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Journal articles on the topic 'Temple of Athena (Priene)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Stewart, Andrew F., and Joseph Coleman Carter. "The Sculpture of the Temple of Athena Polias at Priene." American Journal of Archaeology 89, no. 2 (1985): 363. http://dx.doi.org/10.2307/504343.

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DE JONG, J. J. "The Temple of Athena-Polias at Priene and the Temple of Hemithea at Kastabos." BABESCH - Bulletin Antieke Beschaving 63 (January 1, 1988): 129–37. http://dx.doi.org/10.2143/bab.63.0.2012570.

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3

ADAMS, NEIL. "7 — REVISING THE REVISIONISTS? RE-JOINING A FRAGMENTARY CEILING COFFER FROM THE TEMPLE OF ATHENA POLIAS AT PRIENE." Bulletin of the Institute of Classical Studies 56, Supplement_104 (2013): 137–47. http://dx.doi.org/10.1111/j.2041-5370.2013.tb02559.x.

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Egorova, Sofia. "How Ancient Were Vitruvius’ <i>veteres architecti</i> (<i>De arch</i>. 1. 1. 12–13)?" Hyperboreus 29, no. 2 (2024): 234–40. https://doi.org/10.36950/hyperboreus.9fpn-9y12.

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The modern translations of the Vitruvian On Architecture 1. 1. 12 translate de veteribus architectis Pythius … ait as “one of the old architects Pythius … says”. Meanwhile, some considerations of the usage of the preposition de oﬀer an opportunity to understand it as concerning or about, the whole phrase being as follows: “That is why concerning the old architects Pythius – who designed brilliantly the temple of Athena in Priene – states in his work that an architect should be able to be <even> better in all kinds of art and science than those who reached with all diligence and practice

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5

Giovannini, Elisabetta Caterina, Giorgio Verdiani, and Vieri Cardinali. "Priene, a Monumental Disaster in the Aegean: Digital Approaches to the Doric Stoa’s and the Theater’s Lost Evidence." Heritage 7, no. 8 (2024): 4538–61. http://dx.doi.org/10.3390/heritage7080214.

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This paper uses digital approaches to investigate Priene’s (Turkey) archaeological area. The city was built ex novo, after a catastrophic earthquake around 350 BC, on a new site facing the Mediterranean Sea. The city suffered a slow decline following centuries of development and was abandoned after the 12th century. The remains of Priene were discovered in the 17th century, and different excavations and studies have been conducted in the last few centuries. The city’s remains have been studied from various archaeological and historical points of view. It is documented that the city suffered di

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6

Vafopoulou-Richardson, C. E. "Sculptures from the Temple of Athena Polias at Priene - Joseph Coleman Carter: The Sculpture of the Sanctuary of Polias at Priene. Pp. xxiv + 367; 47 plates, 31 plans and figs. London: Thames & Hudson, 1984. £48." Classical Review 38, no. 2 (1988): 347–49. http://dx.doi.org/10.1017/s0009840x00121845.

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7

Yılmaz, Fatih, and Önen Nihal Tüner. "A New Athena Polias Votive Inscription from the Phaselis' Acropolis." ADALYA 17 (April 5, 2015): 121–31. https://doi.org/10.5281/zenodo.3924579.

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This article presents a newly discovered votive inscription found during the course of the 2013 survey conducted at the ancient city of Phaselis and in its territory. The inscription was found where the stairs to the acropolis from the southwest of the theatre end, in front of the west wall of the tower structure give access to the acropolis. This inscription in the Doric dialect, on a limestone block measuring 0.315 x 0.77 x 0.61 m., records a dedication to Athena Polias. The letters 0.03 m. high, exhibit Late Archaic - Early Classical Period features ( - - - - ) and, consequently the inscrip

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Reilly, Rosemary C. "Reclaiming My Sister, Medusa: A Critical Autoethnography About Healing From Sexual Violence Through Solidarity, Doll-Making, and Mending Myth." Cultural Studies ↔ Critical Methodologies 21, no. 1 (2020): 80–87. http://dx.doi.org/10.1177/1532708620931132.

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According to the poet Ovid, Medusa was a beautiful maiden, who was raped by Poseidon in Athena’s temple. Medusa called upon the goddess Athena for revenge, but, instead, Athena punished Medusa for defiling her temple, subjecting her to a terrible transformation. Her beautiful hair became poisonous serpents; her face so horrifying to behold it turned onlookers to stone. Some stories portray Medusa as asking for it or depict her as being uppity. Medusa, therefore, stands as a strong metaphor for the experiences of women who have survived sexual violence. This critical autoethnography presents my

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9

Schultz, Peter. "The Akroteria of the Temple of Athena Nike." Hesperia 70, no. 1 (2001): 1. http://dx.doi.org/10.2307/2668486.

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10

Evans, Richard J. "Dorieus' temple to Athena Crathias - a finely balanced fiction." Acta Classica 67, no. 1 (2024): 34–48. https://doi.org/10.1353/acl.2024.a946658.

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ABSTRACT: Fictional and mythological elements figure prominently in the narrative of Herodotus' history of the Greco-Persian wars. For example, his accounts of the battles, both at Thermopylae and at Mycale contain easily discernible unhistorical content. It will be suggested here that the episode (Hdt. 5.45) in which it is claimed that a temple was dedicated by the Spartan Dorieus to Athena Crathias after the sack of Sybaris, in about 510 bc, is another such invention, not necessarily, however, unlike in many other instances, that of the historian himself.

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11

Denker, Ahmet. "Reviving the temple of Athena Ilias at Troy/Ilion." Digital Applications in Archaeology and Cultural Heritage 30 (September 2023): e00282. http://dx.doi.org/10.1016/j.daach.2023.e00282.

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12

Cozzolino, Marilena, Fausto Longo, Natascia Pizzano, Maria Luigia Rizzo, Ottavia Voza, and Vincenzo Amato. "A Multidisciplinary Approach to the Study of the Temple of Athena in Poseidonia-Paestum (Southern Italy): New Geomorphological, Geophysical and Archaeological Data." Geosciences 9, no. 8 (2019): 324. http://dx.doi.org/10.3390/geosciences9080324.

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The Temple of Athena is one of the main sacred areas of the Greek–Roman settlement of Poseidonia-Paestum (southern Italy). Several archaeological excavations were carried out here between the late nineteenth and early twentieth century. Unfortunately, the locations of these excavations are only approximately known, as are the geomorphology and stratigraphy of the temple area. A multidisciplinary study, including stratigraphic, geomorphological, archaeological, and sedimentological investigations, remote sensing, and electromagnetic and geoelectrical tests, was therefore carried out, shedding n

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13

Miles, Margaret M., and Kathleen M. Lynch. "The Hephaisteion in Athens: Its Date and Design." Hesperia: The Journal of the American School of Classical Studies at Athens 93, no. 2 (2024): 191–250. http://dx.doi.org/10.2972/hes.2024.a929937.

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ABSTRACT: The American excavations of the interior of the Hephaisteion and its surroundings were published in 1941. We reexamine the findings, the evidence for the foundations, the original notebooks, and the previously unpublished context pottery, and conclude that the Temple of Hephaistos and Athena was constructed in two stages: the foundations were laid ca. 480 bce, and after a hiatus the superstructure was completed ca. 465–460 bce, with repairs after the earthquake of 426 bce. This article provides a new reconstruction of the interior space, finished without a colonnade, and with painted

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14

Ziskowski, Angela. "Athena at Corinth: Revisiting the Identification of the Temple of Apollo." Phoenix 73, no. 1-2 (2019): 164–83. http://dx.doi.org/10.1353/phx.2019.0054.

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Ziskowski. "Athena at Corinth: Revisiting the Identification of the Temple of Apollo." Phoenix 73, no. 1-2 (2019): 164. http://dx.doi.org/10.7834/phoenix.73.1-2.0164.

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16

Kos, Peter. "A Celtic gold stater from the vicinity of Radoboj (Croatia)." Vjesnik Arheološkog muzeja u Zagrebu 54, no. 1 (2021): 21–30. http://dx.doi.org/10.52064/vamz.54.1.1.

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Around 1840, a gold coin was discovered near Radoboj (northwestern Croatia), a Celtic imitation of a gold stater of Alexander III of type Athena/Nike. In 2019, during archaeological excavation of the Roman temple at Frauenberg, near Leibnitz (Austria), two imitations of staters of the same type were excavated. Of these, one coin was minted with the same dies for obverse and reverse as the coin from Radoboj, which undoubtedly testifies to minting in the same mint. In the area of north-western Croatia and eastern Slovenia, four other Athena/Nike staters can be documented at four other sites. To

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17

Konstantinos, Kalogeropoulos. "Παρθενώνας και Ναός του Διός: Τυπολογικές διαφοροποιήσεις και ομοιότητες". Archive 12 (7 грудня 2016): 51–58. https://doi.org/10.5281/zenodo.4495550.

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This essay provides a brief overview and description of the rhythm and sculptural decoration of the Parthenon and the temple of Zeus at Olympia. The two temples are considered typologically Doric. The typology is relativized, however, if differences observed are taken into account, due to the introduction of Ionic and Cycladic elements in the construction of the Parthenon, and the creative pressure exerted by the Temple of Zeus on the Parthenon and vice versa -at least in the sculptural program of Phidias concerning the two monumental statues of Athena and Zeus. The aim is to identify possible

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18

Wescoat, Bonna D. "Designing the Temple of Athena at Assos: Some Evidence from the Capitals." American Journal of Archaeology 91, no. 4 (1987): 553. http://dx.doi.org/10.2307/505290.

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19

Smith, Lindsay. "Fugitive stones: the temple of Athena Nike, Athens in nineteenth-century photographs." Nineteenth-Century Contexts 42, no. 2 (2020): 137–58. http://dx.doi.org/10.1080/08905495.2020.1733317.

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20

Uson Guardiola, Ezequiel. "Deciphering the Greek Temple: Verification with Software Tools of the Solar Design of the Parthenon in Athens and the Temple of Zeus in Olympia." European Journal of Architecture and Urban Planning 2, no. 1 (2023): 9–18. http://dx.doi.org/10.24018/ejarch.2023.2.1.19.

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In Greek temples, compositional order and Pythagorean geometry were used to achieve regularity, proportion and beauty, combining exact magnitudes between the parts and the whole. It is also known that all the temples were oriented with great precision. However, the diverse reasons for their construction makes their astronomical orientation more difficult to interpret. In this research, the Parthenon in Athens (447-436 BC) and the Temple of Zeus in Olympia (470-456 BC) were analysed with solar simulation software. Comparing the results obtained, it is verified that both temples were designed an

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21

Stewart, Driscoll, Estrin, et al. "Classical Sculpture from the Athenian Agora, Part 2: The Friezes of the Temple of Ares (Temple of Athena Pallenis)." Hesperia: The Journal of the American School of Classical Studies at Athens 88, no. 4 (2019): 625. http://dx.doi.org/10.2972/hesperia.88.4.0625.

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22

Warbinek, Livio, and Federico Giusfredi. "Maliya, Malija, Malis, Athena. From Kizzuwatna to the Aegean: Borrowings, Translations, or Syncretisms?" Asia Anteriore Antica. Journal of Ancient Near Eastern Cultures 5 (February 28, 2024): 139–51. http://dx.doi.org/10.36253/asiana-1854.

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Notwithstanding her Kizzuwatnean origins, Maliya becomes part of the Bronze Age Hittite State Cult thanks to Queen Puduḫepa, who advocates a renovation of the dynastic cult. Therefore, Maliya and her temple became protagonists of the Hittite religious festivals. In the Iron Age, the goddess cult spreads to Western Anatolian milieus (Lycian and Lydian), developing apparent syncretic convergences with deities of the Aegean context. This paper investigates how Maliya and her Aegean counterparts converged, arguing and discussing the most debated positions.

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23

Linders, Tullia. "The Location of the Opisthodomos: Evidence from the Temple of Athena Parthenos Inventories." American Journal of Archaeology 111, no. 4 (2007): 777–82. http://dx.doi.org/10.3764/aja.111.4.777.

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24

Carpinteri, A., G. Niccolini, G. Lacidogna, and A. Manuello. "Acoustic emission of the Syracuse Athena temple: timescale invariance from microcracking to earthquakes." Journal of Statistical Mechanics: Theory and Experiment 2011, no. 09 (2011): P09009. http://dx.doi.org/10.1088/1742-5468/2011/09/p09009.

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25

Mattingly, Harold B. "The Athena Nike dossier: IG I 35/36 and 64 A–B." Classical Quarterly 50, no. 2 (2000): 604–6. http://dx.doi.org/10.1093/cq/50.2.604.

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Stephen Tracy's neat demonstration that IG I3 35—authorizing the building of a temple and appointment of a priestess for Athena Nike—was cut by the man responsible for the Promachos accounts (IG I 435) at first seemed decisive for the traditional c. 448 B.C. against my radical down-dating. Ira Mark then argued that this decree provided for the naiskos and altar of his Stage III in the 440s: the marble temple belonged to Stage IV over twenty years later. Despite these two powerful interventions the matter is not closed. David Gill has, I fancy, convincingly refuted Mark on archaeological and ar

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26

Moore, Mary B. "The Central Group in the Gigantomachy of the Old Athena Temple on the Acropolis." American Journal of Archaeology 99, no. 4 (1995): 633. http://dx.doi.org/10.2307/506186.

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27

David R. Hernandez. "Bouthrotos (Butrint) in the Archaic and Classical Periods: The Acropolis and Temple of Athena Polias." Hesperia: The Journal of the American School of Classical Studies at Athens 86, no. 2 (2017): 205. http://dx.doi.org/10.2972/hesperia.86.2.0205.

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28

Shaya, Josephine. "The Greek Temple as Museum: The Case of the Legendary Treasure of Athena from Lindos." American Journal of Archaeology 109, no. 3 (2005): 423–42. http://dx.doi.org/10.3764/aja.109.3.423.

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29

Seelig, Beth J. "THE RAPE OF MEDUSA IN THE TEMPLE OF ATHENA: ASPECTS OF TRIANGULATION IN THE GIRL." International Journal of Psychoanalysis 83, no. 4 (2002): 895–911. http://dx.doi.org/10.1516/00207570260172975.

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30

Seelig, Beth J. "The rape of Medusa in the temple of Athena: Aspects of triangulation in the girl." International Journal of Psychoanalysis 83, no. 4 (2002): 895–911. http://dx.doi.org/10.1516/3nll-ug13-tp2j-927m.

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31

Carpinteri, A., G. Lacidogna, and A. Manuello. "The b-Value Analysis for the Stability Investigation of the Ancient Athena Temple in Syracuse." Strain 47 (February 25, 2009): e243-e253. http://dx.doi.org/10.1111/j.1475-1305.2008.00602.x.

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32

Stewart, Lawrence, Levitan, and Turbeville. "Classical Sculpture from the Athenian Agora, Part 3: The Pediments, Metopes, and Akroteria of the Temple of Ares (Temple of Athena Pallenis)." Hesperia: The Journal of the American School of Classical Studies at Athens 90, no. 3 (2021): 533. http://dx.doi.org/10.2972/hesperia.90.3.0533.

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33

Özkaya, Belgin Turan. "The British Museum,Müze-i Hümâyunand the Travelling “Greek ideal” in the Nineteenth Century." New Perspectives on Turkey 50 (2014): 9–28. http://dx.doi.org/10.1017/s0896634600006567.

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AbstractIn standard architectural history surveys, the British Museum is portrayed as an example of nineteenth-century “neoclassicism”, or the “Greek revival.” Usually cited as among the motive factors in this revival are the writings about European travels and archaeological explorations in the then Ottoman lands of ancient Greece, as well as a general interest in Hellenic culture. Yet the cultural and architectural appropriation of the Hellenic is not analyzed in relation to the possible ties and tensions between European archaeological culture and the Ottoman response to antiquity. This pap

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34

Young, Yael. "BINDING, LOOSENING, OR ADJUSTING HER SANDAL?: ON NIKE FROM THE PARAPET OF THE ATHENA NIKE TEMPLE." Source: Notes in the History of Art 34, no. 4 (2015): 2–9. http://dx.doi.org/10.1086/686280.

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35

Duranti, Marco. "THE MEANING OF THE WAVE IN THE FINAL SCENE OF EURIPIDES’ IPHIGENIA TAURICA." Greece and Rome 69, no. 2 (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 comp

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36

Lacidogna, Giuseppe, Amedeo Manuello, Gianni Niccolini, and Alberto Carpinteri. "Acoustic emission monitoring of Italian historical buildings and the case study of the Athena temple in Syracuse." Architectural Science Review 58, no. 4 (2012): 290–99. http://dx.doi.org/10.1080/00038628.2012.720246.

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37

Tsantsanoglou, Kyriakos. "Who was Onymacles the Athenian? (Alcaeus 130b V. = 130.16–39 LP)." Trends in Classics 10, no. 2 (2018): 275–84. http://dx.doi.org/10.1515/tc-2018-0021.

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Abstract The author’s aim is to shed light upon the first three stanzas of Alcaeus’ fr. 130b, which describe the conditions faced by the poet while living in exile. Some parallel texts (POxy. 3711, Alc. fr. 401B) are helpful, but they, as well as POxy. 2165, the sole testimony of fr. 130b, must be read or interpreted in places differently than before. Among the new observations is the suggestion that the place of Alcaeus’ first exile is the city of Aenos in Thrace. Also, Ὀνυμακλέης ὠθάναιος, like whom Alcaeus declares that he lives in exile, is but a name made up by the poet as his personal al

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38

van Rookhuijzen, Jan Zacharias. "How not to Appease Athena: A Reconsideration of Xerxes' Purported Visit to the Troad (Hdt. 7.42–43)." Klio 99, no. 2 (2018): 464–84. http://dx.doi.org/10.1515/klio-2017-0033.

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Summary: This article investigates the topography in Herodotus' account of Xerxes' visit to the Troad in 480 BC, which consists of Mount Ida, the Scamander river, the temple of Athena Ilias at Troy and the tumuli in the surrounding landscape. It suggests that this episode, rather than taking us back to historical events of 480 BC, may (partly) be a product of Greek imagination in the ca. fifty years between Xerxes' invasion of Greece and the publication of the „Histories“, with the landscape of the Troad functioning as a catalyst. To this end, the article traces the Iliadic associations of the

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39

Frantzi, Giasemi G., Georgios P. Mastrotheodoros, Panayiotis Theoulakis, Sotiria Kogou, Athanasia Psalti, and Hariclia Brecoulaki. "Unveiling the Original Polychromy of Archaic Architecture: The Gigantomachy on the West Pediment of the Temple of Apollo at Delphi (6th c. B.C.)." Heritage 8, no. 1 (2025): 17. https://doi.org/10.3390/heritage8010017.

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The Gigantomachy depicted on the west pediment of the Late Archaic temple of Apollo at Delphi marks a significant milestone in early Greek architectural sculpture. Crafted from porous stone and enhanced with plaster and paint, the surviving fragments differ markedly from the marble figures of the east pediment of the same temple. Among the preserved figures of the Gigantomachy are a standing male figure, possibly representing Apollo or Dionysos, a warrior female identified as Athena, and a recumbent male, likely symbolizing the Giant Enkelados. This study aims to investigate the polychromy of

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40

Rhodes, Robin F. "B.D. Wescoat The Temple of Athena at Assos.Oxford: Oxford University Press, (2012). Pp. xxiii + 318, illus. £100. 9780198143826." Journal of Hellenic Studies 134 (2014): 244–45. http://dx.doi.org/10.1017/s0075426914002249.

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41

Tober, Daniel. "GREEK LOCAL HISTORIOGRAPHY AND ITS AUDIENCES." Classical Quarterly 67, no. 2 (2017): 460–84. http://dx.doi.org/10.1017/s0009838817000519.

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In the ninth book of his Ἀτθίς the Athenian historian and religious expert Philochorus related an omen about which he had himself been consulted in the late fourth centuryb.c.e.(FGrHist328 F 67).When this year was done and the next was beginning, there occurred on the Acropolis the following prodigy: a female dog, having entered the temple of Athena Polias and made its way into the Pandroseion, got up on the altar of Zeus Herkeios, which is under the olive tree, and lay down. It is an ancestral custom among the Athenians that no dog go up on the Acropolis. Around the same time, a star was evid

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42

Gill, David W. J. "Expressions of wealth: Greek art and society." Antiquity 62, no. 237 (1988): 735–43. http://dx.doi.org/10.1017/s0003598x00075189.

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In the 2nd century AD Pausanias (i.2.4-15.1) walked through the agora at Athens describing some of the statues and naming the artists; at least 35 of the statues were of bronze, yet not a single one survives intact today (Mattusch 1982: 8-9). Thinking only of the extant marble sculpture does an injustice to the civic art of Athens. This problem is commonplace; almost any classical site has numerous stone bases for bronze statues which have long gone into the melting-pot. Yet so often in modern scholarship stone sculpture is given a privileged position. Although modern histories of Greek art pa

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Stewart, Andrew, Erin Lawrence, Rebecca Levitan, and Kelsey Turbeville. "Classical Sculpture from the Athenian Agora, Part 4: Concluding Remarks on the Sculptures of the Temple of Ares (Athena Pallenis)." Hesperia: The Journal of the American School of Classical Studies at Athens 91, no. 1 (2022): 89–132. http://dx.doi.org/10.2972/hesperia.91.1.0089.

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44

Shear, Ione Mylonas. "The western approach to the Athenian akropolis." Journal of Hellenic Studies 119 (November 1999): 86–127. http://dx.doi.org/10.2307/632313.

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The structures along the west side of the Athenian Akropolis have long delighted visitors approaching the site and have challenged scholars for generations. By happy coincidence a variety of different studies has recently been published which emphasized different aspects of the approaches to the citadel and once again remind us of the many problems still remaining to be solved.Ira S. Mark concentrated on the shrine of the Athena Nike. He dealt primarily with the Mycenaean bastion enclosed within the later ashlar masonry of the classical podium, the various early remains of the shrine, which li

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45

Corso, Antonio. "Vitruvius and Attic Monuments." Annual of the British School at Athens 92 (November 1997): 373–400. http://dx.doi.org/10.1017/s0068245400016749.

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The aims of this article are to establish the extent of Vitruvius's knowledge of Athens, the other sources of his information on the city, and his preference for Hellenistic rather than Classical monuments. The following passages are analyzed: i, 6, 4, on the Tower of the Winds; ii, 1, 5, on a hut on the Areopagus; ii, 8, 9, on a wall at Athens which looks to Mt. Hymettus and Pentelicus, to be identified perhaps with the Long Walls between Athens and the Piraeus; iii, 2, 8, on the Olympieion; iv, 8, 4, on the Erechtheion and the temple of Athena Sounias; v, 9, 1, on the Colonnades of Eumenes I

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46

Aita, D., V. Beatini, E. Garavaglia, V. Paris, A. Pizzigoni, and L. Sgambi. "THE STONE ROOF OF THE THOLOS OF ATHENA PRONAIA IN DELPHI: STRUCTURAL HYPOTHESES STARTING FROM FRAGMENTS OF MARBLE TILES." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 59–66. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-59-2023.

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Abstract. This contribution is the first step of a multi-disciplinary research project, aimed at studying the roof of the tholos of Athena Pronaia in Delphi, dating back to the first decades of the 4th century BC. The starting point of this research is the fascination exerted by the tectonic quality of the temple, comprising some complex fragments of marble tiles belonging to the roof of the tholos. Despite the number of studies on this sanctuary, the poor state of preservation and lack of original material did not allow archaeologists to perform concluding research on its original configurati

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47

Iliev, Jordan. "The Dedication of Philip V of Macedon in the Lindian Chronicle and the Problems of Its Interpretation." Scientific Researches 3, no. 1 (2022): 74–82. https://doi.org/10.5281/zenodo.6658377.

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In this paper is analyzed one record in epigraphic monument, found in the temple of Athena Lindia at the island of Rhodes. It is about a dedication by Philip V of Macedon (221 – 179 BC), which is read as follows: “King Philip: ten skirmisher shields, ten sarissas, ten helmets. On which has been inscribed: ‘King of the Macedonians, Philip, son of King Demetrius, having been victorious over the Dardanians and [the Maedians?], to Athena Lindia’, as the public records of the Lindians testify”. Commented are the different readings and the issues raised by the content o

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Sparkes, Brian A. "III Architectural Sculpture." New Surveys in the Classics 40 (2010): 51–74. http://dx.doi.org/10.1017/s0017383510000720.

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The erection of a building – whether temple, treasury, colonnade, or theatre – argues purpose, means, advance planning, and commitment over many years. The number of people involved in any communal project, from sponsors (whether states, individuals, or sanctuary officials) to designers, architects, masons, and sculptors, was enormous. In studying architectural sculpture, we are face to face with originals, usually found in context, with some closely dated on the basis of inscriptions and references in written texts; although the later writers who held free-standing sculpture in such high rega

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Mikalson, Jon D. "Unanswered prayers in Greek Tragedy." Journal of Hellenic Studies 109 (November 1989): 81–98. http://dx.doi.org/10.2307/632034.

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Moments before Euripides' Polyneices and Eteocles square off for their final, fatal battle in the Phoenissae, each prays for divine assistance (1359–76). Their prayers, though very brief, are by the standards of Greek drama rather formal. Polyneices, as Theban as his brother Eteocles, is leading a force of Argives against Thebes to recover the kingship he claims is rightfully his. As he prays he looks toward distant Argos and invokes ‘Lady Hera’, for, he says, ‘I am now yours, because I married Adrastus’ daughter and dwell in his land' (1364–6). He has left his homeland, married into an Argive

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Martin, A. "ILL-FATED SHIELDS AND MAN-SLAYING SPEARS: ANYTE AND NOSSIS ON THE ‘HEROIC CODE’ IN THE HELLENISTIC EPIGRAM." Akroterion 66 (2021): 41–57. http://dx.doi.org/10.7445/66--1032.

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In Anyte’s dedicatory epigram AP 6.123, the poetic speaker paints a gruesome image of a bloody, ‘man-slaying’ spear residing in an Arcadian temple of the goddess Athena. This votive text has been read as a ‘womanly dislike of war’ (Gutzwiller) conveyed by the female author’s command of the weapon to ‘no longer’ shed the blood of its enemies upon the battlefield. A similar votive epigram by Nossis (AP 6.132) speaks of the brutal defeat of the ‘ill-fated’ Bruttians, whose shields now rest in the temples of the gods as a testimony to the bravery of the ‘swift-fighting’ Locrians, likewise interpre

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