Sculpted funerary monuments from Archaic Attica have traditionally been divided into two categories: those taking the form of a stele sculpted in relief and those taking the form of freestanding statues. In iconographical studies of these monuments, the distinction in medium has often been assigned interpretive weight, with those monuments carved in relief regarded as representing the deceased in a fundamentally different manner than those carved in the round. In contrast to such approaches, I attend in this chapter to points of continuity between relief and freestanding monuments in order to consider how they engage complementary forms of visualization. To do so, I focus on three case studies: the Gorgon stele from the Kerameikos in Athens, the Hoplite stele now in New York (together with its associated sphinx in Boston), and the “Hockey Player” base also from the Kerameikos. Ultimately, I argue, all sculpted funerary monuments from Archaic Attica mobilize aspects of relief sculpture, insofar as they position the body of the deceased between another world and our own.

This chapter considers the problem of ‘heavy freight’, a problem posited by Anthony Snodgrass in the 1980s concerning how Greeks might have moved heavy goods like marble around the Greek world. A dataset of freestanding marble statues is presented, where the size and the shape of these statues is used to consider how much marble might have been used in the Greek world during various economic production processes. After estimating the scale of the industry, this chapter uses spatial network modelling to consider some of the routes along which marble might have been transported on the sea, using a rules-based system that ships will always have gone the most direct route from-anchorage-to-anchorage. The shape of these networks is then discussed in light of their implications for our understanding of the whole of the Greek world.