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1
Denker, A. "BRINGING VISIBILITY TO THE ORIGINAL SPLENDOUR OF A LOST WONDER OF THE ANCIENT WORLD: THE TEMPLE OF ARTEMIS AT EPHESUS." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 63–70. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-63-2023.
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Abstract. The visualization work presented here seeks an answer to one of the most persistant problems of our cultural heritage: to make visible the original splendour of the lost Temple of Artemis, one of the seven wonders of the world whose glory could not be surpassed in the Classical Age by any other building. Unfortunately, neither the discovery of the temple, which was found after many years of searching, nor the excavations carried out in the following 150 years were enough to completely remove the veil of mystery from this enigmatic temple, and a completely factual and academically accepted reconstruction has not been possible until today. In this article, it has been tried to give an answer to how this world-wonder temple looked. The goal is to recreate the Temple of Artemis in virtual space using tools and methods at the forefront of digital technology.The effort to bring visibility to the temple provides an opportunity to keep this unique work of our cultural heritage alive in our memories and to increase its accessibility and awareness by providing digital access to the structure that is no longer physically accessible. The most attractive and distinctive feature of virtual reality is that it can take the observer out of the spectator position and into the virtual environment. Images of the reconstruction of the Temple of Artemis are presented in the results section of the article.
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Bykovskaya, Aleksandra V. "Artemis Cult on Bosporus: General and Local Features." Vestnik NSU. Series: History, Philology 20, no. 8 (October 28, 2021): 9–22. http://dx.doi.org/10.25205/1818-7919-2021-20-8-9-22.
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The article studies the Artemis worship on the Bosporus, including goddess’ common and local characteristics. Various religious beliefs related to Artemis had been present in Panticapaeum since its foundation in the 7th century BC due to first Milesian colonists, including apparently Artemis Delphinia and Chitone cults. More recently Artemis of Ephesus and Artemis Piphia cults appeared. Generally Artemis cult contains some archaic elements, among them the Great Goddess (especially in Artemis Tauropolos cult) and the Mistress of Animals features. Those elements were popular in the Bosporan religion, as reflected in unique monuments from the region, such as the statue of goddess with bull skull sitting on the acanthus plant. Hecate cult allegedly entered Panticapaeum from Miletus in Asia Minor version. Gradually in the Hellenistic period there is emerged Artemis-Hecate-Ditagoia cult as a result of several factors, among which were local and Attic influences. Artemis-Hecate as a savior had a strong connection with afterlife and magic rituals. The next flourishing of Artemis cult occurs in the Mithridates period due to the ruler’s support of Greek religion. Nevertheless, the continuity of religious traditions took place. A sanctuary devoted allegedly to Artemis-Hecate was built in the Panticapaeum acropolis, close to the Cybele temple. At this time sacral reliefs with Cybele, Hermes and Hecate became popular throughout the state of Bosporus. The monuments reflected a scene of the journey into the underworld, and Hecate perhaps acted as a deity of borders and gatekeeper.
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Duev, Ratko. "The Family of Zeus in Early Greek Poetry and Myths." Classica Cracoviensia 22 (October 29, 2020): 121–44. http://dx.doi.org/10.12797/cc.20.2019.22.05.
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The Family of Zeus in Early Greek Poetry and Myths
In early epic poetry it is evident that certain differences exist in both traditions, mainly due to the fact that Homer’s epic poems were written on the western coast of Asia Minor and the surrounding islands, while Hesiod’s poems were composed on mainland Greece. From the analysis, it becomes clear that the development of the cult of an Indo-European Sky Father differs significantly from the assumed Proto-Indo-European tradition. His family is completely different from that in the Indo-European tradition. His wife is the goddess Hera, whom Homer calls ‘old’, as opposed to the Hesiodic tradition, in which Hestia and Demeter are older than her. Homer makes no mention whatsoever of Hestia. The ‘daughters of Zeus’ are the goddesses Athena and Aphrodite, and the ‘son of Zeus’ is Apollo. The family of Zeus according to Homer also differs from the archaeological findings of the tradition on land. Hera of Samos bears no resemblance to Hera of Argos. The oldest large temples are connected to her, as well as to the memory of Oceanus and Thetis as parents to the gods, which is a direct influence of the Mesopotamian myths of Apsu and Tiamat. Homer’s Zeus from Mount Ida, Hera of Samos, Apollo of Cilla, and Tenedus and Artemis of Ephesus are closer to the Anatolian tradition.
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Rogers, G. M. "Demetrios of Ephesos : Silversmith and Neopoios?" Belleten 50, no. 198 (December 1, 1986): 877–84. http://dx.doi.org/10.37879/belleten.1986.877.
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Hooker, M. D. "Artemis of Ephesus." Journal of Theological Studies 64, no. 1 (April 1, 2013): 37–46. http://dx.doi.org/10.1093/jts/fls174.
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Finch, Annie. "To Artemis at Ephesus." Hudson Review 51, no. 2 (1998): 374. http://dx.doi.org/10.2307/3853064.
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Smolcic-Makuljevic, Svetlana. "The sacral topography of the Monastery of Treskavac." Balcanica, no. 35 (2004): 285–322. http://dx.doi.org/10.2298/balc0535285s.
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The stretches of Mt Treskavac with Zlatovrh, a dominant peak in Pelagonija and its distinctive rocky landscape have offered a suitable setting for exercising austere monastic practices ever since medieval times. The sacred area formed around the Monastery of the Dormition of the Virgin in medieval times was founded on the antique sacred place of Kolobaise and the temples of Artemis of Ephesus and Apollo Euthanatos. To medieval renovation of the monastery besides the Byzantine and Bulgarian rulers, also contributed the Serbian rulers of the Nemanjic house, kings Milutin, Stefan of Decani and Dusan. Testimonies to a stay at Treskavac were left by the Serbian nobles enochiar Dabiziv and tepcija Gradislav. The cult of the Virgin of Treskavac confirmed in the written sources beginning with king Dusan's charters to the monastery (1334-1343), left its trace both in the wall-painting of the monastery church and in the activity of manuscript copying cultivated in this monastic center. Over the centuries, many pilgrims, from the royalty local lords and members of well-to-do families to priests and monks Orthodox Christians but also non-Christians, came to show their respect to the Virgin of Treskavac. A small cave church has been recently registered in the immediate vicinity of the monastery. An evidence of the eremitic way of life, it confirms the information contained in king Dusan's charters. Namely, they compare the way of life of the monks of Treskavac with the ascetic practice of Mount Athos and Mount Sinai. The area of Mt Treskavac also shows several rock paintings with a cultic function. This authentic manner of marking out a sacred area may be explained by the prophylactic role of the Virgin, or a Christian saint, in a barely passable, perilous landscape. Springs and drinking fountains constitute another important element of the monastery's topography. Through the monks' continuous and devout effort put into shaping the landscape, the fresh and icy cold water from the mountain springs has been captured and channeled into drinking fountains for the use both of the dwellers of the monastery and of pilgrims.
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Ellis, James W. "Apostle Paul in Ephesus: Christianity’s Clash with the Cult of Artemis." European Journal of Theology and Philosophy 3, no. 1 (January 25, 2023): 22–34. http://dx.doi.org/10.24018/theology.2023.3.1.86.
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This essay contextualizes the apostle Paul’s pivotal missionary residence in Ephesus, giving particular attention to the intriguing confrontation between Paul’s associates and devotees of the cult of Ephesian Artemis. The essay begins by examining aspects of the city of Ephesus and its residents that presented Paul both with unique challenges and unique evangelical opportunities. Specific attention is given to the shift in Paul’s locus of evangelism, from the Ephesian synagogue to residential house churches. This is followed by an exploration of the Ephesians’ distinctive adoration of Artemis. Finally, the dramatic clash between Christians and pagans in the Ephesian amphitheatre is scrutinized, with emphasis placed on the people involved and implications for the first century expansion of the Christian Church.
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Sasseville, David. "The Lydian word for ‘prosecutor’." Kadmos 57, no. 1-2 (June 1, 2018): 129–36. http://dx.doi.org/10.1515/kadmos-2018-0008.
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Abstract The present paper offers a contextual analysis of the Lydian title šiwraλm(i)- of unclear semantics and compares it with the Greek title προήγορος ‘advocate, prosecutor’ found in a Greek inscription from Ephesus. Both titles have in common that they refer to officials related to the cult of Artemis in Ephesus and Sardis. The comparative analysis yields new information on the cult of the goddess and contributes to our understanding of the Lydian lexicon.
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Frayer-Griggs, Daniel. "The Beasts at Ephesus and the Cult of Artemis." Harvard Theological Review 106, no. 4 (October 2013): 459–77. http://dx.doi.org/10.1017/s0017816013000242.
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The wordscrux interpretumare frequently invoked over the question Paul poses to his Corinthian acquaintances in 1 Cor 15:32: εἰ κατὰ ἄνθρωπον ἐθηριομάχησα ἐν Ἐφεσῳ, τί μοι τὸ ὄφελος; “If with merely human hopes I fought with beasts at Ephesus, what would I have gained by it?” Three principal questions have occupied interpreters of this enigmatic verse. First, does the verb ἐθηριομάχησα imply a literal fight with wild beasts, does it allude figuratively to a hostile conflict with human adversaries, or does it refer hypothetically to a literal event (an unreal conditional)? Second, if the verb is meant figuratively, as nearly all today conclude, whom does Paul characterize as “wild beasts”? Third, what is meant by the phrase κατὰ ἄνθρωπον?
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Catling, R. W. V. "A fragment of an archaic temple model from Artemis Orthia, Sparta." Annual of the British School at Athens 89 (November 1994): 269–75. http://dx.doi.org/10.1017/s0068245400015409.
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A fragment of an archaic temple model from the British School's early excavations at the sanctuary of Artemis Orthia at Sparta is published. It is suggested here that its decoration represents a timber-framed building. Support for this argument is found in the similar construction technique used for the early 7th-cent. temple of Artemis Orthia. Its contribution to the debate concerning the evolution of the developed Doric order is considered. In further discussion of the significance of votive ‘house models’, doubts are expressed about the universal applicability of recent explanations linking them with female cults explicitly associated with protection of the household.
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Yegül, Fikret. "A FINANCIAL AGREEMENT BETWEEN ARTEMIS AND MNESIMACHOS: THE MAN WHO BAMBOOZLED THE GODDESS." Greece and Rome 71, no. 1 (March 6, 2024): 92–119. http://dx.doi.org/10.1017/s0017383523000256.
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An inscription carved on the interior corner of the north-west anta of the Temple of Artemis at Sardis records the obligations of a certain Mnesimachos in return for a loan of money he received from the temple funds. Unable or unwilling to pay his loan, Mnesimachos declared his decision to convey his estate to Artemis and accept the conditions of the contract. This estate, including villages, dwellings, and peasant-serfs, had been given to him by King Antigonos Monophthalmos around 300 bce. The present work attempts to focus on the sequence of events in Mnesimachos’ life and their relation to the history and architecture of this important temple. The new reading of these events as a result of the last two decades or excavations at Sardis offers us a synthetic understanding of the Hellenistic history of the city and an insight into Mnesimachos’ willingness to forgo his estate in a financial deal that ultimately tricks the goddess.
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Paradiso, Annalisa. "ARISTODEMUS ‘THE GOOD’ AND THE TEMPLE OF ARTEMIS AGROTERA AT MEGALOPOLIS." Classical Quarterly 66, no. 1 (April 19, 2016): 128–33. http://dx.doi.org/10.1017/s0009838816000306.
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Aristodemus, a Phigalian by birth, was tyrant of Megalopolis for around fifteen years in the first half of the third century b.c., possibly from the time of the Chremonidean War (267–262) until around 251, when he was murdered by two Megalopolitan exiled citizens, Megalophanes and Ecdelus, pupils of the Academic Arcesilaus. While giving an account of his violent death, Pausanias, none the less, draws a very positive portrait of him, also mentioning the nickname ‘the Good’ which he probably read on Aristodemus' grave. Pausanias also reports the foundation of two temples by the tyrant, both dedicated to Artemis. At 8.35.5 he locates one of the two temples at thirteen stades from Megalopolis on the road to Methydrion, so to the north. There, he says, is a place named Scias, where there are ruins of a sanctuary of Artemis Sciaditis. At 8.32.4, Pausanias briefly refers to the temple of Artemis Agrotera at Megalopolis. He says only that the sanctuary was on a hill in the south-east district of the polis, and adds that it was dedicated as an ἀνάθημα by the tyrant as well.
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Portefaix, Lilian. "Ancient Ephesus: Processions as Media of Religious and Secular Propaganda." Scripta Instituti Donneriani Aboensis 15 (January 1, 1993): 195–210. http://dx.doi.org/10.30674/scripta.67212.
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The significance of religious rituals often reaches beyond their strict religious intentions. Specifically a procession, performed in front of the public, is a most effective instrument of disseminating a message to the crowds. Consequently, this ritual, as is well known, has often been used not only in religious but also in secular contexts; a procession under the cloak of religion can even become a politically useful medium to avoid popular disturbances on peaceful terms. This was the case in ancient Ephesus, where Roman power conflicted with Greek culture from the middle of the first century B.C. onwards. In the beginning of the second century A.D. the public religious life in the city of Ephesus was to a great extent characterized by processions relating to the cult of Artemis Ephesia. The one traditionally performed on the birthday of the goddess called to mind the Greek origin of the city; it was strictly associated with the religious sphere bringing about a close relationship between the goddess and her adherents. The other, artificially created by a Roman, was entirely secular, and spread its message every fortnight in the streets of Ephesus. It referred to the political field of action and intended to strengthen the Roman rule over the city. The Greek origin of Ephesian culture was later included in the message of the procession, reminding the Greeks not to rebel against Roman rule.
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Macedo, José Marcos. "THE MONTH NAME ΑΓΑΓΥΛΙΟΣ, ARTEMIS ΑΓΑΓΥΛΑΙΑ AND HOMERIC PHRASEOLOGY." Classical Quarterly 65, no. 2 (September 7, 2015): 449–54. http://dx.doi.org/10.1017/s0009838815000300.
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The month name Ἀγαγύλιος is attested in Thessaly and Achaia Phthiotis. Recently, excavations at a Thessalian temple of Apollo in Pythion, at the foot of Olympus, have brought to light numerous ex-votos dedicated to Apollo, Poseidon and to an Artemis whose epiclesis is Agagylaia. Neither the month name nor the epiclesis, which is certainly to be connected with the month name, has yet received an explanation.
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González, Genaro, and Blas Herrera. "Stone sawing machine at the Temple of Artemis in Jerash, Jordan." DYNA 90, no. 229 (December 14, 2023): 35–44. http://dx.doi.org/10.15446/dyna.v90n229.107902.
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Finishing materials play an important role in architectural design. Since ancient times, claddings made of noble materials (mainly stone) convey grandeur. Clearly, there was a technology to transform quarry stones into slabs using stone sawing machines. An example of this comes from the excavation work carried out in 1930 at the Temple of Artemis in Jerash (6th century AD). The archaeologists found a facility which was classified as a stone sawmill. The efficiency of such machines, their construction method and their resistance characteristics have not been studied as yet. This paper aims to define such parameters for the stone sawing machine located in Jerash.
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Yegül, Fikret K. "A Victor’s Message." Journal of the Society of Architectural Historians 73, no. 2 (June 1, 2014): 204–25. http://dx.doi.org/10.1525/jsah.2014.73.2.204.
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Carved on the bottom molding of one of the columns of the Temple of Artemis in Sardis is an inscription that declares: “My torus and my foundation block are carved from a single block of stone. … Of all the columns I am the first to rise.” In addition, the base is fashioned as a victory wreath. The torus—decorated by horizontal laurel leaves gathered by a fluttering ribbon—and a bronze medallion glorify the column as the winner of a competition. In A Victor’s Message: The Talking Column of the Temple of Artemis at Sardis, Fikret K. Yegül analyzes this phenomenon of competitive and celebratory inscriptions and decorative carvings, in particular the message and metaphor voiced by the victorious column of Sardis, to illustrate a wide web of cultural relationships connecting the city to its proud past and auspicious future. The transformation of an architectural element into a victory wreath, which was probably influenced by the base of Trajan’s Column in Rome, is unique in Asia Minor. Equally rare, perhaps even unique, is a column speaking in the first-person singular, using an archaizing mode and message, particularly appreciated in the memory-inspired urban culture of Asia Minor during the Second Sophistic.
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Biguzzi, Giancarlo. "Ephesus, its Artemision, its Temple to the Flavian Emperors, and Idolatry in Revelation." Novum Testamentum 40, no. 3 (1998): 276–90. http://dx.doi.org/10.1163/156853698323282441.
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Mitten, David Gordon. "INTRODUCTION TO “THE HEBREW INSCRIPTIONS FROM SARDIS”." Harvard Theological Review 95, no. 1 (January 2002): 1. http://dx.doi.org/10.1017/s0017816001041013.
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Five of these inscriptions on stone in Hebrew were excavated in the Roman synagogue at Sardis, sixty miles northeast of Izmir in Turkey, during the excavation seasons of 1962 and 1963; the sixth is a stray find from near the Temple of Artemis. Other Hebrew inscriptions or joining fragments may well lurk in the piles of hundreds of marble revetment pieces stored in the depots outside of the north wall of the synagogue.
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Duranti, Marco. "THE MEANING OF THE WAVE IN THE FINAL SCENE OF EURIPIDES’ IPHIGENIA TAURICA." Greece and Rome 69, no. 2 (September 6, 2022): 179–202. http://dx.doi.org/10.1017/s0017383522000018.
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This article offers a new interpretation of the wave which, in the finale of Euripides’ Iphigenia Taurica, prevents the Greek ship from leaving the Taurian land, thus making it necessary for the goddess Athena to intervene. My contention is that the wave is the predictable consequence of the sacrilege which the Greeks are committing by stealing Artemis’ cult statue from the Taurian temple. Therefore, we can detect in IT the same religious offence–punishment–compensation structure that can be found in Aeschylus’ Eumenides. However, unlike in Aeschylus’ tragedy, in IT Athena's final decrees compensate only the goddess Artemis and not the human characters: after deeply suffering as instruments of the divine will, not even in the future will they be allowed to fulfil their desires. Thus, we may say that a supernatural ‘wave’ prevents humans from leaving in accordance with their will.
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Denker, A. "HERMOGENES IN ASIA MINOR: GIVING SPATIAL PRESENCE TO TEMPLES OF DIONYSUS AND ARTEMIS LEUKOPHRYENE IN VIRTUAL SPACE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 499–506. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-499-2023.
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Abstract. Hermogenes and his works in Asia Minor is one of the central subjects of research in both classical architecture and archaeology. In this study, the questions of what role Hermogenes played in Hellenistic architecture, what he intended and built, and why Vitruvius gave him the highest praise are once again brought up. The Temple of Dionysus in Teos and the Temple of Artemis Leukophryene in Magnesia are masterpieces of the great architect Hermogenes, who left his mark on temple architecture in Asia Minor during the Hellenistic period. Both of these temples are now in ruins. The pedestals of several columns, the lower shafts of the columns and a few fallen Ionic capitals convey the buildings' former beauty, but few vestiges remain of these important sanctuaries. Yet these marble monuments still captivate the imagination, twenty-two centuries after they were built. As a result of a systematic and comprehensive application of digital 3D reconstruction methodology, 3D visualizations of these works of this famous architect of the Hellenistic period are created and presented.
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Corso, Antonio. "The Front of a Temple and Swimming Girls by the Andokides Painter (around 520 BC)." Acta Archaeologica 93, no. 1 (March 22, 2023): 111–18. http://dx.doi.org/10.1163/16000390-20210020.
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Abstract This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century BC, representing naked girls who swim in a basin of water with fish in front of a building endowed with a column and an architrave. Several considerations lead to the conclusion that these girls are young Athenian females in the sanctuary of Artemis Brauronia, in front of the temple built by Peisistratos. Thus, we may have the first representation of this sanctuary in our visual evidence.
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Tello Benedicto, Jorge. "Ártemis del quitón. Una aproximación a su culto en la antigüedad = Artemis Kithone. An approach to her cult in antiquity." ARYS. Antigüedad: Religiones y Sociedades, no. 17 (November 20, 2019): 37. http://dx.doi.org/10.20318/arys.2019.4602.
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Resumen: Este artículo pretende recopilar la documentación textual, tanto epigráfica como literaria, del culto de Ártemis bajo la epiclesis Κιθώνη para dibujar un escenario general de su veneración en la Antigüedad. Esta epiclesis, documentada por primera vez en Mileto en época arcaica (siglo VI a.C.), parece referirse al tipo de ofrendas que la diosa recibía bajo esta advocación. En efecto, la ofrenda de vestidos está bien atestiguada epigráficamente en el Ática y en la Jonia anatólica, donde han sido descubiertos inventarios de santuarios que describen con gran precisión ofrendas textiles en el marco del culto a Ártemis. Las fuentes literarias, por otra parte, amplían las prerrogativas de Ártemis del Quitón relacionando a la divinidad con la música, el baile e incluso con la fundación mítica de Mileto; también amplían su geografía cultual, que se inserta en el mundo dórico a través de Siracusa.Abstract: The aim of this article is to provide a general framework for Artemis Κιθώνη cult through the collection of Greek epigraphic and literary sources. This epiclesis, first attested in Miletus during the archaic period (VI BC), seems to refer to the offerings received by the goddess under this particular invocation. Indeed, clothing offerings are epigraphically recorded in Attica and in Ionia, where temple inventories describing accurately textiles as votive gifts for Artemis have been discovered. On the other hand, literary sources extend Artemis Κιθώνη prerogatives, linking her to music, dance and even to the mythical foundation of Miletus; they also expand the influence area of her cult into the Doric world through Syracuse.Palabras clave: Ártemis Κιθώνη, culto, epiclesis, inventarios de vestidos, Jonia, Mileto.Key words: Artemis Κιθώνη, cult, epiclesis, Ionia, Miletus, textile inventories.
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Quatember, Ursula. "The “Temple of Hadrian” on Curetes Street in Ephesus: new research into its building history." Journal of Roman Archaeology 23 (2010): 376–94. http://dx.doi.org/10.1017/s1047759400002464.
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Harvey, David. "HERODOTUS BECOMES INTERESTED IN HISTORY." Greece and Rome 61, no. 1 (March 4, 2014): 1–6. http://dx.doi.org/10.1017/s001738351300020x.
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At 3.60 Herodotus tells us that he has dwelt at length on the Samians because ‘they are responsible for three of the greatest buildings in the Greek world’: the tunnel of Eupalinos, the great temple, and the breakwater that protects their harbour. As successive commentators have pointed out, that is not the real reason for the length of his account. We hear about the tunnel for the first time in this chapter (60.1–3); Maiandrios escapes down a secret channel at 146.2, which may or may not be Eupalinos' tunnel; we hear about the temple of Artemis, not of Hera, at Samos in 48; dedications in the temple of Hera are mentioned in passing at 1.70.3, 3.123.1, 4.88.1, and 4.152.4, but the temple itself cannot be said to play a major part in Herodotus' narrative; naval expeditions sail from Samos (e.g. 44.2, 59.4) but there is no emphasis on the harbour or its breakwater. What Herodotus should have said is ‘I have dwelt at length on Samos, because I am interested in the island's history; and, by the way, they are responsible for three…’; but it is not our job to tell him what he ‘should’ have said. As David Asheri remarks, ‘We can explain it [the length of the Samian logos] most simply by supposing that the logos already existed before the final draft of the book’.
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Bammer, Anton. "A Peripteros of the Geometric Period in the Artemision of Ephesus." Anatolian Studies 40 (December 1990): 137–60. http://dx.doi.org/10.2307/3642799.
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It was in 1908 that D. G. Hogarth first published information about a “Central Basis” (Pl. XI (a), Fig. 1) that he had excavated in 1904 and 1905 in the Artemision at Ephesus, and for many decades his words remained the authoritative statement concerning the early sanctuaries not only in Ephesus, but also in the rest of the classical world. A colloquium in the British Museum in 1984, however, demonstrated that there were issues, raised by numismatists and art historians, that continued to be at odds with the results of Hogarth's excavations, and that could only be solved by a further examination of the “central basis” in question.As early as 1986, under the northern outer rim of the crepidoma of the archaic dipteros (Croesus temple), a square base had been discovered which obviously formed the centre of a distinct cult area. A flood stratum of sand, which was typical of all the parts of the Artemision we had excavated, appeared under the base. Fortunately, the low level of the ground water made it possible to measure this stratum (66 cm.) and to observe beneath it a new culture stratum—a pavement made of yellow marly limestone slabs—that had previously escaped detection. This observation gave rise to the hope that more discoveries could be expected under Hogarth's “central basis”.
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Tsipoura-Vlachou, M., and K. Michopoulos. "Characterization and causes of the building stone decay at the Artemis temple, Brauron, E. Attica, Greece." Bulletin of the Geological Society of Greece 40, no. 4 (January 1, 2007): 1859. http://dx.doi.org/10.12681/bgsg.17146.
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At Brauron (Vraona or Vravrona) area, E. Attica, near the Brauron bay, by the Erasinos river there is an ancient monument of 415 B.C., dedicated to Artemis. The building material used for the construction of the monument is sandstone originated from Neogene sedimentary deposits. The ancient quarries are located 500m away from the monument and traces of quarring are still visible. Monument ruins had been buried under the mud load curried by Erasinos river for many centuries. During the restoration works of the Temple of Artemis besides the stone found in situ, new material provided by the same formation was as well, used. The restored monument stones display intensive deterioration. The purpose of this paper is to study of the decay forms and investigate the decay causes of the building stone in the monument. The decay forms result from intrinsic (endogenic) and environmental factors. The main endogenic factors of decay of the sandstone used as building material, are: a) the high porosity, and the pore size distribution, b) the calcite cement of the stone c) the mineralogical composition, especially the presence of swelling clay minerals. The main environmental factors of decay that result to the calcite and salt crystallization are a) the burial of the ancient building stones, in the brackish water-mud, for centuries b) the frequent floods and possible pollution of the nearby Erasinos river c) the acid rain and aerosol attack d) the bioteterioration. The conclusions of this case study may have application on other monuments of historical interest, in similar environment
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Zink, Stephan, Moritz Taschner, Ina Reiche, Matthias Alfeld, Cristina Aibéo, Ellen Egel, Katharina Müller, Anne Ristau, Birgit Neuhaus, and Wolfgang Massmann. "Tracing the colours of Hermogenes’ temple of Artemis: architectural surface analysis in the Antikensammlung Berlin." Technè, no. 48 (December 31, 2019): 14–26. http://dx.doi.org/10.4000/techne.1791.
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Iannantuono, Ketty. "A Christian Emperor between Pagan Gods." Journal of Applied History 3, no. 1-2 (October 18, 2021): 3–46. http://dx.doi.org/10.1163/25895893-bja10013.
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Abstract In recent years, images of rage against monuments have filled the media. Unmistakably expressing a high degree of tension in societies, these forms of hostility against heritage have been diversely interpreted, prompting passionate expressions of support as well as fierce criticism. Contesting public memorials, however, is not a new form of socio-political dissent. During Late Antiquity, for example, a new sensibility towards ancient monuments emerged in the vast territories that were once part of the Roman Empire. In this article, the late-antique fate of the so-called ‘temple of Hadrian’ at Ephesus is analysed as a case-study. The aim is to gain a better understanding of the approaches adopted to accommodate traditional monumental landscapes in the changed late-antique socio-political context. This analysis offers a new perspective on ancient and contemporary phenomena of contestations of monuments.
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McElroy, Ian Elliot. "Constructed contrasts and manipulated experiences: the cathedral at Gerasa and its relationship with the adjacent Temple of Artemis complex." Levant 53, no. 1 (January 2, 2021): 92–106. http://dx.doi.org/10.1080/00758914.2021.1935096.
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Macaulay-Lewis, Elizabeth, and Jared Simard. "From Jerash to New York." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 343–64. http://dx.doi.org/10.1525/jsah.2015.74.3.343.
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From Jerash to New York: Columns, Archaeology, and Politics at the 1964–65 World’s Fair analyzes the Column of Jerash, presented to New York City by the government of Jordan as a permanent memento of that country’s participation in the 1964–65 New York World’s Fair. Elizabeth Macaulay-Lewis and Jared Simard offer the first scholarly documentation and assessment of the column, which still stands at the site of the fair in Flushing Meadows Corona Park in Queens, New York, and confirm that it originated from Jerash, but not from the Temple of Artemis. The gift of the column was part of King Hussein of Jordan’s policy of archaeological diplomacy, which included the donation of artifacts to American cities and universities to strengthen ties between Jordan and the United States. Macaulay-Lewis and Simard explore the competing narratives of biblical and classical history and archaeology in the American-Israel and Jordan Pavilions at the 1964–65 World’s Fair and the controversy that erupted over the inclusion of a mural about Palestinian refugees in the Jordan Pavilion.
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Greensmith, Emma. "WHEN HOMER QUOTES CALLIMACHUS: ALLUSIVE POETICS IN THE PROEM OF THEPOSTHOMERICA." Classical Quarterly 68, no. 1 (March 19, 2018): 257–74. http://dx.doi.org/10.1017/s0009838818000058.
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In Book 12 of Quintus Smyrnaeus’Posthomerica(c. third centuryc.e.), the epic poet prepares to list the heroes who entered the Wooden Horse before the sack of Troy. Before he begins, he breaks off to ask for help (Quint. Smyrn. 12.306–13):τούς μοι νῦν καθ᾽ ἕκαστον ἀνειρομένῳ σάφα Μοῦσαιἔσπεθ᾽, ὅσοι κατέβησαν ἔσω πολυχανδέος ἵππου·ὑμεῖς γὰρ πᾶσάν μοι ἐνὶ φρεσὶ θήκατ᾽ ἀοιδήν,πρίν μοι <ἔτ᾽> ἀμφὶ παρειὰ κατασκίδνασθαι ἴουλον,Σμύρνης ἐν δαπέδοισι περικλυτὰ μῆλα νέμοντι 310τρὶς τόσον Ἑρμοῦ ἄπωθεν, ὅσον βοόωντος ἀκοῦσαι,Ἀρτέμιδος περὶ νηὸν Ἐλευθερίῳ ἐνὶ κήπῳ,οὔρεΐ τ’ οὔτε λίην χθαμαλῷ οὔθ᾽ ὑψόθι πολλῷ.Muses, I ask you to tell me precisely, one by one, the names of all who went inside the cavernous horse. For you were the ones who filled my mind with all song even before down was spread across my cheeks, when I was tending my renowned sheep in the land of Smyrna, three times as far as the shouting distance from the Hermus, near Artemis’ temple in the garden of Liberty, on a hill that is neither excessively high nor too low.
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Elkins. "The Career of Cornutus Tertullus and the Significance of Diana Planciana and the Temple of Artemis at Perge on Nerva’s Coinage." Memoirs of the American Academy in Rome 68 (2023): 3. http://dx.doi.org/10.2307/27271672.
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Del Sole, Francesco. "Building on the Border: Architecture as a Meeting Place." ATHENS JOURNAL OF ARCHITECTURE 7, no. 4 (September 3, 2021): 415–40. http://dx.doi.org/10.30958/aja.7-4-1.
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To establish a border signifies defining a fixed point from which to start and to which to refer in order to circumscribe controlled and measured environments. It is not important whether it is a border between states and regions or private and public spaces, because the main effect of the border is to sanction a diversity. This proposal will analyse three case-studies that, starting from antiquity to the contemporary age, have proposed over time different ways of conceiving the border, making architecture the convergence point. The first is the Temple of Diana at Ephesus, a monument created by Greek artists located in Persian territory. It stood on the peninsula of Anatolia, the border land par excellence in the Hellenistic world, a place where the dominant Western cultures of Greece and Persia clashed. The second is Castel Velturno, a border utopia belonging to Prince-Bishop Cristoforo Madruzzo, who deposited his dreams of unification between the North and the South of Christianity which were torn apart by the theological demands addressed during the Council of Trento. Finally, this proposal will examine the contemporary project entitled the Bi-National Community Skyscraper, which proposes a reinterpretation of the walls erected on the border between the USA and Mexico by building a skyscraper on it in which the two communities can meet and merge together.
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Elhadi, Ali M., Samuel Kalb, Luis Perez-Orribo, Andrew S. Little, Robert F. Spetzler, and Mark C. Preul. "The journey of discovering skull base anatomy in ancient Egypt and the special influence of Alexandria." Neurosurgical Focus 33, no. 2 (August 2012): E2. http://dx.doi.org/10.3171/2012.6.focus12128.
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The field of anatomy, one of the most ancient sciences, first evolved in Egypt. From the Early Dynastic Period (3100 bc) until the time of Galen at the end of the 2nd century ad, Egypt was the center of anatomical knowledge, including neuroanatomy. Knowledge of neuroanatomy first became important so that sacred rituals could be performed by ancient Egyptian embalmers during mummification procedures. Later, neuroanatomy became a science to be studied by wise men at the ancient temple of Memphis. As religious conflicts developed, the study of the human body became restricted. Myths started to replace scientific research, squelching further exploration of the human body until Alexander the Great founded the city of Alexandria. This period witnessed a revolution in the study of anatomy and functional anatomy. Herophilus of Chalcedon, Erasistratus of Chios, Rufus of Ephesus, and Galen of Pergamon were prominent physicians who studied at the medical school of Alexandria and contributed greatly to knowledge about the anatomy of the skull base. After the Royal Library of Alexandria was burned and laws were passed prohibiting human dissections based on religious and cultural factors, knowledge of human skull base anatomy plateaued for almost 1500 years. In this article the authors consider the beginning of this journey, from the earliest descriptions of skull base anatomy to the establishment of basic skull base anatomy in ancient Egypt.
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Brzozowska, Zofia. "The Church of Divine Wisdom or of Christ – the Incarnate "Logos"? Dedication of "Hagia Sophia" in Constantinople in the Light of Byzantine Sources from 5th to 14th Century." Studia Ceranea 2 (December 30, 2012): 85–96. http://dx.doi.org/10.18778/2084-140x.02.08.
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The article attempts to answer the question of how the name of the most important Byzantine church of Constantinople, the basilica of Hagia Sophia, built in the mid-4th cent., and then rebuilt during the reign of Justinian the Great was understood and interpreted. The problem has been presented on the basis of the views of Byzantine writers from the 5th to the 14th cent. (Socrates Scholasticus, Procopius of Caesarea, Paul the Silentiary, John Zonaras, George Pachymeres, Patriarch Callistus I). The analysis of the above sources allows an assumption that according to the Byzantines themselves the Constantinopolitan cathedral was dedicated to the Divine Wisdom, commonly identified with Christ, the Incarnate Word. The evidence supporting this thesis has been provided by both iconography (e.g. the mosaic from the turn of the 9th and 10th cent. from the tympanum over the main entrance from the narthex to nave of Hagia Sophia, depicting Christ the Pantocrator) and the liturgical practice of the basilica, which can now be reconstructed on the basis of the temple typicons, preserved until today. The final part of the article names some other churches dedicated to the Divine Wisdom, built in the area of the Byzantine ecumene (Ephesus, Jerusalem, Thessalonica, Nicaea, Edessa, Trebizond, Mistra, Arta, Benevento, Nicosia on Cyprus, Serdica (Sofia), Ohrid, Sliven, Kiev, Novgorod the Great and Polotsk).
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Cortes Copete, Juan Manuel. "Hist. Aug., Hadr. 13, 6: la consagración del templo de Zeus Olimpio. Adriano y la integración religiosa del Imperio = Hist. Aug., Hadr. 13, 6: The Consecration of the Temple of Zeus Olympios. Hadrian and the Religious Integration of the Empire." ARYS. Antigüedad: Religiones y Sociedades, no. 16 (September 12, 2019): 207. http://dx.doi.org/10.20318/arys.2018.4456.
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Resumen: Hist. Aug., Hadr. 13, 6 es, junto con Cass. Dio, LXIX 16, 1-2, nuestro único testimonio literario del viaje de Adriano por Oriente entre los años 128 y 134. Hist. Aug., Hadr. 13, 6 recoge, de manera somera y comprimida, algunos de los acontecimientos cruciales de este viaje. Uno de estos fue la consagración del templo de Zeus Olimpio en Atenas. La Historia Augusta parece situar la consagración en 128 aunque los testimonios epigráficos la fechan, indudablemente, en 132. Sobre esta discrepancia, Weber, seguido por Graindor, articuló la explicación una doble ceremonia: en el 128, la dedicatio, y en el 132, la consecratio. He tratado de demostrar que esta interpretación, aceptada como comunis opinio, es incorrecta y que las ceremonias religiosas en el templo de Zeus Olimpio tuvieron lugar en 132. La HA procedió a comprimir la narración y a usar diferentes términos, dedicatio y consecratio, por una cierta voluntad de estilo según los gustos del s. IV d.C. El templo de Adriano que se construyó en Éfeso sirve como referencia para la argumentación. Por último, sostengo que el templo de Zeus Olimpio fue importante porque con la ceremonia del 132 el emperador superaba la barrera del suelo religioso romano y el no religioso de las provincias. El templo de Zeus Olimpio, el primero consagrado por un emperador en el suelo de una ciudad libre, fue capaz de congregar no sólo a los griegos sino también a los ciudadanos romanos y las colonias de oriente.Abstract: Hist. Aug., Hadr. 13, 6 is, together with Cass. Dio, LXIX 16, 1-2, the only literary evidence for Hadrian Eastern journey during years 128 y 134 AD. Hist. Aug., Hadr. 13, 6 relates briefly some of the crucial happenings which took place during the journey, such as the consecration of the temple of Zeus Olympios in Athens. The Historia Augusta appears to place the consecration during the year 128 AD, although the epigraphic evidence unquestionably dates it to 132 AD. Weber attempted to explain this discrepancy by means of a double ceremony, a dedicatio in 128 AD and the consecration in 132 AD. I have attempted to demonstrate how this interpretation, accepted as comunis opinio, is incorrect and that the religious ceremonies in the temple of Zeus Olympios took place in 132 AD. The HA tends to compress the narration and to use different terms, dedicatio and consecratio, due to the stylistic taste typical of IV century AD. An additional element in favour of this argumentation is the temple of Hadrian that was erected in Ephesos. Finally, the article stresses out the importance of the temple of Zeus Olympios due to the fact that with the ceremony of 132 AD the emperor reaches beyond the Roman religious soil and the non-religious provincial ones. The temple of Zeus Olympios, the first one to be consecrated by an emperor outside of Rome and within a free city, represented a unifying factor not only among the Greeks but also with the Roman citizens and the Eastern colonies.Palabras clave: Adriano, Atenas, Éfeso, Olimpieion, Culto Imperial, Integración religiosa del Imperio.Key words: Hadrian, Athens, Ephesus, Olympieion, Imperial cult, Religious integration.
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Roloff, Jürgen. "Rick Strelan, Paul, Artemis, and the Jews in Ephesus (BZNW 80), Berlin/New York (W. de Gruyter) 1996, XXI u. 380 S., Ln. 168,- DM; ISBN 3-11-015020-4." Biblische Zeitschrift 41, no. 2 (September 24, 1997): 278–81. http://dx.doi.org/10.1163/25890468-04102020.
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Goodey, Daniel. "The centrality of the trinity. Exploring the significance for christians, catechists and deacons." Revista Guillermo de Ockham 17, no. 1 (May 31, 2019): 9–15. http://dx.doi.org/10.21500/22563202.4087.
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‘The mystery of the Most Holy Trinity is the central mystery of Christian faith and life ... the source of all the other mysteries of faith, the light that enlightens them.’ This passage from the teaching of the Catechism of the Catholic Church (CCC) (234) on the profession of faith identifies the core principles and underlying recognition of Catholics regarding belief in a triune God – one God existent in three Persons: Father, Son and Holy Spirit. In addressing the people of Ephesus, St. Ignatius of Antioch (also known as Theophorus) said, faithful Christians were ‘being stones of the temple of the Father, prepared for the building of God the Father, and drawn up on high by the instrument of Jesus Christ, which is the cross, making use of the Holy Spirit as a rope, while your faith was the means by which you ascended, and your love the way which led up to God.’ (Ignatius of Antioch, 2014, loc. 4027.) St. Ignatius goes on to say, ‘the Holy Spirit does not speak His own things, but those of Christ, and that not from himself, but from the Lord’. The point St. Ignatius was making is that the three Persons of the triune God are integrally connected, and it is through the grace of the three-in-One that salvation is gained. Hence, the Trinity is the core of the Christian faith, but from the very beginning the faithful relied on metaphor to explain and help others understand how Three could be One
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Lloyd Rosenberg, Jonah. "THE MASKS OF ORTHIA: FORM, FUNCTION AND THE ORIGINS OF THEATRE." Annual of the British School at Athens 110 (November 2015): 247–61. http://dx.doi.org/10.1017/s006824541500009x.
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The British School excavations in Laconia from 1905 to 1910 unearthed terracotta masks from the sanctuary of Artemis Orthia, just east of Sparta, right on the Eurotas river. Buried in two pits adjacent to the archaic temple, the masks were made between c.615 and c.450 bce. Description and analysis of the material and technique of the masks reveal their diverse character and the impracticalities of their being worn. The masks’ function is related to the presence of linen or wood originals that the terracotta versions reproduced, though not uniformly. Difficulty in explaining the (original) masks’ use is predicated on vague approximations of the nature of Orthia's origins and cult. The linguistic clusters proposed by the excavators as early as 1906 as descriptors of the masks or their use are scrutinised for possible illumination of the (original) masks’ use; the burial of the masks some centuries before the descriptions of Pollux, Hesychius and Pausanias begs the question of their applicability to the excavated masks. On the basis of theories of masking from Classics as well as from Japanese Noh theatre and neuroscience, the ‘grotesques’ and ‘caricatures’ proposed by the excavators are recast as comic and satiric figures. Like Aristotle's pre-urban drama, the ‘Orthian drama’ does not correspond to a single theatrical genre, but contains risible figures whose facial expressions are naturalistic and often negative (pain, worry). Given Aristotle's firm assertion that the roots of Greek theatre are Dorian, and the uniqueness of the Orthia material, it is proposed that these masks point us towards the origins of theatre.
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Afonasin, Eugene. "Greek Mystery Cults. Part I: The Sanctuary of the Great Gods on Samothrace and the Mysteries of the Kabeiroi." Ideas and Ideals 14, no. 4-1 (December 27, 2022): 11–40. http://dx.doi.org/10.17212/2075-0862-2022-14.4.1-11-40.
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In this article we first, using the example of Eleusis, briefly examine the question of the origin of ancient mystery practices, and we also touch upon the problem of the evolution of Greek religious beliefs from Archaic times to the Classical period. Often the presence or absence of an extraordinary experience is regarded as a criterion which allows to classify a specific ancient cult as a “mystery” cult. Another criterion, of course, is the closed, initiatory nature of these cults. We discuss this type of cults in the paper, beginning with the historically most ancient ones. The main part of the article is devoted to the detailed study of the Samothracian Mysteries and the sacred rites of Kabeiroi, first of all, in Thebes and on the island of Lemnos. The literary and epigraphic data in the article are considered in the light of archaeological findings. We see that the ancient cult of the Kabeiroi, as well as the ideas about the Great Gods of Samothrace, underwent significant changes over time, first of all, it seems, under the influence of Eleusis. Were the myths of the Samothrace and of the Kabeiroi of a ‘salvific’ nature, and not only in the sense of rescue at sea or from enemies by means of miraculous weapons or foreign magic? Obviously, since about the time of Plato, and perhaps somewhat earlier, the mystery cults, above all the Eleusinian and Orphic ones, are accompanied by certain eschatology and are conceptualized in a philosophical way. This does not mean, of course, that people stop turning to the gods with “ordinary” requests for help and, passing through initiation into the mysteries, necessarily aspire to acquire only a special “mystic” experience or secure for themselves a privileged place in the other world, the picture of which just at this time is significantly transformed. This is briefly the content of the first part of the work, published in this issue of the journal. In the second part of the study we will continue with an account of the “minor mysteries” of antiquity, such as the secret rituals of the Korybantes, the Andanian mysteries in Messenia, and the cult of Artemis in Ephesus, in order to move in the third part to late antique practices such as the mysteries of Isis and Mithras, which we hope will bring us closer to a theoretical synthesis that treats the nature and meaning of the ancient mystery cults.
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Moretti, Jean-Charles. "Yegül Fikret K., The Temple of Artemis at Sardis (Archaeological Exploration of Sardis Reports, 7), Cambridge MA-Londres, Harvard University Press, 2020, 1 vol. 31 × 23,5, XLVIII + 286 p., 7 plans, 452 fig. n/b et coul. + 1 vol. 31,3 × 23,5 contenant XXV plans libres dépliants." Revue archéologique 74, no. 2 (November 30, 2022): 448–51. http://dx.doi.org/10.3917/arch.222.0448.
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Mariolakos, I. D., and D. I. Mariolakos. "THE ARGON FIELD IN ARCADIA, THE SINKHOLE OF NESTANI VILLAGE, GOD POSEIDON AND THE SUBMARINE DINI SPRINGS IN THE ARGOLIC GULF (PELOPONNISOS, GREECE). A GEOMYTHOLOGICAL APPROACH OF THE POSEIDON'S BIRTH." Bulletin of the Geological Society of Greece 36, no. 3 (January 1, 2004): 1146. http://dx.doi.org/10.12681/bgsg.16456.
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The Argon Field (= πεδίο = pedion, in greek) is a small plain in the north part of the much larger Tripolis plain of Central Peloponnisos (Greece). It extends west of Mountain Artemision, which is dedicated to Goddess Artemis (Diana), between Sagas village and that of Nestani, at the province of Manti nia The whole area of Mantinia is well-known since the prehistoric times and, as it is reported by Pausanias, it is mentioned in Greek Mythology. Pausanias (Arcadica, § 7-8) mentions - among others - the following: The word "argon" means "slow cultivation", so that "Argon field" means a field of slow cultivation because of occasional flooding during wintertime, caused by water coming from the surrounding mountains and the karstjc springs flowing from the margins, consisting mainly of multjfokted cretaceous limestones (Ptndos geotectonic unit) The Argon field would have probably turned into a lake, if the water had not been drained through a ground rift. In this case, the rift is apparently the cave - sinkhole of Nestani, which is located at the lowest topographic point of the whole field. After a few days (based on modern tracing experiments) the water reappears from this sinkhole in a submarine system of karstic springs in the Argoltc gulf, that in ancient times were known as Dini, located near Kiveri village. The modern name of the springs is Mikros Anavalos or Aghios Georgios Springs. The subsurface hydraulic communication between the Nestani Sinkhole and Dini springs was known to ancient greeks. According to Greek Mythology when Goddess Rhea, one of the mythical Titans, gave birth to the Greek god Poseidon, she left him near a sheepfold next to a spring, which is known since then as Ama Spring (sheep = αρνί = arni, in greek). Rhea didn't present the baby, Poseidon, to his father, Cronus, who was another mythical Titan, as she was afraid of him. At that time, Cronus was the head of the Titans, but fearing for a revolt of his children, he was eating them straight after their birth. That is why Rhea told him that she hadn't given birth to a child, but to a colt (small horse) instead (horse = ίτπτος = hippos, in greek). In this way, Poseidon survived and became one of the most important legendary Gods of the greeks later. A locality is known next to Dini submarine system of kastric springs at the Argolic Gulf, named Genesion or Genethlion (= birthplace), which is considered to be Poseidon's birthplace. Here, in this place, the ancient inhabitants of Argos used to sacrifice horses, whereas not far away from Nestani, at the small village of Milia, the ruins of a small temple dedicated to Hippios (Horsey) Poseidon have been excavated during the last decades. Poseidon is depicted in many pictures, statues, mosaics etc. In a mosaic, Poseidon comes out from the water on a chariot pulled by four horses. A main question is how Poseidon arrived from a mountainous area to the Argolic Gulf. A geomythological interpretation is that a god such as Poseidon, who was responsible for whatever happened in the water (sea, lakes, ground water etc.) and the earth interior (crust, lithosphère), could not follow a mountainous path, for instance the path over mountain Artemision. On the contrary, for such a god it would be much easier to follow the subsurface water-way through the sinkhole of Nestani village, that is the pathway connected to a subterraneous water flow, which reappears to the surface from the bottom of the sea and in this case to the surface of the Argolic Gulf, through Dini spring. In the case of this myth the hydrogeological conditions of the area are directly connected to the mythological action. This is one more evidence that Poseidon is not a God imported from another culture, but a native one.
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"II. History: Authority Through Narrative." New Surveys in the Classics 32 (2002): 10–44. http://dx.doi.org/10.1017/s053324510003100x.
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Herodotus was not the first to write prose. When his History appeared, probably in the 430s BCE, the scientists of Ionia (like the author of Airs, Waters, Places) had been working for more than a generation. Anaximander and Anaximenes had produced works on the nature of the world as early as the middle of the sixth century, and Hecataeus had already produced his Periodos Gês, ‘Trip around the World’, which surveyed the nations of the Mediterranean. Heraclitus had deposited his paradoxical provocations in the temple of Artemis at Ephesus. Yet, both for the Greeks and for us, what Herodotus achieved demands to be seen as a radical departure. For the first time, the stirring and dramatic events of a nation at war are not merely recorded but explored and discussed at epic length in prose. It is extremely difficult after the long history of History to appreciate just how remarkable this innovative and foundational act is.
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Rasmussen, Kaare Lund, Bodil Bundgaard Rasmussen, Thomas Delbey, Ilaria Bonaduce, Frank Kjeldsen, and Vladimir Gorshkov. "Analyses of the brown stain on the Parthenon Centaur head in Denmark." Heritage Science 12, no. 1 (January 16, 2024). http://dx.doi.org/10.1186/s40494-023-01126-9.
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AbstractIn 1688 two sculptural fragments, a head of bearded man and a head of an unbearded youth, arrived in Copenhagen, sent from Athens as a gift to King Christian 5. They were placed in the Royal Kunstkammer, their provenance given as the Temple of Artemis in Ephesos, one of the Seven Wonders of the World. Almost a hundred and fifty years later, in the early 1820’s they were noticed and studied by two scholars independently visiting the Kunstkammer. However, both concluded that the two heads belonged to one of the metopes decorating the south side of the Parthenon temple on the Acropolis in Athens, showing fighting between Greeks and the mythical Centaurs, part man and part horse. In the 1830’s another sculptural fragment, a horse’s hoof, obtained through the German archaeologist and state antiquary of Greece, Ludwig Ross, reached Copenhagen. It was forwarded by the Danish consul to Athens, C.T. Falbe, as a gift to King Christian 8. The inventory reads: ‘… was found on the Acropolis near the Parthenon temple and is supposed to belong to one the Centaurs on the metopes.’ The present paper focuses solely on the head of the Centaur.A brown stain was noticed on the Parthenon marbles as early as 1830 by the British Museum and has ever since eluded a deeper understanding of its genesis despite many investigations and attempts of analyses. A quite similar brown stain can be observed on the Centaur’s head in Copenhagen as well.The present study reports analyses by LA-ICP-MS, SEM–EDX, µXRD, GC–MS, and LC–MS-MS, as well as optical microscopy of five small samples sequestered in 1999 from the Centaur head curated by the National Museum of Denmark. Our analyses show that the brown stain consists of two consecutively added surficial layers of the calcium oxalate minerals whewellite and weddellite. Despite a thorough search using proteomics, we have found no viable organic precursor material for the oxalates. Our results do not solve the mystery of the formation of the brown stain, but they do further qualify the structure and characterization of the brown stain.
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Howe, Thomas Noble. "The Temple of Artemis at Sardis, by Fikret K. Yegül." American Journal of Archaeology, August 9, 2022, 000. http://dx.doi.org/10.1086/721904.
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"DESTRUCTIVE AUTHORSHIP: ANTI-AUTHOR AND ANTI-GIFT." Journal of V. N. Karazin Kharkiv National University, Series "Philosophy. Philosophical Peripeteias", no. 58 (2018). http://dx.doi.org/10.26565/2226-0994-2018-58-7.
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The article deals with the question of the authorship and its nature in connection with the case of Herostratus. The main problem is forgotten creators of the temple of Artemis and the immortal fame of its arsonist. In this vein, the concept of destructive authorship is proposed as a form of displaying authorship based not on the usual act of creation, but on the opposite to it – an act of destruction. At the same time, a distinction has been made between “destructive authorship” as the realization of certain attributes of authorship using destruction as an instrument and its possible coup – “authorship of destructiveness” as a phenomenon based on autonomy and the priority of destruction in relation to authorship. Also, the concepts of “anti-author” and “anti-gift” are being developed, offered as oppositions to the classical notions of “author” and “gift”. Herostratus is represented as the central and featuring figure of certain cultural and historical narrative, which reaches the reverse side of “caring for oneself” through the act of destruction on the way to immortality. In this case, we are talking about the anti-author as an individualization through authorship without creation and focusing the individual on himself. For the story of Herostratus homeric question is impossible because the very nature of its situation is hypertrophy of the individual author’s being, which is incompatible with co-authorship. While not being created, it exists only as a desire to get author’s dividends, and therefore, as a desire to remain the only one. No less important is the question of the gift in the context of authorship, which is turned by Herostratus into a theft. If any authorship is inextricably connected with the gift, the destructive authorship contains an anti-gift – cultural theft (forcible appropriation) of the object or subject of the subject to destruction. It is the anti-gift allows the anti-author to realize himself not only as the one who commits the destructive act, but also the one who steals attention and memory, separating them from the previous carrier and acquiring it to himself. Thus, in the article on example of Herostratus is analyzed the development of the ideas logically parallel or contradictive to the established model of authorship based on the creative act with the proposal of the concepts which are able to expand the understanding of authorship and explore it in the context of destructive aspects.