NCEA Level 3 Classical Studies (90512) 2011 — page 1 of 12
Assessment Schedule Classical Studies: Explain a work or works of classical art (90512)
Candidates choose TWO questions from ONE topic. A holistic judgement on the level of achievement attained will be made over the two questions answered.
Judgement Statement
Achievement Achievement with Merit Achievement with Excellence A M E
Generic schedule
Achievement Achievement with Merit Achievement with Excellence
The candidate explains the work or The candidate analyses the works The candidate analyses the work or works of art by identifying, of art by discussing methodically and works of art in detail by discussing describing, clarifying, explaining demonstrating understanding of methodically and demonstrating an and / or interpreting features. artistic features. informed understanding of artistic features. The candidate provides a general The candidate incorporates an explanation of artistic features. analytical element in the answer The candidate’s answers are Knowledge and interpretation are at based on sound knowledge of the art focussed and analytical. They are a basic level, and specific detail works. Most aspects of the question based on a thorough knowledge of may be lacking. One or more are covered, but treatment may be the art works themselves, as well as aspects of the question are unbalanced. Relevant supporting the historical and artistic context in underdeveloped or omitted. evidence is present, but may not which they were produced. All be consistently provided. aspects of the question are answered and most in depth. Supporting evidence is relevant, accurate and consistently provided.
NCEA Level 3 Classical Studies (90512) 2011 — page 2 of 12
Evidence Statement TOPIC A: GREEK VASE PAINTING Question One
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the mythological subject matter of the friezes shown in Reproduction A(i) and the thematic links between these friezes
Subject matter Subject matter Subject matter The candidate must: The candidate must: The candidate must: • demonstrate some knowledge • demonstrate a greater degree of • show depth of knowledge and of the story as it relates to some knowledge and understanding clear understanding of key of the friezes of the story, as it relates to events relating to the story of • identify some figures correctly. some of the friezes most of the friezes eg The top frieze shows the • identify more figures correctly. • identify figures correctly. Calydonian Boar hunt where heroes The description of each myth may The description of each myth must such as Peleus attempted to kill the be unbalanced be at Excellence level. huge boar. eg The top frieze depicts the eg The top frieze depicts the story of Calydonian Boar hunt. Artemis sent the Calydonian boar hunt. Here, the the huge boar to destroy Meleager’s goddess Artemis, offended by King kingdom. As a result, King Meleager Meleager’s failure to make a invited heroes such as Peleus and sacrifice to her, sent a huge boar to Atalanta to help him kill the huge destroy his kingdom. As a result, boar. King Meleager invited heroes like
Peleus and Atalanta to help him fight the boar. Both Peleus and
Atalanta are shown fighting the boar
from the front.
Thematic links Thematic links Thematic links As for Merit, plus the candidate must The candidate may refer to thematic The candidate must discuss discuss thematic links in detail. connection but this is not essential thematic links: eg Much of the decoration of the eg The friezes are linked together by • analytically François vase was inspired by the Trojan War theme OR by the • in some detail myths relating to Achilles, a hero of hero Achilles OR Peleus. • with reference to friezes the Trojan war. For example, one
eg Much of the decoration of the might say that Achilles’ story begins François vase was inspired by on the third frieze, which shows the myths relating to the hero Achilles. marriage of the hero Peleus to the For example, even though Achilles goddess Thetis. Achilles is not is not depicted on the second frieze depicted in this frieze but he was he is actually connected to the story born from this union and went on to as he was Patroclus’ best friend and become the greatest hero of the therefore organised the funeral Trojan War. games in his honour. Similarly, During the Trojan War, it was Achilles is not depicted on the third Achilles who organised the funeral frieze but as the son of Peleus and games depicted in the second Thetis, he is linked to this story. frieze, in order to honour his best friend Patroclus. etc.
Analyse in detail and with supporting evidence the narrative techniques used by the artist in the friezes shown in Reproduction A(ii).
The candidate must: The candidate must: As for Merit plus the candidate must • show understanding of the term • discuss narrative techniques show depth of knowledge and understanding and discuss in NCEA Level 3 Classical Studies (90512) 2011 — page 3 of 12
Achievement Achievement with Merit Achievement with Excellence
“narrative techniques” analytically greater detail, providing more • give one or more correct • demonstrate a greater degree of evidence. answers knowledge and understanding eg The painter shows the boar’s eventual defeat by incising arrows • provide some evidence. of the term “narrative techniques” and discuss them in all over his body, and some might eg The painter inscribes the name of some detail say that his bent back legs show the figures, for example, the hero that he is about to fall back. Peleus is easily identified as his • provide more evidence. name is inscribed beside him. eg This is a myth about heroes and a beast and so the painter is keen to identify the heroes involved in the killing of the boar; for example, Peleus and Atalanta are both identified by name. The painter painted Peleus and Meleager in front of the Calydonian boar, thrusting their spears into his snout; this highlights the courage of the two heroes.
NCEA Level 3 Classical Studies (90512) 2011 — page 4 of 12
TOPIC A: GREEK VASE PAINTING Question Two
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the ways in which Euphronios experiments with the body in motion in Reproduction B(i), and in particular his experimentation with awkward poses.
The candidate must give: The candidate must: As for Merit plus The candidate • a basic response to the question • discuss both parts of the must: on the body in motion question in some detail and with • discuss both parts of the • a basic response to awkward some analysis question in detail and poses • provide very good evidence analytically • at least one example overall. eg Heracles and Antaios are • provide very good evidence. eg Herakles and Antaios are fighting fighting, therefore their bodies are eg Heracles is depicted in full profile so their bodies are frozen in motion. depicted frozen in a moment of in an unusual pose that suggests AND Antaios’ body is painted in an extreme action. The upper bodies of movement: he is down on one knee awkward way, for example his head the two men are lifted off the ground with his other leg stretched out is twisted back. as they fight each other and this behind him for leverage. suggests that their bodies are AND Antaios also has one leg moving. twisted behind his thigh, so that a AND the pose of both men is rather small part of his foot appears awkward, especially that of Antaios; awkwardly from behind his buttocks. his body is twisted in a three-quarter pose and his head is twisted in an awkward way over Heracles’ shoulder.
Analyse in detail and with supporting evidence the ways in which Euphronios uses the facial features and hair of the two fighters to convey different messages about each figure.
The candidate must: The candidate must discuss: The candidate must discuss both • give a brief description of facial • both the facial features and hair the facial features and hair of features or hair of Herakles and Antaios in some Heracles and Antaios in detail and detail and with some analysis. analytically, and provide very good • write about both Herakles and examples. Antaios so that a brief • messages in some detail and comparison is made with some analysis. eg Heracles’ hair is well-groomed and neatly curled. His beard is • make a brief statement about eg The hair of Heracles is well- neatly clipped and his eyebrow is messages. groomed and neatly curled while thin and beautifully shaped. By eg The hair of Heracles is well- Antaios’ hair is wild and shaggy. As contrast, Antaios’ unkempt hair and groomed while Antaios’ hair looks a result Heracles is portrayed as the beard look wild and shaggy. His wild; this suggests that Heracles is civilised and cultured Greek hero eyebrow is thick and bushy and his civilised whereas Antaios is a whereas Antaios is portrayed as the mouth is open in a grimace that barbarian. barbaric foreigner. suggests he is in pain. This depiction is typical of the way Greeks and xenoi were portrayed in Greek vases etc.
NCEA Level 3 Classical Studies (90512) 2011 — page 5 of 12
TOPIC A: GREEK VASE PAINTING Question Three
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the mythological subject matter of the upper frieze shown in Reproductions C(i) and C(ii) including the setting of this episode.
The candidate: The candidate: The candidate must: • must briefly and correctly • must explain correctly, • explain correctly, analytically explain what is happening in the analytically and in some detail and in detail what is happening upper frieze what is happening in the story, in the story, giving the correct • must name some figures giving some correct names names of the key figures. • may not respond to the question • may not respond to the question • respond correctly to the referring to setting. referring to setting. question about setting eg Castor and Pollux are about to eg Castor and Pollux, the sons of eg Castor and Pollux, the sons of kidnap two girls who are playing Zeus, are abducting the daughters Zeus, are abducting the daughters happily with their friends. They have of Leukippos, Eriphyle and Helera, of Leukippos, Eriphyle and Helera their chariots nearby to help them who are playing happily with their who are picking flowers with their escape quickly. friends while Aphrodite and Zeus friends from the sanctuary of watch unperturbed. The young men Aphrodite. Aphrodite sits by her altar have their chariots nearby to help in a rather relaxed pose while Zeus
them escape quickly. Castor is still is watching from the side also carrying Eriphyle to his chariot while unperturbed. The young men have Pollux is already driving away with their chariots nearby to help them Helera beside him. escape quickly. Castor is still carrying Eriphyle to his chariot while Pollux is already driving away with Helera beside him.
Analyse in detail and with supporting evidence the ways in which the mood of this frieze is at odds with the subject matter.
The candidate must: The candidate must: The candidate must: • give a correct answer about • discuss analytically and in some • discuss analytically and in detail mood and how it is at odds with detail how the mood is at odds how the mood is at odds with the subject matter. with the subject matter the subject matter • give examples. • discuss examples in some detail • discuss examples in detail and OR and analytically. analytically. • answer the question eg This is a story of abduction and eg This is a story of abduction and successfully giving one well- yet no one shows fear. For example, yet there is no violence and no one explained example as long as as Castor carries away Eriphyle, the shows fear; both the abductors and they have answered bullet point arms of both are extended out in a the girls appear to be very calm and one really well. very elegant fashion and their faces relaxed. Two of the girls are carried appear very calm for example, their away by force and yet they do not eg The girls are kidnapped, but they mouths are closed. Eriphyle is not seem to be frightened and are not don’t seem to be scared. For attempting to escape and there is no shown fighting off their abductors. example, the girl carried away by evidence of any violence. Similarly, The poses of the girls and the Castor looks very calm instead of Pollux and Helera are already fighting off her abductor. abductors are relaxed and far from fleeing in his chariot yet she remains violent. Castor carries away Eriphyle The elegant drapery of the different calm holding the tip of her cloak as if he is leading her to the dance characters contrasts with the elegantly. floor, the arms of both are extended violence of the abduction, eg the girl out in a very elegant fashion. The who is running away, holds her position of Eriphyle’s legs also flowing cloak in an elegant fashion. reflects elegance, there is no hint of violence – she is not taken away kicking and fighting. The gestures of the girls are also NCEA Level 3 Classical Studies (90512) 2011 — page 6 of 12
Achievement Achievement with Merit Achievement with Excellence
elegant and show no fear, eg Eriphyle stylishly lifts up a part of her flowing chiton with extended fingers. Also, the Gods, who witness this violent scene, are not at all perturbed. Zeus on the left is depicted in a calm, detached pose, while Aphrodite in the centre of the scene appears unmoved and is elegantly poised.
NCEA Level 3 Classical Studies (90512) 2011 — page 7 of 12
TOPIC B: ART OF THE ROMAN EMPIRE Question One
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the ways in which the design of the Theatre at Lepcis Magna incorporates features of Greek origin and Roman innovation.
The candidate: The candidate must discuss The candidate must discuss several • must explain how a Greek features in some detail and with features in detail and with a greater feature is incorporated in the some analysis degree of analysis design At least one of these features must At least one of these features must • must give a feature of Roman be Greek or Roman be Greek or Roman innovation Latin words are desirable but not Latin words are desirable but not • is not expected to use Latin words. essential essential eg In the Roman theatre the eg Roman architects adapted the eg Roman architects adapted the orchestra is semicircular rather than Greek orchestra so that in the Greek orchestra so that in the circular as in the Greek theatre. theatre of Lepcis Magna it is no theatre of Lepcis Magna it is no The seating area of the theatre at longer a full circle but a semicircle. longer a full circle but a semicircle. Lepcis Magna has wedge-shaped They also added five shallow steps Also, Roman social customs tiers of seating and is divided up on the orchestra so they could place dictated that audiences should be horizontally by corridors just like seats for VIPs during a seated according to their social Greek theatres. performance; this gave them status. Because of this, Roman anexcellent view of the stage. innovators added five shallow steps The simple backdrop of the Greek to be used for seating for important theatre is replaced in the theatre of people like Roman senators; this Lepcis Magna by an elaborate gave them an excellent view of the backdrop which is the same height scanae. Also, they built a low wall as the top of the cavea. on the outer circumference of the orchestra to separate it from the Greek feature: The seating area of cavea where the common people the theatre at Lepcis Magna is just were seated. like the seating area in a Greek theatre; it has wedge-shaped tiers of The simple stage of the Greek seating and is divided up theatre was replaced by an horizontally by corridors. elaborate scaenae frons, which was three storeys high. The columns of the scaenae frons were the same height as the top of the cavea; this provided a more enclosed and intimate atmosphere. Greek feature: The seating area of the theatre at Lepcis Magna is like the seating area in a Greek theatre; it has wedge-shaped tiers of seating and is divided up horizontally by corridors called ambulatories that make it easier for the audience to access their seats.
Analyse in detail and with supporting evidence the ways in which the design and architectural features of this building reflect its function as an entertainment venue.
The candidate must give a design The candidate: The candidate: and / or architectural feature that • must discuss features that • must discuss in detail and reflects function. reflect function, in some detail analyse a number of features eg The seating area is sloping and and with some analysis that reflect function this enables everyone in the • must focus on design and • must focus on design and audience to have a clear view. architectural features (for architectural features. example the velarium is not). eg The Romans took care to ensure NCEA Level 3 Classical Studies (90512) 2011 — page 8 of 12
Achievement Achievement with Merit Achievement with Excellence
eg The seating area is partly built on that the audience had the best view a man-made structure so it rises up; no matter where they were sitting. this enabled the audience to have a For example, even though the clear view of the orchestra and the theatre of Lepcis Magna is built on a stage no matter where they were flat area, they raised the cavea by sitting. building the first level on a hillside, the second level on re-filled land and the third level on a vaulted, man-made structure. This enabled the audience to have an excellent and clear view of the orchestra and the pulpitum, etc.
NCEA Level 3 Classical Studies (90512) 2011 — page 9 of 12
TOPIC B: ART OF THE ROMAN EMPIRE Question Two
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the ways in which the layout and design of Hadrian’s Baths reflect its function as a bathing complex as well as a venue for exercising and socialising.
The candidate must: The candidate must: As for Achievement with Merit, plus: • give an answer that explains • respond to the question in some The candidate must: how the design reflects its detail and with some analysis • show depth of knowledge and function as a bathing complex • respond to the question understanding by discussing in • be able to demonstrate some referring to exercising and / or detail and analytically how the knowledge and understanding socialising with examples. design reflects its function as a of the layout of the baths Latin words are desirable but not bathing complex • have some knowledge and essential. • respond to the question understanding of the bathing eg The hot to cold bathing process referring to exercising and /or process and how this is followed by the Romans is reflected socialising with examples. reflected in the design of the in the design of the baths at Lepcis Latin words are desirable but not baths. Magna. Bathers are led from one essential. The candidate: area to another by a sequential eg The design of the baths made it arrangement; for example, • may not respond to the part of easier for bathers to decide where to the question referring to traditionally they would begin in the go next and what to do, as they exercising and socialising laconicum and perhaps continue on could easily see what, and indeed to the caldarium. They would then who, was in the next room, through • is not expected to use Latin socialise with friends and screens of marble columns. This words. acquaintances by relaxing in the layout encouraged social interaction. eg The Romans followed a hot to tepidarium for a while. They would AND cold bathing ritual so bathers would finish their bathing process in the first go to the hot baths, then they cold plunge pools of the frigidarium. The changing rooms were strategically placed on either side of would continue into the next room which had a warm pool and finally the natatio / swimming pool so that they would finish with a dip in the Romans could have easy access to cold plunge pool. them before entering the swimming pool area. Here, they would exercise or perhaps socialise with friends in the portico surrounding the pool, before entering the main bathing complex.
Analyse in detail and with supporting evidence the ways in which Hadrian’s Baths provide a vehicle for Roman propaganda.
The candidate must: The candidate must: The candidate must give a detailed • provide an example even • discuss in some detail and with and well explained answer. though this may be general. some analysis reasons why the Analysis is essential. eg The baths at Lepcis Magna Baths provide a vehicle for The construction of public baths in reflect the wealth of the Roman Roman propaganda the provinces provided the Romans Empire and / or the emperor; for eg The construction of public baths with an excellent opportunity to example, the baths were beautifully in the provinces provided the promote: decorated. Romans with an excellent • The wealth of the Roman opportunity to promote: Empire and the Emperor, for • The wealth of the Roman example, Hadrian’s baths were Empire and the Emperor, for luxurious in design and example, the frigidarium had a decoration. The floors and walls beautifully decorated cross- of the frigidarium were made of vaulted ceiling. beautiful, polychromatic marble and granite, and had a • The benevolence of the beautifully decorated cross- NCEA Level 3 Classical Studies (90512) 2011 — page 10 of 12
Achievement Achievement with Merit Achievement with Excellence
Emperor’s rule, for example, vaulted ceiling. The Baths also Hadrian built baths for all the provided a wealth of other people in the Roman provinces facilities, eg magnificent libraries to show that even distant parts and a natatio for swimming. of the empire were under the • The benevolence of the personal care of the Emperor. Emperor’s rule, eg everyone used public baths, regardless of socio-economic status. Hadrian therefore built baths for the people in the provinces and kept entrance fees low to show that even distant parts of the empire were under the personal care of the Emperor. NCEA Level 3 Classical Studies (90512) 2011 — page 11 of 12
TOPIC B: ART OF THE ROMAN EMPIRE Question Three
Achievement Achievement with Merit Achievement with Excellence
Analyse in detail and with supporting evidence the messages that the sculptor is trying to convey about the social standing and the character of the patrician and the ways in which he uses the veristic style of portraiture to deliver these messages.
The candidate must: The candidate must: The candidate must: • give a correct answer about the • discuss in some depth and with • discuss analytically and in depth social standing of the patrician some analysis a message • messages relating to the social • give an answer about the relating to the social standing of standing and character of the patrician’s character and the patrician and a message patrician relating to his character provide a relevant example – • provide specific examples of examples may be general. • provide one or more specific verism and how it is used to eg Patricians were men of high examples of verism and how it deliver these messages. status, and this patrician is an old is used to deliver these messages. eg The sculptor is trying to man who shows experience and communicate a message of respect wisdom. eg The sculptor is trying to and admiration for the patrician who This message is reflected in the communicate a message of respect is a man of high status. Patricians patrician’s veristic facial features, for for the patrician. Patricians were were prominent Roman citizens – example, his wrinkles and his prominent Roman citizens, civic leaders who might be important balding head. sometimes political leaders. The politicians, priests or even elder sculptor therefore depicts this man statesmen. The sculptor therefore as someone of experience and depicts this man as someone of wisdom. experience, authority and wisdom. This message is reflected in the This message is reflected in the patrician’s veristic facial features, patrician’s veristic facial features, which make him look serious and which make him look serious and responsible, for example: responsible, for example: • the wrinkles on his forehead • the wrinkles on his forehead • his balding head • his balding head • his large nose • his large nose and projecting • his sunken cheeks and ears prominent cheekbones. • the bags under his eyes AND / OR The patrician’s social • the realistic facial musculature, standing is further reinforced by the highlighting sunken cheeks and fact that he carries two busts of his prominent cheekbones. ancestors. Imagines were a status symbol as well as a sign of wealth and they added to the dignitas (honour / esteem) of the patrician.
Analyse in detail and with supporting evidence the messages that the sculptor is trying to convey about the patrician’s relationship with his ancestors and the methods he uses to deliver these messages.
The candidate may: The candidate must: The candidate must show depth of • respond briefly and / or in a very • discuss messages with some knowledge and understanding by: general way giving only one detail and analytically • discussing messages in detail message • attempt to explain how he and analytically • not refer to both the father and delivers these messages and • explaining in detail methods the grandfather. provide evidence used by the sculptor to deliver eg The patrician has a close / loving eg The patrician has a close and these messages. relationship with his ancestors loving relationship with both his eg The patrician has a close and because he holds them both close father on the left, and his loving relationship with both his to him. For example, he has his grandfather on the right. This is father on the left, and his NCEA Level 3 Classical Studies (90512) 2011 — page 12 of 12 hand around the bust of his father. reflected in the way he holds them grandfather on the right. This is both close to him. For example, he reflected in the way he holds them has his hand around the bust of his both close to him. For example, he father even though it rests on the has his hand around the bust of his tree trunk. The patrician holds the father even though it rests on the bust of his grandfather higher up, tree trunk; this highlights their perhaps to highlight his higher special relationship and perhaps the status within the family. love that he has for his father. Similarly, the patrician holds the bust of his grandfather close to his heart, again highlighting their loving relationship.