Female Figure, from the Cyclades, C. 2500 BCE. White Marble, Ht. 15 3/4”, Museum of Cycladic Arts, Athens, Nicholas P. Goulandris Foundation. Aegean Art.

Significant because they were used for funerary purposes. They were found on their backs in graves meaning they may represent the deceased.

Plan of the Palace Complex, Knossos, Crete, during the Second Palace period.  Site occupied 2000-1375 B.C.E., complex begun in Old Palace period (c.1900-1700 B.C.E.); complex rebuilt after earthquakes and fires during Second Palace period (1700-1450 B.C.E.); final destruction c. 1375 B.C.E. Aegean Art.

The maze like appearance could possibly mean it was based off of the story of the minotaur. It thought about drainage and they had plumbing. 

Bull Leaping Fresco, wall painting with areas of modern reconstruction, from the palace complex, Knossos, Crete. Late Minoan Period, c. 1550-1450 B.C.E. Aegean Art.

Significant because of the linear and graceful style, and how you can't differentiate if the bull is male or female.

Woman or Goddess with Snakes, as restored, from the palace complex, Knossos, Crete. Second Palace Period, c. 1700-1550 B.C.E. Aegean Art.

Significant because of the typical outfit, the exposed breasts. The holding of snakes could mean she was a power figure; she had control over the animals.

Bull’s-head rhyton, from the palace complex, Knossos, Crete. Second Palace Period, c. 1550- 1450 B.C.E., Steatite with shell, rock crystal, and red jasper, the gilt wood horns restored. Aegean Art.

Significant because of it's ritualistic uses. You can pour water or wine through it and it will come out of the mouth.

 Lion Gate, Mycenae, c. 1250 BCE, Limestone relief, height of sculpture approx. 9’6”. Aegean Art.

Significant for the post and lintel style of building, and the fact that the burial shafts inside are older than the gate itself and contained golden burial masks.

Funerary Vase (Krater), from the Dipylon Cemetery, Athens, c. 750-700 B.C.E., terracotta larger than normal , 3.5 feet tall.  Geometric Greek period.

Significant because it was used as a male grave marker and was made with emphasis on clarity and readability. 

Temple of Hera I, Paestum, Italy, c. 500 B.C.E. Archaic Greek.

Significant because of the way the columns were build (bigger in the middle, they swell and look like they can't hold up the weight) and because every column was specifically carved for it's location.

Dying Warrior, sculpture from the left corner of the west pediment of the Temple of Aphaia, Aegina, c. 500-490 B.C.E., Marble. Archaic Greek.

Significant because of the creepy, archaic smile and the disregard of the fact that he's fucking dying.

Kouros, from a cemetery at Anavysos, near Athens, c. 530 B.C.E., Marble with remnants of paint. Archaic Greek.

Signifcant because of his more natural look, but still remaining the archaic hair style and face/almond shaped eyes.

Peplos Kore, from the Acropolis, Athens, c. 530 B.C.E., Marble. Archaic Greek.

Signficant because of the polychrome style. 

Exekias, The Suicide of Ajax, c. 540 B.C.E., Black-figure decoration on an amphora, Ceramic. Archaic Greek.

The figures were made with slip, which made them become black when the piece was fired.

Euphronios (painter) and Euxitheos (potter), Death of Sarpedon, c. 515 B.C.E., Red- figure decoration on a calyx krater, Ceramic. Archaic Greek. 

Significant because of the red figure design, which basically meant they made the background out of slip. Was made by a very well known painter of the time.

Dying Warrior, sculpture from the left corner of the west pediment of the Temple of Aphaia, Aegina, c. 500-490 B.C.E., Marble. Classical Greek.

Signficiant because of how dramatic and different it is from the other Dying Warrior found from the same temple. This is a more accurate representation.

Athena, Herakles, and Atlas, metope relief from the frieze of the Temple of Zeus, Olympia. 460 B.C.E., B.C.E., Marble. Classical Greek.

Marks the begininng of the idealized body, showing Herakles who is considered one of the first athletes.

Riace Warrior, found in the sea off Riace, Italy, c. 460-450 B.C.E., Bronze with bone. Classical Greek.

Signficant because it still remains one of the few Greek bronze statues to ever be found.

Myron,Discus Thrower (Diskobolos), Roman copy after the original bronze of c. 450 B.C.E., marble. Classical Greek.

Significant because of the naturalism, and how many copies have been made since the original.

Polykleitos,Achilles, also known as Spear Bearer (Doryphoros), Roman copy after the bronze original of c. 450 – 440 B.C.E., Marble. Classical Greek Art.

Significant because of the immense naturalism of the human body/proportions and the contrapposto pose.

Kallikrates and Iktinos, Parthenon, Acropolis, Athens. 447-438 B.C.E. Classical Greek Art.

Significant because of the way they made the columns (they would have appeared to bow but they correct it) and for the political uses, like the meetings of the Polis.

Phidias, East Pediment of the Parthenon , c. 438-432 B.C.E., Marble. Classical Greek art.

Significant because of the wet drapery style, the nudity as a costume and because it shows the birth and life of Athena.

Phidias, Lapith Fighting a Centaur, metope relief from the Doric frieze on the south side of the Parthenon, c. 440s B.C.E., Marble.

Significant because it shows combat between the Greeks and the Persians. The Persians are shown evenly matched to make victory sweeter.

Mnesicles, Porch of the Maidens (Caryatid Porch), Erechtheion, Acropolis, Athens, 421-405 B.C.E. Classical Greek art.

The columns are statues of women, rather than the ionic columns. The fluting of the draperies are meant to make them ionic. The only asymmetrical building in the acropolis. 

Nike (Victory) Adjusting Her Sandal, fragment of relief decoration from the parapet (now destroyed), temple of Athena Nike, Acropolis, Athens, last quarter of the 5th century B.C.E. Classical Greek art.

Significant because of the thin, wet drapery style of the clothing and the naturalism. 

Praxiteles or his followers,Hermes and the Infant Dionysos, a Hellenistic or Roman copy after a Late Classical 4th-century B.C.E. original, Marble with remnants of red paint on the lips and hair. Late Classical Greek.

Significant because of the use of nudity as a costume to show the perfection of the Greeks. 

Praxiteles,Aphrodite of Knidos, composite of two similar Roman copies after the original marble of c. 350 B.C.E., Marble. Late Classical Greek.

Caught in the motion of putting on her clothes. She is shown nude because she is a goddess, but also because she is usually seen as a sexual figure.

Lysippos,The Scraper (Apoxyomenos), Roman copy after the original bronze of c. 330 B.C.E., Marble. Late Classical Greek.

Significant because of his stance; it appears he has just shifted his weight. His nervous expression is kind of the beginning of the Hellenistic period.

Alexander the Greater Confronts Darius III at the Battle of Issos, detail of mosaic floor decoration from Pompeii, Italy, 1st century CE Roman copy after a Greek painting of c. 310 B.C.E. Late Classical Greek.

Significant because of the extreme detail and the emphasis on physiological positions.

The Dying Gaul, Roman copy after the original bronze of c. 220 B.C.E., from Pergamon, Turkey, Marble. Hellenistic.

Significant because of the extreme amount of drama, and the nudity as a costume to make the gaul (the enemy) more credible making the victory sweeter.

Nike (Victory) of Samothrace, from the Sanctuary of the Great Gods, Samothrace, c. 190 B.C.E, Marble. Hellenistic.

Significant because of the incredible amount of thought put into the figure in the space. The piece is also extremely dramatic.

Venus de Milo c.150-125 B.C.E., Marble. Hellenistic.

Significant because of the wet drapery style and the dynamic, reaching down to grab drapery pose.

Laocoön and His Sons, 2nd-1st century B.C.E. or a Roman copy dating to the 1st century CE., Marble. Hellenistic.

Significant because of the extreme drama; showing a family being attacked by snakes.

Apulu / Apollo, from Veii, c. 500 B.C.E., painted terracotta. Etruscan.

Significant because the use of Terrcaotta. The inside of the figure has to be hollow because when it is fired it will explode if it isn't.

She-Wolf (Capitoline Wolf), c. 500 B.C.E., with 15th century additions (Romulus and Remus), Bronze, glass-paste eyes. Etruscan.

Significant because of the story behind the founding of Rome and Romulus/Remus.

Burial Chamber, Tomb of the Reliefs, Cerveteri, 3rd century B.C.E. Etruscan.

Significant because the chambers were essentially arranged with streets, making them "cities of the dead". 

Sarcophagus, from Cerveteri, c. 520 B.C.E., Terracotta. Etruscan.

Significant because it was used for funerary purposes. Shows a couple at a party, which makes the female seem like she is more equal.

Porta Augusta, Perugia, Italy.  2nd century B.C.E. Etruscan.

Significant because the use of quarbelling in the arches. If you removed one stine the entire structure would fall.

Augustus of Primaporta, Early 1st century C.E. (perhaps a copy of a bronze statue of c. 20 B.C.E., Marble, lightly colored. Roman art.

Significant because it expresses not only military power but also political/diplomatic power. 

Cityscape, detail of a wall painting from a bedroom in the House of Publius Fannius Synistor, Boscoreale. Late 1st century CE. Roman Art.

Significant because of the way they extended the space and made it look like architectural molding, even though it was just paint.

Still Life, detail of a wall painting from Herculaneum, c. 62-79 B.C.E. Roman.

Significant because the piece is done on a flat wall, but it is painted to create an illusion of depth. 

Detail of a wall painting in the House of M. Lucretius Fronto, Pompeii, Mid-1st century CE. Roman art.

Significant because it appears to sink into the wall and create a recession of space, even though it is just paint.

Apollodorus of Damascus, Main Hall of the Markets of Trajan, Rome, concrete and brick, 100-12 CE.  Roman.

Significant because it is a groin vault, which uses support in the corners to let in more air and light. Makes a way more open space for offices and markets.

Colosseum, Rome, concrete and marble, 72-80 C.E. Roman art.

Significant because of the incredible capacity (50,000 people) and the fact that it could be vacated in only 5 minutes. Important political and community contexts (more important people sit closer to the center).

Pantheon, Rome, c. 118-128 CE. Concrete and granite. Roman art.

Significant because it was given to the Pope to keep as a temple. The light comes in from the Oculus and shines on statues of different Gods as the day progresses.

Arch of Titus, Rome, c. 81 CE, Concrete and white marble. Roman.

Significant because it was created to celebrate Titus's victory in Jerusalem, which resulted in the massacre of a large part of the Jewish population. It is part sculpture, part architecture.

Spoils from the Temple of Solomon, Jerusalem, relief in the passageway of the Arch of Titus, marble. Roman art.

Significant because it shows the Romans carrying away all of the things they stole from the Temple of Solomon after they defeated Jerusalem.

Column of Trajan, Rome. 113-16 or after 117 CE, Marble. Roman art.

Significant because it was built to commemorate Trajan's epic win against the Dacians. Reliefs on it tell the story of the Dacians war.

Young Flavian Woman, c. 90 CE, Marble. Roman art.

Significant because it uses a very idealistic style. Shows an extremely elaborate Roman hair style.

Equestrian statue of Marcus Aurelius, c. 176 C.E., Bronze, originally gilded. Roman art.

Significant because it is portrayed much larger than normal, and it has a lot of the features of a standing statue even though the subject is mounted on a horse (contrapposto).

The Tetrarchs, c. 300 CE, Porphyry. Venice. Roman art.

Significant because it is less more individualized, and has a lot of abstract elements.