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The Seven Wonders of the World (or the Seven Wonders of the Ancient World) refers to remarkable constructions of classical antiquity listed by various authors in guidebooks popular among the ancient Hellenic tourists, particularly in the 1st and 2nd centuries BC. The most prominent of these, the versions by Antipater of Sidon and an observer identified as Philo of Byzantium, comprise seven works located around the eastern Mediterranean rim. The original list inspired innumerable versions through the ages, often listing seven entries. Of the original Seven Wonders, only one—the Great Pyramid of Giza, the oldest of the ancient wonders—remains relatively intact.

History
Maybe start with massive constructions?

The Greek conquest of much of the known world in the 4th century BC gave Hellenistic travellers access to the civilizations of the Egyptians, Persians, and Babylonians. Impressed and captivated by the landmarks and marvels of the various lands, these travellers began to list what they saw to remember them.

Instead of "wonders", the ancient Greeks spoke of "theamata" (θεάματα), which means "sights", in other words "things to be seen". (Τὰ ἑπτὰ θεάματα τῆς οἰκουμένης [γῆς] Tà heptà theámata tēs oikoumenēs [gēs]) Later, the word for "wonder" ("thaumata" θαύματα) was used, and this is also the case in modern Greek (Επτά θαύματα του αρχαίου κόσμου). Hence, the list was meant to be the Ancient World's counterpart of a travel guidebook.

Each person had his own version of the list, but the best known and earliest surviving was from a poem by Greek-speaking epigrammist Antipater of Sidon from around 140 BC. He named six of the seven sites on his list—leaving out the lighthouse—, but was primarily in praise of the Temple of Artemis at Ephesus: "bla bla bla"



Another 2nd century BC observer, who claimed to be the mathematician Philo of Byzantium, wrote a short account entitled The Seven Sights of the World. However, the incomplete surviving manuscript only covered six of the supposedly seven places, which agreed with Antipater's list.

Earlier and later lists by the historian Herodotus (484 BC–ca. 425 BC) and the architect Callimachus of Cyrene (ca. 305–240 BC), housed at the Museum of Alexandria, survived only as references.

The Colossus of Rhodes was the last of the seven to be completed, after 280 BC, and the first to be destroyed, by an earthquake in 226/225 BC. Hence, all seven existed at the same time for a period of less than 60 years. Antipater had an earlier version which replaced Lighthouse of Alexandria with the Walls of Babylon. Lists which preceded the construction of Colossus of Rhodes completed their seven entries with the inclusion of the Ishtar Gate.


 * Gate of Ishtar
 * Walls of Babylon
 * Temple of Solomon

Scope and significance
It is thought that the limitation of the lists to seven entries was attributed to the special magical meaning of the number. Geographically, the list covered only the sculptural and architectural monuments of the Mediterranean and Middle Eastern regions, which then comprised the known world for the Greeks. Hence, extant sites beyond this realm were not considered as part of contemporary accounts.

The primary accounts, coming from Hellenistic writers, also heavily influenced the places included in the wonders list. Five of the seven entries are a celebration of Greek accomplishments in the arts and architecture (the exceptions being the Pyramids of Giza and the Hanging Gardens of Babylon).

Colossus of Rhodes


The Colossus was a statue constructed by Greek sculptor Chares of Lindos in the ancient city of Rhodes, which is at present directly overlaid by the modern city of Rhodes, on the Greek island of the same name. Measuring about 110 ft in height, the Colossus was built at the entrance of the city's Mandraki Harbor, inland and not straddling over the harbor. Its construction began in 294 BC and was completed, after 12 years, in 282 BC. The statue stood on top of a base built of white marble, and was composed of a cast-bronze shell reinforced with a framework of stone and iron for stability. Its exact posture and appearance are unknown.

Although not the only colossi of the Hellenistic period, the Colossus of Rhodes was, according to Greco-Roman scholar Lucilla Burn, "the largest and most famous of all." It was built in honor of Helios, the Greek sun god and the city's patron deity, and to commemorate Rhodes' successful resistance of a siege imposed in 305 BC by the Antigonid monarchy, which was one of many realms formed after the partition of Alexander the Great's empire following his death. After the siege was lifted in 304 BC, the material left behind by the invaders was either sold to fund the Colossus' construction or melted for its metals and used in the statue.

Standing for about half a century, the Colossus was destroyed at around 226 BC due to a major earthquake (of an approximate 7.5 magnitude) that damaged most of the city. The statue fell aground after breaking at the knee, laying in ruins for the remainder of its existence. Rhodians refused to rebuild the statue, even after Egypt's Ptolemy III offered to pay for its restoration, due to an oracle's warning against rebuilding it. Nevertheless, it was in this state of destruction that the Colossus of Rhodes was listed as one of the wonders of the world. The site of its ruins became an important tourist attraction. In 656 AD, two years after the Arabian occupation of Rhodes, the ruins were bought as scrap metal and melted down in Syria, allegedly carried away by a caravan of 900 camels.

Great Pyramid of Giza


INFORMATION

CONSTRUCTION (HISTORY)

DESTRUCTION (PARTIAL) & RESTORATION

Hanging Gardens of Babylon


The Hanging Gardens were an ascending series of terraced gardens built on a ziggurat and located in either Babylon or Nineveh, two prominent cities in ancient Mesopotamia that are both present-day important archaeological sites in modern Iraq. According to architectural historians Christine Garnaut and Donald Langmead, an early description of the Hanging Gardens indicates that its structural base was 400 ft2 and its height over 80 ft. English Assyriologist H. W. F. Saggs considers that the Hanging Gardens' building must have been gigantic in size in order for it to be generally listed second only to the Great Pyramid at Giza—therefore, the structure was likely larger than the average ziggurat, which would have made it an impressive sight due to the largely flat terrain of Mesopotamia. Nonetheless, researchers debate the exact dimensions of the building on which the gardens were built, and no trace of the building has yet been found by archaeologists.

Since the ancient Greeks and Mesopotamians who wrote about the Hanging Gardens had never seen the structure, and given that clay tablet records contemporary to the building make no mention of them, some scholars consider them a myth.

Colossus of Rhodes was a statue constructed by Greek sculptor Chares of Lindos in the ancient city of Rhodes, which is at present directly overlaid by the modern city of Rhodes, on the Greek island of the same name. Measuring about 110 ft in height, the Colossus was built at the entrance of the city's Mandraki Harbor, inland and not straddling over the harbor. Its construction began in 294 BC and was completed, after 12 years, in 282 BC. The statue stood on top of a base built of white marble, and was composed of a cast-bronze shell reinforced with a framework of stone and iron for stability. Its exact posture and appearance are unknown.

Although not the only colossi of the Hellenistic period, the Colossus of Rhodes was, according to Greco-Roman scholar Lucilla Burn, "the largest and most famous of all." It was built in honor of Helios, the Greek sun god and the city's patron deity, and to commemorate Rhodes' successful resistance of a siege imposed in 305 BC by the Antigonid monarchy, which was one of many realms formed after the partition of Alexander the Great's empire following his death. After the siege was lifted in 304 BC, the material left behind by the invaders was either sold to fund the Colossus' construction or melted for its metals and used in the statue.

Standing for about half a century, the Colossus was destroyed at around 226 BC due to a major earthquake (of an approximate 7.5 magnitude) that damaged most of the city. The statue fell aground after breaking at the knee, laying in ruins for the remainder of its existence. Rhodians refused to rebuild the statue, even after Egypt's Ptolemy III offered to pay for its restoration, due to an oracle's warning against rebuilding it. Nevertheless, it was in this state of destruction that the Colossus of Rhodes was listed as one of the wonders of the world. The site of its ruins became an important tourist attraction. In 656 AD, two years after the Arabian occupation of Rhodes, the ruins were bought as scrap metal and melted down in Syria, allegedly carried away by a caravan of 900 camels.

INFORMATION

CONSTRUCTION (HISTORY)

DESTRUCTION

Lighthouse of Alexandria


INFORMATION

CONSTRUCTION (HISTORY)

DESTRUCTION

Mausoleum at Halicarnassus


INFORMATION

CONSTRUCTION (HISTORY)

DESTRUCTION

Statue of Zeus at Olympia


The Statue of Zeus was a chryselephantine sculpture built by Greek sculptor Phidias for the Temple of Zeus at Olympia. Phidias, renown at the time for his works in the Acropolis of Athens, created the monumental structure at Olympia by attaching plates of carved ivory to a wooden framework. Construction took about five years, and it was erected at the temple around 435 BC. The statue measured approximately 43 ft, and was placed atop a rectangular pedestal that was a little taller than a meter. One of its hands grasped a long scepter topped with an eagle, and the other held a smaller statue of Nike, the goddess of victory. Aside from its main components of ivory and gold, the Statue of Zeus was adorned with various other precious metals and stones. Its pedestal was made of bluish-black Eleusinian limestone, and both it and the throne upon which the statue's body sat were decorated with figures in relief.

The statue was a representation of Zeus, the ruler of Mount Olympus and king of the gods in Greek mythology. Archaeologist Martin Price asserts that Phidias' statue was widely regarded at the time as the masterpiece of classical sculpture. Notable orators Cicero and Dio Chrysostom expressed the sentiment of contemporary visitors by praising the physical qualities of the statue, particularly how it matched the characteristics of the supreme Olympian god to the point that it seemed as if it was Zeus himself sitting on the throne. The geographer Pausanias and the encyclopedist Pliny the Elder also attest to the statue's impressiveness and deep religious significance. At the Ancient Olympic Games, victorious athletes were ceremoniously awarded their laurel wreaths in the Statue of Zeus' presence. In 167 BC, Antiochus IV Epiphanes dedicated to Zeus' temple a dyed woolen veil that he had seized from the Temple of Solomon.

Phidias' Zeus stood for about 800 years at Olympia before it was transported to Constantinople shortly after Emperor Theodosius I ordered the closure of the Olympic games in 394 AD. By this time, the statue was still in good condition despite having sustained theft, damage from rats, earthquakes, and a failed attempt at transporting it to Rome by Emperor Caligula. Ancient History researcher Tom Stevenson considers that the statue's preservation was due to its regular treatment with olive oil, shelter from water damage and direct sunlight, and protection from plunder and Christian anti-pagan activity thanks to its classification as a valuable artwork under the Codex Theodosianus. Zeus' statue was moved to the Eastern Roman Empire's capital possibly by orders of Lausus, who was an eunuch at the court of Theodosius II and a collector of pagan artifacts. While it is generally assumed that the statue was housed alongside other artworks inside the Palace of Lausus, Stevenson considers it is possible that the Phidian Zeus was in a location known as "the quarter of Lausus" for public display and proper conservation. Nearly a millennia after its construction, the Statue of Zeus was possibly destroyed by a great fire that engulfed various areas of Constantinople circa 475 AD.

Temple of Artemis at Ephesus


INFORMATION

CONSTRUCTION (HISTORY)

DESTRUCTION

Archaeology and conservation




DISCOVERY

CONSERVATION (And Those not conserved)

Of Antipater's wonders, the only one that has survived to the present day is the Great Pyramid of Giza. Its brilliant white stone facing had survived intact until around 1300 AD, when local communities removed most of the stonework for building materials. The existence of the Hanging Gardens has not been proven, although theories abound. Records and archaeology confirm the existence of the other five wonders. The Temple of Artemis and the Statue of Zeus were destroyed by fire, while the Lighthouse of Alexandria, Colossus, and tomb of Mausolus were destroyed by earthquakes. Among the artifacts to have survived are sculptures from the tomb of Mausolus and the Temple of Artemis in the British Museum in London.

Arts and architecture


The seven wonders on Antipater's list won praises for their notable features, ranging from superlatives of the highest or largest of their types, to the artistry with which they were executed. Their architectural and artistic features were imitated throughout the Hellenistic world and beyond.

The Greek influence in Roman culture, and the revival of Greco-Roman artistic styles during the Renaissance caught the imagination of European artists and travellers. Paintings and sculptures alluding to Antipater's list were made, while adventurers flocked to the actual sites to personally witness the wonders. Legends circulated to further complement the superlatives of the wonders.

According to archaeologist Reynold Higgins, "[A]fter the building of the Colossus it became customary to set colossal statues at the entrances of harbours."

Modern lists
Still, the listing of seven of the most marvellous architectural and artistic human achievements continued beyond the Ancient Greek times to the Roman Empire, the Middle Ages, the Renaissance and to the modern age. The Roman poet Martial and the Christian bishop Gregory of Tours had their versions. Reflecting the rise of Christianity and the factor of time, nature and the hand of man overcoming Antipater's seven wonders, Roman and Christian sites began to figure on the list, including the Colosseum, Noah's Ark and Solomon's Temple. In the 6th century, a list of seven wonders was compiled by St. Gregory of Tours: the list included the Temple of Solomon, the Pharos of Alexandria and Noah's Ark.

Modern historians, working on the premise that the original Seven Ancient Wonders List was limited in its geographic scope, also had their versions to encompass sites beyond the Hellenistic realm—from the Seven Wonders of the Ancient World to the Seven Wonders of the World. Indeed, the "seven wonders" label has spawned innumerable versions among international organizations, publications and individuals based on different themes—works of nature, engineering masterpieces, constructions of the Middle Ages, etc. Its purpose has also changed from just a simple travel guidebook or a compendium of curious places, to lists of sites to defend or to preserve.