Britomartis was worshipped as Aphaea primarily on the island of Aegina, where the temple "Athena Aphaea" stood.Pausanias, 2.30.3. A temple dedicated to her also existed at the Aspropyrgos on the outskirts of Athens.
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Polychrome small-scale model of the archer XI of the west pediment of the Temple of Aphaea, c. 505–500 BCE.
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If so, it would be the first known inscribed dedication to this goddess outside Aegina.Cooper accepts the identification with Aphaea, although the inscription simply reads ΑΦΑΙ, and he draws out certain parallels between the two sanctuaries.
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Description of Greece 2.30.3 The remains of the Late Archaic period Temple of Aphaea are located within a sanctuary complex on a 160 m peak at the northeastern end of the island: 37°45'14.82"N, 23°32'0.24"E. The extant temple was built at around 500 BCE on the site of an earlier temple that had burned around 510 BCE. An inscribed potsherd of the 5th century BCE found in the precinct of the Temple of Apollo at Bassae in Arcadia is inscribed with what may be a dedication to Aphaea.
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The Drowning of Britomartis, probably design by Jean Cousin the Elder, tapestry Britomartis () was a Greek goddess of mountains and hunting, who was primarily worshipped on the island of Crete. She was sometimes believed to be an oread, or a mountain nymph, but she was often conflated or syncretized with Artemis and Aphaea, the "invisible" patroness of Aegina.K. Pilafidis-Williams, The Sanctuary of Aphaia on Aigina in the Bronze Age (Munich: Hirmer) 1998, describes the distinctive local cult but is cautious in retrojecting the later cult of Aphaia to describe Britomartis at Aigina; the explicit identification of Britomartis and Aphaea is in Pausanias, 2.30.3, and in Diodorus Siculus, v.76.3.
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Aegina Awaiting the Arrival of Zeus. Painting by Ferdinand Bol. Aegina (; ) was a figure of Greek mythology, the nymph of the island that bears her name, Aegina, lying in the Saronic Gulf between Attica and the Peloponnesos. The archaic Temple of Aphaea, the "Invisible Goddess", on the island was later subsumed by the cult of Athena.
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Two years later became his art agent and art advisor. In this function he travelled to Italy again. Wagner worked for Ludwig for almost 40 years. Among other things he advised him on the establishment of the Munich Glyptothek and arranged the purchase of the Barberini Faun and the gable figures from the Temple of Aphaea at Aegina.
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Later on, he was associated with the German Archaeological Institute, and conducted archaeological excavations on the islands of Aegina and Naxos. On Aegina, he is remembered for his work at Kolonna and at the Temple of Aphaea. Additionally, he performed archaeological studies in Palestine, publishing Stand der Ausgrabungen in Sichem (1932) as a result. He died in Athens, aged 64.
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As Artemis Orthia (Greek Ὀρθία) and was common to the four villages originally constituting Sparta: Limnai, in which it is situated, Pitana, Kynosoura and Mesoa. As Agrotera, she was especially associated as the patron goddess of hunters. In Athens Artemis was often associated with the local Aeginian goddess, Aphaea. As Potnia Theron, she was the patron of wild animals; Homer used this title.
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Ernst Robert Fiechter (28 October 1875, in Basel – 19 April 1948, in St. Gallen) was a Swiss architect and archaeologist. He is remembered for his research of ancient Greek temple and theatre architecture. He was a cousin to psychologist Carl Gustav Jung. He studied architecture and archaeology in Munich, obtaining his doctorate in 1904 with a dissertation on the Temple of Aphaea in Aegina.
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He traveled through Greece providing him the subject of his fourth year submission, presented at the Paris Salon in 1853. He visited Greece with Edmond About and Constantinople with Théophile Gautier. He worked on the Temple of Aphaea in Aegina where he insisted on polychromy. He was named in 1874 member of the Institut de France in the architecture section of the Académie des Beaux-Arts.
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Many of their works can now be seen at the Lenbachhaus. Pinakotheken in the Kunstareal The modern Museum Brandhorst focus on the work of Andy Warhol and Cy Twombly. An important collection of Greek and Roman art is held in the Glyptothek and the Staatliche Antikensammlung (State Antiquities Collection). King Ludwig I managed to acquire such famous pieces as the Medusa Rondanini, the Barberini Faun and the figures from the Temple of Aphaea on Aegina for the Glyptothek.
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The gallery houses one of the world's most comprehensive Rubens collections. The Lenbachhaus houses works by the group of Munich-based modernist artists known as Der Blaue Reiter (The Blue Rider). BMW Welt An important collection of Greek and Roman art is held in the Glyptothek and the Staatliche Antikensammlung (State Antiquities Collection). King Ludwig I managed to acquire such pieces as the Medusa Rondanini, the Barberini Faun and figures from the Temple of Aphaea on Aegina for the Glyptothek.
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A fresco from Herculaneum depicting Heracles and Achelous from Greco-Roman mythology, 1st century CE Before Homer's Trojan War, Heracles had made an expedition to Troy and sacked it. Previously, Poseidon had sent a sea monster (Greek: kētŏs, Latin: cetus) to attack Troy. The story is related in several digressions in the Iliad (7.451–53; 20.145–48; 21.442–57) and is found in pseudo-Apollodorus' Bibliotheke (2.5.9). This expedition became the theme of the Eastern pediment of the Temple of Aphaea.
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Already as crown prince Ludwig collected Early German and Early Dutch paintings, masterpieces of the Italian renaissance, and contemporary art for his museums and galleries. He also placed special emphasis on collecting Greek and Roman sculpture. Through his agents, he managed to acquire such pieces as the Medusa Rondanini, the Barberini Faun, and, in 1813, the figures from the Temple of Aphaea on Aegina. One of his most famous conceptions is the celebrated "Schönheitengalerie" (Gallery of Beauties), in the south pavilion of his Nymphenburg Palace in Munich.
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The depiction of this particular Galatian as naked may also have been intended to lend him the dignity of heroic nudity or pathetic nudity. It was not infrequent for Greek warriors to be likewise depicted as heroic nudes, as exemplified by the pedimental sculptures of the Temple of Aphaea at Aegina. The message conveyed by the sculpture, as H. W. Janson comments, is that "they knew how to die, barbarians that they were".H. W. Janson, "History of Art: A survey of the major visual arts from the dawn of history to the present day", p. 141.
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He recognized in 1827 the similarity of the 163 mm high bronze statue with the nearly life-size marble pedimental sculptures of the Temple of Aphaea on Aegina, which had arrived at that time in Munich, supplemented and reconstructed by the sculptor Bertel Thorvaldsen in Rome. It became thus apparent that the statue had to be supplemented with a shield. The statue was originally kept by the University Library of Tübingen, which moved to the castle in 1831. In 1833 it was given its own pedestal with a glass hood in the northeast tower of the castle.
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Temple of Aphaia on the island of Aegina. Aphaea (, Aphaía) was a Greek goddess who was worshipped almost exclusively at a single sanctuary on the island of Aegina in the Saronic Gulf. She originated as early as the 14th century BCE as a local deity associated with fertility and the agricultural cycle.Pilafidis-Williams argues that the character and relative proportions of the finds leads to the conclusion that the deity worshiped was a female fertility/agricultural goddess and dates her cult to the 14th century BCE. The cult certainly was in operation in the 7th century BCE.
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Pergamene silver tetradrachm minted by Attalus I, showing Athena seated on a throne ( BC) Athena was not only the patron goddess of Athens, but also other cities, including Argos, Sparta, Gortyn, Lindos, and Larisa. The various cults of Athena were all branches of her panhellenic cult and often proctored various initiation rites of Grecian youth, such as the passage into citizenship by young men or the passage of young women into marriage. These cults were portals of a uniform socialization, even beyond mainland Greece. Athena was frequently equated with Aphaea, a local goddess of the island of Aegina, originally from Crete and also associated with Artemis and the nymph Britomartis.
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Colorful frescoes and stuccos made by distinguished artists such as Peter von Cornelius, Clemens von Zimmermann, and Wilhelm von Kaulbach adorned the walls of the museum. Glyptothek, interior 1900 In the few years between 1806 and the opening of the museum in 1830, Ludwig completed a notable collection of Greek and Roman sculpture. Through his agents, he managed to acquire such pieces as the Medusa Rondanini, the Barberini Faun, and, in 1813, the figures from the Aphaea temple on Aegina. The Second World War did not destroy much of the artwork in the Glyptothek; but unfortunately the frescoes did not survive and only lightly plastered bricks were visible after the museum was reopened in 1972.
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Although the temple is poorly preserved, it can be reconstructed to have had four columns in the cella and an adyton at the rear of the cella. The presence of an adyton is asserted for the temple of Artemis at Loutsa (Artemida) 6.1 km to the north and the temple of Artemis at Aulis 67 km northwest.The temple of Artemis at Aulis is closely linked to same myth that underlies some of the cult aspects of the sanctuary at Brauron: the sacrifice of Iphigenia at Aulis in the prelude to the Trojan war described by Homer. This feature may also be shared by the 6th century BCE Temple of Aphaea on Aigina.
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In terms of structure, a triglyph may be carved from a single block with a metope, or the triglyph block may have slots cut into it to allow a separately cut metope (in stone or wood) to be slid into place, as at the Temple of Aphaea. Of the two groups of 6th-century metopes from Foce del Sele, now in the museum at Paestum, the earlier uses the first method, the later the second. There may be some variation in design within a single structure to allow for corner contraction, an adjustment of the column spacing and arrangement of the Doric frieze in a temple to make the design appear more harmonious. In the evolution of the Doric order, the placing of the triglyphs evolved somewhat, especially at corners.
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Hypotrachelium on a Doric column in the Parthenon, Athens The hypotrachelium is the upper part or groove in the shaft of a Doric column, beneath the trachelium. The Greek form is hypotrakhelion. In classical architecture, it is the space between the annulet of the echinus and the upper bed of the shafts, including, according to C. R. Cockerell, the three grooves or sinkings found in some of the older examples, as in the temple of Neptune at Paestum and the temple of Aphaea at Aegina; there being only one groove in the Parthenon, the Theseum and later examples. In the temple of Ceres and the so-called Basilica at Paestum the hypotrachelium consists of a concave sinking carved with vertical lines suggestive of leaves, the tops of which project forward.
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Some of the ancient artists whose work is presented in the museum are Myron, Scopas, Euthymides, Lydos, Agoracritus, Agasias, Pan Painter, Wedding Painter, Meleager Painter, Cimon of Cleonae, Nessos Painter, Damophon, Aison (vase painter), Analatos Painter, Polygnotos (vase painter), Hermonax. Collections include sculpture work, Loutrophoros, amphora, Hydria, Skyphos, Krater, Pelike, and lekythos vessels, Stele, frescoes, jewellery, weapons, tools, coins, toys and other ancient items. Artifacts derive from archaeological excavations in Santorini, Mycenae, Tiryns, Dodona, Vaphio, Rhamnous, Lycosura, Aegean islands, Delos, the Temple of Aphaea in Aegina, the Sanctuary of Artemis Orthia in Sparta, Pylos, Thebes, Athens, Vari Cave, the Antikythera wreck and from various other places in Greece. The museum houses the archaic terracota statuette daidala that inspired the designers of the 2004 Athens Olympics maskots Athena and Phevos.
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Their purpose is uncertain, but they may have served as both votive objects and toys: some are found in children's graves but the vast majority of fragments are from domestic rubbish deposits.See account of their use in K.A. and Diana Wardle "The Child's Cache at Assiros, Macedonia", in Sally Crawford and Gillian Shepherd (eds): Children, Childhood and Society: Institute for Archaeology and Antiquity Interdisciplinary Studies (Volume I) Oxford: Archaeopress, 2007. The presence of many of these figurines on sites where worship took place in the Archaic and Classical periods (approximately 200 below the sanctuary of Athena at Delphi, others at the temple of Aphaea on Aegina, at the sanctuary of Apollo Maleatas above Epidauros and at Amyklae near Sparta), suggests both that many were indeed religious in nature, perhaps as votives, but also that later places of worship may well have first been used in the Mycenaean period. Larger male, female or bovine terracotta wheelmade figures are much rarer.
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Parthenon marbles depicting part of the battle between the Centaurs and the Lapiths; 442-438 BC; marble; height: 1.06 m; British Museum (London) In classical architecture, a metope (μετόπη) is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order. Metopes often had painted or sculptural decoration; the most famous example are the 92 metopes of the Parthenon marbles some of which depict the battle between the Centaurs and the Lapiths. The painting on most metopes has been lost, but sufficient traces remain to allow a close idea of their original appearance. In terms of structure, metopes may be carved from a single block with a triglyph (or triglyphs), or they may be cut separately and slide into slots in the triglyph blocks as at the Temple of Aphaea.
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Cockerell's depiction of the temple of Apollo at Bassae, 1860 On 14 April 1810 he set off on the Grand Tour.page 6, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, Due to the Napoleonic Wars much of Europe was closed to the British, so he headed for Cadiz, Malta and Constantinople (Istanbul); from there he went to Troy, finally arriving in Athens, Greece by January 1811.page 7, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, In Constantinople he met John Foster (architect) who would accompany him on his tour.page 8, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, In April 1811 he was in Aegina where he helped excavate the Temple of Aphaea (which he called the Temple of Jupiter),page 9, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, finding fallen fragmentary pediment sculptures (these are now in Germany), which he discovered were originally painted.
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