Biers, Chapter 8 Study Questions (Continued)
Answers due October 26.
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.
32. How was the Stoa of Zeus different from other earlier stoas? 210-211
33. What is a 'three-metope system', and where was it to be found? 210-211
34. What is Hippodamos of Miletos credited with doing? 211
35. What did Greek houses of the fifth century look like? 211-214
36. 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? 214-215
37. How did the discovery of the "charioteer of Motya" (fig. 8.25) remind archaeologists "of the depth of their ignorance"? 218
38. What is the significance of the bronzes found near Riace, Italy? Fig. 8.34, 222
39. What part of the fifth century do the sculptures of the pediments of the temple of Zeus at Olympia represent? What are their subjects? 218
40. 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? 219, fig. 8.29
41. What significance is there in the contrast between the humans and the centaurs in the west pediment of the Temple of Zeus at Olympia? 219-222
42. How does figure 8.31 show "the contrast between... the real and the ideal"?
43. What work of Polykleitos was 'highly praised in antiquity, and has exercised great influence ever since'? (222) Why does the word contrapposto accurately describe the pose? 222-223
44. What is the 'canon of Polykleitos"? What is supposed to illustrate it? What does Diadoumenos mean? 223-226, fig. 8.36
45. What were the subjects of the Parthenon's metopes? Why were these themes chosen? What two examples does Biers show?225-228
46. What is the subject of the Parthenon frieze? 226-228
47. What might be the folded cloth handled by two people in fig. 8.44? 227-228
48. What does "chryselephantine" mean? What two statues in this chapter are made with this technique? 222, 234
49. What are the subjects of the Parthenon's pedimental sculptures? Why were these chosen? 228-234
50. What characterizes the 'wet drapery style'? Cite an example. 236
51. How is a pebble mosaic made? What were early subjects in the style? 236-37
52. What does it mean to make pottery by 'working the surface'? When else was this practiced? 237-38
53. 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? 238
54. What does Biers mean by saying that late in the century "vase painting had entered a florid stage"? What characterizes this stage? 240
55. 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"? 242-42
56. Why did the people of Mende ship their wine in amphoras that were not shaped like other amphoras of the period? 242
57. 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? 242, 244
58. What describes the 'standard' Greek coin of the fifth-century? 242
59. 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? 243-244
60. Why did the city states in the Athenian empire not mint their own coins? 244
61. 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? 245