63. Caryatid from the Erechtheion, second from the left on the front of the south porch, Athenian Acropolis, Greek, Classical style, c. 420 B.C.E. Marble, height: 231 cm. The British Museum, London.

      In the caryatid, the column takes its most ornate form, replaced entirely by the statue of a woman. It decorates the porch of the Erechtheion, a temple to Athena on the Acropolis in Athens, built to replace one destroyed by the Persians. In its form and decoration, this temple deviates from tradition, including not only the unusual caryatids, but also an asymmetrical plan on varying ground levels, with two porches jutting out of the main building. This atypical plan was due to the multiple shrines incorporated into the temple, and also to its placement on an uneven rocky outcrop, home to the original olive tree given to the city by Athena. The six caryatids supported the south porch, one of the unusual additions to the regular temple plan. The caryatid figures have all the solidity of form we find in other fifth-century sculpture, and therefore seem up to the task of supporting a roof. The exaggerated shift in weight, and the clinginess of the drapery, are typical of sculpture of the end of the fifth century B.C.E.

      64. Cinerary urn in shape of Mater Matuta, Pedata Necropolis, Chianciano, Etruscan, c. 430 B.C.E. Terracotta. National Archaeological Museum, Florence.

      65. Mars of Todi, Todi, Etruscan, end of the 5th century B.C.E. Bronze, hollow-cast bronze, height: 141 cm. Gregorian Etruscan Museum, Vatican City.

      The Mars of Todi (Marte de Todi) is one of the rare statues still existing from ancient Etruscan civilisation. It is a sculpture of a warrior, cast in bronze, wearing armour and, in principle, a helmet. He is preparing to perform a battle ritual by pouring liquid from a peculiar shaped cup or bowl from his extended right hand while his left hand leans on an iron spear. The style portrays strong influences from mid-fifth century Greek art and was found between two slabs of Travertine in Todi, a town located in the state of Umbria in Italy, perhaps after being struck by lightning. There is a dedicatory inscription written in the Etruscan alphabet which states that it was a gift given by a certain Ahal Trutitis.

      66. Head of an Old Man, Belvedere Temple, Orvieto, Etruscan, late 5th-4th century B.C.E. Terracotta, height: 16 cm. National Archaeological Museum, Orvieto.

      67. Mourning Woman from a funerary stele, Greek, Classical style, c. 400 B.C.E. Marble, height: 122 cm. The Metropolitan Museum of Art, New York.

      68. Polykleitus (active during the 5th century B.C.E.), Doryphoros (spear-holder), Classical style, 50-150 B.C.E. Roman copy of a Greek original, c. 450–440 B.C.E. Pentelic marble. Minneapolis Institute of Arts, Minneapolis.

      Polykleitos

      (ACTIVE DURING THE 5TH CENTURY B.C.E.)

      Polykleitos was a contemporary of Phidias, and in the opinion of the Greeks, his equal. He made a figure of an Amazon for Ephesus regarded as superior to the Amazon of Phidias made at the same time; and his colossal Hera of gold and ivory, which stood in the temple near Argos, was considered worthy to rank with the Zeus of Phidias.

      The masterpiece of Polykleitos, his Hera of gold and ivory, has of course totally disappeared. Ancient critics reproached Polykleitos for the lack of variety in his works.

      69. Polykleitus (active during the 5th century B.C.E.), Diadumenos (young man binding his hair), Diadumenos House, Delos, Classical style, 10 °C.E. Roman copy of a Greek original, c. 450–425 B.C.E. Marble, height: 195 cm. National Archaeological Museum, Athens.

      70. Lysippos (c. 395–305 B.C.E.), Hermes Fastening His Sandal, 2nd century Roman copy after Greek original, Classical style, middle of the 4th century. Marble, height: 161 cm. Musée du Louvre, Paris.

      71. Praxiteles (active between 375–335 B.C.E.), Apollo Sauroctonos (the Lizard Slayer), 1st or 2nd century C.E. Roman copy of a Greek original, Classical style, c. 340 B.C.E. Marble, height: 149 cm. Musée du Louvre, Paris.

      Praxiteles

      (ACTIVE BETWEEN 375–335 B.C.E.)

      Praxiteles of Athens is considered to be one of the greatest Attic sculptors of the fourth century B.C.E. We gained a considerable amount of knowledge about the sculptor after the discovery of the statue of Hermes and the Infant Dionysus in 1877. Among the numerous copies of his sculptures that have been acquired, the most admirable is that of Apollo Sauroctone, the lizard slayer, who is depicted as a young boy, leaning against a tree ready to catch a lizard.

      72. Votive Bust of a Woman, Etruscan, 4th century B.C.E. Terracotta. Museo Nazionale Romano, Rome.

      73. Fragmentary Male Head, Belvedere temple, Orvieto, Etruscan, early 4th century B.C.E. Terracotta, height: 14 cm. Museo Archeologico, Orvieto.

      74. The Young Lance Carrier, tomb C of Agios Athanasios necropolis, Cyprus, Macedonian influence, last quarter of the 4th century B.C.E. In situ.

      75. Lysippos (c. 395–305 B.C.E.), Hercules Farnese, Baths of Caracalla, Rome, Roman copy made c. 216 C.E. by Glycon of Athens of a Greek original, Greek, Classical style, 4th century B.C.E. Marble, height: 317 cm. (without pedestal 292 cm). Museo Archeologico Nazionale, Naples.

      This representation of Hercules Farnese is most likely an enlarged Roman copy made in the early third century C.E. of the original by Lysippos. The copy is assumed to have been made for the Baths of Caracalla in Rome where it was excavated in 1546. It is a massive muscular marble statue modelled after a bronze cast that was made through the lost wax casting method. It depicts a fatigued Hercules leaning on his giant club that is draped with the pelt of a Nemean lion. He is performing the last of The Twelve Labours, which is suggested by the Apples of Hesperides that he holds behind his back with his right hand. When the sculpture was discovered it was found in separate pieces and over time has been reassembled and restored.

      Lysippos

      (c. 395–305 B.C.E.)

      The Greek sculptor Lysippos was at the head of the School of Argos and Sicyon at the time of Philip and Alexander of Macedonia. His masterpieces amount up to about 1500 works including many statues that are colossal in size. He was particularly innovative in his perception of male body proportions. Contrary to his predecessors, he would reduce the size of the head and sculpt a strong, slender body, giving the impression of a taller almost imposing sculpture.

      76. Skopas (c. 400–350 B.C.E.), Maenad, reduced Roman copy after a Greek original, Greek, Classical style, c. 350 B.C.E. Marble, height: 45 cm. Staatliche Kunstsammlungen, Dresden.

      77. Philoxenos of Eritrea, The Alexander Mosaic (detail of Alexander the Great), House of the Faun, Pompeii, c. 100 B.C.E. Roman copy of an original Greek painting, Hellenistic style, 330–300 B.C.E. Mosaic in opus vermiculatum, height: 512 × 271 cm. Museo Archeologico Nazionale, Naples.

      78. Head of a Girl with Melon Coiffure, Sanctuary

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