The Ironworkers’ Noontime

Thomas Pollock Anshutz, American Artist, 1851-1912
The Ironworkers’ Noontime, 1880, Oil on Canvas, 43.2 x 60.6 cm, de Young/Legion of Honor Fine Arts Museums of San Francisco, CA, USA https://www.famsf.org/artworks/the-ironworkers-noontime

In an unexpected twist of history, Thomas Pollock Anshutz’s The Ironworkers’ Noontime, a powerful portrayal of laborers taking a rare moment of rest amidst the harsh realities of an iron mill, found itself repurposed as the centerpiece of an advertisement for Ivory Soap. This unlikely pairing of industrial grit and domestic cleanliness highlights a fascinating intersection of art and commerce, reframing the painting’s somber realism as a symbol of purity and progress. This transformation invites us to explore not just the artistic merits of Anshutz’s work but also its evolving cultural significance, as it transitioned from a poignant statement on the working class to a tool for marketing middle-class ideals.

Advertisement for Ivory Soap, c.1890 (colour litho) by Thomas Pollock Anschutz (1851-1912) Private Collection https://www.mediastorehouse.com.au/fine-art-finder/artists/american-school/ad-ivory-soap-c-1890-colour-litho-22922188.html

Thomas Pollock Anshutz’s The Ironworkers’ Noontime presents a vivid snapshot of life in an industrial iron mill during the late 19th century. The painting captures a group of workers taking a break, their figures scattered across the foreground in various states of rest and conversation. The central figures are shirtless, their muscular forms accentuated by the play of light and shadow, evoking both their physical strength and the exhaustion of labor. The background is dominated by the hazy glow of molten iron and the imposing structures of the factory, subtly reminding the viewer of the workers’ demanding environment. Anshutz’s composition seamlessly integrates these human and industrial elements, drawing attention to the relationship between man and machine in this transformative era.

While Anshutz predates the formal emergence of the Ashcan School, The Ironworkers’ Noontime embodies many of its aesthetic values, making it a precursor to the movement. The painting’s gritty realism, focus on the working class, and unidealized portrayal of labor align with the Ashcan artists’ commitment to capturing the raw truths of urban and industrial life. Anshutz’s use of muted colors and dramatic lighting enhances the atmospheric tension, creating a balance between the harshness of the mill and the humanity of its workers. This empathetic yet unsentimental depiction of the labor force stands as a testament to his artistic foresight, bridging the academic traditions of his time with the emerging modernist tendencies that would later define the Ashcan ethos.

Thomas Pollock Anshutz (1851–1912) was an influential American painter and teacher, best known for his realist depictions of industrial and working-class life. Born in Newport, Kentucky, Anshutz studied art at the National Academy of Design in New York and the Pennsylvania Academy of Fine Arts (PAFA) in Philadelphia. At PAFA, he became a pivotal figure under the mentorship of Thomas Eakins, with whom he shared a commitment to realism and the human figure. Anshutz’s early works reflect his meticulous academic training and a deep interest in the social and physical conditions of his subjects, which would become hallmarks of his career.

In addition to his painting, Anshutz was a celebrated teacher who influenced a generation of American artists, including members of the Ashcan School like Robert Henri and John Sloan. As a faculty member at PAFA, he succeeded Eakins as head of the school’s painting department, shaping its curriculum with a focus on direct observation and technical excellence. Though his body of work is relatively small, pieces like The Ironworkers’ Noontime stand as iconic representations of the social realist tradition in American art. Anshutz’s legacy endures not only through his paintings but also through his contributions to the development of modern American art, bridging the academic traditions of the 19th century with the expressive realism of the 20th.

The Ashcan style represents a pivotal movement in early 20th-century American art, characterized by its unvarnished depiction of urban and working-class life. Rejecting the idealized aesthetics of academic art and the genteel subjects favored by the Gilded Age, Ashcan artists focused on the gritty realities of modern cities—crowded streets, tenements, laborers, and everyday scenes imbued with raw emotion. Their use of dark, earthy tones and loose, dynamic brushwork emphasized immediacy and authenticity over polished perfection. Though Thomas Pollock Anshutz predates the formal Ashcan School, his work laid the groundwork for its ethos. Anshutz’s empathetic yet unsentimental portrayal of laborers reflects the same commitment to realism and the human condition that would define the Ashcan movement, making him an essential precursor to its development.

For a PowerPoint Presentation of Thomas Pollock Anshutz’s Oeuvre, please… Check HERE!

Triumph of Neptune and the Four Seasons

Triumph of Neptune and the Four Seasons, from La Chebba, Tunisia, late 2nd century AD,  Mosaic, Bardo National Museum, Tunis, Tunisia https://en.m.wikipedia.org/wiki/File:Neptune_Roman_mosaic_Bardo_Museum_Tunis.jpg

I remember standing before the Triumph of Neptune and the Four Seasons mosaic at the Bardo Museum, in Tunisia, sunlight filtering through the high windows as if to echo the brilliance of the scene before me. Neptune, regal and commanding, surged forward in his chariot drawn by sea creatures, while the Four Seasons circled him in a dance of eternal return, each one marked by fruits, flowers, or flowing cloaks. It was as if time itself had been trapped in tesserae, inviting me to reflect on nature’s rhythms and the grandeur of ancient imagination. Today, on the first day of Summer 2025, I’m drawn back to that moment, a reminder that every season begins with awe and the quiet power of renewal.

The Triumph of Neptune and the Four Seasons mosaic was unearthed in 1902 during archaeological excavations at a Roman seaside villa in La Chebba, a coastal town in northeastern Tunisia. The excavation, carried out by archaeologists D. Novak and A. Epinat, revealed a Roman villa comprising twelve rooms, most of which were paved with mosaics of notably good style. The principal room featured a grand composition: at the center, Neptune rides over the waves, attended by two companions, while the four corners are occupied by elegant personifications of the Four Seasons. Likely serving as an atrium or formal reception space, this square, columned room showcased the opulence and artistic refinement of Roman domestic life. Dating from the mid-2nd century AD, during the reign of Antoninus Pius, the mosaic reflects the cultural and aesthetic heights achieved in Roman Africa. After its discovery, it was transferred to the Bardo National Museum in Tunis, where it remains one of the most admired treasures of the collection.

The central medallion of the mosaic from La Chebba presents a commanding depiction of Neptune, the Roman god of the sea. He stands prominently in a quadriga—a four-horse chariot—drawn by hippocamps, mythical sea creatures that are part horse and part fish. Neptune is portrayed nearly nude, showcasing a muscular physique, and is adorned with a nimbus, symbolizing his divinity. In his hands, he holds a trident and a dolphin, traditional attributes associated with his dominion over the sea. The chariot is guided by a Triton and a Nereid, both depicted partially submerged, emphasizing the marine setting of the scene. This composition, as analyzed by Gifty Ako-Adounvo in her 1991 thesis, is unique in Roman mosaic art for combining Neptune with the Four Seasons, reflecting a sophisticated iconography that intertwines themes of nature’s cycles and divine authority.

In the Tunisian mosaic, the Four Seasons are strategically placed at the four corners of the square composition, creating a visual framework around the central circular medallion that features Neptune in his marine chariot. This architectural arrangement draws the viewer’s eye inward while symbolically enclosing Neptune’s dominion within the eternal cycle of time.

In the Triumph of Neptune and the Four Seasons mosaic from La Chebba, each Season is personified as a female figure and placed in one of the four corners of the square composition, surrounding the central medallion of Neptune. These figures are accompanied by specific animals that enrich the symbolic and seasonal imagery. Spring, adorned with floral motifs, wears a floral crown, evoking rebirth and the blossoming of nature. She is paired with a dog, possibly a greyhound, evoking themes of pastoral vitality and energy. Summer, holding sheaves of wheat, is flanked by a lion, representing the strength and intensity of the sun at its peak. Autumn, bearing grapes or a cornucopia, appears with a leopard, reinforcing the season’s association with Dionysian festivity and harvest. Winter, heavily cloaked and bearing pinecones or bare branches, is accompanied by a boar, an animal linked to the hunt and the harshness of the cold months.

Together, the figures of the Four Seasons not only anchor the composition visually but also embody a deeper message of natural rhythm and divine governance. Their accompanying animals, drawn from both myth and the natural world, intensify the seasonal symbolism while reflecting the broader North African mosaic tradition, which skillfully weaves cosmic order with scenes of rural life and agricultural labor.

For Student Activities inspired by the La Chebba mosaic, please… Check HERE!

Bibliography: American Journal of Archaeology, Jul. – Sep., 1903, Vol. 7, No. 3 (Jul. – Sep., 1903), pp. 357-404 Published by: Archaeological Institute of America, and https://honorthegodsblog.wordpress.com/2015/02/25/triumph-of-neptune-and-the-four-seasons-from-la/, and https://www.romeartlover.it/Bardo.html

Angelos Giallinas

Angelos Giallina, Greek Artist, 1857 – 1939
The Parthenon, Watercolour over Pencil, 273 by 455 mm, Private Collection
https://www.sothebys.com/en/buy/auction/2024/royal-noble/the-parthenon?locale=en

In his approach to the Parthenon, Angelos Giallinas (1857–1939), a prominent Greek watercolorist of the late 19th and early 20th centuries, not only portrayed the monument as an architectural subject but elevated it to a lyrical symbol of Greek heritage. His work, deeply connected to the theme of Light, Memory, and Reverence, reflects a profound sensitivity to the interplay between the ancient ruins and the surrounding natural environment. Born in Corfu, Giallinas studied at the local School of Fine Arts before continuing his education in Venice, Naples, and Rome. There, he absorbed the refined tonalities of the Italian landscape tradition, which he later fused with a uniquely Greek sensibility rooted in poetic realism and national pride.

Giallinas’s depictions of the Parthenon are marked by a restrained yet evocative use of watercolor. He did not aim for archaeological precision but instead emphasized the atmospheric qualities of the scene, the golden hues of Attic sunlight, the gradations of the Athenian sky, and the quiet dialogue between the ruins and the surrounding landscape. This impressionistic approach aligned with European aesthetic movements of his time while remaining deeply connected to the emotional resonance of place and memory in Greek culture.

Throughout his career, Giallinas gained significant recognition both at home and abroad. He held successful exhibitions across Europe, including in London, where his work attracted the attention of collectors and critics. In 1902, he was commissioned by the British royal family to create a series of Greek landscapes, further elevating his international profile. He played a pivotal role in legitimizing watercolor as a medium for serious artistic expression within Greek art, moving beyond its traditional role as a preparatory tool.

Technically, Giallinas mastered watercolor’s fluidity and transparency with exceptional subtlety. His brushwork was controlled yet expressive, employing translucent washes to create depth without sacrificing luminosity. He avoided harsh contrasts, favoring gradations of color that conveyed a meditative stillness. In his hands, watercolor became a means not just of depiction, but of evocation—his skies, seas, and stones imbued with feeling as much as form.

Crucially, Giallinas’s art reflects the broader cultural currents of post-independence Greece, where landscape painting became a vehicle for expressing national identity. His serene views of the Parthenon and other iconic sites participated in the 19th-century project of reconnecting modern Greece to its classical past. Yet his interpretation was not triumphant or didactic; instead, it was introspective and elegiac. By rendering these monuments with atmospheric sensitivity rather than monumental grandeur, Giallinas offered a vision of Greece that was rooted in continuity, memory, and quiet resilience—qualities that resonated deeply in a society still defining itself between antiquity and modernity.

When I look at Giallinas’s paintings of the Parthenon, I’m struck by their quiet power. There’s no theatrical drama, no exaggerated gesture—just a deep, contemplative calm. He treats the monument not as a tourist spectacle but as something intimate: a memory held in light and stone. The watercolor bleeds gently around the contours of the ruins, dissolving into the pale Athenian sky, as if he’s painting not only what he sees but what he feels. The Parthenon appears suspended in time, drifting between history and the present. Giallinas’s brush whispers rather than declares—and in that quietness, he captures something enduring, something essentially Greek.

For a Student Activity, inspired by Angelos Giallinas’s interpretation of the Parthenon, please… Check HERE!

You can view a former Teacher-Curator BLOG POST titled ‘Garden in Corfu by Angelos Giallinas’… https://www.teachercurator.com/art/garden-in-corfu-by-angelos-giallinas/?fbclid=IwY2xjawKIGElleHRuA2FlbQIxMABicmlkETF5ZWtES1JYMDBPQVY5c055AR7-a8br2Ukq3ahJuUCSU0eESsf5WwODDQtNdgSK0kYgNnSS856uiARVWSentw_aem_T8IM2xzIAGQQEC4qcWajdQ

Bibliography: https://corfuguidedtours.com/a-renowned-painters-historic-mansion/?utm_source=chatgpt.com and https://haaa.gr/news/en_30.php?utm_source=chatgpt.com

Statuette of Asklepios Enthroned

Statuette of Asklepios Enthroned, Athenian workshop, 150 – 200 AD, Marble, Height: 42.3 cm, Archaeological Museum of Ancient Corinth, Greece https://www.facebook.com/photo.php?fbid=1019102956923674&id=100064719367083&set=a.462183875948921&locale=el_GR

…Asclepius, that gentle craftsman who drove pain from the limbs that he healed, that hero who cured all types of diseases… as Pindar writes in Pythian 3, was the ancient Greek god of medicine and healing, both revered and deified for his mastery over human suffering. This divine healer is brought vividly to life in the Statuette of Asklepios Enthroned, crafted in an Athenian workshop between 150–200 AD and now housed in the Archaeological Museum of Ancient Corinth. Carved from marble and standing 42.3 cm tall, the figure captures Asclepius in a moment of quiet authority, seated with the familiar serpent-entwined staff at his side—a timeless symbol of restoration and medical care. Though created centuries after the height of his cult, the statuette reflects the enduring presence of Asclepius in both public worship and private devotion, embodying the belief in divine healing that spanned from the classical world into the Roman era. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0162%3Abook%3DP.%3Apoem%3D3

The Ancient Greek myths of Asclepius tell the story of a mortal born to the god Apollo and the human woman Coronis, who was raised and taught the healing arts by the wise centaur Chiron. Gifted beyond any healer before him, Asclepius became so skilled that he was said to cure incurable diseases and even bring the dead back to life. This miraculous power, however, drew the ire of Zeus, who feared that such abilities would upset the natural balance between life and death. In response, Zeus struck Asclepius down with a thunderbolt, ending his mortal life but paving the way for his deification. Worshipped across the Greek world, particularly in healing sanctuaries known as Asclepieia, Asclepius became a symbol of divine compassion and medical wisdom, bridging the realms of myth, religion, and early medical practice.

The healing sanctuaries of Asclepios become some of the most important religious and medical centers of the classical world. The most famous of these was at Epidaurus in the northeastern Peloponnese, a sprawling complex that included temples, dormitories for dream incubation, and even a theater. Other major centers of his cult were located on the island of Kos, where the physician Hippocrates is said to have trained, and at Pergamon in Asia Minor. In Athens, he was worshipped at the Asclepieion located at the foot of the Acropolis, near the Theater of Dionysus. These sanctuaries attracted the sick and afflicted from across the Greek world, who came seeking cures through ritual purification, offerings, and dreams in which Asclepius or his sacred serpent revealed treatments. His worship was not only a spiritual experience but also a foundational element in the evolution of ancient medicine.

Statuettes of deities from a late Roman house, Marble, Archaeological Museum of Ancient Corinth in Greece Photo: https://www.nga.gov/features/slideshows/from-the-ancient-to-the-byzantine-world.html#slide_2

The Statuette of Asklepios Enthroned, now housed in the Archaeological Museum of Ancient Corinth, was discovered during 1999 excavation period (by the American School of Classical Studies) of a domestic shrine within a luxurious Roman villa in the Panayia Field area of Corinth. The villa was destroyed by a violent earthquake in the late fourth century AD, preserving a collection of marble statuettes representing various deities, including Artemis, Dionysos, Herakles, Pan, Europa and Roma, alongside Asklepios (Sanders 1999, 441–444). These statuettes were part of a private cultic assemblage, suggesting ongoing pagan devotional practices within the home, even as Christianity was becoming dominant in the region. The presence of these figures in such an opulent residence reflects the persistence—albeit increasingly private—of traditional Greco-Roman religious customs among segments of the local elite during the final phases of pagan worship in Late Antique Corinth

Dated to 150–200 AD and discovered in Corinth, the Statuette presents a richly detailed image of the healing god seated in quiet authority. Asclepius is shown leaning slightly forward on a high-backed throne, his head turned gently to the right. He wears a plain round wreath atop his parted, curling hair, which falls to his shoulders, and his face is framed by a mustache and full, curly beard. Draped in a himation that cascades from his left shoulder in V-shaped folds with a zigzag border, the god’s right arm once rested over a large coiled snake, his sacred symbol, positioned along the right side of the throne. His network-style sandals, tied above the ankle, rest on a substantial footstool with squat animal feet and a central groove, while the throne itself is ornately carved with square-incised panels on the back, lyre-shaped legs, and projecting wings. A cushion beneath him adds to the sense of formality and comfort, enhancing the image of divine majesty.

Scholars suggest that this statuette may be a scaled marble reinterpretation of the famed chryselephantine cult statue of Asclepius by Thrasymedes of Paros, described by Pausanias in the temple at Epidaurus (2.27.2). Like the legendary cult image, the Corinthian figure holds a staff in his left arm and extends his right hand toward the coiled serpent, reflecting iconography seen on fourth-century BC Epidaurian coins. The white marble and traces of gilding on the Panagia statuette evoke the luxurious materials of ivory and gold used in the original, indicating it was likely crafted in homage to the Epidaurian prototype. This connection underscores the continuity of Asclepius’ cult and the enduring reverence for his divine healing power well into the Roman period.

For a Student Activity inspired by the Statuette of Asklepios Enthroned in Corinth, please… Check HERE!

Bibliography: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.ascsa.edu.gr/uploads/media/hesperia/25068051.pdf  Pagan Statuettes in Late Antique Corinth, Sculptures from the Panayia Domus, HESPERIA 77 (2008), Pages 89-161

Byzantine Engagement Ring in the Stathatos Collection

Engagement Ring with a Greek Inscription, about 1175–1300 AD, Gold and enamel, Diameter: 2.1 x 2.3 cm, National Archaeological Museum, Athens, Greece
Image courtesy of the National Archaeological Museum, Athens
https://blogs.getty.edu/iris/put-a-ring-on-it/

In the shimmering glow of Byzantium’s golden age, love and faith were often sealed in objects of exquisite craftsmanship and deep symbolic meaning. Among these treasures, Byzantine Engagement Rings stand as powerful tokens of devotion, not only between husband and wife but also to God. One such remarkable example is the Byzantine Engagement Ring in the Stathatos Collection, adorned with intricate enamel decoration, reflecting the era’s profound intertwining of romance and spirituality. This ring, much like the art and culture of its time, serves as a testament to a society where marriage was both a sacred bond and a reflection of divine harmony. Let us explore the beauty, symbolism, and historical significance of this extraordinary artifact.

Ashley Hilton’s Getty IRIS blog post, “Put a Ring On It,” sparked my curiosity about the deep personal and historical narratives embedded in Byzantine jewelry, particularly the Byzantine gold ring of Goudeles from the Stathatos Collection. This ring, inscribed with a dedication to a lady named Maria, serves as a tangible testament to love, devotion, and identity in the Byzantine world. Hilton’s discussion of the ring inspired me to delve deeper into its historical and social context, as well as the role of the Goudeles family in Byzantine society.

So, let’s explore the ‘who’, ‘how’ and ‘what’ of this amazing Byzantine Engagement Ring by posing some questions!

Who was Goudeles and who was Maria, and what do we know about their identity or social status in Byzantine society? The name “Goudeles” is associated with a prominent Byzantine family active from the 11th to the 15th centuries. Members of this family held various significant positions within the Byzantine Empire. The gold engagement ring from the Stathatos Collection bears an inscription (on bezel): MNHCTΡΟΝ |ΔΙΔΟΜΗΓΟΥ | ΔΕΛΗC M | AΡHA (I, Goudeles, give this engagement ring to Maria). While the exact identity of Goudeles and Maria remains uncertain, the ring’s craftsmanship and materials suggest that both the bride and the groom lived during the late 12th early 13th centuries, and belonged to wealthy and possibly influential families. ​For the groom, given the family’s historical prominence, it’s plausible that the Goudeles who commissioned this ring was a member of this distinguished lineage, reflecting the family’s sustained status within Byzantine society.

What was the historical significance of the Goudeles family in the Byzantine Empire? The Goudeles family was a prominent Byzantine lineage, contributing significantly to both the military and administrative sectors of the empire over several centuries. The earliest known reference to the family appears on a 10th-century lead seal, which mentions a member of the Goudeles family who held the titles of imperial protospatharios and strategos, signifying his high-ranking military status. However, the exact details of his service and the specific region he governed remain uncertain.

During the Komnenian period, one of the most notable figures was Basil Tzykandeles Goudeles, who married Eudokia Angelina, the daughter of Theodora Komnene and Constantine Angelos. This alliance linked the Goudeles family to the ruling Komnenian and Angelos dynasties, which produced emperors such as Isaac II Angelos and Alexios III Angelos.

In the late 14th and early 15th centuries, the Goudeles family strengthened its ties with the Palaiologan Dynasty through marriage. Among its distinguished members were Georgios Goudelis and Nicholas Goudelis. Georgios, in his testament, referred to himself as Ego Georgius Gudeles, servus prepotentis et sancti imperatoris et regis nostri (“I, George Gudeles, servant of our powerful and holy emperor and king”), reflecting his position within the Byzantine aristocracy. He served as mesazon (a chief ministerial role) under Emperors John V Palaiologos and Manuel II Palaiologos, assisting in governance and administration. Nicholas Goudeles, a diplomat in imperial service, was at one point considered for a high advisory position. During the final siege of Constantinople in 1453, he was among the defenders of the city’s Land Walls, and his fate after the city’s fall remains unknown. After the fall of Constantinople, members of the Goudeles family migrated to Italy, where they remained active in international commerce, particularly through cooperation with the maritime republic of Genoa.

Overall, the Goudeles family played a crucial role in Byzantine history, with members serving in high military, diplomatic, and administrative capacities. Their strategic alliances with ruling dynasties and their contributions to the empire’s governance reflect their lasting historical significance.

How does the design, decoration, and inscription of the Goudeles Engagement Ring in the Stathatos Collection showcase Byzantine artistry and symbolism? The Goudeles engagement ring in the Stathatos Collection is a fine example of inscribed Byzantine engagement jewelry, reflecting both artistic craftsmanship and social status. The ring’s band gradually widens to form an almost circular bezel. It is flat on the interior and slightly convex on the exterior, featuring an elaborate stylized vegetal decoration with intersecting blue spirals and green, red, and white flowers on its sides. The bezel is flat and contains a four-line inscription in blue enamel, framed within a green border. The intricate detailing, the use of precious materials, and the weight of the ring indicate that it likely belonged to a wealthy individual.

In Byzantine tradition, engagement rings (annuli pronubi), like wedding rings, were worn on the fourth digit (ring finger) of the left hand, as it was believed to have a direct connection to the heart, symbolizing eternal love and commitment. This ring exemplifies the fusion of Byzantine artistry, social hierarchy, and symbolic marital customs.

For a Student Activity, please… Check HERE!

Bibliography: https://blogs.getty.edu/iris/put-a-ring-on-it/ and https://www.doaks.org/resources/seals/byzantine-seals/BZS.1958.106.3763 and ΣΟΛΩΜΟΥ Σ. (2019). Η συμβολή της μελέτης των διαθηκών της παλαιολόγειας περιόδου στην έρευνα των κοσμικών αξιωμάτων και τιμητικών τίτλων. Byzantina Symmeikta, 29, 25–72. https://doi.org/10.12681/byzsym.15563 and https://www.academia.edu/31240474/Heaven_and_Earth_Art_of_Byzantium_from_Greek_Collections_exh_cat_National_Gallery_of_Art_Washington_DC_J_P_Getty_Museum_the_Art_Institute_of_Chicago_Athens_2013_Edited_by_A_Drandaki_A_Tourta_and_D_Papanikola_Bakirtzi

The Medici in Faenza

Majolica Plate decorated with the coat of arms of the Medici of Florence, 16th century (1525 – 1530), Diameter: 12.3 cm, International Museum of Ceramics in Faenza, Italy – Photo Credit: Amalia Spiliakou, April 2025

Visiting the International Museum of Ceramics in Faenza was an unforgettable experience, an inspiring journey through centuries of ceramic artistry. As someone with a deep appreciation for both history and design, I was truly impressed by the museum’s extraordinary collection, which showcases the global and cultural significance of ceramics in such a thoughtfully curated way. Among the many treasures, one piece that especially captivated me was a modest yet elegant Majolica plate from the 16th century, skillfully adorned with the coat of arms of the Medici of Florence. Despite its small size, just 12.3 cm in diameter, its refined craftsmanship and understated beauty spoke volumes. It offered a glimpse into The Medici in Faenza, a subtle yet powerful reminder of how far their influence reached, and how even the simplest objects can carry the weight of history with quiet grace. https://www.micfaenza.org/en/

Let’s explore the ‘how’, ‘’, ‘why’, and ‘what’ of the amazing ‘Majolica Plate decorated with the coat of arms of the Medici of Florence’ in theInternational Museum of Ceramics in Faenzaby posing some questions!

What is Majolica, and why was it significant in Renaissance Italy? A Majolica plate is a type of tin-glazed earthenware that became highly popular in Renaissance Italy for its vibrant colors and intricate designs. Made from clay and coated with a white tin glaze, the surface served as a canvas for hand-painted decoration using metallic oxide pigments, which became brilliantly glossy after firing. These plates often featured historical, mythological, or heraldic imagery—like the Medici coat of arms—and were prized for both their beauty and craftsmanship. More than just functional objects, Majolica plates were symbols of wealth, status, and artistic refinement, reflecting the cultural and political identity of their time.

What is the origin of the term “Majolica,” and how has its meaning and use evolved over time? The term “Majolica” originates from the Spanish island of Mallorca (Majorca), which was a key trading hub for ceramics between the Islamic world and Italy during the Middle Ages. Italian potters believed that the brightly colored, tin-glazed pottery imported through Mallorca came from there, and the name “Maiolica” (the Italian form) became associated with this style of earthenware. Initially, it referred specifically to the luxurious, vividly painted ceramics produced in Renaissance Italy, especially in centers like Faenza, Deruta, and Urbino. Over time, particularly in the 19th century, the term “Majolica” began to be used more broadly—and sometimes confusingly—to describe other types of colorful ceramics, including English Victorian ware with entirely different techniques. Despite this evolution, in its original sense, Majolica remains a celebrated hallmark of Italian Renaissance artistry and innovation in ceramics.

What role did the city of Faenza play in the development and prominence of Majolica earthenware? Faenza played a central role in the development and prominence of Majolica earthenware during the Renaissance, becoming one of the most important ceramic production centers in Italy. The city’s artisans were renowned for their technical skill and artistic innovation, helping to refine the tin-glazing technique that gave Majolica its brilliant, glossy surface. Faenza’s strategic location along trade routes and its strong guild traditions fostered an environment where ceramic craftsmanship could flourish. So influential was its production that the French term for fine tin-glazed pottery—faïence—derives from the name of the city. Faenza’s legacy in ceramics continues today, celebrated through institutions like the International Museum of Ceramics, which honors its rich contribution to the art form.

Why is the International Museum of Ceramics in Faenza considered an important institution in the world of ceramic art and history? The International Museum of Ceramics in Faenza is considered one of the most important institutions in the world of ceramic art and history due to its vast and diverse collection, its historical significance, and its role in preserving and promoting ceramic heritage. Founded in 1908, the museum houses work from ancient civilizations to contemporary ceramic art, representing cultures from across the globe. It is especially renowned for its comprehensive display of Italian Majolica, with masterpieces from key production centers like Faenza, Deruta, and Urbino. The museum also serves as a vital center for research, education, and innovation in ceramics, hosting exhibitions, workshops, and scholarly initiatives. Its presence in Faenza—a city with centuries-old ceramic traditions—further cements its role as a guardian of both local craftsmanship and international ceramic excellence.

How would you describe the ‘Majolica Plate decorated with the coat of arms of the Medici of Florence,’ in the International Museum of Ceramics in Faenza, Italy? When I visited the International Museum of Ceramics in Faenza on the 1st of April 2025, one piece that left a lasting impression on me was the Majolica Plate decorated with the coat of arms of the Medici of Florence. Though modest in size—just 12.3 cm in diameter—it stood out as a refined and powerful example of Renaissance ceramic artistry. Created between 1525 and 1530, the plate features the iconic Medici heraldry, beautifully rendered in vibrant tin-glaze colors that still hold their brilliance centuries later. What struck me most was the balance between its elegant simplicity and the rich symbolism it carried. The clean lines and careful proportions reflect the technical mastery of the Renaissance ceramic tradition, while the Medici emblem speaks volumes about the political and cultural reach of this powerful Florentine family. Standing before it, I felt a quiet awe—this small object encapsulated so much history, beauty, and meaning in such a graceful form.

For a Student Activity, please… Check HERE!

Bibliography: https://www.metmuseum.org/met-publications/maiolica-italian-renaissance-ceramics-in-the-metropolitan-museum-of-art

The Roses of Heliogabalus by Sir Lawrence Alma-Tadema

Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., British Artist, 1836-1912
The Roses of Heliogabalus, 1888, Oil on Canvas, 132.7 cm × 214.4 cm, Private Collection https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

As June blooms in full splendor, there is no better time to celebrate the rose, the quintessential flower of this month, than through the lavish spectacle of The Roses of Heliogabalus by Sir Lawrence Alma-Tadema. This sumptuous painting, a masterpiece of Victorian classicism, captures a moment of both beauty and morbid decadence drawn from the Historia AugustaIn a banqueting-room with a reversible ceiling he once overwhelmed his parasites with violets and other flowers, so that some were actually smothered to death, being unable to crawl out to the top.  With petals cascading like a silken avalanche, Alma-Tadema transforms a tale of imperial excess into a vision of opulence tinged with quiet horror—perfectly suited for a season where nature and drama entwine. https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Historia_Augusta/Elagabalus/2*.html (Historia Augusta. Life of Elagabalus — Part 2 of 2)

The Roses of Heliogabalus is a striking fusion of historical narrative and aesthetic opulence. Painted in 1888, it depicts a sensational episode from the life of the Roman Emperor Elagabalus (or Heliogabalus), known for his eccentricity and extravagance. The story, as recounted in the Historia Augusta, tells of a banquet where the emperor used a reversible ceiling to release an overwhelming cascade of violet petals—though Alma-Tadema substitutes violets with roses—to smother his guests for amusement. This chilling episode of cruelty masked by beauty becomes the core of Alma-Tadema’s vision, offering a glimpse into the macabre excesses of ancient imperial decadence.

Aesthetically, the painting is a feast for the senses. The scene is bathed in soft, golden light that dances on the marble surfaces of the opulent banquet hall. Clad in flowing silks, the reclining figures exude a lethargic elegance, their expressions caught between delight and alarm as petals rain down in suffocating abundance. Alma-Tadema’s meticulous attention to classical detail—visible in the architecture, textiles, and floral textures—reveals his archeological fascination with antiquity. Yet beyond historical accuracy, he layers the image with sensuality and spectacle, transforming the tale into a visual symphony of beauty, excess, and impending doom.

Sir Lawrence Alma-Tadema (1836–1912) was one of the most celebrated and successful painters of the Victorian era, renowned for his meticulously detailed portrayals of the ancient world—especially scenes of Roman luxury and domestic life. Born as Lourens Alma Tadema in the small Dutch village of Dronrijp, Friesland, he showed artistic talent from a young age. Orphaned of his father at four, Alma-Tadema originally set out to study law, but after a health scare in his teens (when doctors mistakenly predicted he had only a short time to live), he chose to devote his remaining days to painting. He recovered fully, and went on to live a long and prolific life.

He trained at the Royal Academy of Antwerp, and it was during a trip to Italy in 1863 that he fell in love with ancient Roman architecture and culture. This moment would shape the rest of his artistic life. After moving to England in 1870—amid the chaos of the Franco-Prussian War—he anglicized his name to Lawrence and added “Alma” (originally a middle name) to the front to stand out in alphabetical exhibition catalogs. In England, his career flourished. He became a favorite of both the Royal Academy and Queen Victoria, was knighted in 1899, and later received the Order of Merit.

Alma-Tadema was known for his obsessive attention to historical details. His London studio was famously packed with Roman artifacts, architectural fragments, and textiles. Visitors joked that he lived like an emperor among his collection. One anecdote tells of how he spent weeks experimenting with rose petals for The Roses of Heliogabalus—ordering fresh blooms by the thousands and even timing how long it would take for them to fall realistically from the ceiling. In his personal life, he was equally colorful: he married his second wife, Laura Epps (a talented painter herself), after painting her as a muse and falling in love through their shared artistic passion.

Though his popularity waned after his death—dismissed by Modernists as overly sentimental and decorative—Alma-Tadema’s work has since enjoyed a revival, admired for its technical brilliance and imaginative evocation of a world suspended between beauty and decay.

For a PowerPoint Presentation on the oeuvre ofSir Lawrence Alma-Tadema, please… Check HERE!

Teacher Curator has already POSTED two presentations on Sir Lawrence Alma-Tadema, titled… Sir Lawrence Alma-Tadema and Romantic Love https://www.teachercurator.com/19th-century-art/sir-lawrence-alma-tadema-and-romantic-love/ and A Coign of Vantage by Sir Lawrence Alma-Tadema https://www.teachercurator.com/19th-century-art/a-coign-of-vantage-by-sir-lawrence-alma-tadema/

Bibliography: https://penelope.uchicago.edu/~grout/encyclopaedia_romana/severans/roses.html and https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

Photo Credit: https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

The enduring legacy of ancient civilizations

Hubert Robert, French Artist, 1733–1808
The Ruins of Nîmes, Orange and Saint-Rémy-de-Provence, c. 1789, Oil on Canvas, 56.3 x 78.8 cm, Private Collection https://www.christies.com/en/lot/lot-6520247?ldp_breadcrumb=back

Hubert Robert’s 1789 painting, The Ruins of Nîmes, Orange and Saint-Rémy-de-Provence, masterfully intertwines the grandeur of classical antiquity with the evocative beauty of decay. By amalgamating iconic Roman structures from southern French locales, Robert crafts an imaginative landscape that transcends geographical boundaries. This composition not only showcases his artistic ingenuity but also reflects the 18th-century fascination with ruins as symbols of the passage of time and the enduring legacy of ancient civilizations.

Hubert Robert (1733–1808) was a prominent French painter, draftsman, and printmaker known for his romanticized depictions of architectural ruins. Born in Paris, he studied at the prestigious Collège de Navarre before traveling to Italy in 1754. There, he spent over a decade absorbing the grandeur of classical antiquity, training at the French Academy in Rome and studying under Giovanni Paolo Panini, a master of capriccio landscapes. Robert’s fascination with ancient architecture flourished in Italy, where he meticulously sketched the ruins of Rome, Pompeii, and Tivoli, developing a lifelong artistic theme. Upon his return to France in 1765, he was admitted to the Royal Academy of Painting and Sculpture and quickly became a favorite of aristocratic patrons, including King Louis XVI, who appointed him designer of the royal gardens. Despite the turbulence of the French Revolution—during which he was imprisoned—Robert continued to produce evocative landscapes, blending reality and imagination in his visions of the past.

Robert’s paintings epitomize the 18th-century fascination with ruins as poetic symbols of time’s passage, human ambition, and nature’s reclamation. His works frequently depict grand yet decaying architectural settings, often populated with small, contemplative figures that emphasize the vastness of history. Unlike the precise architectural renderings of his contemporaries, Robert infused his compositions with a dreamy, almost theatrical quality, using warm golden light, soft atmospheric perspective, and dynamic compositions to enhance their emotional resonance. His capriccio technique—blending real and imaginary elements—allowed him to create idealized visions of antiquity, such as The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence, in which he combined multiple historical sites into a single, dramatic scene. His aesthetic influence extended beyond painting into garden design, where he applied his picturesque sensibilities to landscape planning. Ultimately, Robert’s work captures the grandeur of the past and its inevitable decline, making him one of the most poetic interpreters of ruins in European art.

Rather than depicting a single, accurate location, Robert’s painting The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence is a masterful Capriccio Painting that merges architectural grandeur with an evocative sense of decay. It creatively combines elements from major Roman sites in southern France: the Maison Carrée and Amphitheater of Nîmes, the ruins of the Pont du Gard Aqueduct, the Mausoleum of the Julii and Triumphal Arch at Glanum, located south of Saint-Rémy-de-Provence; the Triumphal Arch in Orange, and the Temple of Diana at Nîmes. The composition is carefully orchestrated to showcase these monumental structures in a dramatic interplay of light and shadow, heightening their romantic allure.

The painting exudes a melancholic yet sublime atmosphere, characteristic of Robert’s fascination with ruins as symbols of the passage of time. In the foreground, small human figures wander among the towering remnants, emphasizing the contrast between human transience and the enduring presence of antiquity. The soft, golden light filtering through broken arches and overgrown columns enhances the picturesque quality of the scene, inviting the viewer to reflect on the fragility of civilizations. Through this fusion of reality and imagination, The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence encapsulates the 18th-century admiration for antiquity and the romanticized vision of the past that defined much of Robert’s work.

For a PowerPoint Presentation of Hubert Robert’s Oeuvre, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6520247?ldp_breadcrumb=back and https://www.artnet.com/artists/hubert-robert/

Gian Lorenzo Bernini’s bust of Duke Francesco I d’Este

Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou April 2025

Upon entering the Galleria Estense in Modena, visitors are greeted by a masterpiece of Baroque sculpture that sets an immediate tone of grandeur and theatricality, Gian Lorenzo Bernini’s bust of Duke Francesco I d’Este. Commissioned in the 1650s, this dazzling marble portrait is more than a likeness; it is a triumph of artistic bravura that captures the duke in a moment of almost divine command, his chest proudly thrust forward, his locks swirling with motion, and his gaze lofty and enigmatic. Bernini’s extraordinary ability to fuse idealization with vitality makes the bust an unforgettable encounter at the heart of the gallery’s collection. Decades later and miles away, the bust’s spirit found a new interpretation through the brush of Giovanni Boldini. His painting Bust of Francesco I d’Este after Gian Lorenzo Bernini, now in the National Gallery of Art in Washington, D.C., revives the sculpture’s theatrical essence in painterly form—transforming cool marble into a vibrant, expressive study of light and form. Boldini, known for his flair and fluid technique, pays homage not only to Bernini’s virtuosity but also to the enduring legacy of Baroque splendor.

​In August 1650, Duke Francesco I d’Este of Modena commissioned Gian Lorenzo Bernini to sculpt his portrait in marble. Initially, Bernini was reluctant to undertake the project without meeting the Duke in person, considering it an “almost impossible” task. However, with the persistent intercession of Cardinal Rinaldo d’Este, the Duke’s brother, Bernini agreed, provided he received multiple portraits of the Duke and precise measurements of his height and shoulder width. Consequently, two profile portraits by Justus Sustermans were sent to Rome, while a frontal portrait by Jean Boulanger did not arrive in time. Bernini began sculpting in August 1651 and completed the bust by September. The sculpture arrived in Modena in November, and upon unveiling, the Duke was so impressed that he paid Bernini 3,000 scudi—the same amount Pope Innocent X had paid for the Fountain of the Four Rivers in Rome. This generous payment not only reflected the Duke’s satisfaction but also underscored his ambition to elevate the cultural stature of the Este court through patronage of renowned artists.

Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy https://ducatoestense.com/en/beni-storici-artistici/bust-of-duke-francesco-i-deste/

Bernini’s bust portrait of Francesco I d’Este stands as a quintessential example of Baroque art, embodying the movement’s defining traits of dynamism, theatricality, and grandeur. Far from being a static likeness, the sculpture radiates energy and authority: the Duke’s chest swells with pride, his elaborate curls cascade in dramatic motion, and his expression conveys both noble detachment and inner vitality. Bernini masterfully transforms marble into a living presence, infusing the work with psychological depth and an almost divine aura. This portrait doesn’t merely represent Francesco—it exalts him, turning the Duke into a timeless symbol of princely power and ambition. In doing so, Bernini demonstrates how sculpture in the Baroque era was not just about capturing appearances, but about commanding emotion and crafting an idealized image of rulership through the language of art.

Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou April 2025
Giovanni Boldini, 1842-1931
Bust of Francesco I d’Este after Gian Lorenzo Bernini, c. 1890/1900, brown and blue washes on ivory wove paper, 45.5 x 30.4 cm, National Gallery of Art, Washington DC, USA https://www.nga.gov/press/acquisitions/2022/boldini.html

In the late 19th century, Giovanni Boldini, celebrated for his dynamic and elegant portraits, created a wash drawing titled Bust of Francesco I d’Este, inspired by Gian Lorenzo Bernini’s renowned marble sculpture. Executed around 1890–1900, during Boldini’s flourishing career in Paris, the drawing captures the essence of Bernini’s Baroque masterpiece through expressive brown and blue washes on ivory wove paper. Boldini’s rendition emphasizes the dramatic curls and vigorous movement of the original bust, portraying the head in full profile while simplifying certain elements, such as omitting the lace collar and armor. This approach highlights Boldini’s theatrical style and his ability to convey vitality and motion, aligning with the gestural tendencies of contemporaries like John Singer Sargent. The drawing not only pays homage to Bernini’s work but also reflects Boldini’s exploration of abstract form, bridging 19th-century impressionism and the gestural styles that would influence 20th-century modernism. Acquired by the National Gallery of Art in 2021, this piece enriches the museum’s collection, illustrating the enduring impact of Baroque artistry on later generations

For art lovers, the Galleria Estense in Modena offers more than a collection, it offers a journey into the heart of artistic brilliance, where Bernini’s bust of Francesco I d’Este greets visitors with imperial flair and sculptural poetry. Its enduring legacy, later reimagined through the fluid hand of Giovanni Boldini, reminds us that true masterpieces do not merely survive the passage of time—they continue to speak, to inspire, and to live on in new and unexpected forms.

For a Student Activity on Gian Lorenzo Bernini’s Bust of Francesco I d’Este, and Giovanni Boldini painting of Francesco’s Bust, please… Check HERE!

Bibliography: https://ducatoestense.com/en/beni-storici-artistici/bust-of-duke-francesco-i-deste/ and https://www.nga.gov/press/acquisitions/2022/boldini.html

Saint Constantine in Arezzo

Piero della Francesca, 1416-1492
View of the Cappella Maggiore, 1452-66, Fresco, San Francesco, Arezzo, Italy – Photo Credit: Amalia Spiliakou, Spring 2025
Constantine’s face: https://www.wga.hu/frames-e.html?/html/p/piero/index.html

On the occasion of Saint Constantine’s name day, we turn our gaze to Piero della Francesca’s majestic fresco cycle, The Legend of the True Cross, in Arezzo. Painted in the mid-15th century on the walls of the Basilica of San Francesco, this monumental series draws from Jacopo da Varagine’s Legenda Aurea, a medieval text brought to life through della Francesca’s luminous palette, serene figures, and masterful use of perspective. Set against the familiar landscapes of Arezzo and Sansepolcro, the ten scenes trace the mythical journey of the wood of the Cross, from Eden to Jerusalem. Saint Constantine in Arezzo plays a pivotal role, both visionary and imperial. He is rendered with the calm authority and timeless grace that define della Francesca’s style—making this cycle not only a meditation on faith and history, but also a fitting tribute to the saint’s enduring legacy.

Piero della Francesca (c. 1412–1492) was born in the Tuscan town of Sansepolcro, where he would later return and spend much of his life. He likely received his early training in local workshops before working in Florence, where he encountered the innovations of artists such as Masaccio and Fra Angelico. By the 1440s, he had established himself as an independent master, receiving important commissions across central Italy. He painted for the courts of Ferrara, Rimini, and Urbino—centers of Renaissance humanism—most famously executing the fresco cycle The Legend of the True Cross in Arezzo between the 1450s and 1460s. His patrons included powerful figures like Sigismondo Malatesta and Federico da Montefeltro, the latter of whom he portrayed in one of his best-known portraits. In his later years, Piero devoted himself increasingly to writing treatises on mathematics and perspective, including De Prospectiva Pingendi and Libellus de Quinque Corporibus Regularibus. His eyesight deteriorated in old age, likely leading to the end of his painting career, and he died in his hometown in 1492. Giorgio Vasari praised him in his Lives of the Artists, calling him ‘a man so devoted to geometry and to the mathematical sciences, and so excellent in them, that he has left in writing many treatises which are no less useful than delightful.’ https://it.wikisource.org/wiki/Le_vite_de%27_pi%C3%B9_eccellenti_pittori,_scultori_e_architettori_(1568)/Piero_della_Francesca

Piero della Francesca, 1416-1492
View of the Cappella Maggiore, 1452-66, Fresco, San Francesco, Arezzo, Italy https://www.iguzzini.com/de/news/neues-licht-fur-piero-della-francesca/
View of the Cappella Maggiore, Photo Credit: Amalia Spiliakou, Spring 2025

The artist’s fresco cycle The Legend of the True Cross, is one of the masterpieces of Renaissance art. The cycle narrates the legendary history of the wood of the Cross, from the time of Adam to its rediscovery by Saint Helena. Executed with remarkable clarity, balance, and use of perspective, the frescoes reflect Piero’s intellectual engagement with geometry and humanist ideals. Among the most striking scenes is The Victory of Constantine over Maxentius, where Piero stages the miraculous triumph of Constantine, guided by a vision of the Cross in the sky. Bathed in soft, ethereal light, the battle scene showcases Piero’s mastery of atmosphere and foreshadows the spiritual power attributed to the relic, underscoring themes of divine intervention and the legitimacy of Christian rule.

Piero della Francesca, 1416-1492
View of the Cappella Maggiore, 1452-66, Fresco, San Francesco, Arezzo, Italy – Photo Credit: Amalia Spiliakou, Spring 2025

Giorgio Vasari, writing in the Lives of the Artists, offers a vivid and admiring account of Piero della Francesca’s depiction of the fresco at San Francesco in Arezzo. Vasari highlights Piero’s extraordinary ability to convey the psychological and physical intensity of battle, writing: “In this same story he effectively expressed in a battle the fear, the animosity, the dexterity, the strength and all the other emotions that can be considered in those who fight, and the accidents likewise, with an almost incredible slaughter of wounded, fallen and dead. In which, for having counterfeited in fresco the arms that shine, Peter deserves the greatest praise, no less than for having made on the other side, where there is the flight and submersion of Maxentius, a group of cavalry in foreshortening, so marvelously executed, that compared to those times they can be called too beautiful and too excellent.” Vasari is particularly struck by Piero’s anatomical precision, noting a “half-naked and half-dressed Saracen on a dry horse, very well discovered in anatomy, little known in his time.” The praise concludes with recognition of Piero’s impact on the city of Arezzo and his patrons: “For this work he deserved to be richly rewarded by Luigi Bacci… and to be, as he was afterwards, always loved and revered in that city, which had so illustrious his works.” Vasari’s words underscore the technical brilliance and emotional depth of Piero’s art, as well as its lasting cultural significance. https://it.wikisource.org/wiki/Le_vite_de%27_pi%C3%B9_eccellenti_pittori,_scultori_e_architettori_(1568)/Piero_della_Francesca

Piero della Francesca, 1416-1492
View of the Cappella Maggiore, 1452-66, Fresco, San Francesco, Arezzo, Italy – Photo Credit: Amalia Spiliakou, Spring 2025
Constantine’s face: https://www.wga.hu/frames-e.html?/html/p/piero/index.html
Piero della Francesca, 1416-1492
Constantine’s Victory over Maxentius, 1452-66, Fresco, San Francesco, Cappella Maggiore,Arezzo, Italy https://gr.pinterest.com/pin/736127501580922200/
Pisanello’s Medallion of Ioannis VIII Palaiologos, a loan from the Galleria Giorgio Franchetti at the Ca’ d’Oro, Venice, as exhibited in the Hôtel de la Marine, in Paris, France – Photo Credit: Amalia Spiliakou, March 2023

One of the most intriguing details in Piero della Francesca’s depiction of Emperor Constantine in The Victory over Maxentius is how closely the Roman leader resembles the Byzantine Emperor Ioannis VIII Palaiologos. Dressed in an ornate, exotic hat that echoes the imperial skaranikon worn by Palaiologos, Constantine seems less like a Roman general and more like a figure from the fading Byzantine court. The resemblance is especially striking when compared to Pisanello’s famous medallion of the Byzantine emperor, created during Ioannis’s visit to Italy in the 1430s. That historic journey, which brought the emperor to Florence in 1439 for the Council of Florence, a major attempt to reconcile the Eastern and Western Churches, had a profound impact on the cultural imagination of the time. His presence sparked fascination with Byzantine customs and appearances, influencing artists, intellectuals, and patrons alike. In this light, Piero’s portrayal of Constantine may be seen not only as a historical scene, but also as a subtle homage to a contemporary symbol of imperial dignity and spiritual unity, bridging the classical past with the complexities of Piero’s own era.

For a PowerPoint Presentation of Piero della Francesca’s frescoes in Cappella Maggiore, in the church of San Francesco in Arezzo, Italy, please… Check HERE!

For a teacher Curator BLOG POST on Byzantine Emperor Ioannis VIII Palaiologos, and his portrait on Pisanello’s famous Medallion, please Check… https://www.teachercurator.com/art/face-to-face-with-emperor-ioannis-viii-palaiologos/

Bibliography: https://museiarezzo.it/affreschi-di-piero-della-francesca/