Book contents
- Seeing Color in Classical Art
- Seeing Color in Classical Art
- Copyright page
- Dedication
- Contents
- Acknowledgements
- Introduction
- Chapter 1 Material Color, Language, and Khrōma
- Chapter 2 Additive Colors, Kosmēsis, and Care
- Chapter 3 Khōra, Relief, AND Landscape
- Chapter 4 Inlaid Eyes, Effluences, and Opsis
- Chapter 5 Atoms, Lithoi, and Animacy
- Epilogue
- Select Bibliography
- Index
Chapter 3 - Khōra, Relief, AND Landscape
Published online by Cambridge University Press: 25 November 2022
- Seeing Color in Classical Art
- Seeing Color in Classical Art
- Copyright page
- Dedication
- Contents
- Acknowledgements
- Introduction
- Chapter 1 Material Color, Language, and Khrōma
- Chapter 2 Additive Colors, Kosmēsis, and Care
- Chapter 3 Khōra, Relief, AND Landscape
- Chapter 4 Inlaid Eyes, Effluences, and Opsis
- Chapter 5 Atoms, Lithoi, and Animacy
- Epilogue
- Select Bibliography
- Index
Summary
The path to the Panhellenic sanctuary of Apollo at Delphi takes a visitor up a steep and winding path from the lush expanse of the plain to the multifaceted sanctuary complex that was considered the navel (omphalos) of the ancient Mediterranean world (Figure 67). Climbing the path towards the sanctuary in the late sixth century bce, a pilgrim would have encountered a small, vibrantly polychrome, temple-like building (Figures 68 and 69).1 Officials from the island of Siphnos commissioned this treasure-house, built about 525 bce, which is thought to be among the first of such buildings erected along the switchback path. Over the next 200 years, dozens more cities would build treasure-houses lining a path to the oracular sanctuary and the Temple of Apollo (Figure 70).2
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- Seeing Color in Classical ArtTheory, Practice, and Reception, from Antiquity to the Present, pp. 134 - 181Publisher: Cambridge University PressPrint publication year: 2022