Metropolitan Kouros, Early Archaic, c. 615-590 B.C.		Kroisos (Kouros from Anavysos), c. 540-515 B.C.
Kritios Boy, from the Acropolis of Athens, c. 480 B.C. 360 degree view of the Kritios Boy.
Reconstruction of tbe Temple of Aphaia at Aegina.		Reconstruction of the pediment of the Temple of Aphaia at Aegina.
Archer from the East Pediment of the Temple of Aphaia at Aegina, c. 490-480 B.C.		Archer from the west pediment of the Temple of Aphaia at Aegina, c. 510 B.C.
Fallen Warrior from the East Pediment of the Temple of Aphaia at Aegina, c. 490-480 B.C.		Fallen Warrior from the West Pediment of the Temple of Aphaia at Aegina, c. 510 B.C.
Polykleitos, Doryphoros, original c. 450-440 B.C., Roman copy. 360 degree view of the Doryphoros.
		Warrior from Riace, bronze, third quarter of the 5th c. B.C.

Contrapposto- placed opposite. The disposition of the parts of the body so that they turn along oblique axes around a central vertical axis. The figure is "counterpoised" so that the weight-bearing leg, or engaged leg, is distinguished from the raised, or free leg, the resulting shift in the axes of hips and shoulders is observed. Above all, the stiff frontality and parallel alignments which are characteristic of Egyptian and Archaic Greek sculpture are avoided, and the body is conceived of as an organic mechanism composed of interdependent parts. Note how in a work like the Kritios Boy the artist goes beyond the observation of the shifting axes in the body to record the distinction between tensed and relaxed muscles.

Anavysos Kouros, c. 540-515 B.C.	Kritios Boy, c. 480 B.C.

Define the transformations that have taken place between the sculpture of the late archaic period and that of the early Classical period. Note how these imply a change in relationship of the viewer to the work of art.

In commenting upon the opinion of the Stoic philosopher Chrysippus that health in the body is the result of the harmony of all its constituent elements, the physician Galen (second century A.D.) adds:

"Beauty resides not in the commensurability, but in the commensurability of the parts, such as finger to finger, and of all the fingers to the metacarpus and the wrist, and of these to the forearm, and of the forearm to the arm, in fact of everything to everything, as it is written in the Canon of Polykleitos. For having taught us in that treatise all the symmetriae of the body, Polykleitos supported this treatise with a work, having made a statue of a man according to the tenets of his treatise, and having called the statue itself, like the treatise, the Canon.