Let us begin with one observation: the Parthenon on the surface has been worn down: it has disappeared into textual, visual, or photographic commentary; it has been stepped upon by tourists. . . . Yet it can at every moment emerge again, as it does emerge, new and different, each time historians like Vidal-Naquet, Vernant, Loraux, or Finley--to mention only a few--speak about it.
-- Yánnis Tsiómis, Επιστρέϕοντας από την έκθεση
(Returning from the exhibition)
The entablature of a cruel rigidity crushes and terrorizes. The feeling of a superhuman fatality seizes you. The Parthenon, a terrible machine, grinds and dominates; seen from as far as a four-hour walk and one hour by boat, alone it is a sovereign cube facing the sea.
-- Le Corbusier, Journey to the East
Hellas, "the most classical country in the world,"1 is a topos of architectural and sculptural ruins. This is true especially of Athens, Greece's cosmopolitan capital, with its crowning Acropolis. In modernity's secular imagination, "this ground is holy."2 Certainly the Acrop-____________________