NCEA Level 3 Classical Studies (90512) 2012 — page 1 of 13
Assessment Schedule – 2012
Classical Studies: Explain a work or works of classical art (90512)
Assessment Criteria
Achievement
The candidate explains the work or works of art by
identifying, describing, clarifying, explaining
and / or interpreting artistic features.
The candidate provides a general explanation of
artistic features. Knowledge and interpretation are at a
basic level, and specific detail may be lacking. One or
more parts of the question are underdeveloped or
omitted.
Achievement with Merit
Achievement with Excellence
The candidate analyses the works of art by
discussing methodically and demonstrating
understanding of artistic features.
The candidate analyses the works of art in detail by
discussing methodically and demonstrating an
informed understanding of artistic features.
The candidate incorporates an analytical element in
the answer based on sound knowledge of the art
works. Most parts of the question are covered, but
treatment may be unbalanced. Relevant supporting
evidence is present, but may not be consistently
provided.
The candidate’s answers are focused and analytical.
They are based on a thorough knowledge of the art
works themselves, as well as the historical and artistic
context in which they were produced. All parts of the
question are answered and most in depth.
Supporting evidence is relevant, accurate and
consistently provided.
NCEA Level 3 Classical Studies (90512) 2012 — page 2 of 13
Evidence Statement
Candidate chooses TWO questions from ONE topic.
A holistic judgement on the level of achievement attained will be made over the two questions.
GREEK VASE PAINTING – Question One
Analyse in detail and with supporting evidence:
 the mythological subject matter of the friezes shown in Reproductions A(i) and (ii) and the ways in which it reflects the function of the krater
Achievement
Achievement with Merit
Achievement with Excellence
Subject matter
Subject matter
Subject matter
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of the subject matter
as it relates to both sides of the vase
 demonstrate a greater degree of knowledge and
understanding of the subject matter, as it relates to
both sides of the vase
 show depth of knowledge and clear understanding
of the subject matter, as it relates to both sides of
the vase
The candidate may not discuss the subject matter.
 identify the main figures correctly.
 identify figures correctly.
Eg:
Discussion of the subject matter of each side of the
vase may be unbalanced.
Discussion of the subject matter of both sides of the
vase must be consistently excellent.
Eg:
Eg:
 In Reproduction A(i), Hephaestus is taken up to Mt
Olympus; He is escorted by maenads and satyrs,
the followers of Dionysus.
 As for Merit plus more embellishment.
 identify some figures correctly.
 Reproduction A(i), the god Hephaestus rides his
donkey to heaven; He is accompanied by the
followers of Dionysus.
 Reproduction A(ii), the god Dionysus leads the
procession up to heaven.
 No discussion of the myth.
Links to the function of the krater
The candidate:
 may respond to this part of the question, briefly, but
this is not essential.
Eg – A vase like this would be used for wine.
Dionysus, the god of wine, is one of the main figures
on this vase.
Other answers possible.
 In Reproduction A (ii), the god Dionysus leads the
procession to Mt Olympus surrounded by his
followers.
 The myth:
- Dionysus got Hephaestus drunk and escorted him
to Mt Olympus, where he was forced to release
his mother from the throne she was trapped in.
 The myth:
- Hephaestus had been thrown out of Mt Olympus
by his mother, Hera, because he was lame and
rather ugly. Years later, Hephaestus sent his
mother a golden throne in order to punish her.
When he refused to release her, Dionysus, the
god of wine, got him drunk and escorted him to Mt
Olympus, where he was forced by Zeus to release
his mother.
Links to the function of the krater
Links to the function of the krater
The candidate must discuss links to the function of the
vase:
The candidate must discuss analytically and in detail.
 analytically
 in some detail
Eg –This vessel is a column krater, traditionally used
for mixing wine and water during a symposium. Many
aspects of wine-making, wine-drinking and celebrating
are shown on this vase and this links to the function of
NCEA Level 3 Classical Studies (90512) 2012 — page 3 of 13
 with reference to the reproductions.
the vase, for example:
Eg – This is a column krater, traditionally used for
mixing wine and water. Many aspects of wine-making
and wine-drinking are shown on this vase, for
example:
The effects of drinking wine and the theme of
celebration are also shown on this vase for example
Dionysus managed to get Hephaestus to Mt Olympus
by getting him drunk.
 Dionysus, the god of wine and entertainment is
shown in Reproduction A (ii), carrying a wine
horn/keras.
Dionysus’ followers, maenads, and satyrs appear to
be in a celebratory mood as if they have been
drinking. (Plus examples.)
 Grapevines / bunches of grapes used to make wine
are shown on both sides of the vase.
Other answers possible.
Other answers possible.
Analyse in detail and with supporting evidence:
 the techniques used by Lydos to bring the figures of the myth to life.
The candidate must provide at least one example from
each side of the vase.
Eg:
 The painter brings this myth to life by showing the
followers of Dionysus with raised arms and feet
lifted off the ground, as if they are dancing.
Other answers possible.
The candidate must:
The candidate must:
 demonstrate a greater degree of knowledge and
understanding
 show depth of knowledge and understanding
 discuss analytically and in some detail how Lydos
brings this myth to life
 provide excellent evidence from both sides of the
vase.
 provide more evidence from both sides of the vase.
Examples must be specific and clear not general (eg
“the maenads have raised arms” is far too general).
Eg:
 Lydos has used a variety of methods to bring this
myth to life:
- Figures are depicted in a variety of poses; for
example, in A (i), the maenad in front of the
donkey looks back, whereas the satyr behind the
donkey has the lower part of his body in profile as
if walking forward and yet the upper part of his
body is twisted in a ¾ pose.
- Figures use a variety of gestures; for example, in
A (ii) the maenad following Dionysus has both
arms raised as if she is dancing.
Other answers possible.
 discuss analytically and in detail
Eg:
 Lydos has included a good number of items that
give a sense of revelry and / or celebration for
example, on both sides of the vase there are
bunches of grapes, grapevines and ivy branches.
Dionysus carries his wine horn and one of the satyrs
carries a wineskin.
 He has also used a variety of techniques to bring
the painting to life – for example, he has used
stippling to give the impression that the satyrs have
hairy bodies and has painted the robe of Dionysus
and the satyr’s wineskin red, adding an element of
naturalism.
Other answers possible.
NCEA Level 3 Classical Studies (90512) 2012 — page 4 of 13
GREEK VASE PAINTING – Question Two
Analyse in detail and with supporting evidence:
 Makron’s skill in depicting drapery in the scene shown in Reproduction B(i)
Achievement
Achievement with Merit
Achievement with Excellence
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of how Makron
depicts drapery
 demonstrate knowledge and understanding of
Makron’s skill in depicting drapery
 show depth of knowledge and clear understanding
of Makron’s skill in depicting drapery
 provide some evidence, although it may be brief and
lack specificity
 provide good supporting evidence, which is
discussed in some detail and with specific reference
to the painting.
 provide detailed supporting evidence, which is
consistently well explained, detailed and closely
linked to the paintings.
Eg:
Eg:
Makron is a master at depicting drapery. The figures
are painted close to each other yet Makron’s skill at
painting drapery enables the viewer to distinguish
each figure, even when their garments overlap.
Makron is also skilled at adding texture to the drapery.
For example, lines drawn closer together suggest that
Helen’s chiton is made from fine material whereas
broader lines are used for her himation to show that
the fabric is thicker.
Makron draws lines with amazing precision and
accuracy, allowing the viewer to clearly distinguish
each figure, even though the figures are drawn very
closely together. For example, the precise line
drawings for the himatia enable us to distinguish
between Helen and Aphrodite’s himatia.
 the candidate may not demonstrate an awareness
of the extent of Makron’s skill.
Eg:
 Thin lines are used on the women’s clothing to show
that the fabric is made from fine materials.
 The wide lines on the cloaks show that they are
made from thick material – for example, Helen’s
cloak.
 The hemlines are uneven and show zig-zagging.
Other answers possible.
Other answers possible.
Makron is also skilled at adding texture to the drapery.
For example, lines drawn closer together suggest that
Helen’s chiton is made from fine material, whereas
broader lines are used for her himation to show that
the fabric is thicker. Also, Makron has given the
chitones a three dimensional effect by adding dilute
slip.
Makron also uses less angular zigzags than his
predecessors to indicate the folds of cloaks. On Paris’
cloak, for example, lines curve, and, in the section
between his legs, end in hooks.
Other answers possible.
Analyse in detail and with supporting evidence:
 the compositional similarities between the friezes shown in Reproductions B(i) and B(ii).
NCEA Level 3 Classical Studies (90512) 2012 — page 5 of 13
The candidate must:
The candidate must:
The candidate must:
 briefly discuss composition and provide some
evidence
 demonstrate a greater degree of knowledge and
understanding
 show depth of knowledge and understanding
 discuss the compositional similarities in some detail
 provide excellent evidence from both sides of the
vase.
Eg:
 discuss analytically
Both sides of the vase are similar as Makron has
painted one main group of figures and framed it by a
single figure on either side – for example, on side A
there are Paris, Helen and one other woman are
framed by Aeneas and another woman.
 provide good supporting evidence from both sides.
Other answers possible.
 discuss analytically and in detail
Eg:
Eg:
As for Merit plus:
The composition on both sides of the vase is
beautifully balanced as Makron has painted a central
group of figures and framed it by a single figure on
either side to form a rectangle – for example on side
A, starting from the left, there are Paris, Helen and
Aphrodite framed by Aeneas on the left and Peitho on
the right. On side B, the central group of Helen and
her two attendants, Kriseis and Aphrodite, is framed
by Menelaus on the right and Kriseus on the left.
Another similarity in the composition is how the pose
of Paris on side A is mimicked by the pose of Helen
on side B of the vase. For example, both Paris and
Helen have their legs spread wide apart; the body is
painted in a ¾ pose yet the head is in profile and
looking back.
Another similarity is how the placement and pose of
Paris on side A is mimicked by the pose of Helen on
side B of the vase. For example, both Paris and Helen
look back as they walk away.
Other answers possible.
Similarly, the pose of the female attendants on side A
mimics the pose of the female attendants on side B.
On both sides, the women’s pose is static and
Aphrodite has an arm extended, whereas Peitho (on
side A) and Kriseis (on side B) lift up a hand elegantly.
Other answers possible.
NCEA Level 3 Classical Studies (90512) 2012 — page 6 of 13
GREEK VASE PAINTING – Question Three
Analyse in detail with supporting evidence:
 the mythological subject matter of the scene shown in Reproductions C(i) and (ii) and the ways in which the poses of the two heroes reflect this subject matter
 the ways in which the Berlin Painter directs the viewer’s attention to this figural scene and, in particular, to the two heroes.
Achievement
Achievement with Merit
Achievement with Excellence
Legendary context
Legendary context
Legendary context
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of the mythological
context
 demonstrate a greater degree of knowledge and
understanding of the mythological context
 show depth of knowledge and understanding
 identify some of the figures correctly
 identify the main figures correctly
 discuss briefly how the pose of at least one of the
heroes is linked to this context.
 discuss how the pose is linked to the context
analytically, in some detail and with reference to the
reproductions.
Eg:
 This frieze shows the death of the Trojan prince
Hektor at the hands of the Greek hero Achilles.
 Achilles’ body leans towards Hektor and his arm
holding the spear is stretched out as if he is ready to
thrust it into Hektor.
 Hektor stumbles back as if he is about to fall.
Other answers possible.
Eg:
This scene takes place during the Trojan War and it
shows the death of the Trojan prince Hektor at the
hands of the Greek hero Achilles. The two heroes are
watched by their patron deities, Athena on the left and
Apollo on the right.
The pose of the two men suggests that Achilles is the
aggressor and Hektor is about to be defeated. For
example:
 Achilles
- his body leans towards Hektor as he gets ready to
deliver the fatal blow
- his legs move forward, showing that he is moving
closer to Hektor
- the arm in which he holds his spear is stretched
out behind him as if he is ready to thrust it into
Hektor’s leg.
 Hektor
- his body leans back, his back is curved and his
knee is bent as if stumbling back.
Other answers possible.
 discuss all aspects of the question analytically and
in detail
 provide excellent evidence.
Eg –
As for Merit PLUS:
Some reference to why Achilles wants to kill Hector
OR Apollo’s arrow hints at the later demise of Paris
OR the scene takes place outside the walls of Troy
OR Achilles challenged Hektor to a duel
AND
Achilles’ legs move forward, heel raised off the
ground, showing that he is moving closer to Hektor.
Athena stands behind Achilles, arm stretched out in
front of her as if to encourage Achilles.
Apollo, on the other side, walks away from Hektor and
as he does so looks back and waves an arm as if he
is waving farewell.
Other answers possible.
NCEA Level 3 Classical Studies (90512) 2012 — page 7 of 13
Analyse in detail and with supporting evidence:
 the ways in which the Berlin Painter directs the viewer’s attention to the figural scene and, in particular, to the two heroes.
The candidate must:
The candidate must:
The candidate must:
 respond briefly to both parts of the question OR
respond to one part of the question in some detail.
 demonstrate a greater degree of knowledge and
understanding
 show depth of knowledge and understanding
Eg:
 discuss in some detail and analytically both parts of
the question even though they focus more heavily
on one part of the question.
 provide excellent evidence for both parts of the
question.
The Berlin Painter has painted the whole vase black
so the figural scene stands out.
 link their answer to the painting.
The two heroes are placed in the middle of the frieze,
therefore the viewer’s attention is focused on them.
Eg:
Other answers possible.
The viewer’s attention is easily directed to the figural
scene because:
 this is the only figural scene on the vase
 the figural scene is painted in red against a black
background.
The viewer’s attention is directed to the two heroes
because:
 the two heroes appear to be positioned closer to the
viewer as if in the foreground
 discuss analytically and in greater detail
Eg:
The viewer’s attention is easily directed to the figural
scene because:
 the rest of the vase is almost totally painted in black
slip with some decoration on the base of the vase,
on the handles and above the figural scene.
The viewer’s attention is directed to the two heroes
because:
 they appear to be positioned closer to the viewer as
if in the foreground, whereas the two gods on either
side appear to be set further back as if in the
background
 both heroes are positioned in the centre of the frieze
and their bodies are slightly larger.
 the bodies of the two heroes are slightly larger than
those of the gods on either side.
Other answers possible.
Other answers possible.
NCEA Level 3 Classical Studies (90512) 2012 — page 8 of 13
ROMAN ART – Question One
Analyse in detail and with supporting evidence:
 the mythological and allegorical subject matter of the reliefs shown in Reproductions D (i) and D(ii)
Achievement
Achievement with Merit
Achievement with Excellence
Subject matter
Subject matter
Subject matter
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of the subject matter
as it relates to both reliefs OR
 demonstrate a greater degree of knowledge and
understanding of the subject matter, as it relates to
both reliefs
 show depth of knowledge and clear understanding
of the subject matter, as it relates to both reliefs
 demonstrate good knowledge of the subject matter
as it relates to at least ONE relief
 identify the main figures correctly.
 identify some figures correctly.
Discussion of the subject matter of each side of the
relief may be unbalanced or lacking in detail.
Discussion of the subject matter of each relief may be
unbalanced.
Discussion of the subject matter of each relief must be
consistently excellent.
Eg:
Eg:
Eg:
 identify figures correctly.
 Reproduction D(i):
 Reproduction D(i):
 Reproduction D(i) – Aeneas and his son have
landed in Italy and they make offerings of fruit to the
gods.
- Aeneas brings the shrine with the gods of Troy /
his household gods to Rome
- Ascanius and his friend are both wearing wreaths
to show that they are about to make offerings or a
sacrifice to the gods
 Reproduction D(ii) – Mother Earth/Tellus is shown
sitting with two children on her lap. She is
surrounded by vegetation and animals, and on
either side of her sit two minor gods.
- Ascanius makes an offering of fruit to the
household gods
- Aeneas covers his head with his toga to show his
piety
- Ascanius’ friend leads the Lavinian sow to the
sacrificial altar.
- inside the shrine are Penates.
Other answers possible.
 Reproduction D(ii):
- on either side of Tellus sit personifications of
water on the left and wind / the sea on the right.
Other answers possible.
 Reproduction D(ii):
- the personification of water sits on a swan
- in front of her, fresh water flows from a spilled jug.
Other answers possible.
Analyse in detail and with supporting evidence:
 the ways in which the mythological and allegorical reliefs of the Ara Pacis provide a vehicle for Augustan propaganda. You may refer to other reliefs from this altar in
your answer.
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge and understanding of
 demonstrate a greater degree of knowledge and
 show depth of knowledge and understanding
NCEA Level 3 Classical Studies (90512) 2012 — page 9 of 13
how the mythological and allegorical reliefs promote
Augustus OR
 demonstrate good knowledge of how EITHER the
mythological OR the allegorical reliefs promote
Augustus
 provide some evidence.
understanding of how both the mythological and
allegorical reliefs promote Augustus
 discuss analytically and in some detail
 provide more evidence from both reliefs, although
treatment of each relief may be unbalanced.
Eg –
Eg:
The mythological relief connects Augustus to his
great ancestor Aeneas and promotes the idea that
Augustus is the second founder of the Roman empire.
Eg:
The allegorical relief relates to the new age of fertility
and prosperity brought in by Augustus’ rule. For
example, Tellus / Mother Earth and the rich vegetation
symbolise fertility and prosperity.
Other answers possible.
The mythological relief connects Augustus to
Ascanius/Iulus, the founder of the Julian line. This
suggests that Augustus, like his ancestors, is a man of
divine ancestry, descended from Venus’ son Aeneas.
In the allegorical relief, Tellus/ Mother Earth carries
two well-fed babies. This hints at the prosperity that
Roman families enjoyed during the rule of Augustus.
The rich vegetation and the sheep and cow sitting at
her feet are also symbols of the new age of fertility
and growth brought to Rome by Augustus.
Other answers possible.
 discuss analytically and in greater detail
 provide excellent evidence from both reliefs
 may or may not refer to other reliefs.
Eg –
The idea that Augustus is a man of divine ancestry is
also suggested in the mythological relief depicting the
story of Romulus and Remus; here Augustus is
connected to Mars the god of war, who was also the
father of his great ancestor Romulus.
In the allegorical relief, Tellus symbolises earth and
the personifications sitting on either side of Tellus
symbolise fresh water and wind. This suggests that
the elements (earth, wind and water) are now in
harmony thanks to Augustus. The idea of harmony is
further emphasised by the swan, which symbolises
Augustan peace. It was Augustan peace that made it
possible for Rome and the empire to enjoy economic
prosperity and growth.
Other answers possible.
NCEA Level 3 Classical Studies (90512) 2012 — page 10 of 13
ROMAN ART – Question Two
Analyse in detail and with supporting evidence:
 the ways in which Titus’ military success is celebrated in the two reliefs from his triumphal arch, shown in Reproductions E(i) and (ii)
Achievement
Achievement with Merit
Achievement with Excellence
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of how Titus’ military
success is celebrated in the two reliefs OR
demonstrate good knowledge of how Titus’ military
success is celebrated in at least one of the reliefs
 demonstrate a greater degree of knowledge and
understanding of how Titus’ military success is
celebrated in the two reliefs
 show depth of knowledge and understanding
 provide some evidence
 discussion may be lacking in detail.
 provide more evidence from both reliefs, although
treatment of each relief may be unbalanced.
Eg:
Eg:
 South panel:
 South panel:
- The soldiers are carrying many of the prizes that
they captured in Jerusalem, such as the Menorah.
 North panel:
- Emperor Titus rides his triumphal chariot into the
forum, surrounded by his lictors.
Other answers possible.
 discuss in some detail and analytically
- Titus’ soldiers are carrying many of the prizes that
they captured in the temple of Jerusalem, such as
the Menorah, the trumpets of Jericho and the
table of the shew bread. The weight of the plunder
is so heavy that their knees are bent. This
emphasises how great the victory was.
 North panel:
- Emperor Titus rides his triumphal chariot into the
forum surrounded by his lictors, who wear laurel
wreaths to show that they come triumphant. Also,
behind Titus stands the winged goddess Nike /
Victory, holding a corona triumphalis over his
head. This also symbolises Titus’ great victory.
 discuss analytically and in greater detail
 provide excellent evidence from both reliefs.
Eg:
 South panel:
- Cushions are also used on the shoulders of the
soldiers to carry the huge weight of the spoils.
This further emphasises the victory of Titus.
 North panel:
- Titus’ quadriga is led by the figure of the
Amazonian Virtus / the goddess Roma. This
highlights Titus’ valour during the battle against
Jerusalem.
Other answers possible.
Other answers possible.
Analyse in detail and with supporting evidence:
 the stylistic features that create an illusion of space and depth and the overall effect that this illusion has in each of these two reliefs.
The candidate must:
The candidate must:
The candidate must:
NCEA Level 3 Classical Studies (90512) 2012 — page 11 of 13
 discuss stylistic features that create an illusion of
wither space or depth and provide some evidence
from at least one of the panels.
 have sound knowledge and understanding of the
terminology and discuss both space and depth in
some detail and analytically
 provide good evidence from both of the panels.
The candidate may not have a clear understanding of
the terms “space” and “depth”. As a result, their
evidence may overlap.
Eg:
 Space in the South panel:
- All the figures are carved in the lower part of the
frieze, whereas the upper part is relatively empty
except for the menorah and the placards.
 Depth in the North panel:
- Low relief is used to depict the lictors, whereas
high relief is used to depict the horses.
Other answers possible.
 show depth of knowledge and understanding
 discuss analytically and in greater detail
 provide excellent evidence from both panels.
Eg:
Eg:
As for Merit plus:
 Space:
- In both friezes, all the figures are carved in the
lower part of the frieze, whereas the upper part of
the frieze is relatively empty. This gives the
illusion of space. For example, in the south panel
only the placards and the spoils are depicted in
the upper part of the frieze and this emphasises
the open space up above.
 Depth:
- An illusion of depth is achieved through the
variation in carving. For example, in the frieze with
Titus, low relief is used to depict the lictors placed
in the background, whereas high relief is used to
depict the horses, placed in the foreground.
 Space:
- Similarly, in the north panel, the empty space is
only interrupted by the fasces, carved in low relief
and on the right, the figures of Titus and Victory.
 Depth:
- The relief used to depict the horses varies even
more – for example, in the centre of the frieze the
horses are very deeply carved and this gives an
added impression of depth. It is as if the horses
are swinging around the corner.
Other answers possible.
Other answers possible.
ROMAN ART – Question Three
Analyse in detail and with supporting evidence:
 the ways in which the design and decoration of the temple incorporates features of Eastern origin as well as Graeco-Roman elements
Achievement
Achievement with Merit
Achievement with Excellence
The candidate must:
The candidate must:
The candidate must:
 demonstrate some knowledge of how the design
and / or decoration of the temple incorporates
Eastern and Graeco-Roman elements
 demonstrate a greater degree of knowledge and
understanding of how the design and / or decoration
of the temple incorporates Eastern and GraecoRoman features
 show depth of knowledge and clear understanding
of how the design and / or decoration of the temple
incorporates Eastern and Graeco-Roman features
 OR demonstrate good knowledge of how the design
and / or decoration of the temple incorporates any
TWO of the following Eastern or Greek or Roman
elements
 discuss analytically and in some detail
 provide good evidence
 provide excellent evidence.
Discussion of the different features must be
consistently excellent.
NCEA Level 3 Classical Studies (90512) 2012 — page 12 of 13
 provide some evidence
Discussion of the features may be unbalanced.
Discussion may be lacking in detail.
Eg:
 Design: Eastern feature:
- The adyton/inner shrine is an additional shrine
used for the statue of the god.
 Design: Greek feature:
- This temple has a surrounding colonnade.
 Design: Roman feature:
- The temple is approached from the front.
Other answers possible.
Eg:
Eg:
As for Merit plus:
 Design: Eastern feature:
 Design: Eastern feature:
- The inner shrine or adyton, is an additional shrine
usually found in Eastern temples. It was used for
the cult statue of the god, which was kept under a
canopy. This adds to the mysticism surrounding
eastern religions.
 Design and decoration: Greek feature:
- The temple of Bacchus has a peristyle or
peripteral colonnade, typically found in Greek
temples. As a result, the exterior of the temple has
the same appearance all round.
- In addition, the adyton was placed on a higher
level than the cella and the statue was placed
high up on a podium, as if to elevate the cult god
even higher.
 Design and decoration: Greek feature:
- The colonnade has unfluted Corinthian columns.
This is also a Greek feature but used more in
Roman than Classical architecture.
Other answers possible.
Other answers possible.
Analyse in detail and with supporting evidence:
 the features of the interior of the cella including the adyton that might inspire awe in its devotees.
The candidate must:
The candidate must:
The candidate must:
 demonstrate some degree of knowledge and
understanding
 demonstrate a greater degree of knowledge and
understanding
 show depth of knowledge and understanding
 provide some evidence.
 discuss features in some detail and analytically
 provide consistently excellent evidence.
 provide very good supporting evidence.
Eg:
One feature that would inspire awe is the colonnade
that lines the walls of the cella. The columns are big
and in the Corinthian style; the size and design of the
columns makes them awe-inspiring.
Other answers possible.
 discuss analytically and in great detail
Eg:
Eg:
One of the features that would have inspired awe in
the devotees is the colonnade that lines the walls of
the cella. The columns are fluted and have Corinthian
capitals. The elaborate design of these capitals would
have added to the beauty of the temple and created a
sense of wonder in worshippers. In addition, the
columns are set on pedestal bases that sit on three
shallow stone steps; this feature would have made the
columns seem higher and enhanced the magnificence
of the colonnade.
One of the features that would have inspired awe in
the devotees is the colonnade that lines the walls of
the cella. The columns are fluted and have Corinthian
capitals. The elaborate acanthus design of these
capitals complements the fluting and adds to the
beauty of the temple, thus making it awe-inspiring. In
addition, the columns are set on pedestal bases that
sit on three shallow stone steps; this feature would
have made the columns seem higher and enhanced
the magnificence of the colonnade. Another
interesting architectural detail that added to the beauty
of the colonnade involved setting the columns against
NCEA Level 3 Classical Studies (90512) 2012 — page 13 of 13
a series of piers; this arrangement added extra depth
to the colonnade and gave the columns greater
prominence. Also, the added depth would have
created a play of light and shadow / chiaroscuro, when
the huge door to the cella was open.
Other answers possible.
Other answers possible.
Judgement Statement
Achievement
Achievement with Merit
Achievement with Excellence
A
M
E