibition program was undertaken
by archaeologists Dimitrios Pandermalis, Alexandros Mantis, Alkestis Choremi, Christina Vlassopoulou,
Stamatia Eleftheratou and architects Iordanis Dimakopoulos and Alexandros Xenakis.
A detailed guide to the museum will be available shortly, thanks to the concerted efforts of the
archaeologists-authors of the present short guide.
Dimitrios Pandermalis
President of the Acropolis Museum
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Clay spindle whorls, dedications of women to the Sanctuary of the Nymphe. 6th and 5th cent. BC the gallery of the slopes of the acropolis

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 The settlement: Clay Nike, possibly decorative element from the roof of a building (acroterion). 1st-3rd cent. AD

The first gallery of the Museum houses children’s toys and others are included sanctuary, patients lay in wait for their
finds from the slopes of the Acropolis. amongst these finds. miraculous cure by the apparition of the
Its glass floor affords a view to the god in their dreams. The numerous votive
archaeological excavation, while the rise The sanctuaries offerings, often with depictions of the
in the floor alludes to the ascent to the The slopes, caves and plateaus of body parts that the god healed, provide
Acropolis. the Acropolis hill were the settings in evidence of the great importance the god’s
In antiquity, the slopes of the Acropolis which gods, heroes and nymphs were cult had for the Athenians.
constituted the transition zone between worshipped. At a short distance from the sanctuary of
the city and its most famous sanctuary. The south slope was home to two of Asclepios was a small open-air temple
This was the area where official and the most important sanctuaries of the dedicated to the Nymphe, who was the
popular cults, as well as large and small city, those of Dionysos Eleuthereus and protectress of marriage and wedding
sanctuaries existed alongside private Asklepios. It was also the site of several ceremonies. There the Athenians
houses. other temples, smaller in size yet of great dedicated the nuptial bath vases or
importance to the Athenians. loutrophoroi, as well as other votive
The settlement The temple of Dionysos Eleuthereus was offerings (perfume bottles, cosmetics
Among the sanctuaries, or at a slightly the site of the Great or City Dionysia, one of and jewelry containers, spindle-whorls,
lower level, excavations brought to light the most important festivals in town, which symposium vases, figurines, female
parts of the urban fabric of ancient Athens took place in the beginning of spring (in the protomes and painted plaques). The
and provided evidence of its almost month of Elaphebolion). It was from the cult loutrophoroi were luxury vases painted
uninterrupted habitation from the end of Dionysos, the god of wine, intoxication in the red or black figure technique. Their
of the Neolithic period (about 3000 and ecstatic dance, that the theatre was decorative motifs were related to marriage
BC) until late antiquity (6th century AD born. On the slope above the sanctuary, the and reflected the style prevalent at the
and later. Houses and workshops, roads plays of the most important ancient Greek time. The earlier vases depicted wedding
and squares, wells and reservoirs as tragic and comic playwrights, Aeschylus, processions, animals and mythological
well as thousands of objects left behind Sophocles, Euripides and Aristophanes, creatures. These were enriched, later on,
by the local people in antiquity provide were performed for the first time. with themes and scenes from mythology,
insight into the past. Most of the finds are The sanctuary and associated healing which were directly associated with
made of clay, as objects made of other centre of Asclepios in Athens was founded the three-day long wedding festivities:
perishable materials have been lost to on the south slope of the Acropolis, the procession of women who carried
us, while the most valuable objects have through the initiative of Telemachos, an the water for the nuptial bath in the
been looted. Tableware and symposium Athenian citizen who, in 420/19 BC, loutrophoroi; the adornment of the bride;
vessels, cooking pots, perfume holders, brought a statue of the god from the great the meeting of the couple; the transfer of
cosmetics and jewelry container, temple at Epidaurus. In a stoa beside the the newlyweds to the groom’s house; and

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 Τhe Sanctuary of Nymphe: Fragment of a loutrophoros representing a bride crowned by Erotes. 4th cent. BC The settlement: Maenads from the decoration of clay lid of a jewel box (lekanis). 4th cent. BC

the offering of gifts to the bride.

The south slope was also dedicated to the
cults of the Nymphs and Pan, Aphrodite,
Hermes and Isis. Aphrodite was
worshipped in her capacity as Pandemos
on the southwest slope and as Ourania
on the north. Aphrodite Ourania was the
protector of all kinds of unions, as that
of marriage, while Aphrodite Pandemos
was the protector of all Attic demoi
(subdivisions of Attica).
The age-old cult of fertile nature
developed at the temple of Ge
Kourotrophos and Demeter Chloe, on the
southwest slope. The local cult of the Hero
in Sandals at the same site was probably
associated with Aphrodite.
Three caves on the northwest slope were
home to the cults of Zeus, Apollo and
Pan. According to myth, Apollo had
intercourse with Kreoussa, the daughter
of King Erechtheus in the cave of the
Acropolis. Their son, Ion, was the mythical
ancestor of the Athenians. The swearing-in
ceremony of the nine archons of the city
was conducted in this cave. The cult of
Pan was introduced at a later stage, after
the battle of Marathon (490 BC), when
the goat-like god led the Athenians to
victory, creating widespread panic among
the Persians. Finally, a cave on the south
slope was home to the cult of the nymph
Aglauros, daughter of Kekrops, the
legendary king of Athens.
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Votive eyes – offering to the Sanctuary of Asclepios. 350-300 BC Relief slab from the facing of a base. Dionysos holds an amphora and kantharos. From the Sanctuary of Dionysos. Early 4th cent. BC

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 the archaic gallery

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 Bronze Gorgo from the Late Geometric temple of Athena Polias. 660 BC Double metal sheet bearing the image of Athena. 530 BC

The Acropolis hilltop in the The prehistoric Athena was apparently a

Mycenaean and Geometric period military deity and protected the Acropolis
(16th – 8th century BC) in her capacity as Pallas. Nevertheless
The flat open spaces atop the Acropolis as far back as in Homer’s epics, Athena’s
were the seat of the Mycenaean ruler. In war-like qualities were combined with
his palace, Athena Polias was worshipped another facet of her identity: Athena
as the patron goddess of the city. was also the goddess who weaved her
After the end of the Mycenaean own peplos. As Ergane, she protected
civilization, in the 8th century BC, a small carpenters, metalworkers and potters. As
temple dedicated to Athena Polias was Athena Nike, a military deity, she fought in
erected at the site of the palace that battle with her formidable aegis. Athena
was, by then, in ruins. It is the temple was also called Parthenos - and this
mentioned by Homer, where the large capacity set her apart from her female
bronze metal sheet in the form of a Gorgo nature, providing an explanation for her
head probably came from. presence in battle and other exclusively
This temple and the succeeding ones male activities.
built in the same area (Archaios Naos, Athena also successfully competed
Erechtheion) housed the sacred image against Poseidon for the domination
of the goddess, made of olive tree wood of Attica. According to myth, Poseidon
(xoanon). The Athenians believed that struck the rock with his trident and a
the xoanon (cult image) had been sent source of salty water welled up. Athena
by Zeus in the sky. That was the image won the battle when she offered the olive
dressed with the peplos, or veil, in the tree. From that time, she was linked with
Panathenaic procession every four years. all aspects of urban life: religious, political,
social and private.
Athena
The entire mythology of Athens and
the history of the monuments on the
Acropolis revolve around its patron deity.
The Parthenon, the Erechtheion and
the small temple of Athena Nike were
dedicated to the goddess Athena in her
various roles.

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 The pediment of the Archaic Parthenon or Hekatompedon. Around 570 BC

The Acropolis in the Archaic period A series of smaller buildings on the fragments of a composition depicting a
(7th – beginning of 5th century BC) Acropolis, referred to as oikemata in the lion devouring a bull have survived. These
The Archaic period is characterized by inscriptions, date from about the same sculptures are attributed to one of the
the development of the city-state and time. In all likelihood, they were treasuries two great Athenian sculptors at the time,
the transition from aristocracy to tyranny for the safekeeping of valuable votive Antenor or Endoios.
and, eventually, democracy. It is also offerings. Although their exact location on
characterized by great achievements in the hill has not been determined, evidence
the economy, art and intellectual life. of their existence is provided by a series
In the early 6th century BC, the cult of of architectural members and sculptures:
Athena Polias on the Acropolis continued the Hydra Pediment, the Apotheosis
in her late-geometric temple. In 566 of Herakles, The Troilos or Olive Tree
BC, the tyrant Peisistratos re-organized Pediment and the Red Pediment.
the Panathenaia, the greatest festival
in honour of the goddess. It is possible The abolition of tyranny in 508/7 BC was
that at that time, for reasons of political followed by Kleisthenes’ reforms and
propaganda, a large temple was erected the establishment of Democracy. At this
at the site to be occupied later by the time it was probably resolved that a new
Parthenon. It is the Archaic Parthenon temple should be built at the site of the
or Hekatompedon, dedicated to the old (late geometric) temple of Athena
military aspect of Athena Parthenos, the Polias. This temple, referred to as the
patron divinity of the city. Ancient Temple by ancient sources,
The large poros pediment with the housed the goddess’ age-old xoanon.
lions devouring a bull, flanked by two The sculptures that decorated the
compositions featuring Heracles, is pediments of the temple were fully carved
attributed to this temple. It presents the out of Parian marble. One featured
bull’s fight with the wild Triton, and his the Gigantomachy, the struggle of the
struggle with the so-called three-bodied revolted giants against the Olympian
demon, that holds the symbols of the gods. Out of the entire composition,
three elements of nature: water, fire and four figures have been reconstructed:
air in his hands. The figure of a lioness the armed Athena defeating the giant
killing a calf, the horse protomes from a Engelados; a giant sitting up on the
four-horse chariot and the relief spotted ground; and two others lying down near
panthers are also linked to this temple. the edge. Of the second pediment,

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 Chariot horses from a votive relief or a metope of the Hekatompedon. Around 570 BC The pediment of the Gigantomachy from the Archaic temple of the Athena Polias (Archaios Naos). 525-500 BC

Votive offerings
From the time of Peisistratos onwards,
the site of the Acropolis began to fill with
votive offerings, dedicated to the goddess
both as tokens of piety and as marks of
financial and artistic development. These
important offerings were mostly statues
meant to please the goddess.
Votive offerings were used by the ancient
Greeks to thank the gods for granting them
a wish and frequently included a reference
to the cost involved with the term dekate,
that is one tenth of a specific source of
income, or the term aparche, namely the
first crop or the first earnings.
The type, material and size of the
offerings reflected the time period, social
status and financial state of the dedicant.
On the Acropolis, statues and other
expensive artefacts were commissioned
by members of aristocratic families and
wealthy professionals, manual workers,
as well as women (such as washer women
and bakers).

The inscriptions on the votive offerings

sometimes included the names of the
artists, some of whom are known to us
through the ancient sources. The display
of these names on statues, vases and
small finds testifies to the important
status enjoyed by artists and the public’s
appreciation of them.
The most distinctive offerings to the temple
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 The Peplophoros Kore, possibly representing the goddess Artemis. 530 BC (Acr. 679) Detail of the Kore with pomegranate.580-570 BC (Acr. 593)

of Athena on the Acropolis were the Korai,

marble statues of young women. Carved
in different sizes, they follow a strictly
defined sculptural type, with an austere
body posture. From the mid-6th century
B.C. onwards, they are dressed in the fine
linen chiton and heavier mantle-garments
that set off their femininity more than the
heavy woollen peplos. In one hand, they
usually held an offering to the goddess, a
pomegranate, wreath or bird, while with the
other they lifted their pleated garment off
the ground as they walked. The smile upon
their face, the so-called archaic smile, hints
at the demeanour of that period and conveys
a sense of intense joy for their association
with the goddess. Their garments bear bright
painted decoration, while colour lights up
their hair, face and jewellery.
In contrast to the large number of Korai,
which is estimated to be in excess of 200,
the number of marble male statues was
rather small – a hardly surprising fact
given the feminine nature of the deity
worshipped on the Acropolis. A few statues
of riders and scribes have survived.
Offerings also included marble reliefs
depicting Athena and other gods, as well as
mortals, like that of a potter.
The large bronze artefacts, of which only
few have survived, were particularly
expensive votive offerings, apparently
commissioned by the wealthier citizens.

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 The Kore “with the eyes of a sphinx”. 500 BC (Acr. 674)

Among the most expensive types of clay protomes, terracotta figurines of

bronzes are the bronze cauldrons, riders and animals (dogs, birds, horses
large semi-spherical vases of the 8th or cattle). Clay plaques depicted Athena
and 7th century BC resting on tripods either as Promachos, fully armed and
made of the same material. The rim, resting one foot on a chariot, or as
handles and shoulders of the vases Ergane, seated and spinning. Others
were decorated with bronze statuettes depicted deities, like Artemis, Apollo and
of warriors, athletes, horses and Aphrodite, as well as heroes, such as
mythological creatures, while the three- Heracles.
legged supports were covered by richly
decorated bronze sheets.
Depictions of Athena or her symbols,
like shields and owl figurines, were an
integral part of the dedications. The
Athena Promachos statue that stood on
the Acropolis and was destroyed by the
Persians in 480 BC was replicated by
a number of statuettes. Other popular
offerings included figurines of animals
(horses, lions, dogs, bulls and wild boars)
and mythological creatures (sphinxes,
sirens and gorgons). Several bronze
statues depicted athletes during the
games – offerings on the occasion of a
victory in a particular event.

The poorer citizens dedicated objects

made of clay to Athena, mostly female
statuettes bearing colourful painted
decoration. Those seated on a throne
depicted Athena, while the standing
figures followed the marble type of the
Kore. Other affordable offerings included

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Detail of the Moshophoros (calf-bearer). The statue dedicated by Rhombos, son of Palos, around 570 BC Rider in a colorful Asian costume, known as the Persian or Scythian rider. 520-510 BC

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Detail from a bronze figurine of Athena Promachos. End of 6th cent. BC Clay figurine of a seated Athena. 500-480 BC

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 The Kore most heavily damaged by the Persian invasion. 510-500 BC

The Persian Wars and their vestiges excavations brought them back to light.
on the Acropolis Many of them still retain traces of burning.
The first two decades of the 5th century
BC were marked by the defensive wars of The year 480 BC is a milestone between
the Greeks against the Persian invaders. Archaic and Early Classical art. The works
The great victorious battles at Marathon, of art created in the period until 450
Salamis and Plataea were led by the B.C. express a new perception of life,
Athenians, under generals Miltiades, following the shocking experience of the
Themistocles and Aristeides. Persian Wars – an outlook reflected on
the realistic rendering of the human body
In 490 BC, following the victory at and the rendition of bold movement;
Marathon, the construction of a new the earnest facial expression with the
marble temple began at the site of fading of the Archaic smile; as well as the
the Hekatompedon: the so-called Old shift to simpler garments. This period is
Parthenon, which, however, was never conventionally termed Severe Style and
completed, due to the Persian invasion in forms the prelude to Classical art.
480 - 79 BC.

In 480 BC the Persians set fire to the

Acropolis and sacked its treasures. When
they withdrew, the Athenians piously
“buried” the remains of the sublime
dedications and the colorful sculptures
that adorned the destroyed temples in
large pits.
Nevertheless, some vestiges of the
Persian desecration deliberately remained
visible, such as the column drums of
the unfinished temple, built into the wall
on the north slope of the Acropolis. The
remains of the buildings and the broken
votive offerings remained buried until
the 19th century, when archaeological

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Metopes of the Parthenon the parthenon gallery

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 Slab IV of the West Frieze of the Parthenon. Horse rider and cavalry official

The Acropolis in the Classical period Parthenos, the deity embodying the
(mid-5th – second half of the 4th power and prestige of the city of Athens,
century BC) whose cult was perched at the highest
It took the young Athenian Democracy spot of the rock. Moreover, he made
a period of 30 years, from the Persian provisions for a new temple of Athena
Wars to the mid-5th century BC, to reach as the goddess of victory, which stood
its peak at the time of Perikles, a truly next to the entrance to the Acropolis as
charismatic individual. a reminder of the victorious leadership
By instituting payment to state officials, of the city of Athens in the Persian Wars.
he gave all Athenian citizens the The building program also included the
opportunity to participate in public creation of a monumental entranceway
affairs for the first time. At the same to the Acropolis, worthy of the grand
time, he ensured that the state revenue Panathenaic procession that passed from
increased, through the intensification that area. Finally, it also included the site
of silver mining at the Lavreion mines. with the ancient cults of the Acropolis rock
Moreover, he succeeded in transferring and the ancient Athena Polias temple. It
the allied treasure from Delos to Athens is at that site that the construction of the
and ensured that a percentage amounting Erechtheion began in 421 BC. In 432 BC,
to 1/60 of the annual allied contribution before the completion of the Propylaea,
was to be reserved for the goddess on the outbreak of a new war between
the Acropolis, who had taken on the Athens and Sparta, which lasted for 30
protection of the fund. Through the years, halted construction.
institution of unprecedented democratic
procedures, he obtained the approval of Nevertheless, the building program of
state bodies for the implementation of an Perikles, who had died in the beginning
ambitious plan for the reconstruction of of the war, at the time between the
the Acropolis. hostilities, was completed. The buildings
Around 450 BC, the Sacred Rock had included in his program reflect the ideals
been cleared of the ruins left behind of a society that cultivated the free spirit
by the Persian invasion and was ready like no other: scientific investigation,
to receive new buildings. Perikles’ political speculation, philosophical
building program involved, first of all, thinking and artistic production.
a magnificent temple for the Athena

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 Slab VI of the East Frieze of the Parthenon. Poseidon, Apollo, Artemis.

The Parthenon the Giants, who tried to overthrow The festivities culminated on the 28th day
Perikles assigned the direction of all the order prevailing on Mt. Olympus of the month - Hekatombaion in the heart
work on the Parthenon to the sculptor (Gigantomachy). The west side presented of the summer – on Athena’s birthday.
Pheidias and the program began in 447 the fight of Athenian youths against On that day, a procession advanced to
BC. The temple, dedicated to Athena the Amazons, who threatened even the the temple of Athena Polias (the Archaios
Parthenos, was constructed in 15 years Acropolis (Amazonomachy). The theme Naos that was later replaced by the
and was the collaborative work of a large of the south side was the fight of the Erechtheion) in order to hand over to the
number of architects, sculptors, painters, Thessalian youths (Lapiths) against the priests a new peplos for the old xoanon of
coppersmiths, stoneworkers and others. Centaurs who attempted to abduct their the goddess. This procession unfolds over
The Parthenon was designed by architects women during a wedding celebration the 160 meters of continuous sculptural
Iktinos and Kallikrates, while for the carving (Centauromachy). The north side decoration of the Parthenon frieze.
of the sculptures Pheidias collaborated illustrated the Sack of Troy (Iliou Persis).
with his pupils Agorakritos, Alkamenes The Parthenon frieze depicts 360 human
and other great artists. Pheidias himself The pediments, the triangular areas and divine figures and more than 250
created the gold-and-ivory statue of the at the roof of the two temple fronts, animals, mostly horses. Horsemen,
armed goddess, which adorned the interior carried sculptural compositions chariots with apobates, youths holding
of the cella. illustrating themes taken from Athenian sacrificial oxen or rams, old thallophoroi,
mythology. The east pediment, above hydriaphoroi and other figures make up
The architectural sculptures of the the temple entrance, depicted the birth the composition. The procession starts
Parthenon, namely the metopes, frieze and of the goddess Athena from the head at the southwest corner of the temple
pediments, were made of Pentelic marble of her father, Zeus. The west pediment and, at that point, two distinct groups are
and embellished with the addition of metal illustrated the dispute between Athena formed. One proceeds to the west and
attachments and paint. and Poseidon for the claim of the land of north side, the other to the south. The two
Attica – a legendary fight that resulted in teams meet at the east side, where the
The 92 metopes were the first parts Athena’s victory. delivery of the peplos takes place, under
of the entablature to receive sculptural In contrast to the mythological subjects the watchful eye of the Olympian gods.
decoration. Each one reproduced a of the metopes and pediments on the
self-contained scene, usually including frieze, Pheidias chose to depict the Great
two figures. The subjects were taken Panathenaia, the greatest festival of the
from legendary battles and symbolized city on the frieze of the Parthenon. The
the victories of the Athenians against festival took place every four years, lasted
the Persians. The east side depicted 12 days and included rituals, sacrifices,
the battle of the Olympian gods against as well as athletic and musical contests.

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North frieze of the Parthenon. Slab XXXIV of the North Frieze of the Parthenon. A marshal directs the procession of horse riders.

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The gathering of the gods on the East Frieze of the Athena Nike Temple. propylaia, athena nike, erechtheion

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 Sandal-binding Nike. Slab from the Athena Nike balustrade. 410 BC

The Propylaia small marble temple of the Athena Nike The Erechtheion
The Propylaia, the monumental entrance began. The temple housed the wooden The Erechtheion was built during the
to the Acropolis, were built in 437-432 cult statue (xoanon) of the goddess, who Peloponnesian War (421-415 and 410-
B.C. following designs by the architect held a branch of a pomegranate tree in 406 BC) in order to replace the early
Mnesikles, in order to replace the earlier one hand and a helmet in the other. It was temple of the Athena Polias, destroyed
gateway. built on the bastion at the southwest end by the Persians. It owes its peculiar
The building consisted of a central section of the Acropolis, following the designs design to the natural irregularity of the
flanked by two wings at the sides. The of architect Kallikrates, according to an bedrock, as well as to the need to protect
main building featured five openings. The ancient inscription. The temple followed and house the remains of ancient cults
central opening was the widest one, to the Ionian order and bore a sculpted frieze and the sacred spots associated with
accommodate the passing through of the and pediments. Each side of the frieze divine presence.
Panathenaic procession and sacrificial featured a different theme. The east side
animals. illustrated the Assembly of the Olympian The building was divided into two parts.
The north wing had an anteroom and a gods, the south side a battle between The eastern part was dedicated to Athena
spacious hall known as the Pinakotheke. Greeks and Persians, while the other two and housed her cult image (xoanon).
This was probably a recreation area sides depicted battles between Greeks. The western part was built on two levels.
with paintings on the walls and couches The pediments also carried sculpted The upper one was dedicated to the cult
with tables, where visitors could rest. decoration, probably representations of gods and local heroes– Erechtheus,
Works of art made by great sculptors, of mythological battles, like the Hephaistos and Boutes, Erechtheus’
like the statue of Hermes Propylaios by Gigantomachy and Amazonomachy. brother. The lower bore the vestiges of
Alkamenes, stood in the Propylaia. Poseidon’s trident and incorporated the
The dangerous end of the bastion was salted spring that gushed out from his
The Temple of Athena Nike blocked off by a marble balustrade, blow on the rock, during his fight with
Before the completion of the Propylaia, bearing a series of exquisite reliefs on the Athena.
the outbreak of the Peloponnesian War exterior illustrating the goddess Athena
between Athens and Sparta forced the and winged Nikai who are either leading The building had two porches. The roof
Athenians to cease building activity. bulls to sacrifice or holding weapons of the north porch was supported on
The Perikleian building program was and erecting trophies supporting Greek six Ionic columns, while below its floor
suspended and seemed to fade away or Persian armament. Particularly the Athenians pointed at the mark of
when its leading exponent died in the noteworthy among them is the figure of the thunderbolt sent by Zeus to kill
great plague of 429 BC. However, when the sandal-binding Nike. The sculptures the legendary King Erechtheus. At the
the situation settled for the first time, were carved by a team of many artists, led better-known south porch, the roof was
around 426 BC, the construction of the by Agorakritos. supported by six statues of maidens

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 The Caryatids from the south façade of the Erechtheion. 420-415 BC

known as the Caryatids, instead of the

typical columns. Below it stood the
grave of Kekrops, another legendary
King of Athens. A building inscription of
the Erechtheion refers to the Caryatids
simply as Korai (maidens), while the name
Caryatids was assigned to them at a later
time. Several interpretations about the
Caryatids have been put forth. The most
convincing of them supports the view that
they constituted the visible portion of the
grave of Kekrops and were the choephoroi
who paid tribute to the glorious dead.
The main building and the north porch
were surrounded by a continuous Ionic
frieze decorated with images of gods,
heroes and mortals, in scenes related
to the ancient cults of the Erechtheion.
The figures were carved in Parian marble
and affixed on slabs of grey Eleusinian
limestone.

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 from the 5th cent. BC to the 5th cent. AD.

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 The statue of Prokne and Itys. 430-420 BC

The Sanctuary of Artemis Brauronia called Aphrodite-Sosandra by Kalamis.

Artemis Brauronia was the goddess Unique is the famous relief depicting an
protecting expectant mothers and women Athenian trireme, possibly the sacred
in confinement. Her main sanctuary was vessel Paralos. Another exquisite work
located in the Attic demos of Brauron, in is the portrait of Alexander, attributed to
Attica. The sanctuary on the Acropolis the sculptor Leochares. In some cases,
was founded at the time of the tyrant only the relief bases of bronze statues
Peisistratos, who originated from Brauron. have survived, like the Atarbos base
The cella housed the wooden statue depicting an apobates (armed warrior
(xoanon) of the goddess, similar to the jumping from a chariot in motion) and the
one in her Brauron temple. According to athletes’ base, attributed to the workshop
Pausanias, a second statue of Artemis, of Lysippos.
carved by Praxiteles, was added in the 4th
century BC. The head of that statue is on The Acropolis and
display in the museum. Athenian foreign policy
The 19th-century excavations on the
Votive offerings Acropolis brought to light a number of
of the Classical period honorary decrees and treaties with other
Few of the precious offerings on the city-states, often bearing a relief scene
Acropolis, depicting gods, heroes at the heading – the so-called decree
and mortals from the legendary and reliefs. The texts of these inscriptions
historical past of Athens, have come to refer to Athenian foreign policy, including
light. Among them stands the statue the granting of honors and privileges and
of Prokne, daughter of King Pandion of the signing of alliances and solidarity
Attica, which illustrates the dramatic agreements.
moment of her decision to kill her son,
Itys, in order to punish her husband. The
sculpture was a work by the famous artist
Alkamenes. Other statues have survived
in a fragmentary state, such as the statue
of Io or Kallisto (the so-called Barberini
Suppliant), another work by Alkamenes,
or the fragment of the statue of the so-

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Head of a youthful statue of Alexander the Great, carved by Leochares or Lyssipos. 336 BC Athenian decree honoring the Samians. The relief illustrates the patron deities of the two cities, Athena and Hera. 403 BC

50 51
 Portrait of Rhoemetalces or Sauromates II, kings of the Bosporus Kingdom. 150-125 BC

The Acropolis plundered and transferred to Italy, mostly

in the Hellenistic Period in order to adorn public buildings.
(end of 4th – early 1st cent. BC)
In the course of the Hellenistic period, At the same time, a series of new
the Acropolis enjoyed the widespread dedications were added to the earlier
recognition of the sovereigns of other ones. These were portraits of emperors,
states. Alexander the Great sent the generals and other officials, portraits of
shields from the Battle at Granicus to philosophers, orators and priests, as well
be put up on the Parthenon epistyle, as images of individuals who benefited the
while the Pergamene Kings erected city or distinguished themselves in athletic
on the Acropolis two quadrigas with and other contests.
royal statues and large mythological
compositions. Eumenes ΙΙ sponsored the The Acropolis after the advent
erection of a luxurious stoa on the South of Christianity
Slope of the Acropolis. With the rise of Christianity in Athens, the
Acropolis began to lose its significance.
The Acropolis in the Roman period Toward the end of the 5th century AD, the
(1st – 4th cent. AD) operation of temples of the old religion
From the erection of the Erechtheion ceased and the cult statues were pulled
to the end of antiquity, no new public down. At that time, the bronze statue
buildings were erected on the Acropolis, of Athena Promachos was taken to
with the exception of the small, circular Constantinople and erected in the Forum
temple of Rome and Augustus, whose of Constantine. The Parthenon was
architectural decoration quoted the transformed into a church of St. Sophia,
Erechtheion. On the South Slope of the while the Erechtheion became a church
Acropolis, the Odeion was built in 160- dedicated to the Virgin Mary. The ultimate
170 AD, funded by Herodes Atticus. predominance of Christianity was sealed in
AD.529 by Justinian’s decree prohibiting
Throughout the Roman period, the the teaching of law and philosophy in the
Acropolis retained the appearance it had city of Athens.
in its heyday. It also preserved most of its
dedications, unlike other Greek cities and .
sanctuaries, whose artistic treasures were

52 53
1st floor 3rd floor

ground floor 2nd floor

54 55
contributors: exhibition of the board of directors
acropolis museum organization for the construction
of the new acropolis museum

Supervising Archaeologists Cast makers President

Pandermalis Dimitrios, Mantis Alexandros, Kagiorgis Theodoros, Baibas Antonis, Dimitrios Pandermalis
Professor of Archaeology
Vlassopoulou Christina, Choremi Alkestis, Argiris Giorgos, Liakopoulos Giorgos,
Eleftheratou Stamatia Magafas Ilias Vice-President
George Agapitos
Communication Advisor Draughtsmen Professor of Economics
Dollis Niki Nika Panagiota, Nikas Alexandros Former Minister of Finance
Photographers Project Manager
Archaeologists
Daniilidis Nikos, Tsangari Athina Rachel, Nikolaos Damalitis
Alexopoulou Alexandra, Vakoulis Director of Technical Project Team
Kosintas Ilias. Spirou Despina
Themistocles, Vaxovanou Athena, Vlahaki Civil Engineer
Anna, Georgaca Vasiliki, Diamadidou Technical Support
Konstantinos Alavanos
Katherine, Karra Irini, Kouveli Angelika, Lagios Alexandros, Mantas Paraskevas, Lawyer
Manoli Irini, Bakandritsou Andriani, Bizaki Kolokitha Antonia, Tabakakis Nikolaos Former General Secretary
Vasiliki, Bougatsou Ioanna, Papaloi Ioanna, Ministry Of Culture
Security Supervisor
Petropoulou Theoni, Poulou Tatiana, Angelos Delivorias
Mandas Athanasios
Charmalia Panagiota Professor of Archaeology
Director, Benaki Museum
Conservators
Maraziotis Dimitris, Paganis Georgos, Julia Iliopoulos-Strangas
Professor of Law
Agelopoulos Christos, Arbilias Panagiotis,
The final stages of work owe much to a number of Panayotis Carydis
Vasiliadis Konstantinos, Gaki Amalia,
individuals: Αnastasias Vasilis, Valsamis Lazaros, Civil Engineer
Gavrinioti Maria, Giatropoulis Iakobos, Giannakena Varvara, Damianos Dimitris, Kallinikou Professor Emeritus, NTUA
Govatsou Eleni, Karteris Eleftherios, Garifalia, Karaba Eftihia, Katevas Fotis, Katsimardou
Kilkis Dimitris, Koniaris Konstantinos, Ioannis Loulourgas
Panagiota, Kokkali Elissabet, Korosis Serafim,
Architect
Kousneref Jean-Mark, Maniadaki Eleni, Kirarinis Christos, Liolios Vasilis, Malliou Irini, Bardanis
Representative, Ministry of Public Works
Lazarou Nansi, Magafas Dimitris, Mantzika Mihalis, Xanthouli Kalliopi, Panagiotopoulos Stelios,
Georgia, Rachioti Vasiliki, Tzamourani Papathanasiou Eleni, Papaioannou Despina, Petinatou Manuella Pavlidou
Paraskevi, Pitsiri Panagiota, Sarri Maria, Stefanidis General Secretary of the Melina Mercouri Foundation
Roula, Tzempetzi Vasiliki, Farmaki Ioanna,
Fragou Evagelia, Hatzelenis Giorgos and Christos, Triantis Kostas, Fouseki Chrisa, conservators,
Trisbiotis Giannis, painter, Balli Rania, archaeologist
the painter Hiotis Antonis