final Greece

Pediments (438-32 BC),), Parthenon, Athenian Acropolis. 447-432 BC. west pediment Contest of Athena and Poseidon for patronage of Athens.High Classical/ Fifth Century BC

-Athena gave an olive tree while posideion gave a horse they chose Athena as patron because olives are important to Greek society.

Derveni Krater, from Derveni, ca. 370-330 BC. Fourth Century BC / Late Classical

3ft bronze vase Alloy so it has a shine to it Scene of Dionysus- god of partying- and his rebel followers Dionysus is centered and the biggest He is associated with Panther

Grave Stele of Hegeso, from Athens, ca. 400 BC, marble. Fourth Century BC / Late Classical

5ft tall Top of Stele says her name Her servant is picking out her jewelry Her grave shows who she was in society Celebrating women's qualities in the domestic sphere, greatest accomplishment for a woman was to govern the household finances

Athena, from Piraeus, ca. 350 BC, bronze. Fourth Century BC / Late Classical

8ft statue was found in the ruins of a shipping warehouse and were being stored in Piraeus during the roman period. Looks more human and more feminine. Simplified version of her.

How come the image on the parthenon frieze have been a source of great frustration for philologist, historians and iconographers alike?

A lot of traditional elements that should have been in the frieze were not in the frieze. for example they were missing the maiden basket barriers, and women water carriers. The key images were not their and the women's roles were changed to male roles.

Riace Warriors, from Riace, ca. 460-450 BC, bronze. Severe/Early Classical

A pair of two bronzes both over life size, unclear if they were made by the same artist and were meant to be shown as a pair, originally held shields and sword or spear in hand warrior , warrior b looks older then warrior a. Interior core survived. Discovered 1972.

Gnosis, Stag Hunt, from Pella, ca. 330-300 BC, pebble mosaic. Hellenistic Art

Alexander and later, made by taking found stones and organingzing them and placing them in these compositions 5 by 3.2 meters, over life size, placed in mans entertaining room, flying cloak is tying to get the animal, all natural occurring stones

Pediments (438-32 BC),), Parthenon, Athenian Acropolis. 447-432 BC. east pediments birth of athena. High Classical/ Fifth Century BC

Birth of Athena-originally Zeus on his throne and Athena and the rest of the gods around them. Athena born at dawn. Representation of moon setting and sun rising. Three unknown goddesses, might be Aphrodite because drapery is falling down, Drapery and form seen highly stylized in high classical. Drapery is clinging to the body called wet drapery. The idea of how fabric folds. Translucent when they want them to be.

Why do Hamilakis and Spivey suggest that the political message of the Athenian Acropolis was meant for an audience beyond Athenian or pan-hellenic society (pt-305-6)

Competitive way to show off their artistic skills in art and architecture and how they had defeated their enemies in wars. Metaphorically representing them through the centaurs and the amazons. Showing they were above these creatures and that these creatures represented enemies of the past such as the persians.

Paionios of Ephesos and Daphnis of Miletos (architects), Temple of Apollo, Didyma, ca. 300 BC onwards. Hellenistic Art

Connected to moletis, centre of commercial trade Roof is never finished Ionic Dipteral- forest of columns One of the largest in the word Open air courtyard Oracular shrine ocular room acted as a stage where priests were It was worked on for 100's of years

What did perikles challenge the survivors to do in the loss of their soldiers?

Challenges them to remember the soldiers death and to continue to love and fight for Athens and carry on their own traditions. May pray that it will have a happier issue.

Iktinos and Kallikrates (architects) and Pheidias (head sculptor), Parthenon, Athenian Acropolis. 447-432 BC. High Classical/ Fifth Century BC

Citizens, slave, and foreigners all got paid to build acropolis. Pheidias did cult sculptures. Parthenon was largest structure to be built on mainland Greece. Were trying to compete with Olympia, longer and more covered then sculpture then Olympia. Made out of a local limestone. Was seen as a architectural triumph. West part of the building is what you would see. Doric building. Reference to Ionian league. Both pediments and metopes were sculpted. Vast majority is mythological. We have 96s metopes. Was blown up in 687 and made in to a church. No straight lines on the Parthenon. Beauty determined though mathematical proportions. Metopes and sculptures sculpted on ground then later lifted up into place. Each side focused on civilization vs barbarians. Metaphor over Persia. On the south we have Centauromacy. On the West greeks vs the amazons. Sack of troy on the North, East the gigantomachy. Most in bad shape.

In his speech who'd does perikles credit the might of Athens to? Why is he making this speech?

Crediting the people who had died for Athens,

Dog Mosaic, from Alexandria, 2nd century BC, tessellated mosaic. Hellenistic Art

Cut stone mosaic, probably have 250 stones in it, densely packed, look like paintings rather then stones, sign of wealth, found in excavations of the library

Grave Stele of Dexilios, from Athens, ca. 394 BC, marble. Fourth Century BC / Late Classical

Dexilios- Over 6ft Inscription on the bottom says the year he died Died in battle, member of the cavalry as a knight he was wealthy Wanted to be remembered as heroic- celebrated male qualities, wealthy, valiant warrior Clothed in trappings of knighthood Enemy is greek but is nude and vulnerable

Explain how osborne accounts for various aspects of social and public expression changing sculpture?

Elite public expression changed marriage and burial practices. As democracy was established in athens at the end of the 6th century changing demands made by Athenians can be seen to correlate with artistic hang in two ways. Pericles citizenship law made it so elite marrying people from other cities was listened. Marriages individual funerary monument and individual dedications were explicitly or otherwise ruled out. It was not just the monuments themselves that had ceased to be acceptable but leo for this was intimately bound up in them what expressed.

Barberini Faun, found in Rome, ca. 200 BC, marble. Hellenistic Art

Exporting greek are and greek artist going to rome. Greek art shows culture and education and high class. Want copies of greek art work. A lot of our Hellenistic are found in rome. Slightly over life size made out of marble. Found in rome during the 16th century. Makes his way to rome in the ancient period is used in the museum of Hadrian. Represents a satyr or a faun. Partially goat or donkey human, earlier periods show them as sexual predators. Incredibly humanized we only know he is a satyr because of his little tale and his animalistic ears. Sitting her reclining on his rock asleep. Incredibly sexualized. This is usual to have a mature male (20s or 30s) eroticized. Greek original and no copies. Hyper realism we see every muscle defined. Becomes earthy object of desire. Shift in personal life a avenue for personal fulfillment.

Alexander Sarcophagus, from Sidon, ca. 320 BC, marble. Fourth Century BC / Late Classical

For the king that Alexander appointed Shows Greeks fighting Persians Alexander is highlighted, largest and wearing the lions head of Heracles Tomb is made to look like a greek temple, friezes and fancy roof décor The king is aligning himself with Alexanders power Persians are identified because they wore trousers and headdresses

Striding God (Zeus or Poseidon), from Artemisium, ca. 460 BC, bronze. Early Classical severe style

Found in a shipwreck, well over life-size, the moment of throwing the object, based on iconography (long beard ,idealized figure) it either represent Zeus or Poseidon. Had in laid eyes, long beard, same hair of severe period. Stance is only possible in bronze, exaggerated arms, easy to replicate, more detailed in bronze. Difference in color looks more like skin which is why they were not painted. Bronze is expensive so it is a statement of wealth.

Seated Boxer, found in Rome, ca. 150 BC, bronze. Hellenistic Art

Found in rome, very fatigue and expresses a lot of emotion. Slump hopeless feel to him. At a lost of moment of contemplation. We see a rise of the professional athlete. People would win prizes and would get paid for there competing. Not aristocratic. Representation of the new class of athletes. Low moment before he wins.

Jockey, from Artemision, 2nd half of the 2nd century BC, Bronze. Hellenistic Art

Found in ship wreck probably being shipped from rome, we have this idea then that the romans are taking different time periods works and taking it to rome. Little under life size, jockey on a horse, they are winning a horse race. Nike scraped into the horse so it is a victorious monument. Jockey is hired hand, the jockey is just a boy, would frequently hire boys to be the jockeys. Might be middle eastern or African decent. Indicates movement.

How does the ambiguity of Nikes actions in the statue of nike adjusting her sandal reinforce osbornes statement that classical sculpture has no freedom of sexuality or the feminine because the feminine principle is constructed by the male desire

He argues that her improper position and semicircular pater of drapery fold point to the compassion and focus on the belly highs and woman hood.

In short i say that as a city we are the school of Hellas, while i doubt if the world can produce a man who, where he has only himself to depend upon is equal to so many emergencies and graced by so happy versatility as the athenians. What did perikles mean by this statement

He was calling the athenians the greatest on earth and the epitome of Greece . hard to find a greater man

Interior Frieze: Centauromachy and Amazonomachy: Temple of Apollo, Bassae, ca. 430-390 BC. Fourth Century BC / Late Classical

INTERIOR FREIZE- weird Battle of Amazons and greeks Dramatic Capes Amazons are loosing Proportions are off Battle of Greeks and Centaurs Round puffy figures propotions are off Densely packed Built to occupy your field of vision

Portrait of Alexander the Great from Pella, ca. 200-150 BC, marble. Fourth Century BC / Late Classical

Iconography associated with Alexander, his hair, nose and middle parting.

Paionios, Nike, erected on column in front of the Temple of Zeus at Olympia, ca. 420-410 BC. Fifth Century BC

Intended for marble from the very beginning has a very successful composition not base. Was a victory monument was on a column at a temple of Olympia. Was a monument from the palaponesian wars. Had a shield that talked about the victory. Front leg hangs free since the base is supporting her drapery.

Nike of Samothrace, from the Sanctuary of the Great Gods, Samothrace ca. 190 BC, marble. Hellenistic Art

Island that is up on northern edges of the greek world. Home to a panhellenic sanctuary that became popular during the period, they are Thracian gods and it become very popular among the greeks. This was a military naval victory monument dedicated by a Hellenistic king. It was originally on the top of the hill in a fountain. Then we had the front part of the ship and nike has flown in to announce the victory. Well over life size. Sculpture managed to attach the wings with thing marble that way they didn't need support. Much more interactive you are suppose to see it at multiple angles. Becomes much more common you see it from multiple angles.

Painting: Abduction of Persephone by Hades, Tomb of Persephone, Fourth Century BC / Late Classical

King philip may be buried here She and her friends are picking flowers (she's princess of spring) and she is taken by Hades to be his bride of the underworld King and queen of the dead Wheel- attempt to allude to space She is calm- reflecting appropriate behaviour for greek woman She is nude- vulnerability not heroic

Polykleitos, Doryphoros (Spear Bearer), original (now lost): ca. 450 BC, bronze. High Classical/ Fifth Century BC

Known only through Roman copies, most of which are marble. Discussed the most well known for the spear bearer was originally bronze but the bronze copy disappeared. Most copied greek statue. This statue comes from Pompeii. Was trying to create the most beautiful sculpture in the world, called this the canon because it had perfect symmetry. The goal was that you saw this statue and was the definition of beauty because he was nude and idealized to the extreme.

Antikythera Bronze, ca. 350 BC, bronze. Fourth Century BC / Late Classical

Life size bronze thought to represent persus holding the head of medusa. Emphasis was on whatever he was holding.

Sleeping Eros, 150-100 BC, bronze. Hellenistic Art

Life size the rock is a modern reproduction, wings tucked behind where he bow and arrows would have been. Bonelessness when they fall asleep. More approachable as a god. No provenance. Hair moves with him.

Erechtheion, Athenian Acropolis, 435 or 421-405 BC Karyatid Porch. High Classical/ Fifth Century BC

Most sacred part because most of the cult objects were kept in here and the alter in this part was most important were animals and offereing would be given to Athena olive tree was here salt arks wee posidens trident touched caryatids pillars ioinic floral decoration attached figures to the background only frieze in greek world to do this Karyatid Porch-6 are identical the 7 feet tall, drapery and dress looks like a column and she is wearing a peplos to make her look like a column wet drapery had very thick heavy hair because the neck is the weak point so hair adds more weight to the neck propably a representation of one of the women participating tin the karyatid walking taking part of the religious procession

Mausoleum (Tomb of Mausolos), Halikarnassos, 359-351 BC. Fourth Century BC / Late Classical

NOT GREEK Capital of caria Under control of Persian empire Tomb of Mausolos - Carian Satrap Hired Greek Sculptors to work on his tomb because he wanted it to be the best in the world Greeks would go else where to be hired for work Heavily adorned with sculpture Square sculpture, pyramidal roof

Hagesander, Athenodoros and Polydoros of Rhodes, Laocoon, found in Rome, Maybe 2nd C BC or Roman work of 1st C. BC, marble. Hellenistic Art

Probably made by three artist who came from the island of Rhodes. These three probably moved to Italy to work for roman patrons. Almost defiantly 1st century. Tells the myth of Laocoon. He was a priest of Apollo and tells the Trojans not to take the Trojan horse in. Send snakes from the sea to kill him and his sons so the Greeks can win. Mythological but focus on pain and agony. Life size

Why were antiquities feared and respected by the populations of the greek peninsula? What did they believe would happen if these antiquities were destroyed? (pg. 307)

Respected because they represented supernatural forces which the objects showed through tier identity and they were feared because they thought if they were moved or destroyed the antiquities would curse them in some way.

How does the nude Aphrodite and statue of nike discussed by osborne differ from Athena Parthenon?

Size and material are different, Athena parthenon has imagery on it,and is made of gold and ivory. while the classical statues are more sexual.

Mnesikles (architect), Propylaea, Athenian Acropolis, ca. 437-432 BC. High Classical/ Fifth Century BC

Sacred way had picture gallery wasn't decorated had an entrance on the back side also knobs are lifting bosses are remnants of the construction process. Would rough out the blocks and leave a lifting blocks shows how they would have technically unfinished. Shifted marble to pelaplension war ashlar masonry. Athens fights Sparta

Theater, Sanctuary of Asklepios, Epidauros, early 3rd century BC. Late Classical

Sanctuary dedicated to Epidaruros- God of medicine- people would come there to be healedd Outside boundaries of sanctuary was theatre Entertainment for those who want to be healed Best preserved Greek threatre Known for acoustics- shows understanding of acoustics All male actors, all wore masks

Why have the parthenon marbles become one of the most celebrated and valuable parts of the symbolic capital of antiquities?

Seen as unique singular and used in political transactions.

Metopes (447-442 BC): Parthenon, Athenian Acropolis. South: Battle of Lapiths and Centaurs (Centauromachy).High Classical/ Fifth Century BC

Short hair heavy idealization no beards ugly face on centaurs is very high classical. High relief.

How did the presence of the sculptures from the Athenian Acropolis influences British Society? (308)

Showed the aesthetic taste in british art and began a new era were they left the art unrestored.

What problems are posed by the request for repatriation? "What exactly is the object that the city of Bergama seeks to repatriate" (15)

Taskin vaguely refers to the object as an architectural monument. And yet "the great altar of Zeus of Pergamum" refers both to the ancient monument that no longer exists AND to the museum reconstruction in Berlin.

who was telephos? where in pergamon did his imagery appear and why was he important to pergamon political and cultural identities? who was pergamos? what purpose did he serve in pergamene art and society? why was telephos emphasized more pergamos?

Telephos was the son of herikles and a refugee. was the founder of pergamon and helped with the fall of troy. significant to the culture because the dynasty fabricated his mythology to associate themselves with greek culture. Pergamos was the youngest son of Achiles and founder of the city of pergamon. Hero who gives the name to the city. not as great as a tie then telephos.

Kallikrates (architect), Temple of Athena Nike, Athenian Acropolis, 425-407 BC Parapet (balustrade) (ca. 415-407 BC): Figures of Athena and Nike. High Classical/ Fifth Century BC

Temple of Athena nike was part of the mycaneane palace single room single stella only a couple of feet also a little tiny alter. nike young beautiful women with wings bringing offerings to Athena more of a personification,

What is the common justification for museums refusal to return ancient works to their country of origin? Provide an example of a work and a museum that has made this justification. What is Taskin's response in his book? (14)

That the museum is a temple of universal knowledge. British museum and the Parthenon marbles. Taskin insists that the altar is an iconic image that is representative of a common heritage of humanity. AND even though the altar is a product of "the universal culture" it should not have been uprooted from the physical locality in which it found its original meaning.

What does Bilsel's claim about Taskin's campaign for the reparation of the "Atar of Zeus?"

The "Great Altar of Zeus" is a big part of the modern day Germany. Taskin's goal in his campaigning is to change the nineteenth-century Germany's imperialist ways which did not allow Bergama any control over their heritage, cultural heritage to a made up history of and by doing so, support a hypothetical reconstruction of the Pergamon Museum.

Name two alterations that Bilsel argues made the reconstruction representative of what "German archeologists of the early 20th century thought a Hellenistic monument should look like."(16)

The great altar in Berlin is not a freestanding building but has now become an instillation in a modern interior. The slabs of the Gigantomachy are installed alongside the inner walls, while the space in the middle is left empty. (16)

Why does Turkey want the Great Altar of Pergamon back? Who took it and where? Why was the support for restitution of the Great Altar of Pergamon so unusual?(13)

The great altar is a monumental vision of art and architecture that shaped modern Turkish identity. It was taken away by from Bergama in the late nineteenth century by Carl Humann. Safea Taskin, a Turkish social democrat orchestrated the campaign for the restitution of the "altar of Zeus of Pergamon" from Berlin back to Turkey.By march of 1991, about 6ix hundred thousands signatures had endorsed the petition and in the spring of 1992 the number rose to three million. And the following year to 16 million. According to Bilsel "Architecture has rarely inspired passionate response by a mass audience, let alone by millions."

How do classical greek male statutes differ from females in regards to their relationship with the viewer?

The male is seen as a public figure when he is being portrayed he doesn't acknowledge the viewer while the female is in a private space and is seen in domestic roles.

Who were the two prominent figures in restoring the content of The Pergamon Room? What message or meaning did they try to portray in doing this restoration? (p.16-17)

The prominent figures where Alfred Messel the architect of the restoration of The Pergamon Room and Wilhelm von Bode was the director. Both tried to express the original content of the Hellenistic artwork and become more of an experience of the the sculpture as a whole.

Aphrodite, Pan, and Eros, from Delos, ca. 100 BC, marble. Hellenistic Art

The slipper slapper group, underliefe size, merchants on Delos was found in clubhouse of merchants who were from modern Lebanon. Dedicates it to his non greek gods. We have pan grabing a hold of Aphrodite to have sex and she is fending him off with her show. Eros her son is grabbing pans horns.

According to Lucian how did the positions of the Aphrodite sculpture affect how viewers interacted with it?

The viewer himself would become self conscious and it was seen as a invitational drama.

Zeus and Ganymede, from Olympia, ca. 470 BC, terra-cotta. Severe

Under life size, cheapest kind of sculpture you could commission. Not as durable as much as bronze or marble. Thought to be a akroterion which is a sculpture that was put on a roof. Triangular base is where it would have been placed on the peak of the building. Wasn't a large building if it was due to base being small. Represent Zeus with one of his loves Ganymede. He was a Trojan prince and Zeus amazed by his beauty stole him and made him his cup bearer. Half archaic half severe.

Aphrodite of Melos (Venus de Milo), ca. 125-75 BC, marble. Hellenistic Art

Very larges statue 6 ft 8 inches tall. Was found in the city gymnasium and is associated with a particular myth. Apple in her hand leads to the myth of the judgment of paris. Paris judges the three goddess to determine who was the most beautiful. He choses Aphrodite. Apple was near her so we think she was holding her apple when she was judged the fairest. Signifies victory her nude. Shes a guide for men as they get older,

Charioteer, from Delphi, ca. 470 BC, bronze. Severe/Early Classical

Victory monument. Common for athletes who have one a competition to dedicate statue to gods as a way to thank the gods for winning. This one was covered due to earthquake and mudslide. Might have been dedicated by Polyzales of Gela, Sicily, he was a tyrant at Gela who won a chariot game in Delphi, Charioteer and jockeys were hired help. Charioteer and jockeys wear clothes.

by providing gifts to hellenic cities surrounding pergamon the kingdom was easily established. What did this set the mold for?

it set the mold for being a patron of the arts because they wanted to establish a Hellenistic culture

Eponymous Heroes Monument, Athenian Agora, fifth century BC.

a large platform of each of the eponymous heroes, Delphi oracle chose the heroes, functioned as a bulletin board, all important notices of your tribe, base where announcements would go located at the side of the agora and each tribe would have been about 3,000 open to every male citizen over 20

Praxiteles (?), Apollo Sauroktonos (Lizard Slayer), ca. 350 or Hellenistic or Roman copy, bronze. Fourth Century BC / Late Classical

argued it is a roman copy. It appeared in art market in 2004 and was controversial. Considered late classical.

Hephaisteion, Athenian Agora, ca. 450-415 BC. High Classical/ Fifth Century BC

best preserved temple in the world was built during the same period of the acropolis. Took a while to construct because they stopped during the palopensian war. Was converted into a church and never blew up. Very dark inside and were arterially lite. Dedicated to Phaistos who was god of the crafts. Athena associated with hi since she was the god of weaving. Athena and Phistos were in broze. Were probably both her because they were parents of Erechteus. Father figure of the Athenian people.

What does Mansfield show us that demonstrates how little we understand about the function of Athena's peplos?

by showing that the testimonia actually indicate two distinct peploi: a small one offered to Athena's statue annually and made by arrephoroiand ergastinai, and a large one, a tapestry with woven scenes, transported to the Acropolis by ship cart every four years in the Greater Panathenaia

Great Altar, Pergamon, ca. 150 BC, marble. Hellenistic Art

marble freestanding altar, not associated to a particular temple so we are not sure which deity it is associated with. Might be Athena or Zeus since the are the most important in pergamon, might be telephos.

Athenian Agora, fifth century BC. Fifth Century BC

center of the Athenian democracy, shops fountain house and were all the important buildings were located

Cult Statue of Athena Parthenos (now lost), chryselephantine (gold and ivory) Parthenon. High Classical/ Fifth Century BC

crowning jewel of the Parthenon. Was originally made out of gold and ivory. The Parthenon wanted to be greater and larger then the one in Olympia. Was 40 ft tall. Highly revered. Ivory was skin gold was her clothing. Holding a nike, and wearing here eges her helmet spear and was a statement by Athens. Open to non-Athenians the sanctuary was non athletic was the defense fund of the delion league. Was in the temple for about a thousand years. More messages included in the sculpture snake is a reference to the early history of Athens. Athenians believed early ancestors were autochthanons which means they came from the ground themselves. Erechtheus is raised by Athena. Birth of Pandora was first human women sent to earth to torment men. Pandora is raised by Athena. Centaur on athenas shoes monsters and giants on athenas shield. Spinxs and pegaus on crown. Was converted into a church in the 6th century.

Praxiteles, Aphrodite of Knidos, from Knidos, Roman copy of ca. 350-330 BC original, marble. Fourth Century BC / Late Classical

cult statue of the island of Knidos. Was placed in a round temple. The original was marble did not survive it was widely copied though.public or private. Author thinks we're interrupting a private scene

According to Osborne why is the situational nudity he describes in regards to the Aphrodite problematic and/or conflicting? How did the influences reactions to it, specifically in male viewers?

even though she is bathing it is unclear if she was meant to be naked and it shows not self consiousnes which goes against being a private act. Calling attention from male viewers to gaze at her.

Gaul and his Wife: Victory Monument of Attalos I, precinct of Athena, Pergamon, original (now lost): 230-220 BC. Hellenistic Art

gauls were Celtic nomadic people, Individual sculptural compositions, here is one. Killed his wife, then killing himself, choosing death on his own terms so he is not killed, and kills his wife so she is not sold into slavery. Not greek, both have choppy hair, man has no beard but a mustache, the victory of Greek civilization over barbarianism. Seen as heroic.

Interior frieze: Life of Telephos, Great Altar, Pergamon, ca. 150 BC, marble. Hellenistic Art

has life of telphos emphasized most in pergamon then any where else. Connects them to Greece. Gives them legitimacy, associates them with herekles. Oldest continuous narrative, grandsons might kill his son, then herakles comes to court and Auge, then she gets pregnant and send her on a raft and expose telephos, Auge lands in pergamon and is greeted by the king, telephos is discovered by his father, raised and becomes a great hero and goes to find his mother in the court of teuthras, helps defend city against enemies, give auge to telephos as his bride and Athena sends a message down that auge is his mother, greeks come to telephos kingdom, gets injured by Dionysus, only way to get healed is by being healed by the original sword that injured him, only help him if he kills agenmon son. Then he goes back home and dies

Iktinos (architect), Temple of Apollo, Bassae, ca. 430-390 BC. Fourth Century BC / Late Classical

in the mountains of Greece which is isolated. Bassae was known for there mercenaries. Hired iktinos who had worked on the Parthenon. Was fairly unusual has features no other greek temples have. They then add a second doorway. They did this so they could have the sun shine in to illuminate the cult statue of Apollo , has a frieze in the interior of the building doric temple, made out of local limestone. First temple to use a Corinthian capitol which is leaves. Acanthus leaves.

West Frieze: Battle of Greeks and Centaurs (Centauromachy) Hephaisteion, Athenian Agora, ca. 450-415 BC. High Classical/ Fifth Century BC

no women in this scene. Only greek men fighting centaurs. Kaineus started his life out as a women and when he is laying on the beach posidion sees her and rapes her. After the rape is done Poseidon gives her a gift and he turns him into a man and makes him invulnerable to any man made weapons. We are subject to the will of the gods, shows the vulnerability of men, everyman has a weakness. Statement on the vulnerability of women and how it was better to be a man.

Discuss how kore from the archaic period differ from female statues of mortals goddess in the classical period and Kouroi? What are some of the possible reasons that osborne uses to explain differences?

osborne argues that korai have their own narrative, death is constructed not in term of loss but exchange. A women value was connected to her being given in marriage so the kore creates value by the exchange which the frontal gaze ins tis upon. Korai are still different from classical statues because of change in pose and its frontal gaze.Classical sculptures are less general they might be particulate narrative.

Metopes: Deeds of Theseus and Labors of Herakles Hephaisteion, Athenian Agora, ca. 450-415 BC. High Classical/ Fifth Century BC

placement is unusal ten across the east and four on the south and the north the rest are left blank. Seems to be done that the people saw the temple from the agora you sould only see it from the side. South and the north of the deeds of thesus and the labors of herakles are on the east. Sculpture has remained on the building.

Why was the Great Altar of Pergamon so significant to Attalid authority?

stands to represent their power and defining image of the dynasty also links back heritage to the power of rome. also shows attalids achievement without classical athens represents achivement

what was the relationship between pergamon and rome? how did both utilize the legends of troy in their propaganda and art?

relationship is troy itself and that this idea that rome controlled pergamon at one point and utilized this relationship with troy to highlight its victory. project a powerful stance. Romans believed they defended from trojan prince. Connecting newer to cities to the greek past. Propaganda associated itself with the legend of troy, made them seem more powerful and a stronger lineage.

Dying Gaul:Victory Monument of Attalos I, precinct of Athena, Pergamon, original (now lost): 230-220 BC. Hellenistic Art

same short mustache, wears non Greek necklace, laying on his shield and trumpet, trumpet announces the calls. No victory, army is in chaos, no more orders being made, heroically nude. Just over life size, emphasis on pain and ugliness

Exterior Frieze: Gigantomachy, Great Altar, Pergamon, ca. 150 BC, marble. Hellenistic Art

shown in a new way. Larger scale then before, single larges unified composition to survive. Five hundred and fifty figures, larger then the Parthenon frieze, the sculptures signed their names. 15 of their names have survived and based on the space their was probably 40 names, iconography is more complicated then any other composition in the Greek world, each person was labeled in the frieze. Indicates that someone who help make this composition was a scholar because they knew all the greek gods name. rise of the scholar in the Hellenistic world. Planned in tandem with artist and librarians. Sculptures are high relief dense composition and they interact with the steps. Gods and goddesses are young and calm in their depictions. Hellenistic baroque. Have same ideas of going against the gods but you feel sadness for the giants and their mother. Identifies their religious beliefs.

Ionic frieze (442-438 BC): Panathenaic Procession, Parthenon. High Classical/ Fifth Century BC

single subject, would have seen it though the columns ,relief is really low, we have men on north south, and west. putting the new peplos with anthena polias festival which was placed in the sanctuary was a wooden statue of Athena that was very old. A group of girls that came from upper class Athenian would live on the Parthenon weaving the new peplos for the Athena statue. One of the only interpretations of frieze that has gotten traction Konly says that this is a mythological event. It represents the event were king Erechteus was forced to sacrifice his daughter to save the city and the other girls had vowed that if one had died they would all die.

Who were the gauls and why are they significant in a discussion of Hellenistic pergamon? how did the atlas utilize their victories over the guars to establish ties with other greek cities?

the gauls were barbarians. they attalids dedicated a series of monuments to athena and gave some to the acropolis in athens to strengthen ties with Greece. the gauls are celtic people who come from the west of europe and cause havoc just move through and take things. defense of greek society against the barbaric tribes. pergamon's want to be the new Athens. wants to be the new hellenistic athens.

Ostraka, Athenian Agora, fifth century BC.

the process incorporated exile to people that were getting to powerful. Votes casted in ostraka. Suppose to protect against tyrants.

Why did attalids want to make pergamon a cultural and artistic center? How did this serve their political goals?

very concerned with their image an wanted to raise there profile had a image to uphold so they had pressure on them to maintain that image. served political goals because the residents of pergamon wanted the city to look nice. becomes really rich and establishes the city as a political powerhouse.

ballot disk, Athenian Agora, fifth century BC.

would determine if a person was guilty or not guilty. Pierced guilty and solid not guilty