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Journal articles on the topic 'Temple of Zeus (Olympia, Greece)'

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Published: 4 June 2021
Last updated: 28 July 2024

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1

Бондаренко, И. А. "COMPOSITION OF THE PARTHENON IN RELATION TO THE TEMPLE OF ZEUS IN OLYMPIA: PROPORTIONAL OBSERVATIONS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 43–60. http://dx.doi.org/10.25995/niitiag.2019.12.1.002.

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Рассмотрение храма Зевса в Олимпии в качестве образца для Парфенона позволяет установить общность и отличительные особенности построения этих двух ключевых храмов классической Греции. Автор обнаруживает в Парфеноне ряд простых модульных размерностей, соответствующих кратному числу древнегреческих мер длины, а также величинам важнейших частей храма Зевса в Олимпии. Это приводит его к выводу о том, что архитекторы исходили из задачи скомбинировать в новом сооружении предустановленные значения некоторых отрезков длины, ширины и высоты, добиваясь при этом своим искусством ощущения сбалансированности и выразительности целого. Этот вывод существенно расходится с преобладающими сегодня, но недостаточно обоснованными представлениями о том, что такие выдающиеся произведения античной архитектуры, как Парфенон, были проникнуты насквозь изощренными пропорциональными закономерностями, во главе с так называемым «золотым сечением». Considering the temple of Zeus in Olympia as a model for the Parthenon allows us to establish the common and distinctive features of these two key temples of the Classical Greece. The author discovers in the Parthenon a number of simple modular proportions corresponded to the Ancient Greek measures of length, as well as to the dimensions of the most important components of the Temple of Zeus in Olympia. This leads to the conclusion that the architects proceeded from the task of combining in the new building the predetermined values of some segments of length, width and height, while at the same time achieving a sense of balance and expressiveness of the whole. This conclusion is significantly at variance with the prevailing but insufficiently substantiated idea that such outstanding works of ancient architecture as the Parthenon were imbued with sophisticated proportional laws, such as the so-called "golden section".
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2

Psycharis, Ioannis N. "A Probe into the Seismic History of Athens, Greece from the Current State of a Classical Monument." Earthquake Spectra 23, no. 2 (May 2007): 393–415. http://dx.doi.org/10.1193/1.2722794.

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Based on the current deformation of a column of the temple of Olympios Zeus (Olympieion) in Athens, Greece, a backward analysis is performed in an effort to investigate the seismic history of the area during the last 2,000 years that the monument has been standing. The analysis inevitably contains many ambiguities, due to the nonlinearity and sensitivity of the seismic response, and the unknown geometry of the structure during each era of its life. In spite of these drawbacks, conclusions can be drawn; these, however, should be verified by similar analyses of other nearby monuments. The results show that the present state of the monument could be the result of: many medium-size, typical, near-field earthquakes with a PGV around 30 cm/s and with an average return period of about 250 years; or a smaller number of stronger earthquakes with a PGV around 50 cm/s and a return period of about 500 years; or a single event with a PGV up to 100 cm/s. It seems unlikely that earthquakes containing pulses of long periods (greater than 1.2 sec) have occurred.
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3

Healy, Patrick. "Design, Demos, Dialectics: Max Raphael's theory of Doric architecture." Cubic Journal, no. 1 (April 2018): 108–23. http://dx.doi.org/10.31182/cubic.2018.1.006.

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The main focus of this paper is to examine the analysis offered of the Temple of Zeus at Olympia by Max Raphael in his study dedicated to the remains of the temple. The temple of Zeus at Olympia is often cited as the canonical example of Doric temple architecture and Raphael examines how a particular design can have such far ranging influence, to which end he elucidates the relationship of design to the activity of a participatory and democratic process specific to the Greek polis. By bringing to bear a highly dialectical analysis of the various forces at play in both construction and the elaboration of the temple, Raphael advances a brilliant interpretation which takes account of the social, spiritual and material dimensions at play and dissolves older academic understandings of the achievement of ‘classical art’.
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4

Barringer, Judith M. "The Temple of Zeus at Olympia, Heroes, and Athletes." Hesperia 74, no. 2 (June 2005): 211–41. http://dx.doi.org/10.2972/hesp.74.2.211.

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5

Barringer, Judith M. "The Temple of Zeus at Olympia, Heroes, and Athletes." Hesperia 74, no. 2 (2005): 211–41. http://dx.doi.org/10.1353/hes.2005.0005.

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6

Stissi, Vladimir. "Het onzichtbare Olympia." Lampas 54, no. 2 (January 1, 2021): 213–29. http://dx.doi.org/10.5117/lam2021.2.003.stis.

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Abstract Although ancient Olympia is usually viewed as a Classical Greek site, most buildings that are visible nowadays were not there yet when Pindar celebrated famous victors or Peisistratos and Alcibiades won their races. More generally, even though new research has substantially improved our knowledge, the early history of the site is often still neglected in introductory presentations of the site. In this article some important main issues are discussed. First, new excavations have revealed that Bronze Age occupation of the area cannot be connected to the later cult, as some scholars have argued in the past. The older remains were covered by flooding of the nearby rivers when the sanctuary was founded in the 11th century BCE. Up to the late 7th century the sanctuary remained an open area around a large ash altar. Its main structure was a large dam protecting it from floods. The temple now associated with Hera, built around 600 BCE, was the first monumental building of the sanctuary. Recent research suggests this may originally have been dedicated to Zeus, but this cannot be proven conclusively. The common idea that this temple was originally a wooden construction has now also been debunked.
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7

Bourke, Graeme. "The Eleian Mantic Gene." Antichthon 48 (2014): 14–36. http://dx.doi.org/10.1017/s006647740000472x.

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AbstractThe Eleian manteis who practised at the altar of Zeus in Olympia appear to have belonged to two separate gene, the Iamids and the Klytiads. This paper first considers the identity and number of the Eleian mantic gene and then questions the long-held assumption that the Iamid genos was the first to become established at Olympia. It is argued that the foundation myths that appear in Pindar and Pausanias are probably the result of the embellishment of pre-existing tradition in the Classical and Hellenistic periods. While neither archaeology nor further textual evidence entitles us to assume that mantic activity at Olympia predated the late Archaic period, an early Classical inscription, certain of the sculptures on the temple of Zeus and a later series of inscriptions from Olympia do make it possible to infer that two mantic houses, of which the Iamids were one and the Klytiads likely the other, were practising at Olympia from that time or earlier. Some reflection upon the limitations of myth as historical evidence is offered before the conclusion is reached that we cannot be certain that the Iamids constituted the senior house.
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8

Uson Guardiola, Ezequiel. "Deciphering the Greek Temple: Verification with Software Tools of the Solar Design of the Parthenon in Athens and the Temple of Zeus in Olympia." European Journal of Architecture and Urban Planning 2, no. 1 (January 26, 2023): 9–18. http://dx.doi.org/10.24018/ejarch.2023.2.1.19.

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In Greek temples, compositional order and Pythagorean geometry were used to achieve regularity, proportion and beauty, combining exact magnitudes between the parts and the whole. It is also known that all the temples were oriented with great precision. However, the diverse reasons for their construction makes their astronomical orientation more difficult to interpret. In this research, the Parthenon in Athens (447-436 BC) and the Temple of Zeus in Olympia (470-456 BC) were analysed with solar simulation software. Comparing the results obtained, it is verified that both temples were designed and oriented following a plan: to facilitate the symbolic use of sunlight for the veneration of the goddess Athena and the god Zeus on the dates of the celebration of certain religious rituals. Verification was performed using a process that allows its extrapolation to similar analyses of any other Greek temple.
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9

Younger, John G., and Paul Rehak. "Technical Observations on the Sculptures from the Temple of Zeus at Olympia." Hesperia 78, no. 1 (March 2009): 41–105. http://dx.doi.org/10.2972/hesp.78.1.41.

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10

Tersini, Nancy D. "Unifying Themes in the Sculpture of the Temple of Zeus at Olympia." Classical Antiquity 6, no. 1 (April 1, 1987): 139–59. http://dx.doi.org/10.2307/25010861.

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11

Hurwit, Jeffrey M. "Narrative Resonance in the East Pediment of the Temple of Zeus at Olympia." Art Bulletin 69, no. 1 (March 1987): 6. http://dx.doi.org/10.2307/3051079.

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12

Hurwit, Jeffrey M. "Narrative Resonance in the East Pediment of the Temple of Zeus at Olympia." Art Bulletin 69, no. 1 (March 1987): 6–15. http://dx.doi.org/10.1080/00043079.1987.10788398.

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13

Patay-Horváth, András. "Lost and found : Virtual Rediscovery, Digitization and Interpretation of an Enigmatic Fragment from the Temple of Zeus at Olympia." Hungarian Archaeology 11, no. 1 (2022): 29–35. http://dx.doi.org/10.36338/ha.2022.1.1.

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The temple of Zeus at Olympia and its sculptural decoration were excavated almost one and a half century ago, and the remains have always been studied very intensively and from widely different perspectives (Herrmann 1987, Barringer 2005, Kyrieleis 2006, Rehak & Younger 2009, Westervelt 2009). Recently, latest technological innovations were also applied to create a virtual 3D reconstruction of the pediments and also, to simulate the illumination of the cella’s interior containing the famous chryselephantine statue of Zeus by Pheidias, which has perished completely (Patay-Horváth 2014, Digital sculpture 2021). Some details, including a correct reconstruction and interpretation of the Eastern pediment have still remained controversial (Patay-Horváth 2015, Barringer 2021) but, as the presented case illustrates, unexpected discoveries may also occur even in the 21st century, and VR tools can be used to reconsider old problems.
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14

Spawforth, Tony. "Mary Emerson. Greek Sanctuaries and Temple Architecture. An Introduction." Journal of Greek Archaeology 4 (January 1, 2019): 470–72. http://dx.doi.org/10.32028/jga.v4i.501.

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In her preface the author explains what is new in this second edition: chapters on Paestum and the temple of Zeus at Akragas, commentary on architectural sculpture, and an expanded bibliography. The book is avowedly introductory, the emphasis is on buildings, and a glossary explains the technical terms used in the text, which the reader had best get used to since – as Emerson says – they litter the further reading. Other than the new sites (above), the content focuses on Delphi, Olympia, Athens (Acropolis and the Hephaisteion) and Bassae. These being the core sites (‘classics’ as Emerson says) for the study of Greek sacred architecture, this is a sensible approach for an introduction (one might quibble about the omission of any structures specifically built for initiation rites from the Archaic and Classical periods, the timespan to which the book confines itself).
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15

Patay-Horváth, András, and Leif Christiansen. "From Reconstruction to Analysis. Re-use and re-purposing of 3D scan datasets obtained from ancient Greek marble sculpture." Studies in Digital Heritage 1, no. 2 (December 14, 2017): 491–500. http://dx.doi.org/10.14434/sdh.v1i2.23236.

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The paper describes two related research projects concerning the sculptural decoration of a well-known classical Greek monument, the temple of Zeus at Olympia. Both projects are based on the same dataset, i.e. the 3D scans obtained from the original pieces of marble sculpture, but they are used for two completely different purposes. In the first section, a summary is given of the results concerning the virtual 3D reconstruction of the east pediment, the second part describes another research question, the identity of the so-called Olympia master and a new analytical method, which makes use of the possibilities offered by the digital datasets and may open up new perspectives for the traditional art historical analysis. Beside the re-using and re-purposing of the raw data, the 3D models are not the final output of the project, but they are used to enhance our knowledge in a new way, which would be hardly feasible with traditional methods.
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16

Patay-Horváth, A. "THE COMPLETE VIRTUAL 3D RECONSTRUCTION OF THE EAST PEDIMENT OF THE TEMPLE OF ZEUS AT OLYMPIA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XXXVIII-5/W16 (September 7, 2012): 53–59. http://dx.doi.org/10.5194/isprsarchives-xxxviii-5-w16-53-2011.

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17

Le Bohec, Sylvie. "Philippe II et les dieux." Karanos. Bulletin of Ancient Macedonian Studies 3 (December 1, 2020): 161–71. http://dx.doi.org/10.5565/rev/karanos.59.

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Macedonian kings kept close bonds with the divine sphere. They considered themselves as Heraklids (and, in consequence, they traced back their lineage to Zeus himself) and the kingship kept noteworthy religious functions. Philip II made wide use of this religious side and it became a key element of his public image and propaganda, both inside and outside the kingdom of Macedonia. It was especially important the relation Philip established with Panhellenic shrines, like Delphi and Olympia, in close connection with his aspiration for hegemony all over Greece. Philip also regarded his coinage as useful political tools and the religious motives engraved are very telling about the king's claims and objectives. Originally published in Ancient Macedonia / Archaia Makedonia VI (Papers Read at the Sixth International Symposium held in Thessaloniki by the Institute of Balkan Studies (Greece): Le Bohec 2002a. Published in Karanos by kind permission of the author and the Institute for Balkan Studies.
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18

Kanellopoulos, Chrysanthos, and Elena Partida. "The Temple of Zeus at Lebadea. The architecture and the semantics of a colossus." Opuscula. Annual of the Swedish Institutes at Athens and Rome 14 (November 1, 2021): 363–400. http://dx.doi.org/10.30549/opathrom-14-17.

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The Temple of Zeus Basileus at Lebadea rests almost unknown. Its physical remains and date (not systematically explored so far) pose a riddle, as regards not only the circumstances which entailed its presumed incompletion but also the historic context in which the commencement of construction can be embedded. The dimensions of the krepis alone render this edifice highly interesting in the history of temple-building. The in situ preserved architectural elements suggest that here was begun the erection of what was at the time the largest peristasis in Mainland Greece. The temple stylobate measures 200 feet/podes in length, with a lower column diameter equal to just over two metres, and the longest interaxial spacings and corresponding architraves of its time. By increasing the length and height of the structure, the architects achieved its qualification as colossal. This qualification is revealed from the uniquefor-the-Classical-period length of 14 columns along the peristasis, with visible euthynteria and hypeuthynteria courses. As shown in this paper, this colossal structure abided by the rules of Doric design. Ascribing the unfinished state of the temple probably to financial shortcoming and/or military adventures, Pausanias did comment on its ambitious, gigantic size. The level of construction eventually reached is another focal point of our investigation. The study of the Temple of Zeus Basileus brings out the multifaceted notion of the term “monumentality”, tightly related to visual impact. One of the aims of its commissioners would have been to establish a landmark on the summit where Zeus was probably co-worshipped with Trophonios, the Boeotian hero-prophet. Since the temple in question, as we propose, most probably commemorated both a grandiose military victory in the 3rd century BC and the contemporary political situation, its imposing volume, along with the aesthetic effect of bichromy, were meant to perpetuate the overtone of these events within the ambience of the sacred Lebadea. Another facet of monumentality involves the respective building programme, and it derives from epigraphical sources, namely a contract specifying construction details, with particular instructions already at the orthostate level, denoting that accuracy in execution safeguarded the high quality of ancient Greek architecture.
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Patay-Horváth, A. "Reconstructions of the East Pediment of the Temple of Zeus at Olympia – A Comparison of Drawings, Plaster Casts and Digital Models." International Journal of Heritage in the Digital Era 1, no. 3 (September 2012): 331–49. http://dx.doi.org/10.1260/2047-4970.1.3.331.

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20

Patay-Horváth, András. "The Virtual 3D Reconstruction of the East Pediment of the Temple of Zeus at Olympia – Presentation of an Interactive CD-ROM." Geoinformatics FCE CTU 6 (December 21, 2011): 241–48. http://dx.doi.org/10.14311/gi.6.30.

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The paper gives an overview of a two-years project concerning a major monument of ancient Greek art and presents the interactive, bilingual (English/Hungarian) CD-ROM, which is intended to summarize and visualize its final results. The presented project approaches a century-old controversy in a new way by producing a virtual 3D reconstruction of a monumental marble group. Digital models of the statues were produced by scanning the original fragments and by reconstructing them virtually. The virtual model of the pediment surrounding the sculptures was prepared on the basis of the latest architectural studies and afterwards the reconstructed models were inserted in this frame, in order to test the technical feasibility and aesthetic effects the four possible arrangements. The resulting models enable easy and very instructive experimentation, which would be otherwise impossible with the originals and/or very expensive and not very practicable with traditional tools (e.g. real-size plaster models). The complete model can effectively be used to verify the results of earlier or more recent reconstructions presented only in simple drawings. In addition, the 3D models of the individual fragments can be used for further research and for visualization. The documentary CD-ROM presenting the full background, the methods and the conclusions of the project contains beside a comprehensive text various kinds of supporting documents (images, 3D models, papers, broadcasts, audiovisual material). It is addressed to a mixed audience: a picture gallery, a short documentary movie some other attachments including a selected bibliography is intended for the general public, but scholarly publications, presentations on related problems are also included for specialists interested in certain details.
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21

Schmid, Stephan G. "Worshipping the emperor(s): a new temple of the imperial cult at Eretria and the ancient destruction of its statues." Journal of Roman Archaeology 14 (2001): 113–42. http://dx.doi.org/10.1017/s1047759400019851.

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In Greece, as in the E Mediterranean as a whole, the ruler-cult was well established during the Hellenistic period, but whereas in the Attalid, Seleucid and Ptolemaic kingdoms the same dynasty had ruled for centuries and the cult of the living ruler and the dynastic cult were stable institutions, the ruler-cult in Greece, though at first part of the Macedonian kingdom, was affected by the series of rulers of different dynasties who followed one another in rapid succession. This led to a large number of dedications for and offerings by Hellenistic rulers in Greece. Roman Republican leaders and figures were also subject to specific honours in Greece from an early stage. Compared to the excesses of rulers such as Demetrios Poliorcetes, the well-organized and at first rather modest cult for the Roman emperors must have seemed a distinct improvement. After the behaviour of previous Roman leaders the Greeks were probably relieved at Augustus's attitude towards cultic honours, and it is no surprise that the imperial cult was widely diffused in Greece, as literary sources and inscriptions show. Almost every city must have had one or more places for the worship of the emperors and their families, but archaeological evidence for the cult has remained rather slim and the only two attested Sebasteia or Kaisareia (at Gytheion and Messene) are known only from inscriptions. The Metroon at Olympia is the only specific building in which an imperial cult is attested on good archaeological evidence. Statues of an emperor and perhaps a personification of Roma found at Thessaloniki point to a Sebasteion there. Athens must have had more than one building where the emperor was worshipped. At Beroia a provincial sanctuary for the imperial cult of Macedonia has been posited. Yet even at the Roman colony of Corinth, the location of the temple for the imperial cult is far from clear, all of which underlines the interest of a building at Eretria which we identify with the municipal temple for the imperial cult.
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22

Laky, Lilian de Angelo. "Olympia and the olympieia: the origin and the dissemination of Olympian Zeus' cult in Greece in the sixth and fifth centuries B.C." Revista Archai, no. 1 (2008): 61–71. http://dx.doi.org/10.14195/1984-249x_1_7.

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23

Scopigno, Roberto. "András Patay-Horváth. The Virtual 3D Reconstruction of the East Pediment of the Temple of Zeus at Olympia (Budapest: Hungarian Academy of Sciences, 2010, DVD)." European Journal of Archaeology 16, no. 1 (2013): 210–12. http://dx.doi.org/10.1179/146195712x13524807927574.

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24

Patay-Horváth, András. "The virtual 3D reconstruction of the east pediment of the temple of Zeus at Olympia an old puzzle of classical archaeology in the light of recent technologies." Digital Applications in Archaeology and Cultural Heritage 1, no. 1 (2014): 12–22. http://dx.doi.org/10.1016/j.daach.2013.06.001.

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25

Patay-Horváth, András. "Corrigendum to “The virtual 3D reconstruction of the east pediment of the temple of Zeus at Olympia—An old puzzle of classical archaeology in the light of recent technologies” [Digit. Appl. Archaeol. Cult. Herit. 1 (2014) 12–22]." Digital Applications in Archaeology and Cultural Heritage 1, no. 3-4 (2014): 103. http://dx.doi.org/10.1016/j.daach.2014.08.001.

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26

Bencze, Ágnes, and Csaba Szabó. "RecensionesAndrás Patay-Horváth (ed.): New Approaches to the Temple of Zeus at Olympia. Proceedings of the First Olympia-Seminar, 8th–10th May 2014. Cambridge Scholars Publishing, Newcastle upon Tyne 2015.- ISBN (10) 1-4438-7816-2 - 282 p., ill.Zerbini, Livio (ed.): Culti e Religiosità nelle Province Danubiane. Atti del II Convegno Internazionale Ferrara 20–22 Novembre 2013. I libri di Emil, Bologna, 2015. 746p. ISBN 978-88-6680-130-6." Acta Archaeologica Academiae Scientiarum Hungaricae 67, no. 2 (December 2016): 473–78. http://dx.doi.org/10.1556/072.2016.67.2.11.

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Guénette, Maxime. "Dedication of Lucius Mummius to Olympian Zeus." 7 | 1 | 2023, no. 1 (August 3, 2023). http://dx.doi.org/10.30687/axon/2532-6848/2023/01/004.

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After the defeat of the Achaean League and the destruction of Corinth in 146 BC, the Roman general Lucius Mummius Achaicus toured Greece in order to reorganise the Greek territory now under Roman rule. In addition to settling political disputes between cities, Mummius left several offerings and monuments in important cities, temples, and sanctuaries. Taking as a starting point this dedication by Lucius Mummius of an equestrian statue to the Olympian Zeus, we will analyse the different media and communication strategies employed by Lucius Mummius to mark his victory and his exploits in the collective memory of the Greeks.
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28

Mihajlović, Vladimir V. "Authority and How to Attain It: Pausanias, Description of Greece and Archaeological Excavations at Olympia." Issues in Ethnology and Anthropology 14, no. 3 (November 1, 2019). http://dx.doi.org/10.21301/eap.v14i3.9.

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One of the key products of archaeological work, the clear disciplinary distinction separating it from amateur curiosity or lucrative treasure hunt, is the text. Not only it stands at the end of almost every archaeological endeavour, text in its various forms often presents the source of fieldwork: archaeological excavations are preceded by (repeated) reading of previously written landscape, either represented through old travelogues, or through recent reports from archaeological surveys. In short, fieldwork and text are dialectically linked: fieldwork practice and texts mutually intertwine, confirm and (re)shape one another. Therefore, along with “founding fathers” of the discipline, some texts may also posses authority – achieved over time, confirmed, or lost. Opposed to the authors and works of the classical canon, Pausanias and his Description of Greece were not of noble origins, that would secure the position of indisputable authority in the field of classical archaeology. Therefore the reputation of the author and his work was built – through confirmations and refutations – in the very landscape of Greece, primarily through archaeological fieldwork. During the 19th century Description of Greece served as a kind of travel guide for researchers to the long-abandoned sites and grand archaeological discoveries, such as Schliemann in Mycenae. The Erechteion in Athens is today known by the name given to the temple by Pausanias. His authority, built in the field of classical archaeology, spread out of the domain of the discipline: on the grounds of the data from the Description of Greece and the esteem of its author, the administration of the new independent Greek kingdom started changing the Slovene, Albanian, Turkish or Italian toponyms in its territory. The excavations at Olympia – the case-study presented here, speak most eloquently about the mutual intertwining of archaeology and Description of Greece. On the one side, the years-long excavations, enabled by the decades-long diplomatic struggle for the licence, deepened the understanding of the work of Pausanias, but on the other side, the fieldwork practice has also changed, as well as the epistemological foundations of classical archaeology. The aim of this paper is to point once more to the inseparable ties linking practical and interpretive aspects, i.e. fieldwork and study in archaeology.
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