AEGEAN & GREEK ARCHITECTURE

A. Geographical Influences
Greece is a mountainous country surrounded on three sides by the sea. This sea influence fostered
national activity and enterprise, just as it has done in Great Britain; while the proximity of a multitude of islands,
colonized from the mainland and keeping up communication with it by sea, produced a race of hardy and
adventurous colonists. Ancient Greece, extended geographically far beyond the mainland and adjacent islands,
and thus ruins of Greek buildings are found in the Dorian colonies of Sicily and South Sicily, and in the Ionian
colonies of Asia Minor. The mountainous nature of the country separated the inhabitants into groups or clans
and was responsible for that rivalry which characterized the old Greek states, both in peace and war.

B. Geological Influences
The chief mineral wealth of Greece was in her unrivalled marble, the most beautiful and monumental of
all building materials, and one which facilitates exactness of line and refinement of detail. The Greeks attached
so much importance to the quality of fine-grained marble for producing exact outlines and smooth surfaces that
they even coated coarse-grained limestone with a layer of marble “stucco” in order to secure this effect, which is
the great characteristic of their architecture.

C. Climatic Influences
The climate was intermediate between rigorous cold and relaxing heat; hence the Greek character,
combining the energy of the north with the lethargy of the south, produced a unique civilization. The clear
atmosphere, resulting from the rocky nature of the country and the absence of forests, was conducive to the
development of that love of precise and exact forms which are special attributes of Greek architecture. The
climate favoured an outdoor life, and consequently the administration of justice, dramatic presentations, and
most public ceremonies took place in the open air, and to this is largely due the limited variety of public
buildings other than temples. The hot sun and sudden showers were probably answerable for the porticoes and
colonnades which were such important features.

D. Religious Influences
The Greek religion was in the main worship of natural phenomena, of which gods were personifications,
and each town or district had its own divinities, ceremonies, and traditions. The priests who carried out the
appointed rites, in which both men and women officiated, were not an exclusive class, and often served for a
period only, retiring afterwards into private life.

E. Social Influences
The people were united by devotion to their religion, and by religious festivals, as well as by their love of
music, drama, and the fine arts, and also by national games and by emulation in those manly sports and
contests for which they were so distinguished. Hence, other than temples, the most important buildings are
theaters, stadia and gymnasia.

F. Historical Influences
The Persian wars ended in the resounding defeat of the invading Persian armies by the Greeks at
Marathon (B.C. 490), at Salamis (B.C. 480) and Plataea (B.C. 479). The national exultation over these victories is
largely responsible for the fact that the most important temples were built in the fifty years which followed the
battles of Salamis and Plataea. The rule of Pericles (B.C. 444-429) marks the climax of Athenian prosperity, but
the wonderfully rapid growth of Athens excited the jealousy of the Spartans, and this brought about the
Peloponnesian War (B.C. 431-404), which ultimately resulted in the supremacy of Sparta. The arbitrary and high-
handed conduct of Sparta, however, roused the other states against her, and the leadership passed
successively to Thebes and Macedonia. The latter had hitherto been considered a half-barbarian state; but
thanks to the ability of Philip, King of Macedonia, and his son, Alexander the Great, it rose to a leading position
in Greece.
In B.C. 334, Alexander the Great set out on his great expedition, and in six years he subdued the Persian
Empire and Egypt where he founded the city of Alexandria. His conquests extended to Northern India, and
Hellenic art and civilization thus spread through Western Asia. On his death, the empire he had created was
split up among his generals and Egypt fell to Ptolemy, who founded a dynasty. After Alexander’s death, the
natural isolation and animosity of the Greek states afforded all too good an opportunity for the intrusion of the
centralized and united power of Rome, and thus Roman interference gradually increased until Greece became a
Roman province (B.C. 146).

Greek architecture is divided into two periods:

The Early Period, also called the Minoan or Mycenaean Period (B.C. 3000 – B.C. 700)
The Hellenic Period (B.C. 700 – B.C. 146)
 ANCIENT GREEK ARCHITECTURE
THE EARLY PERIOD

Architectural Character
The Minoan or Mycenaean Period is notable for structures rough and massive in character which are
known now chiefly from remaining walls. Columns tapering downward are characteristic while triangular-
headed openings, corbelled vaults or dome-shaped roofs were used.

Examples:
Tombs. The Treasury of Atreus, Mycenae (B.C. 1400), also known as the Tomb of Agamemnon, is one
of the tholoi or beehive tombs originally modeled on the underground huts used as dwellings. This Tholos
consists of a long passage or dromos leading to a large domed chamber with an adjoining square chamber.
The parabolic form of the dome was achieved by horizontally corbelled courses.

Palaces. Palaces were usually complicated in plan. The palace proper is a vast combination of rooms
around its own court, arranged on different levels connected by monumental stairs. The essential and
dominating element of these royal dwellings is a large central room with a floor hearth in the middle,
approached through a vestibule and porch, the whole of which is called a megaron. In Tyrins, the best
preserved of these palaces, the great megaron fronts on a colonnaded court, entered through a monumental
porch or gateway. From the court, a narrow passageway leads to another smaller megaron with a few
subsidiary rooms forming the gynakeion or harem.
 The Palace of King Minos, Knossos (B.C. 3000) – About five acres of buildings have been excavated of
this palace which was destroyed c. B.C. 1400. The archaic stone chair which still stands in the
audience chamber is the most ancient throne in Europe.
 The Palace of Tyrins
 The Palace, Mycenae (c. B.C 1400)

THE HELLENIC PERIOD

Architectural Character

General Characteristics
The Hellenic style which followed the Minoan or Mycenaean Period is the recognized style of Greek
architecture. It is characterized by simplicity and purity of line, perfection of proportions and refinement of
detail which gave dignity and grandeur in spite of smallness of scale.
It is essentially a columnar and trabeated style and is generally considered to have been an evolution
from the wooden hut of upright posts supporting beams and sloping rafters. The theory is that this primitive
timber architecture was reproduced in stone until the qualities inherent in stone resulted in further
developments. Some authorities, however, are of the opinion that Greek architecture is developed entirely
from an early stone type while others have held that it may have evolved from a combined use of stone
columns and timber beams.
The Greeks practiced many refinements in order to correct optical illusions:
1. The long horizontal lines of such features as stylobates, architraves, and cornices, which, if straight
in reality, would appear to sag or drop in the middle, were formed with slightly convex outlines.
2. Vertical features such as columns were inclined inwards towards the top to correct the appearance
of falling outwards.
3. Angle columns were not only set closer to the adjacent columns, but also were made stouter, as it
was found that they appeared thinner against the open sky than those seen against the solid
background of the naos wall.

Plans
Plans of temples which formed the most important class of buildings were simple, nicely balanced, and
symmetrical (a notable exception to the usual symmetrical arrangement is the Erectheion). Temples were
oriented to face east.
Walls
Walls were solidly constructed of blocks of stone or marble so truly laid that its stability depended solely
on the laws of gravity, without the need for mortar although metal cramps sometimes connected the blocks
horizontally. The equal distribution of pressure was achieved by rubbing the beds to finely fitting surfaces so
that joints are almost invisible. Hollow wall construction was also used to lessen the weight upon the
architraves.
Cornices finished the top of walls or entablatures, and in temples which were one-story high,
intermediate stringcourses or horizontal bands of mouldings were sometimes introduced.

Openings
Openings were square-headed and spanned by a lintel, and were sometimes narrowed towards the
top. Temples were windowless and the facades which otherwise would have been monotonous, were varied
by alternation of light and shade produced by the succession of free-standing columns and the shadows in the
openings between them.

Roofs
The sloping rafters of temples’ roofs were covered externally by thin marble slabs and the marble
ceilings of the peristyle was enriched by lacunaria or coffers.

Columns
Columns are the principal external feature. Together with its entablature they comprised the entire
height of temples, although superimposed columns are sometimes found in some temple interiors, e.g., the
Parthenon.
The Greeks introduced the Doric, Ionic, and Corinthian Orders. The Doric was favored by them and
was used for their most important buildings. The Corinthian Order was little used.
Caryatids and Canephora or draped female figures, probably suggested by the Osiris columns of
Egypt, were sometimes used as columns or supports.

Mouldings
Greek mouldings were refined and delicate in contour, due first to the fine-grained marble in which they
were carved, and secondly to the clear atmosphere and continuous sunshine which produced strong shadows
from slight projections. Though the sections of these mouldings were formed by hand, they approach very
closely to various conic sections, such as parabolas, hyperbolas and ellipses. As a general rule, the lines of
carving on any Greek moulding correspond to the profile of that moulding and thus emphasize it by the
expression of its own curvature in an enriched form.
The following is a list of the most important Greek mouldings and their usual ornaments:
1. Cyma reversa (ogee) – water-leaf and tongue
2. Cyma recta - anthemion (or honeysuckle)
3. Ovolo - egg and dart (or egg and tongue)
4. Astragal (or bead) - bead and reel
5. Torus - guilloche or plait ornament, or with bundles of leaves tied by bands
6. Corona - usually painted with the fret ornament (also called the Key Pattern)
7. Fillet - generally plain
8. Cavetto - generally plain
9. Scotia - generally plain
10. Bird’s beak - This occurs frequently in the Doric Order.

Ornament
Greek ornament is specially refined in character, and on it architectural ornament of all succeeding
styles has been based. The acanthus leaf and scroll play an important part in Greek ornamentation. The
anthemion, palmette or honeysuckle ornament was a favorite Greek decoration and was largely used to
decorate anta capitals, cyma recta moldings, and neckings of columns. It is also frequently used on stele-
heads and ante-fixae.
The finest sculpture completed the most important buildings. This may be classified as follows:
1. Architectural sculpture
a. Friezes
 b. Tympana or pediments
c. Acroteria at the base and summit of pediments
d. Sculptured metopes
e. Sculptured figures
Caryatids – sculpture female figures used as columns.
Canaephora – female figures bearing baskets on their heads.
Atlantes or telemones – male figures used as columns.
2. Sculptured reliefs
3. Free-standing statuary – This consisted of single or group figures, bigas (two-horse chariots), quadrigas
(four-horse chariots).

The Greeks also used color and in many instances, stone, brick, and even marble was covered with
carefully prepared cement to receive paintings or color decoration, and this cement stucco was capable of
such high Polish that Vitruvius mentions that it would reflect like a mirror.

Plans

The Acropolis: plan showing easy entry orientation of temples allowing morning sunlight illumination
on the interior statue. (After Fletcher, 1975)

Source: Moore, Fuller: “Concepts and Practice of Architectural Daylighting”

Columns

Caryatids
THE GREEK ORDERS
Art evolves through three stages:
1. The ardent and inspired embodiment of a great idea – this gives strength and grandeur;
2. The original inspiration tempered by increased knowledge and a clearer appreciation of limitations – the
result is symmetry.
3. The ebbing of inspiration, with elaborated details – this produces a brilliant but somewhat
disproportioned style.
This can be seen in the evolution of the Greek Orders. There is the sturdy strength of the Doric; the clear-
cut beauty of the Ionic; and the florid detail of the Corinthian.

THE DORIC ORDER. The Doric style is rather sturdy and its top (the capital), is plain. This style was
used in mainland Greece and the colonies in southern Italy and Sicily.
The Doric column stands without a base, usually on a stylobate of three steps. Height of column
including capital is 4 to 6-1/2 times the diameter at the base. At the top, the diameter of the column is 3/4 to
2/3 the diameter at the base. The shaft is usually divided into 20 shallow flutings separated by arrises, and
terminates in the hypotrachelion consisting of three grooves in early examples and later, of one groove.
Immediately above it is the continuation of the fluted shaft called the trachelion (or necking).
The Doric entablature is usually1/4 the height of the Order. The soffit of the cornice has an inclination
approximating the slope of the roof, and has flat blocks or mutules which suggest the end of sloping rafters.
These occur above each triglyph and metope, and are usually ornamented with 18 guttae in 3 rows of 6 each.
The triglyphs are placed at equal distances apart, and come immediately over the center of each column, and
there was usually one over each intercolumniation. At the angles, however, two triglyphs meet with a beveled
edge, and the intercolumniation between the two outer columns is less by about half a triglyph in width than
that of the others. Crowning the cornice is the cymatium with a bird’s beak moulding underneath.

THE IONIC ORDER. The Ionic style is thinner and more elegant. Its capital is decorated with a scroll-
like design (a volute). This style was found in eastern Greece and the islands.
Ionic columns, including capital and base, are usually 9 times their lower diameter in height and have
24 flutes separated by fillets. The earlier examples, however, have shallow flutes separated by arrises, and
the flutes number as many as 40 or 44. The moulded base usually consists of an upper and lower torus,
divided by a scotia and fillets, and there is no plinth. The Asiatic treatment consisted of an upper torus and
scotia only, and in the later examples, a lower torus was added, making what is known as the Attic base.
Distinguishing features of the capital are the volutes or scrolls. The treatment of the capitals of angle
columns in which it was necessary to show volutes on two adjacent faces was effected by making the angle
capital with volutes facing all four sides or by joining two adjacent volutes at an angle of 135°. Entablature
height was usually about 1/5 of the height of the whole order.

THE CORINTHIAN ORDER. The Corinthian style is seldom used in the Greek world, but often seen on
Roman temples. Its capital is very elaborate and decorated with acanthus leaves.
It is least used of the Greek Orders. The column is usually 10 times the lower diameter in height. The
column and base are similar to the Ionic. The origin of the Corinthian capital, which is distinguished by its bell
shape and the acanthus leaf, is attributed to Callimarchus, a worker in Corinthian bronze who, according to
Vitruvius, obtained the idea from observing a basket over a grave, covered by tile for protection and
surrounded by acanthus leaves. The Corinthian entablature is usually 1/5 the height of the Order.
Several types of intercolumniation (or spacing between columns) were used:
1. Pycnostyle - when the space between columns equals 1-1/2 diameter.
2. Systyle - when the space between columns equals 2 diameter.
3. Eustyle - when the space between columns equals 2-1/4 diameter.
4. Diastyle - when the space between columns equals 3 diameter.
5. Araeostyle - when the space between columns equals 3-1/2 diameter.

In the Doric Order, the intercolumniation is sometimes referred to in terms of the number of triglyphs
between columns:
1. Monotriglyph - an interval of one triglyph.
2. Ditriglyph - an interval of two triglyphs.
3. Polytriglyph - an interval of more than two triglyphs.
Examples:
Many Greek cities were located either upon or in the immediate vicinity of a hill, known as the Acropolis or
upper city, and this formed the citadel where, for safety, the principal temples and treasures were erected. The
most famous example is the Acropolis, Athens. Other famous architectural centers include Olympia, Delphi,
Epidauros, Corinth, Eleusis, and the island of Delos.

TEMPLES
Temples formed the most important class of buildings. They were built with special regard to external
effect and were ornamented with the finest sculpture in order to form fitting shrines for the deities to whom they
were dedicated.
They generally stood on a temenos or sacred enclosure which was enclosed by a wall or colonnade
peribolus. They were raised on a stylobate of three steps. Plans were generally simple and symmetrical. End
facades had a triangular pediment, usually but not always filled with sculpture.
Greek temples are one story high and columns, with their entablature, comprise the entire height of the
building, except in some examples, e.g., the Parthenon, where interior columns are sometimes superimposed
to support the naos roof. Greek temples might be described as Egyptian temples turned inside out; for,
whereas in Egyptian temples the courts and colonnaded halls were enclosed by a high girdle wall, in a Greek
temple the single naos was surrounded by those external, open colonnades which are its chief distinctive
feature and its special charm.
The temples were oriented to face east. The entrance door was in the center of the east wall, behind
the portico of columns so that the sun might light up the statue in the naos or principal chamber, since
these buildings were generally windowless. There have been several theories advanced as to the method
of admitting light:
1. Through clearstories concealed in the roof;
2. Through skylights;
3. Light from the temple door was supplemented by that from transparent Parian marble or alabaster
roofing slabs, as well as by artificial illumination by oil lamps.

Roofs were of timber framing, covered with thin marble slabs overlapping one another and finished with
antefixae (ornamental blocks fixed vertically at regular intervals along the lower edge of the roof to cover the
ends of roofing tiles). A few temples were hypaethral or partly open to the sky, but this system appears to
have been reserved for the larger temples such as the Olympieion, Athens.

A typical plan consists of:

1. The naos or principal chamber containing the statue of the god or goddess to whom the temple is
dedicated.
2. Porticoes and colonnades. A portico is the colonnaded space forming an entrance or vestibule, with
a roof supported at least on one side by columns. The space between the front portico and the naos is
called pronaos. There may be only a front portico (prostylar) or porticoes at both ends (amphiprostyle).
The space in the rear portico corresponding to the pronaos is called the posticum or epinaos. The
posticum also frequently served as the opisthodomos or treasury chamber and made secure by lofty
grilles extending from floor to roof, fixed between the columns and entered through gates in the central
intercolumniation. Where there is a flanking colonnade, as is usual in Greek temples, the space
between the side walls of the naos and the columns is called pteroma (or wings).

The various methods of arranging the columns give the special names to the forms of temples, and the
nomenclature which follows is that of the great Roman architect Vitruvius:
1. Distyle in antis. With two columns (distyle) between the antae or column pilasters at the end of
the side walls.
2. Distyle in antis at both ends.
3. Prostyle tetrastyle. With front portico (prostyle) of four columns (tetrastyle).
4. Amphi-prostyle tetrastyle. With front and rear porticoes (amphi-prostyle) of four columns.
5. Peripteral circular. The word peripteral comes from “peristyle”, meaning a range of columns
surrounding a building or court, hence a peripteral circular temple is one with a ring of columns
surrounding a circular naos.
 6. Peripteral hexastyle. A rectangular temple surrounded by columns, six of which (hexastyle) form
porticoes at each end.
7. Peripteral octastyle. Similar to the last-named but with eight columns to each portico.
8. Peripteral nonastyle (enneastyle). With nine columns to each portico – an unusual arrangement.
9. Pseudo-peripteral. A temple with half-columns attached to the naos wall, a favorite form adopted by
the Romans.
10. Dipteral octastyle. A temple surrounded by double rows of columns and with two ranges of eight at
either end.
11. Dipteral decastyle. Similar to the last-named but with ranges of ten columns at each end.
12. Pseudo-dipteral octasyle. With a similar plan to No. 10 but with the inner range of columns omitted.
13. Irregular planning.

THEATERS
The Greek theater which consisted of orchestra, auditorium, and stage, was generally hollowed out of
the slope of a hill, was unroofed, and was intended for use in the daytime. The orchestra, germ of the Greek
theater, was a complete circle, and here the chorus chanted and danced, as by voice and gesture they
unfolded the tale of the drama acted on the stage. The auditorium rose in tiers of seats cut out from the solid
rock, sometimes faced with marble, encircling about two-thirds of the orchestra, and thus spectators at the two
extremities faced towards the orchestra, but away from the stage. A diazoma or cross-over sometimes
separated the tiers of seats. The stage or logeion (speaking place), for the few actors usual in a Greek drama,
was a long, narrow platform with permanent architectural background connected with the booth or dressing
room behind, known as the “skene”, a name retained in the “scene” of modern theaters.
TERMS:
Stylobate. A continuous base or substructure on which a colonnade is placed.
Stereobate. A substructure distinguished from the stylobate by the absence of columns.
Metope. The space between Doric triglyphs.
Demi-metope. The half of a metope which is found at the retiring or projecting angles of a Doric frieze.
Pediment. A triangular piece of wall above the entablature, which fills in and supports the sloping
roof.
Tympanum. The triangular surface bounded by the sloping and horizontal cornices of a pediment.
Acroteria. Blocks resting on the vertex and lower extremities of the pediment to support statuary or
ornaments.
Antefixae. Ornamental blocks, fixed vertically at regular intervals along the lower edge of a roof, to
cover the ends of tiles.
Consoles. A bracket or truss, generally with scrolls or volutes at the two ends, of unequal size and
contrasted, but connected by a flowing line from the back of the upper one to the inner
convolving face of the lower.
Ancones. Consoles on either side of a doorway supporting a cornice.
Peristyle. A range of columns surrounding a court or temple.
Peripteral. A term applied to a building surrounded by columns.
Anteral. A term applied to a temple without columns at the sides.
Dipteral. A temple having a double row of columns at the sides.
Cyclostyle. A structure composed of a circular ring of columns without a central core.
Cyrtostyle. A circular projecting portico.
Peribolus. The enclosing wall or colonnade surrounding a temenos or scared enclosure, and hence
sometimes applied to the enclosure itself.
Exedra. A recess or alcove with raised seat where the disputations of the learned took place. In
Roman architecture, it is applied to any semicircular or rectangular recess with benches.
It is also applied to an apse or niche in a church.
Lacunaria. Sunk panels or coffers formed in ceilings, vaults and domes.
Bouleuterion. A Council Hall.
Pinacotheca. A building to contain pictures or picture gallery.
Glyptotheca. A building to contain sculptures.
Paterae. Flat circular ornaments which resemble the Classical saucers used for wine in sacrificial
libations.
Fret. An ornament in Classic or Renaissance architecture consisting of an assemblage of
straight lines intersecting at right angles, and of various patterns. Sometimes referred to
as the Key Pattern.
Clepsydra. A water clock or instrument for measuring time by the discharge of water through a small
opening.
Choragic Monument. A type of monument erected to support a tripod as a prize for athletic exercises
or musical competitions in Greek festivals.
Hermes. A rough quadrangular pillar with a carved head of Hermes or Mercury, without arms or
body, which were placed by the Greeks in front of buildings.
Abacus. The uppermost member of the capital of a column; often a plain square slab, but
sometimes molded or otherwise enriched.
Acanthus. A common plant of the Mediterranean, whose leaves, stylized, form the characteristic
decoration of capitals of Corinthian and Composite orders. In scroll form it appears on
friezes, panels, etc.
Acropolis. The elevated stronghold of a Greek city, usually with the temple of the patron divinity.
Adytum, adyton. The inner shrine of a temple reserved for priests.
A secluded room, often one behind the cella of a temple. It is the most sacred part of a
place of worship.
Agalma. In ancient Greece, any work of art dedicated to God.
Agora. The chief meeting place or marketplace in an ancient Greek city.
Andron, andronitis. In ancient Greece, the part of a building used by men, especially the banquet
room.
Angle capital. A capital at a corner column, especially an Ionic capital where the four volutes project
equally on the diagonals, instead of being in two parallel planes; used by both Greeks
and Romans.
Annulet. A small moulding, usually circular in plan and square or angular in section; especially
one of the fillets encircling the lower part of the Doric capital above the necking.
Anta. A pier or pilaster formed by a thickening at the end of a wall; its capital and base differ
from those of the columns forming part of the same order. Antae often occur in pairs on
either side of a doorway or beyond the face of the end walls.
Anthemion, honeysuckle ornament. A common Greek ornament based upon the honeysuckle or
palmette. Used singly on stelae or antefixae, or as a running ornament in friezes, etc.
Apophyge. 1. That part of a column which is molded into a concave sweep where the shaft springs
from the base or terminates in the capital. Also called scape or conge.
2. The hollow or scotia beneath the echinus of some archaic Doric capitals.
Apotheca. In ancient Greece and Rome, a storeroom of any kind, but especially one for storing
wine.
Apteral. Describing a classical temple or other building which has no columns along the sides but
may have a portico at one or both ends.
Architrave. 1. In the Classical Orders, the lowest member of the entablature; the beam that spans
from column to column, resting directly upon their capitals.
2. The ornamental moldings around the faces of the jambs and lintel of a doorway or
other opening; an antepagment.
Archivium. In ancient Greece and Rome, a building in which archives of a city or state were
deposited; also called archeion or tabularium.
 TERMS:
Entasis. A slight bulge in the shaft of a column, designed to counter the visual impression of
concavity that a perfectly straight column would give.
Echinus. A rounded molding beneath the flat upper part abacus of a Doric or Tuscan column.
Mutule. A projecting block that holds a conical ornament gutta under a Doric cornice.
Gutta/Guttae. One of a series of ornaments shaped like drops that are attached to the underside of a
Doric entablature.
Triglyph. In classical architecture, it is a block carved with three vertical grooves that separates
the square panels metopes in a Doric frieze.
Hypotrachelion/Hypotrachelium. The lower part of the capital of an architectural column, or a
groove between the capital and the main shaft.
Flute. A rounded groove running down an architectural column.
Fluting. Decorative furrows or decoration with parallel grooves.
Crepidoma.
Orchestra. The semicircular area in front of the stage in ancient Greek theaters, reserved for the
chorus.

STRUCTURES & THEIR ARCHITECTS/DESIGNERS:

GREEK ARCHITECTURE

Acropolis, Athens
Propylaea – by Mnesicles
Parthenon – by Ictinus and Callicrates (master sculptor: Phidias)
Temple of Athena Nike – by Callicrates
Erechteion – original architect is not known (inscriptions record only later building supervisors);
probably Mnesicles or somebody who learned from Mnesicles.
Temple of Zeus, Olympia – by Libon of Elis; statue by Phidias.
Temple of Apollo Epicurius at Bassae – Ictinus is named by Pausanius as the architect, but this must be
regarded as dubious.
Temple of Hera, Samos – was replaced by the 6th century temple by the architect Rhoikos.
Temple of Artemis, Ephesus – original designers were Demetrius and Paeonius of Ephesus, and probably
Deinocrates. Famous sculptors, particularly Scopas, were employed in its decoration. (This temple is
one of the Seven Wonders of the Ancient World.
Mausoleum, Halicarnassus – by Phytius, in collaboration with Satyros. Sculptural decorations by Scopas,
Bryaxis, Timotheus and Leochares.
Temple of Athena Polias at Priene – by Phytius.
Temple of Athena Alea, Tegla – designed by the sculptor, Scopas.