NCEA Level 2 Classical Studies (90248) 2011 — page 1 of 12
Assessment Schedule – 2011
Classical Studies: Examine a work of classical art and / or architecture (90248)
Candidate chooses TWO questions from ONE topic.
A holistic judgement on the level of achievement attained will be made over the two questions answered.
Judgement Statement
Achievement
Achievement with Merit
Achievement with Excellence
A
M
E
Achievement
Achievement with Merit
Achievement with Excellence
The candidate examines features of
the work of art by identifying,
describing, clarifying, explaining
and / or interpreting features from a
work of art.
The candidate examines artistic
features of the work by identifying,
describing, clarifying, explaining
and / or interpreting features from a
work of art in detail. Supporting
evidence is present.
The candidate discusses artistic
features of the work by showing a
detailed understanding of the wider
context and / or of the subtleties of
the features. Supporting evidence is
present.
Where a candidate was awarded an
A for the question:
Where a candidate was awarded an
M for the question:
Where a candidate was awarded an
E for the question:
The candidate provides a general
examination of the artistic features.
Knowledge and interpretation of the
features of the art work are at a
basic level, and specific detail is
lacking. One or more parts of the
question may be underdeveloped
or omitted.
The candidate incorporates greater
detail, qualitative or quantitative as
required, in an answer based on
sound knowledge of the art works.
Most parts of the question are
covered, but treatment may be
unbalanced. Relevant supporting
evidence is present, but may not be
consistently provided.
The candidate’s answers have an
analytical focus. They are based on
a thorough knowledge of the art
works themselves, as well as the
wider context in which they were
produced. All parts of the question
are answered in detail. Supporting
evidence is relevant, accurate and
consistently provided.
Generic Schedule
NCEA Level 2 Classical Studies (90248) 2011 — page 2 of 12
TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS
Question One: Parthenon
Achievement
Achievement with Merit
Achievement with Excellence
Here is a sample of part of a
response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Discuss the layout of this temple
The Parthenon is an octostyle Doric
temple. The temple is surrounded by
columns and the entrance is in the
east. The temple has a pronaos and
an opisthodomos. There are two
cellae, one in the east and one in
the west. The layout of the
Parthenon was based on a golden
ratio so that all parts worked in
unison.
Discuss the layout of this temple
The Parthenon is an octostyle Doric
temple, measuring 69.5m × 30.88m.
The temple is surrounded by
columns, 8 on the front and 17 on
the sides. The entrance is in the
east. The temple has a pronaos and
an opisthodomos, although these
were shallower compared to other
temples due to the cellae. There are
two cellae, one in the east and one
in the west. The east cella probably
housed the cult statue and had two
tiers of Doric columns around in a U
shape. The layout of the Parthenon
was based on a golden ratio of 9:4
so that all parts worked in unison.
Discuss the layout of this temple
The Parthenon is an octostyle Doric
temple, with a stylobate measuring
69.5m × 30.88m. The temple is
surrounded by columns, 8 on the
front and 17 on the sides. The
temple is peripteral and entrance is
via a three-step stereobate. The
entrance is in the east. The temple
has a pronaos and an opisthodomos,
although these were shallower
compared to other temples due to
the cellae. Six Doric columns fronted
the pronaos and opisthodomos;
these were in line with the larger
columns on the short sides of the
temple. There are two cellae, one in
the east and one in the west. The
east cella probably housed the cult
statue and had two tiers of Doric
columns around in a U shape. The
west cella was only accessible from
the large doors at the end of the
temple. The layout of the Parthenon
was based on a golden ratio of 9:4
so that all parts worked in unison.
The ratio is seen in the exterior
columns, where the distance
between the columns is twice their
width.
Discuss what is unusual about the
layout
The Parthenon has two cellas
compared to the usual one. The east
cella had a double-tiered colonnade
of Doric columns that ran along the
walls. The west cella had four ionic
columns, which were decorative.
This was unusual as the Parthenon
was a Doric temple. The architects,
Iktinous and Kallikrates, refined the
optical illusion of squatness when
viewing the temple from below the
Acropolis. The addition of an extra
column along the length of the
building is an usual feature of layout.
Instead of the usual formula of twice
as many columns along the length as
the width of the temple, there is one
extra here. The columns all lean
inward and the stereobate and
stylobate are curved to avoid the
squat feeling.
Other answers are possible.
Discuss what is unusual about the
layout
The Parthenon has two cellas
compared to the usual one. The
east cella had a double tiered
colonnade, which ran along the
walls. The west cella had four ionic
columns, which were decorative.
This was unusual as the Parthenon
was a Doric temple.
Other answers are possible.
Discuss what is unusual about the
layout
The Parthenon has two cellas
compared to the usual one. The
east cella had a double tiered
colonnade of Doric columns, which
ran along the walls. The west cella
had four ionic columns, which were
decorative. This was unusual as the
Parthenon was a Doric temple. The
architects added an extra column
along the length to make the column
appear less squat.
Other answers are possible.
NCEA Level 2 Classical Studies (90248) 2011 — page 3 of 12
TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS
Question Two: Tyrannicides
Achievement
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Achievement with Excellence
Here is a sample of part of a
response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Discuss the historical context of the
original statues of the Tyrannicides
Aristogeiton and Harmodias were
lovers who conspired to kill Athens’s
tyrants. Aristogeiton and Harmodias
were successful in killing
Hipparchus, but were caught before
they could kill Hippias. After the
assassination, Harmodias and
Aristogeiton were executed.
Aristogeiton and Harmodias were
considered to be political heroes.
The original statues of the
Tyrannicides were placed in the
agora, to indicate their fundamental
importance.
Discuss the ways in which the pose
of the two men relates to the
historical context of this art work
The name of this art work is the
Tyrannicides, the tyrant killers. The
pose of the two men relates to this
art work as it shows the moment
after Harmodias and Aristogeiton kill
Hipparchus. Both men are striding
forward as if in the motion of killing.
Aristogeiton holds his sword out in
victory and Harmodias has his
raised.
Discuss the historical context of the
original statues of the Tyrannicides
Aristogeiton and Harmodias were
lovers who conspired to kill Athens’s
tyrants Hippias and Hipparchus at
the Panathenaic festival.
Aristogeiton and Harmodias were
successful in killing Hipparchus but
were caught before they could kill
Hippias. After the assassination,
Harmodias and Aristogeiton were
executed. Shortly after the
execution, Hippias was banished
from Athens. Aristogeiton and
Harmodias were considered to be
political heroes. The original statues
of the Tyrannicides were placed in
the agora, to indicate their
fundamental importance. When the
Persians invaded in 480BCE they
were removed from the agora and
taken to Persia.
Discuss the historical context of the
original statues of the Tyrannicides
Aristogeiton and Harmodias were
lovers who conspired to kill Athens’s
tyrants Hippias and Hipparchus at
the Panathenaic festival. Their
reasons were personal; Hippias
insulted Harmodias’s sister and
made unwanted sexual advances
towards Harmodias. Aristogeiton
and Harmodias were successful in
killing Hipparchus but were caught
before they could kill Hippias. After
the assassination, Harmodias and
Aristogeiton were executed. Shortly
after the execution, Hippias was
banished from Athens. As a result,
assassination of Hipparchus was
considered to be politically
motivated and Aristogeiton and
Harmodias were considered to be
political heroes. The system of
government that replaced the
tyrants was a democracy. The
original statues of the Tyrannicides
were placed in the agora, to indicate
their fundamental importance. When
the Persians invaded in 480BCE
they were removed from the agora
and taken to Persia. The sculptures
in Reproduction B were produced by
Kritios and Nesiotes to replace
those removed.
Discuss the ways in which the pose
of the two men relates to the
historical context of this art work
The name of this art work is the
Tyrannicides, the tyrant killers. The
pose of the two men relates to this
art work as it shows the moment
after Harmodias and Aristogeiton kill
the one of Athens tyrant brothers,
Hipparchus. Both men are striding
forward as if in the motion of killing.
Aristogeiton’s weight is on his left
foot and he appears to be in the
motion of stepping forward.
Harmodias’s stride mirrors that of
Aristogeiton. Aristogeiton holds his
sword in his left hand and presents it
in victory. Harmodias’s right arm is
raised above his head and to the
front. This would also have been a
heroic gesture.
Other answers are possible.
Discuss the ways in which the pose
of the two men relates to the
historical context of this art work
The name of this art work is the
Tyrannicides, the tyrant killers. This
sculpture was based on a political
assassination that occurred in
514 BCE. The pose of the two men
relates to this art work as it shows
the moment after Harmodias and
Aristogeiton kill the one of Athens’
tyrant brothers, Hipparchus. Both
men are striding forward as if in the
motion of killing. Aristogeiton’s
weight is on his left foot and he
appears to be in the motion of
stepping forward. Harmodias’s stride
mirrors that of Aristogeiton.
Aristogeiton holds his sword in his
left hand and presents it in victory.
NCEA Level 2 Classical Studies (90248) 2011 — page 4 of 12
Harmodias’s right arm is raised
above his head and to the front. This
would also have been a heroic
gesture. The pose relates to the
name of the art work as the two
figures pose is linked through similar
stance and placement of arms. The
viewer would see these two figures
as linked through the pose that
helps to identify them as the known
figures of Aristogeiton and
Harmodias.
Other answers are possible.
NCEA Level 2 Classical Studies (90248) 2011 — page 5 of 12
TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS
Question Three: Diskobolos
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Here is a sample of part of a
response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Discuss features that identify this
figure as an ideal athlete, and
discuss why the ancient Greeks
produced sculptures of ideal
athletes
Features that show that this figure is
an athlete are the discus and the
fact that he is nude. The discus held
by this figure help to show that he
participating in a sporting event.
Men were naked when competing in
sporting events and this is reflected
here. The ancient Greeks produced
sculptures of athletes to show the
ideal male form.
Discuss features that identify this
figure as an ideal athlete, and
discuss why the ancient Greeks
produced sculptures of ideal
athletes
Features that show that this figure is
an athlete are the discus, the pose
and the fact that he is nude. The
discus held by this figure help to
show that he participating in a
sporting event. The discus in his
right hand is held up behind his
head. Men were naked when
competing in sporting events and
this is reflected here. The pose also
identifies this figure as an athlete.
He is bent at the waist with his left
arm slightly in front of his right knee.
The Diskobolos’ right foot is flat on
the ground and the left is up on the
toes. The ancient Greeks produced
sculptures of athletes to show the
ideal male form in motion. The
athletic sculptures could have been
used as an offering. Successful
athletes could commission images
of themselves to be placed in
temples as a religious offering.
Discuss features that identify this
figure as an ideal athlete, and
discuss why the ancient Greeks
produced sculptures of ideal
athletes
Features that show that this figure is
an athlete are the discus, the pose
and the fact that he is nude. The
discus held by this figure help to
show that he participating in a
sporting event. The discus in his
right hand is held up behind his
head. Men were naked when
competing in sporting events and
this is reflected here. The well
developed muscles also reflect the
fact that he is an athlete. The toned
musculature of the torso and legs
represents the athletic ideal which
was common in Athenian art. The
pose also identifies this figure as an
athlete. He is bent at the waist with
his left arm slightly in front of his
right knee. Diskobolos’ right foot is
flat on the ground and the left is up
on the toes. Diskobolos looks down
towards the right hip. He is about
the swing towards his left to throw
the discus. The ancient Greeks
produced sculptures of athletes to
show the ideal male form in motion.
The pursuit of physical perfection
was a key aspect of Greek life. All
men exercised to tone their bodies.
The athletic sculptures could have
been used as an offering.
Successful athletes could
commission images of themselves
to be placed in temples as a
religious offering. This would bring
honour to the family and favour from
the gods.
Discuss how realistically this
sculpture shows an athlete caught
between two actions – the back
swing and forward thrust of a discus
His arms make a large arc, which
starts at the right hand on the
discus, is carried through the line of
the shoulders, and continues to the
left hand. The triangles, which make
up the space between the inner
arms and the body of the athlete,
are used to show the two moments
in a more realistic way.
Discuss how realistically this
sculpture shows an athlete caught
between two actions – the back
swing and forward thrust of a discus
Some aspects of the Diskbolos
show a realistic portrayal of the
moment between the two actions.
His arms make a large arc, which
starts at the right hand on the
discus, is carried through the line of
the shoulders, and continues to the
left hand. This realistically shows the
moment between the two actions.
Myron has also used triangles to
accurately reflect a believable
throwing position. The triangles,
which make up the space between
the inner arms and the body of the
athlete, are used to show the two
moments in a more realistic way.
Discuss how realistically this
sculpture shows an athlete caught
between two actions – the back
swing and forward thrust of a discus
Some aspects of the Diskbolos
show a realistic portrayal of the
moment between the two actions.
His arms make a large arc, which is
the dominant part of the sculpture.
The arc starts at the right hand on
the discus, is carried through the
NCEA Level 2 Classical Studies (90248) 2011 — page 6 of 12
line of the shoulders and continues
to the left hand, which is in front of
his knee. This realistically shows the
moment between the two actions.
Myron has also used triangles to
create an innovative pose to
accurately reflect a believable
throwing position. The triangles,
which make up the space between
the inner arms and the body of the
athlete, are used to show the two
moments in a more realistic way.
The line between the pectoral
muscles reflects the gaze of the
Diskobolos, which indicates where
the athlete is focusing. While the
taut abdominal muscles show
tension in a realistic way, these, and
the blank facial expression do not
reflect the violent action of the limbs.
Other answers are possible.
NCEA Level 2 Classical Studies (90248) 2011 — page 7 of 12
TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM
Question One: Perseus and Andromeda
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response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Identify and discuss the key features
of the myth that are depicted in this
painting
The figure standing on the rock in
the middle of the painting is
Andromeda. She has shackles
around her wrist to show that she is
imprisoned. She has been chained
next to the sea-monster, which is a
feature used to tell the myth. The
figure on the right side of the image
is Perseus. He is wearing Mercury’s
winged sandals. In his left hand he
carries the head of Medusa. This is
clearly the moment when Perseus
rescues Andromeda from the sea
monster.
Identify and discuss the key features
of the myth that are depicted in this
painting
The figure standing on the rock in
the middle of the painting is
Andromeda. She has shackles
around her wrist to show that she
was chained as punishment for her
mother’s claim that both she and
Andromeda were more beautiful
than the Nereids. She has been
chained next to the sea-monster
which is a feature used to tell the
myth. The sea monster had been
sent by Poseidon to torment the
Ethiopians because of the claim of
beauty. The figure on the right side
of the image is Perseus. Perseus is
shown naked which was considered
to be heroic. He is wearing
Mercury’s winged sandals and
carries the sword in his left hand. In
this hand he carries the head of
Medusa. This is clearly the moment
when Perseus rescues Andromeda
from the slain sea monster after
killing Medusa.
Identify and discuss the key features
of the myth that are depicted in this
painting
The figure standing on the rock is
Andromeda. She has shackles
around her wrist to show that she
was chained as punishment for her
mother’s claim that both she and
Andromeda were more beautiful that
the Nereids. She has been chained
next to the sea-monster, which is a
feature used to tell the myth. The
sea monster had been sent by
Poseidon to torment the Ethiopians
because of the claim of beauty.
Andromeda was chained to a rock to
be devoured by the sea monster yet
she was saved by Perseus as he
returned from killing Medusa. The
figure on the right side of the image
is Perseus. Perseus is shown
naked, which was considered to be
heroic. His skin is darker than
Medusa’s. He is wearing Mercury’s
winged sandals and carries the
sword in his left hand. Both of these
were gifts from Minerva in order to
help him to kill the gorgon Medusa.
In this hand he carries the head of
Medusa. This is clearly the moment
when Perseus rescues Andromeda
from the slain sea monster after
killing Medusa. He deviates from his
return home to Seriphos to save her
and falls in love with Andromeda.
Discuss the composition and how
the composition has emphasised
some elements of the myth but not
others
Andromeda is standing atop a rock
in the centre of the painting just after
Perseus has slain the sea-monster,
which was going to eat her. Perseus
is stepping up towards her and
guiding her arm. Andromeda is at
the top of the painting and Perseus
and the sea monster are on either
side of her. The focus here is on
Perseus’s hand guiding Andromeda
down as this is the most important
part of the myth here. This is clearly
the moment when Perseus rescues
Andromeda from the sea monster.
Discuss the composition and how
the composition has emphasised
some elements of the myth but not
others
The composition of the painting
helps to convey this myth. After
killing the gorgon, Perseus saw
Andromeda chained to the rock
about to be eaten by the sea
monster. Andromeda is standing
atop a rock in the centre of the
painting. Perseus is stepping up
towards her and guiding her arm.
The composition here is triangular.
Andromeda is at the top of the
triangle and the sides are
represented by Perseus leaning into
her and the line of her shoulder
down to the sea monster. The focus
here is on Perseus’ hand guiding
Andromeda down. The contrast with
the landscape forces the viewer to
focus on the action of the humans.
The landscape is bleak and only
serves to make the yellow of
Discuss the composition and how
the composition has emphasised
some elements of the myth but not
others
The composition of the painting
helps to convey this myth. Perseus
was returning to Seriphos after
killing the gorgon when he saw
Andromeda chained to the rock
about to be eaten by the sea
monster. The composition here
shows that this is the moment after
he has defeated the sea-monster
and is helping Andromeda down
from the rock. Andromeda is
standing atop a rock in the centre of
the image. Perseus is stepping up
NCEA Level 2 Classical Studies (90248) 2011 — page 8 of 12
Andromeda’s dress and the dark
tones of Perseus stand out more.
towards her and guiding her arm.
The composition here is triangular.
Andromeda is at the top of the
triangle and the sides are
represented by Perseus leaning into
her and the line of her shoulder
down to the sea monster. The focus
here is on Perseus’s hand guiding
Andromeda down. Perseus’s gaze is
directed at the sea-monster where
as Andromeda looks out to the
viewer. This helps to convey the
myth that Perseus has only just slain
the sea-monster and Andromeda is
still helpless.
NCEA Level 2 Classical Studies (90248) 2011 — page 9 of 12
TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM
Question Two: House of the Vettii
Achievement
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Here is a sample of part of a
response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Discuss the layout of the House of
Vettii
The house is smaller than other
Pompeian houses; it occupies 1/3 of
an insula. The layout does not follow
the usual plan of a domus. There
was no tablinum. The peristylium is
the largest feature of the house and
was visible from the atrium. A
smaller atrium to the north of the
entrance allowed access to the
private parts of the house.
Discuss the layout of the House of
Vettii
The house is smaller than other
Pompeian houses; it occupies 1/3 of
an insula. The layout does not follow
the usual plan of a domus. There is
no tablinum, the atrium leads onto
the peristylium. The peristylium is
the largest feature of the house and
was visible from the atrium. This
created a sense of space and a
visitor would not notice the absence
of the tablinum. A smaller atrium
was to the north of the larger atrium;
this entrance allowed access to the
private parts of the house. The large
triclinum is well decorated and is to
the north of the peristylium. There
were two other triclinia. There were
separate quarters in the north part of
the house for the women. These
contained a peristylium and
triclinium. This meant that the
women could enjoy all the comforts
of the house without being in the
public parts of the house. The
private rooms were relatively small
compared to those in the public part
of the house.
Discuss the layout of the House of
Vettii
The house is smaller than other
Pompeian houses; it occupies 1/3 of
an insula. The layout does not follow
the usual plan of a domus. There
was one room omitted from those
expected in a Pompeian house.
There is no tablinum, the atrium
leads onto the peristylium through a
large opening supported by two
large pillars. The peristylium is the
largest feature of the house and was
visible from the atrium. This created
a sense of space and a visitor would
not notice the absence of the
tablinum. The impluvium was a focal
point here with alae on each side of
the atrium to maximise the sense of
space. A smaller atrium was to the
north of the larger atrium; this
entrance allowed access to the
private parts of the house. The large
triclinum is well decorated and is to
the north of the peristylium. There
were two other triclinia, the Ixion
room and the Pentheus room. There
were separate quarters in the north
part of the house for the women,
which was appropriate for the time.
These contained a peristylium and
triclinium. This meant that the
women could enjoy all the comforts
of the house without being in the
public parts of the house. The
private rooms were relatively small
compared to those in the public part
of the house. There is evidence of
an upper floor although this was
destroyed in the eruption of
Vesuvius.
Discuss the luxurious decoration of
this house and how the decoration
might be a reflection of the social
status of its owners
The Vettii brothers were wealthy
merchants. The decoration reflects
this. There were large panels with
mythological images. The Ixion
room contained false architectural
vistas and mythological scenes. The
Pentheus room is also named after
the ornate and opulent decoration.
The mythological paintings show
that the owners wanted to be
considered by visitors to be
“cultured”.
Discuss the luxurious decoration of
this house and how the decoration
might be a reflection of the social
status of its owners
The Vettii brothers were wealthy
merchants. The decoration reflects
this. The use of fourth-style wall
paintings in many of the rooms and
the peristylium shows this opulent
and current decoration. In the
peristylium, there were sculptures
and basins in a well-tended garden.
This reflects the owners need to
impress guests who were being
entertained in the peristylium or one
of the rooms off it. One such room
was the large triclinium, which
contained paintings of cupids on a
black background. The cupid are
selling a variety of goods, this
reflects the owners occupations, the
brothers Vettii, who were merchants.
There were large panels with
mythological images. The Pentheus
Discuss the luxurious decoration of
this house and how the decoration
might be a reflection of the social
status of its owners
The Vettii brothers were wealthy
merchants. The decoration reflects
this. A visitor would be greeted in
the fauces with a painting of Priapus
weighing his phallus, which shows
an interest in money and wealth.
The use of fourth-style wall paintings
in many of the rooms and the
NCEA Level 2 Classical Studies (90248) 2011 — page 10 of 12
room is also named after the opulent
decoration. One image here
contains the painting of Pentheus
being torn apart by maenads. The
mythological paintings show that the
owners wanted to be considered by
visitors to be “cultured”.
peristylium shows this opulent and
current decoration. In the
peristylium, there were sculptures
and basins in a well-tended garden.
This reflects the owners need to
impress guests who were being
entertained the peristylium or one of
the rooms off it. One such room was
the large triclinium, which contained
paintings of cupids on a black
background. The cupid are selling a
variety of goods, this reflects the
owners occupations, the brothers
Vettii, who were merchants. There
were large panels with mythological
images. The Ixion room contained
false architectural vistas and
mythological scenes. One
mythological scene provided the
name for this room, Ixion being tied
to a wheel. The Pentheus room is
also named after the ornate and
opulent decoration. One image here
contains the painting of Pentheus
being torn apart by maenads. The
mythological paintings show that the
owners wanted to be considered by
visitors to be “cultured”.
NCEA Level 2 Classical Studies (90248) 2011 — page 11 of 12
TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM
Question Three: Alexander Mosaic
Achievement
Achievement with Merit
Achievement with Excellence
Here is a sample of part of a
response at Achievement level.
Here is a sample of part of a
response at Merit level.
Here is a sample of part of a
response at Excellence level.
Discuss the stylistic features used
by the mosaicist to show the action
of the battle
Two stylistic features used by the
mosaicist to show the action of
battle are overlapping and depth of
field. The horse being led by a
Persian soldier is standing in front of
Darius’ chariot. This creates the idea
that the soldiers were in the middle
of fighting or fleeing. Another
stylistic feature is the variety of
poses in both animals and humans.
The horse in front of the chariot is in
the process of turning, whereas
Darius’ horses are in a variety of
poses.
Discuss the stylistic features used
by the mosaicist to show the action
of the battle
Two stylistic features used by the
mosaicist to show the action of
battle are overlapping and depth of
field. This helps to create a sense of
chaos and urgency from a Persian
point of view. The horse being led
by a Persian soldier is standing in
front of Darius’ chariot. This creates
the idea that the battle was attended
by many soldiers who were in the
middle of fighting or fleeing. Another
stylistic feature is the variety of
poses in both animals and humans.
This creates a sense of disorder.
The horse in front of the chariot is
trying to move to the right of the
mosaic and is in the process of
turning whereas Darius’ horses are
in a variety of poses, this creates a
frantic mood heading to the right of
the mosaic.
Discuss the stylistic features used
by the mosaicist to show the action
of the battle
Two stylistic features used by the
mosaicist to show the action of
battle are overlapping and depth of
field. This helps to create a sense of
chaos and urgency from a Persian
point of view. The chestnut coloured
horse is being led by a Persian
soldier. He is standing in front of
Darius’ chariot. Darius and his
charioteer are behind them and the
shallow background is filled with the
spears of the fleeing army. This
creates the idea that the battle was
attended by many soldiers who were
in the middle of fighting or fleeing.
Another stylistic feature is the
variety of poses in both animals and
humans. This creates a sense of
disorder brought upon by the
pressing Greek army on the left
hand side of the mosaic. The horse
in front of the chariot is trying to
move to the right of the mosaic and
is in the process of turning whereas
Darius’ horses are in a variety of
poses, this creates a frantic mood
heading to the right of the mosaic.
The soldiers behind Darius’ horses
are in a variety of poses. Some are
in ¾ view looking back at their king
and some are in profile facing the
direction they wish to flee.
Discuss the construction methods
used by a mosaicist to create a
mosaic such as this
The mosaicist outlined the image of
the mosaic onto the base. The
tesserae (fine mosaic pieces) were
laid into the mortar – the tesserae
were laid using opus vermiculatum
(worm-like lines). The emblemata
would be placed in the location
alongside the borders and edging,
and grouted.
Discuss the construction methods
used by a mosaicist to create a
mosaic such as this
A base layer was laid, which was
covered with mortar. The next step
was to outline the image of the
mosaic onto the base; this was then
covered in a fine layer of mortar.
The tesserae (fine mosaic pieces)
were laid into the mortar – the
tesserae were laid using opus
vermiculatum (worm-like lines).
After the tesserae had been placed
to follow the pattern, a fine mortar
was laid over to keep the tesserae in
place. The emblemata would be
placed in the location alongside the
borders and edging, and grouted.
Discuss the construction methods
used by a mosaicist to create a
mosaic such as this
The first step was to make sure that
the floor area was flat and ready for
the emblemata to be installed. A
base layer was laid, which was
covered with mortar. The opus
signinum layer was added next (mix
of lime mortar and brick). The next
step was to outline the image of the
mosaic by painting or sketching it
lightly onto the base; this was then
covered in a fine layer of mortar.
The Alexander Mosaic is made
using opus tessellatum. The
tesserae (fine mosaic pieces) were
laid into the mortar – the tesserae
NCEA Level 2 Classical Studies (90248) 2011 — page 12 of 12
were laid using opus vermiculatum
(worm-like lines) to allow the
mosaicist to show the natural shape
of the images, rather than following
vertical or horizontal patterns. After
the tesserae had been placed to
follow the pattern, a fine mortar was
laid over to keep the tesserae in
place. The emblemata would be
placed in the location alongside the
borders and edging, and grouted.
The last step was to polish and
smooth the tesserae by rubbing
them with stones.