Chryselephantine

Phidias, Athena Parthenos, c. 438 B.C. Model of the lost statue, which was approx. 38' tall. Royal Ontario Museum, Toronto.

Chryselephantine: fashioned of gold and ivory. This particular statue had been destroyed in antiquity, long before the 19th century. It's been said that the Parthenon was designed around it. To accommodate its huge size, the cella had to be wider than usual and this, in turn, dictated the width of the 8-column facade at a time when 6 columns were the norm. Other famed statues of the same period include Athena and Nike. (Gardner)

Stoichedon

Stoichedon inscribed in stone

Arrangement of letters aligned vertically as well as horizontally. Common in Athenian inscriptions c 400 BC. (Rose Folsom)

Frieze

Athena batteling Alkyoneos, detail of Altar of Zeus frieze, Pergamon. Marble, 7' 6 high. Staatliche Museen, Berlin. (Hellenistic Period)

Procession of elders and maidens, detail of east frieze of the Parthenon, c 447-438 B.C. Marble, 3' 6" high. Louvre, Paris.

Seated gods and goddesses, detail of the east frieze of the Parthenon, c 447-438 B.C. Marble, 3' 6" high. Acropolis Museum, Athens, Greece.

(This photo is a bit fuzzy, I know, but the frieze is notated on the upper left side in the inner, top bracket.)

The part of the entablature between the architrave and the cornice; also, any sculptured or ornamented band in a building, on furniture, etc. (Gardner)

Black and Red Figure Amphoras

Corinthian black-figure amphora with animal friezes, from Rhodes 625-600 B.C. British Museum, London.

Ankokides Painter, Ajax and Achilles playing a game (Attic bilingual amphora) from Orvieto, c. 525-520 B.C. Museum of Fine Arts, Boston.

Black-figure side

Red-figure side

Black-Figure Technique: In early Greek pottery, the silhouetting of dark figures against a light background of natural, reddish clay.

Red-Figure Technique: In later Greek pottery, the silhouetting of red figures against a black background; the reverse of the black-figure technique. (Gardner)

These images and techniques are great inspiration for printmaking and even embroidery and even fiber art work (ie sashiko in my musings blog). Martha Miller had a nice example of Blackwork and lino cutting on her blog at http://www.marthamillerart.blogspot.com/. (look for her blackwork post.)

(sorry the photographs are a little fuzzy today)

Greek Fashions from the Archaic Period

Kore, form the Acropolis, Athens. circa 510 B.C. Marble. Acropolis Museum, Athens. (wearing a chiton and a himation)

The sculpture above is wearing a later frock from the 6th century. The dresses were made of a light weight linen - the chiton and worn with a heavier weight himation or mantle. 'The asymmetry of the folds greatly relieves the stiff frontality of the bodies and makes these figures appear much more lifelike than contemporary kouros statues. Added variety is achieved by showing the kore grasping part of her chiton in her left hand -broken off in this statue- to lift it off the ground as she takes a step forward.' (Gardner)

• Peplos Kore, from the Acropolis, Athens, circa 530 B.C. Marble. Acropolis Museum, Athens. (she is wearing a peplos)
  
  The Peplos Kore is wearing the 'fashion of the day', an ankle length, wool dress with a belt at the waist. This style makes for a nice, columnar shape which is attractive and slimming. It dosen't cling to the body and falls down in a line. 'She once held in her hand an attribute that would identify the figure as a maiden or, as has been suggested recently, a goddess, perhaps Athena herself. ' (Gardner)