Scholars Flashcards
Vitruvius’ Three Principles
Fine Worksmanship
Magnificence
Architectural Composition
Nobert Delatte (De Camp)
De Camp suggests
‘It’s use made possible the construction of the impressive vaults and domes over the public baths, and it was a valuable material for the piers of bridges, and in harbour works’
Nobert Delatte (Idorn)
Idorn
‘It is the interior concrete cores of walls, columns, slabs etc. and brickwork with cementing mortar which have survived to our time, where the cladding facades of marble or stone masonary have dissapeared’
Ramsay Macmullen
When talking about the most active builders (Hadrian, Augustus, Trajan)
‘All of these were, if not among the “Good Emperors,” at least good landlords’
Kathleen Lynch (Mutability of Myth)
‘The visual version of the story does not always match our written ones. These mismatches remind us the myth was mutable, and unlike our modern perspective, Greeks were fine with multiple versions of the same story.’
Alison Glazebrook (Ideas)
Female Parody of the Symposia
Two Cups
Less diluted
Euphronios Psykter
Yaron Eliav (Imagery)
“The imagery of Greek myth … was freer in choice of subject and mode of representation allowing the viewer to partially construct their own narrative off the foundation of an existing tale.”
Judith Barringer (Elite Group)
“this elite group also set the social standards: their choice activities - hunt, warfare and the symposion - were emulated by non-elites and, together with Homeric mythology, constituted primary subjects for archaic vase painters.”
Yaron Eliav (Traditional Standards)
“The articulation of traditional standards of Greek beauty is one example as to how narrative painting transmits cultural information, allowing ideals and cultural information to be expressed through a code of imagery.”
Alison Glazebrook (Real)
‘[They] represent real women on real occasions, suggesting an active hetaira subculture in classical Athens’
Alison Glazebrook (Similarties)
‘The similarities between these female figures and male banqueters in other sympotic scenes challenge the elitism associated with the symposium’
Kathleen Lynch (Classical Period)
Classical Period
‘Greeks defeating strange, unnatural, uncivilised groups became a metaphor for the success of the civilised Greeks over the equally uncivilised Persians’
Kathleen Lynch (Ideas)
Symposia
Development of the Symposia
Decoration of the Sympotic Vessels
Alison Glazebrook (Parody)
‘These scenes as manufactured reversals of the male symposium and “as parodies of ‘correct’ behaviour” meant to invoke laughter’
Yaron Eliav (Perception of reality)
“often, such narratives attest to a painter’s perception of reality, giving insight into the everyday life of the Classical world.
