Jacques-Louis David in the context of "Classicism"

Civic virtue is a concept that refers to the set of habits, values, and attitudes that promote the general welfare and the effective functioning of a society. Closely linked to the concept of citizenship, civic virtue (virtus) represents, therefore, the disposition of citizens to put the common good (bonum commune) before special interests. The identification of the character traits that constitute civic virtue has been a major concern of political philosophy. The term civility refers to behavior between persons and groups that conforms to a social mode (that is, in accordance with the civil society), as itself being a foundation of society and law.

The Agiad dynasty (Ancient Greek: Ἀγιάδαι, Agiádai) was one of the two royal families of the ancient Greek city-state of Sparta. They ruled jointly along with the Eurypontid dynasty, possibly from the 8th century BC onwards, being the senior of the two houses. The hypothetical founder of the dynasty was Agis I, possibly the first king of Sparta at the end of the 10th century BC, who subsequently gave his name to the dynasty. The two lines, who maintained an enduring rivalry, were, according to tradition, respectively descended from the twins Eurysthenes and Procles, both descendants of Heracles. The most famous member of the Agiad dynasty was Leonidas I, known for his heroic death at the Battle of Thermopylae in 480 BC. The last Agiad king was Agesipolis III, deposed by the Eurypontid Lycurgus in 215 BC.

Heroic nudity or ideal nudity is a concept in classical scholarship to describe the un-realist use of nudity in classical sculpture to show figures who may be heroes, deities, or semi-divine beings. This convention began in Archaic and Classical Greece and continued in Hellenistic and Roman sculpture. The existence or place of the convention is the subject of scholarly argument.

In ancient Greek art, warriors on reliefs and painted vases were often shown as nude in combat, which was not in fact the Greek custom, and in other contexts. Idealized young men (but not women) were carved in kouros figures, and cult images in the temples of some male deities were nude. Later, portrait statues of the rich, including Roman imperial families, were given idealized nude bodies; by now this included women. The bodies were always young and athletic; old bodies are never seen. Pliny the Elder noted the introduction of the Greek style to Rome.

Jean-Pierre Saint-Ours (4 April 1752 – 6 April 1809) was a Swiss painter from Geneva.

As well as relatively informal portraits, he specialized in ambitious history paintings of subjects from ancient, especially classical, history. These are in a Neoclassical style, several with large groups of figures, inevitably drawing comparison with the works of his contemporary Jacques-Louis David, who was four years older. But many of Saint-Ours's works are far smaller, if only because he lacked the commissions to realize them at the full sizes he intended. His major compositions mostly exist as drawings with various degrees of finish, small painted versions and, if he received a commission, the full-size oil paintings, which can often be very large.

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.

It depicts a scene from the story of the Horatii and Curiatii, a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out to them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep over her dead betrothed, the surviving brother, Publius, kills Camilla for weeping over the enemy.

Jean-Auguste-Dominique Ingres (/ˈæŋɡrə/ ANG-grə; French: [ʒɑ̃ oɡyst dɔminik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Henri Matisse, Pablo Picasso, and other modernists.

Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman.

A last stand, or a final stand, is a military situation in which a body of troops holds a defensive position in the face of overwhelming and virtually insurmountable odds. Troops may make a last stand due to a sense of duty; because they are defending a tactically crucial point; to buy time to enable a trapped army, person, or group of people to escape; due to fear of execution if captured; or to protect their ruler or leader. Last stands loom large in history, as the heroism and sacrifice of the defenders exert a large pull on the public's imagination. Some last stands have become a celebrated part of a fighting force's or a country's history, especially if the defenders accomplished their goals (or, in rare cases, defeated their attackers).

Nicolas Poussin (UK: /ˈpuːsæ̃/, US: /puːˈsæ̃/, French: [nikɔla pusɛ̃]; June 1594 – 19 November 1665) was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.

Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works. His enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and Baroque painters—especially Raphael, who had a powerful influence on his style. He befriended a number of artists who shared his classicizing tendencies, and met important patrons, such as Cardinal Francesco Barberini and the antiquarian Cassiano dal Pozzo. The commissions Poussin received for modestly scaled paintings of religious, mythological, and historical subjects allowed him to develop his individual style in works such as The Death of Germanicus, The Massacre of the Innocents, and the first of his two series of the Seven Sacraments.