The Parthenon Enigma (75 page)

25.
Harris,
Treasures of the Parthenon and Erechtheion
, 81–200.

26.
Korres,
From Pentelicon to the Parthenon
, 100 with fig. 25 (for the Λ1 quarry); Korres, “Architecture of the Parthenon,” 59–65; Burford, “Builders of the Parthenon.”

27.
Korres,
From Pentelicon to the Parthenon;
Korres,
Stones of the Parthenon
.

28.
Korres, “Parthenon,” 12; Burford, “Builders of the Parthenon,” 32–34.

29.
Plutarch,
Life of Perikles
12; translation of 12.7: Waterfield,
Plutarch: Greek Lives
, 156.

30.
Again, I thank Peter Van Alfen for calculating this rough estimate of present-day value.

31.
Parthenon construction accounts:
IG
I
³
436–51; cult statue:
IG
I
³
453–60; dedication: Philochoros,
FGrH
328 F 121. See W. B. Dinsmoor, “Attic Building Accounts I: The Parthenon,”
AJA
17 (1913): 53–80.

32.
Korres,
Stones of the Parthenon
, 58, notes that due to the suspension of temple construction following the Persian invasion, there was little work for stonemasons; instead, these craftsmen would have been employed in brick making, shipbuilding, and military campaigns.

33.
See J. J. Coulton, “Lifting in Early Greek Architecture,”
JHS
94 (1974): 1–19, esp. 12 and 17, where he dates the first use of the pulley hoist to the late sixth century
B.C.
Herodotos,
Histories
7.36, gives us our earliest reference to the winch in Greek literature, reporting that winches were used to tighten the cables that held together the Persians’ pontoon bridge, built across the Hellespont in 480
B.C.
Of course, winches are known in Egypt from at least the Middle Kingdom: S. Clarke,
Ancient Egyptian Construction and Architecture
(New York: Dover, 1990), and in Assyria from the seventh century: J. Laessøe, “Reflexions on Modern and Ancient Oriental Water Works,”
Journal of Cuneiform Studies
7 (1953): 15–17. By the first century
B.C.
, the block and tackle device was widely used for handling cargo. See Vitruvius,
Ten Books of Architecture
10.2.2.

34.
For Iktinos as architect, see Plutarch,
Life of Perikles
13.4; Pausanias,
Description of Greece
8.41.9; Strabo,
Geography
9.1.12, 16; and Vitruvius,
Ten Books of Architecture
7 praef. 12. For Kallikrates, see Plutarch,
Life of Perikles
13.4; M. Korres, s.v. “Iktinos” and “Kallikrates,” in
Künstlerlexikon der Antike
, ed. R. Vollkommer (Munich: Saur, 2001), 1:338–45, 387–93; Barletta, “Architecture and Architects of the Classical Parthenon,” 88–95; J. R. McCredie, “The Architects of the Parthenon,”
in
Studies in Classical Art and Archaeology: A Tribute to Peter Heinrich von Blanckenhagen
, ed. G. Kopcke and M. B. Moore (Locust Valley, N.Y.: J. J. Augustin, 1979), 69–73; Carpenter,
Architects of the Parthenon
, 83–158.

35.
Vitruvius,
Ten Books of Architecture
7 praef. 12. See M. Korres, s.v. “Karpion,” in Vollkommer,
Künstlerlexikon der Antike
, 1:404–5; Barletta, “Architecture and Architects of the Classical Parthenon,” 88–95.

36.
Plutarch,
Life of Perikles
13.9 uses the verb
epestatei
—indicating that Pheidias was a kind of surveyor general.

37.
Pausanius,
Description of Greece
10.10.1–2, sees the statues of Leos, Antiochos, Aegeus, Akamas, Theseus, and Phileas and then remarks that the images of Antigonos, Demetrios, and Ptolemy were later additions to the monument. The other three heroes, Ajax, Oeneus, and Hippothoon, are, however, unmentioned. Perhaps by then their images were removed to make way for those of the Hellenistic kings.

38.
Ibid., 1.28.2; Martin-McAuliffe and Papadopoulos, “Framing Victory,” 345–46; Hurwit,
Athenian Acropolis
, 152.

39.
Athenaeus,
Deipnosophists
13.589, says that, when speaking on her behalf in court, Perikles shed more tears than he did when his own property and life were in danger.

40.
Plutarch,
Life of Perikles
31.4.

41.
Miles, “Lapis Primus and the Older Parthenon,” 663–66; B. H. Hill, “The Older Parthenon,”
AJA
16 (1912): 535–58; Carpenter advocates for a Kimonian Parthenon in
Architects of the Parthenon
, 44–68.

42.
S. A. Pope, “Financing and Design: The Development of the Parthenon Program and the Parthenon Building Accounts,” in
Miscellanea Mediterranea
, ed. R. R. Holloway, Archaeologia Transatlantica 18 (Providence: Center for Old World Archaeology and Art, Brown University, 2000), 65–66.

43.
Korres, “Athenian Classical Architecture,” 9–13.

44.
Korres, “Der Plan des Parthenon” and “The Architecture of the Parthenon.”

45.
Korres, “The Architecture of the Parthenon,” 84–93; Korres, “Der Plan des Parthenon.”

46.
Prostyle porches are also regarded as Cycladic features; see Barletta, “Architecture and Architects of the Classical Parthenon,” 78–79.

47.
Ibid., 81–82, 84, 86–88; Korres, “Architecture of the Parthenon,” 84–88; Korres, “Parthenon,” 22, 46, 52, 54; Korres, “Sculptural Adornment of the Parthenon,” 33.

48.
Korres, “Die Athena-Tempel auf der Akropolis,” 227–29; Korres, “History of the Acropolis Monuments,” 45–46; H. Catling, “Archaeology in Greece, 1988–1989,”
Archaeological Reports JHS
35 (1989): 8–9; Ridgway, “Images of Athena,” 125.

49.
J. M. Hurwit, “The Parthenon and the Temple of Zeus at Olympia,” in Barringer and Hurwit,
Periklean Athens
, 135–45; Barringer, “Temple of Zeus at Olympia,” 8–20.

50.
For discussion and full list of inscriptions, see Harris,
Treasures of the Parthenon and Erechtheion
, 2–8, 103–200. Hurwit,
Athenian Acropolis
, 161–62. According to Harpokration, s.v. ʽΕκατόμπεδον, Mnesikles and Kallikrates used this term for the entire building; Plutarch,
Life of Perikles
13.4, refers to the Parthenon as the “Hekatompedon Parthenon.”

51.
A two-tier interior colonnade can be seen even earlier at the temple of Aphaia on Aegina, built around 500
B.C.
Here, it forms a perforated screen that partially hides the walls of the cella, while enclosing the cult image at the sides and back. This makes the space seem less comprehensible, bigger, and more interesting, with ever-changing light and shadows adding to the mystery of the space. I am grateful to Richard C. Anderson for helpful discussions here. See Korres, “Architecture of the Parthenon,” 65, 93; Korres, “Parthenon,” 48; Korres, “Sculptural Adornment of the Parthenon,” 176.

52.
For mention of the
parthenon
chamber in the inventories, see
IG
I
³
343.4
(434/433
B.C.
);
IG
I
³
344.19 (433/432
B.C.
);
IG
I
³
346.55 (431/430
B.C.
);
IG
I
³
350.65 (427/426
B.C.
);
IG
I
³
351.5 (422/421
B.C.
);
IG
I
³
352.29 (421/420
B.C.
);
IG
I
³
353.52 (420/419
B.C.
);
IG
I
³
354.73–74 (419/418
B.C.
);
IG
I
³
355.5 (414/413
B.C.
);
IG
I
³
356.31–32 (413/412
B.C.
);
IG
I
³
357.57–58 (412/411
B.C.
). See Harris,
Treasures of the Parthenon and Erechtheion
, 1–8, 81–103, 253, and Hurwit,
Athenian Acropolis
, 161–63.

53.
Pedersen,
Parthenon and the Origin of the Corinthian Capital
, 11–31, fig. 16; Korres and Bouras,
Studies for the Restoration of the Parthenon
, 1:20; Korres, “Parthenon,” 22. On the origin of the Corinthian order, see T. Homolle, “L’origine du chapiteau Corinthien,”
RA
, 5th ser., 4 (1916): 17–60; Rykwert,
Dancing Column
, 316–49.

54.
Vitruvius,
Ten Books of Architecture
3.4.5, for optical refinements and horizontal lines, especially those of the stylobate.

55.
Korres, “Der Plan des Parthenon,” 87.

56.
Hurwit,
Athenian Acropolis
, 167 with illustration. The façade columns would meet nearly 5 kilometers (3.1 miles) above the platform. See also Dinsmoor,
Architecture of Ancient Greece
, 165, who claims that the columns project “more than 1½ miles above the pavement.”

57.
L. Haselberger, “Bending the Truth: Curvature and Other Refinements of the Parthenon,” in Neils,
Parthenon
, 101–57; Barletta, “Architecture and Architects of the Classical Parthenon,” 72–74.

58.
E. Flagg,
The Parthenon Naos
(New York: Charles Scribner’s Sons, 1928), 5–9. Flagg maintained that Greek art had measure obtained by rules analogous to those used by the poet and the musician: “Harmony depends on measure as in music, poetry and dance, but the measure should be exact and the proportions of a kind which the eye grasps unconsciously, as it does those of any simple geometric figure.” Flagg, known for his design of the Corcoran Gallery of Art (1897) and the U.S. Naval Academy (1901–1908), was sent to study at the École des Beaux-Arts (1889–1891) by Cornelius Vanderbilt, his cousin through marriage to Alice Claypoole Gwynne. Ernest Flagg was the brother of Louisa Flagg Scribner, wife of Charles Scribner II, who commissioned him to design the two Scribner Buildings on Fifth Avenue in New York City, the book warehouse and printing plant on West Forty-Third Street, their town house at 9 East Sixty-Sixth Street, and the Princeton University Press building. I thank Charles Scribner III for sharing with me a copy of Flagg’s remarkable book,
The Parthenon Naos
.

59.
Korres and Bouras,
Studies for the Restoration of the Parthenon
,
Chapter 3
, “The Formation of the Building: Its Particular Stones,” 1:249, and specific treatment of this question in
Chapter 4
, “Elastic and Plastic Deformations?,” 1:279–85. See also the English summary by D. Hardy and P. Ramp, 685–86. See also Korres, “Der Plan des Parthenon,” 55–59; W. S. Williams, B. Trautman, S. Findley, and H. Sobel, “Materials Analysis of Marble from the Parthenon,”
Materials Characterization
29 (1992): 185–94. I thank Professor Korres for discussing this phenomenon with me and for providing many helpful bibliographical references.

60.
Korres, “Architecture of the Parthenon,” 62.

61.
Schwab, “New Evidence,” 81–84, argues for changes in Korres’s reconstruction of south metope 14. She removes the golden crown from Helios’s head and argues that the drill hole above it may have been for the attachment of a bronze sun.

62.
J. N. Bremmer, “Greek Demons of the Wilderness: The Case of the Centaurs,” in
Wilderness in Mythology and Religion
, ed. L. Feldt (Berlin: De Gruyter, 2012), 25–53.

63.
See F. Queyrel,
Le Parthénon
, 136–43. W. B. Dinsmoor wrote of the Nointel Artist; see “The Nointel Artist’s ‘Vente’ and Vernon’s Windows,” box 21, folder 4, subsection IIe, the Parthenon frieze, and box 21, folder 1, “The Panathenaic Frieze of the Parthenon: Its Content and Arrangement,” I. General introduction (November 25, 1948), Dinsmoor Papers in the Archives of the American School of Classical Studies at Athens. On
this page
, Dinsmoor says he will use the name Carrey but later
changes his mind. Dinsmoor explains (
this page
) that the drawings were first attributed to Jacques Carrey by Grosley (in L. Moréri,
Grand dictionnaire historique
[Paris: J. Vincent, 1732]). Cornelio Magni states that the drawings were by an anonymous Flemish painter (
Quanto di più curioso
, 1679),
Relazione della città d’Athène
(Parma: Rosati, 1688), 65–66. See T. R. Bowie and D. Thimme,
Carrey Drawings of the Parthenon
(Bloomington: Indiana University Press, 1971), 3–4. See Palagia,
Pediments
, 40–45, 61; Castriota,
Myth, Ethos, and Actuality
, 145–50; Brommer,
Die Skulpturen der Parthenon-Giebel
, 6.

64.
I am indebted to Cornelia Hadjiaslani and S. Mavrommatis for kindly allowing me to reproduce images from their book
Promenades at the Parthenon
,
this page
,
this page
, and
this page
,
this page
,
this page
,
this page
, and
this page
.

65.
Carpenter,
Architects of the Parthenon
, 62–68.

66.
M. Robertson, “The South Metopes: Theseus and Daedalus,” in Berger,
Parthenon-Kongreß Basel
, 206–8; A. Mantis, “Parthenon Central South Metopes: New Evidence,” in Buitron-Oliver,
Interpretation of Architectural Sculpture
, 67–81.