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The Mask of Zorro
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Not to be confused with The Mark of Zorro.
The Mask of Zorro
Theatrical release poster
Directed by
Martin Campbell
Produced by
Doug Claybourne
David Foster
Screenplay by
John Eskow
Ted Elliott
Terry Rossio
Story by
Ted Elliott
Terry Rossio
Randall Jahnson
Based on
Zorro
by Johnston McCulley
Starring
Antonio Banderas
Anthony Hopkins
Catherine Zeta-Jones
Stuart Wilson
Matt Letscher
Music by
James Horner
Cinematography
Phil Méheux
Edited by
Thom Noble
Production
company
Amblin Entertainment
Distributed by
TriStar Pictures
Release date
July 17, 1998 (1998-07-17)
Running time
137 minutes
Country
United States
Language
English
Budget
$95 million
Box office
$250.3 million
The Mask of Zorro is a 1998 American swashbuckler film based on the character of the masked vigilante Zorro created by Johnston McCulley. It was directed by Martin Campbell and stars Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, and Stuart Wilson. The film features the original Zorro, Don Diego de la Vega (Hopkins), escaping from prison to find his long-lost daughter (Zeta-Jones) and avenge the death of his wife at the hands of the corrupt governor Rafael Montero (Wilson). He is aided by his successor (Banderas), who is pursuing his own vendetta against the governor's right-hand man while falling in love with de la Vega's daughter.
Producer Steven Spielberg had initially developed the film for TriStar Pictures with directors Mikael Salomon and Robert Rodriguez, before Campbell signed on in 1996. Salomon cast Sean Connery as Don Diego de la Vega, while Rodriguez brought Banderas in the lead role. Connery dropped out and was replaced with Hopkins, and The Mask of Zorro began filming in January 1997 at Estudios Churubusco in Mexico City, Mexico. The film was released in the United States on July 17, 1998 to critical and commercial success. The Legend of Zorro, a sequel also starring Banderas and Zeta-Jones and directed by Campbell, was released in 2005, but did not fare as well as its predecessor.[1]
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Lawsuit
3.4 Music
4 Historical references
5 Release
5.1 Home media
6 Reception
6.1 Critical response
6.2 Box office
6.3 Accolades
7 Comic book adaptation
8 References
9 External links
Plot[edit]
In 1821, Don Diego de la Vega (Anthony Hopkins), a Californio nobleman, fights against the Spanish in the Mexican War of Independence as Zorro, a mysterious masked swordsman who defends the Mexican peasants and commoners of Las Californias. Don Rafael Montero (Stuart Wilson), the corrupt governor of the region, learns of De La Vega's alter ego and attempts to arrest him. De la Vega's wife Esperanza (Julieta Rosen), who was also a former lover of Montero's, is killed during the scuffle. Montero imprisons de La Vega and takes his infant daughter, Elena, as his own before returning to Spain.
Twenty years later, Montero returns to California as a civilian, alongside Elena (Catherine Zeta-Jones) who has grown into a beautiful woman and resembles her late mother. Montero's reappearance motivates de La Vega to escape from prison. He encounters a thief, Alejandro Murietta (Antonio Banderas) who, as a child, saved Zorro's life during his last fight. De la Vega decides that fate has brought them together, and agrees to make Alejandro his protégé, grooming him to be the new Zorro. Alejandro agrees to undergo de La Vega's training regimen in Zorro's lair underneath the ruins of his family estate in order to be able to take revenge on Captain Harrison Love (Matt Letscher) Montero's right-hand man, who was responsible for killing Alejandro's brother, Joaquin (Victor Rivers).
While still being trained, Alejandro steals a black stallion resembling Tornado from the local garrison. De La Vega scolds Alejandro, claiming that Zorro was a servant of the people, not a thief and adventurer. He challenges Alejandro to gain Montero's trust instead. Alejandro poses as a visiting nobleman named Don Alejandro del Castillo y García, with de la Vega as his servant, and attends a party at Montero's hacienda. At the party, he gains Elena's admiration and enough of Montero's trust to be invited to a secret meeting where several other noblemen are present. Montero hints at a plan to retake California for the Dons and proclaim it as an independent republic by buying it from General Santa Anna, who needs money to fund his upcoming war with the United States.
Montero takes Alejandro and the noblemen to a secret gold mine known as "El Dorado," where peasants and prisoners are used for slave labor. Montero plans to buy California from Santa Anna using gold mined from Santa Anna's own land. De la Vega uses this opportunity to become closer to Elena, though he identifies himself as "Bernardo" the servant, learning that Montero told Elena that her mother died in childbirth. While walking in a market, Elena meets the woman who was her nanny who tells Elena her parents' real identity. De la Vega sends Alejandro, dressed as Zorro, to steal Montero's map leading to the gold mine. Zorro duels Montero, Love, and their guards at the hacienda. When Zorro escapes, Elena attempts to retrieve Montero's map from the swordsman, but he seduces her, leading to a passionate kiss before he flees.
Terrified of Santa Anna's retribution if he discovers that he is being paid with his own gold, Montero, at Love's urging, decides to destroy the mine and kill the workers. De la Vega tells Alejandro to release the workers on his own so that de La Vega can reclaim Elena. Alejandro sets off, feeling betrayed by Diego's vendetta. De la Vega corners Montero at the hacienda and reveals his identity, but Montero captures him by threatening Elena. As he is taken away, de la Vega tells Elena the name of the flowers, romneya, she recognized upon her arrival in California, convincing her that he is her father. She releases de la Vega from his cell and they proceed to the mine, where Alejandro and de la Vega respectively defeat and slay Love and Montero. Elena and Alejandro free the workers before the explosives go off, and then find the mortally wounded de la Vega. He makes peace with Alejandro and Elena and gives his blessings for Alejandro to marry his daughter before dying. Later on in the movie, Alejandro and Elena are married and have a son named Joaquin and Alejandro tells him the story of how his grandfather was the first Zorro and how he became and died a hero with Elena listening. Alejandro and Elena share a passionate kiss before Joaquin starts crying and Elena calms him down. The film ends with Alejandro walking down the corridor of his mansion before the door closes with Zorro pulling out his sword and making his mark with it being engulfed in flames.
Cast[edit]
Antonio Banderas portrayed Zorro.
Antonio Banderas as Alejandro Murrieta / Zorro: Despite claims made by several media outlets and Antonio Banderas himself,[2] Banderas was not the first Spanish actor to portray Zorro. Spanish actor José Suárez was cast as Zorro in the 1953 film Lawless Mountain, and Spanish actor Carlos Quiney (aka Charles Quiney) portrayed Zorro in three films: Zorro's Latest Adventure (1969), Zorro, Rider of Vengeance (1971) and Zorro the Invincible (1971); though Banderas was still the first Spanish actor to portray Zorro in a Hollywood production.[3][4] Banderas was paid $5 million for the role. The character of Alejandro Murrieta was conceived as the fictional brother of the real-life Joaquin Murrieta, making the character either Mexican or Chilean.[5] To prepare for his role, Banderas practiced with the Olympic fencing team in Spain for four months, before studying additional fencing and swordsmanship with Anthony Hopkins and Catherine Zeta-Jones.[6] The three were trained by Bob Anderson during pre-production in Mexico, spending 10 hours a day for two months specifically on fight scenes from the film.[7] "We used to call him Grumpy Bob on the set, he was such a perfectionist," director Martin Campbell reflected. "He was incredibly inventive, and also refused to treat any of the actors as stars. They would complain about the intensity of the training, but having worked with him there's nobody I'd rather use."[8] During interviews for The Lord of the Rings: The Fellowship of the Ring, Anderson rated Banderas the best natural talent he had worked with.
José María de Tavira portrays a young Alejandro Murrieta.
Anthony Hopkins as Don Diego de la Vega / Zorro: Hopkins was cast in December 1996, one month before filming began.[9] Hopkins, known for his dramatic acting, took up the role over his enthusiasm to be in an action film.[10]
Catherine Zeta-Jones as Elena Montero: The actress signed on in November 1996, when Spielberg saw her performance in the Titanic miniseries and recommended her to Campbell.[11] Despite being a Welsh actress portraying a Latina character, Zeta-Jones discovered similarities between her "volatile" Celtic temper and the Latin temperament of Eléna.[12] Izabella Scorupco, who worked with Campbell on GoldenEye, and Judith Godrèche both screen tested for the part.[11] Zeta-Jones credits The Mask of Zorro as her breakthrough in entering A-list recognition.[12][13]
María and Mónica Fernández Cruz portray Elena de la Vega (infant).
Stuart Wilson as Don Rafael Montero: Armand Assante had initially been cast in the role, but dropped out due to scheduling conflicts with The Odyssey.[14] Stuart Wilson, who Campbell previously directed in No Escape, was cast in Assante's place four months after.[15]
Matt Letscher as Captain Harrison Love
Tony Amendola as Don Luiz
Pedro Armendáriz, Jr. as Don Pedro
Victor Rivers as Joaquín Murrieta
Diego Sieres as Young Joaquín Murrieta
L. Q. Jones as Three-fingered Jack
Julieta Rosen as Esperanza De La Vega, Don Diego's beloved wife and Elena's mother
Maury Chaykin as Prison Warden
Production[edit]
Development[edit]
Robert Rodriguez (pictured) cast Antonio Banderas as Zorro before dropping out as director. He was replaced by Martin Campbell one month later.
In October 1992, TriStar Pictures and Steven Spielberg's Amblin Entertainment were planning to start production on Zorro the following year, and hired Joel Gross to rewrite the script after they were impressed with his adaptation of The Three Musketeers.[16][17] At the time, Spielberg was producing Zorro with the potential to direct.[18] Gross completed his rewrite in March 1993, and TriStar entered pre-production, creating early promotion for the film that same month at the ShoWest trade show.[19][20] By December 1993, Branko Lustig was producing the film with Spielberg, and Mikael Salomon was attached as director.[21] In August 1994, Sean Connery was cast as Don Diego de la Vega, while Salomon stated that the rest of the major cast would be Hispanic or Latino. Pre-production proceeded even further in August when Salomon compiled test footage for a planned April 1995 start date.[22]
Connery and Salomon eventually dropped out, and in September 1995, Robert Rodriguez, fresh from the success of Desperado, signed to direct with Antonio Banderas, who had also starred in Desperado, playing the title role.[23] TriStar and Amblin had been surprised by Rodriguez's low-budget filming techniques for his action films, El Mariachi and Desperado, and shifted away from their initial plans with Salomon to make a big-budget version of Zorro.[24] Spielberg had hoped Rodriguez would start filming in January 1996 for a Christmas release date, but the start date was pushed back to July.[25][26][27] The release date was later moved to Easter 1997.[28] Rodriguez pulled out of the film' in June 1996 over difficulties coming to terms with TriStar on the budget. The studio projected a range of $35 million, while Rodriguez wanted $45 million. They both attempted to compromise when Rodriguez lowered it to $42 million, but the studio refused and set $41 million as their highest mark.[28] Banderas remained with the production, and Martin Campbell signed on later that month, turning down the chance to direct Tomorrow Never Dies.[29] The finished screenplay would be written by John Eskow, Ted Elliott and Terry Rossio, based on a story by Elliott, Rossio, and Randall Jahnson.[30]
Filming[edit]
The principal photography for the film began in Mexico on January 27, 1997 on a $60 million budget.[7][15] The Mask of Zorro was mostly shot at Estudios Churubusco in Mexico City.[31] Production stalled for four days in February when the director, Martin Campbell, was hospitalized for bronchitis. Filming resumed in Tlaxcala, three hours east of Mexico City, where the production crew constructed the Montero hacienda and town set pieces.[32] Sony sent David Foster to join the project as a producer to help fill the void left by Steven Spielberg, Walter F. Parkes, and Laurie MacDonald, who were busy running DreamWorks. Foster and David S. Ward, who went uncredited, re-wrote some scenes;[33] the troubled production caused The Mask of Zorro to go $10 million over its budget.[33][34] In December, the producers were frustrated by customs agents when some props and other items, including Zorro's plastic sword, were held for nine days.[31] During the post-production phase, Spielberg and Campbell decided that Diego de la Vega's death in the arms of his daughter was too depressing.[35] The ending, where Alejandro and Eléna are happily married with their infant son, was added three months after filming had ended.[36]
Lawsuit[edit]
On January 24, 2001, Sony Pictures Entertainment filed a lawsuit in United States District Court, Central District of California, Western Division, against Fireworks Entertainment Group, the producers of the syndicated television series Queen of Swords. Sony alleged copyright infringement and other claims, saying the series "copied protectable elements from [the] 'Zorro' character and 'Zorro' related works". On April 5, 2001, U.S. District Judge Collins denied Sony's motion for a preliminary injunction, noting "that since the copyrights in [Johnson McCulley's 1919 short story] The Curse of Capistrano and [the 1920 movie] The Mark of Zorro lapsed in 1995 or before, the character Zorro has been in the public domain." As to specific elements of The Mask of Zorro, the judge found that any similarities between the film and the TV series' secondary characters and plot elements were insufficient to warrant an injunction.[37]
Music[edit]
The Mask of Zorro: Music from the Motion Picture
Soundtrack album by James Horner
Released
July 7, 1998
Recorded
1997–1998
Genre
Soundtrack
Length
74:47
Label
Sony Classical Records
Epic Soundtrax
Producer
Jim Steinman
Simon Rhodes
Tony Hinnigan
James Horner
James Horner soundtracks chronology
Deep ImpactString Module Error: Match not foundString Module Error: Match not found The Mask of Zorro Back to TitanicString Module Error: Match not foundString Module Error: Match not found
Singles from The Mask of Zorro: Music from the Motion Picture
"I Want to Spend My Lifetime Loving You"
Released: October 9, 1998
Professional ratings
Review scores
Source
Rating
AllMusic
Empire
Filmtracks
SoundtrackNet
James Horner was hired to compose the film score in September 1997.[38] Horner's work on The Mask of Zorro was influenced by Miklós Rózsa's score from El Cid.[39] The soundtrack, released by Sony Classical Records and Epic Soundtrax, was commercially successful and propelled by the rising profile of the Latin heartthrobs of Marc Anthony and Australian singer Tina Arena. Their duet, "I Want to Spend My Lifetime Loving You", plays in the closing credits of the film and was released as a single in Europe.[40] The song went #3 on the French singles and #4 on the Dutch singles charts.[41][42]
Historical references[edit]
The Mask of Zorro and its sequel The Legend of Zorro incorporate certain historical events and people into their narrative. Antonio Banderas' character, Alejandro Murrieta, is a fictional brother of Joaquin Murrieta, a real Mexican outlaw who was killed by the California State Rangers led by Harry Love (portrayed in the film as Texas Army Captain "Harrison Love") in 1853. The confrontation in the film takes place more than a decade earlier, in 1841. The capture of Murrieta's right-hand man Three-Fingered Jack by Love was also historical; however, the real person was a Mexican named Manuel Garcia rather than an Anglo-American.[43] As he did in the movie, the actual Harry Love preserved both Murrieta's head and Jack's hand in large, alcohol-filled glass jars.[44] The opening sequence is set during the aftermath of the Mexican War of Independence, and an original ending on the DVD includes an appearance by Antonio López de Santa Anna, who is only mentioned in the finished film.[citation needed]
Release[edit]
The Mask of Zorro was initially set for release on December 19, 1997 before the release date was changed to March 1998.[45] There was speculation within the media about whether TriStar changed the date in an attempt to avoid competition with Titanic. In reality Zorro had encountered production problems that extended its shooting schedule. In addition, Sony Pictures Entertainment, TriStar's parent company, wanted an action film for its first quarter releases of 1998.[34] The release date was once again pushed back, this time to July 1998, when pick-ups were commissioned.[46] The delay from March to July added $3 million in interest costs.[47]
To market Zorro, TriStar purchased a 30-second advertising spot at Super Bowl XXXII for $1.3 million.[47] Sony, who had been known for their low-key presence at the ShoWest trade show, showed clips from the film, while actors Antonio Banderas and Anthony Hopkins presented a panel at the conference on May 10, 1998.[48] The studio also attached Zorro's trailer to prints of Godzilla.[49] Sony launched an official website in June 1998. Internet marketing was an emerging concept in the late-1990s, and Zorro was Sony's first film to use VRML.[50]
The Mask of Zorro caught the attention of European Royalty with the film's foreign premieres. Spain's King Juan Carlos I, Queen Sophia, and Princess Elena attended the first Royal premiere in Madrid in seven years. On December 10, 1998, a Royal Command Performance for Zorro was toplined by Prince Charles and his sons.[51]
Home media[edit]
The Mask of Zorro was released on VHS and DVD on December 1, 1998 by Columbia TriStar Home Video. The film was released on Blu-ray on December 1, 2009 by Sony Pictures.[citation needed]
Reception[edit]
Critical response[edit]
Based on 69 reviews aggregated by Rotten Tomatoes, 81% of the critics enjoyed The Mask of Zorro, giving it an average score of 7.1/10.[52] Metacritic gave the film an average score of 63/100, based on 22 reviews.[53] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[54]
Richard Schickel of Time magazine praised Zorro as a summer blockbuster which paid tribute to the classical Hollywood swashbuckler films. "The action in this movie, most of which takes the form of spectacular stunt work performed by real, as opposed to digitized, people," Schickel stated, "is motivated by simple, powerful emotions of an old-fashioned and rather melodramatic nature."[55] Zorro exceeded Roger Ebert's expectations, who was surprised by the screenplay's display of traditional film craftsmanship. "It's a reminder of the time when stunts and special effects were integrated into stories, rather than the other way around."[56] Ebert later called The Mask of Zorro "probably the best Zorro movie ever made."[57] Despite giving credit to Anthony Hopkins for his masculine portrayal of an older Zorro, Mick LaSalle, writing in the San Francisco Chronicle, found that the actor's "performance presents a slight problem: The film asks us to believe that no one has figured out that Zorro and his real-life persona are the same person, even though they are the only guys in Mexico who talk with a British accent."[58]
Todd McCarthy of Variety found the film's length to be "somewhat overlong" and lacking "the snap and concision that would have put it over the top as a bang-up entertainment, but it's closer in spirit to a vintage Errol Flynn or Tyrone Power swashbuckler than anything that's come out of Hollywood in quite some time."[39] In his review for Rolling Stone magazine, Peter Travers criticized the casting choices for the Mexican roles, which included Banderas, a Spaniard, as well as Hopkins and Zeta-Jones, who are both Welsh. Disappointed with the film's entertainment value, Travers also expected the film to be a failure with audiences.[59] Internet reviewer James Berardinelli compared the tone and style of The Mask of Zorro to producer Steven Spielberg's Raiders of the Lost Ark. "While The Mask of Zorro isn't on the same level, it's not an altogether ridiculous comparison. Even though Zorro doesn't feature the non-stop cliffhanger adventure of Raiders," Berardinelli continued, "there's still plenty of action, tumult, and derring-do." He was undecided whether the film would be a box office success, and that it would depend on the on-screen chemistry between Banderas and Zeta-Jones.[60] In one of the film's most popular scenes, Alejandro renders Eléna topless with a flurry of sword slashes. One critic placed it on his list of "Erotic [Film] Scenes in the 90s".[61]
Box office[edit]
The Mask of Zorro was released in the United States on July 17, 1998 in 2,515 theaters, earning $22,525,855 in its opening weekend.[62] The film dropped from its number one position in the second week with the releases of Saving Private Ryan and There's Something About Mary.[63] The Mask of Zorro eventually earned $94,095,523 within the US, and $156,193,000 internationally, coming to a worldwide total of $250,288,523.[62] With the commercial success of the film, Sony sold the TV rights of Zorro for $30 million in a joint deal to CBS and Turner Broadcasting System (TBS).[64]
Accolades[edit]
Awarding Body
Award
Nominee
Result
Academy Awards[65][66] Best Sound Effects Editing Dave McMoyler Nominated
Best Sound Kevin O'Connell, Greg P. Russell, and Pud Cusack Nominated
British Academy Film Awards (BAFTAs)[67] Best Costume Design Graciela Mazón Nominated
Golden Globe Awards[68] Best Motion Picture – Musical or Comedy Nominated
Best Actor – Motion Picture Musical or Comedy Antonio Banderas Nominated
MTV Movie Awards[69] Best Breakthrough Female Performance Catherine Zeta-Jones Nominated
Best Fight Antonio Banderas, Catherine Zeta-Jones Nominated
Saturn Awards[70] Best Action/Adventure/Thriller Film Nominated
Best Actress Catherine Zeta-Jones Nominated
Best Costumes Graciela Mazón Nominated
Comic book adaptation[edit]
Image Comics: The Mask of Zorro (August 1998)[71]
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Jump up ^ "The Mask of Zorro". British Academy of Film and Television Arts. Retrieved October 26, 2010.
Jump up ^ "The Mask of Zorro". Hollywood Foreign Press Association. Archived from the original on July 13, 2010. Retrieved October 26, 2010.
Jump up ^ "1999 MTV Movie Awards". MTV Movie Awards. Retrieved October 26, 2010.
Jump up ^ "Past Award Winners". Academy of Science Fiction, Fantasy & Horror Films. Archived from the original on May 12, 2011. Retrieved October 26, 2010.
Jump up ^ Image Comics: The Mask of Zorro at the Comic Book DB
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Seven Wonders of the Ancient World
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 24 July 2018.
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"7 Wonders of the Ancient World" redirects here. For the video game, see 7 Wonders of the Ancient World (video game).
The Seven Wonders of the Ancient World (from left to right, top to bottom): Great Pyramid of Giza, Hanging Gardens of Babylon, Temple of Artemis, Statue of Zeus at Olympia, Mausoleum at Halicarnassus, Colossus of Rhodes, and the Lighthouse of Alexandria
Timeline and map of the Seven Wonders. Dates in bold green and dark red are of their construction and destruction, respectively.
The Seven Wonders of the World or the Seven Wonders of the Ancient World is a list of remarkable constructions of classical antiquity given by various authors in guidebooks or poems popular among ancient Hellenic tourists. Although the list, in its current form, did not stabilise until the Renaissance, the first such lists of seven wonders date from the 1st-2nd century BC. The original list inspired innumerable versions through the ages, often listing seven entries. Of the original Seven Wonders, only one—the Great Pyramid of Giza (also called the Pyramid of Khufu, after the pharaoh who built it), the oldest of the ancient wonders—remains relatively intact. The Colossus of Rhodes, the Lighthouse of Alexandria, the Mausoleum at Halicarnassus, the Temple of Artemis and the Statue of Zeus were all destroyed. The location and ultimate fate of the Hanging Gardens are unknown, and there is speculation that they may not have existed at all.
Contents
1 Background
2 Scope
3 Wonders
4 Influence
4.1 Arts and architecture
4.2 Modern lists
5 See also
6 References
7 Further reading
8 External links
Background
The Greek conquest of much of the known western world in the 4th century BC gave Hellenistic travellers access to the civilizations of the Egyptians, Persians, and Babylonians.[1] Impressed and captivated by the landmarks and marvels of the various lands, these travellers began to list what they saw to remember them.[2][3]
Instead of "wonders", the ancient Greeks spoke of "theamata" (θεάματα), which means "sights", in other words "things to be seen" (Τὰ ἑπτὰ θεάματα τῆς οἰκουμένης [γῆς] Tà heptà theámata tēs oikoumenēs [gēs]). Later, the word for "wonder" ("thaumata" θαύματα, "wonders") was used.[4] Hence, the list was meant to be the Ancient World's counterpart of a travel guidebook.[1]
The first reference to a list of seven such monuments was given by Diodorus Siculus.[5][6] The epigrammist Antipater of Sidon[7] who lived around or before 100 BC,[8] gave a list of seven such monuments, including six of the present list (substituting the walls of Babylon for the lighthouse):[9]
I have gazed on the walls of impregnable Babylon along which chariots may race, and on the Zeus by the banks of the Alpheus, I have seen the hanging gardens, and the Colossus of the Helios, the great man-made mountains of the lofty pyramids, and the gigantic tomb of Mausolus; but when I saw the sacred house of Artemis that towers to the clouds, the others were placed in the shade, for the sun himself has never looked upon its equal outside Olympus. – Greek Anthology IX.58
The Great Pyramid of Giza, the only one of the Seven Wonders of the Ancient World still standing
Another 2nd century BC observer, who claimed to be the mathematician Philo of Byzantium,[10] wrote a short account entitled The Seven Sights of the World. However, the incomplete surviving manuscript only covered six of the supposedly seven places, which agreed with Antipater's list.[3]
Earlier and later lists by the historian Herodotus (484 BC–ca. 425 BC) and the architect Callimachus of Cyrene (ca. 305–240 BC), housed at the Museum of Alexandria, survived only as references.
The Colossus of Rhodes was the last of the seven to be completed, after 280 BC, and the first to be destroyed, by an earthquake in 226/225 BC. Hence, all seven existed at the same time for a period of less than 60 years.
Scope
The list covered only the sculptural and architectural monuments of the Mediterranean and Middle Eastern regions,[10] which then comprised the known world for the Greeks. Hence, extant sites beyond this realm were not considered as part of contemporary accounts.[1]
The primary accounts, coming from Hellenistic writers, also heavily influenced the places included in the wonders list. Five of the seven entries are a celebration of Greek accomplishments in the arts and architecture (the exceptions being the Pyramids of Giza and the Hanging Gardens of Babylon).
Wonders
Map all coordinates using: OpenStreetMap
Download coordinates as: KML · GPX
Name
Date of construction
Builders
Date of destruction
Cause of destruction
Modern location
Great Pyramid of Giza 2584–2561 BC Egyptians Still in existence, majority of façade gone Giza Necropolis, Egypt
29°58′45.03″N 31°08′03.69″E / 29.9791750°N 31.1343583°E / 29.9791750; 31.1343583 (Great Pyramid of Giza)
Hanging Gardens of Babylon
(existence unresolved)[11] c. 600 BC (evident) Babylonians or Assyrians After 1st century AD Unknown Hillah or Nineveh, Iraq
32°32′08″N 44°25′39″E / 32.5355°N 44.4275°E / 32.5355; 44.4275 (Hanging Gardens of Babylon)
Temple of Artemis at Ephesus c. 550 BC; and again at 323 BC Greeks, Lydians 356 BC (by Herostratus)
AD 262 (by the Goths) Arson by Herostratus, plundering Near Selçuk, Turkey
37°56′59″N 27°21′50″E / 37.94972°N 27.36389°E / 37.94972; 27.36389 (Temple of Artemis at Ephesus)
Statue of Zeus at Olympia 466–456 BC (temple)
435 BC (statue) Greeks 5th–6th centuries AD Disassembled and reassembled at Constantinople; later destroyed by fire Olympia, Greece
37°38′16.3″N 21°37′48″E / 37.637861°N 21.63000°E / 37.637861; 21.63000 (Statue of Zeus at Olympia)
Mausoleum at Halicarnassus 351 BC Greeks,[12][13] Persians, Carians 12th–15th century AD Earthquakes Bodrum, Turkey
37°02′16″N 27°25′27″E / 37.0379°N 27.4241°E / 37.0379; 27.4241 (Mausoleum at Halicarnassus)
Colossus of Rhodes 292–280 BC Greeks 226 BC 226 BC Rhodes earthquake Rhodes, Greece
36°27′04″N 28°13′40″E / 36.45111°N 28.22778°E / 36.45111; 28.22778 (Colossus of Rhodes)
Lighthouse of Alexandria c. 280 BC Greeks, Ptolemaic Egyptians AD 1303–1480 1303 Crete earthquake Alexandria, Egypt
31°12′50″N 29°53′08″E / 31.21389°N 29.88556°E / 31.21389; 29.88556 (Lighthouse of Alexandria)
Influence
A map showing the locations of the seven wonders of the ancient world
Arts and architecture
In this painting by Maerten van Heemskerck, the Seven Wonders of the Ancient World are depicted as a background for the abduction of Helen by Paris.[14] The Walters Art Museum
The seven wonders on Antipater's list won praises for their notable features, ranging from superlatives of the highest or largest of their types, to the artistry with which they were executed. Their architectural and artistic features were imitated throughout the Hellenistic world and beyond.
The Greek influence in Roman culture, and the revival of Greco-Roman artistic styles during the Renaissance caught the imagination of European artists and travellers.[15] Paintings and sculptures alluding to Antipater's list were made, while adventurers flocked to the actual sites to personally witness the wonders. Legends circulated to further complement the superlatives of the wonders.
Modern lists
Of Antipater's wonders, the only one that has survived to the present day is the Great Pyramid of Giza. Its brilliant white stone facing had survived intact until around 1300 AD, when local communities removed most of the stonework for building materials. The existence of the Hanging Gardens has not been proven, although theories abound.[16] Records and archaeology confirm the existence of the other five wonders. The Temple of Artemis and the Statue of Zeus were destroyed by fire, while the Lighthouse of Alexandria, Colossus, and tomb of Mausolus were destroyed by earthquakes. Among the artifacts to have survived are sculptures from the tomb of Mausolus and the Temple of Artemis in the British Museum in London.
Still, the listing of seven of the most marvellous architectural and artistic human achievements continued beyond the Ancient Greek times to the Roman Empire, the Middle Ages, the Renaissance and to the modern age. The Roman poet Martial and the Christian bishop Gregory of Tours had their versions.[1] Reflecting the rise of Christianity and the factor of time, nature and the hand of man overcoming Antipater's seven wonders, Roman and Christian sites began to figure on the list, including the Colosseum, Noah's Ark and Solomon's Temple.[1][3] In the 6th century, a list of seven wonders was compiled by St. Gregory of Tours: the list[17] included the Temple of Solomon, the Pharos of Alexandria and Noah's Ark.
Modern historians, working on the premise that the original Seven Ancient Wonders List was limited in its geographic scope, also had their versions to encompass sites beyond the Hellenistic realm—from the Seven Wonders of the Ancient World to the Seven Wonders of the World. Indeed, the "seven wonders" label has spawned innumerable versions among international organizations, publications and individuals based on different themes—works of nature, engineering masterpieces, constructions of the Middle Ages, etc. Its purpose has also changed from just a simple travel guidebook or a compendium of curious places, to lists of sites to defend or to preserve.
See also
Eighth Wonder of the World, about attempted additions to the famous ancient list.
Wonders of the World, about similar lists made throughout the ages.
Seven Wonders of the World (1956 film)
References
^ Jump up to: a b c d e "The Seven Wonders of the Ancient World". Retrieved 2009-09-14.
Jump up ^ "History of the Past: World History".
^ Jump up to: a b c Paul Lunde (May–June 1980). "The Seven Wonders". Saudi Aramco World. Archived from the original on 2009-10-13. Retrieved 2009-09-12.
Jump up ^ Clayton, Peter; Martin J. Price (1990). The Seven Wonders of the Ancient World. Routledge. p. 4. ISBN 978-0-415-05036-4.
Jump up ^ Diodorus Siculus. Bibliotheca Historica, Books I-V. 2.11.5: Perseus Project, Tufts University.
Jump up ^ Clayton, Peter A.; Price, Martin (2013-08-21). The Seven Wonders of the Ancient World. Routledge. p. 158. ISBN 9781136748097. Retrieved 25 November 2016.
Jump up ^ Greek Anthology, Volume III. Book 9, chapter 58: Perseus Project, Tufts University.
Jump up ^ Biographical Dictionary Volume III. Society for the Diffusion of Useful Knowledge. 1843. p. 48. Retrieved 25 November 2016.
Jump up ^ Clayton, Peter A.; Price, Martin (2013-08-21). The Seven Wonders of the Ancient World. Routledge. p. 10. ISBN 9781136748103. Retrieved 25 November 2016.
^ Jump up to: a b The New Encyclopædia Britannica Micropædia Volume 10. USA: Encyclopædia Britannica, Inc. 1995. p. 666. ISBN 0-85229-605-3.
Jump up ^ There is some conjecture as to whether the Hanging Gardens actually existed, or were purely legendary (see Finkel, Irving (1988) “The Hanging Gardens of Babylon,” In The Seven Wonders of the Ancient World, Edited by Peter Clayton and Martin Price, Routledge, New York, pp. 38 ff. ISBN 0-415-05036-7).
Jump up ^ Kostof, Spiro (1985). A History of Architecture. Oxford: Oxford University Press. p. 9. ISBN 0-19-503473-2.
Jump up ^ Gloag, John (1969) [1958]. Guide to Western Architecture (Revised ed.). The Hamlyn Publishing Group. p. 362.
Jump up ^ "Panorama with the Abduction of Helen Amidst the Wonders of the Ancient World". The Walters Art Museum.
Jump up ^ "Wonders of Europe". Retrieved 2009-09-14.
Jump up ^ Stephanie Dalley (2013), The Mystery of the Hanging Garden of Babylon: an elusive World wonder traced. OUP ISBN 978-0-19-966226-5
Jump up ^ Clayton, Peter and Price, Martin: The Seven Wonders of the Ancient World (Routledge, 1988), pp. 162–163.
Further reading
Clayton, Peter A., and Martin Price. The Seven Wonders of the Ancient World. New York: Dorset, 1989.
Deliyannis, Deborah Mauskopf. “The mausoleum of Theoderic and the Seven Wonders of the World.” Journal of Late Antiquity 3, no. 2 (2010): 365-85.
D'Epiro, Peter, and Mary Desmond Pinkowish. What Are the Seven Wonders of the World? and 100 Other Great Cultural Lists. New York: Anchor Books/Doubleday, 1988.
Jordan, Paul. The Seven Wonders of the Ancient World. Harlow, UK: Longman, 2002.
Mueller, Artur. The seven wonders of the world: Five thousand years of culture and history in the ancient world. New York: McGraw-Hill, 1968.
Romer, John, and Elizabeth Romer. The Seven Wonders of the World: A History of the Modern Imagination. 1st American ed. New York: Henry Holt, 1995.
External links
Wikimedia Commons has media related to Seven Wonders of the World.
Library resources about
Seven Wonders of the Ancient World
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"Seven Ancient Wonders of the World" on The History Channel website. Also includes links to medieval, modern and natural wonders.
Parkin, Tim, Researching Ancient Wonders: A Research Guide, from the University of Canterbury, New Zealand. – a collection of books and Internet resources with information on seven ancient wonders.
"Eternal wonder of humanity's first great achievements", by Jonathan Glancey in The Guardian, 10 March 2007
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