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| Greek for high city; usually the site of the cities most important temples. |
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| An open space used for public meetings or business in ancient Greek cities. |
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| An off center parting of the hair with the locks brushed up and back near the part; a recognizable feature in the portraits of Alexander the Great. |
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| - Capable of warding off evil. |
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| In early Greek pottery, the silhouetting of dark figures against a light background of natural, reddish clay, with linear incised details. |
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| A rule of proportion. The Greek sculptor Polykleitos wrote a ‘canon’ outlining the proportions for the ideal statue. |
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| A female figure that functions as a supporting column |
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| The chamber (Greek naos) at the center of an ancient temple; in a classical temple, the room in which the cult statue usually stood. |
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| In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. |
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| In Greek mythology, the battle between the Greeks and centaurs. |
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| The disposition of the human figure in which one part is turned in opposition to another part; a twist of the body about its central axis. |
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| The projecting, crowning member of the entablature framing the pediment; also, any crowning projection. |
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| A convex tapering (an apparent swelling) in the shaft of a column. |
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| In the Classical Greek Ionic order, the three horizontal bands that make up the architrave |
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| Vertical channeling, roughly semicircular in cross-section and used principally on columns and pilasters. |
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| The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. |
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| The part of the entablature between the architrave and the cornice; also, any sculptured or ornamented band in a building, on furniture, etc. |
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| ancient Greek mythology, the battle between gods and giants. |
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| In ancient Greek mythology, a hideous female demon with snake hair. Medusa, the most famous gorgon, was capable of turning anyone who gazed at her into stone. |
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| The term given to the Greek culture that developed after the death of Alexander the Great in 323 BC and lasted until the Roman conquest of Egypt in 31BC. |
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| An ancient Greek three handled water pitcher. |
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| Literally, “in place.” Referring to an object or work as in the original position. |
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| An ancient Greek shallow drinking cup with two handles and a stem. |
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| lost-wax process (cire perdue) |
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| A bronze casting method in which a figure is modeled in wax and covered with clay; the whole is fired, melting away the wax and hardening the clay, which then creates a mold for molten metal. |
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| The shaping or fashioning of three-dimensional forms in a soft material, such as clay; The terms also refers in drawing to the use of gradations of light and shade. |
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| or pictures made by embedding small pieces of stone or glass (tesserae) in cement on surfaces such as walls and floors; also, the technique of making such works |
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| ancient Greek and Roman exercise area, usually framed by a colonnade, often found in bathing establishments. |
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| Mosaics made of irregularly shaped stones of various colors. |
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| In classical architecture, the triangular space (gable) at the end of a building, formed by the ends of the sloping roof above the colonnade; also, an ornamental feature having this shape. |
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| A simple long woolen belted garment worn by ancient Greek women that gives the female figure a columnar appearance. |
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| Greek architecture, a colonnade all around the cella and its porches. |
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| In Greek Architecture, a peripteral colonnade consists of a single row of columns; a dipteral colonnade has a double row. |
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| Independent city-states in ancient Greece. Polis literally means “city.” |
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| a porch with a roof supported by columns; an entrance porch. |
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| A gateway building leading to an open court preceding an ancient Greek or Roman temple. The monumental entrance to the Acropolis in Athens. |
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| The cornice on the sloping sides of a pediment. |
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| A style of temple with columns at the front end, and not on the back or sides. |
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| In later Greek pottery, the silhouetting of red figures against a black background, with painted linear details; the reverse of the black-figure technique |
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| A male follower of the Greek god Dionysus, represented as part human, part goat. |
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| ancient Greek general. Pericles was a famous Athenian strategos. |
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| A scraper, used by ancient Greek athletes to scrape oil from their bodies after exercising. |
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| The uppermost course of the platform of a classical temple, which supports the columns. |
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| tiny stones or pieces of glass cut to desired size and shape used in the creation of mosaics |
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| The portion of a church flanking the nave and separated from it by a row of columns or piers |
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| Literally, a double theater. A Roman building type resembling two Greek theaters put together. The Roman amphitheater featured a continuous elliptical cavea (seating area) around a central arena. |
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| Elevated to the rank of gods or the ascent to heaven. |
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| A recess, usually singular and semi-circular, in the wall of a Roman basilica or at the east end of a Christian church. |
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| A curved structural member that spans an opening and is generally composed of wedge-shaped blocks (voussoirs) that transmit the downward pressure laterally. |
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| In a Roman amphitheater, the central area where bloody gladiatorial combats and other events took place. Arena comes from the Latin for “sand.” Sand covered the floor. |
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| - A technique in painting to suggest a recession in space by increasingly blurring the appearance of objects in the distance. |
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| The court of a Roman house that is partly open to the sky. Also the open, colonnaded court in front of and attached to a Christian basilica. |
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| In architectural terminology, the uppermost story. |
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| also called a tunnel vault; an extension of a simple arch. |
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| In Roman architecture, a public building for assemblies, rectangular in plan with an entrance usually on a long side. In Christian architecture, a church resembling the Roman basilica, usually entered from one end and with an apse at the other. |
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| An exterior masonry structure that opposes the lateral thrust of an arch or vault. |
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| The hot-bath section of a Roman bathing establishment |
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| A Roman military encampment, famed for the precision with which it was planned and laid out. |
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| A sunken panel, often ornamental, in a soffit, a vault, or a ceiling. |
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| A capital with an ornate combination of Ionic volutes and Corinthian acanthus leaves that became popular in Roman times. |
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| A building material invented by the Romans and consisting of various proportions of lime mortar, volcanic sand, water, and small stones. |
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| In painting or sculpture, the convention of the same figure appearing more than once in the same space at different stages in a story. |
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| A small cubicle or bedroom that opened onto the atrium of a Roman house. Also, a chamber in an Early Christian catacomb that served as a mortuary chapel. |
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| A breastplate. In Roman art, the emblem of a military officer. |
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| The Roman decree condemning those who ran afoul of the Senate. Those who suffered damnatio memoriae had their memorials demolished and their names erased from public inscriptions. |
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| The E-W street in a Roman town, intersecting the cardo(N-S) at right angles. |
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| The standard Roman silver coin. |
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| hemispheric vault, theoretically an arch rotated on its vertical axis. |
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| 'Golden House.’ The Emperor Nero’s extravagant villa in Rome. |
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| Recessed area, usually semi-circular. |
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| A page of a manuscript or book. |
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| The public square of an ancient Roman city |
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| In ancient and medieval society, the class of men and women who had been freed from servitude, as opposed to having been born free. |
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| The cold-bath section of a Roman bathing establishment. |
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| In ancient Rome, wax portraits of ancestors |
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| Latin meaning “commander in chief,” from which the word emperor is derived. |
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| In a Roman house, the basin located in the atrium that collected rainwater. |
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| The part of a church between the chief entrance and the choir, demarcated from aisles by piers or columns. |
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| The round central opening or “eye” of a dome. |
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| Freeborn wealthy landowners of the Roman Republic. |
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| In the Roman Republic, the social class that included small farmers, merchants, and freed slaves. |
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| A Latin term meaning “chief priest” of the state religion. Literally the term means “chief bridge builder.” |
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| literally, “First citizen,” a title used by Octavian Augustus. |
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| In Roman architecture a series of engaged columns all around the sides and back of the cella to give the appearance of a peripteral colonnade |
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| Literally, a council of elders; the legislative body in Roman constitutional government. |
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| The space created by the curve of an arch and an enclosing right angle. |
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| The dining room in a Roman house. |
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| French for ‘ fool the eye.’ A form of illusionist painting that aims to deceive viewers |
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| The cloth awning that could be rolled out to cover the cavea at the ampitheater |
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| From the Latin verus meaning truth; truth particularly in Roman portraiture. |
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