*Chapter 5Ancient GreeceGardners Art Through the Ages, 14e

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The Greek World

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*GoalsUnderstand the diverse cultural influences on Greek artistic development Connect the philosophy and religion of the ancient Greeks to their values in art and architecture.Recall the basic periods of Greek art and place works of art and architecture into these periods based on their characteristicsDiscuss the representation of the human form through different periods of Greek art.Observe the development of Greek architectural structures in accordance with their purposesIdentify the orders of Greek architecture and compare and contrast their appearancesUnderstand the impact of the conquest of the Greeks on their respective art forms Discuss individual artists and their respective styles

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*5.1 Geometric and Orientalizing PeriodsUnderstand the diverse cultural influences on Greek artistic development Discuss the representation of the human form through different periods of Greek art.

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*Greek Artistic DevelopmentUnderstand the diverse cultural influences on Greek artistic development.Identify the artistic elements and influences in the Geometric (9th 8th centuries BCE) and Orientalizing styles (7th century BCE).Observe the values of religion, military valor, heroism, and athleticism as they emerge in Greek art during these periods.

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Geometric Period (9th 8th centuries BCE)Describe geometric features in the design of the Geometric krater from the Dipylon Cemetery. What type of scene is being displayed in the registers? What was the purpose of such an item?

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*Figure 5-2 Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3 4 1/2 high. Metropolitan Museum of Art, New York.

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5-2A DIPYLON PAINTER, Geometric amphora with mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 750 BCE. 5 1 high. National Archaeological Museum, Athens.

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*The Human Figure in Early Greek ArtDescribe the representation of the human form in early Greek art. Examine Greek religion, mythology, and philosophy and their expression in art.

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*Figure 5-3 Hero and centaur (Herakles and Nessos?), from Olympia, Greece, ca. 750730 BCE. Bronze, 4 1/2 high. Metropolitan Museum of Art, New York (gift of J. Pierpont).

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Orientalizing Period (7th century BCE)The pace and scope of Greek trade and colonization increased in the near East and Egypt during this period. What Egyptian and/or near Eastern qualities can be observed in the works of Greek art during this period?

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*Figure 5-4 Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700680 BCE. Bronze, 8 high. Museum of Fine Arts, Boston.

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*Figure 5-5 Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625600 BCE. 1 2 high. British Museum, London. Observe the creatures on this black-figure amphora. Are there any precedents for such composite creatures?

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Architecture during the Orientalizing PeriodExamine features of Temple A from Prinias on the island of Crete.What architectural structures may have influenced this building either from Egypt, the near East, or the Greek mainland?

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*Figure 5-6A Plan of Temple A, Prinias, Greece, ca. 625 BCE.

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Figure 5-6B Lintel of Temple A, Prinias, ca. 625BCE*

*Figure 5-6 Lady of Auxerre, ca. 650625 BCE. Limestone, 2 1 1/2 high. Louvre, Paris.

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5.2 Archaic Period (6th century BCE)Notice how representation of the human figure changesRecognize the emergence of the Doric and Ionic orders of architectureRealize the refinement of Greek vase painting and differentiate between black-figure and red-figure vases

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*The Human Figure in Archaic ArtUnderstand the development and influences relating to the early Greek kouros (male youth)/kouroi (pl.) Understand the development and influences relating to the kore (maiden)/korai (pl.).What culture(s) had a significant influence on the New York kouros? How is it uniquely Greek? What was/were the purpose(s) of such statues?How is the Kroisos figure different from the other kouroi?

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*Figure 5-7 Kouros, ca. 600 BCE. Marble, 6 1/2 high. Metropolitan Museum of Art, New York.

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*Figure 5-8 Calf Bearer, dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE. Marble, restored height 5 5; fragment 3 11 1/2 high. Acropolis Museum, Athens.

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*Figure 5-9 Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6 4 high. National Archaeological Museum, Athens. Why did Greek artists render the male form in the nude?

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*Figure 5-10 Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, 4 high. Acropolis Museum, Athens. Notice traces of encaustic paint on the Peplos Kore. Most Greek stone statues were painted.

Notice also that the Peplos Kore is clothed.

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*Figure 5-11 Kore, from the Acropolis, Athens, Greece, ca. 520510 BCE. Marble, 1 9 high. Acropolis Museum, Athens.

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*Greek Architectural DevelopmentObserve the development of Greek architectural structures in accordance with their purposesIdentify the orders of Greek architecture and compare and contrast their appearancesWhat is a common support element that Greek temples share with structures with other historical periods even Stonehenge?

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Figure 5-12 Plan of a typical peripteral Greek temple. *Peripteral Greek Temple

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Figure 5-13 Elevations of the Doric and Ionic orders.*Compare Doric and Ionic Orders

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*Figure 5-14 Temple of Hera I (Basilica), Paestum, Italy, ca. 550 BCE.

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*Figure 5-15 Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE.

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*Figure 5-16 West pediment from the Temple of Artemis, Corfu, Greece, ca. 600580 BCE. Limestone, greatest height 9 4. Archaeological Museum, Corfu.

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*Figure 5-17 Reconstruction drawing of the Siphnian Treasury, Delphi, Greece, ca. 530 BCE (John Burge).

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5-17A Aerial view of the sanctuary of Apollo, Delphi, Greece, with the temple of Apollo, begun 548 BCE, and Archaic treasuries.

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*Figure 5-18 Gigantomachy, detail of the north frieze of the Siphnian Treasury, Delphi, Greece, ca. 530 BCE. Marble, 2 1 high. Archaeological Museum, Delphi.

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*Greek Vase PaintingObserve the representation of the human form on Archaic vases. What similarities do figures on these vases share with figural art of other ancient cultures?Differentiate between black-figure and red-figure vases in terms of appearance, tools used, and technique.Identify individual painters and potters who signed their vases. Identify common subject matter in the paintingsRealize the importance of Greek vases as the main surviving repositories of Greek painting.

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*Figure5-19 KLEITIAS and ERGOTIMOS, Franois Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. General view (top) and detail of centauromachy on other side of vase (bottom). 2 2 high. Museo Archeologico, Florence.

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5-20A EXEKIAS, Achilles killing Penthesilea (Athenian black-figure amphora), from Vulci, Italy, ca. 540530 BCE. 1 4 3/8 high. British Museum, London.

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*Figure 5-20 EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540530 BCE. Whole vessel 2 high; detail 8 1/2 high. Musei Vaticani, Rome.

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*Figure 5-21 ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto, Italy, ca. 525520 BCE. Black-figure side (left) and red-figure side (right). 1 9 high. Museum of Fine Arts, Boston.

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*Figure 5-22 EUPHRONIOS, Herakles wrestling Antaios (detail of an Athenian red-figure calyx krater), from Cerveteri, Italy, ca. 510 BCE. Whole vessel 1 7 high; detail 7 3/4 high. Louvre, Paris.

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Figure 5-22A Euphronios, Death of Sarpedon, ca. 515 BCE*

*Figure 5-23 EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2 high. Staatliche Antikensammlungen, Munich.

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5-23A ONESIMOS, Girl preparing to bathe (interior of an Athenian red-figure kylix), from Chiusi, Italy, ca. 490 BCE. Tondo 6 in diameter. Muses Royaux des Beaux-Arts de Belgique, Brussels.

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*Aegina and the Transition to the Classical PeriodCompare and contrast the design of the Temple of Aphaia at Aegina (500 490 BCE) to the Temple of Hera I at Paestum. Notice the refinement of form of the Temple of Aphaia. Compare and contrast the pediment sculpture of the Temple of Aphaia to the Temple of Artemis of Corfu. Notice that the pediment of Temple of Aphaia utilized sculpture in the round, similarly sized figures throughout, and a unified narrative.

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*Figure 5-24 Temple of Aphaia, Aegina, Greece, ca. 500490 BCE.

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5-25 Model of the Temple of Aphaia, Aegina, Greece, ca. 500-490 BCE, showing internal elevation. Glyptothek, Munich.*

*Figure5-26 GUILLAUME-ABEL BLOUETS 1828 restored view of the faad of the Temple of Aphaia, Aegina, Greece, ca. 500490 BCE.

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*Figure5-28 Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6 1 long. Glyptothek, Munich.

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*Figure 5-27 Dying warrior, from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 500490 BCE. Marble, 5 2 1/2 long. Glyptothek, Munich.

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Dying Warriors from the Temple of AphaiaNotice the difference(s) between the two dying warriors from the west and east pediments of the Temple of Aphaia. How are they different?

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*5.3 Early and High Classical Periods (5th century BCE)Understand the significance of the Persian invasions of the early 5th century to the development of the Classical period.Examine the development of human representation in sculpture and the philosophy and principles behind its form.Explore the Acropolis, its architecture and sculpture.

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*Perfection in Sculptural FormUnderstand the concepts of contrapposto, Polykleitos canon, and the expression of the Greek ideal of human form in the work of Classical sculptors.Examine the art materials, techniques, and individual artists that made the sculptural forms possible.

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Temple of Zeus at Olympus (470 457 BCE)First great monument of Classical art and architectureSince it is largely in ruins today, compare to Temple of Hera II at Paestum (believed to influenced by Temple of Zeus)Statuary of east pediment of Temple of Zeus remainHow do they differ from Archaic statuary?

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*Figure 5-29 Temple of Hera II, Paestum, Italy, ca. 460 BCE.

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*Figure 5-30 East pediment from the Temple of Zeus, Olympia, Greece, ca. 470456 BCE. Marble, 87 wide. Archaeological Museum, Olympia.

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5-32A Centauromachy, west pediment from the Temple of Zeus, Olympia, Greece, ca. 470456 BCE. Marble, Apollo (central figure), 10 8 high. Archaeological Museum, Olympia.

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*Figure 5-31 Seer, from the east pediment of the Temple of Zeus, Olympia, Greece, ca. 470456 BCE. Marble, full gure 4 6 high; detail 3 2 1/2 high. Archaeological Museum, Olympia.

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Figure 5-32 Apollo, from the west pediment (Fig. 5-32A) of the Temple of Zeus, Olympia, Greece, ca. 470-456 BCE. Marble, restored height 10 8. Archaeological Museum, Olympia.*

*Figure 5-33 Athena, Herakles, and Atlas with the apples of the Hesperides, metope from the Temple of Zeus, Olympia, Greece, ca. 470456 BCE. Marble, 5 3 high. Archaeological Museum, Olympia.

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*Figure 5-34 Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, 2 10 high. Acropolis Museum, Athens. Kritios Boy is the earliest known example of contrapposto, a relaxed and natural stance. Notice how his weight shifts to his left leg and how his head turns slightly to his right.Notice absence of Archaic smile

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*Figure 5-35 Warrior, from the sea off Riace, Italy, ca. 460450 BCE. Bronze, 6 6 high. Museo Archeologico Nazionale, Reggio Calabria.This Riace Warrior, like most Classical Greek statues, was sculpted in bronze. Most Classical bronzes have not survived.

Much of the Classical Greek sculptures today are Roman marble copies.

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5-36 Two stages of the lost-wax method of bronze casting (after Sean A. Hemmingway).*

5-37 Charioteer, from a group dedicated by Polyzalos pf Gela in the sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, 5 11 high. Archeological Museum, Delphi.*

*Fig. 5-38 Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460450 BCE. Bronze, 6 10 high. National Archaeological Museum, Athens.

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*Figure 5-39 MYRON, Diskobolos (Discus Thrower). Roman marble copy of a bronze original of ca. 450 BCE, 5 1 high. Museo Nazionale RomanoPalazzo Massimo alle Terme.

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*Figure 5-40 POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450440 BCE, 6 11 high. Museo Archeologico Nazionale, Naples.Doryphoros (Spear Thrower), POLYKEITOS

Originally titled CanonEstablished Polykleitos canon of proportions, setting ideal correlations among body partsContrappostoNotice the harmony of opposites

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*Figure 5-41 KRESILAS, Pericles. Roman marble herm copy of a bronze original of ca. 429 BCE. Full herm 6 high; detail 4 6 1/2 high. Musei Vaticani, Rome.Pericles: Elected stratego, general of Athens 15XInstrumental in rebuilding and beautifying Athens after second Persian invasionNotice his idealized appearance

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*The Acropolis of PericlesExamine the architectural detail of the Parthenon, the Propylaia, and the Erechtheion.Explore the sculpture of Phidias at the Acropolis.

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*Figure 5-42 Aerial view of the Acropolis looking southeast, Athens, Greece.

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5-43 Restored view of the Acropolis, Athens, Greece (John Burge). (1) Parthenon, (2) Propylaia, (3) pinakotheke, (4) Erechtheion, (5) Temple of Athena Nike.*

*Figure 5-1 IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast), Acropolis, Athens, Greece, 447438 BCE.

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*Figure 5-45 Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart), 447432 BCE.

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*Figure 5-46 PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost chryselephantine statue. Royal Ontario Museum, Toronto.

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5-47 Lapith versus centaur, metope from the south side of the Parthenon, Acropolis, Athens, Greece, ca. 447-438 BCE. Marble, 4 8 high. British Museum, London.*

*Figure 5-48 Helios and his horses, and Dionysos (Herakles?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438432 BCE. Marble, greatest height 4 3. British Museum, London.

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*Figure 5-49 Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438432 BCE. Marble, greatest height 4 5. British Museum, London.

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*Figure 5-50 Details of the Panathenaic Festival procession frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447438 BCE. Marble, 3 6 high. Horsemen of north frieze (top), British Museum, London; seated gods and goddesses (Poseidon, Apollo, and Artemis) of east frieze (center), Acropolis Museum, Athens; and elders and maidens of east frieze (bottom), Louvre, Paris.

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*Figure 5-51 MNESIKLES, Propylaia (looking southwest), Acropolis, Athens, Greece, 437432 BCE.

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*Figure 5-52 Erechtheion (looking northwest), Acropolis, Athens, Greece, ca. 421405 BCE.

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*Figure 5-53 Plan of the Erechtheion, Acropolis, Athens, Greece, ca. 421405 BCE.

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*Figure 5-54 Caryatids of the south porch of the Erechtheion, Acropolis, Athens, Greece, ca. 421405 BCE. Marble, 7 7 high.

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*Figure 5-55 KALLIKRATES, Temple of Athena Nike (looking southwest), Acropolis, Athens, Greece, ca. 427424 BCE.

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*Figure 5-56 Nike adjusting her sandal, from the south side of the parapet of the Temple of Athena Nike, Acropolis, Athens, Greece, ca. 410 BCE. Marble, 3 6 high. Acropolis Museum, Athens.

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*Figure 5-57 Grave stele of Hegeso, from the Dipylon cemetery, Athens, Greece, ca. 400 BCE. Marble, 5 2 high. National Archaeological Museum, Athens.

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*Classical Vases and PaintingPainters painted large wooden panels that were displayed in public buildings; these are lost todayClassical vases provide insight into possible elements of those panel paintingsExamine polychromy and white-ground vase painting.Learn about Polygnotos, landscape painting, and mosaic copies of Greek painting.

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*Figure 5-58 ACHILLES PAINTER, Warrior taking leave of his wife (Athenian white-ground lekythos), from Eretria, Greece, ca. 440 BCE. Approx. 1 5 high. National Archaeological Museum, Athens.

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5-58A REED PAINTER, Warrior seated at his tomb (Athenian white-ground lekythos), from Eretria, Greece, ca. 410400 BCE. 1 7 1/4 high. National Archaeological Museum, Athens.

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*Figure 5-59 NIOBID PAINTER, Artemis and Apollo slaying the children of Niobe (Athenian red-figure calyx krater), from Orvieto, Italy, ca. 450 BCE. 1 9 high. Louvre, Paris.

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*Figure 5-60 PHIALE PAINTER, Hermes bringing the infant Dionysos to Papposilenos (Athenian white-ground calyx krater), from Vulci, Italy, ca. 440435 BCE. 1 2 high. Musei Vaticani, Rome.

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*Figure 5-61 Youth diving, painted ceiling of the Tomb of the Diver, Paestum, Italy, ca. 480 BCE. 3 4 high. Museo Archeologico Nazionale, Paestum.

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5.4 Late Classical Period (4th century BCE)Late 5th century was marked by the devastating Peloponnesian War between Athens and SpartaMacedonians invade Greece and defeat the united city states at the Battle of Chaeronea in 338 BCE.4th century Greece political turmoilAffected appearance of art

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*Figure 5-62 PRAXITELES, Aphrodite of Knidos. Roman marble copy of an original of ca. 350340 BCE. 6 8 high. Musei Vaticani, Rome.Aphodite of Knidos, PRAXITELES

Bold step to render a goddess in the nudeSensuous and humanizing qualities different from the cold, aloof gods and athletes of the High Classical

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5-62A Head of a woman, from Chios, Greece, ca. 320300 BCE. Marble, 1 2 high. Museum of Fine Arts, Boston (gift of Nathaniel Thayer, 1910).

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*Figure 5-63 PRAXITELES(?), Hermes and the infant Dionysos, from the Temple of Hera, Olympia, Greece. Copy of a statue by Praxiteles of ca. 340 BCE or an original work of ca. 330270 BCE by a son or grandson. Marble, 7 1 high. Archaeological Museum, OlympiaHermes and the infant DionysusBy follower of Praxiteles (son or grandson possibly)Notice S-curve of the body (pronounced contrapposto)New standard of adult and child interaction

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5-63A Artist painting a marble statue of Herakles (Apulian red-figure column krater), ca. 350320 BCE. 1 8 1/4 high. Metropolitan Museum of Art, New York (Rogers Fund, 1950).

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*Figure 5-64 Grave stele of a young hunter, found near the Ilissos River, Athens, Greece, ca. 340330 BCE. Marble, 5 6 high. National Archaeological Museum, Athens. Grave stele influenced by the work of Skopas of Paros (sculptor)

Known for including intense emotionalism in his work

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5-64A Head of Herakles or Telephos, from the west pediment of the Temple of Athena Alea, Tegea, Greece, ca. 340 BCE. Marble, 1 1/2 high. (Stolen from) Archaeological Museum, Tegea.

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*Figure 5-65 LYSIPPOS, Apoxyomenos (Scraper). Roman marble copy of a bronze original of ca. 330 BCE, 6 9 high. Musei Vaticani, Rome. Apoxyomenos, LYSIPPOS

Established a different canon of proportions from that of Polykleitos

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*Figure 5-66 LYSIPPOS, Weary Herakles (Farnese Herakles). Roman marble copy from Rome, Italy, signed by GLYKON OF ATHENS, of a bronze original of ca. 320 BCE. 10 5 high. Museo Archeologico Nazionale,Naples.

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*Figure 5-67 Head of Alexander the Great, from Pella, Greece, third century BCE. Marble, 1 high. Archaeological Museum, Pella.

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*Figure 5-68 GNOSIS, Stag hunt, from Pella, Greece, ca. 300 BCE. Pebble mosaic, figural panel 10 2 high. Archaeological Museum, Pella.

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Figure 5-69 Hades abducting Persephone, detail of wall painting from tomb 1, Vergina, Greece, mid-fourth century BCE, 3 3 *

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*Figure 5-70 PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8 10 X 16 9. Museo Archeologico Nazionale, Naples.

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5-70 PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, 8 10 x 16 9. Museo Archeologico Nazionale, Naples.*

*Late Classical ArchitectureExplore the development of late classical architecture in the Greek theater, the Corinthian capital, and the tholos.

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*Figure 5-71 POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350 BCE.

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5-64B Model of the tomb of Mausolos (Mausoleum), Halikarnassos, Turkey, ca. 353340 BCE. Museum of Underwater Archaeology, Bodrum.

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*Figure 5-72 THEODOROS OF PHOKAIA, Tholos, Delphi, Greece, ca. 375 BCE.

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*5.5 Hellenistic Period (323 30 BCE)Begins after the death of Alexander the Great (323 BCE); lasts through the defeat of Cleopatra and Mark Anthony by the Romans at the Battle of Actium (30 BCE)Relate the influence on Greek architecture as a result of the expansion of the Greek world. Observe the different qualities and values of Hellenistic art compared to the Classical period

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*Figure 5-73 POLYKLEITOS THE YOUNGER, Corinthian capital, from the tholos, Epidauros, Greece, ca. 350 BCE. Archaeological Museum, Epidauros.

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*Figure 5-74 Choragic Monument of Lysikrates, Athens, Greece, 334 BCE.

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*Figure 5-75 PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo, Didyma, Turkey, begun 313 BCE. Plan (left) and aerial view (right).

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*Figure 5-76 Restored view of the city of Priene, Turkey, fourth century BCE and later (John Burge).

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*Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE (with the Acropolis in the background).

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*Architecture in the Hellenistic WorldRelate the influence on Greek architecture as a result of the expansion of the Greek world.Examine the architecture and architectural sculpture at Pergamon in Turkey.

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*Figure 5-78 Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE. Staatliche Museen, Berlin.

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*Figure 5-79 Athena battling Alkyoneos, detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey ca. 175 BCE. Marble, 7 6 high. Staatliche Museen, Berlin.

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*Sculpture in the Hellenistic PeriodExamine the dynamic motion and emotion in Hellenistic sculpture.Understand how and why it is different from sculpture of the Classical period.

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*Figure 5-80 EPIGONOS(?), Gallic chieftain killing himself and his wife. Roman marble copy of a bronze original of ca. 230220 BCE, 6 11 high. Museo Nazionale RomanoPalazzo Altemps, Rome.

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*Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze original of ca. 230220 BCE, 3 1/2 high. Museo Capitolino, Rome.

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*Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure 8 1 high. Louvre, Paris.

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*Figure 5-83 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite (Venus de Milo), from Melos, Greece, ca. 150125 BCE. Marble, 6 7 high. Louvre, Paris.

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5-83A Aphrodite, Eros, and Pan, from Delos, Greece, ca. 100 BCE. Marble, 4 4 high. National Archaeological Museum, Athens.

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*Figure 5-84 Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230200 BCE. Marble, 7 1 high. Glyptothek, Munich.

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5-85 Sleeping Eros, from Rhodes, ca. 150100 BCE. Bronze, 2 9 1/2" long. Metropolitan Museum of Art, New York (Rogers Fund, 1943).

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*Figure 5-86 Seated boxer, from Rome, Italy, ca. 10050 BCE. Bronze, 4 2 high. Museo Nazionale RomanoPalazzo Massimo alle Terme, Rome.

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*Figure 5-87 Old market woman, ca. 150100 BCE. Marble, 4 1/2 high. Metropolitan Museum of Art, New York.

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*Figure 5-88 POLYEUKTOS, Demosthenes. Roman marble copy of a bronze original of ca. 280 BCE. 6 7 1/2 high. Ny Carlsberg Glyptotek, Copenhagen.

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*Figure 5-89 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocon and his sons, from Rome, Italy, early first century CE Marble, 7 10 1/2 high. Musei Vaticani, Rome.

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*Figure 5-90 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, head of Odysseus, from Sperlonga, Italy, early first century CE. Marble, 2 1 1/4 high. Museo Archeologico, Sperlonga.

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*Discussion QuestionsHow have funerary markers or stelae changed in contemporary times? What do these monuments say about our culture? Our identities?What Greek beliefs about the human being and and the human body are continued to this day?How does Greek art change with the conquests of Alexander the Great and later, being conquered by the Persians and the Romans?How is Greek influence reflected in contemporary art and architecture?

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