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The recovered sculptured fragments of the 4th-century rebuilding and a few from the earlier temple, which had been used in the rubble fill for the rebuilding, were assembled and displayed in the «Ephesus Room» of the British Museum. The horse dwarfs its jockey, a boy only 84 centimetres (2.76 ft) tall and perhaps 10 years old, possibly from Africa based on his physiognomy and original black patinated surface colouring. The bronze of the rear legs is thicker, indicating that they were the statue’s primary means of support. The statue was reassembled, after restoration of the horse’s tail and body, and it went on display at the National Archaeological Museum, Athens in 1972.

Further claims of destruction

On the coins minted at Ephesus, the goddess wears a mural crown (like a city’s walls), an attribute of Cybele as a protector of cities (see polos). The body and legs are enclosed within a tapering pillar-like term, from which the goddess’ feet protrude. From the Greek point of view, the Ephesian Artemis is a distinctive form of their goddess Artemis. The archaic temenos beneath the later temples clearly housed some form of «Great Goddess» but nothing is known of her cult. The site of the temple was rediscovered in 1869, after six years of searching by an expedition led by John Turtle Wood and sponsored by the British Museum.

A few further fragments of sculpture were found during the 1904–1906 excavations directed by David George Hogarth. At least some of the stone from the abandoned temple was used in construction of other buildings.A legend of the Late Middle Ages claims that some of the columns in the Hagia Sophia were taken from the Temple of Artemis at Ephesus, but there is no truth to this story. Cyril of Alexandria credited Archbishop of Constantinople John Chrysostom with destroying the temple, referring to him as «the destroyer of the demons and overthrower of the temple of Diana». After the city had been made Christian and the temple had been closed, the name of Artemis appears to have been erased from inscriptions throughout Ephesus. Ammonius of Alexandria comments on its closure, perhaps as early as 407 CE, or no later than the mid-5th century. According to the New Testament, the appearance of the first Christian missionary in Ephesus caused locals to fear for the temple’s dishonor.

Pliny the Elder described a sculpture of Ephesian Artemis as being made of wood (a xoanon) and covered in gold and silver. It was part of a definitively Greek political and cultural identity, essential to the economic life of the region, and an excellent opportunity for young, unmarried Greeks of both sexes to seek out marriage partners. When Alexander conquered the Persians, his offer to finance the temple’s second rebuilding was politely but firmly refused.jEphesian Artemis lent her 1win casino city’s diplomacy a powerful religious edge. On the whole, the Persians dealt fairly with Ephesus, but removed some religious artifacts from Artemis’ Temple to Sardis and brought Persian priests into her Ephesian cult; this was not forgiven. Once Persia ousted and replaced their Lydian overlord Croesus, the Ephesians played down his contribution to the temple’s restoration.

Diogenes Laertius claims that the misanthropic philosopher Heraclitus, thoroughly disapproving of civil life at Ephesus, played knucklebones in the temple with the boys, and later deposited his writings there. The temple became an important attraction, visited by merchants, kings, and sightseers, many of whom paid homage to Artemis in the form of jewelry and various goods. Fragments of bas-relief on the lowest drums of the temple columns, preserved in the British Museum, show that the enriched columns of the later temple, of which a few survive (illustration below) were versions of this earlier feature. It was 115 m (377 ft) long and 46 m (151 ft) wide, supposedly the first Greek temple built of marble. The new temple was sponsored at least in part by Croesus, who founded Lydia’s empire and was overlord of Ephesus.cIt was designed and constructed from around 550 BCE by the Greek Cretan architect Chersiphron and his son Metagenes. Before World War I, site excavations by David George Hogarth seemed to identify three successive temple buildings.

• The Artemision Bronze (often called the God from the Sea) is an ancient Greek sculpture that was recovered from the sea off Cape Artemision, in northern Euboea, Greece.
• The third temple was larger than the second; 137 m (450 ft) long by 69 m (225 ft) wide and 18 m (60 ft) high, with more than 127 columns.
• The statue is dated to around 150 to 140 BC and is practically life-sized, with a length of 2.9 meters (9.5 feet) and 2.1 meters (6.9 feet) high.
• The original temple was among the Seven Wonders of the World and was burnt down in 356 BCE by Herostratos on the eve of the birth of Alexander the Great.
• The Artemision Bronze is a famous ancient Greek statue, notable for its impressive craftsmanship and dynamic representation of a god.

Pausanias (c. 2nd century AD) reports another image and altar in the temple, dedicated to Artemis Protothronia (Artemis «of the first seat») and a gallery of images above this altar, including an ancient figure of Nyx (the primordial goddess of Night) by the sculptor Rhoecus (6th century BCE). These objects remained in place where the ancient wooden statue of the goddess had been caught by an 8th century flood. The image of the goddess Nike is engraved on the horse’s right thigh, holding a wreath in raised hands—a brand for racehorses in Ancient Greece. It is a rare surviving original bronze statue from Ancient Greece and a rare example in Greek sculpture of a racehorse. The image of the goddess Nike is engraved on the horse’s right thigh, holding a wreath in his raised hands.

The fragmentary bronze statues of a horse, a boy, and a god were retrieved from a sunken ship, and after much study and restoration, the horse and boy were paired together as a single sculptural group. The Jockey of Artemision, a large Greek bronze sculpture of a young boy riding a horse, is a magnificent surviving statue from Ancient Greece and a rare example of a racehorse in Greek sculpture. The Jockey of Artemision – a bronze statue of a racehorse and its jockey – was recovered from the same shipwreck, and Seán Hemingway has suggested that the jockey and horse may have been looted from Corinth in 146 BC by the Roman general Mummius in the Achaean War and was on its way to Pergamon when lost. Its peripteral columns stood some 13 m (40 ft) high, in double rows that formed a wide ceremonial passage around the cella that housed the goddess’s cult image.

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The debate over whether the statue represents Poseidon or Zeus hinges on the lost attribute held in the figure’s right hand. The statue is a highlight of the collections in the National Archaeological Museum of Athens. The statue is slightly over lifesize at 2.09 meters, and would have held either a thunderbolt, if Zeus, or a trident if Poseidon. When the Romans conquered Greece, they were fascinated by the magnificent artworks they found there, which were systematically plundered and taken to Rome by sea. International and domestic copyright laws apply for all non-public domain written content, graphic images and other multimedia.

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The first parts of the equestrian statue were recovered in 1928, with more pieces found in 1936 and/or 1937. The statue was found in a shipwreck off Cape Artemision, in north Euboea, which was discovered in 1926. Some parts of the Jockey of Artemision are missing, such as the rider’s whip and reins, and the horse’s bridle.

According to most scholars, the bronze represents Zeus, the thunder-god and king of gods, though it has also been suggested it might represent Poseidon. This masterpiece was discovered by fishermen who brought up the arm in 1926, and two years later a team of deep-sea divers recovered the rest of the statue. This was how many marvelous statues, created like this one to honor a god, ended up in the villas of wealthy Romans, who would show them off to their guests when entertaining. The Artemision Bronze, which is one of the best-known masterpieces of the museum, is believed to represent either Poseidon, the god of the sea, or Zeus, the king of the gods, in the act of throwing something. Evidence suggests that the oval objects were not intended to depict part of the goddess’ anatomy at all.