NCEA Level 2 Classical Studies (90248) 2011 page 1 of 12

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1 Assessment Schedule 2011 NCEA Level 2 Classical Studies (90248) 2011 page 1 of 12 Classical Studies: Examine a work of classical art and / or architecture (90248) Candidate chooses TWO questions from ONE topic. A holistic judgement on the level of achievement attained will be made over the two questions answered. Judgement Statement A M E Generic Schedule The candidate examines features of the work of art by identifying, describing, clarifying, explaining and / or interpreting features from a work of art. Where a candidate was awarded an A for the question: The candidate provides a general examination of the artistic features. Knowledge and interpretation of the features of the art work are at a basic level, and specific detail is lacking. One or more parts of the question may be underdeveloped or omitted. The candidate examines artistic features of the work by identifying, describing, clarifying, explaining and / or interpreting features from a work of art in detail. Supporting evidence is present. Where a candidate was awarded an M for the question: The candidate incorporates greater detail, qualitative or quantitative as required, in an answer based on sound knowledge of the art works. Most parts of the question are covered, but treatment may be unbalanced. Relevant supporting evidence is present, but may not be consistently provided. The candidate discusses artistic features of the work by showing a detailed understanding of the wider context and / or of the subtleties of the features. Supporting evidence is present. Where a candidate was awarded an E for the question: The candidate s answers have an analytical focus. They are based on a thorough knowledge of the art works themselves, as well as the wider context in which they were produced. All parts of the question are answered in detail. Supporting evidence is relevant, accurate and consistently provided.

2 NCEA Level 2 Classical Studies (90248) 2011 page 2 of 12 TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS Question One: Parthenon response at Achievement level. response at Merit level. response at Excellence level. Discuss the layout of this temple The Parthenon is an octostyle Doric temple. The temple is surrounded by columns and the entrance is in the east. The temple has a pronaos and an opisthodomos. There are two cellae, one in the east and one in the west. The layout of the Parthenon was based on a golden ratio so that all parts worked in unison. Discuss what is unusual about the layout The Parthenon has two cellas compared to the usual one. The east cella had a double tiered colonnade, which ran along the walls. The west cella had four ionic columns, which were decorative. This was unusual as the Parthenon was a Doric temple. Other answers are possible. Discuss the layout of this temple The Parthenon is an octostyle Doric temple, measuring 69.5m 30.88m. The temple is surrounded by columns, 8 on the front and 17 on the sides. The entrance is in the east. The temple has a pronaos and an opisthodomos, although these were shallower compared to other temples due to the cellae. There are two cellae, one in the east and one in the west. The east cella probably housed the cult statue and had two tiers of Doric columns around in a U shape. The layout of the Parthenon was based on a golden ratio of 9:4 so that all parts worked in unison. Discuss what is unusual about the layout The Parthenon has two cellas compared to the usual one. The east cella had a double tiered colonnade of Doric columns, which ran along the walls. The west cella had four ionic columns, which were decorative. This was unusual as the Parthenon was a Doric temple. The architects added an extra column along the length to make the column appear less squat. Other answers are possible. Discuss the layout of this temple The Parthenon is an octostyle Doric temple, with a stylobate measuring 69.5m 30.88m. The temple is surrounded by columns, 8 on the front and 17 on the sides. The temple is peripteral and entrance is via a three-step stereobate. The entrance is in the east. The temple has a pronaos and an opisthodomos, although these were shallower compared to other temples due to the cellae. Six Doric columns fronted the pronaos and opisthodomos; these were in line with the larger columns on the short sides of the temple. There are two cellae, one in the east and one in the west. The east cella probably housed the cult statue and had two tiers of Doric columns around in a U shape. The west cella was only accessible from the large doors at the end of the temple. The layout of the Parthenon was based on a golden ratio of 9:4 so that all parts worked in unison. The ratio is seen in the exterior columns, where the distance between the columns is twice their width. Discuss what is unusual about the layout The Parthenon has two cellas compared to the usual one. The east cella had a double-tiered colonnade of Doric columns that ran along the walls. The west cella had four ionic columns, which were decorative. This was unusual as the Parthenon was a Doric temple. The architects, Iktinous and Kallikrates, refined the optical illusion of squatness when viewing the temple from below the Acropolis. The addition of an extra column along the length of the building is an usual feature of layout. Instead of the usual formula of twice as many columns along the length as the width of the temple, there is one extra here. The columns all lean inward and the stereobate and stylobate are curved to avoid the squat feeling. Other answers are possible.

3 NCEA Level 2 Classical Studies (90248) 2011 page 3 of 12 TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS Question Two: Tyrannicides response at Achievement level. response at Merit level. response at Excellence level. Discuss the historical context of the original statues of the Tyrannicides Aristogeiton and Harmodias were lovers who conspired to kill Athens s tyrants. Aristogeiton and Harmodias were successful in killing Hipparchus, but were caught before they could kill Hippias. After the assassination, Harmodias and Aristogeiton were executed. Aristogeiton and Harmodias were considered to be political heroes. The original statues of the Tyrannicides were placed in the agora, to indicate their fundamental importance. Discuss the ways in which the pose of the two men relates to the historical context of this art work The name of this art work is the Tyrannicides, the tyrant killers. The pose of the two men relates to this art work as it shows the moment after Harmodias and Aristogeiton kill Hipparchus. Both men are striding forward as if in the motion of killing. Aristogeiton holds his sword out in victory and Harmodias has his raised. Discuss the historical context of the original statues of the Tyrannicides Aristogeiton and Harmodias were lovers who conspired to kill Athens s tyrants Hippias and Hipparchus at the Panathenaic festival. Aristogeiton and Harmodias were successful in killing Hipparchus but were caught before they could kill Hippias. After the assassination, Harmodias and Aristogeiton were executed. Shortly after the execution, Hippias was banished from Athens. Aristogeiton and Harmodias were considered to be political heroes. The original statues of the Tyrannicides were placed in the agora, to indicate their fundamental importance. When the Persians invaded in 480BCE they were removed from the agora and taken to Persia. Discuss the ways in which the pose of the two men relates to the historical context of this art work The name of this art work is the Tyrannicides, the tyrant killers. The pose of the two men relates to this art work as it shows the moment after Harmodias and Aristogeiton kill the one of Athens tyrant brothers, Hipparchus. Both men are striding forward as if in the motion of killing. Aristogeiton s weight is on his left foot and he appears to be in the motion of stepping forward. Harmodias s stride mirrors that of Aristogeiton. Aristogeiton holds his sword in his left hand and presents it in victory. Harmodias s right arm is raised above his head and to the front. This would also have been a heroic gesture. Other answers are possible. Discuss the historical context of the original statues of the Tyrannicides Aristogeiton and Harmodias were lovers who conspired to kill Athens s tyrants Hippias and Hipparchus at the Panathenaic festival. Their reasons were personal; Hippias insulted Harmodias s sister and made unwanted sexual advances towards Harmodias. Aristogeiton and Harmodias were successful in killing Hipparchus but were caught before they could kill Hippias. After the assassination, Harmodias and Aristogeiton were executed. Shortly after the execution, Hippias was banished from Athens. As a result, assassination of Hipparchus was considered to be politically motivated and Aristogeiton and Harmodias were considered to be political heroes. The system of government that replaced the tyrants was a democracy. The original statues of the Tyrannicides were placed in the agora, to indicate their fundamental importance. When the Persians invaded in 480BCE they were removed from the agora and taken to Persia. The sculptures in Reproduction B were produced by Kritios and Nesiotes to replace those removed. Discuss the ways in which the pose of the two men relates to the historical context of this art work The name of this art work is the Tyrannicides, the tyrant killers. This sculpture was based on a political assassination that occurred in 514 BCE. The pose of the two men relates to this art work as it shows the moment after Harmodias and Aristogeiton kill the one of Athens tyrant brothers, Hipparchus. Both men are striding forward as if in the motion of killing. Aristogeiton s weight is on his left foot and he appears to be in the motion of stepping forward. Harmodias s stride mirrors that of Aristogeiton. Aristogeiton holds his sword in his left hand and presents it in victory.

4 NCEA Level 2 Classical Studies (90248) 2011 page 4 of 12 Harmodias s right arm is raised above his head and to the front. This would also have been a heroic gesture. The pose relates to the name of the art work as the two figures pose is linked through similar stance and placement of arms. The viewer would see these two figures as linked through the pose that helps to identify them as the known figures of Aristogeiton and Harmodias. Other answers are possible.

5 NCEA Level 2 Classical Studies (90248) 2011 page 5 of 12 TOPIC ONE: ARCHITECTURE AND SCULPTURE OF FIFTH-CENTURY ATHENS Question Three: Diskobolos response at Achievement level. response at Merit level. response at Excellence level. Discuss features that identify this figure as an ideal athlete, and discuss why the ancient Greeks produced sculptures of ideal athletes Features that show that this figure is an athlete are the discus and the fact that he is nude. The discus held by this figure help to show that he participating in a sporting event. Men were naked when competing in sporting events and this is reflected here. The ancient Greeks produced sculptures of athletes to show the ideal male form. Discuss how realistically this sculpture shows an athlete caught between two actions the back swing and forward thrust of a discus His arms make a large arc, which starts at the right hand on the discus, is carried through the line of the shoulders, and continues to the left hand. The triangles, which make up the space between the inner arms and the body of the athlete, are used to show the two moments in a more realistic way. Discuss features that identify this figure as an ideal athlete, and discuss why the ancient Greeks produced sculptures of ideal athletes Features that show that this figure is an athlete are the discus, the pose and the fact that he is nude. The discus held by this figure help to show that he participating in a sporting event. The discus in his right hand is held up behind his head. Men were naked when competing in sporting events and this is reflected here. The pose also identifies this figure as an athlete. He is bent at the waist with his left arm slightly in front of his right knee. The Diskobolos right foot is flat on the ground and the left is up on the toes. The ancient Greeks produced sculptures of athletes to show the ideal male form in motion. The athletic sculptures could have been used as an offering. Successful athletes could commission images of themselves to be placed in temples as a religious offering. Discuss how realistically this sculpture shows an athlete caught between two actions the back swing and forward thrust of a discus Some aspects of the Diskbolos show a realistic portrayal of the moment between the two actions. His arms make a large arc, which starts at the right hand on the discus, is carried through the line of the shoulders, and continues to the left hand. This realistically shows the moment between the two actions. Myron has also used triangles to accurately reflect a believable throwing position. The triangles, which make up the space between the inner arms and the body of the athlete, are used to show the two moments in a more realistic way. Discuss features that identify this figure as an ideal athlete, and discuss why the ancient Greeks produced sculptures of ideal athletes Features that show that this figure is an athlete are the discus, the pose and the fact that he is nude. The discus held by this figure help to show that he participating in a sporting event. The discus in his right hand is held up behind his head. Men were naked when competing in sporting events and this is reflected here. The well developed muscles also reflect the fact that he is an athlete. The toned musculature of the torso and legs represents the athletic ideal which was common in Athenian art. The pose also identifies this figure as an athlete. He is bent at the waist with his left arm slightly in front of his right knee. Diskobolos right foot is flat on the ground and the left is up on the toes. Diskobolos looks down towards the right hip. He is about the swing towards his left to throw the discus. The ancient Greeks produced sculptures of athletes to show the ideal male form in motion. The pursuit of physical perfection was a key aspect of Greek life. All men exercised to tone their bodies. The athletic sculptures could have been used as an offering. Successful athletes could commission images of themselves to be placed in temples as a religious offering. This would bring honour to the family and favour from the gods. Discuss how realistically this sculpture shows an athlete caught between two actions the back swing and forward thrust of a discus Some aspects of the Diskbolos show a realistic portrayal of the moment between the two actions. His arms make a large arc, which is the dominant part of the sculpture. The arc starts at the right hand on the discus, is carried through the

6 NCEA Level 2 Classical Studies (90248) 2011 page 6 of 12 line of the shoulders and continues to the left hand, which is in front of his knee. This realistically shows the moment between the two actions. Myron has also used triangles to create an innovative pose to accurately reflect a believable throwing position. The triangles, which make up the space between the inner arms and the body of the athlete, are used to show the two moments in a more realistic way. The line between the pectoral muscles reflects the gaze of the Diskobolos, which indicates where the athlete is focusing. While the taut abdominal muscles show tension in a realistic way, these, and the blank facial expression do not reflect the violent action of the limbs. Other answers are possible.

7 NCEA Level 2 Classical Studies (90248) 2011 page 7 of 12 TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM Question One: Perseus and Andromeda response at Achievement level. response at Merit level. response at Excellence level. Identify and discuss the key features of the myth that are depicted in this painting The figure standing on the rock in the middle of the painting is Andromeda. She has shackles around her wrist to show that she is imprisoned. She has been chained next to the sea-monster, which is a feature used to tell the myth. The figure on the right side of the image is Perseus. He is wearing Mercury s winged sandals. In his left hand he carries the head of Medusa. This is clearly the moment when Perseus rescues Andromeda from the sea monster. Discuss the composition and how the composition has emphasised some elements of the myth but not others Andromeda is standing atop a rock in the centre of the painting just after Perseus has slain the sea-monster, which was going to eat her. Perseus is stepping up towards her and guiding her arm. Andromeda is at the top of the painting and Perseus and the sea monster are on either side of her. The focus here is on Perseus s hand guiding Andromeda down as this is the most important part of the myth here. This is clearly the moment when Perseus rescues Andromeda from the sea monster. Identify and discuss the key features of the myth that are depicted in this painting The figure standing on the rock in the middle of the painting is Andromeda. She has shackles around her wrist to show that she was chained as punishment for her mother s claim that both she and Andromeda were more beautiful than the Nereids. She has been chained next to the sea-monster which is a feature used to tell the myth. The sea monster had been sent by Poseidon to torment the Ethiopians because of the claim of beauty. The figure on the right side of the image is Perseus. Perseus is shown naked which was considered to be heroic. He is wearing Mercury s winged sandals and carries the sword in his left hand. In this hand he carries the head of Medusa. This is clearly the moment when Perseus rescues Andromeda from the slain sea monster after killing Medusa. Discuss the composition and how the composition has emphasised some elements of the myth but not others The composition of the painting helps to convey this myth. After killing the gorgon, Perseus saw Andromeda chained to the rock about to be eaten by the sea monster. Andromeda is standing atop a rock in the centre of the painting. Perseus is stepping up towards her and guiding her arm. The composition here is triangular. Andromeda is at the top of the triangle and the sides are represented by Perseus leaning into her and the line of her shoulder down to the sea monster. The focus here is on Perseus hand guiding Andromeda down. The contrast with the landscape forces the viewer to focus on the action of the humans. The landscape is bleak and only serves to make the yellow of Identify and discuss the key features of the myth that are depicted in this painting The figure standing on the rock is Andromeda. She has shackles around her wrist to show that she was chained as punishment for her mother s claim that both she and Andromeda were more beautiful that the Nereids. She has been chained next to the sea-monster, which is a feature used to tell the myth. The sea monster had been sent by Poseidon to torment the Ethiopians because of the claim of beauty. Andromeda was chained to a rock to be devoured by the sea monster yet she was saved by Perseus as he returned from killing Medusa. The figure on the right side of the image is Perseus. Perseus is shown naked, which was considered to be heroic. His skin is darker than Medusa s. He is wearing Mercury s winged sandals and carries the sword in his left hand. Both of these were gifts from Minerva in order to help him to kill the gorgon Medusa. In this hand he carries the head of Medusa. This is clearly the moment when Perseus rescues Andromeda from the slain sea monster after killing Medusa. He deviates from his return home to Seriphos to save her and falls in love with Andromeda. Discuss the composition and how the composition has emphasised some elements of the myth but not others The composition of the painting helps to convey this myth. Perseus was returning to Seriphos after killing the gorgon when he saw Andromeda chained to the rock about to be eaten by the sea monster. The composition here shows that this is the moment after he has defeated the sea-monster and is helping Andromeda down from the rock. Andromeda is standing atop a rock in the centre of the image. Perseus is stepping up

8 NCEA Level 2 Classical Studies (90248) 2011 page 8 of 12 Andromeda s dress and the dark tones of Perseus stand out more. towards her and guiding her arm. The composition here is triangular. Andromeda is at the top of the triangle and the sides are represented by Perseus leaning into her and the line of her shoulder down to the sea monster. The focus here is on Perseus s hand guiding Andromeda down. Perseus s gaze is directed at the sea-monster where as Andromeda looks out to the viewer. This helps to convey the myth that Perseus has only just slain the sea-monster and Andromeda is still helpless.

9 NCEA Level 2 Classical Studies (90248) 2011 page 9 of 12 TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM Question Two: House of the Vettii response at Achievement level. response at Merit level. response at Excellence level. Discuss the layout of the House of Vettii The house is smaller than other Pompeian houses; it occupies 1/3 of an insula. The layout does not follow the usual plan of a domus. There was no tablinum. The peristylium is the largest feature of the house and was visible from the atrium. A smaller atrium to the north of the entrance allowed access to the private parts of the house. Discuss the luxurious decoration of this house and how the decoration might be a reflection of the social status of its owners The Vettii brothers were wealthy merchants. The decoration reflects this. There were large panels with mythological images. The Ixion room contained false architectural vistas and mythological scenes. The Pentheus room is also named after the ornate and opulent decoration. The mythological paintings show that the owners wanted to be considered by visitors to be cultured. Discuss the layout of the House of Vettii The house is smaller than other Pompeian houses; it occupies 1/3 of an insula. The layout does not follow the usual plan of a domus. There is no tablinum, the atrium leads onto the peristylium. The peristylium is the largest feature of the house and was visible from the atrium. This created a sense of space and a visitor would not notice the absence of the tablinum. A smaller atrium was to the north of the larger atrium; this entrance allowed access to the private parts of the house. The large triclinum is well decorated and is to the north of the peristylium. There were two other triclinia. There were separate quarters in the north part of the house for the women. These contained a peristylium and triclinium. This meant that the women could enjoy all the comforts of the house without being in the public parts of the house. The private rooms were relatively small compared to those in the public part of the house. Discuss the luxurious decoration of this house and how the decoration might be a reflection of the social status of its owners The Vettii brothers were wealthy merchants. The decoration reflects this. The use of fourth-style wall paintings in many of the rooms and the peristylium shows this opulent and current decoration. In the peristylium, there were sculptures and basins in a well-tended garden. This reflects the owners need to impress guests who were being entertained in the peristylium or one of the rooms off it. One such room was the large triclinium, which contained paintings of cupids on a black background. The cupid are selling a variety of goods, this reflects the owners occupations, the brothers Vettii, who were merchants. There were large panels with mythological images. The Pentheus Discuss the layout of the House of Vettii The house is smaller than other Pompeian houses; it occupies 1/3 of an insula. The layout does not follow the usual plan of a domus. There was one room omitted from those expected in a Pompeian house. There is no tablinum, the atrium leads onto the peristylium through a large opening supported by two large pillars. The peristylium is the largest feature of the house and was visible from the atrium. This created a sense of space and a visitor would not notice the absence of the tablinum. The impluvium was a focal point here with alae on each side of the atrium to maximise the sense of space. A smaller atrium was to the north of the larger atrium; this entrance allowed access to the private parts of the house. The large triclinum is well decorated and is to the north of the peristylium. There were two other triclinia, the Ixion room and the Pentheus room. There were separate quarters in the north part of the house for the women, which was appropriate for the time. These contained a peristylium and triclinium. This meant that the women could enjoy all the comforts of the house without being in the public parts of the house. The private rooms were relatively small compared to those in the public part of the house. There is evidence of an upper floor although this was destroyed in the eruption of Vesuvius. Discuss the luxurious decoration of this house and how the decoration might be a reflection of the social status of its owners The Vettii brothers were wealthy merchants. The decoration reflects this. A visitor would be greeted in the fauces with a painting of Priapus weighing his phallus, which shows an interest in money and wealth. The use of fourth-style wall paintings in many of the rooms and the

10 NCEA Level 2 Classical Studies (90248) 2011 page 10 of 12 room is also named after the opulent decoration. One image here contains the painting of Pentheus being torn apart by maenads. The mythological paintings show that the owners wanted to be considered by visitors to be cultured. peristylium shows this opulent and current decoration. In the peristylium, there were sculptures and basins in a well-tended garden. This reflects the owners need to impress guests who were being entertained the peristylium or one of the rooms off it. One such room was the large triclinium, which contained paintings of cupids on a black background. The cupid are selling a variety of goods, this reflects the owners occupations, the brothers Vettii, who were merchants. There were large panels with mythological images. The Ixion room contained false architectural vistas and mythological scenes. One mythological scene provided the name for this room, Ixion being tied to a wheel. The Pentheus room is also named after the ornate and opulent decoration. One image here contains the painting of Pentheus being torn apart by maenads. The mythological paintings show that the owners wanted to be considered by visitors to be cultured.

11 NCEA Level 2 Classical Studies (90248) 2011 page 11 of 12 TOPIC TWO: ART AND ARCHITECTURE OF POMPEII AND HERCULANEUM Question Three: Alexander Mosaic response at Achievement level. Discuss the stylistic features used by the mosaicist to show the action of the battle Two stylistic features used by the mosaicist to show the action of battle are overlapping and depth of field. The horse being led by a Persian soldier is standing in front of Darius chariot. This creates the idea that the soldiers were in the middle of fighting or fleeing. Another stylistic feature is the variety of poses in both animals and humans. The horse in front of the chariot is in the process of turning, whereas Darius horses are in a variety of poses. Discuss the construction methods used by a mosaicist to create a mosaic such as this The mosaicist outlined the image of the mosaic onto the base. The tesserae (fine mosaic pieces) were laid into the mortar the tesserae were laid using opus vermiculatum (worm-like lines). The emblemata would be placed in the location alongside the borders and edging, and grouted. response at Merit level. Discuss the stylistic features used by the mosaicist to show the action of the battle Two stylistic features used by the mosaicist to show the action of battle are overlapping and depth of field. This helps to create a sense of chaos and urgency from a Persian point of view. The horse being led by a Persian soldier is standing in front of Darius chariot. This creates the idea that the battle was attended by many soldiers who were in the middle of fighting or fleeing. Another stylistic feature is the variety of poses in both animals and humans. This creates a sense of disorder. The horse in front of the chariot is trying to move to the right of the mosaic and is in the process of turning whereas Darius horses are in a variety of poses, this creates a frantic mood heading to the right of the mosaic. Discuss the construction methods used by a mosaicist to create a mosaic such as this A base layer was laid, which was covered with mortar. The next step was to outline the image of the mosaic onto the base; this was then covered in a fine layer of mortar. The tesserae (fine mosaic pieces) were laid into the mortar the tesserae were laid using opus vermiculatum (worm-like lines). After the tesserae had been placed to follow the pattern, a fine mortar was laid over to keep the tesserae in place. The emblemata would be placed in the location alongside the borders and edging, and grouted. response at Excellence level. Discuss the stylistic features used by the mosaicist to show the action of the battle Two stylistic features used by the mosaicist to show the action of battle are overlapping and depth of field. This helps to create a sense of chaos and urgency from a Persian point of view. The chestnut coloured horse is being led by a Persian soldier. He is standing in front of Darius chariot. Darius and his charioteer are behind them and the shallow background is filled with the spears of the fleeing army. This creates the idea that the battle was attended by many soldiers who were in the middle of fighting or fleeing. Another stylistic feature is the variety of poses in both animals and humans. This creates a sense of disorder brought upon by the pressing Greek army on the left hand side of the mosaic. The horse in front of the chariot is trying to move to the right of the mosaic and is in the process of turning whereas Darius horses are in a variety of poses, this creates a frantic mood heading to the right of the mosaic. The soldiers behind Darius horses are in a variety of poses. Some are in ¾ view looking back at their king and some are in profile facing the direction they wish to flee. Discuss the construction methods used by a mosaicist to create a mosaic such as this The first step was to make sure that the floor area was flat and ready for the emblemata to be installed. A base layer was laid, which was covered with mortar. The opus signinum layer was added next (mix of lime mortar and brick). The next step was to outline the image of the mosaic by painting or sketching it lightly onto the base; this was then covered in a fine layer of mortar. The Alexander Mosaic is made using opus tessellatum. The tesserae (fine mosaic pieces) were laid into the mortar the tesserae

12 NCEA Level 2 Classical Studies (90248) 2011 page 12 of 12 were laid using opus vermiculatum (worm-like lines) to allow the mosaicist to show the natural shape of the images, rather than following vertical or horizontal patterns. After the tesserae had been placed to follow the pattern, a fine mortar was laid over to keep the tesserae in place. The emblemata would be placed in the location alongside the borders and edging, and grouted. The last step was to polish and smooth the tesserae by rubbing them with stones.