431:), namely the battle of the sons of the Earth, the Giants, with the Olympian gods for power. It is a widespread myth about the conflict between the old and the new world order, depicted very frequently in ancient Greek art. It symbolizes the triumph of order and civilization over savagery, barbarism and anarchy. On one side are the Giants. Heavily armed with helmets, shields, breastplates and greaves, they are attacking the gods from the right with spears, swords and stones. On the opposite side are the gods. First, Hephaestus stands out with his short chiton, standing in front of his bellows. He is followed by two females fighting two Giants, then Dionysus (or possibly Heracles), and Themis on her chariot drawn by lions. A pair of gods who are shooting their arrows against the Giants must be Artemis and Apollo. They are followed by the other gods, but these sculptures do not survive in good condition.
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for the craftsmen who worked on the frieze, the opinions of researchers and scholars who studied it are conflicting. Initially, it was believed that it was the work of two different artistic workshops. Gradually, however, this view has been abandoned. It is most likely that there were two main sculptors, around whom two groups of craftsmen worked together. The artist of the north and east sides of the frieze seems more progressive, with his depictions being more active, imaginative and vibrant. In contrast, the artist of south and west side of the frieze insisted on more conservative options, without the bold inspiration and craftsmanship of the first, but with a strong painter-like character and an ionic 'color'.
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122:. It was one of a number of treasuries lining the "Sacred Way", the processional route through the Sanctuary of Apollo, erected to win the favor of the gods and increase the prestige of the donor polis. It was one of the earlier surviving buildings of this type, and its date remains a matter for debate, with the most plausible date being around 525 BC. Until recently it was often confused or conflated with the neighbouring
473:"Of the Disembarkation." Going along with this assertion, one can assume that the missing figure is not Hera, but instead a victim of Artemis' wrath. Though little can confirm this figure's identity, there is a significant hint: palm trees are visible behind Artemis' horses, which is a common Attic painting device to indicate a desolate place. Palm trees are especially connected to the island of
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This side of the frieze could be seen from the Sacred Way, as the pilgrims ascended towards the Oracle. This way, they had the opportunity to admire the scene of
Gigantomachy, which transforms through the artistic relief into a narrative, unfolding in multiple levels, which nevertheless maintains its
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This interpretation has come under scrutiny, however. Neer writes that the
Judgement narrative has been somewhat forced upon this frieze, spending too much time on glaring blanks and not enough analyzing what little evidence is present. A major issue lies in the identity of the goddess traditionally
505:
Significant portions of the south frieze are missing, so we can only imagine the theme it portrayed. It is probably the also popular theme of abducting women. However, the surviving fragments are the relief, well-sculpted horses portrayed full of energy, which prove the mastery of the artist. As
402:
The east frieze depicts a scene from the
Assembly of the Gods during the Trojan War, where the gods are discussing the issue with lively gestures like they are arguing. To the right, we see Athena as the head of the gods who side with the Greeks. On the left, we see the gods who protect and defend
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art, suggesting that it is something else being held. Neer proposes that these lines are not a necklace, but instead the drawn string of a bow. This interpretation suggests that the figure in question is actually
Artemis, changing the narrative of the frieze entirely. This identification is
236:, which was strongly associated with his oracular inspiration. The treasury was also one of the first Greek buildings to utilize falling and reclining figures to fill the corners of the pediment. The sculptural friezes that run around the building depict various scenes from
161:(3:57-8). If Herodotus is to be deemed a reliable source, this would be sufficient for verifying the date. In his account, Herodotus states that the Siphnians had recently founded a temple at Delphi when a group of Samians arrived asking for support against the tyrannical
144:
The
Treasury fell to ruins over the centuries, although it stood for much longer than many other monuments, probably due to its decoration which was venerated by the following generations. Currently, the sculpture and a reconstruction of the Treasury are to be seen in the
406:
At another part of the frieze, we see a scene from the Trojan war: the scene is a duel over the dead body of a warrior, where the two adversaries are flanked by the heroes of the
Achaeans on the right and those of the Trojans respectively on the left. The figure of old
169:
state that
Polykrates ruled during the reign of the Persian king Kambyses (c. 529–522 BC). This would thus date the monument at about 525 BC. one source considers the date of construction as more likely some time absolutely limited to after 480 BC (Whitley).
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descending from her chariot, with a particular grace, holding the strings of what some interpret to be a necklace. In the section of the frieze that has been lost, one could imagine Hera mounting her chariot angrily to depart after her rejection.
489:. Though this identification cannot be proven outright, it at least accounts for the palm trees, the unusual necklace, and the way that the goddesses appear to be leaving, an extremely uncommon posture in depictions of the Judgement of Paris.
329:(maidens) between the pilasters, instead of columns, to support the architrave. This type of opulent decoration featuring female figures full of motion and plasticity foreshadows the Caryatids erected subsequently at the
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The east pediment is the only surviving pediment of the
Siphnian Treasury and depicts a famous Delphic theme. In the center of the pediment there is Zeus (other sources claim it is Athena or Hermes), on the left
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370:, and Zeus in the middle is trying to separate them. The sculpture shows the anger of Heracles because Pythia refused to give him an oracle, since he had not been cleansed from the murder of
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295:. The southern frieze is the most worn out; one discerns clearly the traces of beautifully carved horses; it has been suggested that the scene depicts the abduction of
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III.57) and used the tithe of their income to erect the treasury, the first religious structure made entirely out of marble. The building was used to house many lavish
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451:, and Athena. The first goddess coming to be judged is Athena, standing proud on the winged chariot with Hermes as her charioteer. Elsewhere, we see
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844:Ροζίνα Κολώνια, Το Αρχαιολογικό Μουσείο Δελφών, Αθήνα, Υπουργείου Πολιτισμού – Ταμείο Αρχαιολογικών Πόρων και Απαλλοτριώσεων, 2009, 29 – 35.
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Unfortunately, only a few relief figures have survived on the west frieze. The theme portrayed here is traditionally thought to be the
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374:. An outraged Heracles has already managed to seize the sacred tripod, and Apollo is trying to pull it away from him.
240:. The names of the acting persons were inscribed on the background, most of them are still visible in raking light.
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311:. The reliefs were painted over with vivid shades of green, blue, red and gold, thus creating a unique sense of
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on his throne. On the other half of this frieze one discerns
Achilles and Memnon fighting over the body of dead
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Brinkmann, Vinzenz (1985). "Die aufgemalten
Namensbeischriften an Nord- und Ostfries des Siphnierschatzhauses".
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visibility, consistency and figurative nature despite the interwoven figures and the various action scenes.
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The people of Siphnos had gained enormous wealth from their silver and gold mines in the Archaic period (
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the Trojans: Apollo, Ares, Aphrodite and Artemis. In the middle, we see Zeus in a lavish throne.
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Neer, Richard T. (2001). "Framing the Gift: The Politics of the Siphnian Treasury at Delphi".
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Beobachtungen zum formalen Aufbau und zum Sinngehalt der Friese des Siphnierschatzhauses
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The Siphnian Treasury: The North side of the frieze (The Gigantomachy - Hall V)
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Le trésor de Siphnos: Fouilles de Delphes. Tome 2 , Topographie et architecture
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bronzes do depict Aphrodite with a necklace, there are no examples of this in
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Artifact and Artifice: Classical Archaeology and the Ancient Historian (p.48)
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or rather Athena translating Heracles to the ME. The north side displays the
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The Architecture of Ancient Greece: An Account of Its Historic Development
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807:"Υπουργείο Πολιτισμού και Αθλητισμού | Αρχαιολογικό Μουσείο Δελφών"
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The only classical source to provide information on this building is
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Bommelaer, J.-F., Laroche, D., Guide de Delphes: le Site, Paris 1991
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East Frieze detail (6th-5th century BC) representing the battle of
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On the façade of the Ionic Treasury of the Siphnians there are two
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Sideview of the Siphnian Treasury at the Sanctuary of Apollo
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The theme on the north frieze is the Battle of the Giants (
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or of the Leucippides by the Dioscuri or the abduction of
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Buildings and structures completed in the 6th century BC
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Dinsmoor, William Bell; Anderson, William James (1973).
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Classical Art Research Centre & The Beazley Archive
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221:. The building is 8.27 metres long and 6.09 wide.
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954:Delphi, Siphnian Treasury Frieze--East (Sculpture)
16:Building in Delphi, Central Greece Region, Greece
1323:Ancient Greek buildings and structures in Delphi
469:solidified by the fact that Siphnians worshiped
224:The pediment of the treasury shows the story of
485:myth, Artemis killed only one person on Delos:
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923:. Coastal Carolina University. Archived from
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894:Delphi: The Bellybutton of the Ancient World
251:holding the scales filled with the souls of
247:seated. In the lost centre of the assembly,
243:The Eastern side depicts an assembly of the
205:) extend to the front of the porch, and the
366:. The two young gods are competing for the
33:Reconstruction of the Siphnian Treasury by
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835:, Β. Γιαννίκος - Β. Καλδής Ο.Ε., 1984, 42.
283:. The West side may show the story of the
186:The plan of the treasury has two parts; a
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589:University of Chicago Press, 10 Jan 2014
165:. In respect to this, both Herodotus and
217:. Below the pediment runs a continuous
630:Cambridge University Press, 4 Oct 2001
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460:thought to be Aphrodite. Although some
114:, erected to host the offerings of the
137:given to the priests to be offered to
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702:Bulletin de correspondance hellénique
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1285:Gigantomachy by the Suessula Painter
940:"Siphnian Treasury, Delphi Museum"
647:J K Darling – Retrieved 2012-06-16
14:
867:. Paris: De Boccard. p. 471.
831:Βαγγέλη Πεντάζου - Μαρίας Σαρλά,
628:The Archaeology of Ancient Greece
609:Greenwood Publishing Group, 2004
398:; Archaeological Museum of Delphi
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194:, or enclosure. The pronaos is
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656:University of North Carolina –
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688:showing reconstructed drawing
501:Detail of the Southern frieze
735:Brinkmann, Vinzenz. (1994).
333:on the Acropolis of Athens.
147:Delphi Archaeological Museum
87:Delphi Archaeological Museum
739:. Biering & Brinkmann.
411:is encouraging the Greeks.
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884:Treasury of the Siphnians
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793:10.1525/ca.2001.20.2.273
785:10.1525/ca.2001.20.2.273
481:were born. According to
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861:; Hansen, Erik (1987).
182:Upper torso of caryatid
690:– Retrieved 2012-06-16
667:– Retrieved 2012-06-16
607:Architecture of Greece
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275:. In the middle sits
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942:. Ancient Greece.org
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617:Retrieved 2012-06-16
345:The dispute between
209:is supported by two
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981:38.4816°N 22.5014°E
977: /
921:"Siphnian Treasury"
901:. 26:06 minutes in
811:odysseus.culture.gr
773:Classical Antiquity
423:The Northern frieze
59:Architectural style
46:General information
683:2015-09-23 at the
663:2012-11-05 at the
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919:Hendrix, Andrea.
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445:Judgment of Paris
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944:. Retrieved
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433:
429:Gigantomachy
426:
405:
401:
356:
324:
322:
293:Gigantomachy
242:
223:
202:
185:
156:
143:
128:
103:
101:
1272:Bibliotheca
1095:Erysichthon
984: /
905:February 5,
462:Hellenistic
331:Erechtheion
297:Hippodameia
287:, death of
174:Description
1317:Categories
1220:Hephaestus
1140:Porphyrion
1115:Hippolytus
972:22°30′05″E
969:38°28′54″N
946:2009-04-19
931:2009-04-19
813:(in Greek)
746:3930609002
636:0521627338
615:0313321523
595:022608096X
585:JM Hall -
537:References
319:The façade
313:polychromy
305:Persephone
281:Antilochus
167:Thucydides
163:Polycrates
1165:Aphrodite
1158:Opponents
1135:Polybotes
1100:Eurymedon
1090:Enceladus
1065:Chthonius
1050:Aristaeus
1045:Alcyoneus
755:995118886
722:0007-4217
453:Aphrodite
269:Aphrodite
228:stealing
211:caryatids
159:Herodotus
131:Herodotus
1343:Gigantes
1245:Poseidon
1230:Heracles
1200:Dionysus
1130:Picolous
1105:Eurytion
1075:Damastor
1055:Asterius
681:Archived
661:Archived
510:See also
394:against
392:Achilles
364:Heracles
347:Heracles
253:Achilles
226:Heracles
207:pediment
69:Location
54:Treasury
1264:Sources
1195:Demeter
1180:Artemis
1110:Eurytus
1080:Damysus
1070:Clytius
956:on the
817:Dec 22,
483:Homeric
471:Artemis
466:Archaic
372:Iphitus
273:Artemis
215:columns
188:pronaos
120:Siphnos
1328:Sifnos
1250:Selene
1240:Moirai
1235:Hermes
1215:Helios
1210:Hecate
1190:Chiron
1185:Athena
1170:Apollo
1125:Pallas
1085:Echion
1040:Agrius
1033:Giants
833:Δελφοί
791:
753:
743:
720:
634:
613:
593:
569:
479:Apollo
409:Nestor
396:Memnon
360:Apollo
351:Apollo
301:Pelops
271:, and
257:Memnon
249:Hermes
234:tripod
230:Apollo
219:frieze
139:Apollo
112:Delphi
77:Greece
73:Delphi
1149:Thoön
1145:Thoas
1120:Mimas
1060:Athos
899:BBC 4
789:JSTOR
487:Orion
475:Delos
326:korai
309:Hades
289:Orion
203:antae
200:Latin
192:cella
116:polis
83:Owner
63:Ionic
1255:Zeus
1225:Hera
1175:Ares
907:2017
819:2022
751:OCLC
741:ISBN
718:ISSN
632:ISBN
611:ISBN
591:ISBN
567:ISBN
449:Hera
388:Troy
349:and
277:Zeus
265:Ares
255:and
102:The
51:Type
1205:Eos
781:doi
710:doi
706:109
307:by
299:by
232:'s
1319::
897:.
809:.
787:.
777:20
775:.
763:^
749:.
716:.
704:.
565:.
390:,
315:.
267:,
149:.
141:.
75:,
1147:/
1018:e
1011:t
1004:v
949:.
934:.
909:.
821:.
795:.
783::
757:.
724:.
712::
575:.
353:.
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