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| meander, or Greek fret (Geometric) |
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| usually in bands, consisting of interlocking geometric lines |
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| two handles, long neck narrower than the body. storage |
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| black-figure vase painting |
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| In this technique, dark figures were silhouetted against a light background (the natural color of the clay) and then details and colored highlights were added within the silhouetted forms for a striking effect |
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| vessel for oils such as perfume |
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| red-figure technique (archaic) |
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| Here, the artist would outline the composition and then color the background, leaving the red clay for the figures (basically the opposite of the black-figure technique) |
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| bilingual vases (archaic) |
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| . In the early days of red-figure painting, when the artist presumably was unsure of its future acceptance, vases were painted with the same composition on both sides, one in black-figure, the other in red-figure. |
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| At the center was a windowless cella or naos which housed the cult statue. In front was the pronaos or porch usually with columns placed between extended walls or antae. The back porch, or opisthodomos, had no function and simply provided balance and symmetry. The level on which the columns rest is known as the stylobate. |
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| prostyle, amphiprostyle, peristyle |
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| columns across the front porch only, columns across the front and back porch, columns around the cella |
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| peripteral, dipteral, pseudo dipteral |
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| single row of columns around the cella, double rows of columns around the cell, only an outermost row of columns |
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Columns of both orders were drummed, fluted and tapered towards the top, though the elevations were different.
Doric columns were comprised of a shaft and a capital. The capital included a necking (the transition area between shaft and capital), a cushion-like echinus and an abacus which served as a support for the superstructure.
Ionic columns were comprised of a base, shaft and capital. The capital was a spiral volute under an abacus. |
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| Superstructure greek temples |
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Superstructures are better known as entablatures, and were different for both orders.
The first part of the entablature was the architrave, which we have previously called a lintel.
Doric architraves were left plain.
Ionic architraves were divided into three bands or fasciae.
Above the architrave stood the frieze.
Doric friezes were comprised of alternating triglyphs (a projecting, grooved section) and metopes (open area between triglyphs often used for architectural sculpture).
Ionic friezes were left open primarily for continuous sculptural reliefs.
The cornice, the same for both orders, topped the structure and also framed the pediment, which too held architectural sculpture. |
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| when columns are placed so closely that they appear to swell towards the middle |
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| carved female figure used as a column |
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| carved female figure used as a column |
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| severe style (early classical) |
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| Greek style that is formal but not rigid in pose and sober, or "severe" in expression |
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| wall-like barrier at the edge of a roof, terrace, balcony or other structure |
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| Phidian wet drapery technique (high classical) |
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| difficult anatomical detail and the delicate representation of the clothing in the style of Phidias |
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| contrapposto (early and high classical) |
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| slight dip in the right hip as the "weight" has shifted to the left leg, while the right leg is bent at ease. The head is also slightly turned instead of staring stiffly ahead. More natural pose. It is contrapposto that separates Archaic statuary from Classical |
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| many colored pottery from early and high classical period |
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| white-ground technique (early and high classical) |
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| after the vessels are first coated with a thin layer of white clay, figures and designs are outlined in black and then eventually filled with an array of colors. |
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| artist behind white-ground technique |
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Extremely pronounced contrapposto and the perfectly ordered "movement" achieved by cross balanceAlso as the head is turned to the right, the hips turn left. Result is a work which is flexible, though it is stone and "moving" though it is stationary.
Harmony between asymmetry and balance. |
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| Praxiteles (late classical) |
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| Praxiteles' works are recognized by their grace, softness, sensuousness and even dreamlike qualities. The great master's concern was to represent the human form, not in an ideal manner, but in a more human manner. |
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| he was revered for conveying movement and drama in his sculpture. One way that he did this was by deeply carving eye cavities, which resulted in a tremendous intensity of expression, definite break from the serene expressions of the High Classical period |
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| Lysippos (late classical) |
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| The works of the master Lysippos are known for their tension and their sculptor's rejection of stability and balance. Lysippos also authored a new canon for human proportions, reflecting the paradigm shift of the age. Lysippos' canon showed a smaller head, a longer and lankier torso and limbs along with the loss of the definite divisions in the musculature |
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| a picture made of tesserae, or tiny pieces of colored stone or cut glass |
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| Corinthian capital (late classical) |
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| The third of the so-called classical orders of architecture (Doric being the first and Ionic, the second), the Corinthian capital is the most ornate |
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| lack of pediments and a roof, temple completely open towards the sky |
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| Hippodamian plan (hellenistic) |
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strict grid plan where all streets (regardless of the shape of the land) had to meet at right angles. The plan also included sectioning the town into residential, commercial or religious regions.
The town itself is centered around and open area known as the agora, or marketplace. The agora was surrounded by a great stoa (basically a continuous colonnade) that held shops, offices and meeting places. |
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