Make sure you know how to pronounce the following.

Parthenon ['pɑːθɪnən];Aegina[iˈdʒaɪnə]; archaic [ɑː'keɪɪk]; peristyle ['perɪstaɪl]; triglyph ['trʌɪglɪf]; entasis ['ɛntəsɪs];pedestal ['pedɪst(ə)l]; Phoenician [fɪ'nɪʃ(ə)n]; Mycenaean [ˌmaɪsɪ'niːən]; arris ['ærɪs]; Corfu [kɔː'fu:] = Corcyra [kɔː'sʌɪərə];denticulate [den'tɪkjuleɪt]; fascia ['fæʃɪə]; flute [fluːt]; gutta[ˈgətə]; Samos ['seɪmɔs]; Smyrna ['smɜːnə]; taenia ['tiːnɪə]; Acropolis [ə'krɔpəlɪs]; cella ['kɛlə]; Artemis ['ɑːtɪmɪs]; Priam ['prʌɪam]; Athena [ə'θi:nə]; Athens ['æθ(ə)nz]; Croesus ['kriːsəs]; hexastyle ['hɛksəstʌɪl];Apollo [ə'pɔləu]; echinus [e'kaɪnəs];pronaos [prəʊ'neɪɒs];Pausanias [pɔː'seɪnɪəs]; Erechtheum [ɪ'rɛkθɪəm]; Erechtheus [ɪ'rɛkθɪəs]; Hera ['hɪərə]; Medusa Gorgon [mɪ'dju:zə'gɔːgən]; Pegasus ['pegəsəs];Perseus ['pɜːsɪəs];Poseidon [pə'saɪd(ə)n]; abacus ['æbəkəs];frieze [friːz];architrave ['ɑːkɪtreɪv];Zeus [zjuːs];palmette [pal'mɛt];Larissa [lə'rɪsə];triangle ['traɪæŋgl]; deity ['diːɪtɪ]; Troy [trɔɪ].

Expand on the words given in exercise 2.

Read and translate the following text.

TEXT

The ‘Doric’ order presents columns without bases, but with flutes joining in a sharp ridge (the arris) and capitals in two parts, an oblong or square flat slab, the abacus, above the cushion-like echinus. There are echoes here of Egyptian and Mycenaean columns (compare the Lion Gate). Above the capital came the entablature in three parts: the architrave, the frieze, and the cornice. The architrave regularly consisted of ashlar blocks, undecorated except for a narrow projecting band at the top, to which were attached small rectangular shelves with pegs (guttae) fixed to their undersides. The frieze comprised an alternating series of triglyphs (upright members, each with three bars conventionally thought to represent the translation into stone of carpentry prototypes) and metopes. The cornice provided a horizontal capping member on the flanks of the building, and both horizontal and angled members framing the gables at the ends. The end gables (the pediments)were often decorated with sculpture, at first in relief, but by the end of the period entirely in the round, standing on the floor of the pedimental triangle.

The ‘Ionic’ order, by way of contrast, separated the shafts of the columns from the stylobate by horizontally fluted bases, and had more vertical flutes on its columns than the Doric. It also, later,separated flute from flute with a flat fillet. The capitals of the order are related to, but distinct from, some of those richly varied capitals (mushroom and Aeolic capitals) used in the Temple of Athena atSmyrna at the turn of the century. Used elsewhere with a distinctive regional flavor, for example at Phocaea, Larissa, and Neandria,Aeolic capitals often have volutes springing upward and outward from separate stems, with a palmette (a conventionalized palm-leaf ornament) between the two, and collar(s) of leaves below.

In the Ionic capital, the two volutes are joined, seemingly pressed down with carved decorative molding beneath, and palmettes are relegated to corners beneath them. Sometimes a narrow abacus above supports the entablature. In the entablature,the architrave is often broken into three horizontal planes (fasciae).The most important feature is the frieze, which is continuous, sometimes carved with figures, sometimes denticulated. Cornices provide the crowning members.

In general terms, the Ionic order is more restless visually, with much ornament and much variety. Doric is popular on the mainland of Greece and among the Greeks in the West, and Ionic among Greeks in Asia Minor and in the islands. These orders appeared on the exterior of temples whose plans remained straightforward. A box for the cult statue, the cella, was preceded by a porch (pronaos). In the Doric order the temple also had a back chamber (an opisthodomos or adyton).

Two examples of Doric temples of the 6th century bce can be seen in the Peloponnese. The Temple of Hera at Olympia, built around 590 bce, marks the end of the transition from elementary materials to stone. The plan shows six columns on the front, by sixteen on the flank, porch, and opisthodomos, each with two columns in antis. Porch columns, front and back, are aligned with columns of the facades, thus tying peristyle and central block together. The cella has interior columns and spur walls that no longer obstruct the view of the cult statue. The upper elements of the temple were of mudbrick and timber, but stylobate, platform, and lower courses of the walls were of cut masonry. The columns were originally wooden, but were gradually replaced by stone. Many years later, Pausanias wrote that he saw an oak column still standing in the opisthodomos. This confirms that the temple was transitional in terms of building materials. It is double the area of the 7th-century temple at Thermon.

Better preserved is the Temple of Apollo at Corinth, built in the second quarter of the century. The plan shows six columns on the facade, by fifteen on the flank. There is a columned porch and opisthodomos. Porch columns align with those on the facade. It also has the unusual feature of two inner columned chambers. Of these, the eastern one would have accommodated the cult statue. Would the other have sheltered Apollo's treasures, or have been a place for oracular activity? Seven of the columns of this temple stand with an architrave block or two still in place. The squatness or slenderness of Greek columns is often described in terms of proportions, with the height stated as a multiple of the lower diameter. At Corinth, the height of these sturdy columns is 4.15 times the lower diameter at the front of the building, 4.40 times on the flank. The columns are monolithic and made of limestone. The echinus of the capital bulges visibly, giving a baggy profile. The profile of Doric capitals provides a valuable chronological marker—the baggier the profile, the earlier the capital.

Planners introduced a number of refinements into the architecture from time to time, and this temple provides the earliest example of curvature on the facade of a building: the upward curvature of the stylobate. This refinement aimed at correcting the optical illusion that straight lines, whether vertical or horizontal, appear to sink in toward the midpoint. Another favored refinement, called entasis, presented columns with a bulging cigarlike contour intended again to correct the optical illusion: this refinement is not present in the Temple of Apollo at Corinth but may be easily recognized in the Temple of Hera at Poseidonia.

The earliest indisputably Ionic temples were erected in Asia Minor, at Ephesos and Didyma, and in the Sanctuary of Hera at Samos. On Samos, a new temple of gigantic size, 50 meters wide
by almost 100 meters long, was built by the architects Rhoikos and Theodoros. Begun after 575 bce, it was completed by about
560bce. There were eight columns showing on the front, with twenty-one on the flanks, and ten at the back. A double colonnade encircled the deep porch and columned cella. No capital from this building has survived. This temple was the centerpiece of an elaboration of the sanctuary, with a new monumental gateway, altar, and other outbuildings. When itcollapsed around 530 bce, an even bigger and more ambitious replacement was confirmed by the 5th-century Greek historian Herodotos, who told us that the king of Lydia, Croesus, helped to meet the cost. This provides an important chronological marker, for Croesus lost his kingdom in 547 bce. It is probable therefore that the columns to which the inscription refers were in place before that date.

The superstructure that is lost from the temples at Olympia and Corinth is partly preserved among the fragmentary remains of the Temple of Artemis on the island of Corcyra (modern Corfu). Built around 580 bce, this temple, of which the blocks of the platform, walls, and columns are almost completely lost, showed in plan eight columns on the facades, and seventeen on the flanks. It had a columned porch, cella, and back chamber. New is the broader space between the colonnade and the walls, leaving enough room for a second row of columns, a so-called pseudo-dipteral arrangement. A few fragments of carvedlimestone metopes have survived, and, miraculously, so has the relief sculpture of the limestone pediment from the west end of the building. Much of the triangular space is taken up by a huge central Gorgon figure, flanked by Pegasus. On a much smaller scale, Zeus, thunderbolt poised, attacks a giant on one side. On the other, a sealed figure, backed by what might be a city wall, stretches out an imploring hand to the lost figure whose spear threatens his throat. Is this Priam, king of Troy? Prostrate figures fill in the corners. The composition is symmetrical. Heraldic felines speak of the power of the goddess within (and of the Gorgon), under whose control they are. This power is available to well-wishers. Narrative groups stand as metaphors for the conquest of barbarism by the civilized world of Greek deities and heroes.

AFTER-reading taSks