of Argos (active around 600 B.C.E.), Kouros, so-called Biton, Apollo Sanctuary, Delphi, Greek, Archaic style, c. 590–580 B.C.E. Marble, height: 218 cm. Delphi Archaeological Museum, Delphi.
38. Moschophoros (calf bearer), Athenian Acropolis, Greek, Attic, Archaic style, c. 570 B.C.E. Hymettus marble, traces of paint, height: 165 cm. Acropolis Museum, Athens.
39. Kouros of Tenea, formerly Apollo of Tenea, Greek, Corinthian, Archaic style, c. 560–550 B.C.E. Marble, height: 153 cm. Glyptothek, Munich.
40. Kore from the Cheramyes group, known as the “Hera of Samos”, Temple of Hera, Samos, Greek, Samian, Archaic style, c. 570–560 B.C.E. Marble, height: 192 cm. Musée du Louvre, Paris.
This kore is best understood through comparison to the earlier Auxerre Kore (see no. 33). It continues the tradition sculpting the standing female in stone, but shows the development in the art form. This kore, like the earlier example, is modestly draped in a long gown and a shawl, but the form of her body is more visible underneath, especially the curves of her shoulders, breasts, and belly. The sculptor has drawn attention to these forms by showing how the clothing gathers, pleats and falls as it drapes over the woman’s body. Instead of the heavy, patterned woollen peplos worn by the Auxerre Kore (see no. 33), this kore wears a chiton, a tightly pleated, lightweight garment made of linen. The pleats are shown in detail, creating a vertical pattern that contrasts with the diagonal drapery of the shawl. This attention to the patterns of drapery would continue to characterise female sculpture in Greece over the coming centuries.
41. Kore, so called “Berlin Goddess”, Keratea, Greek, Attic, Archaic style, c. 570–560 B.C.E. Marble, height: 193 cm. Pergamon Museum, Berlin.
42. Kore 671, Athenian Acropolis, Greek, Attic, Archaic style, c. 520 B.C.E. Marble, height: 177 cm. Acropolis Museum, Athens.
43. The Peplos Kore or Kore 679, Athenian Acropolis, Greek, Attic, Archaic style, c. 530 B.C.E. Paros marble, height: 118 cm. Acropolis Museum, Athens.
44. The “Sarcophagus of the Spouses”, Cerveteri, Etruscan, c. 520–510 B.C.E. Polychrome terracotta, clay, slip, paint, modelling and moulding, 111 × 194 × 69 cm. Musée du Louvre, Paris.
This exceptional monument is a sarcophagus or cinerary urn from Caere, a city famous during the Archaic period for its clay sculpture. During this epoch terracotta was one of the preferred materials in the sculpture workshops in this region and was used to make funerary monuments and architectural decorations. The ductility of the clay offered these artisans numerous possibilities, compensating for the lack of stone suitable in southern Etruria.
This particular monument was found in 1861 by Napoleon III and is often regarded as a sarcophagus because of its exceptional dimensions. It features the two deceased tenderly entwined, reclining on a bed in accordance with the style that originated in Asia Minor. They are making the ritual gesture of offering perfume that, along with the sharing of wine, was part of traditional funeral ceremony. The casket and lid are decorated with bright paintwork, now partially disappeared, that adds to the elegance of the ornaments as well as the details in the fabric and the hair. The style of this particular sculpture shows strong influence from Eastern Greece, particularly from the Ionians, which can be seen from the smiling faces and full forms of the two figures, but there are also very prominent Etruscan features such as the lack of formal coherence, the way the legs received less sculptural volume and the emphasis on the gestures of the deceased.
45. Statue of Latona Bearing the Infant Apollo, Portonaccio temple, Veio, Etruria, Etruscan, c. 525–500 B.C.E. Acroterion terracotta statue. Museo di Villa Guilia, Rome.
46. Archermos of Chios (?) (active around 550 B.C.E.), Kore 675 or Chiotissa Kore, Athenian Acropolis, Greek, Chian (?), Archaic style, c. 520–510 B.C.E. Marble, height: 54.5 cm. Acropolis Museum, Athens.
47. The Euthydikos Kore or Kore 685 also called “The Sulky Kore”, Athenian Acropolis, Greek, Severe style, c. 490 B.C.E. Parian and pentelic marble, height: 122 cm. Acropolis Museum, Athens.
48. Kore 674, Acropolis, Athens, Greek, Attic, Archaic style, c. 500 B.C.E. Marble, height: 92 cm. Acropolis Museum, Athens.
49. Head of a Kouros, Marzabotto, Etruria, Greek, Ionian, Archaic style, c. 500 B.C.E. Marble of Cycladic provenance, height: 17.2 cm. Museo Nazionale Etrusco di Marzabotto, Marzabotto.
50. Blond Kouros’s Head, Athenian Acropolis, Greek, Severe style, c. 485 B.C.E. Marble, traces of paint, height: 25 cm. Acropolis Museum, Athens.
51. Bust of Herodotus, Benha, former Athribis, Egypt, Greek, Late Classical style, Roman copy (2nd century C.E.) of an original from the late 5th century B.C.E. Marble, height: 47.6 cm. The Metropolitan Museum of Art, New York.
52. The Celtic Prince of Glauberg, outside the larger tumulus, Glauberg, Celtic, Early La Tène style, 5th century B.C.E. Sandstone, height: 186 cm. Hessisches Landesmuseum, Darmstadt.
53. Kritios (?) (active around the 5th century B.C.E.), The Kritios Boy, Athenian Acropolis, Greek, Athenian, Severe style, c. 480–470 B.C.E. Paros marble, height: 117 cm. Acropolis Museum, Athens.
54. The Charioteer of Delphi or Heniokhos (rein-holder), Delphi, Greek, Severe style, c. 478 or 474 B.C.E. Bronze, height: 180 cm. Delphi Archaeological Museum, Delphi.
Delphi was a pan-Hellenic sanctuary, a place where people from all over the Greek world would gather to worship, consult the oracle, and participate in the Pythian games, held every four years. The games were comprised of music and sporting events, including chariot racing. This sculpture was part of a group dedicated to commemorate a victory in a chariot race, we are told by the inscription preserved on the piece. In addition to the chariot driver, there were horses, a chariot, and a groom. The lavish expenditure on the life-size monument would have represented not only the victory in the race, but also the great wealth of the donor. The bronze figure was enlivened with inlay of silver, copper, and stone in the teeth, headband, and eyes. The deep, straight folds of the drapery are in keeping with the Early Classical, or Severe, style of sculpture.
55. Symposiast (detail), south wall, Tomb of the Diver, Paestum, Greek, Classical style, c. 470 B.C.E. Fresco on limestone. In situ.
56. Velia Velcha, right wall of the tomb of Orcus I or tomb of Velcha, Tarquinia, Etruscan, Hellenistic influence, 470–450 B.C.E. Paint: cinnabar, ochre, orpiment, calcite, copper, Egyptian blue. In situ.
