Eratosthenes Eratosthenes was born in Cyrene which is now in Libya in North Africa. His teachers included the scholar Lysanias of Cyrene and the philosopher Ariston of Chios who had studied under Zeno, the founder of the Stoic school of philosophy. Eratosthenes also studied under the poet and scholar Callimachus who had also been born in Cyrene. Eratosthenes then spent some years studying in Athens. The library at Alexandria was planned by Ptolemy I Soter and the project came to fruition under
archeological finds and years of studying the people, the plays, and the architecture of the time, we are able to make many conclusions about these early structures. Greek Theaters are classified into three categories: The early Athenian Theaters, Hellenistic Theaters, and Graeco-Roman Theaters. Like most new inventions or creations, the initial theaters built by the Athenians were very simple. In the fifth century B.C., it became popular to build theaters on the slope of a large hill, or an acropolis
Hellenistic views of marriage are very different from modern views in many ways, and because of these differences, it can be easy to dismiss archaic and Athenian marriages as loveless or purely functional. However, it should be noted that there are definite examples of these marriages being mutually supportive and loving. One can see these characteristics especially well in two works, Oeconomicus by Xenophon, and Alcestis by Euripides. Although different, these two stories demonstrate both the mutual
that Oedipus' actions are entirely determined by the gods, who control him completely -- Dodds pooh-poohs on the grounds that Oedipus is a free agent, acting on his own initiative. In fact, Dodds states, the idea of free will vs. determinism is a Hellenistic thought and would not have even occured to an audience of Sophocles' time. I believe that, as all of Oedipus' actions, including those over the course of the play, were determined before his birth, and he cannot avoid them although it is his will
dictator Sulla, Hellenistic architecture flourished in Rome, with the buildings Lindos, Cos, the acropolis at Pergamon, Fortuna at Praeneste, the sanctuary of He! rcules Victor at Tibur, and the temple of Jupiter Anxur at Terracina. Though all these buildings were noticeably Hellenistic, they retained the Roman’s own unique architectural style. Such as the cylindrical shape of Forum Boarium, this was an original shape for the Romans along with the roof. Eventually the Hellenistic architecture was
on a more combined technique. Style I, known as incrustation, began approximately during the second century b.c. This style features the strong influence of the Hellenistic Greek period in its surface decoration. At the Samnite House at Herculaneum, walls are painted as faux marble slabs. This is very typical of the influence of Hellenistic Greece. There is a three fold division of a Roman wall during this time. The dado is at the bottom, the middle section imitates the stone slabs, and the upper part
Sculpture has been a very important part of art history throughout thousands of years. For the past few months I have viewed many different kinds of sculpture, including Greek archaic sculptures, Greek classical sculptures, Greek Hellenistic sculptures and Roman sculptures. All of the sculptures that I have seen and analyzed have very interesting characteristics, but the one that I have analyzed most recently was the most fascinating. Hermes carrying the infant Dionysos, by the artist Praxiteles
The Hellenistic Homemaker In both Xenophon’s Oeconomicus and Lysias’ defense of Euphiletus’ murder of Eratosthenes, insight into the purpose and function of Athenian marriage may be gained by examination of the speeches of two citizens about their wives and their homes. Through both texts, it becomes apparent that the citizen’s value of his wife is based upon his wife’s ability as an “oikonomikos” or “skilled household manager” (Strauss, 3). It is through filling this role as her husband’s housekeeper
would not hold up under the scrutiny of contemporary philosophers. Bibliography Hardie, W.F.R. Aristotle’s Ethical Theory. Great Britain: Oxford UP, 1968. Hyde, William. The Five Great Philosophies of Life. New York: Macmillan, 1945. Long, A.A. Hellenistic Philosophy. New York: Scribner’s, 1974.
Greek Art - The Geometric Period, Classical Period, and Hellenistic Period Over a period of time Greek art of the past has changed and evolved into what we value in todayís society as true art and services as a blue print of our tomorrow. As we take a closer look at the Geometric Period and stroll up through the Hellenistic Period allow me to demonstrate the changes and point out how these transitions have served the elements of time. During the geometric period the Greeks style of vase painting
Hellenistic Period In this paper we will answer some key questions on the “Hellenistic Period”. The questions that we will be tackling are, why did the “Hellenistic Period”, following the conquests of Alexander Great, “became a melting pot of cultures” (Sources, 56)? What do we mean by “Hellenization”? Finally, what happened when classical Greek culture met and mixed with Persian, Egyptian and Jewish cultures and religions? First let’s look at the melting pot question. After the death of Alexander
with the arms close to the body and a smile that was present in both male and female sculptures. Another characteristic of these statues were the almond shaped eyes. This style of static sculpture was closely related to the Egyptian sculptures of the same stance. Unlike the Egyptian sculptures, the Greek sculptures began to change (Kuros). The change in Greek sculpture started rather subtle with the appearance of the contrapasso, S curve, in the body of the sculpture. The contrapasso appears to show
is true, the breakup of Alexander's brief empire, but the establishment of Macedonian dynasties in Egypt, Syria, and Persia (the Ptolemies and the Seleucidae) helped to mold the world of that day into a wider unity of trade and learning. The Hellenistic period was an international, cosmopolitan age. Commercial contacts were widespread and peoples of many ethnic and religious backgrounds merged in populous urban centers. Advances were made in various fields of scientific inquiry, including engineering
purposes and techniques were dubious and often illusory, alchemy was in many ways the predecessor of modern science, especially the science of chemistry. The birthplace of alchemy was ancient Egypt, where, in Alexandria, it began to flourish in the Hellenistic period; simultaneously, a school of alchemy was developing in China. The writings of some of the early Greek philosophers might be considered to contain the first chemical theories; and the theory advanced in the 5th century BC by Empedocles—that
swung furthest back, at the very decisive moment just seconds before the discus will be soared into the air (p.114, Robertson). Discus Thrower type sculptures, art and architecture is typical of Greek High Classical and Hellenistic art and concerns. High Classical and Hellenistic art desire to portray healthy and vigorous athletes of ideal physical proportion and beauty, to represent the vigorous, healthy and active Greek individuals and citizens. In this way, sculptures, along with other art mediums
Here arises a question: was the intramural burial a habit adopted by the Egyptians? The researcher refuses this probability. Although the intramural burial in ancient Egypt can be traced back to the 5th – 4th millennium BC; there are infant burials in cemeteries date back to the same previous period such as that of Adaima, and
of the few female rulers of her time, the task of gaining support was definitely not done with ease, especially as she hailed from a background of the Ptolemaic dynasty, one that ruled with harsh working conditions, and showed no respect for the Egyptians. Rebellion and riots all over the country were continuous and had come to the point where it was considered the norm to be entangled in the middle of one, if not several. The clever ways in which Cleopatra was able to garner support and stand her
Ancient Egyptian Greek and Roman Stele Just as we use tombstones to mark graves and commemorate our dead, so too did ancient civilizations. One way to do so in the ancient world was through the use of steles. A stele is a stone slab, usually decorated in relief and inscribed, that honored the death of a person. Three of the ancient cultures that had implemented the use of the stele were the Egyptians, Greeks, and Romans. In comparing an example from each civilization, it is possible to see
Cleopatra: The Natural Nemesis of Rome Abstract Cleopatra is most often remembered as the lover of two Roman consuls, Julius Caesar and Mark Antony, thereby forever connecting the Egyptian queen to the history of Rome. The stories of her relationships with the two men do not always paint a flattering picture of Cleopatra, as her reported promiscuity and presumption give her a colorful reputation. Cleopatra is also sometimes seen as a misunderstood woman, someone who was never given a fair
simply termed as ‘The Boxer’. This sculpture dates back to the Greek Hellenistic period (300’s B.C). Hellenistic refers to the period just after the rule of Alexander the Great and typically it is considered as the last phase of ancient Greek art. The sculpture was discovered on the Quirinal Hill of Rome in 1885 near the Baths of Constantine. It was assumed for a long time that the sculpture was buried in antiquity with the Hellenistic prince in order to protect him. The sculpture is a captivating masterpiece