Athena Parthenos

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Athena Parthenos (Athena the virgin) was the title of a massive chryselephantine sculpture of the Greek goddess Athena by Phidias. It was named after an epithet for the goddess herself, and was housed in the Parthenon in Athens. A number of replicas and works inspired by it, both ancient and modern, have been made.

A votive sculpture found near the Varvakeion school reflects the type of the restored Athena Parthenos: Roman period, second century CE (National Archaeological Museum, Athens).
A votive sculpture found near the Varvakeion school reflects the type of the restored Athena Parthenos: Roman period, second century CE (National Archaeological Museum, Athens).

It was the most renowned cult image of Athens,[1] considered one of the greatest achievements of the most acclaimed sculptor of ancient Greece. Phidias began his work around 447 BCE,[2] Lachares removed the gold sheets in 296 BCE to pay his troops, and the bronze was probably gilded thereafter; it was damaged by a fire about 165 BCE but repaired.[3] It continued to stand in the Parthenon in the fifth century CE, when it may have been lost in another fire. An account mentions it in Constantinople in the tenth century, however.[4]

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[edit] Description

The ancient historian Pausanias gave a description of the statue:

...The statue itself is made of ivory silver and gold. On the middle of her helmet is placed a likeness of the Sphinx ... and on either side of the helmet are griffins in relief. ... The statue of Athena is upright, with a tunic reaching to the feet, and on her breast the head of Medusa is worked in ivory. She holds a statue of Victory about four cubits high, and in the other hand a spear; at her feet lies a shield and near the spear is a serpent. This serpent would be Erichthonius. On the pedestal is the birth of Pandora in relief.[5]

Athena's head is inclined slightly forward. She stands with her left hand resting on an upright shield. Her left knee is slightly bent, her weight slightly shifted to her right leg. Her chiton is cinched at the waist by a pair of serpents, whose tails entwine at the back. Locks of hair trail onto the goddess's breastplate. The Nike on her outstretched right hand is winged; whether there was a support under it in Phidias' original has been much discussed;[6] evidence in surviving versions is contradictory. The exact position of a spear, often omitted, is also not fully determined, whether held in the crook of Athena's right arm or supported by one of the snakes in the aegis, as N. Leipen restores it,[7] following the "Aspasios" gem.

The sculpture was assembled on a wooden core, covered with shaped bronze plates covered in turn with removable gold plates, save for the ivory surfaces of the goddess's face and arms; the gold weighed 44 talents, the equivalent of about 2500 pounds: the Athena Parthenos embodied a sizeable part of the treasury of Athens.[8]

The general type of the Athena Parthenos, though not its character and quality, can be assessed from its image on coins[9] and its reproductions as miniature sculptures, as votive objects, and in representations on engraved gems.[10]

[edit] Ancient copies

Plaster cast of the British Museum's Strangford Shield (Pushkin Museum)
Plaster cast of the British Museum's Strangford Shield (Pushkin Museum)

The Varvakeion votive figure (illustration, above right) is one of the two versions of Athena Parthenos considered most faithful to the original; the other is the uncompleted Lenormant Athena, also in the National Museum, Athens.

[edit] Replica at Nashville

The modern Athena Parthenos replica that stands in the replicated Parthenon in Centennial Park, Nashville
The modern Athena Parthenos replica that stands in the replicated Parthenon in Centennial Park, Nashville

A modern replica by Alan LeQuire stands in the reproduction of the Parthenon in Nashville, Tennessee. Alan LeQuire, a Nashville native, was awarded the commission to produce the Parthenon's cult statue. His work was modeled on descriptions given of the original. The modern version took eight years to complete, and was unveiled to the public on May 20, 1990.

The modern version of Athena Parthenos is significant because of its scale and its attention to recreating Phidias' work. The statue adds an additional dimension of realism to the replicated Parthenon, whose interior east room (the naos) was merely a large empty hall prior to the statue's unveiling. The reproduced Athena Parthenos gives visitors the impression that they truly are inside an ancient place of worship.

Athena Parthenos is made of a composite of gypsum cement and ground fiberglass, The head of Athena was assembled over an aluminum armature, and the lower part was made in steel. The four ten-inch H beams rest on a concrete structure that extends through the Parthenon floor and basement down to bedrock, to support the incredible weight of the statue. LeQuire made each of the 180 cast gypsum panels used to create the statue light enough to be lifted by one person and attached to the steel armature.

[edit] Gilding and paint

Sculptor Alan LeQuire painting the detail of the Athena Parthenos replica during the gilding phase.
Sculptor Alan LeQuire painting the detail of the Athena Parthenos replica during the gilding phase.

Painstaking research was performed by LeQuire and the Parthenon staff to ensure the accuracy of the statue's resemblance to the Phidias work. It stood in Nashville’s Parthenon as a plain, white statue for twelve years. In 2002, Parthenon volunteers gilded Athena under the supervision of master gilder Lou Reed. The gilding project took less than four months and makes the modern statue appear that much more like the Phidias' Athena Parthenos would have appeared during its time.

The gold plates on the Athena statue in ancient times weighed approximately 1,500 pounds and were one-eighth to one-sixteenth of an inch thick. The 23.75-karat gold leaf on Nashville's Athena Parthenos weighs a total of 8.5 pounds and is one-third the thickness of tissue paper. The modern extravagance of gilding such a large statue pales in comparison to the lavish spending of the Greeks. In fact, one theory of the original's demise is that Athena Parthenos was decimated and looted to remove the gilding.

In addition to gilding, the project included painting the details of the statue's face, wardrobe and shield. LeQuire himself applied the paint.

[edit] Facts and figures

  • Nashville's Athena stands 41'10" (approximately 13 meters) tall, making her the largest piece of indoor sculpture in the Western World.
  • The statue of Nike in Athena's right hand stands 6'4" (approximately 2 meters) tall.
  • There are eleven snakes represented on Athena's breastplate, bracelets and belt.

[edit] Notes

  1. ^ The Athena Parthenos was featured on contemporary reliefs commemorating Athenian treaties and for the next century and a half on coins of Hellenistic monarchs avid to proclaim their Hellenic connections; see Hector Williams, "An Athena Parthenos from Cilicia" Anatolian Studies 27 (1977, pp. 105-110), p 108f.
  2. ^ Andrew Stewart gives 446.
  3. ^ W.B. Dinsmoor, "the repair of the Athena Parthenos" American Journal of Archaeology 38 (1934) pp 93-106.
  4. ^ Gisela Richter, Sculpture and Sculptors of the Greeks, p 220 with ancient references, noted by Gorham P. Stevens, "Concerning the Parthenos" Hesperia 30.1 (January 1961, pp. 1-7) p. 2.
  5. ^ Pausanias, Description of Greece, Book I, 24.5–7.
  6. ^ Gisela Richter decided there was not and summarized the discussion in "Was there a vertical support under the Nike of the Athena Parthenos?" Studi in onore... Calderini e Paribeni (Milan) 1956, pp 147-54.
  7. ^ Leipen 1971:29.
  8. ^ S. Eddy, "The gold in the Athena Parthenos Merican Jopurnal of Archaeology pp107-11.
  9. ^ L. Lacroix Les reproductions des statues sur les monnaies gracques (Liège) 1949, pp 266-81.
  10. ^ Leipen 1971.

[edit] Further reading

Wikimedia Commons has media related to:
  • Leipen, N. Athena Parthenos (Toronto) 1971.

[edit] External links