Pericles of Athens

Who was Pericles and what is his

contribution to Greek art

• After the Persian wars

• Athens emerges victorious and

strong. Its leader was Pericles.
• Aristocrat from pro democratic
family.
• Annually elected official but in effect
came to lead Athens.
• 443BC Proposed to make Athens
into the greatest city.
• Pericles was an influential and
important leader of Athens between
the Persian and Peloponnesian
wars,
• descending from the Alcmaeonidae
family
461 BC to 379 BC "The Age of
Pericles".
• Responsible for a great many building
projects which include most of the surviving
structures on the Acropolis (including the
Parthenon).
• He also persuaded the city to build the Long
Walls that protected the four-mile route to
Piraeus, the sea port for Athens.
• Very Pragmatic and shrewd to grab for power
would be dangerous one could be ostracised
as a Tyrant
• Promoted the interests of the demos -- the
most numerous classes of middle and low
income citizens.
• Pericles was educated by the sophist Daman,
who taught him politics, by Zeno the Eleatic
who taught him argumentation, and by
Anaxagoras who taught him nobility of
purpose and character.
How Democratic was
Democracy?
1. All citizens were eligible to speak and
vote in the Assembly, which set the
laws of the city-state.
2. However, the Athenian citizenship was
only for males born from a father who
was citizen and who had been doing
their "military service" between 18 and
20 years old;
3. this excluded women, slaves,
foreigners (μέτοικοι / metoikoi) and
males under 20 years old.
4. Of the 250,000 inhabitants only some
30,000 on average were citizens. Of
those 30,000 perhaps 5,000 might
regularly attend one or more meetings
of the popular Assembly.
5. Most of the officers and magistrates of
Athenian government were allotted;
only the generals (strategoi) and a few
other officers were elected
• The Pnyx is a small, rocky hill
surrounded by parkland, with a large
flat platform of eroded stone set into its
side, and by steps carved on its slope.
• It was the meeting place of the world's
first democratic legislature, the
Athenian ekklesia (assembly), and the
flat stone platform was the bema, the
"stepping stone" or speakers' platform.
• As such, the Pnyx is the material
embodiment of the principle of isēgoria
(Greek: ἰσηγορία), "equal speech", i.e.
the equal right of every citizen to
debate matters of policy.
• The other two principles of democracy
were isonomia (Greek: ἰσονομία),
equality under the law, and isopoliteia
(Greek: ἰσοπολιτεία), equality of vote
and equal opportunity to assume
political office.
• The right of isēgoria was expressed by
the presiding officer of the Pnyx
assembly, who formally opened each
debate with the open invitation "Tis
agoreyein bouletai?" (Greek: "Τίς
ἀγορεύειν βούλεται;", "Who wishes to
speak?").
Cimon was a political rival of
Pericles for many years.

• Cimon was wealthy aristocrat

gained favour with the people
with political favours and
spending.

• Pericles spent public money in

building projects.
• eventually able to have Cimon
ostracized and banished from the
city for a period of time.

• However, Cimon returned to lead

Athenians in a battle against
Sparta. Unfortunately, some
friends of Pericles had Cimon
sent away and the battle went
badly for the Athenians.

• At that point, Pericles was able

to look past his own ambitions,
and recalled Cimon so that
Athens might be victorious.
Throughout his forty-year predominance
 Pericles was cautious and did not take on
opponents without first weighing his
options and measuring his potential losses.
 Infatuation with a woman named Aspasia
affected way in which he initiated conflicts.
According to Plutarch, Pericles was
persuaded by her to mount an expedition
against one of her enemies.
 Pericles began to fall out of favour in
Athens while still being able to maintain
power. The Spartans attacked and he
ordered that Athens should prepare for a
siege.

 Unfortunately, during the siege, a plague

spread through Athens and its allies, but
not to its enemies, killing many, including
Pericles himself and most of his family.
However, after Pericles lost his last
Athenian son, the Athenians allowed a
change in the law that made Pericles' non-
Athenian son a citizen and legitimate heir.
• Unfortunately the information we have about
Pericles is highly distorted by centuries of
legends and myth.
• The biography most people rely on is written by
Plutarch, who lived about 500 years after
Pericles.
• Plutarch was more interested in studying the
character of men than in writing history.
• Pericles is also featured in Thucydides' History
of the Peloponnesian War, which includes
accounts of several of Pericles' speeches
 In The Peloponnesian War, Thucydides writes:
Of the events of the war I have not ventured to
speak from any chance information, nor
according to any notion of my own; I have
described nothing but what I either saw myself,
or learned from others of whom I made the most
careful and particular inquiry. The task was a
laborious one, because eyewitnesses of the
same occurrences gave different accounts of
them, as they remembered or were [partial to]
one side or the other. And very likely the strictly
historical character of my narrative may be
disappointing to the ear. But if he who desires
to have before his eyes a true picture of the
events which have happened, and of the like
events which may be expected to happen
hereafter in the order of human things shall
pronounce what I have written to be useful, then
I shall be satisfied. My history is an everlasting
possession, not a prize composition which is
heard and forgotten
View of the Acropolis from the southeast. Taken from the Ardettos Hill.
View of the Acropolis, its South and East Slopes, and the Olympieion from the
Ardettos Hill. Especially prominent is the large East Cave. Note also the steep,
projecting spur of rock immediately to the right of the East Cave. This is one of
the steepest parts of the Acropolis and may have been the spot where the
Persians finally scaled the citadel in 480 B.C. View from the southeast.
 Temple to Hera II, showing Doric Order and Doric Entablature, limestone;
Archaic Period; Paestum, Italy, c. 470-60 BCE. (Greek Archaic temples of the
7th through the 6th centuries BCE. are lower, longer, and have thicker
columns than do the temples of the Classical period of the 5th. through 4th
centuries BCE. Note, the thicker columns and the wider capitals of the
Temple of Hera II, compared with the equivalent components of the
Parthenon).
Doric, evolved on the western shore.
The Doric style is rather sturdy and its top (the capital), is plain. This style
was used in mainland Greece and the colonies in southern Italy and Sicily.
The Doric column has a dish-shaped top, or capital, and no base, while the
Ionic has paired volutes at its capital and carved rings at its base. The
lintels, or entablatures, spanning the columns are also distinct, the Doric
having a row of projecting blocks, or triglyphs, between sculpted metopes.
Three architectural styles
A. The steps and stylobate, or platform of the temple.
B. The fluted column shaft.
C. The cushion (echinus) and rectangular block (abacus)
which together form the capital.
D. The architrave, which performs the function of a beam.
E. The plane or sculptured metope tablets.
F. The projecting and channelled triglyph tablets.
G. The frieze comprising the metope and triglyph tablets.
H. The projecting cornice and
I. The pediment, or sculptured gable, between the sloping
roof surfaces
J. The voluted capital of the ionic column (left) and the
acanthus-leafed capital of the Corinthian style (right).
K. The moulded bases of the two styles
L. The plinth or supporting block of stone used in some Ionic
styled temples. Some temples combined features of different
styles.
Changes in Hellenistic
times

1)In the 5th century BC, the

age of Pericles, Greece was
still an assortment of
independent city-states,
many of them democracies.
2)In 338 BC Philip II of
Macedon forced them all
together into a single
empire.
3)Between 334 and 323 his
son, Alexander the Great,
conquered Egypt,
Mesopotamia, Iran, and
parts of India, transforming
the whole into the most
powerful state in the
civilized world.
• Greek architecture suddenly became that
of this rich, powerful Hellenic empire and was
forced to break out of the fixed, small-scale
vocabulary of forms that had been satisfactory
for the Periclean temple.
• The orders were retained and a new one added,
the Corinthian, a variation of the Ionic with
realistic leaves of the acanthus plant on its
capital. Construction was still in stone blocks--
preferably marble--following the system of the
column-post and entablature-lintel.
• But now this simple system was extended and
multiplied to make monumental cities with
colonnaded avenues and squares, palaces and
public meeting halls, libraries and tombs.
• A series of great Hellenistic
metropolises grew up, Alexandria
in Egypt in particular (today
completely buried underneath the
modern city).
• At the royal city of Pergamum,
which was built during the 3rd
and 2nd centuries BC, one can
see even today a series of
colonnaded plazas stepping up a
concave hillside, a single huge
composition of architectural
forms that are expressive of
Hellenistic wealth and political
power.
• This was no longer architecture of
detail and refinement but one of
massive (if simple) construction
and political show.
• The vocabulary of the Periclean
temple was no longer appropriate,
and the Roman Empire that
succeeded the Hellenistic adopted
another, revolutionary solution.
Parthenon
Is the largest building on
top of the Acropolis. It
was dedicated to Athena
Parthenos.
It was completely made
out of pentelic marble

Ordered by Pericles and

took 10 years to build,
from 447 to 438 B. C., date
of its inauguration
during the Panathenæa of
that year, but the
decoration was not
completed until 432.

Pentelic Of or pertaining to Mount Pentelicus, a

mountain near Athens which is famous for
its white marble
The architects who built it were
Ictinus and Callicrates, working
under the leadership of Phidias
Sculptor of
Athena
 South metope 3, one of the high-
relief sculptures removed by Lord
Elgin's expedition and now in the
British Museum

Detail of the West metopes, illustrating the

current condition of the temple in detail after
2,500 years of war, pollution, erratic
conservation, pillage and vandalism.
Old Temple of Athena
The Old Temple of Athena, also known as the Hekatompedon because its cella
measured 32.8m/100ft by 16.4m/50ft, was built in the early sixth century B.C.
within the precincts of the Mycenaean royal palace of the 14th century B.C.
View of the Erechtheion, the Parthenon, and the south wall of the
Acropolis. View from the southwest (from near the Philopappos
Monument). In the background to the right of the Parthenon are Mt.
Lykabettos and Mt. Penteli. Photo taken in 1998.
The Erechtheion was
built in ca. 420 B.C. in the
Ionic order. It has a
prostasis on the east
side, a monumental
propylon on the north,
and the famous porch of
the Caryatids on the
south
• Erechtheion
The Erechtheion, the most brilliant construction of the Ionic order, was built around 420
B.C. Pericles, the leader of the democracy, called for the construction to begin. It was
built on the most sacred part of the Acropolis, where the Greeks believed that Athena
had planted the olive tree that stood
• The main temple was divided into two sections, one to worship Athena, and one to
worship Poseidon-Erechtheus.
• On the east side stands a prostasis, or porch-like construction. On the north there is a
majestic prolpylon which is an enormous and elaborate type of gate. The Erechtheion is
best known for what is on its southern side, the porch of the Caryatids. The Caryatids,
the six columns shaped like maidens, support the roof of the porch. A frieze depicting
the birth of Poseidon-Erechtheus decorates the exterior of the building
Now the sanctuary of Athena Chalinitis
is by their theater, and near is a naked Daedalus
wooden image of Heracles, said to be a
work of Daedalus. All the works of this
artist, although rather uncouth to look
at, are nevertheless distinguished by a
kind of inspiration ...being condemned
by Minos on some charge he was
thrown into prison along with his son.
He escaped from Crete and came to
Cocalus at Inycus, a city of Sicily.
Thereby he became the cause of war
between Sicilians and Cretans,
because when Minos demanded him
back, Cocalus refused to give him up.
He was so much admired by the
daughters of Cocalus for his artistic
skill that to please him these women
actually plotted against Minos to put
him to death. It is plain that the renown
of Daedalus spread over all Sicily and
even over the greater part of
Italy...Pausanias.
The Athenians thought that a
figure of such manifest
intelligence and ingenuity had
to be Athenian, and so they
contrived a geneology whereby
Daedalus was the son of
Metion, son the Erechtheus, the
legendary founder of Athens.

Daedalus served as
something like a patron saint
of sculptors.
PASIPHAE was an immortal
daughter of the sun-god Helios.
As punishment for some
offence against the gods
committed either by herself or
her husband, she was cursed
with the desire to be coupled
with the king's finest bull.

Pasiphae was an early Kretan

moon-goddess, similar to the
classical Selene. Both her
taurine lover and her
Minotaur son, who was also
named Asterios (the starry
one), were associated with
the constellation Taurus.
• His homeland was Athens. For a
short time, his apprentice was his
sister's son Perdix.
• When Daedalus feared that the boy
would surpass him in talent, he
murdered the boy by tossing him
from the Acropolis of Athens.
• He was then tried at the Areopagus
and banished from the city.
• He fled to Crete, where he began to
work at the court of King Minos and
Queen Pasiphae, in the magnificent
palace of Knossos.
• There he constructed a wooden cow
for the queen to hide in to satisfy
her amorous longings for a white
bull sent by Poseidon and by which
she became pregnant with the
Minotaur.

Daedalus and Icarus - Frederick Leighton

When the Minotaur was born,
Daedalus built the Labyrinth to
contain the monstrous half-
man, half-bull.
For years Minos demanded a
tribute of youths from Athens to
feed the creature.
Eventually, the hero Theseus
came to Crete to attempt to slay
the Minotaur.
Ariadne, daughter of Minos and
Pasiphae, fell in love with
Theseus and asked Daedalus to
help him.
Daedalus gave her a flaxen thread for Theseus to tie to the door of the Labyrinth as he
entered, and by which he could find his way out after killing the monster.
Theseus succeeded, and escaped Crete with Ariadne. Minos, enraged at the loss of his
daughter, shut Daedalus and his son Icarus into the Labyrinth.

Picasso Vollard suite 1930

– To escape, Daedalus built wings for himself and Icarus. They successfully flew
from Crete, but Icarus' wings melted when he flew too close to the sun, and he
drowned in the sea. Daedalus buried his son and continued to Sicily, where he
came to stay at the court of Cocalus.
– Minos then went in pursuit of Daedalus, hoping to trick the great inventor into
revealing himself. At each city he visited, Minos offered a reward to whomever
could thread a spiral seashell. Eventually, Minos came to Camicus in Sicily and
presented the contest at Cocalus' court. Cocalus knew of Daedalus' talents, and
gave the shell to him. The clever Daedalus tied the string to an ant, place the ant
at one end of the shell, and allowed the ant to walk through the spiral chambers
until it came out the other end.
– When Minos saw that someone had solved the puzzle, he demanded that Cocalus
surrender Daedalus. Cocalus promised to do so, but he persuaded Minos to take a
bath and stay for some entertainment. Minos agreed, and was murdered by
Cocalus' daughters.
Created for the cover of the 2002 “Workbook” creative arts directory, Glen Wexler’s “Flight of Icarus” recreates the Greek myth in a
modern setting. Using Photoshop,
Statue of Athena Promachus

• This gigantic statue (7m high on

top of a 2m base) that could be
seen from the sea by travellers
doubling Cape Sunium, was one
of the first works of the great
sculptor Phidias.
• It was erected as a tribute to
Athena, the goddess who had
"fought for (pro-machos in
Greek)" Athens, after the naval
victory of Eurymedon over the
Persian fleet in 466 B. C. and paid
for with the spoils from that
victory. It was one of the most
famous statues of antiquity
The western approach to the Acropolis, showing the Propylaia, Temple of Athena Nike,
and the Parthenon. View from the west (from the Pnyx).
Propylaea
The monumental gateway of the Acropolis
was designed by the architect Mnesicles
and constructed in 437-432 B.C. It
comprises a central building and two
lateral wings.
Temple of Athena Nike this means "Victory" in Greek, and Athena was
worshiped in this form, as goddess of victory, on the Acropolis, Athens. Her
temple was the earliest Ionic temple on the Acropolis. Its importance lay in
its prominent position on a steep bastion at the south west corner of the
Acropolis, to the right of the entrance (propylaea).

There the citizens worshipped

the goddess in hope of a
prosperous outcome in the long
war fought on land and sea
against the Spartans and their
allies.
Eleusinion

An Athenian temple to Demeter, the Eleusinion was the place where all sacred
objects associated with the Eleusinian Mysteries were kept between ceremonies.
It was located at the base of the Acropolis.

The Eleusinion played an important role in the Panathenaic festival.

The Brauroneion

Three-sided stoa which, with its central

square, forms a small sanctuary
dedicated to the goddess Artemis
Brauronia, towards the south west
corner of the Acropolis of Athens. The
main cultic site was located at Brauron
on the east coast of Attica.
the Eleusinian Mysteries, so
named after the sacred city of
Eleusis (modern Elefsina - 12 miles
northwest of Athens), where
ancient rituals of death and rebirth
were once preformed.
The mysteries, which appear to
have an eastern origin, were
introduced into Greek culture by
Mycenaean priest-kings during the
late Bronze Age, circa 1,100 - 1,600
BC.
The Eleusinian Mysteries were
regarded as sacred by all strata of
Greek society. Although they died
out in late Roman times,
a faint memory has been preserved
in the Masonic 3rd degree ritual,
which continues to 'raise' initiates
in a symbolic death and
resurrection ceremony to this day.
The sacred gate

The avenue of tombs - passage to

Eleusis
KERAMEIKOS
By the name Kerameikos was known the area west and east of the city's wall western part. Kerameikos
border from the east was the Agora (Inner Kerameikos) and from the west, outside the wall (Outer
Kerameikos), was the biggest and most important cemetary. There were buried the soldiers killed in
battles and the most important Athenians. The name Kerameikos was propably derived from the many
pottery makers (Kerameis) that lived there.
 The sacred cave of Hades - passage to
the Underworld

The ancient well of Demeter

Path of the Mystai - the way

to the Telesterion
Telesterion: an ancient initiation centre

he great Eleusinian relief -

Demeter bids farewell to the
Relief of Wheat from Eleusis. King of Eleusis, who she has
Symbol of fertility and initiated in the skills of
regeneration agriculture
 Chalkotheke
A building that housed the treasury
of Athens. It contained the bronze
(chalkos) and other metal
possession of the treasury, and was
located adjacent to the south wall, a
little to the southwest of the
Parthenon. Kimon built it about the
same time as the Brauroneion.
The Pandroseion
was a sanctuary dedicated to
Pandrosus, one of the daughters
of Cecrops I, the first king of
Athens, located on the Acropolis
of Athens. It occupied the space
adjacent to the Erechtheum and
the old Temple of Athena Nike.

The sanctuary was a walled rectangular courtyard containing the altar of Zeus Herkeios
(protector of the hearth). The south-east corner gave access to the tomb of Cecrops.
The sanctuary also contained the sacred olive tree which was presented by Athena to
the city of Athens, after her victory over Poseidon in the contest for the land of Attica.
1. Arrephorion
2. Altar of Athena
3. Sanctuary of Zeus Polieus
4. This sanctuary was dedicated to Zeus as protector of the polis (the city), hence the
name "polieus".
5. Sanctuary of Pandion
6. This sanctuary was dedicated to king Pandion, the father of Erechtheus, or to his
great-grandson, aslo named Pandion, who was the grandson of Erechtheus and the
father of Ægeus (himself father of Theseus).
• Odeon of Herodes Atticus
• The Odeon of Herodes
Atticus is a stone theatre
structure located on the
south slope of the
Acropolis of Athens.
• It was built in 161 AD by
Herodes Atticus in
memory of his wife,
Aspasia Annia Regilla. It
was originally a steep-
sloped amphitheater with
a three-story stone front
wall and a wooden roof,
and was used as a venue
for music concerts with a
capacity of 5,000.

The audience stands and the 'orchestra' (stage) were restored using
marble in the 1950s. Since then it has been hosting the theatrical,
musical, and dance components of the Athens Festival, which runs from
June through September each year.
It also hosted Yanni's Live at the Acropolis performance in September of
1993.
Stoa of Eumenes
• Between the Odeion of Herodes Atticus and
the Theater of Dionysos is the Stoa of
Eumenes, built by King Eumenes II of
Pergamon (197-160 B.C.), who not only
erected magnificent buildings in his own city
(Great Altar of Pergamon) but also sought to
do honor to Athens by the building of this
stoa.
• His example was followed by his brother and
successor Attalos II (160-139 B.C.), who built
the Stoa of Attalos in the Agora, probably
using the same architect.
The restored Stoa of Attalos in
Athens.
Stoa (plural, stoae or stoæ) in
Ancient Greek architecture;
covered walkways or porticos,
commonly for public usage.
Early stoae were open at the
entrance with columns lining
the side of the building,
creating an enveloping,
protective atmosphere and were
usually of Doric order.
Later examples consisted of
mainly two stories, with a roof
supporting the inner
colonnades where shops or
sometimes offices were located
and followed Ionic architecture.
These buildings were open to
the public; merchants could sell
their goods, artists could
display their artwork, and
religious gatherings could take
place. Stoae usually surrounded
the marketplaces of large cities.
Theater of Dionysus
The theater dedicated to Dionysus, at the southern foot of the hill of Acropolis,
where dramatic contests were held during the festival of the Great Dionysia.
 Asclepius
and
Hygeia
Medicine by
Gustave Klimt
Hygeia

Sanctuary of Asclepius
This set of buildings, also called Asclepieion, were built close to a spring after the cult of
Asclepius, mythical son of Apollo and god of medicine, had been introduced in Athens in
420 B. C. (Asclepius is the god to whom, according to Plato (Phædo, 118a), Socrates, in
his last words before drinking the hemlock, asks Crito to sacrifice a cock.)
• The son of Apollo and Coronis, Asclepius had
five daughters, Aceso, Iaso, Panacea, Aglaea and
Hygieia. He was worshipped throughout the
Greek world but his most famous sanctuary was
located in Epidaurus which is situated in the
northeastern Peloponnese.

• The main attribute of Asclepius is a physician's

staff with an Asclepian snake wrapped around it;
this is how he was distinguished in the art of
healing, and his attribute still survives to this day
as the symbol of the modern medical profession.
• The cock was also sacred to Asclepius and was
the bird they sacrificed as his altar.

.
The caduceus was the magic
staff of Hermes (Mercury), the
god of commerce, eloquence,
invention, travel and theft, and
so was a symbol of heralds and
commerce, not medicine. The
words caduity & caducous
imply temporality,
perishableness and senility,
while the medical profession
espouses renewal, vitality and
health
 Odeum of Pericles
A public building in Athens built by Pericles in 445 B. C. and initially
dedicated to musical performances (the name "Odeum" comes from the
Greek word "ôdè" meaning "song").
It hosted musical contests during the yearly festival of the Panathenæa. It
was later used also for various other purposes, serving as a tribunal, a
meeting room for the assembly and more.

Panathenaic Way
The road leading from the
Dipylon to the Acropolis
through the Agora, that
owed its name to the fact
that it was the road
followed by the solemn
procession (pompè) that
constituted the high point
of the festival of the
Panathenæa, in which a
new dress (peplos) was
brought to the goddess in
her temple of the
Parthenon
1. Krater wide mouth for mixing
wine with water, staple Greek
beverage
2. Kylix two handled drinking
cup
3. Hydria for carrying water
4. Pitcher shaped Oinochoe
standard wine jug
5. Amphora large urn for storing
supplies
Examples of ancient Greek pottery forms: (A) bell krater, (B) lebes, (C) skyphos, (D)
aryballos, (E) hydria, (F) volute krater, (G) kantharos, (H) psykter, (I) kylix, (J)
stamnos, (K) alabastron, (L) oinochoe, (M) lekythos, and (N) amphora.
• During the Protogeometric and Geometric
periods, Greek pottery was decorated
with abstract designs.
o The Geometric from about 900 BC
o The Late Geometric or Archaic from
about 750 BC
o The Black Figure from the early 7th
century BC
o The Red Figure from about 530 BC.
The Late Geometric or
Archaic from about
750 BC
The range of colours
The range of colours which could be used on pots was
restricted by the technology of firing: black, white, red, and
yellow were the most common.
In the three earlier periods, the pots were left their natural
light colour, and were decorated with slip that turned black in
the kiln.
6th C the fully mature black-figure technique, with added
red and white details and incising for outlines and details,
originated in Corinth during the early 7th century BC and was
introduced into Attica about a generation later; it flourished
until the end of the 6th century BC.
Black-figure vase painting, a technique in which the painter applies glaze
in silhouettes and then incises details of anatomy and drapery. When the
pot is fired, the glazed areas turn black and the unglazed areas show a
rich orange color. The clever use of superimposed red glaze for some
details and white glaze for others renders a pleasant contrast of colors.
• 5th C The red-figure technique,
invented in about 530 BC, reversed this
tradition, with the pots being painted black
and the figures painted in red.
• Red-figure vases slowly replaced the
black-figure style. Sometimes larger
vessels were engraved as well as
painted.

The introduction of Red-

Figure slowly replaced Black
figure vases as the dominate
form of the time.
In many cases, one side of a
vase would be done in Black-
Figure while the other was
done in Red-Figure.
Many Red-Figure vases
resemble negatives of Black-
Figure because the images
shown on one side was the
same but flipped in color.
1)In later periods, as the aesthetic shifted and the technical
proficiency of potters improved, decorations took the form of human
figures, usually representing the gods or the heroes of Greek
history and mythology.
2)Battle and hunting scenes were also popular, since they
allowed the depiction of the horse, which the Greeks held in high
esteem. In later periods erotic themes, both heterosexual and
male homosexual, became common.
3)Greek pottery is frequently signed, sometimes by the potter or the
master of the pottery, but only occasionally by the painter.
4)Hundreds of painters are, however, identifiable by their artistic
personalities: where their signatures haven't survived they are named
for their subject choices, as "the Achilles Painter", by the potter
they worked for, such as the Late Archaic "Kleophrades Painter", or
even by their modern locations, such as the Late Archaic "Berlin
Painter".