This document contains descriptions and images related to art and architecture from ancient Greece, including:
1) Descriptions of sculptures, paintings and buildings from ancient Greek sites like the Parthenon in Athens, the palace of Knossos in Crete, and the theater of Epidaurus.
2) Images and discussions of famous Greek sculptures like the Kouros, Calf Bearer, and Three Goddesses from the Parthenon's east pediment.
3) Details on Greek architectural structures such as the Parthenon, Erechtheum, and the reconstructed Acropolis at Pergamon.
A slide presentation created for a college-level presentation in 2008 of the beautiful and diverse art of Japan; from the dawn of a culture to the 19th century. Some visual and conceptual comparisons are drawn between Eastern and Western traditions. Enjoy!
Udalberriak 158 - Enero 2013 - Enkarterri Greenencartaciones
Ya está en la calle el nuevo número del Udalberriak, el 158. Entre otros temas, podrás encontrar información sobre: el encuentro empresarial Enkarterri Green, los Presupuestos Municipales para el 2013, los plenos de diciembre y enero, el programa de Carnavales, más cine digital, agenda cultural, triunfos en deporte, datos turísticos del 2012, los premios del Concurso de Escaparates de Bizkaia, el comienzo de los plazos de inscripción en los distintos centros educativos y un largo etcétera.
Entornos de Cloud Computing para el ámbito público y la defensa nacional. Fortalezas, Debilidades, Consideraciones.
Práctica Forense en entornos de Cloud Computing.
A slide presentation created for a college-level presentation in 2008 of the beautiful and diverse art of Japan; from the dawn of a culture to the 19th century. Some visual and conceptual comparisons are drawn between Eastern and Western traditions. Enjoy!
Udalberriak 158 - Enero 2013 - Enkarterri Greenencartaciones
Ya está en la calle el nuevo número del Udalberriak, el 158. Entre otros temas, podrás encontrar información sobre: el encuentro empresarial Enkarterri Green, los Presupuestos Municipales para el 2013, los plenos de diciembre y enero, el programa de Carnavales, más cine digital, agenda cultural, triunfos en deporte, datos turísticos del 2012, los premios del Concurso de Escaparates de Bizkaia, el comienzo de los plazos de inscripción en los distintos centros educativos y un largo etcétera.
Entornos de Cloud Computing para el ámbito público y la defensa nacional. Fortalezas, Debilidades, Consideraciones.
Práctica Forense en entornos de Cloud Computing.
Ghair mahram ka sharyee hukam by allama abdul rehman muhibbiMuhammad Tariq
Ghair Mahram Ka Sharyee Hukam By Allama Abdul Rehman Muhibb, ghair mahram, nikah , zauj, zoja, islam and family law, brother of husband,ghair mahram kon hey, allama abdul rehman muhibbi, ala hazrat, imam ahmad raza khan,
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Ancient Egyptian Art
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Ancient Egypt
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People, boats, and animals, detail of a watercolor copy of a wall painting from tomb 100 at Hierakonpolis, Egypt, Predynastic, ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X 3’ 7 3/8”. Egyptian Museum, Cairo.
Predynastic, Early Dynasties, and the Old Kingdom
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Stylistic Conventions of Egyptian Art
Palette of Narmer: a blueprint for a formula for figure representation and other conventions seen in Egyptian art for nearly 3000 years.
Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate, 2’ 1” high. Egyptian Museum, Cairo.
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Early Funerary Architectural Forms
Section (top), plan (center),and restored view (bottom) of typical Egyptian mastaba tombs.
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IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Restored view (top) and plan (bottom) of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Detail of the facade of the north palace of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Aerial view of the Fourth Dynasty pyramids (looking north), Gizeh, Egypt. From bottom: Pyramids of Menkaure, ca. 2490–2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca. 2551–2528 BCE.
The Pyramids
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Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca. 2551–2528 BCE.
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Model of the pyramid complex, Gizeh, Egypt. Harvard University Semitic Museum, Cambridge. 1) Pyramid of Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre, 4) causeway, 5) Great Sphinx, 6) valley temple of Khafre, 7) Pyramid of Khufu, 8) pyramids of the royal family and mastabas of nobles.
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Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Diorite, 5’ 6” high. Egyptian Museum, Cairo.
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Sculptors at work, detail of the south wall of the main hall of the funerary chapel of Rekhmire, Thebes, Egypt, 18th Dynasty, ca. 1425 BCE.
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Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Sandstone, 65’ X 240’.
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Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston.
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Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca. 2500 BCE. Painted limestone, 1’ 9” high. Musée du Louvre, Paris.
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Ti watching a hippopotamus hunt, relief in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450–2350 BCE. Painted limestone, 4’ high.
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Goats treading seed and cattle fording a canal, reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450 – 2350 BCE. Painted limestone.
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Middle Kingdom
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The Aegean (Bronze Age) (Presentation) Author De Anza CollegeJoão Ramos
The Aegean (Bronze Age) (Presentation) Author De Anza College
Para compreender melhor a idade do Bronze, com base científica, para trabalhos académicos
‘8 Sentence Body Paragraph’ Essay Template (22-sentence)Introducti.docxanhlodge
‘8 Sentence Body Paragraph’ Essay Template (22-sentence)
Introduction ¶(Includes thesis)
Body ¶ #1
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact )(In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Body ¶ #2
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact) (In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Conclusion ¶(Includes summary)
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Ancient Greek Art
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The Greek World
Map 5-1 The Greek world.
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Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high. Metropolitan Museum of Art, New York.
Geometric Period
(9th – 8th centuries BCE)
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DIPYLON PAINTER, Geometric amphora with mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 750 BCE. 5’ 1” high. National Archaeological Museum, Athens.
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Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE. Bronze, 4 1/2” high. Metropolitan Museum of Art, New York (gift of J. Pierpont).
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Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8” high. Museum of Fine Arts, Boston.
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Eleusis Amphora – front, 675-650 BCE
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Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625–600 BCE. 1’ 2” high. British Museum, London.
Observe the creatures on this black-figure amphora. Are there any precedents for such composite creatures?
Orientalizing Period (7th century BCE)
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Lady of Auxerre, from Crete, probably Eleutherna, Greece, ca. 650–625 BCE. Limestone, 2’ 1 1/2” high. Musée du Louvre, Paris.
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kouros (male youth)/kouroi (pl.)
kore (maiden)/korai (pl.).
Archaic Period (6th century BCE)
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Kouros, from Attica, possibly Anavysos, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York.
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Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4” high. National Archaeological Museum, Athens.
Why did Greek artists render the male form in the nude?
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Calf Bearer, dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE. Marble, restored height 5’ 5”; fragment 3’ 11 1/2” high. Acropolis Museum, Athens.
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Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, 4’ high. Acropolis Museum, Athens.
Notice traces of encaustic paint on the Peplos Kore. Most Greek stone statues were painted.
Notice also that the Peplos Kore is clothed.
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Kore in Ionian dress, from the Acropolis, Athens, Greece, ca. 520–510 BCE. Marble, 1’ 9” high. Acr.
King Ludwig I, an enthusiastic admirer of antiquity, assembled while still Crown Prince a collection of Greek and Roman sculpture of international importance. In order to make this collection available to a wide public, he had the Munich Glyptothek built by Leo von Klenze opened it in 1830.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
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Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
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The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
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Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
3. Bull-leaping in ancient Crete, fresco from the royal palace at Knossos, Crete. c. 1500
BCE. The Art Archive/Heraklion Museum/Gianni Dagli Orti. [Fig. 3-2]
4. Snake Goddess, from the royal palace at Knossos, Crete. c. 1600 BCE.
Faience. Height 11" (30 cm).
The Art Archive/Heraklion Museum/Gianni Dagli Orti. [Fig. 3-3]
6. Fighting over the body of Patroclus, scene from a black-figure vase. c. 530 BCE.
National Archaeological Museum, Athens/Gianni Dagli Orti. [Fig. 3-5]
7. Citharode and listeners, from a vase painting by the Attic master Andokides. c. 530 BCE.
Louvre, Paris. Reunion des Musees Nationaux. [Fig. 3-6]
8. Funerary krater from the Dipylon Cemetery, Athens. c. 750–700 BCE.
Attributed to the Hirschfeld Workshop.
Ceramic. Height 42-5∕8".
Metropolitan Museum of Art, New York/Art Resource/Scala, Florence. [Fig. 3-7]
16. Ictinus and Callicrates, the Parthenon, Athens. 447– 432 BCE.
Pentelic marble. Length 228 × 104' (69.5 × 31.7 m), height of columns 34' (10.36 m).
Exterior and sectional view (reconstruction). Drawing with watercolor by Peter Connolly.
akg-images. [Fig. 3-15]
24. Zeus of Artemision (also called Poseidon). Mid-5th century BCE.
Bronze. Height 6' 10" (2 m).
National Museum, Athens. The Bridgeman Art Library. [Fig. 3-23]
25. Praxiteles. Aphrodite of Cnidos. Roman copy after original of c. 350–340 BCE.
Marble. Height 6' 8" (2.03 m).
Vatican Museums, Rome. Monumenti Musei e Gallerie Pontificie SCALA. [Fig. 3-24]
26. Praxiteles. Hermes and the Infant Dionysus. c. 340 BCE.
Marble copy of original. Height 7' 1" (2.16 m).
Archaeological Museum, Olympia. Scala, Florence. [Fig. 3-25]
27. Theater at Epidaurus, Greece. c. 350 BCE.
Diameter 373' (114 m), orchestra 66' (20 m). Craig & Marie Mauzy.
[Fig. 3-26]
28. The dramatic poet Menander holding a mask. Roman copy of a late Hellenistic original.
Museo Gregoriano Profano, Vatican Museum, Vatican State. Werner Forman Archive.
[Fig. 3-27]
29. Contest of Apollo and Marsyas. Relief from Mantineia, Greece. c. 350 BCE.
National Museum, Athens. Scala, Florence. [Fig. 3-28]
30. Alexander at the Battle of Issus, from the House of the Faun, Pompeii. 2nd
century BCE.
Copy after original painting of c. 320– 311 BCE.
Mosaic. 8' 10" × 16' 9" (2.69 × 5.11 m).
Museo Nazionale, Naples. Fotografica Foglia. [Fig. 3-29]
32. Dying Gaul, Roman copy after bronze original. c. 225 BCE.
Marble. Height 35-1∕2" (91 cm), length 6' 3" (1.91 m).
Museo Capitolino, Rome. Scala, Florence. [Fig. 3-31]
33. Agesander, Athenodorus, and Polydorus of Rhodes. Laocoön and his Two Sons. c. 150 BCE.
Marble. Height 8 ' (2.44 m).
Vatican Museums, Rome. Photo Scala, Florence - courtesy of the Ministero Beni e Att.
Culturali. [Fig. 3-32]
Editor's Notes
The Parthenon, Athens.Werner Forman Archive. [Fig. 3-1]
Ancient Greece.[Map 3.1]
Bull-leaping in ancient Crete, fresco from the royal palace at Knossos, Crete. c. 1500 BCE. The Art Archive/Heraklion Museum/Gianni Dagli Orti. [Fig. 3-2]
Snake Goddess, from the royal palace at Knossos, Crete. c. 1600 BCE. Faience. Height 11" (30 cm). The Art Archive/Heraklion Museum/Gianni Dagli Orti. [Fig. 3-3]
Fighting over the body of Patroclus, scene from a black-figure vase. c. 530 BCE.National Archaeological Museum, Athens/Gianni Dagli Orti. [Fig. 3-5]
Citharode and listeners, from a vase painting by the Attic master Andokides. c. 530 BCE. Louvre, Paris. Reunion des Musees Nationaux. [Fig. 3-6]
Funerary krater from the Dipylon Cemetery, Athens. c. 750–700 BCE.Attributed to the Hirschfeld Workshop.Ceramic. Height 42-5∕8".Metropolitan Museum of Art, New York/Art Resource/Scala, Florence. [Fig. 3-7]
Grave stele of Hegeso. c. 410–400 BCE.Marble. Height 4' 11" (1.5 m).National Archaeological Museum, Athens/SCALA. [Fig. 3-13]
Model reconstruction of the Athenian acropolis. [Fig. 3-14]
Ictinus and Callicrates, the Parthenon, Athens. 447– 432 BCE.Pentelic marble. Length 228 × 104' (69.5 × 31.7 m), height of columns 34' (10.36 m). Exterior and sectional view (reconstruction). Drawing with watercolor by Peter Connolly. akg-images. [Fig. 3-15]
Zeus of Artemision (also called Poseidon). Mid-5th century BCE.Bronze. Height 6' 10" (2 m).National Museum, Athens. The Bridgeman Art Library. [Fig. 3-23]
Praxiteles. Aphrodite of Cnidos. Roman copy after original of c. 350–340 BCE.Marble. Height 6' 8" (2.03 m).Vatican Museums, Rome. Monumenti Musei e Gallerie Pontificie SCALA. [Fig. 3-24]
Praxiteles. Hermes and the Infant Dionysus. c. 340 BCE.Marble copy of original. Height 7' 1" (2.16 m).Archaeological Museum, Olympia. Scala, Florence. [Fig. 3-25]
Theater at Epidaurus, Greece. c. 350 BCE.Diameter 373' (114 m), orchestra 66' (20 m). Craig & Marie Mauzy.[Fig. 3-26]
The dramatic poet Menander holding a mask. Roman copy of a late Hellenistic original.Museo Gregoriano Profano, Vatican Museum, Vatican State. Werner Forman Archive.[Fig. 3-27]
Contest of Apollo and Marsyas. Relief from Mantineia, Greece. c. 350 BCE. National Museum, Athens. Scala, Florence. [Fig. 3-28]
Alexander at the Battle of Issus, from the House of the Faun, Pompeii. 2nd century BCE. Copy after original painting of c. 320– 311 BCE.Mosaic. 8' 10" × 16' 9" (2.69 × 5.11 m).Museo Nazionale, Naples. Fotografica Foglia. [Fig. 3-29]
Dying Gaul, Roman copy after bronze original. c. 225 BCE.Marble. Height 35-1∕2" (91 cm), length 6' 3" (1.91 m).Museo Capitolino, Rome. Scala, Florence. [Fig. 3-31]
Agesander, Athenodorus, and Polydorus of Rhodes. Laocoön and his Two Sons. c. 150 BCE.Marble. Height 8 ' (2.44 m).Vatican Museums, Rome. Photo Scala, Florence - courtesy of the Ministero Beni e Att. Culturali. [Fig. 3-32]