The Baroque is a ornate and extravagant style of architecture, painting and other arts that flourished in Europe from the early 17th until the mid-18th century. It preceded the Rococo and Neoclassical styles, it was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, exuberant detail, deep colour and surprise to achieve a sense of awe; the style began at the start of the 17th century in Rome spread to France, northern Italy and Portugal to Austria and southern Germany. By the 1730s, it had evolved into an more flamboyant style, called rocaille or Rococo, which appeared in France and central Europe until the mid to late 18th century; the English word baroque comes directly from the French, may have been adapted from the Portuguese term barroco, a flawed pearl. Both words are related to the Spanish term berruca; the term did not describe a style of music or art.
Prior to the 18th century, the French baroque and Portuguese barroco were terms related to jewelry, An example from 1531 uses the term to describe pearls in an inventory of Charles V's treasures. The word appears in a 1694 edition of Le Dictionnaire de l'Académie Française, which describes baroque as "only used for pearls that are imperfectly round." A 1728 Portuguese dictionary describes barroco as relating to a "coarse and uneven pearl."The French term for the artistic style may have had roots in the medieval Latin word baroco, a philosophical term, invented in the 13th century by scholastics to describe a complicated type of syllogism, or logical argument. In the 16th century the philosopher Michel de Montaigne associated the term'baroco' with "Bizarre and uselessly complicated." In the 18th century, the term was used to describe music, was not flattering. In an anonymous satirical review of the première of Jean-Philippe Rameau's Hippolyte et Aricie in October 1733, printed in the Mercure de France in May 1734, the critic wrote that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances changed key and meter, speedily ran through every compositional device.
In 1762, Le Dictionnaire de l'Académie Française wrote that the term could be used figuratively to describe something "irregular, bizarre or unequal."Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, the movement limited, it appears that term comes from the word'baroco' used by logicians."In 1788, the term was defined by Quatremère de Quincy in the Encyclopédie Méthodique as "an architectural style, adorned and tormented". The terms "style baroque" and "musique baroque" appeared in Le Dictionnaire de l'Académie Française in 1835. By the mid-19th century, art critics and historians had adopted the term as a way to ridicule post-Renaissance art; this was the sense of the word as used in 1855 by the leading art historian Jacob Burkhardt, who wrote that baroque artists "despised and abused detail" because they lacked "respect for tradition."Alternatively, a derivation from the name of the Italian painter Federico Barocci has been suggested.
In 1888, the art historian Heinrich Wölfflin published the first serious academic work on the style, Renaissance und Barock, which described the differences between the painting and architecture of the Renaissance and the Baroque. The Baroque style of architecture was a result of doctrines adopted by the Catholic Church at the Council of Trent in 1545–63, in response to the Protestant Reformation; the first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, declared that the arts should communicate religious themes with direct and emotional involvement. Lutheran Baroque art developed as a confessional marker of identity, in response to the Great Iconoclasm of Calvinists. Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below.
The dome was one of the central symbolic features of baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, with stucco statuettes of angels, giving the impression to those below of looking up at heaven. Another feature of baroque churches are the quadratura. Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real; the interiors of baroque churches became more and more ornate in the High Baroque, an
In the practice of religion, a cult image is a human-made object, venerated or worshipped for the deity, spirit or daemon that it embodies or represents. In several traditions, including the ancient religions of Egypt and Rome, modern Hinduism, cult images in a temple may undergo a daily routine of being washed and having food left for them. Processions outside the temple on special feast days are a feature. Religious images cover a wider range of all types of images made with a religious purpose, subject, or connection. In many contexts "cult image" means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple; the term idol is synonymous with cult image. In cultures where idolatry is not viewed negatively, the word idol is not seen as pejorative, such as in Indian English; the use of images in the Ancient Near East seems to have been similar to that of the ancient Egyptian religion, about which we are the best-informed.
Temples housed a cult image, there were large numbers of other images. The ancient Hebrew religion was or became an exception, rejecting cult images despite developing monotheism. In the art of Amarna Aten is represented only as the sun-disk, with rays emanating from it, sometimes ending in hands. Cult images were a common presence in ancient Egypt, still are in modern-day Kemetism; the term is confined to the small images in gold, that lived in the naos in the inner sanctuary of Egyptian temples dedicated to that god. These images showed the god in their sacred barque or boat. Only the priests were allowed access to the inner sanctuary. There was a huge range of smaller images, many kept in the homes of ordinary people; the large stone images around the exteriors of temples were representations of the pharaoh as himself or "as" a deity, many other images gave deities the features of the current royal family. All ancient Greek temples and Roman temples contained a cult image in the cella. Access to the cella varied, but apart from the priests, at the least some of the general worshippers could access the cella some of the time, though sacrifices to the deity were made on altars outside in the temple precinct.
Some cult images were easy to see, were what we would call major tourist attractions. The image took the form of a statue of the deity roughly life-size, but in some cases many times life-size, in marble or bronze, or in the specially prestigious form of a Chryselephantine statue using ivory plaques for the visible parts of the body and gold for the clothes, around a wooden framework; the most famous Greek cult images were of this type, including the Statue of Zeus at Olympia, Phidias's Athena Parthenos in the Parthenon in Athens, both colossal statues now lost. Fragments of two chryselephantine statues from Delphi have been excavated; the acrolith was this time a cost-saving one with a wooden body. A xoanon was a primitive and symbolic wooden image comparable to the Hindu lingam. Many of the Greek statues well-known from Roman marble copies were temple cult images, which in some cases, such as the Apollo Barberini, can be credibly identified. A few actual originals survive, for example the bronze Piraeus Athena.
In Greek and Roman mythology, a "palladium" was an image of great antiquity on which the safety of a city was said to depend the wooden one that Odysseus and Diomedes stole from the citadel of Troy and, taken to Rome by Aeneas. Members of Abrahamic religions identify cult images as idols and their worship as idolatry - the worship of hollow forms; the Book of Isaiah gave classic expression to the paradox inherent in the worship of cult images: Their land is full of idols. One could avoid such a degrading paradox by adopting the early Christian idea that miraculous icons were not made by human hands, acheiropoietoi. Catholic and Eastern Orthodox Christians make an exception for the veneration of images of saints - they distinguish such veneration from adoration or latria; the disparaging of man-made works as idols can provide a useful pejorative in religious discussions. The word idol entered Middle English in the 13th century from Old French idole adapted in Ecclesiastical Latin from the Greek eidolon a diminutive of eidos.
Plato and the Platonists employed the Greek word eidos to signify perfect immutable "forms". One can, of course, regard such an eidos as having a divine origin. Christian images that are venerated are called icons. Christians who venerate icons make an emphatic distinction between "veneration" and "worship"; the introduction of venerable images in Christianity was controversial for centuries, in Eastern Orthodoxy the controversy lingered until it re-erupted in the Byzantine Iconoclasm of the 8th and 9th centuries. Religious monumental sculpture remained foreign to Orthodoxy. In the West, resistance to idolatry delayed the introduction of sculpted images for centuries until the time of Charlemagne, whose placing of a life-size crucifix in the Palatine Chapel, Aachen was a dec
Troy was a city in the far northwest of the region known in late Classical antiquity as Asia Minor, now known as Anatolia in modern Turkey, just south of the southwest mouth of the Dardanelles strait and northwest of Mount Ida. The present-day location is known as Hisarlik, it was the setting of the Trojan War described in the Greek Epic Cycle, in particular in the Iliad, one of the two epic poems attributed to Homer. Metrical evidence from the Iliad and the Odyssey suggests that the name Ἴλιον began with a digamma: Ϝίλιον. A new capital called, it flourished until the establishment of Constantinople, became a bishopric and declined in the Byzantine era, but is now a Latin Catholic titular see. In 1865, English archaeologist Frank Calvert excavated trial trenches in a field he had bought from a local farmer at Hisarlik, in 1868, Heinrich Schliemann, a wealthy German businessman and archaeologist began excavating in the area after a chance meeting with Calvert in Çanakkale; these excavations revealed several cities built in succession.
Schliemann was at first skeptical about the identification of Hisarlik with Troy, but was persuaded by Calvert and took over Calvert's excavations on the eastern half of the Hisarlik site, on Calvert's property. Troy VII has been identified with the city called Wilusa by the Hittites and is identified with Homeric Troy. Today, the hill at Hisarlik has given its name to a small village near the ruins, which supports the tourist trade visiting the Troia archaeological site, it lies within the province of Çanakkale, some 30 km south-west of the provincial capital called Çanakkale. The nearest village is Tevfikiye; the map here shows the adapted Scamander estuary with Ilium a little way inland across the Homeric plain. Due to Troy's location near the Aegean Sea, the Sea of Marmara, the Black Sea, it was a central hub for the military and trade. Troy was added to the UNESCO World Heritage list in 1998. Ancient Greek historians variously placed the Trojan War in the 12th, 13th, or 14th centuries BC: Eratosthenes to 1184 BC, Herodotus to 1250 BC, Duris of Samos to 1334 BC.
Modern archaeologists associate Homeric Troy with archaeological Troy VII. In the Iliad, the Achaeans set up their camp near the mouth of the River Scamander, where they beached their ships; the city of Troy itself stood on a hill, across the plain of Scamander, where the battles of the Trojan War took place. The site of the ancient city is some 5 km from the coast today, but 3,000 years ago the mouths of Scamander were much closer to the city, discharging into a large bay that formed a natural harbor, which has since been filled with alluvial material. Recent geological findings have permitted the identification of the ancient Trojan coastline, the results confirm the accuracy of the Homeric geography of Troy. In November 2001, the geologist John C. Kraft from the University of Delaware and the classicist John V. Luce from Trinity College, presented the results of investigations, begun in 1977, into the geology of the region, they compared the present geology with the landscapes and coastal features described in the Iliad and other classical sources, notably Strabo's Geographia, concluded that there is a regular consistency between the location of Schliemann's Troy and other locations such as the Greek camp, the geological evidence, descriptions of the topography and accounts of the battle in the Iliad.
Besides the Iliad, there are references to Troy in the other major work attributed to Homer, the Odyssey, as well as in other ancient Greek literature. The Homeric legend of Troy was elaborated by the Roman poet Virgil in his Aeneid; the Greeks and Romans took for a fact the historicity of the Trojan War and the identity of Homeric Troy with the site in Anatolia. Alexander the Great, for example, visited the site in 334 BC and there made sacrifices at tombs associated with the Homeric heroes Achilles and Patroclus. After the 1995 find of a Luwian biconvex seal at Troy VII, there has been a heated discussion over the language, spoken in Homeric Troy. Frank Starke of the University of Tübingen demonstrated that the name of Priam, king of Troy at the time of the Trojan War, is connected to the Luwian compound Priimuua, which means "exceptionally courageous". "The certainty is growing that Wilusa/Troy belonged to the greater Luwian-speaking community," although it is not clear whether Luwian was the official language or in daily colloquial use.
With the rise of critical history and the Trojan War were, for a long time, consigned to the realms of legend. However, the true location of ancient Troy had from classical times remained the subject of interest and speculation; the Troad peninsula was anticipated to be the location. Early modern travellers in the 16th and 17th centuries, including Pierre Belon and Pietro Della Valle, had identified Troy with Alexandria Troas, a ruined town 20 km south of the accepted location. In the late 18th century, Jean Baptiste LeChevalier had identified a location near the village of Pınarbaşı, Ezine as the site of Troy, a mound 5 km south of the accepted location. LeChavalier's location, published in his Voyage de la Troade, was the most accepted theory for a century. In 1822, the Scottis
Heracles, born Alcaeus or Alcides was a divine hero in Greek mythology, the son of Zeus and Alcmene, foster son of Amphitryon. He was a half-brother of Perseus, he was the greatest of the Greek heroes, a paragon of masculinity, the ancestor of royal clans who claimed to be Heracleidae, a champion of the Olympian order against chthonic monsters. In Rome and the modern West, he is known as Hercules, with whom the Roman emperors, in particular Commodus and Maximian identified themselves; the Romans adopted the Greek version of his life and works unchanged, but added anecdotal detail of their own, some of it linking the hero with the geography of the Central Mediterranean. Details of his cult were adapted to Rome as well. Many popular stories were told of the most famous being The Twelve Labours of Heracles, his figure, which drew on Near Eastern motifs such as the lion-fight, was known. Heracles was the greatest of Hellenic chthonic heroes, but unlike other Greek heroes, no tomb was identified as his.
Heracles was both god, as Pindar says heros theos. The core of the story of Heracles has been identified by Walter Burkert as originating in Neolithic hunter culture and traditions of shamanistic crossings into the netherworld, it is possible that the myths surrounding Heracles were based on the life of a real person or several people whose accomplishments became exaggerated with time. Based on commonalities in the legends of Heracles and Odysseus, author Steven Sora suggested that they were both based on the same historical person, who made his mark prior to recorded history. Heracles' role as a culture hero, whose death could be a subject of mythic telling, was accepted into the Olympian Pantheon during Classical times; this created an awkwardness in the encounter with Odysseus in the episode of Odyssey XI, called the Nekuia, where Odysseus encounters Heracles in Hades: Ancient critics were aware of the problem of the aside that interrupts the vivid and complete description, in which Heracles recognizes Odysseus and hails him, modern critics find good reasons for denying that the verses beginning, in Fagles' translation His ghost I mean... were part of the original composition: "once people knew of Heracles' admission to Olympus, they would not tolerate his presence in the underworld", remarks Friedrich Solmsen, noting that the interpolated verses represent a compromise between conflicting representations of Heracles.
In Christian circles a Euhemerist reading of the widespread Heracles cult was attributed to a historical figure, offered cult status after his death. Thus Eusebius, Preparation of the Gospel, reported that Clement could offer historical dates for Hercules as a king in Argos: "from the reign of Hercules in Argos to the deification of Hercules himself and of Asclepius there are comprised thirty-eight years, according to Apollodorus the chronicler: and from that point to the deification of Castor and Pollux fifty-three years: and somewhere about this time was the capture of Troy." Readers with a literalist bent, following Clement's reasoning, have asserted from this remark that, since Heracles ruled over Tiryns in Argos at the same time that Eurystheus ruled over Mycenae, since at about this time Linus was Heracles' teacher, one can conclude, based on Jerome's date—in his universal history, his Chronicon—given to Linus' notoriety in teaching Heracles in 1264 BCE, that Heracles' death and deification occurred 38 years in 1226 BCE.
The ancient Greeks celebrated the festival of the Heracleia, which commemorated the death of Heracles, on the second day of the month of Metageitnion. What is believed to be an Egyptian Temple of Heracles in the Bahariya Oasis dates to 21 BCE. A reassessment of Ptolemy's descriptions of the island of Malta attempted to link the site at Ras ir-Raħeb with a temple to Heracles, but the arguments are not conclusive. Several ancient cities were named Heraclea in his honor. Although the Athenians were among the first to worship Heracles as a god, there were Greek cities that refused to recognize the hero's divine status. There are several polis that provided two separate sanctuaries for Heracles, one recognizing him as a god, the other only as a hero; this ambiguity helped create the Heracles cult when historians and artists encouraged worship such as the painters during the time of the Peisistratos, who presented Heracles entering Olympus in their works. Some sources explained that the cult of Heracles persisted because of the hero's ascent to heaven and his suffering, which became the basis for festivals, ritual and the organization of mysteries.
There is the observation, for example, that sufferings gave rise to the rituals of grief and mourning, which came before the joy in the mysteries in the sequence of cult rituals. Like the case of Apollo, the cult of Hercules has been sustained through the years by absorbing local cult figures such as those who share the same nature, he was constantly invoked as a patron for men the young ones. For example, he was considered the ideal in warfare so he presided over gymnasiums and the ephebes or those men undergoing military training. There were ancient towns and cities that adopted Hera
The Greeks or Hellenes are an ethnic group native to Greece, southern Albania, Turkey, Egypt and, to a lesser extent, other countries surrounding the Mediterranean Sea. They form a significant diaspora, with Greek communities established around the world. Greek colonies and communities have been established on the shores of the Mediterranean Sea and Black Sea, but the Greek people have always been centered on the Aegean and Ionian seas, where the Greek language has been spoken since the Bronze Age; until the early 20th century, Greeks were distributed between the Greek peninsula, the western coast of Asia Minor, the Black Sea coast, Cappadocia in central Anatolia, the Balkans and Constantinople. Many of these regions coincided to a large extent with the borders of the Byzantine Empire of the late 11th century and the Eastern Mediterranean areas of ancient Greek colonization; the cultural centers of the Greeks have included Athens, Alexandria and Constantinople at various periods. Most ethnic Greeks live nowadays within the borders of Cyprus.
The Greek genocide and population exchange between Greece and Turkey nearly ended the three millennia-old Greek presence in Asia Minor. Other longstanding Greek populations can be found from southern Italy to the Caucasus and southern Russia and Ukraine and in the Greek diaspora communities in a number of other countries. Today, most Greeks are registered as members of the Greek Orthodox Church. Greeks have influenced and contributed to culture, exploration, philosophy, architecture, mathematics and technology, business and sports, both and contemporarily; the Greeks speak the Greek language, which forms its own unique branch within the Indo-European family of languages, the Hellenic. They are part of a group of classical ethnicities, described by Anthony D. Smith as an "archetypal diaspora people"; the Proto-Greeks arrived at the area now called Greece, in the southern tip of the Balkan peninsula, at the end of the 3rd millennium BC. The sequence of migrations into the Greek mainland during the 2nd millennium BC has to be reconstructed on the basis of the ancient Greek dialects, as they presented themselves centuries and are therefore subject to some uncertainties.
There were at least two migrations, the first being the Ionians and Aeolians, which resulted in Mycenaean Greece by the 16th century BC, the second, the Dorian invasion, around the 11th century BC, displacing the Arcadocypriot dialects, which descended from the Mycenaean period. Both migrations occur at incisive periods, the Mycenaean at the transition to the Late Bronze Age and the Doric at the Bronze Age collapse. An alternative hypothesis has been put forth by linguist Vladimir Georgiev, who places Proto-Greek speakers in northwestern Greece by the Early Helladic period, i.e. towards the end of the European Neolithic. Linguists Russell Gray and Quentin Atkinson in a 2003 paper using computational methods on Swadesh lists have arrived at a somewhat earlier estimate, around 5000 BC for Greco-Armenian split and the emergence of Greek as a separate linguistic lineage around 4000 BC. In c. 1600 BC, the Mycenaean Greeks borrowed from the Minoan civilization its syllabic writing system and developed their own syllabic script known as Linear B, providing the first and oldest written evidence of Greek.
The Mycenaeans penetrated the Aegean Sea and, by the 15th century BC, had reached Rhodes, Crete and the shores of Asia Minor. Around 1200 BC, the Dorians, another Greek-speaking people, followed from Epirus. Traditionally, historians have believed that the Dorian invasion caused the collapse of the Mycenaean civilization, but it is the main attack was made by seafaring raiders who sailed into the eastern Mediterranean around 1180 BC; the Dorian invasion was followed by a poorly attested period of migrations, appropriately called the Greek Dark Ages, but by 800 BC the landscape of Archaic and Classical Greece was discernible. The Greeks of classical antiquity idealized their Mycenaean ancestors and the Mycenaean period as a glorious era of heroes, closeness of the gods and material wealth; the Homeric Epics were and accepted as part of the Greek past and it was not until the time of Euhemerism that scholars began to question Homer's historicity. As part of the Mycenaean heritage that survived, the names of the gods and goddesses of Mycenaean Greece became major figures of the Olympian Pantheon of antiquity.
The ethnogenesis of the Greek nation is linked to the development of Pan-Hellenism in the 8th century BC. According to some scholars, the foundational event was the Olympic Games in 776 BC, when the idea of a common Hellenism among the Greek tribes was first translated into a shared cultural experience and Hellenism was a matter of common culture; the works of Homer and Hesiod were written in the 8th century BC, becoming the basis of the national religion, ethos and mythology. The Oracle of Apollo at Delphi was established in this period; the classical period of Greek civilization covers a time spanning from the early 5th century BC to the death of Alexander the Great, in 323 BC. It is so named because it set the standards by which Greek civilization would be judged in eras; the Classical period is described as the "Golden Age" of Greek civilization, and
In architecture the frieze is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. When neither columns nor pilasters are expressed, on an astylar wall it lies upon the architrave and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous, the most elaborate; this style is typical for the Persians. In interiors, the frieze of a room is the section of wall above the picture rail and under the crown moldings or cornice. By extension, a frieze is a long stretch of painted, sculpted or calligraphic decoration in such a position above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels; the material of which the frieze is made of may be plasterwork, carved wood or other decorative medium. In an example of an architectural frieze on the façade of a building, the octagonal Tower of the Winds in the Roman agora at Athens bears relief sculptures of the eight winds on its frieze.
A pulvinated frieze is convex in section. Such friezes were features of 17th-century Northern Mannerism in subsidiary friezes, much employed in interior architecture and in furniture; the concept of a frieze has been generalized in the mathematical construction of frieze patterns. Media related to Friezes at Wikimedia Commons "Frieze". Encyclopædia Britannica. 1911
The Parthenon is a former temple on the Athenian Acropolis, dedicated to the goddess Athena, whom the people of Athens considered their patron. Construction began in 447 BC, it was completed in 438 BC, although decoration of the building continued until 432 BC. It is the most important surviving building of Classical Greece considered the zenith of the Doric order, its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an enduring symbol of Ancient Greece, Athenian democracy and Western civilization, one of the world's greatest cultural monuments. To the Athenians who built it, the Parthenon and other Periclean monuments of the Acropolis were seen fundamentally as a celebration of Hellenic victory over the Persian invaders and as a thanksgiving to the gods for that victory; as of 2007 the Greek Ministry of Culture was carrying out a programme of selective restoration and reconstruction to ensure the stability of the ruined structure. The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, destroyed in the Persian invasion of 480 BC.
The temple is archaeoastronomically aligned to the Hyades. Like most Greek temples, the Parthenon served a practical purpose as the city treasury. For a time, it served as the treasury of the Delian League, which became the Athenian Empire. In the final decade of the sixth century AD, the Parthenon was converted into a Christian church dedicated to the Virgin Mary. After the Ottoman conquest, it was turned into a mosque in the early 1460s. On 26 September 1687, an Ottoman ammunition dump inside the building was ignited by Venetian bombardment; the resulting explosion damaged the Parthenon and its sculptures. From 1800 to 1803, Thomas Bruce, 7th Earl of Elgin removed some of the surviving sculptures with the alleged permission of the Turks of the Ottoman Empire; these sculptures, now known as the Elgin Marbles or the Parthenon Marbles, were sold in 1816 to the British Museum in London, where they are now displayed. Since 1983, the Greek government has been committed to the return of the sculptures to Greece.
The origin of the Parthenon's name is from the Greek word παρθενών, which referred to the "unmarried women's apartments" in a house and in the Parthenon's case seems to have been used at first only for a particular room of the temple. The Liddell–Scott–Jones Greek–English Lexicon states that this room was the western cella of the Parthenon, as does J. B. Bury. Jamauri D. Green holds that the parthenon was the room in which the peplos presented to Athena at the Panathenaic Festival was woven by the arrephoroi, a group of four young girls chosen to serve Athena each year. Christopher Pelling asserts that Athena Parthenos may have constituted a discrete cult of Athena, intimately connected with, but not identical to, that of Athena Polias. According to this theory, the name of the Parthenon means the "temple of the virgin goddess" and refers to the cult of Athena Parthenos, associated with the temple; the epithet parthénos meant "maiden, girl", but "virgin, unmarried woman" and was used for Artemis, the goddess of wild animals, the hunt, vegetation, for Athena, the goddess of strategy and tactics and practical reason.
It has been suggested that the name of the temple alludes to the maidens, whose supreme sacrifice guaranteed the safety of the city. Parthénos has been applied to the Virgin Mary, Parthénos Maria, the Parthenon had been converted to a Christian church dedicated to the Virgin Mary in the final decade of the sixth century; the first instance in which Parthenon refers to the entire building is found in the writings of the 4th century BC orator Demosthenes. In 5th-century building accounts, the structure is called ho naos; the architects Iktinos and Callicrates are said to have called the building Hekatompedos in their lost treatise on Athenian architecture, and, in the 4th century and the building was referred to as the Hekatompedos or the Hekatompedon as well as the Parthenon. Because the Parthenon was dedicated to the Greek goddess Athena, it has sometimes been referred to as the Temple of Minerva, the Roman name for Athena during the 19th century. Although the Parthenon is architecturally a temple and is called so, it is not one in the conventional sense of the word.
A small shrine has been excavated within the building, on the site of an older sanctuary dedicated to Athena as a way to get closer to the goddess, but the Parthenon never hosted the cult of Athena Polias, patron of Athens: the cult image, bathed in the sea and to, presented the peplos, was an olivewood xoanon, located at an older altar on the northern side of the Acropolis. The colossal statue of Athena by Phidias was not related to any cult and is not known to have inspired any religious fervour, it did not seem to have any priestess, cult name. According to Thucydides, Pericles once referred to the statue as a gold reserve, stressing that it "contained forty talents of pure gold and it was all removable"; the Athenian statesman thus implies that the metal, obtained from contemporary coinage, could be used again without any impiety. The Parthenon should be viewed as a grand setting for Phidias' votive statue rather than a cult site, it is said in many writings of the G