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260 Cards in this Set
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- Back
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Mycenean Lion Gate, c.1250BC - Ashlar work- Square cut masonary - corbel vaulting. Lines of protruding stone to form "archway effect" |
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Sub Mycenean Geometric Oinochoe, c.1100BC and Amphora, c.1050BC
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Proto Geometric Amphora, c.1000BC
-advanced pottery styles - technical control of the designs - use of multiple brushes -compasses -still virtually no human figures (very rare exceptions)
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Attic Louterion, c.740BC - Myth in art? -Dominance of two figures -Peripheral patterning minimal -Thesus and Ariadne? Paris and Helen?
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Late Geometric Vases; Amphora and Pitcher, c.800BC |
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Daedalic Sculpture; Bronze Cauldron, c.700-680BC |
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Mantiklos 'Apollo', Thebes, c.700BC - |
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Dreros 'Apollo', Thebes, c.700BC - With Leto? Artemis? -Bronze sheet beaten over wood - Sphyrelaton method |
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Nikandre Kore, Delos, c.650BC - Daedalic - U-Shaped Face -Low forehead -heavy deadlocks Body divided by belt -Frontal pose
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Auxerre 'Goddess', Crete, c.650BC - brightly painted. hand up to her breat this could be a sign of fertility |
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Temple Sculpture, Prinias, Crete, c.620BC - frieze or alter decoration -possible above lintel over doorway -exotic panthers underneath- could be an influence from the Near East - face more 3 dimensional. Hands on knees
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Murder of Agamemnon, Terra Cotta, Crete, c.650BC -seated male figure and standing male and female -frontal- face, profile body -mythic narrative in sculpture? |
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Bronze 'Apollo', Delphi, c.630BC - has an oracle of Apollo -daedalic- naked, long legs. Arms are slightly forward. Left foot is slightly in front of her right. Free standing |
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Samos, 'Hieros Gamos', c.630BC - ivory is being used - rare for male and female to be in the same sculpture |
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Skyphos, Aegina, c.650BC -large image of a panther. Near eastern influence |
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Oinochoe (Olpe), Aegina, c.660BC |
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Chigi Vase, Olpe, Corinth, c.650BC - Phalanxes and Piper - Heroic and aristocratic subjects -life of korous? -warfare celebrated -battle portrayed -can work with smaller materials -lion hunt: cavalcade of youths -hare hunt -lower level |
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Olpe, Corinth, c.620BC |
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Column Krater, Corinth, c.630BC -wedding procession |
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'Wild Goat' Oinochoe, c.630BC |
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Plate, Rhodes, c.630-610BC - Menelaos vs Hector over Euphorbes -All figures are named - story told in Homers Iliad 17 -More plausable case of direct poetic influence |
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Chalice, Chios, c.550-525BC -Island in the East Aegean -Lion as common Eastern motif- influence of the near East - Note: Lions appearing in Mycenaean art (lion gate & Lion hunt on dagger) |
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Krater, Melos, c.650-630BC - Neck: Achilles vs Memnon? Flanked by Thetis and Eos? Belly: - Apollo & Artemis. Artermis as Potnia Theron. Cavalcade. Poychromy. Outline |
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Mykonos Pithos, c.660BC -Sack of Troy, Wooden horse is on the neck. There are scenes of slaughter |
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Hydria, Analatos Painter, c.700BC |
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Neck Amphora, Analatos Painter, c.690BC - Some parataxis and overlap of figures - use of outline - Rosettes, sphinxes |
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Krater, Analatos Painter, c.690BC |
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Eleusis Amphora, Attic, c.660BC - Odysseus and Polyphemos (scene from the Odyssey) ; Gorgons and Perseus _Shoulder: Boar and Lion - Synoptic Technique: Compression of different events over time. Events presented on one plane. Sequential events become simultaneous. Verbal becomes visual narrative |
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New York Nessos Amphora, c.650BC - Herakles -Nessos -Deianeria |
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Temple of Apollo Plan, Doric, Thermon, c.650-625BC |
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Frescoe Metope, Temple of Apollo, Thermon, c.650-625BC |
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Temple of Artemis, Doric, Corfu, c.580BC - Doric. -Pedimental sculptures. Medusa. Chrysaor. Pegasus. Zeus and Typhon? Death of Priam? Thematic unity?. Apotropaic |
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Archaic Athenian Acropolis, c.560-520BC - Embellished under Peisistratos & sons - Probably begun before them - Limestone:painted and stuccoed -Heraldic lions - heracles vs Triton Coiled snakes |
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Temple of Aphaia, Doric, Aegina, c.510BC - Has a high entablature. Columns are lean and taller- could be open to Eastern influence - number of columns could change -there are two pediments- west and east. Both Trojan wars are shown on them 1st -Heracles and Telamon 2nd Homeric heroes |
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Phygrian Archer, West Pediment, Temple of Aphaia, Aegina, c.510BC |
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Fallen Warrior, West Pediment, Temple of Aphaia, Aegina, c.510BC -Pulls an arrow out of his chest . Relaxed Pose. Legs are in a cross over fashion. Archaic smile. Cap of formal curls- frontal |
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Fallen Warrior, East Pediment, Temple of Aphaia, Aegina, c.490BC - falling over the ledge. His hand is slipping out of the shield. Drooping head from the helmet. Can see the strength coming out of him- musculature can be seen. Evoke Homeric deatjh of warrior. Paradox. Sculptors are learning from previous work. Sculpture trying to evoke sense of death, Teeth are gritted. human body being involved in this experience |
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Siphnian Treasury, Delphi, c.525BC - Ionic features esp. Caryatids Fieze - divine and heroic events. Gigantomachy . Trojan war East and North frieze best preserved |
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Siphnian Treasury, North Freize, Delphi, c.525BC -Olympians shown. -gods and humans on the same level and size -depictions of death -frieze shows their wealth |
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Siphnian Treasury, East Freize, Delphi, c.525BC Trojan War shown -heavily ionic - a lot o overlap -strong movement |
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Athenian Treasury, Delphi, c.490BC - built from the spoils of Marathon. Doric temple. Metopes & triglyphs instead of a frieze -Heracles and Theseus' exploits - Athenian hero- aligning them together. Celebration of success -building reflects miltary power |
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Kouros Base Reliefs, Attic, c.510BC -Themistoclean Wall, c.480BC
- shallow relief- body in different poses -cap of curls- celebvration of aristocratic, youthful success,- sought after |
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Egyptian Statue Prototypes; Mycerinus and the Queen, c.2480BC - granite statues. Pose of the male figure important |
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Sounian Kouros, c.590BC - over life size. god-like presence for the Greeks. Probably a dedication to Apollo. Long flowing hair. eleborate body shape- not as naturalistic compared to Egyptian prototype. There is no facial portraits. essense of a beautiful man with large eyes. Free standing |
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New York Kouros, Attic, c.610BC - similar features to the Sounian Kouros. Freestanding and nude. Simple Spin Larege eyes and hips. symmetrical face, hair- sign of wealth |
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Tenea Kouros, c.650BC -horizontal hair. legs are more naturalistic. archaic smile. lrge nose, eyes are smaller high cheekbones. eyes have tear ducts- variation |
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Anavysos Kouros, Attic, c.530BC grave marker. Hoplite warrior, killed in front ranks, Inscription is in hexameter- same meter that Homer wrote in. Celebrating his glory in battle. Detailed facial features, Naked- doesnt evoke moment of death- he would have fought in armour. Figure of pity, wonder, admiration, desire and he has the ideological body |
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Aristodikos Kouros, Attic, c.500BC - hair has changed. Stylised body. Hands are moving forward- potential for movement. Hair- wealth and beauty. Body in dynamic poses |
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Moscophoros, Attic, c.560BC - archaic smile. animal and human figure put together, engaged in an action. musculature in the calf muscles. he seems to be walking forward and hes wearing a cloak |
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Berlin Kore, Attic, c.590BC - symmetrical, frontal, vertical figure. Clothed, polos on her hand her hair is coffered. Clothes have vertical folds. Not much evidence for the body underneath. Daedalic in appearance- archaic smile, high cheekbones, big eyes. Hands- one her breast and the other is holding something this could be associated with fertility. wearing jewelry- sign of wealth. Very tall- sign of divinity |
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Phrasikleia, Merenda, c.540BC - artists beginning to sign their own names, the inscription is written in the first person- talking to the viewer. Certain sorrow- she was very young when she died. she is holding a tulip and all the signs of wealth- it is commemorating the young girl |
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Peplos Kore, Attic, c.530BC - frontal pose, rich hair. Facial features are more anatomically correct, slight archaic smile. Shawl over her shoulders, no much evidence of the body underneath. She is holding something out- engaging with the viewer. Feet are together- no much sign of movement. Belt is dividing body in half. Paint survived on her hair. She has a crown celebration and wealth |
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Antenor Kore, Attic, c.520BC - female form depicted underneath slightly, clothes give scope for technical development. Slight step forward. Clear view of the leg. arms are bent as well and is holding something out. tugging peplos on the side to reveal her body. wearing a crown. typical signs of daedalic sculptor |
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Acropolis Kore 674, Attic, c.500BC -himation slung down. long detailed ahir,l wearing crown. female form being revealed from the back. almond eyes symmetrical jaw, archaic smile almost gone |
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Kore, Chios, c.510BC - tiara, hair falling down, richly decorated himation, holding something out to the viewer |
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Naxian Sphinx, Delphi, c.575BC -civic dedication. Pan Hellenic location. She is sitting on an ionic column- eastern influence |
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Lydos, Column Krater, c.560BC - return of Hephiastos. Dionysian thiasos- procession and honor of Dionysus. Red is used a lot. Simple drapery, simple lines. Figures are in profile. maybe a statue of Dionysus. Would have been used in a sympotic setting- think about how it was used in its context. There is not much decoration on the body, it is only seen on the lip. Thiasos goes around the vase it is a continious scene. One satyr is larger than the others ad is staring at the viewer -inviting us in. Hephastos had a bend foot- shows he is lame |
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Lydos, Belly Amphora, Death of Priam, c.540BC - women are distressed, helen is being led away by Menelaos. Priam on the altar. Priam about to be killed with the body of his grandson. drapery is simple, without any folds. |
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Amasis Painter, Olpe, c.550BC - Medusa is runing away. Hermes there to symbolise divine approval. Perseus turning away Inscription- Amasis made me- this is in the first person. Figures are discrete, there is no overlap expect perseus arm over Medusa, Small piece would have been used for wine or water. Standard motif. Gorgon always looking at the viewer |
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Amasis, Belly Amphora, c.550BC -satyrs harvesting grapes. One is playing the aulus. Range of activities shown. Idea of how materials were used. Sexual activity alluded to. No much decoration on the belly but there is a frieze around the top depicting satyrs and maenads and Dionysus who is seated. Thiasos scene again. Wine cup, images of pottery being used on the pot. generic and mythological scene |
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Amasis, Lekythos, c.550BC -wedding procession, husband going to the brides house. small generic scene, simple drapery, black and white for the skin colours. Apollo and Muses- alluding to music . Domestic scene- elegant- scene goes all the way around. polychromy,. Use of incision for the overlap of animals and people |
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Amasis, Neck Amphora, c.550BC -Dionysus and MAenads. Polychromy- decoration on neck. Maenads are dignified. D. is holding a drinking cup. "Amasis made me". It is hard to see where one maenads starts and finishes- strongly overlapped- their clothes are very similar. They have ivory bands and leopard print. M. are done in outline- anticipating Red Figure. Other side: Athena and Poseidon- seen as opposed. Athena is taller, D. might unite them. Alluding to the fact that he is becoming more important |
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Exekias, Neck Amphora, c.540 -Achilles and Penthesileia. A. is a huge figure. P. looks a little bit like a maenad. A. is the dominate figure. Eyes met- spear parallels their gaze. POwerful and charged moment. Moving from left to right- sign that he is going to kill her. White female flesh. Armour is facing us but A. head is in profile. Implied eros |
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Exekias, Neck Amphora, c.540BC -Achilles and Ajax. Illusion to Ajax being the 2nd best of the Achaens. A. is slightly higher than Ajax. Polychromy. A. has the upper hand. Score is shown. There isnt much decoration. Stolen moment of quiet in the battle. Reverse: Castor and Polydeukes. Scene of man romance. Equestrian scene- aristocratic. Rich detail of the female character, A. foot is placed firmly on the ground- more dominate. Backs outline the shape of the vase, use of incision in their cloaks. Both are going to die soon. |
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Exekias, Kylix Eye Cup, 525BC -warriors fighting by the handles. Looks like a human creature. Inside: Dionysus defeating the pirates. Celebration of D. power. Dolphins go all the way around. Idea of sailing the sea of D- it means drinking |
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Exekias, Belly Amphora, c.530BC -important hero to Athens. Reverse: chariot scene. it is the moment before the suicide, moment of madness. Armour may be an illusion of Achilles. Mental anguish and sorrow for Ajax. Ethos and pathos shown. Sense of isolation- eg. Dying Warrior- West Pediment- Temple of Aphaia |
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Nessos Amphora, Attic, c.620BC - belly gorgons detail. seen as the pioneer of the black figure. Corinthian style- filling ornaments. the motifs are confined to the boarders. Neck: heracles and Nessos-holding him by the hair. sword-symbol of violence. Heracles has a dilated eye. Touching his chin- form of supplication. Belly: Perseus and Medusa, he is not shown. Dolphins along the bottom |
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Dinos, Gorgon Painter, c.600BC - Perseus and the gorgons, Hermes and Athena, warriors dueling. influence of Corinth- decoration motifs. Gods symbolise Olympian approval Always stare out at the viewer, used top level for the narrative |
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Siana Cup, C Painter, c.600BC Achilles and Trollos. Generic image- not a large surface to work with |
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Dinos, Sophilos, Attic, c.580BC -wedding of Peleus and Thetis- scene goes all around. Corinthian style- animal frieze- decorative. The whole thing is unified./ Borrow motifs. Men- black figure. Women- White figure. There are overlaps. One scene broader mythic context |
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Francois Vase, Attic, c.570BC _ Wedding of Thetis and peleus. This is the largest frieze. variety of different scenes. Achilles is referred to in all the scenes. |
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Hydria, Antimenes, c.525BC -youths- man with beard washing- aristocratic. Scenes of everyday activity. Panther heads where the water is coming out. Painters name of the vase. |
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Neck Amphora, Antimenes, c.525BC -olive harvest. scene carried out by servants. range of manual activites- not always a symposium scene |
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Amphora, Andocides, c.520BC -Heracles leading a bull to sacrifice. Colours are reversed. First one to use Red Figure. more detail around the beard |
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Amphora, Andocides, c.520BC -Achilles and Ajax. Red figure version. use of incision, piant bursh used as well. larger characters |
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Calyx Krater, Euphronios, potted by Euxitheos, c.510BC -Heracles and Antaios. Pedimental shape of structure, interested in anatomical detail. aristocratic object. H. has a head of curls vs barbaric giant. Forshortening of the giants leg, interested in the experience of pain. women used to balance the scene. club and lion skin shown. Rich anatomical body shown in stylised and heroic way |
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Amphora, Euthymides, c.510 |
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Amphora, Euthymides, c.510 -Arming of Hector. Bold profile, forshortened, his is beardless. Important scene, knows he is going to die. His parents are shown, occupy space in a mournful, static way, powerful image Reverse: Komasts: bragging about ability to painter better than Euphronis |
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Hydria, Phintias, c.510-500BC |
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Frescoe, Tomb of Diver, c.470BC |
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Kleophrades, Lidded Amphora, c.500BC -Boxer and trainer: Departure of Warrior. Three large and important figures. Put dogs on the pot- black humour. activities of young aristocratic warrior. Images relate to each other. Chariot race around the lip- aristocratic element. granduer and dignity. lifting her veil over her head- mournful piece. Pouring out a libation- prayer for success |
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Kleophrades, Pointed Amphora, c.490BC -Atheletes on neck. Dionysian thiasos, Youth and beardless. God of symposium in a noisy scene- he is in the middle. folds of drapery-showing movement- this is unusual. Moving from left t right. Leopard skin cloak. A lot of activity going on - image goes all the way around. Maenad with Satyr, she is handing him well. very often nude, they are often smaller compared to other figures on the pot. D. is wearing on ivory crown, pupil of the eye is looking directly at something. Saytr playing aulus- looking at us- another form of D. |
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Kleophrades, Hydria, c.480BC -Sack of Troy. crowded scene. disturbing scene. Priam is killed on the altar. Cassandra is rapped. Different use of brush for the leg on Neoptolimus. Rescue of Aithra by grandson-scenes of escape. sense of hope for those escaping |
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Kleophrades, Panathenaic Amphora, c.480BC Athena as promachos and Pankration, Range of concepts. combining RF and BF |
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Berlin Painter, Amphora, c.490BC - Hermes and Satyr. Satyr on the reverse as well. Tron between the 2 -illusion to Dionysus- link between them. associated with Hermes. playful god of thieves. associated with nymphs. Reverse: satyr- he is profile and is tame. holding a drinking cup- links to Dionysus, linked to the enviroment |
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Berlin Painter, Amphora, c.490BC -Heracles and Athena, Little decoration. Athena is in her traditional clothes. Figures are in isloation- heracles has tight curls- small relief sculpture. Decoration on Athena Peplos |
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Berlin Painter, Bell Krater, c.480BC Europa & the bull. Fleeing / pursuing companion. To figures relate to each other. Strong overlap between bull and Europa |
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Berlin Painter, Type C Amphora, c.480BC Kitharode; Sings to Kithara. Heads thrown back p- eg. Maeands. Dionysus as god of theatre and dramatic poetry Reverse: judge or trainer- focus on the figure. |
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Berlin Painter, Nolan Amphora, c.480BC Zeus and fleeing Nymph |
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Berlin Painter, Bell Krater, c.480BC Zeus and Ganymede. Homo-erotic work |
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Epiketetos, Cup and Tondo, c.520BC -everyday scenes of atheletes. Might have been done to celebrate boxing. composses images to fit inside the tondo itself. figure conceding- finger raised |
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Onesimos, Cup, c.500BC -Athelete + Trainer/judge. long jump refering to the pentharon. digging up where they are going to land. goes around the whole outside of the cup |
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Onesimos, Cup interior, c.500BC -Boy and cockerel. gift from male lover, play on the size. erotic playfulness and jokes. illusion to young male lover being persued by old male lovers. maybe an element of fantasy going on here |
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Onesimos, Cup interior, c.500BC -Satyr. designed to fill the interior of the tondo. grotesque face. homo-erotic element, he is a follower of dionysus. commical figure. |
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Onesimos, Cup interior, c.500BC
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Douris, Cup and tondo, c.490BC |
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Brygos Painter, Skyphos, c.480BC -Ransom of Hector - Iliad 24. A. reclining . Priam is the old guy. Naked body of Hector underneath the couch of A.- this could be an illusion to the death of Hector. Elements of the narrative in one space. Important scene in Greek art. Armour above him- sense of tension alluded to. A. is a big figure he is wealthy. Priam is followed by the slaves. celebration/recognition that life will go on. |
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Brygos Painter, Tondo, c.480BC -follower of D. holding a leopard. Done with white ground background. Done in outline. Polychromy used for her hair. Strong sense of movement from right to left |
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Makros, Cup tondo, c.470BC Symposiast. ecos earlier images of satyrs. Holding cup and drinking. Right leg is boldly forshortened. staff and wreath |
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Delphi |
Important panhellenic site - Pythian games - Oracle and Sanctuary of Apollo Omphalos stone - centre of the world |
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Lydos Painter: Arming of Achilles, Plate interior, c.550 - inscription on the plate. Peleus smaller than Achilles and to one side. Tondo- round interior of the plate. While the scene looks peaceful inscription says the opposite. Strong scene. Shield has been forshortened. Figures in profile and drapery is simple |
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Niobid Painter, Calyx Krater, c.470-460 -Apollo, Artemis and Niobids on different levels the gods are higher. Apollo- trim and musculature-severse style of sculpture. Rich detail on peplos of artemis. Awkard 3/4 pose of those dying. calm expression on Apollo and Artemis' face. different use of brush work for Apollos leg. Chilling moment, interesting scale. Distance between the figures. shorter hair-held up by his wreath. Reverse: Athena, Heracles and hereos. figures on different levels . in 3/4 pose- gathering of the argonatus? musculature of heracles- beard now. Quiet moment. shields have been forshortened. landscape? important innovation. Heracles has a controposto pose- later seen is sculpture. Body is bent. |
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Niobid, Volute Krater, 470-460 Amazonomachy-belly Centauromachy- neck. Scene has a cultral significance to the Greeks. Dynamice image. Hoplite pose-leaning forward. shield has been forshortened, Amazons are seen as barbaric- she is wearing hoplite brest plate. Different levels. Suggested that the Persians are barbaric prseented in a mythical way |
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Penthesileia Painter, Cup Interior, c.460 - Achilles and Penthesileia. A. standing over her in weird pose to fit into the cup. A. not looking at her. illusion to traditional myth. he is stabbing her . dead hoplite and amazon in the work. She is wearing pants- barbaric. A. heroic nudity. She is looking at him. Boold composition. Tight musculature 3/4 pose, some use of polychromy. worked to get all the figures into the space . Compare to Exekias version, c.540. She is unarmed. Other figures are distracting. A lot of attention to the warriors helmets. |
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Penthesileia ptr, White ground pyxis, Judgement of Paris, c.460-450 -influenced by tomb of the diver c.470 -youthful Paris, with Hermes. golden apple myth. Quiet moment, Cartoon like figures. Polychromy. Figures dont overlap. Aphrodite and Eros shown as well as Athena and Hera. All three are presented as vain. decoration on the lid. small object, imagery is playful. good attention to detail. |
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Pan Painter, Bell Krater, c.470-460 -Death of Actaeoni; Pan Pursuing the Shepard. Artemis turns him into a stag, foor over the edge. His hand is thrown up. Detail for his drapery is very good. dogs dont look scary. element of playfulness . She is moving away- no trouble at all. arrow-symbolic power. different brushes for peplos and himation-archaic folds. Pan with Shepard: swirling folds of drapery. Pan-son of Hermes, homo-erotic image. Shepard-come hither glance. Playful and tragic in one work |
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Pan, Pelike, c.470-460 Heracles and priests of Busirus- he killed them. reference to the altar. Heroic diagonal pose. using the priest as a weapon. Drepry is very good again. Presenting them as cowardly. Trim musculature body. Bodies follow the shape of the vessal |
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Kritian Boy, Attic, c.480 -contrapposto pose, weight shifted onto one leg. Archaic smile is gone- severe style. Dedication on the accropolis. Musculature is plausable and softly rendured. Sense of movement has been achieved. Seen as an icon of beauty. 2/3 life size head angled to the right. contrasting pose. unsure about the hands, he would have been brightly painted. |
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Apollo, c.470. Temple of Zeus at Olympia, West pediment. -Apollos appearance has changed. icons of beuty have changed. Simliar function to Kouroi statue.Head directly turned sideways. This could be a statue of a statue. Typical of the severe style. Tight musculature, strength and vigour, sweeping majestic calm |
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Delphic Charioteer, c.470 -dedicated for the Pythian Games at Delphi. would have been aprt of a four horse chariot. Statue has a life of its own column looking chiton. Dream like expression on his face, calm and composed. Sophrosyne- enjoy victory but moment will pass-calm expression- moderation and self control. Te feet are even sculptured perfectly and they wont even be seen. Pouty expression- dream like quality. |
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Artemision god, c.460 2.1m tall, larger than life-size. Classic Severe style. Thought to be the figure of Zeus, majestic sweep of the arm. good sense of movement. Rare example of a greek original bronze, can be viewed from all angles. eyes would have been a combination of stone and glass. Dynamic action. contrapossto pose, not realistic pose/proportions of the body- emphasis the majestic sweep of the action. Combines two actions into one- before and during the throw. lean and muscled figure weight balanced on the feet. weight on left leg and right arm holding the thunderbolt. god in action. Ideal of the grand and sublime. Majesty of a god at human hands |
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Temple of Zeus, Olympia, 470-456BC, Built by Eleans, Architect- Libon -built to celebrate victory over Pisans. On the great Panhellanic site. Description by Pausanius to create reconstructions. Largest temple until the Parthenon. Used to house the cult statue of Zeus built by Pausanias. There are important pediments and metopes that endorsed Olympian values. |
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Temple of Zeus and Olympia, East Pediment, Moment before Pelops Chariot Race -ostensibly quiet moment before the chariot race. Pelops story frought with complications. Hero defeats tyrant by cheating and double crossing, later his descendants are cursed. Evoke issues of Justice and a curse. Sculptures are tightly muscled which is typical of the severe style. All staues have the contropossto pose. Zeus is the embodiment of wisdom and justice. 3 main players are shown. Violence and tension underneath. The figures are looking down to the viewer. Seer- understood to have prophetic power, death of the old man and maybe the curse.- synoptic touch- worried expression. |
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Temple of Zeus at Olympia, West Pediment, Apollo and the Centauromachy - Apollo is standing in the middle of the fight. he could be a statue of a statue. He is young looking with a stern look on his face. tight muscles with his head titled forward and then to the right. Similar to the Artemesian God. Youthful male beauty. Static nature of the staue. Athelete visique. - Centuar and Lapthis. Variet of different poses. Moments of crazy, Centuar- grotesque face, they are gritting their teeth, - painful, furrowed brow, hair is deeply and richly carved. youthful lapith an centuar is seen as ugly. |
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temple of Zeus at Olympia, Metopes: 12 Labours of Heracles - 6 in the front and 6 in the back -most of them are well preserved |
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Temple of Zeus at Olympia, Metopes: Athena, Heracles and Atlas with the Apples of Hesperides - Heracles has to hold up the sky and it almost kills him. Lion skin is used as a cushion to hold up the sky. . Athena may be an allegorical presence- she is holding up the sky with one hand and is in the contropossto pose, she is endorsing Heracles action. She is wearing a simple Doric peplo. Heracles is in profile |
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Temple of Zeus at Olympia, Metopes: Heracles and the Cretan Bull - Pulling the bull around. two clashing diagonals, different poses- dynamcis. Torso- stretched and turned back in on itself. Bull head 3/4 pose |
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Temple of Zeus, Metopes: Heracles and Augean Stable - dignified pose. Atehna is wearing a simple peplos and her helmet. H. is shoveling pooh but he has a dynamic pose. |
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Temple of Zeus, Metopes: Heracles after killing the Nemean Lion - there isnt much rmaining of this piece. It is different because it shows Hercles after the action. It is a moment of quiet. It gets the viwer involved because they have to think about the narrative. Heracles is young- he doesnt have a beard. As the labours go on he starts to get facial hair to show his age. |
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Temple of Zeus, Cult Statue, c.490-420, Pheidias, Athenian -chryselephantine statue. Npausanias is our greatest literary source on it. Nike in his right hand, sceptor in his left. This is how Zeus was imagined in the Greek mindset. Reconstructions also come from ancient coins, he is pictured as a god of supreme majesty and power. wanted to represent him in the same way he is described in Homers Iliad book 1. Dio Chrysostom also talks about the statue and says it was delightful and pleasing to the eye |
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Myron: Discobolos, c.460-450 -athlete in action he is setting an interesting challange for himself, orginally it would have been done in bronze. Bold image. leaning and looking back, it is seen as majestic calm. eg. artemesion god. Tight cap of curls, this feature is used to date him. Dynamic swing, leaning over the right knee, combination of two poses meant it was suppose to be seen from the front. Body in action, calm look on the face, implausable possibility. |
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Myron: Athena and Marsyas, c.450 - dedication on the Athenian Acropolis, HE challanges Apollo and looses. Depicts the happy moment for marsyas, he is depicted as an ordinary figure. HE is smaller than Athena, she is moving away from him, the contropossto pose has been turned into more of an action. Simple peplos. famous for large group sculptures. |
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Riace Bronzes, c.450, Pheidias? Bronze. Eyes- made of bone and glass. Classic contropossto pose. Riace A- left shoulder above the right. Right arm is relaxed and the left would have been holding a shield. Mouth open, hair thick, looks like is ready to fight. more tightly muscled. Centaur looking. Riace B: he looks older than A, his spin is bent, and he isnt standing as straight as the others. His left knee is more prominent |
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Athena Promachos and Base, c.460, Pheidias. -standing upright, dedicated on the acropolis, warrior goddess, contropossto pose, only the base still remains. |
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Polykleitos, Canon (Doryphoros), c.445 -famous for idealised human figures. HE is active from Argos, clashing lines, contropossto pose taken to new levels, diagonal and clashing poses. writes a work called canon and this work,. he is interested in mathematical proportions, in ratio and numbers. model for an athlete, inner calm, suggesting of movement, left foot raised there are differences in proportions |
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Polykleitos, Diadoumenos, c.435-430 -contropossto pose, contrasting and clashing lines, quiet moment, it is the moment after he has won, calm, importance of self control, Thicker head of hair, POlykleiton Torso, curve of the body, musculature. Pose allows for the buttocks to look bigger. |
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Kresilas, POrtrait of Peracles, c.440-430 Only the head survives from a Roman copy, would have been a GReek Bronze original. Would of had a contropossto pose, his head is back and to the left. Calm and control on his face, Helmet aligns him to Atehna, he looks cool and more Zeus Like.
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Nike of Paionios, c.420 -dedicated by Messenians and the Naupactians to Zeus at Olympia. More of the female is beginning to be seen, Diapharonas drapery, sense of power and movement. Sexually alluring goddess, Sexual embodiment of winning on the battle field. Set a top of a tall pillar. Deeply cut drapery used for a sense of light/ shade and movement |
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Parthenon, 447-32 -Designed by Ictinus and Callicrates, -ionic and doric features, Pan hellenic monument. Has ionic frieze around the cella building, has other ionic elements, \. Doric coumns are taller and leaner, have the doric capital- they are experimenting. upward curve of the stylobate. Inward leaning columns- convex. part of culture- playing tricks on the viwer |
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Statue of Athena Parthanos, 438 BC, Pheidias -gold and ivory over a wooden core, over 12 m high. Gold was removable if they needed money for war. contropossto pose, winged nike in her right hand. Shield-number of myths- birth of pandora on the bottom. Gigantomachy and centuaromachy on the sandals, symbols of Greek values. Pool of water around the base,. Shield- amazonomachy- exterior and the gigantomachy on the interior. Similar political values to the Greeks. Snake holding up the shield- connections with the earth |
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Parthenon, Metopes, South: Lapiths and Centuars, -there are many different metopes that depict different poses of the characters, the sculptor has successfully made each one different. There is a sense of idealised youth throughout, and they embody greek values. they would have been brightly paintd. they are partly shaded and obscured. |
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Parthenon Frieze cavalcade of youth/ heroes. Phaidias, c.440 BC - dynamic procession, hightened sense of movement, some thinks it may depict the heroes of Marathon, all the figures are different,. One wearing a cloak to depict a sense of movement and dynamism. they are idealised human figures, 'youthended', artistocratic |
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Parthenon Frieze, Pheidias?, c.440 |
Procession starts in the southwest corner. Gods, heroes, and mortals are all on the same level. Culminates over East door. There is procession of both humans and gods. It could be the presentation of the peplos to Athena. Panathenic procession? - civic procession to Athena Polias, |
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Parthenon Frieze, North Side, Pheidias?, c.440 BC people are carrying water jars. humans and gods on the same level and the same size. |
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Parthenon frieze, East Wing, Pheidias, c.440 -there are different suggestions of what this scene depicts, it could be the preparation of the Athenas peplos or the preparations for the sacrifice for the daughter of Erechtheus. -olmypians are being depicted, high relief work, folds are complex- light and shade are both seen |
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Parthenon Pediment, c.440-432, East pediment: the birth of Athena - connections between the Athenians and Zeus. unsure about who some of the figures are: Iris, Demeter, Kore, Dionysus? Dionysus: he is figure in majestic calm. he has short ahir, tis is unusual. Gives the impression of youth. Iris has flowing drapery, Dione and Aphrodite? detail of the drapery, deep folds. Diaphonis drapery. they are not naked figures but highly charged figures. horse from Selenes chariot: god of the moon- it is going down
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Parthenon pediment, c.440-432, West Pediment; Athena and Poseidon contest over Athens - P. is seen to be coming second best. Athens- olive tree, Kekropa and daughter? interested in mythic past. |
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Propylaia, 437-32 -designed by Mnesides. adventurous design, marble and limestone, doric and ionic columns. Pan-hellanic nature. Some of the doric coulmns are thicker and stronger. 6-ionic columns when walking through. Hallway on the right, - central hall which was supported by ionic columns. wings to the North- reception rooms. West front has two porches. Dark porticoes and iiner halls. South wing: approach to Temple of Athena Nike. Parthenon can be seen in the distance. Echoes the Parthenon, large gap between the front columns, there isnt much in the way of metopes |
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Temple of Athena Nike, c.420 -ionic temple, volutes on capitals, Easter Frieze- gods seated in majesty. Battle scenes? on the south- could be the battle of Marathon. this could be the first instance of this occurring, it could be other battle scenes as well. celebration of historical events. Very small temple. Temple plan is simple. Celebrates Athena as the god of Nikes and battles- the altar tells us this. Built on older foundations. Stately figures on the east frieze. Nike long flowing drapery, deeply cut. Female form becoming more visable, disphronise drapery. Athans is shown she is wearing her egis and is resting on her sheild. Nike is speaking to her |
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Temple of Athena Nike, c.420, Nike Binding her sandal - well preserved, spectaculare effects of the drapery. she is a Nike because we can see the wing behind her. Presented as a sexually alluring figure. Compare to Painonis Nike, c.425. Embodies victory on the battle field. Kind of eros. also compare drapery to Iris. |
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Erechtheion, c.421-406 - dedicated to Athena and Erechtheus. Strong Atheno-centric temple. Houses the cult statue of Athena Polias. Iconic columns, Built on several levels and earlier foundations. Complex design with its porches. In the temple it is said to have house Athenas olive tree and the cleft rock from Poseidon. Pausanias tells us that sacred relics were kept in the building. Core of the Athenian self imagination. Presenting themselves as supreme. It is an Athenian buidling.Ionic plasters attached to the building, also have free standing columns as well. North Porch: Tall columns, volute capitals, eleborate. Palmettes as the top. long shafts, down the base eleborate scheme. Celebrating artistic skill/ Porch- wonderfully decorated |
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Erechtheion, c.421-406. South Porch: Caryatids - sculptured in the round, ionic feature. also found on the Siphnian treasury. Contropossto pose, drapery is overly dramatised. female figure clearly visable, clear architectural function. celebrating own ionic aspects, facing the parthenon. |
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Achilles Painter, Amphora, c,450-440 - Achilles and Briseis? A. leaning against his shield. Direct eye contact between the two figures. Similar to the Berlin Painter, use of shading- folds in the clothing. profile eye. attention to the anatomical features. standing in a sense of calkm. in some cases he is seen as the student of the berlin painter. contropossto pose, influence of statues |
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Achilles Painter, white- Ground Lekythos, c.440 - Muses of Helicon, interested in colour, yellow diluted outfit. Translucent wash, higher levels of skill by the painter. small bird by her feet. skill in renduring the female form. inscription at the top |
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Achilles Painter, Warriors departure, c.440 -hands outstretched, silent calm. transperant clothing, could be seen as a prelude to death. Helmet seperate from them. Her foot in slightly ontop of his. clothing shows vulnerability. |
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Phiale Painter, Calyx Krater, c.440. Hermes with the infant Dionysus. - muses on the other side, used a different white glaze, different use of colour. playing a musical instrument thematic unity |
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Bosanquet Painter, Visit to tomb, c.435 - male is depicted as deceased but is still present. spear is there- may have died in battle, thematic unity between the scene and object. spear- life of a warrior or athlete |
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Phiale Painter, c. 435, white ground lekythos - hermes and women at tomb. he is leading her to the underworld, use of indication for the landscape, |
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Epinatron by Eretria, c,430-420 - the top panel is not decorated because it gets the most damage, there are scenes that happen inside womens apartments, figures are finely drawn and have gracious features, mange to present ethos of the figures. |
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Nereid Monument, Lydia, c.400 BC - made of marble, rare for location. 4 front columns, 6 on the side, slender. Small temple sturcture on a large podium. Pedimeent, free standing sculptures between columns. Freize on archiecture, battle scene. Influence of imperial building projectt, beyond greek world. Greek myth on non-greek place. akroteria:lions gaurding 4 corners. egg and art motif, on column base. voluted, ionic, eastern style. |
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Nereid monument; Nereids. c.400 Peleus and Thetis wedding. Life size, therefore momument seems bigger, Drapery to show erotics of female form, clinging and deeply cut. Link to Achilles, generic battle scenes, allusion to Troy. |
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Nereid Monument: friezes, c.400 Freizes recall idea of temples. Monument to a ruler. Subjects under seige. Amazonachy figures larger, battle scene figures smaller. increasingly popular in the 4th C. Technical accomplishment of Parthenon influence. Boar and bear hunt, procession, feast on other side of architrave. Aristocratic past times. Minions smaller than aristocracy. 'Cella' wall, frieze with procession leading to dynast, sacrifice. hierarchical perspective, individual power. |
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Mausoleum at Halicarnassus, - four sides done by different artists. funerary, imperial, heroic functions. funerary chamber underground, surmounted by tiered podium, colonade and pyramid. feature of hellenistic art. artists challenged to glorify their own art. cosmopolitan world, especially after alexander. greek art for non greek purpose to promote own power and prestige. 36 ionic columns. inner wall of chariot race relief, mounted on podium of laternating sections of white marble and dark limestone. 24 steps on pyramid collonade |
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Mausoleum at Halicarnassus, sculptures -sculptures done in the round, 3 narratives; hunt, sacrifice and battle. Procession converges on seated figures on east. Syrian monuments tribute cf- Parthenon peplos scene. 56 lions, stepf of pyramid in profile with heads in opposite direction. apotropaic function, |
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Mausoleum of Halicarnassus, sculptures - Mausolis and Artemisia debated. Deep folds in drapery of Maulos drapery, suggesting movement in diagonal movement. Chiascurro effect, contropossto pose. Portraits, because not idealised, style of East. Non greek features of Mausolus, nose, hair, beard, chin, heavy brow. |
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Mausoleum of Halicarnassus, Amzonomachy Amazonomachy is the best preserved, centauromachy is the best preserved. frieze devolps violence, diagonal. muasoleum sculptures are leaner, heroically proportioned. Amazons- bare headed, or Persian cups. Typical Greek themes; culture vs barbarism. 3'4 pose- heroically nude, helmets up to display body in diagonal way |
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Temple of Apollo at Bassai, c.420-400 - By Iktinos to Apollo Apikourios. Doric columns. internal ionic columns. Corinthian coumns, worlds first. rural setting facing north/south. built after plague, to welcome Apollo after wintee. smaller scale. |
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Temple of Apollo at Bassai, c.420-400 frieze of Centauromachy and Amazonomachy merging. canonical myth functioning for Greeks in different parts. temples now deliverance and centre of refuge, healing functions. instead of grand dedication. figures more squat and chunkier. heroic diagonically, contrast of shapes drapery stretched between legs, elsewhere more flamboyant drapery. |
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Sanctuary of Asklepios at Epidauros, 370 -rise of healing cults in 4th C. Son of Apollo, god of medicine. Temple respomding to individual needs, less civic. built by Theodotus. |
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Sanctuary of Asklepios, pediments, 370 - amazonomachy (west) and Sack of Troy (east) - Akroteria Amazons, heroic diagonals of fighting figures. Amazons of fighting on horses. allegory of warding of disease. |
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sanctuary of Asklepios, Aurai Figures, 370 - side saddle, eroticised figures with drapery. Horses are calm and composed, Nike between them, holding a goose (east pediment) clinging drapery, moving forward. |
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Theatre at Sanctuary of Asklepios, 370 Designed by Polykleitos, built in stone, healing cult, theatrical and athletic events. Eclectic nature of civic gatherings. Dominant theme in 4th C sculpture. New meanings for traditional imagery |
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Greek Art Periods: |
Geometric- 800-600 - Orientalising 700-600
Archaic- 600-480 - Kouros, Korai, BF, RF, Bilingual, Cup Painters
Early Classical (Severe Style) - 480-450 - RF, Sculpture (Kritian Boy, Artemesian God, Temple of Zeus) High Classical- 450-400 - Acropolis Late Classical- 400-430 -Nereid Monument, Mausoleum at Halicarnassus, etc |
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Cephisodotus, Attic, c.390-60 -Hermes and the infant Dionysos. Allegorical images more common in C4. No mythic narrative. Peace holding her child wealth. Peace is the key to wealth and prosperity. Aristophanes- peace- 338 BC- plea for peace, wants Greeks to stop fighting each other. Plutocracy- government by rich people. Mature woman looking at her child. reconstructed holding sphere- direct gaze between the two. dont get affection usually, child rendered in more plausible way. Domestic realism and harmony. Eirene (peace) heavy peplos, grand cartydid- contropossto pose, Dignified and grand- eg. Madonna and child |
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Praxiteles, Athenian, 360-330 - Hermes and the infant Dionysos. God depicted as a youth, this becomes common practice. Hermes would have been holding a bunch of grapes. Half brothers- warmth and affections between the two. Praxiteles famous for inventing the S pose, contropossto taken to new levels. viewed from a number of different angles. Interested in the smooth and polished look (doryphoros) different parts of the torso more defined, more fluid. This is not unique - Kritian Boy- soft and more fluid body. Hermes has think curls, complex drapery- high relief. based on the affection between the two. good humour |
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Praxiteles, Copy of a Satyr. relaxed pose, langured pose, relaxed and not of an intense moderation. Down to earth, looking down to the right. Body to the left, Resting on his arm, Invites a number of different points of view |
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Apollo Belvedere; Leochares, c.320 Roman copy of the bronze original, seen as the ideal male beauty.He has just fired his arrow, Relaxed gaze- picked up and developed. Cloak-useless- shows the artists ability to display dexterity. Moving forward on right foot but looking over his left shoulder. Subtle dynamism. His hair is in a bun on the top of his head. Softly molded body |
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Praxiteles, Apollo Sauroktones- copy of an original c.350 - apollo killing the famous python that occupied Delphi. Lazy, youth, playful, parody of a grand myth. S curve of Praxiteles, softly molded torso, replayed in playful manner. Bronze copy- s curve evident, could be a female if seen from the rear.
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Aphrodite of Cnidos: Praxiteles depicted goddess as she was caught of guard, undignified pose- trying to cover herself up. Highly praised by ancient writers- Lucian- erotic power. Set up in a round temple, could be viewed from all angles. walk around and could catch glimpses of her between the columns. S-curve she is hunched over and moving her buttocks. Jar used to prop her up but also used to show skill in rendering drapery. copies are variations on the same scene. Bold and daring statue, image of a goddess, monumental free standing nude |
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Scopas of Paros, Maenad, c.360 thrusting body to the right, head to the left. Female follower of Dionysus. Twisting pose. Dynamism and energy. emotive expression. erotocised -statue of partial undress. |
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Marathon Boy, c.350 org. greek bronze. not sure who composed this work. Interest in the young age. pouring a libation? not sure what hes doing, looking past his left hand. not presented as a muscled youth. invites multiple viewpoints. Sense of movement in opposite directions. introspective gaze- classical. Inlaid eyes. Hollow cast statue, fluid nature of the body. |
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Antikythera Youth, c.350 seems to be leaning towards the left, classical athletic youth. Could be Perseus? Paris? heavily muscled. Arm reaches towards the viewer. Break the strict Polykleiton sculpture. Understated dynamism,. Thick curls, melancholy gaze- classical gaze combines the old and new. |
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Heges Monument. Attic, c.400 defined by her relation to men. Heges probably her husband, slave is smaller than she is. Richly dressed, Domestic life coming to the floor. Recreation of her life. Interested in her jewellery box, young women depicted in her prime. |
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Dexileos monument, Attic 390 stele of 20 yr old cavalryman. made the youth into a hero. moment of truimph. Stylised and more than unreal. The cloak is unrealistic,. Romanticised version of his life. Person he is killing is in a heavy diagonal. would have been placed high up |
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Ilissos Monument, c.360 Musculature figure. Mournful aspect, dead person staring out at the viewer. Reminis on what has been lost. heroic nudity, muscled body, |
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Naiskos of Aristonautes, c.330-320 aristocratic dead young man. Sense of movement, staring out at the viewer. |
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Lysippos of Sikyon, Agias seems to be falling backwards, head tilted back, deep set eyes, melancholy look on his face, emotive looks sad. presented as the ideal male body. famous copy of a bronze original. curvelinear aspect. Polykleiton model- hes not reaching out toward the viewer. muscled figure. |
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Lysippose of Sikyon, Apoxyomenos after the act working out, weight on the left leg, swivel of the hips. arm reaching out into the viewers space, obsessed over by Tiberius. Tells of the ability of a statue to entice the onlooker, erotic power. Model for later statues. Idealised male athlectic youth. The athlete becomes the hero. Cf- Antikythera youth. incorporated into action of the athlete- reaching out. lungured pose- chiastic pose. moment of down time |
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Lysippos, Eros stringing a bow winged figure, youthful depicted in everyday moment. Experiment in depicting body- unusual pose, twisting torso, 3 dimensionality of object, leaning to the left, head down and arm to the right |
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Lysippse, Farnese Heracles - Roman copy, famous in the ancient world. Colossal statue fashionable again, eg- Kouroi statues. Not a lean figure, heavy set, looking down and exhausted, Hero of great strength but worn out. quiet moment after the action, He has the apples of Hesperides. Contropposto pose, langured and worn out, furrow brow. There are some bronze copies. |
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abacus |
Block shaped part of a column capital immediately beneath the epistyle |
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Acropolis |
A citadel located on elevated ground, usually containing the major temples and shrines |
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Agalma |
Ornaments, gifts, images, and statues put as offerings in the temple |
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Agora |
Market-place; central civic area of a Greek city |
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Akroterion (pl- akroteria) |
A sculpted figure placed on top of an apex and corners of a pediment |
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Alabastron |
A slim oil container with rounded end, narrow neck, and flaring mouth |
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Amazons |
Mythic race of warrior women; once attached the Athenian Acropolic but were repulsed; also fought as allies for the Trojans |
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Amphora: |
two-handled vase used for the storage of fluids |
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Aryballos |
a round, narrow necked, usually miniature sized bottle for oil or perfume |
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Aulos |
A double piped instrument played by an aulete |
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Bilingual vase |
A case that has black style on one side and RF on the other |
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Black Figure Technique |
Type of pottery painting in which black silhouette figures are incised and have colour added to them |
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Caryatid |
Sculpted female figure supporting an entablature |
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Cella |
Central room of a Greek Temple that housed the cult statue |
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Centauromachy |
1) battle between the heroes kown as the lapiths and centaurs, who gatecrashed the wedding of the king of the Lapiths and tried to rape the women, but were repelled 20 When Heracles was trying to catch Erymanthian boar, he passed through Pholoe and was entertained by the centaur Pholus. When Heracles called for winem Pholus said he feared to open the jar since it belonged to all centaurs in common. But as Heracles insisted and very soon, scenting the smell, the centuars came, armed with rocks and firs. A battle followed |
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Chiton |
a one piece tunic fastened with buttons or broaches |
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Chryselephantine |
constructed of gold and ivory; such statues usually had a wooden core |
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Contrapposto |
A stance in which the bodies weight is supported on one leg, so that a contrast is formed between the tension of one side with the relaxation of the other |
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Cyclic |
A series of discrete episodes from a longer story that are physically seperated from one another (eg. Metopes on a temple) and the figure of the protagonist is repeated in each episode. |
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Daedalic style |
a style of sculpture named after the mythic inventor Daedalus. It stylistic features include a U-shaped face, low forehead, heavy dreadlocks, body divided by a belt and a frontal pose. Hands are typically down by the sides |
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Dentil |
Toothlike projection on an Ionic epityle |
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Dinos |
a large, round bottomed bowl, requiring a seperate stand, sometimes used for mixing wine |
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Ekphora |
The ritualised bringing out of a corpse from burial; often depicted on late Geometric pottery |
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Entablature |
all parts of an architectural order above columns |
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Entasis |
the vertical, convex curve of a column Ep |
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Epistyle |
Line of blocks extended above the columns to support upper part of the building |
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Flute |
A vertical concave channels or grooves on columns |
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Fresco |
Wall painting produced by application of pigments to wet or damp plaster |
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Frieze |
Zone above the epistyle; decorated with metopes and trigliphs, in Doric order, sculpture or dentils in Ionic |
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Gigantomachy |
Mythic battle between the Olympian gods, helped by Heracles, assert their supremacy by defeating a race of giants, who attempt to overthrow them |
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Himation |
Outer mantel or cloak |
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Hoplite |
a heavily armed foot solider with helmet, large shield, body armour, greaves, spear, and sword.Hy |
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Hydria |
Three-handled vase used for carrying water |
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Kantharos |
Drinking cup with high handles, frequently used by Dionysos on Greek painted pottery |
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Kore (pl. Korai) |
A free standing archaic statue of a draped female figure, mostly aristocratic maidens |
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Kouros |
A free standing archaic statue of a male figure, mostly artistocratic youths |
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Krater |
Bowl used for mixing wine and water |
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Kylix |
Tall, stemmed, shallow drinking cup |
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Lekythos |
Tall, one handled oil bottle |
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Lintel |
A load bearing building component, a decorative architectural element, or a combined ornamented structural item. It is often found over portals, doors, windows, and fairplaces |
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Loutrophoros |
Vase shaped for holding water in a marriage ritual |
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Magna Graecia |
'Great Greece' Greek colonies found in Southern Italy and Sicily |
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Meanders |
A decorative border constructed from a continious line, shaped into a repeated motif |
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Metope |
Slab, usually blank, but sometimes decorated, between two triglyphs of a Doric frieze |
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Monoscenic |
A depiction of a single moment in a particular story which preserves the unity of time and space. In other words, if the story were happening in real life, the picture could be a photograph taken at one particular moment |
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Mud-brick |
Brick made of sun dried mud |
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Numismatics |
The study of coins and coinage |
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Oinochoe |
Case used for pouring liquids, usually wine |
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Olpe |
Jug with round mouth and sagged belly |
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Opisthodomos |
The back porch of a Greek Temple |
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Panhellenic |
Involving, or open to, any or all city states in the Greek world. |
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Parataxis |
A series of scenes or elements are presented side by side in on particular order or heirarchy |
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Pediment |
Triangular space formed by slanting roof at ends of a Greek building, usually a temple |
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Pelike |
two handled case used for storage |
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Peplos |
Heavy, one piece garment worn by women, fastened at the shoulders |
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Peristyle |
A covered colonnade surrounding a building or court |
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Phalanx |
Close infantry formation involving hoplites on the march |
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Polis |
an independent city state |
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Pronaos |
the front porch of a Greek temple |
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Prothesis |
Lying in state and ritual mourning of a dead person, commonly depicted on Late Geometric Pottery |
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Protome |
an adornment on untensils or works of art in the form of a fronta; view of an animal head or bust of a human |
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Psykter |
Bulbous case used as a wine cooler |
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Red Figure Technique |
Type of vase painting in which the background is painted (usually black), leaving the figures the colour of the clay which are then decorated with washes, glazes and colour |
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Relief sculpture |
A sculpture in which figures emerge partly from a sunken background |
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Seisachtheia |
A set of laws that were implemented by the Athenian ruler Solon, in order to rectify the widespread slavery that had run rampant in Athens during the 6th C |
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Stele |
Upright stone slab, often used as a grave marker, sometimes with inscriptions and relief sculpture |
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Stereobate |
The stepped foundation of a stone temple |
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Stoa |
Long, Rectangular construction with a roof extending from the back wall to a row of support in front |
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stylobate |
A portion of the floor of a building on which the columns rest |
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Symposium |
A drinking party, often held by social, all male, elite with high brow, and comic discussion, music, dance, and entertainment from youths and courtesans |
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Synoptic Technique |
The compression of different events over time, therefore happening simultaneously. This is done so events can be presented on one plain. The eleusis Amphora uses this technique on the neck, Sequential evetns become simultaneous |
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Tempera Technique |
Use of medium such as egg yolk to bind colours in painting |
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Tesserae |
Small peices of stone used in the composing mosaics |
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Thalassoceracy |
A domain based on sea ability |
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Triglyph |
Slab frieze area of Doric temple that has grooves carved in it |
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Tripod |
A tall, three-footed cauldron, usually bronze, sometimes functioned as a dedication in sanctuaries, a prize in athletic competitions, or to conduct sacrifices |
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Type |
in numismatics, the design face of a coin |
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white ground technique |
type of painting common in the mid late 5th C attic funerary cases which had a white clay slip covering them, sometimes with added colour as decoration |
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Xoanon (pl. Xoana) |
Primitive statue made of wood, usually a cult statue |
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Anastole |
The Greek name of the hairstyle in which the hair is brushed up from the forehead, arranged wreath like around the face, and typical in portraits of alexander the great (356-323) |
