Abstract
The erection of a building - be it temple, treasury, colonnade, or theatre - argues commitment, means, and purpose, and the architectural sculpture that adorned the religious buildings is likely to have had programmatic intent, whether religious or political. The very complexity of the undertaking, and the limitation of the shapes decorated, have been seen as generating forces behind the development of advances in archaic sculpture. This is Anthony Snodgrass’s antithesis to the position he maintains about the production of kouroi and korai (see p. 10 above): ‘It is the pedimental figures which should be held up as examples of the attainment of Archaic sculptors . . . their adventurousness in pose and subject was the biggest contribution of the age to later sculpture.’
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