The temple and the image were made for Zeus from spoils

[5.10.2]

7th

The god sits on a throne, and he is made of gold and ivory. On his head lies a garland which is a copy of olive shoots. In his right hand he carries a Victory, which, like the statue, is of ivory and gold; she wears a ribbon and – on her head – a garland. In the left hand of the god is a scepter, ornamented with every kind of metal, and the bird sitting on the scepter is the eagle. The sandals also of the god are of gold, as is likewise his robe. On the robe are embroidered figures of animals and the flowers of the lily.

Its height up to the pediment is sixty-eight feet, its breadth is ninety-five, its length two hundred and thirty. The architect was Libon, a native. The tiles are not of baked earth, but of Pentelic marble cut into the shape of tiles. The invention is said to be that of Byzes of Naxos, who they say made the images in Naxos on which is the inscription:–

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:– Pheidias, son of Charmides, an Athenian, made me. The temple is in the Doric style, and the outside has columns all around it. It is built of native stone.

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:– Pheidias, son of Charmides, an Athenian, made me. The temple is in the Doric style, and the outside has columns all around it. It is built of native stone.

Within the Altis there is also a sacred enclosure consecrated to Pelops, whom the Eleans as much prefer in honor above the heroes of Olympia as they prefer Zeus over the other gods. To the right of the entrance of the temple of Zeus, on the north side, lies the Pelopium. It is far enough removed from the temple for statues and other offerings to stand in the intervening space, and beginning at about the middle of the temple it extends as far as the rear chamber. It is surrounded by a stone fence, within which trees grow and statues have been dedicated.

The god sits on a throne, and he is made of gold and ivory. On his head lies a garland which is a copy of olive shoots. In his right hand he carries a Victory, which, like the statue, is of ivory and gold; she wears a ribbon and – on her head – a garland. In the left hand of the god is a scepter, ornamented with every kind of metal, and the bird sitting on the scepter is the eagle. The sandals also of the god are of gold, as is likewise his robe. On the robe are embroidered figures of animals and the flowers of the lily.

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:–

The temple is in the Doric style, and the outside has columns all around it.

Within the Altis there is also a sacred enclosure consecrated to Pelops, whom the Eleans as much prefer in honor above the heroes of Olympia as they prefer Zeus over the other gods. To the right of the entrance of the temple of Zeus, on the north side, lies the Pelopium. It is far enough removed from the temple for statues and other offerings to stand in the intervening space, and beginning at about the middle of the temple it extends as far as the rear chamber. It is surrounded by a stone fence, within which trees grow and statues have been dedicated.

I know that the height and breadth of the Olympic Zeus have been measured and recorded; but I shall not praise those who made the measurements, for even their records fall far short of the impression made by a sight of the image.

The god sits on a throne, and he is made of gold and ivory. On his head lies a garland which is a copy of olive shoots. In his right hand he carries a Victory, which, like the statue, is of ivory and gold; she wears a ribbon and – on her head – a garland. In the left hand of the god is a scepter, ornamented with every kind of metal, and the bird sitting on the scepter is the eagle. The sandals also of the god are of gold, as is likewise his robe. On the robe are embroidered figures of animals and the flowers of the lily. [5.11.2] The throne is adorned with gold and with jewels, to say nothing of ebony and ivory. Upon it are painted figures and wrought images. There are four Victories, represented as dancing women, one at each foot of the throne, and two others at the base of each foot

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:– Pheidias, son of Charmides, an Athenian, made me. The temple is in the Doric style, and the outside has columns all around it. It is built of native stone. [5.10.3] Its height up to the pediment is sixty-eight feet, its breadth is ninety-five, its length two hundred and thirty. The architect was Libon, a native. The tiles are not of baked earth, but of Pentelic marble cut into the shape of tiles. The invention is said to be that of Byzes of Naxos, who they say made the images in Naxos on which is the inscription:–

To the right of the entrance of the temple of Zeus, on the north side, lies the Pelopium. It is far enough removed from the temple for statues and other offerings to stand in the intervening space, and beginning at about the middle of the temple it extends as far as the rear chamber. It is surrounded by a stone fence, within which trees grow and statues have been dedicated.

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:– Pheidias, son of Charmides, an Athenian, made me. The temple is in the Doric style, and the outside has columns all around it. It is built of native stone. [5.10.3] Its height up to the pediment is sixty-eight feet, its breadth is ninety-five, its length two hundred and thirty. The architect was Libon, a native. The tiles are not of baked earth, but of Pentelic marble cut into the shape of tiles. The invention is said to be that of Byzes of Naxos, who they say made the images in Naxos on which is the inscription:–

Within the Altis there is also a sacred enclosure consecrated to Pelops, whom the Eleans as much prefer in honor above the heroes of Olympia as they prefer Zeus over the other gods. To the right of the entrance of the temple of Zeus, on the north side, lies the Pelopium. It is far enough removed from the temple for statues and other offerings to stand in the intervening space, and beginning at about the middle of the temple it extends as far as the rear chamber. It is surrounded by a stone fence, within which trees grow and statues have been dedicated.

The temple is in the Doric style, and the outside has columns all around it. It is built of native stone. [5.10.3] Its height up to the pediment is sixty-eight feet, its breadth is ninety-five, its length two hundred and thirty. The architect was Libon, a native. The tiles are not of baked earth, but of Pentelic marble cut into the shape of tiles. The invention is said to be that of Byzes of Naxos, who they say made the images in Naxos on which is the inscription:–

[5.16.1] XVI. It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it. The Elean account says that it was the people of Scillus, one of the cities in Triphylia, who built the temple about eight years after Oxylus came to the throne of Elis. The style of the temple is Doric, and pillars stand all round it. In the rear chamber one of the two pillars is of oak. The length of the temple is one hundred and sixty-nine feet, the breadth sixty-three feet, the height not short of fifty feet. Who the architect was they do not relate.

In the temple of Hera is an image of Zeus, and the image of Hera is sitting on a throne with Zeus standing by her, bearded and with a helmet on his head. They are crude works of art. The figures of Seasons next to them, seated upon thrones, were made by the Aeginetan Smilis.41 Beside them stands an image of Themis, as being mother of the Seasons. It is the work of Dorycleidas, a Lacedaemonian by birth and a disciple of Dipoenus and Scyllis.

It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it.

In the temple of Hera is an image of Zeus, and the image of Hera is sitting on a throne with Zeus standing by her, bearded and with a helmet on his head. They are crude works of art. The figures of Seasons next to them, seated upon thrones, were made by the Aeginetan Smilis.41 Beside them stands an image of Themis, as being mother of the Seasons. It is the work of Dorycleidas, a Lacedaemonian by birth and a disciple of Dipoenus and Scyllis.

TEMPLE OF OLYMPIAN HERA [5.16.1] XVI. It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it.

It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it.

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20

The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans,20 and with Pisa such of the subject peoples as conspired together with her. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus:–

The temple is in the Doric style, and the outside has columns all around it. It is built of native stone.

I know that the height and breadth of the Olympic Zeus have been measured and recorded; but I shall not praise those who made the measurements, for even their records fall far short of the impression made by a sight of the image.

On the outside of the frieze that runs round the temple at Olympia, above the columns, are gilt shields one and twenty in number, an offering made by the Roman general Mummius when he had conquered the Achaeans in war, captured Corinth, and driven out its Dorian inhabitants.

It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it.

temple of Hera

On most of the figures on the chest there are inscriptions, written in the ancient characters. In some cases the letters read straight on, but in others the form of the writing is what the Greeks call bustrophedon

during the First Temple period: the Hebrew Bible tells of numerous places of worship dedicated to Yahweh outside Jerusalem, including those founded by Joshua (Joshua 8:30), “the people” (Judges 21:4), Samuel (I Samuel 7:17), King Saul (I Samuel 14:35), King Jeroboam (I Kings 12:26-33), David (II Samuel 24:25), and Elijah (I Kings 18:32).

“This is what the Lord says— Israel’s King and Redeemer, the Lord Almighty: I am the first and I am the last; apart from me there is no God” (Isaiah 44:6).

The historic books of the Bible were written by a “Yahweh only party” and are thus keenly critical of the worship of other gods in Judah. Still, it is clear from their description that polytheism was the norm in the First Temple period. It was only during King Josiah’s reform that the "Yahweh only party" really took control and began pushing other gods out of Judean minds.

Yet the ancient Hebrews clearly adored them just like the other West Semites did. Ezekiel (8:16) recounts seeing people worshiping the sun in the Temple. We can infer this because the bible specifically condemns their worship, and we are told that Josiah took actions to stomp out the cult in the late First Temple period, the second half of the 7th century B.C.E. These actions included removing cult objects from the Temple itself (2 Kings 23:11).

El had a consort, the goddess Asherah, and as Yahweh took El’s place, Asherah became Yahweh’s consort. We are told that the Asherah was worshipped in the earliest Temple of Jerusalem – not explicitly, but we are definitely told that her symbols were removed from the Temple, so they had to be there in the first place (1 Kings 15:13 and 2 Kings 23:14).It was only at the very end of the First Temple period, during the reign of King Josiah (the second half of the 7th century B.C.E.) that the cult objects of Asherah were taken out of the Temple, quite dramatically. There are quite a number of references to Josiah's monotheistic reforms, such as:."Josiah smashed the sacred stones and cut down the Asherah poles and covered the sites with human bones" (2 Kings 23:14, New International Version)

18 அடி நீளம் கொண்ட மூலவர் சிலையை 12 ஆயிரம் சாளக்கிராம கற்களைக் கொண்டும், ‘கடுசர்க்கரா’ என்னும் அஷ்டபந்தன கலவையாலும் உருவாக்கியுள்ளனர்.

What follows is a flexible, four-part lens for evaluating key possible dimensions of a CTL’s work — hub, incubator, temple, sieve — derived from a heuristic developed by others to categorize the literature on purposes of higher education (Stevens, Armstrong, & Arum, 2008).

Kotilingeshwara Temple