Брунов Н.И. О Парфеноне как о памятнике своей эпохи и особенностях его композиции.

Москва,
“Искусство”, 1973

Парфенон был хранилищем казны, государственным банком.

В казну богини Афины на акрополе стекались различные поступления:
драгоценные металлические сосуды, доходы с земель, принадлежавших
богине, части военной добычи, десятая доля из добычи серебряных
рудников. В совокупности это составляло очень крупную сумму, которая и
представляла собой государственный фонд.

В Парфеноне находилась также главная статуя храма, изваяная другом

Перикла, Фидием. Это была хрисоэлефантинная статуя, то есть статуя из
золота и слоновой кости. К деревянной основе были прикреплены
обнажённые части тела (лицо, руки, ноги) из слоновой кости, а одежда
была изготовлена из литого золота. В дни крайней нужды разрешалось
переплавлять золото статуи в монеты, с тем, чтобы вернуть богине её
золотую одежду по миновании надобности.

Назначение Парфенона как хранилища государственной казны

требовало замкнутого, окружённого прочными стенами помещения, а
также особого, отделённого от культовой части внутреннего
помещения, где можно было безопасно хранить деньги и ценности.
Этому требованию отвечала маленькая западная часть здания,
потолок которой поддерживался четырьмя ионическими колоннами.

Вместе с тем, наружная колоннада храма (храм, со всех сторон

окружённый колоннадой, называется периптером) имела и
утилитарное назначение: её наружные галереи (портики) являлись
убежищем от палящих лучей солнца или от дождя. 

Третье назначение Парфенона заключалось в том, что он был памятником.

Это был памятник в двояком смысле. Он увековечивал победу греков над
персами и с этой точки зрения был монументом победы, славы и
утверждения завоёванной свободы и независимости греческого народа.

http://kannelura.info/?p=1441

ПРО ГЕОМЕТРИЮ Парфенона:

https://nestoriana.wordpress.com/2018/04/01/parfenon_rasstanovka_kolonn/

https://awesomeworld.ru/sozdannoe-rukami-cheloveka/hram-parfenon-v-afinah.html

https://kulturologia.ru/blogs/040216/28313/

Теории о цвете!
http://books.totalarch.com/acropolis_in_athens

While Greece was still under Ottoman rule, Scottish nobleman

Thomas Bruce, 7th Earl of Elgin removed about half of the
Parthenon’s surviving sculptures. Claiming he had permission from
the Ottomans, between 1800 and 1803 they were transported by
sea to Britain and now reside in the British Museum. As some of the
greatest examples of Classical Greek sculpture, the Parthenon
Marbles—or Elgin Marbles—are controversial due to their location in
London. The Greek government has called for the restitution of the
precious sculptures for many years, with experts arguing both sides
of the case.

While we often think of classical art as being white and pristine, the
Parthenon—as with much Greek architecture and sculpture—would
have been colored originally. While historians debate just how much
of the structure would have been covered in color, archaeologist
often use UV light to uncover pigments that have now been lost.

The war between the Ottoman Empire and an alliance known as the
Holy League proved devastating for the Parthenon. The temple was
still being used as a mosque when the Ottomans adopted it as an
ammunition dump during the war. This was a disastrous choice, as
the Venetians bombed the area, causing the ammunition to explode
and heavily damaging the Parthenon and its sculptures.

he Turks seized the Acropolis in 1458, and two years later they adopted the
Parthenon as a mosque, without material change except for the raising of a
minaret at the southwest corner. During the bombardment of the Acropolis in
1687 by Venetians fighting the Turks, a powder magazine located in the
temple blew up, destroying the centre of the building. In 1801–03 a large part
of the sculpture that remained was removed, with Turkish permission, by the
British nobleman Thomas Bruce, Lord Elgin, and sold in 1816 to the British
Museum in London. (See Elgin Marbles.) Other sculptures from the Parthenon
are now in the Louvre Museum in Paris, in Copenhagen, and elsewhere, but
many are still in Athens.

In fact, many historians consider the monument’s purpose resembling the unique

function of ‘a temple and an art gallery’ that magnificently showcased the
ensemble of various sculptures from the period. The chief among them must have
been a colossal of statue of Athena herself, crafted by Phidias, and entirely made
from chryselephantine (a sculptural medium of actual gold and ivory).

While modern media depicts Greek temples and structures as having gleaming
white facades, it is actually the opposite that was true. To that end, the Parthenon
was probably quite colorful (if not colorfully loud) in its ancient state.

Of course, the visual vibrancy had lost its shine due the rigors of the longs years
that have passed. Furthermore, scientists and historians also believe that the
rising smogs levels from present day cosmopolitan Athens are also harmfully
affecting the marble.

Арчдэйли

Careful observers may notice that the seemingly straight horizontal lines
of the building are in fact slightly warped, rising almost imperceptibly
from the corners to the center of each of the temple’s four faces. Further
investigation reveals that the columns of the peristyle are not perfectly
vertical, but lean inward; additionally, those columns that form the
corners of the peristyle are approximately two inches thicker than their
peers.[8]

These features, requiring careful distortion of each column’s capital to

suit its particular position and rake, cannot be attributed to chance or
error. The most common explanation is that these refinements were an
attempt to combat the optical illusions that cause truly straight lines to
appear slightly curved to the human eye. Vitruvius, who claimed to have
access to the original treatise written by Ictinus, not only supported this
interpretation, but additionally noted that the thicker columns at the
corners were made so in order to prevent their looking thinner than the
other columns due to being surrounded by the bright sky behind them
instead of the shadows of the temple’s interior.[9]
Behind the peristyle stood a rectangular walled structure divided into two
separate chambers. The larger of these, known as the cella, was fronted
by a colonnade of six columns and entered by a single doorway in the
eastern end of the building. The interior of the cella, itself divided into
three aisles by two additional colonnades, housed a 38 foot (11.6 meter)
tall statue of Athena Parthenos, with skin of ivory and flowing garments
of gold. It was, in part, the enormous size of this statue that dictated the
similarly inflated size of the Parthenon as a whole. With Nike, the female
anthropomorphization of victory, in her right hand and a shield bearing
reliefs depicting Greek soldiers driving the Amazons out of Athens, the
symbolism behind this portrayal of Athena was unmistakable: beyond
merely representing the city-state that bore her name, she was the
embodiment of their victory over the ‘barbarous’ Persians who had leveled
her former temples.[10]

https://www.archdaily.com/803931/ad-classics-the-parthenon-ancient-greece-ictinus-callicrates