17. Kosmetai, the Second Sophistic, and Portraiture in the Second Century

Chapters in this book

1. Frontmatter i
2. Contents ix
3. Note On Abbreviations xi
4. Jerome Jordan Pollitt: A Bibliography xiii
5. Introduction xv
6. Acknowledgments xxi
7. 1. Perikles as General 1
8. The Art of Classical and Periklean Athens
9. 2. Bail Oinochoai 13
10. 3. A Farewell with Arms: Departing Warriors on Athenian Vases 23
11. 4. The Girl in the Pithos: Hesiod’s Elpis 37
12. 5. The Judgment of Helen in Athenian Art 47
13. 6. Composition and Content on Classical Murals and Vases 63
14. 7. The Painting Program in the Stoa Poikile 73
15. 8. Feminizing the Barbarian and Barbarizing the Feminine: Amazons, Trojans, and Persians in the Stoa Poikile 89
16. 9. Notes on the Subject of the Ilissos Temple Frieze 103
17. 10. “Periklean” Cult Images and Their Media 111
18. 11. Athena at Pallene and in the Agora of Athens 119
19. The Periklean Akropolis
20. 12. The Parthenon and the Temple of Zeus at Olympia 135
21. 13. The Parthenon Frieze and Perikles’ Cavalry of a Thousand 147
22. 14. Alkamenes’ Prokne and Itys in Context 163
23. 15. Interpretations of Two Athenian Friezes: The Temple on the Ilissos and the Temple of Athena Nike 177
24. The Legacy Of Periklean Athens
25. 16. Alpheos to the Orontes: An Unusual Echo of the Pheidian Zeus at the Syrian Port of Seleukia Pieria 195
26. 17. Kosmetai, the Second Sophistic, and Portraiture in the Second Century 201
27. 18. A Rhetorical Perikles 217
28. 19. On Some Motives Supposed Present in Self-Portraits of Pheidias and Others 233
29. 20. Early Photography and the Reception of Classical Antiquity: The Case of the Temple of Athena Nike 237
30. The Legacy Of Jerome J. Pollitt
31. 21. Greek Art and Culture since Art and Experience in Classical Greece 255
32. Works Cited 277
33. About The Contributors 297
34. Index 301