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Agrigento

Sicily, Italy

Valley of the Temples

The Temple of Juno

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The Temple of Juno
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The Temple of Juno
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The Temple of Juno

The Temple of Juno (also called the Temple of Hera Lacinia) in Agrigento is a 5th-century BCE Doric temple in the Valley of the Temples, famous for its commanding position and its role in the sacred landscape of ancient Akragas.

Name and Attribution

The temple is commonly known as the Temple of Juno (Hera Lacinia), but this is a misattribution. Ancient sources mistakenly linked it to Hera Lacinia at Capo Lacinio (near Crotone in Calabria). The true deity worshipped here remains uncertain, as with many temples in Agrigento.

Architecture

Date: Built around 450 BCE, in the Doric style.

Plan: A peripteral hexastyle temple (6 columns on the short sides, 13 on the long sides).

Dimensions: About 38 × 16.9 meters.

Columns: 34 in total, each about 6.4 meters high, resting on a four-step crepidoma.

Interior:
  • Pronaos (front porch)
  • Naos (cella, housing the cult statue)
  • Opisthodomos (rear chamber)

Two staircases inside the walls led to the roof, possibly for ritual or maintenance purposes.

In front of the eastern façade stood a monumental altar with ten steps, used for sacrifices.

History

406 BCE: Damaged by fire during the Carthaginian sack of Akragas. Burn marks are still visible on the stone.

Roman period: Restored with modifications, including a marble roof replacing the original terracotta.

18th century: Partial reconstruction (anastylosis) raised several columns on the north side.

Symbolism and Ritual

Traditionally associated with marriage rites: couples are said to have purified themselves in the nearby river and offered sacrifices here. Its elevated position on a rocky spur gave it a commanding view of the valley, reinforcing its role as a landmark of divine protection.

In Summary

In short: The Temple of Juno in Agrigento is a Doric masterpiece of the classical age, scarred by war yet enduring through centuries of reinterpretation, standing today as both ruin and symbol of resilience. Would you like me to compare it directly with the Temple of Concordia—its “twin”—to highlight their architectural and symbolic contrasts

References

  1. www.theworldofsicily.com
  2. /en.wikipedia.org
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Telamone

In Greek mythology, Telamon (?e?aµ??) was a legendary warrior, son of King Aeacus of Aegina and Endeïs, and brother to Peleus (father of Achilles). He was:

  • An Argonaut, sailing with Jason in the quest for the Golden Fleece.
  • A companion of Heracles, aiding in battles against the Amazons and in the sack of Troy.
  • Father of Ajax the Great and Teucer, two prominent Greek heroes in the Trojan War.

In classical architecture, a Telamon (plural: Telamones) is a sculpted male figure used as a column or support, akin to the female Caryatid. These figures are:

  • Depicted as muscular men bearing weight, often with arms raised to support entablatures or cornices.
  • Symbolic of strength and burden, echoing Telamon’s mythic role as a steadfast warrior.

One of the most striking examples is in Agrigento’s Temple of Olympian Zeus (5th–6th century BCE), where colossal Telamones were integrated into the temple’s bays. Though the temple was never completed and later collapsed, fragments of these massive figures survive in the archaeological museum of Agrigento.

Telamones are often compared to Atlantes, figures representing Atlas, the Titan condemned to hold up the heavens. While both serve as architectural supports, Telamones evoke heroic burden, whereas Atlantes symbolize cosmic punishment and endurance.

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Paleochristian Necropolis

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Paleochristian Necropolis

The Paleochristian Necropolis of Agrigento lies within the Valley of the Temples, revealing a layered funerary landscape that bridges Roman, Greek, and early Christian traditions.

Sub divo tombs: Open-air burials carved directly into the rock, trapezoidal in shape (formae), often covered with stone slabs.

Catacombs and hypogea: Reused Greek cisterns and subterranean chambers adapted for Christian burials, including arcosolia and sarcophagi

>The Fragapane Catacomb: The largest and most elaborate burial complex, featuring a 25-meter gallery with cubicles, arcosolia, and formae tombs. Traces of wall decoration—garlands and floral motifs—still survive.

This necropolis offers a compelling narrative of ritual continuity and transformation

  • Reuse of Greek infrastructure (cisterns, canals) suggests a symbolic appropriation of earlier sacred spaces.
  • Christian iconography (roses, garlands) overlays older architectural forms, creating a palimpsest of belief systems.
  • The Street of the Sepulchres, once a Greek canal, became a funerary axis—later even housing a medieval pottery workshop, blending sacred and artisanal functions.

References

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Icaro Caduto (The Fallen Icarus)

Mythological Resonance

“Icaro Caduto” (The Fallen Icarus) is a monumental bronze sculpture by the Polish artist Igor Mitoraj, installed in 2011 in front of the Temple of Concordia in Agrigento’s Valley of the Temples. It depicts the mythic figure of Icarus lying on the ground, wings broken, evoking both the grandeur of Greek myth and the fragility of human ambition.

In Greek myth, Icarus, son of Daedalus, flew too close to the sun, melting the wax of his wings and plunging into the sea.

Mitoraj’s Icarus is not depicted mid-flight but already fallen, embodying the tragic aftermath of hubris.

The placement before the Temple of Concordia creates a dialogue between myth and monument: the eternal order of the temple versus the fragile, fallen human body.

Symbolic layers

  • Fragmentation: The missing feet and monumental scale echo the ruins of Agrigento itself—ancient grandeur marked by loss.
  • Human condition: The fallen Icarus becomes a metaphor for ambition, failure, and resilience, themes that resonate across centuries.
  • Curatorial dialogue: By situating a contemporary sculpture among ancient temples, the site becomes a palimpsest of time, where myth, ruin, and modern art converge.

References

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Temple of Concordia

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Temple of Concordia

The Temple of Concordia in Agrigento is one of the best-preserved ancient Greek temples in the world, built around 440–430 BCE in the Valley of the Temples. It stands as a masterpiece of Doric architecture and a symbol of both continuity and transformation, having served as a pagan temple, a Christian basilica, and now a cultural landmark. Apart from the Parthenon, it is considered the best-preserved Doric temple in the Greek world.

The name “Concordia” comes from a Latin inscription found nearby, dedicated to civic harmony, but not directly linked to the temple’s original cult.

The temple’s exceptional preservation has made it a touchstone for travelers, artists, and writers. Goethe, in his Italian Journey, praised its “slender line” as the embodiment of beauty.

Today, it is the iconic centerpiece of the Valley of the Temples and the stage for cultural events such as the Almond Blossom Festival.

References

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Temple of Heracles

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Link to Flickr album
map of Agrigento

About Valley of the Temples

The Valley of the Temples in Agrigento is one of the most important archaeological sites of Magna Graecia, a UNESCO World Heritage Site since 1997, and home to some of the best-preserved Doric temples in the ancient Greek world.

Despite its name, the Valley of the Temples (Valle dei Templi) is not in a valley but on a ridge just outside modern Agrigento.

It covers about 1,300 hectares, making it the largest archaeological park in Europe.

The site preserves the remains of ancient Akragas, founded in the 6th century BCE by settlers from Gela and Rhodes.

References

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Scala Dei Turchi

Sicily, Italy

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The Scala dei Turchi (“Stair of the Turks”) is a dazzling white cliff on the southern coast of Sicily, near Realmonte (Agrigento), famous for its natural beauty, geological uniqueness, and legendary history.

A natural limestone and marl cliff shaped like a giant staircase, sloping into the Mediterranean. Its brilliant white color comes from marl, a sedimentary rock made of clay and lime, which contrasts dramatically with the turquoise sea. The cliff lies between two sandy beaches, making it a striking natural amphitheatre.

The name “Scala dei Turchi” comes from the Saracen and Barbary pirates (often generically called “Turks” by locals) who, in the 16th century, used the natural steps as a landing point during raids on Sicilian villages. “Scala” means “staircase,” referring to the smooth, terraced shape of the cliff. Over time, it became a symbol of Sicilian coastal identity, blending myth, fear, and beauty.

Part of the Trubi Formation, dating to the Lower Pliocene (about 5 million years ago). The marl layers record climatic and orbital cycles (21,000and 100,000-year rhythms), making it a site of geological interest as well as scenic wonder. Its smooth, rounded forms are the result of erosion by wind and waves over millennia.

References

  1. www.lavalledeitempli.it
  2. en.wikipedia.org
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