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Athens (Attica) | Attica | Athens City

The Acropolis of Athens Old Museum

Introduction

The Museum existing until lately on the Acropolis rock was considered among the most important ones in the world and definitely the most important one as far as the History of European Art is concerned. It was built on the Acropolis Hill in 1874, in such a way that it would not aesthetically interfere with the Temples, nor be visible from anywhere within the city of Athens.

The excavations that followed, toward the end of the 19th century, unearthed a wealth of finds which were impossible to exhibit in the limited space of the Museum. Thus, the inscriptions, bronzes, clay objects, and a variety of other items were kept in the National Archaeological Museum, where they were originally taken for conservation. The situation was aggravated after all the marble pieces were removed from the Parthenon Friezes (that is, what was left over after Elgin's plunder) and were put in the museum, together with the Caryatids (the marble statues of the women supporting the roof of the south porch of the Erechtheion), all of which were removed to be kept in an air-tight window containing nitrogen, so as to stop air pollution from deteriorating the marble surfaces.

The collections of the museum included:

Sculptural offerings of the Archaic period
Pediments of temples dated to the Archaic period
Archaic Horsemen
Sculptures of the "Severe" style
Pediments and metopes from the Parthenon
The Parthenon frieze
The Erechtheion frieze
Parapets of the Athena Nike temple
Frieze of the Athena Nike temple
The Caryatids
Clay figurines and vases from the sanctuary of the Nymphs.

Everyone was eagerly anticipating the completion of the new Acropolis Museum, for the total wealth of finds related to the Acropolis and the Parthenon to finally be exhibited in the best possible way (combining location, lighting, space, air filtering and thematic consistency), and thus deprive the descendants of Lord Elgin of all plausible excuses to insist that the Parthenon Marbles continue to be kept separated from the rest of their like and the Parthenon remain in its mutilated state.

During 2008, the exhibits of this Museun were transferred to the New Museum, the erection of which was completed. Three huge cranes were used to carry all the heavy marble statues and exhibits, a total of some 4,500 artifacts from the old, cramped Acropolis museum, a task that was the biggest airlift of antiquities in Greek history. It was the first time the artifacts — some of which are considered among the most important works of antiquity — were moved from the very Acropolis Rock. This transfer was completed in the end of spring but putting up the exhibits in their right place would take a lot longer.

We thought that the present Album would become useless after the New Museum's inauguration. Nevertheless, the decision of the museum authorities to prohibit taking photographs of the exhibits in their new surrounding created more problems than the ones it was supposed to solve. We admit that the decision was well meant, but, with all due respect, we would like to point out that times have changed; we are afraid that whatever is not shown online cannot achieve the level of promotion that it may be worthy of. We managed, though, to get a number of photos of the exhibits, as the decision was taken a couple of weeks after the museum's inauguration. We are working on them and will do our best to put them up as soon as possible. But, in our effort to best present the exhibits, we are sorry to have to use some of the photos taken at the Old Acropolis Museum. Until the New Acropolis Museum album is online, please enjoy the marvellous artifacts at their old "home".

(Photos: Michael Tziotis)

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Click on any of the pictures to enlarge.

Gallery VI

Sculptures from the period of the Severe Style (480 - 450 BC), the Kritios boy, the Kore of Euthydikos, the Propylaea Kore, the Athena of Angelitos and the relief of the Pensive Athena.


Akr 690. The Nike of Kallimachos

Akr 690. The Nike of Kallimachos


Two fragments of the body and a fragment of the back of the head, made of Parian marble. The statue is associated with the inscribed Ionic column of Kallimachos. According to the inscription, the dedication was made by the general Kallimachos, but the statue must have been dedicated after he was killed at the Battle of Marathon. After 490 B.C.
Akr 690. The Nike of Kallimachos

Akr 690. The Nike of Kallimachos


One of the two fragments of the body and a fragment of the back of the head, made of Parian marble. The statue is associated with the inscribed Ionic column of Kallimachos. After 490 B.C.
Akr 690. The Nike of Kallimachos (Detail)

Akr 690. The Nike of Kallimachos (Detail)
Akr 690. The Nike of Kallimachos (Garment Detail)

Akr 690. The Nike of Kallimachos (Garment Detail)
Akr 689. The Blonde Head

Akr 689. The Blonde Head


This head is a work of the Severe Style, short before 480 B.C. The nickname is due to the yellow paint preserved on the hair at the time the head was found. The male torso fragment nr. 6478 in the same hall probably belongs here.
Akr 688. The “Propylaea Kore”

Akr 688. The “Propylaea Kore”


She was named after the spot where she was found. Her serious expression and the simplicity of her garments, chiton and himation thrown over her shoulders, indicate that this is the latest Kore in the series. Around 480 B.C.
Akr 6478. Fragment preserving hips and thighs of a male figure

Akr 6478. Fragment preserving hips and thighs of a male figure


It probably belongs to the statue of the “Blond Head” (Akr 689, same gallery, across the aisle, photo above). A work of the Severe Style dated some short time before 480 B.C.
Akr 6478. Fragment preserving hips and thighs of a male figure

Akr 6478. Fragment preserving hips and thighs of a male figure
Akr 140.  The Angelitos Athena

Akr 140. The Angelitos Athena


The goddess would have supported her raised right hand on her spear. She wears a chiton, a Doric peplos and an aegis with gorgoneon on her breast. She must have had also a shield. The statue has been associated with a base naming Euenor as the sculptor and Angelitos as the dedicator. (Around 480 B.C.)
Akr 140. The Angelitos Athena

Akr 140. The Angelitos Athena
Akr 140. The Angelitos Athena

Akr 140. The Angelitos Athena


The statue photographed from its left, to show garment folds
Akr 140.  The Angelitos Athena (Detail)

Akr 140. The Angelitos Athena (Detail)


The aegis with the gorgoneon on the chest
Akr 599. Torso of an archer

Akr 599. Torso of an archer


Torso of an archer, made of island marble. Wearing a cuirass over a chiton (indicated only by paint), he is in the act of drawing the bow held in the left hand, as he turns the head to the left at the target. The detailed rendering of the musculature prefigures classical creations. 470-460 B.C.
Akr 699. Head of a Youth

Akr 699. Head of a Youth


Head of a youth made of Parian marble. The band in his hair indicates that he is a victorious athlete. Made by a sculptor in Phidias’ workshop. Contemporary with the Parthenon metopes (447-442 B.C.)
Akr 697. Forepart of a Horse and Akr 13529.  Fragment of a Votive Relief  in the Museum

Akr 697. Forepart of a Horse and Akr 13529. Fragment of a Votive Relief in the Museum


A beautiful corner in the Acropolis Museum where the two pieces are exhibited. For details, please see the following photos.
Akr 697. Forepart of a Horse

Akr 697. Forepart of a Horse


This wonderful animal is pictured in a lively posture and rhythmically pacing, his head slightly turned, dark colored on the strands of the mane. The absence of a rider indicates that perhaps this is a victorious race horse, or that the horse belongs to a larger sculptural composition. 500-490 B.C.
Akr 697. Forepart of a Horse (Head Detail)

Akr 697. Forepart of a Horse (Head Detail)
Akr 13529.  Fragment of a Votive Relief

Akr 13529. Fragment of a Votive Relief


Fragment of a votive relief with the crowning pediment from the Acropolis south slope. In the background the head of a female figure is preserved. Her hair is arranged in wavy ringlets over her forehead and at her temples, and in back a pony-tail. Around 460 B.C.
Akr 1332. “The Potter Relief”

Akr 1332. “The Potter Relief”


The potter, who probably dedicated this relief, is shown seated on a stool with a “himation” wrapped around his legs. He holds two “kylikes” in his left hand, the tribute of his labor for the goddess. Blue and red color on the background “himation” and the vases. Part of an inscription is preserved on the left framing band: “….ios dedicated”. On the basis of the inscription the relief was thought to be the work of the sculptor Endoios who sculpted the statue of Athena, nr 625 in Gallery IV. Around 510 B.C.
Akr 1332. “The Potter Relief” (Detail)

Akr 1332. “The Potter Relief” (Detail)


...He holds two “kylikes” in his left hand, the tribute of his labor for the goddess. Blue and red color on the background “himation” and the vases...
Akr 686-609. “The Euthydikos Kore”

Akr 686-609. “The Euthydikos Kore”


According to the inscription on the base, Euthydikos, son of Thaliarchos, dedicated the statue to the goddess. The somber expression, the robust body and the plain rendering of the Ionic costume mark the transition from the archaic to the Severe Style. Around 480 B.C.
Akr 686-609. “The Euthydikos Kore”

Akr 686-609. “The Euthydikos Kore”


According to the inscription on the base, Euthydikos, son of Thaliarchos, dedicated the statue to the goddess. The somber expression, the robust body and the plain rendering of the Ionic costume mark the transition from the archaic to the Severe Style. Around 480 B.C.
Akr 686-609. “The Euthydikos Kore”

Akr 686-609. “The Euthydikos Kore”
Akr 686-609. “The Euthydikos Kore”

Akr 686-609. “The Euthydikos Kore”
Akr 698. “The Kritios Boy”

Akr 698. “The Kritios Boy”


Statue of a youth, perhaps an athlete, made of Parian marble. It is thought to be a work of sculptors Kritios and Nissiotis, due to its similarity with the Tyrant Slayers group, made by the same artists and known from Roman copies. It was made either directly before or a little later than the destruction by Persians in 480 B.C. which marks the transition from archaic to early classical art.
Akr 698. “The Kritios Boy” (Step Detail)

Akr 698. “The Kritios Boy” (Step Detail)


We are proud to have photographed maybe the very first step accomplished by a statue in the history of Sculpture!
Akr 695. The “Contemplative Athena” Relief

Akr 695. The “Contemplative Athena” Relief


The goddess, clad in an Attic peplos and wearing a Corinthian helmet leans on her spear. With slightly bent head she gazes at the rectangular stele in front of her, perhaps the boundary stone of a sanctuary or a grave stele. Around 460 B.C.
Akr 695. The “Contemplative Athena” Relief (Close up)

Akr 695. The “Contemplative Athena” Relief (Close up)
Akr 142. Statue of goddess Athena

Akr 142. Statue of goddess Athena


Statue of goddess Athena with chiton, himation and aegis with a large gorgoneion in the center. Originally, bronze snakes were set in the holes at the edge of the aegis. She holds her shield with her left hand. The statue perhaps comes from the same composition as the horse Akr 697. About 500-490 B.C.

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