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Statue of Athena Parthenos (the Virgin Goddess)
Roman
Imperial Period
2nd or 3rd century A.D.
Medium/Technique
Marble from Mt. Pentelikon near Athens
Dimensions
Overall: 154 cm, 232.7 kg (60 5/8 in., 513 lb.)
Stone (Dry mounted recessed 3 3/8" deep into Concrete base): 69.9 x 55.9 x 51.4 cm (27 1/2 x 22 x 20 1/4 in.)
Mount (Concrete base dry mounted onto wooden pallet): 22.9 x 105.4 x 89.5 cm (9 x 41 1/2 x 35 1/4 in.)
Stone (Dry mounted recessed 3 3/8" deep into Concrete base): 69.9 x 55.9 x 51.4 cm (27 1/2 x 22 x 20 1/4 in.)
Mount (Concrete base dry mounted onto wooden pallet): 22.9 x 105.4 x 89.5 cm (9 x 41 1/2 x 35 1/4 in.)
Credit Line
Classical Department Exchange Fund
Accession Number1980.196
CollectionsAncient Greece and Rome
ClassificationsSculpture
The iconic image of Classical Athens was the Athena Parthenos, the cult statue that once stood within the Parthenon on the Akropolis. Designed by the master sculptor Phidias, the statue was recognized as a masterpiece immediately upon its unveiling in 438 B.C. Made of gold and ivory over a wooden armature and standing nearly forty feet tall, the Athena Parthenos was a major attraction for ancient visitors to Athens and was described by several of them in texts that survive today, although the statue itself was destroyed long ago.
A small group of extant Roman-period replicas, several of them found in Athens, corresponds broadly to the description of Phidias's work by Pausanias, a second-century-A.D. travel writer. His observations that "in the middle of her helmet there is placed an image of a sphinx, and on each side of the helmet [that is, the cheek pieces] griffins are represented" (Description of Greece 24.5) find visual expression in the expertly carved marble of this statue. Some de-tails preserved on this and other replicas, such as the pair of pegasi (winged horses) flanking the sphinx, are not mentioned in the surviving texts but probably reflect the cult statue's original appearance. At just under life-size, the statue in Boston attains a higher level of detail and refinement than most replicas, evident in the elaborate treatment of the coiled snakes that form a fringe around her aegis, a protective chest covering with magical properties. Athena's right hand would have held the figure of Nike (Victory); both of her arms, as well as her customary shield and spear, are lost.
A small group of extant Roman-period replicas, several of them found in Athens, corresponds broadly to the description of Phidias's work by Pausanias, a second-century-A.D. travel writer. His observations that "in the middle of her helmet there is placed an image of a sphinx, and on each side of the helmet [that is, the cheek pieces] griffins are represented" (Description of Greece 24.5) find visual expression in the expertly carved marble of this statue. Some de-tails preserved on this and other replicas, such as the pair of pegasi (winged horses) flanking the sphinx, are not mentioned in the surviving texts but probably reflect the cult statue's original appearance. At just under life-size, the statue in Boston attains a higher level of detail and refinement than most replicas, evident in the elaborate treatment of the coiled snakes that form a fringe around her aegis, a protective chest covering with magical properties. Athena's right hand would have held the figure of Nike (Victory); both of her arms, as well as her customary shield and spear, are lost.
Catalogue Raisonné
Sculpture in Stone and Bronze (MFA), no. 019; Highlights: Classical Art (MFA), p. 040.
DescriptionRoman-period replica of the cult statue that once stood within the Parthenon on the Athenian Acropolis, a chryselephantine (gold and ivory) colossal statue designed by the master sculptor Phidias and dedicated in 438 B.C. The goddess wears a helmet on which are remains of Pegasoi on either side flanking a sphinx of which only the paws remain; above the visor are parts of protomes, probably deer; griffins in relief on the cheek pieces. Curls frame the face, tresses fall on her shoulders. Gorgon on aegis which is edged by snakes; snakes encircle her waist forming knot at the center.
Condition:
The head and neck were carved of a lighter marble than the rest of the figure. Joins are confirmed by matching curls above the left shoulder and the hair below the helmet and on back of aegis. Restored areas include a small part of the left eyelid, tip of the nose and left nostril, much of the lower lip and the end of the chin, and the curl of hair on the right side of her neck, including a small portion of the curved lower end of the helmet. There are no restorations on the body. Traces of paint remain on the lower curls on Athena's left shoulder. Ancient iron pegs are visible in the troughs of the arms, along with larger dowel holes for fitting the arms and the weight they supported. Some surfaces were carefully cleaned long ago; others preserve good root marks.
Scientific Analysis:
Harvard Lab No. HI752: Isotope ratios - delta13C +2.76 / delta18O -8.63, Attribution - Pentelikon, Justification - Sparkling, fine grained marble.
Condition:
The head and neck were carved of a lighter marble than the rest of the figure. Joins are confirmed by matching curls above the left shoulder and the hair below the helmet and on back of aegis. Restored areas include a small part of the left eyelid, tip of the nose and left nostril, much of the lower lip and the end of the chin, and the curl of hair on the right side of her neck, including a small portion of the curved lower end of the helmet. There are no restorations on the body. Traces of paint remain on the lower curls on Athena's left shoulder. Ancient iron pegs are visible in the troughs of the arms, along with larger dowel holes for fitting the arms and the weight they supported. Some surfaces were carefully cleaned long ago; others preserve good root marks.
Scientific Analysis:
Harvard Lab No. HI752: Isotope ratios - delta13C +2.76 / delta18O -8.63, Attribution - Pentelikon, Justification - Sparkling, fine grained marble.
ProvenanceSaid to come from a private collection, Germany [see note]. 1980, sold by Antiken Heinz Herzer, Munich, to the MFA. (Accession Date: April 16, 1980)
NOTE: According to curatorial statements at the time of acquisition.
NOTE: According to curatorial statements at the time of acquisition.