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The new building was not intended to become a temple, but a treasury meant to house the colossal chryselephantine statue of Athena Parthenos. [1] It is even likely that the statue project preceded the building project. [9] This was an offering from the city to the goddess, but not a statue of worship: there was no priestess of Athena Parthenos. [7]
The Varvakeion Athena is a Roman-era statue of Athena Parthenos now part of the collection of the National Archaeological Museum of Athens. It is generally considered to be the most faithful reproduction of the chryselephantine statue made by Phidias and his assistants, which once stood in the Parthenon. [1] It is dated to 200–250 AD. [2]
Gold and fire-blackened ivory fragments of a burnt Archaic chryselephantine statue (Delphi Archaeological Museum) Chryselephantine sculpture (from Greek χρυσός, chrysós, 'gold', and ελεφάντινος, elephántinos, 'ivory') is a sculpture made with gold and ivory. Chryselephantine cult statues enjoyed high status in Ancient Greece.
The Varvakeion Athena, a Roman-era statue of Athena Parthenos considered to be the most faithful reproduction of the chryselephantine statue made by Phidias and his assistants, as displayed in the National Archaeological Museum, Athens. Of Phidias's life, little is known apart from his works.
Athena Varvakeion, Roman copy of the chryselephantine Athena Parthenos by Pheidias. Statue in situ. Of surviving models thought to represent the type, the two outstanding ones are the Athena Elgin, a small bronze statuette in the Metropolitan Museum of Art, [10] who bears an owl in her outstretched hand (as among some coin types), and the ...
This technique allowed him to create intricate and detailed sculptures with a lifelike appearance. Further evidence supporting Callimachus's use of the chryselephantine technique can be found in the surviving fragments of his work. The statue of Athena Parthenos was one of his most famous projects that was sculpted using this technique.
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