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[ SUSPENSEFUL MUSIC PLAYS ]

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Narrator: THE ACROPOLIS:

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A MIGHTY, HILLTOP WONDER
OVER 2,000 YEARS OLD.

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THE SHEER SCALE
OF THESE TEMPLES

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IS ALMOST UNIMAGINABLE.

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HOW DID THE ANCIENT GREEKS

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CONSTRUCT THESE
EXTRAORDINARY BUILDINGS?

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IT'S REALLY FASCINATING.

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IT'S A HUGE PUZZLE.

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WHAT LONG-LOST RITUALS
WERE THEY USED FOR?

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AND HOW HAVE THEY SURVIVED,

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WHILE OTHER ANCIENT BUILDINGS
HAVE CRUMBLED AWAY?

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[ SUSPENSEFUL MUSIC PLAYS ]

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THE ONLY WAY TO SOLVE
THESE MYSTERIES

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IS TO BLOW THIS TEMPLE
COMPLEX APART.

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EXPLORING ITS STRUCTURE,
STONE BY STONE,

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WILL HELP US UNEARTH THE
ASTONISHING ENGINEERING SECRETS

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HIDDEN INSIDE
THIS ANCIENT WONDER.

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*

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-- Captions by VITAC --
 www.vitac.com

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CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS

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[ SUSPENSEFUL MUSIC CLIMBS ]

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*

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PERCHED HIGH ON A MASSIVE ROCK,
OVERLOOKING THE CITY OF ATHENS,

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STANDS A LANDMARK
OF WESTERN CIVILIZATION:

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THE ACROPOLIS.

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HERE, 2,400 YEARS AGO,
THE GREEKS BUILT

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AN EXTRAORDINARY COMPLEX
OF TEMPLES,

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WHERE THEY COULD
WORSHIP THEIR GODS.

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NOW, AS RESTORERS DISMANTLE
AND REBUILD IT,

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THE ACROPOLIS IS REVEALING
ITS HIDDEN SECRETS.

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NEW CLUES ARE EMERGING
FROM THE RESTORATION

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OF ITS TWO LARGEST BUILDINGS:
THE WORLD-FAMOUS PARTHENON...

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AND THE IMPOSING ENTRANCE
GATEWAY KNOWN AS THE PROPYLAEA.

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THE PARTHENON WAS THE GREATEST
TEMPLE OF ITS AGE...

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[ SUSPENSEFUL MUSIC CLIMBS ]

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A WONDER OF THE ANCIENT WORLD.

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FROM 22,000 TONS
OF PRECIOUS MARBLE,

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GREEK STONEMASONS ASSEMBLED

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A BUILDING
OF EXQUISITE PERFECTION.

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ITS 13,000 INDIVIDUAL STONES
FITTED TOGETHER SO PRECISELY,

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THE JOINTS WERE WATERTIGHT.

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ITS 58 TOWERING COLUMNS
COULD WITHSTAND EARTHQUAKES.

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IT'S AN EXTRAORDINARY STRUCTURE.

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BUT HOW EXACTLY DID
THE ANCIENT GREEKS CONSTRUCT IT?

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[ SUSPENSEFUL MUSIC CLIMBS ]

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[ BELL TOLLS ]

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THE SECRET TO THE PARTHENON'S
PERFECTION BEGINS

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WITH ITS SPECIAL
BUILDING MATERIAL:

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MARBLE.

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ITS LARGEST BLOCKS ARE MASSIVE,
WEIGHING IN AT 10 TONS EACH.

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[ OMINOUS MUSIC PLAYS ]

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BUT NO MARBLE EXISTED IN ATHENS,
SO HOW DID THE ANCIENT GREEKS

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FIND AND TRANSPORT
THESE ENORMOUS PIECES OF MARBLE

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TO THIS DIZZYING HILLTOP SITE?

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[ BELL TOLLS ]

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[ SUSPENSEFUL MUSIC PLAYS ]

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THE ANSWER LIES AT PENTELIKON,
OVER 10 MILES FROM THE CITY.

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HISTORIAN EDITH HALL
HAS COME HERE

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TO PIECE TOGETHER
THIS ANCIENT MYSTERY.

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THIS IS THE VERY BIRTHPLACE
OF THE PARTHENON:

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THESE GREAT ROCKFACES,
WHERE THEY CUT DOWN THE MARBLE

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AND TOOK IT ALL THE WAY TO
ATHENS TO BUILD THE ACROPOLIS.

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AND, EVERYWHERE YOU LOOK,
THERE'S JUST GLITTERING,

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WHITE MARBLE,
JUST STONES OF EVERY SIZE.

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I MEAN, LOOK AT THIS ONE.
JUST PICK IT UP OFF THE FLOOR.

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YOU CAN ACTUALLY SEE HOW
INCREDIBLY GLEAMING WHITE IT IS

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AND THE SPARKLY BITS THAT,
WELL, YOU CAN SEE,

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ONCE IT'S POLISHED OFF
AND SMOOTHED DOWN AND CHISELED,

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IT WOULD ACTUALLY GLEAM
IN THE SUNSHINE.

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IT'S ACTUALLY INCANDESCENT.

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[ SUSPENSEFUL MUSIC PLAYS ]

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Narrator: ALTHOUGH EDITH
IS SURROUNDED BY MARBLE

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AT THE ANCIENT QUARRY,

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MOST OF IT IS IN SMALL PIECES.

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[ EERIE MUSIC PLAYS ]

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IN ANCIENT TIMES,
CRAFTSMEN WOULD'VE STRUGGLED

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TO FIND THE ENORMOUS BLOCKS
NEEDED TO BUILD THE PARTHENON.

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TODAY, WORKERS AT THIS MODERN
QUARRY ON MOUNT PENTELIKON

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FACE THE SAME CHALLENGE.

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THE BLOCKS FROM HERE
ARE CONSIDERED SPECIAL.

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Narrator: THEY ARE
FROM THE SAME SEAM OF MARBLE

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AS THE ANCIENT QUARRY
AND ARE USED

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[SUSPENSEFUL MUSIC CLIMBS]
FOR THE ACROPOLIS RESTORATION.

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* [HEARTBEAT]

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Sotiris: IT'S EXACTLY THE SAME
MARBLE THE ANCIENTS USED

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TO MAKE THE CONSTRUCTIONS
IN THE PARTHENON.

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[BELLS RINGS]
[SUSPENSEFUL CHORD STRIKES]

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Narrator:
EVEN WITH MODERN MACHINERY,

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EXTRACTING LARGE BLOCKS
IS DIFFICULT.

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THE ROCK IS FULL
OF NATURAL FISSURES,

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TINY CRACKS THAT CAUSE
THE MARBLE TO BREAK.

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[ SUSPENSEFUL MUSIC CLIMBS ]

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DIAMOND-COATED WIRE SAWS SLICE
THROUGH THE STONE WITH EASE.

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BUT, ONCE SOTIRIS
EXTRACTS THE BLOCKS,

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THEY OFTEN BREAK UP
INTO SMALLER PIECES.

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Narrator:
FOR THE ANCIENT GREEKS,

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WHO ONLY HAD HAND TOOLS,

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IT WOULD'VE TAKEN YEARS
TO EXTRACT ALL THE LARGE,

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10-TON STONES NEEDED
TO BUILD THE PARTHENON.

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AND, ONCE THEY
HAD FOUND THEIR STONES,

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THEY FACED AN EVEN
GREATER CHALLENGE...

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HOW DID THEY TRANSPORT
THESE ENORMOUSLY HEAVY,

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PRECIOUS BLOCKS OVER 10 MILES,

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THEN RAISE THEM TO THE WORK SITE
AT THE TOP OF THE HILL?

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[ SUSPENSEFUL MUSIC CLIMBS ]

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AT THE ANCIENT QUARRY, EDITH
THINKS SHE HAS FOUND A CLUE.

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Edith: WHERE I'M STANDING NOW
IS ACTUALLY THE ROAD

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THAT WAS MADE TO TRANSPORT
ALL THOSE SLABS FROM THE QUARRY,

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ALL THE WAY DOWNHILL, TO ATHENS,
AND TO THE ACROPOLIS ITSELF.

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IT'S DOWNHILL ALL THE WAY.

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IT'S QUITE A STEEP GRADIENT,
BUT IT'S REGULAR AND SMOOTH

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AND THE ROAD'S AS STRAIGHT
AS THEY COULD POSSIBLY MAKE IT

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SO THAT THE JOURNEY WAS
AS SHORT AS POSSIBLE

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BECAUSE IT WAS AN INCREDIBLY
HARD LABOR FOR ALL OF THEM.

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[ SUSPENSEFUL MUSIC PLAYS ]

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Narrator: WORKERS USED MULES
TO PULL THE STONES ON CARTS,

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DOWN FROM THE MOUNTAIN,
TO THE CITY OF ATHENS.

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BUT THEN CAME
THE BIGGEST CHALLENGE:

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RAISING THE MARBLE UP
TO THE ACROPOLIS.

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THE ROCK RISES NEARLY
230 FEET ABOVE THE CITY.

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THERE WAS NO WAY THE GREEKS
COULD PULL THE MASSIVE BLOCKS

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DIRECTLY UP THIS PRECIPICE.

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SO HOW DID THEY HAUL THEM
TO THE TOP?

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HIDING UNNOTICED
BY THE THOUSANDS OF TOURISTS

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WHO PASS THIS WAY
LIES THE ANSWER.

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Edith: THEY BUILT A VERY
SMOOTH STONE RAMP

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WITH QUITE A SLOW GRADIENT.

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IT'S ONLY ABOUT 10°.

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Narrator: TODAY, THERE ARE ONLY
A FEW STONES LEFT HERE.

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BUT IT'S CLEAR,
FROM THEIR ANGLE,

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THAT THEY ARE PART
OF A MASSIVE RAMP

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THAT ONCE EXTENDED FROM THE
BOTTOM OF THE HILL TO THE TOP.

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SO HOW DID THE GREEKS
USE THIS RAMP?

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ARCHAEOLOGISTS SUSPECT
THEY CREATED THE PERFECT SYSTEM.

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[ SUSPENSEFUL MUSIC PLAYS ]

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AT THE BOTTOM OF THE RAMP,

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BUILDERS POSITIONED A CART
WITH HUGE WHEELS

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TO SUPPORT THE COLOSSAL WEIGHT
OF THE MARBLE BLOCKS.

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AT THE TOP OF THE RAMP,

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THEY ANCHORED
A MASSIVE WOODEN PULLEY.

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A HEAVY ROPE RAN AROUND IT

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AND DOWN TO THE CART
AT THE BOTTOM.

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THEY CONNECTED THE ROPE
TO A SECOND CART, AT THE TOP,

145
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THEN FILLED THIS
WITH RUBBLE FROM THE SITE,

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TO TURN IT
INTO A COUNTERWEIGHT.

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AS THE RUBBLE CART
ROLLED DOWNHILL,

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IT PULLED THE MARBLE
BLOCKS UP THE RAMP:

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AN INGENIOUS CABLE CAR, RUNNING
RIGHT UP TO THE ACROPOLIS.

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[ SUSPENSEFUL CHORD STRIKES ]

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IT TOOK A HUGE EFFORT
TO TRANSPORT

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22,000 TONS OF STONE
TO THE TOP OF THIS HILL.

153
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SO WHY DID THEY CHOOSE
THE MOST DIFFICULT PLACE

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IN THE WHOLE CITY
TO BUILD THESE SACRED TEMPLES,

155
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AND WHAT WAS THEIR PURPOSE?

156
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*

157
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*

158
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Narrator: THE ANCIENT GREEKS
COULD'VE BUILT

159
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THESE SACRED TEMPLES
ANYWHERE IN THE CITY.

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[ SUSPENSEFUL MUSIC PLAYS ]

161
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WHY HERE?

162
00:09:31,533 --> 00:09:33,167
AND WHAT DID THEY USE THEM FOR?

163
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ACROPOLIS MEANS THE HIGH PLACE
OR THE SUMMIT OF THE CITY.

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IT'S WHERE THEY USED TO
PUT THEIR TREASURES.

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IT WAS ORIGINALLY
THEIR SEAT OF GOVERNMENT

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AND IT WAS CERTAINLY THE PLACE

167
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WHERE THEY WERE GOING TO
WORSHIP THE GODS.

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Narrator:
ON THE ACROPOLIS,

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THE ATHENIANS FELT CLOSER
TO THEIR GODS IN THE SKY.

170
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ALTHOUGH THEY WORSHIPED
MANY GODS,

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THE MAIN TEMPLES ON THIS SITE
WERE DEDICATED TO JUST ONE:

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ATHENA.

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Edith: ATHENA IS ONE
OF THE OLDEST GREEK GODS.

174
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SHE'S THE GODDESS OF CITIES,
OF CIVILIZATION,

175
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AND SHE'S VERY,
VERY OFTEN FOUND WORSHIPED

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WHERE THERE'S A HIGH,
ROCKY CITADEL,

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WHERE PEOPLE TENDED TO FORM
BIG, URBAN COMMUNITIES.

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THAT'S WHY THE CITY
IS CALLED ATHENS.

179
00:10:20,867 --> 00:10:22,633
IT'S THE CITY OF ATHENA.

180
00:10:22,667 --> 00:10:25,200
*

181
00:10:25,233 --> 00:10:28,167
Narrator: ATHENA WAS KNOWN
AS THE VIRGIN GODDESS AND SO,

182
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THE PEOPLE NAMED THIS BUILDING
FROM THE GREEK WORD FOR VIRGIN:

183
00:10:31,300 --> 00:10:32,533
THE PARTHENON.

184
00:10:36,267 --> 00:10:39,033
*

185
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HISTORICAL ACCOUNTS REVEAL
THIS WAS ONCE A SHINING TEMPLE.

186
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INSIDE, A NEARLY 40-FOOT TALL
STATUE OF THE GODDESS ATHENA.

187
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IN HER HAND,
A HUMAN-SIZED FIGURE OF NIKE,

188
00:10:53,967 --> 00:10:55,533
THE GODDESS OF VICTORY.

189
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AROUND HER RISES
AN EXQUISITE BUILDING CREATED

190
00:11:03,533 --> 00:11:05,733
SO THE PEOPLE OF ATHENS
COULD PROPERLY WORSHIP

191
00:11:05,767 --> 00:11:09,467
THE GODDESS THEY BELIEVED
WOULD PROTECT THEIR CITY

192
00:11:09,500 --> 00:11:11,067
AND MAKE IT IMPREGNABLE.

193
00:11:20,467 --> 00:11:23,833
[ SUSPENSEFUL MUSIC PLAYS ]

194
00:11:23,867 --> 00:11:27,367
RECENTLY, ARCHAEOLOGISTS HERE
HAVE MADE AN AMAZING DISCOVERY.

195
00:11:33,067 --> 00:11:35,067
Narrator: THE REMAINS
OF A STRANGE STRUCTURE

196
00:11:35,067 --> 00:11:37,233
LIE HIDDEN
BENEATH THE PARTHENON.

197
00:11:41,233 --> 00:11:46,400
COULD IT BE THAT THE BUILDING WE
SEE TODAY IS NOT THE ORIGINAL?

198
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*

199
00:11:50,867 --> 00:11:53,667
OUT OF SIGHT, BENEATH THE FLOOR
OF THE MARBLE PARTHENON,

200
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LIES TENS OF THOUSANDS
OF MYSTERIOUS LIMESTONE BLOCKS.

201
00:12:00,600 --> 00:12:05,333
THE BLOCKS PLUNGE
22 LAYERS DEEP ON ONE SIDE.

202
00:12:05,367 --> 00:12:07,600
THEY FORM A MASSIVE,
WEDGE-SHAPED FOUNDATION

203
00:12:07,633 --> 00:12:09,967
THAT HUGS THE SLOPE
OF THE ACROPOLIS HILL.

204
00:12:13,100 --> 00:12:15,400
INVESTIGATIONS REVEAL
THAT SOME OF THESE BLOCKS

205
00:12:15,433 --> 00:12:17,200
ARE OVER 100 YEARS OLDER

206
00:12:17,233 --> 00:12:19,500
THAN THE PARTHENON
THAT SITS ON TOP OF THEM,

207
00:12:22,167 --> 00:12:24,267
A SIGN THAT ANOTHER
BUILDING STOOD HERE

208
00:12:24,300 --> 00:12:26,667
LONG BEFORE THE MONUMENT
WE SEE TODAY.

209
00:12:26,700 --> 00:12:31,067
[ SUSPENSEFUL MUSIC CLIMBS ]

210
00:12:31,067 --> 00:12:33,800
[ SUSPENSEFUL CHORD
STRIKES ]

211
00:12:33,833 --> 00:12:36,500
SO WHAT WAS THIS
MYSTERIOUS STRUCTURE,

212
00:12:36,533 --> 00:12:38,133
AND WHAT HAPPENED TO IT?

213
00:12:38,167 --> 00:12:40,733
[ SUSPENSEFUL MUSIC PLAYS ]

214
00:12:40,767 --> 00:12:42,900
ARCHAEOLOGIST
ELISAVET SIOUMPARA

215
00:12:42,933 --> 00:12:45,267
IS WORKING TO UNRAVEL
THE MYSTERY.

216
00:12:50,467 --> 00:12:52,833
Narrator: SHE AND HER TEAM
ARE TACKLING A HUGE,

217
00:12:52,867 --> 00:12:54,933
3-DIMENSIONAL JIGSAW PUZZLE.

218
00:12:57,400 --> 00:12:59,533
THOUSANDS OF STONES
LIE SCATTERED

219
00:12:59,567 --> 00:13:03,267
WITHIN THE WALLS
OF THE ACROPOLIS.

220
00:13:03,300 --> 00:13:05,933
NOT ALL OF THESE STONES
ARE MARBLE.

221
00:13:05,967 --> 00:13:10,300
SOME ARE LIMESTONE,
FRAGMENTS OF ANCIENT BUILDINGS

222
00:13:10,333 --> 00:13:14,133
THAT EXISTED
BEFORE THE PARTHENON.

223
00:13:14,167 --> 00:13:15,833
ELISAVET IS HUNTING FOR PIECES

224
00:13:15,867 --> 00:13:18,167
OF THESE ANCIENT STONES
THAT JOIN TOGETHER.

225
00:13:20,100 --> 00:13:21,867
IT'S A MONUMENTAL TASK.

226
00:13:25,367 --> 00:13:30,533
WE HAVE ALREADY DOCUMENTATED
AROUND 23,000 BLOCKS.

227
00:13:40,233 --> 00:13:43,533
Narrator: IT'S A PUZZLE
WITH AN EXTRAORDINARY PRIZE.

228
00:13:46,967 --> 00:13:48,500
Narrator: IF THEY CAN JOIN
ENOUGH PIECES,

229
00:13:48,533 --> 00:13:51,500
THEY CAN FIGURE OUT WHAT THE
ORIGINAL BUILDINGS LOOKED LIKE.

230
00:14:17,200 --> 00:14:18,400
Narrator:
AFTER YEARS OF WORK,

231
00:14:18,433 --> 00:14:20,900
THE TEAM HAS MADE
A MAJOR DISCOVERY.

232
00:14:20,933 --> 00:14:24,833
[ SUSPENSEFUL MUSIC PLAYS ]

233
00:14:24,867 --> 00:14:26,967
FROM THE SMALL FRAGMENTS
THAT THE ARCHAEOLOGISTS

234
00:14:27,067 --> 00:14:29,133
HAVE COLLECTED,
THEY'VE PIECED TOGETHER

235
00:14:29,167 --> 00:14:31,333
THE DIMENSIONS
OF A MYSTERIOUS BUILDING.

236
00:14:37,467 --> 00:14:39,667
THEY'VE WORKED OUT,
FROM THE DECORATED BLOCKS,

237
00:14:39,700 --> 00:14:40,900
THAT IT WAS A TEMPLE

238
00:14:40,933 --> 00:14:45,200
WITH A MAGNIFICENT ENTRANCE
AT ITS FRONT,

239
00:14:45,233 --> 00:14:48,067
SIDES 160 FEET LONG,

240
00:14:48,067 --> 00:14:50,067
AND WEIGHING THOUSANDS OF TONS.

241
00:14:52,100 --> 00:14:54,800
IT STOOD PROUD ON A FOUNDATION
OF LIMESTONE BLOCKS

242
00:14:54,833 --> 00:14:57,767
THAT STILL SITS DEEP
UNDER THE PARTHENON WE KNOW,

243
00:14:57,800 --> 00:14:59,233
RIGHT TO THIS VERY DAY.

244
00:15:06,067 --> 00:15:09,300
AMAZINGLY, THIS ANCIENT TEMPLE
WAS ANOTHER PARTHENON,

245
00:15:09,333 --> 00:15:11,867
BUILT LONG BEFORE
THE ONE WE SEE TODAY.

246
00:15:15,067 --> 00:15:17,767
BUT WHAT HAPPENED TO IT?

247
00:15:17,800 --> 00:15:20,500
[ SUSPENSEFUL MUSIC PLAYS ]

248
00:15:22,833 --> 00:15:24,167
IN HER SEARCH FOR ANSWERS,

249
00:15:24,200 --> 00:15:28,567
EDITH THINKS SHE'S FOUND
A CLUE IN THESE STATUES.

250
00:15:28,600 --> 00:15:32,067
Edith: THESE ARE THE REMAINS
OF THE SCULPTURES

251
00:15:32,100 --> 00:15:35,233
ON THE TEMPLE OF ATHENA
THAT PRECEDED THE PARTHENON

252
00:15:35,267 --> 00:15:39,500
THAT WE NOW CAN SEE
AND THEY'RE REALLY AMAZING.

253
00:15:42,267 --> 00:15:44,067
Narrator:
THE STATUES DATE FROM A TIME

254
00:15:44,067 --> 00:15:49,433
JUST BEFORE ATHENS EMERGED
AS THE WORLD'S FIRST DEMOCRACY.

255
00:15:49,467 --> 00:15:51,700
IT'S VERY ELEMENTAL.
IT'S MUCH MORE PRIMITIVE

256
00:15:51,733 --> 00:15:54,767
THAN WHAT WE SEE ON
THE PARTHENON THAT SURVIVED.

257
00:15:56,733 --> 00:16:00,667
Narrator: EXACTLY WHY THE TEMPLE
WAS DESTROYED IS A MYSTERY,

258
00:16:00,700 --> 00:16:03,333
BUT IT'S POSSIBLE THAT
THE GREEKS CONSIDERED IT OLD;

259
00:16:03,367 --> 00:16:04,900
AND ITS MYTHOLOGICAL
SCULPTURES,

260
00:16:04,933 --> 00:16:08,733
OUT OF FASHION
WITH THEIR BELIEFS.

261
00:16:08,767 --> 00:16:10,867
MAYBE SOMETHING
ABOUT THE MYTHOLOGY ON IT

262
00:16:10,900 --> 00:16:12,800
WASN'T EXACTLY RIGHT.

263
00:16:12,833 --> 00:16:15,933
WHAT WE DO KNOW, THOUGH,
IS IT WAS A VERY IMPORTANT

264
00:16:15,967 --> 00:16:19,733
STEPPING STONE TOWARDS THE
ERECTION OF THE GREAT TEMPLE

265
00:16:19,767 --> 00:16:22,167
THAT WE REALLY IDENTIFY
AS THE PARTHENON.

266
00:16:24,867 --> 00:16:27,167
Narrator: THE FIRST PARTHENON
SHOWED THE PEOPLE OF ATHENS

267
00:16:27,200 --> 00:16:30,233
THEY COULD CONSTRUCT A STONE
TEMPLE HIGH ABOVE THE CITY.

268
00:16:34,067 --> 00:16:35,700
BUT THE NEXT GENERATION
WAS DETERMINED

269
00:16:35,733 --> 00:16:37,933
TO BUILD SOMETHING
BIGGER AND BETTER.

270
00:16:41,433 --> 00:16:44,233
THEIR ACHIEVEMENT CONSTRUCTING
THE ANCIENT-GREEK ACROPOLIS

271
00:16:44,267 --> 00:16:48,233
WE SEE TODAY
WAS TRULY EXTRAORDINARY.

272
00:16:48,267 --> 00:16:51,933
[ SUSPENSEFUL MUSIC PLAYS ]

273
00:16:51,967 --> 00:16:53,667
FROM THEIR WORK
ON THE ANCIENT STONES,

274
00:16:53,700 --> 00:16:56,933
THE TEAM RESTORING THE ACROPOLIS
IS CONVINCED THAT THESE

275
00:16:56,967 --> 00:16:59,800
WERE SOME OF THE FINEST
BUILDINGS EVER CONSTRUCTED.

276
00:17:02,267 --> 00:17:04,067
VASSILIKI ELEFTHERIOU

277
00:17:04,067 --> 00:17:07,333
IS THE DIRECTOR
OF THE ACROPOLIS RESTORATION.

278
00:17:07,367 --> 00:17:11,067
THEY HAVE TO MOVE
THIS BLOCK NOW.

279
00:17:11,067 --> 00:17:15,067
THE FINAL POSITION IS HERE.

280
00:17:15,067 --> 00:17:17,533
Narrator: TODAY, HER TEAM
IS INSTALLING AN ANCIENT BLOCK

281
00:17:17,567 --> 00:17:20,600
THAT MAKES UP THE ENTRANCE
GATEWAY: THE PROPYLAEA.

282
00:17:23,233 --> 00:17:25,500
THE RESTORATION HERE
REVEALS NEW EVIDENCE

283
00:17:25,533 --> 00:17:31,300
THAT THE ANCIENT CRAFTSMEN
WORKED WITH EXTREME PRECISION.

284
00:17:31,333 --> 00:17:32,933
THEY LEFT MARKINGS IN THE STONE

285
00:17:32,967 --> 00:17:35,533
THAT VASSILIKI CAN
STILL USE AS A GUIDE.

286
00:17:47,067 --> 00:17:51,633
[ SUSPENSEFUL MUSIC PLAYS ]

287
00:17:51,667 --> 00:17:53,867
Narrator: IT'S A CHALLENGE
TO MATCH THE CRAFTSMANSHIP

288
00:17:53,900 --> 00:17:56,767
OF THE ANCIENT BUILDERS,
EVEN WITH MODERN TOOLS.

289
00:18:12,500 --> 00:18:14,900
Narrator:
EVEN AFTER 2,400 YEARS,

290
00:18:14,933 --> 00:18:18,133
THE ANCIENT-GREEK BLOCK
STILL FITS INTO POSITION.

291
00:18:18,167 --> 00:18:19,333
[ SUSPENSEFUL MUSIC CLIMBS ]

292
00:18:19,367 --> 00:18:20,567
[ SUSPENSEFUL CHORD
STRIKES ]

293
00:18:23,533 --> 00:18:25,600
TO BUILD THE ACROPOLIS,
THE GREEKS HAD TO

294
00:18:25,633 --> 00:18:29,700
REPEAT THIS PRECISION,
OVER AND OVER AGAIN.

295
00:18:29,733 --> 00:18:31,367
SO, HOW DID THEY DO IT?

296
00:18:33,567 --> 00:18:36,067
*

297
00:18:36,100 --> 00:18:42,067
[ SUSPENSEFUL MUSIC PLAYS ]

298
00:18:42,067 --> 00:18:43,433
Narrator:
ANCIENT MASONS CARVED

299
00:18:43,467 --> 00:18:47,067
13,000 PERFECTLY RECTANGULAR
BLOCKS OF MARBLE.

300
00:18:51,333 --> 00:18:56,067
THEY ASSEMBLED THE BLOCKS
INTO 40-FOOT-HIGH WALLS.

301
00:18:56,067 --> 00:18:59,533
OUTSIDE, THEY STACKED
OVER 600 MASSIVE MARBLE DRUMS

302
00:18:59,567 --> 00:19:03,733
TO FORM 58 TOWERING COLUMNS
OVER 3 STORIES TALL.

303
00:19:07,267 --> 00:19:12,767
ON TOP, THEY LAID STONES
WEIGHING UP TO 10 TONS.

304
00:19:12,800 --> 00:19:15,633
HOW COULD THE ANCIENT GREEKS
LIFT SUCH MASSIVE WEIGHTS

305
00:19:15,667 --> 00:19:18,167
AND PLACE THEM WITH
SUCH SURGICAL PRECISION?

306
00:19:21,300 --> 00:19:26,333
*

307
00:19:26,367 --> 00:19:28,267
ON THE ENTRANCE GATEWAY
TO THE ACROPOLIS,

308
00:19:28,300 --> 00:19:29,967
KNOWN AS THE PROPYLAEA,

309
00:19:30,067 --> 00:19:31,667
THE RESTORATION TEAM
IS GRAPPLING

310
00:19:31,700 --> 00:19:34,867
WITH THE SAME PROBLEM THAT
CHALLENGED THE ANCIENT GREEKS.

311
00:19:38,067 --> 00:19:40,900
ARCHITECT KONSTANTINOS KARANASOS
AND HIS TEAM

312
00:19:40,933 --> 00:19:42,967
MUST RAISE AN ORIGINAL
DRUM OF MARBLE

313
00:19:43,067 --> 00:19:44,933
TO THE TOP OF ONE
OF THE COLUMNS.

314
00:19:47,933 --> 00:19:53,633
THE PLAN IS TO PUT THE DRUM
AT ITS ORIGINAL POSITION.

315
00:19:53,667 --> 00:19:56,900
[ SUSPENSEFUL MUSIC PLAYS ]

316
00:19:56,933 --> 00:20:00,533
Narrator:
LIFTING THIS 2,400-YEAR-OLD
PIECE OF MARBLE

317
00:20:00,567 --> 00:20:02,400
REQUIRES EXTREME CAUTION.

318
00:20:15,000 --> 00:20:18,900
[ SUSPENSEFUL MUSIC PLAYS ]

319
00:20:18,933 --> 00:20:24,233
Narrator: RAISING THE STONE
REVEALS A PROBLEM.

320
00:20:24,267 --> 00:20:28,733
THE STRAPS WRAP
RIGHT UNDERNEATH THE DRUM.

321
00:20:28,767 --> 00:20:30,500
THEIR POSITION
MAKES IT IMPOSSIBLE

322
00:20:30,533 --> 00:20:33,833
TO LAY THE DRUM
DIRECTLY ONTO THE COLUMN.

323
00:20:33,867 --> 00:20:37,867
SO WHAT DID THE ANCIENT GREEKS
DO THAT THIS MODERN TEAM IS NOT?

324
00:20:40,700 --> 00:20:44,167
ONE ORIGINAL STONE, AMONG
THOUSANDS ON THE ACROPOLIS,

325
00:20:44,200 --> 00:20:46,367
HOLDS THE KEY.

326
00:20:46,400 --> 00:20:49,633
IT LOOKS COMPLETELY DIFFERENT
TO A FINISHED COLUMN DRUM,

327
00:20:49,667 --> 00:20:53,533
BUT EDITH THINKS IT SOLVES
AN ENGINEERING MYSTERY.

328
00:20:53,567 --> 00:20:54,933
Edith:
THIS IS VERY EXCITING.

329
00:20:54,967 --> 00:20:57,233
THIS IS ACTUALLY A COLUMN DRUM

330
00:20:57,267 --> 00:21:00,333
TO MAKE ONE OF THE COLUMNS
FOR THE TEMPLES,

331
00:21:00,367 --> 00:21:03,867
BUT IN THE STATE IT WOULD'VE
ARRIVED AT FROM THE QUARRY.

332
00:21:03,900 --> 00:21:07,433
AT THE QUARRY, IT WAS MADE
INTO THE CIRCLE, CIRCULAR SHAPE,

333
00:21:07,467 --> 00:21:11,833
BUT THESE BIG BOSSES
WERE LEFT ON.

334
00:21:11,867 --> 00:21:14,667
Narrator: SO WHAT COULD
THESE KNOTS HAVE BEEN USED FOR?

335
00:21:16,267 --> 00:21:20,067
[ SUSPENSEFUL MUSIC PLAYS ]

336
00:21:20,067 --> 00:21:22,700
THE GREEKS HAD BIG,
WOODEN CRANES THAT COULD WINCH

337
00:21:22,733 --> 00:21:25,767
10-TON MARBLE PIECES
OVER 3 STORIES HIGH.

338
00:21:29,067 --> 00:21:30,733
THEY LEFT THE DRUMS UNCARVED,

339
00:21:30,767 --> 00:21:35,200
EXCEPT FOR THE PROTRUSIONS,
CALLED BOSSES.

340
00:21:35,233 --> 00:21:37,367
THE LIFTING ROPES GRIPPED
TO THE BOSSES

341
00:21:37,400 --> 00:21:40,533
AND RELEASED WITH EASE.

342
00:21:40,567 --> 00:21:45,200
THEY STACKED UP 11 DRUMS
TO BUILD A COLUMN.

343
00:21:45,233 --> 00:21:50,533
THEN, THE MASONS CARVED
THE FLUTES IN PERFECT ALIGNMENT,

344
00:21:50,567 --> 00:21:52,067
TO MAKE SURE
THAT ALL THE COLUMNS

345
00:21:52,100 --> 00:21:54,600
OF THE PARTHENON
LOOKED EXACTLY THE SAME.

346
00:21:57,133 --> 00:21:58,533
[ SUSPENSEFUL MUSIC CLIMBS ]

347
00:21:58,567 --> 00:22:00,333
[ SUSPENSEFUL CHORD
STRIKES ]

348
00:22:07,367 --> 00:22:09,800
Narrator: WITHOUT THESE BOSSES,
THE ONLY WAY

349
00:22:09,833 --> 00:22:12,900
KONSTANTINOS AND THE TEAM
CAN LOWER THE DRUM INTO PLACE

350
00:22:12,933 --> 00:22:14,700
IS TO USE MODERN EQUIPMENT.

351
00:22:18,500 --> 00:22:23,267
THEY TIE THE ROPES TIGHT
AROUND THE SIDES OF THE DRUM.

352
00:22:23,300 --> 00:22:26,400
BUT KEEPING THE STONE LEVEL
IS NO SIMPLE TASK.

353
00:22:34,967 --> 00:22:36,567
Narrator:
IT TAKES THE TEAM 2 DAYS

354
00:22:36,600 --> 00:22:39,900
TO PLACE THE DRUM SAFELY
INTO ITS ORIGINAL POSITION

355
00:22:39,933 --> 00:22:43,300
AND TAKE THE ENTRANCE GATEWAY
A STEP CLOSER TO COMPLETION.

356
00:22:47,967 --> 00:22:52,667
*

357
00:22:52,700 --> 00:22:56,833
THE BUILDINGS ON THE ACROPOLIS
ARE OVER 2,400 YEARS OLD.

358
00:22:59,433 --> 00:23:02,500
GREECE IS STILL ONE OF THE MOST
SEISMICALLY ACTIVE AREAS

359
00:23:02,533 --> 00:23:05,633
IN THE WORLD, WITH FEW OTHER
STRUCTURES LASTING SO LONG.

360
00:23:05,667 --> 00:23:08,333
[ SUSPENSEFUL MUSIC PLAYS ]

361
00:23:12,067 --> 00:23:14,933
SO WHAT'S THE SECRET?

362
00:23:14,967 --> 00:23:18,200
HOW HAVE THESE ANCIENT
TEMPLES SURVIVED?

363
00:23:19,733 --> 00:23:23,433
*

364
00:23:23,467 --> 00:23:25,433
Narrator: PERCHED HIGH
ABOVE THE CITY OF ATHENS,

365
00:23:25,467 --> 00:23:27,600
THE ANCIENT TEMPLES
OF THE ACROPOLIS,

366
00:23:27,633 --> 00:23:29,500
INCLUDING
THE MAJESTIC PARTHENON,

367
00:23:29,533 --> 00:23:31,200
ARE AN ENGINEERING MYSTERY.

368
00:23:31,233 --> 00:23:34,967
[ SUSPENSEFUL MUSIC PLAYS ]

369
00:23:35,067 --> 00:23:36,467
THEY STAND IN ONE OF THE MOST

370
00:23:36,500 --> 00:23:41,133
SEISMICALLY ACTIVE COUNTRIES
IN THE WORLD.

371
00:23:41,167 --> 00:23:42,800
RECENT EARTHQUAKES
HAVE DEMOLISHED

372
00:23:42,833 --> 00:23:44,467
MODERN BUILDINGS IN THE CITY.

373
00:23:45,967 --> 00:23:49,167
[ SUSPENSEFUL MUSIC CLIMBS ]

374
00:23:49,200 --> 00:23:51,433
SO HOW HAVE THESE ANCIENT
TEMPLES SURVIVED

375
00:23:51,467 --> 00:23:53,333
FOR OVER 2,000 YEARS?

376
00:23:56,833 --> 00:23:58,867
SEISMOLOGIST IOANNIS KALOGERAS

377
00:23:58,900 --> 00:24:01,767
MONITORS SEISMIC ACTIVITY
ON THE ACROPOLIS.

378
00:24:14,400 --> 00:24:15,900
Narrator:
THIS ACCELEROGRAPH,

379
00:24:15,933 --> 00:24:18,200
ONE OF 10 POSITIONED
ACROSS THE SITE,

380
00:24:18,233 --> 00:24:20,533
MEASURES HOW MUCH
THE GROUND SHAKES.

381
00:24:26,700 --> 00:24:28,133
Narrator: WHEN HE LOOKS BACK
AT THE DATA,

382
00:24:28,167 --> 00:24:30,500
IOANNIS DISCOVERS THAT,
DURING EARTHQUAKES,

383
00:24:30,533 --> 00:24:32,933
SOMETHING STRANGE HAPPENS HERE
AT THE PARTHENON.

384
00:24:32,967 --> 00:24:35,667
[ EERIE MUSIC PLAYS ]

385
00:24:35,700 --> 00:24:38,667
THIS IS A TYPICAL RECORD
OF A SMALL EARTHQUAKE,

386
00:24:38,700 --> 00:24:41,700
A LOCAL EARTHQUAKE.

387
00:24:41,733 --> 00:24:42,967
Narrator:
THE RECORDING SHOWS

388
00:24:43,067 --> 00:24:45,467
THAT THE FOUNDATIONS
OF THE PARTHENON SHAKE LESS

389
00:24:45,500 --> 00:24:47,633
THAN THE GROUND
IN THE SURROUNDING CITY.

390
00:24:50,200 --> 00:24:51,600
BUT WHY IS THIS HAPPENING?

391
00:24:51,633 --> 00:24:53,733
WHAT IS SPECIAL
ABOUT THIS PLACE?

392
00:25:02,333 --> 00:25:04,067
Narrator:
THE ROCK ITSELF IS SOLID,

393
00:25:04,100 --> 00:25:06,400
BUT THE CITY AROUND IT
IS BUILT ON LOOSE SOIL

394
00:25:06,433 --> 00:25:08,767
THAT VIBRATES STRONGLY
IN AN EARTHQUAKE.

395
00:25:18,133 --> 00:25:20,533
Narrator: IT APPEARS THAT
THE PARTHENON'S FOUNDATIONS,

396
00:25:20,567 --> 00:25:23,667
BUILT DIRECTLY ON SOLID ROCK,
HAVE HELPED IT SURVIVE.

397
00:25:25,367 --> 00:25:27,300
[ SINISTER MUSIC PLAYS ]

398
00:25:27,333 --> 00:25:29,700
BUT THIS ALONE DOESN'T EXPLAIN
HOW THESE TEMPLES

399
00:25:29,733 --> 00:25:33,867
HAVE STOOD FIRM
AGAINST EARTHQUAKES.

400
00:25:33,900 --> 00:25:36,700
THE BIGGEST CLUE TO WHAT MAKES
THESE STRUCTURES SO SPECIAL

401
00:25:36,733 --> 00:25:38,767
HIDES INSIDE THEIR STONES.

402
00:25:43,067 --> 00:25:45,733
BLOW THE PARTHENON APART,
AND YOU WON'T FIND

403
00:25:45,767 --> 00:25:48,567
AN OUNCE OF MORTAR
TO BOUND THE MARBLE TOGETHER.

404
00:25:48,600 --> 00:25:51,100
*

405
00:25:54,267 --> 00:25:57,067
INSTEAD, THERE ARE
MYSTERIOUS SLOTS IN THE BLOCKS

406
00:25:57,067 --> 00:26:00,133
AND, INSIDE THEM, IRON CLAMPS.

407
00:26:08,400 --> 00:26:09,933
IN BETWEEN THE COLUMN DRUMS,

408
00:26:09,967 --> 00:26:12,233
THERE ARE WOODEN
WEDGES AND PINS.

409
00:26:15,567 --> 00:26:18,633
THESE PIECES OF IRON AND WOOD
HELP PROTECT THE TEMPLE

410
00:26:18,667 --> 00:26:22,367
FROM EARTHQUAKES,
BUT HOW DO THEY DO IT?

411
00:26:22,400 --> 00:26:28,800
[ SUSPENSEFUL MUSIC CLIMBS ]

412
00:26:28,833 --> 00:26:34,133
CIVIL ENGINEER ZANNIS KONTEAS
WORKS WITH THE RESTORATION TEAM.

413
00:26:34,167 --> 00:26:36,500
HE THINKS THE ANCIENT GREEKS
DID SOMETHING CLEVER

414
00:26:36,533 --> 00:26:40,900
WHEN THEY INSTALLED
THESE CONNECTING PIECES.

415
00:26:40,933 --> 00:26:43,367
THE CLAMPS WERE PLACED
IN SOCKETS

416
00:26:43,400 --> 00:26:47,400
THAT WERE CAREFULLY CARVED
ON THE TOP SIDE OF THE BLOCKS.

417
00:26:49,100 --> 00:26:50,800
Narrator: HE'S NOTICED
THAT ANCIENT BUILDERS

418
00:26:50,833 --> 00:26:55,067
DELIBERATELY CUT THE HOLES
LARGER THAN THE CLAMPS.

419
00:27:07,367 --> 00:27:10,200
Narrator: THE LEAD SEALS
THE IRON CLAMPS FROM THE AIR

420
00:27:10,233 --> 00:27:12,333
AND STOPS THEM FROM RUSTING.

421
00:27:12,367 --> 00:27:15,300
BUT IT ALSO PLAYS A CRITICAL
ROLE IN AN EARTHQUAKE.

422
00:27:21,600 --> 00:27:24,267
Narrator: DURING AN EARTHQUAKE,
THE SOFT, FLEXIBLE LEAD

423
00:27:24,300 --> 00:27:25,800
ALLOWS THE MARBLE BLOCKS
TO MOVE,

424
00:27:25,833 --> 00:27:29,067
WHILE THE CLAMPS STOP THE WALLS
FROM FALLING DOWN.

425
00:27:39,767 --> 00:27:41,467
Narrator: THE SYSTEM
THAT PROTECTS THE COLUMNS

426
00:27:41,500 --> 00:27:42,700
IS EVEN SMARTER.

427
00:27:45,733 --> 00:27:47,333
WHEN THEY PULLED
THE COLUMNS APART,

428
00:27:47,367 --> 00:27:49,633
ARCHAEOLOGISTS
FOUND PIECES OF WOOD

429
00:27:49,667 --> 00:27:53,533
2,400 YEARS OLD
AND AMAZINGLY WELL-PRESERVED.

430
00:27:55,667 --> 00:27:58,967
THE SEGMENTS ARE CALLED
 EMPOLIA AND POLOS.

431
00:28:15,867 --> 00:28:18,900
Narrator: THE WAY THE WOOD
PIECES WORK IS INGENIOUS.

432
00:28:18,933 --> 00:28:23,867
[ SUSPENSEFUL MUSIC CLIMBS ]

433
00:28:23,900 --> 00:28:26,533
WITHOUT THEM, A BIG QUAKE
COULD SHAKE THE COLUMNS

434
00:28:26,567 --> 00:28:28,733
OUT OF ALIGNMENT
UNTIL THEY COLLAPSE.

435
00:28:28,767 --> 00:28:31,767
[ RUMBLING ]

436
00:28:31,800 --> 00:28:35,233
BUT THE EMPOLIA PREVENT THIS.

437
00:28:35,267 --> 00:28:37,300
THEY SIT RIGHT
IN THE MIDDLE OF THE DRUMS

438
00:28:37,333 --> 00:28:39,633
AND ACT LIKE SOFT,
WOODEN JOINTS.

439
00:28:43,367 --> 00:28:47,200
THEIR SPECIAL SHAPE LETS
COLUMNS WOBBLE IN A QUAKE,

440
00:28:47,233 --> 00:28:49,600
BUT ALWAYS KEEPS
THE DRUMS IN LINE.

441
00:28:52,433 --> 00:28:56,500
THAT MEANS
THEY DON'T COLLAPSE,

442
00:28:56,533 --> 00:28:58,433
SO, WHEN THE EARTH
STOPS SHAKING,

443
00:28:58,467 --> 00:29:01,433
THE PARTHENON LIVES
TO SEE ANOTHER DAY.

444
00:29:04,133 --> 00:29:09,933
*

445
00:29:09,967 --> 00:29:13,333
ARCHAEOLOGISTS EVEN HAVE FOUND
PROVE THE CONCEPT WORKS.

446
00:29:36,633 --> 00:29:40,067
Narrator: THE WOOD
HELD THE STONES TOGETHER.

447
00:29:40,100 --> 00:29:43,333
IT TWISTED, BUT DIDN'T BREAK.

448
00:29:43,367 --> 00:29:45,633
THE ANCIENT-GREEK WAY
OF BUILDING WAS SO GOOD

449
00:29:45,667 --> 00:29:47,500
THAT THE TEAM
RESTORING THE ACROPOLIS

450
00:29:47,533 --> 00:29:50,067
STILL USES THE SAME TECHNIQUES.

451
00:29:52,600 --> 00:29:54,233
WHERE ANCIENT STONES
ARE MISSING,

452
00:29:54,267 --> 00:29:58,533
THE TEAM REPLACES THEM
WITH NEW MARBLE.

453
00:29:58,567 --> 00:30:01,500
TODAY, THE RESTORERS ARE LAYING
A NEW MARBLE BLOCK

454
00:30:01,533 --> 00:30:05,833
ON THE WALL OF THE CELLAR,
THE TEMPLE SANCTUARY.

455
00:30:08,767 --> 00:30:11,200
ARCHITECT
ROSALIA CHRISTODOULOPOULOU

456
00:30:11,233 --> 00:30:14,500
MONITORS THE OPERATION.

457
00:30:14,533 --> 00:30:18,933
WE ARE GOING TO HAVE A TRIAL
POSITIONING OF THIS MARBLE.

458
00:30:18,967 --> 00:30:21,633
[ SUSPENSEFUL MUSIC PLAYS ]

459
00:30:21,667 --> 00:30:22,967
Narrator:
TO JOIN THE BLOCKS,

460
00:30:23,000 --> 00:30:27,733
THE ANCIENT GREEKS
USED DOWELS MADE OF IRON.

461
00:30:27,767 --> 00:30:32,767
TODAY, RESTORERS USE TITANIUM,
BECAUSE IT WON'T RUST.

462
00:30:32,800 --> 00:30:34,667
AND, ISN'T OF COATING
THE DOWEL IN LEAD,

463
00:30:34,700 --> 00:30:36,367
THEY CEMENT IT IN PLACE.

464
00:30:45,667 --> 00:30:48,967
Narrator: THE MORTAR IS
A SPECIAL, WEAK MIX.

465
00:30:49,000 --> 00:30:51,033
IN AN EARTHQUAKE,
IT WILL CRUMBLE,

466
00:30:51,067 --> 00:30:54,767
ALLOWING THE BLOCKS TO MOVE,
JUST LIKE THE LEAD DID.

467
00:30:54,800 --> 00:30:58,133
[ SUSPENSEFUL MUSIC PLAYS ]

468
00:30:58,167 --> 00:31:00,067
AFTER MONTHS
OF PREPARING THE STONE,

469
00:31:00,067 --> 00:31:01,600
IT TAKES THE TEAM
JUST 10 MINUTES

470
00:31:01,633 --> 00:31:03,400
TO PLACE IT
IN ITS FINAL POSITION.

471
00:31:04,500 --> 00:31:06,833
[ SPEAKING GREEK ]

472
00:31:06,867 --> 00:31:09,367
THEY HOPE THAT, BY COPYING
THE TRIED AND TESTED,

473
00:31:09,400 --> 00:31:13,100
ANCIENT METHODS, IT WILL SIT
IN THIS SAME SPOT FOR CENTURIES.

474
00:31:13,133 --> 00:31:16,733
[ SUSPENSEFUL MUSIC CLIMBS ]

475
00:31:19,333 --> 00:31:22,567
*

476
00:31:22,600 --> 00:31:25,633
THANKS TO INGENIOUS
ANTI-EARTHQUAKE DEVICES,

477
00:31:25,667 --> 00:31:34,067
THE PARTHENON STILL STANDS,
2,500 YEARS AFTER IT WAS BUILT.

478
00:31:34,100 --> 00:31:39,967
NOW, MODERN RESEARCHERS ARE ABLE
TO STUDY ITS WALLS CLOSEUP.

479
00:31:40,067 --> 00:31:45,300
THEY'VE DISCOVERED NEW EVIDENCE
TO SOLVE A PERSISTENT MYSTERY:

480
00:31:45,333 --> 00:31:48,967
WHAT DID THIS ICONIC
BUILDING REALLY LOOK LIKE?

481
00:31:50,900 --> 00:31:53,467
*

482
00:31:53,500 --> 00:31:55,133
[ SUSPENSEFUL MUSIC PLAYS ]

483
00:31:55,167 --> 00:31:57,067
Narrator: TO CONSTRUCT
THE AMAZING ACROPOLIS,

484
00:31:57,100 --> 00:32:00,233
GREEK BUILDERS HAD TO TRANSPORT
VAST AMOUNTS OF MARBLE

485
00:32:00,267 --> 00:32:03,233
TO THIS SITE,

486
00:32:03,267 --> 00:32:07,467
LIFT THOUSANDS OF BLOCKS
ONTO ITS WALLS,

487
00:32:07,500 --> 00:32:10,067
AND CARVE DOZENS
OF EXQUISITE COLUMNS.

488
00:32:12,267 --> 00:32:15,200
BUT WHAT THEY DID NEXT
IS SHROUDED IN MYSTERY.

489
00:32:17,933 --> 00:32:21,167
HOW DID THEY COMPLETE
THESE BUILDINGS?

490
00:32:21,200 --> 00:32:23,233
AND WHAT DID THEY
ORIGINALLY LOOK LIKE?

491
00:32:23,267 --> 00:32:26,667
[ SUSPENSEFUL MUSIC PLAYS ]

492
00:32:26,700 --> 00:32:29,100
CHEMICAL ENGINEER
ELENI AGGELAKOPOULOU

493
00:32:29,133 --> 00:32:31,500
IS SCOURING THE PARTHENON
FOR EVIDENCE.

494
00:32:33,133 --> 00:32:34,833
[ CREAK ]

495
00:32:34,867 --> 00:32:36,900
SHE HAS JUST A FEW CLUES,

496
00:32:36,933 --> 00:32:40,667
BUT ONE OF THE BEST
IS HIDDEN IN THIS TOWER.

497
00:32:40,700 --> 00:32:43,400
IT'S PART OF A MOSQUE BUILT
INSIDE THE PARTHENON

498
00:32:43,433 --> 00:32:45,067
IN THE 16th CENTURY.

499
00:32:47,533 --> 00:32:49,900
IT'S POSSIBLE TO SEE PART
OF THE OLDER GREEK TEMPLE

500
00:32:49,933 --> 00:32:53,833
THROUGH THIS GAP
IN THE WALL.

501
00:32:53,867 --> 00:32:57,933
IN THIS AREA, SOME BLOCKS
OF THE TOWER WERE REMOVED AND...

502
00:33:19,233 --> 00:33:20,700
Narrator: THE ANCIENT
GREEKS, IT SEEMS,

503
00:33:20,733 --> 00:33:22,067
DIDN'T LEAVE THE MARBLE BARE,

504
00:33:22,100 --> 00:33:25,467
BUT COLORED IT
WITH BRIGHT PAINT.

505
00:33:25,500 --> 00:33:28,200
IF SO, HOW MUCH
OF THE BUILDING WAS PAINTED?

506
00:33:30,833 --> 00:33:33,433
THE SCAFFOLDING ON THE PARTHENON
ALLOWS RESEARCHERS

507
00:33:33,467 --> 00:33:37,567
TO ACCESS PLACES
THEY WOULDN'T NORMALLY SEE.

508
00:33:37,600 --> 00:33:39,800
THEY'VE DISCOVERED
MORE TRACES OF ANCIENT PAINT

509
00:33:39,833 --> 00:33:41,800
ON THE CORNER
OF THE WEST PEDIMENT.

510
00:33:58,233 --> 00:34:01,133
Narrator: NEARBY, ELENI
HAS DISCOVERED A FAINT CLUE

511
00:34:01,167 --> 00:34:04,133
TO HOW AN ANCIENT ARTIST
PREPARED THE MARBLE.

512
00:34:24,133 --> 00:34:26,233
[ SUSPENSEFUL MUSIC PLAYS ]

513
00:34:26,267 --> 00:34:27,667
Narrator:
COMBINING THESE DISCOVERIES

514
00:34:27,700 --> 00:34:30,067
WITH ANCIENT DESCRIPTIONS
OF THE PARTHENON,

515
00:34:30,067 --> 00:34:31,867
ARCHAEOLOGISTS
ARE ABLE TO RECREATE

516
00:34:31,900 --> 00:34:34,167
WHAT THE TEMPLE
ORIGINALLY LOOKED LIKE.

517
00:34:39,933 --> 00:34:41,700
2,500 YEARS AGO,

518
00:34:41,733 --> 00:34:44,467
THE PARTHENON WOULD'VE BEEN
AN IMPOSING SITE.

519
00:34:47,633 --> 00:34:51,133
*

520
00:34:51,167 --> 00:34:54,067
INSIDE ITS INNER SANCTUARY
WAS A STUNNING DISPLAY

521
00:34:54,100 --> 00:34:57,867
OF SHINING MARBLE
AND RICH COLOR:

522
00:34:57,900 --> 00:34:59,367
THE CLOAK AND ARMOR OF ATHENA,

523
00:34:59,400 --> 00:35:02,233
FORGED FROM OVER A TON
OF DAZZLING GOLD,

524
00:35:02,267 --> 00:35:04,933
AND HER LIMBS CARVED
IN GLEAMING WHITE IVORY.

525
00:35:07,333 --> 00:35:10,767
PAINT, IN VIVID COLORS,
ADORNED THE CEILING.

526
00:35:10,800 --> 00:35:14,067
[ MUSIC CLIMBS ]

527
00:35:16,900 --> 00:35:18,767
AND, AT THE ENTRANCE,
ELABORATE CARVINGS

528
00:35:18,800 --> 00:35:20,700
SHOWED SCENES
FROM GREEK MYTHS,

529
00:35:20,733 --> 00:35:23,500
IN SUCH GLORIOUS COLOR,
IT'S HARD TO IMAGINE IT TODAY.

530
00:35:23,533 --> 00:35:26,067
[ MUSIC CLIMBS ]

531
00:35:31,067 --> 00:35:34,433
[ SUSPENSEFUL MUSIC PLAYS ]

532
00:35:34,467 --> 00:35:40,067
BUT, DESPITE ALL THE EVIDENCE
OF COLOR, A MYSTERY REMAINS.

533
00:35:40,067 --> 00:35:43,767
THE SURFACE OF MARBLE
IS HARD AND GLOSSY.

534
00:35:43,800 --> 00:35:46,633
PAINT DOESN'T EASILY
ADHERE TO IT,

535
00:35:46,667 --> 00:35:49,267
SO HOW DID THE GREEKS
GET THEIR PAINT TO STICK?

536
00:35:53,833 --> 00:35:58,133
EUPHROSYNE DOXIADIS INVESTIGATES
ANCIENT METHODS OF PAINTING.

537
00:35:58,167 --> 00:36:00,600
SHE THINKS THE SECRET WAS WAX.

538
00:36:15,767 --> 00:36:17,133
Narrator:
TO MAKE THE SPECIAL PAINT,

539
00:36:17,167 --> 00:36:19,900
EUPHROSYNE MELTS THE GUM
WITH BEESWAX

540
00:36:22,200 --> 00:36:24,367
THEN ADDS A PIGMENT
TO GIVE IT COLOR.

541
00:36:26,867 --> 00:36:29,333
NEXT, SHE MARKS
OUT THE PATTERN.

542
00:36:32,933 --> 00:36:34,467
AND THIS IS VERY HARD TO CUT.

543
00:36:34,500 --> 00:36:36,867
THIS IS LIKE
THE PARTHENON MARBLE.

544
00:36:49,133 --> 00:36:50,833
Narrator:
EUPHROSYNE MUST WORK FAST.

545
00:36:50,867 --> 00:36:54,667
AS THE WAX COOLS,
IT SOLIDIFIES.

546
00:36:54,700 --> 00:36:56,167
READY, HERE. AND...

547
00:37:02,267 --> 00:37:04,700
Narrator: THE HEAT HELPS BIND
THE PAINT TO THE MARBLE.

548
00:37:17,267 --> 00:37:19,333
Narrator: USING THIS TECHNIQUE
TO PAINT THE PARTHENON

549
00:37:19,367 --> 00:37:21,267
WOULD HAVE REQUIRED
GREAT SKILL.

550
00:37:34,500 --> 00:37:36,800
Narrator: THE FINISHED PAINTWORK
ON ATHENA'S GREAT TEMPLE

551
00:37:36,833 --> 00:37:38,233
WOULD'VE BEEN OUTSTANDING.

552
00:37:47,533 --> 00:37:51,133
MOST OF THE PAINT ON
THE PARTHENON HAS FADED AWAY.

553
00:37:51,167 --> 00:37:52,967
CAN ARCHAEOLOGISTS SOLVE
THE MYSTERIES

554
00:37:53,067 --> 00:37:56,867
OF THE UNDERLYING STONE
BEFORE THEY ARE UNDETECTABLE?

555
00:37:58,533 --> 00:38:01,267
*

556
00:38:01,300 --> 00:38:04,100
[ SUSPENSEFUL MUSIC CLIMBS ]

557
00:38:04,133 --> 00:38:07,233
Narrator: CENTURIES OF ATTACK
HAVE LEFT THE MARBLE VULNERABLE.

558
00:38:11,233 --> 00:38:15,067
IN THE 17th CENTURY, CANNONBALLS
BLASTED OUT THESE CRATERS.

559
00:38:23,633 --> 00:38:24,900
BUT THAT WAS A MINOR INCIDENT,

560
00:38:24,933 --> 00:38:27,600
COMPARED TO THE TEMPLE'S
LONG HISTORY OF DESTRUCTION.

561
00:38:32,067 --> 00:38:36,067
IN 267 A.D., INVADERS
BURNED DOWN THE ROOF.

562
00:38:38,500 --> 00:38:40,533
THROUGH THE CENTURIES,
THE STATUE OF ATHENA,

563
00:38:40,567 --> 00:38:44,233
OVER A TON OF IVORY AND GOLD,
HAS DISAPPEARED.

564
00:38:50,367 --> 00:38:53,067
THEN, CHRISTIANS TURNED
THE PARTHENON INTO A CHURCH

565
00:38:53,067 --> 00:38:56,233
AND RIPPED THE STATUES
TO PAGAN GODS OFF THE WALLS.

566
00:39:01,233 --> 00:39:03,633
AND, IN 1687,

567
00:39:03,667 --> 00:39:06,733
A GUNPOWDER EXPLOSION BLEW
THE HEART OUT OF THE BUILDING.

568
00:39:11,533 --> 00:39:13,700
EVEN TODAY, THE BUILDINGS
ON THE ACROPOLIS

569
00:39:13,733 --> 00:39:17,400
ARE STILL UNDER THREAT.

570
00:39:17,433 --> 00:39:22,867
CONSERVATOR ANASTASIA PANOU
LEADS THE BATTLE TO SAVE THEM.

571
00:39:22,900 --> 00:39:27,600
AS YOU CAN SEE,
THE SITUATION IS VERY BAD.

572
00:39:41,233 --> 00:39:42,800
Narrator:
AN ESCALATING PROBLEM COMES

573
00:39:42,833 --> 00:39:45,233
FROM INSIDE THE STONES,
THEMSELVES.

574
00:39:45,267 --> 00:39:47,167
[ SUSPENSEFUL MUSIC PLAYS ]

575
00:39:47,200 --> 00:39:50,767
WHEN ENGINEERS LAST RESTORED
THE BUILDING, 90 YEARS AGO,

576
00:39:50,800 --> 00:39:56,300
THEY INSERTED NEW, IRON CLAMPS
TO HOLD THE BLOCKS TOGETHER.

577
00:39:56,333 --> 00:39:58,867
BUT THEY COATED THEM
IN POOR-QUALITY LEAD.

578
00:40:01,233 --> 00:40:03,567
AS THE CLAMPS HAVE RUSTED,
THEY HAVE EXPANDED,

579
00:40:03,600 --> 00:40:05,300
CRACKING THE ANCIENT MARBLE.

580
00:40:21,967 --> 00:40:23,600
Narrator: SO FAR,
THE TEAM HAS REMOVED

581
00:40:23,633 --> 00:40:26,633
OVER 900 IRON CLAMPS
FROM THE PARTHENON

582
00:40:26,667 --> 00:40:30,300
AND REPLACED THEM
WITH CLAMPS MADE OF TITANIUM,

583
00:40:30,333 --> 00:40:32,133
A METAL THAT WON'T CORRODE.

584
00:40:35,867 --> 00:40:39,000
[ SUSPENSEFUL MUSIC PLAYS ]

585
00:40:39,033 --> 00:40:42,233
WHERE ESSENTIAL PIECES OF THE
ORIGINAL MARBLE ARE MISSING,

586
00:40:42,267 --> 00:40:45,933
THE RESTORATION TEAM
MUST REPLACE THEM.

587
00:40:45,967 --> 00:40:48,100
CARVING THE MISSING HALF
OF THE MARBLE BLOCK

588
00:40:48,133 --> 00:40:49,667
TAKES TREMENDOUS SKILL.

589
00:40:52,000 --> 00:40:53,933
A STONEMASON
MUST CAREFULLY COPY

590
00:40:53,967 --> 00:40:57,833
A PLASTER-CAST REPLICA
OF THE MISSING PIECE.

591
00:40:57,867 --> 00:41:01,233
HE USES THIS MEASURING TOOL
TO IDENTIFY AREAS OF STONE

592
00:41:01,267 --> 00:41:02,833
THAT NEED TO BE REMOVED.

593
00:41:07,433 --> 00:41:10,733
NEXT COMES THE DETAILED WORK
THAT ENSURES A TIGHT FIT.

594
00:41:13,067 --> 00:41:17,467
THE MASON PAINTS
THE OLD BLOCK IN MUD.

595
00:41:17,500 --> 00:41:19,933
HE THEN PUSHES
THE TWO STONES TOGETHER.

596
00:41:23,133 --> 00:41:25,767
DOTS OF MUD ON THE NEW
STONE IDENTIFY AREAS

597
00:41:25,800 --> 00:41:28,900
HE NEEDS TO CHISEL AWAY.

598
00:41:28,933 --> 00:41:31,400
THE FINAL PIECE
WILL BE A PERFECT FIT.

599
00:41:36,633 --> 00:41:41,100
RIGHT NOW, THE NEW WHITE MARBLE
ON THE PARTHENON STANDS OUT,

600
00:41:41,133 --> 00:41:43,833
BUT, OVER TIME, IT WILL FADE,
TO BLEND WITH THE OLD.

601
00:41:46,300 --> 00:41:49,700
THE NEW MARBLE ON THIS TEMPLE,
RESTORED 35 YEARS AGO,

602
00:41:49,733 --> 00:41:53,900
HAS ALREADY STARTED TO FADE.

603
00:41:53,933 --> 00:41:55,900
IT WILL EVENTUALLY
MATCH THE ORIGINAL.

604
00:41:59,100 --> 00:42:02,567
[ SUSPENSEFUL MUSIC PLAYS ]

605
00:42:02,600 --> 00:42:05,400
2,500 YEARS
AFTER IT WAS BUILT,

606
00:42:05,433 --> 00:42:08,067
THE ACROPOLIS IS STILL
GIVING UP ITS SECRETS...

607
00:42:11,167 --> 00:42:14,600
HELPING US UNRAVEL THE MYSTERIES
OF THE ANCIENT GREEKS.

608
00:42:19,800 --> 00:42:21,100
THE MORE WE DISCOVER,

609
00:42:21,133 --> 00:42:24,233
THE MORE AMAZING
THIS ANCIENT CITADEL BECOMES.

610
00:42:31,500 --> 00:42:34,833
*

611
00:42:34,867 --> 00:42:37,567
ITS HERO STRUCTURE,
THE MIGHTY PARTHENON,...

612
00:42:40,100 --> 00:42:44,200
BUILT TO WORSHIP
AN ANCIENT GODDESS,

613
00:42:44,233 --> 00:42:45,567
IS THE CROWNING ACHIEVEMENT

614
00:42:45,600 --> 00:42:47,867
OF ONE OF THE WORLD'S
GREATEST CIVILIZATIONS.

615
00:42:52,900 --> 00:42:56,333
*

616
00:42:56,367 --> 00:42:57,700
IT REMAINS ONE OF THE MOST

617
00:42:57,733 --> 00:43:00,967
AWE-INSPIRING ANCIENT WONDERS
EVER BUILT.

618
00:43:01,067 --> 00:43:03,733
[ MUSIC CLIMBS ]