SCHOLARSHIP EXEMPLAR
S
New Zealand Scholarship
Classical Studies
Time allowed: Three hours
Total marks: 24
ANSWER BOOKLET
Answer THREE questions from the Question Booklet: TWO from Section One
and ONE from Section Two.
Write your answers in this booklet. Start each answer on a new page. Number
each question carefully.
Question
Mark
Note: Only
two sample
answers are
provided.
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TOTAL
/24
Assessor’s use only
Check that this booklet has pages 2–22 in the correct order and that none of
these pages is blank.
YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.
NOTE: This exemplar is adapted from the 2011 Scholarship examinations.
© New Zealand Qualifications Authority, 2012. All rights reserved.
No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
2
Question
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Sect
One
G:2
Discuss Greek influence in Roman art and architecture. What factors may have
inclined the Romans to adopt or adapt Greek features in their art and architecture?
Even today the Greeks are idolised and famed for the art and architecture they produced
over 2000 years ago. Just as we see remnants of Greek art and architecture in our society,
most notably the Auckland War Memorial Museum which mirrors Athens’s Parthenon, the
Romans took inspiration from the Greeks when creating some of their most famed pieces
of art and architectural monuments. However, never ones to copy, the Romans adapted the
key features from Greek works to better reflect their society’s values and specific purposes
of the art and architecture in question.
Possibly the most famed Roman architect for his “love of all things Greek” is Hadrian, who
adopted Greek sculptural and architectural techniques in the construction of the Parthenon
and his self–titled villa at Tivoli. An area known as the canopus at Hadrian’s Villa has
several replicas of the Karyatids seen on the south porch of Athens’ Erechtheion. The
Greek versions are masterpieces of sculptural and structural technique, as they act as
columns holding up the porch roof. These idealised figures of women represent the women
of Karyai – who had betrayed the Greeks and were forced into submission – holding out
baskets of offerings in their hands. The sheer beauty of these statues is reason in itself for
Hadrian’s Roman adaption, but their symbolic value of service is fitting for his own private
space. The villa was so expansive and impressive, it glorified the Emperor, and he may
have believed that there he desired to be served. However, unlike on the Erechtheion,
Hadrian’s Kayatids do not serve a structural function on a porch, but are placed between
columns by a large pool of water. They are reflected in the pool, adding to their beauty,
suggesting Hadrian merely wished to replicate some of the finest pieces of Greek sculpture
for his own enjoyment and not to add to the extravagance of his villa.
The Pantheon’s south-facing facade is also typical of a Greek temple – with its grand
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scale, octostyle colonnade and pediment imitating the general aesthetics of the Parthenon
in Greece. This facade is unified, symmetrical and harmonious – an ode to some of the
greatest design features the Greeks brought to architecture. However, in an attempt to
surpass the greatness of the Greek exterior, the interior of the Pantheon is anything but
typical of the traditional rectangular Greek cella, with a large circular room and oculus
displaying the mastery of design and structural engineering the Romans had developed. As
“masters of the world” (Jupiter’s prophecy, Book 1, Virgil’s Aeneid) the Romans aimed to
surpass the brilliance of their Greek predecessors and by incorporating traditional exterior
elements with a revolutionary interior, Hadrian succeeds.
The idealised sculpture of Greek art also heavily influence Roman art, with the emperor
Commodus commissioning a work emulating the style to propagate his importance.
While the symbolic nature of the Bust of Commodus is a feat in itself, it is the idealised
style adopted from the Greeks which elevates the magnificence of his image. The Bust
of Perikles depicts the Greek statesman Perikles in an idealised light, with his smooth
skin, round cheeks, full lips and sharply incised ringlet hair magnifying his superiority.
The idealised depiction of the high-powered and influential Athenian figure propagated a
favourable image to his people and acted as a constant reminder of the youth and vigour of
his character. Like Perikles, Commodus was an influential figure as Emperor of Rome. His
smooth cheeks, full lips and youthful glow propagated a similarly favourable image of his
character – although we know it was only a “brutally expressive charade”. Again, not ones
to be outdone by the Greeks, the Roman sculptors of the Bust of Commodus extended
the idealism to the style of the Antonine Baroque, extending the invasion of curls seen on
Perikles to deeply drilled ringlets for a further youthful sheen. The adaption of the idealised
style in the sculpture of Commodus highlighted the ideal qualities of a leader – youth,
vitality and beauty – just as Perikles was successful in his state, Commodus hoped to be
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too, and so the emulation and extension of idealism was an imperative tool to do so.
The reliefs on the Ara Pacis Augustae are a further extension of Greek influence on the
art of the Roman Empire. The north and south panels of the Ara Pacis depict processions
of both the imperial family and senators and draw direct influential links to the Parthenon
frieze. The Parthenon frieze depicting the hydrophoroi shows a religious procession, most
likely the Panathenaia. Heads are bowed in respect and the traditional religious garments
are being worn. Movement is shown through overlapping, which special attention is paid
to in the sculptors’ skill in drapery. Almost identical in technique and spiritual significance is
the south frieze of the Ara Pacis, depicting a procession headed west toward the structure’s
internal altar. Like the Parthenon, the heads of the imperial figures (Augustus, Agrippa,
and Julia) and their company are bowed in respect with hoods raised over their heads
and laurel wreaths adorning their crowns. In almost identical style, movement is shown in
the varying poses; some with feet raised, knees bent, or arms bent, and depth is shown
through overlapping. However, an extension of the sculptor’s skill is not only seen in the
drapery but also the varying levels of relief – those closest to the viewer are in highest relief
while those in the background in lowest. The adoption of Greek technique and imagery in
the sculpture of the Ara Pacis reliefs reflect the Roman’s wish to be associated with the
holy and sacrosanct history of the Parthenon, and imitate the grandeur and significance of
the famed temple frieze. The Parthenon is one of the most significant Greek buildings of
antiquity and by adopting a similar style and theme, Augustus, on his altar of peace, was
propagating that he could show an appreciation for such religious significance.
Greek influence is prevalent throughout the art and architecture of the ancient Roman
world. Whether through functional buildings or religious temples, free-standing sculpture
or relief work, the skills and messages of the Greek world exalted the importance of the
Roman empire and linked to one of the greatest historic civilisations of their past. All art and
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architecture is propaganda in some form, and so by adopting and then adapting the works
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of the Greeks not only did the Romans link themselves to their brilliance, but showed they
could do better in the process.
The candidate critically evaluates ideas and values of the classical world.
The essay develops a clear and logical argument which demonstrates
awareness of the strengths and limitations of sources. The candidate
incorporates a range of primary evidence which draws from both the ancient
Greek and ancient Roman contexts. The candidate uses pertinent and
detailed examples from Greek and Roman art and architecture to explain
links and interrelationships. The essay is fluent and coherent. There is a
clear structure throughout and the argument is well developed.
To meet the Outstanding Scholarship performance descriptor the student
would need to:
• Demonstrate an ability to articulate a complex perspective, involving subtlety of understanding – in this example, discussion of the use of public models of Greek art in private settings.
• Incorporate elements of independent reflection – in this example, analysis of the reasons for the influence of Greek art and architecture in Rome.
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Two
B
Political and military conflict in ancient Rome: Discuss at least three of the passages
and/or images provided , with specific focus on the insight they give into the
motivations for conflict in the classical world.
Resource 1
Dionysius suggests that Rome was built on, and sustained by, war. He discusses how
Rome’s internal peace was reliant on being engaged in external wars. As with any state,
Rome did find itself most united when threatened by an external foe, however, as Dionysius
points out, often Rome would avoid internal strife by redirecting attention to external
conflict. In some ways wars became the television drama of Ancient Rome.
The lifeblood of ancient Rome was war. To the senatores it was a tool, to the equites it
provided trading opportunities and a vital source of all-important slaves and for the plebs it
often provided the material for the circenses which were so highly regarded.
During the Punic Wars, Rome was united against a foreign enemy as Dionysius describes.
The threat from Carthage was so immense that political issues were put aside in order
to remove the threat. Cato the Elder stated that “Carthage must be destroyed”. While
Dionysius states that unification against a foreign foe was the answer to a consul’s prayer,
Roman experience in external warfare during the end of the Republic in fact contracted
Dionysius’ claim. The state supported Pompey in his campaigns in the east, a foreign
enemy, yet there was still internal conflict between the factions of Caesar and Pompey.
Dionysius points out how “they themselves invented pretexts”, an interesting point as Rome
was, in theory, constitutionally forbidden from entering into a foreign war unprovoked.
However, not only did the Romans go against this, they forged an empire which depended
on war, when Caesar was in debt he sought war to cure his financial woes. When Crassus
wasn’t given credit for ending the war against Spartacus, an act which would have greatly
increased his dignitas, he responded by crucifying 5000 slaves along the Appian Way.
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Another instance during the end of the republic where a statesman tried to unite the people
was during Octavian’s preparation for war against a foreign enemy. The oath of allegiance
sworn by all Italy was designed to stir the Roman people against Cleopatra but this was an
example of the “invented pretext” suggested by Dionysius as the Battle of Actium was the
final step in an internal conflict for control of the state.
Resource 2
Tacitus adopts a style which would have been impossible to believe from an earlier writer
such as Livy. Tacitus allows Calgacus to glorify the Britons in an echo of the conflict
between the Greeks and Persians; the Britons are made to seem to be the last bastion of
liberty in the world as Calgacus describes the Romans as “robbers of the world”. Writing at
the time of Augustus, Livy on the other hand would often bring out the barbaric aspects of
any enemy of Rome (the one notable exception being Hannibal, whom the Romans held in
high regard).
However, the characterisation of the Romans as hedonists by the Briton chieftan ignores
the profound influence of stoicism on Roman society. Undoubtedly the Romans were fond
of wealth as it was invaluable for all aspects of a senator’s political/military career. Some of
the points made by Calgacus were valid. Economic considerations were taken into account
in invading new territories, such as the attraction of mineral wealth in Britain. But this
wasn’t the only motivation. In the case of Britain, Caesar wanted to increase his dignitas by
conquering the ends of the world, whereas Claudius needed to quickly develop his military
career which had been lacking.
Under the empire, the greed of the Romans depended on the emperor or general in power.
Augustus reformed provincial government to stop the exploitation undertaken during the
republic whereas works of art from the east were brought in vast quantities to decorate the
city.
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The British chieftain ends by saying “they want desolation and they call it peace”. This
viewpoint would not be accepted by the Romans, they saw themselves as civilisers of the
world, as seen in Book 6 of Virgil’s Aeneid.
Resource 4
The bottom image suggests the superiority of Romans over barbarians. The Romans are
positioned above the barbarians. Furthermore the Romans are neatly ordered, an allusion
to the famous discipline of the Roman army. The Romans are shown with spears and
shields, yet the barbarians are unarmed.
It is no surprise that such a poignant image would have been placed on a column which
would have been seen by many of the plebs. The Romans loved hearing about large
massacres of barbarians. The image on the top half shows the Romans leading captured
women and children. These were often given to the soldiers as slaves, sold directly to
slave dealers, or sometimes they were reserved for later triumphs, to be paraded along the
streets of Rome so the people could jeer at them.
Slavery was an economic for military conflict. The empire needed vast numbers of slaves
in order to sustain the culture and lifestyle. Roman generals treated conquered men and
women differently. It was common place to massacre the men to prevent future generations
retaliating against Rome and to promote the idea that Rome was invincible. Women and
children would be sold into slavery. However, the treatment of the Salassi tribe during the
time of Augustus contradicts this, only 2,000 were massacred and the rest – male and
female alike – were sold into slavery.
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The candidate interprets resource material with a clear understanding of
motivation for military conflict. The points made regarding the necessity
of Roman military conflict and expansion in the national psyche is strong.
Some generalisations are made; most are dealt with adequately using
supporting primary source evidence, however, this is not always the case.
The candidate uses a range of evidence to explain the links between the
resources and the motivation for military conflict. Ideas are communicated
clearly.
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To more clearly meet the Scholarship descriptor, the candidate should:
• Critically evaluate the motivation for conflict in more depth – at times the candidate rephrases the text but fails to explore the significance of the Roman’s actions.
• Deal more fully with important points, such as the reasons for the depiction of human suffering in the Column of Marcus Aurelius.
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New Zealand Scholarship Classical Studies Sample
S
OUTSTANDING SCHOLARSHIP
EXEMPLAR
New Zealand Scholarship
Classical Studies
Time allowed: Three hours
Total marks: 24
ANSWER BOOKLET
Answer THREE questions from the Question Booklet: TWO from Section One
and ONE from Section Two.
Write your answers in this booklet. Start each answer on a new page. Number
each question carefully.
Question
Mark
Note: Only
one sample
answer is
provided.
`
TOTAL
/24
Assessor’s use only
Check that this booklet has pages 2–22 in the correct order and that none of
these pages is blank.
YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.
NOTE: This exemplar is adapted from the 2011 Scholarship examinations.
© New Zealand Qualifications Authority, 2012. All rights reserved.
No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
2
Question
number
Sect
Two
B
Political and military conflict in ancient Greece: Discuss at least three of the
passages and/or images provided , with specific focus on the insight they give into
the motivations for conflict in the classical world.
Conflict was certainly a defining characteristic of ancient Greece, and one which heavily
influenced the culture and politics of Greek city states. To say Greeks were obsessively
warlike would be hyperbolic, but conflict was certainly a common occurrence throughout
ancient Greece and it represented the greatest threat to the polis. In the same ways that
significant wars have moulded the cultural values and national identity of New Zealand, for
example, the effect of warfare was equally measurable in establishing cultural identity in
the Greek world.
Homer’s Iliad as a cultural artefact illustrates the significance of conflict in the creation of
myth and cultural identity. The Trojan War was immortalised in the Iliad and its relevance
to the classical Greek societies is evidenced by its continuing references in their literature
and art. The Iliad is said to have been Alexander’s favourite book which he took with him
throughout his campaign. Alexander’s use of the book as an inspiration for heroism in
warfare and technical advice illustrates its role in defining cultural identity.
The Iliad is an evocative tale of pan-hellenism, heroism and piety, and the superiority of
Greeks: all significant themes in the ethos of conflict in the Greek world. Military conquest
was the ultimate achievement and the feats of heroic warriors, such as Achilles and Hector,
were immortalised. Military leadership, therefore, presented opportunity for political ascent
as well as posthumous recognition.
Military service as part of cultural identity was not simply a result of personal ambition,
however, but a wider cultural identity that stressed the military, in particular the navy in the
case of Athens, as integral to the security and character of Greek peoples.
In Pericles’ speech to the Athenian polis he emphasises the ethos of national service as a
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model for security and freedom, “You cannot decline the borders of Empire” he says “and
still expect to share in the honours”. As part of the cultural identity, military service was not
only a source of cultural identity but also maintained the freedom and independence of
Greek city states that defines their existence, power and prosperity.
Pride in being Greek was both created and defended by conflict and the creation and
maintenance of the city state was a significant motivation for conflict. The grave threat of
warfare made people seek security and identity as a collective. Likewise, military success
helped forge national and cultural identity, the vigour and virility of the Marathon generation
still being praised by Aristophanes as characters of the real Athens decades later. In
the same way that military conscription and success helped build nationalist identity and
narratives in New Zealand and Britain for example, the effect was true of Greeks for whom
the battles of Thermopylae, Marathon and Salamis informed both cultural identity and made
Athenian wars of the rise of conflict.
Conflict was also pursued for political purposes. In the source provided, Thucydices
highlights how the grave threat of revolution in Corcyra gave rise to a call for radical change
and caused “zealous partisanship”. Thucydides criticises the greed and personal ambition
of politicians manipulating and escalating conflict during the Peloponnesian War. His
criticism is similarly tied to Aristophanes censure of the demagogue Cleon, who he claims
manipulates democracy and the courts for his own purposes and propagates war with
Sparta in the plays Knights, Wasps and Peace.
However, although there were significant pro-war factions in Greek city states who
represented many of the motivations for conflict, there were also significant anti-war forces
at play. Aristophanes is a clear example of a playwright who was not exactly pacifist, but
promoted peace. Similarly, the Brygos Painter’s vase depicting the Fall of Troy has an antiwar narrative depicting the bloodshed and destruction of warfare. The timing of the vase is
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significant, with 490 BCE being the time of the Persian invasion of Greece. The vase shows
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the brutality of conflict with a particularly vivid evocation of the theme being Neoptolemus’
killing of Priam using the dead body of his grandson Astyanax as a weapon – an even more
gruesome scene than the version of the story painted by the Kleophrades Painter.
Conflict in the Greek world therefore was a significant force in establishing cultural values
and national identity. The role of myth and fable such as in the Iliad was likely both a
reflection and a proponent of a culture to which warfare and military service was central. It
is the core of Greek history, literature – both epic and drama – and many of their art works.
National identity was established through conflict.
The candidate interprets the resource material provided with insight and
perception. They draw on in-depth understanding of the motivation for
conflict in the Greek world. The candidate’s response goes beyond the
sources and shows elements of independent reflection, particularly when
connecting the ideas and values of the Iliad and its subsequent influence on
Alexander the Great. The viewpoint presented is balanced. The candidate
identifies and interprets specific elements of a wide range of evidence and
formulates a complex perspective of the ideas and values of the classical
world. On the whole, the candidate communicates ideas with precision and
originality, but occasionally lacks a degree of precision. The resources are
consistently used by the candidate throughout the response to strengthen
understanding.
To meet the Outstanding Scholarship standard more securely, the candidate
should:
• Consistently focus on the evaluation of the passages provided – in this example, the candidate does not adequately deal with the extracts
from the Iliad, instead focusing on general themes and wider knowledge.
• More consistently communicate ideas with precision and originality.
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New Zealand Scholarship Classical Studies Sample