The Discobolus, the Venus de Milo and the Parthenon frieze are sculptural masterpieces of worldwide renown. But our appreciation of them as "works of art", enshrined in museums, is far removed from the way in which the ancient Greeks saw and perceived them. In order to fully comprehend Greek sculpture, it is important to recreate the conditions of its production and consider those who commissioned, used and viewed it, as well as the sculptors themselves. This text re-examines the contexts in which classical statuary was made and displayed, and restores its former cultural significance. In its original, intended setting, Greek sculpture not only looked quite different - massed together or elevated on pediments and friezes, and brightly painted - but it also served surprising social, religious and political purposes. Illustrated with diverse examples, this text draws upon literary, historical, and archaeological evidence to explain the techniques of the manufacture of Greek sculpture, tracing its production over a period of some 700 years from the eighth century BC to the Hellenistic period.