Biers, Chapter 8 Study
Questions (Continued)
(Biers, pages 210-245)
Answers due Wednesday, October 28, 2009.
ILLUSTRATION: OEDIPUS (IN PETASOS AND BOOTS, WITH WALKING
STAFF) COTEMPLATES THE SPHINX’S RIDDLE OUTSIDE THEBES.
RED-FIGURED KYLIX TONDO. ATTRIBUTED TO THE OEDIPUS PAINTER.
DIAMETER 10 3/8 INCHES. ATTICA, C. 470 BCE. THE VATICAN COLLECTIONS: MUSEO
GREGORIANO ETRUSCO, INV. NO. 16541.
33. How was the Stoa of
Zeus different from other earlier stoas?
34. What is a ‘three-metope
system‘, and where was it to be found?
35. What is Hippodamos
of Miletos credited with doing?
36. What did Greek houses of the fifth century look like?
37. What are some drawbacks in relying on Roman
copies to get an understanding of an original piece of classical Greek
art? What examples might we mention?
38. How did the discovery of the “charioteer
of Motya” (fig. 8.25) remind archaeologists “of the depth
of their ignorance”
39. What is the significance of the
bronzes found near Riace, Italy? Fig. 8.34
40. What part of the fifth century do the sculptures of the pediments of the
temple of Zeus at Olympia represent? What are their subjects?
41. Why does Biers say that the
old seer from the east pediment of the temple of Zeus at Olympia is
an “extraordinary” attempt at realism? fig. 8.29
42. What significance is there in the contrast between the humans
and the centaurs in the west pediment of the Temple of Zeus at Olympia?
43. How does figure 8.31 show “the contrast between… the real
and the ideal”?
44. What work
of Polykleitos was ‘highly praised in antiquity, and has exercised great
influence ever since’? Why does the word contrapposto accurately
describe the pose?
45. What is the ‘canon of Polykleitos”? What is supposed to illustrate
it? What does Diadoumenos
mean?
46. What were the subjects of the Parthenon’s metopes?
Why were these themes chosen? What two examples does Biers show?
47. What is the subject of the Parthenon
frieze?
48. What might be the folded
cloth handled by two people in fig. 8.44?
49. What does “chryselephantine” mean? What two statues in
this chapter are made with this technique?
50. What are the subjects of the Parthenon’s pedimental
sculptures? Why were these chosen?
51. What characterizes the ‘wet drapery style’? Cite an example.
52. How is a pebble
mosaic made? What were early subjects in the style?
53. What does it mean to make pottery by ‘working the surface’? When
else was this practiced?
54. How does the quality of red-figure vase painting of the fifth century
compare to that of the late 6th century? What does Biers suggest might account
for this?
55. What does Biers mean by saying that late in the century “vase
painting had entered a florid stage”? What characterizes this stage?
56. What was a white
ground lekythos used for? Why did it have this name? What kinds of painted
decorations they have? What is the plural of “lekythos”?
57. Why did the people of Mende
ship their wine in amphoras that were not shaped like other amphoras of
the period?
58. What kinds of terra cotta figurines did Attica produce in he fifth-century?
What kinds did the Corinthians produce? Where can we see pictures of these
in our textbook?
59. What describes the ‘standard’ Greek coin of the fifth-century?
60. What change
to their coinage did the Athenians make after 480? Why did they make
the change? What figure in our textbook shows this change?
61. Why did the city states in the Athenian empire not mint their own
coins?
62. What change
to their coinage did the people of Aegina make around 450? Why did they
make this change?
Which figure in our textbook shows one of these coins?
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