Surname 1 Question 2 Terracotta krater Attributed to the Hirschfeld Workshop Period: Geometric Date: ca. 750–735 B.C. Culture: Greek, Attic Medium: Terracotta Dimensions: H. 42 5/8 in. (108.3 cm) diameter 28 1/2 in. (72.4 cm) Stele of Naram-Sin From Sippar; found at Susa (present-day Shush, Iran). Naram-Sin r. 2254-2218 BCE. Limestone, Height 6’66’’ (1.98 m). Musee du Louvre, Paris. Thesis: The Terracotta krater and the Victory Stele of Naram-Sin are both a representation of the specific cultural and historical events during that time. The Terracotta krater was a large vase that was often decorated with funerary representation. Consequently, the Victory Stele of Naram-Sin was a symbol of the gods of Akkadians and how their king, Naram-Sin, defeated the Lullubi people of present-day Iran. Both images are a representation of some of the military exploits and practices of individuals during ancient times. The Terracotta krater has figures that of the deceased with shields and chariots and this is a representation of the military escapades of the community in question. Further, the painting and scene on the large vases evoked some glorious ancestry and traditions to which the dead man belonged thus upholding cultural practices through the paintings. Also, the Victory Stele of Naram-Sin monument is a representation of the military successes of Naram-Sin and his soldiers with the help of his steel. King Naram-Sin had great military authority as depicted in the monument. Also, both of these pieces of art were made from stone with Terracotta krater being carved from stone while the Stele of Naram-Sin was made from limestone. However, a notable difference between these two pieces of art is the fact that: · The Terracotta krater was made during the archaic period while the Stele of Naram-Sin was made during the time of the Akkadian empire. Question 3 The Palette of Narmer from Hierakonpolis. Early Dynastic period, c. 2950 BCE. Green schist, height 25" (64 cm). Egyptian Museum, Cairo. (JE 32169 = CG 14716) © Akg-images/Erich Lessing. [Fig. 03-02] Kylix Epiktetos/Python c. 510 BCE Thesis: The Palette of Narmer from Hierakonpolis and Kylix Epiktetos/Python c. 510 BCE was both a representation of the scenes of daily lives. The Palette of Narmer from Hierakonpolis is virtually a representation of the ancient Egyptian culture and the artifact was important of Egyptian civilization. The palette itself acted as a visual representation of an object in a monumental version of a daily used item that was used in the predynastic period. Some other aspects in the pallete such as the dark eyeliner and the dark streaks and black cosmetics as features that formed an important aspect of their daily life. On the other hand, the was the painting of a vessel that was commonly used in the ancient Greek culture. The painting is also a representation of the satyr clasps that appeared as a lover thus a portrayal of some of the acts during that time. The image was also.

1. Surname 1
Question 2
Terracotta krater Attributed to the Hirschfeld Workshop Period:
Geometric Date: ca. 750–735 B.C. Culture: Greek, Attic
Medium: Terracotta Dimensions: H. 42 5/8 in. (108.3 cm)
diameter 28 1/2 in. (72.4 cm)
Stele of Naram-Sin
From Sippar; found at Susa (present-day Shush, Iran). Naram-
Sin r. 2254-2218 BCE. Limestone,
Height 6’66’’ (1.98 m). Musee du Louvre, Paris.
Thesis: The Terracotta krater and the Victory Stele of Naram-
Sin are both a representation of the specific cultural and
historical events during that time. The Terracotta krater was a
large vase that was often decorated with funerary
representation. Consequently, the Victory Stele of Naram-Sin
was a symbol of the gods of Akkadians and how their king,
Naram-Sin, defeated the Lullubi people of present-day Iran.
Both images are a representation of some of the military
exploits and practices of individuals during ancient times. The
Terracotta krater has figures that of the deceased with shields
and chariots and this is a representation of the military
escapades of the community in question. Further, the painting
and scene on the large vases evoked some glorious ancestry and
traditions to which the dead man belonged thus upholding
cultural practices through the paintings. Also, the Victory Stele
of Naram-Sin monument is a representation of the military
successes of Naram-Sin and his soldiers with the help of his
steel. King Naram-Sin had great military authority as depicted
in the monument.
Also, both of these pieces of art were made from stone with

2. Terracotta krater being carved from stone while the Stele of
Naram-Sin was made from limestone.
However, a notable difference between these two pieces of art is
the fact that:
· The Terracotta krater was made during the archaic period
while the Stele of Naram-Sin was made during the time of the
Akkadian empire.
Question 3
The Palette of Narmer from Hierakonpolis. Early Dynastic
period, c. 2950 BCE. Green schist, height 25" (64 cm). Egyptian
Museum, Cairo. (JE 32169 = CG 14716) © Akg-images/Erich
Lessing. [Fig. 03-02]
Kylix Epiktetos/Python c. 510 BCE
Thesis: The Palette of Narmer from Hierakonpolis and Kylix
Epiktetos/Python c. 510 BCE was both a representation of the
scenes of daily lives. The Palette of Narmer from Hierakonpolis
is virtually a representation of the ancient Egyptian culture and
the artifact was important of Egyptian civilization. The palette
itself acted as a visual representation of an object in a
monumental version of a daily used item that was used in the
predynastic period. Some other aspects in the pallete such as the
dark eyeliner and the dark streaks and black cosmetics as
features that formed an important aspect of their daily life. On
the other hand, the was the painting of a vessel that was
commonly used in the ancient Greek culture. The painting is
also a representation of the satyr clasps that appeared as a lover
thus a portrayal of some of the acts during that time. The image
was also a caution against overindulgence while a drinker was
having wine, lest they became subhuman and they were tempted
to get naked of unkempt.
Both of these pieces are a representation of some of the
daily practices that occurred during the ancient times.

3. Also, both the Palette of Narmer From Hierakonpolis and
Kylix Epiktetos/Python c. 510 BCE
Were ceremonial objects as they were both used for leisure and
ceremonial purposes.
However, the Palette of Narmer was sacred and often used
for religious purposes and in temples while the Kylix
Epiktetos/Python c. 510 BCE was used for leisure and
enjoyment purposes in wine ceremonies and was a
representation of unreligious acts such as obscenity.
Final Exam- Section 2: Short Answer
4 of these 8 Essay Questions Will appear on the final exam.
You will be asked to answer 2 of the 4 questions that appear
on the midterm.
In your responses, you will write a two-sentence thesis and
3-5 comparative points. Think about:
1. HOW the images look (formal similarity or difference)
2. WHY the formal similarity or difference exists (historical
context and iconography).
In your 3-5 points, you can talk about iconography, formal
similarities and differences, media, historical context,
political meanings, etc. But make sure that EACH point is
comparative. That is, you must talk about both objects in
each point.
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Rights Reserved

4. You will be graded on:
1.Whether you have a coherent thesis.
2.The extent to which your discussion is comparative.
3.The inclusion of both historical and formal elements.
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All
Rights Reserved
Question 1
Icon with a Bust of the Archangel Michael
10th-11th C
Treasury, Basilica di San Marco (Venice, Italy)
Vita Icon of Saint George, Athens 13th century
Question 2
Sarcophagus in marble, late fourth/early fifth century CE.
Milan: Santa Maria dei Miracoli presso San Celso.

5. Reliquary of the Foot of St. Blaise
Artist: Workshop of Hugo of Oignies
Date: ca. 1260
Material: Silver gilt, copper gilt over wood, rock crystal
Dimensions: 25 × 25 cm
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Rights Reserved
Question 3
Church of the Panagia Arakiotissa, Lagoudera, 12th century
Chartres Cathedral
West Portals
1150
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Rights Reserved
Question 4

6. Mary and the child enthroned among the Saints Theodor of
Amasea
and George and angels. Encaustic icon from the end of the 6th
century.
Reliquary Tabernacle with
Virgin and Child
Artist: Naddo Ceccarelli (active
ca. 1330–60)
Date: ca. 1350
Material: Tempera, gold, and
glass on panel
Dimensions: 62.1 x 43.2 x 9.4
cm
Provenance: Arnold Seligmann,
Rey and Co., New York (date
and mode of acquisition
unknown); Henry Walters,
Baltimore, 1920, by purchase;
Walters Art Museum, 1931, by
bequest.
Question 5

7. Reliquary Pendant for the Holy
Thorn
Culture: French (Paris)
Date: ca. 1340
Material: Gold, enamel (basse-
taille), amethyst, rock crystal,
vellum, thorn
Dimensions: 4 × 2.65 × 2.5 cm
Provenance: George Salting,
London (date and mode of
acquisition unknown); The
British Museum, London, 1902,
by donation
Crucifix of Don Fernando y Dona Sancha
C. 1063, Ivory
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Rights Reserved
Question 6
Crucifix of Don Fernando y Dona Sancha

8. C. 1063, Ivory
Lucca, Pinacoteca Nazionale Di Palazzo Mansi (Picture
Gallery) Crucifix, by Berlinghiero Berlinghieri, 13th
Century
3.
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Rights Reserved
Question 7
Rossano Gospels, gold and tempera
on purple-dyed vellum, made in
Constantinople (?) early 6th cent
5.
Bible Moralisée
c. 1220-30
Illumination on Parchment
Österreichische Nationalbibliothek, Vienna

9. Copyright © 2018, 2014, 2011 Pearson Education, Inc. All
Rights Reserved
Question 8
Panels from a Window Showing the Life and Martyrdom of St.
Vincent of Saragossa
Culture: French (Paris)
Date: ca. 1245
Material: Vitreous paint, colored glass
Dimensions: lancet: 337.2 × 110.5 cm, panel (with supporting
frame): 67.4 × 44.5 cm
The Abbey of Saint-Germain-des-Prés
Sinai hexaptych
Panel with images of the Virgin
And Christological Cycle
Monastery of St. Catherine, Mt. Sinai, late 11th century
Culture: Sumerian
Title: Warka Vase: Goddess Innana behind her symbols (two
sheaves of reed); detail from a
limestone cult vase from Uruk, Mesopotamia Work Type:
sculpture
Date: 3200-3000 BCE

10. Material: stone
Title: The Palette of Narmer (front) Date: 1st dynasty, circa
3000 BCE Material: slate
Measurements: height: 63.5 cm
Description: From Hierakonpolis, Kom el-Ahmar
Midterm Short Answer
You will write a two-sentence thesis and 3-5 comparative
points. Each point should explain: 1. HOW the images look
(similarity or difference)
2. WHY the formal similarity or difference exists.
Sample Response
Thesis: The Warka Vase, a Sumerian Vase made around 3,000
BCE, and The Palette of Narmer an Egyptian palette from
roughly the same period, represent divine figures in shallow
relief. While the Warka vase represents a space that is similar to
the temple where the vase was found, the Narmer palette
commemorates a specific, historical event and its immediate
aftermath.
· Both objects represent a procession of figures. [note the
comparative points don’t have to be in complete sentences. But
they should be comparative points that support the topic
sentence, which support the thesis.]
· In the Narmer Palette, these figures are walking to next to the
ruler to survey two rows of decapitated bodies, indicating his
military might.
· In the Warka Vase, the naked figures are moving in
continually in a circle below the god Inanna as they carry goods
to her as offering.
· The authority of the divine figure is indicated by the fact that
they are the largest figures represented.
· In the Warka Vase, Inanna is the largest figure and placed at
the top of the vase, suggesting that the lower registers are
moving to her.
· In the Narmer palette, Narmer is large and in the center of the
image, suggesting that he is connected to all of the figures

11. represented.
· The figures in both objects are separated in different registers.
· In the Warka vase, the compartmentalization of space happens
in four separate planes that do not intersect.
· in the Narmer palette, the figures seem distinct, but they are
more commingled. Narmer’s enemies are never perpendicular to
the horizontal ground lines.
· The figures and objects in the Warka vase are represented
moving around the vase, which is like the movement of the
viewers to her temple. The Narmer Palette represents a series of
scenes that are all tied together, but in no clear or linear order.
The viewer has to put the pieces of the story together.
(ADDING MORE HISTORICAL DETAILS TO THIS OUTLINE
WOULD BE VERY GOOD, for example, unification of Upper
and Lower Egypt, etc.) But this is the basic structure you will
want to follow: comparison of visual facts and some
formal/historical interpretation.
Some questions you MIGHT consider for the final exam
comparisons.
Question 1
How is the worshiper invited to engage with these images? To
what extent do these objects
invite the viewer to think about the story of a saint’s life?
Question 2
How is a holy body represented? How is the viewer invited to
think about sacred bodies?

12. Question 3
How does the arrangement of the figures guide the viewer’s
gaze? What kinds of spiritual
meanings are produced after the viewer has understood the
relationship between the figures
represented?
Question 4
How are holy bodies represented? What theological meanings
are tied to the formal aspects of
the images?
Question 5
To what extent do these objects reference styles of past art?
Why is the reference to past art
important in these objects? How are viewers invited to interact
with the image?
Question 6
How does the arrangement of the figures guide the viewer’s
gaze? What kinds of spiritual
meanings are produced after the viewer has understood the
relationship between the figures
represented?
Question 7
How should we understand the visual complexity of these
images? What types of stories are
being told? How are these stories communicated visually?
Question 8

13. Why are there multiple versions of the same holy bodies
represented in the same image? How
do these bodies create a sense of the importance of specific
geographic locations?