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Athens (Attica)

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 VIII: The West Frieze Of The Parthenon

The Parthenon frieze (438 - 432 BC), figures from the Erechtheion frieze (410 BC), balustrade with relief figures of Nike from the temple of Athena Nike (420 - 410 BC)

The West Frieze of the Parthenon
The beginning of the Panathenaic Procession on the west side blocks

The relief frieze of the Parthenon was sculpted during 442-438 B.C. and was probably carved on the building, forming an integral part of its structure. It is generally accepted that the composition represents the festive procession of the Panathenaia, the final episode of the greatest celebration in honor of the city-goddess Athena. The procession starts at the SW corner of the temple and moves in two groups along the north and south flanks. The two lines of the procession meet at the cast side, where the delivery of a “peplos” (robe) for the goddess’ cult-image takes place in the presence of the Olympian gods.

The west frieze was placed above the architrave of the “opisthonaos” and consists of sixteen blocks. The first two are included among the parts of the frieze dismantled by Elgin, now in the British Museum. The remaining fourteen blocks remained in situ until 1992-93, when they were removed during the restoration carried out on the temple.

The theme of the composition on the west frieze is the beginning of the panathenaic procession, that is, the gathering and start of the Athenean cavalcade, an event that took place in Kerameikos. A distinctive feature, also seen on the east frieze, is the carving of individual scenes consisting of two or three figures, with a lone horse-tamer as the central point (VIII, 15). Preparatory moments with youths in relaxed poses alternate with mounted riders in gallop. Some riders are depicted adjusting elements of their costume and bridling or trying to get control of their horses with the help of young attendants, while others have already mounted. Weapons (breastplate, sword, helmet) and cap or mantle made of animal skin complete their costumes. Marshals are also included among the riders (III, 5). The mature bearded horsemen (IV, 8 and VIII, 15) have been identified as the two “Hipparchoi” (commanders) of the Athenian cavalry. The latter, dressed in “exomis” (a tunic fastened on one shoulder) and mantle with fluttering folds in back, tries to get control of his restless horse that is rearing up on its hind hooves. The composition is regarded as carved by the master art Pheidias.

The removal of the west frieze was the most important intervention undertaken on the western part of the temple, which had remained almost untouched. After dismantling, the blocks were transferred to a laboratory created especially for them in this Gallery of the Museum. As soon as the specific study had been approved, conservation treatment began in 1999, which is being carried out by the Conservation Service of Acropolis with the archaeological cooperation of the 1st Ephorate of Prehistoric and Classical Antiquities of Acropolis. The recent intervention includes structural restoration and rehabilitation from previous interventions and cleaning of the relief surface with the laser method. The cleaning has revealed precious historical information, such as incised and relief details, patinas, tool marks indicating the techniques followed by the ancient sculptors, and a great number of holes for the metal attachments of the figures.

The removal of the corner restorations has helped us to test the scholarly attribution of fragments to the missing parts of the west frieze. For instance, a fragment (Acropolis Museum inv. nr 1031), which belongs to block IX, with two galloping horsemen, was joined to its position. With the completion of the project, all the historical evidence of the sculpted surface will be clearer, thus contributing to a better reading and understanding of the Parthenon frieze.

The deterioration and the conservation and cleaning project

The deterioration of the Parthenon West Frieze is attributable to a combination of mechanical, physical and chemical factors along with the atmospheric pollution. Earthquakes, the fire of the 3rd c. A.D., the explosion in 1687 A.D. and vandalisms had as a result a number of cracks and material loss from its sculptural surface. Important were also the damages from unsuccessful conservation interventions of the last two centuries, with the extensive use of brass pins for the consolidation of loose fragments and the Meyer mortar for the sealing of cracks and aesthetic sculptural restorations. Air pollution during the last fifty years has resulted in severe alterations to the relief. The phenomenon of surface loss because of acid rain, the gypsum formation due to sulfur dioxide, the flaking and gradual loss of monochromatic surface layers, have been observed since 1970’s. in 1978 the West Frieze was sheltered by a canopy for protection, which remained until 1993, when the frieze was finally removed from the monument. The canopy prevented the reduction of sculptural surface due to acid rain, but the gypsum formation, the deposits of soot and suspended particles, and the formation of black crust were all intensified.

In 2000 the restoration project was initiated with the structural restoration of the blocks. The surface was consolidated, the grass pins and the mortars from earlier treatments were removed, the fragments were reattached and the cracks and gasps were filled with grouts.

At the same time a long research program was carried out in order to choose the best cleaning method. The experiments proved that the laser cleaning method, with all the alternative possibilities that it provides, was the most suitable. It achieves safe cleaning with a satisfactory aesthetic result for all the types of encrustation. Its most important advantage is that it is self-adjusted.

In collaboration with the Institute of Electronic Structure and Laser of the Foundation of Research and Technology, the combined effect of the infrared and ultraviolet radiation was applied through an international prototype system, designed and materialized by IESL-FORTH specifically for the cleaning of the West Frieze. This system can operate along two wavelengths (the infrared and the ultraviolet), individually or in combination, according to the substratum (marble or monochromatic surface layers) and the crust type. In each case certain parameters are adjusted (energy density, radiation ratio and the number of pulses), so that the desired crust thickness can be removed without the slightest damage to the marble and the monochromatic surface layers which are preserved in great extent.

What followed was the aesthetic restoration by sealing the cracks and the discontinuities of the surface without remodeling the relief, according to current conservation principles.


The West Parthenon Frieze: Third Block.

The West Parthenon Frieze: Third Block.
The West Parthenon Frieze: Fourth Block.

The West Parthenon Frieze: Fourth Block.
The West Parthenon Frieze: Fourth Block (Detail)

The West Parthenon Frieze: Fourth Block (Detail)
The West Parthenon Frieze: Fifth Block.

The West Parthenon Frieze: Fifth Block.
The West Parthenon Frieze: Sixth Block.

The West Parthenon Frieze: Sixth Block.
The West Parthenon Frieze: Seventh Block.

The West Parthenon Frieze: Seventh Block.
The West Parthenon Frieze: Eighth Block.

The West Parthenon Frieze: Eighth Block.
The West Parthenon Frieze: Eighth Block (Detail)

The West Parthenon Frieze: Eighth Block (Detail)
The West Parthenon Frieze: Eighth Block (Detail)

The West Parthenon Frieze: Eighth Block (Detail)
The West Parthenon Frieze: Ninth Block

The West Parthenon Frieze: Ninth Block
The West Parthenon Frieze: Tenth Block

The West Parthenon Frieze: Tenth Block
The West Parthenon Frieze: Tenth Block (Detail)

The West Parthenon Frieze: Tenth Block (Detail)
The West Parthenon Frieze: Eleventh Block

The West Parthenon Frieze: Eleventh Block
The West Parthenon Frieze: Twelfth Block

The West Parthenon Frieze: Twelfth Block
The West Parthenon Frieze: Thirteenth Block

The West Parthenon Frieze: Thirteenth Block
The West Parthenon Frieze: Fourteenth Block

The West Parthenon Frieze: Fourteenth Block
The West Parthenon Frieze: Fifteenth Block

The West Parthenon Frieze: Fifteenth Block

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