Neer Chapters 11-12 Flashcards
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The city of Athens in the 5th century BCE showing the route of the Panathenaic procession from the Kerameikos, through the Classical agora to the acropolis.
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Architectural fragments built into the north wall of the Athenian acropolis. To left are column drums, to right are triglyphs and metopes.
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Plan of the Classical acropolis.
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Athens, the Painted Stoa in the agora, 460s BCE. Paintings on the inner wall, along with shields captured from the Spartans during the Peloponnesian war.
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Inscription from the acropolis listing the amounts collected for Athena Polias from each of Athens’ subject “allies” (Delian League) in 465 BCE. Amount equaled one sixtieth of each ally’s tribute quota. From lists such as this, the total amount of tribute in each year can be calculated. The top of the slab has moneybags and vessels full of coins. Marble; 465 BCE.
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Athens, Parthenon, view from the northwest. Marble; 447-432 BCE.
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Athens, Parthenon, plan and elevation showing the use of 4:9 proportion: 447-432 BCE.
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Athens, Parthenon, drawing showing curvature of the sylobate and the incline of the columns (exaggerated for effect), with the convergence of the lines projected upward fro the columns.
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Athens, Parthenon, Metope South 27. Marble; c. 447-438 BCE. Lapith and Centaur.
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Athens, Parthenon, west frieze. Marble; c. 447-438 BCE. At the start of the Panathenaic procession, a man subdues a rearing horse.
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Athens, Parthenon, south frieze. Marble; c. 447-438 BCE. Young men leading bulls to slaughter. One strains at the tether; the youth braces his foot on a rock as he yanks back.
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Athens, Parthenon, east frieze. Marble; c. 447-438 BCE. Climax of the procession. At center, a young boy holds the Panathenaic peplos with one of the chief magistrates of Athens. The priestess of Athena stands at center left, facing two attendants. The large, seated figures are gods: at left, Hera and Zeus; at right, Athena and Hephaistos.
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Athens, Parthenon, reconstruction of pediments. Marble; c. 439-432 BCE. A – east pediment: birth of Athena; at the corners are the rising sun (Helios) and the setting moon (Selene). The identities of the other figures are hypothetical. B – west pediment: contest of Athena and Poseidon. Identifies of the two central figures are certain; others are hypothetical. Personified rivers in the corners.
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Athens, Parthenon, east pediment: figures K, L, and M (see 11.17). Marble; c. 439-432 BCE.
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Athens, Propylaia of the Acropolis, designed by Mnesikles. Marble; 437-342 BCE. A – plan; B – cutaway section along the roadway, from the south.
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Reconstruction of the Panathenaic procession passing through the Propylaia at the end of the 5th century BCE.
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Athens, Temple of Athena Polias (Erechtheum). Marble, c. 421-404 BCE. Right: Plan; Below: reconstruction view from the northwest, with the adjoining precinct and sacred olive tree; Opposite: view from the southwest, with the remains of the Old Temple of Athena in the foreground.
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Athens, Temple of Athena Polias (Erechtheum). Marble; c. 421-404 BCE. Caryatid porch. See 0.4.
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Athens, Temple of Athena Polias (Erechtheum). Marble; c. 421-404 BCE. In its original state, this capital was gaudily painted.
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Athens, Temple of Athena Nike and bastion, view from the northwest. Marble; c. 421-415 BCE.
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Athens, Temple of Athena Nike and bastion. Marble; the temple dates to c. 421-415 BCE; the bastion’s marble sheathing may be contemporary with the Propylaia. A – north elevation with bastion and parapet; B – plan.
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Athens, Temple of Athena Nike, south frieze. Marble; c. 421-415 BCE. Masistios falls from his horse (?).
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Athens, Temple of Athena Nike, south frieze. Marble; c. 421-415 BCE. An Athenian loses his helmet, which hangs frozen in midair.
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Athens, parapet of the bastion of the Temple of Athena Nike. Marble; after 407 BCE. Two Nikai leading a bull to Athena; loosely based on 11.14. This section of the parapet was much admired in the ancient world and exists in a number of Roman copies.
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Athens, parapet of the bastion of the Temple of Athena Nike. Marble; after 407 BCE. Nike removing her sandal. Figure represents perhaps the high point of the clinging, see-through style of Classical drapery.
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Thorikos in Attica, aerial view of theater; late 6th-early 5th century BCE.
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Prokne and Itys, by Alkamenes, form the Athenian acropolis. Marble; c. 420-410 BCE. Style closely resembles the caryatids of the Erechtheum.
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Epidaurus, theater: mid-4th century BCE.
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Attic red-figure pelike by the Lykaon Painter. Ceramic; c. 440 BCE. Odysseus visiting the ghost of Elpenor at the entrance to the Underworld. Hermes stands at right. The drawing shows landscape elements no longer visible on the pot itself.
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Attic red-figure volute krater by the Pronomos Painter. Ceramic; c. 410 BCE. Backstage at a satyr play.
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Parian grave stele. Marble; c. 450-440 BCE. A girl with doves.
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Attic white-ground oil flask (lekythos) by the Achilles Painter. Ceramic; c. 440 BCE. Mistress and maid: a seated woman receives a wreath from a standing servant girl.
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Greco-Perisan sarcophagus from Çan on the Sea of Marmara. Marble; c. 410-375 BCE. Hunts (left) and combat (right).
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Details of the Greco-Persian sarcophagus from Çan. Right – detail from the front side: a Persian hunting a boar. Below – detail from the short side – the Persian rides down a Greek, with a second Greek providing backup.
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Attic grave stele, probably form the island of Salamis (the Cat Stele). Marble; c. 420 BCE. A young man with doves, a servant, and a cat. The style resembles the Parthenon frieze.
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Attic state grave relief (the Albani relief). Marble; c. 420 BCE. An Athenian cavalryman has dismounted and cuts down an enemy.
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Memorial of Dexileos from the Kerameikos cemetery in Athens. Marble; 394 BCE.
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Grave stele of Panaitios, from the Kerameikos cemetery in Athens. Marble (right half of the stele is a modern restoration in plaster); early 4th century BCE. Clay vessels: loutrophoros and two lekythoi.
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Grave stele of Hegeso, daughter of Proxenos, from the Kerameikos cemetery in Athens. Marble; end of the 5th century BCE. Mistress and maid: Hegeso, seated, received jewelry from a standing servant girl.
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Grave precinct of Hegeso and her husband’s family in the Kerameikos cemetery in Athens; early 4th century BCE.
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Nike by Paionios of Mende, Olympia. Marble; c. 420 BCE. The goddess brings news of victory over Sparta in battle. Inscription on the base reads: “the Messenians and Naupaktians dedicated this to Olympian Zeus as a tithe from their enemies. Paionios of Mende made it and was victorious in making the akroteria for the temple.” Evolution of the Nike figure.
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Goddess (Aphrodite?), from southern Italy or Sicily. Limestone and marble; late 5th century BCE.
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Bassai, Temple of Apollo, designed by Iktinos; late 5th century BCE. Below left – view of main hall, with Corinthian capital in rear and sculpted frieze. Below right – plan. The column must have had some special significance.
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Bassai, Temple of Apollo, detail of interior frieze. Marble; late 5th century BCE. Greeks fighting Amazons. Billowing cloaks.
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Bassai, Temple of Apollo, Corinthian column capital. Marble, late 5th century BCE. Carefully recorded by travelers in the early 19th century.
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Plan of Syracuse showing the expansion of the city onto the mainland and late 5th century BCE fortification walls.
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Four-drachma coin of Akragas signed by Polyainos. Silver; c. 406 BCE. Two eagles devouring a hare.
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Ten-drachma coin of Syracuse signed by Euainetos. Silver; c. 406 BCE. Front – the nymph Arethusa surrounded by Dolphins. Back – charioteer crowned by Nike; armor below. Iconography is almost identical to 5.25, though Arethusa now wears a crown of grain to indicate Syracuse’s mainland territories. Copied by several other cities.
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Coin of Tissaphernes, Persian governor of coastal Anatolia from Karaman in Turkey. Silver; 412 BCE. A parody of Athenian coins. Front – head of Tissaphernes. Back – owl, inscribed “of the king” instead of “of the Athenians.”
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“Philosopher” from the sea off Porticello in Italy. Bronze; c. 420-400 BCE.
