oracle - position of medium to the gods
medium - one who had direct contact, visions from the gods
city-state - A sovereign state consisting of an independent city and its surrounding territory
Archaic smile - small smile, smirk, present in archaic sculptures
amphora - all purpose storage jug
krater - vessel for mixing water and wine
kylix - drinking vessel, double handled wine cup
Acropolis - location of the Parthenon. huge temple complex
Museum - named for the muses
mosaic - A picture or decorative design made by setting small colored pieces, as of stone or tile, into a surface
Caryatid - draped female figure used instead of a column as a support
canon of Polyklitos - canon of proportion of ideal image
Polis - a city, a city-state and also citizenship and body of citizens.
Contrapposto - a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs
Agora - was an open “place of assembly” later a marketplace
Stoa - covered walkways or porticos, commonly for public usage
Tholos - round buildings
hollow casting - prosses of making sculptures from broze using a mold
styobate - base of temple
Capital - top of column
pediment - triangle at top of temple
Cella - rectangluar main room of temple
orthogonal - perpindicular, right angle
acanthus leaf - on corithian columns
Hellenistic - During this period sculpture became more and more naturalistic. Common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens. Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection.
Doric -
In their original Greek version, Doric columns stood directly on the flat pavement (the stylobate) of a temple without a base; their vertical shafts were fluted with 20 parallel concave grooves; and they were topped by a smooth capital that flared from the column to meet a square abacus at the intersection with the horizontal beam (entablature) that they carried.
Pronounced features of both Greek and Roman versions of the Doric order are the alternating triglyphs and metopes. The triglyphs are decoratively grooved with three vertical grooves (tri-glyph) and represent the original wooden end-beams, which rest on the plain architrave that occupies the lower half of the entablature. Under each triglyph are peglike stagons or guttae (literally: drops) that appear as if they were hammered in from below to stabilize the post-and-beam (trabeated) construction. They also served to “organize” rainwater runoff from above. A triglyph is centered above every column, with another (or sometimes two) between columns, though the Greeks felt that the corner triglyph should form the corner of the entablature, creating an inharmonious mismatch with the supporting column. The spaces between the triglyphs are the metopes. They may be left plain, or they may be carved in low relief.
Ionic -
The Ionic order ( Greek ιωνικός ρυθμός ) forms one of the three orders or organizational systems of classical architecture, the other two canonic orders being the Doric and the Corinthian. (There are two lesser orders, the stocky Tuscan order and the rich variant of Corinthian, the Composite order, added by 16th century Italian architectural theory and practice.)
The Ionic order originated in the mid-6th century BC in Ionia, the southwestern coastland and islands of Asia Minor settled by Ionian Greeks, where an Ionian dialect was spoken. The Ionic order column was being practiced in mainland Greece in the 5th century BC. The first of the great Ionic temples was the Temple of Hera on Samos, built about 570 BC–560 BC by the architect Rhoikos. It stood for only a decade before it was leveled by an earthquake. It was in the great sanctuary of the goddess: it could scarcely have been in a more prominent location for its brief lifetime. A longer-lasting 6th century Ionic temple was the Temple of Artemis at Ephesus, one of the Seven Wonders of the Ancient World.
The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform; The cap is usually enriched with egg-and-dart. Originally the volutes lay in a single plane (illustration at right); then it was seen that they could be angled out on the corners. This feature of the Ionic order made it more pliant and satisfactory than the Doric to critical eyes in the 4th century BC: angling the volutes on the corner columns, ensured that they “read” equally when seen from either front or side facade. The 16th-century Renaissance architect and theorist Vincenzo Scamozzi designed a version of such a perfectly four-sided Ionic capital; Scamozzi’s version became so much the standard, that when a Greek Ionic order was eventually reintroduced, in the later 18th century Greek Revival, it conveyed an air of archaic freshness and primitive, perhaps even republican, vitality.[1]
Corinthian -
The Corinthian order is one of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric and Ionic. When classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order. The Corinthian, with its offshoot the Composite, is the most ornate of the orders, characterized by slender fluted columns and an elaborate capitals decorated with acanthus leaves and scrolls.
