Content Area 2: Ancient Mediterranean

Front 1

Back 1

N: White Temple and its ziggurat

D: c. 3500 - 3000 B.C.E

P/S: Sumerian

A: Sumerian Builders

OL: Uruk (modern Warka, Iraq)

P: N/A

M/T: Mud Brick

F: Served as home of Gilgamesh, was a monumental settling for the worship of the Sumerian dieties

DT: ample, dry, destroyed, additive method

C: Sumerians were able to build these from the rocks for their king

Front 2

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N: Palette of King Narmer

D: c. 3000 - 2920 B.C.E

P/S: Ancient Egypt

A: N/A

OL: Predynastic Egypt

P: N/A

M/T: Graywacke

F: Utilitarian Function - told historical story of how he got control over both areas of Egypt and it was used for putting on his eye makeup

DT: Hierarchical Scale, Stylized

C: It is decorated with Bulls to symbolize a goddess. Gods are represented through animals. He is showing how powerful he is and how he unified Upper and Lower Egypt.

Front 3

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N: Statues of votive figures

D: c. 2700 B.C.E

P/S: Sumerian

A: Unknown

OL: Square Temple at Eshnunna (modern Tell Asmar, Iraq)

P: N/A

M/T: Gypsum inlaid with shell and black limestone

F: presented as offerings to the Gods or used for prayer

DT: disproportionate, short, compact, stylized to show constant prayer

C: represent everyday men instead of dieties; arms folded in front; inscription on back - "Always praying"; Huge eyes w/ giant pupils; men have long flowing beards;

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N: Seated Scribe

D: c. 2620 - 2500 B.C.E

P/S: Old Kingdom, Fourth Dynasty

A: N/A

OL: Saqqara, Egypt

P: N/A

M/T: Painted Limestone

F: Less prominent person in society

DT: Realism, Stiff, Upright Posture, Frontal Pose, Life-Like Posture

C: This sculpture was found near a government officials tomb. It is unlike other other pieces during this time because it shows signs of aging.

Front 5

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N: Standard of Ur

D: c. 2600 - 2400 B.C.E

P/S: Sumerian

A: Unknown

OL: Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq)

P: N/A

M/T: Wood inlaid with shell, lapis lazuli, and red limestone

F: served as a historical narrative that depicts a king inspecting his defeated enemies

DT: Repetition in forms, narrative, detailed, disproportionate

C: shows two sides: war and peace; shows wealth being brought back to Ur due to trade and agriculture

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Back 6

N: Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx

D: c. 2550 - 2490 B.C.E

P/S: Old Kingdom, Fourth Dynasty

A: Egyptians

OL: Giza, Egypt

P: N/A

M/T: Cut Limestone

F: Kings Tomb

DT:

C:

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N: King Menkaura and Queen

D: c. 2490 - 2472 B.C.E

P/S: Old Kingdom, Fourth Dynasty

A: Unknown

OL: Giza, Egypt

P: Unknown

M/T: Graywacke

F: Shows the marital pose between Menkaura and his Queen.

DT: Rigid, Not Idealized

C: The statues show eternal youth for both Menkaura and his Queen. They are life sized at 4'6". Menkaura has clenched fists, which is his signature pose.

Front 8

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N: The Code of Hammurabi

D: c. 1792 - 1750 B.C.E

P/S: Susian

A: Hammurabi

OL: Babylon (modern India)

P: N/A

M/T: Basalt

F: Made for the community to see the laws in the central part of the town

DT: Additive method, composite view

C: Depicts Hammurabi standing next to the Sun God Shamash to show the idea of minimizing conflict

Front 9

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N: Temple of Amun-Re and Hypostyle Hall

D: Temple: c. 1550 B.C.E.; Hall: c. 1250 B.C.E.

P/S: New Kingdom, 18th and 19th Dynasties

A:

OL: Karnak, near Luxor, Egypt

P:

M/T: Cut Sandstone and Mud Brick

F:

DT:

C:

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N: Mortuary Temple of Hatshepsut

D: c. 1473 - 1458 B.C.E.

P/S: New Kingdom, 18th Dynasty

A:

OL: Near Luxor, Egypt

P:

M/T: Sandstone partially carved into a rock cliff, and red granite

F:

DT:

C:

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N: Akhenaton, Nefertiti, and three daughters

D: c. 1353 - 1135 B.C.E.

P/S: New Kingdom (Amarna), 18th Dynasty

A: Unknown

OL: Predynastic Egypt

P: Unknown

M/T: Limestone

F: Shows Akhenaton and his wife playing with their three daughters.

DT: Stylized, Sunken relief sculpture, casual, relaxed

C: Most pieces by rulers are about their power and how they have control. Akhenatons piece is so different because it shows the love for his family.

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N: Tutankhamun's tomb, innermost coffin

D: c. 1323 B.C.E.

P/S: New Kingdom, 18th Dynasty

A: Unknown

OL: Valley of the Kings, Thebes, Egypt

P: Unknown

M/T: Gold with large inlay of enamel and semiprecious stones

F: Held three coffins that Tut would lay to rest in.

DT: Shamanism, Polychrome

C: There is an image that holds him at a god level because it was made of solid gold.

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N: Last Judgement of Hu-Nefer, from his tomb (page from the Book of the Dead)

D: c. 1275 B.C.E.

P/S: New Kingdom, 19th Dynasty

A:

OL:

P:

M/T: Painted Papyrus Scroll

F:

DT:

C:

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N: Lamassu from the citadel of Sargon II

D: c. 720-705 B.C.E.

P/S: Neo-Assyrian

A: Assyrian people

OL: Dur Sharrukin (modern Khorsabad, Iraq)

P: n/a

M/T: Alabaster

F: Served as guards in front of citadel

DT: Monolithic sculptures, decorative, relief sculpture, composite view

C: They were made to to protect the people of the Assyrian palace from outsiders

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N: Athenian Agora

D: 600 B.C.E - 150 C.E.

P/S: Archaic through Hellenistic Greek

A: Unknown

OL: Athens, Greece

P: Various Patrons

M/T: Plan

F: Began as an open space for farmers and artisans to display wares and turned into government building with a sacred spot (the acropolis)

DT: Commercial, Civic, Social Life, Doric, Ionic

C: Archaic through Hellenistic Period. Over time it was a public and private building. It had religious purposes.

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N: Anavysos Kouros

D: c. 530 B.C.E.

P/S: Archaic Greek

A: Unknown

OL: Ancient Greece

P: Aristocratic Family

M/T: Marble with remnants of paint

F: Served as a grave marker for son, Kroisos, of aristocratic family

DT: Archaic,

C: Life sized. Monument of the ideal male figure - youthful. It shows the advancement in Greek sculptures.

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N: Peplos Kore from the Acropolis

D: c. 530 B.C.E.

P/S: Archaic Greek

A: unknown

OL: Acropolis

P: unknown

M/T: Marble, painted details

F: Either offering to goddess Athena or may be goddess Artemis. Unknown because unsure of what she's wearing exactly or what she was holding. Possibly a figure that represent being ideal femininity.

DT: Archaic

C: Name came from clothes she's wearing. It's a small sculpture. Sphinx and horses decorated on clothing.

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N: Sarcophagus of the Spouses

D: c. 520 B.C.E.

P/S: Etruscan

A:

OL:

P:

M/T: Terra Cotta

F:

DT:

C:

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N: Audience Hall (apadana) of Darius and Xerxes

D: c. 520-465 B.C.E.

P/S: Persian

A: Darius and Xerxes

OL: Persepolis, Iran

P: Darius and Xernes

M/T: Limestone

F: audience hall, idealized social structures, great king received tribute from all nations

DT: idealized, tribute

C: oldest building phase of the city designed by Darius the Great and construction completed by Xerxes I

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N: Temple of Minerva and sculpture of Apollo

D: c. 510-500 B.C.E

P/S:

A: Master Sculptor Vulca

OL: Veii, near Rome Italy

P:

M/T: original temple of wood, mud brick, or tufa (volcanic rock); Terra cotta sculpture

F:

DT:

C:

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N: Tomb of Triclinium

D: c. 480-470 B.C.E

P/S: Estruscan

A:

OL: Tarquinia, Italy

P:

M/T: Tufa and fresco

F:

DT:

C:

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N: Niobides Krater

D: c. 460-450 B.C.E.

P/S: Severe Style (Transition from Archaic to Classical)

A: Anonymous vase painter of Classical Greece known as the Niobid Painter

OL: Ancient Greece

P: unknown

M/T: Clay, red figure technique (white highlights)

F: Calyx Crater used to mix wine and water. Shows terrible scene of Niobe's children getting killed by Artemis' children. Also shows Heracles.

DT: Calyx Crater, Hubris, Various Ground Line

C: Niobe would brag about how much greater her kids were compared to Artemis' children, so Artemis sent her kids down to kill Niobes. Believed to have been copying a wall painting by an artist known as Polygnotus. It may be an attempt to translate the wall painting onto the vase.

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N: Doryphoros (Spear Bearer)

D: Original 450-440 B.C.E.

P/S: Transitions from Archaic to Classical (Very beginning of Classical)

A: Polykleitos

OL: O.G.- Greece

P: Unknown

M/T: Roman Copy (marble) of Greek Original (bronze)

F: Shows perfect, ideal beauty of the human form, not a sculpture of an individual person.

DT: Idealized

C: Romans found inspiration in Greek Art. This piece was about mathematical precision of proportions of the body, showing the ideal, perfect figure. This is a piece that demonstrates the beginning of turning away from the stiff renderings of the Archaic period and the beginning of the transition into the Classical period.

Front 24

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N: Acropolis

D: c. 447-424 B.C.E.

P/S: Classical

A: Iktinos and Kallikrates

OL: Athens, Greece

P: Pericles

M/T: Marble

F: Made to honor Athena

DT: Symmetry, Doric, Ionic, Frieze, Wet Drapery, Polychromatic Decorations

C: Shows excellence in workmanship. Symmetrical to show harmony. Very expensive. Several buildings. Phidias in charge of all sculptures in Parthenon

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N: Grave Stele of Hegeso

D: c. 410 B.C.E.

P/S: High Classical Moment (Resurgence of funerary sculptures)

A: Unknown

OL: Athens

P: Unknown

M/T: marble and paint

F: Grave Stone for Kallimachos

DT: Relief Sculpture,

C: Hegeso depicted opening a box given to her by her servant and examining a necklace. Shows domestic lifestyle even though in Athens women weren't allowed to be seen as citizens. Resembles Parthenon frieze.

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N: Winged Victory (Nike) of Samothrace

D: c. 190 B.C.E. (2nd century C.E.)

P/S: Hellenistic Greek

A: unknown

OL: Found in sanctuary on island Samothrace, north of Aegean

P: unknown

M/T: Marble

F: Shows Nike, messenger goddess that shares the news of victory

DT: Wet drapery

C: Has windswept energy full of motion and full of emotion. Resembles sculptures of Parthenon frieze.

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N: Altar of Zeus and Athena (at Pergamon)

D: c. 175 B.C.E.

P/S: Hellenistic Greek

A: Unknown

OL: Asia Minor (present day Turkey)

P: King Eumenes III

M/T: Marble (architecture and sculpture)

F: Shows battle between the giants and the gods and goddesses of mount Olympus. Gave the Greeks optimism that they could overcome any obstacle.

DT: Frieze, Influx motion, heroism, sense of power, high relief,

C: Shows sense of expressiveness and drama. Shows Athena at center, full of power and control. She is also being crowned by a winged Nike. Figures are shown coming from all directions. Zeus is also depicted as powerful and victorious.

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N: House of Vettii

D: c. Second Century B.C.E.; rebuilt c. 62-79 C.E.

P/S: Imperial Roman

A:

OL: Pompeii, Italy

P:

M/T: Cut Stone and fresco

F:

DT:

C:

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N: Alexander Mosaic

D: c. 100 B.C.E.

P/S: Republican Roman

A: N/A

OL: House of Faun, Pompeii

P: Citizen of Pompeii

M/T: Mosaic

F:

DT:

C:

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N: Seated Boxer

D: c. 100 B.C.E.

P/S: Hellenistic Greek

A: unknown

OL: buried under Quirinial

P: unknown

M/T: Bronze

F: Shows defeated boxer and gives the impression that the Greeks wanted to focus on pathos, instead of focusing on heroic, traditional subjects.

DT: Lost-wax casting, pathos,

C: Shows Greek advancement of changing from sculpting idealistic figures to realism. Rare to see a seated figure.

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N: Head of a Roman Patrician

D: c. 75-50 B.C.E.

P/S: Republican Roman

A: Unknown

OL: Rome, Italy

P: Roman Patrician

M/T: Marble

F:

DT:

C:

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N: Augustus of Prima Porta

D: Early First Century

P/S: Imperial Roman C.E

A:

OL:

P: Tiberious Caesar

M/T: Marble

F:

DT:

C:

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N: Colosseum (Flavian Amphitheater)

D: 70-80 C.E

P/S: Imperial Roman

A:

OL: Rome, Italy

P:

M/T: Stone and Concrete

F:

DT:

C:

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N: Forum of Trajan

D: Forum and Markets 106-112 C.E.; Column completed 113 C.E.

P/S:

A: Apollodorus of Damascus

OL:

P:

M/T: Brick and Concrete (architecture); marble (column)

F:

DT:

C:

Front 35

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N: Pantheon

D: 118-125 C.E.

P/S: Imperial Roman

A:

OL:

P:

M/T: Concrete with stone facing

F:

DT:

C:

Front 36

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N: Ludovisi Battle Sarcophagus

D: c. 250 C.E.

P/S: Late Imperial Roman

A:

OL:

P:

M/T: Marble

F:

DT:

C:

Front 37

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N: Catacomb of Priscilla

D: c. 200-400 C.E.

P/S: Late Antique Europe

A:

OL: Rome, Italy

P:

M/T: Excavated tufa and fresco

F:

DT:

C:

Front 38

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N: Santa Sabina

D: c. 422-432 C.E.

P/S: Late Antique Europe

A:

OL: Rome, Italy

P:

M/T: Brick and stone, wooden roof

F:

DT:

C:

Front 39

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N: Rebecca and Eliezer at the Well and Jacob Wrestling the Angel

D: Early Sixth Century C.E.

P/S: Early Byzantine Europe

A:

OL: Vienna Genesis

P:

M/T: Illuminated manuscripts (pigments on vellum)

F:

DT:

C:

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N: San Vitale

D: c. 526-547 C.E.

P/S: Early Byzantine Europe

A:

OL: Ravenna, Italy

P:

M/T: Brick, marble, and stone veneer;mosaic

F:

DT:

C:

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N: Hagia Sophia

D: 532-537 C.E.

P/S:

A: Anthemius of Tralles and Isidorus of Miletus

OL: Constantinople (Istanbul)

P:

M/T: Brick and ceramic elements with stone and mosaic veneer

F:

DT:

C:

Front 42

Front (Term)

Back 42

N: Merovingian looped fibula

D: Mid-Sixth Century C.E.

P/S: Early Medieval Europe

A:

OL:

P:

M/T: Silver gift worked in

F:

DT:

C:

Front 43

Front (Term)

Back 43

N: Virgin (Theotokos) and Child Between Saints Theodore and George

D: Sixth or Early Seventh Century C.E

P/S: Early Byzantine Europe

A:

OL:

P:

M/T: Encaustic on Wood

F:

DT:

C:

Front 44

Front (Term)

Back 44

N: Lindisfarne Gospels: St. Matthew, cross carpet page; St. Luke portrait page; St. Luke incipient page

D: c. 700 C.E.

P/S: Early Medieval (Hiberno Saxon) Europe

A:

OL:

P:

M/T: Illuminated Manuscript (ink, pigments, and gold on vellum)

F:

DT:

C:

Front 45

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N: Great Mosque

D: c. 785-786 C.E.

P/S:

A: Umayyad

OL: Córdoba, Spain

P:

M/T: Stone Masonry

F:

DT:

C:

Front 46

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N: Pyxis of al-Mughira

D: c. 986 C.E.

P/S:

A: Ummayad

OL:

P:

M/T:

F:

DT:

C:

Front 47

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N: Church of Sainte-Foy

D: Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., w/ later additions

P/S: Romanesque Europe

A:

OL: Conques, France

P:

M/T: Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary)

F:

DT:

C:

Front 48

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N: Bayeux Tapestry

D: c. 1066-1080 C.E.

P/S: Romanesque Europe (English or Norman)

A:

OL:

P:

M/T: Embroidery on Linen

F:

DT:

C:

Front 49

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N: Charles Cathedral

D: Original Construction: c. 1145-1155 C.E. Reconstruction: c. 1194-1220 C.E.

P/S: Gothic Europe

A:

OL: Chartres, France

P:

M/T: Limestone, stained glass

F:

DT:

C:

Front 50

Front (Term)

Back 50

N: Dedication Page with Blanche of Castile and King Louis IX of France and Scenes from the Apocalypse, from a Bible moralisée

D: c. 1226-1234 C.E.

P/S: Gothic Europe

A:

OL:

P:

M/T: Illuminated manuscript (ink, tempera, and gold leaf on vellum)

F:

DT:

C: