Chapter 3 focusses on the temple of Hera at Foce del Sele north of the Greek colony of Poseidonia-Paestum in southern Italy. New archaeometric analysis on the metopes from the Hera sanctuary near the mouth of the river Sele has made it possible to propose a new reconstruction of the oldest Hera temple on the site, which belongs to the first generation of Doric stone temples. The study of the architectural elements confirms the decorative nature of the first Doric friezes. Moreover, by analyzing the mythological subjects on the frieze and comparing them with other early Doric temples in Selinous, Delphi, and Athens, it can be shown that the tendency to choose Panhellenic themes over local traditions is a general feature of early Doric temples. Because of the detachment of the imagery from local traditions, the Doric temple is described as a “non-place” according to the definition of the French anthropologist Marc Augé. Conceiving temples as standardized “non-places” that could be set up in any given local environment was crucial to the agendas of Greek elites, who needed to reorganize agricultural and urban landscapes to regulate population pressure and social tensions – both in the colonies and in homeland Greece.

The concluding chapter contextualizes the study of ancient Doric architecture against the backdrop of European colonialism and modern globalization. The evolutionary explanation of the Doric temple can be seen as part of a broader tendency in the West of naturalizing and normalizing Greek/Western culture as world culture by tracing it back to universal principles. The critique of the evolutionary narrative makes it possible to appreciate the disruptive and innovative character of the Doric order as part of a historical shift in the wielding of religious and political power and in the relation between Greek communities and the landscapes they inhabited. Population growth, social change, and political innovation led to urbanization, colonization, and land reclamation on an unprecedented scale. These processes challenged the traditional religious system, which was based on an intrinsic relation between the divinities and the natural features of the landscape. The Doric temple can be seen as a response to this situation: by redefining the sacred space, “inhabited” by the gods, it also redefined what was outside the sacred precinct, the “profane” land that was subject to new forms of exploitation, land distribution, and colonization.

In the past, architectural change in Archaic Greece was often explained as a somehow natural, coherent evolution from “primitive” wooden structures to sophisticated stone temples. Following the ancient writer Vitruvius, modern authors have attempted to demonstrate that the architectural orders, in particular the Doric, can be traced back to functional necessities typical of wooden buildings. While this explanation of the Doric order has long been questioned, few attempts have been made to explore alternative explanations. The chapter lays out a methodology to analyze architectural change by asking how the experience of sacred spaces and landscapes changed and who were the social groups interested in promoting such change. The chapter highlights the kinetic and multisensorial dimension of the experience of space and architecture, as stressed also by authors from other fields. Further, a survey of recent contributions to the study of the Doric and Ionic orders suggests that they emerged suddenly in the early sixth century BC, rather than evolving slowly over centuries. The emergence of the Doric order went hand in hand with the emergence of architectural sculpture on pediments and friezes. By looking at a series of case studies the book aims to shed light on the relation between the various transformation processes.

By analyzing the topography of Selinous, a colonial foundation of the late seventh century BC, the chapter explores the way in which temple building and sacred architecture became subordinated to urban design. From the sixth century BC onward, Greek cult places and temples were increasingly seen as an expression of the urban rather than the natural landscape. This holds true for altars and temples at the center of cult places, but also for fountain houses that replaced or were built over natural fountains. The sacredness of a place was increasingly represented and communicated through monumental stone architecture. At the same time, the novel use of man-made images in Greek sanctuaries contributed to a radical change in which the presence of the gods was imagined and experienced. All this went along with a shift of power and agency from local groups to urban elites, who had the means to control the restructuring and reorganization of sacred landscapes. The violence of this shift is reflected in the iconography that tends to rationalize and sublimize violence against the non-Greek, non-urban, and non-male.

At the beginning of the sixth century BC, the Aphaia sanctuary on the island of Aegina underwent a radical transformation. What until then had been a local open-air cult place in the woody mountains of the western part of the island, where a female deity had been worshipped as early as the second millennium BC, became an architecturally structured sanctuary that conformed to the novel Doric architectural order. At the same time, a cult image made of ivory was set up in the newly built temple. The goddess, who had previously “shown herself” in the open grove that was associated with her presence, was now represented through a man-made image. In addition, a wall was built around the temple that separated the sacred precinct from the “profane” land outside the sanctuary. Around the same time, the island of Aegina became one of the most important trade centers in the Greek world. The book argues that the transformation of the Aphaia sanctuary on Aegina is typical of the larger area in which the Doric order emerged. This transformation was characterized by economic growth, urbanization, land reclamation, and colonization and prompted the Greeks to rethink their relationship with the gods who inhabited the land.

The sanctuary of Artemis on the island of Korkyra, modern Corfu, is presented as a case study of the relationship between the changing environment and the monumentalization of Greek sanctuaries through Doric stone architecture. Although the sculptural decoration of the Artemis temple, which is one of the earliest Doric temples known so far, is relatively well preserved, modern scholars disagree on the interpretation of the sculptures. The question of how the representations of Medusa and other mythological figures on the pediments and metopes related to the divinity worshipped in the sanctuary and to the local context are particularly controversial. However, as the chapter argues, the builders of the temple had no interest in highlighting this relationship in the first place. The temple and its sculptural decoration were meant to express Panhellenic values and standards rather than local traditions. Thus, the local elite of Korkyra presented themselves as part of a Panhellenic elite network. At the same time, the elite showed the local population that they were taking care of the religious landscape in an unstable and radically transformative situation.

The sanctuary of Apollo at Delphi offers an example of how an ancient cult site was transformed into a Panhellenic sanctuary as a result of political and military conflicts involving some of the leading city-states of the region. After the so-called First Sacred War in the 590s/80s BC, Delphi was launched as the center of the Greek world with its oracle and its Panhellenic games. The Doric style of the Apollo temple and other buildings on the site helped to communicate the ambitions and values of the amphictyony that was in charge of the administration of the sanctuary after the war. The standardization of architecture and sculpture was an important feature in the elite competition that took place in Panhellenic sanctuaries like Delphi, where cities from all over Greece set up costly treasuries and votive statues. Ionic monuments such as the sphinx of the Naxians alternated with Doric buildings. On the basis of recent scholarship, the Ionic order can be interpreted as a regional variation of the “Panhellenic” Doric order. As can be shown, the Ionic order corresponds with cultural values such as abundance, variety, multilingualism, and openness toward Near-Eastern and Egyptian influences that are also characteristic of Ionian poetry, philosophy, and culture.

This chapter described in detail the nature of Second Style Roman frescoes. It details the aesthetic and psychological impact such works must had exercised upon viewers. It provides examples, analysed in depth, of how often complex and subtle depictions of imaginary architecture were used to create a highly theatricalised ambience. It details the role of theatrical practice and example which may be identified in such painting and how the evidence for this can be seen reflected in both their design and meaning.

The primary subject of this chapter is the extensive ensemble of Second Style paintings found at two major ’Vesuvian’ villas: that of Fannius Synistor at Boscoreale and the Villa of Oplontis in Torre Annunziata. Together with our team of researchers, we were intensely involved in several international projects both in meticulously examining and analysing the organisation and decor of these villas, as well as creating highly detailed virtual reality 3D models of them. The chapter draws extensively upon the results of such research and work. We discuss further the striking relationship between the atrium paintings at Oplontis and the structural pattern of the scaenae frons, including that at the Large Theatre of Pompeii itself.