Greek Archaeology Test 1

Pseudodipteral

Potential for double colonnade but not

Treasuries

Buildings used to hold expensive dedications

Ionic temple features

• Elaborate detail

• Continuous frieze

• Bases on columns

Antae 

Two supports (either columns or statues) between two walls

Karyatids

Female figure supports

Temple of Artemis, Corfu, 580BC

• 23.46×49cm

• Earliest Doric temple made entirely of stone

• Pseudodipteral columns

• Inner colonnades in cella creates three interior rows

Pediment of Temple of Artemis, Corfu, 580BC

• Large central Medusa figure - character used to warn off unwanted visitors

• Medusa’s sons Chrysaor and Pegasus

• Archaic style - bulbous eyes - hair in rows - stiff bodily depiction

• Indication of running position - not anatomically correct - torso and legs in different positions 

• Animal iconography - influence from near east 

• Smaller figures of Zeus attacking giant with thunderbolt - also evidence of awkward archaic style 

Treasury of Siphnians, Delphi, 530-525BC

• Absolute date - rare for archaic period

• Ionic style - continuous frieze, bases on supports, richly ornamented

• Antae with Karyatids - one hand holding garment other stretching out - holes on heads indicate bronze attachments - archaic face: bulbous eyes and archaic smile

North Frieze of the Treasury of Siphnians, Delphi, 530-525BC

• Depicts battle of gods against giants

• Colour traces

• Dipinti

• Signed by sculptor on sculpture itself

• Maximum use of space

• Complex use of depth - layering of figures allows for depth perception - one figure falls between another’s legs indicating space

• Free flowing movement - drapery flowing on giant - developing away from archaic stiffness

Dipinti

Inscribed or painted names identifying characters

East Frieze of the Treasury of Siphnians, Delphi, 530-525BC

• Depicts Achilles vs Memnon fighting over a body - retrieving body important to recover arms and/or give a proper burial - depiction of reality in mythological scene

• Traces of colour

• New techniques of depth perception - layering of horses - foreshortening of bodies to show them coming forward - beginning of development into classical style

Temple Deposits in Delphi, 6th century BC

• Three Chryselephine figures

• Perhaps representing Apollonian triad

• Luxury deposits are rare in the archaeological record - often looted, destroyed, melted

• Sphyrelaton technique

• Work of Ionian workshop in near east - shows wide appeal of Delphi - richly decorated and visited

Chryselephine

Gold and ivory statues

Sphyrelaton

Technique of hammering gold leaf into flattened shape

Kylix

Drinking cup

Kylix by Exekias

• Black figure technique 

• 540-530BC

• Depicts Dionysus myth - turns sailors into dolphins and ship mast into grape vines

• Coloured details - purple and white 

Calyx crater by Euphronius

• 510BC - part of the pioneers

• 60.5cm

• Found in Etruscan grave

• Depicts death of Sarpedon, son of Zeus - Sarpedon fated to die and cannot be saved by Zeus

• Sarpedon - larger than other figures creates emphasis - anatomical details - use of dilute glaze to achieve smaller details - darker and lighter glaze adds limited shading - red colour for hair and blood

The Pioneers

• Early red-figure painters

• 515-505BC

• Experimenting with movement; anatomical details; thickness of slip; paintbrushes

Red-figure Vase Painting

• 530-525BC

• Reverse of black-figure paintings

• No inscribed details

• Allows for finer details and flexibility in drawing - freer flowing lines

• More emphasis on figures - taking up more space

Bilingual vases

Vases depicting same scene on both sides but inverted black figure and red figure technique

Three revellers by Euthymides

• 510BC

• 60.5cm

• Found in Etruscan grave

• Depicts three drunk figures

• Attempt at ¾ view - shortening of limbs to show movement - smooth transition between upper and lower body

• Inscription (as well as signature) - “as never Euphronius” - referring to another vase painter - comparing artistic ability - sense of artistic community and competition

Bronze Age

3000-1000BC

Knossos Palace

• Stone foundations - mud-brick walls

• wooden beams across ceilings to support second floors

• Irregular plan - complex large structure

• Possibly acted as a distribution centre - too large for one family - large storage units found with deposits of grain and oil - also evidence of manufacturing

Town Mosaics

• Two dozen ceramic tiles found in Knossos

• Representation of what buildings used to look like - depicting multiple stories

• Used to decorate furniture

Snake Goddess

• Found in Knossos temple repository

• 30-35cm

• Female figure with raised hands holding snakes

• Pillared skirt and bodice with bare chest - cap with animal on top - one of many snake goddesses in Knossos pillar crypt

Isopata Ring

• Depicts female figures similar to Knossos Snake Goddess

• Found in Knossos temple repository

• One prominent figure surrounded by other figures

• Perhaps worship or adoration?

Bull’s head Rhyton

• Found in Knossos temple repositor

• Serpentine Stone - inlays of golf leaf - rock crystal eyes - shell muzzle 

• Incredible detail - details of hair and fur wrinkles - accurate rendition of nature

Ivory Figurine, Knossos

• Ivory not native to Greek world - evidence of trade and exchange

• Perhaps bull leaper - Minoan culture had prominent bull iconography - similar to the famous bull leaping fresco in Knossos

Ashlar Masonry

Dressed blocks made smooth to fit with each other

Cyclopean Masonry

Irregular blocks placed within each other 

Minoan Pottery Marine Style

• 1500-1450BC

• Marine life iconography - very animated - accurate details but made stylistic