Question: Who theorized that blood traveled through the veins?

Answer: Praxagoras of Kos

<hl> Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos , who theorized that blood traveled through the veins. <hl> Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

Medicine, which was dominated by the Hippocratic tradition, saw new advances under <hl> Praxagoras of Kos <hl>, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

Medicine, which was dominated by the Hippocratic tradition, saw new advances under <hl> Praxagoras of Kos <hl> , who theorized that blood traveled through the veins.

question: Who theorized that blood traveled through the veins?, context: Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.


Question: Who was the first to finalize his conclusions with dissections of cadevers?

Answer: Herophilos

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. <hl> Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. <hl> Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. <hl> Herophilos <hl> (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

question: Who was the first to finalize his conclusions with dissections of cadevers?, context: Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.


Question: Which school of medicine was based on strict observation?

Answer: Empiric

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. <hl> Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school. <hl>

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the <hl> Empiric <hl> school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

question: Which school of medicine was based on strict observation?, context: Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.


Question: Who was the first to provide accurate descriptions of the nervous system?

Answer: Herophilos

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. <hl> Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. <hl> Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. <hl> Herophilos <hl> (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.

question: Who was the first to provide accurate descriptions of the nervous system?, context: Medicine, which was dominated by the Hippocratic tradition, saw new advances under Praxagoras of Kos, who theorized that blood traveled through the veins. Herophilos (335–280 BC) was the first to base his conclusions on dissection of the human body, animal vivisection and to provide accurate descriptions of the nervous system, liver and other key organs. Inﬂuenced by Philinus of Cos (ﬂ. 250), a student of Herophilos, a new medical sect emerged, the Empiric school, which was based on strict observation and rejected unseen causes of the Dogmatic school.


Question: Philip II used a dense military formation called what?

Answer: Macedonian Phalanx

<hl> Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx , a dense formation of pikemen, in conjunction with heavy companion cavalry. <hl> Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the <hl> Macedonian Phalanx <hl>, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the <hl> Macedonian Phalanx <hl> , a dense formation of pikemen, in conjunction with heavy companion cavalry.

question: Philip II used a dense military formation called what?, context: Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.


Question: Were Hellenistic armies smaller or larger than traditional Greek armies?

Answer: larger

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. <hl> Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. <hl> Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly <hl> larger <hl> than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

question: Were Hellenistic armies smaller or larger than traditional Greek armies?, context: Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.


Question: The Thorakitai used what type of oval shield?

Answer: Thureos

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. <hl> This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. <hl> The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval <hl> Thureos <hl> shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

question: The Thorakitai used what type of oval shield?, context: Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.


Question: From whom did Seleucus receive war elephants?

Answer: Mauryan empire

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. <hl> Seleucus received Indian war elephants from the Mauryan empire , and used them to good effect at the battle of Ipsus. <hl> He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the <hl> Mauryan empire <hl>, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.

Seleucus received Indian war elephants from the <hl> Mauryan empire <hl> , and used them to good effect at the battle of Ipsus.

question: From whom did Seleucus receive war elephants?, context: Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.


Question: What kind of elephant did the Ptolemies use?

Answer: African elephant

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. <hl> The Ptolemies used the smaller African elephant . <hl>

Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller <hl> African elephant <hl>.

The Ptolemies used the smaller <hl> African elephant <hl> .

question: What kind of elephant did the Ptolemies use?, context: Hellenistic warfare was a continuation of the military developments of Iphicrates and Philip II of Macedon, particularly his use of the Macedonian Phalanx, a dense formation of pikemen, in conjunction with heavy companion cavalry. Armies of the Hellenistic period differed from those of the classical period in being largely made up of professional soldiers and also in their greater specialization and technical proficiency in siege warfare. Hellenistic armies were significantly larger than those of classical Greece relying increasingly on Greek mercenaries (misthophoroi; men-for-pay) and also on non-Greek soldiery such as Thracians, Galatians, Egyptians and Iranians. Some ethnic groups were known for their martial skill in a particular mode of combat and were highly sought after, including Tarantine cavalry, Cretan archers, Rhodian slingers and Thracian peltasts. This period also saw the adoption of new weapons and troop types such as Thureophoroi and the Thorakitai who used the oval Thureos shield and fought with javelins and the machaira sword. The use of heavily armored cataphracts and also horse archers was adopted by the Seleucids, Greco-Bactrians, Armenians and Pontus. The use of war elephants also became common. Seleucus received Indian war elephants from the Mauryan empire, and used them to good effect at the battle of Ipsus. He kept a core of 500 of them at Apameia. The Ptolemies used the smaller African elephant.


Question: What was the largest ship constructed in Antiquity?

Answer: Ptolemaic Tessarakonteres

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. <hl> The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. <hl> New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The <hl> Ptolemaic Tessarakonteres <hl> was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

question: What was the largest ship constructed in Antiquity?, context: Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.


Question: Who invented the Polybolos?

Answer: Dionysios of Alexandria

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. <hl> An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. <hl> Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and <hl> Dionysios of Alexandria <hl> designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

question: Who invented the Polybolos?, context: Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.


Question: What type of weapon is the Polybolos?

Answer: ballista

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. <hl> An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista , the Polybolos. <hl> Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating <hl> ballista <hl>, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating <hl> ballista <hl> , the Polybolos.

question: What type of weapon is the Polybolos?, context: Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.


Question: Who heavy was the Helepolis siege tower?

Answer: 160 ton

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). <hl> Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery. <hl>

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive <hl> 160 ton <hl> siege tower named Helepolis, filled with artillery.

question: Who heavy was the Helepolis siege tower?, context: Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.


Question: How long was Demetrius Poliorcetes siege of Rhodes?

Answer: 12-month

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). <hl> Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery. <hl>

Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the <hl> 12-month <hl> siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.

question: How long was Demetrius Poliorcetes siege of Rhodes?, context: Hellenistic military equipment was generally characterized by an increase in size. Hellenistic-era warships grew from the trireme to include more banks of oars and larger numbers of rowers and soldiers as in the Quadrireme and Quinquereme. The Ptolemaic Tessarakonteres was the largest ship constructed in Antiquity. New siege engines were developed during this period. An unknown engineer developed the torsion-spring catapult (ca. 360) and Dionysios of Alexandria designed a repeating ballista, the Polybolos. Preserved examples of ball projectiles range from 4.4 kg to 78 kg (or over 170 lbs). Demetrius Poliorcetes was notorious for the large siege engines employed in his campaigns, especially during the 12-month siege of Rhodes when he had Epimachos of Athens build a massive 160 ton siege tower named Helepolis, filled with artillery.


Question: Emotion is called what in Hellenistic art?

Answer: pathos

<hl> Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion ( pathos ) and character (ethos). <hl> The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (<hl> pathos <hl>) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion ( <hl> pathos <hl> ) and character (ethos).

question: Emotion is called what in Hellenistic art?, context: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.


Question: Character is called what in Hellenistic art?

Answer: ethos

<hl> Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character ( ethos ). <hl> The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (<hl> ethos <hl>). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character ( <hl> ethos <hl> ).

question: Character is called what in Hellenistic art?, context: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.


Question: Who is the artist that drew grapes so lifelike, birds flew up and pecked at them?

Answer: Zeuxis

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). <hl> The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis , who was said to have painted grapes that seemed so real that birds came and pecked at them. <hl> The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter <hl> Zeuxis <hl>, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter <hl> Zeuxis <hl> , who was said to have painted grapes that seemed so real that birds came and pecked at them.

question: Who is the artist that drew grapes so lifelike, birds flew up and pecked at them?, context: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.


Question: The ideals of Hellenistic art are sensuality and what?

Answer: passion

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). <hl> The dominant ideals of Hellenistic art were those of sensuality and passion . <hl>

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and <hl> passion <hl>.

The dominant ideals of Hellenistic art were those of sensuality and <hl> passion <hl> .

question: The ideals of Hellenistic art are sensuality and what?, context: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.


Question: What painting epitomized the female nude?

Answer: Aphrodite of Cnidos of Praxiteles

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. <hl> The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). <hl> The dominant ideals of Hellenistic art were those of sensuality and passion.

Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the <hl> Aphrodite of Cnidos of Praxiteles <hl> and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.

question: What painting epitomized the female nude?, context: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.


Question: Which artist chose mundane and low class subjects?

Answer: Peiraikos

People of all ages and social statuses were depicted in the art of the Hellenistic age. <hl> Artists such as Peiraikos chose mundane and lower class subjects for his paintings. <hl> According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as <hl> Peiraikos <hl> chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

question: Which artist chose mundane and low class subjects?, context: People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.


Question: Which barbarians were depicted in heroic form?

Answer: Galatians

People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). <hl> Even barbarians, such as the Galatians , were depicted in heroic form, prefiguring the artistic theme of the noble savage. <hl> The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the <hl> Galatians <hl>, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

Even barbarians, such as the <hl> Galatians <hl> , were depicted in heroic form, prefiguring the artistic theme of the noble savage.

question: Which barbarians were depicted in heroic form?, context: People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.


Question: All of the diadochi painted themselves to look like what leader?

Answer: Alexander the Great

People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. <hl> The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. <hl> A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of <hl> Alexander the Great <hl> was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

question: All of the diadochi painted themselves to look like what leader?, context: People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.


Question: Venus de Milo belongs to which period?

Answer: Hellenistic

<hl> People of all ages and social statuses were depicted in the art of the Hellenistic age. <hl> Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

People of all ages and social statuses were depicted in the art of the <hl> Hellenistic <hl> age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.

question: Venus de Milo belongs to which period?, context: People of all ages and social statuses were depicted in the art of the Hellenistic age. Artists such as Peiraikos chose mundane and lower class subjects for his paintings. According to Pliny, "He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos [painter of dirt/low things]. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures" (Natural History, Book XXXV.112). Even barbarians, such as the Galatians, were depicted in heroic form, prefiguring the artistic theme of the noble savage. The image of Alexander the Great was also an important artistic theme, and all of the diadochi had themselves depicted imitating Alexander's youthful look. A number of the best-known works of Greek sculpture belong to the Hellenistic period, including Laocoön and his Sons, Venus de Milo, and the Winged Victory of Samothrace.


Question: Which Greek painter experimented in chiaroscuro?

Answer: Zeuxis

<hl> Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. <hl> Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

Developments in painting included experiments in chiaroscuro by <hl> Zeuxis <hl> and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

question: Which Greek painter experimented in chiaroscuro?, context: Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.


Question: Were Greek temples built in the Hellenistic period larger or smaller than classical temples?

Answer: larger

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. <hl> Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). <hl> The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally <hl> larger <hl> than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

question: Were Greek temples built in the Hellenistic period larger or smaller than classical temples?, context: Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.


Question: Who rebuilt the Apollo at Didyma in 300 BCE?

Answer: Seleucus

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. <hl> Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). <hl> The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by <hl> Seleucus <hl> in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

question: Who rebuilt the Apollo at Didyma in 300 BCE?, context: Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.


Question: What is a Greek royal palace called?

Answer: basileion

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). <hl> The royal palace ( basileion ) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina. <hl>

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (<hl> basileion <hl>) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

The royal palace ( <hl> basileion <hl> ) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.

question: What is a Greek royal palace called?, context: Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.


Question: What is the first example of Hellenistic period royal palace?

Answer: villa of Cassander at Vergina

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). <hl> The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina . <hl>

Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century <hl> villa of Cassander at Vergina <hl>.

The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century <hl> villa of Cassander at Vergina <hl> .

question: What is the first example of Hellenistic period royal palace?, context: Developments in painting included experiments in chiaroscuro by Zeuxis and the development of landscape painting and still life painting. Greek temples built during the Hellenistic period were generally larger than classical ones, such as the temple of Artemis at Ephesus, the temple of Artemis at Sardis, and the temple of Apollo at Didyma (rebuilt by Seleucus in 300 BCE). The royal palace (basileion) also came into its own during the Hellenistic period, the first extant example being the massive fourth-century villa of Cassander at Vergina.


Question: Who said "then art dissapeared"?

Answer: Pliny the Elder

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. <hl> Pliny the Elder , after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). <hl> The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. <hl> Pliny the Elder <hl>, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

<hl> Pliny the Elder <hl> , after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared").

question: Who said "then art dissapeared"?, context: There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.


Question: The discovery of what tombs raised the profile of Hellenistic art?

Answer: Vergina

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. <hl> The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina , allow a better appreciation of this period's artistic richness. <hl>

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of <hl> Vergina <hl>, allow a better appreciation of this period's artistic richness.

The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of <hl> Vergina <hl> , allow a better appreciation of this period's artistic richness.

question: The discovery of what tombs raised the profile of Hellenistic art?, context: There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.


Question: Hellenistic art is describe as decadent mainly due to it following which style period?

Answer: Golden Age of Classical Athens

<hl> There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens . <hl> Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the <hl> Golden Age of Classical Athens <hl>. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the <hl> Golden Age of Classical Athens <hl> .

question: Hellenistic art is describe as decadent mainly due to it following which style period?, context: There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.


Question: What century do the terms Baroque and Rococo come from?

Answer: 18th

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). <hl> The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. <hl> The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The <hl> 18th <hl> century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.

question: What century do the terms Baroque and Rococo come from?, context: There has been a trend in writing the history of this period to depict Hellenistic art as a decadent style, following of the Golden Age of Classical Athens. Pliny the Elder, after having described the sculpture of the classical period says: Cessavit deinde ars ("then art disappeared"). The 18th century terms Baroque and Rococo have sometimes been applied, to the art of this complex and individual period. The renewal of the historiographical approach as well as some recent discoveries, such as the tombs of Vergina, allow a better appreciation of this period's artistic richness.


Question: What century of scholars considered the Hellenistic period a decline in culture from classic Greece?

Answer: 19th

<hl> The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. <hl> Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

The focus on the Hellenistic period over the course of the <hl> 19th <hl> century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

question: What century of scholars considered the Hellenistic period a decline in culture from classic Greece?, context: The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:


Question: How did 19th century scholars view the Hellenistic period?

Answer: a mirror

<hl> The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. <hl> Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as <hl> a mirror <hl> of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

question: How did 19th century scholars view the Hellenistic period?, context: The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:


Question: The viewpoint that the Hellenistic period represented a decline in culture was proven to be meaningless and what?

Answer: unfair

The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. <hl> Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. <hl> This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as <hl> unfair <hl> and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:

question: The viewpoint that the Hellenistic period represented a decline in culture was proven to be meaningless and what?, context: The focus on the Hellenistic period over the course of the 19th century by scholars and historians has led to an issue common to the study of historical periods; historians see the period of focus as a mirror of the period in which they are living. Many 19th century scholars contended that the Hellenistic period represented a cultural decline from the brilliance of classical Greece. Though this comparison is now seen as unfair and meaningless, it has been noted that even commentators of the time saw the end of a cultural era which could not be matched again. This may be inextricably linked with the nature of government. It has been noted by Herodotus that after the establishment of the Athenian democracy:


Question: Who focused on the issue of racial and cultural confrontation?

Answer: William Woodthorpe Tarn

<hl> However, William Woodthorpe Tarn , between World War I and World War II and the heyday of the League of Nations, focused on the issues of racial and cultural confrontation and the nature of colonial rule. <hl> Michael Rostovtzeff, who fled the Russian Revolution, concentrated predominantly on the rise of the capitalist bourgeoisie in areas of Greek rule. Arnaldo Momigliano, an Italian Jew who wrote before and after the Second World War, studied the problem of mutual understanding between races in the conquered areas. Moses Hadas portrayed an optimistic picture of synthesis of culture from the perspective of the 1950s, while Frank William Walbank in the 1960s and 1970s had a materialistic approach to the Hellenistic period, focusing mainly on class relations. Recently, however, papyrologist C. Préaux has concentrated predominantly on the economic system, interactions between kings and cities and provides a generally pessimistic view on the period. Peter Green, on the other hand, writes from the point of view of late 20th century liberalism, his focus being on individualism, the breakdown of convention, experiments and a postmodern disillusionment with all institutions and political processes.

However, <hl> William Woodthorpe Tarn <hl>, between World War I and World War II and the heyday of the League of Nations, focused on the issues of racial and cultural confrontation and the nature of colonial rule. Michael Rostovtzeff, who fled the Russian Revolution, concentrated predominantly on the rise of the capitalist bourgeoisie in areas of Greek rule. Arnaldo Momigliano, an Italian Jew who wrote before and after the Second World War, studied the problem of mutual understanding between races in the conquered areas. Moses Hadas portrayed an optimistic picture of synthesis of culture from the perspective of the 1950s, while Frank William Walbank in the 1960s and 1970s had a materialistic approach to the Hellenistic period, focusing mainly on class relations. Recently, however, papyrologist C. Préaux has concentrated predominantly on the economic system, interactions between kings and cities and provides a generally pessimistic view on the period. Peter Green, on the other hand, writes from the point of view of late 20th century liberalism, his focus being on individualism, the breakdown of convention, experiments and a postmodern disillusionment with all institutions and political processes.

However, <hl> William Woodthorpe Tarn <hl> , between World War I and World War II and the heyday of the League of Nations, focused on the issues of racial and cultural confrontation and the nature of colonial rule.

question: Who focused on the issue of racial and cultural confrontation?, context: However, William Woodthorpe Tarn, between World War I and World War II and the heyday of the League of Nations, focused on the issues of racial and cultural confrontation and the nature of colonial rule. Michael Rostovtzeff, who fled the Russian Revolution, concentrated predominantly on the rise of the capitalist bourgeoisie in areas of Greek rule. Arnaldo Momigliano, an Italian Jew who wrote before and after the Second World War, studied the problem of mutual understanding between races in the conquered areas. Moses Hadas portrayed an optimistic picture of synthesis of culture from the perspective of the 1950s, while Frank William Walbank in the 1960s and 1970s had a materialistic approach to the Hellenistic period, focusing mainly on class relations. Recently, however, papyrologist C. Préaux has concentrated predominantly on the economic system, interactions between kings and cities and provides a generally pessimistic view on the period. Peter Green, on the other hand, writes from the point of view of late 20th century liberalism, his focus being on individualism, the breakdown of convention, experiments and a postmodern disillusionment with all institutions and political processes.