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109 Cards in this Set
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Town plan, Karphi, Crete, 11th c. BC
The plan includes a shrine and a great house. Built on top of mountains in order to be isolated from possible threats. Plan shows nature of the town:houses huddled together in a disorganized way. Things that were found there include a terra cotta figurine and a terra cotta chariot group. |
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Female figurine from Karphi, terracotta, c. 1000 BC. Probably a representation of a goddess or a votive because it was found in a shrine.
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"Chariot Group" from Karphi, terra cotta, c. 1000 BC. Found in a shrine.
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Oval house at Old Smyrna, 10th c. BC. an example of domestic architecture. Apse on one side. Thatched roof with mudbrick.
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Heroon, Lefkandi. A heroon is a building for a hero. Found on the island of Euia. Perastyle building with columns that go around its perimeter. Two graves are inside, there is a cemetery right outside of it. One of the graves has the bones of horses in it, which is a sign of wealth. This grave also has two burials, one for a man and one for a woman. The man was cremated inside of a crater. The crater was older than the burial itself, probably a family heirloom. Female burial included gold disks and jewelry.
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Centaur from Lefkandi, terracotta, 900 BC. Buried in a grave.
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Protogeometric skyphos from the Kerameikos, Athens, terracotta, 10th c. BC. Concentric circles.
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Protogeometric belly-handled amphora, Kerameikos, terracotta c. 975. This pot includes a detail of a horse. This period gives us our first examples of figural designs on pottery.
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Early geometric neck-handled amphora and the "ritually killed" iron sword. From the "Aereopagus Warrior grave" in Athens. Dated to ca. 900 BC.
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Middle geometric belly-handled amphora from the "tomb of a rich Athenian lady" in Athen. ca. 850 BC. terracotta. This was used to hold the ashes of the rich athenian lady.
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Middle geometric horse-handled pyxis, from the grave of a woman. Kerameikos, terra cotta, ca. 800 BC.
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fragmentary middle geometric krater, Kerameikos, teracotta ca. 800 BC. Includes a figural drawing of a person and a horse.
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Terracotta model of a granary from the "tomb of a rich Athenian Lady" in Athens. ca. 850 BC. The little bulbs on top might have been meant to represent silos. If so, this would have demonstrated her wealth. This also could have been used to keep makeup in.
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Late geometric dypylon amphora from Karameikos. ca. 750 BC. terra cotta. Used for funerary purposes. Lots of repeated geometric patterns. There is a figural scene depicting a funeral. Geometric looking mourners are tearing out their hair and some mourners are on their knees. A shroud is shown going over the dead person who is thought to be a woman.
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Late Geometric dipylon krater, Kerameikos c. 750 BC. Has a funerary scene on it.
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Late geometric oinochoe, Athens, c. 730-720. Geese and four legged mammal decorations. Shipwreck scene with upside down boat. Used as a wine container.
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Late geometric krater with ship scene, Thebes, c. 730. Part of this krater displays a man and woman right before the man gets on the boat. It is thought that this might be a Homeric couple such as Paris and Helen or Odysseus and Penelope.
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Model of the Argive Heraion, terracotta, 8th c. Argos
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Temple of Apollo, Dreros Crete, 700 BC. This temple looks sort of like a Megaron and was actually built on the site of a previous Megaron. stone and mudbrick.
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Hekatompedon, Samos, 8th c. BC, stone/wood/mudbrick. Simple rectangular shape with columns down the middle. Good example of early Archaic temple architecture. Row of columns in the middle was purely structural--functionally, it didn't make sense because it obstructed the cult statue. This changes through the next century when temples start being made of stone.
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Geometric bronze horse, 9th c. Corinth. These kinds of statues were often freestanding, attached to caldrons, or sometimes hanging from trees as votive offerings. These were also used as prizes for Athletic competitions (the Olympic games)
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Bronze figurines from Olympia, 8th c. Have little holes in them, hanging votive figurines.
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Tripod caldron, Olympia, bronze, 8th c. Body of the caldron is hammered out, legs are made of cast bronze. Might have been used as a prize in the Olympic games.
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Charioteer from Olympia, bronze, c. 750.
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Man and centaur statuette, Olympia, bronze, c. 750 BC. This is a very typical scene in greek art.
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Female figurine, ivory, from a late geometric grave, Athens, c. 730 BC. Eastern influence is visible in the material, frontal stance, and nudity.
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Nestor's cup, late geometric kotyle with euboic inscription, 8th c. Found on the island of Pithakoussia. Nestor was the ruler of Sandy Pylos. The reason why it is thought to be his cup is because the inscription says it is "The cup of Nestor". inscription also includes a warning of not drinking too much. Written in the meter of Homer. Found in the grave of a 10 year old boy. It is thought that Pithakoussia was where the greeks may have appropriated the Phoenician alphabet.
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So-called "Dipylon Jug" with inscription on shoulder, c. 750. Inscription states that the jug is a prize for a winner.
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Protocorinthian figural aryballos, c. 720. Corinth. Includes animal figures drawn in both outline and silhouette. There is a mix of outline/silhouette drawing during this time.
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Protocorinthian "MacMillan" aryballos. ca. 660 BC. Registers have different figural scenes. Designs start to be inscribed with a needle: characteristic of black-figure.
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Protocorinthian olpe, "Chigi Vase" ca. 650 BC, Etruria. One scene includes a procession of soldiers with a flute player. There is also a procession of horses where you can see a mixture of incision and outline technique.
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Cast bronze griffin and siren protomes, ca. 700, Olympia. These were perched on the lip of a caldron. Cast by pouring bronze into a mold.
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Bronze statuette of a nude male, Thebes, dedication of Mantiklos to Apollo. 700 BC. Inscription on thighs explains dedication. Forms of body are still geometric but more rounded.
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Bronze figure from Delphi, ca. 625 BC.
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Lady from Auxerre, limestione, c. 640. Example of Daedalic style. This style was named after a mythical sculptor on Crete because the style of sculpture was first found on crete. Eastern influences: wig-like hair, upright posture/frontal pose. The low forehead, big eyes and arm in front of chest are all greek. Meander pattern decorates her skirt.
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"Woman at the window" relief, Mycenae, c. 640. A cloak covers part of her hair/face. This is a traditional gesture of brides in western art, but signifies a prostitute eastern art.
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Dedication of Nikandre, life size, from Delos, ca. 640, Daedalic syle. Inscription indicated the identity of Nikandre, the dedicator. Inscription also shows that she defined herself through her male ancestors.
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Ivory lyre fitting in the shape of a nude youth, sanctuary of Hera in Samos, c. 625 BC. Some of his features are more rounded/lifelike than those in the geometric period.
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Temple of Apollo at Thermon, ca. 640 BC. Main cella (room) in the temple contains a line of columns going down the middle. The cult statue would have been at the back of the cella. Peristyle: columns surrounding the outside of the temple. This would have had terracotta rooftiles. Terracotta metope slaps c. 640 BC were also found at the site. They had paintings on them and would have been on the walls or the roof. One shows Perseus running away with medusa's head, another shows a scene from the story of Chelidon, who killed her rapist after he cut off her tongue.
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Temple of Apollo at Prinas, Crete, 600 BC. Link between secular/religious function in architecture (looks like a megaron, is actually a temple.)
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Hekatompedons I and II, Sanctuary for Hera, Samos. 8th c. Rectangular "cella" from with columns, but the columns no longer go down the middle (they support the roof from the edges of the temple). Cult statue is clearly visible. Sanctuary of hera has a southeast "stoa" which is a part of the temple with walls on three sides (back and sides) and columns down the front.
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Amphora by the Analatos painter, ca. 700 BC. Athens. Terracotta. Incised features for some of the figures (characteristic of black figure technique, but this is not quite black figure yet).
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Protoattic funerary amphora, Polyphemos painter, 650 BC, found at Eleusis. One scene on this amphora is of Odysseus gauging out the eyes of the Cyclops. The Cyclops is drinking at the same time that he is getting his eyes gauged out: two different scenes are being depicted at the same time. Another scene on this amphora is of medusa and the gorgons, with Perseus running off with Medusa's head.
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"Nessos" amphora, late protoattic/early black figure, c. 600. Has a scene of the gorgons running across the sea after Perseus, we also see a scene of Herakles battling Nessos (a centaur). Black figure technique is beginning to be used.
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Wild goat style oinochoe, Rhodes, c. 625 BC. Has goat figures on it.
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Protoattic oinochoe, Odysseus and the ram, c. 650, Aegina. Depicts odysseus tying himself under a sheep to escape the cyclops.
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Relief amphora, Mykonos, c. 650 BC. Cinerary urn. Images are in relief rather than painted on. On the neck, the Trojan horse is depiected. Scenes on the body are of warriors attacking women and children during the trojan war.
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New York Kouros, Attica, marble, c. 600 BC. Some characteristics: huge, stylized eyes/eyebrows, neutral expression, some defined musculature, appears to be wearing a necklace, stylized hair, left foot comes forward, arms at sides.
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Kouros from Sounion, marble, c. 580 BC. Over life-size. Very stylized features. Petterned featers on ear, hair, stomach. Stylized knee bones. Functioned probably as a votive. Found at a sanctuary.
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Kleobis and Biton, c. 580, Delphi, marble. These were votive offerings.
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Kouros from Tenea, marble, c. 550 BC. Soft quality to figure, slightly more realistic musculature, "Archaic smile", slender build. Similar hairstyle to previous ones, but slightly more realistically modeled. Found lying over part of a tomb (would have been a grave marker). "Smile" is meant to bring interest/musculature to the face.
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Calf-bearer, marble, c. 550, Athens. Wears a shawl-like garment. Has a beard (very flat, smooth, stylized because it was originally painted on to give texture). Calf appears to be depicted more realistically than the man.
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Rampian horseman, Athens, marble, c. 550 BC.
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Anavysos Kouros, marble, Attica, c. 525 BC. Inscription says that he was someone's grave marker. Has wiglike hair/Archaic smile, and slightly stylized abdomen. However, he is much more naturalistic looking than earlier ones.
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Kouros grave marker of Aristodikos, marble, attica, ca. 500. This kouros no longer has long hair. His arms extend outward slightly more than previous ones. Less patterned, more realistic muscle tone. There is a star shape above his penis, represents pubic hair. Has highly modeled toes/feet/pubic hair.
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Kritios boy, marble, Athens, c. 490. Probably an offering to the gods. Weight is shifted to one foot. Naturalistic musculature. No more "Archaic smile". strong jaw line, more naturalistic ears.
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Blond boy, marble, athenian acropolis, c. 490 BC. There were traces of yellow paint on his hair when he was found.
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Berlin Kore, c. 570-560 BC from Attica. Standing female figure, holding some sort of offering made from what looks like a separate piece of stone. She wears a chiton and a hymation (scarf) wrapped around her shoulders. Has an Archaic smile
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Phrasikleia kore by aristion of paros, Attica, c. 540 BC. Has an inscription saying that she died before being married. Possibly likened to persephone--taken down to the underworld when she was still young and unmarried. she wears a headdress on her head. there is some sense of her body under her dress (not a lot). has painted designs on her dress. Pulls at her skirt with one of her hands.
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Peplos kore, Acropolis, c. 530 BC. Wearing a peplos with a chiton underneath. hair is draped over her shoulders. appears to have been holding offerings in one or both hands, one hand is lost however.
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Kore # 647, Acropolis, c. 500. Lots more realistic looking folds in the fabric, losing Archaic smile, face is softer and more naturalistic looking.
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Kore with bird and red slippers, Athenian acropolis c. 510.
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Euthydikos kore, c. 490 BC, Athens. No smile. some depiction under clothes of the body. Includes an inscription that still has paint. Slightly dour expression
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DORIC. Temple of Artemis, Corfu, c. 580 BC. "pseudo dipteral", this means there is room for two rows of columns going around but there is actually only one. Doric temple. We see sculpture in the pediment. East pediment features medusa, flanked by her children (Chrysador and Pegasus). There are figures in battle toward right corner of the pediment. Might be Zeus attacking a giant (he's holding a thunderbolt). On the other corner we see a figure dead/dying.
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DORIC. Temple of Hera, Olympia. limestone. c. 600 BC. Temple has lockable doors, used for giving offerings to the cult statue. Also used as "treasuries"/banks to house riches. Temple of Hera is peripteral--columns go around the building. 6x16 columns--number will change and become cannonized by the the classical period (6x17). Center of temple is called the cela. Back porch is the opisthodomos. front porch is the pronos. blocks that extend past the cella:anta. Two columns on this bock: in antus. Most of remaining columns from colonade were put together in pieces, called column drums. but one was made from one stone (monolithic). monolith columns: sign of an earlier temple.
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DORIC. Temple of apollo, Corinth, 560 BC, limestone with stucco. The cela (central chamber) is divided into two rooms. one side might be for Apollo, another for the oracle (of Delphi), might also be one side for Apollo and one for Artemis. "Refinements"--columns at the corners are closer together than other ones. Trying to line up columns with triglyphs and metopes. Refinements are often used to correct optical illusions so that the temple doesnt appear to sag.
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IONIC. Temple of Hera, Rhoikos temple, Samos, stone, 560-530, Distyle in antis (two rows of columns, lots of columns in pronous.
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IONIC. Temple of Artemis, Ephesos in Iona, stone, c. 550 BC. Temple is facing west (usually facing east). Pronous is on the left rather than the right. Diptoral all the way around, some parts have 3 rows. Columns have square instead of round bases.
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DORIC. Treasury of the Athenians, Delphi, marble c. 490-480 BC. Doric order, solid building with walls (not peripteral). Has two columns from the front described as distyle in antis. Triglyphs and metopes with metopes decorated with sculpture. One metope includes herakles and the hind.
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IONIC. Treasury of the Siphians, Delphi, marble, c. 520. Siphons was a wealthy island with gold and silver mines. The Facade (front part) of the treasury has two columns with female columnar sculpture. these are called "Caryatids". The north frieze of the treasury has images of Dionysos and Themis as well as well as Artemis and Apollo against the giants. We start to see foreshortening of figures (perspective).
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Selinus, plan of temple C, Sicily, c. 540, limestone and sandstone. Metopes: one is of Athena, Perseus and the Gorgon Medusa. Medusa is trying to run away, Perseus is cutting off her head. Figures are staring out at you. Another metope: Herakles and the Kerkopes. Herakles has the kerkopes hanging upside down. kerkopes were always stealing cattle.
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Temple of Hera I, Poseidonia, c. 540 BC, limestone and traverine. Columns go down the middle of the cela. Tristyle in antis. Has "cigar-shaped" columns--they swell out in the middle.
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Temple of athena poseionia, looking north east, c. 500 BC, limestone and sandstone. No sculpture in the metopes. both doric and ionic.
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Metope from the temple of Hera at Poseidonia, sandstone, c. 540, Herakles and the Kerkopes.
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dinos by sophilos, c. 580. Sophilos' name is inscribed on the pot. There is a wedding scene of Thetus and Peleus, and an image of a house with doric columns. Female figures have white faces. Characters names are written next to them on the pot. Still has scenes in registers--characteristic of corinthian pottery in the orientalizing period. slight perspective. this is a transitional pot between corinthian and athenian style.
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Francois vase, volute krater, Kleitias and Ergotimos. Francois was the person who found it. Has been put together again after being broken. Registers of scenes left over from orientalizing. Fewer animals and more people scenes. We also se the marriage of Peleus and Thetis. The funeral games of Patroclos are also shown.
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Dionysos and Maenads, neck amphora by Amasis. c. 540 BC. Typical black figure--not as connected to corinthian pottery. Dionysos is holding a cup. Women who are followers of dionysos are offering him a rabit. they also hold ivy/grape leaves. Figures interacting with each other. Not painted white--skin is left the color of the pot. (foreshadowing to red figure technique).
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Achiles and Pentheselia made by Exekias c. 530-540, amphora Very clean lines, added with and purple paint. Achilles is killing the queen of the amazon. As soon as he looks at her when he kills her, he falls in love with her.
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Attic black figure amphora, suicide of Ajax by Exekias. c. 530-540. Planting a sword on the ground so he can fall on it. Took off his armour. Sense of foreboding (this is what will happen). True reflection of emotion--first time we see this on a pot.
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Attic black figure amphora, achilles and ajax playing a game (maybe dice?). forms are identified with inscriptions of their names. also, inscriptions of what the figures are saying (calling out numbers). Inscription also says "Exikias made me". Brightly lit figural scene on a black pot. 540-530
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Kylix, dionysis on a ship by Exekias. 540-530. Eyes on the cup serve as your own eyes and are also apotropaic. battle scenes underneath handles. dionysis on the inside of the cup.
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Priam painter, women at a fountain house (hydria). c. 520-510
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Laconian black figure cup by the hunt painter. boar hunt. c. 550. slightly more rustic/less decorated than athenian pots. scene itself is going out of the picture--new characteristic.
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Amasis painter, eye cup with siren, dogs defacating and masturbation. Side A has satyrs masturbating on each other. this would have been used as a drinking cup at a symposium
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Bilingual amphora by the Andokides painter. Herakles driving a bull. c. 520. Red figure starts to show up--it's easier to depict more active poses this way. Amphora is "bilingual" because it has both black and red figure.
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Herakles and Antaios, red-figure kalyx krater by Euphronious. Herakles and Antaios struggling c. 510. New pose that would have been difficult to to do in BF. also musculature can be depicted in red figure. dilute lines are watered down for more subtle details.
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krater by Euphronious, death of Sarpedon. 510. from a tomb in Eutruia. Lots of different levels of lines, awkward foreshortening, we see figural depictions of sleep and death, side B has warriors on it.
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Attic Red figure amphora by Euthimides, male revelrs. c. 510. Dancing and drinking, Inscroption says "as never euphronious"--jab at euphronious.
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Amphora by the berlin painter, red figure, attic, c. 490. One side has athena, the other has herakles. Only the figures are red.
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Attic red figure kylix by gorgos. Shows dionysis and satyrs. One figure is carying a rabit--gift for a lover. Pot was made for a young aristocrat. Probably given to him by an older lover.
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Revelers and tondo with youth vomiting, Brygos painter, c. 490. kylix...drinking cup. guy who is vomiting is being comforted by a prostitute.
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Lerna
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EBA mainland site with house of the tiles (tiles were found inside remains of a building, terra cotta tiles). house might have been for storage. construction: mudbrick and stone. seals were found in the home that probably showed ownership.
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EBA, pottery sauceboat lerna, shape thought to imatate a gourd. clay.
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EBA, bone plaque from lerna, stone, may have been for identification purposes but we dont know. many were found in sicily so probably made there.
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Tiryns
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EBA mainland site, has a round building thought to store grain.
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Kastri on Syros
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EBA cycladic site, double stone fortification wall, fortifications become more prevalent at this point as society becomes more developed in greece.
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"Frying pan" terra cotta from syros, EBA, not actually a frying pan thought to possibly be a miror
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Syros, zoomorphic vase, EBA, terracotta
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cycladic figurine, early spedos variety, EBA marble these were very prevalent in greece, usually found in a funerary context, might represent the dead or someone they can take with them to the next life.
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Cycladic figurine, Khalandriani type, EBA, marble. different syle with much more triangular features. head pointed up.
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Malia, palace, MBA. crete. Large central court at the center of the palace, storage areas, areas for residential activity, religious and comercial activity. lustral basins--thought to have a ritualistic significance, rectangular space with stairs heading down. no fortifications in this palace or other minoan palaces. people thought they were an extremely peaceful nation.
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Snake goddess, crete, mba, ivory
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Troy
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Schleimman was the archaoelogist who "discovered" and excavated troy. it has different levels, the 8th of which is the one that was featured in homer's stories. 1-4 eba, 5-7 mba, 8-9 lba.
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lba, large courtyard typical of minoan palaces on crete, labrynth-like structure, portions of pallace devoted to different functions. no luxury items here like at knossos. pier and door construction found in the domestic area. lustral basins and light wells also present-standard characteristics of minoan architeture.
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lba, terracotta, heiroglyphs are on it that have yet to be decifered. some people think it is a fake because it is the only item of its kind.
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sacrifice sarcophogus, aghia triada, lba, limestine, would have held a body. painting is thought to show a minoan funerary ritural where the white skinned figures are probably women.
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Chrisellephantine statuette from Palaikastro, lba. ivory was not from crete, thish shows that crete was trading with other civilizations
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marine style octopus vase from palaikastro, lba, free form illustration, amphora.
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Thera
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Thera-santorini. center of the island no longer exists because of a natural disaster (volcanic eruption). a lot was preserved after the explosion, but no bodies, they must have known it was coming.
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