I.               Kroisos from Anavysos

a.     Subject: Male figure

b.     Style: Archaic Greek statue

c.     Context: Shows the Archaic Greek way of showing the human body.  Stiff, Straight spine, no humanism 

I.               Dying warriors from the East and West pediments of the Temple of Alpaia

a.     Subject: two warriors, one looking straight ahead, on looking down

b.     Shows the paradigm shift from pre-490 to post 490. Shows interest in humanism, lack of archaic smile, more realistic musculature. 

I.               The Parthenon

a.     Subject: temple to Athena

b.     Shows community, convergence of Corinthian, Dorian and Ionic styles.  Has pan-athenaic precession. 

I.               Venus de Milo

a.     Statue of Aphrodite

b.     Shows contraposto, devotion to drapery, sexuality 

I.               Doryphoros, Polykleitos

a.     Proportionally perfect statue

b.     Shows dedication to proportion, reflected human ability; not a reflection on gods. Glorified human body. 

I.               Laocoön

a.     Depicts religious story, Priest told the truth about the wooden horse and was punished

b.     Major anguish on face, motion, torsion in bodies and lack of control and balance.  

I.               Prima Porta Augustus

a.     Composition: stance suggests, forward movement, leadership.  Spear implies military strength; Drapery implies connection to power and brilliance of Greek empire.

b.     Conveys a sense of power, leadership and strength; copies would be displayed all over the roman empire. Entire empire were united under Augustus who is not intimidated by anything.

c.     The breast plate is ornamented with minor gods of place and time. Propaganda of commemoration of a battle.  

I.               Ara Pacis

a.     Scale shows how important Augustus was and his value to the people. 

b.     Celibrates Augustus’s dedication to history, gods, and the people and the land itself.  

c.     Greek influence. 

I.               Equestrian statue of Marcus Aurelius

a.     Proportion shows Aurelius as larger than life-sized. Shows power, confidence and prowess.  Drapery suggests connection to the Greeks. Outstreched hand suggests leadership and power while engaging the people.

b.     Shows his tired, worried look.  Commitment to verism showed ruler with a weakness. Contradicts the size and composition. Leaders were also human beings. 

I.               The Arch of Titus

a.     High relief coupled with use of light and shadow create movement through the archway.  The repetition of figures creates rhythm

b.     Shows importance of victory and conquest.  Inscription shows a divine connection.  Emphasizes travel and extent of the Roman empire. 

I.               Pantheon

a.     Ceiling creates connection to heavens.

b.     Pantheon is a testament to Roman engineering.  Connect earth and heaven, intersecting circles, ceiling. 

I.               Portrait of the four tetrarchs

a.     The figures holding one another creates unity; furthers message of four leaders working together. Showed as symbolic military leaders

b.     Conveys mutual respect and alliance. United in power.

c.     Porphyry. 

I.               Sarcophagus of Junius Bassus

a.     Exhaults Christ’s accomplishments on heaven and earth. Shows shift from Classicism with clustered composition

b.     Shows the shift toward Christianity but with artistic styles kept the same.

I.               Mosaic of the Good Shepherd from Mausoleum of Galla Placidia; ca. 345

a.     Color stands out in the mosaic piece. Blues and greens suggest calmness but also water and good crops. Light emphasizes the sacred spaces.

b.     Church shows mix of classic Roman influences with a new Christian identity. Mosaic shows drastic shift in depiction of human body 

I.               St. Michael’s, Hildesheim Germany

a.     Scale of bronze doors shows a technical marvel and a shift from the norm. Bronze color would have impressed many, given entrance a sense of wealth and divinity. Light

b. Testament to scholarly persuits; layout represents a shift from central planning or basilicas of the Byzantines.  Ornate doors and columns show wealth and importance. 

I.               Purse cover from Sutton Hoo

a.     Color suggests wealth. Perhaps shows the circle of life, relationship of man and nature

b.     Wealthy patron, shows ritual. Some degree of reverence for animals. 

I.               Chi-Rho-Iota page, Book of Kells

a.     Composition shows dedication to the book. Highly ornate background deemphasizes the Chi-Rho-Iota. Proportion

b.     Commissioned by church. Shows devotion. 

I.               Palatine Chapel of Charlemagne

a.     Charlemagne shows his own devotion to the Church. Charlemagne connects himself with power and the apse.

b.     More grounded Byzantine style. Charlemagne’s seat shows himself as an omnisciently divine ruler. 

I.               The Hagia Sophia

a.     Volume shows request of Justinian to build the grandest church in the world. Inside was highly ornamented while outside was left plain.  Light creates ethereal space.

b.     Church was meant to be the biggest and best in the world. Reflection of Justinian’s dedication to Christianity. 

I.               San Vitale, Ravenna 

a.     Mosaics add grandeur to the space. Composition shows importance of Justinian and Theodora, both politically and religiously. 

b.     Flattened bodies fits message away from humanism, and toward an emphasis on god and heaven.  Shows them as divine leaders. Shows wealth of the Byzantine empire.

c.     Shows Byzantine control over Ravenna. 

I.               Pantocrator, Monreale, Italy ca. 1180

a.     Gold exalts Christ and patron, King William II. Scale emphasizes all knowing, all-powerful Christ. Indimidate any attempt to challenge the church’s or the ruler. 

I.               Saint Matthew, Ebbo Gospels,

a.     Shows medieval way of showing the body, no form, concentrated face

b.     Glorifies scholars. 

I.               Andrei Rublyev, “Three Angles”

a.     Saturated color of robes, skin and wings contrasts with background, creates intense focus.  Suggest earthly existence pales in the presence of angels.

b.     Angles shows as above human existence. Experience of opening alter. 

I.               Head reliquary of Saint Alexander

a.     Color and materials show commitment to displaying relics and honoring them with luxury.  Details are reminiscent of roman statues like the Prima Porta Augustus.

b.     Resembles Roman Statues. Respected relics. 

Turrelle, “Roden Crater

1.     Christo and Jeanne-Claude, “Surrounded Islands” (1980-83) 

I.               Notre Dame

a.     Best example of Gothic architecture.

b.     Scale, space, size, rose window. Impressive 

I.               Annunciation and Visitation statues (1230-1235 )

a.     Contour of body and flowing lines of drapery reflect a movement back toward the Classical portrayal of the body.  Movement in arms creates rhythm and unity.

b.     Very classical figures, contrapposto, drapery, cannon of proportions. Verism in faces. 

Paradise of Amitabha