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Remains of the north retaining wall of the Stoa of Eumenes. The Stoa of Eumenes [1] was a Hellenistic colonnade built on the South slope of the Acropolis, Athens and which lay between the Theater of Dionysus and the Odeon of Herodes Atticus The gallery was donated to the city of Athens by the king of Pergamon, Eumenes II (197–159 BC), around 160 BC. [2]
However, in those times Athens was a much more influential city, hence its greater role as a diffuser of the new trend. Around the middle of the 5th century B.C., Greece was experiencing a moment of glory; after the victory against the Persians , Athens had assumed the leadership of the Greek cities, heading the Delian League and being the ...
The composition of the Delos mosaics and pavements include simple pebble constructions, chip-pavement made of white marble, ceramic fragments, and pieces of tesserae. [2] [6] [13] The latter falls into two categories: the simpler, tessellated opus tessellatum using large pieces of tesserae, on average eight by eight millimeters, [14] and the finer opus vermiculatum using pieces of tesserae ...
The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic (from about 650 to 480 BC), Classical (480–323 BC ...
An ancient scholium (marginal note) on a manuscript of Aristides states that the emperor Hadrian, when he was expanding the city wall (of Athens), wrote (inscribed) at the boundary of the old and the new areas of Athens a double inscription matching the sense, but not the exact wording, of the inscriptions on the arch. [10]
Polykleitos: The Doryphoros, the summary of the aesthetic idealism of Classicism. The sculpture of Classicism, the period immediately preceding the Hellenistic period, was built on a powerful ethical framework that had its bases in the archaic tradition of Greek society, where the ruling aristocracy had formulated for itself the ideal of arete, a set of virtues that should be cultivated for ...
[2] Byzantine art grew from the art of ancient Greece and, at least before 1453, never lost sight of its classical heritage, but was distinguished from it in a number of ways. The most profound of these was that the humanist ethic of ancient Greek art was replaced by the Christian ethic.
The Tyrant Slayers: The Heroic Image in Fifth Century B.C. Athenian Art and Politics 2nd ed. 1991. Sture Brunnsåker, The Tyrant-Slayers of Kritios and Nesiotes. A critical study of the sources and restorations (Skrifter utgivna av Svenska institutet i Athen, 4°, 17), Stockholm 1971. ISBN 978-91-85086-00-9. ISBN 91-85086-00-2.