DOCUMENT RESUME

ED 399 215 SO 026 842

AUTHOR Whitelaw, R. LynnTITLE Legacy of the Ancient World: An Educational Guide.

Understanding Ancient Culture through Art at theTampa Museum of Art.

INSTITUTION Hillsborough County Public Schools, Tampa, FL.SPONS AGENCY Arts Council of Tampa-Hillsborough County, FL.;

Florida State Dept. of Education, Tallahassee.PUB DATE 95

NOTE 50p.; Funding also received from the Junior League ofTampa.

AVAILABLE FROM Education Department, Tampa Museum of Art, 600 N.Ashley Drive, Tampa, FL 33629 ($5).

PUB TYPE Guides Classroom Use Instructional Materials (ForLearner) (051) Guides Classroom Use TeachingGuides (For Teacher) (052)

EDRS PRICE MF01/PCO2 Plus Postage.DESCRIPTORS *Ancient History; Architecture; *Art; Art Education;

*Greek Civilization; Junior High Schools; Museums;Mythology; Visual Arts; Western Civilization

IDENTIFIERS *Classical Period; Florida (Tampa); Greek Vases;*Roman Civilization

ABSTRACTAmong the many contributions made by Ancient Greeks

and Romans to contemporary life, are those which influence art,architecture, literature, philosophy, mathematics and science,theater, athletics, religion, and the founding of democracy. TheTampa Museum of Art's classical collection offers a uniqueopportunity to learn about Ancient Greeks and Romans through primarysource artifacts. This booklet, which contains information andactivities related to the museum collection, may be adapted forindependent use with middle school level students. Suggestedactivities and activity worksheets are organized in 8 sections: (1)

"The Classical World: Antiquities from Greece and Rome"; (2) "Life inAncient Times: An Introduction"; (3) "Understanding the AncientGreeks"; (4) "All About Greek Vases"; (5) "Understanding the AncientItalians"; (6) "Mythology"; (7) "Yesterday to Today: ClassicalReference"; and (8) "Some Related Activities." The resource concludeswith a Glossary, References, Bibliography, and Notes. (MM)

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AN EDUCATIONAL GUIDE

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Understanding Ancient Culture Through Artat the

Tampa Museum of Art

(RESTCIFTAVAILABLE1

INTRODUCTION

This booklet contains information and activities related to the multi-faceted museum education program called Legacy of the Ancient World,based on the Tampa Museum of Art's permanent collection of ancient artand artifacts called The Classical World: Antiquities from Greece andRome. This program was designed as a curriculum enhancement for 7thgrade world geography studies for Hillsborough County Public Schoolstudents. Other components include special companion exhibits, as well asdisplays of other objects from the permanent collection that illustrate theclassical influence and that serve to introduce visitors to the ancient legaciesthat have affected culture down through the ages.

The Legacy of the Ancient WorldThe legacy of the ancient Greeks and Romans has been of major

influence on the course of Western civilization. From the ancient worldcome not only standards of art and architecture, but also principles of lawand government, fundamentals of science and mathematics, and the rootsof much of our language. Over the centuries every age has looked to theGreeks and Romans, and even today in the fast-paced world of the twenti-eth century, the ancients continue to influence our lives. From the OlympicGames, to the mission to send a man to the moon named after the sun godApollo, to the construction of public buildings using the Greek architecturalorders and Roman engineering principles, the legacy continues.

The foundation of Western civilization lies in the art, literature,philosophy, and politics of the classical world. What we now call "theclassical world" covered a vast range of time and geography. Centered inpresent-day Greece and Italy, the ancient cultures at times spread as far eastas Persia, as far west as Spain, as far north as England, and as far south asAfrica. Classical culture traces its roots to the Mycenaean civilization (about1600-1100 B.C.) and extends to the decline of the Roman Empire in thefourth and fifth centuries A.D.

The importance of the Tampa Museum of Art's collection should notbe underestimated, since so much of our life even today is affected by what

the ancients did so long ago. The Museum's collection offers theunique opportunity to learn about the ancient Greeks andRomans through primary sources: the art they created. Art,architecture, literature, philosophy, mathematics and science,theatre, athletics, religion, and probably most important, the

10.11 founding of democracy 2,500 years ago are the contributions111.11. made by the ancient Greeks, Romans, and other cultures to

contemporary life.Mythology was a vital part of ancient life, since it explained the

actions of the gods, and provided the foundations for religious belief. It wasalso the inspiration for the creation of much ancient art, which has carriedthe images and ideas forward into the modern world.

Each of the components of the Legacy of the Ancient World isoutlined in more detail on the following pages followed by suggestedactivities, special activity sheets, and a bibliography for further study.

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TABLE OF CONTENTS

INTRODUCTION 1

ACKNOWLEDGEMENTS 4THE CLASSICAL WORLD: ANTIQUITIES FROM GREECE AND ROME 5

Ground Plan of The Classical World Exhibition 6Tour: Legacy of the Ancient World 7

Daily Life Sculpture Ceramics Classical Reference

LIFE IN ANCIENT TIMES: AN INTRODUCTION 8Daily Life:Greece 10Daily Life: Rome 11Map of the Ancient Mediterranean 12

UNDERSTANDING THE ANCIENT GREEKS 14Who Were the Ancient Greeks? Where was Magna Graecia?What are Contributions of the Greeks? Athletics: Past andPresent

Timeline of Ancient Greece 16Chronology of Ancient Greece 17

ALL ABOUT GREEK VASES 18Attic Vases Solving the Mystery of Attic Vases How GreekVases Were Made Black-Figure Technique Red-FigureTechnique Vases from South Italy Painters of the VasesHow to Read an Exhibition label

Greek Vase Names 21

UNDERSTANDING THE ANCIENT ITALIANS 22Who Were the Early Italians? Who Were theAncient Romans?

Timeline of Ancient Italy 24Chronology of Ancient Italy 25

MYTHOLOGY 26Tales of Super Heroes 27Greek Gods and Their Roman Equivalents 28Words Associated with Greek-Roman Mythology 30

YESTERDAY TO TODAY: CLASSICAL REFERENCEA Modern Greek Sculptor Architectural Traditions

Architectural Designs Used Today

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35SOME RELATED ACTIVITIES 36

Topics for Discussion 36Archaeology: Pathway to the Past 37The Minotaur's Maze 38Dress Like the Ancients 39Greek Vases: Forms and Functions 40The Greek Alphabet 41

GLOSSARY 42REFERENCES 46BIBLIOGRAPHY 47NOTES 48

ACKNOWLEDGEMENTS

The materials in this booklet and accompanying packet were devel-oped by the Tampa Museum of Art in collaboration with HillsboroughCounty Public Schools as part of the Legacy of the Ancient World educa-tional program. They were designed as a curriculum enhancement for thestudy of world geography by seventh grade students. Funding support forthis project has been provided by the Arts Council of Hillsborough County,the Florida Department of State, Division of Cultural Affairs Arts in Educa-tion Grant, and through an Enabling Fund Grant from the Junior League ofTampa, Inc.

The following peopie were instrumental in the development andproduction of these materials. Without their hard work, advice, support andexpertise, this project would not have been possible.

Tampa Museum of Art

Margo Eure, ChairpersonEducation Advisory Committee

R. Lynn White lawProject Coordinator

Patricia S. FosnaughtEditor

Diane BroderickProduction Assistant

Bob HellierPublication Designer

Dee Ann MillerIllustrator

Melinda ChavezContributor

Dr. Suzanne MurrayCuratorial Consultant

Dr. Michael BennettCurator of Classical Art

Dr. Pamela RussellCurator of Classical Art

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Hillsborough CountyPublic Schools

Beth SheildsAssistant Superintendentfor Instruction

Dr. Marion RomensGeneral Director, MiddleSchool Education

Elizabeth WilsonSocial Studies Teacher onSpecial Assignment, MiddleSchool Education

Curriculum Committee

Nancy BesoreTurkey Creek Middle School

Elena CifuentesColeman Middle School

Sabrina McCarthyTurkey Creek Middle School

Kathy YttriRoland Park Middle School

THE CLASSICAL WORLD:ANTIQUITIES FROM GREECE AND ROME

A permanent exhibition in the Barbara and Costas Lemonopoulos Gallery

The Tampa Museum of Art's collection of antiquities from Greece andItaly presents a unique opportunity for students to explore the foundationsof Western civilization. This collection serves as an avenue for enhancing astudent's understanding of the importance of the classical style, the relation-ship between form and function and the integration of ancient daily life andmythology and how they influence living in today's world.

The Classical World exhibition is a permanent installation, thenucleus of which is the Joseph Veach Noble Collection purchased by theTampa Museum of Art in 1986. This world-class collection has served as acatalyst for continued growth through acquisition and long-term loan. Todaythe Classical World has many distinctions, including:

a) the finest collection of classical antiquities in theSoutheastern United States;

b) one of the twenty best museum collections of antiquitiesin the nation;

c) one of the most extensive permanent exhibitions ofSouth Italian vases in the country;

d) the finest exhibition of ancient theater artifacts onpermanent view.

The strength of the Classical World exhibition is in the more than 200Greek and South Italian vases. Used for celebrations, awards, religiousofferings, burial rites, tableware and fine trade goods, the vases exhibit abeauty, refined simplicity, selection of shapes and examples of technicalexpertise which demonstrate the development of Classical Greek andRoman art. Additionally, the visual record of narrative painting on thesevases, interpreted through scholarlyexpertise, displays the mythology andlifestyles of the ancient legacy.

The secondary qualitiesof this exhibition serve toillustrate the fabric of Greek,Etruscan and Roman society.Included are many artifacts of .

sculpture, coins, glass, jewelry, ;children's toys, householdtools and other objects ofdaily life. Of particular interestis the impact of trade and the -influence of styles amongthese cultures.

..

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Ground Plan of the ExhibitionThe Classical World: Antiquities from Greece and RomeIn The Barbara and Costas Lemonopoulos Gallery

13 I 14 I 15

To the Gallery Experience

HeraklesCase

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DAILY LIFE

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Key

Entrance

A Theater 1 Neolithic and Bronze Age GreeceB Ritual and Music 2 Geometric, Orientalizing and Black-Figure Pottery

C Athletics, Warriors and Funerals 3 Attic Black-Figure Pottery

D Weddings, Children and Women 4 Archaic Greek Pottery

E Lamps and Utensils 5 Attic Black-Figure Pottery

F Fish Sauce Amphora 6 Black- and Red-Figure Pottery

G Small Bronzes 7 Attic Red-Figure Pottery

H Terracotta 8 Attic Red-Figure and Hellenistic Pottery

Glass 9 Italic Pottery

Coins 10 Etruscan Pottery11 Cinerary Urn12 South Italian Pottery13 South Italian Pottery14 South Italian Pottery15 South Italian Pottery16 Roman Artifacts

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Tour: Legacy of the Ancient World

DAILY LIFE

The Legacy of the Ancient World tour is organized into four areasthat allow the visitor to explore the artistic tapestry of the ancient worldand its legacy from objects of daily life to sacred statues to issues ofaesthetic concern. As visitors journey through the galleries, they canexperience viewing objects that were created during the beginnings ofWestern civilization and that continue the traditions of the ancients eventoday.

The artifacts in this area are grouped into thematic cases that provideinsight into ancient daily life. Although times change, you will note thatmany of the needs of the past are the same as they are today. Seen arerites of passage from childhood to marriage to death as well as interests insports, music, theater, and the role of women. The ancients also had theirsuper heroes and the case dedicated to Herakles explores the importance ofthis mortal who became immortal through his heroic deeds.(Cases A G)

SCULPTURE The sculpture displayed in this area illustrates the diversity of this ancient artform. Examples are varied in scale (lifesize to miniature), in materials (stone,bronze, terracotta), in technique (in-the-round, relief, engraving), and in thecivilizations that produced them (Greek, Cypriot, Etruscan, Roman). Mostancient sculpture was intended for religious use. Emphasis is on the humanform and the representation of images range in style from the idealism ofthe Greeks to the objective realism of the Romans.

CERAMICS The vases in this area represent the stylistic development of ancientceramics from 4800 BC to the 4th century AD a span of over 5,000years! Examples include a variety of shapes (amphora, hydria, kylix, krater),works from various Mediterranean cultures (Cypriot, Greek, Etruscan, SouthItalian Greek, Roman), and a variety of different ceramic techniques (black-figure, red-figure, white-ground, black glaze). The harmonious relationshipbetween the ornamentation and functional shape of these ancient ceramicsis a hallmark of the classical aesthetic. (Cases 1 16)

Following a visit to the Lemonopoulos Gallery, visitors observe the legaciesfrom antiquity in the Museum's permanent collection of 19th and 20thcentury American sculpture. This is the fourth component of the Legacy ofthe Ancient World tour.

CLASSICAL The Terrace Gallery sculpture exhibition displays many examples of modernREFERENCE works with classical reference. They include Bust of the Greek Slave by

Hiram Powers (1859); The Legacy by Stanley Bliefeld and many works byC. Paul Jennewein, including his scale model created for the pediment ofthe Philadelphia Museum of Art, all of which illustrate the tremendousinfluence of ancient art forms carried through the centuries to moderntimes.

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LIFE IN ANCIENT TIMES: An Introduction

Hydria

Oinochoe

Kylix

Kantharos

Skyphos

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The typical Greek and Romanof ancient times lived an austere lifeby our standards. Much time wasspent outside, and little money wasspent on the home's interior.However, the vases and otherobjects that are exhibited in theClassical World collection tell usmuch about the daily life of ancientpeoples.

While painted vases served asthe "fine china" of the upperclasses in Greece, the simplerceramic pieces were the morecommon household pottery.Storage vessels were made ofcoarse clay, and a finer clay coveredwith plain black glaze was used fordining pieces. Other ceramic objectsreflect their household functionssuch as various oil lamps, oilcontainers, baby feeders, keys, andminiature toy pots. A hydria was avessel used to carry water and anoinochoe was a wine pitcher. Twotypes of drinking vessels were theshallow kylix and the deeperkantharos, which was used fordrinking wine.

Public worship, an importantritual of daily life, often took theform of sacrificial rites. In thecollection is a large skyphos, ordrinking vessel, which shows theprocession to an animal sacrifice

Lekythos 9

constituting a person's principalproof of piety. Altars used for thesacrifice were characterized by theirpedestal shape decorated withmolding, seen in one red-figureamphora (storage jar) where Nikeis offering a libation.

A white ground lekythosdepicts a funeral dedication at agraveside and is a funerary offeringitself. Some mourners economizedon their gifts by presenting alekythos with a false bottomdeceptively containing only a fewounces of expensive oil. Olive oilwas a very valuable commodity as itwas used in a variety of ways foreating, cooking, grooming, heating,anointing the dead, etc.

Greek society was primarilymale-centered. It was not until the5th century B.C. that representationof women on vases depicted theireveryday activities. Most womenstayed in the home and performedhousehold duties and childcare, butthe women of Sparta actuallycompeted in athletic events in orderto be strong and have strongchildren.

The wedding ceremony wasone of the special occasions whichcentered on the woman. On theevening of the event a processionwent from the bride's house to the

Bell Krater

Pyxis

Lekanis

bridegroom's accompanied byaphrodisiac chants and songs. Thelid on a pyxis on display shows anaspect of the marriage feast, whenfriends bring gifts to the bride.These gifts were usually related tothe household, such as pottery orimplements for spinning andweaving.

Greek clothes, when worn,were designed to be both practicaland graceful. The two essentialgarments were the chiton (tunic)and himation (cloak), examples ofwhich can be seen in paintings onpottery throughout the exhibit. Achiton was fastened together witha fibula (safety pin) such as onesdisplayed.

Hair styles varied in ancienttimes as they do today. In thecollection is a small bell krater, ormixing jar, which shows a fancifullyadorned male head, while the lidsof the small pyxis and lekanis, asmall lidded food storage dish,show the braided and knottedhairdo popular among women inthe classical period .

Grooming was an essentialpart of the daily routine. Theancients beautified themselves withmirrors, combs, and perfumes.Women often carried chatelainesaround their waists, so that they

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always had handy a collection ofclippers, scissors and tweezers.

Despite the simplicity ofdress, Greeks and Romans werefond of ornament. In addition tohair adornments, they wore ear-rings, necklaces, rings and brace-lets. The Greeks were highly expertgoldsmiths, known for their exquis-ite designs and cutting on jewelry.The Romans valued the gems morethan the gold setting and excelledin intaglio and cameo gem engrav-ing. Usually the cameo had twodifferent colored layers, so that theraised image on a light-coloredlayer was carved out against thedarker-colored layer. Most gemengravings were portraits ormythological figures.

One of the best ways for usto understand life in ancient timesis through the coins that werestruck, or created by artists. Theinvention of coinage would in timereplace the older barter system andallow the ancients to turn coins intoan art form that representedspecific images on the obverse andreverse sides of the coin. Theancient Greeks, for example, oftenrepresented their dieties with theirattributes, whereas the Romansgenerally represented theiremperors or great military leaders.

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Daily Life: Greece

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Parents were kind but verystrict.

Boys were raised to be indepen-dent; started a trade at 15.

Every family had slaves, eventhe children; most often theywere foreigners or prisoners ofwar.

Cleanliness was very important.Both baths and showers wereused, as well as oil and strigils.

Girls usually married around 15years of age; boys often waiteduntil they were grownups,around age 30.

A girl gave her toys to thetemple to symbolize the end ofher childhood, bathed and wasled by her father to herhusband's house.

Coins were placed under thetongues of the dead to pay fortheir passage into the under-world. All were cremated andthe wealthy, during someperiods of ancient Greekhistory, had tombs erected.

Houses were sparsely furnishedand often very hot; childrenspent their time outside.

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Everyone drank wine, children'swas diluted more.

Greeks prized their pottery asmuch as any of their posses-sions.

Children had dolls, puppets,carved toys and pets.

Boys went to school at age 7 ifthey could afford it; girls stayedhome and learned to sew, spinand cook.

Books were scrolls and childrenwrote on waxed slates with asharp tool.

Athletics were very important.Every schoolboy learned sports.The greatest honor was to bechosen for the Olympics.

Greeks believed that their godsand goddesses looked human,lived on Mount Olympus,were immortal, and ruled theuniverse. The stories of theirlives comprise mythology.

Oracles were where peoplewent to ask advice of the gods.

Greeks went to the theater tosee tragic dramas in semi-circular open-air theaters.

Daily Life: Rome

Children played games such asdice using nuts and stones.

Children attended plays,athletic events and animalfights at the amphitheater.

Divorce and remarriage werecommonplace.

People wore togas; woolentrousers were worn underneathin the winter.

Doctors were not effective;herbs and spring waters wereused as cures.

Everyone had slaves; thewealthier you were, the moreyou had. These were mostlyforeigners, and treated as partof the family.

Pets such as birds and dogswere commonplace; also mice,but never cats, which wereconsidered unlucky.

The main meal of the day wasthe cena, served at 2:30 pm,lasting for hours and consistingof 5-7 courses, includingentertainment.

Wine was the major drink forall; children added honey forsweetness.

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There was heating for mostwealthy homes.

Wealthy families traveled to theseven wonders of the world.Only the Pyramids remaintoday.

Baths were for social gather-ings, as well as for cleanliness.Families went there together,although men's and women'squarters were often separated.There were three possiblestages for the bathing process

using a frigidarium (cold), atepidarium and a caldarium(hot) with massages in betweenbaths.

Boys were considered adults atthe age of 14, girls at 12. Theyoften married at that age.

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Understanding the Ancient Greeks

Who Were the Ancient Greeks?Ancient Greece was a land of

rugged beauty with mountainousterrain and areas that were ofteninaccessible except by sea. It neverunified as a nation, but insteaddeveloped a city-state (polis)system that formed its own popula-tion, government and regionalidentity. Although war-like Spartawas very different from the morepeaceful city-state of Athens, whatserved to unify the Greeks was theircommon language, mythology andcultural beliefs. Eventually theGreeks expanded out from theirpeninsular mainland and colonizedlands to the south, east and west.No matter where they settledItaly, Sicily or Asia Minor theyremained true to the culture of theirmotherland.

Of all the city-states ofancient Greece the most famouswas Athens, named after theOlympian goddess Athena. In thefifth century B.C. the Atheniansdefeated the mighty Persian army

and entered into a"Golden Age" thatrepresents the political

and artistic height ofGreek civilization. Thetemples of the Acropolis,the religious and civic prideof Athens, had beendestroyed in the war and for

the next 60 years this citadelbecame the center of one of themost ambitious building projectsever undertaken by man. Today,through archaeological remains andthe extensive ancient writings aboutthis project, we are still in awe ofthis wonder of ancient Athens.

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Where was Magna Graecia?From the mid-eighth to the

fifth centuries B.C., Greek settlers

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steadily colonized the territories ofSouth Italy and Sicily, emigrating ingroups from their individual city-states in order to establish cities oftheir own. Settling amid nativetribes, or in conflict with them,these Greek colonists carved outterritory in five distinctive areas:Sicily, Lucania, Apulia, Campaniaand Paestum (near the Bay ofNaples).

Overpopulation in Greecehad driven colonists to seek newland in the west, but throughoutthe decades and centuries after thefounding of these settlements, thedescendants of the colonistsmaintained close ties with their"mother" cities in Greece andcontinued to consider themselvesGreeks. In antiquity, this area ofsouthern Italy was even calledMagna Graecia, or "GreatGreece," reflecting the view thatthis was a more spacious version ofthe homeland (much as some ofour ancestors named New Englandafter their British homeland).

The colonists were well awareof the prevailing fashions back inthe cultural centers of Greece, andthey both copied and importedgoods from these areas particu-larly painted pottery.

What are the contributions ofthe Greeks?

The Greeks have made majorcontributions to man's knowledgein art, architecture, science, drama,philosophy, mathematics, andpolitical theory, to name just a few.In architecture we pay homage tothe Classical style that the Greekscodified into the Doric, Ionic andCorinthian orders, designs ofwhich adorn many buildings we cansee even in Tampa. The constella-tion Orion that we see in the

southern sky was named by theGreek astronomer Hipparchus afterthe giant hunter from mythology.Pythagoras, Euclid and Archimedeswere ancient Greek scholars whoseprinciples provided the basic rulesof mathematics. The questioningphilosophies of Socrates, Plato andAristotle, the egalitarian principlesof democracy, and the humanisticbelief that "man is the measure ofall things"; these are but a few ofthe contributions made by theGreeks that are as valid today asthey were 2500 years ago. Can youthink of others?

Athletics: Past and PresentOf all the contributions of the

ancient Greeks, one of the mostlingering has been the emphasis onthe fitness of the body and mindthrough athletics. The Greeksbelieved that competitive excellencewas an appropriate way to honorthe gods, thus great religiousfestivals with processions, sacrifices,and competitions in music, poetry,equestrian events and athletics tookplace as major civic events. Todaythe modern Olympic Games to bestaged during the summer of 1996in Atlanta, Georgia serve to recall

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the origins of athletic competitionsin ancient Greece.

The ancient Olympics wereheld in honor of the god Zeus anddate back to 776 B.C. They werecelebrated every four years inOlympia, Greece as competitionbetween the city-states. In localmunicipalities various other godsand goddesses had festivals dedi-cated to them that often precededthe Olympics. In Athens, forexample, the Panathenaic Festi-val, founded in 556 B.C, was heldevery year and a GreaterPanathenaia celebrated every fourthyear in a major eight-day festival. Inall these ancient festivals athleticssimilar to the modern OlympicGames were part of the competi-tion. Among the events includedwere boxing, horse racing, andchariot racing, as well as the famedpentathlon which included thefive sports of running, discus,javelin, long jumping, and wres-tling. Just as the ancient Greekscame together in the spirit ofcompetition then, the world todaygathers every four years tocelebrate the spirit of globalcompetition and understanding.

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Timeline of Ancient Greece

Bronze Age (2800-1100 BC)

Geometric Period (900-700 BC)

Orientalizing Period (700-600 BC)

Archaic Period (600-480 BC)

3,000 BC

2,000 BC

1,000 BC

800 BC

600 BC

400 BC

Late Classical Period (400-323 BC)

Hellenistic Period (323-146 BC)

200 BC

Roman Period (146 BC-330 AD)

BC/AD

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200 AD

400 AD

Chronology of Ancient Greece

Bronze Age (2800-1100 BC): named after the alloy of copper and tinwhich became the main utilitarian metal of the period. Major palace-centered civilizations formed in Crete (Minoan) and mainland Greece(Mycenean), nurturing artists in many media.

Dark Age (1100-900 BC): period following the collapse of the Bronze Agesocieties, characterized by smaller, loosely organized settlements and anapparent decline in the arts and literacy.

Geometric Period (900-700 BC): named after the rectilinear ornamenta-tion found on pottery of the period; during this time the Greek city-stateswere formed, the alphabet was introduced, and colonization of Italy andAsia-Minor began also the time of fixation of the Homeric epics.

Orientalizing Period (700-600 BC): time of influences from Near Easterncultures on art, literature, and mythology; the main period of colonization.

Archaic Period (600-480 BC): the city-states coalesce, major new art formsemerge, including large-scale marble sculpture and black-figure vasepainting; rule by tyrants was common.

Classical Period (480-400 BC): begins with the defeat of the invadingPersian army; a flowering in the arts including playwriting and red-figurevase painting takes place; greater appeal to humanism; democracy flour-ishes in Athens.

Late Classical Period (400-323 BC): the optimism and self-assurance ofthe Classical Period are somewhat diminished by the Peloponnesian War;there was an emphasis on private life; and the arts tended to be moredecorative and elegant.

Hellenistic Period (323-146 BC): begins with the death of Alexander theGreat; Greek culture spreads to the East and West, creating an eclecticmixture of styles from non-Greek cultures with Greek traditions; there wasalso the beginning of an interest of realism in art.

Roman Period (146 BC-330 AD): beginning with the capture of Corinth,Greece became a Roman province and part of the Roman Empire, endingGreek cultural domination.

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ALL ABOUT GREEK VASES

The tradition of Greek vasesis one dating back to the ancientMinoans and Myceneans. Over thecenturies the quality and productionskills of the ancient Greeks devel-oped, producing centers of com-merce and export trade throughoutthe Mediterranean community.Corinth, Laconia and Rhodes wereearly centers of ceramic productionin the 7th century B.C. Later Athensin the geographic area called Atticagrew to prominence and dominatedthe market in the 6th and 5thcenturies B.C.

Attic VasesOf all the vases created by

the ancient Greeks, the ones madein Athens were the most admired.Athens had great deposits of iron-rich clay and its craftsmen wereconsidered the finest in Greece.Greek vases present us with avaluable and enjoyable resource,not only for the beauty of theirdesign and excellence of theircraftsmanship, but for the cluesthey provide about ancient society.This is particularly true when welook at the painted pottery pro-duced in ancient Athens during theArchaic and Classical eras (c.630-400 B.C.). These vases, with theircrisp, elegant shapes and bright,lively scenes in lustrous black andvivid terracotta red, give us abun-dant information about the ancientGreeks and splendid examples ofthe potter's and painter's art.

Attic vases were the mostpopular luxury goods of the day.Locally, they were the fine wares ofAthenian high society and, beyondAttica, treasured imports through-out Greece and the Mediterranean.The high quality and costliness ofthese vases are reflected in their useas dedications in temples, prizes incontests, fancy containers for costly

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perfumes, and elegant tablewarefor banquets and parties. Many ofthe finest Attic vases that survivetoday were discovered in Italy,where they were often placed intombs as prized heirlooms to honorthe deceased.

Solving the Mystery of AtticVases

For centuries Attic vases havebeen greatly prized, but the processused to create them had remainedsomewhat of a mystery. A keyplayer in helping to solve themystery of how Greek vases weremade was Joseph Veach Noble,an antiquities collector and theprincipal benefactor of the TampaMuseum of Art's collection. Mr.Noble published an article in 1960which demonstrated that the secretto the process was a three-phase,single kiln firing. He even madesample firings to prove his theory,which can be seen in the exhibition.

How Greek Vases were MadeThe following narrative

explains how Attic vases weremade:

After a vase had been thrownon the potter's wheel and dried, itwas sometimes coated with a washof ochre (miltos), which intensifiedthe reddish-orange color of the clay.In the black-figure technique, thefigures were then painted in blackglaze directly on the clay ground.Details of anatomy and draperywere added by incising through theglaze with a sharp instrument.Other details were added in whiteor cherry-red glaze.

In the red-figure technique,the process was essentially reversed.The figures were roughly sketchedwith a stick or piece of charcoalthat left shallow "sketch-lines" inthe clay. Guided by the sketches,

the artistoutlined eachfigure with ablack line andthen painted the backgroundblack. Interior details were paintedin with a brush, or in the case ofrelief-lines, with an implement thatleft the lines standing slightly inrelief. Relief-lines imparted greaterboldness to the design and wereoften used to outline entire figures.The black glaze would be dilutedwith water to produce a lightbrown or golden color, used todraw musculature or the dappledhide of a fawn or the blond hair ofa boy.

The lustrous black glaze ofAttic pottery is not really a glaze atall, but a slip, a liquid preparationof water and purified clay thatforms a chemical bond with theclay surface. After painting, thevase was fired at a high tempera-ture, first with oxygen present inthe kiln and then with all oxygencut off. In the latter stage, theoxygen in the clay was consumedwith the entire vase turned black.When oxygen was readmitted tothe kiln, the undecorated areasreabsorbed sufficient oxygenmolecules to turn red again, but thedecorated portions remained blackbecause the slip had undergone amolecular change and was nowunable to reabsorb oxygen. Cherry-red slip was made from a clay richin iron. White slip has almost no

iron and has atendency toflake off, so

that some black-figure women have

lost their white skin, aswell as their eyes.

Black-figure TechniqueBlack-figure vases

were created beginning inthe 6th century B.C. and

exemplify the Archaic periodof Greek art, when the figures

were still somewhat flat andfrozen. Also characteristic of black-figure is the frequent depiction ofanimals, and frequent scenes frommythology. Some vases, such as thePanathenaic amphoras, continuedto be produced in the black-figuretechnique even after the red-figuredominated production because itwas tradition.

Red-figure techniqueThe introduction of the red-

figure technique around 530 B.C.allowed vase painters a far greaterrange of expression than waspossible with the black-figuretechnique. The color scheme wasreversed for a more lifelike effect(red-figures on a black ground), anddetails were brushed in with lines ofvarying thicknesses, obtained bydiluting the black paint to differentdegrees. This brushing techniquehad a great advantage over thelinear scratching of the black-figurestyle and allowed for more fluid,naturalistic representations.

Throughout a prosperouscentury, painters explored thepossibilities of their new freedom.Their figures took on greaternaturalism and more varied poses,and their subjects broadened toinclude more lighthearted andcontemporary scenes.

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Perhaps the beauty, harmony,and restraint of this Classical periodof Greek art is best exemplified bythe harmonious relationshipbetween the ornamentation andfunctional shape of the vase. Thiswas sacred to the Greek aesthetic.Despite the freedom of technique,the Athenian painters never in-dulged in overly florid patterns orpersonal mannerisms. The re-strained classical canons of re-nowned Attic pottery would not bebroken until later in the fifthcentury when the western Greeksin South Italy had a change of taste.

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Vases from South ItalyOf all the colonies founded

by the Greeks in antiquity, SouthItaly and Sicily were the mostprosperous and attracted a greatnumber of people and productsfrom abroad. Prominent Greeks,such as the playwright Aeschylus,the philosopher Plato, and thesculptor Lysippus, lived or worked inSouth Italy. The Attic vases found inMagna Graecia are among thefinest known.

Evidence of the vitality, taste,and wealth of the western Greeksalso lies in their own artisticachievements, well illustrated bythe highly decorative painted vaseson exhibit. These vases far surpasstheir Athenian contemporaries inthe range of their subject matter.From them we can learn a greatdeal about mythology, drama, dailylife and especially the funerarycustoms of both the Greek colonistsand the native inhabitants of SouthItaly.

The five classifications ofSouth Italian pottery are namedafter geographical areas but based

upon stylistic criteria. They are:Lucanian, Apulian, Campanian,Paestan, and Sicilian, all of whichare represented in the collection.

Painters of Greek VasesIn spite of the lack of artists'

signatures on ancient vases, manyindividual artists or groups havebeen identified by the styles of theirdraftsmanship and by other salientdetails. The brilliant scholar SirJohn Beazley was the first toidentify hundreds of Attic artists,and A.D. Trendall is the leadingauthority on South Italian ware. Thename of the scholar who attributeda vase to an artist is indicated inbrackets following the attribution.For example, the attribution of theMaplewood Painter for one of thevases in the exhibition was made byour own Joseph Veach Noble.

Only a few painters areknown by name. Others are as-signed names based on a knownpotter for whom they worked, thecity or museum in which the"name" piece resides, or a charac-teristic motif or stylistic feature of aparticular artist.

HOW TO READ AN EXHIBITION LABEL:1. Krater2. Red-figure technique, 3. Maplewood Painter 4. (Noble, Trendall)5 Greek, 6. Apulian, 7. about 350 B.C.8. Side A: Women with wreath and vase approaches mounted Oscarwarrior; at left, Oscar warrior and boySide B: Dionysos with satyr and maenad9. Joseph Veach Noble Collection, purchased in part with funds donated byMr. and Mrs. William Knight Zewadski, 10. 86.102

Labels in The Classical World: Antiquities from Greece and Rome exhibition tell a great dealabout a specific piece. Information includes: 1. the shape of the vase 2. the technique used tocreate the vase 3. the artist to whom the vase painting is attributed 4. the person who attributedit to that painter and the person who confirmed the painter 5. the culture in which the vase wasmade 6. the geographic area or style in which the vase was fabricated 7. the approximate date itwas created 8. information

on what images are represented on the vase 9. how the vase came intothe collection of the Tampa Museum of Art 10. acquisition number that tells what year it wasaccepted into the collection.

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Greek Vase Names

KRATER (kray' tur) a mixing jar,usually for mixing wine and water

OINOCHOE (oy no cho ee)a winepitcher with a pinched lip whichallowed pouring from sides or front

KANTHAROS (kan' thar oss)adeep wine cup with two tall verticalhandles

KYLIX (ky' lix)a shallow cup withtwo horizontal handles

SKYPHOS (ski' phoss)a deep winecup with two horizontal handles

AMPHORA(am for ah) a storagejar for dry or liquid substances

HYDRIA (hy' dree ah)a vesselwith three handles; two for liftingor setting down, and one verticalhandle for pouring or steadyingwhen carried on the head

LEKYTHOS (leh' ki thoss)an oilvessel, placed in the tomb with thebody or brought to the tomb as anoffering by a mourner

PYXIS (pix' is)a lidded toiletrybox for jewelry or other smallbelongings

LEKANIS (leh kan' is)a smalllidded food storage dish

The number of shapes used by ancient potters was relatively small. Thesefew types, over centuries, evolved from very primitive appearances to highlydecorated ones. Practically all Greek and Roman vases were functional fordefinite purposes which is reflected in their forms. For convenience sake,their ancient names are retained.

Bell Krater

Kantharos

Amphora

Kylix

Pyxis

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Hydria

Oinochoe

Skyphos

Lekythos

Lekanis

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UNDERSTANDINGTHE ANCIENT ITALIANS

Who Were the Early Italians?Pre-Roman Italy was inhab-

ited by people diverse in origin,language, traditions, and stages ofdevelopment. Among them, nogroup remains more mysterious inorigin than the Etruscans (800-300 B.C.). Their country was calledTyrrhenia in Greek and Etruria inLatin, and lay in central Italybetween the fertile valleys of theArno in Tuscany and the Tiber inRome. Despite the progressivenessof the powerful Etruscan cities, thepeople remained primitive in theircustoms and mysticism; and whileexperiencing profound influencesfrom Greek civilization, theEtruscans never embraced therational order of classical thought.

Various scholarly hypotheseshave been merged in a theory thatperhaps the Etruscan nation was aprogressive formation from themeeting of various Northern,Eastern, Greek and local elements.

Bucchero ware is consideredthe native pottery of Etruria. Thispottery was fired black on gray witha high glossy finish. The Etruscansused the same glazing materials astheir Greek contemporaries, but didnot allow any oxygen into thefiring process, thus eliminat-ing the red color. Theshapes and surfacetreatments of Buccheropottery often resembledthe metalwork of moreexpensive bronze vases.The lion was a commonmotif in Etruscan art andsymbolized both humorand treachery.

The Etruscans'maritime activities werequite extensive, and theyshared trade routes withcultures as far east as

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Cyprus. They drew heavily on Atticand other Greek pottery as modelsfor their pontic ware.

The Etruscans were especiallyfamous in the ancient world fortheir reliance, in both public andprivate actions, on divine guidance.The divinities they consulted wereextremely numerous, and many arestill unknown today. Some of thedeities were similar to those of theGreeks and Romans, as perhapswas the goddess Turan. Althoughher proportions are not those of theclassical ideal, she is the Etruscanimage of beauty and the equivalentof the Greek goddess of love,Aphrodite.

The Villanovans precededthe Etruscans in the first century ofthe Iron Age. The funerary rite ofcremation, prevalent at the begin-ning of Villanovan culture, re-mained a characteristic traitthroughout the Etruscan civilization.The ashes of the deceased wereplaced in urns, which took onvarious artistic forms. A nicecomparison is offeredby several funeraryurns in the exhibi-

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tion. On one cinerarium, a sculp-tural representation of the deceasedwoman serves as the cover, while arelief scene of a battle adorns thefront.

Who Were the Ancient Romans?Rome was founded about

753 B.C. by the Latins, an Indo-European people. From the begin-ning, the Romans were interested inexpanding their territory. By 275B.C. they were masters of the entireItalian peninsula. By 146 B.C., atthe end of the third Punic War(one of a series of wars fought withthe Carthaginians), they hadannexed Sicily and Carthage. By106 A.D. the Roman Empireincluded Great Britain, all of Europewest of the Rhone and Danuberivers, Rumania south to theMediterranean Sea, the Middle Eastas far as the Caspian Sea, Egypt,and North Africa east of the Straitsof Gibraltar. To supply this vastempire the Romans built roads,bridges, and aqueducts, some ofwhich still survive.

The expansion of the empirebrought enormous numbers ofslaves from the provinces to Rome.The conquered lands were given towell-to-do Romans for farming.Displaced small farmers andworkers migrated to the city, wherethey received free bread andentertainment paid for by the state.With the decline of the RomanEmpire, barter replaced coinage,serfs became attached to the land,and trade and industry declined. Bythe end of the fifth century A.D.,the Roman Empire had collapsed.

Roman art was made by localartists, who followed classical Greektradition, and by native Italic artistswho followed Etruscan tradition.The latter was called popular or

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plebeian art. For many years Greekand Etruscan traditions competed,conflicted, and frequently con-verged in Roman art. Privatemonuments were often in the Italicstyle while state-sponsored monu-ments were made in the Greekstyle, until the third century A.D. Inthe early third century EmperorSeptimius Severus, who was ofAfrican descent, favored theplebeian style for state-sponsoredmonuments.

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Timeline of Ancient Italy

Bronze Age (2800-900 BC)3,000 BC

2,000 BC

1,000 BCVillanova Culture(900-700 BC)

800 BC

South Italian Period (750-300 BC)Etruscan Civilization (700-300 BC)

600 BC

Roman Republic (509-31 BC)

Roman Empire (31 BC-284 AD)

400 BC

200 BC

BC/AD

200 AD

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500 AD

Chronology of Ancient Italy

BRONZE AGE (2800-900 BC): period named after the alloy of copper andtin which became the main utilitarian metal of the period. Archaeologistsbelieve a people may have migrated from Asia Minor (Lydia) into northernItaly.

VILLANOVAN CULTURE (900-700 BC): an Iron Age people who lived innorthern Italy and of which little is known. They introduced cremation andgeometric style pottery in Italy.

ETRUSCAN CIVILIZATION (700-300 BC): a mysterious people who inhab-ited central Italy. Enamored of Greek ceramics, they placed many suchvessels in elaborate tombs. More than 80% of the Attic pottery that hassurvived comes from them.

SOUTH ITALIAN PERIOD (750-300 BC): the 8th century BC when theGreeks began colonization throughout the Mediterranean. Many settled insouthern Italy and Sicily and began developing their own local Hellenicstyles.

ROMAN REPUBLIC (509-31 BC): during this period, according to thelegend outlined by the poet Vergil, Rome was founded by men fleeing fromthe Trojan War. Eventually through their military might and political organi-zation they conquered the cultures of Italy.

ROMAN EMPIRE (31 BC-284 AD): Caesar Augustus became the firstRoman Emperor and set in motion an expansion of the empire that wouldgrow to conquer the "known" world.

LATE ROMAN EMPIRE (284-474 AD): a period of decline as the RomanEmpire could no longer maintain the glory or power of its earlier age.

On Roman coins in The Classical World you will see the images of

many of the Roman emperors who ruled the ancient world. Below is

a list of the better known emperors and when they ruled:

Julius Caesar (46-44 BC)

Caesar Augustus (27 BC-14 AD)

Nero (54-68 AD)

Titus (79-81 AD)

Trajan (98-117 AD)

Hadrian (117-138 AD)

Marcus Aurelius (161-180 AD)

Septimius Severus (193-212 AD)

Caracalla (212-217 AD)

Diocletian (284-305 AD)

Constantine (306-337 AD)

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MYTHOLOGY

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The Greeks and Romansworshipped many gods and god-desses. The stories of their lives,their interactions, and their influ-ence on the lives of mere mortalsserved to form a complex body ofstories called mythology. To theancients, mythology was a beliefsystem of legends and events passeddown from generation to genera-tion. Before there was writing,skilled storytellers codified thesestories into masterful expressions oforal history presented in poetic songand accompanied on the lyre.Among the many civilizations of theancient Mediterranean, the Greekswere unique in formulating areligion whose deities were the mosthuman in appearance and character.The gods and goddesses of ancientGreece were immortal and pos-sessed of superhuman powers, buttheir personalities reflected thevirtues and failings of human nature

pride, love and generosity, butalso envy, jealousy and vindictive-ness.

The twelve gods and god-desses who reigned from atopMount Olympus were the chiefdeities of Greek religion, whosefavors were sought by offerings andrituals. The Twelve Olympianswere also viewed as a large andsomewhat unruly family, oftensquabbling among themselves andmeddling in human affairs. Humanstrength and valor impressed them,and often a god or goddess champi-oned a person whose feats werelegendary among mortals. But anymortal who showed too much pridewas punished.

The Romans also believed inmythology, and many Roman godswere adapted from the Greeks. TheRomans changed their names andgave some deities more prominencethan the Greeks had done.

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The exploits of the gods,goddesses and heroes provided a richtreasury of stories which were aready source of inspiration for theartist. Of the many subjects illus-trated by artists of the classical world,themes depicting these legends andstories, or myths, were the mostpopular. They decorate sculpture andpainting from the most exaltedsettings (temples) to the mosteveryday (storage vessels). Thesemyths were well known to almosteveryone of the time, so the artistmight convey an entire series ofmythological events to the viewer byportraying only a few key characters.

This "visual shorthand" isespecially apparent on Greek vaseswhere a very limited space (field) wasavailable to the artist. For instance,deities and heroes were identified bycertain attributes or distinguishingfeatures. Zeus, the greatest of theGreek gods, is usually portrayed witha regal beard and holding a thunder-bolt, symbol of his far-reachingpower. Athena, protectress andgoddess of wisdom, is usually shownhelmeted and wearing a special cloak(aegis) edged with snakes andsometimes decorated with the headof the Medusa. Poseidon, god of thesea is ofte.n shown in close associa-tion with fish or boats (see, forexample, the marble statue ofPoseidon supported by a dolphin inthe gallery).

Ancient mythology served toexplain not only the phenomena ofnature, but also the condition ofhumanity. The deities, despite all oftheir perfection, also suffered fromthe same foibles as people. Theirinteraction unfolds for us as acomplex study of human nature thatis as valid today as it was at thecampfire presentations of a Greekepic singer, such as Homer, or in thepoetic writings of Vergil.

Tales of Super Heroes

In addition to the gods andgoddesses of ancient mythologythere is frequent portrayal of theadventures of certain Greek heroes.Often these heroes are given super-human strengths or take on god-like qualities, despite the fact thatthey are mortals.

One of the Greeks' favoriteswas the "superman" Herakles,who was also popular among theRomans as Hercules, and forwhom many exciting stories areassociated to demonstrate his greatstrength and cleverness. Herakleswas the son of Zeus and a mortal,however Zeus' wife Hera becamejealous over the child and tried tohave him killed. She sent twodeadly serpents to Herakles' cradle,but the infant strangled them.Enraged, Hera put a spell onHerakles so that the only way hecould undo the harm was toperform twelve labors (or impos-sible tasks).

Several of Herakles' laborsbecame popular as images onGreek vases. For example, his firsttask, killing the Nemean lion, isoften represented. In this storyHerakles found he could not piercethe hide of the beast with any typeof weapon. He therefore strangledit with his bare hands and after-

wards wore the skin as an armourfor his other labors. Herakles' ninthlabor was to retrieve the belt ofHippolyte, Queen of the Ama-zons, a band of warrior women.Hera turned the women againstHerakles, and in order to get thebelt he had to fight the wholeAmazon army. Luckily his lion skinarmour protected him against theirarrows.

Another great hero wasTheseus, beloved by the citizens ofAthens because he killed the famedminotaur. As the story goes, everyyear seven youths and sevenmaidens from Athens were sent tothe island of Crete to face eitherdeath or starvation in the maze ofthe labyrinth. Here lived the fearedminotaur, a creature with the bodyof a man and the head of a bull.One year Theseus offered to go toCrete and while there he fell in lovewith the king's daughter, Ariadne.Before Theseus entered the laby-rinth, Ariadne gave him a large ballof string to unwind as he made hisjourney into the maze. AfterTheseus found the minotaur, hekilled him with a sword and thenretraced his way out of the laby-rinth by following the string. Ajubilant Ariadne was there waitingfor him.

THE TWELVE LABORS OF HERAKLES

1. Kill the Nemean lion

2. Destroy the hydra of Lerna

3. Capture the Cerynean deer of Artemis

4. Trap the Erymathian boar

5. Clean the stables of King Augeus

6. Kill the Stymphalian birds

7. Capture the Cretan bull

8. Round up the mares of Diamedes

9. Fetch Hippolyte's belt

10. Drive the cattle of Geryon

Fetch the golden apples of Hesperides

12. Bring back Cerberus from Tartarus

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Greek Gods andTheir Roman Equivalents

(Greek/Roman)Zeus/Jupiter Ruler of Mt. Olympus; god of sky and

weather, light and victory, he overthrewhis father and divided the world with histwo brothers. Hades got the "nether"world, Poseidon the sea, and Zeus gotthe heavens and earth.

Hera/Juno Wife and sister of Zeus, she was secondonly to Zeus as an important Olympiandeity. She was the patron of marriage and guardian of children. The Greekname Hera means "lady."

Athena/Minerva The daughter of Zeus, she was the goddess of the state and fertility andalso patroness of all crafts. She was famous for wisdom which is repre-sented by an owl. She was full grown when born (wearing her armor asprotector of Athens) from her father's head.

Apollo/Apollo Son of Zeus, twin of Artemis, god of law and shepherd. He is the only godcommon to both Greek and Roman mythology. A shrine was built at Delphito honor Apollo for his famous act of killing the Python at the Oracle ofDelphi.

Artemis/Diana Apollo's twin sister, daughter of Zeus, she cared for small children and wasprotectress of the unborn and during birth. She is depicted with a bow anda quiver of arrows because she was goddess of the hunt.

Son of Zeus and Hera, husband to Aphrodite, he was the god of crafts andbuilder of palaces for the gods. He was also famous for making Zeus'thunderbolt.

Hephaestus/Vulcan

AphroditeNenus

Hermes/Mercury

Ares/Mars

Dionysus/Bacchus

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The famous goddess of love and all affection, she was the daughter ofZeus; the story of her birth is that she rose from the sea. She is also themother of Cupid.

Son of Zeus, he was the god of good luck and wealth. He was also themessenger of the gods and watched over travellers. He is shown with abrimmed hat and winged sandals.

Son of Zeus and Hera, he was god of war and was hated because of hisbrutality. He was the first god ever to be put on trial, and was acquitted ofmurder.

Son of Zeus, he represented the force that is in all living things. He laterbecame the god of wine, pleasure and civilization. He was adored bywomen and became what is believed to be the basis of drama.

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Poseidon/Neptune

Demeter/Ceres

Hades/Pluto

Hestia/Vesta

Selene/Luna

Helios/Sol

Kronos/Saturn

Eros/Cupid

Pan/Faunus

Brother of Zeus, the god of the sea, he is the father of many sea monsters,and is usually depicted holding a trident.

The sister of Zeus, she was goddess of a fruitful earth and was worshippedby all of Greece. Her daughter was stolen by Hades and taken down to theunderworld. When she did return, her stay was for only six months of theyear, the timing from which the Greeks believed the growing cycle of theearth originated.

Brother of Zeus, he was the ruler of the "underworld." It was not thoughtof as a place of punishment but very dull and gloomy where everyone in theworld ended up eventually. The depictions of him resemble Zeus.

Goddess of the hearth, peace and family, she was the most peaceful of allthe gods and goddesses. Many cities honored her by having a publichearth.

The moon goddess, sister of Helios (the sun), and Eos (the dawn). On herjourneys across the sky she is seen driving a pair of horses. She was alsosaid to have 50 daughters

He was the sun god. He was not viewed as being very important since hereigned so far away from the earth. Helios was always seen driving a chariotas he chased the sun from east to west each day. From his sky chariot hesaw everything on earth.

Father of Zeus, he was a Titan and there are not any records of Titans beingworshipped as gods. To protect his supremacy, he swallowed all of hischildren, except Zeus. Rhea, Zeus' mother, hid him in a cave. When all ofKronos' children were full-grown, he vomited them. His children thendefeated him.

The god of love, but greatly feared because of the trouble he could causebetween men and women. He was the son of Aphrodite and was alsovalued as a force in men's lives as an establisher of friendship.

God of herds and flocks, a rustic god, his body was that of a man but hehad horns, ears and the legs of a goat. He hid in caves and was playful,except when his afternoon naps were interrupted.

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BEST COPY AVAILABLE 29

Words Associated with Greek-Roman Mythologyfrom the book Myths and Folklore by Henry I. Christ

WORD DEFINITION NAMED FOR

Adonis handsome young man Adonis, youth beloved of Venus

aeolian harp box with strings, played by the wind Aeolus, god of the winds

ambrosial deliciously fragrant ambrosia, the food of the gods

Apollo handsome young man Apollo, god of the sun

arachnid spider Arachne, who defied Minerva in a weaving contest

atlas book of maps Atlas, a Titan who carried the heavens on his shoulders

aurora borealis northern lights Aurora, goddess of the dawn

calliope steam organ Calliope, Muse of epic or heroic poetry

cereal grain, especially breakfast food Ceres, goddess of grain and harvests

chimerical fantastic, unreal Chimaera, a firebreathing monster

cupidity strong desire, as for wealth Cupid, god of love

echo repeated sound Echo, talkative wood nymph

halcyon tranquil, happy Alcyone, changed into kingfisher

harpy greedy or grasping person Harpies, hideous winged monsters

helium element first found on sun Helios, ancient sun god (also called Hyperion)

herculean of great size and strength Hercules, god of strength

hermetic completely sealed Hermes, often associated with magic

hyacinth flower Hyacinthus, beautiful youth

hygiene science of health Hygeia, goddess of health

hypnosis sleep-like state Hypnos, god of sleep

iridescent having rainbow colors Iris, goddess of the rainbow

January month Janus, two-headed god of doorways

Janus-faced two-faced Janus, two-headed god of doorways

jovial hearty, genial, cheerful Jove (Jupiter), king of the gods

3130

WORD

Junoesque

labyrinthine

March

martial

May

mercurial

music

nectarine

ocean

odyssey

panic

phaeton

procrustean

protean

psychology

saturnine

tantalize

titanic

volcano

vulcanize

zephyr

DEFINITION

stately and regal

complicated, puzzling

month

warlike

month

changeable, fickle

pleasing sequence of sounds

fruit

body of salt water

an extended wandering

sudden, hysterical fear

four-wheeled carriage

securing conformity at any cost

changeable

science of the mind

gloomy, sluggish, grave

tease and disappoint

huge

explosive vent in earth's crust

apply heat to rubber

gentle breeze

NAMED FOR

Juno, queen of the gods

Labyrinth, the maze of Crete

Mars, god of war

Mars, god of war

Maia, goddess of increase and growth

Mercury, god of speed, commerce

Muses, goddesses of arts, sciences, literature

nectar, the drink of the gods

Oceanus, a lonely Titan

Odysseus, Greek warrior against Troy

Pan, woodland god who often frightened shepherds

Phaethon, who unsuccessfully drove the chariotof the sun

Procrustes, outlaw who slew strangers by a strangemethod

Proteus, sea god who could change his shape at will

Psyche, beloved of Cupid

Saturn, father of the Olympian gods

Tantalus, forever condemned to seek food and drinkjust beyond his reach

Titans, giants before the Olympian gods

Vulcan, god of fire

Vulcan, god of fire

Zephyrus, god of the west wind

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YESTERDAY TO TODAY: CLASSICALREFERENCE

The artistic and cultural ideals of the ancient Greeks andRomans have influenced almost every successive age.We refer to these influences as "classical reference."

A Modern Greek SculptorC. Paul Jennewein (1890-

1978) was a German-born Ameri-can sculptor who was influenced byArchaic Greek art. He developed astyle of stream-lined, decorativegeometry that became synonymouswith the "Art Deco" style of the1920s and 30s. The highly stylizedpiece, The Greek Dance (1926), isan example of this approach.

This piece is part of a collec-tion of over 2000 pieces ofMr. Jennewein's work that belongto the Tampa Museum of Art. Itremains on permanent display inthe Terrace Gallery, along withother examples of his work.

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From 1926 to 1933 Jenneweinwas involved in a special projectthat allowed him to pursue a"revivalist" approach to ancientGreek sculpture. For the pediment(the triangular space below thesloping lines of the roof) of thePhiladelphia Museum of Art,Mr. Jennewein was commissionedto design a sculptural group in the"Greek manner". This meant thatthe pedimental sculptures would bepainted like the Greeks had origi-nally done. This tradition, whichhad been abandoned for over 2000years, would now become revivedby Mr. Jennewein. After completingseveral models, problems of scale,proportion and coloration wereworked out. The completed pedi-mental sculptures were then cast,polychromed (colored), and set intoplace. When completed, this projectrivaled the size of projects under-taken by the ancients and stands asa tribute to the enduring influenceof Greek ideals. A one-third scalemodel of the pediment is exhibitedat the Tampa Museum of Art in thereception area.

Though Greek in style,neither the building nor the con-ception of the pedimental sculptureis a copy of a particular Greekwork. The theme underlyingJennewein's original grouping ofclassical figures is that of sacred andprofane love, a theme which, inJennewein's words, "symbolized the

OWL AURORA Nous ADONIS EROS-HIPPOMENES APHRODITE ZEUS HERA TRIPTOLEMUS ARIADNE

two great forces beneath thedevelopment of art and civilizationin every age." The theme originateswith Renaissance humanists who,inheriting both the pagan and theChristian traditions, distinguishedbetween two kinds of love: sacred,which is aroused by the contempla-tion of God, and profane, thecommon, earthly, sensual kind.

In Jennewein's pediment often figures and four animals, thecentral and largest figure is that ofZeus, the supreme ruler of godsand mortals. To the right of Zeusare reminders of profane love:Hera, the wife of Zeus and themother of heaven, holds the handof Triptolemus, the investor ofagriculture; behind them is thelaurel tree into which Daphne waschanged to save her from Apollo'slust; sitting at the foot of the tree isAriadne, abandoned by Theseusafter she saved him from the fatalLabyrinth of King Minos; next isTheseus slaying the Minotaur, theevil monster kept by the King in theLabyrinth; last is the Python,representing the lowest step fromwhich the spirit is compelled to rise.

On the other side are godsand goddesses which speak ofsacred love. Next to Zeus isAphrodite, the goddess of loveand beauty, who can represent bothearthly and celestial love but isshown by Jennewein to signify thelatter. Aphrodite's son Eros is

34

THESEUS MINOTAUR PYTHON

beside her and in front ofHippomenes, who is in the form ofa lion; next to Eros is Adonis, whowas loved by Aphrodite and died inher arms, pos4,ibly the classicalorigin of the Christian image of theVirgin lamenting the dead Christ;Nous represents the intellect andAurora the dawning mind; in thecorner the Owl, symbol of truewisdom, is appropriately placedopposite the Python.

To the early Greeks, Erosstood for the deepest forces inman's nature, but in art his staturewas usually reduced to a prettywinged boy, a subsidiary figurehovering with bow and arrowaround the main figures of lovers.Jennewein has depicted Eros as awinged youth, but he is strong andself-assured and plays a major rolein the pediment's love theme.

Architectural TraditionsThe ancient Greeks evolved

architecture from simple woodenstructures to monumental marvelsin stone. Even today the buildingsof the Acropolis in Athens, whichhave survived for more than 2500years, still astound us with thegenius that created them. Templeslike the Parthenon, dedicated tothe goddess Athena, were con-structed using a simple post-and-lintel system, but were enhancedwith design elements that carriedforth an aesthetic of harmony,

33

34

order and balance hallmarks ofthe classical style. Additionalfeatures like pediments, thetriangular area created by thesloping lines of the roof, andfriezes, horizontal register designareas around the exterior of abuilding, were also perfect forsculptural embellishment. For theGreeks, codifying architecture intoordered systems like the Doric,Ionic, and Corinthian becamestandards that still influencearchitecture today.

Although the ancient Romansadopted the Greek orders ofarchitecture, they developed newconstruction systems based on thehalf-round structure made ofwedge blocks called an arch. TheRoman approach to architecturewas more like engineering and theydeveloped ways to manipulate thearch into vaults and domes. Withthe invention of the buildingmaterial called concrete, theRomans were able to create volumi-nous spaces as seen in the Pan-theon in Rome, Italy.

35

With the fall of the RomanEmpire, successive ages marveled atwhat the ancients had created. Theaesthetics and techniques of Greekand Roman architecture wererevived during the Renaissance(1400-1600). The influence of theancients on artists and architectsnever waned, and throughout theeighteenth and nineteenth centu-ries Neoclassical and GreekRevival styles continued to gain inpopularity. With the establishmentof the United States, our foundingfathers looked to the architecture ofGreece and Rome for the officialstyle in our nation's capitol.

Even in our own communitytoday, we can see examples ofclassical reference. Many publicbuildings, including the FederalBuilding, City Hall, original Ex-change Bank Building, and the FirstBaptist Church, contain wonderfulelements of classical Greek andRoman architecture. You canlikewise find facades with Doric,Ionic or Corinthian capitals on theporticoes of many homes in theolder neighborhoods of Tampa, likeHyde Park, and also in newerplanned communities like TampaPalms.

Throughout the ages theancient Greeks and Romans haveinfluenced successive generations.As we enter the twenty-first centurywe will observe with interest to seehow we may look for inspirationfrom the Greeks and Romans of thepast to interpret directions for thefuture.

Architectural Designs Used Today

Classical Motifs

MEANDER

AMA 0/003kLOTUS AND PALMETTE

$01401401)BEAD AND REEL

PRELVAlltEGG AND TONGUE

DENTIL

Arch

36

Groin vault

35

SOME RELATED ACTIVITIES

Topics forDiscussion

36

1. Discuss the importance of Greek and Roman art on Western civilization:classicism was pioneered and perfected by the Greeks and Romans andis typified by its formal and restrained lines, graceful balance and spiritof simplicity.

2. Discuss the cultural contributions the Greeks and Romans have given usin such areas as government (our system of democracy), art (classicalform and design), philosophy (Plato vs. Aristotle) and literature (Iliad,Odyssey; drama, tragedy and comedy).

3. Discuss Greek and Roman history or discuss daily life in ancient times.

4. Discuss the idea of ancient mythology. Ask why there were myths andwhy the Greeks and Romans used them to explain occurrences. Presentsome of the ancient myths, such as the story of Theseus and theMinotaur or Herakles and the Twelve Labors. Also try to get stu-dents to relate to mythology. For example: are there modern myths? Inwhat ways might stories of contemporary characters such as Supermanor Aladdin be considered modern myths or related to myths from thepast?

5. Draw a picture of a Greek vase and decorate it with scenes that tell astory. Scratchboard or crayon etching can then be used to create thedesigns in color.

6. Create your own myth: write a story about a mythical character that isyour own original idea. Draw a picture of your character that tells astory about one of its experiences.

7. Design and execute a large Greek vase in clay or other modelingmaterial. The surface can be decorated with a design using a classical orcontemporary story as the narrative.

8. Design a pattern in the style of a Greek vase or Greek architecture.Apply that design to an appropriate medium such as a textile design, apiece of jewelry, or paper applications (examples: wallpaper border orwrapping paper).

9. After discussing and looking at examples of classicism, have studentslocate examples of classical revival or classical reference found in ourenvironment today, e.g., pillars, pediments, friezes, or stylized figurinesoften found in schools, churches, and banks.

37

Archaeology: Pathway to the Past

In the movies archaeology is synonymous with adventure IndianaJones as an archaeologist finds sacred artifacts amid an environment ofexcitement and danger. In reality, archaeology is a science which investigatesthe remains of a culture to better understand what life was like at that time.For an archaeologist, far from glamorous adventure, the work involves longhours, physical and mental exertion, and often great patience in isolated orremote areas.

"Digging" in the ground through strata of debris becomes a processof constant discovery. With each "find" the archaeologist asks questionswho made this object, what is it made of, where is it from, when was itcreated, why was it designed that way. Keeping accurate records, makingcareful observations, and using the scientific method of deduction havebecome the tools for the archaeologist. With them he or she draws conclu-sions so that we can better understand who these ancient people were andwhat their culture was like.

ActivityImagine that it is the year AD 4000 and you are the curator of a

museum exhibition to document life in the late 20th century. Archaeologistshave made some important discoveries (dishes, plastic containers, coins,toys, and even strange flat discs called CDs whose purpose is not clearlyknown). Your job is to organize the exhibition by selecting objects, describ-ing their size, shape and use, and providing some type of written statementso that visitors can better understand what life was like 2000 years ago.

SOME QUESTIONS FOR CONSIDERATION:

How do the objects in this exhibit reflect how the people in the latetwentieth century lived?

Did they put decorations on their objects?(Decoration may be advertising, directions, etc.)

How well have the objects from this period held up over the centuries?

What type of goods or products was contained in these objects?

How long were these objects in use?

Describe the relationship between the form of the object and its function?Is there any pattern?

38 37

38

The Minotaur's Maze

There are many strange creatures in the Greek myths. One of them isthe minotaur, which had the body of a man and the head of a bull. Theminotaur lived in a huge maze at Knossos on the island of Crete. Every yearseven youths and seven maidens were sent into the maze by the king ofCrete. They either got lost in the maze and starved to death, or were eatenby the minotaur; no one had ever escaped. One year the hero Theseusoffered to be one of the seven. When he arrived at Knossos, the king'sdaughter Ariadne fell in love with him and decided to help him. She gavehim a large ball of string, which he unwound as he went into the maze.Theseus found the minotaur and killed him with his sword. Then he fol-lowed the trail made by the string. Soon he had found his way out of themaze and back to Ariadne, who was waiting for him.

Here is Theseus with the minotaur in the maze, but where is thestring to show him how to get out? Help him to find the way by drawing inthe correct path.

39

Dress Like the Ancients

GreekHimation

Two Types of Cloaks

Make yourown ancientgarment:

Ionic Chiton

Doric Peplos

Himation

Chiton

40

Two Types of Tunics

39

Greek Vases: Forms and FunctionsDuring ancient times, these vases were not displayed under glass, but were used daily as cups,pitchers, bowls and jars. Each shape has a certain purpose.

41411111111111P5.# Kylixdrinking cup

40

Amphoravessel forstoring wineand drymaterials

Hydriavessel forstoring water

Bell Kraterbowl formixing wineand water

Oinochoepitcher

Lekythosvessel forstoringprecious oils

There are scenes drawn on many of the vases. The subjectmatter most interesting to the ancient Greeks was the daily lifeof the people, including their mythology. Draw a scene fromyour daily life on this column krater. Write a story about thescene on your pot when you get home.

41

The Greek Alphabet

CAPITALLETTER

SMALLLETTER

LETTERNAME

SOUND

A Ct. alpha a

B 13 beta b

r. I gamma g

Z\ S delta d

E E_ epsilon long e

Z S zeta z

H -n eta short e or y

G 9 theta th

I i iota i

K K kappa k

7\ lambda I

M 1-Amu m

N ..) nu n

xi x or ks

0 o omicron o

ri Tr Pi p

P P rho r

E 6 C sigma s

T T tau t

Y kJ upsilon u or oo

(1) cl) Phi f or ph

X X chi ch

q) 'VpSi ps

OD omega oh

Try writing your name in Greek letters. Thetable on the left shows you which Greekletter to use for each sound in English.Some English letters are missing. You cansee which letters to use instead below:

for c use K. for j substitute rfor q use K. for v use 4) for w use

To make the sound 'h', use the

sign with the letter. For

example, is pronounced 'ha'.

OLA

There are two letters for s: use 6 at

the beginning or in the middle of a word,

but S at the end.

My name is

42

PE.r.10EILL

41

GLOSSARY

acanthus

Acropolis

acroteria

Amazon

aegis

a broad-leafed plant with manyspikes, used as a decorative patternon Corinthian capitals and reliefs

the fortified upper part of Athenson which the Parthenon was built

ornaments at the apex of the gableand at the corners of the roof of atemple

a (Greek) mythological race offemale warriors

a breastplate worn by the goddessAthena; it was originally worn byher father, Zeus

arch a half-round structure made ofwedgeblocks and a keystone

archaeology the scientific study of the life andculture of ancient peoples, usuallyby excavation of ancient cities

Ariadne a daughter of King Minos of Crete,she fell in love with Theseus andhelped him find his way out of thelabyrinth with a ball of string

artifact an object made by human hands,such as a Greek pot or coin

Attica the geographic area around Athens,Greece

attribute a visible characteristic which definesa god or goddess, such as Zeus'thunderbolt or Athena's helmet

Augustus

autos

Sir JohnBeazley

42

a title for the Roman emperormeaning "revered;" the name wasoriginally given to Octavian but wasused subsequently for all reigningemperors except Vitallius

a musical instrument pictured inGreek art and consisting of doublepipes similar to the flute

English scholar who first identifiedAttic vase painters by their stylisticattributions

black-figure

bucchero

Caesar

caldarium

capital

cena

centaur

chiton

chatelaine

concrete

corinthian

curator

a type of Greek vase paintingpracticed in the seventh and sixthcenturies B.C. in which the designwas painted mainly in black againsta lighter-colored background,usually the color of the natural clay.Details were incised with a sharptool into the surface of the vase

a high gloss black pottery stylenative to the Etruscans

any of the Roman emperorssucceeding Augustus Caesarusedas a title for a powerful ruler

the third bathing stage in a Romanbath, using hot water

the upper, spreading element of acolumn, forming a transitionbetween the vertical shaft and thehorizontal elements of the archi-trave, or roof support

the main meal in ancient Rome thattook place in mid-afternoon andlasted for several hours

a mythological creature that waspart man, part horse

a type of dress in ancient Greeceworn by men or women in bothlong and short lengths

a pocket-like device worn bywomen around their waists to carryclippers, scissors and tweezers

a building material developed by theRomans enabling architects todesign new structural components

the architectural order that is moreelaborate than the doric and ionicstyles, with capitals that combinevolutes (scrolls) with acanthus leavesabove a fluted shaft

in a museum, the person who takescare of a collection and organizesexhibitions

dome a hemispherical structure formed byturning an arch on its axis

43

doric

Etruscans

fibula

fresco

frieze

frigidarium

Greek Revival

griffin

gorgon

Hellenic

Herakles

Homer

himation

ionic

the earliest and simplest of the kitharaclassical Greek architectural orders

a mysterious ancient civilization whomigrated to central Italy from theeast and who spoke a non-Indo-European language

a safety pin-like device used to holdclothing together

painted decoration applied toplastered walls before the plasterwas dry

the horizontal space usually deco-rated with sculpted figures or floralornament above the maincrossbeam in a classical temple;term often used to describe anydecoration arranged in a horizontalband.

the first bathing stage in a Romanbath, using cold water

an architectural style of the 19thcentury that emphasized simplicityof form

a monster with the head of aneagle, the body of a lion, and thewings of a bird

one of three sisters with snakes forhair; so horrible that a beholder wasturned to stone (Greek mythology)

of Greek origin

Greek super-hero known for hisstrength and cleverness in his twelvelabors (called Hercules by theRomans)

legendary Greek epic poet fromc. 8th century BC who is creditedwith composing the Iliad and theOdyssey

a type of cloak worn by the ancientGreeks; similar to a toga

one of the three orders of Greekarchitecture featuring an ornamen-tal scroll (spiral volute) on the capital

a small stringed instrument similarto the lyre or harp used by theancient Greeks and pictured onGreek pottery

labyrinth a building of numerous passages,confusing turns, and intricate mazesbuilt at Knossos on Crete for KingMinos' confinement of the minotaur

Latins

lyre

maenads

the founders of Rome who, accord-ing to Vergil, were created by aunion of Greek warriors returningfrom the Trojan War and Etruscanwomen

a small stringed instrument of theharp family , used by the ancientGreeks to accompany singing orreciting

female followers and priestesses ofDionysus or Bacchus (Roman), godof wine and merriment

Magna Graecia meaning "Great Greece" this namerefers to the area colonized insouthern Italy and Sicily by theGreeks from the mid-eighth to thefifth centuries B.C.

miltos an ochre clay wash used to intensifythe reddish-orange color on Atticvases

Minoans ancient bronze age civilization onthe island of Crete formed by a sea-going, peaceful people

minotaur a monster with the body of a manand the head of a bull who lived inthe labyrinth where it was fed sevenboys and seven girls from Athenseach year as a tribute; it was killedby Theseus

Mount legendary home of the gods andOlympus goddesses of ancient Greek

mythology

Myceneans ancient bronze age civilization ofmainland Greece who were war-like

44 43

mythology The stories of the gods, goddessesand super-heroes developed by theancient Greeks and adapted by theancient Romans, which engenderedtheir belief systems and createdbehavior patterns for the conduct ofdaily life and rituals

Neoclassical considered the first official revival ofclassical style, stimulated by thediscovery of the ancient city ofPompeii in the 18th century

Nike Greek goddess of victory, calledVictoria by the Romans

Joseph antiquities collector, benefactor ofVeach Noble the Tampa Museum of Art

collection, and researcher whohelped solve the mystery of ancientceramic firing techniques

obverse the convex or "head" side of a coin

OlympicGames

oracle

Pantheon

the ancient games founded in556 B.C. and celebrated every fouryears in Olympia, Greece; themodern Olympic Games began in1896

In ancient Greece a person withdirect communication with thedeities who could offer opinion onimportant questions

the circular temple in Rome built toall of the gods during the rule ofEmperor Hadrian (AD 117-138); oneof the finest buildings built by theRomans

Panathenaic the games and competitionsFestival held in Athens to celebrate and

honor the goddess Athena

pancration An ancient athletic competition thatincluded wrestling and boxing.

Parthenon the Doric temple of Athena built inthe 5th Century BC. on the Acropo-lis in Athens; considered the highestachievement in Greek architecture

pediment triangular space below the slopinglines of the roof on a Greek templewhere sculpture is often placed

Peloponnesian a devastating civil war in GreeceWar that involved rival city-states;

hallmarks the end of classical Greekculture

pentathlon an ancient athletic competition thatincluded five sports: running, discus,javelin, long jumping and wrestling

peplos a type of dress worn by ancientGreek women

Plebian Style a type of Roman art that becamepopular as an alternative to theGreek and Etruscan influences

polis describes the ancient Greek city-state system

Pompeii an ancient Roman city destroyed bythe volcanic eruption of MountVesuvius in 79 A.D.

pontic ware an Etruscan style of pottery inspiredby Greek pottery styles

portico a porch or covered walk, consistingof a roof supported by columns,often at the entrance or across thefront of a building

post-and-lintel one of the most common architec-tural forms, containing posts, orupright supports, and a lintel, orcrossbeam, to support a roof

Punic Wars a series of wars conducted by theRomans to expand their territoriesthroughout the Mediterraneanworld

red-figure a reversal of black-figure pottery inwhich the background is black andthe figures are red, the natural colorof the clay

register a horizontal division, such as a zoneor band, of a pictorial area on afrieze or other architecturaldecoration

44 45

relief in sculpture, any work in which thefigures project from a background;in high relief the figures project atleast halfway from the background(as in many sarcophagi) and inlow relief (or bas-relief) theyproject only slightly (as in coins andmedals)

Renaissance A great revival of Greek and Romaninfluence on the art, architecture,and literature of Europe in the 15thand 16th centuries; it means"rebirth"

reverse the concave or "tail" side of a coin

satyr a minor woodland deity, usuallyrepresented with pointed ears, shorthorns, the head and body of a man,and the legs of a goat; consideredto be fond of merriment and lechery

siren a sea nymph represented as partbird and part woman who luredsailors to their death by seductivesinging

sphinx a mythological creature with ahuman head on a lion's body, oftenwinged

stele a freestanding slab of stone bearinga relief or an inscription

strigil an instrument used by athletes inancient Greece to scrape oil fromthe skin surface during competitions

terra cotta baked red clay, usually used in rooftiles or sculpture

A. D. Trendall Australian scholar who is theleading authority on South Italianvases

tepidarium the second bathing stage in aRoman bath, using warm water

Theseus Greek hero of Athens who killed thelegendary minotaur in the labyrinthon Crete

tunic a loose gown-like garment worn bymen and women in ancient Greeceand Rome

toga

Trojan War

Turan

Twelve Laborsof Herakles

TwelveOlympians

vault

a type of cloak worn by the ancientRomans; similar to a Greek himation

a 10-year war between the Greeksand Trojans brought on by theabduction of Helen by Paris whichended with the destruction of Troy

the Etruscan goddess equivalent tothe Greek goddess of love,Aphrodite

twelve "impossible" tasks createdby Hera, Zeus' jealous wife, becauseof her fear of the strength andcleverness of Herakles and hisdestiny to become immortal

The Greek gods and goddesses ofthe highest order who lived on Mt.Olympus: Aphrodite, Apollo, Ares,Artemis, Athena, Demeter,Hephaestus, Hera, Hermes, Hestia,Poseidon, and Zeus

an arched masonry roof, ceiling orcovered area

Vergil the great Roman poet of the Aeneidwho outlined the founding of Rome

Villanovans an iron age people who inhabitednorthern Italy and pre-dated theEtruscans

46 45

REFERENCES

D'Aulaires' Book of Greek Myths, I. D'Aulaire, E. P. D'Aulaire, BantamDoubleday Dell Publishing Group, Inc., New York, NY, 1992

Bullfinch's Mythology: The Age of Fable, The Legends ofCharlemagne, TheAge of Chivalry, E. Fuller, Dell Publishing Co., Inc., New York, NY, 1971

Ceramics and Society: Making and Marketing Ancient Greek PotteryPamela J. Russell, Tampa Museum of Art, Tampa, FL, 1994

Dictionary of Classical Mythology, J. E. Zimmerman, Bantam Books, NewYork, NY, 1964

The Joseph Veach Noble Collection, Suzanne P. Murray, Tampa Museum ofArt, Tampa, FL, 1985

Webster's New World Dictionary of the American Language, Second CollegeEdition, edited by David B. Guralnik, The World Publishing Co., New York,NY, 1972

4647

BIBLIOGRAPHYCall numbers courtesy ofHillsborough County Public LibrarySystem.

Art, Myths and Legends

J704 Art Tells a Story, Penelope Proddow; Doubleday and Co.,Inc., Garden City, NY, 1979 (collection of myths, showsvase and painting closeups)

J709.38 Greek & Roman art; McGraw-Hill, NY, 1968

J292 Gods, Men and Monsters from Greek Myths, MichaelG449g Gibson, illustrations by Gionvani Caselli, Schocken Books,

New York, NY, 1982

J292 Greek Myths, Olivia E. Coolidge, Houghton MifflinC774g Company, Boston, MA, 1949

J292 Heroes, Gods and Emperors from Roman Mythology, KerryU85h User, illustrations by John Sibbick, Schocker Books, New

York, NY, 1983

J292 The Macmillan Book of Greek Gods and Heroes, Macmillan,L912m New York, NY, 1985

Classic Literature

873.01 Aeneid, Vergil, translated by Robert Fitzgerald, RandomV816af House, New York, NY, 1983

882.08 The Complete Greek Drama: All the Tragedies of Aeschylus,011c Sophocles and Eurpides, and the Comedies of Aristophanes

and Menander, edited by Whitney J. Oates and EugeneO'Neill, Jr., New York, NY, 1939

883.01 The Iliad, Homer, translated by Robert Fitzgerald, GardenH766ia City, NY, 1974

883 The Odyssey, Homer, translated by Robert Fitzgerald,H776of Anchor Books, Garden City, NY, 1963

Greek and Roman History

938 Everyday Things in Ancient Greece, Margorie Quennell,Q3C New York, NY, 1954

J938 Growing Up in Ancient Greece, Amanda Purves, Hove,England, 1978

J938 Ancient Greece, Christopher Fagg, Warwick Press, NewF154a York, NY, 1979

937 Daily Life in Ancient Rome, Jerome Carcopino, (translatedC265c by E.O. Lorimer), Yale University Press, 1940

NOTE: Check your school media center for other bibliographicmaterials. Each school has several other publications.

4847

Notes

49

I '

TAMPA MUSEUM OF ART

LEGACY OF THE ANCIENT WORLD is an education program developed by the Tampa Museum of Artin partnership with the Hillsborough County Public School System. Educational materials for thisprogram have been funded with the support of the Arts Council of Hillsborough County, the FloridaDepartment of State, Division of Cultural Affairs, Arts in Education Grant, and through an EnablingFund Grant from the Junior League of Tampa, Inc.

50

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Legacy of the Ancient World

Author(s): R. Lynn Whitelaw project coordinatorCorporate Source: Arts Louncll oc 1-1111sDorougn county,Florida Department of State, Division of Cultural AffairsArts In Education GRant & Junior League of Tampa

Publication Date:

1995

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