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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 IV

Archaic dedications of the last quarter of the 6th c (525 - 500 BC), Korae (the Peplos Kore, the Maiden of Chios and others). The Rampin Horseman and the Persian Horseman, a hunting dog and Athena Endoios.


Akr 625.  “The Endoios Athena”

Akr 625. “The Endoios Athena”


Statue of Athena found in 1821 on the Acropolis northern slope. The goddess is seated on a throne without a backrest, with cuttings for arm supports, resting on a plinth. She wears a tightly pleated chiton and an aegis which had bronze snakes, separately attached in holes around the edge, and a large Gorgoneion in the center. Despite the extensive wear, the figure conveys an impression of vividness unusual for seated statues of the archaic period. This statue has been identified with the one signed by Endoios and dedicated to Kallias seen by Pausanias in the 2nd century A.D. The identification was made on the basis of the spot it was found and the heavy weathering testifying to long exposure to the elements. The work is dated to about 530-525 B.C.
Akr 665. Marble Statue of a Kouros

Akr 665. Marble Statue of a Kouros


In spite of the extensive damage of the front caused by conflagration of the Persian destruction, it is still possible to discern the quality of this work, especially in back: the naturalism of the figure, the vitality of his powerful limbs, and the fluid contours of the body. A stone base preserving the feet of a male figure made of the same marble has been attributed to this kouros; the inscription reads (as restored): “Ketios dedicated…”. Third quarter of the 6th century B.C.
Akr 665. Marble Statue of a Kouros (Left Back Side)

Akr 665. Marble Statue of a Kouros (Left Back Side)
Akr 665.  Marble Statue of a Kouros (Front side)

Akr 665. Marble Statue of a Kouros (Front side)


In spite of the extensive damage of the front caused by conflagration of the Persian destruction...
Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group

Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group


Foreparts of four horses from a chariot group made of Hymettian marble, deriving from a votive or an architectural relief. The charioteer and the chariot would have been shown frontally, either in relief or painted on the background now lost. (The head fragment nr 637 has been attributed to the charioteer). The horses with their manes colored green are symmetrically composed with the two central horses facing inward and the two outside ones facing outward. Around 570 B.C.
Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Frontal View)

Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Frontal View)
Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Detail)

Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Detail)


Detail of the two central horses with their heads turned inwards while they have an eternal mysterious conversation
Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Detail)

Akr 575-576. 678-580. 320. Foreparts of four horses from a chariot group (Detail)


The mane of the horse to the far right, as we face them
Akr 143.  Marble dog

Akr 143. Marble dog


One of the most remarkable animal representations. He was perhaps placed, together with a similar one, of which only fragments have been preserved, at the entrance to the sanctuary of Artemis Brauronia in the southwest area of the Acropolis. The lean hound is crouching with outstretched head, apparently ready to dash forward. The rendering of anatomy and the fine surface polish are worthy of note. Around 520B.C.
Akr 143.  Marble dog

Akr 143. Marble dog


Out of his original position, now in the Museum, the marble dog is consistently watching over the Korae in Gallery IV
Akr 143.  Marble dog (Head Detail)

Akr 143. Marble dog (Head Detail)
Akr 145.  Statue of the so-called Theseus

Akr 145. Statue of the so-called Theseus


Torso of a naked youth from a group of combatants. He is in the act of raising his right hand in order to strike his adversary, who has seized his left shoulder. The fragment Akr 370 from the head of a bearded man with another figure’s hand on his neck, is attributed to Theseus’ opponent, Procrustes. Around 520 B.C.
Akr 145.  Statue of the so-called Theseus

Akr 145. Statue of the so-called Theseus
Akr 145.  Statue of the so-called Theseus (Detail with Opponent's Hand)

Akr 145. Statue of the so-called Theseus (Detail with Opponent's Hand)
Akr 691.  A small headless Nike (Victory)

Akr 691. A small headless Nike (Victory)


Of island marble. She flies to the left with unfurled wings, pulling up her chiton with her hand. Her hair is wind-swept in back. Around 500B.C.
Akr 694.  Statue of a winged Nike

Akr 694. Statue of a winged Nike


Flying toward the left. Her outspread wings had painted feathers. Her plain peplos was fastened at the shoulders with metal pins. The lack of sculptural volume perhaps indicates that the figure was an acroterion on a temple. Around 480B.C.
Akr 694.  Statue of a winged Nike

Akr 694. Statue of a winged Nike
Akr 1342.  Relief of a Charioteer

Akr 1342. Relief of a Charioteer


The figure is shown in the act of mounting the chariot with one foot on the car, while holding the horse’s reins. The charioteer wears a chiton and himation slung around the shoulders; the hair is bound in a krobylos. The figure has been interpreted as Artemis or Apollo, it being unclear whether a woman or a man is represented. This relief has been associated with the Hermes relief (Akr 1343), the two reliefs perhaps belonging to a continuous frieze. These reliefs, together with other fragments, have been assigned to the Old Temple of Athena. Last quarter of the 6th century B.C.
Akr 617. Small Marble Head

Akr 617. Small Marble Head


Perhaps from a statue of a rider, shown in three quarters' view to the right. The hair over the forehead is rendered as a wavy solid mass; the eyes are slightly slanted. He wears a diadem which originally had a painted pattern. 560-550 B.C.
Akr 617. Small Marble Head Profile

Akr 617. Small Marble Head Profile
Akr 654. Head of a Kore or Sphinx

Akr 654. Head of a Kore or Sphinx


Head of a Kore or Sphinx made of Parian marble. Traces of a low diadem are preserved over the wavy mass of hair. A work near the style of the Rampin rider master, around 560 B.C.

Akr 654. Head of a Kore or Sphinx

Akr 654. Head of a Kore or Sphinx




Akr 629.  One of the Three Scribes

Akr 629. One of the Three Scribes


Three scribes carved from Hymettian marble, from the workshop of a single Attic sculptor, dated to the end of the sixth century B.C. All three are seated on stools and wear a cloak draped over the left shoulder and wound around the legs, and sandals formerly indicated by means of paint. The two smaller scribes held a four-sided object on their laps, writing-tablets on which they were writing with a stylus. The tablet belonging to the largest scribe was separately attached with dowels fitting into the drill holes in his thigh. The head of the bearded scribe Akr 629, the face with hair and throat, is a plaster cast of the original in the Louvre (formerly Fauvel Collection). The top of the head is a separate piece glued on at the time the sculpture was made. It is not certain who the scribes are: perhaps treasurers or officers recording cavalry enrolment or secretaries.
Akr 629.  One of the Three Scribes

Akr 629. One of the Three Scribes
Akr 144, 146. Two of the Three Scribes

Akr 144, 146. Two of the Three Scribes

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