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-grave stele may be post-Peloponnesian War c. 400 BCE

-Grave Stele of Hegeso

-private burials began again (hello Kerameikos)

- they had this private grave stones set up in private burial ground up till Persian War

- argued that the Democratic government banned the use of korai and korous

- maybe avoid the glorification of individual figure

- encourage to use public burial ground; encourage nationalism

-Private stele reemerged in Kerameikos=>type 1: a little building with figures below in the middle (like a house drawn by kids or a temple; square with a triangle roof); type 2: a flat long; type 3: loutrophoros

-Grave stele of Hegeso, stating that the deceased is Hegeso, daughter of Proxenios

-Seated figure is Hegeso

-She looks the same as other 5 th C. figures

-Standing figure is a slave

- The Chair and jewelry box (she was once wearing a diadem) all designed to remind people of her wealth

-This is female burials-the scene we usually see is women shown in family context; women in aristocratic family with a woman shown seated (the dead woman) and with her slave standing beside her

Illissos Stele by Skopas. 340-330BCE

This is Late Classical. In Athens, Ilissos Area.

-the cenotaph (empty tomb) is Late Classical from the Kerameikos Cemetery

-private burials began again (hello Kerameikos)

- they had this private grave stones set up in private burial ground up till Persian War

- argued that the Democratic government banned the use of korai and korous

- maybe avoid the glorification of individual figure

- encourage to use public burial ground; encourage nationalism

-Cenotaph =’empty tomb’ (monument to celebrate war dead, but it’s not where people bury them; basically the public burial ground was still in use, and wealthy family wanted a second monument to glorify their sons or husbands in family burial spot in Kerameikos so they made a cenotaph)

-the heroic warrior, nude, sitting on the public great stele in public burial ground;

-his family grieving at the public ground (strange showing open grief);

-no grief shown by the young dead man;

- the fallen warrior’s father shows his grief by having his hand supporting his chin

Warrior at a Tomb with a youth and a Woman 450-400BCE

Sparta had the most powerful land army at the time. The imperial expansion policies of Athens brought them into conflict with Sparta.This war dragged on for 20 years.

Do we see any indication of horror and mourning from Athens in these vessels? Because they lost every single war with Sparta and there was two horrible plagues happened in 429 - 427.

There were so many bodies that was just rotting everywhere. Thus we question how death is represented now.

The emotional way of showing death changes. Think about ethos and pathos.

These are painted right after the war with Sparta and the plague.

Left: Here are two figures. These are two winged figures and one with a beard, we know this is Thanatos and Hypnos. They are symbolically burying the soul of the deceased

Right: We see two mourners with an Athenian warrior that died. His soul is at his own funeral. His head is tilted shows sombreness and seriousness and melancholy. We see sadness seeping in for Athenian psyche.

-Stylistic date of vase painting = Late 5th century (Peloponnesian War period)

-helmet placed on the stele (public burial ground)

By Euphranor, The Youth from Antikythera

This is Late Classical. Made of Bronze. Found in Antikythera.

Bronze. Found at Antikythera. Found where the ship sank. So it was named after that.

Marble base inscription that is missing.

One theory is that this might be Perseus, the Gorgon slayer. More full of emotion compared to Blonde Boy.

#slide 72

Phaon and Demonassa by Meidias Painter

stylistic date of vase painting = Late 5th Century (Peloponnesian War period) [no need to know vase painters]

From Peloponnesian War, 431- 404

Sparta had the most powerful land army at the time. The imperial expansion policies of Athens brought them into conflict with Sparta.This war dragged on for 20 years.

Do we see any indication of horror and mourning from Athens in these vessels? Because they lost every single war with Sparta and there was two horrible plagues happened in 429 - 427.

There were so many bodies that was just rotting everywhere. Thus we question how death is represented now.

The emotional way of showing death changes. Think about ethos and pathos.

This is a 4th century hydria. Very decorative. Complex scene with multiple ground lines. Lots of eroties male and female erotes. Very effeminate males not very heroic. Nothing Parthenon about this subject matter. Departure from that subject matter.

-Stylistic date of vase painting = Late 5th century (Peloponnesian War period)

-escapist

#slide 69

Lekythos from Peloponnesian War, 450-400 stylistic date of vase painting = Late 5th Century (Peloponnesian War period) [no need to know vase painters]

Sparta had the most powerful land army at the time. The imperial expansion policies of Athens brought them into conflict with Sparta.This war dragged on for 20 years.

Do we see any indication of horror and mourning from Athens in these vessels? Because they lost every single war with Sparta and there was two horrible plagues happened in 429 - 427.

There were so many bodies that was just rotting everywhere. Thus we question how death is represented now.

The emotional way of showing death changes. Think about ethos and pathos.

These are painted right after the war with Sparta and the plague.

This is in the public burial ground. We see two mourners showing farewell gestures to the dead.

There is a new figure here we have never scene before and he is in the centre. This is the dead warrior at this own grave. The dead warrior is sitting at his own grave site.

The pathos: the painter is showing a special kind of emotion. His head looks different from the other guy’s head. The mourners show no open emotion. The warrior is tilting his head and the corners of his lips are downturned. The eyes are coming together in the centre. The mourner is showing melancholy and sadness of his own death. This is a crack in the Athenian psyche. We are seeing first emotional sadness shown by Athenians.

-Stylistic date of vase painting = Late 5th century (Peloponnesian War period)

-in the public burial ground

-great stele in the background

-the guy at the left (mourner)

-the gesture is a farewell gesture;

-no emotion

-Athenians don’t want you go to the public burial ground crying; it’s meant for celebrating heroic death

-The guy at the right-the dead warrior with his actual shield

- Warrior’s hand

- Pathos

- Facial expression-head tilt to one side

- Corner of eyes, lips

- The warrior is somehow showing open emotion and grieve over his own death

- It’s not how he’s supposed to do

Phaon and nymphs by Meidias Painter.

410 BCE. stylistic date of vase painting = Late 5th Century (Peloponnesian War period) [no need to know vase painters]

4th century hydria. Very decorative. Complex scene with multiple ground lines. Lots of eroties male and female erotes. Very effeminate males not very heroic. Nothing Parthenon about this subject matter. Departure from that subject matter.

-Stylistic date of vase painting = Late 5th century (Peloponnesian War period)

-escapist

Nike Loosening Her Sandal

Temple of Athena Nike

-Later 420’s (after 425)

-The last building Athens built and its context – the late 5th century during the Peloponnesian War Period 431-404

-The building is rebuilt on the old position of a fortification of Parthenon; it’s a temple dedicated to Athena Nike (Athena victory)

- it’s argued it’s a victory monument to the only battle won by Athenians-Battle of Sphacteria in 425 (Athens VS Sparta)

- Foregrounds Athena as the great victory Goddess

- A national symbol, military symbol, national pride

- Very tiny (2 columns at the front and the back)

- An Ionic building

- Athena and Nike inside the building with all gods and goddesses on the frieze

- Frieze around Nike temple building

- East: all gods and goddesses gather

- North, West, and South-we have Athenians heroic warriors fighting Greeks (probably stand for Spartans; idealization of the battle fighting Sparta) (North and West) and Persians (glorification of Battle of Marathon) (South)

- Same thing done in Parthenon, having heroic Athenian horsemen glorified, a glorification of their winning over Persians

- Gigantomachy too (a nationalist symbol, victory over Sparta)

- Persians wearing long pants and long clothing

- Persians holding a weird shield

- Used to be a balcony-like curb at 3 sides with frieze; we see Athena Nike (Nikai=victories)

- Nikai figures making offerings to Athena

Slide 65-66

- A very feminine pose; for the first time a female pose in represented so naturalistically (Nike adjusting her sandal)

- Very typical late 5th century style

- non-Parthenon

- un-heroic

- very dreamy and soft (deliberate escapism)

Wedding Preparations of Alcestis and Harmonia.

stylistic date of vase painting = Late 5th Century (Peloponnesian War period) [no need to know vase painters]

440-410.

Epinitron is this thing.

This is usually a bridal gift.

This is depicting a bridal shower where people are bringing gifts to the bride.

There is a woman behind the bride and she is holding a loutrophoros, which is holding sacred water for the bridal bath.

An escapist painting. Term coined by Politt. It means no reference no warfare. Very decorative.

This is a thigh guard because they’re always doing knitting and stuff with wool on their tigh.

-Stylistic date of vase painting = Late 5th century (Peloponnesian War period)

This is from Peloponnesian War period.

Sparta had the most powerful land army at the time. The imperial expansion policies of Athens brought them into conflict with Sparta.This war dragged on for 20 years.

Do we see any indication of horror and mourning from Athens in these vessels? Because they lost every single war with Sparta and there was two horrible plagues happened in 429 - 427.

There were so many bodies that was just rotting everywhere. Thus we question how death is represented now.

The emotional way of showing death changes. Think about ethos and pathos.

#slide 67

-Parthenon Period

-warrior and woman seated in a chair by Achilles Painter (no need to know painter)

-440 BCE High Classical

-Attic White Ground

-Lekythos

We are looking at secondary sources today to reconstruct panel paintings. Because these pots often take visual cues from panel paintings. These painters that made these little white pots might be the same ones that made the panel paintings.

The life span goes from 500 to 400 BCE.

We are looking at only one shape. This is the lekythos. This is a special type of jug used to hold valuable perfume olive oil. Plural for lekythos is called lekythoi(maybe).

This is the most common funerary gifts. They give us a glimpse towards athenian attitude towards death in the 5th century.

We are looking at different lekythos from different times.

These jugs placed largely from public warrior burial grounds.

Demosion Sema means state marker. The only athenians who were buried here were hoplite warriors or leading politicians.

These jugs were placed in the tomb or sometimes above ground at the grave site. At Demosion Sema had a ceremony once a year. All of the fallen warrior will be placed there during the funeral.

Stelai were grave stones used to mark the name of the deceased and the tribe they belonged to.

the Athenians were glorifying the Athenian state. This contrasts kerameikos cemetary from before because that was the glorification of individuals. Private burial markers are banned anyways.

the subject matter was death, but not explicitly illustrated.

we often see leave taking scenes which implies they will leave to meet their glorious death soon.

we often see many mythological figures that represent death.

Hermes is portrayed often because he is a messenger god. His role as a psychopompos means soul guider, Thus, he will guide the souls to hades.

Thanatos is the personification of death. He is often depicted as bearded and older.

Hypnos is the personification of sleep. He is beardless. He is often carring the dead with Thanatos.

We also see Charon often. He takes people to Hade through a boat, riverstyx.

We will also see mourners at the public grave site.

Painters being to use washed down colours to paint lighter washes. This is to show more 3D, this is called tonal perspective. This is another step towards naturalism.

This is what panel painters were also doing.

These are probably not actually used, the acid in the wine would have destroyed the art.

Hoplite leave taking from his wife. Typical Greek genre scene. The message is clear: the warrior is eventually going to leave his home and heroically die in battle.

The Athenians find it distasteful to actually represent death. This is how the state wanted heroic warrior deaths to be represented.

This exemplifies the ideal role of any Athenian citizen women. Idos, the moral philosophical state of Greek women: modesty, restraint, and honour.

The man shows youthful ization of heroic figures.

This shows the same message as the Parthenon frieze.

The warrior is holding his shield and helmet, about to go ff and not come back.

-High Classical 450-430

-A leave-taking scene

- The warrior is idealized, heroized

- A great honor to his wife and family

- A very wealthy family (furniture, clothing)

- Very common casual pose; beautifully rendered hand

- The wife not seeing directly into his eyes

- Ancient morals and beliefs for wives are being modest

- Same period as the horsemen in Parthenon

- Holding the shield and is going to leave the home

no need to know painter

-High Classical 450-430

-red figure painting

-very Parthenon style

-on a wine storage jug called stamnos

-Athenians were constantly on wars

-a leave-taking scene

- Parents standing at 2 sides

- A hoplite warrior in private home

- No emotion being showed

-Calm and cool (just like the 192 horseman in Parthenon frieze) although he might never come back from war

-Wife/young bride

- Holding the edge of the peplos=bridal gesture

- Head tilted slightly forward = showing emtions

- The idealized women/wives=modest, respectful; not seeing her husband directly

- Gesture and head=>showing her feeling to her husband; they might just get married

- Very much alike to women figures in Parthenon frieze (those taking sacred offering)

-the guy is holding an offering bowl; he;s making an offering to a deity for a safe return

-Diadoumenus = fillet binder

- 430 BCE High Classical

-sculptor=Polykleitos work spans from Parthenon period to the first part of Polopponesian war; he’s the only one we looked at during the Parthenon period.

-Idealized heroic athlete. heroization of warriors on the battlefield

-famous for sculpting athletes/offerings for festivals

-also a writer and a scholar and explains systematic and conceptual of ideal sculptors; he explains the ideal proportions of heroic male nudes; symmetria and sophrosyne

-only roman copy of this reserved

-ideal representation of a young male figure standing at the rest; tightening his head band;

-one foot raise above the ground (what he does with all his sculptures ) (this is how we know it dates around high classical 450-430)

-usual combination of movement and stillness

-chiastic arrangement (X) -meant to be viewed from any viewing point; not just a frontal or profile view

-show contrapposto = body weigh on one side

-Doryphoros (Spear Bearer)

-440 BCE High Classical

-sculptor=Polykleitos work spans from Parthenon period to the first part of Polopponesian war

-famous for sculpting athletes/offerings for festivals

-also a writer and a scholar and explains systematic and conceptual of ideal sculptors; he explains the ideal proportions of heroic male nudes; symmetria and sophrosyne

-only roman copy of this reserved

-ideal representation of a heroic young warrior

-might have a shield in his right hand

-one foot raise above the ground (what he does with all his sculptures ) (this is how we know it dates around high classical 450-430)

-usual combination of movement and stillness

-chiastic arrangement (X) -meant to be viewed from any viewing point; not just a frontal or profile view

-show contrapposto = body weigh on one side

#slide #56 & 57

Parthenon, East Frieze

By Phidias, High Classical

Slide 51 (Marshal and Women) Slab 7

- The women come in left and right, continue, leading you to the front of the building with them (special offering bearers)

-They are special honored because they carry sacred bottle with water, wine jugs, and sacrifices (oinochoai and phiale)

- Very bright, painted orange (painted with saffron which has a sacred meaning and is also very costly; a high status)

- Very high technique quality

- Holding a wine jug

- Holding something similar to a Frisbee

Slide 52 (Heroes and Gods) Slab 5

-it’s the center of the peplos scene with Athena and Hephaistos to the right

-the child with the textile

-a girl from wealthy family

-holding a fold of textile (peplos that is going to be used in the re-draping process)

-beside the girl is Archon Royal

- Athena

-almost in the center

-not fully armed but we can see the snaky aegis

- Hephaistos

-with his walking crunch

Slide 53 (Gods and Heroes) (East Frieze 6)

- 6 Gods and Goddesses on both south and north ends; they are totally calm and emotionless

- They are really tall, they are seated but are of the same height of the 10 mythical heroic figures

- part of the ethos

-natural, casual, and relaxed

-folds and drapes are varied; locks of their hair too

-each of the pose is carefully distinguished from that of its neighbor

Slide 54 (Gods and Heroes, East Frieze 6)

-Poseidon

-sit sideways, nearly in profile, with his head in profile

-Apollo

-Apollo sits in the 3 quarter front view with his head in a three-quarter front view

Slide 55 (Gods and Heroes, East Frieze 6)

- Artemis

-Artemis also sits in the 3 quarter front view but her head is in profile

-Artemis is pulling an edge of her clothes

Parthenon, North Frieze, Slab 39

By Phidias. High Classical 442-438BCE.

The Parthenon is related to the Greater Panathenaic festival. It took place for 8 days. To honour Athena.

Frieze is not architectural figure that you put on a Doric building. So Parthenon is really different. Unbroken, continuous, beautiful figures that you never see in any order of Greek buildings.

The meaning of the figures in the parthenon frieze is not a photograph or snapshot of everything that took place during the game. Idealized representation of the Greater Panathenaic festival

There must be a reason why Athenians choose to include certain things in the parthenon frieze.There is something shown in the Parthenon games that were not there. We don’t see the major participants at the games.

Multiple meanings: Athenian nationalism; imperialist messages; democratic system is also found in the context

We see mortals on the sacred building. These were idealized mortals.

The john-boardman theory says that these are horsemen that are heroic that died at the battle of marathon, being extraordinarily deified. In his reconstruction of the frieze, he feels that there are 192 figures on the frieze. There were 192 Marathon warriors that died at the battle of Marathon.

The Athenians may have been representing the falling historic warriors taking place in their last panathenaic game. Or, showing them leading the army to the battle. Or, the fallen warriors already dead, deified after their death.

Front of the buildings = Gods and Goddesses greeting them.

The housemen are taking up 70% of the frieze. Viewer are visually being led from the back to the front.

One set of the horsemen goes up from the southwest corner up to northwest corner and then it turns towards the northeast corners. They are being greeted in the front by Gods and Goddesses. On the other side, there is a row of horsemen from the Southwest going towards the Southeast corner, also being greeted by the Gods and Goddesses.

Everything in the frieze is largely capturing from the procession from sacred game to Athena's altar. Sacred sunrise = sunrise on day 8th of the festival. The procession marked itself so that it is arrives just at sunrise.

There is a Northwest Gate, this is the sacred gate, only used in the sacred festivals, only used for panathenaic procession. As we know, there is not actually any processions that took place in the festivals.

All these warriors look the same. This is because they represent the same thing. All the heads are beardless.

(Something about sunhats)

Warriors are grouped in 10s. Participation of Athenian men into the democratic system is groued in groups of 10. Thus, this is a reference to their political system.

The frieze was super hard to see because it was behind the doric columns and metopes and pediments.

The horse looks very lifelike. The human figures are very idealized. Some are bareheaded and some wearing travel hats.

Extraordinarily showing skill and depth. Its extraordinary to see all this when the stone is only 3 inches deep.

There are 2 horsemen on the 192 men are bearded. Perhaps they are military leaders. The horses are full of life. The horsemen are calm and plastic, but pulling on the horse to calm them down. Sophrosyne and the full of life and animalistic horses.

- Major participants of Panatheniac festival are missing

- Athenian citizens, male and female

- hoplite warriors

- There’s no separation of secular life and sacred world

- 70% cavalcade

- you should not have mortals on this sacred function building

- very radical

- they must have special meanings

- theory: heroic warriors that died at the battle of Marathon; extraordinary honored

- 192 heroicized horseman

- according to the technical historical record (the first source); Athenians lost 192 hoplite warriors at the battle of Marathon

- they are specially honored; they were buried there and Athenians went there every year to make offerings

-figure decorated band that wraps around the entire building

-order is important – a narrative chronological order (there are chapters)

-the starting point – SW

-horsemen taking up 70% of the frieze

- 2 sets of them

- they are moving (there are movement)

- they are taking you from the back of building and leading you to the front

- 2 sets of processions: up (W) – right (N); right (S)

- symbolism: sacred moment of immortalization of Marathon warriors being greeted by Gods and Goddesses

-when the story starts: gather before the sunrise of the day on the 5th day; they assembly and process to the altar of Athena; NW Gate of Athens (the main gate); The gate to the south (the sacred gate; only used during the sacred festival; only used for the sacred procession – warriors, sacrifices, etc.)

-Athenians are not representing the reality

-These horsemen have the same symbolism and same meaning

- Making them younger

- Heroically nude (they would be armed and on horses)

- Partially clothed (travelling clothes and hats)

-Maybe originally arranged in 10 groups

- The number 10 (very special meaning)

- The heart and basis of the democratic constitution is arranged in 10 separate voting tribes

- This might be a deliberate reference to the democratic order

- The glorification of their own political system (they are the only democratic system at the time)

-We lost a lot of finished, bronze details

-Variations in figures

-Horses are very naturalistic, making lots of noise

- Cosmological order

- Deliberately contrast in Sophrosyne, pathos and ethos, b/w animalistic horses and civilized, heroic warriors

-High technical quality

-Spatial depth

-There are 2 horseman that have beard

- Special

- Some military leaders, generals?

#slide 47

Parthenon South metopes: Lapith and centaur. 447-432BCE

By Phidias in High classical style.

All marble temple building. The athenians sculpted every single one of the columns.The roof of the metopes and the metopes themselves were actually a part of the building.They are therefore dated around the same as the structure itself.A building has 4 sides so we have metopes on all side. There are 32 metopes on the north and south side, 14 on the west and east side.They choose to decorate the metopes with 4 mythological battle stories.

Themes: battle, militarism, etc. So, we see 4 mythological battles.

This one is an image of a heroic Greek battling a centaur. The Athenian Greek is charging forward about to tackle the centaur. The Athenian Greek originally held his spear. There is a little drill hole in the back of the centaur’s body. So it shows the moment before the Centaur is about to kill the Greek by breaking his neck, but the Athenian triumphs over the hubris centaur with the spear.

All the Greeks look the same to show heroic Greek character. The Greek is shown in heroic nude. He is striding forward. This motion helps to emphasize the muscularity and the triumph of the Greeks. The Greek jumped on the back of the centaur and jabbed his knee into the back of the Centaur. The Greek is also killing the centaur by choking him and stabbing him with the sword in the other hand.The centaur stood for hubris and we can see that he has messy hairy beards with open emotion.

More Greeks with Centaur. Notice the heads. The centaur head is extraordinary human; we have that underlying trend in the 5th century BCE. It visually sums up hubris contrasted with sophrosyne, through the hairy head and the well groomed young heroic greek. Really angry and wrinkly centaur.

The other 3 sides shows Gigantomachy (East, in front of Parthenon), Amazonomachy (West), Centauromachy (South), Trojan War (North).

#slide 44

Parthenon, East Pediment Group: Birth of Athena.

By Phildias, 438-432 BCE. High Classical.

Look up the geography of the parthenon and Athena’s altar.

Athenians would gather at East of the Altar. The front of the Archaic temple building shows gigantomachy. So, they did not put gigantomachy on Parthenon, since its already on the Archaic temple building.

So is there another mythological story that highlights Athena's relationship with Zeus? That’s what is on the east pediment of the parthenon, the birth of Athena.

Zeus lay with Metis, the goddess of crafty but he immediately feared the consequences. It had been prophesied that Metis would bear children more powerful than Zeus himself. In order to prevent this, Zeus swallowed Metis, He was too late: Metis had already conceived. Eventually Zeus experienced an enormous headache; Hephaestus cleaved Zeus’ head with the double-headed axe. Athena leaped from Zeus's’ head, fully grown and armed.

The Athenians are using the myth and birth of Athena to show that Athens has special status over any other city state.

Christians opened a hole in the Parthenon for a room for the Christian church. The Christians also added something in the back of the building. When they did that, they pulled 2\3 of the pediments. They probably put the remnants in the concrete.

Houzanious says: it shows story of the birth of Athena and she is fully armed.

Its likely to speculate that zeus is there in a throne, with Athena next to him, Hehasis is there with his ax. Hera is also probably there. Some of the senior deities are sometimes there, like Poseidon. We know what is on the corners. Nyx or Selinus, which is night or moon. The other corner is Helics, aka sun. The Athenians timed the procession so it means Athena arrived at sunrise. Thousands of Athenians gathered there and as the sun rises up, it literally lights up Athena's birth. At that critical moment they celebrate.

Since we can't know for sure what it looks like, we will look at some Greek vases instead that shows the story of Athena's birth.

Underneath the pediment, we see Aphrodite and Dionysus and Dione, under Nyx on the right side. On the other side, we see Demeter and Persephore.

Something about the Eleusinian mystery cult.

#slide 38

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