Abstract Greekarchitecture is very important to understanding Greek society more generally. With this in mind, the paper examines the interesting economic, political and religious considerations or motivations which went into the construction of works which stand even today as symbols of architectural beauty and excellence. In particular, the paper looks at how the cost of building materials determined the early construction of Greek public structures, most notably temples. The paper discusses how a vigorous and wealthy Greece sought to communicate this wealth through the conspicuous construction of unforgettable marble public buildings.
Abstract The paper discusses the architecture of two ancient civilizations, the Persians and the Greeks. The paper examines the architecture of Pasargadae, the metropolis that became a dynastic symbol of power and reverence following the establishment of the great complex at Persepolis during the reign of Darius I between 521 and 486 B.C.E. The paper explores how the architectural styles of the Achaemenid period are comparable to those found in ancient Greece, especially during the Classical period. The paper details the structure of the Parthenon.
From the Paper "Architecturally, the buildings of Pasargadae were constructed at varying distances from each other with the major palaces built in a huge walled complex irrigated by water channels. The main palace of Cyrus could be entered through a monumental gateway with carvings of winged bulls on either side. Within this compound, two rectangular structures with columned porches and an immense internal area filled with more columns could be found, all composed of black and white limestone (Pope, 1965, 85). The reliefs which have remained suggests that the figures represented the apotropaic monsters of Assyrian origin; others included the heads of lions, horses and goats. Overall, the mud-brick walls were painted, possibly with diagonal stripes and spirals or red, blue and white."
Abstract This paper examines how the three great civilizations of Persia, Greece and Rome relied heavily on the strength and success of their armies. It looks at how each nation, during its time of reign, trained and equipped their armies to better their chances on the battlefield. It discusses how the Persians with their vast numbers of troops armed with bows and sword and how he Greeks and Romans with their superior weapons and war strategies, earned the reputation of the most feared and respected armies in the known world.
From the Paper "A large portion of the foundations of any successful army relied upon the type of weapons each soldier was armed with and how effective the arms were against the enemy. It did not take long for an army equipped with the best weaponry and siege weapons to completely slay an entire opposition that was armed with mere sticks and clubs. During their reign of power, the Romans had over time devised new weaponry technology, which continued to make their weapons ever increasingly more effective killing machines in battles. Each legionary was equipped with a spear amongst their other surplies and tools."
Tags: advantages, battles, civilisations, history, others, over, stratergies, time, weapons
Abstract This paper compares the temple architecture of Egyptians with that of the Greeks and explores the differences in structure, art and symbolism, and function. It discusses how architecture is more than the design of buildings and how it is the expression of ideas through the creation of structures.
Outline
Abstract and Introduction
Architectural Structure
Temple Function and Purpose
Architectural Art and Symbolism
Bibliography
From the Paper "Egyptian temple architecture is much larger than that of the Greeks. One reason for this is because the geographical location was abundant with resources and building materials such as limestone cliffs. Another reason is that the Egyptians maintained a highly organized society capable of carrying out such large constructions. The earliest Egyptian pyramid was built for the pharaoh Zoser in Giza around 2700-2600 BC. These pyramids measured 756 feet on the side and 481 feet tall. Egyptian pyramids almost always took the shape of a triangle. The Egyptians worshiped the sun as their main god and it was represented by the Egyptian hieroglyph as a triangle. "
An examination of the "Elgin Marbles", ancient Parthenon figures that were claimed by British archaeologists in the 18th century during Greek civil strife, and the debate over whether or not they should be returned to Greece.
Abstract This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.
From the Paper "The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "
Abstract This paper discusses the Persian influences on Greek thought and culture from the Greco-Persian Wars (499-479 BCE). According to the paper, in the late summer of 428, during the height of the Second Peloponnesian War, the beleaguered citizens of Mytilen importuned the Lacedaemonians for aid to repulse the immanent blockade and invasion of the dreaded Athenian fleet. Although the Delian League led by Athens and its brutally subjugated city states had liberated the Aegean and Ionian Greeks from Persian hegemony.
This paper analyzes the events that led up to the conflicts between Persia and Greece, in which the Greek military against all odds defeated the Persians.
Abstract This well-researched paper examines the first Persian war against the Greeks which occurred in the summer of 490 B.C., when the Persian king Darius invaded Greece. This paper explores the manner in which the Greek forces led by Miltiades obtained a solid victory over Persia's military, despite being severely outnumbered. This paper, rife with historical facts pertaining to this particular topic, also discusses the events that ensued 10 years later in 480 B.C. when King Darius' son Xerxes vowed to avenge his father's previous loss by once again declaring war on Greece. This paper delves into the military capabilities of both countries while detailing how the Greeks succeeded against all odds in once again defeating an army that was far more superior in numbers.
From the Paper "The Greek Navy, whose core was made up of the Athenian fleet, although less numerous, was made up of newer and superior ships, the triremes, which were manned by experienced crews, trained in naval warfare. By comparison, the Persians were poor seamen, and only the Greek cities under Persian control had supplied ships that were crewed by experienced sailor. But these were also inferior to Athenian ships. There should be noted here the crucial role that Themistocles had in convincing the Ecclesia (the gathering of the Athenian People) to build these ships in time, before the breaking out of the war. But the greatest merit of the Greeks was that, although not united all under a flag, they were able nevertheless to present a relatively united front to the invading armies. Historically, the Greek cities evolved as independent political entities."
Tags: history, greek, roman, persia, war, military, spartans
Abstract This paper explains that architecture is more than the design of buildings because it incorporates the thought of the person building the structure; the architecture of Egyptian and Greek temples differs in function, structure, and symbolism. The author points out that Egyptian temple architecture is much larger than the Greeks because the geographical location was abundant with resources and building materials, such as limestone, and the Egyptians maintained a highly organized society capable of carrying out such large constructions. The paper explains that another main difference between the Egyptian and the Greek temples is that architects, not priests, directed the design of the Greek temple, which distinguished the Greek temples from those of the Egyptians because they made conscious choices in design for aesthetic reasons, not just function.
Table of Contents
Introduction
Architectural Structure
Function
Architectural Art and Symbolism
From the Paper "The earliest Greek temples were small and gradually became larger and grander. The first temples were similar to small huts and were long and narrow. These early temples were about 25 by 18 feet and were built using stone and unbaked mud brick. As the wealth of the Greek people grew and the geographical locations became more abundant with resources, temples began to take a much more sophisticated style. "There was a compelling need, given the dominant role of the gods in society, to pay at least some benefits thus received to them.""
Abstract In this article, the writer notes that Greekarchitecture has long been identified with the creation of the three classic architectural orders, the Doric, Ionic and Corinthian. The writer points out that Greek temples were not directly linked to the orders but show basic features that are much alike. The writer then discusses that Roman architecture reflects a way of public and private life, borrowing elements from the Greeks and the Etruscans. The writer concludes that Greekarchitecture is more limited in scope and adheres more closely to ideas of unity and symmetry, more like chamber music. The writer maintains that Roman architecture is more expansive and more inclusive, balancing different elements in the manner of the symphony.
From the Paper "The Greeks studied proportions to secure a general harmony in the relative massiveness or slenderness of all the parts as well as a mathematical relation between their dimensions. This process could be likened to that involved in chamber music, where harmony among the elements is controllable with the limited number of instruments and the unity of musical elements."
"R.W. Livingstone cites some of the differences between the Greek and Roman approaches to architecture in terms of the Greek dedication to the architectural order as the vocabulary of Greek architecture, stating ... "
Abstract This paper briefly looks at Greek art and architecture to determine the relationship between them and broad cultural and/or philosophical currents animating Greek society and culture. Specifically, this paper examines the relationship of the Greek concept of the "golden mean" to art and architecture in the classical world and suggests that there are interesting manifestations of the Golden Mean in Greek art and architecture.
From the Paper "The culture and beliefs of the ancient Greeks clearly manifested themselves in the artwork they produced. This paper examines the relationship of the "Golden Mean" to the art and architecture of the Greeks. What should become apparent is that the "Golden Mean" - which in the world of art meant an emphasis upon harmony, balance, symmetry and austere beauty - was an animating factor in the vase work and architecture of the Greeks. This paper examines the above-mentioned relationship by looking first at examples of the "Golden Mean" in Greek pottery. From there, the paper examines the presence of the "Golden Mean" in Greek architecture. Specifically, because of its pre-eminent place in the architecture of the ancient world, special attention is devoted to the design of the Parthenon."
Abstract Themistocles, archon of Athens in the 5th century BC, was a shrewd and calculating man whose actions directly precipitated the victory of the Greek city-states over Persia in the Persian war. The paper explores how his actions saved Athens, the more liberal city-states of Greece, and, thus, what we now consider Western civilization, but at the cost of manipulative, almost cruel actions.
From the Paper "The Persian War was a watershed moment in the Greek psyche; the victory of Greek democracy and liberty over the far more powerful forces of tyranny and subjugation fixed a noble and god-given purpose in the Greek mindset. This watershed moment of 480-479 B.C. hinged upon three absolutely critical battles at: Marathon, Plataea and Salamis. The archon of Athens at the time of the battle at Salamis, Themistocles, was integral in orchestrating the victory of the allied Greek city-states over Persia. Themistocles? indispensability was a result of his use of every possible tactic, no matter how treacherous, to assure two key parts of the Salami victory: that Athens would be a naval presence to be reckoned with, and that the Greeks would navally engage Persia on favorable terms. Therefore, the statement ?The Greeks could not have won the war with Persia without Athens and Athens could not have won without Themistocles. Not just one city but one man was indispensable to victory,? rings very true. Although a number of factors were required to transpire in Themistocles? favor for Greek success and survival, he still played a crucial part in the victory."
Tags: athens, greece, persia, persian, plutarch, war
Abstract The paper describes both the Persian and the Peloponnesian Wars; their origins, outbreaks and their achievements. The paper points out that in the Persian War, it was Sparta, along with its ally Athens, that destroyed Xerxes' great Persian army, but in the Peloponnesian War, Sparta turned against its former ally and brought it to its knees by draining the Athenian state treasury, splintering its political harmony and devastating its military power.
From the Paper "This decision by the coalition turned out to be a very wise choice, for the Spartan army demonstrated their courage when three hundred Spartan warriors, led by the illustrious Leonides, managed to hold off Xerxes' huge army for several days at a narrow pass known as Thermopylae on the eastern coast of central Greece. Xerxes, upon being told of this small army of Spartan warriors, "was flabbergasted that this paltry force did not immediately retreat when faced by his magnificent army." Unfortunately, the Spartans were deceived by one of their own and the Persians managed to surround them, leading to their complete destruction."
Abstract This paper discusses how postmodern architecture, as its name suggests, and like so many aesthetic movements in general, arose as a reaction to the expressive sensibility of the previous generation and how perhaps the most striking formal and spatial qualities and characteristics of postmodern architecture is its lack of cohesion in all of the qualities of form and style. The paper also looks at how there are some shades of classicism in postmodern architecture--or at least neo-classicism and its embrace of an earlier era, that of Greek and Roman formality, and its transformation and appropriation of those forms in different uses.
From the Paper "The new postmodernists derided the formulaic genre of the preceding generations of architects, which they felt had produced buildings that were "monotonous" ("Art and culture: Postmodern architecture," 2007). The new critics despised modernism's uniform, linear lines, its consistency of shape, its "glass skyscrapers" that were "based on an efficiency of construction fostered by capitalist speculation ("Art and culture: Postmodern architecture," 2007). Modernism argued for architecture's politicization, an end to its "formal isolation" and for an expansion of architecture's role to address social problems. Postmodern critics of the early 1970s felt that elitism and individual expression were superior values to modernist's embrace of a populism that had really degenerated into a routinized corporate regime (McLeod 27)."
Abstract The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time and how its popularity has waned and has given way to more egalitarian and user-friendly civic buildings.
From the Paper "The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time, but its popularity has waned, and it has given way to more egalitarian and user-friendly civic buildings. During the 20th century, architects were very much on the lookout for the next new thing. This was a period of great change and advancement in society..."
Tags:greek revival, roman revival, neoclassicism, civic architecture
Abstract This paper traces the history of the architectural form and cultural function of the amphitheatre from its modest beginning in ancient Greece through to the Roman influenced theatre of today. It examines how, although some aspects of their design and function are debatable because so little of their physical structure exists today, Greek theaters can be chronologically classified into three categories: The early Athenian, Hellenistic and Graeco-Roman. It discusses how all of these theaters could be divided into essentially three parts: the theatron (or auditorium), the orchestra and the skene (or scene building) and how these standards developed over time.
From the Paper "In its simplest form the orchestra of a theater is simply a circular plot of land designated as a place for dance and this idea defines the orchestra employed during this time. It was circular in shape with a diameter of about 66 feet and was believed to be a locus for supernatural powers. An altar (or thymele), described as "a short drum of marble decorated with low-relief carvings of garlands and satyrs, or other Greek icons? was usually erected in the epicenter of the orchestra. It was primarily used prior to performances for sacrifices in honor of the god Dionysus, however plays with religious content often incorporated the altar into the performance. A level surface area, raised one foot from the orchestra and situated below the skene, termed the proscenium, served as the area in which the majority of the dramatic action transpired."
