BCA Self Assessment Flashcards
Lefkandi. Proto-Geometric building
Proto-Geometric period: Lefkandi. Proto-Geometric building
The Geometric period:
Bronze tripods from Olympia
Tripod handle decorated with cast bronze horse, from Crete
Proto-Geometric rhyton in the shape of a centaur from Lefkandi
Proto-Geometric period: Euboic Proto-Geometric pottery, from Lefkandi
Kraterfrom the so-called ‘heroon’
Skyphos with pendent semicircles
Proto-Geometric period: Lefkandi. Proto-Geometric building and the Toumba cemetry
Polis
social community + the main inhabited settlement and the surrounding territory (chora)
Chora
main urban center
The Orientalizing period: the sculpture
A. Protomes
The Geometric period: Hirshfeld workshop
The Geometric period
Athens, Kerameikos cemetery. Incineration pyre remains with offerings.
Athens, Kerameikos cemetery. Remainsof a inhumated woman with offerings.
Bronze winged feminine figure, 590–580 BC. Archaeological Museum of Olympia
Dreros (Crete). Temple of Apollo Delphìnios: 1) The interior of the edifice with the sphyrelata 2) The sphyrelata representing the Apollonian triad. c. 700 B.C.
Proto-Corinthian Pottery Chronology:
Ancient Proto-Corinthian style: 720-690 B.C.
Middle Proto-Corinthian: 690-650 B.C.
Middle Proto-Corinthian I: 690-675 B.C.
Middle Proto-Corinthian II: 675-650 B.C.
Late Proto-Corinthian: 650-630 B.C.
Transitional period: 630-610 B.C.
The Geometric period
Athens, Dipylon amphora, 760 c. B.C.
Terracotta statues,
Xoana,
Sphyrelata,
Cast bronze statues,
Stone statues
Terracotta statues,
Xoana,
Sphyrelata,
Cast bronze statues,
Stone statues
The Orientalizing period: pottery
Most attested shapes of Proto-Corinthian pottery are:
aryballos
olpe
oinochoe
kotyle
The Geometric period
Athens, Areopagus, Rich Athenian Lady Tomb, 850 B.C.
The Tomb included the cinerary urn, 34 Geometric-style vases, a clay granary, 3 bronze pins, 1 iron pin, golden and bronze rings, imported golden earrings, faience necklace, 3 seals, an amphora containing the remains of a fetus of four weeks; anthropological exams established that the adult female maybe died pregnancy or premature childbirth.
The Geometric period
The Orientalizing period: the sculpture
Griffin-shaped protome
The Orientalizing period: the sculpture
Bronze shield umbone. Olympia, National Archaeology Museum.
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Notable examples: Palladium at Troy, Lady of Ephesus, and Diana Aventina
Xoana from Palma di Montechiaro
The Orientalizing period: pottery
Middle Proto-Corinthian olpe
Xoanon
Xoana
xeo
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
The Orientalizing period: pottery
Ancient Proto-Corinthian pottery.
Oinochoe from Cuma, attributed to Cuma group;
Aryballos attributed to the Evelyn painter
Aryballos from Cuma
The Orientalizing period: pottery
Middle Proto-Corinthian pottery
aryballos from Corinth, attributed to the Aiax painter
Macmillan aryballos, attributed to the Chigi painter
The Orientalizing period: pottery
Middle Proto-Corinthian kotyle, attributed to the Hound painter
Pan-Hellenic sanctuary of Apollo at Delphi. Location of the monument in memory of the Battle of Marathon with statues by Phidias. Below, heads of Athena and Miltiades found on the Athenian Acropolis and may be copies of the bronze statue of the Delphi group.
The Archaic period: Architecture
Samos, Heraion, temple of Hera, Polycrates phase
Samos, extra-urban sanctuary of Hera, temple of Hera: 50 x 100m, planned by the architects Rhoikos and Theodoros around 570-560 B.C., as a dipteral edifice, with a double Ionic colonnade around the pronaos and cella (eight columns on the front and the back, twenty-one on the flanks).
It collapsed in 530 B.C. and was replaced, under the tyranny of Polycrates, by a bigger and more ambitious edifice, with a triple colonnade on the front and the back and double on the flanks.
The Archaic period : the sculpture
Delphi, pan-Hellenic sanctuary of Apollo. Twin kouroi known as ‘Cleobis and Biton’, 580 B.C., 197 cm, marble.
The Archaic period : the sculpture
Athens, Moschophoros, c. 560 BC. Acropolis Museum.
The Archaic period : the sculpture
Delphi, pan-Hellenic sanctuary of Apollo. Twin Delphi, pan-Hellenic sanctuary of Apollo. Twin kouroi known as ‘Cleobis and Biton’. kouroi known as ‘Cleobis and Biton’. Detail of the basis with the inscription
The Early Classical Period: architecture
Temple of Zeus at Olympia
The temple of Zeus was planned by the architect Libon of Elis, between 470 and 450 B.C. The Spartans donated a golden shield to be placed in one of the pediment as a offering for a victory in 457 B.C. It was one of the greatest expression of Doric order, with 6 columns on the front and the rear and 13 on the flanks (one more the double that of the facades), a pronaos, a cella and a opisthodomos.
The Archaic period: Architecture
Comparison between the kore of Antenor and the kore from at Delphi
The Archaic period : the sculpture
‘Sounion kouros’, from Sounion. 580 B.C. Marble, 3 m, Athens, National Museum
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
The oriental pediment, Archaeological Museum of Olympia
The eastern pediment shows the chariot race between Pelops, the founder of the pan Hellenic games, and King Oinomaos, who stand on either side of the central figure of Zeus. The gesture of Hippodamia, unveiling herself (=wedding), indicates that Pelops will win (through a trick) the race and will marry the King’s daughter: synoptic vision, different moments of the same tale are represented simultaneously, the scene is full of foreboding. Beyond the chariots, there are reclining figures, one of which to be identified with the seer Iamos (sign of age are evident in the full, heavy flesh of the torso and the balding head) and the other one with the personification of a river. Movement, variety of gestures, study of the male anatomy, both young and old ones, female figures are now wearing the peplos
The Archaic period : the pottery
Volute krater known as François vase, after the name of the excavator who found it in in Etruria. 66 cm, 570 B.C., now in Florence, Archaeological Museum. Signed by Ergotimos as potter and Kleitias as painter. The krater is decorated with six figured friezes, only one showing the Orientalizing frieze with animals and floreals, that, from now on, looses its importance and it’s relegated to unimportant areas. Influenced by Sophilos and Gorgon painter. Black-filled figures against the orange-red ground, whose contours are carefully defined and whose internal details are rendered through incision.
Encyclopaedia of mythological events: 270 figures, 121 inscriptions, subjects: from the top: Kalydonian boar hunt (side A), dance of Athenian youths led by Theseus (side B); funeral games for Patroklos (side A), centauromachy (side B) marriage of Peleus and Thesis (sides A and B); ambush of Troilos (side A), return of Hephaistos to Olympus (side B); sphinxes and griffins flanking lotus blossom, palmettoes, panthers and lions attacking bulls, a boar, and a deer. On the foot of the vessel, there is on both sides a depiction of the battle between the Pygmies and the cranes. Attention for the representation of architectures (e.g. Peleus and Thetis house).
François vase, Ajax carrying the dead body of Achilles
The Early Classical Period: the Sculpture
Possibility to know the names of the sculptors and to study their production (for instance thanks to ancient sources such as Pausanias and Pliny’ Natural History) Marble was in this period mostly used for architectural sculpture, while free standing sculptures were often realized in bronze we mainly have Roman marble copies of the Greek original works
Athens , Acropolis. Boy of Kritios, marble 1.2m ca.480 B.C.)
Movement of the body, study of the anatomy, turn of the head, severe expression, heavy chin, thick eyelids, hair rolled up over a fillet
The Early Classical Period: the Sculpture
The group was originally placed in the Athenian agora, in front of the Boule, as a symbol of the new democracy and replaced the original sculptures by Antenor.
Bearded Aristogeiton lunges forward, with left arm stretched forward, with hanging cloak, as to protect the young Harmodios moving forward with a raised weapon to kill the tyrant depicting movement
a. Tivoli (Lazio). Group of the Tyrannicides Harmodios and Aristogeiton by Kritios and Nesiotes, copy,
b. Plaster casts of the Tyrannicides.
The Early Classical Period: the Sculpture
Delphi (Phocis). Sanctuary of Apollo, bronze Charioteer dedicated by Polyzalos tyrant of Gela for his victory in the chariots race in 478 or 474 B.C. The statue (1,80 m) is maybe attributable to the sculptor Pythagoras of Rhegium (?)
Hypothesis of restitution with the other fragments found.
Delphi, Archaeological Museum.
The Charioteer was cast in eight pieces; eyes were inlaid in coloured glass and stone, copper was added for the lips, silver for the eye lashes. The male standing figure wears a heavy chiton, enlivened by numerous folds and by the creases caused by the high belt; holds the reins in his right hand; slightly curves towards the right, maybe towards the public, during the final parade after the victory. Feet are marked by tensed tendons due to the effort made in the race,
Face: stern expression, heavy chin, plump lips
The Early Classical Period: the Sculpture
The Discobolus of Myron or ‘discus thrower’ is known from several Roman copies of the original bronze work, to be dated back at the end of the Severe period Myron from Eleutherai established a new scheme for the representation of the figure caught in movement. The athlete (maybe to be identified with Hyakinthos) is represented while coiled like a spring and ready to throw the discus and to achieve the victory: narration of a victory Maximum concentration, both physical and psychological Detailed study of the anatomy Documented portrait of muscles, veins, tendons Single viewpoint
Roma,Esquilino, Copy, so called Discobolus Lancellotti. Roma, Museo Nazionale
The Early Classical Period: architecture
Temple of Zeus at Olympia
The temple of Zeus was planned by the architect Libon of Elis, between 470 and 450 B.C. The Spartans donated a golden shield to be placed in one of the pediment as a offering for a victory in 457 B.C. It was one of the greatest expression of Doric order, with 6 columns on the front and the rear and 13 on the flanks (one more the double that of the facades), a pronaos, a cella and a opisthodomos.
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
We know from Pausanias (Paus. 5.10.9) the subjects of the metopes of the pronaos and the opisthodomos: the Twelve (canonic) Labors of Herakles which he performed for King Eurystheus of Argos during the years he spent in the king’s service, as the Delphic oracle ordered, i.e.: Slay the Nemean lion. Slay the nine-headed hydra. Take the Stymphalian birds. Capture the Cretan Bull. Capture the Cerylian hind. Obtain the belt of Hippolyta, Queen of the Amazons. Capture the Erymanthian Boar. Steal the Mares of Diomedes. Obtain the cattle of the monster Geryon. Steal the apples of the Hesperides. Capture and bring back Cerberus. Clean Augean stables in a single day.
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
The metopes of the pronaos and the opisthodomos representing Herakles’ labours
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
Hypothesis of restitution of the statue of Zeus according to Victor Laloux (1883) on the basis of the description of Pausanias
The Early Classical Period: architectural sculpture
Temple of Zeus at Olympia
Periclean Acropolis
Athens, Parthenon, metopes.
92 metopes: east: giantomachy; west: amazonomachy; north: Ilioupersis; south: centauromachy. All are metaphor of the Athenian victory and of the conquest of the barbaric by the civilized
Periclean Acropolis
Athens, Parthenon, Overview of the eastern front (from Berger E., Parthenon Studien. Zweiter Zwischenbericht, in “Antk” 20, 1977, 124-141).
Periclean Acropolis
Athens, Parthenon, Southern metopes, centauromachy (crime against the organized society of the polis and the institution of marriage)
Periclean Acropolis
Centauromachy’s metopes, often showing two striding figures; the body of the Lapites are young and athletic (idealized representation of the society)
Periclean Acropolis
Athens, Parthenos, Centauromachy 1 South
Periclean Acropolis
Athens, Parthenon. East metopes. Gigantomachy.
Periclean Acropolis
Athens, Parthenon. Western metopes (Amazonomachy).
Periclean Acropolis
Parthenon, metope n. 32 North (Iris and Hera). Northern metopes are extremely damaged.
Periclean Acropolis
Periclean Acropolis
Representation of the Panatheniac festival Two cavalcades move eastward from the south-west angle, occupying a large part of the northern and southern sides, where the knights are preceded by chariots, by the elders, musicians, attendants walking forward and carrying jars, trays, by sacrificial animals. Cavalcades: There may be two processions shown in the frieze, the first representing the original (pre Cleisthenes) division of Attica into 4 tribes and the second its later democratic division into 10 tribes.
Periclean Acropolis
Parthenon, sculpted frieze, 1 m high and 160m long.
To improve visibility, the upper parts of the frieze are carved in higher relief (max 6 cm).
Periclean Acropolis
Athens, Parthenon frieze
Athens, Parthenon frieze (Poseidon, Apollo, Artemis). On the east side, the twelve Olympian gods appear seated (larger scale than humans); the Athenian girls offer the peplos for Athena; the Attic heroes are present as well
The High Classical period: sculpture
Phidias’ chryselephantine statue of Athena Partenos, dedicated in 438/437 B.C. and housed inside the cella of the Parthenon Made of gold and ivory, 12 m tall Standing on the right leg (while the left slightly bends), wearing a peplos, with a gorgoneion on the aegis over the breast, she holds a statue of Nike in her right hand and a spear on the other hand; nearby a shield and a snake (personification of Erichthonius). Known from literary sources (e.g. Pausanias, Pliny), numismatic objects and later copies.
Marble copy of Phidias’ chryselephantine statue of Athena Parthenos, known as ‘Varvakeion’ statuette, 2nd century AD, Athens, National Museum
The Statue of Zeus at Olympia was a giant seated figure, about 12.4m (41ft) tall,[1] made by the Greek sculptor Phidias around 435 BC at the sanctuary of Olympia, Greece, and erected in the Temple of Zeus there. Zeus is the sky and thunder god in ancient Greek religion, who rules as king of the gods of Mount Olympus.
The statue was a chryselephantine sculpture of ivory plates and gold panels on a wooden framework. Zeus sat on a painted cedarwood throne ornamented with ebony, ivory, gold, and precious stones. It was one of the Seven Wonders of the Ancient World.
The High Classical period: sculpture
A. Alkamenes’ Hermes Propylaeus
B. Hephaestus temple on the Kolonos Agoraios, Athens. Hypothetical reconstruction of cult statues by Alkamenes
C. Alkamenes’ Ares
D. Possible representation of Alkamenes’ Aphrodite of the Gardens (Aphrodites ἐν κήποις)
E. Alkamenes’ Prokne and Itys
F. On the left: Sterope, on the right: Hippodamia from the Eastern pediment of the temple of Zeus at Olympia
The Discophoros, also spelled Discophorus (Greek – “Discus-Bearer”), was a bronze sculpture by the classical Greek sculptor Polyclitus, creator of the Doryphoros and Diadumenos, and its many Roman marble copies. It is not, however, to be confused with Discobolus of Myron, which shows a discus being thrown, not carried.
Like the Doryphoros and Diadumenos, it was created as an example of Polyclitus’s “canon” of the ideal human form in sculpture. It features a young, muscular, solidly-built athlete in a moment of thought before throwing a discus. Most marble copies feature the addition of a marble tree stump – marble is weaker but heavier than bronze- as the stump is needed for support. These copies are also often missing their arms, which are often restored.
Classical archaeology: th
Athens, Agora, Eirene and Plutos of Kephisodotos, 370 B.C., commissioned by the Athenian Statee 4th century
Classical archaeology: the 4th century
Praxiteles: Statue of Apollo Sauroktònos (lizard-killer), 360 B.C., copy (Paris, Musée du Louvre). The original, in bronze, was probably a cult statue placed in Apollonia al Rindaco (Misia) brought to Rome in 73 B.C. from Lucullo. Novel, unusual representation of Apollo, far from the V century: the god is represented as an adolescent, looking at the lizard he’s about to slay with his arrow. The body shows a S-curve; the gaze excludes the observed and appears concentrated on the lizard.
Classical archaeology: the 4th century
Statue of Aphrodite of Knidos by Praxiteles, copy (Rome, Vatican museums). The statue (350 B.C.) shows a full-scale female nudity for the first time. The goddess stands naked, her left hand over the drapery on the nearby water jar, her right hand brought across in front. Her S-shaped pose is stressed by her right hip pushing out; her face has shadowy, dreamy eyes, straight nose and small mouth. Ancient sources praised the beauty of the statue, located in a open shrine within the sanctuary of the goddess in Cnidus. Again, the deity is represented as a mortal, engaged in a human activity.
Classical archaeology: the 4th century
Halicarnassus Mausoleum, statues interpreted as Mausolus (3 m) and Artemisia (London, British Museum)
Classical archaeology: the 4th century
Halicarnassus plant and location of the temenos of the Mausoleum.
Classical archaeology: the 4th century
A. Frieze with Amazonomachy from the Mausoleum of Halicarnassus, attributed to Skopas of Paros.
B. Copy of the Skopas Menade, now in Dresden (330 BC).
Classical archaeology: the 4th century
Statue of Menade by Skopas, copy (Dresden, Albertinum).
Apoxyomenos (Greek: Αποξυόμενος, plural apoxyomenoi:[1] the “Scraper”) is one of the conventional subjects of ancient Greek votive sculpture; it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Greeks called a stlengis and the Romans a strigil.
The most renowned Apoxyomenos in Classical Antiquity was that of Lysippos of Sikyon, the court sculptor of Alexander the Great, made ca 330 BCE. The bronze original is lost, but it is known from its description in Pliny the Elder’s Natural History, which relates that the Roman general Marcus Vipsanius Agrippa installed Lysippos’s masterpiece in the Baths of Agrippa that he erected in Rome, around 20 BCE. Later, the emperor Tiberius became so enamored of the figure that he had it removed to his bedroom.[2] However, an uproar in the theatre, “Give us back our Apoxyomenos”, shamed the emperor into replacing it.
Classical archaeology: the 4th century
Lion, from the Mausoleum
