The Greeks finished building an exquisite temple to their beloved goddess, Athena in the year 432 BCE. (Sayre 60). The name of this enriched, unique temple was the Parthenon. The Parthenon took the Greeks approximately fifteen years to complete and as Pericles stated, it was built to give gratitude to their goddess Athena for the salvation of their city, Athens and all of Greece in the Persian Wars (Sayre 60). It was also a symbol of their power and superiority among other cultures. It was something the Greeks took great pride in and recognized it to a great extent. The Parthenon was built on the highest point of the city of Athens to look over the precious Greek city. On the exterior walls of the Parthenon there was beautiful artwork that adorned the walls, also known as the Parthenon Frieze (“The Parthenon Frieze”, par 1). According to the National Geographic video, “Parthenon Marbles Battle”, two thousand years after the Parthenon was built, in the late 1600's the Parthenon was blown up during a war between Venice and the Ottoman Empire, which left the Parthenon almost in complete ruins. Then, in the early 1800's, there came Lord Elgin, who was a huge fanatic of Greek history. Because Greece was currently under conquest by the Ottoman Empire, Lord Elgin made the Ottoman Empire a deal and bought the remains of the Parthenon Frieze artwork along with other sculptures as well. Elgin sent these unique sculptures of art work back to his country, England. Since then these sculptures became known as the "Elgin Marbles", and currently sit in the British Museum at London (“What are the 'Elgin Marbles”, par 1). However, do these fine pieces of artwork truly belong to Elgin? There has been a lot of controversy throughout the years of whet...
... middle of paper ...
...the same way.
Works Cited
"Elginism." Elginism. Elgin Marbles, 14 Feb. 2009. Web. 13 Feb. 2014.
"In Focus: The Elgin Marbles." YouTube. YouTube, 16 Mar. 2012. Web. 13 Feb. 2014.
"Parthenon Marbles Battle -National Geographic." National Geographic. N.p., n.d. Web. 13 Feb. 2014.
"Parthenon Marbles Debate." YouTube. YouTube, 25 June 2012. Web. 13 Feb. 2014.
Sayre, Henry. Discovering the Humanities (2nd Edition). New Jersey: Pearson Education, 2010. Print
"Should Britain Return the Elgin Marbles?" The Week UK. N.p., 14 Feb. 2009. Web. 13 Feb. 2014.
"Stephen Fry Calls for Britain to Return Parthenon Frieze to Greece." The Telegraph. Telegraph Media Group, 1
"The Parthenon Frieze." The Parthenon Frieze. N.p., n.d. Web. 13 Feb. 20142 June 2012. Web. 13 Feb. 2014.
"What Are the 'Elgin Marbles'?" British Museum. N.p., n.d. Web. 13 Feb. 2014.
The controversy began almost one hundred years ago. Between 1801 and 1812, Thomas Bruce, 7th Earl of Elgin and British Ambassador to the Ottoman Empire, removed several sculptures from the Parthenon in Athens and shipped them to England, where he sold them to the British Museum in 1816. 167 years later, Melina Mercouri, Greek Minister of Culture, requested that the “Elgin” Marbles be returned. This request sparked one of the greatest debates the art world has ever known. For the past two decades, people have argued over who has the rights to these Marbles. The Greek position is certainly understandable from a cultural and emotional point of view. However, from the standpoint of legality and logic, it is hard to make a solid case against the Marbles’ continued presence in Britain.
Parts of the sculptures that used to belong to the Parthenon are now residing within Britain’s Museum, and Christopher Hitchens argues that they be returned to Greece through his work entitled “The Lovely Stones.” Hitchens builds his argument by utilizing a short history of the incident and rhetorical questions.
There is an ongoing debate on whether the Parthenon Marbles, now located in London, England, should be returned to their original homeland of Athens, Greece. The marbles were removed from the Parthenon by Lord Elgin from 1801-1812 and transported to England. They were sold to the British government in 1816 and put in the British Museum where they have been for the last 200 years. I believe that the marbles should now be returned to Greece, not only because of the method and circumstances surrounding their removal, but because they are original pieces of the oldest and most symbolic structure in Greek history that epitomizes the pinnacle of Ancient Classical Greece and the beginning of western democracy through artistic ingenuity.
However, the artefacts brought to England from Benin in 1897 were an anomaly. The craftsmanship and sophistication were such that some were reminiscent of the beautiful figures in the Hofkiche, Innsbruck 1502-1563 (plate 3.1.12. Visited...
... made such a great impression that it has carried through to our present day buildings such as the White House. The Athena Parthenos has been recreated by the Romans and then most recently by recreated by Alan LeQuire which is in Nashville. (See Fig 2.) We can get a glimpse with LeQuire’s recreation of how that statue may have been in ancient Greece standing in the Parthenon with such majestic greatness.
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
The Parthenon was built to honor the goddess of wisdom, Athena. When structures are built using straight lines they tend to look slightly distorted due to the science of optics. The architects Iktos and Kallikretes were skilled architects of their time and they used illusory tactics to create an ideal aesthetic for The Parthenon. The architects compensated for these visual illusions by counteracting them in their design. The end result is a structure that is not composed of straight lines, but when viewed by the human eye, looks perfectly straight. Plato would have mentioned one of his famous dictums, ?That which changes least is most real.? He would have viewed Iktos and Kallikretes designs as less real than other designs that do not u...
Imagine that one piece of history that is taken from a town. This piece of history tells l people how this town was built and all the important people that were apart of the community. “Returning Antiquities to Their Countries of Origin” by Joyce Mortimer can many people about how objects are getting taken from Museums. They should be returned immediately. There are so many artifacts out there that could be so important to people, and if someone can just imagine what it would feel to have one of the most important object taken from a museum and to be never returned again. Many people enjoy seeing these objects so why are they being taken?
The Parthenon was the focus point, it was supposed to drawn in the most people. To this day the Parthenon draws in a large amount of people from all over the world. The Parthenon was built between 447-432 BCE. It costs the city 469 talents. The Parthenon is mostly Doric columns with a few ionic to draw attention to certain areas. The back room of the Parthenon was said to house Athena’s treasure while the front room holds the statue of Athena. The Parthenon was built so anyone that walks through the arch way will be able to see all angles and inside the Parthenon to see the statues and the details of the
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
At the same time, the increasing economy in Britain had an urge to build new public buildings to exhibit national confidence (Sharples, 2004). Flemington (2003:294) takes the view that ‘Greek orders provoked architects to copy them slavishly, particularly on public buildings, where they imparted a monumental air and implicitly linked British and ancient Grecian politics.’ John Foster Fun was the dominating proponent for Greek revival in Liverpool. Yet a majority of his buildings have been devastated, such as the second Royal Infirmary and the public baths at the pier head (Pollard and Pevsner, 2006).
...best case for the retention of the British Benin sculptures is to accord them the unique status they deserve as exceptional artworks and exhibit them appropriately in a prestigious national art gallery, for everyone to appreciate fully.
...though, today a current restoration project has been continuing in order to reconstruct the Parthenon and is almost finished.
For centuries, Stonehenge has been a structure of wonder for all those who see or hear about it; many people wonder how it was built and why. Over the years, Stonehenge and the similar surrounding structures have been heavily studied, with new discoveries found yearly. Construction of Stonehenge itself started around 2600 BC on the Salisbury Plain in England (Grimston, 2007). It is constructed of large stones brought from the Welsh mountains positioned into several circular patterns (Grimston, 2007). Not too long ago, a discovery was made near Stonehenge called Durrington Walls. This lesser known site is believed to be the home of the builders of Stonehenge and is very significant to the monument’s purpose. 200 feet away from there lies the most famous of the timber henges, Woodhenge (Rattini, 2008). After examining each site’s solstitial alignments and relation to each other structure, it is deducted that each would have played a pivotal part in a ritual that would have taken place thousands of years ago.
interior of the Parthenon. "The statue seems to have been over 12 meters tall, nearly 40