Saint Sophia church, Athens

The Stoa of Eumenes was a Hellenistic colonnade built on the South slope of the Acropolis, Athens and which lay between the Theater of Dionysus and the Odeon of Herodes Atticus The gallery was donated to the city of Athens by the king of Pergamon, Eumenes II (197–159 BC), around 160 BC. Vitruvius makes reference to the building when speaking about the purpose of stoai erected near theatres that served as a refuge for the spectators in inclement weather conditions or as stores for theatre props.

Dionysiou Areopagitou Street (Greek: Οδός Διονυσίου Αρεοπαγίτου, Greek pronunciation: [oˈðos ðjoniˈsiu areopaˈʝitu]) is a pedestrianized street, adjacent to the south slope of the Acropolis in the Makrygianni district of Athens. It is named after Dionysius the Areopagite, the first Athenian convert to Christianity after Apostle Paul's sermon, according to the Acts of the Apostles, and patron saint of the city of Athens. The street runs from east to west. It starts from Amalias Avenue near the Arch of Hadrian and ends near Philopappos Hill where it continues as Apostolou Pavlou Avenue, the rest of the pedestrian zone which goes around the archaeological site of the Acropolis and the Agora. The street was first mapped in 1857 in a position more northern than where it is located today, adjacently to the Odeon of Herodes Atticus. It acquired its current shape in 1955, when it was redesigned by architect Dimitris Pikionis, who also designed the paved paths of the archaeological site. The street was finally pedestrianized in 2003.

The Odeon of Herodes Atticus (Greek: Ωδείο Ηρώδου του Αττικού; also called Herodeion or Herodion; Greek: Ηρώδειο) is a stone Roman theatre structure located on the southwest slope of the Acropolis of Athens, Greece. The building was completed in AD 161 and then renovated in 1950.

Athens – Epidaurus Festival is an annual arts festival that takes place in Athens and Epidaurus, from May to October. It is one of the most famous festivals in Greece. The festival includes musical, theatrical and other cultural events.

Ilias Lalaounis Jewelry Museum (often referred to as the ILJM) is a museum in Athens, Greece, created by the renowned Greek jewellery designer Ilias Lalaounis. The ILJM is located near the Acropolis, at the corner of Karyatidon and Kallisperi streets. It comprises 50 collections of a total of over 4,000 jewels and small ornaments dedicated to the history and art of jewellery making. The permanent exhibition displays more than 3000 pieces designed in the period 1940–1992.

The Chalkotheke (Greek for "bronze store") was a structure on the Athenian Acropolis, Greece. Its name and function are only known from 4th century BC inscriptions. One decree orders the listing of all objects stored in the Chalkotheke and the erection of a stele inscribed with that list in front of the building.Remains of a structure discovered to the east of the sanctuary of Artemis Brauronia and immediately to the southwest of the Parthenon have been suggested to be those of the Chalkotheke. Only scant limestone foundations and rock-cut foundation trenches survive. The building stood in front of the southern Acropolis wall and was circa 43 m long and 14 m wide, fronted on its northern long side by a portico of 4.5 m width. To make room for that portico, the southernmost portion of the rock-cut steps leading up to the west facade of the Parthenon had to be cut away. Thus, the portico is assumed to have been an early fourth century BC addition, while the main part of the structure is thought to be roughly contemporary with the Parthenon, i.e. to date to the mid-fifth century. A major renovation appears to have taken place during Roman times, as indicated by numerous fragments of architectural members that are definitely Roman in date and have dimensions matching those of the Chalkotheke.

The Pelasgic wall or Pelasgian fortress or Enneapylon (Greek: Εννεαπύλον; nine-gated) was a monument supposed to have been built by the Pelasgians, after levelling the summit of the rock on the Acropolis of Athens. Thucydides and Aristophanes call it "Pelargikon", "Stork wall or place". "Pelargikon" refers to the line of walls at the western foot of the Acropolis. During the time of Thucydides, the wall was said to have stood several meters high with a large, visible fragment at 6 meters broad located on to the south of the present Propylaea and close to the earlier gateway. Today, the beveling can be seen but the foundation of the wall lies below the level of the present hill. The Parian Chronicle mentions that the Athenians expelled the Peisistratids from the "Pelasgikon teichos". Herodotus relates that before the expulsion of the Pelasgians from Attica, the land under Hymettus had been given to them as a dwelling-place in reward for the wall that had once been built around the Acropolis. Said to have been built by the Pelasgians, there are some remains of this wall still evident in modern Athens. The wall was believed to be 6 meters thick according to archaeological remains of the site.

The Choragic Monument of Nikias is a memorial building built in the Acropolis of Athens in 320–319 BCE to commemorate the choregos Nikias, son of Nikodemos. It was situated between the Theatre of Dionysos and the Stoa of Eumenes where its foundations remain along with some fragmentary elements of the structure. It was built in the form of a substantial hexastyle Doric temple with a square cella and might have been surmounted with the prize tripod of the Dionysia. The monument was dismantled at some point in late antiquity and the masonry reused in the Buelé Gate. Most of the surviving architectural remains of the choragic monument are built into the central portion of the Buelé Gate, which was uncovered and identified by its inscription by Charles Ernest Beulé in 1852.The original site of the monument, however, was not excavated until 1885 by Wilhelm Dörpfeld, who four years later discovered the foundations of the building and some other fragmentary members. William Dinsmoor confirmed Dörpfeld's conclusions in a detailed analysis and associated the foundations with the epistyle preserved on the Buelé Gate. The exact date of the destruction of the monument is unknown, however, Dinsmoor argued that it might have been at the same time as the demolition of the Stoa of Eumenes either in the late Roman period or at the time of the reconstruction of the Theatre of Dionysos by Phaidros in the 3rd or 4th century CE.Two of the major choragic monuments that have survived (Thrasyllos' and Nikias') belong to the period of oligarchic rule under the Macedonian regency, and it is perhaps significant that these are not on the Street of the Tripods, where most choragic prizes and monuments were placed. The conspicuous display of wealth and prestige they represent may have been an attempt to further the political careers of the choregoi and as such prompted the sumptuary law of Demetrios of Phaleron.

The Brauroneion was the sanctuary of Artemis Brauronia on the Athenian Acropolis, located in the southwest corner of the Acropolis plateau, between the Chalkotheke and the Propylaea in Greece. It was originally dedicated during the reign of Peisistratos. Artemis Brauronia, protector of women in pregnancy and childbirth, had her main sanctuary at Brauron, a demos on the east coast of Attica. The sanctuary on the Acropolis was of an unusual trapezoidal shape and did not contain a formal temple. Instead, a portico or stoa served that function. The stoa measured circa 38 by 6.8 m; it stood in front of the southern Acropolis wall, facing north. At its corners, there were two risalit-like side wings, each about 9.3 m long, the western one facing east and vice versa. North of the east wing stood a further short west-facing stoa. All of the sanctuary's western part, now lost, stood on the remains of the Mycenaean fortification wall. All that remains of the eastern pare are foundations for walls, cut into the bedrock, as well as some very few architectural members of limestone. One of the wings contained the wooden cult statue (xoanon) of the goddess. Women who petitioned Artemis for help habitually dedicated items of clothing, which were draped around the statue. In 346 BC, a second cult statue was erected. According to Pausanias, it was a work by Praxiteles.Pausanias wrote: There is also a sanctuary [at Athens] of Artemis Brauronia (of Brauron); the image is the work of Praxiteles, but the goddess derives her name from the parish of Brauron. The old wooden image is in Brauron, Artemis Tauria (of Tauros) as she is called. Pausanias also records the presence of an over-life-sized bronze horse representing the Trojan Horse. Then there is a sanctuary of the Brauronian Artemis... The horse one sees here, referred to as wooden, is in bronze... But tradition has it that inside that horse were hidden the most valiant of the Greeks, and indeed the design (schema) of the bronze figure fits in well with this story. Menestheus and Teucer are peeping out of it, and behind them also the sons of Theseus. Further evidence is provided by the scholion to Aristophanes mentioning the name of the dedicator, Chairedemos. This is corroborated by the survival of the base of the sculpture on the Acropolis, which is inscribed with the names of Chairedemos and its sculptor Strongylion. The reference in Aristophanes allows for a terminus ante quem of the statue of 415/414.The entrance to the small sacred precinct, near its northeast corner, is still marked by seven rock-cut steps. They, and its northern enclosure, were probably created by Mnesicles during the building of the Propylaea. The date of the complex in its final shape is unclear, but a date around 430 BC, similar to that of the adjacent Propylaea, is commonly assumed. If still in use by the 4th-century, the temple would have been closed during the persecution of pagans in the late Roman Empire, when the Christian Emperors issued edicts prohibiting non-Christian worship.

The Temple of Athena Nike (Greek: Ναός Αθηνάς Νίκης, Naós Athinás Níkis) is a temple on the Acropolis of Athens, dedicated to the goddesses Athena and Nike. Built around 420 BC, the temple is the earliest fully Ionic temple on the Acropolis. It has a prominent position on a steep bastion at the south west corner of the Acropolis to the right of the entrance, the Propylaea. In contrast to the Acropolis proper, a walled sanctuary entered through the Propylaea, the Victory Sanctuary was open, entered from the Propylaea's southwest wing and from a narrow stair on the north. The sheer walls of its bastion were protected on the north, west, and south by the Nike Parapet, named for its frieze of Nikai celebrating victory and sacrificing to their patroness, Athena and Nike. Nike was the goddess of victory in Greek mythology, and Athena was worshipped in this form, representative of being victorious in war. The citizens worshipped the goddesses in hopes of a successful outcome in the long Peloponnesian War fought against the Spartans and allies.

The Frankish Tower was a medieval tower built on the Acropolis of Athens by the Franks as part of the palace of the Dukes of Athens. It was demolished by the Greek authorities in 1874, on the initiative and with funding from Heinrich Schliemann.

The Asklepieion of Athens was the sanctuary built in honour of the gods Asclepius and Hygieia, located west of the Theatre of Dionysos and east of the Pelargikon wall on the southern escarpment of the Acropolis hill. It was one of several asklepieia in the ancient Greek world that served as rudimentary hospitals. It was founded in the year 419–18 BCE during the Peloponnesian War, perhaps as a direct result of the plague, by Telemachos Acharneas. His foundation is inscribed in the Telemachos Monument, a double-sided, marble column which is topped by reliefs depicting the arrival of the god in Athens from Epidaurus and his reception by Telemachos. The sanctuary complex consisted of the temple and the altar of the god as well as two galleries, the Doric Arcade which served as a katagogion for overnight patients in the Asklepieion and their miraculous (through dreams) healing by the god, and the Ionic Stoa that served as a dining hall and lodging for the priests of Asclepius and their visitors.The Doric Arcade was founded according to inscriptions in 300–299 BCE and was a two-storey building with 17 Doric columns on its facade. This is framed by the sacred spring at its eastern end and a pit lined with masonry at its western end. This source is a small cave in the rock, in which there lies the natural spring. The circular well or pit, a deep hollow with polygonal masonry built into the cliff face, was accessed from the second floor of the Doric Arcade and dates to the last quarter of the 5th century. F Robert proposed that it was a place devoted to the celebration of Heroes in the Asklepeion during ta Heroa, which witnessed sacrifices to the chthonic gods and heroes, as testified epigraphically. The Ionian Arcade, west of the temple, is also dated to the last quarter of the 5th century. The sanctuary on its west side was enclosed by a propylon for the visitors to access from the ancient promenade to the Asklepieion site. According to epigraphic evidence, the propylon was renovated in Roman times.At the beginning of the 6th c. CE, when Christian worship succeeded the ancient, all the monuments of Asclepius were demolished and the material incorporated into the complex of a large, three-aisled Early Christian basilica. In the Byzantine years (11th and 13th centuries) two smaller, single-aisled temples occupied the position of the basilica, while the latter of them functioned as the catholicon of a small monastery. Since 2002, partial restorations of the west end of the ground floor of the Doric Stoa façade, the room of the Sacred Cave on the first floor of the Doric Stoa and the temple of Asclepius have been performed.