Art History Student’s Name: Institution: Chapter 1, pg. 10 Great stone tower built into the settlement wall, Jericho, ca.8000-7000 BCE is a representation of the then growing amounts of Jericho’s wealth that enabled the city to put up such a permanent stone fortification against the increasingly powerful neighbors. This five-foot-thick wall with a wide, rock-cut ditch was erected to surround the about 2,000 inhabitants in Jericho. The Israelites in Jericho are known have led life of comfort due to their wealth resulting from their goods of trade. The tower was a major technological fete in light of the tools available at the time. The wealth of Jericho is known to have lasted for thousands of years. Chapter 2. pg.23 Standard of Ur, Royal Cemetery (ca.2600 BCE) was a great discovery by archaeologist Charles Leonard Woolley in 1926 representing the expended significant capability of inhabitants of Ur during the Early Dynastic period to build tombs for deceased elites such as city-state’s queens and kings. The royal cemetery was discovered to contain huge amounts of wealth including numerous valuable artifacts, animals and attendants. This signified both the considerable power of the deceased elites and their ability to intimidate their lowly servants buried along while still alive. Chapter 3. p.45 Great Pyramids of Gizeh are ancient highly technical wonder that represented Egypt’s great wealth and power. They also served as the tombs of such Fourth Dynasty pharaohs s Khufu, Khafre and Menkaure. They also attest to the ability of the Old Kingdom to mobilize, direct, house as well as feed massive number of workforce that went in what is one of the most labor-intensive architectural fetes to be undertaken. The tombs in the pyramids served as king’s tomb, temple and his place in the afterlife. Chapter 4, pg.81 Tholos of Treasury of Atreus, Greece (ca. 1300-1250 BCE is the largest and most well-preserve tholos tomb constructed around 1250 BC during the Bronze Age. It is believed that wealthy Mycenaeans at the time were buried outside citadel walls in such bee-hive tombs that were covered by large earthen mounds. The entrance of the tholos tomb evidenced the vast amount of wealth that went on it e.g. decoration of columns of green and red “Lapis and Lacedaimonius” sourced from quaries located over 100 km away. They contained such valuable items as the two gold “Vapheio cups” bearing decorations of bull taming scenes, well known Mycenaean treasures. Chapter 5, p. 138 Old Market Woman(ca. 150-100 BCE) is a marble statue, depicting the theme of poverty characteristic in Hellenistic sculptures that depicted old women and men from the lowest ranks of the social order. The Old Market Woman shows a haggard old woman, with outward protruding collar bones and sagging breasts, clutching on a baskets of fruits and chickens for sales at the market. Her face is wary with wrinkles, her body bent with old age, and her spirit shuttered by a lifetime of abject poverty (Kleiner & Gardner, 2009). In her feet are rusty sandals and her head covered with ivy leaves. Her dress is slipped off one shoulder representing the restrictions on elderly women of the childbearing years. One popular interpretation of The Old Market Woman is that she is sad, stressed pathetic, tired, and empty. The only reason she goes on with life is because she must as opposed experiencing pleasure from life. Chapter 6, p.144 A Fibula with orientalizing lions (ca. 650-640 BCE) is a unique huge golden gold pin for fastening a woman’s gown at the shoulder found in the Regolini-Galassi Tomb at Cerveteri, Italy. It is said to have been among the bronze cauldrons and gold jewelry stocked in the tomb by a wealthy Etruscan family. This Regolini-Galassi fibula is estimated to equal or exceed the quality of anything might have regarded a model at the time, attesting its value and wealth status. The fibula also included a golden pectoral used to cover a deceased woman’s chest and two gold circlets, probably earings or bracelets. The high ostentatious display is testament to the newly acquired wealth of the people of seventh-century BCE Etruria. Chapter 7, pg.163 Funerary relief with portraits of the Gessii (ca. 30 BCE) is a portrait depicting a self-placed relief by Roman freedmen and their former owners on the faces of their tomb to celebrate their freedom and new citizen status. This relief show three people, generally titled Gessius. At the center is Publius Gessius (the freeborn citizen and slaves owner) and to the left and to right are his freed slaves. The slaves lacked legal standing and were property of their owner until they were freed when they became people by law and members of the Roman society. They include the portrait of their owner to show him gratitude for freeing them. Chapter 8. pg. 214 Sarcophagus of Junius Bassus (ca. 359) is a sculpture depicting how the wealthiest Christians such as the recently converted pagan city prefect Junius Bassus were obsessed with elaborately decorate sarcophagi. This sculpture shows biblical episodes starting from Adam and Eve and transition to Christ before Pilate. Instead of the deceased appearing on the body of the coffin, Old and New Testament stories would fill the inches. Chapter 13. p.358 House of Bourges Coeur (1433-1451)is a splendid representation of the Late Gothic architecture, a house of Jacques Coeur – an immensely wealthy Bourges merchant and financier. It an elaborate symbol of the period’s sensational secular spirit, representing the great accumulation of wealth and public manifestation of it on the part of the secular owner (Kleiner & Gardner, 2009). It also demonstrates the owner’s increasing calculus of power and influence at the time – Jacques Coeur was advisor to King Charles VII of France. The house depicts the French Flamboyant variation of Gothic tradition that entailed repeated twisting, intricate decoration and flame-like shapes. Coronation of Napoleonis a painting by Jacques Louis David that depicts the colorful coronation of Queen Josephine by Napoleon I in 1804. It shows much motifs of power and royalty, and thus wealth. The painter used an arcade for the imposing frame of the imperial couple, surrounded by a colorful congregation. The Pope and bishops are present, as well as the great dignitaries of the Empire bearing such symbols of imperial power as the globe, the eagle-topped scepter, and the hand of Justice. The Napoleon’s mother can been seen from her vantage point the VIP gallery(Kleiner & Gardner, 2009). The painter utilized exceptionally rich palette of color shades to show the velvets, satins, furs, and lames of the ceremonial costumes and furnishings of the high and mighty imperial family, the clergy, and the court at the coronation. Reference Kleiner, F. S., & Gardner, H. (2009). Gardner's art through the ages: A global history. Australia: Thomson Wadsworth. -

Art History

Chapter 1, pg. 10
Great stone tower built into the settlement wall, Jericho, ca.8000-7000 BCE is a representation of the then growing amounts of Jericho’s wealth that enabled the city to put up such a permanent stone fortification against the increasingly powerful neighbors. This five-foot-thick wall with a wide, rock-cut ditch was erected to surround the about 2,000 inhabitants in Jericho. The Israelites in Jericho are known have led life of comfort due to their wealth resulting from their goods of trade. The tower was a major technological fete in light of the tools available at the time. The wealth of Jericho is known to have lasted for thousands of years.
Chapter 2. pg.23
Standard of Ur, Royal Cemetery (ca.2600 BCE) was a great discovery by archaeologist Charles Leonard Woolley in 1926 representing the expended significant capability of inhabitants of Ur during the Early Dynastic period to build tombs for deceased elites such as city-state’s queens and kings. The royal cemetery was discovered to contain huge amounts of wealth including numerous valuable artifacts, animals and attendants. This signified both the considerable power of the deceased elites and their ability to intimidate their lowly servants buried along while still alive.
Chapter 3. p.45
Great Pyramids of Gizeh are ancient highly technical wonder that represented Egypt’s great wealth and power. They also served as the tombs of such Fourth Dynasty pharaohs s Khufu, Khafre and Menkaure. They also attest to the ability of the Old Kingdom to mobilize, direct, house as well as feed massive number of workforce that went in what is one of the most labor-intensive architectural fetes to be undertaken. The tombs in the pyramids served as king’s tomb, temple and his place in the afterlife.
Chapter 4, pg.81
Tholos of Treasury of Atreus, Greece (ca. 1300-1250 BCE is the largest and most well-preserve tholos tomb constructed around 1250 BC during the Bronze Age. It is believed that wealthy Mycenaeans at the time were buried outside citadel walls in such bee-hive tombs that were covered by large earthen mounds. The entrance of the tholos tomb evidenced the vast amount of wealth that went on it e.g. decoration of columns of green and red “Lapis and Lacedaimonius” sourced from quaries located over 100 km away. They contained such valuable items as the two gold “Vapheio cups” bearing decorations of bull taming scenes, well known Mycenaean treasures.
Chapter 5, p. 138
Old Market Woman(ca. 150-100 BCE) is a marble statue, depicting the theme of poverty characteristic in Hellenistic sculptures that depicted old women and men from the lowest ranks of the social order. The Old Market Woman shows a haggard old woman, with outward protruding collar bones and sagging breasts, clutching on a baskets of fruits and chickens for sales at the market. Her face is wary with wrinkles, her body bent with old age, and her spirit shuttered by a lifetime of abject poverty (Kleiner & Gardner, 2009). In her feet are rusty sandals and her head covered with ivy leaves. Her dress is slipped off one shoulder representing the restrictions on elderly women of the childbearing years. One popular interpretation of The Old Market Woman is that she is sad, stressed pathetic, tired, and empty. The only reason she goes on with life is because she must as opposed experiencing pleasure from life.
Chapter 6, p.144
A Fibula with orientalizing lions (ca. 650-640 BCE) is a unique huge golden gold pin for fastening a woman’s gown at the shoulder found in the Regolini-Galassi Tomb at Cerveteri, Italy. It is said to have been among the bronze cauldrons and gold jewelry stocked in the tomb by a wealthy Etruscan family. This Regolini-Galassi fibula is estimated to equal or exceed the quality of anything might have regarded a model at the time, attesting its value and wealth status. The fibula also included a golden pectoral used to cover a deceased woman’s chest and two gold circlets, probably earings or bracelets. The high ostentatious display is testament to the newly acquired wealth of the people of seventh-century BCE Etruria.
Chapter 7, pg.163
Funerary relief with portraits of the Gessii (ca. 30 BCE) is a portrait depicting a self-placed relief by Roman freedmen and their former owners on the faces of their tomb to celebrate their freedom and new citizen status. This relief show three people, generally titled Gessius. At the center is Publius Gessius (the freeborn citizen and slaves owner) and to the left and to right are his freed slaves. The slaves lacked legal standing and were property of their owner until they were freed when they became people by law and members of the Roman society. They include the portrait of their owner to show him gratitude for freeing them.
Chapter 8. pg. 214
Sarcophagus of Junius Bassus (ca. 359) is a sculpture depicting how the wealthiest Christians such as the recently converted pagan city prefect Junius Bassus were obsessed with elaborately decorate sarcophagi. This sculpture shows biblical episodes starting from Adam and Eve and transition to Christ before Pilate. Instead of the deceased appearing on the body of the coffin, Old and New Testament stories would fill the inches.
Chapter 13. p.358
House of Bourges Coeur (1433-1451)is a splendid representation of the Late Gothic architecture, a house of Jacques Coeur – an immensely wealthy Bourges merchant and financier. It an elaborate symbol of the period’s sensational secular spirit, representing the great accumulation of wealth and public manifestation of it on the part of the secular owner (Kleiner & Gardner, 2009). It also demonstrates the owner’s increasing calculus of power and influence at the time – Jacques Coeur was advisor to King Charles VII of France. The house depicts the French Flamboyant variation of Gothic tradition that entailed repeated twisting, intricate decoration and flame-like shapes.
Coronation of Napoleonis a painting by Jacques Louis David that depicts the colorful coronation of Queen Josephine by Napoleon I in 1804. It shows much motifs of power and royalty, and thus wealth. The painter used an arcade for the imposing frame of the imperial couple, surrounded by a colorful congregation. The Pope and bishops are present, as well as the great dignitaries of the Empire bearing such symbols of imperial power as the globe, the eagle-topped scepter, and the hand of Justice. The Napoleon’s mother can been seen from her vantage point the VIP gallery(Kleiner & Gardner, 2009). The painter utilized exceptionally rich palette of color shades to show the velvets, satins, furs, and lames of the ceremonial costumes and furnishings of the high and mighty imperial family, the clergy, and the court at the coronation.

Reference
Kleiner, F. S., & Gardner, H. (2009). Gardner’s art through the ages: A global history. Australia: Thomson Wadsworth.

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