Cameo is a method of carving an object such as an engraved gem, item of jewellery or vessel. It nearly always features a raised (positive) relief image; contrast with intaglio, which has a negative image. Originally, and still in discussing historical work, cameo only referred to works where the relief image was of a contrasting colour to the background; this was achieved by carefully carving a piece of material with a flat plane where two contrasting colours met, removing all the first colour except for the image to leave a contrasting background.
The sarissa or sarisa was a long spear or pike about 5 to 7 meters in length. It was introduced by Philip II of Macedon and was used in his Macedonian phalanxes as a replacement for the earlier dory, which was considerably shorter. These longer spears improved the strength of the phalanx by extending the rows of overlapping weapons projecting towards the enemy. After the conquests of Alexander the Great, the sarissa was a mainstay during the Hellenistic era by the Hellenistic armies of the diadochi Greek successor states of Alexander's empire, as well as some of their rivals.
Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it, it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterranean, such as the Etruscans in Italy. There were a multitude of specific regional varieties, such as the South Italian ancient Greek pottery.
The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic, Classical and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
The Corinthian helmet originated in ancient Greece and took its name from the city-state of Corinth. It was a helmet made of bronze which in its later styles covered the entire head and neck, with slits for the eyes and mouth. A large curved projection protected the nape of the neck.
The Kingdom of Macedon possessed one of the greatest armies in the ancient world. It is reputed for the speed and efficiency with which it emerged from Greece to conquer large swathes of territory stretching from Egypt in the west to India in the east. Initially of little account in the Greek world, it was widely regarded as a second-rate power before being made formidable by Philip II, whose son and successor Alexander the Great conquered the Achaemenid Empire in just over a decade's time.
Vulci or Volci was a rich Etruscan city in what is now northern Lazio, central Italy.
A himation was a type of clothing, a mantle or wrap worn by ancient Greek men and women from the Archaic period through the Hellenistic period. It was usually worn over a chiton and/or peplos, but was made of heavier drape and played the role of a cloak or shawl. When the himation was used alone, without a chiton, it served both as a chiton and as a cloak. The himation was markedly less voluminous than the Roman toga. Many vase paintings depict women wearing a himation as a veil covering their faces.
The Athena Promachos was a colossal bronze statue of Athena sculpted by Pheidias, which stood between the Propylaea and the Parthenon on the Acropolis of Athens. Athena was the tutelary deity of Athens and the goddess of wisdom and warriors. Pheidias also sculpted two other figures of Athena on the Acropolis, the huge gold and ivory ("chryselephantine") cult image of Athena Parthenos in the Parthenon and the Lemnian Athena.
Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BC and end with the conquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of Ptolemaic Egypt following the Battle of Actium. A number of the best-known works of Greek sculpture belong to this period, including Laocoön and His Sons, Venus de Milo, and the Winged Victory of Samothrace. It follows the period of Classical Greek art, while the succeeding Greco-Roman art was very largely a continuation of Hellenistic trends.
South Italian is a designation for ancient Greek pottery fabricated in Magna Graecia largely during the 4th century BC. The fact that Greek Southern Italy produced its own red-figure pottery as early as the end of the 5th century BC was first established by Adolf Furtwaengler in 1893. Prior to that this pottery had been first designated as "Etruscan" and then as "Attic." Archaeological proof that this pottery was actually being produced in South Italy first came in 1973 when a workshop and kilns with misfirings and broken wares was first excavated at Metaponto, proving that the Amykos Painter was located there rather than in Athens.
The Boeotian helmet was a type of combat helmet used in Ancient Greece and Greek-influenced regions during the classical and Hellenistic periods, as well as in Ancient Rome; it possibly originated in the Greek region of Boeotia.
The Illyrian type helmet is a style of bronze helmet, which in its later variations covered the entire head and neck, and was open-faced in all of its forms. It originated in Peloponnese, ancient Greece, and was developed during the 8th and 7th centuries BC. Accurate representations on Corinthian vases are sufficient to indicate that the Illyrian type helmet was developed before 600 BC. The helmet is named today as Illyrian type for convenience due to many initial archaeological discoveries coming from the region of Illyria.
The history of Thracian warfare spans from the 10th century BC up to the 1st century AD in the region defined by Ancient Greek and Latin historians as Thrace. It concerns the armed conflicts of the Thracian tribes and their kingdoms in the Balkans. Apart from conflicts between Thracians and neighboring nations and tribes, numerous wars were recorded among Thracian tribes.
The Phrygian helmet, also known as the Thracian helmet, was a type of helmet that originated in ancient Greece, towards the close of the classical period and was used throughout the Hellenistic world until well into the period of the Roman Republic. Widely used by Greek, Macedonian, Diadochi, Italic peoples, Etruscans, Thracian, Phrygian and Dacian warriors throughout the Hellenistic and Roman republican period and by some ethnicities into Roman imperial times.
In classical antiquity, the muscle cuirass, anatomical cuirass, or heroic cuirass is a type of cuirass made to fit the wearer's torso and designed to mimic an idealized male human physique. It first appears in late Archaic Greece and became widespread throughout the 5th and 4th centuries BC. Originally made from hammered bronze plate, boiled leather also came to be used. It is commonly depicted in Greek and Roman art, where it is worn by generals, emperors, and deities during periods when soldiers used other types.
The Museum of Classical Archaeology is the teaching collection of the Department of Classics, Archaeology and Ancient History at the University of Adelaide in South Australia.
Nabataean art is the art of the Nabataeans of North Arabia. They are known for finely-potted painted ceramics, which became dispersed among Greco-Roman world, as well as contributions to sculpture and Nabataean architecture. Nabataean art is most well known for the archaeological sites in Petra, specifically monuments such as Al Khazneh and Ad Deir.
Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
Etruscan sculpture was one of the most important artistic expressions of the Etruscan people, who inhabited the regions of Northern Italy and Central Italy between about the 9th century BC and the 1st century BC. Etruscan art was largely a derivation of Greek art, although developed with many characteristics of its own. Given the almost total lack of Etruscan written documents, a problem compounded by the paucity of information on their language—still largely undeciphered—it is in their art that the keys to the reconstruction of their history are to be found, although Greek and Roman chronicles are also of great help. Like its culture in general, Etruscan sculpture has many obscure aspects for scholars, being the subject of controversy and forcing them to propose their interpretations always tentatively, but the consensus is that it was part of the most important and original legacy of Italian art and even contributed significantly to the initial formation of the artistic traditions of ancient Rome. The view of Etruscan sculpture as a homogeneous whole is erroneous, there being important variations, both regional and temporal.
