1. Short Answer Test Near East, Egyptian, Ancient Greece, and Roman Art
Each question is worth XX points.

2. Where is Hunefer? How many times do you see him?
What is the dog-headed man (Anubis) doing? Why does the same person appear twice (3’xs)? What is the scary dog/crocodile (Ammit) waiting for so eagerly? What are both Horus and Anubis holding in their hands?
Judgment before Osiris from a Book of the Dead Dynasty 19, c BCE Can you explain to us what is happening?
Where is Hunefer? How many times do you see him?
Who is Anubis? Does he appear more than once? Toth? Ammit? Horus? Osiris? Nephthys and Isis?? Who are the four little persons perched on the top of the lotus blossom?
Is this a “Last Judgment” image?

3. What is a ziggurat? What is the symbolic function of a ziggurat?
The Ziggurat of Ur
c BCE in Modern Iraq
What is a ziggurat? What is the symbolic function of a ziggurat?
What is the political purpose of a ziggurat?
What is a ziggurat? A stepped pyramid structure with a temple or shrine on top
What is the symbolic function of a ziggurat? To act as a bridge between heaven and earth
What is the political purpose of a ziggurat? To proclaim the wealth, prestige, and stability of a city’s rules and to glorify the gods that protect that city.

4. 4. Classical Period framed by the defeat of the Persians (479 BCE) and the death of Alexander the Great (323 BCE)
Early Classical BCE
destruction of the Persian fleet in the Straits of Salamis, 479 BCE
5th Century Classical BCE
Pericles rebuilds the Acropolis; he dies in 429 BCE
Sparta dominated the Peloponnese and much of the rest of mainland Greece;
Athens dominated the Aegean and became a wealthy and influential center of a maritime empire
The series of conflicts between Sparta and Athens became known as the Peloponnesian Wars ( BCE)
4th Century Classical BCE
Alexander the Great died in 323 BCE at the age of 32
Can you come up with a work of art for each of these three “sub”-periods?

5. 5. Hellenistic Period 320-21 BCE
Cleopatra died in 30 BCE
List three Hellenistic works.
What distinguishes a work of art from this period?

6. Kallikrates and Iktinos Parthenon, Acropolis, Athens 447-428 BCE
How does entasis support Pericles’ political goals for the Athenian city-state?
Kallikrates and Iktinos
Parthenon, Acropolis, Athens
BCE
4:9 breath to length
swelling of the columns
ideal Doric temple
an earthly home of Athena—patron goddess of Athens
Kallikrates and Iktinos
Parthenon, Acropolis, Athens
BCE
5th Century Classical

7. Temple of Athena Nike Athens, c. 425 BCE Who did this temple honor?

8. The proportions of the Ionic order are more elongated.
What are the primary differences between the Doric and Ionic orders?
The Ionic order has a frieze and a base as well as a different capital.
The proportions of the Ionic order are more elongated.

9. Frieze from the Parthenon (interior Ionic frieze), c. 438-32 B.C.E.
What does this idealized body signal to the viewer? Notice the contrast between the rider and the horse: what do you notice? What idea is being communicated?

10. Where would this sculpture be situated? How can you as the viewer tell?
Dying Warrior Temple of Aphaia, Aegina c. 480 BCE
marble, 6 feet Archaic Period
triangular pediments create a problem: in situ
sculpture from the left corner of the east pediment of the temple
subject: the sack of Troy
from the this figure would have originally been painted and fitted with authentic bronze accessories
sculptor portrays the soldiers uptilted, twisted form turning in space capturing his agony and vulnerability
note the contrast between the modeling of the flesh and the hard surfaces of the shield and helmet
Dying Warrior pediment sculpture Temple of Aphaia, Aegina c. 480 BCE marble, 6 feet Archaic Period

11. Parthenon, metope relief c. 440’s BCE
Centaur and Lapith
Parthenon, metope relief c. 440’s BCE
Where would this relief be found?
How does the content of this relief support Pericles’ political goals for the Athenian city-state?
This sculpture from the Parthenon shows a Centaur rearing triumphantly over a dying human Lapith. This focus on human suffering epitomizes the intense humanism of Greek art. The sculpture also represents Greece's struggle to resist being absorbed into the Persian Empire. The Greeks had a strong notion of their own identity and regarded the Persians as barbarians like the Centaurs. The Parthenon was completed in 432 BCE on the site of an earlier unfinished temple destroyed by the Persians.

12. What is the purpose of this sculpture
What is the purpose of this sculpture? What marks this work of art as Archaic? What two distinct “things” do you notice as an art historian?
Anavysos Kouros
c. 525 BCE
Archaic Period
a kore (korai) –female clothed
kouros (kourai)- male nude
free-standing sculpted figures used for commemorative purposes
perhaps symbolic ancestor figures
Anavysos Kouros
From a cemetery near Athens
c. 525 BCE
Height: 6’4”
Archaic Period
a more life-like rendering of the human figure
an archaic smile—closed lipped smile
massive torso and limbs have greater anatomical accuracy suggesting heroic strength
the viewer is meant to be inspired to emulate this figure’s noble actions and heroic character
the nude figure is like the gods but in a human shape; the lack of clothing removes the figure from the context of time and makes the figure thus timeless—immortal
remember, the Greeks believed that man was the measure of all things; they conceptualized their gods as having human forms and human attributes

13. Kritian Boy 480 BCE Early Classical
What this sculpture so significant?
Kritian Boy BCE
Early Classical
unlike earlier Archaic sculpture; the boy strikes an easy pose
weight rests on his left leg and his right leg bends slightly at the knee
there is a noticeable curve in his spine which counters the slight shifting of his hips and there is a subtle drop in one of his shoulders
the slight turn of his head invites the viewer to follow his gaze
his solemn expression lacks any trace of the Archaic smile
an important transitional sculpture—bridges the “gap” between the Archaic kouroi and the ideal figures of the later Classical Period

14. What this sculpture so significant?
Polykleitos
Spear Bearer (Doryphoros) c BCE a marble copy
Polykleitos was the best-known art theorist of the Classical period;
about 450 BCE, he developed a set of rules for constructing the ideal human figure which he set down in a treatise know as The Canon
a system of ratios between a basic unit and the length of various body parts
also included guidelines for symmetria – relationships of body parts one to the other
relationship of weight bearing and relaxed legs and arms --contrapposto– the cross-balancing of supporting and free elements in a figure
pattern of tension and relaxation
hip-tilt more pronounced than Kritian Boy; head turned to the same side as the engaged leg
read the unengaged legs to discern the “narrative”—the Spear Bearer seems to be stepping forward; Warrior A seems to have paused
facial expression: calm noble detachment
Polykleitos Spear Bearer (Doryphoros) c BCE a marble copy height: 6’6” 5th Century Classical

15. Praxiteles Hermes and the Infant Dionysos
What are two specific “things” that make this sculpture so different from Polykleitos’ Doryphoros?
Praxiteles Hermes and the Infant Dionysos
Hellenistic or Roman copy after 4th century original
a new canon of proportions was developed; smaller head and more youthful body than Polykleitos’ Spear Bearer (Doryphoros); note the off-balance S-curve pose
note the contrast between the texture of the flesh and the crumpled draperies as well as the rough locks of hair
calm noble detachment gave way to a sensitive rendering of wistful introspection, dreaminess or fleeting anxiety
note the humanized treatment of the subjects—two gods—one adult and one infant—a moment of absorbed companionship—less austere than previous sculptures
Praxiteles Hermes and the Infant Dionysos

16. What is this sculpture definitely Hellenistic?
Dying Gallic Trumpeter Roman Copy after the original bronze of c. 220 BCE
Pergamene Style
deliberate attempt to elicit a specific emotional response in the viewer—expressionism
Dying Gallic Trumpeter Roman Copy after the original bronze of c. 220 BCE Hellenistic Period

17. Aphrodite of Melos or Venus de Milo
c. 150 BCE
Hellenistic Period
twisting stance and strong projection of the knee are typical of Hellenistic art
drapery has a rich, three dimensional quality associated with Hellenistic sculpture
Aphrodite of Melos or Venus de Milo
c. 150 BCE
marble height: 6’ 10”
now at the Musee de Louvre, Paris
meant to recall Aphrodite by Praxiteles
twisting stance and strong projection of the knee are typical of Hellenistic art
drapery has a rich, three dimensional quality associated with Hellenistic sculpture of Pergamon and Rhodes
What is this sculpture definitely Hellenistic?

18. Nike (Victory) of Samothrace
Why do you like this sculpture so much?
Nike (Victory) of Samothrace
from the sanctuary of the Great Gods, Samothrace
c. 190 BCE
This work was probably created to commemorate an important naval victory –perhaps the Rhodian triumph over the Seleucid king Antiochus III in 190 BCE; was originally positioned on the prow of a ship.
Nike (Victory) of Samothrace
from the sanctuary of the Great Gods, Samothrace
c. 190 BCE
now at the Musee de Louvre, Paris
work probably created to commemorate an important naval victory –perhaps the Rhodian triumph over the Seleucid king Antiochus III in 190 BCE
was originally positioned on the prow of a ship

19. Nike (Victory) of Samothrace
Why do you like this sculpture so much?
Nike (Victory) of Samothrace
from the sanctuary of the Great Gods, Samothrace
c. 190 BCE
now at the Musee de Louvre, Paris
Nike (Victory) of Samothrace
c. 190 BCE

20. Funerary vase c. 750 BCE Geometric Period
What was the purpose of this vase?
Funerary vase c. 750 BCE
Geometric Period

21. Panathenaic amphora ca. 530 BCE Archaic Terracotta
What was the purpose of each vase?
Panathenaic amphora ca. 530 BCE Archaic Terracotta
This Panathenaic amphora would have been filled with oil from the sacred olive groves in Attica, and would have been awarded as a prize to some worthy victor in one of the Panathenaic games held in Athens every four years. With its typically fat body and small neck and foot, the prize vase is, perhaps, the best example of a vase shape made to serve an official function. Each Panathenaic amphora was made according to a standardized shape and capacity of one metretes (approximately 42 quarts), and was decorated in black-figure technique. The principle decoration is always in the panels of the body of the amphora, with an armed Athena typically on the front and an illustration of the featured competition on the back.
Foot races, the earliest competitions of the Olympic games, were undertaken over varying distances. The stadion, probably the original race, was a fast sprint over one length of the track (over 200 meters), while the diaulos and the dolichos, both introduced somewhat later, covered distances of approximately 400 meters and 1,400 to 3,800 meters, respectively. The painter of this vessel has neatly fit five sprinters—five men and a youth—into the panel of the pot. Notice the wealth of incised lines depicting musculature, a preoccupation of Greek artists for centuries to come.
Orders for Panathenaic amphorae were placed with leading artists of the time. On the basis of style, this vessel has been attributed to the Euphiletos Painter. An inscription on the front of the amphora gives not only the official designation of the vase as a prize, but also the signature of the potter, Nikias, a rare occurrence on pots of this shape.
Panathenaic amphora ca BCE Archaic Terracotta
This splendid Panathenaic amphora is inscribed with the words "from the games at Athens." On one side is the figure of Athena, the presiding goddess at the Panathenaic games in Athens, and on the other side, shown here, is the pankration, the contest at which this vase was awarded as a prize. The object of the pankration, a combination of boxing and wrestling, was to bring one's opponent to the ground. A favorite trick was to seize a contestant by the leg and force him to fall backward, such as depicted here. One athlete has grasped the other's foot and is trying to throw him by placing an arm under his opponent's thigh. A trainer stands nearby, closely watching the struggle to see that all rules are properly observed
The pankration was the toughest and most dangerous of all athletic events. One could twist, strangle, hit, and pound one's opponent; in fact, the only things forbidden were biting and gouging the eyes. Injury to the competitors was unavoidable since they sought to win by all possible means, heedless of the life of their opponents.
Panathenaic amphora ca. 530 BCE Archaic Terracotta
Panathenaic amphora ca BCE Archaic Terracotta

22. Hatshepsut as Sphinx, Dynasty 18, c. 1473-1458 BCE
How does Hatshepsut authorize her power (through this visual representation of herself)?
Hatshepsut has herself depicted as a ……
The ______ is a visual signifier of…….

23. Who built the Colosseum
Who built the Colosseum? Why is the actual location-the site chosen—significant?
The Colosseum

24. What is the purpose of this space?
Peristyle- A garden surrounded by a colonnaded walkway or portico.
When the climate permitted, peristyle gardens were turned into outdoor living rooms with painted walls, sculptures, and fountains.
peristyle garden, House of the Vetti, Pompeii
Mid-1st century CE

25. What is the purpose of this painting?
House of Publius Fannius--reconstructed

26. What is the purpose of this painting?
House of Publius Fannius--reconstructed

27. What is the basilica such an INCREDIBLY significant structure?
Basilica of Maxentius and Constantine Finished 312 C.E.
The Basilica Maxentius was the largest building in the Roman Forum. Construction began under Emperor Maxentius in 308 CE and was completed by Constantine after Maxentius’ defeat in 312 CE.

28. What is the purpose of this column?
Column of Trajan
Rome or after 117 CE Overall height with base 125’ Column alone 97’ 8”
The column is a continuous pictorial narrative of the Dacian campaign. 2,500 individual figures are carved into the column. In 1587 CE, the gilded bronze statue of Trajan was replaced with a statue of Saint Peter, as ordered by Pope Sixtus V. The natural and architectural elements in the scene are kept small to emphasize the important figures—later we will refer to this as medieval scale. 28

29. What is the purpose of this arch?
Arch of Titus Rome c.82 C.E.

30. Pantheon Rome 125-128 CE What is the purpose of the Pantheon?
The Pantheon contains the basic Pythagorean units.
It has three main architectural components. A rectangular portico or porch with its triangular pediment connects to a cylindrical drum in the cella or main temple structure, and is surmounted by a rotunda or dome.
rectangle, triangle, cylinder, circle (sphere)
Viewers could see the sacred geometry of the cosmos in the triangle of pedimental portico roof, rectangle of portico and hemisphere of roof that actually becomes a full sphere in that space between roof and marble floor. This is a perfect 44-meter [around 150 ft.] sphere matching the 44-meter width of the cylindrical main cella. Hadrian intended its mathematical polygons to be harmoniously integrated, although the portico may not be as carefully connected to the drum as is the marvelous rotunda. The 9 meter (around 30 feet) diameter oculus in the ceiling serves as a mirror of the round heaven – appropriately open to the sky - and its graduated ribbed ceiling coffers immediately below corresponded to the five planetary gods.
Pantheon Rome CE

31. the oculus What is the purpose of the occulus? Of the coffers?
The dome was constructed primarily of concrete, a material rarely used at that time for anything besides foundations. This allowed workers to more easily taper the thickness of the dome walls, which ranges from 5 feet near the top to more than 20 feet where the dome meets the building's vertical walls. Another impressive feature of the Pantheon Dome is the oculus, or "eye", which provides a 27-foot opening to the sky. The oculus is located 143 feet above the building's floor, making the dome as high as it is wide.
the oculus

32. The Romans as Engineers
How does technological change transform architectural structures?
How do technological advances allow the Roman Empire to expand?
How does concrete allow the Roman Empire to replicate its values throughout a far-flung empire?

33. But the Romans invented concrete.
The Romans built upon the engineering developments of the Greeks and Etruscans (central Italy, BCE).
Etruscans
The Etruscans gave the Romans:
the arch
the vault
advances in land-drainage, irrigation, and sewer design
the atrium house
the rectangular temple plan
Greeks
The Greeks gave the Romans:
the gridiron town plan
the peristyle form (columns all around)
But the Romans invented concrete.

34. Why do the keystone and voussoir matter?
Why are these two terms so significant?
Why is wood necessary?
What are the limitations?

35. How can an arch collapse?
There are two main ways, if the piers are not very secure they can get pushed outwards until the arch can't span the gap, or loading can cause parts of the arch to rotate and become unstable.

36. Why is concrete so awesome?
Concrete was extremely portable (unlike stone blocks)—concrete has a relatively light weight and is made of raw materials that are commonly found
Building with concrete did not require highly-skilled masons like stone construction (blocks cut from quarries and recut to shape)
The materials required were relatively inexpensive, compared to the cost of the arduous process of quarrying marble and other metamorphic rocks

37. Concrete allowed the Romans to cover spaces of a size unequaled until the advent of cast iron in the 19th century.
Concrete was especially invaluable for vaulting: the stone semi-circular barrel vault and cross-vault which the Romans developed were heavy, cumbersome and difficult to build; concrete, poured into shape, suited the curves and awkward junctions which arise in vaulting.
Roman concrete vaults at the Baths of Caracalla, Rome

38. When two barrel-vaulted spaces intersect each other at the same level, the result is a groin vault or cross vault.
If the vault is “pointed” and has a “rib” on the top, then the it is referred to as a rib vault.

39. Concrete revolutionized construction methods in that it allowed the constructor to create rather than extract. Craftsmen were able to create forms by molding the concrete, rather than excavate the form by carving away the excess stone.
Structures made of concrete and brick could be faced with veneers of marble rather than built entirely from solid marble or another type of stone, like granite.
Roman Architecture could be spread across its vast empire because of concrete’s portability

40. Concrete in Everyday Life
Concrete was used to create aqueducts and roads(5,300 miles of roads) that spanned across the Roman Empire.
Roman techniques are still implemented today when constructing roads and aqueducts.

41. Concrete is awesome.
Concrete made it possible for the Romans to build roads and aqueducts—which are also incredibly awesome. Why are roads and aqueducts so amazing?

42. Roads and Aqueducts
Since the Romans had such a massive empire, a vast and sophisticated network of roads, bridges, and aqueducts were built.
Roads helped to efficiently move the armies, promote commerce, and increase the speed of transport and communications.
Aqueducts helped to deliver and channel water from a distant, safe and plentiful water source to urban centers.
Roman roads and aqueducts were highly durable and practical because of the use of concrete construction.

43. An example of a still intact Roman road
An example of a still intact Roman road. The diagram on the right demonstrates the Romans practicality in their use of concrete construction when building their roads. (See medium: concrete) 43

44. Pont du Gard Late 1st Century Nimes, France
Since Roman concrete construction allowed for roads and bridges to be extremely durable, many of them continue to last to today. With only a few repairs, Roman aqueducts built about two thousand years ago can function again. The aqueduct at Pont du Gard is a powerful reminder of Rome’s rapid spread and enduring impact. Entirely functional, the aqueduct conveys the balance, proportion, and rhythmic harmony of a great work of art and fits naturally into the landscape, a reflection of the Romans’ attitude toward the land.
Aqueducts made urban life possible!!!!!! 44

45. Allegory of Peace, relief on the east side of the Ara Pacis
What does this image communicate to the viewer?
The mother Earth (Tellus Mater) nurtures the Roman People
on either side: the land wind (left): swan, jug of fresh water, and the vegetation symbolizes fertility of Roman farms and the sea wind (right): dominance over the Mediterranean
Allegory of Peace, relief on the east side of the Ara Pacis

46. Plan of a Typical Roman House
What does this house plan communicate to the viewer about what the Romans thought was most important?
Plan of a Typical Roman House
Atrium- a large space with a shallow pool or cistern for catching rain water
Tablinum- where the head of the household conferred with clients – opened onto a peristyle
Portico- a structure consisting of a roof supported by columns or piers usually attached to a building as a porch
Romans were interested in constructing privacy.
City life was boisterous, loud, and dangerous. So, the only way for the Romans to construct privacy and enjoy their gardens was to build walls. The walls created a sense of peace, where they could sit in their peristyle garden and enjoy nature without being disturbed by city life.