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Bronze Age Greece - Map1048710 Crete Knossos Phaistos1048710 Cyclades Thera Paros Naxo1048710 Mainland Attica Athens MycenaeArgos Pylos Tiryns1048710 Asia Minor Troy MytileneDardanelles
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Crete ndash Minoans
TimelineBronze Age 3000 BCE ndash 1100 BCEDark Age amp Geometric 1100-700 BCEOrientalizing Period 700-600 BCEArchaic Greece 600- 480 BCETransition Period 480-450 BCThe High Classical Period 450-400 BCEThe Fourth Century 400-300 BCHellenistic Period 323-31 BC
Essays on Greece
Essay Question 1 Who were the Minoans List and describe three ways their art influenced the art of a later period in Athens The Minoans were (Wikipedia WSUedu referenceshttpwwwwsuedu~deeMINOAMINOANSHTMhttpwwwdiloscomlocation13406)Bronze Age civilization which arose on the island of Crete The Minoan culture flourished from approximately 2700 to 1450 BC afterwards Mycenaean Greek culture became dominant on Crete
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The term Minoan was coined by the British archeologist Sir Arthur Evans after the mythic king Minos[1] Minos was associated in Greek myth with the labyrinth which Evans identified as the site at Knossos What the Minoans called themselves is unknown In the Odyssey which was composed centuries after the destruction of the Minoan civilization Homer calls the natives of Crete Eteocretans (true Cretans) these may have been descendants of the Minoans Minoan palaces are the best known building types to have been excavated on the island They are monumental buildings serving administrative purposes as evidenced by the large archives unearthed by archeologists Each of the palaces excavated to date has its own unique features but they also share features which set them apart from other structures The palaces were often multi-storied with interior and exterior staircases light wells massive columns storage magazines and courtyards For the Minoans produced a singular civilization in antiquity one oriented around trade and bureaucracy with little or no evidence of a military state They built perhaps the single most efficient bureaucracy in antiquity In 1870 an amateur archaeologist Heinrich Schliemann determined to find the real Troy of the Trojan War the war that is the center of the Homeric poems After successfully locating and digging up Troy he turned his sights to the Greek mainland and discovered two ancient cities Myceanae and Tiryns which together revealed a civilization that up until that point had only been known in the poems of Homer and Greek drama His discoveries inspired a man named Arthur Evans to begin digging in Crete in order to discover what he thought would be an identical Mycenean culture thriving on that island instead what he found was a people far more ancient than the Myceneans and far more unique than any peoples in the ancient world the Minoans
They were a people of magnificent social organization culture art and commerce There is no evidence that they were a military people they thrived instead it seems on their remarkable mercantile abilities This lack of a military culture however may have spelled their final downfall For the Minoans also exported their culture as well as goods and a derivative culture grew up on the mainland of Greece the Myceneans who were a war-like people Strangely enough the direct inheritors of their traditions may have been the agents of their destructionArtThe art of the Minoans included large wall frescoes ceramics small figurines of terracotta and others of faience and other works in stone In the Early Minoan period ceramics were characterised by linear patterns of spirals triangles curved lines crosses fishbone motifs and such In the Middle Minoan period naturalistic designs such as fish squid birds and lilies were common In the Late Minoan period flowers and animals were still the most characteristic but the variability had increased The palace style of the region around Knossos is characterised by a strong geometric simplification of naturalistic shapes and monochromatic paintings Very noteworthy are the similarities between Late Minoan and Mycenaean art 3 ways their art influenced later art in Athens
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1 The early pottery design incorporated with animals their geometric motifs and knowledge of fine burnished pottery is clearly visible in the pottery of the late athenians The amphoras Kraters and other forms of athenian potters display many aspects of their minoan counterparts Curved lines and naturalistic designs even the minoan wall frescoes even the geometric shapes (tea pots ect) influenced the pottery and images found on athenian pottery in later times (motifs of full movement - battles - ajax and achilles playing games) Paintinged images by Euphronios Exekias and the geometric shapes of later pieces can all be linked to three stages of minoan art The characteristic elegance of form of Minoan potter is complemented by the dynamic lines of naturalistic scenes that decorate the surfaces are easily seen in the later athenian pottery 2 Minoan Architecture displayed arrangements of the buildings around a central court the fine facades of closely fitted blocks of porous stone the large numbers of magazines the sacred rooms the different levels and storeys connected by small staircases and the monumental entrances (Second palace period) Architecture progressed through the next level and had tiers of doors (Polythyra) thrones and benches as well as bathrooms and interior light wells and there were rows of sacred quarters and magazines crypts and halls for audiences banquet and sacred ceremonies Finally there were ancillary areas of all kinds including workshops and a water supply and drainage system based on very ingenuous principlesAthenian Architecture also displays many of the features such as the grand entrances displayed in Erectheion or 3 Minoan Paintings Frescos Archaic sculpture deriving from Cycladic figures (Input appreciated) Essay 2 Data from httpprojectsxdartmoutheduclassicshistorybronze_agelessonsles16html7 httpwwwvarchiveorgschorrshafthtmIt has been suggested that the rich graves at Mycenae indicate military connections with Egypt with Mycenean mercenaries bringing wealth home from foriegn wars Name and briefly describe two types of artifacts found in the shaft graves of Mycenae 1) There are numerous swords of two basic varieties Type A (more common rounded shoulders short thin tang very long derived from Minoan prototypes such as the Protopalatial ceremonial swords from Mallia) and Type B (relatively rare squared shoulders broader tang shorter and broader blade derived from Minoan and Levantine prototypes in the form of daggers but first developed into a true sword on the Mainland probably at Mycenae) Some swords are decorated on the blades with incised ornament as often representational as abstract while the hilts are often covered with richly decorated gold sheet and the pommels consist of handsomely carved lumps of ivory alabaster or marble Display Minoan items taken from the conquering of Crete IE several swords daggers and vessels from the Shaft Graves display designs and scenes composed of inlaid gold silver and niello (a black metallic compound) reminiscent of early New Kingdom Egypt with some of the hunting scenes of definite Egyptian origin though possibly acquired via Minoan intermediaries 2) Metal Vessels
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Of gold silver and bronze most of these pieces are of Minoan shapes (eg Vapheio cups ewers rhyta) but Mainland tastes are also reflected in the numerous two-handled goblets and kantharoi which are particularly common among the gold vessels Some unusual shapes in silver include a rhyton in the form of a bulls head comparable to Minoan examples in steatite the Silver Siege Rhyton (decorated in relief with the scene of an attack on a fortified town) and the Battle Krater (decorated in relief with a scene of crowded combat between warriors outfitted with boars-tusk helmets) and the Stag Rhyton (possibly an import from central Anatolia where zoomorphic rhyta of this type are quite common in Hittite art) Of the twenty-eight vessels of solid gold most are rather clumsily made and exhibit technical features which are atypical of Minoan craftsmanship in precious metalwork These are therefore almost without exception to be considered the products of local craftsmen The vast majority of the forty-two silver vessels on the other hand are far more carefully made and exhibit technical features well paralleled in silver plate found in Protopalatial and Neopalatial Crete The bulk of these silver vases are therefore identified either as imports from Crete or as products of Minoan craftsmen made on demand for Mainland patrons at Mycenae Gold indicates amassing the wealth from other parts of the world Frescoes in the tombs of the Theban nobles who served Hatshepsut and Thutmose III portray foreign emissaries whose physiognomy pigmentation hair style and dress exactly resemble Aegean portraits of themselves Those and later frescoes along with Thutmose IIIs bas relief from Karnak depict metal vessels which correspond in material shape and decoration to the cups goblets pitchers jars conical pouring vessels animal-headed containers and figurines which excavators have found in the rich graves of Mycenaean Greece the mansions on Santorini and the palaces and villas of Crete The archaeologists of Egypt and the Levant have also discovered a number of actual Aegean exports of (and slightly later than) the Shaft Grave Period in contexts which are clearly contemporaneous with Thutmose III (Input) Note Getting Tired going to revert to more note form now Would like to be playing video games and watching Hells Kitchen but I must push on Essay 3Describe and contrast the treatment of the human form in Cycladic sculpture and that of High Classic Period Cycladic sculpture
1) Marble
2) were often used as grave offerings which points to the obvious role of religion in society
3) Cycladic artists made obvious attempts to represent the human form
4) A majority of the figuirines are female depicted nude and with arms folded across the stomach5) some with natural proportions and some more idealized
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6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
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the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
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Rome
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The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
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1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
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wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
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sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
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no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
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Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
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General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
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Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
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a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
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The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
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appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
2
Crete ndash Minoans
TimelineBronze Age 3000 BCE ndash 1100 BCEDark Age amp Geometric 1100-700 BCEOrientalizing Period 700-600 BCEArchaic Greece 600- 480 BCETransition Period 480-450 BCThe High Classical Period 450-400 BCEThe Fourth Century 400-300 BCHellenistic Period 323-31 BC
Essays on Greece
Essay Question 1 Who were the Minoans List and describe three ways their art influenced the art of a later period in Athens The Minoans were (Wikipedia WSUedu referenceshttpwwwwsuedu~deeMINOAMINOANSHTMhttpwwwdiloscomlocation13406)Bronze Age civilization which arose on the island of Crete The Minoan culture flourished from approximately 2700 to 1450 BC afterwards Mycenaean Greek culture became dominant on Crete
3
The term Minoan was coined by the British archeologist Sir Arthur Evans after the mythic king Minos[1] Minos was associated in Greek myth with the labyrinth which Evans identified as the site at Knossos What the Minoans called themselves is unknown In the Odyssey which was composed centuries after the destruction of the Minoan civilization Homer calls the natives of Crete Eteocretans (true Cretans) these may have been descendants of the Minoans Minoan palaces are the best known building types to have been excavated on the island They are monumental buildings serving administrative purposes as evidenced by the large archives unearthed by archeologists Each of the palaces excavated to date has its own unique features but they also share features which set them apart from other structures The palaces were often multi-storied with interior and exterior staircases light wells massive columns storage magazines and courtyards For the Minoans produced a singular civilization in antiquity one oriented around trade and bureaucracy with little or no evidence of a military state They built perhaps the single most efficient bureaucracy in antiquity In 1870 an amateur archaeologist Heinrich Schliemann determined to find the real Troy of the Trojan War the war that is the center of the Homeric poems After successfully locating and digging up Troy he turned his sights to the Greek mainland and discovered two ancient cities Myceanae and Tiryns which together revealed a civilization that up until that point had only been known in the poems of Homer and Greek drama His discoveries inspired a man named Arthur Evans to begin digging in Crete in order to discover what he thought would be an identical Mycenean culture thriving on that island instead what he found was a people far more ancient than the Myceneans and far more unique than any peoples in the ancient world the Minoans
They were a people of magnificent social organization culture art and commerce There is no evidence that they were a military people they thrived instead it seems on their remarkable mercantile abilities This lack of a military culture however may have spelled their final downfall For the Minoans also exported their culture as well as goods and a derivative culture grew up on the mainland of Greece the Myceneans who were a war-like people Strangely enough the direct inheritors of their traditions may have been the agents of their destructionArtThe art of the Minoans included large wall frescoes ceramics small figurines of terracotta and others of faience and other works in stone In the Early Minoan period ceramics were characterised by linear patterns of spirals triangles curved lines crosses fishbone motifs and such In the Middle Minoan period naturalistic designs such as fish squid birds and lilies were common In the Late Minoan period flowers and animals were still the most characteristic but the variability had increased The palace style of the region around Knossos is characterised by a strong geometric simplification of naturalistic shapes and monochromatic paintings Very noteworthy are the similarities between Late Minoan and Mycenaean art 3 ways their art influenced later art in Athens
4
1 The early pottery design incorporated with animals their geometric motifs and knowledge of fine burnished pottery is clearly visible in the pottery of the late athenians The amphoras Kraters and other forms of athenian potters display many aspects of their minoan counterparts Curved lines and naturalistic designs even the minoan wall frescoes even the geometric shapes (tea pots ect) influenced the pottery and images found on athenian pottery in later times (motifs of full movement - battles - ajax and achilles playing games) Paintinged images by Euphronios Exekias and the geometric shapes of later pieces can all be linked to three stages of minoan art The characteristic elegance of form of Minoan potter is complemented by the dynamic lines of naturalistic scenes that decorate the surfaces are easily seen in the later athenian pottery 2 Minoan Architecture displayed arrangements of the buildings around a central court the fine facades of closely fitted blocks of porous stone the large numbers of magazines the sacred rooms the different levels and storeys connected by small staircases and the monumental entrances (Second palace period) Architecture progressed through the next level and had tiers of doors (Polythyra) thrones and benches as well as bathrooms and interior light wells and there were rows of sacred quarters and magazines crypts and halls for audiences banquet and sacred ceremonies Finally there were ancillary areas of all kinds including workshops and a water supply and drainage system based on very ingenuous principlesAthenian Architecture also displays many of the features such as the grand entrances displayed in Erectheion or 3 Minoan Paintings Frescos Archaic sculpture deriving from Cycladic figures (Input appreciated) Essay 2 Data from httpprojectsxdartmoutheduclassicshistorybronze_agelessonsles16html7 httpwwwvarchiveorgschorrshafthtmIt has been suggested that the rich graves at Mycenae indicate military connections with Egypt with Mycenean mercenaries bringing wealth home from foriegn wars Name and briefly describe two types of artifacts found in the shaft graves of Mycenae 1) There are numerous swords of two basic varieties Type A (more common rounded shoulders short thin tang very long derived from Minoan prototypes such as the Protopalatial ceremonial swords from Mallia) and Type B (relatively rare squared shoulders broader tang shorter and broader blade derived from Minoan and Levantine prototypes in the form of daggers but first developed into a true sword on the Mainland probably at Mycenae) Some swords are decorated on the blades with incised ornament as often representational as abstract while the hilts are often covered with richly decorated gold sheet and the pommels consist of handsomely carved lumps of ivory alabaster or marble Display Minoan items taken from the conquering of Crete IE several swords daggers and vessels from the Shaft Graves display designs and scenes composed of inlaid gold silver and niello (a black metallic compound) reminiscent of early New Kingdom Egypt with some of the hunting scenes of definite Egyptian origin though possibly acquired via Minoan intermediaries 2) Metal Vessels
5
Of gold silver and bronze most of these pieces are of Minoan shapes (eg Vapheio cups ewers rhyta) but Mainland tastes are also reflected in the numerous two-handled goblets and kantharoi which are particularly common among the gold vessels Some unusual shapes in silver include a rhyton in the form of a bulls head comparable to Minoan examples in steatite the Silver Siege Rhyton (decorated in relief with the scene of an attack on a fortified town) and the Battle Krater (decorated in relief with a scene of crowded combat between warriors outfitted with boars-tusk helmets) and the Stag Rhyton (possibly an import from central Anatolia where zoomorphic rhyta of this type are quite common in Hittite art) Of the twenty-eight vessels of solid gold most are rather clumsily made and exhibit technical features which are atypical of Minoan craftsmanship in precious metalwork These are therefore almost without exception to be considered the products of local craftsmen The vast majority of the forty-two silver vessels on the other hand are far more carefully made and exhibit technical features well paralleled in silver plate found in Protopalatial and Neopalatial Crete The bulk of these silver vases are therefore identified either as imports from Crete or as products of Minoan craftsmen made on demand for Mainland patrons at Mycenae Gold indicates amassing the wealth from other parts of the world Frescoes in the tombs of the Theban nobles who served Hatshepsut and Thutmose III portray foreign emissaries whose physiognomy pigmentation hair style and dress exactly resemble Aegean portraits of themselves Those and later frescoes along with Thutmose IIIs bas relief from Karnak depict metal vessels which correspond in material shape and decoration to the cups goblets pitchers jars conical pouring vessels animal-headed containers and figurines which excavators have found in the rich graves of Mycenaean Greece the mansions on Santorini and the palaces and villas of Crete The archaeologists of Egypt and the Levant have also discovered a number of actual Aegean exports of (and slightly later than) the Shaft Grave Period in contexts which are clearly contemporaneous with Thutmose III (Input) Note Getting Tired going to revert to more note form now Would like to be playing video games and watching Hells Kitchen but I must push on Essay 3Describe and contrast the treatment of the human form in Cycladic sculpture and that of High Classic Period Cycladic sculpture
1) Marble
2) were often used as grave offerings which points to the obvious role of religion in society
3) Cycladic artists made obvious attempts to represent the human form
4) A majority of the figuirines are female depicted nude and with arms folded across the stomach5) some with natural proportions and some more idealized
6
6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
3
The term Minoan was coined by the British archeologist Sir Arthur Evans after the mythic king Minos[1] Minos was associated in Greek myth with the labyrinth which Evans identified as the site at Knossos What the Minoans called themselves is unknown In the Odyssey which was composed centuries after the destruction of the Minoan civilization Homer calls the natives of Crete Eteocretans (true Cretans) these may have been descendants of the Minoans Minoan palaces are the best known building types to have been excavated on the island They are monumental buildings serving administrative purposes as evidenced by the large archives unearthed by archeologists Each of the palaces excavated to date has its own unique features but they also share features which set them apart from other structures The palaces were often multi-storied with interior and exterior staircases light wells massive columns storage magazines and courtyards For the Minoans produced a singular civilization in antiquity one oriented around trade and bureaucracy with little or no evidence of a military state They built perhaps the single most efficient bureaucracy in antiquity In 1870 an amateur archaeologist Heinrich Schliemann determined to find the real Troy of the Trojan War the war that is the center of the Homeric poems After successfully locating and digging up Troy he turned his sights to the Greek mainland and discovered two ancient cities Myceanae and Tiryns which together revealed a civilization that up until that point had only been known in the poems of Homer and Greek drama His discoveries inspired a man named Arthur Evans to begin digging in Crete in order to discover what he thought would be an identical Mycenean culture thriving on that island instead what he found was a people far more ancient than the Myceneans and far more unique than any peoples in the ancient world the Minoans
They were a people of magnificent social organization culture art and commerce There is no evidence that they were a military people they thrived instead it seems on their remarkable mercantile abilities This lack of a military culture however may have spelled their final downfall For the Minoans also exported their culture as well as goods and a derivative culture grew up on the mainland of Greece the Myceneans who were a war-like people Strangely enough the direct inheritors of their traditions may have been the agents of their destructionArtThe art of the Minoans included large wall frescoes ceramics small figurines of terracotta and others of faience and other works in stone In the Early Minoan period ceramics were characterised by linear patterns of spirals triangles curved lines crosses fishbone motifs and such In the Middle Minoan period naturalistic designs such as fish squid birds and lilies were common In the Late Minoan period flowers and animals were still the most characteristic but the variability had increased The palace style of the region around Knossos is characterised by a strong geometric simplification of naturalistic shapes and monochromatic paintings Very noteworthy are the similarities between Late Minoan and Mycenaean art 3 ways their art influenced later art in Athens
4
1 The early pottery design incorporated with animals their geometric motifs and knowledge of fine burnished pottery is clearly visible in the pottery of the late athenians The amphoras Kraters and other forms of athenian potters display many aspects of their minoan counterparts Curved lines and naturalistic designs even the minoan wall frescoes even the geometric shapes (tea pots ect) influenced the pottery and images found on athenian pottery in later times (motifs of full movement - battles - ajax and achilles playing games) Paintinged images by Euphronios Exekias and the geometric shapes of later pieces can all be linked to three stages of minoan art The characteristic elegance of form of Minoan potter is complemented by the dynamic lines of naturalistic scenes that decorate the surfaces are easily seen in the later athenian pottery 2 Minoan Architecture displayed arrangements of the buildings around a central court the fine facades of closely fitted blocks of porous stone the large numbers of magazines the sacred rooms the different levels and storeys connected by small staircases and the monumental entrances (Second palace period) Architecture progressed through the next level and had tiers of doors (Polythyra) thrones and benches as well as bathrooms and interior light wells and there were rows of sacred quarters and magazines crypts and halls for audiences banquet and sacred ceremonies Finally there were ancillary areas of all kinds including workshops and a water supply and drainage system based on very ingenuous principlesAthenian Architecture also displays many of the features such as the grand entrances displayed in Erectheion or 3 Minoan Paintings Frescos Archaic sculpture deriving from Cycladic figures (Input appreciated) Essay 2 Data from httpprojectsxdartmoutheduclassicshistorybronze_agelessonsles16html7 httpwwwvarchiveorgschorrshafthtmIt has been suggested that the rich graves at Mycenae indicate military connections with Egypt with Mycenean mercenaries bringing wealth home from foriegn wars Name and briefly describe two types of artifacts found in the shaft graves of Mycenae 1) There are numerous swords of two basic varieties Type A (more common rounded shoulders short thin tang very long derived from Minoan prototypes such as the Protopalatial ceremonial swords from Mallia) and Type B (relatively rare squared shoulders broader tang shorter and broader blade derived from Minoan and Levantine prototypes in the form of daggers but first developed into a true sword on the Mainland probably at Mycenae) Some swords are decorated on the blades with incised ornament as often representational as abstract while the hilts are often covered with richly decorated gold sheet and the pommels consist of handsomely carved lumps of ivory alabaster or marble Display Minoan items taken from the conquering of Crete IE several swords daggers and vessels from the Shaft Graves display designs and scenes composed of inlaid gold silver and niello (a black metallic compound) reminiscent of early New Kingdom Egypt with some of the hunting scenes of definite Egyptian origin though possibly acquired via Minoan intermediaries 2) Metal Vessels
5
Of gold silver and bronze most of these pieces are of Minoan shapes (eg Vapheio cups ewers rhyta) but Mainland tastes are also reflected in the numerous two-handled goblets and kantharoi which are particularly common among the gold vessels Some unusual shapes in silver include a rhyton in the form of a bulls head comparable to Minoan examples in steatite the Silver Siege Rhyton (decorated in relief with the scene of an attack on a fortified town) and the Battle Krater (decorated in relief with a scene of crowded combat between warriors outfitted with boars-tusk helmets) and the Stag Rhyton (possibly an import from central Anatolia where zoomorphic rhyta of this type are quite common in Hittite art) Of the twenty-eight vessels of solid gold most are rather clumsily made and exhibit technical features which are atypical of Minoan craftsmanship in precious metalwork These are therefore almost without exception to be considered the products of local craftsmen The vast majority of the forty-two silver vessels on the other hand are far more carefully made and exhibit technical features well paralleled in silver plate found in Protopalatial and Neopalatial Crete The bulk of these silver vases are therefore identified either as imports from Crete or as products of Minoan craftsmen made on demand for Mainland patrons at Mycenae Gold indicates amassing the wealth from other parts of the world Frescoes in the tombs of the Theban nobles who served Hatshepsut and Thutmose III portray foreign emissaries whose physiognomy pigmentation hair style and dress exactly resemble Aegean portraits of themselves Those and later frescoes along with Thutmose IIIs bas relief from Karnak depict metal vessels which correspond in material shape and decoration to the cups goblets pitchers jars conical pouring vessels animal-headed containers and figurines which excavators have found in the rich graves of Mycenaean Greece the mansions on Santorini and the palaces and villas of Crete The archaeologists of Egypt and the Levant have also discovered a number of actual Aegean exports of (and slightly later than) the Shaft Grave Period in contexts which are clearly contemporaneous with Thutmose III (Input) Note Getting Tired going to revert to more note form now Would like to be playing video games and watching Hells Kitchen but I must push on Essay 3Describe and contrast the treatment of the human form in Cycladic sculpture and that of High Classic Period Cycladic sculpture
1) Marble
2) were often used as grave offerings which points to the obvious role of religion in society
3) Cycladic artists made obvious attempts to represent the human form
4) A majority of the figuirines are female depicted nude and with arms folded across the stomach5) some with natural proportions and some more idealized
6
6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
4
1 The early pottery design incorporated with animals their geometric motifs and knowledge of fine burnished pottery is clearly visible in the pottery of the late athenians The amphoras Kraters and other forms of athenian potters display many aspects of their minoan counterparts Curved lines and naturalistic designs even the minoan wall frescoes even the geometric shapes (tea pots ect) influenced the pottery and images found on athenian pottery in later times (motifs of full movement - battles - ajax and achilles playing games) Paintinged images by Euphronios Exekias and the geometric shapes of later pieces can all be linked to three stages of minoan art The characteristic elegance of form of Minoan potter is complemented by the dynamic lines of naturalistic scenes that decorate the surfaces are easily seen in the later athenian pottery 2 Minoan Architecture displayed arrangements of the buildings around a central court the fine facades of closely fitted blocks of porous stone the large numbers of magazines the sacred rooms the different levels and storeys connected by small staircases and the monumental entrances (Second palace period) Architecture progressed through the next level and had tiers of doors (Polythyra) thrones and benches as well as bathrooms and interior light wells and there were rows of sacred quarters and magazines crypts and halls for audiences banquet and sacred ceremonies Finally there were ancillary areas of all kinds including workshops and a water supply and drainage system based on very ingenuous principlesAthenian Architecture also displays many of the features such as the grand entrances displayed in Erectheion or 3 Minoan Paintings Frescos Archaic sculpture deriving from Cycladic figures (Input appreciated) Essay 2 Data from httpprojectsxdartmoutheduclassicshistorybronze_agelessonsles16html7 httpwwwvarchiveorgschorrshafthtmIt has been suggested that the rich graves at Mycenae indicate military connections with Egypt with Mycenean mercenaries bringing wealth home from foriegn wars Name and briefly describe two types of artifacts found in the shaft graves of Mycenae 1) There are numerous swords of two basic varieties Type A (more common rounded shoulders short thin tang very long derived from Minoan prototypes such as the Protopalatial ceremonial swords from Mallia) and Type B (relatively rare squared shoulders broader tang shorter and broader blade derived from Minoan and Levantine prototypes in the form of daggers but first developed into a true sword on the Mainland probably at Mycenae) Some swords are decorated on the blades with incised ornament as often representational as abstract while the hilts are often covered with richly decorated gold sheet and the pommels consist of handsomely carved lumps of ivory alabaster or marble Display Minoan items taken from the conquering of Crete IE several swords daggers and vessels from the Shaft Graves display designs and scenes composed of inlaid gold silver and niello (a black metallic compound) reminiscent of early New Kingdom Egypt with some of the hunting scenes of definite Egyptian origin though possibly acquired via Minoan intermediaries 2) Metal Vessels
5
Of gold silver and bronze most of these pieces are of Minoan shapes (eg Vapheio cups ewers rhyta) but Mainland tastes are also reflected in the numerous two-handled goblets and kantharoi which are particularly common among the gold vessels Some unusual shapes in silver include a rhyton in the form of a bulls head comparable to Minoan examples in steatite the Silver Siege Rhyton (decorated in relief with the scene of an attack on a fortified town) and the Battle Krater (decorated in relief with a scene of crowded combat between warriors outfitted with boars-tusk helmets) and the Stag Rhyton (possibly an import from central Anatolia where zoomorphic rhyta of this type are quite common in Hittite art) Of the twenty-eight vessels of solid gold most are rather clumsily made and exhibit technical features which are atypical of Minoan craftsmanship in precious metalwork These are therefore almost without exception to be considered the products of local craftsmen The vast majority of the forty-two silver vessels on the other hand are far more carefully made and exhibit technical features well paralleled in silver plate found in Protopalatial and Neopalatial Crete The bulk of these silver vases are therefore identified either as imports from Crete or as products of Minoan craftsmen made on demand for Mainland patrons at Mycenae Gold indicates amassing the wealth from other parts of the world Frescoes in the tombs of the Theban nobles who served Hatshepsut and Thutmose III portray foreign emissaries whose physiognomy pigmentation hair style and dress exactly resemble Aegean portraits of themselves Those and later frescoes along with Thutmose IIIs bas relief from Karnak depict metal vessels which correspond in material shape and decoration to the cups goblets pitchers jars conical pouring vessels animal-headed containers and figurines which excavators have found in the rich graves of Mycenaean Greece the mansions on Santorini and the palaces and villas of Crete The archaeologists of Egypt and the Levant have also discovered a number of actual Aegean exports of (and slightly later than) the Shaft Grave Period in contexts which are clearly contemporaneous with Thutmose III (Input) Note Getting Tired going to revert to more note form now Would like to be playing video games and watching Hells Kitchen but I must push on Essay 3Describe and contrast the treatment of the human form in Cycladic sculpture and that of High Classic Period Cycladic sculpture
1) Marble
2) were often used as grave offerings which points to the obvious role of religion in society
3) Cycladic artists made obvious attempts to represent the human form
4) A majority of the figuirines are female depicted nude and with arms folded across the stomach5) some with natural proportions and some more idealized
6
6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
5
Of gold silver and bronze most of these pieces are of Minoan shapes (eg Vapheio cups ewers rhyta) but Mainland tastes are also reflected in the numerous two-handled goblets and kantharoi which are particularly common among the gold vessels Some unusual shapes in silver include a rhyton in the form of a bulls head comparable to Minoan examples in steatite the Silver Siege Rhyton (decorated in relief with the scene of an attack on a fortified town) and the Battle Krater (decorated in relief with a scene of crowded combat between warriors outfitted with boars-tusk helmets) and the Stag Rhyton (possibly an import from central Anatolia where zoomorphic rhyta of this type are quite common in Hittite art) Of the twenty-eight vessels of solid gold most are rather clumsily made and exhibit technical features which are atypical of Minoan craftsmanship in precious metalwork These are therefore almost without exception to be considered the products of local craftsmen The vast majority of the forty-two silver vessels on the other hand are far more carefully made and exhibit technical features well paralleled in silver plate found in Protopalatial and Neopalatial Crete The bulk of these silver vases are therefore identified either as imports from Crete or as products of Minoan craftsmen made on demand for Mainland patrons at Mycenae Gold indicates amassing the wealth from other parts of the world Frescoes in the tombs of the Theban nobles who served Hatshepsut and Thutmose III portray foreign emissaries whose physiognomy pigmentation hair style and dress exactly resemble Aegean portraits of themselves Those and later frescoes along with Thutmose IIIs bas relief from Karnak depict metal vessels which correspond in material shape and decoration to the cups goblets pitchers jars conical pouring vessels animal-headed containers and figurines which excavators have found in the rich graves of Mycenaean Greece the mansions on Santorini and the palaces and villas of Crete The archaeologists of Egypt and the Levant have also discovered a number of actual Aegean exports of (and slightly later than) the Shaft Grave Period in contexts which are clearly contemporaneous with Thutmose III (Input) Note Getting Tired going to revert to more note form now Would like to be playing video games and watching Hells Kitchen but I must push on Essay 3Describe and contrast the treatment of the human form in Cycladic sculpture and that of High Classic Period Cycladic sculpture
1) Marble
2) were often used as grave offerings which points to the obvious role of religion in society
3) Cycladic artists made obvious attempts to represent the human form
4) A majority of the figuirines are female depicted nude and with arms folded across the stomach5) some with natural proportions and some more idealized
6
6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
6
6) display bold simple forms that reinforce the Early Cycladic predilection for a harmony of parts and conscious preservation of proportion
7) Musicians some of the most famous sculptures depict form
High Classic Period sculpture
1) Male nude female clothed (calm composed)2) Moves away from Cycladic3) Ideal proportions depicted not necessarily natural Focus on perfection not specific
people Essay 4Describe and contrast the pottery of the dark age and geometric Period and that of the High Classic Period Dark age and Geometric Period
1) meanders triangles and other geometrical decoration2) characterized by an extensive use of black varnish red3) style is confined to the rendering of circles triangle wavy lines and arcs but placed with
evident consideration and notable dexterity probably aided by compass and multiple brush High Classic Pottery
1)
Essay 5
Who were the Etruscans List and describe two ways their art influenced a later period of Rome
Etruscans
800 ndash 700 BC the country of Italy was the papal states ndash small city states and small
kingdoms began with the Etruscans Rome was a simple village during the Etruscan period the single most important influence on Roman Culture n terms of language
culture ideas civilization Bold colors in the painting lived In independent city states largely agrarian strong military frequently warring sophisticated visually Greek alphabet powerful sculptural tradition human like gods and sculpture Perfection oriented very sophisticated rituals ndash looking at images of intestines to divine the future
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
7
the society had a great deal of gender equity ie bird vase - famous piece developed over time winged sphinx the handles of the amphora = wine jar or amphora(e)= plural flatted bottoms ndash they were embedded into the sand to keep it cool a lot were recovered from ancient ship wrecks
Art Dying Gaul realism later displayed in hellinistic art naturalistic poses
Bright colors later mimicrsquod in greek art
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
8
Rome
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
9
The Roman World1048710 Rome1048710 Naples1048710 Pompeii1048710 Constantinople1048710 Gaul1048710 Alps1048710 Carthage
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
10
1048710 Sicily1048710 Hadrianrsquos Wall
Etrucscans
The famous Capitoline She-Wolf or Lupa Capitolina a bronze Etruscan sculpture dating to the 5th Century BC From time immemorial this sculpture has been the traditional Icon of Ancient Rome The figures of the twins Romulus and Remus being suckled by the Wolf (lupus) were added by Antonio Pollaiuolo in the 15th Century The combined statues now reside in the Palazzo dei Conservatori Museum on the Capitoline (Capitol) Hill in Rome Italy According to tradition Rome was founded on April 21 753 BC The legend says that Romulus and Remus the twins of the War God Mars were cast adrift on the River Tiber and survived by being raised by a she-wolf Romulus later during a family feud killed his brother Remus Romulus subsequently established the so-called Roma Quadrata above the east shore of the River Tiber by carving its borders with a plow atop the Palatine Hill The Roma Quadrata was to become the city that bears his name Romulus was not only the founder of Rome but also its first King The Palatine Hill was already inhabited bearing traces of an Early Iron Age settlement The site was chosen it is said because the River Tiber could be more easily crossed at that point
Romulus amp Remus amp the founding of Rome
753BC = the beginning of Rome
Rome was a small village before this largely influenced by the Etruscans Romulus and Remus = twins ndash the legendary founders of Rome suckled by a wolf ndash became the legendary founders of the city famous sculpture early government was a monarchy = the father figure and paternalistic the monarch ruled over the senate and the assembly senate ndash counsel of elders ndash oligarchy ndash made up of clan members
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
11
wealth became concentrated by a few families and divided into two large social groups
patricians = clan leaders ndash sat in senate plebians = worked for the patricians during the monarchy ndash rome expanded control over surrounding territories
and was at war worth the Etruscans the republic of Rome began 509 BC ndash March 15 44 BC chaotic violent tumultuous
The Dying Gaul
The Dying Gaul
significant sculpture defeated in battle portraying an earlier Roman triumph over Gaul wearing a torque ndash flexible thought to be a roman marble copy of a bronze statue that was in Asia minor
ndash that this dying Gaul dates to 239bc dispute which one was the original very expressive done in the round ndash naturalistic conveyance of emotion
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
12
sallustrsquos garden ndash in Rome The Dying Gaul depicts a wounded Celtic warrior who lies upon the earth awaiting death It was
found in the gardens which had belonged to Sallust a Roman historian The statue is a Roman copy of one of the bronze statues dedicated at Pergamon by Attolos I in commemoration of his victories over the Gauls who had invaded Asia Minor in 239 BC Fourth and fifth century Greek sculpting had never depicted such a subject It must have been a startling innovation at the time of its creation The moustache matted hair and twisted collar identify the warrior as a barbarian He supports himself on one arm as his strength ebbs away With the realism characteristic of Hellenistic art his skin appears hard and dry the muscles heavy in contrast to the ideal Greek type Blood oozes from the open wound However the sculptor introduces these realistic touches with artistic restraint Such details only make the artists intent more clear It is a concept that goes beyond physical pain to speak of the anguish of defeat which destroys the spirit rather than the flesh
Aerial View of Pompei
Pompeii
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
13
no arch during ww 1 or 2 constant excavation lsquowestern Italy on the bay of Naples middle of the boot
front ankle fertile area ndash rich soil ndash two rivers crops yielded here 6X the regular crops outside of this area Rome was far away from Pompeii high standard of living
came to be like a luxury resort ndash splendid country houses Vesuvius had been dormant for as long as people could remember the people back then did not know that there was any potential for danger Feb 5 ndash 62ad ndash rumble in the volcano ndash earth quakes ndash people thought that
the Gods were doing this for 17 years Pompeii ndash recnstructed ad79 ndash another eruption ndash springs and wells dried up aug 20 79ad ndash the eruption occurred ndash giant waves ndash tsunamis eruption happened ndash came down quickly ndash because all the ash fell ndash you have
a snapshot ndash you have a moment frozen in time everyting was left exactly as it was arch-s do not have to take into account for taphonmic changes to the site people were enveloped by ash and completely disintegrated some people fled
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
14
Fighting cocks pliny the younger ndash historian ndash wrote about then some people sealed themselves in rooms and they died by being covered in
ash the ash was up to ten metres thick excavated since 1748 ndash and the excavations continue today
Temple of Apollo Excavations at Pompeii the temple of Apollo with Mt Vesuvius in the far background
House of the Vettii = name of a family
art in Pompeii homes
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
15
General view of the Great Frieze of the Dionysiac Mysteries Villa of the Mysteries Pompeii
Augustan period 2nd style
Baby Hercules and the serpents easy to get a date ndash because the damage was done between 62 and 79 4 portraits Chickens ndash cock fighting
Sex on a chaise
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
16
Cupids selling wine House of the Vettii Triclinium people cooking
Pentheus being torn limb from limb by the Bacchantes
This is a plaster cast of a person buried in the ash of the 79 CE eruption of Vesuvius The ash
completely covered many people and animals and hardened Excavators poured plaster into the people shaped holes they found
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
17
Wall paintings in some Pompeiian houses recount mythic events The Vettius house belonged to
two wealthy merchants Aulus Vettius Restitutus and Aulus Vettius Conviva Its beautiful paintings (still in their original positions) and the skillful reconstruction of its apartments make it one of the most interesting houses to visit in the whole town
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
18
Walls of other houses
brothel scenes Hercules wolves etc couples
Theatre in Pompeii
development of the theatre ndash throughout Greece Asia minor and rome the structure of the theatre allowed for certain ways to actually execute the
drama this created 2nd century bce abandoned 79 ad
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
19
not assigned ndash arch channel website wwwarchaeologychannelorg
house of Julius Polybius ndash a feature if the house in POMPEII
Ara Pacis
The Ara Pacis was decreed by the Senate on Augustus return from Spain and Gaul in 13 BCE It was dedicated in 9 BCE In the 1930s it was recovered from its original position on which a renaissance palace had been built and moved to a site near the Tiber It is encased in a modern roofed structure The altar itself is surrounded by a marble screen on the long sides of which are reliefs probably depicting the procession at the inaugural sacrifice in 13 On the short sides are four allegorical panels The lower zone of the exterior of the screen contains reliefs of acanthus scrolls among which are birds small animals and insects On the interior of the screen were sculptures of garlands and ox-skulls and sacrificial implements The surface of the altar itself approached by interior steps was flanked by raised panels or wings on the exterior of which were carved reliefs of a sacrificial procession perhaps that for the dedication in 9 BCE
Ara Pacis = looks like (the arc on the chans de lise in Paris )
created this to celebrate his triumph over Spain in Gaul and Pacis = peace Augustus ndash Octavian period dedicated in 9bc it has been built upon moved in the 1930rsquos it was brought out and
rededicated political means for the use of archaeology Mussolini ndash was saying that he was in alignment with the previous roman
empires ndash calling upon the visual symbols of the past a statement about peace ndashwhere there had been war over many many years
ndash people in a sacrificial position carrying different symbols ndash a statement about the peoples piety and going
into a ritual space to make a sacrifice to the gods
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
20
a scene of domestic civility now we have peace propaganda to promote war
Arch Of Titus
Located at the highest point of the Via Sacra which leads to the Roman Forum this triumphal arch with only one passageway commemorates Titus conquest of Judea which ended the Jewish Wars (66-70) Engaged fluted columns frame the passageway the spandrels depict Victories in relief the attic contains an inscription (see below) and the internal faces of the passageway depict in relief triumphal processions (see below) The arch was erected posthumously after Titus had already become a god
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
21
Caesar Augustus
The statue of Augustus from Livias villa at Prima Porta is a marble copy of a bronze statue that celebrates the return in 20 BCE of the military standards captured by the Parthians in 53 after the defeat of Crassus at Carrhae It was probably set up in 15 CE the year after Augustus death It is 7 ft (208 m) tall (Augustus was 170 m about 57) and shows him as a young man (perhaps on the model of Alexander the Great who died when he was 33) in military uniform He is barefoot (a sign of divine status) and Cupid (riding on a dolphin beside his right foot) reminds the viewer of Venus the divine ancestress of the family of Augustus the gens Iulia Augustus holds a spear in his left hand and his right hand is extended as he addresses his armies His stance is that of the Doryphoros (spear-bearer) by the fifth century Greek sculptor Polyclitus
Changes to the roman forum ndash occurred when Augustus Octavian ndash came into power
hired many artists artistically created time greatest cultural periods in the history of Rome Began the temple to Apollo
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
22
The coliseum
the Augustan piece had been broken vespasian - flavian ndash 69-79ad a soldier ndash father of titus could hold 50 thousand people political symbols gladiators slaves foreigners Christians dark ages ndash middle ages preserved because the popes needed to make a statement about their
relationship with the roman empire Preserved by the pope as a symbol of religion (cross) The Colosseum was begun by Vespasian was finished by Titus in AD 80 It is elliptical and
measures 180 metres long and 156 wide It could contain an audience of between 45000 and 50000 spectators
The remains of the Colossal Statue of Constantine I in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill are from the Basilica of Constantine in the Forum Romanum The Basilica of Constantine housed the offices of the Prefect of the City the highest ranking imperial official during the reign of Constantine the Great and the colossal statue stood in the W apse of the basilica Constantine
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
23
appeared seated with a globe in one hand and the other hand raised in salute The statue was an acrolith Only the head the lower arms the hands and the feet were of marble The rest of the statue the parts covered by clothing was probably made as a wooden frame covered with bronze or plaster It seems the statue wore a crown or some other headgear but nothing remains The pieces of the statue were found in 1486 in the W apse of the basilica where it stood in antiquity They have been in the courtyard of the Palazzo dei Conservatori since
Roman Forum -
46bce - the date that Julius Caesar returned to Rome amp started a major building project Basilica Julia ndash named after Julius Cease
Circus Maximus ndash Julius Caesar ndash renovated and put their own stamp on things
329 BC
The Pantheon was initially built by Agrippa in the first century BC dedicated to the planetary gods But the great rotunda was later built by Hadrian (AD 118-128)
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
24
Roman Forum the Temple of Castor and Pollux or the Dioscuri (484 BC)
The Circus Maximus was of very ancient origin Its basic facilities appear to date back as far as 329 BC Today nothing really remains but the large space cleared of any modern buildings in the 1930s which once was filled by the massive structure The Circus Maximus could hold 150000 spectators It is located in a valley formed by the Palatine and Aventine hills The Circus was the large oval track where the chariot races took place Caesar enlarged the Circus Maximus
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
25
Roman Forum Julius Caeser
Named after Julius Caesar who dedicated it in 46 BC from the spoils of the Gallic War the Basilica Julia was completed by Augustus but burned shortly afterward and was not rededicated for another twenty years in AD 12 It again was rebuilt by Diocletian after the fire of AD 283 The Basilica housed the civil law courts and tabernae provided space for government offices and banking His other ambitious plans to renew the capital were cut short by his assassination
corner of facade San Marco Venice 305 CE In 293 Diocletian established a tetrarchy with himself as the Eastern ruler (Augustus of the East) and Maximian as ruler of the West Each had a caesar a vice-ruler who was his heir This political solution and attempt to retain order in the Roman Empire failed after Diocletian retired in 305 Carved in porphyry a hard purple stone used primarily for imperial objects these four emperors symbolize the equality of their rule No individualized features are represented they are dressed identically even to their swords and they are of equal height Their embraces also indicate their unity The staring eyes squatty forms and absract quality are characteristic of much late Roman sculpture where symbolism is more important than realism and individuality
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
26
Trajan embarked on the first of what were to be two great and difficult wars against the Dacians fairly highly civilized Germanic barbarians who lived across the Danube in the area of modern Romania The Dacians were led by the intelligent and skilful Decebalus who made the war hard for the Romans Nonetheless Trajan and his army were victorious and he returned to Rome the next year to celebrate a fine triumph and to receive the award of the title Dacicus All was not well on the Danube however and Trajan returned to Dacia in 105 Trajans motives are not clear - and indeed they are not above suspicion for he was rumoured to be hungry for military glory Nonetheless the result of this new campaign was unambiguous this time Dacia was not only defeated but also incorporated into the Roman Empire as a new province The column of Trajan was a unique monument It consisted of a 100-foot tall marble column set atop a massive rectangular base topped by a gilded statue of the emperor himself Columnar monuments albeit smaller in scale were not new to the Romans there were three things however which made this monument particularly novel the chamber carved in its base to house Trajans ashes the spiral staircase which wound upwards within its otherwise solid marble shaft to a viewing platform at its top and most of all the continuous sculpted frieze which decorates the exterior of the column These carvings depict the events of both Dacian wars with an apparent accuracy of detail that has led some scholars to speculate that they were modelled on a war commentary written by Trajan himself The wars are shown as a series of vignettes or scenes which each illustrate specific events The scenes cover the entire range of Roman military activity from fighting to collecting food from marching to building They also show many details of the land the Romans passed through - and of the enemies they fought The figures in the carvings (over 2000 appear) are executed at about 23 life size and are so finely detailed that they cannot be fully appreciated from the ground This exquisite detail has in fact presented modern scholars with a problem in understanding just how an ancient Roman would have experienced the column
Greece
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
27
Important
Wikipedia The Parthenon (ancient Greek Παρθενών) is a temple built for the Greek goddess Athena the protectress of Athens in the 5th century BC on the athenian Acropolis It is the most important surviving building of Classical Greece generally considered to be the culmination of the development of the Doric order Its decorative sculptures are considered one of the high points of Greek art The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy and is one of the worlds greatest cultural monuments The Greek Ministry of Culture is currently carrying out a program of restoration and reconstruction[1]
The Parthenon replaced an older temple of Athena called the Pre-Parthenon or Older Parthenon that was destroyed in the Persian invasion of 480 BC Like most Greek temples the Parthenon was used as a treasury and for a time served as the treasury of the Delian League which later became the Athenian Empire In the 6th century AD the Parthenon was converted into a Christian church dedicated to the Virgin After the Ottoman conquest it was converted into a mosque in the early 1460s and it even had a minaret On 28 September 1687 an Ottoman ammunition dump inside the building was ignited by Venetian bombardment The resulting explosion severely damaged the Parthenon and its sculptures In 1806 Thomas Bruce 7th Earl of Elgin removed some of the surviving sculptures with Ottoman permission These sculptures now known as the Elgin or Parthenon Marbles were sold in 1816 to the British Museum in London where they are now displayed The Greek government is committed to the return of the sculptures to Greece so far with no success
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
28
Wikipedia
A krater (in Greek κρατήρ kratēr from the verb κεράννυμι keraacutennymi meaning I mix) was a vase used to mix wine and water At a Greek symposium kraters were placed in the center of the room They were quite large so they were not easily portable when filled Thus the wine-water mixture would be withdrawn from the krater with other vessels In fact Homers Odyssey [1] describes a steward drawing wine from a krater at a banquet and then running to and fro pouring the wine into guests drinking cups An interesting sidenote to this is that the modern Greek word now used for undiluted wine krasi (κρασί) originates from this mixing of wine and water in kraters Kraters were glazed on the interior to make the surface of the clay more suitable for holding water and possibly for aesthetic reasons since the interior could easily be seen
An amphora (plural amphorae or amphoras) is a type of ceramic vase with two handles and a long neck narrower than the body The word amphora is Latin derived from the Greek amphoreus (αμφορεύς) an abbreviation of amphiphoreus (αμφιφορεύς) a compound word combining amphi- (on both sides twain) plus phoreus (carrier) from pherein (to carry) referring to the vessels two carrying handles on opposite sides
The Francois Vase Athenian black figure volute krater made by Ergotimos and painted by Kleitias c 570 BCE H 66 cm Museo Archaeologio Florence This vase was painted around 570 BCE and is known as the Francois vase This huge wine vessel was commissioned for use in an Athenian wedding The central theme of the decoration is the wedding between Peleus and Thetis the parent s of Achilles Dioysius is shown mixing wine with water in preparation for drinking he leads a drunken Hephaistos hme to Mount Olympus There are scenes from the life and death of Achilles Theseus dances in thanksgiving to Apollo having recued children from King Minos of Crete The entire vase painting presumes a literate and well read audience who is familiar with mythology Figures are labeled ndash many of the guests must have been educated enough to read the vase
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
29
Left Ajax and Achilles playing a board game
Athenian black figure amphora showing Achilles and Ajax playing a game painted by Exekias c 540-530 BCE Vatican Museum Rome Athenian black figure pottery painting reached its height in the works of Exekias Here Ajax and Achilles two heroes of the Trojan war play a board game during a break in the fighting
What Athenian figure amphora of Achilles and Ajax
Who Painted by Exekias
When 540 ndash 530 BCE
Where Vatican Museum Rome
Cultural Affiliation Height of Athenian Pottery
Right
Dionysius symposium
Athenian black figure amphora attributed to the Amasias painter detail of satyr making wine c540-530 Martin von Wagner Museum Wurzburg University This painting shows the satyrs the followers of Dionysius making wine The original meaning of the word symposium is a place of lsquocoming togetherrsquo Here in the academic world we come together to present papers and discuss The ancient Greek symposia seemed to have a lot more to do with alcohol and sex
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
30
What Athenian figure amphora of Ajax suicide
Who Painted by Exekias
When 540 ndash 530 BCE
Where Musee du Chateau Bologne sur Mer Trojan War
Cultural Affiliation Height of Athenian Pottery
8th C BCE H 30 cm Metropolitan Museum NY
What Late Geometric Amphora
Who unknown Athenians
When 750 BCE
Where National Archaeological Museum Athens
Cultural Affiliation Height of Athenian Pottery
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
31
What Figure of Apollo
Who unknown Athenians
When 460 BC
Where west pediment of the temple of Zeus at Olympia Archaeological Museum Athens
Cultural Affiliation Athenian
What Athenian red figure calyx krater (bowl for mixing wine and water)
Who painted by Euphronios
When c 515-510 BCE
Where Metropolitan Museum of Art
Cultural Affiliation Athenian
Detail showing the body of Sarpedon being removed from the battlefield at Troy The practice in antiquity of depicting scenes of profound seriousness on utilitarian objects is quite foreign to us today In the absence of universal literacy and rapid communication images played a major role in conveying and perpetuating important stories traditions and other kinds of information that assumed narrative form The Iliad and the Odyssey of Homer were central to ancient Greek culture in many respects
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
32
While these poems told of the heroes and exploits of a glorious past major elements such as the gods and geographical locations remained unchanged thus imparting an ongoing reality to mythical events The scene on the obverse of this krater shows Hermes directing Sleep and Death as they bear Sarpedon a son of Zeus allied with the Trojans to his native Lycia for burial It is notable that a story concerning an enemy of the Greeks was featured on such a large fine vase produced by one of the leading Athenian artists The subject on the reverse is an arming scene The youths and their equipment are in every respect Athenian of the late sixth century BC The names by which they are identified however are of figures from the past The references and the possible interpretations of the decoration on the krater are complex and manifold however the one message that seems evident is the continuing effect of past glory on the present The Athenian youths arming themselves and named for illustrious forebears have the potential to gain the renown of Sarpedon
What Avenue of the Lions
When c 600-575 BCE
Where Sanctuary of Leto Delos
Cultural Affiliation Athenian
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
33
Avenue of the Sphinxes at the Temple of Amun Karnak 1800 BCE
bullrsquos head drinking cup Knossos c 1500-1450 BCE Serpentine with shell inlay and gilt wood horns H 305 cm without horns Archaeological Museum Heraklion With Miniature Minoan axe heads c 1500-1450 BCE gold Average width 8 cm
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
34
Caryatids on the porch of the Erechtheum Acropolis Athens c 420 BCE
Wikipedia A caryatid (Greek Καρυάτις plural Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head The Greek term karyatides literally means maidens of Karyae an ancient town of Peloponnese Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis As Karyatis she rejoiced in the dances of the nut-tree village of Karyai those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds as if they were dancing plants (Kerenyi 1980 p 149)
Charioteer of Delphi dedicated by Polyzalos of Gela at Delphi c 475 BCE h 180 cm bronze Archaeological Museum Delphi
Corinthian Capital from the temple of Asklepios at Epidaurus 4th C BCE Marble Archaeological Museum Epidaurus
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
35
Left Cycladic figurine c 2500 BCE Marble 63 cm Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Right Left Early Cycladic Vessel c 2800-2300 BCE Terracotta Goulandria collection Museum of Cycladic and Ancient Greek Art Athens Right Early Cycladic figurine of a hunter-warrior c 2800-2300 BCE Marble Goulandria collection Museum of Cycladic and Ancient Greek Art Athens
Wikipedia The Cyclades (Greek Κυκλάδες) are a Greek island group in the Aegean Sea south-east of the mainland of Greece and an administrative prefecture of Greece
Fisherman from the west house Akrotiri c 1450 BCE Fresco H 109 cm National Archaological Museum Athens From Akorotiri on Thera ndash These houses were buried in the volcanic eruption of Santorini They depict figures such as this fisherman carrying mackerel
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
36
Funerary mask Shaft Grave V at Mycenae c 1600 BCE Gold H 26 cm Archaeological Museum Athens
Recumbent god or hero east pediment of the Parthenon c 435 BCE Marble British Museum
Grave Circle A Mycenae aerial view with the Lion Gate in the foreground
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
37
Head of the horse of Selene Greek Moon goddess from the east pediment of the Parthenon c 435 BCE marble British Museum London
This kouros figure ndash a young male has some of the attributes of the god Apollo ndash broad shoulders slim athletic These statues have been found in sanctuaries dedicated to Apollo Kouros from Attica 610-600 BCE Marble 184 cm Metropolitan Museum of Art NY
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
38
Laocoon marble copy of a bronze original probably made at Pergamon c 150BCE Vatican Museums Rome Laocoon group ndash Laocoon and his sons Vatican museum One of the major discoveries of the Italian Renaissance this sculptural grouping was found in Rome in 1506 in the ruins of Titus palace It depicts an event in Vergils Aeneid (Book 2) The Trojan priest Laocooumln was strangled by sea snakes sent by the gods who favored the Greeks while he was sacrificing at the altar of Neptune Because Laocooumln had tried to warn the Trojan citizens of the danger of bringing in the wooden horse he incurred the wrath of the gods
Lion Gate Mycenae c 1250 BCE Limestone
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
39
Metope from the south side of the Parthenon showing a centaur and a Lapith in combat c 445 BCE marble H 133 cm British Museum
Female deities from the east pediment of the Parthenon c 435 BCE Marble British Museum
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
40
Reconstruction of the west pediment frieze of the Parthenon Athens c 435 BCE
Naxian Sphinx Delphi dedicated c 560 BCE marble 232 cm Archaeological Museum Delphi
A similar figures is the Kore ndash a female usually clothed This figure is the earliest known Greek marble statue It was dedicated by a young girl named Nikandre around 650 BCE It stands about 2 m 6 ft high The dedication reads lsquoNikandre dedicated me to Artemis the far shooter
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
41
Excellent among women the daughter of Deinodikes the Naxian sister of Deinomenes she is now wife of Phraxosrdquo It was made by a young woman from Naxos stating her family connections
Nike (Winged Victory) of Samothrace c 300 ndash 31 BCE Marble Musee du Louvre Paris
Nike adjusting her sandal from the parapet of the Temple of Athena Nike Acropolis Athens c 420-400 BCE Acropolis Museum Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
42
rhyton
Cups ndash Rhyton with siege scenes from the Shaft Grave IV Mycenae c 1600 BCE Silver 229 cm National Archaeological Museum Athens Cup from the Shaft Grave IV Mycenae c 1550-1500 BCE Gold 126 cm without handles National Archaeological Museum Athens
North Entrance to the Palace of Knossos c 1600-1400 BCE As reconstructed by Sir Arthur Evans
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
43
Knossos (alternative spellings Knossus Cnossus Gnossus Greek Κνωσός pronounced [kno ˈso s] ) is the largest Bronze Age archaeological site on Crete and probably the ceremonial and political center of the Minoan civilization and culture It is also a tourist destination today as it is near the main city of Heraklion and has been substantially if imaginatively restored making the site more comprehensible to the visitor than a field of unmarked ruins
The city of Knossos remained important through the Classical and Roman periods but its population shifted to the new town of Handaq (modern Heraklion) during the 9th century AD By the 13th century it was called Makryteikhos Long Wall the bishops of Gortyn continued to call themselves Bishops of Knossos until the 19th century[1] Today the name is used only for the archaeological site situated in the suburbs of Heraklion
Throne Room at Knossos Palace
Riace figure B detail of head attributed to Phidias c 450 BCE bronze h 198 cm Museo Nazionale Reggio Calabria
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
44
This bronze sculpture from Riace crafted presumably to celebrate the Greek victory over the Persians offers perhaps the clearest testament to the new humanistic sensibility that swept over the Greeks during the 5th century Its homage to the beauty and nobility of the human figure its idealistic treatment of form and porportion and its naturalistic pose and expression express many of the foundational values of a newly emergent world view that place man squarely in the center of the Greek universe (httpwww2selueduAcademicsFacultyjwiemeltclassesengl230riace_warriorhtm)
Stadium at Delphi as elaborated by Herodes Atticus in the 2nd C CE
High up the hill beyond the sacred way and the Theater the ancient stadium is nested It was built in the 5th c BC and it was remodeled several times during the centuries Its present form was acquired in the 2nd c AD when Herodus Atticus financed the stone seating and the arched entrance( httpwwwancient-greeceorgarchitecturedelphi-stadiumhtml)
Temple of Apollo Delphi late 6th C BCE
The Temple of Apollo The visible ruins belong to the last temple dated to the 4th century BC which was peripteral in Doric order It was erected exactly on the remains of an earlier temple dated to the 6th century BC Inside was the adyton the centre of the Delphic oracle and seat of Pythia The monument was partly restored during 1938-1941 (httpwwwemicheduabroadstaffBenitadelphihtml)
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
45
Temple of Athena Nike Acropolis Athens c 420 BCE
Temple of Athena NikeThe southwest of the Acropolis plateau right next to the Propylaia has been an important location of a sanctuary dating back to the Mycenaean era It is a protruding tall mass of rock strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel
Early in its history it was a place of worship for deities associated with wars perhaps Bronze Age ldquoNikerdquo gods or goddesses which with time fused with the cult of Athena Nike of later centuries Excavations have revealed that on this location an open pit existed that Bronze Age Greeks used to pour libations and to deposit primitive figurines of the deities worshiped( httpwwwancient-greeceorgarchitectureathena-nikehtml)
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
46
Treasury of the Athenians Delphi early 5th C BCE
The most exquisite feature of the edifice though is the frieze On the west side it depicts the judgement of Paris on the south the rape of the Leukippidai by the Dioskouroi on the east an assembly of gods who watch a battle of the Trojan War and on the north which is the finest and best preserved section of the entire frieze the Gigantomachy Here we see the gods fighting hard to defeat the Giants who are attacking from the right wearing heavy armoury helmets and shields and in some cases breastplates and greaves their weapons are spears swords and stones
The left section of the frieze is taken up by the gods On the extreme left Hephaistos wearing the short chiton of a craftsman is shown standing in front of his fellows and preparing his red hot bolts Next come two goddesses Demeter and Kore then Dionysos wearing a panther skin and Kybele riding a chariot drawn by lions Then come Letos beloved children Apollo and Artemis shooting arrows at their opponents they are facing a warrior with a kantharos on his helmet he is the Giant Kantharos The next section of the frieze which has been damaged showed Zeus riding his chariot Hera and Athena have survived in a good state of preservation next to them Ares is wearing a helmet and holding a shield Hermes follows wearing the conical cap of Arkadian shepherds finally come Poseidon and Amphitrite but only fragments of the lower part of their bodies have survived
(httpezinearticlescomDelphi-The-Treasury-of-the-Atheniansampid=941604)
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
47
Temple of Hera at Delphi c 590 BCE
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
48
The Alexander Mosaic from the House of the Faun at Pompeii entire image 2nd C BCE Museo Archaeologico Nazionale Napoli
The Calf Bearer dedicated on the Athenian Acropolis c 560 BCE marble h 165 Akropolis Museum Athens Archaic Athens is also symbolized by this statue one of the first erected on the Athenian Akropolis erected in 560 BCE The ststue may commemorate the sacrifice given by Rhombus the name of the man depicted when he offered a calf to Athena the goddess who protected the city of Athens
