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Varvakeion Athena; 2nd c. CE Roman copy of Chryselephantine statue of Athena Parthenos, Parthenon, Athenian acropolis, ca. 437-432 BCE
- ivory and gold
- [...] |
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Plan of the Propylaia, Athenian acropolis, c. 437-432 BCE
- six columns front and back
- six columns (two rows of three) on the inside
- five-doored entrance-way
four of which were stepped and one un-stepped for animals, with pairs of flanking units to the northeast and southeast, perhaps intended as dining halls, were never completed
- split-level gateway, wit Doric columns ont he exterior and Ionic columns either side of the main apssage on the interior.
- the flanking unit to the northwest, the "Pinakotheke" (picture gallery) where paintings were stored on wooden panels for display and dining took place was also completed having three columns in antis on the facade. |
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Temple of Athena Nike, Athenian acropolis; c. 425 BCE
- Part of Pericles building program
- built high on bastion overlooking the approach to the Propylaia
- Uses Ionic order to contrast neatly with the Doric of the gateway itself
- has four columns prostyle, both at front and back
- cella which was almost square
- cella entered through a doorway flanked by monolithic pillars, which were linked to antae by bronze struts
- elevation has Ionic bases and volute capitals for the columns, with a continuous Ionic frieze above the architrave
- congregation of divinities = east frieze
- Greeks frighting Persians = South frieze
- billowing drapery, elongated figures and awkward poses anticipate developments in the next century |
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Sandal Binder Nike (adjusted sandal), from balustrade of Temple of Athena Nike, Athenian acropolis, c. 425 BCE
- demonstrates clinging drapery at its most transparent
- the garment slips from the right shoulder, but the left is equally visible
- the new precarious posture allowed drapery folds swinging across the figure to reveal the legs, while the clothing pressed against the torso makes the breasts visible, though they are covered |
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Plan of the Erechtheion, Athenian acropolis, c. 421-406 BCE
- 1 large cella on east for cult statue of Athena Polias with other smaller rooms dedicated possibly to Erechtheos.
- Poseidon and possibly Boutes on west divided by a solid cross-wall
- Foundations on west end were lower than east
- Increased number of columns on east porch in # form 4 to 6 columns in east arrangement
- On west side are 4 raised engaged columns which means they were built into a wall and raised about 3 m with open spaces between the columns, creating the effect of windows
- They are tall slender Ionic columns
- North porch has 4 columns with con column behind each to the corner columns
- South porch or the caryatid porch |
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Caryatid from south porch, Erechtheion, Athenian acropolis, c. 421-410 BCE
- 6 draped female caryatids support roof; the folks of their drapery fall vertically, resembling the flutes of a column to give impression of strength and support
- 1.5x larger than life-size; represent perhaps priestesses of Athena or the daughters of King Kekrops |
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Doryphoros (spear-bearer) by Polykleitos, Roman copy of Bronze original, c. 440 BCE
- High classical period Sculpture (450-400 BCE)
- Polykleitos > Kanon: book discussion ideal proportions of the male figure; also sculpted the Doryphoros (spear bearer), to illustrate these productions
- Roman marble copy of Bronze original, the most famous piece of this work, ca. 440 BCE
- Symmetria (the commensurability of parts); canon based on the geometrical relationship of proportions: each part of the body is related to an adjacent part; walking stance: contrapposto (counterpoise)
- Perfect balance between motion and stasis
- Leads to a more naturalistic representation |
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Attic Red figure amphora by Achilles Painter; Achilles, c. 440 BCE
- hero stands in solitary splendor, highlighted on meander ground-line, shouldering his spear with his right hand on his hip
- Accurate representation of the anatomy is striking feature, whether is be the view of the left leg or the profile eye
- the deep carving of the folds of drapery of the Parthenon figures is matched in painting now by close-packed, irregular, wavy lines of garments (over the upper thighs)
- mood is close to ideal calm of the Parthenon figures, while the stance is close to that of Polykleitos' Dorophoros
- heroic and mythological scenes thereafter become less popular, however, and their plan is taken by scenes of daily life |
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Reconstruction drawing of interior of Temple of Apollo, Bassae showing interior frieze and Corinthian capital, c. 430-390 b.c.e
- Bassae; architect was Iktinos; shows transition of styles from 5th to 4th c. BCE
- 6 x 15 Doric columns axis north-south; had adyton (rear room; sort of shrine); 1st and earliest known use of Corinthian capital with bell shaped echinus, one of the hallmarks of 4th c. BCE
- Distyle in antis
- Cella > divided into two sections! Cella and adyton
- Columns for cella are attached to short spur walls
- Interior Ionic capitals |
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Theatre, Sanctuary of Asklepios, Epidauros, 3rd century BCE
- Theatre (associated with Dionysus); best preserved; circular orchestra (where actors performed) and skene (building used for backdrops and storage); had seating capacity for 12000; 55 rows of stone seats were built into hillside |
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Plan of the Athenian Agora, c. 300 BCE
- help .... |
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Plan of the Olynthos, grid layout of streets and housing, 5th-4th centuries BCE
- Excavated between 1928-1938 by David Robinso; it is the best preserved site to study domestic housing from 5th and 4th century BCE, as it was destroyed in 348 b.c.e by Philip II
- Plan shows an orthogonal grid layout (1st found at Miletus after 479 BCE; created by Hippodamos)
- Each block 100x40 m with 2 rows of 5 houses |
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Plan of the Villa of Good Fortune, Olynthos, 4th c. BCE
- One of the largest and richest and best preserved
- Had unusually large rooms with stuccoed and painted walls and floors decorated in pebble mosaics |
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Conjectured reconstruction of Mausoleion, Halikarnassos, c. 350 -340 BCE
- In modern Bodrum, Turkey
- Mausolos was the governor of Caria
- By roman time mausoleum became a generic term for a large tomb
- Said to be built by wife Artemisia; one of 7 wonders of the ancient world
- Jeppensen excavated it between 1955 – 1977
- 45 m in height; consisted of 3 main parts: a podium or base 20m high; ionic colonnade of 36 columns; a roof in form of step pyramid, which was crowned by a 4 horse chariot with Mausolos; on roof were lions; between columns on podium were free standing statues of humans; on upper podium was frieze of Greeks vs. amazons; on base of upper level was a chariot frieze and beast hunt; on 2nd level were more free standing statue; below was frieze of Lapiths cs. Centaurs; 4 gr sculptors associated with the sculptural decoration of Mausoleion: Skopas, Bryaxis,Timotheos, Leochares |
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Aphrodite of Knidos, by Praxiteles, Roman copy of marble original, c. 350 BCE
- His most famous statue; first time a full scale nude female; small head, long legs; S-curve |
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Apoxymenos(youth scraping himself) by Lysippos, Roman copy of Bronze original; c. 350-325 BCE
- Lysippos (from Sicyon; ca. 350-310 BCE); new Kanon of proportions: slenderer bodies with long limbs and smaller heads; first to introduce 3D in Sculpture: court sculptor to Alexander the Great
- Apoxymenos foreshadows 3D Hellenistic Period
- Marble copy
- Leaf
- Athlete scraping oil off of himself |
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Alexander Mosaic, House of the Faun, Pompeii; 1st century copy of painting by Philoxenos of Eretria, c. 310 BCE
- Best known ancient mosaic; rare historical event (Battle of Issus in 333 BCE); made of tesserae (small cubes of stone/glass) in technique called opus vericulatum (“worm-like work)
- Original painting made for Cassander
- Commissioned by Seleucos for Antioch
- Made of over 1 million tesserae
- 3mm a square
- At some point cut in two parts and taken to Pompeii in 2nd c. BCE |
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Perspective Drawing of Tomb II Vergina, c. 340-310 BCE
- Mound = tomb
> approach passageway
> antechamber
> main chamber
= what is included structural with the tomb
- each chamber was approached through a two-leaved marble door and was covered by a barrel vault, the combined length of the two vaults being about 11 years (10 m)
- non of the interior walls features figurative paintings |
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| DO: 3 vertical ends of wooden beams rotting |
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| DO:stone plaques covering mud-brick between beams |
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| Main characteristic of the Doric order |
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| Triglyph and metope frieze |
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| DO:abacus (oblong/square flat slab) and Echinus (cushion-like) |
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| DO:horizontal architectural members forming superstructure |
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| DO:course of masonry above capitals supports superstructure |
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| DO:narrow projecting band |
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| DO:short rectangular shelves with guttae |
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| DO:sloping flat block of soffit of cornice |
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| DO:horizontal course (geison) above the frieze and angled members following slope of roof |
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| DO:in form of raking/sloping |
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| DO:crowing gutter at roof level |
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Typical temple:
Front porch (pronaos)
Often Distyle in antis (2 columns between thickened sidewalls of porch)
Main room with cult statue: (cella/naos)
Rear porch (opisthodomos)
Surrounded by colonnade; temple sat on stepped platform (stereobate)
Stylobate is the top part on which columns rest
The temple has an east-west axis |
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| Doric Order versus Ionic Order |
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Doric style is very heavy with a heavy superstructure consisting of a wide architecture and frieze
Columns are heavy and sturdy in order to make superstructure look right
Whole style is one of sturdiness and heavy proportions
Columns had a maximum diameter of about 1/5th or 1/6th the column height
Doric order was a very simple and severe style with painted colour on the Triglyphs and metopes
In contrast, the Ionic order is much lighter in style and more ornate in its decoration
(Image) Ionic Order - right
Columns: 24 flutes and stood on bases; had a maximum diameter of 1/8th or 1-9th of column; giving it a more slender appearance
Capitals: Abacus (plain square slab); Volute (2 spiral scrolls)
Problem with making volute look good at the corners led to new later Corinthian style
Architrave: 3 flat undecorated projecting bands
Frieze : Row of dentils (small projecting blocks); or a running frieze (continuously sculptured)
Pedimental Sculpture |
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| a rectangular architectural member, partly bonded to wall and partly bonded to wall and partly projecting form it) along sidewalls of cella to support roof |
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| long rectangular multi-purpose structure open to front with roof supported by columns and rear wall; sleeping place for pilgrims |
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| 2 rows of 8 columns alone front; 2 rows on 10 columns along rear and 2 rows of 21 columns along sides (doubling of columns an Egyptian influence) |
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| is a broad-lipped tail jug with sagging belly used for poring wine |
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| is a tall 2-handled vessel used for storing liquids |
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| a deep bowl for mixing wine and water; handles are in the shape of volutes |
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| circular picture on inside of a cup or plate |
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| shallow drinking cup with horizontal handles |
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| arrangement whereby columns are placed in front of a building |
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| each column tapers upwards on a slight curve |
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| upright slab concealing open end of a row of tiles covering the joints of the roof tiles |
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| ornament at the corners or peak of a roof |
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| which means they were built into a wall and raised about 3 m with open spaces between the columns, creating the effect of windows |
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| meeting place for board of 10 generals |
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| executive body of Council of 500) held official weights and measures |
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| long portico on north side of court (largest unit in house) |
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| men’s dining room with off-centre door and raised border for couches |
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| women’s room aka lounge room |
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| the commensurability of parts |
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| building used for backdrops and storage |
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| small cubes of stone/glass |
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