Exam Study Notes Module 5 done
### Sculptural Design Choices on Temples
Naos (Cella): The inner chamber of a temple that housed the cult statue.
Pronaos: The front porch of a temple, serving as the entrance.
Prostyle: Free-standing columns across the front of a building.
Anta: The post or pillar on either side of a doorway or entrance of a Greek temple.
Opisthodomos: The rear room of a Greek temple.
Doric Order Characteristics
Columns without a base.
Columns with a bulge in the middle of their shaft (entasis).
Squashed, flared capitals.
Frieze divided by triglyphs and metopes.
Key Points
Greek stone temple design was influenced by Mycenaean megarons and earlier wooden temples.
Megarons featured a porch with columns in antis and a central room.
Decorative elements like triglyphs replicated the visual design of wooden temples in stone.
During the Archaic period, Greeks developed the ideal temple design.
A central naos was surrounded by an opisthodomos and a pronaos, accessible only through the pronaos.
These rooms were surrounded by a peripteral colonnade on a raised platform with two or three steps.
The Doric order is the oldest Greek architectural classification.
Frieze divided by triglyphs and metopes.
Designers utilized metopes and pedimental spaces to depict mythological events.
Examples include the Twelve Labors of Herakles on the Temple of Zeus at Olympia.
Temples of Hera I and Hera II at Paestum, Italy, demonstrate the development of the Doric style.
The Temple of Aphaia at Aegina's design did not conform to the architectural standards of the time.
### Key Terms
Peripteral: Surrounded by a single row of columns.
Naos: The inner chamber of a temple that housed the cult statue (also known as a cella).
Megaron: The rectangular great hall in a Mycenaean building, usually supported with pillars.
Pediment: The triangular space above the frieze at the narrow ends of the temple.
Entasis: A slight convex curvature introduced into the shaft of a column for aesthetic reasons.
Stylobate: A raised stone platform on which temples are erected.
Pronaos: The front porch of a temple.
Anta: The post or pillar on either side of a doorway or entrance of a Greek temple.
Opisthodomos: The rear room of a Greek temple.
Votives: Objects displayed or deposited at a sacred place without the intent of recovery or use.
Echinus: A convex molding that commonly bears the egg-and-dart motif.
Entablature: The area of a temple facade that lies horizontally atop the columns.
Triglyph: A decorative panel with three grooves.
Tholos: A circular, colonnaded building, usually a temple.
Metope: A rectangular architectural element that fills the space between two triglyphs in a Doric frieze.
Prostyle: Free-standing columns across the front of a building.
Temples of the Archaic Period
Stone temples were first built during the Archaic period in ancient Greece.
Before this, temples were constructed out of mud-brick and wood.
Delphi
Sanctuaries and Treasuries
Delphi was an essential city and sanctuary site for the Greeks.
Main cult site for Apollo.
Home of the Delphic Oracle.
Site of the Panhellenic Python Games, which honored Apollo's slaying of the Python.
The site is known for its numerous treasuries.
Built by various poleis to house their city-states' offerings and votives to Apollo.
Small, single-room structures decorated to commemorate the deeds of the city.
### Specific Treasuries
Siphian Treasury:
Built in Ionic style in 530 BCE.
Used caryatids instead of columns.
Continuous frieze and pediments are high reliefs carved in the Archaic style.
- Figures on the pediment appear more stiff than those on the frieze, which depicts battle.
Athenian Treasury:
Built between 510 and 490 BCE to honor Athenian military power against the Persians.
Doric style.
Fragments of metopes display the emergence of naturalism found in Archaic sculpture.
### Key Terms
Peristyle: An external colonnade surrounding the perimeter of a temple.
Stylobate: The level of a temple platform on which its columns stand.
Triglyph: Three vertically channeled tablets of the Doric frieze.
Tripod: A three-legged stand or mount.
Treasury: A place where state or royal money and valuables are stored.
Gigantomachy: The battle fought between the Titans and the Olympian gods for supremacy of the cosmos.
Columns in antis: The upright posts located between two pillars or piers on either side of a doorway or entrance to a Greek temple.
Metope: A rectangular architectural element that fills the space between two triglyphs in a Doric frieze.
Panhellenic: Relating to all of Greece or all of the Greeks.
Delphi's Significance
Located in central Greece on Mt. Parnassus.
Known for its Sanctuary of Apollo, the Delphic Oracle, and the Pythian Games.
Home to the dragon Python, who protected the navel of the earth.
Apollo slew the Python, establishing his presence.
The Pythian Games, held every four years, commemorated Apollo's victory.
According to myth, the Delphic Oracle would place her tripod seat over the fissure, inhale the fumes, and then would be possessed.
The Delphic Oracle was an essential part of Greek life and had commanding power over the lives of the Greeks. The oracle's prophecies were usually unintelligible and would be translated into poetic meter by priests.
Influences on Greek Temples
The temples of the Greek Orientalizing period had simple plans and sculpture influenced by styles from Egypt and the Near East.
Key Points
Earliest stone temples in ancient Greece derive their structure from Minoan and Mycenaean designs.
Temple A at Prinias, Crete, is the earliest known Greek temple decorated with sculpture.
Consisted of a single chamber and a portico with three simple columns.
Remains of friezes from Temple A share stylistic attributes with Egyptian, Near Eastern, and Greek Orientalizing sculptures.
### Key Terms
Entablature: The lintel area of a temple portico.
Anta: The simplest form of an ancient Greek temple, consisting of a pronaos (portico) with two columns and a naos, or cella.
Lamassu: A mythical winged creature with the head of a human and the body of a lion or bull.
Capital: The topmost part of a column.
Base: The bottommost part of a column.
Cella: Also known as a naos, the central chamber of a temple.
Greek Temple Architecture
Basic principles developed between the tenth and seventh centuries BCE.
Simplest form: a naos or cella, a simple rectangular shrine with protruding side walls (antae) forming a small porch.
Adding columns triggered the development and variety of temple architecture.
Building Materials
Building of stone temples first began during the Orientalizing period.
Earlier temples were made from wood and other perishable materials, using terra cotta revetments.
With stone, revetments became unnecessary and were replaced by sculptural ornamentation.
Design Influences
Temples derive their structure from Minoan and Mycenaean architectural designs.
Minoan shrines at Knossos were tripartite shrines fronted by three columns.
The Mycenaean king's chamber (megaron) was appropriated for use by the gods.
Oriental Greek stone temples were fronted by three columns and one entrance, leading into a single-room chamber (cella).
The temple cella was reserved for the cult statue, while cult rituals took place outside in front of the temple around an altar.
Temple A at Prinias
Located on the island of Crete (c. 650-600 BCE).
Oldest known Greek temple decorated with sculpture.
Similar to the anta design with a third column in the center in front of the doorway.
One step spanned the width of the facade, leading to the pronaos.
Columns were simple, rectangular blocks with very thin bases and capitals.
Unlike Minoan columns, the shafts did not taper; their width remained constant.
The frieze of the facade consisted of reliefs depicting a procession of riders on horseback with little variation.
The scale of the horses dwarfed that of their riders.
Each horse stood in profile, while each rider faced the viewer with his sword raised and his shield connecting his head to his legs.
Riders might be nude, as was typical, with stylized features and plaited hairstyles.
The current cracked condition of the frieze is a likely indicator that it was assembled in a piecemeal fashion, as opposed to being carved as a singular entablature.
Atop the entablature sat sculptures of two winged female creatures resembling the sphinx or the lamassu of the ancient Assyrian and Babylonian cultures.
Behind the facade sat a doorway with an intricately designed lintel.
Its frieze consisted of six stylized panthers standing in high relief.
This motif is typical of northern Syria.
Each group of three panthers faced each other with their heads turned toward the viewer.
Between each group sat a plain rectangular recess, probably marking the location of the central column.
Atop the frieze sat two stylized female sculptures in the round who faced each other.
One figure placed her hands flatly on her lap, while the other held her hands in a position to accommodate a cup or similar object.
These figures are believed to represent goddesses.
Each sat in profile on a plain backless bench.
The face of each figure had almond-shaped eyes and stylized eyebrows similar to those on Egyptian sculptures.
Their hair was plaited and fell to either side of their shoulders.
Mantiklos Apollo
There are no inscriptions on sculpture before the appearance of the bronze Mantiklos Apollo (early seventh century BCE) found in Thebes.
The figure, named for the individual who left it as an offering, is that of a standing man with a rigid and somewhat Daedalic form.
His legs bear the inscription, "Mantiklos offered me as a tithe to Apollo of the silver bow; do you, Phoibos [Apollo], give some pleasing favor in return."
The inscription is a declaration of the statuette to Apollo, followed by a request for favors in return.
Apart from the novelty of recording its own purpose, this sculpture adapts the formulae of later Orientalized sculptures, as seen in the shorter more triangular face and slightly advancing left leg.
This is sometimes seen as anticipating the greater expressive freedom of the later seventh century BCE.
As such, the Mantiklos figure is referred to in some quarters as proto-Daedalic.
Similarities of the Statues
Despite the separation of several decades and over 200 miles, the Mantiklos Apollo and the Lady of Auxerre share interesting similarities, including their long plaited hair, cinched waist, stylized smile, and hand raised to the chest-all of which recall ancient Egyptian sculpture.
Although the right arm of the Mantiklos Apollo is missing, the position of its shoulder implies a possible position similar to that of the left arm of the Lady of Auxerre, straight at its side.
However, we can already see striking differences that will remain the standard in Greek art for centuries.
The male body, as a public entity entitled to citizenship, is depicted nude and free to move.
This freedom of movement