33. Anonymous. Kore 678, Acropolis, Athens (Greece), c. 530 B.C.E. Marble, h: 96.4 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
34. Anonymous. Graces with Offerings, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 92 × 33 cm. Musée du Louvre, Paris (France). Greek Antiquity.
35. Anonymous. Hermes and a Grace, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 92 × 33 cm. Musée du Louvre, Paris (France). Greek Antiquity.
36. Anonymous. Apollo and the Nymphs, Passage of the Theores, Thasos (Greece), c. 480 B.C.E. Marble, 92 × 209 × 44 cm. Musée du Louvre, Paris (France). Greek Antiquity.
37. Anonymous. Leda and the Swan, copy after a Greek original created during the first half of the 5th century B.C.E. by Timotheus. Marble, h: 132 cm. Musei Capitolini, Rome (Italy). Greek Antiquity.
38. Anonymous. Youth Clad in Tight Long-Fitting Tunic, called the “Charioteer of Motya”, c. 470 B.C.E. Marble, h: 181 cm. Museo Joseph Whitaker, Motya (Italy). Greek Antiquity.
39. Anonymous. The Charioteer of Delphi, c. 475 B.C.E. Bronze, h: 180 cm. Archaeological Museum of Delphi, Delphi (Greece). Greek Antiquity.
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.
40. Anonymous. Birth of Aphrodite, detail of the “Ludovisi Throne”, c. 470–460 B.C.E. Marble, h: 90, l: 142 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.
41. Anonymous. Youth making an Offering, detail of the “Ludovisi Throne”, c. 470–460 B.C.E. Marble, h: 84 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.
42. Anonymous. Nude playing the Double Flute, detail of the “Ludovisi Throne”, c. 470–460 B.C.E. Marble, h: 84 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.
43. Anonymous. Kroisos, Anavysos, c. 525 B.C.E. Marble, h: 193 cm. National Archaeological Museum, Athens (Greece). Greek Antiquity.
44. Anonymous. The Tyrannicides Harmodius and Aristogeiton, roman copy after a Greek original created around 477 B.C.E. by Critios. Marble, h: 195 cm. Museo Archeologico Nazionale, Naples (Italy). Greek Antiquity.
Harmodius and Aristogeiton Metal was a valuable commodity in the ancient world, so sculptures made of bronze or other metals were often eventually melted down by a conquering nation or a successive ruler who did not care for the art of his predecessor. For that reason, few large-scale bronze sculptures survive from antiquity. Romans, however, had a taste for Greek art, and copied many of their bronze sculptures in stone, the material preferred by Romans. Often, the bronze original has since been lost, and the Roman copies are all that survive. Such is the case with this group, Roman copies in marble of two Greek sculptures in bronze. The subjects are Harmodius and Aristogeiton, lovers who together conspired to murder the political tyrant, Hippias. They lost their nerve and killed his brother instead, but were revered as heroes by Athenians who believed them to have murdered the tyrant. Statues of the two were erected in their honour in the Athenian Agora.
45. Anonymous. Dying Warrior, corner figure, east pediment, Temple of Aphaia, Aegina (Greece), c. 500–480 B.C.E. Marble, l: 185 cm. Glyptothek, Munich (Germany). Greek Antiquity.
Greek temples often featured large sculpture decorating the pediment, the triangular space under the eave of the roof. The first examples of pedimental sculpture show that the early artists were not adept at filling the awkward triangular space with a cohesive composition; the figures in the corners were shrunk to a diminutive scale in comparison to the central figures. However, in this pediment group from the end of the Archaic period, the sculptors showed new skill in conceiving the composition. The central figures, not shown, engage in lively battle, lunging and parrying with swords and shields. One archer crouches to take aim, his low position allowing him to fit into the smaller space toward the corner of the pediment. The Dying Warrior next to him fills that corner, the angle of his falling body perfectly fitting into the smallest part of the pediment. A single, cohesive narrative is thereby created across the triangular space, telling the story of a battle fought by local heroes.
46. Anonymous. The Battle between the Lapiths and the Centaurs, west pediment, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, height of Apollo: 330 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.
47. Anonymous. Heracles fighting the Cretan Bull, west metope, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, h: 160 cm. Musée du Louvre, Paris (France). Greek Antiquity.
48. Anonymous. Heracles receiving the Golden Apples of the Hesperides from the Hand of Atlas, while Minerva rests a Cushion on his Head, east metope, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, h: 160 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.
This metope, or square component of the frieze of the temple, is from the Temple of Zeus at Olympia, the largest and most important structure of the first half of the fifth century. Together, the metopes of the Temple of Zeus told the story of the twelve labours of Heracles. Each metope showed one of his labours, or tasks. This metope shows the eleventh labour, the apples of the Hesperides. Heracles was told he had to steal apples belonging to Zeus. He met up with Atlas, who had to hold up the world for all of time. Atlas said he would get the apples for Heracles if Heracles would hold the earth for him. In the scene shown, Atlas has returned with the apples, and Heracles must figure out how to get Atlas to take back the weight of the world. Athena stands behind Heracles, gently helping him hold his burden.
49. Anonymous. Pensive Athena, Acropolis, Athens (Greece), c. 470–460 B.C.E. Marble, h: 54 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.
Athena was the patron goddess of Athens, worshipped by Athenians on the Acropolis, and honoured in special events such as the Panathenaic festival. For her part, Athena aided the Athenians in battle and brought them prosperity through the cultivation of the olive tree. In this relief, we are meant to see the depth of her affection for the Athenians. She reads a list of Athenian soldiers