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"Labrys" means "double ax" (recurring motif in the place referring to sacrificial slaughter; intricate plan and scores of rooms of the Knossos palace
attribution of animal characteristics or qualities to a god, use o animal forms in symbolism, literature
a projecting wall member used as a support for some element in the superstructure, also, courses of stone or brick in which each course projects beyond the one beneath it, two such walls, meeting at the topmost course, create a corbelled arch or corbelled vault
formed in relief by bearing a metal plate from the back, leaving the impression on the face. The metal is hammered into a hollow mold of wood or some other pliable material and finished with a graver (an incising tool)
a convivial (social) meeting for drinking music, and intellectual discussion among the ancient Greeks
in classical architecture, the triangular space (gable) at the end of a building, formed by the ends of the sloping roof above the colonnade (a series or row of columns) usually spanned by lintels (a beam used to span an opening)
the part of a building above the columns and below the roof, classical temple, has three parts: architrave or epistyle (the lintel or lowest division of the entablature)
between the architrave and the cornice, any sculptured or painted band in a building and pediment
divine ratio (1.618) the proportional relation between two divisions o the line or two dimension of a plane/figure such that smaller is the larger as the larger is to the sum of the two, A + B = 1.618
the panel between the triglyphs (a triple projecting, grooved member of a Doric frieze that alternates with metopes) in a Doric frieze, often sculpted in relief
the projecting, crowning member of the entablature framing the pediment; also any crowning projection
painter first put down black silhouettes on the clay surface, then used a sharp pointed instrument to incise linear details within the forms, usually adding highlights over the black figures before firing the vessel
instead of using the glaze to create the silhouettes of figures, the painter outlined the figures and the colored the background black, the artist could vary the glaze thickness there by expanding the chromatic range
experimental vases with the same composition painted on both sides, once in black-figure and once in red-figure
the disposition o the human figure in which one part is turned in opposition to another, creating a counter positioning of the body about its central axis. Sometimes called "weight shift" creating tension on one side and relation on the other, separates classical from archaic greek statuary
hollow-cast statues lost wax method, several steps, repeated many times, monumental statues cast in parts
characterized by among by volutes (a spiral, scroll like form), capitals, columns with bases, uninterrupted frieze, base
common theme in Greek tragedies and mythology, individuals "tragic flaw" usually thinking they were equal or greater than the gods, subsequently being punished, overbearing pride or presumption
a sculptured female figure serving as an ornamental support in place of a column or pilaster
more ornate, Kallimachos invented, all four sides are similar in appearance, it does not need to be modified, ionic frieze is used here thus architects do not have to contend with metopes or triglypths
the floors are formed of small stones of various colors collected from beaches and riverbanks and set into think coat of cement
violent movement, swirling draperies, and vivid depictions of death and suffering are the norm, emotional intensity, baroque (absurd/grotesque), overtly sexual
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