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The uppermost portion of the capital of a column |
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(470 BCE - 425 BCE)
Greek vase painter. The name comes from an Attic red-figure amphora depicting Achilles. Did mostly red figure, though also did some white background works. |
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Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). |
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An open square or space used for public meetings or business in ancient Greek cities. |
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The portion of a basilica flanking the nave and separated from it by a row of columns or piers. |
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Alexandros Of Antioch-on-the-Meander
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Sculptor of Aphrodite or Venus de Milo, ca. 150-125 BCE. The base, which was inscripted with the artist's name, is now lost. |
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In Greek mythology, the legendary battle between the Greeks and Amazons. |
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The style of Greek building in which the colonnade was placed across both the front and back, but not along the sides. |
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(525 BCE - [510/511] BCE)
Greek vase painter, named after the painter Andokides, who was his employer. Only approximately 20 vases have survived that feature his work. |
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Dining room in a Greek house |
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The molded projecting ends of the walls forming the pronaos or opisthodomos of an ancient Greek temple. |
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A recess, usually semicircular, in the wall of a Roman basilica or at the east end of a church. |
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A curved structural member that spans an opening and is generally composed of wedge-shaped blocks (voussoirs) that transmit the downward pressure laterally.See also thrust. |
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The lintel or lowest division of the entablature; also called the epistyle. |
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In Doric columns, the raised edges of the fluting. |
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(10 CE - 20 CE) Greek sculptor, originally from Rhodes, the sculptor emigrated to Italy sometime during the Early Empire. Best known for the sculpture of Laocoon and his Sons. |
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The uppermost story of a building. |
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A railing held up by small posts, as on a staircase. |
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In Roman architecture, a civic building for legal and other civic proceedings, rectangular in plan with an entrance usually on a long side. In Christian architecture, a church somewhat resembling the Roman basilica, usually entered from one end and with an apse at the other. |
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Experimental Greek vases produced for a short time in the late sixth century BCE; one side featured black-figure decoration, the other red-figure. |
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In early Greek pottery, the silhouetting of dark figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. |
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In ancient Greek mythology, a magical rod entwined with serpents carried by Hermes (Roman, Mercury), the messenger of the gods. |
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A rule, for example, of proportion. The ancient Greeks considered beauty to be a matter of “correct” proportion and sought a canon of proportion, for the human figure and for buildings. |
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The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order |
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A female figure that functions as a supporting column. |
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Latin, “hollow place or cavity.” The seating area in ancient Greek and Roman theaters and amphitheaters. |
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The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. |
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In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. |
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In ancient Greek mythology, the battle between the Greeks and centaurs. |
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A Greek tunic, the essential (and often only) garment of both men and women, the other being the himation, or mantle. |
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Fashioned of gold and ivory |
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Cire Perdue
(lost-wax process) |
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Definition
A bronze casting method in which a figure is modeled in wax and covered with clay; the whole is fired, melting away the wax and hardening the clay, which then becomes a mold for molten metal. |
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A vertical, weight-carrying architectural member, circular in cross-section and consisting of a base (sometimes omitted), a shaft, and a capital. |
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The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. |
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A more ornate form than Doric or Ionic; it consists of a double row of acanthus leaves from which tendrils and flowers grow, wrapped around a bell-shaped echinus. Although this capital form is often cited as the distinguishing feature of the Corinthian order, there is, strictly speaking, no Corinthian order, but only this style of capital used in the Ionic order. |
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The projecting, crowning member of the entablature framing the pediment; also, any crowning projection. |
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In masonry construction, a horizontal row of stone blocks |
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In ancient Greek and Roman theaters and amphitheaters, wedge-shaped sections of stone benches separated by stairs |
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Refers to a Greek Orientalizing style of the seventh century BCE named after the legendary Daedalus. |
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The Greek word meaning “the people, “ from which the word democracy is derived. |
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A double row of columns all around the Cella and porch of Ancient Greek architecture. |
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One of the two systems (or orders) evolved for articulating the three units of the elevation of an ancient Greek temple the platform, the colonnade, and the superstructure (entablature). The Doric order is characterized by, among other features, capitals with funnel-shaped echinuses, columns without bases, and a frieze of triglyphs and metopes. See also Ionic. |
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One of the stacked cylindrical stones that form the shaft of a column; the cylindrical wall that supports a dome. |
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In architecture, the convex element of a capital directly below the abacus. |
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In architecture, a head-on view of an external or internal wall, showing its features and often other elements that would be visible beyond or before the wall. |
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The central section or motif of a mosaic |
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A painting technique in which pigment is mixed with wax and applied to the surface while hot. |
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The part of a building above the columns and below the roof. The entablature of a classical temple has three parts: architrave or epistyle, frieze, and pediment. |
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The convex profile (an apparent swelling) in the shaft of a column. |
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(250 BCE - 200 BCE) Greek sculptor. Employed by Attalid pergamon Kings to create monumnents to Permagese victories.
None of his pieces survive, however, the Dying Gaul may be taken from Epigonos's Trumpeter. |
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approx. (570 BCE - 560 BCE) Greek potter. Worked with the painter Kleitias. Most famous work is the Volute Krater, aka the Francois Vase. |
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(520 BCE - 500 BCE) Greek potter and painter. Signed eight vases of his own, two calyx kraters signed by Euxitheos, two cups by the potter Kachrylion, in addition to another 12 cups painted by other painters. |
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(515 BCE - 500 BCE)
Greek Vase Painter.
Signed eight Athenian vases.
Explored the red-figure technique.
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(540 BCE - 520 BCE)
Greek Vase painter.
Signed two Attic Black-figure vases as painter and potter, and 11 as simply the potter.
About 40 of his pieces survive. |
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In the Ionic order, the three horizontal bands that make up the architrave. |
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In Ionic columns, the flat ridges of the fluting. |
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Vertical channeling, roughly semicircular in cross-section and used principally on columns and pilasters. |
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The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight |
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An ornament, usually in bands but also covering broad surfaces, consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. |
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The part of the entablature between the architrave and the cornice; also, any sculptured or painted band in a building. |
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In ancient Greek mythology, the battle between gods and giants. |
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A vitreous coating applied to pottery to seal and decorate the surface; it may be colored, transparent, or opaque, and glossy or matte. In oil painting, a thin, transparent, or semitransparent layer put over a color to alter it slightly. |
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(350 BCE - 300 BCE)
Greek Mosaicist. |
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In ancient Greek mythology, a hideous female demon with snake hair. Medusa, the most famous gorgon, was capable of turning anyone who gazed at her into stone |
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An incising tool used by engravers and sculptors. |
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(10 CE - 20 CE)
Greek sculptor
Best known for the sculpture Laocoon and his Sons. |
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The name the ancient Greeks called themselves as the people of Hellas |
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The term given to the culture that developed after the death of Alexander the Great in 323 BCE and lasted almost three centuries, until the Roman conquest of Egypt in 31 BCE. |
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A bust on a quadrangular pillar. |
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An ancient Greek mantle worn by men and women over the chiton and draped in various ways. |
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A city plan devised by Hippodamos of Miletos ca. 466 BCE, in which a strict grid was imposed on a site, regardless of the terrain, so that all streets would meet at right angles. |
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An ancient Greek threehandled water pitcher. |
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A building having no pediment or roof, open to the sky |
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(mid - 5th Century BCE)
Greek Architect.
Architect of the Temple of Apollo at Bassae. |
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In ancient Greek architecture, between the antae |
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In place; in the original position. |
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The distance between the center of the lowest drum of a column and the center of the next. |
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One of the two systems (or orders) evolved for articulating the three units of the elevation of a Greek temple: the platform, the colonnade, and the superstructure (entablature). The Ionic order is characterized by, among other features, volutes, capitals, columns with bases, and an uninterrupted frieze. |
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Kallikrates was one of the two architects of the Parthenon, active mid-5th century BC. He was responsible for the Temple of Athena Nike, also on the Acropolis. |
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(570 BCE - 560 BCE)
Greek Vase Painter.
worked in collaboration with the potter Ergotimos. Most famous pieces is the Volute Krater (aka the Francois Vase). |
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Greek, “young woman.” An Archaic Greek statuary type depicting a young woman. |
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Greek, “young man.” An Archaic Greek statuary type depicting a young man |
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An ancient Greek wide-mouthed bowl for mixing wine and water. |
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(Crete, 5th Century BCE) Greek Sculptor. Active mainly in Athens. |
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An ancient Greek shallow drinking cup with two handles and a stem. |
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A flask containing perfumed oil; lekythoi were often placed in Greek graves as offerings to the deceased. |
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(370 BCE - 300 BCE)
Greek Sculptor. |
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A monumental tomb. The name derives from the mid-fourth century BCE tomb of Mausolos at Halikarnassos, one of the Seven Wonders of the ancient world. |
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The panel between the triglyphs in a Doric frieze, often sculpted in relief |
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Greek architect, 5th cent. b.c. He designed the propylaea, and the Erechtheum is also sometimes ascribed to him. Both are on the acropolis at Athens |
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The shaping or fashioning of three-dimensional forms in a soft material, such as clay; also, the gradations of light and shade reflected from the surfaces of matter in space, or the illusion of such gradations produced by alterations of value in a drawing, painting, or print. |
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A column shaft that is all in one piece (not composed of drums); a large, single block or piece of stone used in megalithic structures. |
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Patterns or pictures made by embedding small pieces (tesserae) of stone or glass in cement on surfaces such as walls and floors; also, the technique of making such works. |
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(480 BCE - 440 BCE)
Greek sculptor. Contemporary of Phidias and Polyclitus. |
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The room at the center of the Cella in Ancient Greek Architecture. |
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A groove at the bottom of the ancient Greek Doric capital between the echinus and the flutes that masks the junction of capital and shaft. |
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(470 BCE - 45 BCE)
Greek vase painter |
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In classical mythology, female divinities of springs, caves, and woods |
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(505 BCE - 480 BCE)
Greek Vase Painter. Active in Athens, he specialized in decorating cups. |
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In Greek architecture, a porch at the rear of a temple, set against the blank back wall of the cella. |
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Greek, “dancing place.” In ancient Greek theaters, the circular piece of earth with a hard and level surface on which the performance took place. |
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Definition
In classical architecture, a style represented by a characteristic design of the columns and entablature. See also superimposed orders |
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The early phase of Archaic Greek art, so named because of the adoption of forms and motifs from the ancient Near East and Egypt. |
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A line imagined to be behind and perpendicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon. |
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Definition
The imposition of a strict grid plan on a site, regardless of the terrain, so that all streets meet at right angles. See also Hippodamian plan. |
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One of the architects, with Daphnis of Miletos, of the Temple of Apollo, Didyma, Turkey, begun 313 BCE |
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An ancient Greek and Roman exercise area, usually framed by a colonnade. |
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Mosaic made of irregularly shaped stones of various colors. |
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Definition
In classical architecture, the triangular space (gable) at the end of a building, formed by the ends of the sloping roof above the colonnade; also, an ornamental feature having this shape |
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A simple long woolen belted garment worn by ancient Greek women |
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In ancient Greek architecture, a colonnade all around the cella and its porch(es). A peripteral colonnade consists of a single row of columns on all sides; a dipteral colonnade has a double row all around. |
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A peripteral colonnade consists of a single row of columns on all sides |
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(450 BCE - 425 BCE)
Greek Vase Painter |
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(490 BCE - 430 BCE)
Athenian Sculptor
Artistic director of the sculpting of the Parthenon
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(late 4th Century BCE)
Greek painter |
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Greek, “picture gallery;” a room or building for the exhibition of paintings on wooden panels. |
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The horizontal arrangement of the parts of a building or of the buildings and streets of a city or town, or a drawing or diagram showing such an arrangement. In an axial plan, the parts of a building are organized longitudinally, or along a given axis; in a central plan, the parts of the structure are of equal or almost equal dimensions around the center. |
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An independent city-state in ancient Greece. |
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(10 CE - 20 CE)
Greek Sculptor.
Famous for the sculpture Laocoon and his Sons. |
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(3rd Century BCE)
Greek Sculptor. Active in Athens during the Hellenistic period. |
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(450 BCE - 415 BCE) Greek Sculptor
Most important sculptor in bronze.
Wrote a manual on the Canon (rule of proportions) |
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(350 BCE)
A renowned sculptor, architect of the Tholos at Epidauros |
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A roofed colonnade; also an entrance porch |
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(400 BCE - 330 BCE) Born and died in Athens.
A Greek Sculptor.
Famous works: Cult statue of Dionysis, Demeter, Cult statue of Apollo, Drunkeness and a Satyr. |
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Definition
The space, or porch, in front of the cella, or naos, of an ancient Greek temple. |
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Definition
A style of ancient Greek temple in which the columns are only in front of the cella and not on the sides or back. |
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Origin or source; findspot. |
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The cornice on the sloping sides of a pediment |
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Definition
In later Greek pottery, the silhouetting of red figures against a black background, with painted linear details; the reverse of black-figure painting. |
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Definition
The beam running the length of a building below the peak of the gabled roof. |
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A part-human, part-goat male follower of the ancient Greek god Dionysos |
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The tall, cylindrical part of a column between the capital and the base. |
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In ancient Greek mythology, a creature that was part bird, part woman. |
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Greek, “scene painting”; the Greek term for perspective painting |
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Definition
Greek, “shadow painting”; the Greek term for shading, said to have been invented by Apollodoros, an Athenian painter of the fifth century BCE |
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Definition
A mixture of fine clay and water used in ceramic decoration |
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Definition
In ancient Greek architecture, an open building with a roof supported by a row of columns parallel to the back wall. A covered colonnade or portico. |
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Definition
The uppermost course of the platform of a Greek temple, which supports the columns. |
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Definition
Greek, “commensurability of parts.” Polykleitos’s treatise on his canon of proportions incorporated the principle of symmetria. |
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Definition
Greek, “cubes.” Tiny stones or pieces of glass cut to the desired shape and size to form a mosaic. |
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Definition
Greek, “rule by four.” A type of Roman government established in the late third century CE by Diocletian in an attempt to establish order by sharing power with potential rivals. |
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Definition
Greek, “place for seeing.” In ancient Greek theaters, the slope overlooking the orchestra on which the spectators sat |
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Definition
Architect attributed with the design of the Tholos in Delphi, Greece, ca. 375 BCE. |
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Definition
Greek, “bearer of God.” The Virgin Mary, the mother of Jesus |
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Definition
The outward force exerted by an arch or a vault that must be counterbalanced by a buttress |
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Definition
The neck band worn by Gauls. |
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Definition
In ancient Greece, a small building set up for the safe storage of votive offerings. |
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Definition
The three-pronged pitchfork associated with the ancient Greek sea god Poseidon (Roman, Neptune). |
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Definition
A spiral, scroll-like form characteristic of the ancient Greek Ionic and the Roman Composite capital. |
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Definition
An ancient Greek vase painting technique in which the pot was first covered with a slip of very fine white clay, over which black glaze was used to outline figures, and diluted brown, purple, red, and white were used to color them. |
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