Thanks for the great video and explanation. The architectural importance of this extraordinary temple, in addition to what has already been written, is in the absolute and innovative spatial conception of the inner cell (naos) which, as in the Parthenon in Athens (and is the real aspect that would connect it to Ictinus), reaches a unique balance between spatial acceleration towards the statue of the God (through two rows of columns that prospectively launch the eye towards the backdrop where the statue is) and the stasis of a transverse colonnade, which in the case of Bassae is reduced to a single column: a surprising Corinthian style, never seen before. Obviously these are two very different situations and solutions: just think, in Bassae, of the unusual orientation towards the north of the entrance and of the space of the statue separated from that of the cell in front, with the statue itself facing east, that is in the morning sun, from a side door. However, the subtle perceptual balance that unites the naos of Athens and Bassae suggests, even in the lesser of the two, an architectural personality of absolute importance. Given also the much more limited dimensions, the architect of Bassae has adopted a shocking solution of Ionic semi-columns connected to the long walls of the cell, but very protruding from them, creating a decisive and wonderful rhythm of masses and chiaroscuro that solemnly accompany the eye towards the background, almost anticipating the side chapels of many subsequent religious spaces. Instead of the usual Attic bases, these semi-columns rest on absolutely innovative bases, with a strong plastic value: a sort of elastic support that also gives balance to the vertical dimension of the naos. However small, it is a space of unique elegance. The achieved plastic balance between movement and stasis is one of the fundamental characteristics of Greek art of the 5th century BC. that we find in artists such as Policleto and, in fact, Ictino. The Temple of Bassae adds a non-urban dimension, a splendid landscape isolation that would never suggest such a profusion of creativity, making it one of the most beautiful, daring and important artistic leaps ever made. A visit to that place is absolutely touching.
Good work for a so peculiar temple, with a never saw three architectural style together; and a very elegant musical choose, absolutely adapt for an archeological site like this! Compliments
Great video, I visited here in 1999. Some people say Bassae, others Vassae. Either way, it's a beautiful temple and location. Very rugged terrain and fairly harsh weather. I assumed the tent was there permanently to protect it from further deterioration from the elements.
Αφότου είδα το γαλλικό ταινιακι του 1964 ("Βασσες"), έπαθα ένα ψυχοπλακωμα με τις εικόνες της εγκατάλειψης! Τώρα όμως ένιωσα μια πληρότητα και ανακούφιση για τα έργα συντήρησης που φαίνονται σε αυτό το πρόσφατο ταινιακι!
Thanks for the great video and explanation.
The architectural importance of this extraordinary temple, in addition to what has already been written, is in the absolute and innovative spatial conception of the inner cell (naos) which, as in the Parthenon in Athens (and is the real aspect that would connect it to Ictinus), reaches a unique balance between spatial acceleration towards the statue of the God (through two rows of columns that prospectively launch the eye towards the backdrop where the statue is) and the stasis of a transverse colonnade, which in the case of Bassae is reduced to a single column: a surprising Corinthian style, never seen before.
Obviously these are two very different situations and solutions: just think, in Bassae, of the unusual orientation towards the north of the entrance and of the space of the statue separated from that of the cell in front, with the statue itself facing east, that is in the morning sun, from a side door. However, the subtle perceptual balance that unites the naos of Athens and Bassae suggests, even in the lesser of the two, an architectural personality of absolute importance.
Given also the much more limited dimensions, the architect of Bassae has adopted a shocking solution of Ionic semi-columns connected to the long walls of the cell, but very protruding from them, creating a decisive and wonderful rhythm of masses and chiaroscuro that solemnly accompany the eye towards the background, almost anticipating the side chapels of many subsequent religious spaces.
Instead of the usual Attic bases, these semi-columns rest on absolutely innovative bases, with a strong plastic value: a sort of elastic support that also gives balance to the vertical dimension of the naos.
However small, it is a space of unique elegance.
The achieved plastic balance between movement and stasis is one of the fundamental characteristics of Greek art of the 5th century BC. that we find in artists such as Policleto and, in fact, Ictino.
The Temple of Bassae adds a non-urban dimension, a splendid landscape isolation that would never suggest such a profusion of creativity, making it one of the most beautiful, daring and important artistic leaps ever made.
A visit to that place is absolutely touching.
Good work for a so peculiar temple, with a never saw three architectural style together; and a very elegant musical choose, absolutely adapt for an archeological site like this! Compliments
Εκπληκτική δουλειά, μπράβο Άγγελε !
I visited the temple in the 80's on a two person moped. Great place and fun to see it again.
καταπληκτικό βίντεο!!!
Great video, I visited here in 1999. Some people say Bassae, others Vassae. Either way, it's a beautiful temple and location. Very rugged terrain and fairly harsh weather. I assumed the tent was there permanently to protect it from further deterioration from the elements.
Αφότου είδα το γαλλικό ταινιακι του 1964 ("Βασσες"), έπαθα ένα ψυχοπλακωμα με τις εικόνες της εγκατάλειψης! Τώρα όμως ένιωσα μια πληρότητα και ανακούφιση για τα έργα συντήρησης που φαίνονται σε αυτό το πρόσφατο ταινιακι!
Ωραία η παρουσίαση του ναού..... Αλλά γιατί στα αγγλικά?
θα ηθελα να προσθεσω οτι ο ναος περιστρεφοταν κατα 0.52 της μοιρας καθε χρονο ακολουθωντας τις ισημεριες..
That awful tent completely covered the temple beauty ...prohaps built by the British when stolen the giant carving panels surrounding the temple