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| The curved lips of an ancient Greek statues in the Archaic Greece period, usually interpreted as a way of animating facial features. |
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| Style in which artists concern themselves with describing the exterior likeness of an object or person, usually by rendering its visible details in a finely executed, meticulous manner. |
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| An extremely hard, purple stone from Egypt that was reserved for imperial use. |
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| A sacred or holy enclosure used for worship. In ancient Greece and Rome, consisted of one or more temples and an alter. In Christian architecture, the space around the altar in a church called the chancel or presbytery. |
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| A large semicircular or polygonal (usually vaulted) recess on an end wall of a building. In a Christian church, it often contains the altar. |
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| Describes any form of government where power is divided among four individuals. |
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| Italian term meaning "set against" used to describe the Classical convention of representing human figures with opposing alternations of tension and relaxation on either side of a central axis to imbue figures with a sense of the potential for movement. Example: Polykleitos Spear Bearer |
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| Of a standing figure represented praying with outstretched and upraised arms. Example: The Good Shepherd, Orants and the Story of Jonah |
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| A process whereby artist assimilate and combine images and ideas from different cultural traditions, beliefs, and practices, giving them new meaning. |
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| A large rectangular building. Often built with a clerestory, side aisles separated from the center nave by colonnades, and an apse at one or both ends. Originally Roman centers for administration, later adapted to Christian church use. |
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| An Archaic Greek statue of a young man or boy. |
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| The middle element of an entablature, between the architrave and the cornice. Usually decorated with sculpture, painting, or moldings. Also: any continuous flat band with relief sculpture or painted decoration. |
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