# data[].attributes.body
Also known as the Aphrodite of Melos, this sculpture by Alexandros of Antioch, is another well-known icon of the Hellenistic period. Today the goddess’s arms are missing. It has been suggested that one arm clutched at her slipping drapery while the other arm held out an apple, an allusion to the Judgment of Paris and the abduction of Helen.

# data[].attributes.body
A group of statues depicting dying Gauls, the defeated enemies of the Attalids, were situated inside the Altar of Zeus. Two other figures complete the group. One figure depicts a Gallic chief committing suicide after he has killed his own wife. Also known as the Ludovisi Gaul, this sculpture group displays another heroic and noble deed of the foes, for typically women and children of the defeated would be murdered to avoid them from being captured and sold as slaves by the victors. The chief holds his fallen wife by the arm as he plunges his sword into his chest, where blood is already exiting the wound.

# data[].attributes.body
One Gaul is depicted lying down, supporting himself over his shield and a discarded trumpet. He furrows his brow as he looks downward at his bleeding chest wound as he prepares himself for death. His muscles are large and strong, signifying his strength as a warrior and implying the strength of the one who struck him down.

# data[].attributes.body
The even more expensive pigment ultramarine, made from ground lapis lazuli obtainable only from Afghanistan, was used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies. Ivory, often painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziers, but in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off. As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.
Even these basic materials were costly: when the Anglo-Saxon Monkwearmouth-Jarrow Abbey planned to create three copies of the bible in 692—of which one survives as the Codex Amiatinus—the first step necessary was to plan to breed the cattle to supply the 1,600 calves to give the skin for the vellum required.[8]
Paper became available in the last centuries of the period, but was also extremely expensive by today's standards; woodcuts sold to ordinary pilgrims at shrines were often matchbook size or smaller. Modern dendrochronology has revealed that most of the oak for panels used in Early Netherlandish painting of the 15th century was felled in the Vistula basin in Poland, from where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years.[9]
Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods. The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period.[10] The major phases are covered in the following sections.

# data[].attributes.body
The even more expensive pigment ultramarine, made from ground lapis lazuli obtainable only from Afghanistan, was used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies. Ivory, often painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziers, but in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off. As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.

Even these basic materials were costly: when the Anglo-Saxon Monkwearmouth-Jarrow Abbey planned to create three copies of the bible in 692—of which one survives as the Codex Amiatinus—the first step necessary was to plan to breed the cattle to supply the 1,600 calves to give the skin for the vellum required.[8]

Paper became available in the last centuries of the period, but was also extremely expensive by today's standards; woodcuts sold to ordinary pilgrims at shrines were often matchbook size or smaller. Modern dendrochronology has revealed that most of the oak for panels used in Early Netherlandish painting of the 15th century was felled in the Vistula basin in Poland, from where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years.[9]

Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods. The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period.[10] The major phases are covered in the following sections.

# data[].attributes.headline
The small private Wilton Diptych for Richard II of England

# data[].attributes.subject
The small private Wilton Diptych for Richard II of England

# data[].attributes.headline
jewelled cover of the Codex Aureus of St. Emmeram

# data[].attributes.subject
jewelled cover of the Codex Aureus of St. Emmeram

# data[].attributes.body
Most churches have been rebuilt, often several times, but medieval palaces and large houses have been lost at a far greater rate, which is also true of their fittings and decoration. In England, churches survive largely intact from every century since the 7th, and in considerable numbers for the later ones—the city of Norwich alone has 40 medieval churches—but of the dozens of royal palaces none survive from earlier than the 11th century, and only a handful of remnants from the rest of the period.[6] The situation is similar in most of Europe, though the 14th century Palais des Papes in Avignon survives largely intact. Many of the longest running scholarly disputes over the date and origin of individual works relate to secular pieces, because they are so much rarer - the Anglo-Saxon Fuller Brooch was refused by the British Museum as an implausible fake, and small free-standing secular bronze sculptures are so rare that the date, origin and even authenticity of both of the two best examples has been argued over for decades.[7]

The use of valuable materials is a constant in medieval art; until the end of the period, far more was typically spent on buying them than on paying the artists, even if these were not monks performing their duties. Gold was used for objects for churches and palaces, personal jewellery and the fittings of clothes, and—fixed to the back of glass tesserae—as a solid background for mosaics, or applied as gold leaf to miniatures in manuscripts and panel paintings. Many objects using precious metals were made in the knowledge that their bullion value might be realized at a future point—only near the end of the period could money be invested other than in real estate, except at great risk or by committing usury.

# data[].attributes.body
The temple was designed by the architects Paionios of Ephesus and Daphnis of Miletus. Its construction began in 313 BCE, but was never completed, although work continued until the second century CE. Even incomplete, the temple is enormous and it is the third largest in the ancient world after those of Ephesus and Samos.

# data[].attributes.body
romanesqe carving

During the 11th and 12th centuries, figurative sculpture was revived as architectural reliefs became a hallmark of the later Romanesque period. Figurative sculpture was based largely on manuscript illumination and small-scale sculpture in ivory and metal. Most Romanesque sculpture is pictorial and biblical in subject.

# data[].attributes.body
A stoa, or a covered walkway or portico, was used to bind agorae and other public spaces. Highlighting the edge of open areas with such decorative architecture created a theatrical effect for the public space and also provided citizens with a basic daily form of protection from the elements. Both the stoa and the agora were used by merchants, artists, religious festivals, judicial courts, and civic administrations.The Stoa of Attalos (150 BCE) in Athens was built in the Agora, under the patronage of King Attalos II of Pergamon.

# data[].attributes.body
During the 11th and 12th centuries, figurative sculpture was revived as architectural reliefs became a hallmark of the later Romanesque period. Figurative sculpture was based largely on manuscript illumination and small-scale sculpture in ivory and metal. Most Romanesque sculpture is pictorial and biblical in subject

# data[].attributes.headline
Rome sculpture-head of the roman patrician

# data[].attributes.subject
Rome sculpture-head of the roman patrician

# data[].attributes.body
The wrinkled, aged face of this unknown upper-class Roman citizen is representative of the ideals of the Roman Republic, which prized public service and their society’s military strength above all else. Instead of merely copying Greek marble statues by creating idealized images of their leaders as gods, citizens of the Roman Republic wanted to showcase their values in human form. To that end, this bust shies away from presenting the subject as a young, athletic man, but rather emphasizes his age—and therefore wisdom—through distinct wrinkles carved into his face and neck. The bust, dated to the 1st century B.C.E., also alludes to the politics of its time: the early Roman Republic was ruled only by patricians. These aristocratic Romans later established a partnership with wealthy plebeians, but the Republic’s widening social inequality eventually led to its downfall.

# data[].attributes.body
Of the vast body of Roman painting we now have only a very few pockets of survivals, with many documented types not surviving at all, or doing so only from the very end of the period. The best known and most important pocket is the wall paintings from Pompeii, Herculaneum and other sites nearby, which show how residents of a wealthy seaside resort decorated their walls in the century or so before the fatal eruption of Mount Vesuvius in 79 CE. A succession of dated styles have been defined and analysed by modern art historians beginning with August Mau, showing increasing elaboration and sophistication.

# data[].attributes.body
Hiegrolyphics- picture writing of ancient egypt

# data[].attributes.body
Frontalism- used in terms of their paintings
- the head is being drawn in side view and the body infront

# data[].attributes.headline
Rome sculpture-head of the roman patrician

# data[].attributes.subject
Rome sculpture-head of the roman patrician

# data[].attributes.body
The wrinkled, aged face of this unknown upper-class Roman citizen is representative of the ideals of the Roman Republic, which prized public service and their society’s military strength above all else. Instead of merely copying Greek marble statues by creating idealized images of their leaders as gods, citizens of the Roman Republic wanted to showcase their values in human form. To that end, this bust shies away from presenting the subject as a young, athletic man, but rather emphasizes his age—and therefore wisdom—through distinct wrinkles carved into his face and neck. The bust, dated to the 1st century B.C.E., also alludes to the politics of its time: the early Roman Republic was ruled only by patricians. These aristocratic Romans later established a partnership with wealthy plebeians, but the Republic’s widening social inequality eventually led to its downfall.

# data[].attributes.body
The wrinkled, aged face of this unknown upper-class Roman citizen is representative of the ideals of the Roman Republic, which prized public service and their society’s military strength above all else. Instead of merely copying Greek marble statues by creating idealized images of their leaders as gods, citizens of the Roman Republic wanted to showcase their values in human form. To that end, this bust shies away from presenting the subject as a young, athletic man, but rather emphasizes his age—and therefore wisdom—through distinct wrinkles carved into his face and neck. The bust, dated to the 1st century B.C.E., also alludes to the politics of its time: the early Roman Republic was ruled only by patricians. These aristocratic Romans later established a partnership with wealthy plebeians, but the Republic’s widening social inequality eventually led to its downfall.

# data[].attributes.body
The wrinkled, aged face of this unknown upper-class Roman citizen is representative of the ideals of the Roman Republic, which prized public service and their society’s military strength above all else. Instead of merely copying Greek marble statues by creating idealized images of their leaders as gods, citizens of the Roman Republic wanted to showcase their values in human form. To that end, this bust shies away from presenting the subject as a young, athletic man, but rather emphasizes his age—and therefore wisdom—through distinct wrinkles carved into his face and neck. The bust, dated to the 1st century B.C.E., also alludes to the politics of its time: the early Roman Republic was ruled only by patricians. These aristocratic Romans later established a partnership with wealthy plebeians, but the Republic’s widening social inequality eventually led to its downfall.

# data[].attributes.body
The history of the Roman Empire, which spans hundreds of years and multiple continents, is chronicled in statues and monuments its citizens left behind. The ancient Romans combined previously unimaginable military might with a similarly vigilant commitment to public art, which served as both political propaganda and a means to commemorate military and diplomatic feats.

However, Roman art owes a significant debt to the Greeks. Although the Romans conquered the Greeks in the Battle of Corinth in 146 B.C.E., the military victory was not accompanied by cultural submission. Instead, elite Romans clamored for reproductions of famed marble sculptures by skilled Greek artists like Praxiteles. Most Roman sculptors, though, never achieved such fame. Their copies were often left unsigned due to the low-class status of the artisans and the general preference among Romans for works by Greek masters.Today, many of the most iconic Greek sculptures survive only as Roman reproductions.

The Romans left their own mark on sculpture by taking portraiture to an unprecedented level of verism and creating vast public works projects depicting complex mythologies and military victories. Starting with Augustus, the first emperor, Roman leaders started to use statues as propaganda; these works, usually made in marble or bronze, frequently idealized their bodies and emphasized (often fictional) connections to great military commanders of the past. Many artifacts and artworks survive from the Roman era. These are the seven sculptures essential to understanding the empire’s vast contributions to the history of art.

# data[].attributes.body
Ancient Egyptian art refers to art produced in ancient Egypt between the 31st century BC and the 4th century AD. It includes paintings, sculptures, drawings on papyrus, faience, jewelry, ivories, architecture, and other art media. It is also very conservative: the art style changed very little over time. Much of the surviving art comes from tombs and monuments, giving more insight into the ancient Egyptian afterlife beliefs.

# data[].attributes.body
dedicated to the god Zeus. The temple, built in the second quarter of the fifth century BC, was the very model of the fully developed classical Greek temple of the Doric order.
The Temple of Zeus was built on an already ancient religious site at Olympia. The Altis, an enclosure with a sacred grove, open-air altars and the tumulus of Pelops, was first formed during the tenth and ninth centuries BC,[2] Greece's "Dark Age", when the followers of Zeus had joined with the followers of Hera.[3]

# data[].attributes.body
The word acropolis is from the Greek words ἄκρον (akron, "highest point, extremity") and πόλις (polis, "city").[1] Although the term acropolis is generic and there are many other acropoleis in Greece, the significance of the Acropolis of Athens is such that it is commonly known as "The Acropolis"

# data[].attributes.body
A life-size bronze statue of a man named Aule Metele, commonly known as The Orator, dates back to the early 1st century B.C.E., and alludes to the origins of the Roman Empire. The Orator raises his arm to a crowd; although he is Etruscan, he wears an outfit typical of a Roman magistrate: a short toga and boots.

# data[].attributes.body
little is known of the Greek painters in ancient times, however, it is well know the mastery they could reach and manifested, as is also know the incredible realistic effects they produce by descriptions of some Roman writers annotations about the greek painters and the very few paintings that has survived. The Roman’s copies of Greek paintings also aport valuable informations, since they greatly appreciate their techniques and styles, coping and reproducing them even; many times the same work in different periods.

The paintings of ceramic vases and mural paintings discovered in Etruscan tombs; who imitated  the work style and technique of Greek painters very well give us as well an idea on how they must have been realized

We can only see, some original Greek paintings features in the painting of their ceramic vases, that still remain in Museums and private collections,

# data[].attributes.body
The Parthenon, shows the common structural features of Ancient Greek architecture.

# data[].attributes.body
The Giza Pyramids, built to endure an eternity, have done just that. The monumental tombs are relics of Egypt's Old Kingdom era and were constructed some 4,500 years ago.

Egypt's pharaohs expected to become gods in the afterlife. To prepare for the next world they erected temples to the gods and massive pyramid tombs for themselves—filled with all the things each ruler would need to guide and sustain himself in the next world.

Pharaoh Khufu began the first Giza pyramid project, circa 2550 B.C. His Great Pyramid is the largest in Giza and towers some 481 feet (147 meters) above the plateau. Its estimated 2.3 million stone blocks each weigh an average of 2.5 to 15 tons.

Khufu's son, Pharaoh Khafre, built the second pyramid at Giza, circa 2520 B.C. His necropolis also included the Sphinx, a mysterious limestone monument with the body of a lion and a pharaoh's head. The Sphinx may stand sentinel for the pharaoh's entire tomb complex.

The third of the Giza Pyramids is considerably smaller than the first two. Built by Pharaoh Menkaure circa 2490 B.C., it featured a much more complex mortuary temple.

# data[].attributes.body
It 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 sculptures.