Greek Archaeology

   Title:     West House: det.: miniature frieze
    Date:     16th C. B.C
    Subject:     Painting--Minoan (Akrotiri, Thera

    Culture:     Minoan
    Title:     Cup with bull-hunting scene
    Work Type:     metalwork
    Date:     c. 1500-c. 1390 BCE
    Material:     gold
    Measurements:     height: 90 mm
    Style Period:     Late Helladic II
    Description:     from Vaphio

Lefkandi (Euboea): Toumba Complex: axonometric reconstruction
    Location:     Leukantion (Greece)
    Subject:     Leukantion (Greece)--Toumba Complex
    Subject:     Architecture:Site--Greek: Aegean Islands--10th C. B.C

Heroon or hero shrine that becomes popular in Greece after the Bronze Age. Has apsidal plan, facing east with collonade of wooden posts. Apsidal plan common for period, but size unusul. two tombs found in the central room, one of a couple, another for 4 horse. Possibly originally the house of a chieftain and his wife that was turned into a funerary shrine. Wooden posts on all sides could be predecessor of Greek peripteral temple.

Greece: Temple Model; terracotta
    Date:     Late 8th C. B.C
    Location:     Greece
    Location:     Greek
    Description:     From Argos, Heraion

Shows shift of temples from apsidal to rectangular plan reminiscent of megaron: rectangular room and a porch with two columns. Unclear if painted patterns are decorative, represent architectural features, or have religious significance.

    Ring-handled Tripod
    Date:     c.900 B.C
    Material:     bronze
    Measurements:     h.65cm
    Description:     From Olympia

Many bronze tripod cauldrons dedicated at Olympia in Geometric period. Previously smaller and used for elite gift exchange. In 8th century tripod cauldrons become more decorated and larger and appear only in religious sanctuaries. Show elite display becoming integrated into religious sanctuaries. This example less elaborately decorated.

Tripod stand, fragment of leg with motif of man on horseback in "deity" pose(?)

    Culture:     Greek, Geometric
    Date:     ca. 760 B.C.E.              
    Location:     Olympia Museum, Greece
    Material:     cast bronze

Many bronze tripod cauldrons dedicated at Olympia in Geometric period. Previously smaller and used for elite gift exchange. In 8th century tripod cauldrons become more decorated and larger and appear only in religious sanctuaries. Show elite display becoming integrated into religious sanctuaries. Legs hammered and can include scenes of horses or warriors. Arms raised in pose of Minoan goddess Hard to tell if it represents a specific myth. Craftsmen assume legibility in viewer.

    Title:     Tripod & Cauldron w/ helmeted sirens, griffin protomes. From Salamis (Cyprus)
    Date:     end of 8th C. B.C
    Material:     bronze

Motifs unknown in previous geometric art obviousy coming from NE art. Heads have mix of Syrian-Phonecian characteristics, possibly learned by metalsmiths from imported bronzes.

New interest of bronzesmiths in working with sharp contours and symmetrical patterns.

New form of cauldron that could be detached from its stand

Part of dedication of cauldrons known from emerging regional sanctuaries like Olympia. Handle a siren, common on cauldrons of this period and also seen on cauldron from Gordion in Anatolia. Now borrowing elite culture from Anatolia.

Unclear if this piece is Greek or Phoneician made. Cyprus mixing pot of cultures. Show how much connection there was in Med at this time.

    Title:     Griffin Head (from Olympia)
    Date:     End of 7th C. B.C
    Material:     bronze
    Subject:     Sculpture--Greek: Archaic--660-580 B.C

Motifs unknown in previous geometric art obviousy coming from NE art. Heads have mix of Syrian-Phonecian characteristics, possibly learned by metalsmiths from imported bronzes.

New interest of bronzesmiths in working with sharp contours and symmetrical patterns.

Part of dedication of cauldrons known from emerging regional sanctuaries like Olympia.

Painted Clay Metope: det.: Perseus fleeing with Medusa's head
    Date:     c.630 B.C
    Subject:     Medusa (Greek mythology)
    Subject:     Metopes

Painted metope. Rare to have surviving Greek painting. Whirligig pose to show movement. Also from temple of Apollo at Thermon. Beginning of narrative in Greek temple decoration. Similar to style of Corinthian vase painters.

    Title:     Bronze Krater from Vix
    Date:     c.515 - 500 B.C
    Material:     bronze

Bronze volute krater with capacity of 1,200 liters. Body made from single sheet of bronze with other areas cast separetly. Handles decorated by gorgons on the side. Frieze on neck. Prestige goods produced for export. This example found near the source of the Seine as part of female burial of elite of Hallstatt culture. Procession of hoplite soldier and chariots standard frieze composition. Female figure on lid hard to interpret, but are other figures of running women in Spartan bronze figures. Could be Laconian in origin. Marks on neck to assist reassembly could support Laconian origins.

    Creator:     Greek (ancient)
    Title:     Silver Tetradrachm of Athens, Attica, Greece
    Title:     Obverse: Head of Athena wearing helmet with laurel leaves.
    Work Type:     coins (money)
    Date:     c. 450-440 BCE

Archaic design of Athena resistant to change, possibly because could undermine faith in currency. Famous Athenian own first appears. c. 520-510 BCE.

  Creator:     Greek (ancient)
    Title:     Silver Tetradrachm of Athens, Attica, Greece
    Title:     Reverse: Owl; olive leaves with berry; crescent moon.
    Work Type:     coins (money)
    Date:     c. 450-440 BCE

    Creator:     Syracuse,  (Mint)
    Culture:     Greek
    Title:     Silver dekadrachm of Syracuse
    Work Type:     Coins and medals
    Period:     5th century B.C.
    Date:     425-400 BC
    Material:     Silver
    Measurements:     42.97gm. 35mm. 6:00
    Description:     The motif is similar to that of archaic tetradrachms, but clearly here it is handled by a master artist.The horses act individually; Victory places a crown on the head of the victor, almost as if at the moment of triumph; and the prizes ("Athla") in the exergue make the whole obverse into a visual narrative. The head of Artehusa is completely transformed, her hair flowing in loosened locks around awns of grain that symbolize the fertility of Sicily, and an elaborate earring is added. The die is from the school of Euainetos. It is emblematic of the pride he took in his work that he signs some of his dies (though not this one).

Bearded Male Head from Porticello Shipwreck front
    Date:     late 5th C. B.C
    Material:     bronze

When Asia Minor comes under control of Persia, satraps begin minting coins with their own faces, first coins that do not have faces of deities, but individual portraits of rulers in Lydia and NW Anatolia.

Leads to move away from generic kouroi figures to true portraiture. Very individualized nose, thin beard, piercing stare.

    Title:     Piraeus Athena
    Date:     mid 4th C. B.C
    Material:     bronze
    Measurements:     ht. 2.35 m

Reaches out to the viewer in new use of space. More accessible, more personal relationship with the god. Staring off into space, distant at the same time, distant gaze but unlike kouroi and kourai part of her characterization, psychology as a goddess. Pose an extreme contrapposto. Drapery not transparent, falls in heavy sheets of restrained chain lines. Return to realism in depicting drapery, gives her a weighty, physical presence.

    Creator:     Silanion
    Title:     Portrait Statue of the Boxer Satyros
    Date:     c.340-30 B.C
    Material:     bronze
    Subject:     Sculpture--Greek: Late Classical--400-330 B.C

Vergina: Tomb of Persephone Wall painting Rape of Persephone: det.
    Date:     late 4th C. B.C
    Location:     Vergina (Greece)

Tomb containing remains of King Phillip II of Macedon, Alex the G’s Dad. Called Tomb I, had a simple, flat-roofed chamber covered with low, earthen mound. Painting true fresco. Promise of rebirth as Persephone will return from the underworld. Eleusinian mysteries? Shows equal emphasis of light, shade and color in Macedonian wall paintings. Shadows fall dramatically to suggest volume. Patches of light and dark rather than lines define Hades’ face. Artist made a sketch in wet plaster, then outlined figures in pale gray, then laid down color in quick strokes. Hasty because of Phil II’s unexpected asassination?

Gold Chest found in main chamber of Tomb II, Vergina (Macedonia)
    Date:     4th C. B.C

Found in Macedonian tomb derived from Lycian prototypes. Tomb had colorful Doric facade showing Alexander hunting lions, NE unting motif. Two chambers of tomb contained dozeons of silver symposium vessels, bronze weaponry, and bath equipment, golden arrow holder. In inner chamber, marble chest containing golden chest which contained the remains of a man in his 40’s and a gold crown made to resemble an oak leaf. Outer chamber contained a marble box containing a golden box with the remains of a woman in her 20’s.

Has been id’d as Phillip II’s other son, Arridaios, mentally disabled brother of Alexander, who becomes puppet king of Macedon after Alexander’s death, murdered with his wife when he was in his 40’s

Gold Wreath w/Oak Leaves & Acorns found in antechamber of Tomb II, Vergina (Macedonia)
    Date:     4th C. B.C

Found in Macedonian tomb derived from Lycian prototypes. Tomb had colorful Doric facade showing Alexander hunting lions, NE unting motif. Two chambers of tomb contained dozeons of silver symposium vessels, bronze weaponry, and bath equipment, golden arrow holder. In inner chamber, marble chest containing golden chest which contained the remains of a man in his 40’s and a gold crown made to resemble an oak leaf. Outer chamber contained a marble box containing a golden box with the remains of a woman in her 20’s.

Has been id’d as Phillip II’s other son, Arridaios, mentally disabled brother of Alexander, who becomes puppet king of Macedon after Alexander’s death, murdered with his wife when he was in his 40’s

    Creator:     Hellenistic
    Title:     Silver Tetradrachm of Lysimachos (Lysimachus), Thrace
    Title:     Obverse: Head of Alexander with diadem and Zeus Ammon horns.
    Work Type:     coins (money)
    Date:     c. 297-281 BCE

Coin issued by diadochos Lysimachos. Alexander as a god with horns of Ammon appears on one side, while Lysimachos of Thrace appears on this side with the simple linen filet of Hellenisitc kingship. Lysimachos seeks to associate himself with Alexander. Shows deification of Greek monarchs for the first time, using iconography of existing god. Also shows cosmopolitanism of Hellenistic world as Alexander is being depicted as an Egyptian god, depiction based on coins with Zeus-Ammon made in Cyrene.

    Title:     Statuette group of Apollo, Leto, and Artemis from Crete
    Date:     c.660 B.C
    Location:     Greek
    Material:     bronze

   Culture:     Greek
    Title:     Bronze horse
    Period:     Geometric
    Date:     8th century B.C.
    Material:     Bronze

Agalma, a delight for the gods. More permanent than sacrifice of animals. Show prestige of elites who dedicate them since metal rare in Geometric period. Required skill to make, cast using lost wax method.

   Statuette of Nude Goddess (from Athens), Dipylon figurine
    Date:     c.750 B.C
    Material:     ivory
    Subject:     Sculpture--Greek: Geometric--9th-8th C. B.C

Found in grave in Dipylon cemetery. Nude goddess an NE motif as well as tholos headress with meander. Possibly imported or a local product using NE stylistic elements.

Painted clay metope: det.: Aedon & Chelidon with Itys's body
    Date:     c.630 B.C
    Subject:     Metopes

Clay metope from Temple of Apollo Thermum in Corinth Gulf. Few examples of free painting from Archaic Greeece. Decorated similar to Corinthian ceramics like Chigi vase. Myths on temple have little to no connection to deity worshipped inside.

Rare myth to show in art. Myth of Procne and Chelidon with the body of Itys which ends in everyone being transformed into birds. Procne kills child of herself and Chelidon to avenge him taking her captive and sexually assaulting her sister. Script is unusual mix of Corinthian and local Aetolian.

    Culture:     Greek, Late Daedalic style
    Title:     Female head; fragment of a metope from the acropolis at Mycenae, “Woman at the Window” from type of ivory
    Date:     ca. 630 B.C.E.   

Daedalic style of earliest preserved Greek stone figures with Daedelic hair, large eyes, full lips. Thought to be part of temple metope, beginning of large-scale temple sculpture. Possibly influenced by NE art such as sphinxes and goddesses like Astarte and Kubaba.

    Culture:     Greek, Archaic
    Title:     Treasury of Sikyon, Delphi: the Dioskouroi in a cattle raid, fragment of metope
    Date:     ca. 560 B.C.E.                                                                                  
    Location:     Delphi Museum, Greece
    Material:     limestone

    Creator:     Polymedes of Agros
    Title:     Kleobis and Biton
    Date:     c. 590 BCE
    Measurements:     2.18 m
    Description:     found at the Sanctuary of Apollo at Delphi

Rare example of stone statuary from Delphi. Herodotus says they died trying to pull their mother to a festival in a cart. Argive state erected this monument to honor them. These statues are identical, the statues are meant to emphasize their social status, not their personal appearance.

   Culture:     Greek, Archaic
    Title:     Kouros from Cape Sounion
    Date:     ca. 600-590 B.C.

Simple, triangular lines used to outline body rather than detailed modelling.

Monument of Lysicrates
    Date:     Erected in 335 BC
    Location:     Athens, Greece
    Style Period:     Classical Greece; Corinthian
    Description:     Towards the east side of the Acropolis, at the edge of the district of Plaka, lies the Choregic monument of Lysicrates. The monument was built in 335 BC to commemorate the wealthy Lysicrates who financed the theatrical spectacles in honor of Dionysus. This is the only intact choregic monument. This is an elegant pseudo-monopteral Corinthian structure on a high plinth, with walls and decoration alternately in Pentelic and Hymettus marble, a marble dome and low relief ornaments depicting Dionysian motifs, including the famous myth of a god changing pirates into dolphins. The marble dome of the monument is decorated with acanthus leaves supporting a bronze trophy. It bears an inscription depicting the name of Lysicrates and his good deeds for the community.

One of the first uses of Corinthian columns on a building exterior

    Title:     Pélla: Polychrome Pebble Mosaic: deer hunt
    Work Type:     polychrome pebble mosaic
    Work Type:     floor
    Date:     1st half 3rd C. B.C
    Location:     Macedonia
    Location:     Pella (Greece)

By Gnosis. This version uses colored stones. Floral motifs resemble those on contemporary south Italian pottery. Hunting motif with NE resonance. Delicate shading, use of illusionistic devices like foreshortening, hat falling from head of hunter emphasizes that we are seeing one moment frozen in time. Orange-on-black colors come from red figure pottery. Possibly reference to pottery means this room was used for symposia.
    Description:     Two hunters, almost nude, are attacking a deer from both the left and the right, each with a different weapon.  In the foreground a dog has grasped the belly of the deer with his teeth. The flying hat at the top right hand corner and the flowing capes worn by the hunters give the scene the impression of violent motion

Pélla: Pebble Mosaic: lion hunt
    Work Type:     pebble mosaic
    Work Type:     floor
    Date:     2nd C. B.C
    Location:     Macedonia
    Location:     Pella (Greece)
    Description:     The central subject of this mosaic is reminiscent of the well known votive group of Krateros in Delphi, which represented Alexander being saved at the last moment by Krateros

Lefkadia: chamber tomb reconstruction drawing of facade
    Date:     4th-3rd C. B.C
    Subject:     Painting--Greek: Hellenistic--330-250 B.C

Lefkadia: chamber tomb wall painting: det.: Rhadamanthys, right side of door
    Date:     4th-3rd C. B.C
    Subject:     Painting--Greek: Hellenistic--330-250 B.C

    Culture:     Greek, Hellenistic
    Title:     Sleeping Satyr ("Barberini Faun")
    Date:     ca. 220 B.C.E.        

Interest in Late Hellenistic/Rococo art in Dionysic scenes with satyrs. More lighthearted than baroque style.

Heavily restored by Bernini in in 17th c, who pulled out and spread the right leg more than in the original

Klein thought it was decorative, humorous and erotic enough to be rococo and later (2nd c) while others think the massiveness of his features, and exhaustion, emotional realism mean it should be connected with earlier baroque of 3rd cent Pergamon

Tanagra Figurine: Standing woman with sunhat and fan front
    Date:     c.320 B.C
    Material:     terracotta

New type of naturalistic terracotta figurine type that emerges at site of Tangara in Boeotia in last quarter of the 4th c. BCE.

Usually depcits fashionable women and girls often wrapped in himations and sometimes wearing broad-brimmed hats and holding fans or wreaths.

These representations of everyday people that seem to be observed from daily life are believed to originate in the New COmedy of Menander.

Unlike earlier mold-made terracotta figurines which had flat backs, Tangara figurines are more lively becuase they are mold-made on both sides. Often head and arms were made in separate molds before being attached to the figure prior to firing, allowing for a variety of dynamic poses even using the same molds.

Azanlak: tomb cupola General view of mural: det.: homage to princely couple
    Date:     c.300 B.C
    Subject:     Painting--Greek: Hellenistic--330-250 B.C

    Culture:     Greek
    Title:     Temple of Apollo, south end, oblique view
    Work Type:     architecture
    Date:     c. 565 BCE
    Location:     Syracuse (Siracusa), Italy
    Material:     limestone

    Title:     Temple C plan
    Date:     ca. 540 B.C.E.
    Location:     Selinus (Selinunte), Sicily, Italy
    Style Period:     Greek, Archaic

Has adyton as is typical for W Greek temples. Hexastyle and dipteral as is typical for Doric order.

    Title:     Selinus: Temple F plan
    Location:     Selinus (Extinct city)

Has adyton rather than opisthodomos as is typical for Sicilian temples. Pseudodipteral at front, imitating diptality more common in Ionic temples. Stone screens link columns, possibly related to Sicilian religious ritual or inspired by Egyptian birth shrines.

    Title:     Selinus. Temple G. Plan.
    Work Type:     Architecture
    Date:     ca. 500-409 BCE
    Site:     Selinus (Selinunte), Sicily, Italy.
    Material:     Limestone and marble.
    Style Period:     Archaic

Thicker columns in earlier phases as if architects don’t yet trust columns to hold weight of structure. Pseudo-dipteral. One of largest temples from antiquity, still incomplete when destroyed by Carthagenians. Opisthodmos instead of adyton atypical for Sicilian temples, more like a mainland temple. Triple entrance to cella may indicate worship of triad.

Selinus: Temple F plan side elevation

Doric order like other temples at Selinus and triglyph and metope frieze.   

Stone screens link columns, possibly related to Sicilian religious ritual or inspired by Egyptian birth shrines.

    Title:     Selinus. Acropolis. Temple plans.
    Work Type:     Architecture
   A bunch of Doric order temples with a lot thicker columns than mainland Greek ones.

    Culture:     Greek [architectural techniques]
    Title:     Entablature: Geison fragment (Geloan Treasury, Olympia)
    Date:     6th century B.C.E.                                                                      
    Location:     Olympia Museum, Greece

Show architectural terracottas made by Sicilian coroplasts from Gela with local clay. Uses distinctive Sicilian roofing system that replaces antefixes with a sima. Example of visual richness, poikilia in Archaic Greec Architecture.