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Funerary Vase (Krater), Dipylon Cemetery, Athens, c. 750-700 BCE (fig. 5-4), Geometric Period, Greece
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Dying Warrior, east pediment of the Temple of Aphaia, Aegina, c. 500-490 BCE (fig. 5-13), Archaic Period, Greece.
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Anavysos Kouros, cemetery at Anavysos, near Athens, c. 530 BCE (fig. 5-15), Archaic Period, Greece.
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Peplos Kore, Acropolis, Athens, c. 530 BCE (fig. 5-17), Archaic Period, Greece
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Artist: Exekias. Title: Achilles and Ajax Playing a Game and The Suicide of Ajax, c. 540 BCE (figs. 5-21, 22), Archaic Period, Greece.
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Artist: Euphronios. Title: Death of Sarpedon, c. 515 BCE (fig. 5-23), Archaic Period, Greece.
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Sculptor: Polykleitos. Title: Spear Bearer (Doryphoros), c. 450-440 BCE (fig. 5-24), Classical Period, Greece.
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Apollo with Battling Lapiths and Centaurs, west pediment of the Temple of Zeus, Olympia, c. 470-460 BCE (fig. 5-26), Early Classical Period, Greece.
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Kritian Boy, from the Aropolis in Athens, c. 480 BCE (fig. 5-28), Early Classical Period, Greece.
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Charioteer, from the Sanctuary of Apollo, Delphi, c. 470 BCE (fig. 5-30), Early Classical Period, Greece.
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Sculptor: Myron. Title: Discus Thrower (Diskobolos), c. 450 BCE (fig. 5-1), Early Classical Period, Greece
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The Parthenon. Architects: Iktinos and Kallikrates, High Classical Period (p. 138)
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Marshals and Young Women on the Parthenon frieze, High Classical Period (fig. 5-38)
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Porch of the Maidens, part of the Erechtheion, High Classical Period (fig. 5-40)
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Grave Stele of Hegeso, High Classical Period (fig. 5-45)
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Woman and Maid, in the style of the Achilles Painter, a white-ground lekythos, High Classical Period (fig. 5-46)
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Hermes and the Infant Dionysos by Praxiteles or a follower, Late Classical Period (fig. 5-50)
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Aphrodite of Knidos by Praxiteles, Late Classical Period (fig. 5-51)
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Amazon Frieze on the south side of the Mausoleum at Halikarnassos by Skopas (?), Late Classical Period (fig. 5-52)
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The Man Scraping Himself (Apoxyomenos) by Lysippos, Late Classical Period (fig. 5-53)
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Theater at Epidauros, Hellenistic Period (fig. 5-60)
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Dying Gallic Trumpeter by Epigonos (?), Hellenistic Period (fig. 5-63)
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Athena Attacking the Giants frieze, Altar from Pergamon, Hellenistic Period (fig. 5-65)
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Nike of Samothrace, Hellenistic Period (fig. 5-66)
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Aphrodite of Melos (Venus de Milo), Hellenistic Period (fig. 5-69)
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She-Wolf, 6th—3rd century BCE, Etruscan (fig. 6-1)
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Tomb of the Reliefs at Cerveteri, 6th-3rd century BCE, Etruscan (fig. 6-7).
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Sarcophagus from Cerveteri, 6th-3rd century BCE, Etruscan (fig. 6-8).
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Pont du Gard, late 1st century BCE, Roman (fig. 6-14). Explain how innovative construction techniques and physical materials (i.e. concrete) enabled Romans to realize large-scale building projects.
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Ara Pacis (Altar of Augustan Peace), The Early Empire, Roman (fig. 6-21). What was the purpose of this monument?
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Garden Scene, wall painting in a villa at Primaporta, late 1st century BCE, Roman (fig. 6-31). Define atmospheric perspective.
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Compare and contrast Imperial Procession, relief on the Ara Pacis (The Early Empire, Roman, fig. 6-22) with Marshals and Young Women, frieze on the Parthenon (High Classical Period, Greek, fig. 5-38).
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Compare and contrast Apollo (6th-3rd century BCE, Etruscan, fig. 6-5) with Anavysos Kouros, Archaic Period, Greek, fig. 5-15). Contrast the subjects, styles and purposes of these figures.
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Compare and contrast Aulus Metellus (1st century BCE, Roman, fig. 6-11) with Augustus Primaporta (The Early Empire, Roman, fig. 6-20). Contrast the subjects, styles and cultural contexts for this pair. What is meant by the term verism?
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Cityscape, wall painting in a house at Boscoreale, late 1st century BCE, Roman (fig. 6-34). Define intuitive perspective.
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The Arch of Titus, Flavian, Roman (fig. 6-38).
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Spoils from the Temple of Solomon, Arch of Titus relief, Flavian, Roman (fig. 6-39). Where is this relief located? Describe the ways in which the sculptors of this relief reflected “their concerns for representing objects and people in a believable manner….” (Stokstad, p. 201)
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Colosseum, Flavian, Roman (fig. 6-43). Consider the plan, innovative vaulting system, orders, materials and purpose of this facility. Your review for the Pont du Gard (fig. 6-14) should help you respond to these issues.
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