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Classical Societies

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Classical Greece
(Athena Nike Adjusting Her Sandal, 2005-2012) This marble sculpture is a segment from the Athena Nike Temple and Parapet. It was built during the Peloponnesian War which was hard on the Athenians and they suffered several defeats. (Athena Nike Parapet Frieze, 2012) With the war’s outcome unknown they choose to depict Nike not in a narrative manor but choose to concentrate instead on the folds of the dress she is wearing. (Athena Nike Parapet Frieze, 2012) It depicts the God Nike which means victory, adjusting her sandal. (Athena Nike Parapet Frieze, 2012) This piece romanticizes the female form and gives a beautiful and very expressive example of the talent it took to create this piece. (Athena Nike Parapet Frieze, 2012) This piece looks as if she could come alive and the form of her legs and torso under the drapery of the dress Nike is wearing, it’s as if one can see through the dress. (Athena Nike Parapet Frieze, 2012) This piece was created in a time of war and Athenians suffered several losses. (Athena Nike Parapet Frieze, 2012)
Before this time sculpture was more realistic and depicted what is seen in real life but this is more formal and leans to what is more pleasing the eye. (Athena Nike Parapet Frieze, 2012) Suffering losses in war may be the reason behind this change in the way sculptor was created, with being surrounded with suffering and hardship looking at pleasing, above average depictions of their gods may have giver the people visiting this temple hope in something better. (Athena Nike Parapet Frieze, 2012) Nike adjusting her sandal is located at the Acropolis Museum, in Athens, Greece. (Athena Nike Adjusting Her Sandal, 2005-2012)
Hellenistic Greece
(Jockey of Artemision, Marsyas, 2006)

The young jockey of Artemision and his horse located in the National Archaeological Museum of Athens 150-146 BC. This piece was discovered in 1926, by 2 fishermen in Cape Artemision. Depiction of a Greek horse race and is a dedication to the gods for a race win (Jockey of Artemision, Marsyas, 2006) This large life-sized statue made of bronze depicts a race horse with a saddleless small child like rider. (Jockey of Artemision, 2012) Not many original statues remain from ancient Greece this piece is one of the few and it also depicts a race horse from this time in history. (Jockey of Artemision, 2012) The person who commissioned it is thought to be a wealthy man honoring the gods he worshiped for victories he received in racing his horses. (Jockey of Artemision, 2012)
This piece was made in pieces and welded together; unfortunately some of the pieces are lost to us, like the whip reins and bridle. (Jockey of Artemision, 2012) The pose this artist chose depicts how a horse may spring out of a modern race gate. (Jockey of Artemision, 2012) The goddess Nike is engraved on the horse’s right thigh, with raised hands Nike is holding a wreath, race horses were branded with this image. (Jockey of Artemision, 2012) The rider is small and could have been from Africa, this is from the finding of black paint on the rider and the way he is depicted. (Jockey of Artemision, 2012) The rider could have also been a trained slave too. (Jockey of Artemision, 2012) This kind of art was to give homage to the gods of the time and was a way to say thanks for success. (Jockey of Artemision, 2012) You sometimes forget that ancient people enjoyed themselves and had fun like we do. Spending a day at a horse race, an image I can see myself doing and enjoying. Depicting the horse in such an active pose, and so realistically was a way for these people to freeze time and remember a great and happy moment, and to also thank the gods.

Etruscan Civilization
(The Hercules of Veio. 2009) The greater than life polychrome terracotta statue is a celebrated piece of Etruscan art, and it is from the end of the 6th century BC. (The Hercules of Veio. 2009) It is located in Rome's National Etruscan Museum of Villa Giulia. (The Hercules of Veio. 2009) The figure Hercules (the left figure of the photo, Apollo is on the right) is in a moving forward pose and was originally inside a temple depicting stories of the sun god. (The Hercules of Veio. 2009) He is moving forward to defend a mythical deer. Hercules is missing one arm and his head, and also stands on restored not original legs. (The Hercules of Veio. 2009) Hercules once was at the top of a temple to Minerva. Vulca is believed to be the sculptures creator; he was from Veio just north of Rome. (The Hercules of Veio. 2009) Most of the population from ancient times was illiterate and the government and the religious groups of the time used sculpture and other forms of art to describe the story of the gods or events in history that they felt were important for the general population to see and know. Depicting the famed hero Hercules defending a deer was telling the people a story that the society thought was important. The body of Hercules is very strong looking and great detail was made to making sure the mussels were portrayed right to show the hero’s god like strength, glorifying the male body.
Roman Republic
(Dionysian Procession, Copyright 2012) A beautiful segment of tiled mosaic from the entrance to a triclinium (dining hall) in Southern Italy; One such influence of the Greeks was the use of tiles to create art on floors. (Dionysian Procession, Copyright 2012) This piece of art is from about the Sixth Century B.C. in Magna Graecia in Southern Italy. (Dionysian Procession, Copyright 2012) Mosaics were made of stone and made to be completely flat. (Dionysian Procession, Copyright 2012) The great time it took to create these images on the floors and walls of high societies was expensive; the artists were paid more for using this medium on the walls. The wealthy had the means to pay for such lavish art just as they do today. Some mosaic’s depicted people or gods, like this one or they were beautiful designs. I am in awe about how the artist depicted the shadows on the cloths or the highlights in the sash blowing in the wind. It is hard for me to decide if this image is female or male though, even the wreath in the hair does not give me a clue as to the gender of this person. I feel this kind of art was a way for the wealthy to say look at what I have achieved and can have.
Roman Empire
(Victory Arch of Constantine in Rome, 2012)

“The inscription on attic of the Arch of Constantine reads: (Victory Arch of Constantine in Rome, 2012)”
“IMP CAES FL CONSTANTINO MAXIMO P F AUGUSTO S P Q R QUOD INSTINCTU DIVINITATUS MENTIS MAGNITUDINE CUM EXERCITU SUO TAM DE TYRANNO QUAM DE OMNI EIUS FACTIONE UNO TEMPORE IUSTIS REM PUBLICAM ULTUS EST ARMIS ARCUM TRIUMPHIS INSIGNEM DICAVIT (Victory Arch of Constantine in Rome, 2012)”
Translation:
“To the emperor Flavius Constantine, the Great, pious and fortunate, the Senate and People of Rome, because by divine inspiration and his own great spirit with his army on both the tyrant and all his faction at once in rightful battle he avenged the State, dedicated this arch as a march of triumph.” (Victory Arch of Constantine in Rome, 2012)
“The “divine inspiration” was Constantine’s reported vision of the “sign” of Christ that would lead him to victory on the day of the battle. Eusebius references this in his Life of Constantine. The “tyrant” was Maxentius, his co-emperor of the Western Empire. With the defeat of Maxentius, Constantine became the sole emperor of a united empire.” (Victory Arch of Constantine in Rome, 2012)
This triple arch is in Rome and when it was built by the Roman Empire they took items from other monument and changed to look like Constantine. (Benton. DiYanni. 2008) The row of men in the friezes below the medallions are surrounding Constantine with him in the center. (Benton. DiYanni. 2008) Later in time they replaced him and put Jesus in the center and the figure is now headless. (Benton. DiYanni. 2008) All the carvings is done to the same depth as if they were in a hurry to complete it maybe? (Benton. DiYanni. 2008)
There is so much on the arch to decorate and adorn it that it seems cluttered but also beautiful. The columns are ornamental and not supporting the arch which was typical for Rome to do. (Benton. DiYanni. 2008) Having the Roman Senate honor Constantine in this manner was a great honor for this man. I can just imagine attending an event at the Coliseum in ancient times and walking through the arch. It would be a constant reminder of what this man did for his country.

References
Athena Nike Adjusting Her Sandal, (Copyright, 2005-2012) Look and Learn c.420-420 BC. Acropolis Museum, Athens, Greece Retrieved, July 7, 2012 http://www.lookandlearn.com/history-images/XB149434/Athena-Nike-adjusting-her-sandal?img=0
Athena Nike Parapet Frieze. Ancient-Greece.org. Retrieved, July 8, 2012. http://www.ancient-greece.org/art/athena-nike-parapet.html
Benton, J. DiYanni, R. (Copyright 2008) Arts and Culture, An Introduction To The Humanities. 3rd Edition. By, Pearson Education, Inc.
Dionysian Procession, (Copyright 2012) ca. 150 B.C.. Smithsonian Museum of Natural History, Washington, DC. Antiquities Experts. Retrieved July 7, 2012. http://www.antiquitiesexperts.com/early_roman.html#
The Hercules of Veio. (Copyright 2009) 2007-07-21 16:24:33. Xinhua News Agency. Retrieved July 7, 2012. http://news.xinhuanet.com/english/2007-07/21/content_6410243.htm
Jockey of Artemision. This page was last modified on 19 June 2012 at 19:51. Retrieved July 8, 2012 http://en.wikipedia.org/wiki/Jockey_of_Artemision
Victory Arch of Constantine in Rome. (Copyright, 2012) About.com. Retrieved July 7, 2012 http://atheism.about.com/od/constantinethegreat/ig/Victory-Arch-Constantine-Rome/Arch-of-Constantine-Low-Angle.htm
The Young Jockey of Artemision and his horse, National Archaeological Museum of Athens 150-146 BC Retrived, July 7, 2012. http://www.mlahanas.de/Greeks/Arts/Jockey.htm
So-called Artemision jockey. Bronze, ca. 140 BC. Recovered from the sea near Cape Artemision in Euboea. Original source of above website. File:NAMA Jockey Artémision.jpg http://en.wikipedia.org/wiki/File:NAMA_Jockey_Art%C3%A9mision.jpg Source/Photographer Marsyas (2006)

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