IBRAHIM CHAUDRY
The immediate international and government reaction after witnessing the devastating intentional destruction of cultural sites, libraries and ancient architecture by terrorism in Mosul and Palmyra throughout the last decade seems straight-forward and inevitable: outrage mixed with defiance. However, when assessing whether an attempt should be made to reconstruct Ancient Greek architecture, often damaged through Ottoman Empire weaponry, as was the case with the Parthenon in 1687, the response is significantly more complicated; the dilemma of satisfying the aesthetic appeal for tourists exploring beautiful architecture with the archival appeal for historians is difficult to overcome, all whilst trying to ensure revenue is maximised and costs minimised.
The merits of any reconstruction project can only be judged on its initial purposes. Assuming that the process isn’t being undertaken to urgently prevent further damage to a sculpture or building, the three general aims of most projects tend to be:
- Maintaining authenticity by respecting the original design.
- Generating tourism revenue.
- Inviting a modern audience to explore the project and immerse themselves in a much more ancient world.
Each project has a different level of plausibility of fulfilling all three aims; there are cases, such as in the city of Pompeii, where preserving the original wreckage rather than undergoing major reconstruction is preferred. Equally, the methods used to fulfil these aims can vary too; many reconstruction projects understandably intend to embrace modern technology to recreate the original design.
The Parthenon in Greece and the Pantheon in Italy each remain one of the most iconic landmarks associated with their respective countries, and the projects to heal and repair the Parthenon that have been ongoing for centuries are some of the most well-known building restoration projects globally. They’ve achieved particular success for their ability to maintain a design faithful to the original, especially through the usage of original pieces where possible, whilst using modern technology to its full advantage, such as with lifting equipment. Despite its successes, it is this project with the Parthenon which highlights the difficulties of restoration projects and why they can frequently struggle to be completed. A complete restoration is not feasible, with the most well-known challenge being the complex diplomatic issues that have arisen with Britain “acquiring” the Elgin Marbles for the British Museum, rather than anything to do with the original site. Several other issues also present themselves; the cost having spiralled already to €5m (~£4.2m), many question the necessity of further reconstruction, in a country that emerged from an emergency bailout programme just a few years ago with fourteen austerity packages. Whilst the typical economic argument for halting the restoration projects tends to be the excessive costs, to the Greek government, the desire to renovate is rooted in the prospect of increased tourism: the site of the Parthenon is so remarkable that it attracts 7.2 million people annually. Even with all the changes and adjustments that the Parthenon has undergone since the 5th century BC, it remains an iconic site that has not lost its glamour or appeal, proving that reconstruction can work, despite the significant disadvantages set against it.
However, the dilemma of reconstruction projects becomes particularly challenging when all the remaining pieces are fragments of columns and bricks. The precedent for countering this challenge tends to be building a scale model, as was the case with the Temple of Artemis in Miniatürk Park (Istanbul). Through its 1:25 ratio model, both visitors and historians alike are stimulated by the idea of its original magnificence. Some parts of Ancient Greek culture, however, cannot be recreated through rebuilding temples. Sources indicate that the cult of Orthia was situated in another sanctuary dedicated to Artemis, but located in Sparta, and was the primary purpose of this Ancient Greek temple. Only original written and artistic sources can provide an insight into this significant part of Ancient Greek religion and culture, and any reconstruction of temples without such culture surrounding them would be deeply incomplete. It must be stressed that irrespective of the reconstruction projects that are undertaken, examples of ancient religious architecture remain that can still demonstrate its magnificence to the world today: the oculus of the Pantheon continues to impress tourists; the uncertainty of the identity of the figures on the Ara Pacis continues to intrigue historians; and the buried areas that remain to be excavated could contain still more sculptures in a close-to-perfect state. All of these projects required minimal reconstruction beyond occasional maintenance, such as protection from the weather.
Ancient civilisations were complicated and comprised of more than just temples though; ordinary buildings provide a reflection of the real experiences of ancient citizens, particularly following catastrophic disasters such as the eruption of Mount Vesuvius. Both the remains of Pompeii and the skulls on the docks at Herculaneum, relatively untouched by modern adjustments, still cause visitors to shiver at the thought of the sight from 79 AD in a way that Pliny the Younger’s letters can’t. Equally, the layout of different baths and villae in these towns that remain equally untouched conveys what Romans experienced in a way that written Horace or Juvenal sources can’t, by demonstration of scale, shape and size in a more authentic way than reconstructions. Authenticity is deeply subjective and difficult to achieve though: arguably, reconstruction has allowed it to thrive in some cases, such as by allowing a modern audience to spectate a play - a significant part of ancient culture - from Ancient Greek amphitheatres. Some of the main pieces of architecture that have only been described through writing and artwork and are predominantly left to modern interpretation and imagination are the chryselephantine cult sculptures. These include the 12.4m-tall Statue of Zeus at Olympia and the iconic yet now lost 13m-tall Athena Parthenos. Whilst it may be difficult to recreate the authenticity of Phidias’ design which utilised 2400 pounds of gold leaf, reconstructions of these exist, such as in the Parthenon recreation, in Nashville, Tennessee. Although some concessions had to be made, the design remains striking and has opened Ancient Greek history to a new American audience, meeting a key aim of the typical reconstruction project.
The consequences of “over-rebuilding” though tend to be detracting from the aesthetic appeal of a venue, whilst also risking permanently damaging the history of the building. As such, reconstruction projects should be treated with caution. However, it seems clear that reconstruction projects of Ancient Greek and Roman buildings and sculptures should proceed in the limited cases where the evidence of the advantages is authoritative and conclusive, and when all three of the initially laid out aims are fulfilled. The fulfilment of these aims hinges on important judgements made by groups and individuals, but this system has, so far, preserved and promoted an important part of ancient history through architecture that remains available to the public across the world - especially Europe - today. Alongside improving accessibility of different historical sources, reconstruction is an important method to continue achieving that.
This article was written as Ibrahim's entry to the Gladstone Memorial Prize 2020, and is published jointly with the WGGS Iris Classics publication, which may interest you if you enjoy classics.