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UCL - INSTITUTE OF ARCHAEOLOGY

ARCL0017 GREEK ART AND ARCHITECTURE

2018-19

15 credits Year 2/3 BA Module

Coordinator: Professor Jeremy Tanner Office: IoA 105; Office hours: Tuesday 11-12, Wednesday 11-12 or by appointment Email: [email protected]; phone: 7679 1525

2nd/3rd year module Turnitin Class ID: 3884021 Turnitin Password IoA1819 Coursework deadline: Hand in Essay in Class Tuesday 11th – handbacks provisionally on Friday 14th, afternoon

Please see the last page of this document for important information about submission and marking procedures, or links to the relevant webpages

1. OVERVIEW OF MODULE:

This module provides an introduction to Greek painting, sculpture and architecture in the period 800-50 BC. In the context of a broadly chronological survey, particular attention will be paid to the relationship between Greek art and society. Problems addressed will include: stylistic change and innovation, the role of the state in the development of Greek art, religious ideology and religious iconography, word and image, the social contexts and uses of art. Regular remodule will be made to the largest collection of Greek art outside Athens, the British Museum

MODULE SCHEDULE

Lectures will be held on Tuesdays 9-11am, IoA Room 209 Tutorials will be held on Thursdays in the British Museum – as scheduled – 12-3pm

ARCL0017: GREEK ART AND ARCHITECTURE - MODULE SCHEDULE

2/10/18 1. and 2. Introduction to the Module and the the British Museum

PART I: PRE-CLASSICAL? THE ORIENTAL ORIGINS OF WESTERN ART 9/10/18 3. From Geometric to Orientalising: the Dark Ages and Light from the East 4. Gods, Aristocrats and the Rise of Monumental Sculpture 11/10/18 1st British Museum Tutorial: Early Greek Art (BM Room 12-13)

16/10/18 5. The Origins of the Greek Temple and the Rise of the Orders 6. Temples, Tyrants and Architectural Sculpture in Archaic Greece

23/10/18 7. Vase-painting and Art History: Techniques, Styles, Artists and Connoisseurship 8. Vase-paintings and the Social History of Art: Iconography, Structural Analysis and the Symposium 25/10/18 2nd British Museum Tutorial: Greek Vase Painting (BM Room 69)

PART II: ART AND SOCIETY IN CLASSICAL GREECE 480-323

30/10/18 9. The Greek Revolution 10. Olympia and the Severe Style, c. 480-440 BC

[6/11/18 Reading Week – no class]

13/11/18 11. The Parthenon, Pheidias and Classicism: Athenian "Empire Style" 12. The Later Fifth Century - 430-400 BC 15/11/18 3rd British Museum Tutorial: The Elgin Marbles (BM Room18)

20/11/18 13. Portraits and the Politics of Identity 14. The art and architecture of death in ancient Greece

27/11/18 15. Architecture and architectural sculpture in the fourth century BC 16. Sculpture and painting in fourth century Greece: an art of the individual? 29/11/18 4th British Museum Tutorial: Kings, citizens and death in the 4th century. (The Mausoleum of Halikarnassos, The Nereid Monument from Xanthos, Funerary Stelai) (BM Room 17)

PART III: THE HELLENISTIC WORLD 323-?

4/12/18 17. Kings, Ruler cult and Royal Iconography Module Assessment 18. Hellenistic Art in the Private Sphere: Baroque and Rococo, the Other and the Exotic. 6/12/18 5th British Museum Tutorial: Hellenistic Greek Art (BM Room 22)

11/12/18 Hand in Essay in Class Tuesday 11th December (handbacks provisionally on Friday 14th, afternoon) 19. Hellenistic Architecture, the Greek World and the Coming of Rome. .

METHODS OF ASSESSMENT This module is assessed by means of: (a) a two-hour written examination in May (67 % of the final grade for the module) and (b) one piece of course-work, an essay of 2375-2625 words, which contributes 33% to the final grade for the module.

TEACHING METHODS This module is taught through lectures and tutorials. Attendance at both is required. Lectures will introduce students to basic materials and issues, with some time for discussion based around specified readings to be done prior to class. Tutorials in the British Museum provide the opportunity for more detailed first hand examination and discussion of examples of some of the most characteristic and important specimens of Greek art, introduced through student presentations.

WORKLOAD There will be 18 hours of lectures and 6 hours of tutorial sessions (5 in Autumn term, I hour revision tutorial summer term) for this module. Students will be expected to undertake around 114 hours of reading for the module, plus 30 hours preparing for and producing the assessed work, and an additional 20 hours on revision for the examination. This adds up to a total workload of some 188 hours for the module.

2. MODULE AIMS, OBJECTIVES AND OUTCOMES; MODULE ASSESSMENT

AIMS This module provides an introduction to Greek painting, sculpture and architecture in the period 800-50 BC. In the context of a broadly chronological survey, particular attention will be paid to the relationship between Greek art and society. Problems addressed will include: stylistic change and innovation, the role of the state in the development of Greek art, religious ideology and religious iconography, word and image, the social contexts and uses of art. Regular remodule will be made to the largest collection of Greek art outside Athens, the British Museum

OBJECTIVES On successful completion of this module a student should: Have an overview of the development and the major monuments of Greek art from 800-500 BC. Understand the principles of the major methodologies of art analysis Be familiar with the major iconographic themes of Greek art Be able to analyse the major styles of Greek art, and date objects by style

OUTCOMES On successful completion of this module students should have developed: Oral presentation skills Skills for the critical analysis and interpretation of visual representations Ability to find, organize, evaluate and communicate evidence and theories in relationship to specific research questions

TUTORIAL GROUPS Tutorials in the British Museum will take place on Thursdays. Students will be divided into groups, in order to ensure everybody can see the objects we are looking at (some quite small). All students will be required to give at least one, probably two, short presentations in the British Museum (see below for details, pp. 23-26 – section on PRESENTATIONS). Failure to give scheduled presentations will result in a minimum penalty of the student being required to write an additional essay in order to complete the module.

ASSESSMENT DETAILS

Details of essay questions, with guidance on required and supplementary readings can be found on pages 18-22 of this module handbook.

The Module Co-ordinator is willing to discuss an outline (maximum one page) of the student's approach to the assignment, provided this is planned suitably in advance of the submission date. . Word-length Your essay should be between 2375 and 2625 words in length. The lower limit is a guideline foe expected length; the upper limit is strict, and the standard draconian UCL penalities apply for overlength essays. The following should not be included in the word-count: bibliography, appendices, and tables, graphs and illustrations and their captions. Do feel free, within reason, to write detailed captions (not more than 100 words or so), pointing up specific features of images that play a role in the argument of your essay: quite a useful skill for an art historian, and allows a little wiggle room around the word limit.

In the 2018-19 session penalties for overlength work will be as follows:

 For work that exceeds the specified maximum length by less than 10% the mark will be reduced by five percentage marks, but the penalised mark will not be reduced below the pass mark, assuming the work merited a Pass.  For work that exceeds the specified maximum length by 10% or more the mark will be reduced by ten percentage marks, but the penalised mark will not be reduced below the pass mark, assuming the work merited a Pass.

Coursework submission procedures  All coursework must normally be submitted both as hard copy and electronically. (The only exceptions are bulky portfolios and lab books which are normally submitted as hard copy only.)  You should staple the appropriate colour-coded IoA coversheet (available in the IoA library and outside room 411a) to the front of each piece of work and submit it to the red box at the Reception Desk (or room 411a in the case of Year 1 undergraduate work)  All coursework should be uploaded to Turnitin by midnight on the day of the deadline. This will date-stamp your work. It is essential to upload all parts of your work as this is sometimes the version that will be marked. 4

 Instructions are given below.

Note that Turnitin uses the term ‘class’ for what we normally call a ‘module’. 1. Ensure that your essay or other item of coursework has been saved as a Word doc., docx. or PDF document, and that you have the Class ID for the module (available from the module handbook) and enrolment password (this is IoA1819 for all modules this session - note that this is capital letter I, lower case letter o, upper case A, followed by the current academic year) 2. Click on http://www.turnitinuk.com/en_gb/login 3. Click on ‘Create account’ 4. Select your category as ‘Student’ 5. Create an account using your UCL email address. Note that you will be asked to specify a new password for your account - do not use your UCL password or the enrolment password, but invent one of your own (Turnitin will permanently associate this with your account, so you will not have to change it every 6 months, unlike your UCL password). In addition, you will be asked for a “Class ID” and a “Class enrolment password” (see point 1 above). 6. Once you have created an account you can just log in at http://www.turnitinuk.com/en_gb/login and enrol for your other classes without going through the new user process again. Simply click on ‘Enrol in a class’. Make sure you have all the relevant “class IDs” at hand. 7. Click on the module to which you wish to submit your work. 8. Click on the correct assignment (e.g. Essay 1). 9. Double-check that you are in the correct module and assignment and then click ‘Submit’ 10. Attach document as a “Single file upload” 11. Enter your name (the examiner will not be able to see this) 12. Fill in the “Submission title” field with the right details: It is essential that the first word in the title is your examination candidate number (e.g. YGBR8 In what sense can culture be said to evolve?), 13. Click “Upload”. When the upload is finished, you will be able to see a text-only version of your submission. 14 Click on “Submit”

. If you have problems, please email the IoA Turnitin Advisers on [email protected], explaining the nature of the problem and the exact module and assignment involved.

One of the Turnitin Advisers will normally respond within 24 hours, Monday-Friday during term. Please be sure to email the Turnitin Advisers if technical problems prevent you from uploading work in time to meet a submission deadline - even if you do not obtain an immediate response from one of the Advisers they will be able to notify the relevant Module Coordinator that you had attempted to submit the work before the deadline

Examination The module has a two hour unseen examination which will be held during May; the specific date and time will be announced when the schedule of examinations is set by the College. The exam will consist of two parts, each carrying equal marks. The first part will consist of a series of eight pictures, four of which you must identify, date and discuss in terms of style and iconography. The second part will require you to write two (from a choice of four) slightly longer commentaries on pairs of images or images and texts, paying special attention to issues or problems they raise relevant to the themes of the module, in particular broader questions of socio-historical context

Previous examination papers, with the same format and examples of the style of questions which will be asked, are available for consultation in the Institute Library, and are available on the UCL Web-site. A revision session to discuss the examination will be held in the first week of third term

4. ONLINE RESOURCES

The full UCL Institute of Archaeology coursework guidelines are given here: 5 http://www.ucl.ac.uk/archaeology/handbook/common/marking.htm. The full text of this handbook is available here (includes clickable links to Moodle and online reading lists if applicable) http://www.ucl.ac.uk/silva/archaeology/module-info/.

5. ADDITIONAL INFORMATION

Libraries and other resources In addition to the Library of the Institute of Archaeology, other libraries in UCL with holdings of particular relevance to this degree are the Classics and Ancient History sections of the main UCL library.

Institute of archaeology coursework procedures General policies and procedures concerning modules and coursework, including submission procedures, assessment criteria, and general resources, are available in your Degree Handbook and on the following website: http://wiki.ucl.ac.uk/display/archadmin It is essential that you read and comply with these. Note that some of the policies and procedures will be different depending on your status (e.g. undergraduate, postgraduate taught, affiliate, graduate diploma, intercollegiate, interdepartmental). If in doubt, please consult your module co-ordinator.

Information for intercollegiate and interdepartmental students Students enrolled in Departments outside the Institute should obtain the Institute’s coursework guidelines from Judy Medrington (email [email protected]), which will also be available on Moodle.. . Dyslexia If you have dyslexia or any other disability, please make your lecturers aware of this. Please discuss with your lecturers whether there is any way in which they can help you. Students with dyslexia are reminded to indicate this on each piece of coursework.

TEACHING SCHEDULE

Lectures will be held 9-11am on Tuesdays in room 209; Autumn term only. British Museum Tutorials will be held at the British Museum on Thursdays, as specified on the module schedule. There will be up to three groups, starting at 12, 1 and 2 pm respectively.

Following pages include: 1. Module Syllabus/schedule 2. Bibliography, class by class with topic outlines 3. Essay choices with supplementary bibliography 4. Readings for British Museum Presentations

MODULE SYLLABUS

ARCL0017: GREEK ART AND ARCHITECTURE - MODULE SCHEDULE

2/10/18 1. and 2. Introduction to the Module and the the British Museum

16/10/18 5. The Origins of the Greek Temple and the Rise of the Orders 6. Temples, Tyrants and Architectural Sculpture in Archaic Greece

PART II: ART AND SOCIETY IN CLASSICAL GREECE 480-323

30/10/18 9. The Greek Revolution 10. Olympia and the Severe Style, c. 480-440 BC

[6/11/18 Reading Week – no class]

13/11/18 11. The Parthenon, Pheidias and Classicism: Athenian "Empire Style" 12. The Later Fifth Century - 430-400 BC 15/11/18 3rd British Museum Tutorial: The Elgin Marbles (BM Room18)

20/11/18 13. Portraits and the Politics of Identity 14. The art and architecture of death in ancient Greece

PART III: THE HELLENISTIC WORLD 323-?

11/12/18 Hand in Essay in Class Tuesday 11th December (handbacks provisionally on Friday 14th, afternoon) 19. Hellenistic Architecture, the Greek World and the Coming of Rome. .

LECTURE SUMMARIES AND BIBLIOGRAPHY

The following is an outline for the module as a whole, and identifies essential and supplementary readings relevant to each session. Information is provided as to where in the UCL library system individual readings are available; their location and Teaching Collection (TC) number, and status (whether out on loan) can also be accessed on the eUCLid computer catalogue system. Readings marked with an * are considered essential to keep up with the topics covered in the module. Copies of individual articles and chapters identified as essential reading are in the Teaching Collection in the Institute Library (where permitted by copyright).

ARCL0017: GREEK ART AND ARCHITECTURE - MAIN BIBLIOGRAPHY

Text books: You may want to buy the basic text books for the module. They are: 1. Robertson, M. A Shorter History of Greek Art 1981 = SHGA ( IoA ISSUE DEAK ROB 6; Yates Quartos A20 ROB – 4 copies; ART FA5 ROB – 4 copies) 2. Pollitt, J. J. 1972. Art and Experience in Classical Greece = AECG (YATES A25 POL – 4 copies, one Reference; IoA ISSUE DESK POL 1; Main Library ART FA 5 POL – 1 copy) 3. A. W. Lawrence Greek Architecture4 Revised with additions by R. A. Tomlinson 1983 (n.b. if you buy the new, 5th, edition the pagination is different from the 4th edition, most library copies - check chapter headings) = GA (YATES K5 LAW – 5 copies; Bartlett ARCHITECTURE B 3.1 LAW 2 copies) Much the cheapest place to buy them is Amazon, from just £1.09 (!!) for Pollitt.. There is no need to buy text books (plenty of copies in library), and they are listed in order of desirability (primary consideration good plates).

Other good introductory texts and handbooks also subsequently listed by authors’ name or abbreviation only are: Hurwitt, J. 1985. The Art and Culture of Early Greece 1100-480 BC.= ACEG (YATES A22 HUR – 2 copies, 1 reference) J. J. Pollitt The Art of Ancient Greece: Sources and Documents2 1990 = SD (YATES A20 POL – 2 copies; Main library: ART FA 5 POL).

The following are a very helpful set of Thames and Hudson handbooks, very fully illustrated, even if the texts often leave something to be desired. They are also very cheap as art books go. Boardman, J. 1978Greek Sculpture: the Archaic Period = GSAP Boardman, J. 1985. Greek Sculpture: the Classical Period = GSCP Boardman J. 1995. Greek Sculpture: the Late Classical Period = GSLCP Smith, R. R. R. 1991. Hellenistic Sculpture. = HS Boardman, J. 1974.Athenian Black Figure Vases = ABV Boardman, J. 1975. Athenian Red Figure Vases: the Archaic Period = ARV: AP Boardman, J. 1989. Athenian Red Figure Vases: the Classical Period = ARV: CP Trendall, A. 1989. Red Figure Vases of South Italy and Sicily = RVSIS

Those with no previous knowledge of Greek myth find helpful a volume from the same series: Carpenter, T. H. 1991. Art and Myth in Ancient Greece.

The bibliography for each lecture or class is listed under two headings, "required" and "recommended". It will be assumed that you will have read at least the relevant sections of SHGA, GA and SD before the lecture. Also readings marked ® should be read before the class, because they will be the basis for in class discussion of certain issues. Asterisked (*) readings represent the minimum necessary reading for each lecture in order to be able to answer the picture and commentary questions in the exam. Required reading represents the minima for the relevant essay topics (see below for further details and supplementary bibliography). Recommended reading represents more than you could possibly hope to read in a single term, so don't try. It does however provide a starting point for further reading for any objects or topics which might particularly catch your interest, and supplements for essay reading. (FIGURES IN BRACKETS ARE UCL LIBRARY AND TEACHING COLLECTION NUMBERS) 8

If you have any difficulties finding any of these readings, please do not hesitate to contact me.

1. INTRODUCTION TO THE MODULE

2. INTRODUCTION TO THE LONDON COLLECTIONS

Recomended: Burn, Lucilla, 1991. The British Museum Book of Greek and Roman Art. Cook, B. F. 1984. The Elgin Marbles (British Museum Press blue series) Williams, D. 1985. Greek Vases. (British Museum Press blue series)

PART I: PRE-CLASSICAL? THE ORIENTAL ORIGINS OF WESTERN ART

3. FROM GEOMETRIC TO ORIENTALISING: THE DARK AGES AND LIGHT FROM THE EAST

Issues: What is the relationship between the beginning of figurative representation and the Homeric poems? How important are contacts with the eastern Mediterranean in the development of early Greek art.

Required: **Robertson, SHGA 1-8 **Snodgrass, A. M. 1987 "The first figure scenes in Greek art" pp. 132-69 in idem An Archaeology of Greece. (YATES A20 SNO – 5 copies; IoA ISSUE DESK SNO) Whitley, J. 1994. "Proto-attic pottery: a contextual approach" pp. 51-70 in Ian Morris ed. Classical Greece: Ancient Histories and Modern Archaeologies. Coldstream, J. N. 1991. "The Geometric style: birth of the picture" pp 37-56 in T. Rasmussen and N. Spivey eds Looking at Greek Vases. *Pollitt SD 10-19 "Ancient memories and primitive beginnings" Hurwitt ACEG pp. 33-70 "Origins and promises: poet and painter in the dark age", pp. 71-124 "The idea of order 760-700; pp. 125-179 "The edge of disorder: the 7th century". **Rasmussen, T. 1991. "Corinth and the orientalising phenomenon", pp. 57-78 in Rasmussen and Spivey eds. Looking at Greek Vases (YATES P5 RAS – 5 copies; IoA ISSUE DESK RAS – 2 copies)

Recommended: Schweitzer B. 1971. Greek Geometric Art. Morris, S. 1984. The Black and White Style: Athens and Aigina in the Orientalising Period Boardman J. 1967. Pre-classical: from Crete to Archaic Greece, pp. 53-72 "The dark ages: geometric Greece", pp. 73-108 "The Orientalising Period".

4. GODS, ARISTOCRATS AND THE RISE OF MONUMENTAL SCULPTURE

Issues: Kouroi and korai – relations between Greece and Egypt – influence and appropriation – Greek uses of Egyptian models for Greek social and cultural purposes – and the legitimation of power.

Required: **Robertson SHGA, pp. 9-22, 23-39 Stewart, A. 1986. "When is a kouros not an Apollo? The Tenea Apollo revisited." Pp. 54-70 in Corinthiaca: Studies in Honour of D. A. Amyx, ed. Mario A. del Chiaro. *Pollitt SD 19-31 "Sculpture: early developments and the archaic period, c. 650-510 BC" 9

Boardman GSAP, pp. 11-17 "The orientalizing styles", pp. 18-27 "Marble and the Monumental to 570 BC", pp. 63-81 "The maturing archaic styles to about 530 BC". **Hurwitt ACEG 179-203 (YATES A22 HUR) Guralnick, E. 1978 "Proportions of Kouroi" American Journal of Archaeology LXXXII 461-472 (UCL Electronic Persiodicals) Cook, R. M. 1967. "The Origins of Greek Sculpture" Journal of Hellenic Studies LXXXVII, 24-31 (UCL Electronic Periodicals)

Recommended: Ridgeway, B. S. 1977. The Archaic Style in Greek Sculpture. Guralnick, E. 1985. "Profiles of Kouroi." American Journal of Archaeology 89, 399-409 Kokkorou-Alevras, Georgia. 2017.

5. THE ORIGINS OF THE GREEK TEMPLE AND THE RISE OF THE ORDERS

Issues: What are the key features of the Doric order and when do they emerge – how can we explain why the Doric order is created and why it looks the way it does – the model of other cultures – peer polity interaction.

Required: **Lawrence GA pp. 110-173 = ch 8 "Hellenic architecture: introductory summary", ch 9 "Primtive temples", ch 10 "The Doric order", ch 11 "Early Doric temples and similar buildings", ch 12 "The formation of the Ionic temple". **Snodgrass, A. M. 1986. "Interaction by design: the Greek city-state", pp. 47-58 in C. Renfrew and J. Cherry eds Peer Polity Interaction and Socio-Political Change (IoA AH REN – 3 copies; IoA ISSUE DESK REN 10) *Pollitt SD 181-185 *Coulton, J. J. 1987. Greek architects at work: problems of structure and design. Pp. 15-29 "Architect, patron and project"; 30-50 "The problem of beginning". (The entire book is recommended) (YATES K30 COU – 5 copies) Mazarakis Ainian, A. 1988. "Early Greek temples: their origin and function." Pp. 105-19 in R. Hägg et al eds. Early Greek Cult Practice Rhodes, R. 1987. "Early Corinthian architecture and the origins of the Doric order." American Journal of Archaeology 91, 477-80 Winter, F.E. 1976. "Tradition and innovation in Doric design I: Western Greek temples", American Journal of Archaeology 80, 139-45 _____. 1978. "Tradition and innovation in Doric design II: archaic and classical Doric east of the Adriatic." American Journal of Archaeology 82, 151-61 _____. 1980. "Tradition and innovation in Doric design III: the work of Iktinos." American Journal of Archaeology 84, 399-416 _____. 1982. "Tradition and innovation in Doric design IV: the Fourth Century". American Journal of Archaeology 86, 387-400

Recommended: Summerson, J. 1980 The Classical Language of Architecture Dinsmoor, W. B. 1975. The Architecture of Ancient Greece. Pp. 36-68 "The Origins of Greek Architecture", pp. 69-122 "The Rise of the Doric style", pp. 123-146 "The Rise of the Ionic Style" Jones, M.W. 2000. “Doric measure and architectural design 1: the evidence of the relief from Salamis”, American Journal of Archaeology 104: 73-93 _____. 2001. “Doric measure and architectural design 2: a modular reading of the classical temple”, AJA 105: 675-713 _____. 2002. “Tripods, triglyphs and the origins of the Doric frieze”, AJA 106: 353-90

6. TEMPLES, TYRANTS AND ARCHITECTURAL SCULPTURE IN ARCHAIC GREECE 10

Issues: What factors determine the choice of themes and the design of early Greek architectural sculptures. Why does Herakles play such a prominent role in 6th century Athenian art. Politics and patronage.

Required: *Boardman GSAP 151-61 Hurwitt ACEG 203-272 "Golden Ages: Athens and Ionia in the 6th Century". *Osborne, R. 1983/4 "The Myth of Propaganda and the Propoganda of Myth," Hephaistos 5/6, 61-70. (ICS Library – ask JJT if doing this essay topic) ®Cook, R. M. 1987. "Pots and Pisistratan Propaganda", Journal of Hellenic Studies 107, 167-9 (UCL Electronic Periodicals) ®Boardman, J. 1972. "Herakles, Peisistratos and Sons" Révue Archeologique 57-72. (UCL Electronic Periodicals) Boardman, J. 1985. "Image and Politics in 6th Century BC Athens", pp. 239-47 in A. H. G. Brijder ed Ancient Greek and Related Pottery. Boardman, J. 1975. "Herakles, Peisistratos and Eleusis", Journal of Hellenic Studies 95, 1-12. (TC Main 951) Moon, W. 1983. "The Priam Painter: Some Iconographic and Stylistic Considerations", pp. 97-118 in W. G. Moon ed Ancient Greek Art and Iconography.

Recommended: Shapiro, H. 1989. Art and Cult under the Tyrants in Athens. Neer, Richard. 2001. “Framing the gift: the politics of the Siphnian treasury at Delphi” Cl.Ant. 20, 273- 336 Boardman, J. 1991. "The Sixth Century Potters and Painters of Athens and their Public", pp. 79-102 in Rasmussen and Spivey eds Looking at Greek Vases. Shear, T.L. jr. 1978. "Tyrants and buildings in archaic Athens." Pp. 1-19 in Athens Comes of Age: From Solon to Salamis.

7. VASE-PAINTING AND ART HISTORY: TECHNIQUES, STYLES, ARTISTS AND CONNOISSEURSHIP

Issues: Techniques of Greek painting – red figure and black figure – the status of Greek vases or pots – prototypes in special materials – connoisseurship and the recognition/invention of artistic personalities.

Required: Boardman ABV 9-13, 14-30 (all recommended) Boardman ARV: AP 7-10, 11-88 (all recommended) **Robertson, M. 1991. "Adopting an Approach I", pp. 1-12 in Rasmussen and Spivey eds Looking at Greek Vases. (YATES P5 RAS) *Williams, D. 1991. "The Invention of Red Figure Technique and the Race Between Vase Painting and Free Painting", pp. 103-118 ibid. **Barron, J. 1972. "New Light on Old Walls: the Murals of the Theseion" Journal of Hellenic Studies 92, 20-45 (UCL Electronic Periodicals) ®Vickers, M. J. 1985. "Artful Crafts: the Influence of Metalwork on Athenian Painted Pottery", Journal of Hellenic Studies 105, 108-28 (UCL Electronic Pers) ®Cook, R. M. 1987. "Artful Crafts: a Commentary", Journal of Hellenic Studies 107, 169-171. (UCL Electronic Pers) Sparkes, B.A. 1991. "Shops and shapes." Pp. 56-62 in Greek Art. Greece and Rome New Surveys in the Classics, no 22. Woodford, S. 1974. "More light on old walls." Journal of Hellenic Studies 94, 158-65 Vickers, M. 1987. "Value and simplicity: eighteenth century taste and the study of Greek vases." Past and Present 116, 98-137 Oakley,J. 2009: “Greek vase painting: state of the field”, American Journal of Archaeology

Recommended: 11

Hemelrijk, J. M. 1991. "A Closer Look at the Potter", pp. 233-256 in Rasmussen and Spivey Looking at Greek Vases (all the other essays in this useful collection are also recommended) Wind, W. 1963. Art and Anarchy , p 32-51 "Critique of connoisseurship" Robertson, M. 1951. "The place of vase-painting in Greek art", Annual of the British School at Athens xlvi, 151-9. Onians, J. 1991. “Idea and product: potter and philosopher in classical Athens”, Journal of Design History 4.2:

8. VASE-PAINTINGS AND THE SOCIAL HISTORY OF ART: ICONOGRAPHY, STRUCTURAL ANALYSIS AND THE SYMPOSIUM

Issues: What can Greek vases tell us about the society that produced them – iconographic and structuralist methodologies of analysis – vases and religion – representations of women and gender ideologies – the social uses of vases, funerary vases, symposiastic vases

Required: **Bérard, C et al 1989. A City of Images - pp. 11-22 Bron and Lissarrague "Looking at the Vase", 23-38 Bérard and Durand "Entering the imagery", 39-52 Lissarrague "The world of the warrior", 71-88 Schnapp "Eros the hunter" (YATES A70 CIT; IoA Issue Desk: CIT) Keuls E. 1985. The Reign of the Phallus: Sexual Politics in Ancient Athens. Pp. 1-15 "Introducton", 33- 64 "Attic Mythology: Barren Godesses, Male Wombs and the Cult of Rape", 65-97 "The Phallus and the Box: the World Seen in the Shapes of Human Genitals". (All of this book is recommended) *Lissarrague, F. 1994. "Epiktetos egraphsen: the Writing on the Cup", pp. 12-27 in S. Goldhill and R. Osborne eds. Art and Text in Greek Culture. (YATES A20 GOL) *Lissarrague, F. 1990. "Around the Krater : an Aspect of Banquet Imagery", pp. 196-209 in O. Murray ed. Sympotica. (TC MAIN 884) ®Beard, M. 1991. "Adopting an approach, II." Pp. 12-35 in T. Rasmussen and N. Spivey eds. Looking at Greek Vases. ((YATES P5 RAS – 5 copies; IoA ISSUE DESK RAS – 2 copies)

Recommended: Lissarague, F. 1990. The Aesthetics of the Greek Banquet. Henderson, J. 1994. "Timeo Danaos: Amazons in Early Greek Art and Pottery". pp. 85-137 in S. Goldhill and R. Osborne eds. Art and Text in Greek Culture.

PART II: ART AND SOCIETY IN CLASSICAL GREECE 480-323

9. THE GREEK REVOLUTION

Issues: The Greek revolution and the development of naturalism – key monuments – temple of Aphaia, Aegina – explaining the Greek revolution, technology, democracy, narrative.

Required: **Robertson SHGA 40-79 "The Great Change: Archaic and Early Classical" *Pollitt SD 32-42 "Sculpture: Late Archaic 510-480", 43-48 "Sculpture: Early Classical, Kritios and Nesiotes, Kalamis", 124-148 "Painting - Earliest Developments and the 5th Century BC" ®Gombrich, E. 1960. "Reflections on the Greek Revolution", pp. 99-125 in Art and Illusion: a Study in the Psychology of Pictorial Representation. (ART BE GOM – 8 copies; Bartlett ARCHITECTURE A 77 GOM 2 copies) ®Pollitt AECG pp. 3-14 "Antecedents and First Principles", 15-63 "Consciousness and Conscience: the Early Classical Period 480-450 BC". (YATES A25 POL – 4 copies, one Reference; IoA ISSUE DESK POL 1; Main Library ART FA 5 POL – 1 copy) 12

®Beard, M. 1985. "Reflections on 'Reflections on the Greek Revolution'". Cambridge Review of Archaeology 4.2 . Available reprinted online in Journal of Art Historiography, 2010. UCL Electronic Pers.

Recommended: Hurwit ACEG pp. 273-319 "Revolution: Red Figure and relief Sculpture in the Late 6th Century", 320- 356 "The Sense of a Beginning" Konstam, N. and H. Hoffmann. 2002. “Casting the Riace bronzes: modern assumptions and ancient facts”, Oxford Journal of Archaeology 21: 153-64 _____. 2004. “Casting the Riace bronzes 2: a sculptor’s discovery”, Oxford Journal of Archaeology 23: 397-402

10. OLYMPIA AND THE SEVERE STYLE, C. 480-440 BC

Issues: The development of naturalistic expression in early classical art – the temple of Zeus at Olmpia and its sculptures, athletic iconography – Polykleitos, the role of philosophy in the development of classical Greek art.

Required: *Lawrence GA 174-185 "Early 5th Century Doric temples and Treasuries" esp 184-5; or Dinsmoor 1975 Architecture in Ancient Greece, pp. 151-3. Ashmole, B. 1972. Architect and Sculptor in Classical Greece, pp. 1-26, 27-59, 60-89 Raschke, W. 1988. "Images of Victory: Some New Considerations of Athletic Victory Monuments", pp. 38-54 in idem ed. The Archaeology of the Olympics. **Roberston SHGA 78-89, 109-116 **Stewart, A. 1978. "The Canon of Polykleitos: a Question of Evidence", Journal of Hellenic Studies 98, 122-31 (TC MAIN 954; UCL Electronic Periodicals) *Pollitt SD 48-52 (Myron), 75-79 (Polykleitos) *Stewart, A. F. 1983. "Pindaric Dike and the Temple of Zeus at Olympia", Classical Antiquity 2.1, 133- 44. (TC IOA 628; UCL Electronic Periodicals)

Recommended: Ridgeway B. S. 1970. The Severe Style in Greek Sculpture. Ashmole, B. and Yalouris, N. 1967. Olympia: the Sculptures of the Temple of Zeus Tersini, N. 1987. "Unifying Themes in the Sculpture of the Temple of Zeus at Olympia", Classical Antiquity 6, 139-59 Vermeule, C. C. 1969. Polykleitos. Boardman GSCP chapters 1-8 Stehle, E. and A. Day. 1996. "Women looking at women: women's ritual and temple sculpture", pp. 101-116 in N. Kampen ed. Sexuality in Ancient Art. Hurwit, J.M. 1987. "Narrative resonance in the East pediment of the temple of Zeus at Olympia", Art Bulletin 69, 6-15 Barringer, J.M. 2005. “The temple of Zeus at Olympia: heroes and athletes”, Hesperia 74.4: 211-241.

11. THE PARTHENON, PHEIDIAS AND CLASSICISM: ATHENIAN "EMPIRE STYLE"

Issues: Defining the classical style in art and architecture – the Parthenon and refinements – style, iconography and political ideology, democratic self-representation or empire style?

Required: **Robertson SHGA 90-117 "The Classical Moment" *Pollitt SD 53-82 "Sculpture: the High Classical Period" 13

*Lawrence GA 186-221 "Early Sanctuaries and the Acropolis of Athens", 222-227 "Niceties of Doric design" ®Pollitt AECG 64-110 "The World Under Control: the Classical Moment, c. 450-430 BC" (YATES A25 POL – 4 copies, one Reference; IoA ISSUE DESK POL 1; Main Library ART FA 5 POL – 1 copy) Onians, J. 1988. Bearers of Meaning: the Classical Orders in Antiquity, the Middle Ages and the Renaissance, pp. 8-22 "Classical Greece" Osborne, R. 1987. "The Viewing and Obscuring of the Parthenon Frieze", Journal of Hellenic Studies 107, 98-105 ®Hallett, C. 1986. "The Origins of the Classical Style in Sculpture." Journal of Hellenic Studies 106, 71- 84 (UCL Electronic Periodicals) Harrison, E.B. 1967. "Athena and Athens in the East pediment of the Parthenon." American Journal of Archaeology 71, 27-58

Recommended: Cook, B. F. 1984. The Elgin Marbles (nice short British Museum picture book - blue series) Ashmole, B. 1972. Architect and Sculptor in Classical Greece, pp. 90-146 "The Parthenon" Boardman, GSCP chs 9-15 Ridgeway, B. S. 1981. Fifth Century Styles in Greek Sculpture Jenkins, I. 1994. The Parthenon Frieze. Castriota, D. 1992. Myth, Ethos and Actuality: Official Art in Fifth-Century BC Athens. pp. 134-183 "The Persian wars and the sculptures of the Parthenon", 184-229 "The Parthenon frieze, Persia and the Athenian empire". Rhodes, R.F. 1995. Architecture and Meaning on the Athenian Akropolis

12. THE LATER FIFTH CENTURY, 430-400 BC

Issues: This lecture looks at the development of style in the late fifth century. In particular we shall be concerned with whether stylistic developments are an autonomous phenomenon or should be interpreted as a reflection of Zeitgeist, in particular an escapist mentality responding to the convulsions of the Peloponnesian war.

Required: **Robertson SHGA 118-130 *Harrison, E. 1972. "The South Frieze of the Nike Temple and the Marathon Painting in the Painted Stoa", American Journal of Archaeology 76, 353-78 (UCL Electronic Periodicals) ®Pollitt AE 111-135 "The world beyond control: the later 5th century, c. 430-400 BC." (YATES A25 POL – 2 copies; IoA ISSUE DESK POL 1; Main Library ART FA 5 POL – 1 copy) Burn, L. 1989. “The Art of the State in Fifth Century Athens”, pp. 62-81 in M.M. Mackenzie and C. Roueché eds. Images of Authority. (CLASSICS A6 MAC)

13. PORTRAITS AND THE POLITICS OF IDENTITY

Issues: What is a portrait? When does ‘true’ portraiture begin in Greece. To what extent are portraits realistic depictions of individuals, to what extent types based on cultural conventions? Whay did people make portraits and how did they use them?

Required: **Richter, G. M A. 1984. Portraits of the Greeks, abridged and edited by R. R. R. Smith pp. 13-69. (YATES QUARTOS M215 RIC) Richter, G. M. A. Greek Portraits: a Study of their Development, Collection Latomus vol XX *Tanner, J. J. 1992 "Art as Expressive Symbolism: Civic Portraits in Classical Athens", Cambridge Archaeological Journal 2.2 167-90 (UCL Electronic Periodicals) **Pollitt, J. J. 1986. "Personality and Psychology in Portraiture", pp. 59-78 in Art in the Hellenistic Age. (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies) 14

Finley, M. I. 1976. "In Lieblicher Bläue", Arion NS 3.1, 79-95 (this is in English, appearances notwithstanding) (UCL Electronic Periodicals) *Frischer, B. 1983. "A Sociopsychological and Semiotic Analysis of Epicurus' Portrait", Arethusa 16, 247-265 (UCL Electronic Periodicals) Stewart, Andrew. 2005. "Posidippus and the Truth in Sculpture" in K. Gutzwiller ed. The New Posidippus: a Hellenistic Poetry Book. Oxford. 183-205

Recommended: Frel, J. 1981. Greek Portraits in the J. Paul Getty Museum. Stewart, A. 1979. Attika: Studies in Athenian Sculpture of the Hellenistic Age, pp. 115-132 "Patterns of Patronage", 133-154 "Time and Style"

14. THE ART AND ARCHITECTURE OF DEATH IN ANCIENT GREECE

Issues: Why does funerary art play such an important role in the history of Greek art? To what extent is funerary art concerned with social display, to what extent a meditation on death? Main types of funerary monuments. Typical characteristics of funerary iconography.

Required: **Morris, I. 1992. Death Ritual and Social Structure in Classical Antiquity, pp. 103-127 "Taking it With You: Grave Goods and Athenian Democracy", 128-155 "Monuments and the Dead: Display and Wealth in Classical Antiquity". (ANC HIST M55 MOR – 6 copies) ®Osborne, R. 1988. "Death Revisited, Death Revised: the Death of the Artist in Archaic and Classical Greece", Art History 11, 1-16 (UCL Electronic Periodicals) ® Whitley, J. 1994. "Proto-attic pottery: a contextual approach" pp. 51-70 in Ian Morris ed. Classical Greece: Ancient Histories and Modern Archaeologies. (YATES A20 MOR – 3 copies; IOA ISSUE DESK MOR 11) Will also be xeroxed for teaching collection *Burn, L. 1985. "Honey-Pots: Three White Ground Cups and the Sotades Painter", Antike Kunst 28, 93-105 (IoA TC 3502) Humphreys, S. 1980. "Family Tombs and Tomb Cult in Ancient Athens: Tradition or Traditionalism", Journal of Hellenic Studies 100, 96-126 *Miller, S. G. 1982. "Macedonian Tombs: Their Architecture and Architectural Decoration", pp. 153-72 in E. N. Borza and B. Barr-Sharrar eds. Studies in the History of Art 10: Macedonia and Greece in Late Classical and Early Hellenistic Times. (YATES QUARTOS A20 BAR) Zanker, P. 1993. “The Hellenistic Grave Stelai from Smyrna: Identity and Self-Image in the Polis”. 212- 231 in A. Bulloch et al. eds. Self-Definition in the Hellenistic World. University of California Press: Berkeley

Recommended: Hoffmann, H. 1989. "Aletheia: The Iconography of Death/Rebirth in Three Cups by the Sotades Painter", Res 17/18, 68-88 Hoffmann, H. 1983, "From Chaos to Charon: the Human Encounter with Death in Attic Red-Figure Vase Painting", Visible Religion: Annual for Religious Iconography 4-5, 173-204. Kurtz, D. 1975. Athenian White Ground Lekythoi: Patterns and Painters Vermeule, E. 1979. Aspects of Death in Early Greek Art and Poetry Andronicos, M. 1984. Vergina: the Royal Tombs. (worth a quick look for the colour plates of the tomb paintings) Andronikos, M. 1977. "Vergina, the Royal Grave in the Great Tumulus", Athens Annals of Archaeology 10, 1-39 (plates only in Greek), 40-72 (for English text) reprinted as The Royal Graves at Vergina Athens 1978. Zanker, P. 1993. “The Hellenistic Grave Stelai from Smyrna: Identity and Self-Image in the Polis”. 212- 231 in A. Bulloch et al. eds. Self-Definition in the Hellenistic World. University of California Press: Berkeley Davies, G.M. 1985. “The significance of the handshake motif in Classical funerary art”, AJA 89: 627-40 Low, Polly. 2003. “Remembering war in fifth century Greece: ideologies, societies and commemoration beyond democratic Athens”, World Archaeology 35: 98-111[PDF] 15

Neer, Richard. 2002. “Space and politics: on the earliest classical Athenian gravestones”, Apollo 156 (July 2002): 20-27

15. ARCHITECTURE AND ARCHITECTURAL SCULPTURE IN FOURTH CENTURY GREECE 16 SCULPTURE AND PAINTING IN. THE FOURTH CENTURY: AN ART OF THE INDIVIDUAL?

Issues: The fourth century is often seen as a confusing interstitial period between the more easily characterized classical fifth century and baroque Hellenistic periods. This pair of lectures explores the new interest in interior space in fourth century architecture, and the increasing importance of personal styles in sculpture and painting.

Required: **Robertson SHGA 138-156 (Kephisodotos, Praxiteles etc, painters of the transition), 157-82 (The Second Change: Classical to Hellenistic; Mausoleum, Lysipppos, Apelles) **Pollitt AE pp. 136-194 "The World of the Individual: the 4th Century and its Hellenistic Legacy" *Ashmole, B. 1972. Architect and Sculptor in Classical Greece, pp. 147-92 "The Tomb of Mausolus". (YATES QUARTOS K5 ASH – 3 copies; Main Library ART FA 20 ASH) *Lawrence GA 239-246 "Circular Buildings", 247-259 "Temples and Tombs of 400-330" **Pollitt, J. J. 1986. "Lysippos and his School", pp. 47-58 in Art in the Hellenistic Age. (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies) *Pollitt SD Pp. 83-107 (Sculpture), 149-176 (painting), 195-203 (architecture)

Recommended: Stewart, A. F. 1978. "Lysippan Studies. 1. The Only Creator of Beauty. 2. Agias and the Oil Pourer. 3. Not by Daidalos", American Journal of Archaeology 82, 163-72, 301-14, 473-82 Bieber, M. 19612 The Sculpture of the Hellenistic Age, pp. 7-29 "Greek Sculpture of the 4th Century BC", 30-57 "Lysippos and the Early Hellenistic Age", 50-70 "Atticism in the Late 4th and Early 3rd Centuries"

PART III: THE HELLENISTIC WORLD 323-33 BC

Required: Hanfmann, G. M. A. 1963. "Hellenistic Art", Dumbarton Oaks Papers 17, 78-94. **Pollitt, J. J. 1986. Art in the Hellenistic Age, 1-16 "Hellenistic Art and the Temperament of the Hellenistic Age", 17-18 "Phases of Hellenistic Art", 265-71 "The Chronology of Hellenistic Sculpture" (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies)

Recommended: Onians, J. 1979. Art and Thought in the Hellenistic Age: the Greek World View 350-50 BC Havelock, C. M. 1971. Hellenistic Art. Bieber, M. 19612 (as above) "Introduction: Characteristics of Hellenistic Art"

17. KINGS, RULER CULT AND ROYAL ICONOGRAPHY

Issues: The major political change from the classical to the Hellenistic worlds was the displacement of poleis as the primary political units by kingdoms. This lecture explores the impact of the rise on monarchy on Hellenistic iconography.

Required: **Robertson SHGA 183-99 16

*Pollitt SD 108-23, 177-80 **Pollitt, J. J. 1986 Art in the Hellenistic Age. Pp. 19-46 "Ruler Iconography", 79-110 "The Sculpture of Pergamum, 250-263 Alexandria and the Pharaohs, 271-5 "The Ruler Cult and its Imagery", 275-284 "Aspects of Royal Patronage" (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies) Smith, R.R.R. 1991 Hellenistic Sculpture. ch 12 "The Seleucids and the East" Stewart, A. 1979. Attika: Studies in Athenian Sculpture of the Hellenistic Age, 3-33 "Portraits, Phyromachos and Pergamum" Stewart, A. 1993. “Narration and allusion in the Hellenistic baroque”, in P.J. Holliday ed. Narrative and Event in Ancient Greek Art. Cambridge. 130-74

Recommended: Smith, R.R.R. 1988 Hellenistic Royal Portraits Bieber M. 19612 The Sculpture of the Hellenistic Age. pp71-78 "Asianism in the 3rd century BC", 106- 22 "The Art of Pergamum" Ridgeway, B. S. 1990. Hellenistic Sculpture 1: The Styles of c. 331-200 BC. ch 4 "Portraiture, Alexander and the Diadochoi", ch 8 "The Gauls and related groups" Smith, R.R.R. 1991. Hellenistic Sculpture, ch 2 "Alexander and the Kings", ch 9 "Pergamum and the Great Altar", ch 11 "The Ptolemies and Alexandria", ch 13 "Macedonia and Greece"

18. HELLENISTIC ART IN THE PRIVATE SPHERE: BAROQUE AND ROCOCO, THE OTHER AND THE EXOTIC

Issues: The Hellenistic period sees the culmination of stylistic development in Greek art in a range of stylistic modes misleadingly named after movements in modern European art. This lecture explores the character and meaning of these new styles and their particular objects of representation.

Required: **Pollitt, J. J. 1986. Art in the Hellenistic Age. Pp. 111-126 "Hellenistic Baroque", 127-149 "Rococo, realism and the exotic" (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies) Smith, R.R.R. 1991. Hellenistic Sculpture. Pp. 127-54 "The World of Dionysos" **Robertson SHGA 199-203 "Other trends in [Hellenistic] Sculpture", 204-8 "Painting and Mosaic" *von Blankenhagen, P. H. 1980. "Painting in the time of Alexander and later", pp. 250-60 in B. Barr- Sharrar and E.N. Borza eds Macedonia and Greece in Late Classical and Early Hellenistic Times (YATES QUARTOS A20 BAR) *Pollitt 1986 (as above) 210-229 "Hellenistic Mosaics", 185-209 "Pictorial Illusion and Narration"

Recommended: Bieber, M. 1961 (as above) pp. 89-102 "The Art of Alexandria", 123-135 "Rhodes and the SW of Asia Minor", 136-156 "Rococo trends in Hellenistic art" Yalouris, N. 1980. "Painting in the age of Alexander the Great and the Successors", pp. 263-268 in Barr-Sharrar and Borza eds as above Zanker, G. 1998. “The concept and use of genre marking in Hellenistic epic and fine art”, in M.A. Harder, R.F. Regtuit, and G.C. Walker eds. Genre in Hellenistic Poetry. Hellenistica Groningana 3. Groningen. 225-38.

19. HELLENISTIC ARCHITECTURE; THE GREEK WORLD AND THE COMING OF ROME.

Issues: The module ends by looking at the transformation of Greek art that arose out of the conquest of Greece by Rome and the new demands placed on Greek artists by Roman patrons. Styles particularly associated with this interaction are neoclassicism in the representation of gods, and the rise of verism in portraiture.

Required: 17

*Lawrence 19834 GA 260-287 "Hellenistic Temples and Related Monuments", 343-361 "Hellenistic Town planning and halls" **Pollitt 1986 Art in the Hellenistic Age. 230-249 "Hellenistic Architecture: Theatrical and Scholarly Forms", 150-63 "Rome as a center of hellenistic Art", 164-84 "Style and retrospection: neoclassicism and archaism" (YATES QUARTOS A27 POL – 3 copies; Main library: ART F20 POL – 4 copies) **Stewart, A. 1979 Attika etc pp. 34-64 "The Magnet of Classicism", 65-98 "Athens, Delos and Rome" (YATES M50 STE) Thompson, H.A. 1980. "Architecture as a medium of public relations amongst the successors of Alexander", pp. 173-190 in Borza and Barr-Sharrar eds as above *Frazer, A. 1980. "Macedonia and Thrace. Two architectural late bloomers", pp. 191-204 ibid.

Recommended: Bieber 19612 (as above) 157-67 "Classicism in the second and first centuries BC", 167-94 "Transition from Hellenistic to Roman Sculpture" Smith, R.R.R. 1991 (as above) 238-42 "Macedonian and Greece", 255-261 "Late Hellenistic Delos to Rome" Van Bremen, R., 2010, “The inscribed documents on the temple of Hekate at Lagina and the date and meaning of the temple frieze”, in van Bremen, R. and Carbon, J. M. (eds.) Hellenistic Karia, Bordeaux: Ausonius, pp.483-504.

WORKSHOP/REVISION CLASS: ANALYSING VISUAL IMAGERY (Summer term)

Required: *Panofsky, E. 1939. "Introductory." Pp. 1-31 in Studies in Iconology: Humanistic Themes in the Art of the Italian Renaissance (reprinted as "Iconography and Iconology" in idem 1968 Meaning in the Visual Arts) (TC IOA 591)

Recommended: Berger, J. 1972. Ways of Seeing. Williamson, J. 1978. Decoding Advertisements: Ideology and meaning in Advertising.

ESSAYS ARCL0017: GREEK ART AND ARCHITECTURE - ESSAY TOPICS

Students must write one essay in order to complete the module. The essay will count as 33% of the final mark.

Primary bibliographical sources are listed under the appropriate lectures, with a little additional guidance given here where the appropriate reading is scattered amongst a number of lectures. A reasonably intelligent rehash of the lectures and the relevant required reading listed in the main bibliography, should get you a 2.2, at best a low 2.1. Those who aspire to higher things will want to read some of the items listed under recommended bibliography and/or some of the supplementary bibliography listed for each question here. The word limit for your essay is 2375-2625 words. Always be sure to back up your arguments with discussion of specific artistic monuments and their relevant visual properties (style, iconography etc).

ESSAY TOPICS

1. Why do figure scenes appear on geometric vases?

Primary refs. s.v. lecture 3.

Supplementary: Snodgrass, A.M. 1979. "Poet and painter in eighth century Greece", Proceedings of the Cambridge Philological Society 205, 118-30 _____. 1980. "Towards an interpretation of the Geometric figure scenes", Ath. Mitt. 95, 51-8 Carter, J. 1972. "The first figure scenes in Greek art", Annual of the British School at Athens 67, 25-58 Boardman, J. 1983. "Symbol and story in Geometric art", pp. 15-36 in W.G. Moon ed. Ancient Greek Art and Iconography. Kannicht, R. 1982. "Poetry and art. Homer and the monuments afresh", Classical Antiquity 1, 70-86

2. To what extent can "oriental influences" explain the development of early Greek sculpture and painting, to the end of the archaic period?

Primary refs. s.v. lecture 3 and 4

Supplementary: Boardman, J. 19802. The Greeks Overseas: Their Early Colonies and Trade, pp. 35-110 "The eastern adventure", 111-60 "The Greeks in Egypt". Morris, S.P. 1992. Daidalos and the Origins of Greek Art. Burkert, W. 1992. The Orientalising Revolution: Near Eastern Influence on Greek Culture in the Early Archaic Age. Shanks, M. 1992. "Style and design of a perfume jar from an archaic Greek city-state", Journal of European Archaeology 1, 77-106 _____. 1995. "Art and an archaeology of embodiment: some aspects of archaic Greece" Cambridge Archaeological Journal 5.2 pp? - forthcoming

For the debate about the category of the "oriental" and western self-definition, which gives this topic its current heat, see: Bernal, M. 1987. Black Athena: the Afro-Asiatic Roots of Classical Civilisation, vol 1: The Fabrication of Ancient Greece, 1785-1985. Pp. xiii-xvi, 1-38 "Introduction", (39-73 also recommended) Said, E. 1978. Orientalism: Western Conceptions of the Orient. Esp. part 3, pp. 201-328 "Orientalism now".

3. What are the main features of the Doric order? How should we explain its development in archaic Greece and its conservatism thereafter? . Primary refs. lecture 5, but see also lectures 10 and 11 for refs on the architecture of the temple of Zeus at Olympia, the Parthenon and other major classical Doric temples

4. How persuasive do you find John Boardman's account of the links between art and politics in 6th century BC Greece?

Primary refs. s.v. lecture 6.

Supplementary: Boardman, J. 1978. "Herakles, Delphi and Kleisthenes of Sikyon", Révue Archeologique 227-34 _____. 1989. "Herakles, Peisistratos and the unconvinced", Journal of Hellenic Studies 109, 158-9

You might find it helpful and interesting when evaluating Boardman's arguments to consider the rise in the popularity of images of Theseus in the late 6th century. Boardman, J. 1982. "Herakles, Theseus and Amazons", pp. 1-28 in D. Kurtz and B. Sparkes eds. The Eye of Greece. Shefton, B. 1962. "Herakles and Theseus on a red-figured louterion", Hesperia 31, 330-368 Sourvinou-Inwood, C. 1971. "Theseus lifting the rock and a cup near the Pithos-Painter", Journal of Hellenic Studies 91, 94-109 Barron s.v. lecture 7 Woodford ibid. Shapiro, H.A. 1989. "Theseus and the creation of an Athenian national hero", American Journal of Archaeology 93, 279

5. How much sense does it make to approach Greek vase-painting in terms of individual artists and their contributions to a developing artistic tradition?

Primary refs. s.v. lectures 7-8

Supplementary:

On Beazley and connoisseurship: Robertson, M. 1985. "Beazley and attic vase-painting", pp. 19-30 in D. Kurtz ed. Beazley and Oxford. Kurtz, D. 1985. "Beazley and the connoisseurship of Greek vases", Greek Vases in the J Paul Getty Museum II, 237-50 Hoffmann, H. 1979. "In the wake of Beazley", Hephaistos 1, 61-70 von Bothmer, D. 1987. "Greek vase-painting: two hundred years of connoisseurship", pp. 184-204 in M. True ed. Papers on the Amasis Painter and his World.

On the "artistic" status of vase-painting, and the question of its imitation of metal-work prototypes: Robertson, M. 1951. "The place of vase-painting in Greek art", Annual of the British School at Athens 46, 151-9 Boardman, J. 1987. "Silver is white", Révue Archéologique 289-93 Gill, D.W.J. and M. Vickers, 1989. "Pots and kettles", Révue Archéologique 297-303 Vickers, M. 1984. "The influence of exotic materials on Attic white ground pottery", pp. 88-97 in H.A.G. Brijder, ed. Ancient Greek and Related Pottery, Proceedings of the International Vase Symposium, Amsterdam 1984.

6. What do representations of women in attic black-figure and red-figure vase-painting tell us about the role and life of women in Athenian society? . Primary refs: s.v. lecture 8 - Keuls, Beard, Henderson; add: Bérard, "The order of women", pp. 89-107 in A City of Images

Supplementary Williams, D. 1983. "Women on Athenian vases: problems of interpretation", pp. 92-106 in A. Cameron and A. Kuhrt eds. Images of Women in Antiquity. Jenkins, I. 1983. "Is there life after marriage?" Bulletin of the Institute of Classical Studies 30, 137-45 McNally, S. 1978. "The maenad in early Greek art." Arethusa 11, 101-35 Webster, T.B.L. 1972. Potter and Patron in Classical Athens. Pp. 105-8 "Wedding and funeral scenes", 216-225 "Men and women", 226-243 "Women" Shapiro, H. 1991. "The iconography of mourning in Athenian art." American Journal of Archaeology 95, 629-56 Sutton, R.F. 1989. "On the classical Athenian wedding: two red-figure loutrophoroi in Boston", pp. 333-59 in R.F. Sutton ed. Daidalikon: Studies in Memory of Raymond V. Schoder, S.J. Harvey, D. 1988. "Painted ladies: fact, fiction and fantasy", pp. 242-57 in J. Christiansen and T. Melander eds. Ancient Greek and Related Pottery. Keuls, E. 1983. "Attic vase-painting and the home textile industry." Pp. 209-23 in W.G. Moon ed. Ancient Greek Art and Iconography. Fantham, E. et al 1994. Women in the Classical World: Image and Text. Pp. 68-127 "Women in classical Athens: heroines and housewives", 128-135 "Amazons: women in control"

7. Is it possible to reconstruct a history of Greek wall-painting in the fifth and fourth centuries BC. On what sources must we rely, and what kind of history can we write?

Primary refs. Lecture 7 (Barron, Woodford), 9 (Robertson, Pollitt 124-148), 10 (Robertson), 11 (Robertson), 15/16 (Robertson), 18 (Robertson, von Blanckenhagen, Yalouris). Add: Pollitt Sources and Documents 149-176 *Bruno, V.J. 1977. Form and Colour in Greek Painting. Esp. pp. 23-30 "Shading methods in Greek painting", 31-40 "Zeuxis and Parrhasios: a controversy on art", 67-72 "Austere and florid colours".

Supplementary: Keuls, E. 1978. Plato and Greek Painting. Pp. 59-87 "The state of Greek painting in Plato's time." Simon, E. 1963. "Polygnotan painting and the Niobid painter." American Journal of Archaeology 67, 43- 62 Kleiner, F.S. 1972. "The Kalydonian hunt. A reconstruction of a painting from the circle of Polygnotos." Antike Kunst 15, 7-19 Stansbury-O'Donnell, M. 1989/90. "Polygnotos's Iliupersis. A new reconstruction." American Journal of Archaeology 93, 203-15. "Polygnotos's Nekyia: a reconstruction and analysis." American Journal of Archaeology 94, 213-35

8. What was the Greek revolution and how should we explain it?

Primary refs. Lecture 9 Greek Revolution, and 10 Olympia and severe style - but you should also have read and thought carefully about the archaic material, leading up to the Greek revolution. Add: Hanfmann, G.M.A. 1957 "Narration in Greek art." American Journal of Archaeology 61, 71-8 - compare with Gombrich.

9. What factors determined the choice of sculptural themes and their artistic treatment on either the temple of Zeus at Olympia or the Parthenon at Athens?

Primary refs. s.v. lectures 10 and 11.

Supplementary:

Olympia: Hurwit, J. 1987. "Narrative resonance in the East pediment of the temple of Zeus at Olympia." Art Bulletin 69, 6-15 Barron, J.P. 1984. "Alkamenes at Olympia." Bulletin of the Institute of Classical Studies 31, 199-211 Cohen, B. 1985. "Pindar and Herakles club: the Olympia metopes reconsidered", American Journal of Archaeology 89, 328

Parthenon: Boardman, J. 1977. "The Parthenon frieze: another view", pp. 39-49 in U. Höckmann and A. Krug eds. Festschrift für Frank Brommer Osborne, R. 1994. "Democracy and imperialism in the Panathenaic procession: the Parthenon frieze in its context." Pp. 143-150 in W. Coulson et al eds. The Archaeology of Athens and Attica under the Democracy Root, M. 1985. "The Parthenon frieze and the Apadana reliefs at Persepolis: re-assessing a programmatic relationship." American Journal of Archaeology 89, 103-20

10. What are the main features of the classical style and how would you explain the development of the classical style?

Primary refs: s.v. lecture 11 - but obviously you need to think quite carefully about the Greek revolution and the severe style as the immediate antecedents of the classical style.

11. Does it ever make sense to interpret the history of classical Greek sculpture in terms of individual artistic personalities (as opposed to, for example, period styles or social forces)?

Primary refs. s.v. lectures 15-16 for the fourth century as a period of indivdualism. Of module you also need to think about phases of Greek art more easily classified in terms of period styles, e.g. severe, classical and the role of individual artists (Myron, Polykleitos, Pheidias) within them.

Supplementary: - on the idea of authorship and the social production of art Barthes, R. 1977. "The death of the author", pp. 142-8 in S. Heath ed. Image, Music, Text. Wolff, J. 1981. The Social Production of Art. Esp. pp. 26-48 "The social production of art", 117-136 "The death of the author" Foucault, M. 1979. "What is an author?" Screen 20.1. Also in Language, Memory, Counter-Practice.

12. How helpful is the concept of a "true portrait" in understanding portrait sculpture in the Greek world?

Primary refs. s.v. lectures 13, 17

13. "Greek architecture began to decline toward the end of the fifth century because nothing new or better could be achieved in the same line and no really adequate alternative was found." (Lawrence) Do you agree?

Primary refs. s.v. lectures 15 (Lawrence), intro to part III (Onians), 19 - although obviously you need to have thought quite carefully about the development of Greek architectureup to the end of the fifth cenury as well.

14. How important are new patterns of patronage to the history of sculpture in the Hellenistic world?

Primary refs: Intro to part III, lectures 17, 18, 19. In addition of module you need to think about patterns of patronage during the classical period, in order to identify what is new about them in the Hellenistic period, and how that might affect the history of sculpture.

15. Why did the Greeks invest so heavily in funerary art and how did these motivations inform the character of the art produced for funerary contexts?

Primary refs: lecture 14. Add Ashmole on the mausoleum (lec 15/16).

Supplementary: N.B. also readings listed for the 4th British Museum tutorial Kurtz, D. 1984. "Vases for the dead, an attic selection, 750-400 BC", pp 314-28 in H.A.G. Brijder ed. Ancient Greek and Related Pottery. Sourvinou-Inwood, C. 1995 Reading Greek Death to the End of the Classical Period. Shapiro - as above essay 1.6 Johansen, K.F. 1951. The Attic Grave Reliefs of the Classical Period. Kjeldsen, K. and J. Zahle. 1976. "A dynastic tomb in central Lycia: new evidence for the study of Lycian architecture and history in the classical period." Acta Archaeologica 47, 29-46

16. How important is narrative to the history of Greek art?

A broad synthetic essay, which assumes you have done all the asterisked reading. Particularly important are Snodgrass and Hurwitt (lect. 1), Gombrich (lecture 9), Raschke (lect. 10), Pollitt (lecture 18). To which, add the following: Holliday, P.J. 1993. "Introduction", pp. 3-13 in idem ed. Narrative and Event in Ancient Art. Connelly, J.B. 1993. "Narrative and image in attic vase painting: Ajax and Cassandra at the Trojan Palladion" ibid pp. 85-129. Hanfmann, G.M.A. 1957. "Narration in Greek art." American Journal of Archaeology 61, 71-8 von Blanckenhagen, P.H. 1957. "Narration in Hellenistic and Roman art." Ibid. 78-83.

Supplementary: - primarily on the "influences" of literary narratives in art Stewart, A.F. 1983. "Stesichoros and the Francois Vase." Pp. 53-74 in W.G. Moon ed. Ancient Greek Art and Iconography. Williams, D. 1983. "Sophilos in the British Museum", pp. 9-34 in Greek Vases in the J. Paul Getty Museum 1. Sparkes, B. 1991. "Narrative and images", pp. 63-77 in Greek Art. Greece and Rome, New Surveys in the Classics, no 22. Cook, R.M. "Art and epic in archaic Greece." Bulletin Antieke Beschaving 58, 1-10 Shapiro, H.A. 1984. "Herakles and Kyknos." American Journal of Archaeology 88, 323-9 Robertson, M. 1969. "Geryoneis: Stesichoros and the vase-painters." Classical Quarterly 19, 207-21 Webster, T.B.L. 1971. Potter and Patron in Classical Athens. Pp. 82-98 "Some special stories", 250-269 "Mythological scenes"

. 23

PRESENTATIONS

ARCL0017: GREEK ART AND ARCHITECTURE PRESENTATION TOPICS AND BIBLIOGRAPHY

All students will be required to give at least one presentation on the objects we shall be looking at in the British Museum. Presentations should be no less than five and no longer than ten minutes. Key questions to consider are: the material, function, provenance and date of the objects in question; means of manufacture; style, iconography and social context. Do not prepare too much material. 10 minutes is not a very long time. Pare your presentation down to essentials. Be sure to tie the points you make to specific objects, which we can look at in the BM. Remember who the primary addressees of your talk will be: not me, but your colleagues in the class who will probably know as little about the material at hand as you did before preparing your presentation: keep things clear and simple. Presentations are not formally assessed; they are, however, required. Failure to do your presentation/s will result, as a minimum penalty, in your being required to write an additional essay in order to complete the module. Please be sure to prepare your presentation thoroughly and well in advance. This means going to see the object for a preliminary inspection before you do the reading, doing the reading, and then taking another look at the object before writing your presentation. The British Museum sometimes closes rooms at short notice, so do not rely on being able to go in Wednesday afternoon or Thursday morning immediately before your presentations in order to prepare. Please get in touch at once if you have difficulty finding either your objects or the readings.

1 EARLY GREEK ART IN THE BRITISH MUSEUM.

1.1 Geometric Greek Art, (BM room 12, case 9; room 13 case 1) *Robertson, M. 1981. A Shorter History of Greek Art, pp. 1-4 *Snodgrass, A.M. 1987. An Archaeology of Greece, pp. 132-169 "The first figure scenes in Greek art" *Coldstream, J. 1991. "The Geometric style: the birth of the picture", pp. 57-78 in T. Rasmussen and N. Spivey eds. Looking at Greek Vases Best plates: B. Schweitzer, 1971. Greek Geometric Art.

1.2 Orientalising art, esp. early Corinthian pottery, (BM Room 13, Cases 1, 10) *Robertson 1981, 4-8 *Rasmussen, T. 1991. "Corinth and the orientalising phenomenon", pp. 57-78 in Rasmussen and Spivey eds. Best plates: P.E. Arias and M. Hirmer. 1962. A History of Greek Vase Painting, pp. 271-283; plates II- XII, figs 11-34.

1.3 Archaic Greek sculpture - (BM room 13 - archaic kouros and kore (and bits); room 15, the Strangford Apollo) *Robertson 1981 pp. 9-13, 23-31 *Hurwitt, J. 1985. The Art and Culture of Early Greece, pp. 179ff *Boardman, J. 1978. Greek Sculpture: the Archaic Period, pp. 18-28. Stewart, A.F. 1986. "When is a kouros not an Apollo? The Tenea Apollo revisited", pp. 54-70 in Corinthiaca: Studies in Honour of Darrell A. Amyx ed. Mario del Chiaro. Best plates: R. Lullies and M. Hirmer 1957. Greek Sculpture, varia amongst figs 11-84, esp. fig 84.

2. VASES AND VASE PAINTING

Williams, D. 1985. Greek Vases. (British Museum Blue Book Series)

2.1 Technique and technology: the craft of the potter; black figure and red-figure (BM Room 69, case 26 (potters wheels) and Case 25 for a bilingual, black figure and red figure, cup) *Sparkes, B. 1991. Greek Pottery: an Introduction. Esp. pp. 8-27 "Making", 93-123 "Decorating". 24

Nobel, J.V. 1966. The Techniques of Attic Painted Pottery. *Hemelrijk, J.M. 1991. "A closer look at the potter", pp. 233- 256 in T. Rasmussen and N. Spivey eds. Looking at Greek Vases.

2.2 Vases and death: esp. white ground lekythoi and funerary iconography (Room 69 case 2 – white ground lekythoi as primary focus) *Kurtz, D. and J. Boardman. 1971. Greek Burial Customs. Pp. 102-5 Kurtz, D. 1975. Athenian White Lekythoi. Patterns and Painters. *Shapiro, H. 1991. "The iconography of mourning in Athenian art." American Journal of Archaeology 95, 629-56 *Beazley, J.D. 1989. "Attic white lekythoi", pp. 26-38 in Greek Vases, Lectures by J.D. Beazley ed. D.C. Kurtz.

2.3 Vases and the symposium (BM room 69, case 31) Lissarrague, F. 1994. "The writing on the cup", pp. 12-27 in S. Goldhill and R. Osborne eds. Art and Text in Ancient Greek Culture. _____. 1990. The Aesthetics of the Greek Banquet: Images of Wine and Ritual _____. 1990. "Around the krater: an aspect of banquet imagery", pp. 196-209 in O. Muuray ed. Sympotica: a Symposium on the Symposion. Durand, J.-L. , F. Frontisi-Ducroux and F. Lissarrague 1989. "Wine: human and divine", pp. 121-129 in C. Bérard ed. A City of Images, Iconography and Society in Ancient Greece.

3. THE ELGIN MARBLES (BM room 18)

Cook, B.F. 1984. The Elgin Marbles. Jenkins, I. and Middleton, A. 1988. "Paint on the Parthenon sculptures", Annual of the British School at Athens 83, 183-207

3.1 Parthenon pediments *Boardman, J. 1985. Greek Sculpture: the Classical Period. Pp. 98-103. *Brommer, F. 1979. The Sculptures of the Parthenon. Pp. 47-58

3.2 Parthenon frieze *Boardman pp. 106-9. *Brommer, pp. 33-46. Jenkins, I. 1994. The Parthenon Frieze.

3.3 Parthenon metopes *Boardman, p. 103-5. *Brommer, p. 20-32.

4. KINGS, CITIZENS AND DEATH IN THE FOURTH CENTURY

4.1 The Nereid monument from Xanthos (BM room 17) - concentrate on the Nereids and the city-siege reliefs Demargne, P. 1976. "L'iconographie dynastique au monument des Néréides de Xanthos." Receuil André Plassart 81-95. Paris. ______. 1979. "Le décor sculpté des monuments funérarires de Xanthos: principes explicatifs d'un art grec au service d'une ideologie orientale. Méthodologie iconographique." Actes du Colloque de Strasbourg. Université des Sciences Humaines de Strasbourg. Travaux du Centre de Recherche sur le Proche-Orient et la Grèce antique 6. *Childs, W.A.P. 1978. The City Reliefs of Lycia. Pp. 12-13, 22-31, 85-106 (xerox on teaching collection - "The Nereid Monument at Xanthos - Selections from Childs' City Reliefs.) ______. 1981. "Lycian relations with Persians and Greeks in the fifth and fourth centuries reexamined." Anatolian Studies 31, 55-80 Bommelaer, J.F. 1986. "Sur le monument des Néréides et sur quelques principes de l'analyse architecturale." Bulletin de Correspondance Hellenique 110, 249-71 25

Martin, P. 1971. "Le monument des néréides et l'architecture funéraire", Révue Archeologique 327- 37 *Lethaby, W.R. 1915. "The Nereid monument re-examined." Journal of Hellenic Studies XXXV, 208- 24 *Barringer, J.M. 1995. Divine Escorts: Nereids in Archaic and Classical Art, pp. 59-66 "The Nereid monument". Boardman, J. 1995. GSLCP pp. 190-191

4.2 The Mausoleum from Halikarnassos (BM room 21) - concentrate on the frieze and "Mausolus and Artemisia" *Ashmole, B. 1972. Architect and Sculptor in Classical Greece. Pp. 147-92 "The tomb of Mausolus". *Hornblower, , S. 1982. Mausolus. Esp. pp. 223-74 "The Mausoleum." (IoA TC 664) Waywell, G.B. 1978. The Free-Standing Sculptures of the Mausoleum at Halicarnassus in the British Museum: A Catalogue. *Cook, B.F. 1989. "The sculptors of the Mausoleum friezes", pp. 31-42 in Architecture and Society in Hekatomnid Caria. Proceedings of the Uppsala Symposium 1987, ed. T. Linders and P. Heilstrom.

Jenkins, I., Gratziu, C. and Middleton, A. 1989. "Dati preliminari sulle relazioni fra Patine e Policromia nei fregi del Mausoleo di Alicarnasso", Atti del Convegno: Le Pellicole ad Ossalato - Origine e Significato nella Conservazione delle Opere d'Arte. Milan 25-6 October, 1989.

4.3 Funerary sculpture and the city state: stelai , loutrophoroi etc. (BM room 19-20) obviously you cant talk about them all - select two or three which you think are particularly interesting/representative

Davies, G. 1985. "The significance of the handshake motif in classical funerary art." American Journal of Archaeology 89, 627-40 Johansen, K.F. 1951. The Attic Grave-Reliefs of the Classical Period. Esp. pp. 13-52 "The representations of classical attic grave-reliefs", 53-64 "Problems of interpretation: previous theories", 146-165 "The classical attic grave-reliefs considered in the light of their predeccessors." *Kurtz, D.C. and Boardman, J. 1971. Greek Burial Customs. ch 6, pp. 91-141 "The classical period" * Boardman, J. 1985. Greek Sculpture: the Classical Period. Pp. 182-203 "Other classical relief sculpture" (including funerary) Clairmont, C. 1979. "The lekythos of Myrrhine." Pp. 103ff. in Studies in Classical Art and Archaeology: a tribute to Peter Heinrich von Blanckenhagen _____ . 1970 "A Gravestone with warriors in Boston." Greek, Roman and Byzantine Studies 13, 49- 58 _____. 1970. Gravestone and Epigram.: Greek Memorials from the Archaic and Classical Period. Esp. pp. 41-71 "Classical Period: introduction", and Catalogue numbers 24, 25, 59, 77 (all in the BM) _____. 1993. Classical Attic Tombstones: Introductory Volume. Pp. 19-29 "Age groups on tombstones and family relationships", 30-37 "Dress, coiffures, footwear", 38-46 "Form and decoration of tombstones", 116-90 "Interpretation". NB to read with the plate volume alongside the text. Richter, G.M.A. 1954. "Family groups on Attic grave-monuments." Pp. 256-259 in Neue Beitrage zur Klassischen Altertumswissenschaft, Festschrift zum 6o Geburtstag von B. Schweitzer.

5. HELLENISTIC GREEK ART

5.1 Kings and philosophers in Hellensitic portraiture (BM room, 22 - portraits of Alexander, Demosthenes, Epikouros and Chrysippos. Chose two: either Alexander or Demosthenes, and either Epikouros or Chrysippos) See bibl. for lectures 13 (Pollitt, Frischer) and 17 (Pollitt - ruler iconography) 26

*Richter, G.M.A. 1984. Portraits of the Greeks. (Ed. R.R.R. Smith) s.v. Alexander (pp. 224-5), Chrysippos (pp. 103-8), Demosthenes (pp. 109-13), Epikouros (pp. 116-119). *Smith, R.R.R. 1991. Hellenistic Sculpture. Pp. 19-32 "Alexander and the kings", 33-50 "Philosophers, orators and poets".

5.2 The Image of Homer in the Hellenistic World (BM room 22, Portraits of Homer, Apotheosis of Homer relief) *Richter (as above) pp. 139-50 "Homer" *Pollitt, J.J. 1986. Art in the Hellenistic Age. Pp. 13-16 "The scholarly mentality." Pinkwart, D. 1965. "Das Relief des Archelaos von Priene." Antike Plastik 4, 55-65 (*Review by J.G. Pedley, American Journal of Archaeology 72, 1968, 183-4) _____. 1965. Das Relief des Archelaos und die Musen des Philiskos. (*Review by D.B. Thompson American Journal of Archaeology 73, 1969, 384-8 Esdaile, K.A. 1912. "An essay towards the classification of Homeric coin types", Journal of Hellenic Studies 17, 298-325 [Pannuti, U. 1984. "L'Apoteosi di Omero: vaso argenteo del Museo Nazionale di Napoli", Accademia Nazionale dei Lincei, Monumenti Antichi, Serie 3, 43-61] Ridgeway, B. 1990. Hellenistic Sculpture I: The Styles of ca. 331-200 BC. Pp. 257-268 on the Apotheosis of Homer relief. *Zanker, P. 1996. The Mask of Socrates: the Image of the Intellectual in Antiquity, pp. 158-171, "The cult of poets", "The divine Homer" Newby, Z. 2007. “Reading the allegory of the Archelaos relief”, in Z. Newby and Ruth Leader eds, Art and Inscriptions in the Ancient World. Butz, Patrica A. 2017. “The Bronze heas of Arsinoe III in mantua and the typology of Ptolemaic divinization on the Archelaos relief”, 46-65 in Jens M. Daehner et al eds. Artistry in Bronze: the Greeks and their Legacy. XIXth International Congress on Ancient Bronzes. [YATES Qto M130 DAE]

5.3 The Demeter of Knidos and the Crouching Aphrodite (BM rooms 22 and 23) *Ashmole, B. 1951. "The Demeter of Cnidus." Journal of Hellenic Studies 71, 13-28 *Smith, R.R.R. 1991. Hellenistic Sculpture. Pp. 75-99 "Goddesses and women" *Brinkerhoff, D.M. 1978/9. "Hypothesis on the history of the Crouching Aphrodite type in antiquity." Getty Museum Journal 6-7, 83-96 *Havelock, C.M. 1995. "Crouching Aphrodite." Pp. 80-3 in The Aphrodite of Knidos and Her Successors.

APPENDIX A: POLICIES AND PROCEDURES 2018-19 (PLEASE READ CAREFULLY) This appendix provides a short précis of policies and procedures relating to modules. It is not a substitute for the full documentation, with which all students should become familiar. For full information on Institute policies and procedures, see the IoA Student Administration section of Moodle: https://moodle.ucl.ac.uk/module/view.php?id=40867

For UCL policies and procedures, see the Academic Regulations and the UCL Academic Manual: http://www.ucl.ac.uk/srs/academic-regulations ; http://www.ucl.ac.uk/academic-manual/

GENERAL MATTERS ATTENDANCE: A minimum attendance of 70% is required. A register will be taken at each class. If you are unable to attend a class, please notify the lecturer by email. DYSLEXIA: If you have dyslexia or any other disability, please discuss with your lecturers whether there is any way in which they can help you. Students with dyslexia should indicate it on each coursework cover sheet.

COURSEWORK LATE SUBMISSION: Late submission will be penalized in accordance with current UCL regulations, unless formal permission for late submission has been granted. The UCL penalties are as follows:  The marks for coursework received up to two working days after the published date and time will incur a 10 percentage point deduction in marks (but no lower than the pass mark).  The marks for coursework received more than two working days and up to five working days after the published date and time will receive no more than the pass mark (40% for UG modules, 50% for PGT modules).  Work submitted more than five working days after the published date and time, but before the second week of the third term will receive a mark of zero but will be considered complete.

GRANTING OF EXTENSIONS: Please note that there are strict UCL-wide regulations with regard to the granting of extensions for coursework. You are reminded that Module Coordinators are not permitted to grant extensions. All requests for extensions must be submitted on a the appropriate UCL form, together with supporting documentation, via Judy Medrington’s office and will then be referred on for consideration. Please be aware that the grounds that are acceptable are limited. Those with long-term difficulties should contact UCL Student Disability Services to make special arrangements. Please see the IoA website for further information. Additional information is given here http://www.ucl.ac.uk/srs/academic-manual/c4/extenuating-circumstances/

RETURN OF COURSEWORK AND RESUBMISSION: You should receive your marked coursework within one month of the submission deadline. If you do not receive your work within this period, or a written explanation, notify the Academic Administrator. When your marked essay is returned to you, return it to the Module Co-ordinator within two weeks. You must retain a copy of all coursework submitted.

CITING OF SOURCES and AVOIDING PLAGIARISM: Coursework must be expressed in your own words, citing the exact source (author, date and page number; website address if applicable) of any ideas, information, diagrams, etc., that are taken from the work of others. 28

This applies to all media (books, articles, websites, images, figures, etc.). Any direct quotations from the work of others must be indicated as such by being placed between quotation marks. Plagiarism is a very serious irregularity, which can carry heavy penalties. It is your responsibility to abide by requirements for presentation, referencing and avoidance of plagiarism. Make sure you understand definitions of plagiarism and the procedures and penalties as detailed in UCL regulations: http://www.ucl.ac.uk/current- students/guidelines/plagiarism

RESOURCES MOODLE: Please ensure you are signed up to the module on Moodle. For help with Moodle, please contact Charlotte Frearson ([email protected]) finis