Ancient Greece
The Early Classical Period
Libon of Elis ,Temple of Hera II
Paestum, Italy ca. 460 BC
• The Temple of Zeus
at Olympia is
considered to be the
first great monument
of Classical
architecture, but it in
ruins. This
monument closely
resembles it.
• Six columns on the
short side of the
temple, two columns
in antis, and two rows
of columns in two
stories inside the
cella Just like the
plan of the Temple of
Aphaia at Aegina.
(only more lavishly
decorated)
• Statues not only filled both pediments, but also the six metopes of
the Doric frieze of the pronaos and the matching six of the
opistodomos were adorned with relief sculpture.
Ancient Greece
The Early Classical
Seer, from the pediment of the Temple of Zeus
Olympia, Greece, ca 470-456 BC
• The pedimental sculptures here are posed as if they were
actors on stage. Oinomaos and his wife on one side, Pelops and
Hippodameia on the other and their respective chariots to each
side
• Only one man reacts--- a seer who knows the future ( the
death of Oinomaos due to the cheating by Pelops to win
Hippodameia as his bride).
• The steer represents a rare Classical depiction of old age
which was indicative of the later Hellenistic age in Greek art.
Ancient Greece
The Early Classical Period
• The youth has a slight dip to the
right hip, indicating the shifting of
weight onto his left leg. His right leg is
bent, at ease. His head turns slightly
to the right.
• This figure depicts how an actual
human being stands, not the
structured stiffness of earlier
sculptures.
• The sculpture was named after
Kritios, the man thought to have
carved this revolutionary sculpture.
• This is the first indication of
contrapposto in Greek statuary
depicting an increasing interest in
naturalism.
• This concept had disappeared and
then reappeared during the
Renaissance, demonstrating a
Kritios Boy, From the Acropolis
Athens, Greece, ca. 480 BC
Ancient Greece
The Early Classical Period
The bronze can be cast and
molded, while stone, a rigid
structure, partakes its natural
shape upon the stone that is
produced from it. Bronze’s
lightness and stability allow the
perception of motion much
easier than does the marble
sculptures of the past.
The weight shift is very
pronounced, the head turns
forcefully to the right, his
shoulders tilt, his hips swing,
and his arms are free from the
body.
This demonstrates the new lost
wax casting method of
sculpture.
This statue is missing only the
spear, shield and wreath that
The Riace Bronzes were
discovered by accident by a diver
off of the coast of Italy. They
were found near the top of the
“toe” of Italy’s “boot”.
Warrior, from the sea off Riace
Riace, Italy, ca 465-450 BC
Ancient Greece
The Early Classical Period
The Severe StyleThe body is rigid and forward
facing and the upper body has a
very stiff prominence.
The turn of the head and the
feet in opposite directions as
well as a slight twist at the waist.
Charioteer- 1st large scale
Greek bronze sculpturecontrapposto is present despite
heavy clothing, as the left foot is
the engaged one.
The folds of clothing are much
softer than Archaic sculpture,
reflecting the behavior of real
cloth.
The wrinkles of the cloth are
recall the flutes of Greek
columns.
This statue commemorates the
victory of the tyrant Polyzalos of Gela
(Sicily) in a chariot race at Delphi.
Charioteer
Delphi, Greece, ca 470 BC
Ancient Greece
The Early Classical Period
Both arms are boldly
extended and the right
heel is raised off the
ground. The position
assumes that Zeus is
hurling thunderbolt.
Powerful, Strong, Bold,
All-mighty
This new found
movement in statues
could only be achieved
after the invention of
contrapposto
Large, free-standing
sculptures in motion is
the greatest achievement
of the Severe Style
Poseidon- in the act of throwing
trident (or thunderbolt if it is
Zeus)
Pose is athletic, a gesture rather
than in mid action- a divine action
Zeus from the sea off Cape Artemision
Greece, ca 460-450 BC
Ancient Greece
The Classical Period
Myron, Diskobolos (Discus Thrower) Roman Copy of a Bronze Original
Riace, Italy, ca 465-450 BC
The profile limbs and a
nearly frontal chest, like
that of an arc about to
swing suggest an almost
Archaic manner, but the
motion and detailed
anatomy describe it as
Classical
The tension is not
expressed in his face. He
wears an expressionless
face, and the head is
turned away from the
spectator suggesting a
focus on the task at hand
and an emphasis on
athletic achievement.
When the original was removed
from Greece, only one community
or individual could own it. Demand
so far exceeded the supply that a
veritable industry was born to meet
the Roman call for Greek statuary
to display in public places and
private villas alike. The copies
were usually made of a less costly
marble.
Ancient Greece
The Classical Period
Polykleitos, Doryphoros (Spear Bearer) Roman Copy of a Bronze Original
Pompeii, Italy, ca 450-440 BC
This sculpture is the
embodiment of
Polykleitos’s vision of the
ideal statue of a nude male
athlete and warrior. It
epitomizes the intellectual
rigor of Classical statuary
design.
The supporting leg’s
function is echoed by the
straight-hanging arm to
provide the figure’s right
side with columnar stability
needed to anchor the left
side’s dramatically flexed
limbs. The tense and
relaxed limbs also oppose
each other diagonally. The
head turns to the right and
the hips slightly to the left,
depicting motion without
movement.
This sculpture gives a new animation to the
body, as the Archaic smile is no longer
needed and the expression is now more
serious.
This dynamic asymmetrical balance, this
motion while at rest, and the resulting
harmony of opposites are the essence of
the Polyleitan style
Ancient Greece
The Classical Period
Iktinos and Kallikrates, Parthenon
Acropolis, Greece, ca 447-438 BC
Site plan of the Acropolis.
Ancient Greece
The Classical Period
The Parthenon depicts
beautiful proportions. The
columns are well-spaced,
with slender shafts are a
more refined version of the
squat and bulging Doric
columns.
The stylobate and the
peristyle columns leaning
inward slightly depict the set
of specifications its unique
place in the structure
dictated.
This architectural
achievement is equivalent to
the sculptural achievement of
Polykleitos’s Doryphoros.
This structure demonstrates
the belief that beautiful
proportions resulted from
strict adherence to
The algebraic symmetria of
the parts may be expressed
as x=2y+1 where x is the
larger number and y the
smaller. Thus, the temple’s
short ends have eight
columns and the long sides
have seventeen.
The stylobate’s ration of
length to width is 9:4 .
(9=(2x4)+1.
Iktinos and Kallikrates, Parthenon
Acropolis, Greece, ca 447-438 BC
Grave Stele of Hegeso. 410 BCE.
Painted marble.
Ancient Greece
The Classical Period
Phidias, Athena Parthenos (model of the lost statue)
Acropolis, Greece, ca 447-438 BC
In the cella of the
Parthenon, Acropolis,
Athens, Greece
Approximately 38 feet tall
and created from gold and
ivory
The extreme size of this
particular sculpture
dictated the deviation from
the standard six-column
façade to an unusually
larger eight -column
façade.
One can only imagine the
presence that this
sculpture must have had
during its time. Created
from the most precious of
materials, this sculpture of
Athena dominated the
Eight
column
facade
Ancient Greece
from the pediment of the Parthenon
The Classical PeriodHelios and his horses, and Dionysos (Herakles?),
Acropolis, Greece, ca 438-432 BC
In the center of the east pediment are the spectators to the left and the right who witnessed Athena’s birth
on Mount Olympus. At the far left Helios and his chariot rise from the pediment floor. Dionysos or possibly
Herakles, next to the chariot and horses is poised and calmly embodies the essence of classicism.
The reclining figures fill the space in totally relaxed forms. The articulation and integration of the bodies
produce a wonderful variation of surface and play of light and shade. To be noted here is Phidias’s new
way of composing the pedimental space. Apollo and his horses move effortlessly through the horizon line
as they perfectly fit the acute angle of the pediment’s corner.
Ancient Greece
The Classical Period
Three Goddesses (Hestia, Dione, and Aphrodite?), Parthenon Pediment
Acropolis, Greece, ca 438-432 BC
Hestia, Dione, Aphrodite and more horses are depicted here. The figures are brilliantly characterized.
They reveal and conceal the main and lesser body masses while swirling in a compositional tide that
subtly unifies the figures. These figures embody the Phidian “wet-drapery” look that characterizes his
sculptural style.
Ancient Greece
The Classical Period
On the Partheon frieze the procession begins in the
west , in the temple’s rear, the one first reached after
emerging from the Acropolis. It then proceeds in
parallel lines at the north and south of the building
and ended at the center of the frieze.
(bottom) They do not partake in the festival or
determine its outcome; they are merely spectators.
The Parthenon celebrated the greatness of Athens
and the Athenians as much as it honored Athena.
Details of the Panathenaic Festival Procession frieze
Acropolis, Greece, ca 447-438 BC
Ancient Greece
The Classical Period
This building acts as the monumental entrance to the
acropolis or “high city”.
Chariots and animals of the Panathenaic Festival
would take their path into the acropolis by way of the
two central columns of the Propylaia. To either side
of the central ramped causeway were sets of stairs
for the pedestrian traffic.
Doric temple façade with slender Ionic columns
supporting the split-level roof.
Mnesikles’ full plan for the Propylaia was never
executed due to a change in the fortunes of Athens
after the outbreak of the Peloponnesian War in 431
BC.
Only one of the two side wings of the building were
completed. The completed wing of the Propylaia,
during later Roman times, housed a pinakotheke, or
picture gallery of paintings on panels by famous fifth
century BC artists.
Mnesikles, Propylaia (northeast view)
Acropolis, Greece, ca 437-432 BC
Ancient Greece
The Classical Period
This building honored Athena and housed the
ancient wooden image of the goddess. It also
incorporated many other shrines of other gods and
demigods who loomed large in the city’s legendary
past.
Among the gods honored was Erechtheus, an early
king of Athens, during whose reign the ancient
wooden idol of Athena (housed in this building) was
said to have fallen from the heavens.
This asymmetrical plan and Ionic order is unique for
Greek Temples and the antithesis to the simple and
harmoniously balanced plan of the Doric Parthenon
across the way.
Erechtheion
Acropolis, Greece, ca 421-405 BC
Ancient Greece
The Classical Period
Once, a long long time ago, there was a man named
Cecrops. Cecrops, whose name means "face with a snake,"
was half-man and half-snake. He was also the founder and
first king of Athens. Athens started looking pretty good, and
Athena and Poseidon both wanted to be the patron of it. They
were on the verge of attacking each other, when the wise
Athena came up with an idea about who could win the city. It
was decided that whoever gave the city the best gift would
earn the right to be the patron. Cecrops was the agreed upon
arbitrator.
Leading a huge crowd, they ascended to the Acropolis to give
their gifts. Poseidon was first, and he lifted his trident and
struck the earth with it. A spring shot forth and began pouring
out water. The people sighed in wonder, but when they tasted
it, they were not so impressed for the spring was as salty as
the sea Poseidon ruled.
Athena, on the other hand, merely knelt and buried
something in the ground. It was an olive tree. Simple, yes, but
the olive tree was also a rich gift. It gave the Athenians the
olives (food), oil, and wood. Cecrops deemed Athena's the
better gift. As the winner, Athena name the city after herself
(Athens, of course). At the Acropolis, the citadel was named
Cecropia in honor of Cecrops.
This building was created on the site where this contest took
place. The olive tree exists there as well as the mark of
Erechtheion
Acropolis, Greece, ca 421-405 BC
Ancient Greece
The Classical Period
Contained four columns on both
the east and west facades.
Reference is made to the victory
over the Persians. Part of its frieze
is devoted to a representation of
the decisive battle at Marathon that
turned the tide against the
Persians.
The building contained many relief
images of Athena in various
attitudes.
The most famous of these images
of “Nike” depicts her adjusting her
sandal.
Kallikrates, Temple of Athena Nike
Acropolis, Greece, ca 427-424 BC
Ancient Greece
The Classical Period
Nike Adjusting her sandal, From the Temple of Athena Nike
Acropolis, Greece, ca 410 BC
Created by an anonymous master sculptor who carried style as
the relief sculpture of the Parthenon even further.
The figure’s garments cling so tightly to the body that they seem
almost transparent , as if drenched with water. This style is very
similar to that of the Phidias who was known for the “wet-drapery”
look of his sculptures.
Ancient Greece
The Classical Period
Achilles Painter, Warrior taking leave of his wife
Eretria, Greece, ca 440 BC
This lekythos was a flask that
once contained perfumes and
oils.
This polychrome vessel was
said to have been decorated by
the Achilles Painter about 440
BC.
To be noted is the white-ground
technique which takes its name
from the chalky-white slip used
to provide a background for the
painted figures. This method
became popular during the fifth
century BC.
Many of the colors were added
after the firing because the
Greeks did not know how to
make them withstand the kiln’s
heat.
This new technique was explored
almost exclusively on the lekythoi,
which were commonly placed in
Greek graves as offerings to the
deceased.
This particular vessel depicts a
man leaving his wife for a battle
from which he will not return.
Ancient Greece
The Classical Period
Niobid Painter, Artemis and Apollo slaying the children of Niobe
Orvieto, Italy, ca 450 BC
The painter was given this modern nickname
because of this particular vessel. His works
were unsigned, so the nickname “Niobid
Painter” was bestowed upon him because
of the content of his imagery.
Niobe, who had at least a dozen children, had
boasted that she was superior to the goddess
Leto who had only two offspring, Apollo and
Artemis.
To punish Niobe’s hubris (arrogance), and
teach the lesson that no mortal could be
superior to a god or goddess, Leto sent her
two children to slay all of Niobe’s children.
Style to be noted: The painter depicts figures
faces in the three quarter pose. Not even
Euthymides had attempted this. The painter
also depicts a figure that is partially hidden by
a rock that he is falling upon.
Ancient Greece
The Classical Period
Phiale Painter, Hermes bringing the infant Dionysos to Papposilenos
Vulci, Italy, ca 440-435 BC
This vessel depicts Hermes handing
over his half brother , the infant
Dionysos, to Papposilenos (“grandpasaytr”).
The rest of the image represents
nymphs in the shady glens of Nysa,
where Zeus had sent Dionysos, one of
his numerous natural sons, to be raised,
safe from the possible wrath of his wife
Hera.
This white-ground painter used only
colors that would survive the heat of the
kiln (unlike the Achiles Painter’s
lekythos)
Ancient Greece
The Late Classical Period
Praxitiles, Aphrodite of Knidos, Roman copy of an original
ca 350-340 BC
Political upheaval and
artistic change describe the
Late Classical Period.
The Peloponnesian War,
which began in 431 BC,
ended in 404 BC with the
complete defeat of plagueweakened Athens and left
Greece drained of its
strength.
The Peloponnesian War
brought an end to the 5th
century BC serene idealism.
Greek thought and art
began to focus more on the
individual and to the real
world appearances rather
than the community and
ideal world of perfect beings
and perfect buildings.
This sculpture was one of the most
revered in Greek history. Many
traveled from around the world to see
it.
Female nudity was extremely rare in
Greek art, and even more rare is a
depiction of a goddess in such a
manner.
(compare to Onesimos)
Ancient Greece
(Roman Copy of an Original)
The Late Classical Period Praxitiles, Hermes and the infant Dionysos
Olympia, Greece, ca 340 BC
This was once thought to have
been created by the master
Praxitiles, but is now generally
considered a copy of the highest
quality.
The depiction here has Hermes
stopping to rest on his journey to
Nysa to entrust the upbringing of
Dionysos to Papposilenos and
the nymphs. Hermes leans on a
tree trunk and his slender body
forms a sinuous , shallow Scurve that is the hallmark of
many of Praxitiles’ statues
Here Hermes looks off dreamily
into space while he dangles a
bunch of grapes as a temptation
for the infant who is to become
the Greek god of the vine
Soft, subtle, and sensual are all
descriptive of a Paxitelean
original.
The order of beauty seen here
appeals more to the eye than to
the mind and replaced the
majestic strength and rationalizing
designs of the 5th century BC
Ancient Greece
bronze original
The Late Classical PeriodLysippos, Apoxyomenos (The Scraper) Roman copy after a ca
330 BC
Lysippos- another great name in
4th century BC sculpture was
the personal sculptor for
Alexander the Great.
A new canon of proportion
emerged with Lysippos that
sought a more slender body and
smaller head than that of
Polykleitos. (head was one eighth
the size of the entire body rather than
one seventh)
The “scraper” refers to the ritual
of the athlete scraping the oil
from his body after exercising.
Compositional notes: both
arms are horizontally extended,
diagonal line of the free leg,
unruly hair, freedom of 3dimensional movement
The position of the arms causes
the viewer to view the sculpture
from more angles than just the
standard frontal position.
Ancient Greece
The Classical Period
Lysippos, Weary Herakles ( Farnese Herakles)
Roman marble copy from Rome, Italy,
signed by Glykon Of Athens, after a bronze original
ca 320 BC
This sculpture further
demonstrates Lysippos’ vision
that sculpture is to be viewed
“in the round”. Here he
depicts the great hero with the
golden apples of Hesperides
in his right hand behind his
back -- unseen unless one
walks around the statue.
Instead of expressing joy, or at
least satisfaction after having
completed one of the twelve
labors, Herakles is depicted
as weary, and almost
dejected. (in contrast to his
previous depictions)
The original was lost, but this
copy (twice life-size) ,was
created and displayed in a
bath house in Rome as
inspiration for those who
exercised there.
Ancient Greece
The Late Classical Period
The Alexander Mosaic Roman Copy
Pompeii, Italy ca. 310 BC
Ancient Greece
The Late Classical Period
The Alexander Mosaic Roman Copy
Pompeii, Italy ca. 310 BC
Ancient Greece
The Late Classical Period
Tesserae (tiny stones or pieces of glass cut to the
desired size and shape) were used to create this
masterpiece.
The subject is the great battle of Alexander the
Great and the Persian king Darius III, probably the
battle of Issus in southeastern Turkey, when Darius
fled the battlefield in his chariot in humiliating
defeat.
Impressive is the attention to detail and ability to
depict such detail in mosaic form. Notice the
reflection of the fallen warrior’s face in his highly
polished shield
Throughout the image, animals men, and weapons
cast shadows on the ground. Philoxenos and other
Classical painters’ interest in the reflection of
insubstantial light on a shiny surface, and in the
absence of light (shadow), was far removed from
earlier painters’ preoccupation with the clear
presentation of weighty figures seen against a blank
background
The Alexander Mosaic Roman Copy
Pompeii, Italy ca. 310 BC
Temple of Athena at Delphi.