AS Classical Civilisation

Transcription

1 AS Classical Civilisation Paper 1A Greek Architecture and Sculpture Mark scheme 2020 June 2017 Version: 1.0 Final

2 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students reactions to a particular paper. Assumptions about future mark schemes on the basis of one year s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk Copyright 2017 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.

3 MARK SCHEME AS CLASSICAL CIVILISATION CIV1A JUNE2017 INTRODUCTION The information provided for each question is intended to be a guide to the kind of answers anticipated and is neither exhaustive nor prescriptive. All appropriate responses should be given credit. Where Greek and Latin terms appear in the Mark Scheme, they do so generally for the sake of brevity. Knowledge of such terms, other than those given in the specification, is not required. However, when determining the level of response for a particular answer, examiners should take into account any instances where the student uses Greek or Latin terms effectively to aid the clarity and precision of the argument. Information in round brackets is not essential to score the mark. DESCRIPTIONS OF LEVELS OF RESPONSE The following procedure must be adopted in marking by levels of response: read the answer as a whole work down through the descriptors to find the one which best fits determine the mark from the mark range associated with that level, judging whether the answer is nearer to the level above or to the one below. Since answers will rarely match a descriptor in all respects, examiners must allow good performance in some aspects to compensate for shortcomings in other respects. Consequently, the level is determined by the best fit rather than requiring every element of the descriptor to be matched. Examiners should aim to use the full range of levels and marks, taking into account the standard that can reasonably be expected of students after one year of study on the Advanced Subsidiary course and in the time available in the examination. Students are not necessarily required to respond to all the bullet points in order to reach Level 5 or Level 4, but they should cover a sufficient range of material to answer the central aspects of the question. QUALITY OF WRITTEN COMMUNICATION The Quality of Written Communication will be taken into account in all questions worth 10 or more marks. This will include the student s ability to communicate clearly, ensuring that text is legible and that spelling, punctuation and grammar are accurate to select and use an appropriate form and style of writing, and to organise information clearly and coherently, using specialist vocabulary when appropriate. 3 of 17

4 LEVELS OF RESPONSE FOR QUESTIONS WORTH 10 MARKS Level 4 Level 3 Level 2 accurate and relevant knowledge covering central aspects of the question clear understanding of central aspects of the question ability to put forward an argument which for the most part has an analytical and/or evaluative focus appropriate to the question and uses knowledge to support opinion ability generally to use specialist vocabulary when appropriate. a range of accurate and relevant knowledge some understanding of some aspects of the question some evidence of analysis and/or evaluation appropriate to the question some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them Level 1 either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it of 17

5 LEVELS OF RESPONSE FOR QUESTIONS WORTH 20 MARKS Level 5 Level 4 Level 3 Level 2 Level 1 well chosen accurate and relevant knowledge covering most of the central aspects of the question coherent understanding of the central aspects of the question ability to sustain an argument which has an almost wholly analytical and/or evaluative focus, responds to the precise terms of the question, effectively links comment to detail, has a clear structure reaches a reasoned conclusion is clear and coherent, using appropriate, accurate language and makes use of specialist vocabulary when appropriate. generally adequate accurate and relevant knowledge covering many of the central aspects of the question understanding of many of the central aspects of the question ability to develop an argument which has a generally analytical and/or evaluative focus, is broadly appropriate to the question, mainly supports comment with detail and has a discernible structure is generally clear and coherent, using appropriate, generally accurate language and generally makes use of specialist vocabulary when appropriate. a range of accurate and relevant knowledge some understanding of some aspects of the question some evidence of analysis and/or evaluation appropriate to the question some ability to structure a response using appropriate language, although with some faults of spelling, punctuation and grammar some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them and sufficient clarity, although there may be more widespread faults of spelling, punctuation and grammar. either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it and little clarity; there may be widespread faults of spelling, punctuation and grammar of 17

6 LEVELS OF RESPONSE FOR QUESTIONS WORTH 30 MARKS Level 5 Level 4 Level 3 Level 2 Level 1 well-chosen, accurate and relevant knowledge covering most of the central aspects of the question coherent understanding of the central aspects of the question ability to sustain an argument which has an almost wholly analytical and/or evaluative focus, responds to the precise terms of the question, effectively links comment to detail, has a clear structure reaches a reasoned conclusion is clear and coherent, using appropriate, accurate language and makes use of specialist vocabulary when appropriate. generally adequate accurate and relevant knowledge covering many of the central aspects of the question understanding of many of the central aspects of the question ability to develop an argument which has a generally analytical and/or evaluative focus, is broadly appropriate to the question, mainly supports comment with detail has a discernible structure is generally clear and coherent, using appropriate, generally accurate language and generally makes use of specialist vocabulary when appropriate. a range of accurate and relevant knowledge some understanding of some aspects of the question some evidence of analysis and/or evaluation appropriate to the question some ability to structure a response using appropriate language, although with some faults of spelling, punctuation and grammar some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them and writes with sufficient clarity, although there may be more widespread faults of spelling, punctuation and grammar. either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it and little clarity; there may be widespread faults of spelling, punctuation and grammar of 17

7 Unit CIV1A Greek Architecture and Sculpture Section 1 Option A 0 1 In which one city are both these temples? Paestum/Poseidonia [1] [1 mark] 0 2 To which one goddess were both these temples most likely dedicated? Hera [1] [1 mark] 0 3 Give the approximate date of the temple in Photograph A? any date between 570 and 520 (BC) [1] [1 mark] 0 4 Give the approximate date of the temple in Photograph B. any date between 490 and 450 (BC) [1] [1 mark] 0 5 What is the Order of these temples? Doric [1] [1 mark] 7 of 17

8 0 6 To what extent do you think the temple in Photograph B was an improvement on the temple in Photograph A? Give the reasons for your views and support them with details of the outside and inside of both temples. [10 marks] Judgements may be supported by discussion of a range (but not necessarily all) of eg: Photograph A: - 9 x 18 short stubby columns with pronounced entasis and patterns carved on underside of echinus - painted terracotta decoration on eaves - pronaos with three columns and two doors - naos divided longitudinally into two with row of seven columns similar in size to exterior ones, perhaps because two statues (perhaps Hera and Zeus) - opisthodomos, approached from naos by two doors, forms back room rather than back porch; etc. Photograph B: - 6 x 14 taller columns - columns: slight entasis, 24 (rather than later norm of 22) vertical flutes, coated with stucco - no remains of sculpted metopes/pedimental sculpture - angle contraction - upward curvature of stylobate and cornices and slight inclination inwards of column shafts - naos divided by 2 rows of 2 tiers of smaller columns creating less clumsy effect and providing central view to single statue - opisthodomos open to exterior and symmetrical with pronaos; etc. Apply Levels of Response at beginning of Mark Scheme. 0 7 How significant were the developments in Greek temple architecture in the Temple of Zeus at Olympia, the Parthenon in Athens and the Temple of Apollo at Bassae? Give the reasons for your views and support them with details from these three temples. You might include discussion of: structure and materials use of the Orders proportion and symmetry exterior and interior decoration appropriateness for their settings and functions. [20 marks] Judgements may be supported by discussion of a range (but not necessarily all) of eg: Temple of Zeus at Olympia: - though unusually large and accessed by ramp (unusually emphasising front), form of temple that became canonical, with 6 x 13 Doric columns on 3-step stylobate 8 of 17

9 surrounding core of pronaos, naos and opisthodomos, all built of local limestone covered in stucco apart from Parian marble for sculptures and roof tiles - external metopes uncarved, but six carved metopes over pronaos and opisthodomos (Labours of Herakles) - contrasting pediments show (west) violent Centauromachy of Panhellenic importance, (east) calm (though future violence implied) line-up before chariot race of local significance - distyle in antis pronaos and opisthodomos - naos: 2 rows of 2-tier Doric columns allowing later chryselephantine statue of Zeus to be squeezed into central aisle with pool in front - setting: Panhellenic sanctuary where quadrennial games held; etc. Parthenon: - basically traditional temple form facing east (though without its own altar), but largest of date in mainland Greece, surrounded by peristyle of 8 x 17 Doric columns (with slightly more slender proportions) on 3-step stylobate, mainly built of local Pentelic marble - optical refinements including entasis, curvature of stylobate and entablature, inclination of columns - exceptionally highly ornamented with all 92 metopes carved and polychromed (Amazonomachy, Centauromachy, Gigantomachy, Trojan War, perhaps celebrating triumph of civilisation over barbarism) and large pediments filled with dynamic polychromed sculpture showing locally cherished foundation myths (Birth of Athena, Contest between Athena and Poseidon), sometimes bursting out of frame, so that rather than temple enlivened with sculpture perhaps becomes framework for display of sculpture of patriotic flavour - additionally mixes Orders on exterior by inserting carved and painted Ionic frieze high up in peristyle probably demonstrating Athenian piety whatever its exact subject - unusually wide and shallow but symmetrical, pronaos and opisthodomos with 6 columns, former leading to naos with 2-tier Doric columns embracing chryselephantine statue with pool in front, latter leading to adyton supported by 4 Ionic columns for storage of treasure - setting: on summit of Acropolis, highly visible across Athens; demonstration of Athenian power, wealth and piety; etc. Temple of Apollo at Bassae: - apparently built on foundations of archaic temple; unknown whether unusual internal arrangements reflect requirements of particular local cult - basically traditional wholly Doric exterior surrounded by peristyle (unusually 6 x 15) on 3-step stylobate surrounding core of pronaos, naos and opisthodomos, all of local limestone - faces north with unusual door on east side opening into extended part of naos, resulting in building slightly longer than usual in proportion to width - six carved metopes above pronaos and opisthodomos as at Olympia - naos: short spur walls ending in Ionic half-columns with unusual volutes, and single prototype Corinthian column (perhaps instead of statue), whose only structural function is to support Ionic frieze with two myths (Amazonomachy, Centauromachy), lit obliquely from side door - setting: in remote mountain location, possibly to suit particular needs of local cult; etc. Apply Levels of Response at beginning of Mark Scheme. 9 of 17

10 Option B 0 8 Photographs C and D show two sections of the same frieze. From which temple does this frieze come and where on the temple was it? [2 marks] Parthenon [1] in peristyle/on outside of naos wall [1] 0 9 Give the approximate date of the frieze. any date between 447 and 430 (BC) [1] [1 mark] 1 0 What is the most likely subject matter of the whole frieze? Panathenaic procession (or other hypothesis) [1] [1 mark] 1 1 Give one other scene that the frieze shows apart from those in Photographs C and D. [1 mark] horsemen/charioteers/leading animals to sacrifice/handing over fabric, etc. [1] 1 2 How effective do you think the contrast is between the humans in Photograph D and the gods in Photograph C? Give the reasons for your views and support them with details from both sections of the frieze. [10 marks] Judgements may be supported by discussion of a range (but not necessarily all) of eg: humans: - formal line of regularly spaced upright females with repetitive poses moving slowly left in dignified ritualistic way towards males who turn to face them - some variety provided by turning female on far right - females drapery falls regularly in narrow vertical folds over torso and left leg, with smoother surface over advancing right leg and modest hint of breasts - two overlapping pairs of females gives limited sense of depth - males drapery, each similar but not precisely identical to the other, has broader areas of smoother surface, largely covering body apart from right shoulder and chest, but with some suggestion of leg beneath; etc. gods (identification not required): - informal - larger than humans, seated except figure behind Hera (? Iris) in variety of casual relaxed poses - folds of drapery frequently irregular - much of male bodies exposed and females breasts clearly visible through drapery in frontal view of torso - Zeus on right has arm casually placed over throne with limp hand, engaging with Hera who has lifted veil and turns to face him 10 of 17

11 - Ares on left leans back nonchalantly with curved spine, hands clasping right knee, and right calf tucked under left knee, looking left away from Zeus and Hera - figure behind Hera creates greater sense of depth - undulating line of rippling drapery helps to link figures, who are less isolated and more individualised than humans; etc. Apply Levels of Response at beginning of Mark Scheme. 11 of 17

12 1 3 How varied were the different effects which Greek sculptors achieved by means of the clothing on the Peplos kore, the Charioteer from Delphi, Paionios Nike at Olympia and Kephisodotos Eirene and Ploutos? Give the reasons for your views and support them with details from these four statues. You might include discussion of: materials and techniques the relationship of the clothing to the pose and body light and shade colour appropriateness of the drapery to the functions of the statues. [20 marks] Judgements may be supported by discussion of a range (but not necessarily all) of eg: Peplos kore: - peplos (or perhaps ependytes tunic over chiton) hangs over body with some suggestion of breasts (emphasised by framing plaits of hair), but otherwise columnar effect, divided by sharp horizontal lines to represent overfold and waist - extended right arm does not disturb line or smoothness of drapery so that surface can be painted with symmetrical pattern - colourful but dignified and static votive offering to goddess; etc. Charioteer from Delphi: - bronze upright clothed male that originally stood in 4-horse chariot led by groom to commemorate victory - original focus perhaps more on horses than on charioteer - slight twist of figure perhaps implies possibility of movement but does not affect regular patterns of chiton - lower part indented in regular vertical folds like flutes on column (though originally obscured by chariot) - rather than celebrating dynamism of thrilling victory, assemblage provides image of calm, quiet superiority in which emphasis on man s control of horses and self - finely modelled folds of fabric on torso as well as finely engraved patterns of hair contribute to this effect; etc. Paionios Nike at Olympia: - victory commemoration displayed high above viewer on pillar in prominent position in front of temple of Zeus at Olympia - dynamic image of female figure swooping down - exaggerated contrast between fabric pressed tight by imagined rushing air against front of figure, which is therefore dramatically and convincingly revealed, with one breast exposed, and swirling masses of drapery behind that provide emphatic backdrop as well as structural support for daring pose in marble; etc. Kephisodotos Eirene and Ploutos: - allegorical personification in Athenian Agora representing political aspiration - swathes of deep folds which permit only occasional intimations of body beneath create stereotypical image of fecund, modest and protective maternity in intimate moment of bonding into which viewer intrudes - deep vertical folds emphasise calm and richness; etc. Apply Levels of Response at beginning of Mark Scheme. 12 of 17

13 Section 2 Option C 1 4 In sculptures showing violence, Greek sculptors were more concerned to celebrate physical strength and heroism than to express pain and suffering. To what extent do you agree with this statement? Give the reasons for your views and support them with details of five examples. You might include discussion of: the purposes for which the five sculptures you choose were made the Tyrannicides pediment sculptures such as those on the Temple of Aphaia on Aigina and/or the Temple of Zeus at Olympia metopes such as those on the Temple of Zeus at Olympia and/or the Parthenon the grave monument of Dexileos. [30 marks] Judgements may be supported by discussion of a range (but not necessarily all) of eg: Tyrannicides: - copy of bronze monument by Kritios and Nesiotes to what was celebrated in Athens as defining moment in development of democracy, perhaps attempting to portray Athens as vigorous, daring and heroic in struggle against autocracy - dynamic poses with arms raised in action away from body - emphasis on contrasting characters: younger Harmodius strides heroically forward, sword raised above head for chopping blow but with recklessly exposed body, while older Aristogeiton, more wary, holds cloak in front for protection on horizontally projecting arm, with sword low - bones and muscles broadly respond to actions, but in copies at least simplified and with torsos emphatically vertical - viewer in position of intended victim - no hint of fate of either assailant; etc. Aphaia pediments: - battle scenes probably on different occasions at Troy presided over by Athena - earlier west: movement of duellists centrifugal away from static Athena towards fallen but propped up warriors in corners who seem incongruous (to modern viewers at least) because of their grin and premature rigor mortis, etc. - later east: movement inwards towards moving Athena from more plausible fallen warriors with twisting poses and limpness but without full representation of death throes, etc. Olympia west pediment: - combat between Centaurs and Lapiths with a variety of dramatic poses arranged with broad symmetry across scene to fit triangular shape, with some attempt to 13 of 17

14 express women s pain as seized, all dominated by commanding figure of Apollo arm outstretched to end barbarity; etc. Olympia metopes: - Cretan Bull: dynamic composition with crossing diagonals, etc - Nemean Lion: shows post-conflict exhaustion after first Labou.r Parthenon metopes: - each scene of Centauromachy, generally showing two figures, provides series of snapshots of variety of violent acts executed with varying success, including bestial Centaur carrying off limp and vulnerable female, Centaur rearing over fallen Lapith confined to bottom edge of metope, Centaur and Lapith with their legs and arms locked in apparently equal struggle, Lapith springing out as pulls back Centaur s head in triumph (perhaps more ballet-like than realistically violent); etc. grave monument of Dexileos: - for personal memorial displayed in public adopts iconography of polis visual reminiscence of idealised horsemen of Parthenon frieze gives individual young citizen aura of heroic glory as triumphs over defeated warrior - clothed (rather than heroic nudity), astride rearing horse that emphasises superiority and dominance, pierces pathetically naked enemy with bronze lance that provides strong dynamic downward diagonal against upward diagonal of horse, with flowing cloak providing further drama - no pity is aroused for the victim, and it is only the siting of the image on a stele, rather than the image itself, that reminds of the fate of its subject; etc. Apply Levels of Response at beginning of Mark Scheme. 14 of 17

15 Option D 1 5 In the fourth century BC, the sculptors Praxiteles and Lysippos were more innovative than the architects of the Tholos at Epidauros and the Philippeion at Olympia. How far do you agree with this statement? Give the reasons for your views and support them with details of both buildings, one statue by Praxiteles and Lysippos Apoxyomenos. You might include discussion of: how innovative the buildings were in structure, layout and materials use of the Orders exterior and interior decoration. how innovative the sculptures were in materials pose the ways in which gods and humans were portrayed the range of viewpoints. [30 marks] Judgements on innovativeness may be supported by discussion of a range (but not necessarily all) of eg: Tholos at Epidauros: - part of healing cult of healing god Asklepios, perhaps to house sacred snakes in underground labyrinth and/or to represent his cenotaph - adapts conventions of rectangular structure to circular one with peristyle on 3-step stylobate surrounding circular naos - exterior 26 Doric columns, interior 14 Corinthian columns, development from Bassae - metopes carved with large rosettes (rather than historiated or left blank) to match adjacent temple - conical roof culminated in marble akroterion consisting of palmettes and twisted scrolls emerging from basket of acanthus providing link with Corinthian capitals inside and perhaps symbolising rebirth - peristyle has ceiling coffers with acanthus leaves and flower, and intricately carved doorway as in Erechtheion - exceptionally highly decorated naos, perhaps lit by windows, wall frescoed, floor paved with lozenges of darker and lighter stone leading eye to central pit, ceiling decorated with even more elaborate coffers then peristyle; etc. Philippeion at Olympia: - initially to commemorate Philip of Macedon s victories in Olympic chariot-races, then also at battle of Chaironeia, and completed by Alexander as memorial to father 15 of 17

16 - 3-step stylobate as standard with circular peristyle of regularly spaced columns surrounding solid walls of internal structure, again as standard - Ionic order outside, striking contrast with nearby Doric buildings, and unusually capitals have volutes on all four sides because of curve of exterior and support frieze that includes solecism of Doric dentils - huge eye-catching bronze poppy-head on apex of conical roof - circular naos housed chryselephantines (previously reserved for gods) of Philip and family displayed within encircling Corinthian half-columns, continuing emphasis on internal decoration shown in Epidauros Tholos but for different purpose; etc. Hermes and Dionysos: - moment of ease in family of Olympian gods (compare Parthenon frieze), but after act of extreme violence for those who know myth - relaxed, leaning Hermes teases infant Dionysos with grapes (focal point of their gazes, and infant reaching towards them) foretelling Dionysos future role an apparently more playful development from Eirene and Ploutos, where viewer also intrudes into private intimate moment of calm; etc. Apollo Sauroktonos: - apparently sends up Apollo s epic slaying of Pytho by portraying god as lolling, languorous, indolent, androgynous youth teasing harmless lizard - lack of movement (portrayal of which had previously been a focus of innovation) here the whole point - like Hermes and Dionysos, makes no advances in creating a fully threedimensional image; etc. Knidian Aphrodite: - 1st female nude, explicitly exploiting male erotic desire in shockingly naked image of goddess allegedly modelled on Praxiteles mistress - translates Polykleitan contrapposto developed for male nude onto female, with minimal drapery for structural support and contrast that emphasises nakedness - possibly displayed in circular structure in sanctuary so that emphasis unequivocally on intrusive male gaze on female flesh softly carved in marble from all angles - a teasing work in which her gestures to conceal in fact draw attention and which lures voyeur into drama in some positions as witness, in some as participant; etc. Apoxyomenos: - upright male athlete, still with idealised features and proportions, though less stocky than Doryphoros and performing mundane task, with aloof, impassive expression and no sign of previous exertion - in frontal view, arms stretch out towards viewer unsatisfactorily appearing foreshortened and unusually blocking single clear view of musculature so that viewer encouraged to move around and so see clearly what the figure is doing and appreciate the subtly shifting change of balance that the figure portrays in three dimensions; etc. Apply Levels of Response at beginning of Mark Scheme. 16 of 17

17 Assessment Objectives Grid Unit CIV1A Greek Architecture and Sculpture Section 1 Either Option A AO1 AO2 TOTAL TOTAL or Option B AO1 AO2 TOTAL TOTAL Section 2 Either Option C AO1 AO2 TOTAL TOTAL or Option D AO1 AO2 TOTAL TOTAL Overall AO1 AO2 TOTAL TOTAL % 46% 54% 100% 17 of 17