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Introduction

It is known that a problem exists concerning the original row of the figuration of the marbles on the Frieze (Zophoros) of the Parthenon. The aim of this paper is to present some new suggestions on this feature, from a semiotical and kinesiological point of view.

Methods

The survey concerning the correct arrangement of the slabs of the Frieze was based on the study of the actual theme of each slab in the total context of the figuration of the Frieze. The paper presents two series of figuration; i. the external, presenting the current view of the row of the scenes of the Frieze and ii. the new one, that it is suggested by the authors of this work. The text with the arguments is placed at the center of the plate-poster.

Results

The kinesiological study resulted in a better row than the one we know today. It has been proved that there is a relationship between each scene to the subsequent.

Discussion/Conclusions

The Frieze itself was decorated on the upper part, all around the Sekos at the inner part of the building. Today most of these perfect Marbles (slabs) are dispelled either in the British Museum (the so-called "Elgin Marbles") or in the Museum in Acropolis (Athens) and elsewhere in the world (few ones). Unfortunately, some of these slabs from the Frieze have been destroyed or lost. It is also certain that the whole sequence of the slabs represented the procession of the pomp of the Great Panathenea, the greatest festival of ancient Athens.

References

[1]. Aristotle (undated). Atheneon politea. Athens, Zacharopoulos.
[2]. Xenophon (1984). On the Cavarly Commander. London, Loeb Classical Library.
[3]. Plutarch (1963). Alcibiades. London, Loeb Classical Library.
[4]. Pausanias (undated). Attica. Athens, Zacharopoulos.
[4]. Andronicos M. (1994). Akropolis. Athens, Ekdotike Athenon.
[5]. Cook B. F. (2002). The Elgin Marbles. Oxford, The British Museum Press.

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