A rhetorical interpretation of a geometric diagram of Plato’s “Creation Myth” overlaid on the Parthenon’s main facade

Abstract

A visual rhetorical interpretation of the design and symbolism of the pedimented main facade of the Parthenon on the Athenian Acropolis is based on a schematic geometric diagram of Plato’s “Creation Myth”, as described in his Timaeus. Following the aim of Gorgias (fifth century BCE) who claimed that a good speaker casts a spell on listeners, it is likewise postulated that Classical Greek architects strove to cast a visual spell on the viewers of their work by means of geometric composition. As a mind experiment this article proposes to persuade readers that the geometric design of the east facade of the Parthenon can be analysed according to the canons of Classical rhetoric, as explicated by Quintilian, and later expounded visually by Vitruvius and Alberti. The design process (tractatio) of the architects that resulted in the composition of the Parthenon’s east facade is analysed in a framework derived from Classical rhetoric: exordium, followed by diegesis, prothesis, pistis, and the five canons (inventio, dispositio, elocutio, memoria and prununtiatio), until the peroratorio.

’n Visuele retoriese interpretasie van die ontwerp en simboliek van die gepedimenteerde hoofaansig van die Parthenon op die Atheense Akropolis word gebaseer op ’n skematiese geometriese diagram van Plato se “Skeppingsmite”, volgens sy beskrywing in die Timaeus. In navolging van die doel van Gorgias (fyfde eeu VGE) wat van mening was dat ’n goeie spreker ’n gehoor in sy ban bring, word dit dienooreenkomstig gepostuleer dat Klassieke Griekse argitekte daarna gestreef het om waarnemers by wyse van geometriese komposisie in die visuele ban van hulle werk te bring. As ’n gedagteeksperiment word daar in hierdie artikel gepoog om lesers te oortuig dat die geometriese ontwerp van die oosaansig van die Parthenon ontleed kan word volgens die kanons van Klassieke retorika, soos deur Quintilian besskryf en later visueel deur Vitruvius en Alberti uitgebrei. Die ontwerpproses (tractatio) van die argitekte wat die komposisie van die Parthenon se oosaansig verwesenlik het, word ontleed in die raamwerk wat van Klassieke retorika afgelei is: exordium, gevolg deur diegesis, prothesis, pistis, en die vyf kanons (inventio, dispositio, elocutio, memoria and prununtiatio), tot en met die peroratorio.