Entitled “Athens – Sparta:
from the 8th century B.C. to the 5th century B.C.”,
the exhibition, which is the eighth in a row since
the Onassis Affiliated Public Benefit Foundation
in New York commenced operations, is being sponsored
by the President of the Greek Democracy, Carolos
Papoulias, with the support of the Ministry of
Culture. The supervision of the exhibition bears
the mark of the director of the National Archaeological
Museum of Athens, Dr. Nikos Kaltsas, who selected
rare sculptures, as well as works of miniature
art and pottery, in order to present the coexistence
of the two cities. The exhibition is accompanied
by an extensive catalogue, which serves as a true
monograph of the event and will be presented exhaustively
in the next AO.
 |
 |
 |
Silver tetradrachm of Athens, ca. 510-500 B.C., provenance unknown, Numismatic Museum, Athens |
 |
The opening was carried out by the Onassis Foundation
president, Antonis Papadimitriou, and the Minister
of Culture, Giorgos Voulgarakis, on 5 December
2006 in the packed central reception hall at the
entrance of Manhattan’s Olympic Tower. Among those
in attendance were the Archbishop of America, Dimitrios,
the president of the Foundation for Hellenic Culture,
Giorgos Babiniotis, the president of the Organisation
for the Construction of the New Acropolis Museum,
Dimitris Pantermalis, the president of the Constantine
K. Mitsotakis Foundation, Katerina Mitsotaki, the
honorary president of the New York University,
John Bradimas, the director of the National Gallery,
Marina Lambraki-Plaka, the director of the Cycladic
Museum, Nikos Stambolidis, member of parliament
for the state, Anna Diamantopoulou, directors and
representatives of American museums, a number of
ambassadors and general consuls, representatives
from the municipality of New York’s business, academic,
and art worlds, as well as journalists from the
United States and Greece.
The American and Greek-American turnout was remarkable,
resulting for quite some time in a large line-up
of people wishing to visit the exhibition. The
turnout bore witness to the opinion expressed by
the Foundation president at a press conference
held before the opening, namely that “the average
American citizen, who is the target group we are
trying to reach culturally, will be interested
in this extremely important exhibition and make
a point of visiting it.”
 |
 |
 |
Kore statuette, 525-500 B.C., Attic workshop, Island marble, found at Eleusis in 1883 |
 |
Officials were guided through the exhibition by
the National Archaeological Museum of Athens director,
Dr. Nikos Kaltsas. “It is the first time that such
a large number of Laconic works has been presented
next to similar works from Attica,” pointed out
the exhibition curator, who noted that “the purpose
of the exhibition is not to mark contrasts, but
to demonstrate the difference between the cities
in terms of mentality, organisation, and artistic
expression.”
“The ancient Greek world,” continued Dr. Kaltsas,
“may not have had the same radiance if one of these
two cities had not existed. Sometimes working together
and other times at odds, these cities determined
the fate and historical path of Greece.”
The exhibition includes 289 items of unique significance
– Greek works of art in the form of plastic, metal,
miniature art, and pottery – which are being exhibited
for the first time in the United States thanks
to the Public Benefit Foundation Alexander S. Onassis.
In order to outline the advancement of both cities
through representative works of art, the era between
the Archaic period and the 5th century B.C. was
chosen as it was the period during which Athens
and Sparta figured prominently in Greek affairs.
The exhibition consists of three theme sections
representing the cultural, political, and economical
history of the two city-states. It was also considered
meaningful to include an introductory section presenting
findings from both cities related to the Late Geometric
period (8th century B.C.) given the importance
of this period, which marked the creation of the
city-state (the main political structure of ancient
Greece), the use of the Greek alphabet, and the
establishment of the Olympic Games in 776 B.C.
carried out in Olympia as Pan-Hellenic games in
honour of Zeus.
 |
 |
 |
Relief with an Athenian triereme, late 5th century B.C., Attic workshop, from the Acropolis of Athens |
 |
The next section presents the physiognomy, development,
and peak of the two cities during the Archaic period
(from the last quarter of the 7th century to the
beginning of the 5th century B.C.). It exhibits
findings, like sculptures, pottery, and currency,
dating back mainly to the 6th century B.C. and
reflecting the greatness of Athens, as well as
the accomplishments of Sparta’s artists.
In Athens, the reforms implemented by Solonas
(594/593 B.C.) marked the beginning of a new period
for the city of Pallada Athena. All artistic fields
flourished, resulting in the construction of monumental
structures several years later under the tyranny
of Peisistratos and his successors (546/510 B.C.).
In sculpting, the “kouros” (“boy”) and “kore”
(“girl") forms are established, many
examples of which have been recovered in Attica
from either cemeteries, where they adorned the
graves of aristocratic families, or sanctuaries,
such as the Acropolis, where mainly female statues
were dedicated. The great competition between the
aristocratic families of Athens and the display
of power through the erection of imposing burial
monuments or dedicated columns led Kleisthenis
to forbid them. Attica pottery monopolised the
markets of all Greek cities for approximately 150
years. From the middle of the 6th century to the
beginning of the 5th century B.C., potters discover
the black and red figure techniques while noteworthy
potters decorate the pottery that is in great demand
on the markets of greater Greece. Apart from monumental
sculptures and pottery, workshops in Attica produce
metal works and miniature art, like statuettes
of gods, athletes, and animals, dedicated to the
sanctuary of Athena Parthenos. Athens is one of
the first cities to create its own currency in
order to conduct economic transactions. The "glaukai”
(“owls”), the silver tetradrachms bearing
the head of Athena on the front and the owl, her
holy symbol, on the back, were used until the 1st
century B.C. and were destined to become the “international
currency” of ancient times along with the “turtles”
of Aegina and the “horse” of Corinth.
 |
 |
 |
Bronze statuette of a male flute player or cupbearer, 8th century B.C. , from the sanctuary of Artemis Orthia, Sparta |
 |
According to current information, Sparta did not
follow Athens’ lead in terms of monumental architecture
and sculpting during this period. This is not because
Spartans were inferior technicians or ignored other
artistic movements; we would simply say that grandeur
and opulence were not part of the mentality they
formed through basic education and their city’s
politicians and legislation. Spartans limited themselves
to what was absolutely necessary and their creations
were linked only to the worshipping of gods and
their ancestors. Besides, in contrast to the Athenians,
the Spartans did not construct luxurious burial
monuments, nor did they write the names of the
dead on columns, with the exception of two cases:
when someone was lost in battle [“thanonton
en polemo” (“died at war”)] or when a woman
passed away during labour.
Few public buildings and sanctuaries, referred
to in written sources, and mainly in Pausanias’
descriptions from the 2nd century B.C, have been
discovered in Sparta. Some of them are the temples
of Athena Chalkioikos at the Acropolis, Artemis
Orthia on the eastern side of the city, close to
the southern bank of the Eurotas River, and the
throne of Apollo in Amyclae. This is linked to
the fact that, until later Hellenistic times, Sparta
was inhabited “kata komas” (inhabitants moving
from village to village) according to the old housing
system and not organised into a city with a unified
topographic plan or town. Furthermore,
apart from Hellenistic times, it was never fortified.
 |
 |
 |
Side-palmette lekythos depicting a Persian archer, 480-475 B.C., Attic workshop, perhaps from a grave at Tanagra |
 |
The city, however, experienced particular boom
in other fields, like metalwork, ceramics, and
miniature art. The Archaic period represents the
“golden age” of Sparta’s artistic creation. The
artistic value of bronze Laconic works is well-known;
samples have been found in a number of sanctuaries,
both locally and across Greece, such as a statuette
found in the temple of Zeus at Dodoni representing
a female young runner with an expressive face,
long wavy hair, and an attractive athletic body.
Also known is Herodotus’ reference to the renowned
bronze krater that the Spartans presented as a
gift to King Croesus of Lydia in order to maintain
friendly relations. Throughout the entire Archaic
period, Laconic chalices bearing mythological or
other iconographic themes, hold a particular position
in markets, such as a rare clay Laconic chalice,
on loan from the National Library of France, which
portrays King Arkesilas of Cyrene overseeing the
weighing and parcelling of an ancient and precious
medicinal herb, or a chalice, on loan from the
Vatican Library, depicting the myth of Atlantas
and Promytheas’ brother. The development rate of
ivory craftsmanship influenced by the East is evident
in the exhibited statuettes from the Sanctuary
of Artemis Orthia.
The next two parts of the exhibition focus on
the 5th century B.C. and present works representative
of the artistic progress made by Athens and Sparta
in the context of two historical events in which
they played a leading role; the Persian Wars (500-479
B.C.) and the Peloponnesian War (431-404 B.C.).
Those events greatly affected the cultural essence
and artistic development of both cities.
 |
 |
 |
Marble head of helmeted Athena, second half of the 5th century B.C., Attic workshop, from the Acropolis of Athens |
 |
With the dominance of Cleisthenes’ democratic
regime (508/507 B.C.), Athens thrives economically
and culturally and develops into an ecumenical
power after the end of the Persian Wars. During
the 5th century B.C., Athens has supreme sculptures
and pottery to display.
On the contrary, Laconic work from the same period
is visibly less, including a number of metal works
and few samples of ceramic work. Sparta’s sculptures
during the Classical period are also fewer than
those of the Archaic period. The standout piece
in this section is the statue of a soldier called
“Leonidas” (480-470 B.C.) from the Acropolis of
Sparta. This rare sculpture from the period in
question represents a soldier running with all
of his gear. He is believed to be Spartan king
Leonidas, a symbol of the Spartan self-sacrifice
at the battle of Thermopylae. Other students believe
that it represents Pausanias, victor of the battle
of Plataea, while according to others it is a hoplite
that originally formed part of a cluster of statues.
This difference is a result of the political and
social circumstances taking shape in Sparta. The
decrease in population and the imminent rebellion
of the slaves on one hand, and the compulsory economic
parity of the citizens on the other, gradually
led to a decline in the economy and trade and a
decrease in interest in the arts.
 |
 |
 |
Bone fibula catch-plate, 660 B.C., Laconian workshop. The goddess Artemis is represented as Mistress of Animals. From the sanctuary of Artemis Orthia, Sparta. |
 |
Apart from works dating back to the period of
the Persian wars, the exhibition also includes
findings bearing live witness to those events.
Such findings come in the form of pottery found
in the tomb of the Athenians lost in the battle
of Marathon, as well as a number of arrows found
on the battlefield of Thermopylae.
The victorious outcome of the wars against the
Persians confirmed the naval superiority of Athens
and the military superiority of Sparta. Subsequently,
the effort of the two cities to dominate amongst
the other Greek cities becomes more and more apparent.
Athens’ emergence as a sovereign power through
the foundation of the pan-Hellenic Delian League
inevitably resulted in a clash with powerful Sparta
of the Peloponnesian League.
The exhibition ends with this important event
from which both cities emerged exhausted. Few displays
directly related to the Peloponnesian War are presented
at the exhibition. There are two important epigraphs,
one of which refers to the treaty between the Athenians
and the Corfiots, while the other one to the contribution
of funds to the Peloponnesian League. Pottery from
the joint grave discovered recently in Athens bears
witness to the plague that hurt the city during
the war.
“Although the exhibition does not exhaust all
facets of the artistic activity of the two cities,
it becomes clear from the work exhibited, that
the moments that advance the human spirit are moments
of convergence, cooperation, peace, and creative
rivalry,” states exhibition curator Nikos Kaltsas,
who concludes, “Athens and Sparta, particularly
in times of peace, moulded what is globally known
and universally accepted today as classical Greek
culture.”
 |
 |
 |
Bone comb, 650-625 B.C., Laconian workshop, from the sanctuary of Artemis Orthia, Sparta |
 |
Following the opening, the Onassis Foundation
held a reception for hundreds of guests at a Manhattan
hotel. Among the speakers, minister Giorgos Voulgarakis
made reference to the role of the Onassis Foundation
and the importance of the exhibitions that it organises
in New York. Foundation president Antonis Papadimitriou
set a pleasant note to the evening with his successful
quiz based, of course, on Athens and Sparta.
Opening night was exceptional and many congratulations
are in order for everyone who lent a hand in the
flawless organisation.
The exhibition will continue until May 12, 2007.
In parallel, the Onassis Affiliated Public Benefit
Foundation will organise an international scientific
conference with a series of lectures in New York
and dramatic readings of the History of the
Peloponnesian War by Thucydides and The
Persians by Aeschylus.
More information related to the exhibition
and the Onassis Cultural Center may be found at: www.onassisusa.org. |