1. Archaic Art, Phase II (Continued) Black-figure dinos (vase for mixing wine), signed by Sophilos as painter, ht. 71,” Attic, ca. 580 B.C., British Museum, London, wedding of Peleus and Thetis

2. Exekias, mid-6 th century B.C. Attic (Athens and surrounding area) potter and painter, black-figure amphorae (vase for holding wine at symposium table) Achilles Slaying Penthesilea Achilles and Ajax Playing a Game Suicide of Ajax

3. Red-figure psykter (Vase for cooling wine), attributed to Oltos, Ht. 13 5/8,” Attic, ca. 520- 510 B.C., Metropolitan Museum, New York, scenes from gymnasium

4. Statue base, Athens, National Museum, NM 3476; Black-figure Panathenaic Amphora, attributed to the Kleophrades Painter, Attic, 525-500 B.C., ht. 25”, Metropolitan Museum, New York, Pankration side A, goddess Athena side B

5. Red-figure kylix (wine cup), attributed to the Ashby Painter, ca. 500 B.C., ht. 5”, Metropolitan Museum, New York, warrior testing his horn on interior, symposium scenes exterior.

6. (a) Red-figure amphora, attributed to the Berlin Painter, ca. 490 B.C. ht. 16 5/16”, kitharode; (b) red- figure kylix attributed to the Dokimasia Painter, ca. 480 B.C., ht. 3 3/4”, diameter 9 3/8”, lyre player; (c) red-figure lekythos (vase for holding oil) attributed to the Brygos Painter, ca. 480 B.C., ht. 11 1/8”, young woman playing the aulos, all Metropolitan Museum, New York.

7. Red-figure kylix attributed to the painter of Munich 2660, ca. 460 B.C., ht. 2 ¾”, schoolboys.

8. Red-figure kylix attributed to the Dokimasia Painter, ca. 480 B.C., ht. 3 3/4”, diameter 9 3/8”, symposium scenes (top) and red-figure kylix attributed to Douris, ca. 500 B.C., ht. 4 3/8”, woman at washing site on interior and athletic scenes on exterior (bottom), both Metropolitan Museum, New York.

9. Classical Greece (490-340 B.C.) Art and Literature Art and Literature Adoption of Pythagorean aesthetic which assumes a mathematical “objective” basis for beauty, often due to ratios of tetraktys {1,2,3,4} and emphasizes form rather than substanceAdoption of Pythagorean aesthetic which assumes a mathematical “objective” basis for beauty, often due to ratios of tetraktys {1,2,3,4} and emphasizes form rather than substance More active civic life reflected in images in which individual has internal life and is responsible for his actionsMore active civic life reflected in images in which individual has internal life and is responsible for his actions Balanced by emphasis on public service not individual achievementBalanced by emphasis on public service not individual achievement During the first part of the Classical period the art reflects a sense that traditional values still matter (Early Classical Art and Aeschylus)During the first part of the Classical period the art reflects a sense that traditional values still matter (Early Classical Art and Aeschylus) Athenian art from 450 to nearly the end of the Peloponnesian war speaks only of Athenian power and the obligation of the citizen to the state. (High Classical Art and Sophocles) During later part of the period Athenian excesses reflected in an imbalance that appears in art and drama (Euripides and Temple of Athena Nike). Classical Idealism becomes artistic tool for future statements of imperialism and state power.Athenian art from 450 to nearly the end of the Peloponnesian war speaks only of Athenian power and the obligation of the citizen to the state. (High Classical Art and Sophocles) During later part of the period Athenian excesses reflected in an imbalance that appears in art and drama (Euripides and Temple of Athena Nike). Classical Idealism becomes artistic tool for future statements of imperialism and state power. Late classical art recognizes fiction of the Parthenon, that is glory of service to state, and no longer presents the citizen’s roleLate classical art recognizes fiction of the Parthenon, that is glory of service to state, and no longer presents the citizen’s role

10. “Kritios Boy” ca. 480 B.C., ht. 34”, Athens, National Museum (Left) and Kouros dedicated to Kroisos (Right)

11. Classical Greece (490-340 B.C.) Social and Political Context Social and Political Context Strong democracy in AthensStrong democracy in Athens Struggle among the city-states from 510 to about 460 including constant efforts by Sparta to achieve regime change in AthensStruggle among the city-states from 510 to about 460 including constant efforts by Sparta to achieve regime change in Athens Wars against Persians with victories in 490 (Marathon) and again in 480 (Plataea) and 479 (Salamis)Wars against Persians with victories in 490 (Marathon) and again in 480 (Plataea) and 479 (Salamis) Formation of Delian league (478) which ultimately became the base for the Athenian Empire and which was countered by an alliance under Spartan leadership of the Peloponnesian city- statesFormation of Delian league (478) which ultimately became the base for the Athenian Empire and which was countered by an alliance under Spartan leadership of the Peloponnesian city- states 460-451 B.C. first phase of hostilities between Sparta and Athens concludes in 30 Years’ Peace460-451 B.C. first phase of hostilities between Sparta and Athens concludes in 30 Years’ Peace 446 B.C. series of revolts against Athenian hegemony leads to second 30 Years’ Peace446 B.C. series of revolts against Athenian hegemony leads to second 30 Years’ Peace 446-431 B.C. Athens consolidates its power431 B.C. Athenian alliance with Corcyra against Corinth precipitates the Peloponnesian War446-431 B.C. Athens consolidates its power431 B.C. Athenian alliance with Corcyra against Corinth precipitates the Peloponnesian War 431-421 B.C.: Archidamian War concluded by Peace of Nicias431-421 B.C.: Archidamian War concluded by Peace of Nicias 420-413 B.C.: Sicilian Expedition420-413 B.C.: Sicilian Expedition 412-404 B.C.: Ionian War412-404 B.C.: Ionian War 404-349 B.C. Decline of Greek city-states404-349 B.C. Decline of Greek city-states 349-338 B.C. Philip of Macedon conquers all city-states except Sparta349-338 B.C. Philip of Macedon conquers all city-states except Sparta

12. Sanctuary of Zeus at Olympia in plan and aerial view with plan of temple of Zeus, begun around 470 B.C. and completed around 456, and reconstruction of colossal chryselephantine statue of Zeus by Phidias, ca. 430 B.C. Reconstruction of sanctuary at Delphi, upper right.

13. Reconstruction of Temple of Zeus at Olympia, east pediment with the competition between Oinamaos and Pelops right and west pediment with Apollo subduing Centaurs who have attacked the Lapiths left. Sculptures date around 460 B.C. Bottom left shows the area around the temple as it is today.

14. Sculpture from the west pediment of the Temple of Zeus at Olympia, with details of Apollo, a Lapith woman and a Centaur and a Lapith woman and man watching.

15. Metopes from the Temple of Zeus at Olympia depicting the Labors of Herakles, retrieval of the Golden Apples of the Hesperides (upper right), Capturing the Cretan Bull (lower left) and Cleaning the Augean Stables (lower right).

16. Greek Tragedy Part I: Aeschylus (525/4-456 B.C.) Earliest writer of Greek tragedy for whom examples of his plays have survived. Earliest writer of Greek tragedy for whom examples of his plays have survived. Important role in the development of Greek tragedy because added a second actor and formalized the role of the chorus who observe and comment on what the main characters are doing. Important role in the development of Greek tragedy because added a second actor and formalized the role of the chorus who observe and comment on what the main characters are doing. Aeschylus’s plays like those of all writers were based on well-known stories so that their function was not so much to entertain as to affirm certain fundamental social values. Aeschylus’s plays like those of all writers were based on well-known stories so that their function was not so much to entertain as to affirm certain fundamental social values. Plays originated in a religious context, the Dionysiac festival in Athens. Plays originated in a religious context, the Dionysiac festival in Athens. Said to have written seventy-two plays of which only seven survive. Said to have written seventy-two plays of which only seven survive. Characters recall sculpture at Olympia because they embody certain passions or principles, illustrating some religious or moral problem on law. Characters recall sculpture at Olympia because they embody certain passions or principles, illustrating some religious or moral problem on law. Insistence on fulfillment of providential design. Insistence on fulfillment of providential design. Example: In The Libation Bearers Electra tends her father’s grave, hoping for vengeance against her mother Clytemnestra and her new husband Aegisthus who killed Agamemnon. Orestes, Electra’s brother, returns after a long forced absence. (Clytemnestra and Aegisthus had sent him away when he was still young because they feared he would make trouble.) He is obligated to kill Aegisthus, but in killing Clytemnestra he commits matricide, a more serious offense, and is pursued by the Furies as a result. Example: In The Libation Bearers Electra tends her father’s grave, hoping for vengeance against her mother Clytemnestra and her new husband Aegisthus who killed Agamemnon. Orestes, Electra’s brother, returns after a long forced absence. (Clytemnestra and Aegisthus had sent him away when he was still young because they feared he would make trouble.) He is obligated to kill Aegisthus, but in killing Clytemnestra he commits matricide, a more serious offense, and is pursued by the Furies as a result.

17. Bronze charioteer from the sanctuary of Apollo at Delphi, dedicated by the tyrant Polyzalos of Gela for chariot victory in 478 B.C., erected in 474 B.C.

18. Cast bronze warriors found in water off Riace in Calabria, ca. 460; warrior A (ht. 1.98 m.) (left) is slightly earlier than warrior B (ht.1.97 m.) (right).

19. Bronze Zeus found at Cape Artemisium, ca. 450 B.C., ht. 2.03 m., National Archaelogical Museum, Athens; Roman copy of the Diskobolos by Myron, ca. 450 B.C.

20. Roman copy of the Doryphoros by Polykleitos, ca. 450-440 B.C., ht. 6’6”, Museo Archeologico, Naples with bronze replica marked to show the application of Pythagorean aesthetics

21. Greek Tragedy, Part II: Sophocles (4960406 B.C.) Added a third actor. Added a third actor. Said to have written123 plays only seven of which have survived. Said to have written123 plays only seven of which have survived. His plays reflect the tensions that democratization could create and the ethical and philosophical dilemmas that confronted man. His plays reflect the tensions that democratization could create and the ethical and philosophical dilemmas that confronted man. Characters must delineate ethical qualities and principles and must work out problems between demands of state, families, own aspirations and will of the gods. Characters must delineate ethical qualities and principles and must work out problems between demands of state, families, own aspirations and will of the gods. Raises the question of the relationship between physis, natural or divine law, and nomos, human custom or man-made law. For Sophocles tragedy is caused by flouting divine order, but redemption and moral gain are possible. Raises the question of the relationship between physis, natural or divine law, and nomos, human custom or man-made law. For Sophocles tragedy is caused by flouting divine order, but redemption and moral gain are possible. Example: In Electra Sophocles delineates characters who reflect on the appropriate action to take. Because she is convinced that Orestes is dead, Electra tries to persuade her sister to help her murder Clytemnestra and Aegisthus, but the sister refuses. When Orestes arrives, in disguise and holding a vase supposedly containing his ashes, he and Electra do not recognize each other. Only after her passionate proclamation of her undying affection for her brother does he realize who she is. Filled with joy the two agree to kill Clytemnestra and Aegisthus. In this case Orestes kills Clytemnestra first after an exchange about the moral bankruptcy of her murder of Agamemnon. Aegisthus then comes out of the palace to find his wife dead and is escorted offstage to face his own execution. Example: In Electra Sophocles delineates characters who reflect on the appropriate action to take. Because she is convinced that Orestes is dead, Electra tries to persuade her sister to help her murder Clytemnestra and Aegisthus, but the sister refuses. When Orestes arrives, in disguise and holding a vase supposedly containing his ashes, he and Electra do not recognize each other. Only after her passionate proclamation of her undying affection for her brother does he realize who she is. Filled with joy the two agree to kill Clytemnestra and Aegisthus. In this case Orestes kills Clytemnestra first after an exchange about the moral bankruptcy of her murder of Agamemnon. Aegisthus then comes out of the palace to find his wife dead and is escorted offstage to face his own execution.

22. Athens, aerial view of the Acropolis in Athens (upper right), view from the west (upper left), view from the southeast (lower left), and elevated view from the west (lower right)

23. Reconstruction of the Acropolis and plan of the Acropolis.

24. The Periclean Building Program on the Acropolis Using funds from the Delian League Pericles conceived of a massive construction program on the Acropolis where the earlier temple and statues dedicated to Athena had been destroyed by the Persians and then leveled and covered over by the Athenians. Pericles’ decision to build was a plain statement of Athenian power and hubris. Using funds from the Delian League Pericles conceived of a massive construction program on the Acropolis where the earlier temple and statues dedicated to Athena had been destroyed by the Persians and then leveled and covered over by the Athenians. Pericles’ decision to build was a plain statement of Athenian power and hubris. Program consisted of four major parts: Program consisted of four major parts: Temple dedicated to Athena Parthenos, the Parthenon, the largest Doric temple up to that time. Designed by Iktinos and Kallikrates. Phidias was in charge of sculpture. (448-432 B.C.)Temple dedicated to Athena Parthenos, the Parthenon, the largest Doric temple up to that time. Designed by Iktinos and Kallikrates. Phidias was in charge of sculpture. (448-432 B.C.) West pediment featured sculpture of the context between Athena and Poseidon. West pediment featured sculpture of the context between Athena and Poseidon. East pediment depicted the birth of Athena from Zeus’s head. East pediment depicted the birth of Athena from Zeus’s head. West metopes depicted battle between Athenians led by Theseus and the Amazons (“Amazonomacy”) West metopes depicted battle between Athenians led by Theseus and the Amazons (“Amazonomacy”) South metopes show Lapiths battling Centaurs. Variety of centaurs and uniformity of Lapiths presents image of young men uniformly competent and beautiful and ready to deal with anything. Individual citizen perceives himself elevated. South metopes show Lapiths battling Centaurs. Variety of centaurs and uniformity of Lapiths presents image of young men uniformly competent and beautiful and ready to deal with anything. Individual citizen perceives himself elevated. North metopes present Greeks battling Trojans, with refugees toward the west end and Helen seeking protection from Athena at the east end. North metopes present Greeks battling Trojans, with refugees toward the west end and Helen seeking protection from Athena at the east end. East metopes present battle between Gods and Giants (“Gigantomachy”). East metopes present battle between Gods and Giants (“Gigantomachy”). Frieze along top interior colonnade probably depicts Panathenaic procession. Viewer becomes part of the procession and at the east end witnesses the epiphany of the Goddess Frieze along top interior colonnade probably depicts Panathenaic procession. Viewer becomes part of the procession and at the east end witnesses the epiphany of the Goddess Propylaia or monumental gates at top of via sacra at west end of Acropolis, Mnesikles (437-432) (never completed)Propylaia or monumental gates at top of via sacra at west end of Acropolis, Mnesikles (437-432) (never completed) Temple of Athena Nike, Kallikrates (427-424 B.C.), Ionic temple with relief of Battle of Plataea (480 B.C.) and Lapiths battling Centaurs.Temple of Athena Nike, Kallikrates (427-424 B.C.), Ionic temple with relief of Battle of Plataea (480 B.C.) and Lapiths battling Centaurs. Erechtheum, Mnesikles (421-405 B.C.)Erechtheum, Mnesikles (421-405 B.C.)

25. Temple to Athena Parthenos on the Acropolis in Athens, Iktinus and Kallikrates, ca. 448- 432 B.C. Parthenon from the west, approached from the northwest, the west end, the east end, the plan and a reconstruction

26. Reconstruction of 12 meter high chryselephantine statue of Athena by Phidias (upper left), detail of platform showing curvature of stylobate (upper right), drawing of section of Parthernon (lower left) and detail of frieze (lower right)

27. Parthenon showing application of Golden Rectangle, i.e. rectangle with proportion of length to width is such that when the rectangle is divided into a square and a rectangle the new rectangle has the same proportions of length to width as the original and can similarly be subdivided and produce the same results endlessly. Creates a spiral shape analogous to certain shells.

28. Acropolis East pediment, Dionysos (left) and Three Fates (right), and reconstructions of east pediment (birth of Athena) and west pediment (competition between Athena and Poseidon)

29. Metopes from south side of the Parthenon showing Lapith battling Centaurs

30. Reconstruction of sections of the Parthenon frieze

31. Sections of Frieze from the Parthenon: parade of horses, chariots, men carrying water and young women

32. Acropolis from the West

33. Temple of Athena Nike on the Acropolis with details of the frieze depicting the battle of Plataia and of the Nike adjusting her sandal from the parapet, Iktinus and Kallikrates, 427-424 B.C.

34. Acropolis from the West

35. Erechtheum, 421-405 B.C.

36. Greek Tragedy, Part III: Euripides (ca. 485-406 B.C.) Wrote ninety-two plays of which eighteen have survived. Wrote ninety-two plays of which eighteen have survived. Transformed Greek drama by showing both women and slaves as strong characters. Transformed Greek drama by showing both women and slaves as strong characters. The questioning and crumbling of social norms, particularly as the later 5 th century wore on, meant that the individual increasingly was on his own. The questioning and crumbling of social norms, particularly as the later 5 th century wore on, meant that the individual increasingly was on his own. Figures of myth and legend are often portrayed in an unattractive light, brought down to earth and transformed into a sort of inferior personage similar to the sorts of people who could be encountered during the Peloponnesian war. There were no more heroes. Figures of myth and legend are often portrayed in an unattractive light, brought down to earth and transformed into a sort of inferior personage similar to the sorts of people who could be encountered during the Peloponnesian war. There were no more heroes. Euripides depicted the hatred war and its horrors produced. Euripides depicted the hatred war and its horrors produced. Deities were shown as uncaring at best and vicious at worst. Deities were shown as uncaring at best and vicious at worst. Knew lethal forces were ready to constrain and overwhelm human spirit. Knew lethal forces were ready to constrain and overwhelm human spirit. Example: In his Electra Euripides depicts and Electra filled with bitterness and hatred because Clytemnestra has forced her to marry a shepherd. When Orestes arrives she is forced to spend a long time persuading him to kill Clytemnestra. (He has no qualms about killing Aegisthus.) Eventually Electra tricks Clytemnestra into coming to her home alone, and brother and sister kill her. As soon as the deed is done they recognize the atrocity of their act and grieve about what they have done. Their penalty is to be forced to live forever apart from each other. Example: In his Electra Euripides depicts and Electra filled with bitterness and hatred because Clytemnestra has forced her to marry a shepherd. When Orestes arrives she is forced to spend a long time persuading him to kill Clytemnestra. (He has no qualms about killing Aegisthus.) Eventually Electra tricks Clytemnestra into coming to her home alone, and brother and sister kill her. As soon as the deed is done they recognize the atrocity of their act and grieve about what they have done. Their penalty is to be forced to live forever apart from each other.

37. White ground lekythoi: Charon conducting dead youth to Hades, attributed to Saburoff painter, (upper right), grieving wife at the tomb of her husband attributed to the Yalepainter (lower right), soldier bidding farewell to his wife, attributed to the Achilles painter (lower left), and a visit to the tomb (upper left). All second half of the 5 th century B.C.

38. Grave stele of Hegeso, wife of Proxenos, ca. 400 B.C., ht. 1.54 m., National Museum, Athens (left) and grave stele found in the Ilissos River, ca. 330 B.C., ht. 1.68 m.; National Museum, Athens.

39. Temple of Apollo at Bassae built 450-425 B.C., unusual plan with ionic-semi-columns on the interior and frieze executed 410-390 B.C. depicting Amazonomachy.

40. Bronze statue of a youth found at Antikythera, ca. 340 B.C., ht. 1.94 m., National Museum, Athens; Roman copy of the Aphrodite of Knidos by Praxiteles, original ca. 350 B.C., ht. 2.04, Vatican Museum’ Hermes with the Infant Dionysus, original(?) by Praxiteles, ht. 2.15 m., Olympia Museum; Roman copy of Apoxyomenos by Lysippos, original ca. 330 B.C., ht. 2.01 m., Vatican Museum.