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70 Cards in this Set

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Female statuette, early Spedos variety

Material: Marble sculpture

Location/Style: Cycladic, Keros

Date: EC

Significance: folded arm figurine; one of the earliest figurines found in EC culture. Likely inspired from the Near East, they were produced in the Cyclades for the next ~500 years with little variation. Popular today because of its resemblance to 20th century abstract art.

Kamares jug, from Phaistos

Material: Clay pottery

Location/Style: Minoan, Kamares ware

Date: MMII (1st Palace Period)

Significance: Kamares ware; light-on-dark style with flat vegetal motifs and flowing patterns. Dynamic patterns and the light-on-dark style is emblematic of the early Minoan artistic work.

Minoan Palace at Knossos, Throne Room

Material: Architecture

Location/Style: Knossos, Minoan

Date: MMIII-LMI (2nd Palace Period)

Significance: Located adjacent to the the main court, the throne room featured a ceremonial seat flanked by frescoes of griffins. Determined not to be the seat of a ruler or chief but probably that of a priestess or female deity, given the usage of griffins in Minoan art and the presence of the lustral basin across from the throne.

Figure of snake goddess

Material: faience, ceramic

Location/Style: Knossos, Minoan

Date: MMIII-LMI (2nd Palace Period)

Significance: Minoan statuette of a snake goddess made in Egyptian-style faience. Represents Minoan religion which heavily emphasized goddesses and snakes as representations of the riches and fertility of the earth. Her clothing in typical of high-class Minoan while her headdress is influenced by Near Eastern deities.

Bull with horns of gilded wood

Material: black stone rhyton with wood

Location/Style: Knossos, Minoan

Date: MMIII-LMI (2nd Palace Period)

Significance: a rhyton from Knossos that showed wealth in ritual use of the elite. The bull was an extremely important icon of Minoan culture and religion (HoCs, sacrifices) and the deliberate smashing of the bull rhytons after use may have been a symbol of sacrifice.

Bull Jumping, from Knossos

Material: fresco

Location/Style: Knossos, Minoan

Date:LMII-III (2nd Palace Period)

Significance: the 'bull game' was on of the most distinctive elements of Minoan religion. The change in color of the leaper may represent a rite of passage into adulthood.

Xeste 3, Akrotiri: Women gathering saffron

Material: fresco

Location/Style: Akrotiri, Thera

Date: LCI

Significance: Women and girls gathering saffron, a costly spice and yellow dye, in a rocky landscape. Saffron represented an important part of Thera's economy and had deep religious meaning as the collection of it was seen as sacred. This shows how centralized religion, and economy influenced early Aegean societies.

Frieze of a Expedition: West House Room 5

Material: fresco

Location/Style: Akrotiri, Thera (Minoan style)

Date: LCI

Significance: shows 'Homeric' imagery which is unusual to find in the Cyclades, but suggests trade or other connection to the mainland. Seafaring imagery suggests some degree of connection with the mainland; which foreshadows the invasion of the Mycenaeans into the Cyclades and Crete.

Lerna, House of Tiles

Material: Architecture

Location/Style: Lerna, Argolid (Mycenaean)

Date: EHII

Significance: Named after the clay roof tiles, it was one of the largest buildings in Greece at the time. Destroyed at the end of EHII, rather than rebuild it the people covered the ruins with an earthen mound and surrounded it with stones.

Stele with Spiral Motif and Chariot Scene

Material: limestone sculpture

Location/Style: Mycenae (Grave Circle A)

Date: LHI

Significance: grave stone marker above shaft grave at Grave Circle A in Mycenae. Represents a notable change from cist to shaft graves in Mycenaean culture and the development of markers to recognize the lavish graves of elite families/individuals.

Funerary mask "Agamemnon" from Mycenae

Material: gold mask

Location/Style: Mycenae, Helladic

Date: LHI

Significance: Grave good found in the grave circles at Mycenae. The graves contained more gold than what had been found in all of Crete before LMIII. The elite competition showed Mycenaean priorities; that allocating resources to graves was more important than communal defense/buildings

Inlaid Daggers found Tombs IV, V in Mycenae

Material: bronze, gold, silver, niello

Location/Style: Mycenae, Helladic

Date: LHI

Significance: Represents the exchange of goods overseas (gold, silver); gift exchanges were a crucial aspect of social interaction in the Bronze Age. Presence of lions on the blade show connection with Near Eastern motifs.

Treasury of Atreus tholos tomb

Material: architecture (ashlar)

Location/Style: Mycenae, Helladic


Significance: Most famous tholos tomb from Mycenae; became popular after LHI throughout the surrounding regions as another development in how elite could show their wealth to all, ending the Shaft Era -- became important not only to show wealth to your community, but to the entire region.

The megaron at Pylos

Material: architecture

Location/Style: Pylos, Helladic

Date: LHII

Significance: the megaron was the center of the Mycenaean palace style; most economic activity was controlled directly by the palace bureaucracy. The megaron had storage rooms on either side for storage of goods as well as workshops.

Pylos, Palace of Nestor

Material: architecture

Location/Style: Pylos, Helladic

Date: LHII

Significance: depicts the foundation of the megaron at Pylos. The storage rooms in the foreground often stored important goods like wool and olive oil that were jarred and exported from the palace. The palace can be seen to be zoned into difference sections, which were used for different activities -- storage, production, royal dwelling, etc.

Cult Center Wall Fresco, Mycenae

Material: fresco

Location/Style: Mycenae (Helladic)


Significance: depicts a goddess accompanied by wheat and a griffin and large goddesses with a small worshipper. From the cult center outside Mycenae; religion was a central function of the palace system at Mycenae but cult centers are the only structure (since no temples yet) that show religious gathering areas. Rather religious events where mostly festivals, rituals, and processions.

Terracotta Psi Figurine, Mycenaean

Material: terracotta sculpture

Location/Style: Mycenae (Helladic)


Significance: figurines were often forms of offerings sent to deities in Mycenaean religion -- representing a shift from animal sacrifice.

Lion Gate at Mycenae

Material: Cyclopean stone

Location/Style: Mycenae (Helladic)


Significance: Hittite influence brought changes to stonecutting and wall construction. Mycenaean citadels began building enormous stone walls (Cyclopean) to both fortify the cities and make a symbolic statement about regional power/wealth. The size and use of lions emulate the Eastern Hittite capital of Hattusa.

Pilgrim's flask

Material: terracotta pottery

Location/Style: Palaikastro (Minoan)

Date: LMI

Significance: Minoan stirrup jar with Marine Style imagery. This style included large, flowing depictions of marine life that often were dynamic and covered the entire vessel.

Three Handled Amphora

Material: clay pottery

Location/Style: Crete (Minoan)

Date: LMI

Significance: Shows the influence of Mycenaean culture on classic Marine Style on Crete. The flowing imagery has been replaced with symmetrical, more structured artwork. Shows the merging of artistic style and culture after the Mycenaean invasion of Crete.

Stirrup jar with octopus

Material: terracota pottery

Location/Style: Mycenaean (Helladic)


Significance: A Mycenaean version of a Minoan style stirrup jar. The jar clearly shows the influence that Minoan Marine Style had even on the mainland given extensive trading but also the effect of Mycenaean interpretation -- they take the motifs of the original style and fit it into their own style.

Mycenaean Chariot Krater

Material: Terracotta

Location/Style: Found on Cyprus (likely made on Mainland Greece)

Date: LHIIIB/ 1st half of 13th Century

Significance: These types of vases were a commodity made on the mainland and often traded East. These vases are often connected with funeral practices and are found in tombs almost exclusively in Cryprus. Note that chariots were not effective on the Greek mainland and shows Eastern influences.

Mycenaean Krater Warrior's Vase

Material: Clay

Location/Style: Mycenae

Date: 12 C. B.C.

Significance: This shows Mycenaean warriors. Their type of dress and horned helmets were matched by the "Sea people" depicted in certain Egyptian art meaning at least some of them were Mycenaean in origin. These "sea people" raided throughout the Aegean during the 12th Century.

Smyrna: Oval House Plan

Material: Very Simple Mud Construction

Location/Style: Izmir (Turkey)

Date: 900 B.C.

Significance: This shows the regression in house styles in the Dark Ages. Very little monumental art and architecture during this period.

Apsidal Hall at Lefkandi, Euboia

Material: Mud Brick and Wood Posts

Location/Style: Lefkandi, Euboia

Date: 10th Century

Significance: One of the few examples of monumental architecture in this period.

Burial site for a Hero and his wife.

Some of the earliest evidence for cremation.

Found artifacts that were hundreds of years old when buried in the grave. (i.e. Babalonian necklace c.a. 1800 B.C. and Cauldron c.a. 1200 B.C.)

Addition of horses buried next to them hints at beginning of homeric culture.

First example of Peristyle- Columns all around the building. Staple of Greek Architecture.

Belly-Handled Amphora Mid Geometric

Material: Ceramic

Location/Style: Eleusis (Attica near Athens)

Date: ca. 850 B.C. (Middle Geometric-From Book)

Significance: Shows changes from Early to Middle Geometric.

Decoration spread to cover more of the vase.

Largest pattern bands mark the widest and narrowest parts of the vase.

Again, belly handle indicates female burial.

Belly-Handled Amphora: Lying-in-State and Lamentations

Material: Ceramic

Location/Style: Athens (From Dipylon Cemetery)

Date: 8th Century B.C. (Late Geometric)

Significance: Shows how pattern work has spread to entire vase in Late Geometric period.

Patterns are Formulaic.

Could be as large as a grown man.

Inclusion of first figure scenes.

These scenes focus on life and death of Athenian elites.

Terracotta Krater w/ Lid surmounted by small Hydra

Material: Terracotta

Location/Style: Found on Cyprus (From Euboia)

Date: 750-740 B.C. (Late Geometric)

Significance: Bears a depicition of "the tree of life" which shows connection to the East. Origins of Orientalizing

Helps track Euboian contact with the Mediterranean world.

Shows difference between Euboian and Attic styles during this time.

Has three Handles.

Large Funerary Krater (Diplyon Krater) Attributed to Hirschfeld Painter

Material: Ceramic

Location/Style: Athens?

Date: 8th Century B.C.

Significance: Shows the "Dipylon Style" based on the shields of the warriors.

Shows how by Late Geometric period artists did not like blank space and added numerous decorations.

Also sparks the discussion of whether Geometric vases are beginning to tell complete stories or not.

Arms of figures around the dead show mourning.

Below is a funeral Procession of chariots.

Reconstruction of the Temple of Apollo at Eretria

Material: Mud Brick

Location/Style: Eretria

Date: ca 800

Significance: One of the first Sanctuaries to a god outside of the Rulers house. Foundations in Apsidal buildings.

Soon replaced by a Hekatompedon, or hundred footer which was much bigger.

Horseshoe plan.

Shows shift from Aristocracy to communal ideas.

West Gate Cemetery at Eretria

Mantiklos "Apollo" Statue

Material: Bronze

Location/Style: From Boiotia

Date: 700 B.C.

Significance: Small statue that is inscribed with writing dedicating it to Apollo from Mantiklos.

Important because it shows one of the first instances of an inscription on a statue. People would know who donated this.

Very Schematic and compartmentalized.

Pair of Griffin Promotes

Material: Bronze, Bone or Ivory Inlay

Location/Style: From Olympia(book) From Samos(online description)

Date: Late 7th Century (Orientalizing Period)

Significance: Would have been put on Tripod Cauldrons as handles.

Would have been donated/dedicated to a sanctuary and attests to the wealth/piety of the donor.

Evenutally these heads would be made using a mold (technological advance)

Shows influence of the East on Greek art.

Pointed Aryballos

Material: Ceramic

Location/Style: Proto-Corinthian

Date: ca 660 B.C.

Significance: Depicts Bellerophon and Chimera

Example of the Black-figure Technique and incision. This allowed for much more detail and overlapping images on pottery. Would eventually be adapted by all Greeks and dominate Greek pottery for 200 years.

Aryballos was used to carry scented oils.

"Chigi" Vase/Olpe

Material: Ceramic

Location/Style: Protocorinthian Syle From Corinth (Found in Etruscan Tomb)

Date: 650-640 B.C.

Significance: 1) One of the greatest examples of Protocorinthian style. Incredibly amount of detail.

2) Only representation of Hoplite formation in all of Greek art

3) Doesn't lump Scenes together and shows three distinct phases of a males life.

4) Uses many different styles

Corinthian Olpe: Lion Jug with Animal Friezes

Material: Cermaic?

Location/Style: Corinthian Animal Style

Date: 650-550 B.C.

Significance: Not totally sure/not in reading

Shows how girffins and other eastern images are becoming standardized around the Aegean.

Oinochoe: Wild Goat Style

Material: Ceramic?

Location/Style: Rhodes, Wild Goat Style

Date: 625 B.C.

Significance: Style developed in Southern Ionia.

Repetitive bands of animals are found around the vase.

Outline is common but incision is rare.

Almost no human figures or narratives.

Neck Handled Amphora: From Analatos painter

Material: Ceramic

Location/Style: Attica, Early Protoattic style

Date: early 7th Century (700-680 B.C.)

Significance: Early example of Athens adopting the Orientalizing style

The advancements in decoration (i.e. incision, wavy lines, and vegetal motifs) allow scholars to distinguish individual painters.

Eastern Influences can be seen with the sphinxes on top.

Proto-Attic Amphora from Eleusis: Blinding of Polyphemus, Running Gorgons

Material: Ceramic

Location/Style: From Eleusis, Middle Proto-Attic Style

Date: 675-650 B.C.

Significance: Black and White Style - Ends the full black figure style and uses white figures to depict important characters. Allows multiple scenes to be compressed into 1.

There is no uniform depiction of mythological creatures yet.

'Nessos Amphora' Created by Nettos Painter: Herakles and Nessos, Gorgons chase Perseus.

Material: Ceramic?

Location/Style: Athens, Dipylon Cemetery, Proto-Attic

Date: ca 625-600 B.C.

Significance: Finally agreement as to what mythological creatures looked like.

Athenians adopt Black-figure style with white outline.

Athenians stopped putting Proto-Attic ware inside burial plots. Put them in a separate trenches. These Served as markers.

Kouros Front and Back

Material: Bronze

Location/Style: Dedalic Style From Delphi

Date: 650-625 B.C.

Significance: Based on an Orientalizing style.

Similar to Egypt: Hair Style, Hands by their sides

Different from Egypt: Dimensions are different, Compartmentalized body, Lack of clothing, and Free standing

Originally from Crete and Mass produced through molds

'Triad Group' (Deity flanked by 2 goddesses): From temple of Apollo at Acropolis at Gortyn

Material: Limestone

Location/Style: Gortyn (Crete) Dedalic Style

Date: ca 650 B.C

Significance: First stone Agora in Greece.

Three figures are in Egyptian style (Apollo, Leto, and Artemis).

The women are naked which would not be the norm in later Greek statues.

Shows transition to large scale statues.

Woman of Auxerre

Material: Limestone

Location/Style: From Crete,

Date: 640-630 B.C.

Significance: Very early example of Korai statue.

Will be a formula for artists for generations to come. By adding or taking away certain elements can change the statue into a mortal or a Goddess.

Start of female statues being Clothed.

Nikandre from Delos

Material: Marble

Location/Style: Found at Delos

Date: 660-650 B.C.

Significance: Has an inscription dedicating the statue to a Goddess.

Used proportions more commonly found in Egypt.

Could be self representation or a goddess.

Entablature Reconstruction; Temple of Apollo, Thermon

Material: architecture (wood/clay)

Location/Style: Thermon (Doric style)

Date: Orientalizing (625 BC)

Significance: part of a doric temple; unique because it was all wood (including columns) except for the metopes. These were painted, baked clay. Shows Perseus and the gorgons, thus an early example of the usage of gorgons as a temple motif symbolizing protection.

Temple of Apollo, Corinth

Material: architecture (stone)

Location: Corinth

Date: 6th century (540 BC)

Significance: represents the starting point of Greek temple-style columns (stone). Usage of stone shows the competition between wealthy city-states as well as more centralized/organized resources to allow for more monumental constructions. Unique for its monolithic columns.

Temple of Hera, Olympia

Material: architecture (stone/wood)

Location/Style: Olympia (Doric style)

Date: 7th century

Significance: foundation is stone but the columns were originally wood, thus significant evidence from the 7th century that the Doric order of temples started in wood before transitioning to stone.

Temple of Apollo, Syracuse

Material: architecture (stone)

Location/Style: Syracuse (Archaic)

Date: 6th century (570 BC)

Significance: important because the very close spacing of columns showed that early archaic architects were concerned with the strength/security of stone architecture. Also shows the replacing of the back porch with an inner sanctuary (adyton).

Aeolic Order capital, Hermos

Material: stone

Location/Style: Hermos (Aeolic)

Date: 6th century

Significance: the Aeolic capitals found at Hermos and Smyrna were seen as the proto-Ionic, or the precursors to the Ionic style. Note the early version of the volutes.

Temple of Hera IV, Samos

Material: architecture plan

Location/Style: Samos (Archaic)

Date: 6th century

Significance: largest archaic temple in Greece in its time; was rebuilt four times. Notably was tripteral in the front/back. Significant because it was never finished, but showed signs that columns were reused from past versions.

Porch of Temple of Artemis, Ephesos

Material: architecture

Location/Style: Ephesos (Ionic)

Date: 6th century

Significance: columns on the porch portrayed sculpted worshippers bringing gifts to the gods. Connects the association of Ionic columns with votive offerings (similarity to the stands that offerings would sit on).

Ionic Capital at the Temple of Artemis IV, Ephesus

Material: architecture (stone)

Location/Style: Ephesos (Ionic)

Date: 6th century

Significance: shows a Ionic capital; has the prototypical volutes, the thin abacus, and the connection to the fluted column.

Temple of Artemis, Corfu

Material: sculpture (stone)

Location/Style: Corfu (Doric)

Date: 6th century

Significance: one of the largest gorgon pediments, which is a reference to the clay caps on wood roof tiles. Gorgon is flanked by panthers and the battle of Gods and Giants is shown in the corners (one of the most famous depictions). Shows the "past, present, and future" of gorgons in a single frame (gorgons helped fight with the giants).

Lion Attacking a Bull; Temple of Athena Polias, Athens

Material: sculpture (limestone)

Location/Style: Athens (Doric)

Date: 6th century

Significance: significant in that the lion/bull motif became stock imagery for many temples. Interesting because the sculptor obviously was not familiar with real lions bc he gave a lioness a mane. This motif was common in the Near East where it was synonymous with royal power.

Metope of Temple C, Selinous

Material: sculpture (limestone)

Location/Style: Selinous (Doric)

Date: 6th century (560 BC)

Significance: found at the temple of an unknown god. Metope shows Athena helping Perseus kill Medousa who is holding Pegasos. Interestingly, all the characters look out to the viewer rather than being in profile, all showing the 'archaic smile'.

Dinos: 'Procession of the Gods at the Marriage of Peleus and Thetis'

Material: pottery (dinos)

Location/Style: Sophilos (Archaic)

Date: 6th century

Significance: possibly painted by the son of the "Gorgon painter". Shows the marriage at which the judging of Paris and birth of Achilles are related. Style includes a lot of detail and incisions and is reminiscent of doric columns.

'Francois Vase' by Ergotimos & Kleitias

Material: pottery (ceramic krater)

Location/Style: made in Athens (Archaic)

Date: 6th century (570 BC)

Significance: the 'masterpiece of Athenian black-figure style'. Significant for how the mythological narrative fills the entire vase; notably showing narratives related the Achilles. Marriage was perhaps a theme, but the scenes do not put marriage in a strong light -- more likely it was a talking point about wine (Dionysus) to be displayed at a symposium.

Kylix: Eye Cup by Phineus Painter

Material: pottery (ceramic)

Location/Style: Archaic

Date: 6th century (540 BC)

Significance: these drinking cups were notable for their playful style -- when brought to the face they made a mask. They likened getting drunk to changing one's character and in some views transforming the person (i.e. the mask).

"Neck-Handled Amphora: Achilles Killing Penthesilea" by Exekias

Material: pottery (ceramic)

Location/Style: from Attica (Archaic)

Date: 6th century (530 BC)

Significance: The scene is notable for the way it draws attention to the eyes of the characters as well as the to the overlapping of the spears, arms, and feet. It included an inscription that was a statement of beauty of a youth -- because it was for a symposium, the statement would be a talking point about the youth's attractiveness.

"Black-figure Amphora: Achilles & Ajax playing dice" by Exekias

Material: pottery (ceramic)

Location/Style: Attica? (Archaic)

Date: 6th century (550 BC)

Significance: Exekias was famous for his depiction of detailed, "quiet", or "pregnant" moments. This shows the calm before the Battle of Troy in which Achilles dies -- thus, using the viewer's knowledge of myth to create a ominous moment.

"Neck Handled Amphora: Ajax prepares to kill himself" by Exekias

Material: pottery (ceramic)

Location/Style: Attica? (Archaic)

Date: 6th century (540 BC)

Significance: Exekias portraying 'epic solemnity' in the suicide of Ajax. Notably shows the detail of the gorgon looking out at the viewer, the armour looking down upon Ajax, and a 'solemn' palm tree on the side. A classic example of Exekias' ability to portray a quiet, but highly intense, moment.

Lakonian Black-Figure cup by Hunter Painter: Cerberus Led from the Underworld

Material: pottery (ceramic)

Location/Style: Lakonia (Sparta)

Date: 6th century (550-525 BC)

Significance: Attests to a level of luxury at odds with later accounts of Sparta as a severe militaristic state. Lakonian pottery ceased production rather abruptly in the last third of the 6th century.

Marble Statue of a Kouros (youth)

Material: Marble, Naxian

Location/Style: Attic, Archaic style

Date: 590-580 B.C.

Significance: Found near a Grave in Phoinikia in Attica. Statue is not entirely nude as he wears a choke necklace. Is in the classic one foot forward pose. Due to the method with which the marble was cut this pose appears very rigid and almost inhuman. These statues do not necessarily represent someone in particular. Instead it represents an idealistic beauty.

Kuoros from Heraion of Samos

Material: Blue Marble

Location/Style: Samos

Date: 580 B.C.

Significance: This was dedicated by Iskhys at the sanctuary of Hera on Samos.

This statue is more fleshy and not as 'cut' as some. This shows how different areas of Greece had different ideas about manly beauty.

This shows how the Greek style of statue closely resembled the Egyptian one in pose. The pose of the statue is largely due to the grid style used to make them.

However, it varied from the Egyptian statue in terms of proportions.

The hands are still slightly attached to the body

Kouros from Anavyssos

Material: Marble

Location/Style: Archaic Style Phoinikia

Date: 540-500 B.C.

Significance: This was from a grave near Phoinikia in Attica.

The inscription tells us that it is to commemorate a man who died in battle.

Here the statues hands are not attached to the body at all showing that sculptors were getting better.

Sometimes wrongly Identified as Croesus.

It is beginning to lose its blockiness. Edges are softening. Again, shows how sculptors are relying less on drawing and are doing it in 3-D

'Berlin Goddess" Front View

Material: Marble

Style/Location: Archaic (Attica)

Date: 580-570 B.C.

Significance: This statue has its arm bent and is holding a pomegranate and the position connotes fertility. It also still has some paint left on it.

This is important because it highlights the differences between male Kouros and the female Kore.

Also, helps show the changes in Kore over a generation when compared to the Phrasikleia Kore.

Phrasikleia Kore

Material: Marble

Style/Location: Attica

Date: 540 B.C.

Significance: This Kore helps denote the differences in style over a generation when compared to the Berlin Goddess Kore. The pose has changed and the generally cylindrical shape suggest Eastern Influences.

This statue has an inscription marking it as a marker for the grave of a young unmarried girl named Phrasikleia. Dying a virgin was the equivalent for a woman of dying in battle for a man.

Found next to a male statue.

Name of the Sculptor was put on the Statue. (Ariston of Paros)

Peplos Kore (Probably an image of Artemis)

Material: Marble

Style/Location: Archaic (Athenian Akropolis)

Date: 530 B.C.

Significance: This statue does not wear a peplos and she is not a Kore. Most likely the Anatolian fertility goddess (notably Artemis of Ephesos).

Shares many similarities with the Rampin Rider.

Her hand could have potentially held a bow.

Korai from the Akropolis of Athens

Material: Marble

Style/Location: Archaic/Athens

Date: 530-515 B.C.

Significance: We see a different clothing style. This statue is holding up her dress to help her walk. These statues are doing more "human like" things. This produces a complex pattern of folds in three dimensions. The third dimension has finally been "Cracked"

Calf-Bearer Moscophoros

Material: Marble

Style/Location: Athenian Akropolis

Date: 570 B.C.

Significance: Dedicated by Rhonbos.

The mans arms and the calf's legs cross to form a perfect x. This statue embodies the exchange relationship of religion with the offering of a calf.

The Calf's and man's eyes are at the same level.

The calf is looking directly out at you.

This Statue has a beard. Meaning he is older. This is a break from usual style where they were young mean of idealistic beauty.

He is wearing a cloak giving him a specific identity.

Stele of Aristion

Material: Marble

Style/Location: Attica

Date: 510-500 B.C.

Significance: Signed by Aristokles. He wears the armor of a Hoplite. His face was painted a different color than his body.

This is supposed to depict the man whose grave it marks.

Attic sculptors do not render men nude in relief or clothed in free standing sculpture.

It is a difference of Iconography.

Men on these Steles are almost always holding something. Common for warriors or Athletes