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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: The Archaic Horsemen

Archaic Horsemen on the Acropolis

During the archaic period statues of horsemen were a significant class of dedications made in the sanctuary of Athena. The reasons for making these dedications are not known. Perhaps they were offerings made by knights, i.e. the second highest class in Athenian society during the archaic period. These horsemen on the Acropolis also have something to do with the cult of Athena Hippia who was worshipped in Attica, perhaps also on the Acropolis. The horsemen were carved from single blocks of stone in island or Pentelic marble. Apart from differences in proportions they have individual features; they may be beardless or bearded; some are naked while others are clad in a chiton or eastern costume and wearing sandals indicated by paint. The way in which they ride varies: sitting far forward at the neck or in the middle of the back, with their legs gripping the belly of the horse or stretched out.

The first great horseman, the so called "Rampin rider" (Akr. 590), was dedicated around 550 B.C. In 1936 the English archaeologist Η. Payne joined the Acropolis torso to a bearded head which G. Ramρin had donated to the Louvre (MNC 2128). The naked rider wears a victory wreath of oak leaves or wild celery leaves and he sits bolt upright leaning slightly to the right. The horseman Akr. 1359 was made around 520-510 B.C. During the conservation procedures new fragments were joined and also the previously associated thigh of the horseman. The two sides of the horse have been cut down for reuse in a wall, perhaps the Acropolis circuit wall.

Smaller horsemen were also dedicated in the sanctuary. Horseman Akr. 700 of Pentelic marble, to which a buttocks fragment has been joined, has been associated with a late archaic inscribed base of Dionysios. Horseman Akr. 148 of Pentelic marble has gained a new fragment from the hindquarters of the horse. The head and upper body of a youth (Akr. 623) have been attributed to the rider Akr. 4119 of Parian marble. The bearded head Akr. 621 and two heads of youths (Akr. 663 and 653) probably also belong to horsemen. The Hippalektryon (Akr. 597) depicts a rider on a mythical creature, a mixture of horse and rooster, a unique representation in sculpture. The horsemen were carved in Attic workshops, except for the little horseman (Akr. 4119623), the work of an Ionian sculptor. The bronze figurines found on the Acropolis and its north slope were dedications or attachments on vessels.

Restoring and conserving of the Horsemen

The work of conserving and restoring the archaic horsemen was carried out in the sculpture laboratory of the Acropolis Museum in 1992-1998

Horseman Nr 1359: The horseman had previously consisted of two separate sets of fragments which were given conservation treatment. After the fragments had been taken apart, cleaned and consolidated, they were mended up with white cement and titanium clamps placed in the pre-existing holes. In the course f investigation two new fragments were added to the horse’s body, one of which bridged the gap between the two previously separate groups of fragments, and the horseman’s thigh was glued in place. A non-joining fragment from the horseman’s buttock and thigh could be securely attributed on the basis of the pattern on the hem of the “chiton”. The sculpture was set up on cement piers; the forepart of the horse is braced with a bronze armature at the neck and chest; in back the surface of the breaks in the original marble was, by means of moulds, reproduced in negative impression in the new material, preserving the original break intact, making it possible to join newly discovered fragments in the future.

The Persian Rider: Only the forepart of this horseman was formerly on display. One of the horse’s hind legs had previously been attributed to him, but now, during recent research, the body and hindquarters of the horse have been mended up from a leg fragment formerly associated with the “Rampin Rider” and a small fragment that joined the legs with the left buttock and two fragments from the horse’s hindquarters. I addition, the right foreleg has been joined. After fillers of plaster and clay, Meyer glue and the clamps had been removed, the piece has been reassembled. At the same time, two new fragments from the neck and belly of the horse were identified and joined.

The two sections, front and back, were set up on a new base, brass components were used in front and a cement support in back. The gap in the center was filled in with polyurethane and a thin coat of plaster. In the meantime, a fragment found in a marble dump was identified as belonging to the belly of the horse, a find of special significance, because, together with another fragment, formerly associated with the horse, it now became possible to join the two hitherto separate groups of fragments and establish the exact length of the horse. After dismantling the sculpture, inserting a metal armature and filling in the gaps with plaster, thus keeping the original fragments in place, the whole sculpture was restored for a second time and is now displayed in its greatly enchanted state.


Akr 606. The Persian Rider

Akr 606. The Persian Rider


The third large horseman is called the "Persian Rider" because of his oriental costume, a sleeved chiton with multicoloured anthemion and leggings with lozenge designs. Fragments of the hindquarters and middle of the horse, recently identified in the storeroom and among scattered marbles on the Acropolis, have been joined to the previously known forepart, so that much more of the original form has been retrieved.
Akr 606. The Persian Rider (Full Profile)

Akr 606. The Persian Rider (Full Profile)
Akr 606. The Persian Rider (Thigh Detail)

Akr 606. The Persian Rider (Thigh Detail)
Akr 606. The Persian Rider

Akr 606. The Persian Rider
Akr 590. The “Rampin Rider”

Akr 590. The “Rampin Rider”


A marble statue of a naked rider wearing a victory wreath of oak or wild celery leaves. Whereas the horse’s head turns to the right, the rider bends his head slightly to the left. It is considered as one of the loveliest works of the 6th century. Around 550 B.C.
Akr 590. The “Rampin Rider” Portrait

Akr 590. The “Rampin Rider” Portrait


In 1936 the English archaeologist Payne joined the Acropolis torso to a bearded head which G. Rampin had donated to the Louvre. This rider's head is a plaster cast made from the original. The smiling face, the skillfully carved hair and beard create an excellent ensemble. It is considered as one of the loveliest works of the 6th century. Around 550 B.C.
The “Rampin Rider”

The “Rampin Rider”


credit: www.louvre.or.jp
Akr 700. Marble Statue of a Horseman

Akr 700. Marble Statue of a Horseman


Most of the marvelous horse is preserved, but, of the horseman, only the lower part of his body and his legs remain. He held reins made of bronze in his left hand and he wore sandals with painted thongs. A great composition with finely modeled and flawlessly executed details, for instance the toes of his left foot. One of the most beautiful equestrian statues of the end of the 6th centuryB.C.


credit: www.louvre.or.jp
Akr 700. Marble Statue of a Horseman (Foot Detail)

Akr 700. Marble Statue of a Horseman (Foot Detail)
Akr 1359. Marble Statue of a Horseman

Akr 1359. Marble Statue of a Horseman


The horse consists of two separate sets of fragments. Two new fragments were joined to the horse’s body and, also, the horseman’ thigh was glued in place. A non-joining fragment from the horseman’s buttock and thigh could be securely attributed on the basis of the decorative pattern on the hem of the chiton. The two sides of the horse have been chiseled off for reuse in a wall, perhaps the Acropolis circuit wall. Around 520-510 B.C.
Ακρ 597.  Hippalektryon

Ακρ 597. Hippalektryon


Rider on a Hippalektryon, a mythical creature part horse, part rooster. The forepart with the head, chest and legs is of a horse, whereas in back it has the wings and tail of a rooster. The slender figure of the rider sits forward at the horse’s neck, leaning back as the hippalektryon flies through he air. Traces of polychrome decoration are preserved on the mane and wings and on the spirals of the anthemion supporting the forelegs. This is the sole sculptural representation of a hippalektryon, often represented in vase painting. An Attic work dating to 510-500 B.C.

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