Artifacts to Know

Question 1

Kriophoros, 7th Century

Answer 1

‘ram-bearer’, found in Crete

Bronze statuette - possibly Hermes or a mortal shepard

Stalk and mass below from the direct casting channel

Heavy ‘cretan’ features - large almond eyes, high eyebrows (like kouros)

Cretan loin-cloth

Question 2

Nikandre Kore

Answer 2

7th Century BC, Delos

Dedication to Artemis

Very little indication of the female form aside from waist and slightly defined chest - left arm missing

Question 3

Sacred Gate Kouros

Answer 3

600-590 BC, Athens

Bulging eyes are an attic feature - schematic pectorals - legs and left hand mostly gone

Question 4

Sounion Kouros

Answer 4

590 BC, Southern most region of Attic Peninsula

Found in Sanctuary of Poseidon, colossal scale

Defined, schematic knee caps and ears

Muscles on back and hair are very geometric

Question 5

Bronze Kriophoros Statuette, 6th Century BC

Answer 5

Found in Sparta

Clothing makes it easier to cover the joints between pieces with folds

Example of statue archetype other than Kouros

Question 6

Samian Kouros

Answer 6

6th Century BC, Found in the Heraion of Samos

According to verticle inscription on the left thigh of the kouros - dedicated by Isches, son of Rhesis

Very soft approach to muscles, clear veins of blue in the marble

Question 7

New York Kouros

Answer 7

6th Century BC, Attica

Purpose unknown - stylistically Attic but marble Naxian

Question 8

Kleobis and Biton

Answer 8

580 BC, Delphi

Thought to be deliberately archaising
focus on robust, curved forms rather than patterning as with Athenian

Names come from Herodotus - sculptor thought to be from Argos

Example of dioskouroi? twin gods? Castor and Pollux
Delphi perfect place to display wealth

Question 9

Moscophoros

Answer 9

570 BC, Athens
‘calf-bearer’
Archaic hairstyle

Question 10

Berlin Kore

Answer 10

570 BC, Attica, found in Keratea (east)
Pattern of folds in fabric highly stylised - accentuated the hips and waist
Holding Pomegranite - funerary

Question 11

Volomandran Kouros

Answer 11

560 BC, Attica
Middle Archaic style
Muscles are softened, less schematic

Question 12

Ptoion Kouros

Answer 12

550 BC, Boiotia
Emphasis on inverted v of abdominals
Thin lips and longer face could be a regional style

Question 13

Piraeus Apollo

Answer 13

Late 6th Century BC, Port of Athens
found in warehouse with other art from various periods - burned down by Sulla
Possibly deliberately Archaising
Example of a pose change in bronze
One of the few kouroi which clearly depicts a god - would have held bow and patera (reciprocal religious mentality)

Question 14

Herakles being presented to Olympus Pediment

Answer 14

Second quarter 6th Century BC, original location unknown
Made from limestone

speculative idea of politicising sanctuary art - no written evidence

Peisistratus - imagery pf Herakles constructs his own Heraklean alter-ego

Question 15

East Pediment of Olympia

Answer 15

6th Century BC, Temple of Zeus at Olympia
Pelops chariot story (Pelops bribes someone to replace lynch pins with wax and the charioteer dies thus curing the Pelops house)

Divine authority, consequences of breaking an oath

Compositionally static

Question 16

West Pediment of Olympia

Answer 16

6th Century BC, Temple of Zeus at Olympia
Centauromachy - represents defeat of Hubris and Barbarism (calm faces on humans, savage expression on centaur)
Figures surge towards the centre
Often given as example of how theatre informed the change in art (athenocentric)

Question 17

Phrasikleia Kore

Answer 17

550-40 BC, Merenda, Attica
Parian marble, over life-sized
Brightly painted red dress, incised decoration of rosettes and swastikas - most likely guilded as well
Funerary monument for unmarried girl

Question 18

Merenda Kouros

Answer 18

540 BC, Attica 
Painted hair, eyebrows, nipples and pubic hair 
Smaller eyes (local style?)
Softer muscles 
Less exaggerated waist to hip ratio 
Snail curls in hair

Question 19

Lyons Kore

Answer 19

540 BC, Acropolis

Distinct muscles in the arms for a woman

Question 20

Kroisos Kouros

Answer 20

Anavyssos, 530 BC
Exaggerated thighs (idealising proportions)
Geometric hair - fashion older kouroi
Stiff posture
Warrior-athelete elite type - upper class access to gymnasia
Lines of symmetry: verticle, v shape of groin and upper abdomen
Found at coastal location - trading

Question 21

Peplos Kore

Answer 21

530 BC, Acropolis
Painted scenes of animals on skirt - usually utilised for a goddess, expensive paint and inlay
very small waist, simple skirt with limited folding

Question 22

Aristion Stele

Answer 22

520 BC, Near Marathon, Attica
Bearded hoplite soldier
Would have been brightly coloured
Over 2m high

Question 23

Antenor Kore

Answer 23

520 BC, Athens 
Inlaid eyes, came with incription 
Over 2m tall 
Bronze used in jewellery 
Parion chiton and heavy diagonal Himation

Question 24

Red Shoes Kore

Answer 24

510 BC, Athens
Parian Marble
Very unusual proportions
some polychrome still visible in deeper folds of the skirt

Question 25

Getty Kouros

Answer 25

c.530, Provincence UNKNOWN - possibly a forgery Exemplifies the difficulty of dating stylistically, the style is attic, the marble is Thasian, the top half is seemingly much earlier Archaic than the bottom half which is highly naturalistic Flaw in the marble on the forehead also very unusual - many examples of abandoned projects when such imperfections were revealed

Question 26

Tyrannicides

Answer 26

514 BC, Athens (plaster casts found in Baiae - heavy lid suggest many copies made to cause a build up) Bronze Version which survives is the second - because they are depicted like this on vases while the originals were still in Persia - originals probably kouroi, returned by Alexander Harmodios: young, with sword raised (beardless and boyish like Kritios boy) Aristogeiton: older, blade low, draping cloak for protection severe style

Question 27

Metopes from Heraion

Answer 27

510 BC, South West Coast of Italy (Paestum) PROSCRIPTIVE temple decoration: depicting morally deplorable figures like Sisyphus, Tantalus and Tityus (the sinner's cycle) rather than instructive of pious behaviour

Question 28

The Blonde Boy

Answer 28

Earth 5th Century BC, Acropolis Example ofr variation in hairstyle - waves rather than rolls or long plaits - the shift from long hair to short for aristocratic youths

Question 29

Kritios Boy

Answer 29

480 BC, Acropolis Acropolis left in ruins 30 years after Persian sach- could have been sculpted at any point within this time or before Rolled hair radiating from crown, deeply incised geometric hair - eyes made seperately and insertef as with bronze castes Body and neck seperate - suggests head could be swapped out because of the clean break

Question 30

Relief of Boy

Answer 30

470 BC, Temple of Athena, Sunium Pensive mood comveyed in image of boy crowning himself - an established archetype Distant in mood from archaic - subtler, less emphatic use of conventional poses and types Personal votive example

Question 31

Relief of Athena

Answer 31

470 BC, Acropolis Pensive head bowed, possibly even a mourning position - potentially facing plaque of athenain dead Goddess as a civic votive - has her plumed helmet and public staff Gravestone production in Athens halts at beginning of 5th century until 430 BC In this period annual state burials and funerary oration began

Question 32

Penelope from Persepolis

Answer 32

Persepolis, 460 BC Greek marble and figure - cannot be original of Roman copies because it was buried during Alexander's sack of the city in 330 BC Flow of fabric / composition of body are late Classical - revealing the form of the woman with the illusion of wet fabric creating translucence

Question 33

The Riace Bronzes

Answer 33

Shipwreck Riace, c.460 BC Stance in in the severe style, anatomy suggests a later date Debate surrounding whether made by the same sculptor or in the same studio, perhaps from the same caste with small adjustments Brash youth vs more relaxed elder reminiscent of the Tyrannicides - would have been holding weapons and shields

Question 34

Female Figure Supporting Incense Burner

Answer 34

Delphi, c.460 BC Naturalistic folding of Peplos - compare with Delphi Charioteer Inference of the positioning of the female form in the folding over the left leg which is protruding, weight on back leg

Question 35

Motya Charioteer

Answer 35

Motya (Phoenician settlement off coast of Sicily), c.470 BC (stratigraphic layer associated with destruction of motya in 397 gives terminus ante quem - stylistcally early snail curls) Swinging contraposto pose, left hand resting on hip, right arm raised (both lost) Wearing long Chiton Almost wet drapery effect - genitals, posterior and muscles clearly visible

Question 36

Delphi Charioteer

Answer 36

Delphi, 470 BC Best surviving bronze Severe style Commemorates the victory of Polyzalus of Gela in Pythian Games inlaid eyes - columnar form, geometric skirt folding Classical facial expression Tilt of the head is main departure from Kouroi and the naturalistic rendering of the feet

Question 37

Porticello Head

Answer 37

Southern Italy (offshore), c.450 BC Thinning locks, impressive beard and mustache slightly departing from established types - could be a 'portrait' Probably elderly citizen or a centaur, whilst idealising - still an element of aging in the forehead lines and a hooked nose Difficult to date - hair could be zeus or aristogeiton rather than later 5th century

Question 38

Diskobolus of Myron

Answer 38

original from c.460 BC, most referenced copy from Terme, 140 AD Stillness within action - moment between backswing and forward thrust Reaction to Archaic ideal of symmetry - deliberately contrasting arch of arms with straight lines of bent legs Still has internal balance and proportion Details realistic, anatomy still static

Question 39

Artemision God

Answer 39

``` Cape Artemision (Northern Euboea), c.460-50 BC Found on important trade route Hurling either lightening bolt or trident (zeus or poseidon?) Anatomy incorrect, one arm longer than the other, torso should be dramatically affected / twisted by the activity of the limbs (frontality maintained) Pose can only be properly viewed from front ```

Question 40

Athena Promachos (Athena of War)

Answer 40

Acropolis, 456 BC Colossal, bronze, situated on Acropolis via Propylaea, statue lost - survives only through description of size and materials - could be seen from ships in port

Question 41

Athena Parthenos - Athena the Virgin (also known as Chriselephantine statue of Athena)

Answer 41

Acropolis, 438 BC Made from Ivory and Gold, also Colossal - survives to us in smaller marble copies Athena holding Nike in right hand, left hand supported on Aegis which shelters a snake, dressed in Attic Peplos - wearing helmet with a Sphinx and Pegasi Base (reconstructed from Roman copies and Pliny) depicts what seems to be creation of Pandora (Pausanias, Pliny) - possibly pandora the local earth goddess rather than gift-giver

Question 42

Athena Nike Parapet Frieze

Answer 42

Athens, 410 BC Created in late Peloponnesian War - after several Athenian defeats Depicts Nike adjusting her sandle Good example of the wet drapery effect - emphasis more on the movement of the garmet than the figure itself

Question 43

Marble Head of warrior

Answer 43

Aegina, Temple of Aphaia, 5th Century BC

Question 44

Stele of Hegeso

Answer 44

Athens, c.410 BC Woman depicted in private setting but on public display because of visibility of the Necropolis Tension between Oikos and Polis High backed chair typical of private interior scenes in vases slave v free born woman - slave has simpler clothes and hair (in snood vs elaborate updo) Perhaps holding necklace - damage and loss of plychrome makes it unclear Attention of both characters on jewellery not audience or eachother why is she not depicting raising children or working at loom?

Question 45

Stele of Ampharete

Answer 45

c.400 BC, Athens Depicts grandmother and child (epitaph) - lack of differentiation between ages of women (defined by childhood, young woman and married not necessarily age - Stears) Ideals of fertility and associations between women, death and loss already exist - just reinforced

Question 46

Kephisodotus Statue of Peace and Wealth

Answer 46

Roman first century AD copy of 375 BC Bronze original, Athens Dated this way because it was erected in Agora between 375-360: cult of Eirene introduced to Athens in 375, Panathenaic Amphorae dated to 360 show images of the statue Eirene = young woman wearing peplos and himation, holding sceptre and young Ploutos

Question 47

Stele of Pausimache

Answer 47

c.350 BC, Athens Figure views herself in same way as passer-by (looking at herself in the mirror) Adornment generally not considered a virtue, but her epitaph notes her goodness and good sense Female homeric heroisaton - elaborate god-gifted jewellery in epic?

Question 48

Marathon Boy

Answer 48

Aegean Sea, off coast of Marathon, 340 BC Ridgeway suggests the left hand held a tray of cups for guests Fillet with leaves could make him an athlete but doesn't look typically athletic unless its a very specific sport Exaggerated contraposto and soft musculature - late classical / early hellenistic (associated with Praxiteles)

Question 49

Terme Boxer

Answer 49

c.330-50 BC, found in Terme, Italy Not idealising - cauliflower ears, broken nose, scarred face Possible use of different Alloys of bronze to create the effect of bruising (evolution of polychrome) lips, wounds and scars originally inlaid with copper Face is expressive

Question 50

Aphrodite of Knidos

Answer 50

original 4th Century BC, survives in copies from 150 BC First nude female cult statue (female nudes on pots and cretan goddess figurines - probably votive) left hand holds towel, right hand covers pubic area Writings believed to by Lucan - tell story of man who snuck into the temple at night tried to have sex with the statue, leaving it stained

Question 51

Hermes and Infant Dionysus

Answer 51

4th Century BC, Olympia Dionysus in left arm, weight carried through the fabric draping down. Right arm lost, beleived to have held a bunch of grapes to entertain the baby) soft musculature, relaxed posture, domestic scenario

Question 52

Apollo Sauroktonos

Answer 52

original 4th Century BC, survives in Roman copies (1st Century AD) Leaning against a tree, pointing arrow (lost) at lizard perched their Relaxed posture, soft musculature, somewhat bathetic scenario

Question 53

Demeter of Knidos

Answer 53

c.450 BC, Knidos Heavy folding in fabric Quintessential depiction of a deity, seated in complex robes Missing arms and hands More of a matriarchal depiction of a goddess - the hairstyle, serene expression, slightly mature facial features highlighting role as mother (fertility goddess, dualing approach when compared with Aphrodite) Possibly cult, possibly votive - a little bit small for the featured votive statue

Question 54

Piraeus Artemis A

Answer 54

Second half of 4th Century BC, Piraeus Clay remnant where the quiver would have been attached to back diagonally. Pose is one which Artemis and Apollo sare on pots and in other statues Hand would have held phiale (offering bowl) Though seems to be based on archaic model it had the polyclitan stance Bronze eyelashes and inlayed eyes - one is missing Melon style hair

Question 55

Piraeus Artemis B

Answer 55

``` Second half of 4th Century BC, Piraeus Smaller of the two, less well preserved Right side of head distorted by swelling, bronze crumbling in places More Praxitelean stance intact quiver ```

Question 56

Temple of Artemis (Pediment), Corcyra

Answer 56

Archaic Temple, Corcyra (Modern Corfu) Pedimental sculture depicts Medusa and two Panthers Highly schematic and geometric (hair) in design - the form of Medusa resembles the geometric Swastika Distinctly not programmatic - very little tying the imagery to Artemis (Panthers and the hunt?), nor does it tie the temple to the regional mythology relief style is very flat in the sense that though it prodrudes out relatively far in places this doesn't effect the roundness of the forms girdle of intertwined snakes = fertility symbol

Question 57

Chryselephantine Statues at Delphi

Answer 57

All Mid-sixth Century, Delphi - identities all quite speculative, ivory has been blackened over time, eyes and eyebrows inlayed Artemis - golden tiara and earrings Apollo - archaic smile, hair is gilded silver

Question 58

Siphnian Treasury Pediment

Answer 58

525 BC, Delphi Supported by Caryatid rather than normal columns East Pediment - only surviving - Herakles and Apollo competing for Delphic tripod

Question 59

Siphnian Treasury Frieze art

Answer 59

East frieze - Assembly of gods in Trojan War - arguing, and a duel over a dead warrior North Frieze - gigantomachy (old order vs new) - this was visible from the sacred way as they ascended to the oracle West frieze - very little survives, believed to have been the judgement of paris but the identity of the goddess interpreted as Aphrodite is contested - no archaic examples of Aphrodite depicted with a necklace - that's more hellensitic South frieze - significant portions missing, theme unclear

Question 60

Athenian Treasury Metopes

Answer 60

510-480 BC, Delphi Depict various scenes of Theseus and Herakles Athenian local mythology with Herakles as a foil?

Question 61

Temple of Zeus (Olympia) Metopes

Answer 61

463 BC, Olympia depicting the 12 labours of Herakles, increasing in age as they progress (as designated by the facial hair) - along short sides of the temple, not in chronological order Grouped by proximity to the region with six based in Pelops, others far off Badly damaged, their positions are mostly speculative based on where the detached ones were found, Pausanias source for other half Herakles has expressive facial expressions, not as much as the centaurs but still scenario specific

Question 62

Mausoleum at Halicarnassus (frieze)

Answer 62

c.350 BC, Halicarnassus (modern Turkey, on coast) - Mausolus from Caria (Anatolian) Depicts the amazonomachy - very typical for a greek temple, stock imagery rather than programme Hunting frieze - aspect of a king's life in times of peace - demonstration of his power Centauromachy - stock temple imagery from Greece

Question 63

Mausoleum at Halicarnassus (free standing sculpture)

Answer 63

Mausoleus and Artemisia - free standing sculptures in a late classical style - exaggerated folding of fabric. Face of Artemisia destroyed, over life-size Lions - guardian animals in the Anatolian tradition Horse and chariot at top - culminating point, visible from the harbour

Question 64

Mausoleum at Halicarnassus (architectural elements)

Answer 64

3 main parts: lofty podium or base, a colonnade of 36 columns arranged (probably) 11 by 9 above this (excavation shows these to be of the ionic order), above this a pyramid shaped roof reducing to a platform which had a crowning four-horse chariot pyramidal roof might be egyptising (although could just be interpreted as an ornate base for the chariot statues)

Question 65

Stele of Eupheros

Answer 65

Kerameikos, 430 BC Young man with strigil in himation with headband traces of painted animals in recessed centre of pediment, found also with smaller fragmentary plain pedimental stele (main statue buried relatively soon after its erection)

Question 66

Stele of Prokleides, Archippe and Prokles

Answer 66

Attica, 330 BC reaffirmation of family unity at a time when it is tested by the loss of a family member and the gender-divisive ideology of the polis which controls the space where the funerary rites take place​ dead person is not marked out by a certain pose or position - not meant ot be singled out but is rather still a member of the idealised oikos presented ​

Question 67

Purpose of Mausoleum at Halicarnassus

Answer 67

Halicarnassus, 350 BC Built at a high vantage point, not in necropolis - coastal location, trading port Whilst it does function as a literal tomb – Mausolus was not only a dynast – he had shifted the capital of his land to Halicarnassus and thus in a sense (re)founding Halicarnassus or at the very least redefining its significance – creating a founding mythology for the city Kind of a ‘Heroon’ -> in the same way many Greek cities claim a hero as their founder, for a very obvious example -> Theseus founding Athens Remains of food offerings found at the site of the Mausoleum -> eggs, chicken, cuts of goat and ox (typical offerings of the middle east rather than of Greece) resting place for native anatolian, known to have spoken greek and admired Greece greatly, given power by the persian empire

Question 68

Nereid Monument Pediments

Answer 68

Xanthos (Lycia) c.390 BC East Pediments: Arbinnas and wife depicted in similar positions to Zeus and Hera (Ian Jenkins) on east frieze of Parthenon - with smaller figures (probably children) and a dog West Pediment: very little survives, seems to be soldiers going into battle

Question 69

Nereid Monument Friezes

Answer 69

Xanthos (Lycia) c.390 BC Greater Podium Frieze: generalised scenes of war and conflict - not obvious Greeks vs Persians or Amazons - mostly just greeka Upper Podium Frieze: Arbinnas depicted in several ways (possibly showing his conquests) - point of interest is a Persian depiction with a Parasol like bas relief of Xerxes in Persepolis - very persian Architrave Frieze: More combat sequences and a Boar hunt and banquet preperations

Question 70

Nereid Monuments Free Standing Figures

Answer 70

Generally believed to be sea nymphs - eleven figure survive (dolphin and cuttlefish statues found at their feet) - all have late-classical wind-blown fabric/ wet drapery effect

Question 71

Alexander Sarcophagus

Answer 71

Sidon, late 4th century BC Peculiar - inhumation in marble not very greeks (remains of linen in sarcophagi found with this one suggest a desire to preserve the body? Inscriptions also theatren to curse anyone who disturbs them - others not this one) - marble is greek medium for history, tombs like this are Macedonian (with owner cremated) - Pheonician patron Long friezes: One of a hunt, one of a battle (similar imagery on short friezes) Friezes generally considered to depict the most important events of Abdalonymos' reign and his relationship to alexander (since he was king of Sidon because of Alexander) Hunt frieze represents the greeks and persians hunting together - phoenician ruler shown prominently alongside Alexander - famous royal hunting park at sidon - possible intended setting → Krateros dedication at delphi employs similar themes of a famous lion-hunt to express special relationship to Alexander -> Abdalonymos is the protagonist of the hunt frieze not Alexander

Question 72

Portrait of Themistokles

Answer 72

Original c.425 BC, Ostia (original dating is entirely subjective) Less idealism than high classical statuary - prominant crease in brow suggests age and contemplation

Question 73

Portrait of Perikles

Answer 73

Original c.425 BC - survives through Roman Copies - original date is up for debate Very idealising and youthful - strong features, clear complexion suggesting man in his prime - beard suggest age and experience but this is not reflected in the features of his face - age at its most idealised

Question 74

Portrait of Homer

Answer 74

Original c.460 BC - only survives in Roman Copies - original date subjective Not accepted by all to represent Homer as blind - does seem to have eyes closed - tradition of blind bard through Demodocus and Teiresias (blind seer) - physical blindness expressing inner virtue - blindness enhancing memory - he probably wasn't blind, just a trope Archaising approach - beard is geometric, lends itself to myticism and mythological pre-history

Question 75

Nereid Monument cultural integrations

Answer 75

Xanthos (Lycia) c.390 BC Podium = persian tomb, Lycian style of pillars (and it’s a house tomb) Lycian tomb art depicting complimentary but contrasting themes on opposite sides of the monuments – east pediment vs west pediment east pediment mimics zeus and hera in acropolis -> also very reminiscent of bas-relief in persepolis, persian hair style, many of the figures in full profile, -> attic stelae old type in front of persian king , bare chest but ‘greekness’ demonstrated in the slight deviations from full profile (second figure from left looking outward), the tiny bit deeper relief – parsegadae