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King Tutankhamun's Tomb

Howard Carter (May 9, 1874 - March 2, 1939) was an English archaeologist and Egyptologist. He is most famous as the discoverer of KV62, the tomb of Tutankhamun in the Valley of the Kings, Luxor, Egypt. Howard Carter was born in 1874 in Kensington, London, the youngest son of eight children. His father, Samuel Carter, was an artist. His mother was Martha Joyce (Sands) Carter. Carter grew up in Swaffham, in northern Norfolk, and had no formal education. His father trained him in the fundamentals of drawing and painting. Carter began work in 1891, at the age of 17, copying inscriptions and paintings in Egypt. He worked on the excavation of Beni Hasan, the gravesite of the princes of Middle Egypt, c. 2000 BC. Later he came under the tutelage of William Flinders Petrie.He is also famous for finding the remains of Queen Hatshepsut tomb in Deir el Babri. In 1899, at the age of 25, Carter was offered a position working for the Egyptian Antiquities Service, from which he resigned as a result of a dispute between Egyptian site guards and a group of drunken French tourists in 1905.

Carter and Carnarvon

After several hard years, Carter was introduced, in 1907, to Lord Carnarvon, an eager amateur who was prepared to supply the funds necessary for Carter's work to continue. Soon, Carter was supervising all of Lord Carnarvon's excavations. Lord Carnarvon financed Carter's search for the tomb of a previously unknown Pharaoh, Tutankhamun, whose existence Carter had discovered. After a few months of fruitless searching, Carnarvon was becoming dissatisfied with the lack of return from his investment and, in 1922, he gave Carter one more season of funding to find the tomb.

On November 22, 1922 Carter found Tutankhamen's tomb (subsequently designated KV62), by far the best preserved and most intact pharaonic tomb ever found in the Valley of the Kings. He wired Lord Carnarvon to come at once.

On February 16, 1923, Carter opened the burial chamber and first saw the sarcophagus of Tutankhamun.

While unwrapping the linens of the mummy, presumably looking for treasure, the skull of the ancient king fell away from the body. The impact from its fall out of the tomb made a dent in the skull. Ancient Egyptians believed a king could only be immortal if the body rested undisturbed, so some believe the name of the king must still be spoken today as a remembrance.

After cataloguing the extensive finds, Carter retired from archaeology and became a collector. He visited the United States in 1924, and gave a series of illustrated lectures in New York City which were attended by very large and enthusiastic audiences.

He died in England in 1939 at the age of 64. The archaeologist's death at this advanced age is the most common piece of evidence put forward by skeptics to refute the idea of a curse (the "Curse of the Pharaohs") plaguing the party that violated Tutankhamun's tomb. Howard Carter is buried in Putney Vale Cemetery in West London.

Excavating the Tomb

Outside the tomb before it was opened.

It took only three days before the top of a staircase was unearthed. On November 4th, 1922 Carter's workmen discovered a step cut into the rock. Then they found fifteen more leading to an ancient doorway that appeared to be still sealed.

The rumor of an ancient curse didn't stop this archaeologist from opening the tomb of King Tut. Death Shall Come on Swift Wings To Him Who Disturbs the Peace of the King was allegedly engraved on the exterior of King Tutankhamen's Tomb.

On the doorway was the name Tutankhamen. Almost three weeks later the staircase was entirely excavated and the full side of the plaster block was visible.

By November 26, the first plaster block was removed, the chip filling the corridor was emptied, and the second plaster was ready to be taken apart.

At about 4 P.M. that day, Carter broke through the second plaster block and made one of the discoveries of the century, the tomb of King Tutankhamun.

The Curse of the Mummy

When Carter arrived home that night his servant met him at the door. In his hand he clutched a few yellow feathers. His eyes large with fear, he reported that the canary had been killed by a cobra. Carter, a practical man, told the servant to make sure the snake was out of the house.

The man grabbed Carter by the sleeve. "The pharaoh's serpent ate the bird because it led us to the hidden tomb! You must not disturb the tomb!"

Scoffing at such superstitious nonsense, Carter sent the man home.

Carter immediately sent a telegram to Carnarvon and waited anxiously for his arrival. Carnarvon made it to Egypt by November 26th and watched as Carter made a hole in the door. Carter leaned in, holding a candle, to take a look. Behind him Lord Carnarvon asked, "Can you see anything?"

Carter answered, "Yes, wonderful things."

The tomb was intact and contained an amazing collection of treasures including a stone sarcophagus. The sarcophagus contained three gold coffins nested within each other (right). Inside the final one was the mummy of the boy-king, Pharaoh Tutankhamen. The day the tomb was opened was one of joy and celebration for all those involved. Nobody seemed to be concerned about a curse.

A few months later tragedy struck.

Lord Carnarvon, 57, was taken ill and rushed to Cairo. He died a few days later. The exact cause of death was not known, but it seemed to be from an infection started by an insect bite. Legend has it that when he died there was a short power failure and all the lights throughout Cairo went out. On his estate back in England his favorite dog howled and dropped dead.

Even more strange, when the mummy of Tutankhamun was unwrapped in 1925, it was found to have a wound on the left cheek in the same exact position as the insect bite on Carnarvon that lead to his death.

By 1929 eleven people connected with the discovery of the Tomb had died early and of unnatural causes. This included two of Carnarvon's relatives, Carter's personal secretary, Richard Bethell, and Bethell's father, Lord Westbury. Westbury killed himself by jumping from a building. He left a note that read, "I really cannot stand any more horrors and hardly see what good I am going to do here, so I am making my exit."

The press followed the deaths carefully attributing each new one to the "Mummy's Curse."

By 1935 they had credited 21 victims to King Tut. Was there really a curse? Or was it all just the ravings of a sensational press? Perhaps, the power of a curse is in the mind of the person who believes in it. Howard Carter, the man who actually opened the tomb, never believed in the curse and lived to a reasonably old age of 66 before dying of entirely natural causes.

Inside The Tomb

Though small and unimpressive, Tutankhamun's Tomb is probably the most famous, due to its late discovery. Howard Carter's description upon opening the tomb in 1922 was, "At first I could see nothing, the hot air escaping from the chamber causing the candle flames to flicker, but presently, as my eyes grew accustomed to the light, details of the room within emerged slowly from the mist, strange animals, statues and gold - everywhere the glint of gold.

For the moment - an eternity it must have seemed to the others standing by - I was dumb with amazement, and when Lord Carnarvon, unable to stand the suspense any longer, inquired anxiously, 'Can you see anything?' it was all I could do to get out the words, "Yes, wonderful things."'

The royal seal on the door was found intact. The first three chambers were unadorned, with evidence of early entrance through one of the outside walls. The next chamber contained most of the funerary objects.

Found in Antechamber

The sarcophagus was four guilded wooden shrines, one inside the other, within which lay the stone sarcophagus, three mummiform coffins, the inner one being solid gold, and then the mummy. Haste can be seen in the reliefs and the sarcophagus, due to the fact that Tutankhamun died at only 19 years of age following a brief reign. Though extremely impressive to the modern world, the treasures of Tutankhamun must have paled when compared to the tombs of the great Pharaohs that ruled for many years during Egypt's golden age.

The tomb is much smaller than, any of the other kings tombs, with plain walls, until you reach the burial chamber. It took almost a decade of meticulous and painstaking work to empty the tomb of Tutankhamen. Around 3500 individual items were recovered.

Tutankhamen is the only pharaoh, in the valley of the kings, still to have his mummy in its original burial location.

Discovered resting on a sled dressed in silver in, the antechamber of the tomb of Tutankhamun, this wooden shrine is covered in gold leaf applied to a layer of stucco. Its form, with the roof sloping down from front to rear and the projecting cornice at the top of the walls, recalls the ancient chapels of Upper Egypt.

A double door opens on one of the short sides and is closed with two ebony latches running through gold rings. A cord would once have passed through another two and been fastened with a clay seal. Inside the shrine there is a gilded wooden support for a statue, which was probably in solid gold and removed by grave robbers. The base still carries the marks of the feet while the name of Tutankhamun is inscribed on the dorsal pillar. On the floor lay the remains of a pectoral of which fragments have been found scattered elsewhere in the tomb.

The roof of the shrine is decorated with a winged solar disc at the front and twelve images of the vulture goddess Nekhbet with outspread wings protecting the cartouches of the sovereign and his wife. Two winged serpents with long, sinuous bodies are depicted on the sides of the roof and hold in front of them the shen hieroglyph, symbolizing eternity. The lintel of the door also features a winged solar disc while the cornice above is incised with a continuous series of vertical lines.

The external walls and the doors are subdivided into panels framed by hieroglyphic inscriptions with scenes showing Tutankhamun and his wife in various aspects of married life, a theme that recalls the scenes of the Amarna Period. However, it is not only the contents of the various scenes that recall the art of Akhenaten, but also their style characterized by the fineness, grace, and sophistication of the modeling.

The couple, adorned with jewels and dressed in finely pleated, adherent clothing, appear in various poses that reveal their reciprocal affection and a sense of absolute peace and serenity. The left wall is divided into four panels. In the bottom left Ankhesenamun is crouching before the seated Tutankhamun and is receiving a liquid poured by her husband into her hands from a small ampoule.

In the other scenes Tutankhamun, always sitting on his throne, is portrayed receiving various from his wife. On the right-hand wall, divided into two registers, Tutankhamun is seen hunting in a swamp, again in the company of the queen. The rear wall and the doors, both inside and out, are decorated with scenes in which Ankhesenamun is making offerings in the presence of her husband.

The entire decorative scheme of the shrine has strong symbolic connotations associated with the religious and political spheres. The intimate ties between the pharaoh and his bride represent the serene relationship between god and man. For this reason it is almost always the queen who is the active figure, embodying the concept of humanity paying homage to the celestial being personified by Tutankhamun. The hunting scene is to be interpreted as a symbolic episode referring to the pharaoh's role in the maintenance of the cosmic order and his constant fight against chaos (symbolized by the birds in the swamp).

Thanks to the images of the king identified as a god, the sovereign¹s shrine thus becomes a reproduction of a shrine dedicated to the cult of a divinity.

These two statues were discovered in the antechamber of the royal tomb, facing each other on either side of the sealed entrance to the burial chamber. At the time of their discovery traces of the linen bandages in which they had been wrapped were found, along with two bundles of olive and persea branches placed as offerings, one on the floor, the other still propped against the wall.

The statues, of refined craftsmanship and striking in both their life-size dimensions and the black finish of the skin, are testimony to the skill of the artist who has succeeded in investing their features with a sense of the almost supernatural power they wielded as guardians of the burial chamber. Rather than being designed to frighten eventual intruders, the black skin tone was a reference to the earth and thus, given that these are ka images of the sovereign, emphasizes indestructibility of the creative nature of the king, evoking the aspects of rebirth and cyclical resurrection of Osiris.

The two statues differ only in the type of head covering they are wearing (one a khat head-cloth, the other a nemes) and the inscriptions on their skirts. The king is portrayed in a striding pose, a mace gripped in his right hand and a long staff with a papyrus stem in his left hand. A gilded bronze asp adorns his forehead while the eyes are inlaid and outlined with gilded bronze, as are the eyebrows. A gilded usekh necklace and a pectoral are worn on the chest. The pleated skirt is fastened on the hips with a belt inscribed at the rear and on the buckle with the coronation name of the king Nebkbeperura.

The protruding frontal section of the skirt of the statue with the khat head-cloth carries the vertical inscription "The perfect god, rich in glory, a sovereign to be proud of, the regal ka of Horakhty, the Osiris, and Lord of the Two Lands, Nebkbeperura, made just." The inscription on the statue wearing the nemes records the birth name of the pharaoh, "Tutankhamun, living forever as Ra each day". Both statues are wearing anklets and bracelets of gilded bronze. Although made some years after the end of the Amarna Period, these sculptures clearly show the influence of the art of Akhenaten with their prominent bellies, slim legs and pierced ears.

Thirty-four wooden statues were found in the tomb of Tutankhamun, seven portraying the pharaoh and the other twenty-seven depicting various divinities from the Egyptian pantheon. The majority of the statues had been placed in the treasure chamber inside black wooden cabinets mounted on sleds and set along the south wall. Two of these pieces, placed together in the same cabinet, are identical and depict the pharaoh stepping on the back of a panther.

The image of the sovereign is sculpted with great realism in a very hard wood, stuccoed and covered with a thin layer of gold leaf. Tutankhamun is gripping a long staff in one hand and the flail symbolizing his power in the other. He is wearing the crown of Upper Egypt, adorned with the royal asp on the forehead. The body of the snake is painted black.

The modeling of the head and body reflects the influence of Amarna-era art in the emphasis and exaggeration of certain physical details such as the long, forward-tilted neck, the protruding breasts, the swollen belly, and the low waist. It is therefore legitimate to suggest that the statue may have been made for Akhenaten, a hypothesis supported by the fact that when it was discovered it was wrapped in linen cloths that carried inscriptions datable to the third year of this pharaoh's reign.

With its serene, youthful expression, the face features eyes inlaid with obsidian, bronze, and glass. The sovereign is bare chested but is wearing a large collar that covers his breast and shoulders and terminates with a droplet motif. The pharaoh's clothing consists of a long, tightly-fitting loincloth, knotted at the front and lined with thin incisions imitating the folds in the cloth, and sandals on his feet.

The statue stands on a black-painted, rectangular pedestal fixed to the arching back of a panther, also black. The animal is portrayed with great realism, pacing slowly and furtively. Its body has a sinuous, elegant profile and the head, with gilded ears and muzzle, is slightly dipped. A second black-painted pedestal constitutes the base for the entire sculptural group.

The composition is not intended to evoke a hunting scene, since the sovereign is not bearing arms, but rather it has a symbolic value. The panther might constitute an allegorical image of the sky, which in the Predynastic era was depicted as a feline that swallowed the sun in the evening before regenerating it in rejuvenated form the following morning. With the extensive gilding of his body the sovereign could represent the sun god. According to another interpretation supported by a pictorial scene in the tomb of Sety I, the sovereign whose gilding identifies him as the sun god, is located in the under world. The panther is in fact painted black like all the inhabitants of the under world.

The Treasure Chamber in the tomb of Tutankhamun contained twenty-two black-painted wooden caskets, each of which contained one or more wooden statues portraying the pharaoh or a number of deities from the Egyptian pantheon. All of the figures contained in the black tabernacles are fixed to a rectangular base and at the moment of their discovery were wrapped in a linen cloth datable to the third year of the reign of Akhenaten.

Two twin statues in gilded wood depict Tutankhamun standing upright on a papyrus raft and engaged in a mythical hunt for the hippopotamus symbolizing evil. The pharaoh is represented as the incarnation of Horus, the god that according to the legend fought in the swamps against the evil Seth who was transformed into a hippopotamus and was finally defeated.

Tutankhamun, like the victorious god, has the task of fighting against evil and preserving the universal order of which he is the sole guarantor. The sovereign, seen in a striding pose taking a long, solemn step appears realistically to be concentrating on launching a long spear against his enemy. He is wearing the crown of Lower Egypt decorated at the front with a representation of the royal cobra above his youthful, refined facial features.

His eyes are inlaid. An usekh necklace is depicted around his neck, incised into the wood in imitation of the rows of beads of which it is composed. The soft modeling of the naked torso with the slightly protruding pectoral muscles, the swollen belly and the low hips are clear indications of the influence that was still exercised over the art of this era by the Amarna Period.

The arms are separate from the body and emphasize the dynamism of the hunting pharaoh: in his right hand he is gripping the long spear whilst in his left he is holding a rope in rolled bronze with which to capture the defeated animal. Tutankhamun is wearing a pleated skirt, knotted at the front from where the cloth falls to various levels and opens in a fan-like fashion.

The striding pose of the statue means that the narrow pleats of the cloth adhere tightly to the thighs, allowing the underlying musculature to appear. The pharaoh is wearing precious thong sandals that were part of the his official costume. The front foot is flat on the ground while the rear is poised on the tips of the toes in realistic imitation of the pose of one taking aim prior to throwing a spear.

The slim vessel on which the sovereign is floating is typical of the simple "Its made of papyrus used by the Ancient Egyptians. It is painted in green, with the prow and the stern taking the form of sophisticated images of papyrus flowers with gilded petals. The raft is attached to a rectangular pedestal painted in black that supports the entire sculptural composition.

This elegant and precious game table composed of interlocking pieces is the largest of the four discovered in the annex of the tomb of Tutankhamun. The piece takes-the form of a box resting on a base supported by four leonine legs, partially covered with gold leaf and fixed to a sled. The upper surface is veneered with ivory and is subdivided by means of strips of wood into thirty squares, five of which carry inscriptions. The game of senet was played on this board. There are the same number of squares in ivory on the lower surface of the box, three of which are inscribed. This side was used for the game tjau.

On one of the short sides there is an aperture in which a drawer (discovered empty elsewhere in the tomb) would have been inserted. This would once have contained the pieces used for the games which were probably taken away by thieves as they would have been made of precious materials.

The four sides of the box feature yellow hieroglyphic inscriptions with augural phrases in favor of Tutankhamun, to whom the board belonged. The pharaoh's names and complete titles are recorded. The rules of the two games played on this board are unknown, but it is probable that the two competing players had to move their pieces after throwing a stick or a form of die.

Senet was very popular in Egypt from the remotest times. Boards were frequently placed in tombs to allow the deceased to continue playing after their deaths. It had magical-religious values and in the tomb paintings and in the Book of the Dead the deceased appears seated alone, intent on playing an imaginary adversary in a scene symbolizing his successful passage to the spiritual world.

Tut Chalice Lamp

Taken to the Cairo Museum

Statue of Ptah

Casket

Numerous caskets and chairs were piled hazardly as a result of the violations of the tomb in the western corner of the antechamber. The containers were almost all rectangular in shape, with lids that were flat, featured triangular pediments, or were vaulted. With the exception of certain examples in alabaster and cane, the majority were made of wood, with precious inlays in ivory, gold leaf, turquoise, or vitreous paste.

Frequently a hieratic or hieroglyphic inscription indicated their function, followed by the name of the sovereign and the ritual verse in which the sovereign was augured "life, strength and health." This casket takes the form of a rectangular parallelepiped, supported on simple square feet and closed with a vaulted lid in imitation of the primitive shrines of Upper Egypt.

The two large button-like knobs in blue faience were used to fasten the casket by means of ties and are placed on the curved part of the lid and in the center of the upper part of the front side.

The decoration is of a sophisticated elegance, thanks above all to the prevalent two-tone color scheme, interrupted only by the checkered frame around the panels, which create an attractive contrast with the elegant turquoise faience inlays on the gilded surfaces.

On the long side panels there are a series of five royal cartouches set between asps surmounted by the solar disc; the birth name of the sovereign, Tutankhamun, alternates with his coronation name Nebhheperura. The two cartouches are also found on the front and rear short sides, placed centrally and flanked by the protective figures of the genii of the millions of years arranged symmetrically either side.

Tutankhamun's Throne

This throne was produced in the early years of the reign of Tutankhamun, prior to the religious counter reformation that marked the definitive end of the Amarna Period.

The grace of the forms combines well with the richness of the decoration and the luminosity of the colors, giving rise to a composition of exquisite craftsmanship. The scene depicts the sovereign relaxing on his throne with his feet resting on a low stool with cushions. He is wearing a short wig surmounted by a composite crown and the typical pleated robe of the era, which left the prominent stomach uncovered, another feature typical of the Amarna period.

The arms of the throne are in the form of two winged and crowned serpents holding the cartouche of Tutankhamun in front of them. The legs, which were linked at the front and rear with a heraldic motif symbolizing the union of southern and northern Egypt, terminate in leonine paws. Two lions' heads also emerge from the front section of the throne. The rear of the backrest is decorated with a frieze of asps.

source : http://www.crystalinks.com

The Second Temple (Hebrew: בית המקדש‎, romanized: 'Beit HaMikdash' meaning 'Holy House') was the reconstructed Temple in Jerusalem which stood between 516 BCE and 70 CE. During this time, it was the center of Jewish worship, which focused on the sacrifices known as the korbanot. Solomon's Temple, also known as the First Temple, was destroyed in 586 BCE when the Jews were exiled into Babylonian Captivity. Construction of a new temple was begun in 535; after a hiatus, work resumed ca. 521, with completion occurring in 516 and dedication in 515. As described in the Book of Ezra, rebuilding of the Temple was authorized by Cyrus the Great and ratified by Darius the Great. The Romans destroyed Jerusalem and its Second Temple on August 4th 70 CE, ending the Great Jewish Revolt that began in 66 CE.

Nation reorganized

After the return from captivity, under Zerubbabel, arrangements were almost immediately made to reorganize the desolated Kingdom of Judah after its demise seventy years earlier. The body of pilgrims, forming a band of 42,360 including children (besides their male and female servants, who numbered 7,337, and 200 singing men and women; cf. Ezra 2:65), having completed the long and dreary journey of some four months, from the banks of the Euphrates to Jerusalem, were animated in all their proceedings by a strong religious impulse, and therefore one of their first concerns was to restore their ancient house of worship by rebuilding their destroyed temple and reinstituting the sacrificial rituals known as the korbanot ("sacrifices" in Hebrew).

On the invitation of Zerubbabel, the governor, who showed them a remarkable example of liberality by contributing personally 1,000 golden darics, besides other gifts, the people poured their gifts into the sacred treasury with great enthusiasm (Ezra 2). First they erected and dedicated the altar of God on the exact spot where it had formerly stood, and they then cleared away the charred heaps of debris which occupied the site of the old temple; and in the second month of the second year (535 BCE), amid great public excitement and rejoicing (befitting Psalms 116; 117; 118), the foundations of the second temple were laid. A wide interest was felt in this great movement, although it was regarded with mingled feelings by the spectator.

Samaritans offer

The Samaritans made proposals for co-operation in the work. Zerubbabel and the elders, however, declined all such cooperation, feeling that Judea must build the temple without help. Immediately evil reports were spread regarding the Jews. According to Ezra 4:5, the Samaritans sought to "frustrate their purpose" and sent messengers to Ecbatana and Susa, with the result that the work was suspended.

Monarchs

Seven years after this Cyrus the Great, who ordered and declared the rebuilding of the temple, died (2Chronicles 36:22-23); he was succeeded by his son Cambyses. On his death the "false Smerdis," an imposter, occupied the throne for some seven or eight months, and then Darius I of Persia became king (522 BCE). In the second year of this monarch the work of rebuilding the temple was resumed and carried forward to its completion (Ezra 5:6-6:15), under the stimulus of the earnest counsels and admonitions of the prophets Haggai and Zechariah. It was ready for consecration in the spring of 516 BCE, more than twenty years after the return from captivity. The temple was completed on the third day of the month Adar, in the sixth year of the reign of King Darius.

Missing articles

This second temple was missing the Ark of the Covenant, the Urim and Thummim, the holy oil, the sacred fire, the Ten Commandments, the pot of manna, and Aaron's rod. The Kodesh Hakodashim was separated by curtains rather than a wall as in the first Temple. As in the Tabernacle, there was in it only one golden lamp for the holy place, one table of showbread, and the incense altar, with golden censers, and many of the vessels of gold that had belonged to Solomon's Temple that had been carried to Babylon but restored by Cyrus (Ezra 1:7-11).

This second temple also differed from the first temple in that, while in the older temple there were numerous trees planted in the courts of the Lord, there were no trees in the second temple. The second temple also had for the first time a space, being a part of the outer court, provided for non-Jewish worshippers who were worshippers of God and subject only to those laws incumbent upon gentiles.

This temple was adorned with gold and it was the holiest site in Judaism.

Completion

The temple, when completed, was consecrated and the sacrificial observances known as the korbanot resumed, amid great rejoicings on the part of all the people (Ezra 6:16), although it was evident that the Jews were no longer an independent people, but were subject to a foreign power. The Book of Haggai records a prediction (2:9) that the glory of the second temple would be greater than that of the first. This temple, during the different periods of its existence, is often regarded by believers as but one house, the one only house of God.

Christian views

Many Christians argue that the glory here predicted is spiritual glory and not material splendor, in that Jesus would be present during his life at the second temple.

Other Christians read the prophecy quite differently. Some say that in Haggai 2:3, the "former glory" of the house refers to the temple that Solomon had built. Thus, since the former glory of the place identified as "this house" in verse 9 is not the glory of the second temple but of the first one, there is no reason to necessarily say that the latter glory of it is a reference to the glory of the second temple either, but that it could be referring to the glory of the third temple, the one that Ezekiel prophesied. As such, this prophecy is seen as referring to the future temple to be built during the Messianic Kingdom. This explanation is common among those who hold to the dispensationalist and other premillennial models, but those who hold to amillennialism and postmillennialism repudiate it.^{[citation needed]}

Renovation under Herod

Main article: Herod's Temple

Around 19 BCE, Herod the Great began a massive renovation and expansion of the Second Temple Complex. The Temple itself was torn down and a new one built in its place. The resulting structure is sometimes referred to as Herod's Temple, but it is still called the Second Temple because the sacrificial rituals continued unabated throughout the construction process.

Destruction

In 66 CE the Jewish population rebelled against the Roman Empire. Four years later, in 70 CE, Roman legions under Titus reconquered and subsequently destroyed much of Jerusalem and the Second Temple. The arch of Titus, located in Rome and built to commemorate Titus's victory in Judea, depicts Roman soldiers carrying off the Menorah from the Temple. Jerusalem itself was razed by the Emperor Hadrian at the end of the Bar Kochba Rebellion in 135 CE.

Discovery of quarry

On September 25, 2007 Yuval Baruch, archaeologist with the Israeli Antiquities Authority announced their discovery of a quarry compound which provided King Herod with the stones to renovate the Second Temple. It houses the Temple Mount. Coins, pottery and iron stake found proved the date of the quarrying to be about 19 BCE. Archaeologist Ehud Nesher confirmed that the large outlines of the stone cuts is evidence that it was a massive public project worked by hundreds of slaves.

source : Wikipedia

Solomon's Temple (Hebrew: בית המקדש‎, transliterated Beit HaMikdash), also known as the First Temple, was, according to the Bible, the first temple of the ancient religion of the biblical Israelites in Jerusalem.

According to the Bible, it functioned as a religious focal point for worship and the sacrifices known as the korbanot in ancient Judaism. Completed in the 10th century BCE, it was destroyed by the Babylonians in 586 BCE. The reconstructed temple in Jerusalem, which stood between 516 BCE and 70 CE, was the Second Temple. However, some modern studies, such as The Bible Unearthed question the historical accuracy of the Biblical account of King Solomon and a United Monarchy.

Biblical account

According to the biblical account, David's first action as king of Israel was to conquer Jebus (Jerusalem) and declare it the capital of his kingdom. Even though the city was not the perfect choice from many points of view, a geopolitical constraint dictated this choice. Mount Moriah is an important place where Abraham bound Isaac and thus the Temple was to be built there. David conquered Jerusalem at the end of the 11th century BCE, then choose it as the center of his new government. He brought the Ark of the Covenant to the city. Jerusalem became the political and spiritual nexus of the ancient Hebrews. King David was instructed by God not to build the Temple, leaving the task to his son Solomon. The concentration of religious ritual at the Temple made Jerusalem a place of pilgrimage and an important commercial center.

The city served as the capital of the united kingdom of Israel, but became the capital of the less powerful of the two kingdoms (Judah) after the death of Solomon and the division of the country into two kingdoms. It regained its central status after the conquest and destruction of the northern Kingdom of Israel by the Assyrians in 722 BCE. In 586 BCE the city was invaded by the Babylonians. At the order of King Nebuchadnezzar II the city was torched, the Temple was razed, and the people were taken into exile. Jewish tradition holds this incident to be the first exile of the Jewish nation.

Raids and destruction

According to the Bible, the temple was pillaged many times during the course of its history (dates before Ahaz are approximate):

1. by king Shishak of Egypt, c.933 BCE (1 Kings 14:25, 26);
2. by king Asa of Judah, c.900 BCE in order to persuade Ben-Hadad I of Damascus to come to his aid against Baasha of Israel (1 Kings 15:9-24);
3. by king Jehoash of Judah, c. 825 BCE, in order to pay Hazael of Damascus, who was besieging the city (2 Kings 12:17-18);
4. by king Joash of Israel, c.790 BCE (2 Kings 14:14);
5. by king Ahaz of Judah, 734 BCE, to persuade Tiglath-pileser III of Assyria to come to his aid against Pekah of Israel and Rezin II of Damascus (2 Kings 16:8, 17, 18);
6. by king Hezekiah of Judah, 712 BCE, to pay king Sennacherib of Assyria, who was besieging the city (2 Kings 18:15, 16);
7. by king Nebuchadnezzar II of Babylon who pillaged it twice — once in 597 BCE, and again in 586 BCE, after which he destroyed it (2 Kings 24:13; 2 Chr. 36:7). He burned the temple, and carried all its treasures with him to Babylon (2 Kings 25:9-17; 2 Chr. 36:19; Isaiah 64:11).

These sacred vessels were, at the end of the Babylonian Captivity, restored to the Jews by Cyrus, in 538 BCE (Ezra 1:7-11).

Location

The Temple is believed to have been situated upon the hill which forms the site of the present-day Temple Mount, in the center of which area is the Dome of the Rock. Under the Jebusites the site was used as a threshing floor. 2 Sam. 24 describes its consecration during David's reign. Two other, slightly different sites for the Temple have also been proposed, on this same hill. One places the stone altar at the location of the rock which is now beneath the gilded dome, with the rest of the temple to the west. The Well of Souls was, in this theory, a pit for the remnants of the blood services of the korbanot. The other theory places the Holy of Holies atop this rock.

Archaeological evidence

Israeli archaeologist Eilat Mazar has conjectured that archaelolgical evidence supports the possible historical existence of Solomon's Temple. This evidence includes remains taken from refuse from an extensive construction project performed on the Temple Mount by the Islamic waqf in November of 1999. second was discovered in the summer of 2007, as archeologists overseeing construction at the site reported “evidence of human activity” most likely belonging to the first temple period. In January 2008 Israeli archaeologist Mazar publicized the Shelomit seal

According to Israel Finkelstein, the archaeological remains considered to date from the time of Solomon reflect an unabated continuation of Canaanite material culture and do not show a magnificent empire or cultural development. Finkelstein suggests that comparing pottery from areas traditionally assigned to Israel with that of the Philistines points to the Philistines having been significantly more sophisticated. Finkelstein conjectured that due to religious prejudice, later writers (i.e. the Biblical authors) suppressed the achievements of the Omrides (whom the Bible describes as being polytheist), and instead pushed them back to a supposed golden age of godly rulers (i.e. monotheist, and Yahweh worshiping).

Description

The detailed descriptions provided in the Tanakh and educated guesses based on the remains of other temples in the region are the sources for reconstructions of its appearance. Technical details are lacking, since the scribes who wrote the books were not architects or engineers. Reconstructions differ; the following enumeration is largely based on Easton's Bible Dictionary and the Jewish Encyclopedia:

• The Kadosh Kadoshim, the Temple's Most Holy Place (1 Kings 6:19; 8:6), called also the "inner house" (6:27), and the "Holy of Holies" (Heb. 9:3). It was 20 cubits in length, breadth, and height. The usual explanation for the discrepancy between its height and the 30-cubit height of the temple is that its floor was elevated, like the cella of other ancient temples. It was floored and wainscotted with Cedar of Lebanon (1 Kings 6:16), and its walls and floor were overlaid with gold (6:20, 21, 30). It contained two cherubim of olive-wood, each 10 cubits high (1 Kings 6:16, 20, 21, 23-28) and each having outspread wings 10 cubits from tip to tip, so that, since they stood side by side, the wings touched the wall on either side and met in the center of the room. There was a two-leaved door between it and the holy place overlaid with gold (2 Chr. 4:22); also a veil of blue purple and crimson and fine linen (2 Chr. 3:14; compare Exodus 26:33).It had no windows (1 Kings 8:12). It was considered the dwelling-place of God.

The reason for the color scheme of the veil was symbolic. In Jewish tradition, blue represented the heavens, while red or crimson represented the earth. Purple, a combination of the two colors, represents a meeting of the heavens and the earth. Thus, purple can also be a representation of the Holy Messiah in Jewish and Christian traditions. One can thus conclude that the only way into the Holy of Holies (God's presence) is through the purple veil (the Messiah).

• The Hekhal: the holy place, 1 Kings 8:8-10, called also the "greater house" (2 Chr. 3:5) and the "temple" (1 Kings 6:17); the word also means "palace". It was of the same width and height as the Holy of Holies, but 40 cubits in length. Its walls were lined with cedar, on which were carved figures of cherubim, palm-trees, and open flowers, which were overlaid with gold. Chains of gold further marked it off from the Holy of Holies. The floor of the Temple was of fir-wood overlaid with gold. The door-posts, of olive-wood, supported folding-doors of fir. The doors of the Holy of Holies were of olive-wood. On both sets of doors were carved cherubim, palm-trees, and flowers, all being overlaid with gold (1 Kings 6:15 et seq.)
• The Ulam: the porch or entrance before the temple on the east (1 Kings 6:3; 2 Chr. 3:4; 9:7). This was 20 cubits long (corresponding to the width of the Temple) and 10 cubits deep (1 Kings 6:3). 2 Chr. 3:4 adds the curious statement (probably corrupted from the statement of the depth of the porch) that this porch was 120 cubits high, which would make it a regular tower. The description does not specify whether a wall separated it from the next chamber. In the porch stood the two pillars Jachin and Boaz (1 Kings 7:21; 2 Kings 11:14; 23:3), which were 18 cubits in height and surmounted by capitals of carved lilies, 5 cubits high.
• The chambers, which were built about the temple on the southern, western and northern sides (1 Kings 6:5-10). These formed a part of the building and were used for storage. They were probably one story high at first; two more may have been added later.

According to biblical tradition, round about the building were:

• The court of the priests (2 Chr. 4:9), called the "inner court" (1 Kings 6:36), which was separated from the space beyond by a wall of three courses of hewn stone, surmounted by cedar beams (1 Kings 6:36).
• The great court, which surrounded the whole temple (2 Chr. 4:9). Here the people assembled to worship God (Jeremiah 19:14; 26:2).

The inner court of the Priests contained the Altar of burnt-offering (2 Chr. 15:8), the brazen Sea (4:2-5, 10) and ten lavers (1 Kings 7:38, 39). 2 Kings 16:14 says that a brazen altar stood before the Temple, 2 Chr. 4:1 gives its dimensions as 20 cubits square and 10 cubits high.

The brazen Sea (Laver), 10 cubits wide brim to brim, 5 cubits deep and with a circumference of 30 cubits around the brim, rested on the backs of twelve oxen (1 Kings 7:23-26). The Book of Kings gives its capacity as "2,000 baths" (24,000 US gallons), but Chronicles inflates this to three thousand baths (36,000 US gallons) (2 Chr. 4:5-6) and states that its purpose was to afford opportunity for the purification by immersion of the body of the priests. (According to Talmud tractate Mikwaoth, a "bath" of 40 seahs is the minimum permissible size for a Mikvah).

The lavers, each of which held "forty baths" (1 Kings 7:38), rested on portable holders made of bronze, provided with wheels, and ornamented with figures of lions, cherubim, and palm-trees. The author of the books of the Kings describes their minute details with great interest (1 Kings 7:27-37). Josephus reported that the vessels in the Temple were composed of Orichalcum in Antiquities of the Jews. According to 1 Kings 7:48 there stood before the Holy of Holies a golden altar of incense and a table for showbread. This table was of gold, as were also the five candlesticks on each side of it. The implements for the care of the candles—tongs, basins, snuffers, and fire-pans—were of gold; and so were the hinges of the doors.

Comparison with other temples

According to De Vaux, the Temple has recognizable similarities to other regions. Syro-Phoenician, Egyptian, and Mesopotamian influences are visible, and a plaza or courtyard surrounding the sacred residence of the god, marked with stones, is a feature common throughout ancient Semitic religions. De Vaux found earlier evidence of this practice among the Hebrews surviving in the two stones that Joshua placed at Gilgal (Joshua 4:20) and the marking of Mount Sinai by Moses (Ex. 19:12), and in the forbidden zone surrounding the tent which was the predecessor of the Temple. According to De Vaux, contemporary Muslims' designation of certain areas, especially that surrounding Mecca, as inviolate haram represents a comparable practice.

The Biblical text states that Solomon received aid from Hiram, the King of Tyre, in the construction of his buildings. This aid involved not only material (cedar-wood, etc.), but architectural direction and skilled craftsmen. According to De Butt, the tripartite division of the Temple is similar to that found in 13th century BCE temples at Alalakh in Syria and Hazor in the upper Galilee, a 9th century BCE temple at Tell Tayinat also follows this plan. Phoenician temples varied somewhat in form, but were similarly surrounded by courts.

Among the details which according to were probably copied from Tyre were the two pillars Jachin and Boaz. Herodotus (ii. 44) says that the temple at Tyre contained two such, one of old tin. In the same way the ornamentation of palm trees and cherubim were probably derived from Tyre, because Ezekiel (28:13, 14) represents the King of Tyre, who was high priest also, as being in the "garden of God." Probably both at Tyre and at Jerusalem the cherubim and palm-tree ornaments were survivals of an earlier conception—that the abode of God was a "garden of Eden." The Tyrians, therefore, in their temple imitated to some extent the primitive garden, and Solomon borrowed these features.

Similarly, according to, the bronze altar was a Phoenician innovation, and probably the same is true of the bronze implements which were ornamented with palm-trees and cherubim. The Orthodox Israelitish altar was of earth or unhewn stone. The Decalogue of Ex. 20 prohibited the making of graven images, while that of Ex. 34 prohibited the making of molten gods; and the Deuteronomic expansions prohibited the making of any likeness whatever. All these are, to be sure, later than Solomon's time; but there is no reason to believe that before that time the Hebrews had either the skill or the wealth necessary to produce ornamentation of this kind.

Other Near Eastern temples

Several temples in Mesopotamia, many in Egypt, and some of the Phoenicians are now known. In Babylonia the characteristic feature was a ziggurat, or terraced tower, evidently intended to imitate the mountains on which the gods resided. The chamber for the divine dwelling was at its top. The early Egyptian temples consisted of buildings containing two or three rooms, the innermost of which was the abode of the deity. A good example is the granite temple near the sphinx at Giza. The Middle Kingdom (12th dynasty) added obelisks and pylons, and the New Kingdom (18th dynasty) hypostyle halls. Solomon's Temple was not a copy of any of these, nor of the Phoenician buildings, but embodied features derived from all of them. It was on the summit of a hill, like the altar of Ba'al on Mount Carmel and the sanctuaries of Mount Hermon, and like the Babylonian idea of the divine abode. It was surrounded by courts, like the Phoenician temples and the splendid temple of Der al-Bakri at Thebes. Its general form is reminiscent of Egyptian sanctuaries and closely matches that of other temples in the region, as described above.

According to, the two pillars Jachin and Boaz had their parallel not only at Tyre but at Byblos, Paphos, and Telloh. In Egypt the obelisks expressed the same idea. The Jewish Encyclopedia stated that "All these were phallic emblems, being survivals of the primitive Hamito-Semitic maẓẓebah", Jachin and Boaz were really isolated columns, as Schick has shown, and not, as some have supposed, a part of the ornamentation of the building. Their tops were crowned with ornamentation as if they were lamps; and W. R. Smith supposed (l.c. p. 488) that they may have been used as fire-altars, positing that they may have contained cressets for burning the fat.

source : Wikipedia

The Parthenon (ancient Greek: Παρθενών) is a temple of the Greek goddess Athena, built in the 5th century BC on the Athenian Acropolis. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered one of the high points of Greek art. The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy, and is one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction.

The Parthenon replaced an older temple of Athena, called the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury, and for a time served as the treasury of the Delian League, which later became the Athenian Empire. In the 6th century AD, the Parthenon was converted into a Christian church dedicated to the Virgin. After the Ottoman conquest, it was converted into a mosque in the early 1460s, and it even had a minaret. On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment. The resulting explosion severely damaged the Parthenon and its sculptures. In 1806, Thomas Bruce, 7th Earl of Elgin removed some of the surviving sculptures, with Ottoman permission. These sculptures, now known as the Elgin or Parthenon Marbles, were sold in 1816 to the British Museum in London, where they are now displayed. The Greek government is committed to the return of the sculptures to Greece, so far with no success.

Design and construction

The first endeavour to build a sanctuary for Athena Parthenos on the site of the present Parthenon was begun shortly after the Battle of Marathon (c. 490-488 BC) upon a massive limestone foundation that extended and leveled the southern part of the Acropolis summit. This building replaced a hekatompedon (meaning "hundred-footer") and would have stood beside the archaic temple dedicated to the Athena Polias. The Older or Pre-Parthenon, as it is frequently referred to, was still under construction when the Persians sacked the city in 480 BC and razed the Acropolis.

In the mid-5th century BC, when the Athenian Acropolis became the seat of the Delian League and Athens was the greatest cultural centre of its time, Pericles initiated an ambitious building project which lasted the entire second half of the century. The most important buildings visible on the Acropolis today – the Parthenon, the Propylaia, the Erechtheion and the temple of Athena Nike – were erected during this period. The Parthenon was built under the general supervision of the sculptor Phidias, who also had charge of the sculptural decoration. The architects, Iktinos and Kallikrates, began in 447 BC, and the building was substantially completed by 432, but work on the decorations continued until at least 431. Some of the financial accounts for the Parthenon survive and show that the largest single expense was transporting the stone from Mount Pentelicus, about 16 kilometres from Athens, to the Acropolis. The funds were partly drawn from the treasury of the Delian League, which was moved from the Panhellenic sanctuary at Delos to the Acropolis in 454 BC.

Although the nearby Temple of Hephaestus is the most complete surviving example of a Doric order temple, the Parthenon, in its day, was regarded as the finest. The temple, wrote John Julius Norwich, "Enjoys the reputation of being the most perfect Doric temple ever built. Even in antiquity, its architectural refinements were legendary, especially the subtle correspondence between the curvature of the stylobate, the taper of the naos walls and the entasis of the columns." Entasis refers to the slight bulge of the columns as they rise, though the observable effect on the Parthenon is considerably more subtle than on earlier temples with their noticeably cigar-shaped columns. The stylobate is the platform on which the columns stand. As in many other classical Greek temples, it has a slight parabolic upward curvature intended primarily to shed rainwater. The columns might therefore be supposed to lean outwards, but they actually lean slightly inwards; and since they are all the same height, the curvature of the outer stylobate edge is transmitted to the architrave and roof above: "all follow the rule of being built to delicate curves" Gorham Stevens observed when pointing out that in addition, the west front was built at a slightly higher level than that of the east front.It is not universally agreed what the intended effect of these 'optical refinements' was; it is often suggested that it was to enliven what might have appeared an inert mass in the case of a building without curves, but the comparison ought to be with the Parthenon's more obviously curved predecessors than with a notional rectilinear temple.

Some studies of the Acropolis, including the Parthenon, conclude that many of its proportions approximate the golden ratio. The Parthenon's facade as well as elements of its facade and elsewhere can be circumscribed by golden rectangles.This view that the golden ratio was employed in the design has been disputed in more recent studies.

Measured at the top step, the dimensions of the base of the Parthenon are 69.5 metres by 30.9 metres (228.0 x 101.4 ft). The cella was 29.8 metres long by 19.2 metres wide (97.8 x 63.0 ft), with internal Doric colonnades in two tiers, structurally necessary to support the roof. On the exterior, the Doric columns measure 1.9 metres (6.2 ft) in diameter and are 10.4 metres (34.1 ft) high. The corner columns are slightly larger in diameter. The Parthenon had 46 outer pillars and 19 inner pillars in total. The stylobate has an upward curvature towards its centre of 60 millimetres (2.36 in) on the east and west ends, and of 110 millimetres (4.33 in) on the sides. The roof was covered with large overlapping marble tiles known as imbrices and tegulae.

Sculptural decoration

The Parthenon, an octostyle, peripteral Doric temple with Ionic architectural features, housed the chryselephantine statue of Athena Parthenos sculpted by Phidias and dedicated in 439/438 BC. The decorative stonework was originally highly coloured.The temple was dedicated to the Athena at that time, though construction continued until almost the beginning of the Peloponnesian War in 432. By the year 438, the sculptural decoration of the Doric metopes on the frieze above the exterior colonnade, and of the Ionic frieze around the upper portion of the walls of the cella, had been completed. The richness of the Parthenon's frieze and metope decoration is in agreement with the function of the temple as a treasury. In the opisthodomus (the back room of the cella) were stored the monetary contributions of the Delian League, of which Athens was the leading member.

Metopes

Main article: Metopes of the Parthenon

The ninety-two metopes were carved in high relief, a practice employed until then only in treasuries (buildings used to keep votive gifts to the gods). According to the building records, the metope sculptures date to the years 446-440 BC. Their design is attributed to the sculptor Kalamis. The metopes of the east side of the Parthenon, above the main entrance, depict the Gigantomachy (mythical battles between the Olympian gods and the Giants). The metopes of the west end show Amazonomachy (mythical battle of the Athenians against the Amazons). The metopes of the south side—with the exception of the somewhat problematic metopes 13–20, now lost—show the Thessalian Centauromachy (battle of the Lapiths aided by Theseus against the half-man, half-horse Centaurs). On the north side of the Parthenon the metopes are poorly preserved, but the subject seems to be the sack of Troy.

The metopes present surviving traces of the Severe Style in the anatomy of the figures' heads, in the limitation of the corporal movements to the contours and not to the muscles, and in the presence of pronounced veins in the figures of the Centauromachy. Several of the metopes still remain on the building, but with the exception of those on the northern side, they are severely damaged. Some of them are located at the Acropolis Museum, others are in the British Museum and one can be seen at the Louvre museum.

Frieze

Main article: Parthenon Frieze

The most characteristic feature in the architecture and decoration of the temple is the Ionic frieze running around the exterior walls of the cella. The bas-relief frieze was carved in situ; it is dated in 442 BC-438 BC.

One interpretation is that it depicts an idealized version of the Panathenaic procession from the Dipylon Gate in the Kerameikos to the Acropolis. In this procession held every year, with a special procession taking place every four years, Athenians and foreigners were participating to honour the goddess Athena offering sacrifices and a new peplos (dress woven by selected noble Athenian girls called ergastines).

Joan Breton Connelly has recently argued for another interpretation of the Frieze, in which she attempts to prove that the iconography of the Frieze is based on Greek mythology. This interpretation postulates that the scenes depict the sacrifice of Pandora, youngest daughter of Erechtheus, to Athena. This human sacrifice was demanded by Athena to save the city from Eumolpus, king of Eleusis, who had gathered an army to attack Athens.

Pediments

The 2nd-century traveller Pausanias, when he visited the Acropolis at the end of the second century AD , only mentioned briefly the sculptures of the pediments (gable ends) of the temple, reserving the majority of his description for the gold and ivory statue of the goddess inside.

East pediment

The East pediment narrates the birth of Athena from the head of her father, Zeus. According to Greek mythology Zeus gave birth to Athena after a terrible headache prompted him to summon Hephaestus' (the god of fire and the forge) assistance. To alleviate the pain he ordered Hephaestus to strike him with his forging hammer, and when he did, Zeus's head split open and out popped the goddess Athena in full armour. The sculptural arrangement depicts the moment of Athena's birth.

Unfortunately, the center pieces of the pediment were destroyed even before Jacques Carrey created otherwise useful documentary drawings in 1674, so all reconstructions are subject to conjecture and speculation.. The main Olympian gods must have stood around Zeus and Athena watching the wondrous event, with Hephaestus and Hera probably near them. The Carrey drawings are instrumental in reconstructing the sculptural arrangement beyond the center figures to the north and south.

West pediment

The west pediment faced the Propylaia and depicted the contest between Athena and Poseidon during their competition for the honor of becoming the city's patron. Athena and Poseidon appear at the center of the composition, diverging from one another in strong diagonal forms with the goddess holding the olive tree and the god of the sea raising his trident to strike the earth. At their flanks they are framed by two active groups of horses pulling chariots, while a crowd of legendary personalities from Athenian mythology fills the space out to the acute corners of the pediment.

The work on the pediments lasted from 438 to 432 BC, and the sculptures of the Parthenon pediments are some of the finest examples of classical Greek art. The figures are sculpted in natural movement with bodies full of vital energy that bursts through their flesh, as the flesh in turn bursts through their thin clothing. The thin chitons allow the body underneath to be revealed as the focus of the composition. The distinction between gods and humans is blurred in the conceptual interplay between the idealism and naturalism bestowed on the stone by the sculptors. The pediments no longer exist.

Athena Parthenos

For more details on this topic, see Athena Parthenos.

The only piece of sculpture from the Parthenon known to be from the hand of Pheidias was the statue of Athena housed in the naos. This massive chryselephantine sculpture is now lost and known only from copies, vase painting, gems, literary descriptions and coins.

Older Parthenon

Main article: Older Parthenon

The first endeavour to build a sanctuary for Athena Parthenos on the site of the present Parthenon was begun shortly after the Battle of Marathon (c. 490-88 BC). This building replaced a hekatompedon (meaning "hundred-footer") and would have stood beside the archaic temple dedicated to Athena Polias. The “older Parthenon”, as it is frequently referred to, was still under construction when the Persians sacked the city in 480 BC and razed the Acropolis. The existence of the proto-Parthenon and its destruction were known from Herodotus, and the drums of its columns were plainly visible built into the curtain wall north of the Erechtheum. Further material evidence of this structure was revealed with the excavations of Patagiotis Kavvadias of 1885-90. The findings of this dig allowed Wilhelm Dörpfeld, then director of the German Archaeological Institute, to assert that there existed a distinct substructure to the original Parthenon, called Parthenon I by Dörpfeld, not immediately below the present edifice as had been previously assumed. Dörpfeld's observation was that the three steps of the first Parthenon consisted of two steps of Poros limestone, the same as the foundations, and a top step of Karrha limestone that was covered by the lowest step of the Periclean Parthenon. This platform was smaller and slightly to the north of the final Parthenon, indicating that it was built for a wholly different building, now wholly covered over. This picture was somewhat complicated by the publication of the final report on the 1885-90 excavations, indicating that the substructure was contemporary with the Kimonian walls, and implying a later date for the first temple.

If the original Parthenon was indeed destroyed in 480, it invites the question of why the site was left a ruin for thirty-three years. One argument involves the oath sworn by the Greek allies before the Battle of Plataea in 479 BC declaring that the sanctuaries destroyed by the Persians would not be rebuilt, an oath from which the Athenians were only absolved with the Peace of Callias in 450. The mundane fact of the cost of reconstructing Athens after the Persian sack is at least as likely a cause. However, the excavations of Bert Hodge Hill led him to propose the existence of a second Parthenon, begun in the period of Kimon after 468 BC.Hill claimed that the Karrha limestone step Dörpfeld took to be the highest of Parthenon I was in fact the lowest of the three steps of Parthenon II, whose stylobate dimensions Hill calculated to be 23.51x66.888m.

One difficulty in dating the proto-Parthenon is that at the time of the 1885 excavation the archaeological method of seriation was not fully developed; the careless digging and refilling of the site led to a loss of much valuable information. An attempt to make sense of the potsherds found on the acropolis came with the two-volume study by Graef and Langlotz published 1925-33.This inspired American archaeologist William Bell Dinsmoor to attempt to supply limiting dates for the temple platform and the five walls hidden under the re-terracing of the Acropolis. Dinsmoor concluded that the latest possible date for Parthenon I was no earlier 495 BC, contradicting the early date given by Dörpfeld. Further Dinsmoor denied that there were two proto-Parthenons, and that the only pre-Periclean temple was what Dörpfeld referred to as Parthenon II. Dinsmoor and Dörpfeld exchanged views in the American Journal of Archaeology in 1935.

Name

The origin of the Parthenon's name is unclear. According to Jeffrey M. Hurwit, the term "Parthenon" means "of the virgin" or "of the virgins", and seems to have originally referred only to a particular room of the Parthenon; it is debated which room this is, and how the room acquired its name. One theory holds that the "parthenon" was the room in which the peplos presented to Athena at the Panathenaic Festival was woven by the arrephoroi, a group of four young girls chosen to serve Athena each year. Christopher Pelling asserts that Athena Parthenos may have constituted a discrete cult of Athena, intimately connected with, but not identical to, that of Athena Polias. According to this theory, the name of Parthenon means the "temple of the virgin goddess", and refers to the cult of Athena Parthenos that was associated with the temple. The epithet parthénos (Greek: παρθένος), whose origin is also unclear, meant "virgin, unmarried woman", and was especially used for Artemis, the goddess of wild animals, the hunt, and vegetation, and for Athena, the goddess of war, handicraft, and practical reason.It has also been suggested that the name of the temple alludes to the virgins (parthenoi), whose supreme sacrifice guaranteed the safety of the city.

In any case, the first instance in which Parthenon definitely refers to the entire building is in the 4th-century BC orator Demosthenes. In the 5th-century building accounts, the structure is simply called ho naos ("the temple"). The architects Mnesikles and Kallikrates are said to have called the building Hekatompedos ("the hundred footer") in their lost treatise on Athenian architecture,and in the 4th century and later the building was referred to as the Hekatompedos or the Hekatompedon as well as the Parthenon; the 1st-century AD writer Plutarch refers to the building as the Hekatompedon Parthenon.

Treasury or temple?

Architecturally, the Parthenon is clearly a temple, formerly containing the famous cult image of Athena by Phidias and the treasury of votive offerings. Since actual Greek sacrifices always took place at an altar invariably under an open sky, as was in keeping with their religious practices, the Parthenon does not suit some definitions of "temple," as no evidence of an altar has been discovered. Thus, some scholars have argued that the Parthenon was only ever used as a treasury. While this opinion was first formed late in the 19th century, it has gained strength in recent years. The majority of scholarly opinion still sees the building in the terms Walter Burkert described for the Greek sanctuary, consisting of temenos, altar and temple with cult image.

Later history

Christian church

The Parthenon survived as a temple to Athena for close to a thousand years. It was certainly still intact in the 4th century AD, by which time it was already as old as Notre Dame Cathedral in Paris is now, and far older than St. Peter's Basilica in Rome. But by that time Athens had been reduced to a provincial city of the Roman Empire, albeit one with a glorious past. Sometime in the 5th century AD, the great cult image of Athena was looted by one of the Emperors, and taken to Constantinople, where it was later destroyed, possibly during the sack of the city during the Fourth Crusade in 1204 AD.

Shortly after this, the Parthenon was converted to a Christian church. In Byzantine times it became the Church of the Parthenos Maria (Virgin Mary), or the Church of the Theotokos (Mother of God). It was the fourth most important pilgrimage in the Eastern Roman Empire after Constantinople, Ephessos and Thessalonica. In 1018, the emperor Basil II, went on a pilgrimage to Athens directly after his final victory over the Bulgarians for the sole purpose of worshipping at the Parthenon. In medieval Greek accounts it called the Temple of Theotokos Atheniotissa and often indirectly referred to, as famous without explaining which temple they were referring to precisely, thus establishing that it was indeed well known.

At the time of the Latin occupation it became for about 250 years a Roman Catholic Church of Our Lady. The conversion of the temple to a church involved removing the internal columns and some of the walls of the cella, and the creation of an apse at the eastern end. This inevitably led to the removal and dispersal of some of the sculptures. Those depicting gods were either possibly re-interpreted according to a Christian theme, or removed and destroyed.

During Ottoman rule

In 1456, Athens fell to the Ottomans, and the Parthenon was converted again, into a mosque. Contrary to subsequent misconception, the Ottomans were broadly respectful of ancient monuments in their territories and did not willfully destroy the antiquities of Athens, but at the same time made no special effort to protect them. In times of war they were willing to demolish them to provide materials for walls and fortifications. A minaret was added to the Parthenon, and its base and stairway are still functional, leading up as high as the architrave and hence invisible from the outside. Otherwise, the Ottomans did not further modify the building. European visitors in the 17th century, as well as some representations of the Acropolis hill, testified that the building was largely intact.

In 1687, the Parthenon suffered its greatest blow when the Venetians under Francesco Morosini attacked Athens, and the Ottomans fortified the Acropolis and used the building as a gunpowder magazine. On 26 September a Venetian mortar, fired from the Hill of Philopappus, blew the magazine up and the building was partly destroyed. Morosini then proceeded to attempt to loot sculptures from the now ruin. The internal structures were demolished, whatever was left of the roof collapsed, and some of the pillars, particularly on the southern side, were decapitated. The sculptures suffered heavily. Many fell to the ground, and souvenirs were later made from their pieces. Consequently some sections of the sculptural decoration are known only from the drawings made by Flemish artist Jacques Carrey in 1674. After this, much of the building fell into disuse and a smaller mosque was erected.

The 18th century was a period of Ottoman stagnation; as a result, many more Europeans found access to Athens, and the picturesque ruins of the Parthenon were much drawn and painted, spurring a rise in philhellenism and helping to arouse sympathy in Britain and France for Greek independence. Amongst those early travellers and archaeologists were James Stuart and Nicholas Revett, who were commissioned by the Society of Dilettanti to survey the ruins of classical Athens. What they produced was the first measured drawings of the Parthenon published in 1787 in the second volume of Antiquities of Athens Measured and Delineated. In 1801, the British Ambassador at Constantinople, the Earl of Elgin, obtained a firman (edict) from the Sultan to make casts and drawings of the antiquities on the Acropolis, to demolish recent buildings if this was necessary to view the antiquities, and to remove sculptures from them. He took this as permission to collect all the sculptures he could find. He employed local people to detach them from the building itself; a few others he collected from the ground, and some smaller pieces he bought from local people. The detachment of the sculptures caused further irreparable damage to what was left of the building, as some of the frieze blocks were sawn in half to lessen their weight for shipment to England.

Independent Greece

When independent Greece gained control of Athens in 1832, the visible section of the minaret was demolished from the Parthenon, and soon all the medieval and Ottoman buildings on the Acropolis were destroyed. However the image of the small mosque within the Parthenon's cella has been preserved in Joly de Lotbinière's photograph, published in Lerebours's Excursions Daguerriennes in 1842: the first photograph of the Acropolis. The area became a historical precinct controlled by the Greek government. Today it attracts millions of tourists every year, who travel up the path at the western end of the Acropolis, through the restored Propylaea, and up the Panathenaic Way to the Parthenon, which is surrounded by a low fence to prevent damage.

Dispute over the marbles

Today, the Parthenon Marbles which were removed by the Earl of Elgin are in the British Museum. Other sculptures from the Parthenon are now in the Louvre in Paris, in Copenhagen, and elsewhere, but most of the remainder are in Athens in the Acropolis Museum, which still stands below ground level a few metres to the south-east of the Parthenon, but will be soon transferred to a new building. A few can still be seen on the building itself. The Greek government has been campaigning since 1983 for the British Museum sculptures to be returned to Greece. The British Museum has steadfastly refused to return the sculptures, and successive British governments have been unwilling to force the Museum to do so (which would require legislation). Nevertheless, talks between senior representatives from Greek and British cultural ministries, and their legal advisors took place in London on 4 May 2007. These were the first serious negotiations for several years, and there are hopes that the two sides may move a step closer to a resolution.

Reconstruction

In 1975, the Greek government began a concerted effort to restore the Parthenon and other Acropolis structures. The project later attracted funding and technical assistance from the European Union. An archaeological committee thoroughly documented every artifact remaining on the site, and architects assisted with computer models to determine their original locations. In some cases, prior re-construction was found to be incorrect. Particularly important and fragile sculptures were transferred to the Acropolis Museum. A crane was installed for moving marble blocks; the crane was designed to fold away beneath the roofline when not in use. The incorrect reconstructions were dismantled, and a careful process of restoration began. The Parthenon will not be restored to a pre-1687 state, but the explosion damage will be mitigated as much as possible, both in the interest of restoring the structural integrity of the edifice (important in this earthquake-prone region) and to restore the aesthetic integrity by filling in chipped sections of column drums and lintels, using precisely sculpted marble cemented in place. New marble is being used from the original quarry. Ultimately, almost all major pieces of marble will be placed in the structure where they originally would have been, supported as needed by modern materials.

Originally, various blocks were held together by elongated iron H pins that were completely coated in lead, which protected the iron from corrosion. Stabilizing pins added in the 19th century were not so coated and corroded. Since the corrosion product (rust) is expansive, the expansion caused further damage by cracking the marble. All new metalwork uses titanium, a strong, light, and corrosion resistant material.

Pollution hazards

An immediate problem facing the Parthenon is the environmental impact of the growth of Athens since the 1960s. Corrosion of its marble by acid rain and car pollutants has already caused irreparable damage to some sculptures and threatens the remaining sculptures and the temple itself. Over the past 20 years, the Greek government and the city of Athens have made some progress on these issues, but the future survival of the Parthenon does not seem to be assured.

source : Wikipedia