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GIRLS GONE WILD: a SPECULATIVE 3D RENDERING of the LESSER ATTALID MONUMENT AMAZONOMACHY By

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GIRLS GONE WILD: a SPECULATIVE 3D RENDERING of the LESSER ATTALID MONUMENT AMAZONOMACHY By GIRLS GONE WILD: A SPECULATIVE 3D RENDERING OF THE LESSER ATTALID MONUMENT AMAZONOMACHY by Elizabeth Patricia Tennant A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2019 © Elizabeth Patricia Tennant 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Using the surviving historical and archaeological remains, as well as contemporary stylistic reference, this thesis reconstructs one battle of the lost Lesser Attalid Monument in its entirety. This is done through digital 3D models created in free online software (Blender). The battle chosen is the Amazonomachy, consisting of 24 individual figural sculptures, with main stylistic reference taken from the Mausoleum at Halicarnassus, the temple of Apollo Bassitas, and the Parthenon Amazonomachy. The intent of the project is to recreate both a sense of the visual reality that existed, as well as the potential emotional impacts it would have had on its audience. The goal is that the final result will be of interest to a wide audience, including art historians, reconstruction specialists, and digital artists. By providing an accurate and interactive reconstruction, this project can act as a base for scholars in several different disciplines to work from. iii Acknowledgements I would first like to thank the department of Classical Studies at the University of Waterloo for allowing me to pursue a project so outside of our regular bounds, and for being so patient with me throughout the process. I would not have been able to complete this thesis without knowing I had such whole-hearted support behind me. The entire department was incredibly helpful, but I especially want to thank Brigitte Schneebeli for everything she has done for me – I would not have made it this far without her. As well I would like to acknowledge Dr. Christina Vester and Dr. Sheila Ager as readers of this thesis, and I am gratefully indebted to them for their valuable comments on this thesis. Finally, I must express my very profound gratitude to my supervisor, Dr. Craig Hardiman, for daring me to do this in the first place. Prof. Hardiman is the reason I fell in love with Classical Art to begin with, and is certainly the reason I pursued a Master’s at all. This accomplishment would not have been possible without him. Thank you. Elizabeth Tennant iv Dedication For my parents, and for Natasha. sine qua non v Table of Contents Author’s Declaration ......................................................................................................................... ii Abstract ........................................................................................................................................... iii Acknowledgements.............................................................................................................................iv Dedication .........................................................................................................................................v Table of Contents...............................................................................................................................vi Table of Figures ...............................................................................................................................vii Introduction....................................................................................................................................1 Reconstructions: An Outline ............................................................................................................3 Reconstruction Theory ....................................................................................................................4 Reconstruction: Questions and Debate..............................................................................................9 The Monument: Historical Sources ................................................................................................ 12 The Monument: Archaeology ........................................................................................................ 15 Reconstruction Process.................................................................................................................. 16 Hypothetical Composition ............................................................................................................. 19 Modelling Process ........................................................................................................................ 23 Figural Posing .............................................................................................................................. 26 Conclusions.................................................................................................................................. 26 Bibliography .................................................................................................................................... 45 Appendix .......................................................................................................................................... 50 vi Table of Figures Figure 1 (2D Drawn Mockup, Author’s Creation for this project) ........................................................ 28 Figure 2 (British Museum online database)......................................................................................... 29 Figure 3 (Naples Museum; ancientrome.ru) ........................................................................................ 29 Figure 4 (British Museum online database)......................................................................................... 30 Figure 5 (Bassae; bassaefrieze.co.uk) ................................................................................................. 30 Figure 6 (Bassae; bassaefrieze.co.uk) ................................................................................................. 31 Figure 7 (Bassae; bassaefrieze.co.uk) ................................................................................................. 31 Figure 8 (Bassae; bassaefrieze.co.uk) ................................................................................................. 32 Figure 9 (Bassae; bassaefrieze.co.uk) ................................................................................................. 32 Figure 10 (Halicarnassus; British Museum online database) ................................................................ 33 Figure 11 (Bassae; bassaefrieze.co.uk) ............................................................................................... 33 Figure 12 (British Museum online database)....................................................................................... 34 Figure 13 (Bassae; bassaefrieze.co.uk) ............................................................................................... 34 Figure 14 (Naples Amazon; hermitagemuseum.org)............................................................................ 35 Figure 15 (Alexander Sarcophagus; By Ronald Slabke - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27275859)........................................................... 35 Figure 16 (Demetrios Poliorketes bust; Naples National Archaeological Museum, public domain)......... 36 Figure 17 (Kneeling Venice Gaul detail; meravigliedivenezia.it).......................................................... 36 Figure 18 (Rigged Horse Model) ....................................................................................................... 37 Figure 19 (Rigged Amazon Model).................................................................................................... 37 Figure 20 (Rigged Greek Model) ....................................................................................................... 38 Figure 21 (Greek Model Hair) ........................................................................................................... 38 Figure 22 (Amazon Model Hair)........................................................................................................ 39 Figure 23 Korres Pedestals 1 (in Stewart, 2004).................................................................................. 40 Figure 24 Korres Pedestals 2 (in Stewart, 2004).................................................................................. 41 Figure 25 Korres Pedestals 3 (in Stewart, 2004).................................................................................. 42 Figure 26 Korres Pedestals 4 (in Stewart, 2004).................................................................................. 43 Figure 27 (Digital 3D Reconstruction, Author's Creation for this project) ............................................. 44 vii Introduction Classical Studies, as a discipline, is essentially a reconstruction of the past. Through interpretations of our sources we attempt to rebuild – mentally and physically – the evidence that reveals elements of the cultures and communities of ancient Mediterranean peoples. This project will pursue one type of reconstruction – a digital 3D model, created in free online software (Blender), with the intent to recreate both a sense of the visual reality that existed, as
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