orld styles of flattened figures and animorphed images combining the figures of animals and humans in different ways for different meanings to the ‘new’ world styles which included more humanism in expression and optical experience reflected in the art forms. By the time of the Romans, there was a much greater emphasis and development of naturalistic expression of form, including natural bodily movements, weight and strain. A comparison of the Grande Ludovisi Sarcophagus (The Ludovisi Battle) and the Dying Warrior from the Temple of Aphaia reveal both the similarities of cultural beliefs as well as the differences of emphasis of expression. Both the Grande Ludovisi Sarcophagus and the Dying Warrior present similar images of death and dying using marble as a base material, but they remain sharply different because of the scale of the individual figures as well as several of the smaller visual elements involved in each.
Although separated by approximately 700 years, both the earlier Dying Warrior statue and the Ludovisi Sarcophagus represent mastery of sculptural art in different dimensions. Both of these works of art are presented in marble and each detail some sense of battle. The Ludovisi Sarcophagus can be seen to have been carved from a single block of marble that measured at least nine feet wide by five feet high and four and a half feet deep (“Art of the Roman Empire”, 2005). Of only slightly smaller scale overall, the Dying Warrior from the east pediment of the Temple of Aphaia measures just over six feet long. However there has been a great deal of discussion regarding just what the statue is truly made of. While some scholars say it is marble, others have suggested the statue was first created in poros, the native rock of the island on which the temple stands (George, 2001). In addition, a great deal of detail about this statue can still only be guessed at as several segments of the statue are missing, particularly the knee joint of the