Artemis Slaying Actaeon

Greek Classical Krater, 400 BCE, p. 135

According to legend actaeon either said he was a better hunter than Artemis, or saw her bathing. As a punishment, she set his own hunting dogs on him and shot him.

Parthenon

Greek Classical, 400 BCE, p. 138

Built after the sacking of Acropolis. Epitome of the greek classical style. A rebuilding of Athena's temple.

Lapith and Centaur from the Parthenon, Greek Classical, 400 BCE, p. 140

Part of the Doric Frieze on the exterior of the Parthenon. Depicted reason (lapith) vs. wild passion (centaur).

Praxiteles' Aphrodite of Knidos

Greek Classical, 400 BCE, p. 152

Praxiteles made the idea of depicting female goddesses in the nude legitimate. Supposedly  Aphrodite came down and was so impressed with the image, she endorsed the practice of nude depiction.

Laocoon and His Sons

Greek Hellenistic, 200 BCE, p. xxxvii

Laocoon tried to advise Troy not to take the grecian wooden horse. The greek gods were angered, so they set serpents on Laocoon and his sons.

  Gaellic Chieftain Killing His Wife and Himself

Greek Hellenistic, 200 BCE, p. 160

Artist tries to arouse pity for his subjects. Expressionism (trying to elicit a specific emotional response) was characteristic of Hellenistic art.

Nike of Samothrace

Greek Hellenistic, 200 BCE, p. 163

Very dramatic, the figure is still clothed however a 'wet-cloth' technique still depicts anatomy.

Augustus of Primaporta

Roman Empire, 200 CE, p. 186

Idealized figure, imperial portraiture used as propaganda. Bare feet may suggest divine status after death.

Flavian Amphitheatre (Colosseum)

Roman Empire, 200 CE, p. 203

Model for modern day sports arenas. Government distracted people with all the entertainment. Christians and captives were persecuted.

Gemma Augustea

Roman Empire, 200 CE, p. 189

Glorifies Agustus as triumphant over barbarians. Agustus has assumed the identity of Jupiter.

  Initiation Rites of the Cult of Bacchus from the Villa of the Mysteries,

Roman Empire,

200 CE, p. 194

In Pompeii. Preserved by the explosion of Mt. Vesuvius.  Entirely painted, nothing was carved. (Cheaper.) Possibly depicts a rite of passage into the cult of Bacchus, wine god.

Column of Trajan

Roman Empire, 200 CE, p. 208

Pantheon

Roman Empire, 200 CE, p. 210

Employed the use of concrete, a temple to all the olympian gods.

Equestrian Statue of Marcus Aurelius

Roman Empire, 200 CE

Commodus as Hercules

Roman Empire, 200 CE, p. 217

Another example of Imperial portraiture as propaganda. Commodus was not a good emperor, but he depicted himself as Hercules, the greatest of heroes.

Caracalla, Roman Empire, 200 CE, p. 218

His portrait reveals his cold ruthless character.

The Tetrarchs

Roman Empire, 200 CE, p. 223

Symbolizes the splitting of Roman empire into East and West by Diocletian.

Good Shepard, Orants, and Jonah, Early Christian catacomb, Rome, 4th cent. CE, p. 239

Arch of Constantine

Roman Empire, 300 CE, p. 226

"Recycled sculpture".  Some elements in the arch have been reused. Symbolizes Constantine's power and generosity.

Harvesting of Grapes

Santa Costanza, Byzantine, Rome, 4^th century, p. 247

Was familliar to both pagans (grapes=bacchus) and christian (wine=blood of christ)

Mausoleum of Galla Placidia, Byzantine, Ravenna, 5th century, p. 248

Is made of the plain brick that is common of the Byzantine times.

Martyrdom of St. Lawrence, mosaic, Mausoleum of Galla Placidia, Byzantine, Ravenna, 5^th century, p. 248

St. Lawrence is depicted beside the flame grill that he was literally roasted on. Martyred for not handing over the gospels.

Emperor Justinian and His Attendants, mosaic, Church of San Vitale, Ravenna,  Byzantine, 6^th century, p. 261

Justinian depicted himself at Christ's right hand, and also with a halo. He was assuming his sainthood before his death.

Good Shepherd, mosaic, Mausoleum of Galla Placidia, Byzantine, Ravenna, 5^th century, p. 249

Early Byzantine, still shows an interest in roman realism.

Church of Hagia Sophia, Constantinople (Istanbul), Byzantine, 6^th

century, p. 255

Justinian is asserting his imperial power and authority. Pink and blue, windows at the base of the dome.

Interior, Church of Hagia Sophia, Constantinople (Istanbul), Byzantine, 6^th century,

p. 256

Empress Theodora and Her Attendants, mosaic, Church of San Vitale, Ravenna,  Byzantine, 6^th century, p. 261

Crucifixion and Resurrection, from the Rabbula Gospels, Byzantine, 6^th century, p. 265

  Ascension, from the Rabbula Gospels, Byzantine, 6^th century, p. 265

Virgin and Child with Saints and Angels, icon (encaustic), Byzantine, Monastery of St. Catherine, Mt. Sinai, Egypt, 6^th century, p. 266

Survived Iconoclasm because Egyptian monks ingnored the demands to destroy them.

Virgin of Vladimir, icon (tempera), Byzantine, 12^th century, p. 267

Said to be miraculous, having been carried into battle twice and surviving fires. Also thought to be similar to a portrait done by Luke.

Anastasis, Church of the Monastery of Christ, Constantinople, Byzantine, 14th century, p. 279

Christ appears as a powerful Savior who has defeated Satan. Pulls adam and eve from their sarcophagus.

The Kaaba, Mecca, Islamic, 7^th century, p. 282-3

Symbolic center of the Islamic world, where all prayers are directed towards. Pilgrimage made here.

Dome of the Rock, Jerusalem, Islamic, 7^th century, p. 286-7

The first great monument of Islamic art.

Great Mosque of Kairouan, Tunisia, Islamic, 9^th century, p. 290

Minaret, where people are called to prayer.

Bowl with Kufik Border, ceramic, 9th century, p.294

Text could serve as an artistic element.

Courtyard, Great Mosque of Isfahan, Iran, Islamic, [no specific date], p. 297

Griffin, bronze, Egypt, Islamic, 11^th century, p. 301

Sinan. Mosque of Sultan Selim, Turkey, Islamic, 16^th century, p. 306

Illuminated Tugra of Sultan Suleyman, Turkey, Islamic, 16^th century, p. 307

Greek Classical: 400 BC

Serene expressions

Hellenistic: 200BC

"Bombastic" facial Expressions

Ancient Greece, Classical and Hellenistic

200 CE

Arch of Constantine 300 CE

Roman

Early grapes and catacomb: 4th century

Galla Placidia: 5th century

Hagia Sophia onward: 6th century

Virgin of vladamir: 12th.

Anastasis: 14th.

Byzantine

Islamic