Welcome back to our fourth lesson in art and architecture. Our key terms for today are Agora, Bouleion, Acropolis, Pericles, Parthonon, Enticus, Fidius, Panathnaic Procession, Chris Elephantine, Freestanding Sculpture, Polyclus, Contropos, and Praxidilles. Today we're going to be talking about art and architecture in Athens in the archaic through the Hellenistic periods. You'll remember that last time we looked at developments in cities and sanctuaries around Greece in the archaic period through the Henistic period. And today we're going to take that same chronological focus but zoom in to look at just one city, the city of Athens, with special emphasis on the period of its flourishing, the classical period. But as I say, we'll look at it through the whole chronological span of the archaic through the hellenistic periods. We'll end then with a general overview of Greek sculpture in the round from various places in various periods. This is the last day that we'll be looking at Greece in this class officially, but obviously we'll see more of Greece when we go on our Greece trip. And we'll also see echoes of these ancient Greek works in other works that we study throughout the rest of the semester. As I said, today we'll be looking specifically at Athens. We'll begin by looking at developments in the center of the city, the civic center of the city, the Agura. Here you see the location of Athens on the map just to remind you where we are. And here's a list of some of the most important things that were going on in the archaic period. We have extensive archaeological remains from the site in this period. We also get detailed descriptions of Athens in the native literature. What that means is it's ancient Greeks from Athens telling us about what's going on in Athens in that period. Athens was a major exporter of goods and culture to the rest of the Greek world beginning in the archaic period but continuing through into later periods as well. And it's ruled by a family called the pyistratids for most of the 6th century BC. And you see there that I've put that they have a tyranny. And usually we think of a tyranny being a kind of negative thing but here it's really just a a classifying term for the type of government that they had. This family rule by the pyistids is what we call a tyranny. The major rival of Athens in the archaic period was Sparta. And this rivalry, as we'll see through throughout the rest of this lecture, continues on into later periods. Here you see a map uh showing the ancient city of Athens. And there are a couple of very important areas. One is the area that I've boxed in red for you here. That's the Agar. Now, an Agar is a marketplace. You may have heard this uh term before, but it's also a political center and a civic center. It's really the center of civic life of the polus of Athens. And it's located where you see it on the map there in red. Uh within the city walls, you can see those walls going all around the city. There are also various hills. You see those delineated by those lines, uh including the Acropolis, which we'll talk about later. But the Agura is actually located in a flatter part of the city. Here's a closer view of the Agar at the time of about 500 BC. And you can see that there's not a lot of building that's been going on here yet. Uh what happens around 500 BC though is that the boundaries of the Agar are officially marked by stones that say I am the boundary of the Agar. So essentially uh the the Greeks of Athens create this large public space set aside for public buildings and gatherings. And this tells us a lot about Athens in this period. simply by having this uh this space delineated. It's a big deal for this city because it shows that there's a central authority. There's someone with the forethought to mark out this area and keep it from being built up by private buildings, private houses, private structures. You can see on the plan that there are some public buildings on the fringes, some religious buildings and political buildings. And then there's this big red line that goes right through uh right through the Agura. And that's called the Panathonic Way. And here's an aerial view, a kind of old aerial view with that red line in there. Uh, again, showing you where the Panathnonic way can be seen in the Agura today. It still cuts through the heart of the Agura. And it's a route that led from the Dipilon Gate. That's the entrance to the city where we saw the burials two classes ago, if you remember those very tall vase burials. And it led from that gate all the way up to the Acropolis, which is the main cult site of the city. and it was used for processions during a festival called the Panathana. That's an annual festival dedicated to Athens patron deity, the goddess Athena. And I'll talk more about this in just a little bit. If we look at the plan of the Agura around 500 BC and we take a closer look at one particular structure that I've highlighted there in red, I want to talk about this structure called the altar of the 12 gods. It's located near the area where the Panathonic way enters the Agura. The altar of the 12 gods was the most important monument on the north and west sides of the agura in the archaic period. It's been identified by an inscribed statue base. We don't have very much else that survives. Um and if you go today, you see just what you see there on that plan, just a little tiny uh row of foundation blocks. But it was an important monument that was built by the Pyistids, that tyrant family that ruled in the 6th century BC. And they dedicated it in 522. They're what we would call the patron, the commissioner of the building, the the person or group that pays to have the building made. This altar marked the center of the city and it's the place from which distances were measured, distances to other cities, to other points within the cities. If you think uh within the city of Athens itself, if you think about uh say um say a plot that you would do on graph paper, it's the 000 marker, right? uh from for all of Athens and all the distances are measured from that. The altar also served as you can see illustrated in in the picture, it served as a recognized haven for those who were seeking refuge. If you made it into the precinct of the altar and you asked for refuge, it had to be granted to you. So, it's a place of asylum. No matter what crime you've committed, if you make it there, you have a kind of asylum, right? Uh you you even see in the drawing uh someone running after the person who's uh who's praying there at the altar. Uh this is a reconstruction drawing of what it might have looked like. You can see that there's an open air altar uh in the center of an enclosure. And we've already seen an open air altar in an enclosure at Pergamon. That was the altar of Zeus from the Hellenistic period that we looked at in the last lecture that was much bigger. And of course it had all of that great henistic sculpture. This on the other hand is an archaic altar. It's a little bit smaller and the sculpture uh you can see is is more or less non-existent there. But it was a place where the 12 major Greek gods of the Olympic pantheon. So uh Zeus and Hera, Apollo, uh those famous gods, uh they're worshiped here altogether, all 12 gods. The other building that I'd like to look at in the Agura in the archaic period is this one here located on the western side known as the old Bouleotion. And let's zoom in and take a look at the the plan of it. The old Bouleion, which was built around 500 BC, was a square building that had seating on three sides. And you can see those lines there representing a kind of bleachers, stone bleachers that were built into the into the building. and it housed the can the council of 500 men the boule hence the t the name boule utyrion that was set up to help govern the democracy of Athens. So every year there were 500 men chosen from the various deems who served the city and they made up the meeting the agenda for the meetings of the assembly and the assembly was uh a meeting of all of the male citizens of the polist. So there's this select group of 500 that sets the agenda before all of the male citizens then get a chance to uh to debate and discuss it. Uh so the bouleotion is a type of assembly building with seats on three sides and we see it in all kinds of Greek cities that are governed by democracies. The kind of uh government that Athens will come to have. Uh so in the early civic space of the Agura we start to see a religious monument the altar of the 12 gods and a civic building the bouleotyion that had to do with the governing of the city's democracy. And when we get to Rome and we look at the Roman forum which is a kind of Roman parallel to the Greek agura we'll see that it's religious and civic buildings that are the first kinds of buildings to go up in the forum as well. If you take a look at this plan of the old Bouleotion, you see that there's an entrance area and then uh moving into the space where the assembly took place, you see that there are those five black dots in the middle of the area of the seating area and those uh are indications of columns that would have supported a roof. So this would have been a rod building. it would have been enclosed so that the discussions that were taking place there weren't open to the whole uh public and also in case it's raining or there's bad weather uh you're protected from the elements in there. So that's a little bit of what was going on in Athens in the archaic period. But the main period in which Athens really thrived is the classical period. So this should be inserted as I said in the last lecture into your overall timeline just after the archaic period and before the hellenistic period that is after the archaic things at Delelfi around the time of that bronze charioteer but before the temple and theater at Delelfi and as I mentioned in the last lecture the classical period encompasses much of the fifth century BC and it spills over a bit into the 4th century BC as well. what's happening in Greece in the fifth century BC and why is Athens such a key player. Well, we touched on this a little bit in the last lecture, but now I want to go into it in a bit more detail. So, let's take a look at this timeline slide again of the fifth century BC. In 480 BC, as I mentioned, uh Athens has been destroyed by the Persians. The Persian wars left a very big mark on Athens in particular. Fortunately, most of the citizens had escaped by sea, but the city itself and its major buildings uh gets destroyed. Then in 479 BC, the Greeks managed to defeat the Persians at the battle of Platia and we saw that memorialized in Deli with the serpent column and the stow of the Athenians. Then in 477 BC only two years after the battle of Plateia, the Athenians found what we call the Dian league. And this is a consortium of Greek polace. Remember, Greece is in no way a united country. It's lots of individual citystates. But Athens is able to get together a kind of coalition of these Greek citystates to come together and ally against Persia uh with its headquarters and treasury located on the island of Dos in the central Aian Sea. And members of this league would contribute either money or ships to this coalition. And the idea is that with this money and these ships, if the Persians were to come back and try and attack Greece, again, not a unified country, but any one of the parts of Greece, that the Athenians would have access to uh enough money to garner troops and enough ships to mount some kind of naval uh coalition against the Persians. So, this is a kind of insurance policy, if you will, against the the Persian threat. And as I mentioned in the last class, the Persians don't ever come back at the same level that they had before, but the Greeks always have this idea that the Persians are kind of waiting in the wings and could return at any point. So the Dian League is a kind of fail safe against this possible Persian attack. And it's the Athenians who spearhead this initiative and they say, "Look, let's keep the treasury on the island of Dos. Everyone else give either money or ships and that way we'll all be covered." But uh you can see that in 454 BC after some military setbacks, Athens will suggest that DOS is no longer a safe place to house the treasury and they'll move the treasury of the Dian League to Athens. And this is a big deal because Athena, the goddess herself, will get 160th of the Dian League's treasury. So Athens will use uh the money, they'll move all the money to Athens and they'll use that money to uh to beautify the city. So, it's supposed to be waiting there to pay for an army should the Persians attack again. And instead, as Athens starts using the money to to support a massive building campaign, some of which we'll talk about today. Without the money from the deal league, there would have been no great building campaign in fifth century Athens. And you can imagine that the other polles were not very happy about this idea, especially Sparta and Sparta's allies. they uh get quite angry with Athens and tensions erupt and there'll be fighting that breaks out between Sparta and her allies and Athens and the other members of the Dian League who remain loyal to Athens and that will be known as the Pelpeneisian war and you can see on your slide that begins around 431 BC and things will go back and forth for a long period and finally in 404 BC Sparta will be victorious and Athens will submit and Spartan troops will enter the city in 404 BC and Athens will never really recover. over from uh from the Spartan attack then. But this span of a hundred years about a 100 years between when the Persians destroy Spart uh destroy Athens and the Spartans destroy Athens is one of the greatest periods of art and architecture and culture in general in Greece and especially in Athens. So that's what I want to focus on chiefly in today's lecture. We see a really important building program going up in Athens in the fifth century BC that begins in the wake of that Persian destruction of the city in 480. And a lot of it, especially in the middle of the fifth century BC, is owed to a man by the name of Pericles. He's one of the leaders of Athens. He's a general during the period leading up to the Pelpeneisian War. And he's responsible along with some others for turning that Dian League into a kind of Athenian Empire. So what was supposed to be just a union of citystates giving money together against the Persian threat becomes a kind of empire under the city of Athens. This period under Pericles was really the high point of the city of Athens and as I said earlier Greek culture in general. There are a number of buildings that go up in the city that we think that Pericles was responsible for or at least helped to plan. And these include the famous Parthonon on the Acropolis, the Propelia also on the Acropolis, the Eric Theon up on the Acropolis, and the Heffistion down in the Agarath. So Pericles again is what we would call the patron of these buildings. And be careful because the patron of a building is the person or group that pays for and sponsors the building. Whereas the patron god or goddess would be a god or goddess that protects a city. So sometimes I'll ask students who's the patron of the parthonon. And students will say Athena, but actually the patron is Pericles, right? The patron goddess is Athena, but the patron who's sponsoring uh and commissioning the building is Pericles. So be careful about that distinction there. uh these four buildings together the parthonon the propollaya the ericon and the hephiston uh marked the high point of the glorification of Athens. It was a period when the city stimulated all kinds of creative genius. So architecture, sculpture, theater, philosophy and historical writing really reached their pinnacle in Athens under this period. You have individuals like Thusidities, Uripides, Escilis, Socrates, Plato, Aristotle, all of those really famous names, most of whom uh you'll have read or um or touched upon in the core. They're in Athens in this particular period. And what I want to do is hit the highlights of the art and architecture today and then you'll have a chance to revisit them in person when we go to Athens. So here we see a bust of the general Pericles and because he ruled in Athens ann he was annually elected to the board of generals for such a long time. He was able to accomplish a lot and plan a building program in a way that rulers who ruled for just a short time couldn't do. So he's not a king. He's not a tyrant. He's a member of this board of generals in Athens that helps to lead the city. If we take a look at the plan of the city and we think about areas where you can find some of his works, uh the most famous ones are up on the Acropolis, which is located where I've boxed it in red on this plan um uh in the city. Remember that we looked at the Agura already at the beginning of this class. It sits to the northwest of the Acropolis, but the Acropolis there is the highest hill within the city walls of Athens, and it really sticks out on the landscape. Even in the modern city, it's a feature that's very hard to miss. You'll see when we go there, you always have there aren't a lot of high-rise buildings in modern Athens, so you always have the Acropolis sort of out of the corner of your eye, no matter where you are throughout the city. Here's an aerial photo of the Acropolis from a few decades ago, but you can see some of the major monuments. We'll talk about the Parthonon, that large building that you see uh sort of toward the right of the Acropolis there on that slide. And we'll also talk about a building called the Eric Theon, which is just to the left of the Parthonon. It's a kind of strange building. Uh you can read about the propollaya the gate building that's at the bottom of this image as well as the temple of Athena Nikke which is just to the right of that gate building. I won't talk about those in detail today though. This is a plan. So that was a photo. This is a plan of the Acropolis uh in various periods. We're really focusing on the period that you see in yellow here on this slide. And I want to show you uh the location of the parthonon there inside that red box. You can see that the parthonon is largely in the center of the high plateau on the southern side of it. And uh when the Persians arrived in Athens in 480 BC and destroyed the city, they found that a temple was being built in this exact location on the site where the parthonon will later be constructed and they burned it. This is a problem for Athens. Not only because their temple gets burned, but also because in the oath of Platia, so there's a battle of Platia, but then there's also an oath that's sworn sworn by the various Greek citystates, the Greeks swear that they will not rebuild the monuments that were destroyed by the Persians uh during their attacks uh in this in this Persian war. And that's an important step to take, right? They say, "Look, we want future generations to remember the destruction that was wrought at these sites and the very real threat that the Persians represent. So instead of rebuilding things so that nobody can tell that there was ever any destruction, we're going to leave these empty spaces in our cities as a reminder of the Persian destruction and the Persian threat. So Athens keeps this oath for a while, but then as they get the money from the Dian League and as Pericles is keeping his eye on various places within the city, the Acropolis is a is really prime real estate. And the idea that you would leave this space bare is a very hard thing uh for the Athenians to uh to agree upon at this point. So what they decide is that instead of building on the exact same foundation of the temple that burned down, they shift things just a little bit and they say, "Hey, we're not violating the oath because our new temple is not exactly on the site of the old one. Look, it's been shifted about 20° away from where the old one was." And they get uh they get the okay, no one's really going to argue with Athens at this point. they get the okay to build uh the parthonon on this incredibly splendid temple on the site of this earlier temple that had been destroyed uh by uh by the Persians. So let's take a look at the plan of the Parthonon. It's the first and the most important building of this Periclean refurbishing of the Acropolis. Your reading talks about who the Parthonon is dedicated to. It's dedicated to the goddess Athena, but Athena in her guise as Parthnos. And let me take a chance uh to just write this down for you here on the board. Uh so we have [Music] we have Athena but Athena parthanos. And that's because in antiquity uh different gods can wear different hats if you will. It's a kind of metaphor for these different attributes that the gods and goddesses take on. So, uh, we have a goddess like Athena who's often associated with war, right? She's got the breastplate, she wears the helmet, she's a goddess associated, uh, with war, but she's also the goddess of wisdom as you know. She's also in this particular case a virgin warrior goddess. So uh she's a goddess who maintains her virginity and the parthonos here uh means that she's the virgin warrior but she's also associated with weaving. So depending on uh which of these elements of Athena you want to stress you have a different kind of epithet that you put with her name. So in this case we have Athena Parthonos the virgin warrior goddess and she's that warrior who helped Athens and the rest of the Greeks with the defeat of the Persians. So, it's a fitting goddess to dedicate this temple to up here on the Acropolis. So, she's definitely a warrior and a fighter. Uh we'll see a little bit later that there's a different version of Athena to whom a second temple gets dedicated and that's Athena in her role really as proteess of the city. But here we have this virgin warrior goddess who's being emphasized. Uh the Parthonon is often considered to be the epitome of a Doric temple building, but it did have some unusual features. So let's take a look at its plan. Uh you see here that it has 8 by7 columns. It's following that golden rule or that golden standard of X columns on the front and 2X plus one on the sides. It has two porches that you see there. Uh and it has a parasyle that colonade going all the way around. It has a kind of treasury room what you see labeled there as parthonon uh in uh in this particular plan. Uh and it also has a doublestoried Doric colonade that surrounds the statue inside the nails. In fact, you even see that there's a row of columns behind the statue base there. before uh you in your plans in your reading we saw columns on two sides but this extra row of columns and a double story of columns behind the statue is a new thing uh in that back chamber where you see the word parthonon that kind of treasury chamber that held a bunch of dedications to the goddess we had ionic columns put in so the colonate around the temple was Doric but the four columns inside that chamber were ionic and this is an interesting case of the mixing of these two orders So we have the use of ionic columns within a Doric temple and this is the first time that this appears in Greek architecture on the Greek mainland. So it's worth noting because of that this mixing of the orders believe it or not actually began in Italy at a site called Pestum where we sometimes go uh in the fall on our compa trip. There are some fantastic Greek temples preserved there. And in uh one of those Greek temples because Pestum was initially a Greek colony, we have this mixing of the orders, ionic columns in a Doric temple. It happens first in Pestum and then the Greeks in Athens hear about it and they do it on the Parthonon. So it's interesting that this epitome of Doric temple architecture has these ionic columns there in the back. We'll come back to this plan soon when we discuss the sculptural decoration, but let's take a look at the building as it stands today. Uh you can see that the whole building was made out of marble, a fairly expensive building material, but one that Athens had pretty regular access to. We have column shafts with Doric capitals. We have a row of archetra blocks. So uh the triglyph and Menipe freeze course going above uh the columns there. And when you take a look at this building compared to some of the earlier Doric temples that you had in your readings, the Parthonon is a little bit different. uh the short columns that we saw in early Doric architecture gradually become a little bit thinner and a little bit taller. Uh the baggy profile of the ainus that uh that sort of marshmallow squished marshmallow element in the capital becomes a straight sided cone and metapase that had been rectangular on the earlier temples become square in the parthonon. So they're refining their doric architecture a bit as time goes on. uh we also see that the kind of sheer bulk that I mentioned in our last class of a doric building gets reduced a bit here because the part above the columns what we call the intabe the height of that gets reduced in the parthonon. So in earlier temples it was almost as tall as the height of the columns themselves and here instead you see that the columns are taller than that intabe there. Uh when you see the Parthonon in this image and when you see it in person when we go to Greece you'll see that it suffered greatly. In fact, they're still reconstructing it right now. And part of that is because in 1687, the Venetians uh hit the the Parthonon, which was temporarily being used as a gunpowder storage magazine. They hit it with a cannonball. Uh the Ottomans were storing gunpowder there, and the building exploded. So, uh so it's it's undergone a lot through the ages and especially in the 17th century, it suffered this very severe explosion. So, um they're still working on putting it back together, uh today. not not left over from the 17th century. It's been put together various times, but every time there's been a bit of a mistake, and this time they're sure that they've gotten it right. Uh I suppose only time will tell, and they're putting it together uh one last time, uh supposedly for good, right, with everything in its proper place. The Parthonon is known for a whole series of what we call Doric architectural refinements. So, let's take a look at these uh here on the slide. So I've shown you there in red that there's what we call the upward curvature of the styabate and if you remember the styabate is that top level of the platform. It's the level on which the columns stand in temple and it curves upward. So you have to imagine uh you know if you uh if ever when you were younger you took a flat sheet and there were four of you one on each corner and you raised it up in the air and then you pulled it down on the four corners. That's what happens with this styabate platform. So the centermost point is raised up with respect to the four corners. Why might the Greeks have done this particular refinement? Well, there are a couple of different ideas. One is that uh if you get water in the temple, it would drain off of the platform in a in a more efficient way if the center is higher than the edges. Right? Uh, another reason is that uh, people have have done research and if you stand far away from the building and you look down the edge of that platform because you're far away, the way that the light rays enter your eye, it actually looks like the platform is bending downward. Uh, but if you create this slight curvature, and it's a very slight one, it's not exaggerated. You can see it if you get there in the Parthonon and you look right down the edge of the temple platform. You can see this slight curvature of the platform. Uh that counteracts the optical illusion that happens with your eye so that when you're far away and you look at the temple platform, if it's curved up, it looks like it's flat. So that's another possible reason for adding this particular refinement. Uh the next one on the slide that you see is the inward tilt of the columns and you see that highlighted there in orange. That is, if you were able to draw a line from the top of each of the columns and continue it up uh into space, they would actually cross at the end. All of those different lines would cross each other. And why might the Greeks have done that? Well, uh one idea is that when you stand at the ground and you look up at the columns, uh if they're tilting back, it makes them look even taller than they are. Right? That's a possibility. Uh there another possibility is that it may have looked a bit like the columns were going to fall out on you if they were straight up. So to counteract that optical illusion, they have them tilt backwards. The third refinement that we see is what we call the outward outward tilt of the intabe. That's highlighted there uh in green. And you see that they have even drawn uh what things would look like without that tilt and what things end up looking like with tilt. If you have your columns tilting inward and your intab is placed on top of them, it'll be hard to see your freeze course because it'll lean back with the columns themselves. So if you tilt the intabe outward just a little bit, it makes them more visible and it counteracts that inward tilt of the columns that you have there. Uh the next element that you see in terms of architectural refinements is what we call corner contraction. And you see highlighted in blue an illustration of that. And this is something that we see only with Doric buildings. It's a problem uh because uh because the Greeks like to have this nice rhythm of triglyph triglyph triglyph. And you can see in the image that the triglyphs are centered on the columns. But what happens when you get to the edge of the building? Well, if your column is there and your triglyph is centered on the column, you need just a tiny piece of metipe for the end of the building. Let me draw uh let me draw what I mean for you uh here. So, [Music] So here we have column column column column. We have triglyph metipy triglyph metipy triglyph metipy triglyph and then you need just this tiny little piece of metipe there on the end. And the Greeks don't like this. They don't want to have a tiny piece of metipe. They want all of their metipes to be more or less the same. So they're stuck. How do you have a Doric building where you have a triglyph on the end without a metap there, but it's still centered more or less o over the column? Well, what they end up doing is they reduce this space here is the same. This space here is the same. And then they reduce that very last uh bit of space on the end. So they move this column over to the side so that you don't need that extra bit of metipe there on the edge. Uh and it's a very subtle thing that they do. In fact, if you look at a Doroic building, you might not even notice it as you're looking at it. But if you're aware of this being a building on which corner contraction has taken place and you look, you can certainly see it with the naked eye. So you see it there on that image. The space between the triglyphs and metipes is still the same, but the space between the columns is reduced on the edge. And that very last triglyph doesn't line up perfectly over the center of the column. That's a kind of concession that they make. But we'll see that as time goes on, it seems like the Greeks aren't even satisfied with this corner contraction. And eventually they'll just stop making Doric temples and they'll move on to ionic temples that have a continuous sculpted freeze. And so they don't have to worry about corner contraction with those temples. Uh the last element of refinement that you see there in purple is the antithesis of the columns. And what that means is that the columns bulge out slightly in the center. So they're shaped almost like cigars. They're tapered a bit. The top part is uh is thinner than the bottom part, but then we have this bulge in the middle um that you can see illustrated very well that on the left where you don't have what we call the flutes, those vertical bands running down to confuse your eye. And why do they do this? Well, it's again, we think related to optical illusions. If you take your eye and you look at a straight side of a column, it actually looks like it's bowing in uh like it's almost uh con uh concave there. And so if you make the column a little bit convex, if you make it bulge out just a little bit, when you look at the column with your naked eye, it looks like the side is straight. So it turns out that in this Doric temple building where you would think that everything would be perfectly straight, there's not a straight line to be found anywhere. The styabate bulges, the columns lean in, the intabe leans out. Uh there's corner contraction and you have the antithesis of the columns. It's full of these architectural refinements. Everyone that the Greeks can throw at it, they've thrown at it here to make it as perfect architecturally as they can. And we can ask ourselves, why are the Greeks doing this? Well, there's a number of possible reasons. Uh, one possible reason is that they want to play with this idea of image versus reality. We know that the philosophers are getting into some of these ideas at the time that you see a building that looks perfectly straight and squared, but the actual reality is that there's not a straight line anywhere. Another possibility is that uh we know that the Greeks were writing architectural treatises at the time. uh we don't have very many of them that survive but we know that the architects were actually writing about what we were what they were doing there and so it would have been an architect would have been quite proud to be able to say this is what I'm doing here on the parthonon and let me tell you just how difficult it is and how much effort I'm going to to make this building look as perfect as possible another idea is that you want the building to be as perfect as possible because it's a gift for the gods and Athena Parthnos is a really important goddess for the city of Athens so you want to create all of these refinements so that she'll be pleased uh with the temple, right? Uh so um there's a whole lot of uh of effort going into this building, a whole lot of uh a whole lot of reasons why the refinements might have been there. Uh but it's a very very sophisticated building both in terms of its design and its execution. And that's just the architectural part. Uh if we move on to look at the sculptures, I'll tell you that the parthonon is also quite famous for its sculptures. Uh we know that around the exterior of the cella, so uh that's um that's the around the porches, if you will, uh there was a continuous ionic sculpted freeze located at a height that actually made it almost invisible. So as you look at this slide, you see where it's indicated freeze and you see those tiny little people standing down there. If they were to look up at that freeze, they'd hardly be able to see anything. Yet, it's a really elaborate sculpted freeze that I'll talk to you more about in just a little bit. Uh around the outside of the building, so above that exterior colonade is a Doric freeze of triglyphs and Metipes that you see out there where it's highlighted as Metipes. And then the pediments also contained important sculptural groups. And then finally, there was a statue of Athena Parthnos on the inside of the temple. uh there was one sculptor who was entrusted to design the overall program of the entire temple. So the cult statue, the metapes, the pediments and that ionic freeze and his name is Fidius and we'll meet him on the next slide. So here you see how to spell Fidius's name and you also get a list of all of the incredible sculptural elements that there were here on the Parthonon. So you can see that there were two pedimental groups. On the eastern side over the entrance you had the birth of the goddess Athena and on the western side you had a contest between Athena and the god Poseidon. The metipes that went around the uh the exterior of the monument above that exterior colonade were all allegorical and again they're relating to the Persian threat. So on the southern side of the temple you had what we call as centauramaki a battle between the leapiths and the centaurs. If you know your mythology you'll know that there was a wedding to which the centaurs these halfman half horse uh creatures were invited. They got drunk and they started trying to steal all of the women of the leapiths. And so uh the men had this big battle with the centaurs. On the western side you have uh what we call an amazonomachi a battle between the Greeks and the amazon. these women warriors who didn't allow any men in their society or at least they only kept them around long enough to make more Amazon. Um the the Greeks uh fought them in mythology and we see that battle on the western side. On the eastern side we have the gods and the giants, the giganttomaki that we saw in our last lesson. And on the northern side we have the battle between the Greeks and the Trojans that's discussed in the Iliad, a Trojanomi. So all of these mythological examples of battles that represent civilization over chaos. The kinds of allegorories that we were looking at in the last class and you can see that I've highlighted two of them for you. The leapus and the centa towers that is actually on the pediment one of the pediments of the temple of Zeus at Olympia that your reading talked about. And then I highlighted the gigantic because we saw that already in our last class. On the ionic freeze we think we have what is an example of the panathnaic procession that I mentioned to you in class earlier. And then we have the cult statue of Athena Parthononos. So let's take a look at some of these sculptures in a bit more detail. This is a reconstruction of the scene from the eastern pediment of the temple, the one that shows the birth of Athena. It's obviously a very important event for the city of Athens. Uh what's the story here? You may know the mythology. Uh but essentially, uh Zeus, uh being the kind of god that he was, you may know he's quite unfaithful to his consort Hara. Uh so uh he has a diance with um with someone down on earth and she gets pregnant. Uh but Zeus has this oracle that says that his children will rise up and be even more powerful than he is. So uh he's trying not to have very many children. And what he does to prevent that is he just swallows Athena's mother. He says, "Look, uh you can't have my baby if I swallow you." Right? Um, so, uh, he swallows her, but then as time passes, he starts to get this really, really bad headache, and he goes over to the god of metalwork, Heesus, and he says, "Look, I've got this bad headache. I really don't know what to do." Heest smashes his head open with his axe, and out jumps the goddess Athena, fully armored. Right? So, Zeus gives birth to Athena through uh this opening in his skull. It's not a traditional birth uh by any means. And you see illustrated on the pediment essentially the moment right afterward. You see Hephestus uh with his axe jumping back in alarm. You see Zeus sitting there looking at Athena and Athena looking at him um a little bit perturbed. Uh right. Uh and you see a victory that winged victory the Nike figure crowning the goddess Athena already uh just at the moment of her birth. Uh so uh this is a pretty important uh a pretty important event uh for the city of Athens and it's commemorated here on the pediment over the entrance to the temple. Uh it happened at dawn. You can see a bit of the the idea of the time because you can see the horses heads on the left side of the pediment. The horses from the the sun god Helios's chariot are coming into the picture. And over on the right uh the chariot of the moon uh Selen her horses or Seline her horses are leaving uh the pediment there. And you can see that there's a kind of awareness of these this event spreading through the various other figures in the pediment. The artists are starting to show the thoughts of their subjects. Let's take a look at the west pediment. Now on the western pediment we have the contest between Poseidon and Athena uh to see who would become the patron god or goddess of the city of Athens. And you may know this story from your mythology as well. Uh the citizens of Athens hold this contest to see who would be the patron god or goddess and essentially the gods have to give a gift to the city. So Poseidon uh steps up and he sticks his trident into the ground and a spring gushes forth. It's quite a miracle and the citizens are happy until they realize that being the god of the sea, it's a saltwater spring. So it's not a particularly useful gift. It's a miraculous one but not a very useful one. Then Athena steps forward being the goddess of wisdom. She's already thought about this and she presents the olive tree to the city and the citizens realize that this gift is very useful for a whole number of reasons. You can use the wood to make things like boats or or anything else out of wood. Uh you can use the olives themselves to eat. You can press them to create olive oil which you can use for cooking, for food storage, but you can also use it to burn in lamps uh in order to get in order to get light. So, she will win the contest because of this incredibly useful uh gift. It's still miraculous. She creates a an olive tree out of nothing on the baron necropolis and she will win. And we've got different gods and goddesses there witnessing the event uh as well. Now, remember that these are reconstructions. We don't have all of the pediments. We do have a story about what they would have looked like thanks to a traveler from the 2n century AD whose name was Palscanius. He was mentioned in Schllemon's uh telegraph that he sent to the king of Greece. Uh this traveler, he writes a kind of I would say it's a kind of uh Roman era travel blog, if you will. He goes all over Greece and he writes down everything that he sees. And he tells us what was there on the pediment. So we have an idea of uh what these sculptures would have looked like even if we don't have all of the surviving elements. Uh let's look uh at what we do have from these pedimental sculptures. These are a couple of pieces that you can find in the British Museum in London uh today. When you take a look at them, you see what sculpture from the high classical period uh looks like. Uh when you see those three goddesses over there on the right, even though we don't have their heads, you can tell that they're goddesses because you can see their bodies underneath their clothes. And in fact, the kind of technique that gets used here and also in the Hellenistic period is something that art historians sometimes call a wet drapery technique. It looks like their clothes have actually been wetted and are sticking to uh sticking to their bodies there in order to reveal that physical form underneath. Uh it takes off in the Hellenistic period, but it begins here in the classical period. If you look instead at that sculpture on the left of the god who's sort of sitting there and reclining, he's got a very perfect body. He looks like he's been in the gym uh working out. uh you've got uh an ideal kind of godlike otherworldly gaze uh paired with this very ideal uh body. So the the modeling of anatomy has come quite a long way since those early archaic Koros uh statues. The musculature is fairly uncomplicated but the drapery undergoes a very radical change. It's carved a lot more deeply. It shows a lot more elements of light and shadow and again as I said you can really get a sense of the bodies under the drapery. There's a lot more focus on anatomy in this period. Sculptors are really trying to show an ideal of youth and beauty. They were trying for that in the archaic period, but they get a lot closer to that here in the classical uh period. It's a beauty that's acceptable to and shared by the gods. Uh the beauty the the bodies are portrayed realistically and naturalistically. The movements are naturalistic, but the expressions and gazes on the figures are otherworldly. And it's the fusion of this real, the real of the movements, the real of the bodies, and this ideal, these otherworldly gazes that characterizes classical sculpture. I mentioned also that there was an ionic freeze on the parthonon. This continuous ionic freeze was located where you see it shown in red here above the porches going around the cella of the temple. It was just over 3 ft high and it was 525 ft long. So quite a significant piece of sculpture here on the temple and a lot of it is located in the Acropolis Museum in Athens today. We won't take you there as a group, but you can go there on your own and see it if you're interested in visiting it. Here are some of those sculptures that you could see uh that were on this uh ionic freeze. Remember that they would have been brightly painted. They would have had metal attachments like we saw in the Keratids on the Cypnian Treasury. uh and so you would have been able to see something although just how much you would have understood is a little bit debated. Another thing that's debated is what exactly this phrase depicts. There are a number of different ideas but I'm going to share uh the the one that has the most scholarly consensus with you uh today. Uh the most commonly accepted opinion is that it represents the panathnaic procession and I mentioned that at the beginning of this lecture. This is a procession and a a festival that took place every year. But then every four years there was the great Panathonic procession, a really big uh festival uh where uh where the goddess Athena was honored especially. And so here we think you see some of the preparations for this Panathnonic uh festival. uh there are chariot races, there are people bringing water and there on the lower uh part that I've highlighted there in red for you seems to be uh the handing over of what we call the peploss. And this is a special shroud that would be woven for the statue of the goddess Athena inside the Eric Theon, a building that we'll talk about in just a second. Uh that every four years would be changed. So the women of the city would weave this garment. It would be used as a kind of a sail on this big wooden boat that would be moved through the whole city in the procession of the great Panathan. It would wind its way from the Dipolon Gate down through the Agura up to the Acropolis and would be handed over to the priest uh in order to be put on the statue. And we think that that's what you see there. Uh you see various women bringing other implements and then you see probably a young boy handing over this peplaw's cloak uh to um to the priest. And if that's the case is really interesting because we would have lots of mortals, everyday human beings depicted on this freeze, but then to either side of the of that red box, we have the gods, the 12 Olympian gods. So it's the first time in Greek sculpture that we get a mixing of mortals and immortals, of normal people and gods on the same piece of sculpture. And that's a really big deal. Uh you can see the gods seem a bit disinterested in what the mortals are doing, but they're still there. they're still uh they're still present. And that's uh a really really interesting thing because ancient viewers we think would have been able to recognize or at least be told to recognize the important religious significance of this uh freeze. They might remember some of the actual events that they had seen with the panathnaic procession and they'd see that the gods were there supporting them. So you have this kind of mixing of past time, future time and present time all coming together in this freeze and it would have moved all the way around the temple taking in everything. Uh the the people who saw it would have taken in everything as much as they could and remembered or discussed the events related to the panathna and the importance of Athens. Um this event of course is very important for the city of Athens specifically. The last element of the sculptural program of this building that I want to talk to you about is the statue of Athena Parthonos herself housed inside the temple in that cella or Nouse and it was done by Fidius himself the director of the sculptural program. And here you see a reconstructed drawing of it as well as the version in Nashville where they've built a concrete replica of the parthonon. So some of you who've been to Nashville may have actually had a chance to see that parthonon. There you see that it would have been inside the cellar framed by that uh double tiered colonade even uh containing columns behind the statue as well. It took up the full dimensions of the height of the cella. It was 12 m high, quite tall, about 36 feet or so. You see that Athena is there wearing the eegis. That's her breastplate with the face of Medusa on it as well as an elaborate helmet. She's very much a warrior goddess. Here she's holding a spear and a Nike or a victory in her hand. And then she has a shield and a snake nearby. And this statue itself is full of other different allegorical sculptures. So the shield had images of the Amazon, the Amazon versus the giants on the outside. On the inside it had the gigantamaki, the gods versus the giants. On the edges of her sandals was the centaur amaki, the leapits against the centaurs. All of these allegorories that we've seen before representing again the triumph of chaos over barbarism of the Greeks over the barbarians. The statue itself is what we call Chris elephantine. You see the definition there on the bottom of your slide. Uh that means that the core of the statue would have been wooden. But then over top of it, all of the important flesh parts, so her face, her hands, those would have been made out of ivory. And then all of her clothing would have been gold, cast gold. So you can see that in that reconstruction uh picture that I've shown you there. Uh really really expensive materials, ivory and gold and certainly fit for a goddess. We know that Fidius was responsible for making the statue of Zeus at Olympia as well. And this was another Chris Elephantine statue. And when we go to Olympia, you can still see the molds that he used to uh to create the gold fabric of Zeus's garments. Uh so this statue and indeed the entire temple reminded people that it was Athena in her guise as virgin warrior goddess who led the Greeks to triumph against the Persians. And remember again that the statue is located in the cella or the nouse of the temple. The altar where the worship actually took place would have been out in front of uh the temple. The next monument that I'd like to talk about is a building called the Eric Theon and it's located here on the northern side uh of the Acropolis opposite the Parthonon. It's a really interesting monument with a plan that needs a little bit of explanation. So, let's take a look at that plan. Uh here you can see that it's pretty unique and that's because the interior space is mostly informed by an archaic temple that is an earlier uh temple from the archaic period dedicated to Athena polio. Uh the polatic cult or the city cult of Athena that's related to Athens. So let me write that down for you here on the board. Uh here we have not Athena parthanos but Athena polio and you can see that you've got that poly uh root that's there like the the word polus the citystate that we were talking about in class uh last time. So this is the goddess who takes care of the polus Athena in her guise as patron goddess of the city of Athens. So, not the virgin warrior goddess that we've just seen, but the city protecting goddess. Uh, so she's honored here. But this building also sheltered a whole variety of cults, and that means that there are different areas within the building that fulfill different purposes. Overall, we know that it's an ionic temple, and it's named after an individual named Eric Theus, who was a legendary king of Athens. Work on this building began in the 420s, but most of the construction took place between 409 and 406 BC. So that's during the Pelpeneisian war. That's a time when it'd be quite difficult to be building a temple, but the Athenians manage uh managed to do it here. We can see that the building has a kind of an identity crisis. As I say, we really don't know exactly uh who was worshiped here. We know Athena has a space and the ancients don't seem to really know who else is accompanying her. Uh but we do think that that statue of Athena polass it was a wooden statue that that would have been located in the eastern chamber uh where you see it there shrine with wooden image of Athena and that's the image of Athena that would have received the peplos in the panathna so Athena in her guises protectress of the city uh we think that maybe he festus a kind of consort to Athena the god of metalwork might have been honored there or maybe even boutes one of the argonauts or maybe even Poseidon, even though he doesn't get to be the patron of the city. Maybe he gets some worship up here, uh, too, but we're not really sure. Uh, you can see that the building is very asymmetrical. It's actually built on two separate levels, and that's probably again because of that earlier temple that had been located there. There's an eastern porch that gives an entrance into the shrine of Athena Polat, and that has a very conventional uh six column ionic facade. Uh the northern porch, you can see there's a Poseidon's trident mark written there. The northern porch had an area marked out for the saltwater spring, which is reminiscent of that contest between Athena and Poseidon over who would be the patron deity of the city of Athens. Remember again that Athena gave the olive tree and you can see that the olive tree is located just outside this building. There's actually an olive tree there in the modern day. It's not uh it's not 2500 years old, but there is an olive tree there. perhaps a descendant of the one that Athena gave. And there on the northern porch, there's that space uh for the saltwater spring of Poseidon. Uh the north porch also has a hole in the roof. Perhaps that's where Zeus's thunderbolt came down from the sky in order to decide uh Athena was the winner of that contest. Uh and there was an ionic porch on that side as well with six total columns. The southern porch on the other hand you can see is labeled kiatid porch and that's because it had kiatids. This is a photo of the building in its current state. So you can get an idea of the multiple levels that it's been built on. And you can see the olive tree there on the side. And you can also see these great porches. This is the detail of the porches on the Eric Theon, the south porch and the eastern porch. So you can see those uh ionic columns that would have led you into the shrine of Athena. And you can see the kiatids on the southern side. These big beautiful weighty figures that support the flat roof of the porch. And in some ways these kiatids are the descendants of the ones that you saw earlier in the cyphian treasury at Delelfi. So here I put up a comparison for you. The examples from Delelfi are about a hundred years earlier than the ones from the Eric Theon. And remember there were only two of them in the middle of the porch of the treasury. But if we take a look, we can start to compare them and see what's similar and what's different about them. You can see that the karaatids on the left from the Eric Theon are a bit more realistic. They have a different style of clothing and a slightly different attitude. They still have a lot of folded drapery, some complicated hair. They're still women figures. There are these fullscale figures holding up the roof. We are missing the legs of the kiatids from the cyphian treasury, but they would have had them. And you can see some of those stylistic differences. You can see the almond shaped eyes and archaic smile on the symphony and treasury kiatids versus uh the much more natural face and that kind of wet drapery effect on the kiatids from the icon. Let's leave the Acropolis now, although it's a hard thing to do because it's just such a nice place in this period, and move on to another part of the Polus to see how it developed in the fifth century of Athens, and that's the Agar. You remember that we saw the Agar already in the archaic period. It was a kind of marketplace and a political center, but it gets some new important monuments in the classical period. And one of those is the Heffestion on a temple built between about 450 and 420 BC. And it's located where number one is on this plan here on the western edge of the Agura. It's a temple that was dedicated to the god Heestus, the god of metalwork. And it's located in an area where the bronze workers were active in the Agura. So they had their workstations, their furnaces, and their temple all uh together in the same space. There are some other buildings that appear in the Agura in the fifth century BC. There's a state prison that goes up. You can see down there in the southwest there's that road with an arrow that says to prison. That's one of the possible locations where Socrates might have been held. And we also get a new Boule Tyrion going up. You see that is number five on your plan uh right by the old Boule Tyrion. That's another assembly building that serves that 500 member council and it takes over from that earlier archaic period one that we saw earlier in this lesson. Uh there are lots of other things going on here in the Agora. We've got shoe makers and barbers, the metal workers that I mentioned, the merchants. You've got Socrates zooming around asking people if they really know what they think they know. It's a big political and market center with a sacred character. Overall, it's a place that's very important for the city. So we see that the fifth century BC saw a lot of important innovations and growth in Athens, but that period is followed by the Pelpeneisian War. And in 404 BC, Sparta will defeat Athens and Athens will never really recover. That doesn't mean that the history of Athens ends there. It just means that Athens is no longer the protagonist on the world stage that had once had been. We do see important changes happening in Athens in the Hellenistic period. In fact, and that's the period that we talked about at the end of the last lecture. Athens becomes a sort of university town as I had mentioned in the last class. And what that means is that money and patronage are coming into the city as a result of its past prestige. And we see some new intellectual activity going on here, but Athens isn't really leading the way in the same kind of way that it was in the fifth century. So Athens isn't an international power, but people remember that it used to be important and honor it because of its great past. If you remember the Adelids, those rulers in Pergamon who we talked about at the end of the last class, the ones that were responsible for building the great altar of Zeus here in Athens, they'll dedicate a number of monuments as well. Remember that they saw themselves very much as the heirs to Athens fifth century BC uh traditions and greatness, but they're a kingdom, not a democracy. So they're they're ruling in a kind of different way. And uh they're using their monuments in a slightly different way. So they're taking up the intellectual and artistic heritage of Athens, but they're not adopting everything that Athens had been doing. They set up what we call a lesser Adelaide dedication on the Acropolis. And that contains a number of statues depicting the Gauls, their enemies who I mentioned in the last class who have fallen at their hands. Remember they defeat the Gauls, uh these people from central and eastern Europe who had been attacking Greece and Turkey. uh they defeat them and they send statues all over the Greek world in order to tell people about their uh their victory. The gigantic freeze on the great altar of Zeus alluded to this victory and here in Athens they actually send statues of Gauls dying or dead uh that they put up on the Acropolis. They also dedicated two stoas in Athens and the best preserved and sort of rebuilt uh of the two is known as the stoa of Adalus II and that goes up in the Agura. If we take a look at the Henistic Agar of Athens, you can see the additions that go in and I've highlighted them there in red. Uh they include three monuments on the western side, one to the aonomous heroes. on the southern side what we call the south square and on the eastern side the stoa of Adalus II and you can see with those red lines that I've put there that these three henistic monuments really frame the agura they almost square it off so you don't uh you don't have those boundary stones uh playing the same kind of role anymore you have buildings that are going in and actually delineating the sides of the agura uh if we look very closely at the stoa of Adalus I on the eastern side. I can tell you that it was built by Adelus II of Pergamon who ruled from 159 to 138 BC. So it's around the middle of the 2n century BC. It was a twostoried stoa. And if you remember, I introduced the Stowa to you in the last lecture. Uh we saw one at Delelfi. A Stowa is just a colonated porch with a roof and either a solid rear wall or rooms in the rear. Uh here you can see in the plan that the Stowa of Atalus has rooms in the rear. And here's a more detailed plan showing you that it actually had three different levels. It had a kind of basement or foundation level that supported the upper uh upper levels. Then on the first floor, it's a very long building that's open on its west side with a series of rooms behind that opening. And the Stowa is kind of split into three parts. There's a front aisle, there's a second aisle, and those aisles are separated by columns. And then there are rooms in the back. And those rooms, remember, this is a kind of multi-purpose building. So they could have been used for administration, for recordeping, perhaps for shops or even for storage. And the second floor, you can see, is nearly identical to the first floor. But the facade that faces out onto the Agar had lots and lots of columns. So here we have a really great example of a Henistic Stoa, one of these multi-purpose buildings that you can find throughout the Greek world. And if you go to Athens today or when we go uh today, you'll see this building right along the Agar. It now houses a museum. It was reconstructed in the 1950s and built to look just as it did in the mid 2nd century BC. So you can actually walk into it and get an idea of what it would have felt like to walk into a 2n century BC stoa. Uh now it houses a kind of uh everyday museum. So you get an idea of everyday life in the Agar by going to visit this museum. What I'd like to do now is end the lecture by looking at Greek freestanding sculpture or sculpture in the round. Uh we've just seen a series of buildings in ancient Greece that were accompanied by architectural decoration in the form of sculpture or uh paintings, but really it's not since Delelfi that we've taken a look at what sorts of developments were happening with freestanding sculpture. So that's different from relief sculpture. Remember, relief sculpture sticks out from the background but is still attached to its background. Freestanding sculpture instead is what you think of when you typically think of statues. It's something that you could walk all the way uh around. Uh and so we've been seeing relief sculpture all the way since Msini on temples and treasuries and altars. Uh but let's take a look now at freestanding sculpture. We've seen the Kuroy and the Kori and the sculptures at Delelfi, but a lot more innovation starts to happen in the classical and Henistic periods. So, let's just review very briefly our freestanding sculpture that we've seen so far. We had things like the orientalizing life-siz marble statue uh found on Dos. We had the Kuroy and Korai statues, those nude male and dressed female figures. And then we had that bronze charioteer at Delelfi if you remember he was in the early classical period in that severe style. Uh but most of the freestanding Greek sculptures of the later periods are actually lost to us uh at least in their original form. So here I've given you uh some examples of the high classical period but you see that I've had to say that these are Roman copies. Most of the Greek originals were actually made in bronze which is a metal that in later periods will get melted down and reused even for very benal things like door hinges or roofing. Uh and so unfortunately those great masterpieces the original ones made in bronze just haven't survived. Instead we know that the Romans were able to see those and they often copied them. They didn't always create exact copies, but uh they created fairly faithful replicas and they did those in marble or in various stones. So we have those Roman copies and through those art historians in earlier periods tried to recreate what those Greek originals might have looked like. And so I'll show you these Roman copies here. But what I'm trying to talk about are the innovations that we saw in Greek sculpture in the periods that we've just been uh studying. So the first period of freestanding sculpture that I want to look into today is the high classical period. Remember this is the period of the heyday of Athens that we just discussed. It's the time that we get great architecture and great literature. But we also get great art. And this period is dominated in particular by a sculptor known as Polyclus. And he's famous for developing a cannon of proportions for the perfect statue. And the the word canon that we still use today comes from the Greek word canon with a K. Uh which essentially just means measure or rule or law. So he's setting down the actual proportions, the measures to use when you create statues. And he says that the ideal proportions for a human figure in art are based on symmetry and measurements. And this mirrors what we were seeing already in architecture with the parthonon. They're trying to get the ideal proportions. All of those refinements are being uh put in there for uh very specific purposes. Polyclus uses uh the controposttoal stance which is a new sculptural scheme that's developed by the Greeks and you see its definition here on the slide. controposto which is comes it comes from the Italian word for opposite is a sculptural scheme in which the standing human figure is poised such that the weight rests on one leg what we call the engaged leg freeing the other leg which is bent at the knee and with this weight shift we see that the hips the shoulders and the head tilt suggesting relaxation with a subtle internal organic movement that denotes life so it's a very natural pose in fact it's the pose that I stand in when I lecture to you And it's supposed that if you if you really think about it, you'll find that in your day-to-day lives, uh, when you're standing in line somewhere, when you're leaning at a counter or some a counter or something like that, that's the pose that you'll be in. So, you have one leg that's straight and that's your weightbearing leg, and you have the other leg that's bent that rests on the ground, but it isn't really taking much of the weight. And as you shift from one side to the other and you put your weight from one side to the other, you see that your hips naturally shift, your shoulders naturally shift, and your head actually moves back and forth with you. So it's a very natural pose and it's something that uh that we as human beings walking around on two legs take advantage of uh quite frequently. So polyidis finally uh finally includes that in sculpture. uh here he's moving away from that stiff frontality that we saw with the archaic archaic sculptures. You didn't have just one foot in front of the other. You actually uh now have a weight shift and everything that that entails. If we move on to the late classical period, uh we remember that high classical sculptures like the parthonon sculptures were all about perfection and ideal order. That idealism will end in the 4th century with the late classical period. And this period is exemplified by a sculptor like Praxidilles. He's one of the sculptors of the late classical period. And he's actually famous for sculpting gods and goddesses who are less grand and a little bit more sensuous. So he will be the first to create a nude Aphrodite. And you see her here. And this is the first time that we've encountered a nude female statue. And this is a nude female statue of a goddess that was created for a temple. Uh so this is a big deal. The literary sources tell us that visitors actually fell in love with her because she was so beautiful and so unique. If you're going to create a nude statue for the first time, a female nude statue, the goddess of love is probably an appropriate choice. And that's who he's chosen here. But you see that she's a goddess of love who's not displaying her body in a very sexual way. Instead, uh, she's doing something that we think of as an everyday occurrence. She's getting ready to take a bath. So, she's taken off her garment and she's leaning it there. She's about to to set it down there on that jug and she's sort of casually covering herself with her hand. So, it sort of draws attention to her nudity, but also uh is a bit modest uh this gesture. She's not, you know, sort of displaying her body in a very uh in a very sexual way. She's instead uh just about to take a bath. And you have to be naked if you're going to take a bath. Uh so, uh she's open in a sense, right? because she's humanized here. Even the goddesses have to take a bath. She's not cold and otherworldly. She's approachable in a way. Uh and that's what happens in the 4th century. The Olympian gods are made more approachable uh through various means including sculpture. Another statue that's attributed to Praxidles is what you see there on the right. Uh that's the statue of Hermes and the infant Dionis. And that's housed in the museum in Olympia where we'll go on our Greece trip. You can see that Hermes uh he's the the male figure standing there. His body forms a kind of sineuous reverse scurve there. That's a hallmark of a lot of Praxidilles statues. And what you see uh you have the infant there and you have Hermes with his arm partially broken off, but he's probably dangling some grapes in front of Dionis, something like that. We get a very tender and human interaction between an adult and a child. That's something that happens in real life. you know, uh if you come across a baby, you often sort of forget uh forget uh who's around you and you start making silly faces or saying silly noises or singing silly songs because you're trying to get a reaction from the baby. And that's exactly what Hermes is doing here. He's completely unaware that we're observing this interaction and he's totally absorbed in trying to get a reaction from uh Dionis. So, it's a tender uh interaction that would be common in real life, but that we wouldn't really expect from the Olympian gods, and it's something that was absent in Greek statuary before the 4th century BC. Uh what you can see on this statue is that there's very smooth and soft modeling of the marble that make the statue more realistic and less otherworldly. It's not as mathematical as those classical statues of Polyclus. We do have a sense of proportions, but really what's being stressed is the humanity driving the rendition and not sheer mathematical measurements. Another famous sculptor from the late classical period you've already come across in our last lecture. That's Lysipus. You remember he was such a famous sculptor that Alexander the Great hired him to be his personal portrait artist. So we saw his portraits in the last class. Uh but here we see him introducing a new cannon of proportions. the the bodies become more slender than those of Polyclitis and the head becomes about 1/8 of the size of the body whereas Polyclitis had had it be 17th. So the heads are a little bit smaller in Licipus' figures. You can see these kind of proportions in the statue I've given you on the left, his epoxy. That's an athlete scraping oil off his body after exercising. So, you'd run around and then you'd rub yourself down with olive oil and then you'd use this kind of scraper to scrape the oil off and and flick it on the ground. Uh, the original statue was a bronze work and you can see that this is a Roman copy in stone of that original there. The other thing about Lysipus' works is that they're not overwhelmingly frontal. Uh, so with some of Polyus' works, for example, if you see the image from the front, you've pretty much seen all of it. But here the epoxymanos uh he's got a contropostto stance. He's got this nervous energy running through him. His right arm sticks out. And if you want to see the whole effect of the statue, you have to walk around it and look at it from multiple angles. Another statue that shares those same characteristics is there on the right of your slide. That's the weary Heracles. This is a Roman copy that's today in Naples. It's another statue that you have to walk all the way around to appreciate. And it's another one that humanizes the gods, what we see happening in the late classical period. So Heracles, when we think of him, he's this great hero. He's super strong. He's able to do these 12 labors, which yes, are hard, but Heracles is able to do all of them. Here instead, we see him in a very humanizing moment. He's resting from those labors. He's really, really tired. He's just gotten the apples from the garden, and he's got those apples behind his back. So, if you walk around the statue, you can see the apples when you get to the back, but you can't tell that that's what he has in his hand if you're only looking at it from the front uh in this view. Uh so, he's leaning on his club. He's got a really kind of dejected look on his face. And yes, he has those apples, but he's not celebrating his successful labor at all. So, again, we often think of Heracles as this great hero, but here he's very much being humanized, which is a new development in late classical sculpture. Then I want to end today's class by looking at what happens with Greek sculpture in the round in the hellistic period. It's just as impressive as what we saw in the relief sculpture from the altar of Zeus and Pergamon which dates to the same period. And the example I've chosen to show you is this winged nik of Samothrace. She's a victory goddess who's aliding right on the prow that beak of a warship with her right arm raised to put a crown on the naval victor. And she's just, as you can see, she's just landing. So her wings are still out. Her drapery is still flying out behind her. And her feet are just now arriving on the prow of the ship. And that ship, you have to imagine, would have been a kind of fountain. There would have been water rushing up from the bottom of it, beating on the two sides of the prow. So it looked like the prow was actually cutting through the waves there. So the statue itself is full of movement and then the water would have added this extra movement. Uh there she can be found today in the Louv in Paris. So if you go there, you'll have a chance to see her. And she was originally dedicated at the sanctuary of the great gods on the island of Samothra in Greece around 190 BC. You can see that she's full of energy and movement that her wings are still beating, the wind is sweeping her drapery, and she had a very theatrical setting and effect. Again, I mentioned that that fountain. So she's no longer those proportional mathematical works of the fifth century or the humanizing works of the 4th century. Instead, she's a henistic statue. So, so she's interacting with her environment. She appears as a living, breathing, and intensely emotive human presence. Uh we see that these henistic statues are often called Baroque statues with a little B. And we'll see the same theme of intense emotion being picked up in the 17th century in Rome in the Baroque with a capital B period. So uh so the helenistic statues are kind of precursor to that later Baroque period. So this concludes our look at uh Greek art and architecture at least in the classroom but we'll continue looking at it of course in person on the Greece trip and this will certainly serve as a foundation for us to build upon as we turn in the rest of the class to Italy. Thank you very much.