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The Parthenon frieze is the high-relief pentelic marble sculpture created to adorn the upper part of the Parthenon’s naos. It was sculpted between c. 443 and 438 BC,〔438 was the year of the dedication of the Parthenon and is usually taken as an upper limit for completion of the frieze, see I Jenkins, ''The Parthenon Frieze and Perikles' cavalry of 1000'', p149–150, in Hurwit, 2005, for a discussion of the dating problem.〕 most likely under the direction of Pheidias. Of the of the original frieze, survives—some 80 percent.〔Jenkins, 2002, p.49〕 The rest is known only from the drawings attributed to French artist Jacques Carrey in 1674, thirteen years before the Venetian bombardment that ruined the temple. At present, the majority of the frieze is at the British Museum in London (forming the major part of the Elgin Marbles); the largest proportion of the rest is in Athens, and the remainder of fragments shared between six other institutions.〔80m in London and 50m in Athens according to the Greek Culture Ministry's website (accessed 27.6.2010 ). The six other museums being: Musée du Louvre; Vatican Museums; National Museum, Copenhagen; Kunsthistorisches Museum,Vienna; University Museum, Würzburg; Glyptothek, Munich, from the British Museum website (accessed 27.6.2010 )〕 Casts of the frieze may be found in the Beazley archive at the Ashmolean Museum at Oxford, at the Spurlock Museum in Urbana, in the Skulpturhalle at Basel and elsewhere.〔For example, in the Architecture Hall at the University of Washington, Seattle, in the Museum of the Center for the Acropolis Studies at Athens, at the Western Australian Museum in Perth, at Hammerwood Park near East Grinstead in Sussex, at the Nashville Parthenon and at the University of Strasbourg (France)〕 ==Construction== Plutarch’s ''Life of Pericles'', 13.4–9, informs us “the man who directed all the projects and was overseer () for him () was Phidias... Almost everything was under his supervision, and, as we have said, he was in charge, owing to his friendship with Perikles, of all the other artists”.〔πάντα δὲ διεῖπε καὶ πάντων ἐπίσκοπος ἦν αὐτῷ Φειδίας, καίτοι μεγάλους ἀρχιτέκτονας ἐχόντων καὶ τεχνίτας τῶν ἔργων…πάντα δ᾽ ἦν σχεδὸν ἐπ᾽ αὐτῷ, καὶ πᾶσιν, ὡς εἰρήκαμεν, ἐπεστάτει τοῖς τεχνίταις διὰ φιλίαν Περικλέους. ''Plutarch's Lives. with an English Translation''. Bernadotte Perrin. Cambridge, MA. Harvard University Press. London. William Heinemann Ltd. 1914〕 The description was not ''architekton'',〔Liddell Scott Jones, ἀρχι-τέκτων, chief-artificer, master-builder, director of works〕 the term usually given to the creative influence behind a building project, rather ''episkopos''.〔LSJ, ἐπίσκοπ-ος, one who watches over, overseer, guardian〕 But it is from this claim, the circumstantial evidence of Phidias’s known work on the Athena Parthenos and his central role in the Periclean building programme that he is attributed authorship of the frieze.〔Ridgway, 1981, p.17, designates the artist as the "Parthenon Master" precisely to avoid the problem of attribution. She also speculates on whether Perikles might have been responsible for the overall conception of the Parthenon's sculptural program, see note 3, p.17.〕 The frieze consists of 378 figures and 245 animals. It was 160 meters in length (524 ft) when complete, as well as 1 meter in height, and it projects 5.6 cm forward at its maximum depth. It is composed of 114 blocks of an average 1.22 meters in length, depicting two parallel files in procession. It was a particular novelty of the Parthenon that the cella carries an Ionic frieze over the hexastyle pronaos rather than Doric metopes as would have been expected of a Doric temple. Judging by the existence of regulae and guttae below the frieze on the east wall this was an innovation introduced late in the building process and replaced the ten metopes and triglyphs that might otherwise have been placed there.〔Neils, 2001, p.38〕 The marble was quarried from Mt. Pentelikon and transported 19 km to the acropolis of Athens. A persistent question has been whether it was carved ''in situ''.〔Neils, 2001, p.77, also note 8 for the historiography of the problem.〕 Just below the moulding and above the tenia there is a channel 17 mm high that would have served to give access to the sculptor's chisel when finishing the heads or feet on the relief; this scamillus or guide strip is the best evidence there is that the blocks were carved on the wall. Additionally, on practical grounds it is easier to move a sculptor than a sculpture, and to crowbar them into place could have potentially chipped the edges.〔Neils, 2001, p.77〕 No information is recoverable on the workshop, but estimates range from three to 80 sculptors on the basis of style, however Jenifer Neils suggests nine on the grounds that this would be the least number necessary to produce the work in the time given.〔Neils, 2001, p.87〕 It was finished with metal detailing and painted. No colour, however, survives, but the background was perhaps blue judging by comparison with grave stelae and the paint remnants on the frieze of the Hephaisteion.〔Neils, 2001, p.88 "It is generally assumed that the background of the frieze was painted blue, on analogy with the blue background of other fifth-century relief sculptures, namely, grave stelae. Perhaps the closest comparison is with the Hephaisteion frieze, which according to several early travellers to Greece preserved traces of a blue background in addition to other paint…The Elusinian limestone used for the background of the Erechtheion frieze is also dark blue in colour. Thus, we can safely assume that at least the background of the Parthenon frieze was more or less as the nineteenth-century Dutch painter Alma-Tadema depicted it."〕 Possibly figures held objects that were also rendered in paint such as Poseidon’s trident and the laurel in Apollo’s hand.〔Neils, 2001, p.90〕 The many drill holes found in Apollo’s and Hera’s heads indicate that a gilded bronze wreath would probably have crowned the gods.〔Neils, 2001, p.91〕 The system of numbering the frieze blocks dates back to Adolf Michaelis's 1871 work ''Der Parthenon'', and since then Ian Jenkins has revised this scheme in the light of recent discoveries.〔Jenkins, 1994, pp.50–1〕〔Particularly the manuscript of Francis Vernon of 1675, describing the frieze prior to the Venetian bombardment which shed new light on the "Carrey drawings" of 1674, see Bowie, Thimme, 1971, and B. D. Meritt, ''The Epigraphic notes of Francis Vernon'', in Commemorative Studies in Honor of Theodore Leslie Shear (Hesperia Suppl. 8, Princeton 1949)〕 The convention, here preserved, is that blocks are numbered in Roman and figures in Arabic numerals, the figures are numbered left to right against the direction of the procession on the north and west and with it on the south. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Parthenon Frieze」の詳細全文を読む スポンサード リンク
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