Description
Please review Module 2 and read the assigned chapters before doing this assignment.The Discussion Guidelines are attached here so please review them before answering.My Topic is: Explain the meaning of idealism in Greek thought and the impact of idealism on Greek sculpture and architecture of the fifth century and afterward.Please stick just to the facts and keep your answers under 200 words. We want the Text book to be our main referenceso limit the ‘trivia’ you find online and answer with thefacts you find in your text.
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THE PREHISTORIC AEGEAN
Chapter 4
4.1 The prehistoric Aegean.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.2
4.2 Figurine of a woman, from
Syros (Cyclades), Greece, ca.
2600–2300 BCE. Marble, 1′ 6″
high. National Archaeological
Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.4
4.4 Restored view of the
palace (looking northwest),
Knossos (Crete), Greece, ca.
1700–1370 BCE (John
Burge).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.5
4.5 Plan of the palace, Knossos
(Crete), Greece, ca. 1700–1370
BCE. (1) “theater,” (2) magazines,
(3) north-south corridor, (4) throne
room, (5) central court, (6) eastwest corridor, (7) grand stairwell.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.6
4.6 Stairwell in the residential
quarter of the palace (FIG. 4.5,
no. 7), Knossos (Crete), Greece,
ca. 1700–1370 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.8
4.8 Bull-leaping, from the palace, Knossos (Crete),
Greece, ca. 1500 BCE. Fresco, 2′ 8″ high,
including border. Archaeological Museum, Iraklion.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.9
4.9 Landscape with swallows (Spring
Fresco), south and west walls of room
Delta 2, Akrotiri, Thera (Cyclades), Greece,
ca. 1650–1625 BCE. Fresco, 7′ 6″ high.
Reconstructed in National Archaeological
Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.9A
4.9A Flotilla, detail of Miniature Ships Fresco, from room 5, West
House, Akrotiri, Thera (Cyclades), Greece, ca. 1650–1625 BCE.
Fresco, 1′ 5″ high. National Archaeological Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.12
4.12 Marine Style octopus flask, from
Palaikastro (Crete), Greece, ca. 1500
BCE. 11″ high. Archaeological
Museum, Iraklion.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.13
4.13 Snake Goddess, from the palace,
Knossos (Crete), Greece, ca. 1600
BCE. Faience, 1′ 1 1/2″ high.
Archaeological Museum, Iraklion.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.14
4.14 Harvesters Vase, from Hagia Triada
(Crete), Greece, ca. 1500 BCE. Steatite,
originally with gold leaf, greatest diameter
5″. Archaeological Museum, Iraklion.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.17
4.17 Corbeled-arch construction
(John Burge).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.18A
4.18 A Restored view of the megaron,
Palace of Nestor, Pylos, ca. 1300 BCE
(watercolor by Piet de Jong).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.19
4.19 Lion Gate (looking east), Mycenae, Greece, ca.
1300–1250 BCE. Limestone, relief panel 9′ 6″ high.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.20
4.20 Exterior of the Treasury of Atreus (looking
west), Mycenae, Greece, ca. 1300–1250 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.21
4.21 Interior of the Treasury of
Atreus (looking east toward
entrance), Mycenae, Greece,
ca. 1300–1250 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.21A
4.21 A Grave Circle A (looking
southwest), Mycenae, Greece,
ca. 1600 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.22
4.22 Funerary mask, from Grave Circle
A (FIG. 4.21A), Mycenae, Greece, ca.
1600–1500 BCE. Beaten gold, 1′ high.
National Archaeological Museum,
Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.23
4.23 Inlaid dagger blade with lion hunt, from Grave Circle A (FIG. 4.21A),
Mycenae, Greece, ca. 1600–1500 BCE. Bronze, inlaid with gold, silver, and
niello, 9″ long. National Archaeological Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.24
4.24 Hunter capturing a bull, drinking cup
from Vapheio, near Sparta, Greece, ca.
1600–1500 BCE. Gold, 3 1/2″ high. National
Archaeological Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 4.27
4.27 Warrior Vase (krater), from Mycenae,
Greece, ca. 1200 BCE. 1′ 4″ high. National
Archaeological Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Chapter 5 – Ancient Greece
5.1 The Greek world.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.1
5.1 IKTINOS, Parthenon (looking southeast),
Acropolis, Athens, Greece, 447–438 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.2
5.2 Geometric krater, from the Dipylon
cemetery, Athens, Greece, ca. 740 BCE.
3′ 4 1/2″ high. Metropolitan Museum of
Art, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.3
5.3 Hero and centaur (Herakles and
Nessos?), from Olympia(?), Greece,
ca. 750–730 BCE. Bronze, 4 1/2″ high.
Metropolitan Museum of Art, New
York (gift of J. Pierpont Morgan,
1917).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.5
5.5 Corinthian black-figure amphora
with animal friezes, from Rhodes,
Greece, ca. 625–600 BCE. 1′ 2″ high.
British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.7
5.7 Kouros, from Attica, possibly
Anavysos, Greece, ca. 600 BCE.
Marble, 6′ 1/2″ high. Metropolitan
Museum of Art, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.9
5.9 Kroisos, from Anavysos, Greece,
ca. 530 BCE. Marble, 6′ 4″ high. National
Archaeological Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.10
5.10 Peplos Kore, from the Acropolis,
Athens, Greece, ca. 530 BCE. Marble,
4′ high. Acropolis Museum, Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.12
5.12 Plan of a typical
Greek peripteral temple.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.13
5.13 Elevations of the Doric
and Ionic orders (John Burge).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.14
5.14 Temple of Hera I (“Basilica,” looking
northeast), Paestum, Italy, ca. 550 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.16A
5.16 A Aerial view of the Sanctuary
of Apollo (looking north), Delphi,
Greece, with the Temple
of Apollo, begun 548 BCE, and
Archaic treasuries.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.17
5.17 Restored view of the Siphnian
Treasury, Sanctuary of Apollo, Delphi,
Greece, ca. 530 BCE (John Burge).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.20
5.20 EXEKIAS, Achilles and Ajax playing a
dice game (Athenian black-figure amphora),
from Vulci, Italy, ca. 540–530 BCE. 2′ high.
Musei Vaticani, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.21
5.21 LYSIPPIDES PAINTER, Achilles and
Ajax playing a dice game (black-figure
side of an Athenian bilingual amphora),
from Orvieto, Italy, ca. 525–520 BCE.
Amphora, 1′ 9″ high; detail 8 1/4″ high.
Museum of Fine Arts, Boston.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.23A
5.23A EUPHRONIOS, death of Sarpedon
(Athenian red-figure calyx krater), from
Greppe Sant’Angelo, near Cerveteri,
Italy, ca. 515 BCE. 1′ 6″ high. Museo
Nazionale di Villa Giulia, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.27
5.27 GUILLAUME-ABEL
BLOUET, restored view
(1828) of the facade of the
Temple of Aphaia, Aegina,
Greece, ca. 500–490 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.29
5.29 Dying warrior, from the east pediment of the
Temple of Aphaia, Aegina, Greece, ca. 480 BCE.
Marble, 6′ 1″ long. Glyptothek, Munich.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.30
5.30 Temple of Hera II or
Apollo (looking northeast),
Paestum, Italy, ca. 460 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.35
5.35 Kritios Boy, from the Acropolis,
Athens, Greece, ca. 480 BCE. Marble,
3′ 10″ high. Acropolis Museum,
Athens.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.36
5.36 Warrior, from the sea off Riace,
Italy, ca. 460–450 BCE. Bronze, 6′ 6″
high. Museo Archeologico Nazionale,
Reggio Calabria.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.37
5.37 Two stages of the lostwax method of bronze casting
(after Sean A. Hemingway).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.38
5.38 Charioteer (Charioteer of Delphi), from
a group dedicated by Polyzalos of Gela in the
Sanctuary of Apollo (FIG. 5.16A), Delphi,
Greece, ca. 470 BCE. Bronze, 5′ 11″ high.
Archaeological Museum, Delphi
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.41
5.41 POLYKLEITOS, Doryphoros (Spear
Bearer). Roman copy from the palaestra,
Pompeii, Italy, of a bronze statue of ca.
450–440 BCE. Marble, 6′ 11″ high. Museo
Archeologico Nazionale, Naples.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.43
5.43 Aerial view of the Acropolis
(looking southeast), Athens,
Greece.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.44
5.44 Restored view of the
Acropolis, Athens, Greece
(John Burge). (1) Parthenon,
(2) Propylaia, (3) Pinakotheke,
(4) Erechtheion, (5) Temple of
Athena Nike.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.45
5.45 Plan of the Parthenon,
Acropolis, Athens, Greece,
with diagram of the sculptural
program (after Andrew
Stewart), 447–432 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.46
5.46 PHIDIAS, Athena Parthenos, in the
cella of the Parthenon, Acropolis, Athens,
Greece, ca. 438 BCE. Model of the lost
chryselephantine statue. Royal Ontario
Museum, Toronto.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.49
5.49 Three goddesses (Hestia, Dione, and Aphrodite?), from the east
pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE.
Marble, greatest height 4′ 5″. British Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.52
5.52 Erechtheion (looking northeast), Acropolis, Athens,
Greece, ca. 421–405 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.54
5.54 Caryatids of the south
porch of the Erechtheion,
Acropolis, Athens, Greece,
ca. 421–405 BCE. Plaster
casts of marble statues, 7′ 7″
high. Original statues in the
Acropolis Museum, Athens,
and the British Museum,
London
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.62
5.62 PRAXITELES, Aphrodite of Knidos.
Roman copy of a marble statue of ca.
350–340 BCE. Marble, 6′ 8″ high. Musei
Vaticani, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.63
5.63 PRAXITELES(?), Hermes and the infant
Dionysos, from the Temple of Hera, Olympia,
Greece. Copy of a marble statue by
Praxiteles of ca. 340 BCE or an original work
of ca. 330–270 BCE by a son or grandson.
Marble, 7′ 1″ high. Archaeological Museum,
Olympia.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.65
5.65 LYSIPPOS, Apoxyomenos
(Scraper), from Trastevere,
Rome, Italy. Roman copy of a
bronze statue of ca. 330 BCE.
Marble, 6′ 9″ high. Musei
Vaticani, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.66
5.66 LYSIPPOS, Weary Herakles (Farnese
Hercules). Roman statue from the Baths of
Caracalla (FIG. 7.65), Rome, Italy, signed by
GLYKON OF ATHENS, based on a bronze statue
of ca. 320 BCE. Marble, 10′ 5″ high. Museo
Archeologico Nazionale, Naples.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.69
5.69 Hades abducting Persephone,
detail of a wall painting in tomb 1,
Vergina, Greece, ca. 336 BCE. Fresco,
detail 3′ 3 1/2″ high.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.70
5.70 PHILOXENOS OF ERETRIA(?),
Battle of Issus. Roman copy
(Alexander Mosaic) from the House
of the Faun, Pompeii, Italy, ca. 120–
100 BCE, of a panel painting of ca.
333–316 BCE. Tessera mosaic, 8′
10″ 16′ 9″. Museo Archeologico
Nazionale, Naples.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.71
5.71 POLYKLEITOS THE
YOUNGER, aerial view of the
theater (looking southwest),
Epidauros, Greece, ca. 350 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.73
5.73 POLYKLEITOS THE YOUNGER,
Corinthian capital, from the tholos,
Epidauros, Greece, ca. 350 BCE.
Archaeological Museum, Epidauros.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.76
5.76 PAIONIOS OF EPHESOS
and DAPHNIS OF MILETOS,
plan of the Temple of
Apollo, Didyma, Turkey,
begun ca. 300 BCE.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.81
5.81 EPIGONOS(?), Gallic chieftain killing
himself and his wife. Roman copy of a
bronze statue of ca. 230–220 BCE.
Marble, 6′ 11″ high. Palazzo Altemps,
Museo Nazionale Romano, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.82
5.82 EPIGONOS(?), dying Gaul.
Roman copy of a bronze statue
of ca. 230–220 BCE. Marble, 3′
1/2″ high. Museo Capitolino,
Musei Capitolini, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.83
5.83 Nike alighting on a warship (Nike of
Samothrace), from Samothrace, Greece,
ca. 190 BCE. Marble, Nike 8′ 1″ high.
Musée du Louvre, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.84
5.84 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER,
Aphrodite (Venus de Milo), from Melos, Greece,
ca. 150–125 BCE. Marble, 6′ 7″ high. Musée du
Louvre, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.87
5.87 Old market woman. Roman
copy(?) of a marble statue of ca.
150–100 BCE. Marble, 4′ 1 5/8″
high. Metropolitan Museum of Art,
New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 5.89
5.89 ATHANADOROS, HAGESANDROS,
and POLYDOROS OF RHODES, Laocoön
and his sons, from Rome, Italy, early
first century CE. Marble, 7′ 10 1/2″ high.
Musei Vaticani, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Chapter Six – Etruscan Art
Most believe Roman art and architecture starts with the Etruscan culture. Like many of the ancient cultures residing in the area that
would become the Greek empire, most historians believe the story of the Roman empire begins with the culture that was occupying
the territory that would be the city of Rome.
We get the name Rome from a famous legend and the wolf was an icon or symbol for that story. The wolf was also a favorite animal
of the Etruscans and the oldest known architecture in this area goes back to the Etruscan arch.
Etruscan Arch – around 350 bce – photo source – wikimedia commons
The Etruscans were a charming race. They were never conquered by the Romans and when the Roman empire grew, Etruscans kept
a high status among the Romans. They had the most unique necropolis (city for the dead) that consisted of sarcophagi (coffins) in
the center of a small home. Yes, their graveyard looked like a neighborhood. Here is an Etruscan sarcophagus with a realistic relief
sculpture portrait of the deceased couple that lay inside.
Etruscan sarcophagus
Chapter Seven – Roman Art
History records the start of the Roman Empire with the declaration of their first emperor, Augustus (Octavian) Caesar, the adopted
nephew of Julius Caesar. Rome started out as a democracy but then its citizens willingly gave up their democracy to appoint Julius
Caesar, “Emperor for Life” which ended three days later when the senate assassinated him for unacceptable behavior. Appointing
someone who was not a blood heir was among those complaints but Octavian (Augustus – means blessed one and he was not
related to the Caesar family) Caesar proved to be a great politician and worthy of ruling the new empire. Here is an image of his
sculpted likeness:
The two images are shown here: one is how it looks today (no paint) and one is how it looked in antiquity.
“The Augustus of Primaporta” Augustus Caesar -63 BC – 14AD photo credit – wikimediacommons
Most people today do not realize that Greek and Roman sculpture was painted to make it more realistic. During Republican period,
the Romans considered imperial portraiture to be the most important role for art. They practiced a form of “ancestry worship” or
honoring the family you come from. When an important relative died, the Roman artisans and funeral morticians would drip hot wax
on the deceased person’s face to get an exact replica of the person. They would then cast a mold of it in bronze or marble. This style
of extreme realism was called verism. Many Romans would keep a bust (sculpture of the head and chest) of the deceased relative in
their home to remind them of their ancestors.
You might have noticed that the majority of the sculpture in the Greek Art chapter had “Roman copy” written in the caption. The
original Greek sculpture was destroyed and it was rich, Roman patrons that loved Greek art and hired the Greek slaves to create
similar statues. The Roman government did not appreciate fine art the way the Greeks did because it did not serve a practical
purpose but the rich Roman patrons loved Greek art and had the money to spend on elaborate commissions. The sad fact remains
that Greece was once ruled over other cultures that did not appreciated the Greek heritage and let the art and buildings fall into
ruins. The most preserved Greek art is in Italy – not Greece.
Roman Architecture
Architecture was practical so this is where the Romans excelled in the arts. At one time the Roman Empire grew to a size that was
“Three times the size of the United States”. The Roman empire became so big, many feel that this is the main reason it fell – the
borders were just too wide to protect from invading “barbarians” (The term comes from ancient Greece meaning “people who
could only ‘barble’ Greek or Latin.”)
Housing the citizens of this expanse empire was a major, daily chore and architects were highly regarded. No one knows who
invented the arch because it was such a useful invention that it shows up in many cultures around the same time. The Romans
invented cement and concrete which perfected the Roman arch. You can see how well-built their structures by viewing the image of
the Pont du Gard:
The Pont du Gard goes back to the first century AD and yet it still remains intact. This Roman aqueduct carried water to Roman
citizens from 30 miles away. It was important to the Romans that every citizen, no matter how poor, have access to clean water. The
baths and fountains were open to everyone because they knew poor hygiene was linked to disease and plagues.
We will study another culture that used the arch extensively in another chapter so for right now, we will focus on what the Romans
did with the arch. There is a wonderful illustration in your text showing the many possibilities the arch brings to engineering. The
arch allowed builders to widen the opening to windows and entrances without weakening the structure. First by using a keystone
and then by using cement instead of the keystone, the Romans were able to expand openings to civic structures.
When Roman engineers took one arch and stretched it lengthwise, they created a barrel vault which allowed for high ceilings in
hallways. An intersection of two barrel vaults created a groin vault with an elaborate, patterned ceiling nicknamed “webwork.” We
don’t see too many groin vaults in ancient Rome but we will later on when we read about the Gothic cathedrals.
When Roman engineers took the same principles of an arch and rotated it 180 degrees, they acheived the first domes. The
pantheon, which is considered a modern marvel, was one of the first domes in the western world. This building was amazing and
preserved as a church and is now a museum. As you can see by this image, it looks just like a Greek temple with a dome structure
behind it. The Romans adopted the Greek style of art, architecture and religion – they just ‘Romanized’ the style.
The Pantheon photo License: CC0 Public Domain
The Romans combined sculpture with architecture to commemorate military victories. Both the Arch of Titus and Trajan’s forum
are examples of propaganda in art – this was art to show off a victory or a great leader.
The Arch of Titus
The fall of Rome Shown in Art
Roman artists switched styles of art when the end of the Roman Empire neared. It is amazing how the psychology of the people
shows in the art they create. The last century of the Roman Empire was tough on all citizens. The cities surrounding its borders
became dangerous due to invasions from “barbaric” tribes like the Huns. The last emperors of Rome decided that the empire had
become too big for one emperor to handle. Emperor Diocletian decided to divide up the territories and let more than one emperor
rule each territory. He called these The Tetrarchs and this Roman style of art became well known for its abstract, almost doll-like or
animated style.
The Tetratchs, 300 AD
It is important to note that Roman art went from an extremely realistic style at the beginning of the empire to this animated style
we see here. The emperor who followed after the Tetrarchs adopted this philosophy and divided Rome into Eastern and Western
Rome. We will talk about him in the next chapter since, the emperor Constantine “the Great” had such an impact in the middle east.
Discussion Questions – Chapters 4-7
Practice your understanding of Chapters 4-7 by doing this discussion assignment.
Do not use page or figure numbers because these numbers change according to the devices and editions.
Please choose one question to answer in 200 words or less.
Try to choose a question that has not been answered so all the questions are answered.
Remember to apply those key terms to actual art from your text.
Cite an image and the title of the art to apply to your answer as an example.
If all the questions are used, then find another way to answer the same question. (If youwait till the end of the
unit and all the terms and facts have been taken, write something different than what has been written before.)
Please stick just to the facts and keep your answers under 200 words. We want the Text book to be our main reference
so limit the
