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Greco-Roman architecture, reception of  

Elizabeth R. Macaulay

Since antiquity Greek and Roman architecture has been subject to diverse and complex receptions. Architectural forms have experienced different and wide-scale transformations across space and time, both in antiquity and in postantique contexts. These adapted forms have emerged because of the complex interactions between building traditions and contemporary needs.

At a fundamental level, architecture must be functional. It must work for the purpose for which it was designed, be it a temple, law court, or residence. Vitruvius endorses this view in De Architectura (I.2.5), the only surviving architectural treatise from Greco-Roman antiquity. At the same time, architecture has a unique ability to concretise ideas. Not only were there political, religious, economic, social, and ideological concepts associated with specific types of ancient buildings, but the architectural forms of the classical world have had a powerful range of resonances that postantique architects, patrons, and regimes have been only too keen to exploit. Classical architectural forms come with a lot of baggage.

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retrospective styles  

Andrew F. Stewart

Retrospective styles in sculpture. At various times, each of the three main Greek sculptural styles, the Archaic, the Classical, and the Hellenistic Baroque, was revived by both Greeks and Romans, for a variety of reasons and in a variety of contexts (see classicism; cf. the linguistic phenomenon of archaism in latin).1. Archaizing and archaistic sculpture. ‘Mannered’ or ‘archaizing’ traits occasionally appear in late Archaic sculpture, and ‘lingering Archaic’ is a persistent phenomenon of the 5th cent. bce. By c.400, however, both the archaizing and completely archaistic styles are fully established. Examples of the former are the Hermes Propylaeus and Hecate Epipyrgidia of *Phidias' pupil *Alcamenes, dated c.420. The Hermes grafts an ‘Archaic’ coiffure on to a classical physiognomy, and the Hecate wears ‘Archaic’ step-fold drapery. Both stood on the Acropolis, and use the style to convey an aura of ancient sanctity. Fully ‘archaic’ cult statues appear in pedimental sculpture (the Sack of Troy) at the Argive *Heraion (see argos (1)) and *Epidaurusc.