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132 Cards in this Set
- Front
- Back
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Heinrich Schliemann |
Heinrich Schliemann (German: [ˈʃliːman]; 6 January 1822 – 26 December 1890) was a German businessman and a pioneer in the field of archaeology. He was an advocate of the historical reality of places mentioned in the works of Homer. Schliemann was an archaeological excavator of Hissarlik, now presumed to be the site of Troy, along with the Mycenaean sites Mycenae and Tiryns. His work lent weight to the idea that Homer's Iliadand Virgil's Aeneid reflect actual historical events. Schliemann's excavation of nine levels of archaeological remains with dynamite has been criticized as destructive of significant historical artifacts, including the level that is believed to be the historical Troy.[1]Along with Arthur Evans, Schliemann was a pioneer in the study of Aegean civilization in the Bronze Age. The two men knew of each other, Evans having visited Schliemann's sites. Schliemann had planned to excavate at Knossos, but died before fulfilling that dream. Evans bought the site and stepped in to take charge of the project, which was then still in its infancy. |
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Michael Ventris |
Michael George Francis Ventris, OBE was an English linguist and architect who, along with John Chadwick and Alice Kober, deciphered Linear B, a previously unknown ancient script discovered at Knossos by Arthur Evans |
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cyclopaean masonry |
is a type of stonework found in Mycenaean architecture, built with massive limestone boulders, roughly fitted together with minimal clearance between adjacent stones and no use of mortar. |
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ashlar |
Ashlar is finely dressed (cut, worked) masonry, either an individual stone that has been worked until squared or the masonry built of such stone. It is the finest stonemasonry unit, generally cuboid, mentioned by Vitruvius as opus isodomum, or less frequently trapezoidal. |
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megaron |
was the great hall of the Grecian palace complexes. It was a rectangular hall, fronted by an open, two-columned porch, and a more or less central, open hearth vented though an oculus in the roof above it and surrounded by four columns. |
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corbelled |
support (a structure such as an arch or balcony) on corbels.A corbel arch (or corbeled / corbelled arch) is anarch-like construction method that uses the architectural technique of corbeling to span a space or void in a structure, such as an entranceway in a wall or as the span of a bridge. A corbel vault uses this technique to support the superstructure of a building's roof. |
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tholos tomb |
beehive tomb, also known as a tholos tomb (plural tholoi) (Greek: θολωτός τάφος, θολωτοί τάφοι, "domed tombs"), is a burial structure characterized by its false dome created by the superposition of successively smaller rings of mudbricks or, more often, stones. |
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rhyton |
A rhyton (plural rhytons or, following the Greek plural, rhyta) is a container from which fluids were intended to be drunk or to be poured in some ceremony such as libation. The English wordrhyton originates in the ancient Greek word ῥυτόν (rhy̆tón or rhŭtón). |
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slip (in pottery) |
A slip is a suspension in water of clay and/or other materials used in the production of ceramic ware. |
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Comparative chronology: Egypt, Cyclades, Crete, Mainland Greece |
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Map: The Mycenaean Cities, ca. 1200 BC |
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Corbeled gallery in the walls of the citadel, Tiryns, Greece, ca. 1400-1200 BCE. |
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Lion Gate, Mycenae, Greece, ca. 1300-1250 BCE. Limestone, relief panel approx. 9' 6" high. |
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Lion Gate, Mycenae, Greece, ca. 1300-1250 BCE. Limestone, relief panel approx. 9' 6" high. DETAIL - Lions. |
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Stairwell ("Grand Staircase")in the residential quarter of the palace at Knossos (Crete), Greece, ca. 1700-1400 BCE.ALTERNATE IMAGE |
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Plan of a Mycenaean Megaron |
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Ruin of the megaron at Pylos, ca. 1300-1200 BCE |
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Reconstruction of the megaron at Pylos |
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Diagram of a shaft grave (Mycenae) |
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Funerary mask, from Grave Circle A, Mycenae, Greece, ca. 1600-1500 BCE. Beaten gold, approx. 1' high. |
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Bull's head rhyton found in shaft grave IV, Mycenae. Silver; eyes, nostrils, rosette, horns in gold plate. ca 16th c. BC Height without horns: 15.5 cm |
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Bull's head rhyton, from Knossos, ca 1500-1450 BC. Serpentine, crystal, and shell inlay (horns restored) . Height 81/8" |
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Female head, from Mycenae, Greece, ca. 1300-1250 BCE. Painted plaster, approx. 6 1/2" high. |
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Inlaid dagger blade with lion hunt, from Grave Circle A, Mycenae, Greece, ca. 1600-1500 BCE. Bronze, inlaid with gold, silver, and niello, approx. 9" long. |
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Inlaid dagger blade with lion hunt, from Grave Circle A, Mycenae, Greece, ca. 1600-1500 BCE. Bronze, inlaid with gold, silver, and niello, approx. 9" long. |
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Treasury of Atreus, Mycenae, Greece, EXTERIOR ca. 1300-1250 BCE. |
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Basic Chronology of Greek Art |
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Warrior Vase, from Mycenae, Greece, ca. 1200 BCE. Approx. 1' 4" high. |
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Stirrup jar with octopus , ca. 1200–1100 B.C. (Mycenaean). Height: 10 1/4in |
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Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3' 4 1/2" high. |
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Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625-600 BCE. Approx. 1' 2" high |
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Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700-680 BCE. Bronze, approx. 8" high. |
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Lady of Auxerre, statue of a goddess or kore, ca. 650-625 BCE. Limestone, approx. 2' 1 1/2" high. Louvre, Paris. ALTERNATE IMAGE |
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Kouros ("New York Kouros") ca. 600 BCE. Marble, approx. 6' 1/2" high. |
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Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, approx. 6' 4" high. |
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Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, approx. 4' high. |
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KLEITIAS and ERGOTIMOS, François Vase (Attic black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. General view (left) and detail of centauromachy on other side of vase (right). Approx. 2' 2" high. |
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EXEKIAS, Achilles and Ajax playing a dice game from Vulci, Italy, ca. 540-530 BCE. Whole vessel approx. 2' high. ALTERNATE IMAGE |
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The Death of Sarpedon. Calyx Krater by Euphronios (painter) and Euxitheos (potter). Attic, ca 515 BC |
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Kithara player. Amphora attributed to the Berlin Painter. Attic, ca. 490. h. 16 3/8" |
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krater |
A krater is a large vase which was used to mix wine and water in Ancient Greece |
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prothesis |
The lying in state of a body (prothesis) attended by family members |
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biercloth |
cloth draped over the casket of dead |
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amphora |
"two-handled vessel for holding wine, oil, etc. |
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freestanding |
sculpture that has nothing holdling itsself up |
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kouros |
A kouros (Ancient Greek: κοῦρος, plural kouroi) is the modern term given to free-standing ancient Greek sculptures which first appear in the Archaic period in Greece and represent nude male youths. In Ancient Greek kourosmeans "youth, boy, especially of noble rank." |
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encaustic |
Encaustic is a wax based paint (composed of beeswax, resin and pigment), which is kept molten on a heated palette. It is applied to an absorbent surface and then reheated in order to fuse the paint. |
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kore ( |
By definition, Kore (maiden) refers to statues depicting female figures, |
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archaic smile |
The Archaic smile was used by Greek Archaicsculptors, especially in the second quarter of the 6th century BCE, possibly to suggest that their subject was alive, and infused with a sense of well-being. |
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heroic nudity (also called ideal nudity) |
Heroic nudity or ideal nudity is a concept in classical scholarship to describe the use of nudity in classical sculpture to indicate that a sculpture's apparently mortal human subject is in fact a hero or semi-divine being. This convention began in archaic and classical Greece and was later adopted by Hellenistic and Roman sculpture |
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idealism |
the practice of forming or pursuing ideals, especially unrealistically."the idealism of youth" |
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black figure |
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic (Greek, μελανόμορφα, melanomorpha) is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating as late as the 2nd century BC |
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red figure |
Definition. by Heather Montgomery. published on 07 September 2012. Red-figure Pottery is a style of Greek vase painting that was invented in Athens around 530 BCE. The style is characterized by drawn red figures and a painted black background. |
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Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure approx. 8' 1" high. ALTERNATE IMAGE |
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Old market woman, ca. 150-100 BCE. Marble, approx. 4' 1/2" high. ALTERNATE IMAGE. |
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ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome, Italy, early first century CE Marble, approx. 7' 10 1/2" high |
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EPIGONOS(?), Dying Gaul. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230-220 BCE, |
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EPIGONOS(?), Gallic chieftain killing himself and his wife. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230-220 BCE, approx. 6' 11" high |
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Alexander the Great. Head from a Hellenistic copy (ca 200 BC) of a statue, possibly of a 4th century BC original by Lysippos. Marble fragment, h. approx. 16" |
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Warrior, from the sea off Riace, Italy, ca. 460-450 BCE. Bronze, approx. 6' 6" high. |
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POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450-440 BCE, 6' 11" high. |
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Apollo, from the Battle of the Lapiths and the Centaurs, from the west pediment of the Temple of Zeus at Olympia, ca 460 BC. Marble, slightly over life size. |
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Battle of the Lapiths and the Centaurs, from the west pediment of the Temple of Zeus at Olympia, ca 460 BC. Marble, slightly over life size. (photographic reconstruction) |
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Charioteer, from a group dedicated by Polyzalos of Gela in the Sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, approx. 5' 11" high. Archaeological Museum, Delphi. |
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PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8' 10" X 16' 9" |
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NIOBID PAINTER, Artemis and Apollo slaying the children of Niobe (Attic red-figure calyx krater), from Orvieto, Italy, ca. 450 BCE. Approx. 1' 9" high. |
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pediment |
the triangular upper part of the front of a building in classical style, typically surmounting a portico of columns. |
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Lapiths |
The Lapiths (/ˈlæpɨθs/; Ancient Greek: Λαπίθαι) are a legendary people of Greek mythology, whose home was in Thessaly, in the valley of the Peneus and on the mountain Pelion. They were an Aeolian tribe. Like the Myrmidons and other Thessalian tribes, the Lapiths were pre-Hellenic in their origins |
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Ruin of the megaron at Pylos, ca. 1300-1200 BCE |
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Terracotta model of an early Greek temple, from Argos 8th century BC, Length: 14 ½" |
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Diagram of Doric and Ionic Orders of architecture. |
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Diagram of Doric and Ionic Orders of architecture. |
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Diagram of a typical Greek peripteral temple. |
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Temple of Hera I ("Basilica"), Paestum, Italy, ca. 550 BCE. |
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Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE |
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lan of the Parthenon, Acropolis, Athens, Greece, 447-432 BCE. ALTERNATE IMAGE |
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Varvakeion Athena. (Roman copy of the monumental statue of Athena Parthenos by Phidias ca 438 BC.) Marble. Height 3 feet 5 1/2 inches (with base) . |
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Temple of Hera II, Paestum, Italy, ca. 460 BC |
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IKTINOS and KALLIKRATES, Parthenon, the Temple of Athena Parthenos (view from the northwest), Acropolis, Athens, Greece, 447-438 BCE. ALTERNATE IMAGE |
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Details of the Panathenaic Festival procession frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447-438 BCE. Marble, approx. 3' 6" high. Horsemen of north frieze (top), British Museum, London; Acropolis Museum, Athens; and elders and maidens of east frieze (bottom), Louvre, Paris. |
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Plan of the Erechtheion, Acropolis, Athens, Greece, ca. 421-405 BC |
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Erechtheion (view from the southeast), Acropolis, Athens, Greece, ca. 421-405 BC |
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Caryatid from the south porch of the Erechtheion, Acropolis, Athens, Greece, ca. 421-405 BCE. Marble, 7' 7" high |
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Erechtheion, Porch of the Maidens, Acropolis, Athens, Greece, ca. 421-405 BC |
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doric order (style) of Greek temple |
Doric columns stood directly on the flat pavement (the stylobate) of a temple without a base topped by a smooth capital that flared from the column to meet a square abacus at the intersection with the horizontal beam (architrave) that they carried alternating triglyphs and metopes. |
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Ionic order of Greek temple |
The Ionic capital is characterized by the use of volutes. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform; Ionic order: 1 - entablature, 2 - column, 3 - cornice, 4 - frieze, 5 - architrave or epistyle, 6 - capital (composed of abacus and volutes),7 - shaft, 8 - base, 9 - stylobate, 10 - krepis. |
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megaron |
The megaron (/ˈmɛɡəˌrɒn/; Ancient Greek: μέγαρον), plural megara /ˈmɛɡərə/, was the great hall of the Grecian palace complexes. It was a rectangular hall, fronted by an open, two-columned porch, and a more or less central, open hearth vented though an oculus in the roof above it and surrounded by four columns. |
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cella |
A cella (from Latin for small chamber) or naos (from the Greek ναός, "temple"), is the inner chamber of a temple in classical architecture, or a shop facing the street in domestic Roman architecture (see domus). |
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three styles |
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capital (of column) pediment (PED uh ment entablature (en TAB luh chur) architrave (ARK uh trayve) triglyph (TRY glif) metope (MET uh pee) |
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Ionic frieze |
ornamental e frieze is ornamented with relief figures, Roman buildings the frieze is decorated with plant motifs such asanthemions and acanthus foliage or garlands. |
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Doric Frieze |
classic Doric order is usually composed of alternate triglyphs |
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caryatid |
A caryatid (/kæriˈætɪd/; Greek: Καρυάτις, plural: Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town of Peloponnese |
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entasis |
a slight convex curve in the shaft of a column, introduced to correct the visual illusion of concavity produced by a straight shaft. |
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Fibula with Orientalizing lions, from the Regolini-Galassi Tomb, Cerveteri, Italy, ca. 650-640 BCE. Gold, approx. 1' 1/2" high. |
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Tumuli, Cerveteri, 7th to 6th c. BC. |
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Tomb of the Shields and the Chairs, Cerveteri, ca 600 BC, Tufa |
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Two horsemen flanking man and youth offering cup to a Lady. Tarquinia, Tomb of the Baron, ca 510 BC |
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Leopards, banqueters, and musicians, detail of mural paintings in the Tomb of the Leopards, Tarquinia, Italy, ca. 480-470 BCE. |
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Sacrifice of Trojan prisoners (W/ Achilles flanked by goddess Vanth + Charu ((Charon) holding hammer) 350-330 BC Francios tomb Vulci |
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Sarcophagus of Lars Pulena, from Tarquinia, Italy, early second century BCE. Tufa, approx. 6' 6" long. |
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tumulus |
A tumulus (plural tumuli) is a mound of earth and stones raised over a grave or graves. Tumuli also are known as barrows, burial mounds, Hügelgräber, or kurgans, and may be found throughout much of the world. A cairn, which is a mound of stones built for various purposes, might also originally have been atumulus. |
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tufa |
Tufa is a variety of limestone, formed by the precipitation of carbonate minerals from ambient temperature water bodies. Geothermally heated hot springs sometimes produce similar (but less porous) carbonate deposits known as travertine |
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Vanth |
female winged death demon |
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Charu |
Charu is a Sanskrit word. It means something beautiful, graceful and pure in a spiritual sense. |
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PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8' 10" X 16' 9" |
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Fourth Style wall paintings in the Ixion Room (Triclinium P) of the House of the Vettii, Pompeii, Italy, ca. 70-79 AD. |
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Third Style wall painting, from Cubiculum 15 of the Villa of Agrippa Postumus, Boscotrecase, Italy, ca. 10 BCE. Approx. 7' 8" high. |
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Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca. 60-50 BCE. Frieze approx. 5' 4" high |
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Second Style wall paintings ( and detail of architectural panel) from Cubiculum M of the Villa of Publius Fannius Synistor, Boscoreale, Italy, ca. 50-40 BCE. Approx. 8' 9" high. |
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First Style wall painting in the fauces of the Samnite House, Herculaneum, Italy, late second century BCE. |
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peristyle |
In Hellenistic Greek and Roman architecture aperistyle (/ˈpɛrəˌstaɪl/; from Greek περίστυλος) is a columned porch or open colonnade in a building surrounding a court which contains an internal garden. Tetrastoon (from Greek τετράστῳον, "four arcades") is another name for this feature. |
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atrium |
main or central room |
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First, or "incrustation" style (of painting) |
Wall is sturdy / common painting of rocks or stones |
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Second or "architectural" style (of painting) |
The Second style, architectural style, or 'illusionism' dominated the 1st century BC, where walls were decorated with architectural features and trompe l'oeil (trick of the eye) compositions. Early on, elements of this style are reminiscent of the First Style, but this slowly starts to be substituted element by element. This technique consists of highlighting elements to pass them off as three-dimensional realities - columns for example, dividing the wall-space into zones - and was a method widely used by the Romans |
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Third ornate style |
The Third style, or ornate style, was popular around 20–10 BC as a reaction to the austerity of the previous period. It leaves room for more figurative and colorful decoration, with an overall more ornamental feeling, and often presents great finesse in execution. This style is typically noted as simplistically elegant. |
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fourth style |
haracterized as a baroque reaction to the Third Style's mannerism, the Fourth Style in Roman wall painting (c. 60–79 AD) is generally less ornamented than its predecessor. The style was, however, much more complex. It revives large-scale narrative painting and panoramic vistas while retaining the architectural details of the Second and First Styles. In the Julio-Claudian phase (c. 20–54 AD), a textile like quality dominates and tendrils seem to connect all the elements on the wall. The colors warm up once again, and they are used to advantage in the depiction of scenes drawn from mythology. |
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cubiculum |
Cubicula were small rooms used for a number of different purposes |
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atmospheric (also called aerial) perspective |
Aerial perspective or atmospheric perspective refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance. As the distance between an object and a viewer increases, thecontrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift towards the background color, which is usually blue, but under some conditions may be some other color (for example, at sunrise or sunset distant colors may shift towards red). |
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herringbone perspective |
A type of perspective in which the lines of projection converge not on a vanishing point, but on a vertical axis at the center of the picture, as in Roman painting.Also see depth and orthogonals. |
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Procession of the imperial family, detail of the south frieze of the Ara Pacis Augustae, Rome, Italy, 13-9 BCE. Marble, approx. 5' 3" high |
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Female personification (Tellus?), panel from the east facade of the Ara Pacis Augustae, Rome, Italy, 13-9 BCE. Marble, approx. 5' 3" high. |
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Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy, 13-9 BCE. |
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Portrait of Augustus as general, from Primaporta, Italy, copy of a bronze original of ca. 20 BCE.Also called the "Augustus of Primaporta." Marble, 6' 8" high. |
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Head of a Roman patrician, from Otricoli, Italy, ca. 75-50 BCE. Marble, approx. 1' 2" high. |
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Aule Metele (Arringatore), also called The Orator, from Cortona, near Lake Trasimeno, Italy, early first century BCE. Bronze, approx. 5' 7" high. |
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Sarcophagus with reclining couple (also called the "Married Couple Sarcophagus"), detail: faces, from Cerveteri, Italy, ca. 520 BCE. Painted terracotta, approx. 6' 7" X 3' 9 1/2". ALTERNATE IMAGE |
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Chimera of Arezzo, from Arezzo, Italy, first half of fourth century BCE. Bronze, approx. 2' 7 1/2" high |
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Capitoline Wolf, from Rome, Italy, ca. 500-480 BCE. Bronze, approx. 2' 7 1/2" high. |
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sarcophagus |
a stone coffin, typically adorned with a sculpture or inscription and associated with the ancient civilizations of Egypt, Rome, and Greece. |
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verism |
super realistic features on a sculpture |
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patrician |
wealthy person |
