IN THE SHADOW OF THE ACROPOLIS

When you travel to Athens, Greece, especially for the first time, a must- see destination is the
Acropolis and its magnificent buildings. The Acropolis looms over this large metropolis and is a
constant reminder of the legacy of Greece. Once you arrive at the base of the Acropolis, you begin
your climb to reach the Parthenon. It is a long walk, but as you ascend it is easy to imagine the
ancient Athenians taking this same walk to pay homage to Athena, patron goddess of the city. At
the top of the hill, you see the exquisite buildings and the magnificent view of the city. You feel like
you have stepped back to the fifth century BCE and the age of Pericles.

You begin your descent (which is much easier) and eventually find yourself in a modern day agora
(market place) called the “Plaka.” Here you find numerous shops selling their wares from fine
jewelry, fine dining, to small souvenir shops filled with trinkets, kombologia, pottery and any items
reminiscent of ancient Greece. You wonder, was the ancient agora similar to this? Did the Athenians
follow these same paths? Did Pericles ever envision a thriving, busy metropolis “In the Shadow of
the Acropolis?”

Come and travel through the agora where the past meets the present and you, too, can walk the
steps of ancient Athens.

Welcome. Enjoy your visit.

Photo from article published in the Papas Post: https://pappaspost.com/video-stunning-drone-video-acropolis-night/ August 25, 2017
 ΑΚΡΟΠΟΛΙΣ ACROPOLIS
Rising majestically above the Athenian skyline appears the imposing sight, the rock of the Acropolis.
This was the heartbeat of ancient Athens and continues to sound after these many centuries. Fortified
with high walls from the Mycenean times, around 500 BCE, a palatial residence was built there
and served as a place of worship still visible today. Since then numerous temples and statues were
continuously added. After 480 BCE, when the Persians literally ruined the rock of the Acropolis, all
the buildings were reconstructed and became the symbol of the triumph of Athens -- the Golden
Age of Greece. In drama, philosophy, literature, art and architecture Athens was second to none.
During this period Pericles, the leader of the city, began the largest public building project ever
seen in Greece. Under the supervision of Phidias, the general director, and the greatest artists of
the time, the Acropolis became the most important center of the known world and the symbol of
ancient Greece’s bequest to civilization.

The Acropolis is an ancient citadel located on a rocky outcrop above the city of Athens and
today contains the remains of several ancient buildings of architectural and historic significance.
The word acropolis is from the Greek word akron (akron) and poliς (polis) - akron means
“highest point, extremity,” and polis means “city.” It covers 7.4 acres (3 hectares) and rises 490 feet
(150 meters) above the city of Athens. It is a perfect example of how ancient architecture was
adapted to a natural site. The only way to reach the top of the sacred rock is and always has been
from the west side. On every other side, steep slopes serve as an inaccessible natural fortress. Today
one can climb the sacred rock by way of a very old uphill slope.

The buildings of the Acropolis are a clear display of civic pride and the design of Doric and Ionic
orders represent the greatest architectural achievement of the Golden Age of Greece.
 ACROPOLIS
THE PROPYLAEA
The Propylaea was the gateway to the Acropolis of Athens and was located at the end of the ramp
that connected the city to the Acropolis. This edifice, designed by Mnesicles, was used to highlight
the holiness of the entire Acropolis area and was the only way to enter the Acropolis. Construction
began in 435 BCE and three years later was suspended due to the outbreak of the Peloponnesian War
and was never actually completed. The main rectangular building, 60 by 82 feet (18 by 25 meters), is
composed of a central hall with six Doric pillars, 26 feet high (8 meters), at the facade and two lateral
wings. The north and south wings were uneven in dimensions according to the tradition of sacred
spaces. The north wing was decorated
with painted panels. The south wing was
the antechamber to the Temple of Athena
Nike, and the ceiling was painted with
gold and colorful decorations. The
building was badly damaged in the 17th
century. Restoration began in 1907 and
is still going on today.

THE TEMPLE OF ATHENA NIKE

The Temple of Athena Nike was perched

on a platform on the southwest edge of the Acropolis. It is an almost square building with porticos
at both ends, measuring 27 feet by 18 feet (8.27 by 5.44 meters), with four Ionic pillars over 15 feet
high (4.66 meters), at both its front and back. The temple was completed in 430 BCE by Kallikrates.
In its interior were statues and a frieze portraying the gods of Mount Olympus -- Athena, Zeus and
Poseidon -- and the battles between the Greeks and the Persians. The majority of the frieze has been
destroyed and a part of it is now in the British Museum.

The Temple of Athena Nike was the shelter for the statue of Athena holding a pomegranate, the
symbol of fertility, in her right hand, and a helmet, the symbol of war, in her left hand. The temple
has been destroyed twice, once after the Turks dismantled it in 1686 and once after 1936 when the
platform crumbled. The temple is not open to visitors.

THE STATUE OF ATHENA PROMACHOS

On the Acropolis one can see the remains of some important statues which once had formed a path
up the hill. One of them was a gigantic statue of Athena Promachos (champion) which was the
symbol of the victory and strength of the Athenians against the Persians. The goddess held a shield
in her left hand and a spear in her right one. According to the historian Pausanias (second century
BCE), the statue served as a guide for Athenian navigators, due to its enormous height of 29.6 feet
(9 meters). The statue was taken to Constantinople by the Emperor Theodosius in A.D. 420 and was
destroyed in 1204 by the city’s inhabitants who blamed the statue for the Crusaders’ invasion.
 ΠΑΡΘΕΝΩΝΑΣ PARTHENON

The Parthenon, a world famous sight, was built between 447- 432 BCE under the leadership of the
statesman Pericles. The temple dominates the hill of the Acropolis and was built to honor the goddess
Athena. It was the holiest of all monuments in Athens. Construction began in 447 BCE upon the
ruins of an earlier temple to the goddess Athena which was destroyed by the Persians. Phidias served
as the general director and sculptor, and Ictinus and Kallicrates were the architects. The Parthenon
was completed in 432 BCE and it remained virtually unchanged for the next thousand years. Later
in 1400, it was converted into a Christian church and in 1458 the Turks seized the edifice and
turned it into a mosque. Few material changes were made except for the raising of a minaret at the
southwest corner. During the bombardment of the Acropolis in 1687 by the Venetians fighting the
Turks, a powder magazine located in the temple blew up destroying the center of the building. In
1801 through 1803 a large part of the sculptures that remained were removed by British nobleman
Thomas Bruce, Lord Elgin, and sold to the British Museum in London. Elgin had received permission
from the Turkish officials to remove these antiquities. Other sculptures from the Parthenon are now
in the Louvre Museum in Paris and in the Copenhagen National Museum. When Greece regained
its independence in 1821, all medieval and Turkish adornments were removed from the Parthenon.
In 1930 the north colonnade was restored and further restoration continues to present day.

The Parthenon, like all Greek temples, was meant as a house for the god or goddess that it honored;
it was not a gathering place for worshippers. In its general design, the Parthenon was representative
of the standard architecture of Greek temples: a rectangular box with doors on a raised platform.
The box was fenced in by columns all around. The columns were carved in the simple style called
Doric. Only priests and priestesses could enter the temple, but public religious ceremonies took
place around the altar outside its east end.

The Parthenon was extraordinary in its great size and was truly remarkable in the innovation of
its refined architecture and elaborate sculptural decorations. It contains no straight lines and no
right angles, a true feat of Greek architecture. Constructed from twenty thousand tons of Attic
(Pentelic) marble, it stretched 230 feet (69.5 meters) in length, 100 feet (30.9 meters) in width
and 59 feet (18 meters) in height. The colonnade stands on a stylobate (a platform of three levels)
with eight Doric pillars on the east and west ends and seventeen on the north and south sides.
These outer Doric columns were 34 feet (10.4 meters) high and 6.2 feet (1.9 meters) in diameter.
Originally there was a double row of columns on the east and west ends. The east and west ends
include the pediment, the triangular section displaying two sets of statues: to the east “the birth of
Athena” and to the west the “quarrel between Athena and Poseidon to become the deity of Athens.”
The baseless columns support an entablature or roof structure below the pediment.
It consists of a frieze, metopes and an architrave. The frieze runs a continuous line around the
exterior wall of the cella (interior chamber) and depicts the people of Athens. The metopes were
92 square, carved plaques of marble located above the columns. They represent a warlike theme.
The architrave is the plain, horizontal band of stone between the metopes and the columns. The
colonnade enclosed a walled interior chamber called the cella, 98 feet (29.8 meters) by 63 feet
(19.2 meters). The cella had six Doric pillars on each of its smaller sides, whereas its interior was
divided into four parts and served as the place for keeping the most precious offerings made to the
goddess Athena. The eastern side, approximately 98 feet (30 meters), was its most sacred part. It
was divided into three large naves; the central nave ended in three pillars which surrounded the
colossal statue of Athena Parthenos.

Subtle curves and inclines were built into the Parthenon to produce an optical illusion of completely
straight lines: horizontal lines curve in the middle; the columns bulge in the center and taper at the
top and lean slightly inward. These technical refinements made the Parthenon appear ordered and
produced an optical harmony unprecedented in the ancient world.

The sculptures decorating the Parthenon rivaled its architecture: carvings of gods and giants battling;
Greek centaurs; a Panathenaic procession of citizens honoring Athena; the birth of Athena; Athena
and her contest with Poseidon, are all examples of complex composition and clarity.
An extremely expensive building, it is difficult to calculate the cost of the Parthenon.
Historians estimate that it cost 469 silver talents. There is no modern monetary equivalent, but it
is interesting to note that one talent would build one trireme, a warship for the Athenian naval fleet.

The Parthenon is a world famous sight and combines the Doric and Ionic orders. Its architectural
and structural details and the precision in the carving of the marble are a testament to the expertise
of the artisans that created it. The decor of the Parthenon and its surrounding monuments had a
profound and lasting influence on Western art. The artistic innovations fueled developments that
influenced the art of Hellenistic and Roman times as well as the Renaissance, Baroque, Romantic
and Neoclassic periods.
ΑΘΗΝΑ ΠΑΡΘΕΝΟΣ ATHENA PARTHENOS
Athena Parthenos (virgin), a free-standing sculpture created by Phidias, was a colossal statue and
originally stood in the center of the Parthenon. Built from 447 BCE to 438 BCE the statue, including
the base, stood approximately 50 feet (15 meters) high and dominated the Parthenon. The statue’s
skeleton was wooden, the base members ivory and the clothes and military equipment were covered
with forged gold leaf. The goddess was standing and on her bosom was an aegis (breast shield) with
the gorgon; on her head the helmet was decorated with sphinxes and winged horses. With the right
hand resting on a pillar, she held a statue of Nike (Victory). In her left hand she held her shield which
bent slightly to the ground. A representation of the Gigantomachia (the battle between the gods
and the giants) decorated the inner part of the shield, together with the serpent of the Acropolis; the
outer side pictures a battle against the Amazons. The fight of the centaurs appeared on her sandals.
The relief marble base of the statue
in gold figures depicted the birth
of Pandora.

In 426 BCE the statue was transported

to Constantinople where, according
to one version, it was destroyed in a
fire. Today we have a very precise
image of how the statue looked, both
from numerous descriptions as well
as from several archaic copies in
smaller dimensions.

Ancient writers gave the weight of the

gold as 40 to 44 talents (over a ton)
and the cost of the whole statue likely
to have been somewhere between 700
and 1000 talents. This is more than
twice the cost of the Parthenon itself.

Athena Parthenos, the goddess of

wisdom and war, was the adored
patroness of the city of Athens.
To this day travelers from all over
the world walk the rocky steps to view
the Parthenon, the temple built in
her honor.
 ΕΡΕΧΘΕΙΟΝ ERECHTHEION
The Erechtheion is located on the most sacred part of the Acropolis and was the sanctuary where all
the ceremonies of Poseidon and Athena took place. The Erechtheion took its name after Poseidon
killed Erechonius, a mythical king. The temple was part of Pericles’ project and is located on the
north side of the Parthenon.

It is an amazing example of the Ionic architecture, composed of three basic parts: the main temple,
the northern and the southern porches. The two parts of the main temple are respectively dedicated
to Athena and Poseidon. The northern porch of six columns leads to the Temenos of Pandrossos, the
place where the sacred gift of Athena to the city, the olive tree, grew.

The northern porch of the temple is the most famous since it is the one with the Caryatids, the six
women serving as the columns that support the marble roof. The Caryatids were the sculpted young
women from Karyai (Karyes), a village of Lakonia.

The Erechtheion has suffered a troubled history of misuse and neglect, but with its prominent position
above the city and the porch of six Caryatids, it remains one of the most distinctive buildings
from antiquity.
 ΚΑΡΥΑΤΙΔΕΣ
A caryatid (KARR-ee-AT-id) is a sculptured
CARYATIDS

female figure serving as an architectural

support. The figure takes the place of a column
and supports the entablature on her head.
The Greek term karyatides literally means
“maidens of Karyai,” an ancient town of
Peloponnese in Laconia where Sparta is the
capital. Karyai had a temple dedicated to the
goddess Artemis: “... she rejoiced in the dance
of the walnut tree village of Karyai. Those
Karyatides, who in their round dance, carried
on their head baskets of live reeds as if they
were dancing plants.”

The best known and most copied examples are

those of the six figures of the Caryatid porch
of the Erechtheion on the Acropolis. Although
of the same build and height 12.04 feet (3.67
meters) including the base, and similarly attired
and coiffed, the six Caryatids are not the same.
Their faces, stance, draping and hair are carved
separately. The three on the left stand on their
right foot, while the three on the right stand on
their left foot. Their bulky, intricately arranged
hairstyles serve the purpose of providing static
support to their necks which would otherwise
be the thinnest and structurally weakest part.

One of the original six figures, removed by

Lord Elgin in the early 19th century, is now in
the British Museum in London. The Acropolis
Museum holds the other five figures which
were replaced on the porch by replicas. The
five originals are on a special balcony in the
museum that allows visitors to view them from
all sides. The pedestal for the caryatid removed
by Lord Elgin remains empty.
 ΑΚΡΟΠΟΛΙΣ
THE SOUTHWEST SLOPE OF THE ACROPOLIS
This area of the Acropolis is where all public buildings were built and where all major artistic,
spiritual and religious activities of the city occurred. The most important monuments standing on
this area were:

1. The Theater of Dionysus - In the sixth century BCE the cult of Dionysus was introduced in
Athens, and a small temple on the foot of the Acropolis was built to honor him. At the end of the
century Dionysian festivals began with musical and theatrical performances. Wooden benches
were installed and the space where the performances took place was converted into the shape of
a perfect circle. The stage adopted the name orchestra, from the verb orchoumae which means
to dance, and the chorus danced around the thymeli, the god’s altar. In this theater Aeschylus,
Sophocles and Euripides directed their tragedies and Aristophanes his comedies. During the fourth
century BCE, the wooden benches were replaced by 64 rows of porous stone seats divided by a
semicircle corridor into two levels, many of which remain today. It has been calculated that the
theater could seat 17,000 people. During the next centuries the structure underwent changes and
additions but later were destroyed by invaders. Some sculptures, a detailed marble floor and the
parapet around the stage can still be seen today.

2. The Temple of Thrasyllos - The temple was standing on the katatome, the great rock that had been
artificially vertically leveled for the construction of the Theater of Dionysus. The only remains of this
temple are the two Ionic columns standing above the tiny chapel of the Panagia Chrysospiliotissa
(Our Lady of the Cavern).

3. The Stoa of Eumenes - This long colonnade built of stone and marble was used as a shelter and
promenade way for the people entering the theater.

4. The Asklepieion - This sanctuary is located on the top left of the wooden steps leading to the
Theater of Dionysus. It served as a healing center by the sacred spring waters of Asklepios, the
healing god.

5. The Theater of Herodes Atticus - This theater was built by Herodes Atticus, a wealthy Roman.
He created this architectural miracle in A.D. 160. in memory of his wife, Regilla. The theater had
marble seats for 5000 spectators. It was discovered in 1857 through 1858 and restored beginning
in 1950 through 1961. The summer Athenian Festivals for musicals, dancing and plays take place
there every year.
 ΠΕΡΙΚΛΗΣ PERICLES
Pericles, an important and prominent Greek statesman,
orator and general, was born in 495 BCE and died in 429
BCE. He was largely responsible for the full development
of both Athenian democracy and the Athenian empire.
He made Athens the cultural and political focus of
Greece. He had such a profound influence on the
Athenian society that historian Thucydides named him
“the first citizen” of democratic Athens. His era is also
often referred to as the Age of Pericles or broadly as the
Golden Age of Athens.

Born in Athens to an aristocratic family, Pericles’ father

was a respected war hero and politician, and his mother
was a member of a powerful and influential family.
His nobility, wealth and family prestige allowed him
to pursue his education in any field he chose. He
read widely and was the first politician to credit great
importance to philosophy as a valuable subject of
learning. His name, Pericles, means “surrounded by
glory,” and he lived up to his name by making Athens
the greatest city-state of Greece through freedom of
thought and expression of the people.

As a young man, he was introverted and not given to speech-making. Later with his consort Aspasia
of Miletus’ encouragement and help, he developed his speech writing and oratorical skills. One of
his most famous speeches was given as the funeral oration following the First Peloponnesian War.
Related by Thucydides, his speech resonated in his advocacy for a free and democratic state and the
benefits such a system offered. He eulogized:

“Grief is felt not so much for the want of what we have never known

as for the loss of that to which we have been long accustomed.”

Pericles led the Athenians during the first two years of the Peloponnesian War and in doing so
expanded the empire as a strong naval power. The Peloponnesian Wars began in 431 BCE after
the Persian War ended. The war saw the two major city-states of Greece, Athens and Sparta, in
a protracted conflict. Athens included most of the islands and coastal states around the northern
and eastern shores of the Aegean. Sparta was the leader of the independent states that included
the Peloponnese, central Greece and Corinth. Athens was the stronger naval power and better
prepared financially while Sparta had the stronger army.
Pericles encouraged freedom of expression and the arts, literature and philosophy flourished.
Under his influence Athens became the hub of art, culture, education and democracy. Artists,
sculptors, playwrights, poets, architects and philosophers considered Athens a haven for their work.
Hippocrates practiced medicine in Athens, while sculptors like Phidias and Myron carved statues in
marble and stone. Playwrights Aeschylus, Sophocles, Euripides and Aristophanes created the basis
for modern day theater during this period. The “father of logic and philosophy,” Socrates lived in
Athens at this time. His dialectic method of inquire known as the Socratic method laid the ground
work for Western thought. Perhaps Pericles’ greatest accomplishment during this era was the
building of the glorious Parthenon. He conceived Athens as “an education to Greece.”

In 430 BCE Athens experienced a major setback when the Plague of Athens broke out. Between
one-third and two-thirds of the Athenian population died. In 429 BCE Pericles and several members
of his family succumbed to the plague. His death, as well as the large number of Athenian casualties
to the plague, weakened Athens in its conflict with Sparta.

With the death of Pericles the golden age of Athens began to fade; however, the profound influences
of that age and Pericles’ legacy continue today. The city’s empire, which stretched at its peak from
the western Mediterranean to the Black Sea, left an indelible mark and lasting legacy on democracy,
literature, drama, architecture and philosophy.

“Pericles, strong in repute and intellect...conspicuously incorruptible.”

–Thucydides
 ΠΛΑΚΑ PLAKA
Stretching from the base of the Acropolis is the Plaka (old) or the Agora of Athens. Located on the
northwestern side of the Acropolis, the area was the center of ancient Athens’ public life in the same way
the Acropolis was the center of the religious life. The Athenians assembled there, and as the word agora
(marketplace) reveals, it was a large, open meeting place for citizens, full of buildings and people. It was
here in the agora that the most important Greek concept - Athenian democracy - took root and flourished.
It was here where Socrates taught and died. It was a gathering place for the commercial, political
and social activities of the ancient Athenians. Today it is a major archaeological site with many
ancient ruins visible.

Presently the large city of Athens is made up of numerous small neighborhoods that over the years
have melded together to form a major metropolis. The Plaka is the most ancient, original part of
the city where archaeological sites and modern day life come together. Tourist and local Athenians
visit the many churches, restaurants, theaters, tavernas, shops and ancient sites located in the Plaka.

THE ACROPOLIS MUSEUM

Descending from the Acropolis, the first modern building that comes into sight is the Acropolis
Museum. It is a museum focused on the archaeological site of the Acropolis of Athens. It is located
by the southeastern slope of the Acropolis on the ancient road that led to the “sacred rock” of
classical times. Opened to the public on June 20, 2009 it is a soaring glass-walled structure with
a direct view of the Parthenon. The museum exhibits approximately 4,000 artifacts found on the
Acropolis and surrounding areas from the Greek Bronze Age to Roman and Byzantine Greece. The
site itself covers an area of 25,000 square meters and the exhibition space is 14,000 square meters
and lies over the ruins of a part of Roman and early Byzantine Athens.

The entrance floor to the museum is built over an extensive archaeological site. This floor is glass
and then extends into the main floor interior so that visitors can see the excavation below. The
extensive collection is exhibited on three levels. Two levels display artifacts from the slopes of the
Acropolis and its surrounding buildings. The top level, the most spectacular of all, replicates the
Parthenon. Here the artifacts are displayed exactly as they appear in the Parthenon but with blank
spaces where the marbles taken by Lord Elgin now displayed in the British Museum.

The Acropolis Museum, one of the most important archaeological museums in the world, is a fitting
conclusion to a visit on the Acropolis. Here a visitor is able to read the history of this magnificent
area and how it came to be the center of the ancient world.
ANAFIOTIKA

On a hill above the Plaka, under the flank of the Acropolis, is the tiny village of Anafiotika (little
Anafi) unique because of how it came to be. In 1841 King Otto I of Greek encouraged workers to
come and help transform the new capital of independent Greece into a modern metropolis and to
refurbish his palace. Carpenters and masons from the Cycladic island of Anafi came along with
other workers. They took over the rocky terrain located just below the north slope of the Acropolis.
They hastily erected houses, taking advantage of an old Ottoman law that decreed if you built a
structure between sunset and sunrise, the property became yours.

The neighborhood was built to resemble the architecture of the Cyclades islands with stark, white-
washed cubic houses built of stone, flat roofs and brightly painted shutters and doors, giving the
feel of being in an island village. Bright magenta bougainvillea spills over the walls and the narrow
alleyways often end in dead-end terraces. Some of the houses have roof-top patios with gardens of
potted plants and an occasional shady tree. Anafiotika is an example of the many unique, unusual
sites to be seen in the Plaka, today’s agora.

AGIOS NIKOLAOS RANGAVAS

Near the Anafiotika neighborhood, is the church of Agios Nikolaos Rangavas, a landmark Greek
Orthodox Church. It is the oldest church with Byzantine architecture in Athens, built during the
11th century. It was part of the Rangavas family estate who counted among their possible ancestors
Byzantine Emperor Michael I Rangabe (811-813). The name Rangavas is inscribed on a column
found in the dome.

The history of the church is a turbulent one. In 1687 during the

siege of the Acropolis by the Venetians, part of the monument
was destroyed by a cannon ball. The church was repaired in
the 18th century and restored again in the 1970s. Like most
of the Athenians churches, Agios Nikolaos Rangavas has seen
many architectural interventions. Among others, the chapel
of Agia Paraskevi was added to the south side. The north side
and the dome of the church still survive from the Byzantine
period. The church incorporated ancient marble columns and
other remains of ancient buildings in its external walls. Even
though it has seen many changes through the years, Agios
Nikolaos Rangavas is considered one of the most important
Byzantine edifices in Athens.
Agios Nikolaos was the first church in Athens to receive a bell after the War of Independence in
1821. This bell, which is now kept inside the church, was the first to ring out after the city’s liberation
from the German occupation on October 12, 1944.

The Acropolis Museum, Anafiotika and Agios Nikolaos are just three of the many, many sites
flourishing from ancient times to contemporary Athens. They continue to make the Plaka a vibrant,
living agora – “the beating heart of Athens in the Shadow of the Acropolis.”
 References
“Athena.” Encyclopedia Britannica, Encyclopedia Britannica, 20 May 2020, www.britannica.com/topic/Athena-Greek-
mythology.

Bejor, G. Ancient Greece: The Famous Monuments Past and Present. Muses Publications, 1997.

Boardman, John. The Parthenon And Its Sculptures. University of Texas Press, 1985.

Bowra, C. M. Classical Greece: Great Ages of Man. Time, 1965.

“Caryatid.” Wikipedia, Wikipedia, 17 Aug. 2020, en.wikipedia.org/wiki/Caryatid.

Harris, Beth, and Steve Zucker. “The Erechtheion.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ancient-
art-civilizations/greek-art/classical/v/erechtheion. July 2020.

Martin, Thomas R. Ancient Greece: From Prehistoric to Hellenistic Times. 1st ed., Yale University Press, 1996.

“Propylaea of the Acropolis.” Vision Past & Present, Vision Past & Present, 21 Dec. 2016, www.visionpubl.com/en/cities/athens/
propylaea/.

Trustees of the British Museum. “The Parthenon.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ap-art-
history/ancient-mediterranean-ap/greece-etruria-rome/a/the-parthenon.

ACKNOWLEDGEMENTS

THANK YOU for your support and contributions to the “In the Shadow of the Acropolis” exhibition.
E. John and Cleo Rumpakis Fund of Oregon Community Foundation
Peter Corvallis Productions
Stefanos Vertopoulos

IN THE SHADOW OF THE ACROPOLIS COMMITTEE

Exhibition Co-chairs
Joan Liapes
Christine Rulli
Georgia Liapes

Committee
Nick and Koula Fkiaras
Eleni Kandas
Marina Kandas
Katherine Karafotias
Athena Paskill
Sophia Salos, seamstress
Chrysanthie Voreas

Graphic Artist
Lena Brice