Cambridge A Level Classical Studies 9274 — 2012 Oct/Nov Paper 1 · Variant 3

This document consists of 7 printed pages and 1 blank page. DC (SJF/JG) 61175 © UCLES 2012 [Turn over UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS General Certificate of Education Advanced Subsidiary Level and Advanced Level * 2 1 5 8 1 5 5 5 2 6 * CLASSICAL STUDIES 9274/13 Paper 1 Greek Civilisation October/November 2012 1 hour 30 minutes Additional Materials: Answer Booklet/Paper READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. You may use a soft pencil for any diagrams, graphs or rough working. Do not use staples, paper clips, highlighters, glue or correction fluid. There are four sections in this paper. Each section is worth 25 marks. You must answer two questions. Choose one question from two different sections. You should spend 45 minutes on each section. You are reminded of the need for good English and clear presentation in your answer. At the end of the examination, fasten all your work securely together. The number of marks is given in brackets [ ] at the end of each question or part question.

2 9274/13/O/N/12 © UCLES 2012 SECTION ONE: ALEXANDER THE GREAT Answer ONE of the following three questions. EITHER 1 Read the passage below, and answer the questions which follow: These words made Alexander furious. ‘You scum,’ he cried out, ‘do you think that you can keep on speaking of me like this, and stir up trouble among the Macedonians and not pay for it?’ ‘Oh, but we Macedonians do pay for it,’ Cleitus retorted. ‘Just think of the rewards we get for all our efforts. It’s the dead ones who are happy, because they never lived to see Macedonians being beaten with Median rods, or begging the Persians for an audience with our own king.’ Cleitus blurted out all this impulsively, whereupon Alexander’s friends jumped up and began to abuse him, while the older men tried to calm down both sides. Then Alexander turned to Xenodochus of Cardia and Artemius of Colophon and asked them, ‘When you see the Greeks walking about among the Macedonians, do they not look to you like demi-gods among so many wild beasts?’ But Cleitus refused to take back anything and he challenged Alexander to speak out whatever he wished to say in front of the company, or else not invite to his table free-born men who spoke their minds: it would be better for him to spend his time among barbarians and slaves, who would prostrate themselves before his white tunic and his Persian girdle. At this Alexander could no longer control his rage: he hurled one of the apples that lay on the table at Cleitus, hit him, and then looked around for his dagger. (Plutarch, Life of Alexander 51) (i) Who was Cleitus? [2] (ii) Briefly explain what happened at the feast before this incident. [4] (iii) What happened immediately after this incident? [4] (iv) Using this passage as a starting point, explain the influence that Persian culture had on Alexander and his empire. [15] [25] OR 2 Explain how successful Alexander was in laying siege to towns. [25] OR 3 ‘Alexander was clearly a stronger leader than Darius.’ How far do you agree with this statement? [25] 5 10 15

3 9274/13/O/N/12 © UCLES 2012 [Turn over SECTION TWO: SOCRATES Answer ONE of the following three questions. EITHER 4 Read the passage below, and answer the questions which follow: ‘Please don’t hurry; there is still plenty of time.’ ‘It is natural that these people whom you speak of should act in that way, Crito,’ said Socrates, ‘because they think that they gain by it. And it is also natural that I should not; because I believe that I should gain nothing by drinking the poison a little later – I should only make myself ridiculous in my own eyes if I clung to life and hugged it when it has no more to offer. Come, do as I say and don’t make difficulties.’ At this Crito made a sign to his slave, who was standing nearby. The slave went out and after spending a considerable time returned with the man who was to administer the poison; he was carrying it ready prepared in a cup. When Socrates saw him he said, ‘Well, my good fellow, you understand these things; what ought I to do?’ (Plato, Phaedo 116 e – 117 a) (i) To whom is Phaedo telling this story? [1] (ii) Why does Crito tell Socrates not to hurry? [2] (iii) Which poison did Socrates take? [1] (iv) What was Socrates’ last request? [2] (v) How do Socrates’ friends react after he has taken the poison? What does Socrates say to them following their reaction? [4] (vi) Using this passage as a starting point, explain Socrates’ views on death as seen in the sections of Phaedo you have read. [15] [25] OR 5 ‘It was Socrates’ fault that he was put to death.’ To what extent do you agree with this statement? Explain your answer with reference to Apology and Crito. [25] OR 6 What can be learned about Socrates’ views on the duties of the citizen to the State from the dialogues in The Last Days of Socrates? [25] 5 10

4 9274/13/O/N/12 © UCLES 2012 SECTION THREE: ARISTOPHANES Answer ONE of the following three questions. EITHER 7 Read the passage below, and answer the questions which follow: AESCHYLUS [severely ]: But a lot of excellent men did learn. Look at Lamachus. [Applause.] And you can see the imprint of Homer on my own work clearly enough. I depicted men of valour, lion-hearted characters like Patroclus and Teucer, encouraging the audience to identify themselves with these heroes when the call to battle came. I didn’t clutter my stage with harlots like Phaedra or Stheneboea. No one can say I have ever put an erotic female into any play of mine. EURIPIDES: How could you? You’ve never even met one. AESCHYLUS: And thank heaven for that. Whereas you and your household had only too much experience of Aphrodite, if I remember rightly. She was too much for you in the end. DIONYSUS: He’s got you there, Euripides. See what happened in your own home, when you made other men’s wives behave like that on the stage. EURIPIDES [much put out ]: And what harm did my Stheneboeas do to the community, you irritating man? AESCHYLUS: Why, every decent woman or decent man’s wife was so shocked by plays like your Bellerophon that she went straight off and took poison. EURIPIDES: And did I invent the story of Phaedra? AESCHYLUS: No, no, such things do happen. But the poet should keep quiet about them, not put them on the stage for everyone to copy. Schoolboys have a master to teach them, grown-ups have the poets. We have a duty to see that what we teach them is right and proper. EURIPIDES: And you think that the right and proper way to teach them is to write your kind of high-flown Olympian language, instead of talking like a human being? AESCHYLUS: My poor dear fellow, noble themes and noble sentiments must be couched in suitably dignified language. If your characters are demigods, they should talk like demigods – and, I might add, they should dress like demigods. I showed the way in this respect; but you have distorted the whole thing. (Aristophanes, Frogs) (i) Who was Dionysus and how was he worshipped during the festival at which Frogs was first performed? [3] (ii) Why did Dionysus enter the Underworld and what role is he undertaking in the passage? [3] (iii) Name the section of the play from which this passage is taken. What is its purpose? [2] (iv) Explain who Lamachus was (line 1) and what is supposed to have happened in Euripides’ household (lines 10–11). [2] (v) Using this passage as a starting point, explain how and why Aristophanes parodies Aeschylus and Euripides in Frogs. [15] [25] 5 10 15 20 25

5 9274/13/O/N/12 © UCLES 2012 [Turn over OR 8 ‘Old ways good, new ways bad.’ To what extent do you think this is a valid summary of the main message of Wasps? [25] OR 9 Which play do you think uses the greater range of comic techniques, Frogs or Wasps? In your answer, you should discuss both plays. [25]

6 9274/13/O/N/12 © UCLES 2012 SECTION FOUR: GREEK VASE PAINTING Answer ONE of the following three questions: EITHER 10 Study the images below, and answer the questions which follow: SCENE A SCENE B

7 9274/13/O/N/12 © UCLES 2012 (i) What name is given to this type of amphora? [1] (ii) Name the painters of this pot. [3] (iii) This pot is decorated using both the black-figure and the red-figure techniques. What is the technical name given to this type of decoration? [1] (iv) Both scenes show the same two main figures. Who are these figures? Briefly explain how you can identify them. [5] (v) ‘This pot marks the high point of the black-figure technique and the birth of the red-figure technique.’ How far do you agree with this opinion? In your answer, you should include discussion of at least one earlier and at least one later pot to explain your answer fully. [15] [25] OR 11 Discuss the strengths and limitations of the black-figure technique. In your answer, you should include reference to specific pots by named painters. [25] OR 12 ‘Vase painters depicted stories rich in narrative.’ Do you think this is a more accurate description of the black-figure pots or the red-figure pots you have studied? [25]

8 9274/13/O/N/12 © UCLES 2012 BLANK PAGE Copyright Acknowledgements: Question 1 © Trans. Ian Scott-Kilvert; Plutarch; Age of Alexander ; Penguin Books; 1973. Question 1 © Trans. H Tredennick & H Tarrant; Plato; The Last Days of Socrates ; Penguin Books Ltd; 2003. Question 7 © Trans. David Barratt; Aristophanes; The Frogs; Penguin Books Ltd; 1964. Question 10 S Woodford; An Introduction to Greek Art ; Duckworth / Staatliche Antikensammlungen und Glyptothek, Munich; 1986. Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. University of Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge.

CAMBRIDGE INTERNATIONAL EXAMINATIONS GCE Advanced Subsidiary Level and GCE Advanced Level MARK SCHEME for the October/November 2012 series 9274 CLASSICAL STUDIES 9274/13 Paper 1 (Greek Civilisation), maximum raw mark 50 This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge will not enter into discussions about these mark schemes. Cambridge is publishing the mark schemes for the October/November 2012 series for most IGCSE, GCE Advanced Level and Advanced Subsidiary Level components and some Ordinary Level components.

Page 2 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 9274/01 & 02 Generic marking descriptors: gobbet essays (AS) • The full range of marks will be used as a matter of course. • Examiners will look for the ‘best fit’, not a ‘perfect fit’ in applying the Levels. • Examiners will provisionally award the middle mark in the Level and then moderate up/down according to individual qualities within the answer. • Question-specific mark schemes will be neither exhaustive nor prescriptive. Appropriate, substantiated responses will always be rewarded. Level/marks Descriptors Level 1 13–15 ANSWERS MAY NOT BE PERFECT, BUT WILL REPRESENT THE VERY BEST THAT MAY BE EXPECTED AT THIS LEVEL. will be comprehensive in coverage; will be detailed in knowledge; will be detailed in the use of specific examples in support of points made; will be attentive to all parts of the question in equal depth; will be lucid in style and organisation; will show evidence of individual thought and insight; the answer is fluent. Level 2 10–12 will be very good in coverage; will be supported with good/adequate examples and illustrations; will be attentive to all parts of the question in some depth; will be well organised and clearly expressed; may have some minor errors; for the most part, the answer is fluent. Level 3 7–9 will be adequate in coverage of question requirements, but perhaps unbalanced in treatment; will be supported with fewer examples and detail; will be too general; may be stylistically clumsy or inconsistent; may contain irrelevant material; shows some fluency. Level 4 4–6 will be deficient or limited in knowledge; will show misunderstanding or misinterpretation of question; will use few or irrelevant examples; will be muddled and limited in expression. Level 5 0–3 • will show serious misunderstanding of the question or lack of knowledge; • will show factual inaccuracies; • will not use examples; • will not make relevant points.

Page 3 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 9274/01 & 02 Generic marking descriptors: full essays (AS) • The full range of marks will be used as a matter of course. • Examiners will look for the ‘best fit’, not a ‘perfect fit’ in applying the Levels. • Examiners will provisionally award the middle mark in the Level and then moderate up/down according to individual qualities within the answer. • Question-specific mark schemes will be neither exhaustive nor prescriptive (unless specified to the contrary). Appropriate, substantiated responses will always be rewarded. Level/marks Descriptors Level 1 21–25 ANSWERS MAY NOT BE PERFECT, BUT WILL REPRESENT THE VERY BEST THAT MAY BE EXPECTED AT THIS LEVEL. will be comprehensive in coverage; will be detailed in knowledge; will be detailed in the use of specific examples in support of points made; will be attentive to all parts of the question in equal depth; will be lucid in style and organisation; will show evidence of individual thought and insight; the answer is fluent. Level 2 16–20 will be very good in coverage; will be supported with good/adequate examples and illustrations; will be attentive to all parts of the question in some depth; will be well organised and clearly expressed; may have some minor errors; for the most part, the answer is fluent. Level 3 11–15 will be adequate in coverage of question requirements, but perhaps unbalanced in treatment; will be supported with fewer examples and detail; will be too general; may be stylistically clumsy or inconsistent; may contain irrelevant material; shows some fluency. Level 4 6–10 will be deficient or limited in knowledge; will show misunderstanding or misinterpretation of question; will use few or irrelevant examples; will be muddled and limited in expression. Level 5 0–5 • will show serious misunderstanding of the question or lack of knowledge; • will show factual inaccuracies; • will not use examples; • will not make relevant points.

Page 4 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 SECTION ONE: ALEXANDER THE GREAT 1 (i) Who was Cleitus? [2] He was an officer who had saved Alexander’s life by chopping off the arm of a Persian who was about to kill him. (ii) Briefly explain what happened at the feast before this incident. [4] Some men had brought fruit as a gift for Alexander. He invited Cleitus to eat it with him. Some sheep followed him into the room, and this was seen as a bad omen, as he had been about to sacrifice the sheep, but had come running when Alexander called. At the meal, Cleitus was offended by a singer teasing the Macedonians and berated Alexander for allowing it. (iii) What happened immediately after this incident? [4] Alexander punches his trumpeter for refusing to sound the alarm. Cleitus is dragged out, but rushes back in through another door, quoting Euripides aggressively. Alexander runs him through with a spear and, overcome with guilt, has to be stopped from killing himself. (iv) Using this passage as a starting point, explain the influence that Persian culture had on Alexander and his empire. [15] Points for discussion may include: • his adoption of Persian dress, customs and habits; • his marriage to Persians; • proskynesis; • the problems caused by Persianisation in the eyes of some of Alexander’s men; • his creating of Persian units; • his relationship with Bagoas.

Page 5 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 2 Explain how successful Alexander was in laying siege to towns. [25] Points for discussion may include: • details from any of Alexander’s sieges, such as Tyre or Gaza • an appraisal of his military skills in the sieges At Tyre: • he realised that he needed to take Tyre as it was the last Persian harbour in the area • he constructed a causeway to the island • he then utilised mobile siege towers, which ultimately failed • Persian cities already conquered by Alexander let him use their ships, so he ended up with 223 ships to blockade Tyre • when Tyrians cut his anchor ropes, he replaced them with chains • he used battering rams on ships. These eventually enabled him to enter the city At Gaza: • he tried the same techniques as at Tyre, but they failed • as Gaza was at the top of a hill, he built ramps to get up it 3 ‘Alexander was clearly a stronger leader than Darius’. How far do you agree with this statement? [25] Candidates should compare directly between the two leaders Points for discussion on Alexander include: • the loyalty of his men • his dealing with Greek affairs before heading off on his conquests • his manipulation of public opinion, such as persuading his men that he was divine • his military prowess • his charisma • his ambition Points for discussion on Darius include: • the fact that he did not expect Alexander to be a serious threat until it was too late • his determination at Issus to win, after surprising Alexander, and his consequent flight, where he left behind his coat and chariot • the abandonment of his family to Alexander • his being the first to flee at Gaugamela • his inability to raise a decent army afterwards • his defeat as a result of an internal coup by Bessus

Page 6 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 SECTION TWO: SOCRATES 4 (i) To whom is Phaedo telling this story? [1] Echecrates (ii) Why does Crito tell Socrates not to hurry? [2] He does not have to take the poison until the end of the day. It is still daylight so Socrates still has some time left to live. (iii) Which poison did Socrates take? [1] Hemlock (iv) What was Socrates’ last request? [2] Socrates requests that his friends should sacrifice a cock to Asclepius, the god of healing, in payment for a vow. (v) How do Socrates’ friends react after he has taken the poison? What does Socrates say to them following their reaction? [4] Apollodorus breaks down and starts crying. All the others join in. Socrates says he is ashamed by their lack of self-control. He sent his wife away because he wanted to avoid such scenes. (vi) Using this passage as a starting point, explain Socrates’ views on death as seen in the sections of Phaedo you have read. [15] According to Socrates, a philosopher should not commit suicide, as this would be taking away the gift of life as given by the gods. However, death is to be welcomed, not avoided. It is not the end, but the culmination of life. Death removes the distractions of the body which prevent the philosopher from properly understanding the Theory of Ideas. It is only after death that morality can be truly sought and discovered. Do not give credit for ideas found in other dialogues. 5 ‘It was Socrates’ fault that he was put to death.’ To what extent do you agree with this statement? Explain your answer with reference to Apology and Crito. In Apology, Socrates made no attempt to help himself. He antagonised the jury by the nature of his defence. He refused to act according to the normal court procedures, and his cross- examination of Meletus merely reinforced the prejudice against him. He spent more time justifying his life than actually arguing against the charges against him. After being found guilty, instead of proposing a sensible sentence, he further antagonised the jury by suggesting he should be punished by being given free meals in the Prytaneum. This left the jury with no choice but to uphold the death sentence requested by the prosecution. In Crito, Socrates accepts the death penalty, and ensures that the sentence is carried out by refusing to go along with his friends’ plans to help him to escape. Had Socrates been less confrontational, and shown a willingness to compromise, he could have avoided his execution. It seems that the jury would have let him off with a fine, and he could have escaped, but his own nature prevented this.

Page 7 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 6 What can be learnt on Socrates’ views on the duties of the citizen to the State from the dialogues in The Last Days of Socrates? Socrates saw himself as a good citizen. In the Apology, he described his military service fighting for Athens, and mentioned briefly his period of political office. In Crito, he discussed the obedience he owed to the State, using the personified Laws of Athens to back up his point. All through his final days, he obeys the laws strictly, right up to his execution. In his political offices, he followed the letter of the law and his conscience in the case of the Arginusae generals and Leon of Salamis. However, he placed his duty to the gods above his duty to the State. He saw his questioning of prominent citizens under the orders of Apollo as being beneficial to the State (his gadfly metaphor), even though it led to him being prosecuted, and refused to compromise his beliefs when threatened with punishment. He also stated that no truly just man could take part in political life. He believed that a man should obey the laws of the State as long as these did not conflict with the laws of the gods.

Page 8 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 SECTION THREE: ARISTOPHANES 7 (i) Who was Dionysus and how was he worshipped during the festival at which Frogs was first performed? [3] God of theatre/wine/fertility. His wooden statue was paraded through the streets/grand procession and slaughter of many animals at the temple of Dionysos/plays acted in his honour. (ii) Why did Dionysus enter the Underworld and what role is he undertaking in the passage? [3] To bring back a poet in order to save Athens. Judging the poetry weighing competition. (iii) Name the section of the play from which this passage is taken. What is its purpose? [2] Agon – verbal contest (iv) Explain who Lamachus was (line 1) and what is supposed to have happened in Euripides’ household (either lines 8–9 or lines 10–11). [2] Lamachus – died a hero’s death in Sicily/general Euripides’ household – slave or lodger allegedly had an affair with the playwright’s wife. (v) Using this passage as a starting point, explain how and why Aristophanes parodies Aeschylus and Euripides in Frogs. [15] Euripides shows Aeschylus to be: • nonsensical • dull • over elaborate Aeschylus shows Euripides to have: • lowered the status of theatre by showing characters of low breeding • softened citizens • corrupted society by introducing unsavoury topics and teaching the art of rhetoric What Aristophanes is trying to show is that even though Euripides believes that his plays demonstrate true democracy as everyone speaks and portray ‘real’ life in a concise way, what is required is Aeschylus’ approach as seen in Dionysus’ choice of him to return to Athens and save the city. For his drama shows: • the example of ‘true’, patriotic men who were good role models to be seen on stage • the importance of conquering the enemy • that drama should be devoted to high themes

Page 9 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 8 ‘Old ways good, new ways bad’. To what extent do you think this is a valid summary of the main message of Wasps? [25] There is evidence to support both sides of this argument. Procleon is perhaps the best example of the old ways which are on show in this play. He is shown in a positive light in the following ways: • fought and defeated the enemies of Athens • his generation were instrumental in gaining the empire from which Athens gained her immense wealth • he is quick to learn from Anticleon about how to act a dinner-party • he has the ability to change his ways • he is so strong that he can defeat his son in a fight • he can out dance the younger generation at the end of the play However, he has many negative characteristics: • he does not listen to evidence at a trial • he finds everybody guilty • he is being duped by Cleon • he is a trialophile Anticleon is representative of the younger generation. On the positive side he: • seems to genuinely care for his father, not just over Cleon, but in also wanting to offer him a good time and tries to take care of him when Procleon is drunk • tries his hardest to point out the error of Procleon’s ways • dislikes the exploitation of the older generation by the demagogues • helps his father overcome his addiction to serving on juries However, there are negative aspects too: • Aristophanes sends up the friends with whom he dines • the decadence and wastefulness of his fashion is sent up by Procleon • his ‘good time’ has a very negative effect on Procleon • he cannot control his father There is also room to discuss the contribution of the Chorus of old jurors, their boys and the other characters who come in the second half of the play. 9 Which play do you think uses the greater range of comic techniques, Frogs or Wasps? In your answer, you should discuss both plays. [25] Candidates should make reference to the following types of humour and find relevant examples from both Wasps and Frogs and make a detailed comparison about which play uses a greater range of comic devices and come to a decision on which one. • Impersonation • Visual Humour • Verbal Humour • Topical Allusions • Sex • Religion • Situation comedy • Scatological Humour • Characterisation • Stage props

Page 10 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 SECTION FOUR: GREEK VASE PAINTING 10 Study the images below, and answer the questions which follow: (i) What name is given to this type of amphora? [1] • Belly amphora (ii) Name the painters of this pot. [3] • Lysippides Painter • Andokides Painter (iii) This pot is decorated using both the black-figure and the red-figure techniques. What is the technical name given to this type of decoration? [1] bi-lingual (iv) Both scenes show the same two main figures. Who are these figures? Briefly explain how you can identify them. [5] Athena helmet/aegis/spear Dionysus wine cup/vines or Herakles muscular frame/Athena his patron (v) ‘This pot marks the high point of the black-figure technique and the birth of the red- figure technique.’ How far do you agree with this opinion? In your answer, you should include discussion of at least one earlier and at least one later pot to explain your answer fully. [15] The pot comes from the transitional period [the move from black-figure to red-figure] and may therefore, be considered alongside other bi-lingual pieces as an experimental piece. High point of black-figure: • stands at the end of a long line of development in the black-figure so could be considered as the high point • it contains many of the typical features of the black-figure technique, in particular the use of colour and filling ornament • expect reference to other painters [e.g. Kleitias, Sophilos, the Amasis Painter or Exekias] to enable a candidate to assess whether this pot marks the high point of black-figure Birth of red-figure: • the red-figure is more restrained in design than the black-figure version but still has some black-figure elements to its design • it has fewer figures • it is more simple and less crowded than many pots of this era • it has black-figure decorative motifs • there is a wealth of pots from a later date [e.g. Three Men Carousing, The Sack of Troy, Perseus and Medusa] which would indicate that this pot does represent the birth of a new technique [Total: 25]

Page 11 Mark Scheme Syllabus Paper GCE AS/A LEVEL – October/November 2012 9274 13 © Cambridge International Examinations 2012 11 Discuss the strengths and limitations of the black-figure technique. In your answer, you should include reference to specific pots by named painters. [25] Answers may include: Strengths: • the dramatic contrast of black figures on the red background • the quality and complexity of the decorative motifs • the use of added colour Limitations: • figures appear flat • figures appear to recede into the background • the quality of incision depended on the skill of the artist • the desire to fill space by means of filling ornaments • details of figures (hair, clothing, musculature etc.) is lacking • the difficulty in depicting facial expression/emotion Discussion may also include: • the influence of the shapes and sizes of the pots decorated in this technique • relationship of shapes of vessels to shapes of figures and other elements of a scene • appropriate choice of story Candidates must support their answers with reference to specific pots by name painters. 12 ‘Vase painters depicted stories rich in narrative.’ Do you think this is a more accurate description of the black-figure pots or the red-figure pots you have studied? [25] There is no model answer to this question because much depends on the pots studied by individual candidates and then employed in answer to this question. It does not matter whether candidates select black-figure or red-figure provided there is a reasoned argument based on specific, recognisable pots. Candidates need to explain what ‘rich in narrative’ might mean to them. Black-figure pots such as the Gorgon Painter dinos, Sophilos dinos and the Francois Vase all contain bands of narrative scenes such as the Gorgons pursuing Perseus, the Wedding of Peleus and Thetis and Achilles’ pursuit of Troilos. All these pots clearly contain strong narrative scenes. Equally, there are Red-figure pots with a strong narrative content – the Berlin Painter volute krater depicting Achilles and Hector/Memnon and the Kleophrades Painter’s hydria depicting the Fall of Troy.