BY ISAAC KAPLAN
Parthenon,
Nashville, via Wikimedia Commons.
Living in a relatively youthful country that’s a mere 241 years
old, it’s understandable that some Americans might decide to import a little
extra history from abroad. There is a faux-Venice in Las Vegas, and a
Stonehenge II in Texas which, like all sequels, is not as good as the first
one.
But Nashville, Tennessee’s full-scale replica of the Parthenon,
while seemingly random, isn’t gimmicky. Instead, the structure, created in
1897, provides an awe-inspiring look at the iconic Athens structure badly
damaged hundreds of years ago. Created with an incredible attention to
historical accuracy—and boasting a 42-foot-tall gold-coated sculpture of
Athena—Nashville’s Parthenon is simply awesome.
This American Parthenon was originally intended to be temporary.
Built at the tail-end of the 19th century for the Centennial Exposition in
Tennessee, the recreated Parthenon served as the festival’s art gallery and
spoke to the city’s self-declared reputation as the “Athens of the South.” (Not
to be outdone, Memphis built a Pyramid as a reminder that the city was named
after Memphis, Egypt.)
The building restored the aspects of the original Parthenon that
were lost or damaged: metopes running along the outside of the building and the
sculptures on the pediment, which depict various scenes from Greek mythology.
Over the course of six months, the Exposition drew almost 2 million
people—20 times the population of Nashville at the time. By the time the fair
ended, the unique building had grown on the local population. “Who will be the
man that will strike the first blow at the Parthenon?” asked Nashville orator
Tully Brown at the time. The answer, it turns out, was no one—and the building
has stood ever since.
Photo by Geoff
Stearns, via Flickr.
Since it was never meant for the long haul, the Nashville Parthenon
started rapidly deteriorating. It eventually became a safety hazard. Massive
renovations were undertaken in 1920, overseen by an architect named Russell
Hart, who committed to making the building both enduring and as historically
true to the original Parthenon as possible. The entire exterior was essentially
rebuilt using concrete and covered in an aggregate. Casts of the so-called
Elgin marbles and other artifacts from the Parthenon were used to ensure
accuracy of the frieze and pediment, with sculptors making educated guesses to
fill in the missing fragments. As was the case with the original Parthenon,
Nashville’s version has nary a straight line to it, with columns and walls
bulging out in what the Greeks called entasis.
The renovation efforts hit financial trouble during the Great
Depression. Plans to build a version of the statue of Athena that formerly
stood inside the original Parthenon, and to recreate the Ionic frieze that ran
along the interior of the damaged structure, were shelved. Instead of a
full-scale sculpture of Athena, the builders in Nashville deposited a miniature
maquette version in the Parthenon’s east room.
After a donation box was placed next to it in the 1960s, “people
just nickled and dimed it over roughly 15 to 20 years,” eventually raising
almost $30,000, said Wesley Paine, director of the Parthenon. Those funds
became the seed money used to create a statue.
Still, it took eight more years and a total of $250,000 to build
the Athena, which was unveiled in May of 1990. Tourists and Tennesseans today
get a much better look at the statue in Nashville than the plebs of ancient
Greece, who are believed to have glimpsed the inside of the Greek Parthenon
only on special occasions.
In recreating the design attributed to the original sculptor
Phidias, Nashville native Alan LeQuire created a 42-foot-tall Athena, with a
6-foot-4-inch statue of the goddess Nike in her hand. Stories of war and
conflict are illustrated across Athena’s shield and pedestal, and a golden
snake—perhaps symbolizing the Athenian people—stands protected between the
goddess and her shield. While the replica appears opulent, concessions were
made: The original was coated in over 2,400 pounds of gold leaf, whereas
Nashville’s version boasts just eight pounds.
LeQuire echoed Phidias in some subtle, humorous ways as well.
Phidias’s enemies in ancient Greece accused him of embezzling gold from the
Parthenon project, accusations the sculptor successfully disavowed. His enemies
then charged that Phidias was arrogant and impious for putting images of his
face and that of Pericles, who ruled Athens at the time, on Athena’s shield.
“Either that was true, or he didn’t feel like he had a good
defense, because he left town,” said Paine. Echoing this history, the figures
along the pedestal of the Nashville Athena all relate to Phidias’s fate—but
instead of the ancient artist they depict LeQuire, his family, the project’s
donors, and the assistant sculptors.
Despite this intricate attention to detail, there are some
significant differences between the Parthenon in Nashville and the one atop the
Acropolis in Athens. For one thing, guests walk through a park to approach the
Tennessee version—perhaps after grabbing a quick lunch at a Wendy’s nearby—and
they encounter it from the building’s side or front. The original Parthenon was
intentionally situated so that visitors could only approach it from behind.
There’s also a fine art museum housed in lower level of Nashville Parthenon.
Each structure’s basic materials also differ significantly. The
original was constructed from gleaming marble. Nashville’s Parthenon is
concrete, with massive bronze doors (as opposed to the original’s wooden ones).
But compared to the contemporary ruins in Greece, the Nashville
Parthenon boasts a major historical detail: polychromy. Along with parts of the
exterior and interior of the building proper, the massive gold Athena statue is
painted in bright colors. It’s jarring, and even a bit goofy-looking by today’s
standards, given that we’re used to the erroneous idea that ancient times were
dominated by a simple, unadorned white marble aesthetic. In actuality, the
ancient Greeks painted all of their statues: Seeing them emblazoned in green,
red, blue, and other colors is more historically accurate. It also rights the
long-held and historically incorrect view of the ancient past as one dominated
by whiteness.
And like the original, the Nashville Parthenon has become something
of a tourist trap, but that doesn’t make it any less interesting. So while it
feels odd to write this, it’s true: You haven’t really seen the Parthenon until
you’ve been to Nashville, Tennessee.
https://www.artsy.net/article/artsy-editorial-full-scale-replica-parthenon-nashville-tennessee
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