Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
94 Cards in this Set
- Front
- Back
|
Amphora |
An ancient Greek or Roman jar for storing oil or wine, with an egg-shaped body and two curved handles. Decoration made of interwoven animals or serpents, often found in early medieval Northern European art. |
|
|
Apse |
a large semicircular or polygonal recess in a church, arched or with a domed roof, typically at the eastern end, and usually containing the altar. |
|
|
Arcade |
a covered passageway with arches along one or both sides. |
|
|
Arch |
a curved symmetrical structure spanning an opening and typically supporting the weight of a bridge, roof, or wall above it. |
|
|
Architrave |
The bottom element in an entablature, beneath the frieze and the cornice. |
|
|
Barrel vault |
- An arched masonry structure that spans an interior space. - Also known as a tunnel |
|
|
Vault |
an elongated or continuous semicircular vault, shaped like a half-cylinder. |
|
|
Basilica |
- A large rectangular building. - Often built with a clerestory, side aisles separated from the center nave by colonnades, and an apse at one or both ends. - Originally Roman centers for administration, later adapted to Christian church use. |
|
|
Caryatid |
A sculpture of a draped female figure acting as a column supporting an entablature. |
|
|
Cella |
- The principal interior room at the center of a Greek or Roman temple within which the cult statue was usually housed. Also called the naos. |
|
|
Chiaroscuro |
- An Italian word designating the contrast of dark and light in a painting, drawing, or print. - Creates spatial depth and volumetric forms through gradations in the intensity of light and shadow. |
|
|
Coffered ceiling |
A recessed decorative panel used to decorate ceilings or vaults. |
|
|
Column capital |
- The sculpted block that tops a column. - According to the conventions of the orders, they include different decorative elements. - One displaying a figural composition and/or narrative scenes is considered a historiated one. |
|
|
Contrapposto |
an asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with while balancing those of the hips and legs. |
|
|
Corinthian |
the most ornate of the orders. It includes a base, a fluted column shaft with a capital elaborately decorated with acanthus leaf carvings |
|
|
Doric |
the column shaft of the can be fluted or smooth-surfaced and has no base. |
|
|
Entablature |
- In the Classical orders, the horizontal elements above the columns and capitals. - The entablature consists of, from bottom to top, an architrave, a frieze, and a cornice. |
|
|
Frieze |
- The middle element of an entablature, between the architrave and the cornice. - Usually decorated with sculpture, painting, or moldings. - Also: any continuous flat band with relief sculpture or painted decoration. |
|
|
Groin vault |
a vault created by the intersection of two barrel vaults of equal size which creates four side compartments of identical size and shape. Also known as a cross vault. |
|
|
Ionic |
the column has a base, a fluted shaft, and a capital decorated with volutes. |
|
|
Kore |
An Archaic Greek statue of a young woman. |
|
|
Kouros |
An Archaic Greek statue of a young man or boy. |
|
|
Krater |
An ancient Greek vessel for mixing wine and water, with many subtypes that each have a distinctive shape. |
|
|
Nave |
The central space of a church, two or three stories high and usually flanked by aisles. |
|
|
Olpe |
Any ancient Greek vessel without a spout. |
|
|
Pediment |
- A triangular gable found over major architectural elements such as Classical Greek porticos, windows, or doors. - Formed by an entablature and the ends of a sloping roof or a raking cornice. |
|
|
Pronaos |
The enclosed vestibule of a Greek or Roman temple, found in front of the cella and marked by a row of columns at the entrance. |
|
|
Triumphal arch |
a type of roman architectural monument built all over the empire to commemorate military triumphs and other significant events such as the accession of a new emperor. |
|
|
Funerary vase (krater) |
- Greek vase painting - from the Dipylon Cemetery, Athens - c. 750-735 bc - an example of the Geometric style - Detailed pictorial record of funerary rituals associated with an important person. |
|
|
Pitcher (olpe) |
Greek vase painting - c. 650-625 bce - from Corinth - an example of the Orientalizing style and the "black figure" technique |
|
|
Exekias (Ajax and Achilles Playing a Game) |
Greek vase painting - c.540-530 bce - an example of the Black Figure style - painted ceramic amphora |
|
|
Death of Sarpedon (krater) |
Greek vase painting - c. 515 bc - by Euphronios and Euxitheos - Red-figure decoration on a calyx krater, from Cerveteri |
|
|
Man and Centaur |
Greek Archaic period, 620-480 BCE - c. 750 bc - perhaps from Olympia - Bronze |
|
|
Temple of Hera I, Paestum |
Greek Archaic period, 620-480 BCE - c. 550-540 bce - southern Italy - well-preserved doric temple - dedicated to Hera, the wife of zuess |
|
|
West Pediment of the Temple of Aphaia, Aegina |
Greek Archaic period, 620-480 BCE - c. 500–490 or 470s bc -represents a creative solution that became a design standard, appearing with variations throughout the fifth century bce. - renders the participation of local warriors in the military expedition against Troy |
|
|
Dying Warrior |
Greek Archaic period, 620-480 BCE - c. 490–480 bce - From the left corner of the east pediment of the Temple of Aphaia, Aegina. |
|
|
Metropolitan Kouros |
Greek Archaic period, 620-480 BCE - c. 600-590 bce - from Attica, Greece - recalls the pose and proportions of Egyptian sculpture |
|
|
Anavysos Kouros |
Greek Archaic period, 620-480 BCE - c. 530 bce - from the cemetery at Anavysos, near Athens - grave monument of a fallen war hero |
|
|
“Peplos” Kore |
Greek Archaic period, 620-480 BCE - c. 530 bce - from the Akropolis, Athens - a votive rather than a funerary statue |
|
|
Kritios Boy |
Greek Classical period, 480-323 BCE - c. 475 bce - from Akropolis, Athens |
|
|
Warrior |
Greek Classical period, 480-323 BCE - c. 460-450 bce - found in the sea off Riace, Italy - reveals a striking balance between the idealized smoothness of "perfected" anatomy conforming to Early Classical standard and the reproduction go details observed in nature, such as the swelling of veins in the backs of the canes |
|
|
Reconstruction of the Acropolis |
Greek Classical period, 480-323 BCE - c. 447-432 bce |
|
|
The Parthenon |
Greek Classical period, 480-323 BCE - c. 447-432 bce - Akropolis, Athens - designed by Kallikrates and Iktinos - the attention to proportions is the key to its sense of harmony and balance - uses the ratio 4:9 |
|
|
East pediment sculpture of the Parthenon |
Greek Classical period, 480-323 BCE - c. 447-432 bce |
|
|
Horsemen |
Greek Classical period, 480-323 BCE - c. 447-432 bce - in the Parthenon |
|
|
Marshals and Young Women |
Greek Classical period, 480-323 BCE - c. 447-432 bce - on the east side of the Parthenon - represent the ideal inhabitants of the successful city-state |
|
|
Polykleitos, Spear Bearer (Doryphoros) |
Greek Classical period, 480-323 BCE - c. 450-440 bce - represents a male athlete, perfectly balanced |
|
|
Erechtheion |
Greek Classical period, 480-323 BCE - c. 430s-406 bce - Akropolis, Greece - the second important temper erects on the Akropolis under Perikles' building program - asymmetrical design plan reflects the buildings multiple functions in housing several shrines and also conformed to sharply sloping terrain on with it is located |
|
|
Porch of Maidens |
Greek Classical period, 480-323 BCE - c. 420-410 bce - located on the south side of the Erechtheion, facing the Parthenon |
|
|
Nike (Victory) Adjusting Her Sandal |
Greek Classical period, 480-323 BCE - c. 410-405 bce - Temple of Athena Nike, Akropolis, Athens |
|
|
Grave Stele of a Little Girl |
Greek Classical period, 480-323 BCE - c. 450-440 bce - found on the island of Paros - portrays a girl, seemingly bidding farewell to her pet birds. |
|
|
Hermes and the Infant Dionysos |
Greek Classical period, 480-323 BCE - probably a hellenistic or Roman Copy after a late classical 4th century bce original - work of Praxiteles or his followers |
|
|
Aphrodite of Knidos |
Greek Classical period, 480-323 BCE - c. 350 bce - work of Praxiteles - the acceptance of nudity in statues of Aphrodite may be related to the gradual merging of the Greeks' concept of this goddess with some of the characteristics of the Poenician goddess Asarte, who was nearly always shown nude in Near Eastern art. |
|
|
Lysippos, The Man Scraping Himself |
Greek Classical period, 480-323 BCE - c. 350-325 bce - work of Apoxyomenos |
|
|
Alexander the Great Confronts Darius III at the Battle of Issos |
Greek Classical period, 480-323 BCE - c. 310 BCE - From the House of the Faun, Pompeii, Italy. |
|
|
Theater at Epidauros |
Greek Hellenistic period, 323-31 BCE - 4th century bce or later - Peloponnese, Greece |
|
|
Dying Gallic Trumpeter |
Greek Hellenistic period, 323-31 BCE - c. 220 bce - found in Julius Caesar's garden in rome |
|
|
Altar from Pergamon |
Greek Hellenistic period, 323-31 BCE - c. 175-150 bce -sculptural Frieze |
|
|
Athena Attacking the Giants |
Greek Hellenistic period, 323-31 BCE - c. 175-150 bce - from the East from of the alter of Pergamon |
|
|
Laocoon and his Sons |
Greek Hellenistic period, 323-31 BCE - 1st century bce - Illustrates and episode from the Trojan war when the priest Lacoön warned the trojans not yo bring within their walls the giant wooden horse left behind by the greeks |
|
|
Nike (Victory) of Samothrace |
Greek Hellenistic period, 323-31 BCE - c. 180 BCE - from the Sanctuary of the Great Gods, Samothrace. - Her dramatic pose and the detail evident in the drapery and wings are emblematic of the sculptural style that flourished in ancient Greece during the Hellenistic period. |
|
|
Old Woman |
Greek Hellenistic period, 323-31 BCE - copy of a Greek work of the 2nd Century - appears to be an aging, dissolute follower of Dionysos, on her way to a religious festival. |
|
|
Aphrodite of Melos |
Greek Hellenistic period, 323-31 BCE - c. 150-100 bce - found in a field on the Cycladean island of Milos |
|
|
Patrician Carrying Portrait Busts of Two Ancestors |
Roman period, 509 BCE – 330 CE - end of 1st century bce or beginning of 1st century ce. - reflects the practices documented much earlier by polybius and links man portrayed with a revered tradition and its associations |
|
|
Pont du Gard |
Roman period, 509 BCE – 330 CE - late 1st centurey bce - Nimes, france |
|
|
Temple |
Roman period, 509 BCE – 330 CE - late 2nd century bce - Rome - perhaps dedicated to Portunus - uses the etruscan system of rectangular calla and a front porch at one end reached by a broad, inviting flight of steps |
|
|
Augustus of Primaporta |
Roman period, 509 BCE – 330 CE - early 1st century ce. - found in Livia's villa at Primaporta, near Rome - demonstrates the creative combo of earlier sculptural traditions that is a hallmark of Augustan art. |
|
|
Ara Pacis Augustae |
Roman period, 509 BCE – 330 CE - c. 13-9 bce - Rome -alter of augustan peace |
|
|
Imperial Procession |
Roman period, 509 BCE – 330 CE - c. 13-9 bce - Rome-relief on the South side of the Ara Pacis |
|
|
wall painting in the “Ixion” Room, House of the Vettii |
Roman period, 509 BCE – 330 CE - rebuilt c. 62-79 ce - Pompeii - illustrates a mythological scene from the story of Ixion, who was bound by Zeus to a spinning wheel in punishment for attempting to seduce Hera |
|
|
Initiation Rites of the Cult of Bacchus, Villa of the Mysteries |
Roman period, 509 BCE – 330 CE - c. 60-50 bce - Pompeii - Portrays the initiation rites of a mystery religion, probably the cult of of Bacchus., which were often performed in private homes as well as in special buildings or temples |
|
|
Cityscape |
Roman period, 509 BCE – 330 CE - c. 50-30 bce - House of Publius Fannius Synistor |
|
|
Portrait of a Married Couple |
Roman period, 509 BCE – 330 CE - mid 1st century ce - Pompeii |
|
|
Arch of Titus, Spoils from the Temple of Jerusalem |
Roman period, 509 BCE – 330 CE - c. 81 ce - Rome - inscription on the uppermost, or attic, story declares that the Senate and the Roman people erected the monument to honor Titus |
|
|
Spoils from the Temple of Jerusalem |
Roman period, 509 BCE – 330 CE - c. 81 ce - Rome - relief in the passageway of the Arch of Titus - depicts Titus' soldiers flaunting his booty as they carry it through the streets |
|
|
Colosseum |
Roman period, 509 BCE – 330 CE - c. 70-80 ce - Rome - outer wall of the flavian amphitheater |
|
|
Plan of Trajan’s Forum and Market |
Roman period, 509 BCE – 330 CE - c. 110-113 ce - designed by greek architect Apollodorus of Damascus |
|
|
Reconstructed view of Basilica Ulpia |
Roman period, 509 BCE – 330 CE - c. 112 ce - Rome - designed by greek architect Apollodorus of Damascus |
|
|
Pantheon |
Roman period, 509 BCE – 330 CE - c. 110-128ce - Rome - temple to Mars, Venus, and the divine Julius Caesar |
|
|
Equestrian Statue of Marcus Aurelius |
Roman period, 509 BCE – 330 CE - c. 176 ce - Rome - wears no armor and carries no weapons which shows that he conquers effortlessly |
|
|
Caracalla |
Roman period, 509 BCE – 330 CE - early 3rd century ce |
|
|
Arch of Constantine and its reliefs |
Roman period, 509 BCE – 330 CE - c. 312–15 CE - Rome - The arch was designed as three barrel-vaulted passageways -Many have interpreted the reference to “divine inspiration” in the arch’s inscription in relation to the tradition that Constantine had a vision the night before the Battle of the Milvian Bridge in which he saw a flaming Christian cross in the sky and heard these words: “In this sign you shall conquer.” |
|
|
Arch of Constantine reliefs |
Roman period, 509 BCE – 330 CE - c. 312-315 ce - hadrian/constantine hunting boar and sacrificing to apollo: consyantine addressing the roman people in the roman forum |
|
|
Plan and reconstruction of the Basilica of Maxentius and Constantine |
Roman period, 509 BCE – 330 CE - c. 306-313 ce - Rome |
|
|
Constantine the Great |
Roman period, 509 BCE – 330 CE - c. 325-326 ce - Rome - from the Basilica of Maxentius and Constantine |
|
|
Iktinos |
- Greek architect - one of the most celebrated of Athens - known for his work on the Parthenon, on the Acropolis, the Temple of the Mysteries at Eleusis, and the Temple of Apollo Epicurius at Bassae. |
|
|
Kallikrates |
- Athenian architect who designed the Temple of Athena Nike on the Athenian Acropolis and, with Ictinus, the Parthenon. |
|
|
Pheidias |
- Athenian sculptor
- the artistic director of the construction of the Parthenon, who created its most important religious images and supervised and probably designed its overall sculptural decoration. - It is said that he alone had seen the exact image of the gods and that he revealed it to man. - - He established forever general conceptions of Zeus and Athena. |
|
|
Polykleitos |
- Greek sculptor from the school of Argos
- known for his masterly bronze sculptures of young athletes; he was also one of the most significant aestheticians in the history of art. - two greatest statues were the Diadumenus (430 bc; “Man Tying on a Fillet”) and the Doryphorus (c. 450–440 bc; “Spear Bearer”) |
|
|
Praxiteles |
- The greatest of the Attic sculptors of the 4th century bce and one of the most original of Greek artists.
- By transforming the detached and majestic style of his immediate predecessors into one of gentle grace and sensuous charm, he profoundly influenced the subsequent course of Greek sculpture. |
|
|
Lysippos |
- Greek sculptor
- head of the school at Argos and Sicyon in the time of Philip of Macedon and especially active during the reign of Philip’s son Alexander the Great (336–323 bc). - Was famous for the new and slender proportions of his figures and for their lifelike naturalism. |
|
|
Alexander the Great |
- King of Macedonia (336–323 bcd) - Overthrew the Persian empire, carried Macedonian arms to India, and laid the foundations for the Hellenistic world of territorial kingdoms. - (born 356 bce, Pella, Macedonia—died June 13, 323 bce, Babylon) |
|
|
Augustus |
- first Roman emperor following the republic, which had been destroyed by the dictatorship of Julius Caesar, (his great-uncle and adoptive father) - His autocratic regime is known as the principate because he was the princeps, the first citizen, at the head of that array of outwardly revived republican institutions that alone made his autocracy palatable. - (born Sept. 23, 63 bce—died Aug. 19, 14 ce, Nola, near Naples [Italy]) |
|
|
Constantine |
- The first Roman emperor to profess Christianity. - Initiated the evolution of the empire into a Christian state - Provided the impulse for a distinctively Christian culture that prepared the way for the growth of Byzantine and Western medieval culture. |
