The Parthenon: A Symbol of Masculinity

Thirty years after the Persian War victory, Pericles commenced a monstrous construction project—four major buildings on the Acropolis.  With the unbending support of the Athenians, the Propylaia, the Erechtheion, the temple of Athena Nike, and the Parthenon stood to indorse municipal pride, generate employment, and honor Athena for their victories (Parthenon). 

Between 447 and 438 BCE, architects Ictinus and Callicrates completed the eastern-style Dorice temple in the Parthenon, a temple dedicated to Athena, and smaller room to hold the Delian League treasury.  In regards to the Parthenon, Perciles, the man assigned to the creation of the frieze (sculptures within the top of the building), was a cultured man in philosophy, literature, and the search for human meaning.  With the help of master frieze sculptor Phidias, he depicted two groups of cavalcade (men and horses) led by chariots, ministrants, sacrificial animals, and heroes and gods that met in the middle with Athena with two smalls girls with stools and a man helping a small child (Adair).  While the design of the spiritual center of Athens appeared simple and straightforward, the architects used curved lines and ratios, often 4:9, to perfect the design of the building (Matthew).  If intricacy of the frieze, size of the structure, or harmony of the columns do not impress, the wooden statue of Athena covered in gold and ivory surely generates a feeling of magnificence.

Before discussing interpretations of the frieze, let us appreciate the engineering that went into constructing the Parthenon.  George Georgopoulos and Telioni Elisavet studied the curvature of the surface of the stylobate, the upper step of the crepis, the four-stepped platform of an ancient temple, upon which stand the columns (Georgopoulos 154).  This curvature was “established at the temple’s foundation, or the stereobate, due to the transverse and longitudinal inclination of the stylobate” (Georgopoulos 155).  Furthermore, to determine the kind of mathematical curve that best describes the curvature of stylobate, the study uses least squares techniques and their correctness checked through correlation coefficients to conclude two types of models—a circle and a parabolic curve (Georgopoulos 154).  Through the Parthenon, the architects hoped to achieve balance and harmony to the eye of a spectator.  While one would intuitively propose a design with strictly straight lines, the architects used curved lines in addition to ratios to create stability and harmony to the human eye.

On the topic of stable structures, just as an innocent sailor sailing by Athens noticed the durable columns in 400 BCE, people of today also associate the Parthenon with the bold columns.  These columns are referred to as the Doric column, one somewhat heavier than the Ionic.  Muscular and swollen are words psychoanalyst Mark Adair used to describe the Doric column because the entasis, bulge along the line of taper, exhibits a muscular quality and the unnecessarily massive width of the columns shows a swollen characteristic (Adair).  According to Adair, the Greeks were sensitive to issues of masculine pride, and, also, honor was accepted as a masculine trait.  Thus, the purposes of the Parthenon—to demonstrate civic pride and to honor Athena—contained masculine tendencies, even though the building contained a temple for a goddess.  Other instances of male sexuality persist in the depictions of Athena; she holds a snake in the eastern frieze, and the 40 foot statue of Athena inside wears war gear, depicting Athena.  (I will let you use your own imagination to figure out the symbolism behind the snake.)

Lastly, scholars purse further understanding in the frieze, especially in regards to the ranks of cavalry.  For example, Nelis argues that the north cavalcade can be divided into ranks of seven or eight riders because the naked leader, looking back over his shoulder, distinguished the ranks; however, Osada thinks the northern horsemen are divided into 10 ranks of six riders each because military groups often consisted contained multiples of six (Osada 538-546).  The debate over the meaning of the frieze—such as the role of each Olympian God that is portrayed on the east side (above the front entrance)—creates constant discussion among academic professionals.

Although the Parthenon traditionally represents the democracy, art, and literature, the building also displays masculine attributes, maintains a balanced appearance, and captures a story.

                                                Works Cited

Adair, Mark J.  “A Dream in the Parthenon.”  American Journal of Art Therapy 29.1 (1990): 1-14.  Academic Search Premiere.  Web. 17 Feb. 2014.

Building of the Parthenon. 20 June 2007.  Image. 18 February 2014.  http://www.youtube.com/watch?v=nVgfAd1Yz6M.

Georgopoulos, George and Elisavet Telioni.  “Approximation of the Curvature of the Parthenon Stylobate Using Least Squares Techniques.”  Journal of Surveying Engineering 138.3 (2012): 154-159.  Academic Search Premiere.  Web. 17 Feb. 2014.

Georgopoulos, George and Elisavet Telioni.  Figure 1. 2012.  Photograph of online source.

Matthew, Roy, Thomas Noble and F. DeWitt Platt.  The Western Humanities. 1992.  New York: McGraw-Hill, 2011.  Print.

Matthew, Roy, Thomas Noble and F. DeWitt Platt.  Figure 3.23.  2011.  PDF.  The Western Humanities. 1992.  New York: McGraw-Hill, 2011.  Print.

Osada, Toshihiro.  “Also 10 Tribal Units: The Grouping of Cavalry on the Parthenon North Frieze.”  American Journal of Archaeology 115.4 (2011):  537-548.  Academic Search Premiere.  Web.  17 Feb. 2014.