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Theotokos ton Blachernon in Constantinople

January 14, 2022

by admin Byzantium Student Activities Worksheets

**The Ride of Emperor Theophilos to the Church of Theotokos ton Blachernon**
**Madrid Skylitzes Illuminated Manuscript**, 12th to the 13^th centuries, Manuscript on Parchment, 36 x 27 cm, Biblioteca Nacional de España, Spain
https://upload.wikimedia.org/wikipedia/commons/2/26/Emperor_Theophilus_visits_St_Mary_of_Blachernae.jpg

According to John Skylitzes, the 11th-century historian, the Byzantine Emperor Theophilos (r. 829–42)… ἀπῄειἑκάστης ἑβδομάδος ἔφιππος διὰ τῆς λεωφόρου ἐπὶ τὸν ἐν Βλαχέρναις τῆς θεομήτορος θεῖον ναόν, ὑπὸ τῶν δορυφόρων παραπεμπόμενος… each week would ride out on horseback together with his bodyguard along the thoroughfare leading to the sacred Church Theotokos ton Blachernon in Constantinople… the most important Pilgrimage Complex in the Βασιλεύουσα dedicated to the Mother of God. https://byzantium.gr/keimena/skylitzes.php and https://www.cambridge.org/core/books/abs/john-skylitzes-a-synopsis-of-byzantine-history-8111057/michael-iii-the-son-of-theophilos-842867-and-his-mother-theodora-842862/CF57964EF1A48FA4EBDD26D8CF54FE3E

**Blachernae Palace Area, Constantinople**
1. Basilica Church of Theotokos ton Blachernon, 2. Hagia Soros Chapel, 3. Danubios Hall, 4. Okeanos Hall, 5. Anastasiakos Hall, named after Emperor Anastasius I (r. 491–518) who built it, 6.Alexiakos Hall, 7. So-called Anemas Dungeons, 8. Palace bath recently found, 9. Palace of Manuel Comnenus, 10. Chapel, 11.Palace of Empress Bertha, 12.Tower of Isaac Angelus
http://www.byzantium1200.com/blachernae.html

At the breezy and woody suburb of Blachernai, on the shores of Golden Horn, just outside the Theodosian city walls, the Byzantine Pilgrimage Complex of Blachernae comprised of the Basilica Church of Theotokos ton Blacernon, the Hagia Soros Chapel, where the Maphorion (the holy veil) of the Virgin was kept, and the Lousma, an Edifice built over a natural spring of mineral water, which was used for Baths, to which healing qualities were attributed at some point by the 5th century. It is traditionally believed that Pulcheria and Emperor Maurice were the founders of the Vlachernai complex, but according to Procopius and recent research (C. Mango), the theory that the Basilica Church was erected by Emperor Justin I (518-527) was brought forward. http://constantinople.ehw.gr/forms/fLemmaBodyExtended.aspx?lemmaID=11778

Procopius in his De Aedificiis, I.3.3-5, describes the Basilica Church as… τὸν μὲν οὖν ἕνα τῆς θεοτόκου νεὼν ᾠκοδομήσατο πρὸ τοῦ περιβόλου ἐν χώρῳ καλουμένῳ Βλαχέρναις· αὐτῷ γὰρ λογιστέον καὶ τὰ Ἰουστίνῳ εἰργασμένα τῷ θείῳ, ἐπεὶ καὶ αὐτοῦ τὴν βασιλείαν κατ’ ἐξουσίαν αὐτὸς διῳκεῖτο, ἐπιθαλάσσιος δὲ ὁ νεώς ἐστιν, ἱερώτατός τε καὶ σεμνὸς ἄγαν, ἐπιμήκης μέν, κατὰ λόγον δὲ περιβεβλημένος τῷ μήκει τὸ εὖρος, τά τε ἄνω καὶ τὰ κάτω ἄλλῳ οὐδενὶ ἀνεχόμενος ὅτι μὴ τμήμασι λίθου Παρίου ἐν κιόνων λόγῳ ἐνταῦθα ἑστῶσι… (This church is on the sea, a most holy and very stately church, of unusual length and yet of a breadth well proportioned to its length, both its upper and its lower parts being supported by nothing but sections of Parian stone which stand there to serve as columns. And in all the other parts of the church these columns are set in straight lines, except at the centre, where they recede. Anyone upon entering this church would marvel particularly at the greatness of the mass which is held in place without instability, and at the magnificence which is free from bad taste.) https://archive.org/details/procopius00proc_0/page/38/mode/2up pages 38-41

The Basilica Church of Theotokos ton Blacernon, still outside the city walls in 626, at the time of the Avar siege, was spared destruction, because of a miraculous intervention of the Theotokos who spared her own church as a sign of her power and grace. During the following centuries, the Virgin Vlachernitissa came to be considered as the city’s divine protector par excellence. George Pisides, the 7th-century poet describes Blachernae beautifully… If you seek the dread throne of God on the earth, marvel as you look at the house of the Virgin; for she who carries God in her arms carries him to the majesty of this place. Here those appointed to rule the earth believe that their scepters are made victorious; here the vigilant patriarch averts many catastrophes in the world. The barbarians, attacking the city, on seeing her alone at the head of the army, at once bent their unbending necks.’ http://constantinople.ehw.gr/forms/fLemmaBodyExtended.aspx?lemmaID=11778 and https://figshare.com/articles/online_resource/E00568_Two_Greek_epigrams_by_George_Pisides_in_the_shrine_of_the_Blachernae_at_Constantinople_celebrating_the_miraculous_raising_of_the_626_siege_of_Constantinople_with_the_help_of_Mary_Mother_of_Christ_S00033_Recorded_in_the_10th_c_Greek_A/13800251/1

**Basilica Church of Theotokos ton Blachernon,** original construction5^th century, Istanbul, Turkey
**Theotokos ton Blachernon,** drawing of 1877, from A.G. Paspates’ Byzantine Topographical Studies
https://commons.wikimedia.org/wiki/Category:Church_of_St._Mary_of_Blachernae_(Istanbul)#/media/File:Saint_Mary_of_Blachernae_8940.jpg
https://commons.wikimedia.org/wiki/Category:Church_of_St._Mary_of_Blachernae_(Istanbul)#/media/File:Saint_Mary_of_Blachernae_8938.jpg
https://en.wikipedia.org/wiki/Church_of_St._Mary_of_Blachernae_(Istanbul)#/media/File:To_agiasma_ton_vlahernon.JPG

Unfortunately, the church was entirely destroyed by a fire in 1070, rebuilt by 1077, and destroyed once more by fire, in 1434 when the damaged portico of the Church was hit by lightning in a great storm. The fire was seen all over the city and was one of the last great disasters to strike Christian Constantinople… a huge blow to the morale of the city and the Imperial family who could not afford to spend money on reconstructions, but on cleaning and repairing the City Moat and Walls. http://constantinople.ehw.gr/forms/fLemmaBodyExtended.aspx?lemmaID=11778 and https://www.pallasweb.com/deesis/church-of-mary-of-the-blachernae.html

The existing Church of Theotokos ton Blachernon is dated to the mid-19th century. The istorikon of the modern Church starts in 1867 when the guild of Orthodox Greek furriers bought land in Istanbul, including the lot with the Hagiasma/Holy Water Shrine of the original Blachernae Complex. A hundred and fifty years later, with the care of the Ecumenical Patriarchate, a small Church was “rebuilt” on the site of what was once the most important pilgrimage shrine of Theotokos at Constantinople… the site where the “Akathistos Hymnos” was first sung… http://constantinople.ehw.gr/forms/fLemmaBodyExtended.aspx?lemmaID=11778

For a Student Activity, please… Check HERE!

Love of Virtue by François Lemoyne

January 12, 2022

by admin Art Baroque Powerpoints

**François Lemoyne,** 1688-1737
**Study of a head for Love of Virtue in The Apotheosis of Hercules, circa 1733,**
Pastel, trois crayons and stump blending on formerly blue paper, © château de Versailles, France https://en.chateauversailles.fr/news/exhibitions/drawings-versailles-20-years-acquisitions#the-exhibition

The Doors of the Versailles Exhibition… Drawings for Versailles, 20 years of Acquisitions… closed for the interested visitors, but the preparatory drawing of a head for the Love of Virtue by François Lemoyne has become a favourite! The exhibition displayed acquisitions that have joined the Palace of Versailles Graphic Arts Department over the last 20 years. On display, in Madame de Maintenon’s apartments, visitors were able to admire pastels, gouaches, watercolours, and other works that are often kept in storage because of their great fragility. Portraits and scenes from life at court, such as Louis XIV portrayed as a Roman emperor or Charles Perrault drawn by Charles Le Brun, plans, architectural drawings, and preparatory sketches for the major painted decors of the Palace of Versailles were on display and greatly admired! The visitors traveled through four centuries of graphic creation, discovering a Versailles as envisioned by great artists like Charles Le Brun, Charles de la Fosse, François Lemoyne, Richard Mique, Jacques Gondoin, and Lucien Lévy-Dhurmer… a place of great wonders! https://en.chateauversailles.fr/news/exhibitions/drawings-versailles-20-years-acquisitions#the-exhibition

Around 1733, while François Lemoyne was painstakingly working for the Apotheosis of Hercules ceiling decoration of the Versailles Hercules Room, a small preparatory drawing of a head for the Love of Virtue was quickly drawn… and if I may humbly say, the finesse of French Baroque Art turning to Rococo comes to fruition.

**The Hercules Room-View of the Ceiling and the Paolo Veronese Painting of the Feast in the House of Simon, Palace of Versailles**
https://commons.wikimedia.org/wiki/Category:Feast_in_the_House_of_Simon_by_Paolo_Veronese_(Versailles)#/media/File:Le_salon_d’Hercule_(24302264315).jpg

Part of the King’s (Louts IV 1638-1715) State Apartment, the Hercules Room was lavishly decorated in the Italian-style with exceptional marble wall paneling, splendid chimney bronzes, a monumental painting by the Venetian Paolo Veronese depicting the Feast in the House of Simon and the largest painted ceiling, representing the Apotheosis of Hercules by François Lemoyne. The decoration of the Hercules Room initiated in 1712, was interrupted by the death of Louis XIV in 1715; it resumed in 1729 and was completed in 1736. The Hercules Room is undoubtedly one of the finest in the palace. https://en.chateauversailles.fr/discover/estate/palace/king-state-apartment#the-hercules-room and https://en.chateauversailles-spectacles.fr/tag/hercules-room_t50/1

**The Hercules Room, Palace of Versailles**
https://commons.wikimedia.org/wiki/Category:Salon_d%27Hercule_du_Ch%C3%A2teau_de_Versailles#/media/File:Panorama_of_the_ceiling_of_Le_salon_d’Hercule_(24275994646).jpg

The Room’s pièce de resistance is Lemoyne’s Apotheosis of Hercules. This vast, impressive, allegorical work, depicting no fewer than 142 persons, can be considered on a par with masterpieces by Italian fresco painters. It was created, however, using the marouflage technique, that is the scenes were painted on canvas and then stuck onto the ceiling. When the painting was finally cleaned and restored in 2000 the composition’s drama and bright colours were justly revealed and the room was once more lit up enhancing the other great exhibited masterpiece, the Renaissance monumental painting of the Feast in the House of Simon by Paul Veronese. http://www.versailles3d.com/en/over-the-centuries/xxie/2000.html

François Lemoyne was a hard-working and ambitious artist of the early 18^th century, aspiring to be seen as the new Charles Le Brun. He was admired by his contemporaries for covering vast spaces with bold mythological scenes, graceful figures, and elegant, pastel colours. In 1728, he was awarded a royal commission to paint the ceiling of the Hercules Room at Versailles, at à ciel ouvert style. The Apotheosis of Hercules painting (finished in 1736) received unanimous praise, Voltaire complimented the artist’s talent, and Lemoyne was appointed 1^st painter of King Louis XV. It was a short triumph. Six months later, Lemoyne committed suicide exhausted by work, court intrigue at Versailles, the death of his wife, and psychological instability. https://www.getty.edu/art/collection/artists/3473/francois-le-moyne-french-1688-1737/

For a PowerPoint on François Lemoyne, please… Check HERE!

Villa Arianna’s Dionysus and Ariadne Fresco

January 7, 2022

by admin Art Roman Art Roman Frecoes Student Activities Worksheets

**Ariadne on Naxos, 4^th Pompeian Style Fresco, Villa Arianna grand Triclinium, (fresco and Room No. 3),** 1^st century AD, Stabiae, Italy
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Affresco_particolare_23.jpg
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Mito_ri_Arianna.jpg

Lying in the shadow of Mount Vesuvius… Stabiae is home to a group of enormous, sea-edge, Villae Marittimae, which are set on a cliff above the modern town of Castellammare di Stabia. We know of at least six of these villas, built directly next to one another—a sort of Roman high-rent resort district next to the small town of Stabiae. They were beautifully preserved by the eruption of 79 A.D., with standing walls, some of the highest quality frescoes surviving from antiquity, and some of the most innovative garden architecture in the Roman world. On the 13^th of October I presented you with information on Villa Arianna, today, on the 11^th of December… let’s discuss Villa Arianna’s Dionysus and Ariadne Fresco. https://www.baslibrary.org/archaeology-odyssey/8/1/5

**Ariadne on Naxos, 4^th Pompeian Style Fresco, Villa Arianna grand Triclinium, Room No. 3,** 1^st century AD, Stabiae, Italy
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Mito_ri_Arianna.jpg

**Villa Arianna Areal View**
https://www.stabiaholidayhouse.it/en/visit-to-the-ancient-stabiae/
**Villa Arianna Plan,** Stabiae (after Kockel 1985 with corrections by Allroggen-Bedel A. and De Vos M.) https://www.pompeiiinpictures.com/pompeiiinpictures/VF/Villa_102%20Stabiae%20Villa%20Arianna%20plan.htm

Villa Arianna was lavishly decorated with frescoes and portable furnishings, an undisputed testimony of the expensive lifestyle the owners enjoyed, and evidence of their refined taste and style. One such high-quality fresco, drawing inspiration from the myth of Dionysus and Ariadne, gave the Villa its modern name.

Ιmagine the scene… Theseus and Ariadne flee Crete in a hurry. With the help of Ariadne, Theseus had just killed the horrible Minotaur in the depths of Knossos’s palace maze. Their first stop to rest on their way to Athens is the island of Naxos… where the story unfolds dramatically and excitingly. God Dionysus, in love with Ariadne, appears to Theseus in his sleep and convinces him to abandon Ariadne at Naxos and continue his trip alone. Ariadne, unaware of divine intervention disembarks at Naxos enchanted by the beauty of the island, happily explores it, and tired falls asleep on the beautiful islet of Palatia. When she wakes up… god Dionysus, the son of Zeus and Dione, looks at her adoringly and a new love affair is in the making. A glorious wedding follows and an eternal gift is still with us to admire… the constellation known as Corona Borealis is said to be Dionysus’s wedding gift to Ariadne, a special ornament to adorn her beautiful head.

Please take the time to look at the Villa’s Plan, locate Room 3, and imagine a December Symposium night two thousand years ago…

Villa Arianna’s Dionysus and Ariadne Fresco is a small part of Villa’s grand Triclinium decoration. Room 3 is decorated in the 4th Pompeian Style, elaborate and complex as it can be, combining large-scale Narrative Painting, small Panoramic Vistas, and Still Lifes, within an architectural fantasy of pedestals, aediculae, columns, entablatures, and… theatrical masks! The Villa’s grand Triclinium decoration doesn’t resemble any believable space but instead consists of a variety of architectural elements arranged in an unrealistic manner with an unrealistic perspective, set against a flat background. The three large mythological scenes framed in blue on a yellow and red ground above a lower red and black decorative frieze are the room’s main artistic attraction. A panel presenting the myth of Dionysus and Ariadne decorates the South Wall, a rare scene of Lycurgus and Ambrosia is presented on the West Wall, and on the East Wall, the unknown master painter of the grand Triclinium presented the myth of Zeus and Ganymede. https://depts.washington.edu/hrome/Authors/ninamil7/TheFourStylesofRomanWallPaintings/pub_zbarticle_view_printable.html

Room number 3 was Villa Arianna’s grand Triclinium… the main dining room of a luxurious Roman residence, so-called because of the three banqueting couches (klinai) arranged around the walls. All you have to do is… imagine a warm summer night, overlooking the Bay of Naples, in the company of good friends, bathed in the flickering light, and content with scrumptious food… If you were the owner of Villa Arianna, life was good!

For a Student Activity, please… Check HERE!

**Ariadne on Naxos, 4^th Pompeian Style Fresco, Villa Arianna grand Triclinium – South Wall, (Room No. 3 on the Villa Plan),** 1^st century AD, Stabiae, Italy
https://en.wikipedia.org/wiki/Stabiae#/media/File:Villa_Arianna_(Stabia)_WLM_099.JPG

**Ariadne on Naxos (detail – Mask and Landscape scene), 4^th Pompeian Style Fresco, Villa Arianna grand Triclinium – South Wall, ( (Room No. 3 on the Villa Plan),** 1^st century AD, Stabiae, Italy
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Affresco_particolare_7.jpg

Suzanne Valadon

January 4, 2022

by admin 20th century Art Art Post-Impressionism Student Activities Worksheets

**Suzanne Valadon (Marie-Clémentine Valadon),** 1865-1938
**Self Portrait with Family (**Suzanne Valadon is in the center, flanked by André Utter and her mother, with her son at the foreground), 1912, oil on canvas, 97 x 73 cm, Le Centre Pompidou, Paris, France
https://www.centrepompidou.fr/fr/ressources/oeuvre/cyjjkkA#&gid=viewer-lightbox&pid=0

The French artist Suzanne Valadon is the protagonist of a unique Exhibition at the Barnes, in the heart of Philadelphia, that introduces to the general public a late 19^th – early 20th-century Woman of extraordinary qualities. The Exhibition will be open to the public until the 9^th of January, 2021, and so far, the Artist and the Exhibition have been described as… A thrilling tour of [her] portraits, nudes, still lifes, and drawings by The New York Times, or… A brilliant artist making breathtaking paintings that have the flat, colorful solidity of Gauguin, but a piercing intelligence and emotional insight by The Washington Post, or… She is a maverick artist, who often drew from her own life to create a body of work that envisions the 20th-century woman by WHYY, and Breathing new life into rebellious early 20th-century art by the Broad Street Review. https://www.barnesfoundation.org/whats-on/exhibitions/suzanne-valadon?gclid=CjwKCAjwzaSLBhBJEiwAJSRokgRhEY928WI-tXfLFrUON5esRwP3uD8RRKR9pNAu2rdgIPlxP88W8hoCkC4QAvD_BwE

**Maurice Utrillo and his mother Suzanne Valadon**, c. 1890 by an unknown photographer
https://commons.wikimedia.org/wiki/File:M_Utrillo_et_sa_m%C3%A8re_S_Valadon_vers_1890.jpg

Born Marie-Clémentine, Suzanne Valadon, was born into poverty, as the daughter of an unmarried domestic worker. She grew up in Montmartre, the bohemian quarter of Paris, supporting herself from the age of ten with odd jobs: waitress, nanny, and circus performer. A fall from a trapeze led her in a new direction…that of modeling for some of the most important artists of her time. She was more than a model… she became the muse and the friend of artists like Pierre Puvis de Chavannes and Pierre-Auguste Renoir, Edgar Degas, Amedeo Modigliani, Henri de Toulouse-Lautrec, and Miguel Utrillo, who agreed to give Maurice, Valadon’s son, born out of wedlock, his last name and legally recognize him as his son. Suzanne was artistic. She loved to draw while in the company of her artists/friends, practice her skills by observing them paint, and with the encouragement and tutelage of her mentor Edgar Degas, learn how to master the art of drawing and etching techniques. Valadon soon transitioned from an artist’s model into a successful artist with …a complicated personal life. She was a free spirit and a bohemian in every sense of the word… Suzanne Valadon, her second husband André Utter, and her son Maurice Utrillo were known as the trinité maudite (cursed trinity) because the family environment was characterized by violent outbursts, reconciliations, and alcoholism. https://nmwa.org/art/artists/suzanne-valadon/ and https://www.messynessychic.com/2021/10/15/renoirs-art-model-was-the-greatest-painter-you-never-heard-of/?fbclid=IwAR33WEcmDTxJ4n84O07M7RIJ1rv5WaCZb8Xtc8auSwKRndJhQPfTpaliFZI and https://www.arts-spectacles.com/Valadon-Utrillo-et-Utter-la-trinite-maudite-entre-Paris-et-Saint-Bernard-1909-1939-du-16-octobre-au-12-fevrier-2012_a6460.html

**Suzanne Valadon (Marie-Clémentine Valadon),** 1865-1938
**Self-Portrait,** 1898, Oil on Canvas, 40×26.7 cm, Museum of Fine Arts, Houston, USA
https://commons.wikimedia.org/wiki/File:Suzanne_Valadon_-_Self-Portrait_-_Google_Art_Project.jpg

The artist is famous for her unapologetic female and male nudes… bold, controversial, and provocative! My favourite Valadon painting is her 1912 Self Portrait with Family…odd, disturbing, and unconventional. https://www.centrepompidou.fr/fr/ressources/oeuvre/cyjjkkA#&gid=viewer-lightbox&pid=0

The Centre Pompidou painting shows Suzanne Valadon in the center, flanked by André Utter, her second husband, her mother Magdeleine Valadon, and her son in the foreground, Maurice Utrillo. Suzanne Valadon is the only one directly facing the viewer, but she does so tentatively, with her hand on her chest… Utter and Madame Valadon are gazing to their right, each foreseeing a different future: the young man looks confident and rather content, while the woman – all wrinkled and slightly hunchbacked, with the corners of her mouth turned downwards – appears resigned. Maurice Utrillo’s depiction earns the most sympathy, for he seems to be the most miserable and out of place, gazing melancholically with his head leaning on his hand, as if he simply cannot muster the energy to stand or sit upright… What an unusual family portrait! https://artschaft.com/2018/05/23/suzanne-valadon-family-portrait-1912/

For a Student Activity inspired by the Exhibition at the Barnes, in Philadelphia, please… Check HERE!

**Suzanne Valadon (Marie-Clémentine Valadon),** 1865-1938
**Portrait of the painter Maurice Utrillo,** 1921, Collection of the City of Sannois, Val d’Oise, France, on temporary loan to the Musée de Montmartre, Paris
https://commons.wikimedia.org/wiki/File:Maurice_Utrillo,_par_Suzanne_Valadon.jpg

Simon Bening’s January

January 1, 2022

by admin Art Powerpoints Renaissance Student Activities Worksheets

**Simon Bening** (d. 1561) and his workshop
**Book of Hours, known as the *Golf Book,* January (f. 18v),**c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

It’s the 1^st of January 2022… It is time to start a new Calendar Presentation… and Wish you ALL a Happy New Year, Health, Love, and Prosperity!!! Let’s start the Year with Simon Bening’s January, our new BLOG POST.

My search for the perfect Calendar for the new year is a long process, and starts during summer! I want each “Calendar under Focus” to embrace and present every month in a comprehensive way… to make me wonder how effectual it can be. I search for information on the artist who created it and the patron who commissioned it. I want to explore and present you with Calendars of different mediums… For example, the 2000 Calendar presentation was on the Maestro Venceslao Fresco Calendar in Torre Aquila, Castello del Buonconsiglio in Trento, Italy. In 2021 I focused on a Venetian Set of Doors presenting the Twelve Months created by an anonymous Venetian artist in the National Gallery in London. This year it is time to turn to an Illuminated Manuscript, a medium I love, and present you a 16^th century famous Book of Hours with an interesting name… the Golf Book! https://www.teachercurator.com/art/the-month-of-january/ and https://www.teachercurator.com/art/the-labours-of-the-months-february/ and http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS032-002031376&fn=permalink&vid=IAMS_VU2

Some of the greatest paintings and drawings of the late Middle Ages and the Renaissance, according to Wendy A. Stein, are not displayed on church and museum walls; instead, they shine forth from the pages… of very special illuminated manuscripts known as Books of Hours. Thousands of Books of Hours made between 1250 and 1700 survive today in libraries and museums, a testament to their popularity in their heyday, especially in northern Europe. They were functional prayer books made for the nonordained, and the paintings in them were intended to foster reflection and devotion. Each Book of Hours was unique, serving the spiritual needs of its patron. Book of Hours were devotional books containing prayers to be recited at set times of the day. By the 15th century, the norm was to contain the Hours of the Virgin, a Calendar, a set of Gospel lessons, Hours focusing on the Cross, a group of Psalms, and prayers to saints called Suffrages. It is interesting how most Books of Hours begin with a Calendar, to help the owner keep track of saints’ days and other feasts. Each month gets a page with listed days, holy days are often written in red (the origin of the term “red letter day”), and significant feast days are written in gold letters. https://www.metmuseum.org/toah/hd/hour/hd_hour.htm

**Simon Bening** (d. 1561) and his workshop
**Book of Hours, known as the *Golf Book,* January (f. 18v – f. 19f ),**c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

The 16^th century Book of Hours, known as the Golf Book, is a very unique and special manuscript in the Collection of the British Library. Unfortunately, the Golf Book is not, in its present state, a complete manuscript as most of the text is now missing. Thirty parchment leaves, however, remain, twenty-one pages of which, are full-page miniatures, in colours and gold, surrounded by a historiated border (12 pages are part of the Calendar section). The remaining forty pages feature historiated borders as well, that incorporate medallions, architectonic decoration, and cameos in grisaille and semi-grisaille. The text pages present large and small initials and line-fillers, in colours and gold. Simon Bening (d. 1561), with the assistance of his workshop, was the artist from Bruges responsible for this amazing manuscript. Bening’s accomplishments will feature in the Month of February Presentation. http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS032-002031376&fn=permalink&vid=IAMS_VU2

**Simon Bening** (d. 1561) and his workshop
**Book of Hours, known as the *Golf Book,* January (details of f. 18v),**c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

The miniatures for the Month of January (ff. 18v-19r) cover two pages facing each other. Folio18v is a full-page miniature of a winter landscape with peasants busy with their chores or simply relaxing, and enjoying the pleasures of a cold, snowy day. The protagonists of the composition are the couple in the foreground chopping and collecting wood. Next comes the couple inside the house behind them – one wall of which is conveniently missing to show the indoor scene. The room, showing signs of certain wealth, is warm and cozy with a linen-covered table, set with food and drink – the fruits of their hard work. The Lady of the house is breastfeeding her baby in front of a raging fire, the Lord of the house is relaxing… talking to her, I want to imagine, planning their family future! A busy landscape completes the composition… a windmill on a promontory with a peasant carrying his load towards it, a church with a person coming out of it, and other people talking or simply strolling about wrapped up in capes or warm clothes to protect themselves from the cold. Several bare trees with snow-lined branches, birds resting on the roof-top, a smoking chimney, and a clear, blue sky, complete the full-page composition. The historiated borders of both folios presenting to the Month of January (ff 18v and 19r) include depictions, in cameo fashion, of children or youths pulling sleds. What an amazing scene Simon Bening’s January is! https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/156

For a PowerPoint on the Golf Book, please… Check HERE!

For a Student Activity on Simon Bening’s January page, please… Check HERE!

Apolausis the personification of Enjoyment

December 30, 2021

by admin Art Byzantium Early Christian Art Student Activities Worksheets

**Floor Mosaic with Bust of Apolausis/Enjoyment** (Baths of Apolausis, Pool Room West of the Frigidarium), late 4th century-early 5th century, Mosaic on Mortar, 98×266 cm, Dumbarton Oaks, Washington, DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

I have always said and felt that true enjoyment can not be described… said Jean Jacques Rousseau… but at the vestibule of the Dumbarton Oaks Museum, Enjoyment has a face… the Floor Mosaic with Apolausis the personification of Enjoyment welcomes visitors since its doors opened to the public in 1941and I can not think of a better way to welcome you to the New Year! May 2022 be a Year of pure Enjoyment! https://www.stresslesscountry.com/enjoyment-quotes/

Antioch on the Orontes, the modern-day city of Antakya in Turkey, was founded near the end of the fourth century BC by Seleucus I Nicator, one of Alexander the Great’s generals and successors to his Empire. It flourished and prospered, rivaling even the city of Alexandria in Egypt, as the capital of the Seleucid Empire until 63 BC, when the Romans took control in Syria. Called the cradle of Christianity, Antioch, a great military, and economic metropolis with a population of about 250,000 people became the hub of both Hellenistic Judaism and early Christianity. The city’s decline started during the Byzantine–Sassanid War of 602–628 and continued during the Umayyad period as Antioch found itself on the frontline of the conflicts between two hostile empires, the Byzantine, and the rising realm of the Arabs. In 1268 the Baibars (Mamluks of Egypt), besieged Antioch, capturing the city on May 18, marking, thus, the end of its history. https://vrc.princeton.edu/archives/collections/show/7 and https://en.wikipedia.org/wiki/Antioch

Between 1932 and 1939, archaeological excavations of Antioch, its wealthy suburb Daphne, and the port city of Seleucia Pieria, were undertaken under the direction of the “Committee for the Excavation of Antioch and Its Vicinity”, which was made up of representatives from Princeton University, the National Museums of France, the Baltimore Museum of Art, the Worcester Art Museum, and later (1936), Mr. and Mrs. Bliss, founders of the Dumbarton Oaks Research Library and Collection. Archaeologists unearthed magnificent public and private buildings, and …over three hundred mosaic pavements. The Syrian Government agreed that in return for their contributions, the institutions and the donors to the excavation project would receive archaeological finds like the Apolausis Floor Mosaic. https://vrc.princeton.edu/archives/collections/show/7 and https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/ and http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

**Excavation Photo showing the Mosaic of Apolausis,** Bath of Apolausis – Pool Room West of the Frigidarium, Antioch, Syria, 1938 Antioch Expedition Archives, Department of Art and Archaeology, Princeton University No. 4082
**Plan of the Bath of Apolausis,** based on an original excavation drawing (Stillwell, 1941, plan 5)
https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/#&gid=1&pid=4
https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/#&gid=1&pid=2

The Bath of Apolausis, a small public building that originally served an agricultural complex or group of country villas on the eastern side of the plain of Antioch, at the foot of Mount Silpios was richly decorated with floor mosaics and wall frescoes. Today, the mosaics discovered in this small Bath-House are shared between the Getty Museum (Mosaic Floor with Animals), the Hatay Museum (Sotiria/Salvation Floor Mosaic), and the Dumbarton Oaks (Apolausis/Enjoyment Floor Mosaic). https://www.getty.edu/art/collection/objects/103452/unknown-maker-panel-from-a-mosaic-floor-from-antioch-central-panel-part-of-70ah96-roman-syrian-about-ad-400/ and https://www.youtube.com/watch?v=spir8xGciQo and http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

The personification of Apolausis/Enjoyment, after which the bath was named, decorated the bottom of a large pool with an apsidal end accessed through a doorway on the west side of the octagonal Hall/Frigidarium. As Dr. Will Wootton noted during a 2016 lecture… water would have run over the surface of the Apolausis floor Mosaic… showing that the water was so clear and pure that you could see the mosaic perfectly beneath it. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2 and https://www.doaks.org/newsletter/how-mosaics-were-made-and-made-known

To Celebrate the New Year with your Kindergarten – Early Elementary School students… do a HAND-FAN Activity. Create simple, paper HAND-FANS and decorate them with Synonyms to ENJOYMENT! Add a beautiful coloured ribbon and… Voila!!!

For the Student Activity Worksheet, please Check HERE!

Santa Maria foris portas at Castelseprio

December 24, 2021

by admin Art Byzantium Powerpoints

**Nativity,** **Church of Santa Maria foris portas in Castelseprio, Italy**
https://upload.wikimedia.org/wikipedia/commons/5/5c/Maestro_di_castelseprio%2C_storie_dell%27infanzia_di_cristo%2C_datazione_incerta_tra_l%27830_e_il_950_dc_ca.%2C_15_nativit%C3%A0_1.jpg

I have been fascinated by the Castelseprio frescoes since I was a student, and I was introduced to their unique beauty and… ‘mysteries!’ When I finally visited Castelseprio in 1988, inside this amazing Church, enveloped in their splendor… I was transfixed, spellbound, awe-struck, entranced… forever. Years passed by, and I yearn to visit Castelseprio once more… stand in the middle of the Church, and experience… moments of the sublime.

**Church of Santa Maria foris portas in Castelseprio, Italy**
https://commons.wikimedia.org/wiki/File:Santa_Maria_foris_portas2.JPG

When the extraordinary Mariological programme of paintings on the walls of the church of Santa Maria foris portas at Castelseprio was first uncovered, and then quickly made known to the art historical community in an exemplary publication, historians of early medieval art were transfixed. Here was the missing link, the key which would provide the key which would provide the means to unlocking and understanding the role that the classical Byzantine tradition of art, played in the evolution of elite artistic developments in the various theatres of state formations in post-Roman western Europe, from papal Rome to Carolingian Aachen and Northumbrian Lindisfarne, in the early medieval centuries. The artists responsible appeared to be masters of an almost undiluted tradition of Greco-Roman painting, testifying to the enduring existence of a strain of what has been designated by Ernst Kitzinger as ‘perennial Hellenism’, continuing unbroken in one or more centers in the eastern Mediterranean and potentially available to the artist in western Europe, minded to recover some of the elements of ancient classical practice in an age in which overt classical form and subject-matter were valued at a high premium in the rival courts of Europe… write John Mitchell and Beatrice Leal… and I can not think of a better introduction to my Christmas POST on Santa Maria foris portas at Castelseprio Nativity Scene. https://www.academia.edu/13897079/_Co-authored_with_John_Mitchell_Wall_pantings_in_S._Maria_foris_portas_Castelseprio_and_the_tower_at_Torba._Reflections_and_reappraisal._In_Castelseprio_e_Torba_sintesi_delle_ricerche_e_aggiornamenti_ed._Paola_Marina_de_Marchi_2013

**Nativity** (detail), **Church of Santa Maria foris portas in Castelseprio, Italy**
https://upload.wikimedia.org/wikipedia/commons/1/11/Maestro_di_castelseprio%2C_storie_dell%27infanzia_di_cristo%2C_datazione_incerta_tra_l%27830_e_il_950_dc_ca.%2C_15_nativit%C3%A0_3.jpg

The Church of at Castelseprio is so special and unique, many great scholars of Byzantine Art wrote about it… one way or another, more or less. I am fascinated by the surviving frescoes within the Church, the “ambiance” they create, their “Hellenistic” origin, stylistic characteristics (brushwork, colour, light), and drama in their compositions. I find it irresistible how the unknown “Greek” painter of the time, used diagonal perspective, a three-quarter view of both persons and objects, and a constant search for depth of space, to enhance his brilliant style. In compositions like the Nativity scene, I admire the portrayal of illusionistic forms within a deep, open landscape, and how the master artist used illusionism to enhance and at the same time, transfigure reality. I like… everything!

Merry Christmas

Preparing for this POST (this is the most important part for every BLOG POST of mine)… wondering how “Hellenistic,” in rendering and mood, the Castelseprio frescos are… I reread The Hellenistic Heritage in Byzantine Art, by Ernst Kitzinger, Dumbarton Oaks Papers, Vol. 17 (1963), pp. 95-115 (37 pages) https://www.jstor.org/stable/1291192?seq=13#metadata_info_tab_contents , and Castelseprio and the Byzantine “Renaissance,” by Charles R. Morey, The Art Bulletin Vol. 34, No. 3 (Sep. 1952), pp. 173-201 (37 pages), https://www.jstor.org/stable/3047419?seq=1#metadata_info_tab_contents

For a PowerPoint on Castelseprio’s Nativity Scene, please… Check HERE!

David with the Head of Goliath by Andrea del Castagno

December 17, 2021

by admin Art Powerpoints Renaissance

**Andrea del Castagno,** c. 1419-1457
**David with the Head of Goliath,** c. 1450/1455, tempera on leather on wood, H. 115.5 cm, width at top: 76.5 cm, width at bottom: 40.6 cm, NGA, Washington DC, USA
https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Andrea_del_castagno,_scudo_di_david_con_la_testa_di_golia,_1450-55_circa,_02.JPG

The Philistine Goliath said to David, “Am I a dog, that you come at me with sticks?” and David replied… “You come against me with sword and spear and javelin, but I come against you in the name of the Lord Almighty, the God of the armies of Israel, whom you have defied. This day the Lord will deliver you into my hands, and I’ll strike you down and cut off your head…” As the Philistine moved closer to attack him, David ran quickly toward the battle line to meet him. Reaching into his bag and taking out a stone, he slung it and struck the Philistine on the forehead. The stone sank into his forehead, and he fell facedown on the ground. So David triumphed over the Philistine with a sling and a stone; without a sword in his hand he struck down the Philistine and killed him. David ran and stood over him. He took hold of the Philistine’s sword and drew it from the sheath. After he killed him, he cut off his head with the sword. David with the Head of Goliath by Andrea del Castagno presents the famous Biblical story described in the Book of Samuel (1 Samuel 17) in an exemplary Florentine style that fascinates me! https://www.biblegateway.com/passage/?search=1%20Samuel%2017&version=NIV

David with the Head of Goliath, exhibited at the National Gallery of Art in Washington DC, is one more example of the Florentine fascination with David, the Biblical King, and Hero. David, early in the 15th century, became the embodiment of the city’s Republican identity and a favourite theme for artistic commissions. The people of Florence, a small political power at the time (15th century), identified themselves with young and untried at war David, his intelligence, his motivation, and ultimate success. Goliath was compared to the big Renaissance political entities like Milan… crushed by the will of God and Florentine “diplomacy.” The story is endlessly told by great masters like Donatello, Verrocchio, Michelangelo… and Andrea del Castagno in an amazing and unique painting!

**Andrea del Castagno,** c. 1419-1457
**David with the Head of Goliath (detail),** c. 1450/1455, tempera on leather on wood, H. 115.5 cm, width at top: 76.5 cm, width at bottom: 40.6 cm, NGA, Washington DC, USA
https://www.nga.gov/audio-video/audio/david-and-goliath-castagno-english.html

This is actually an amazing, unique, and rare painted Heraldic Shield, a type of shield, that would be carried in civic processions and then housed in the owner’s bedroom chamber. According to the NGA experts, young… David has been victorious in battle against the giant Goliath, whose decapitated head lies at his feet. David is shown with his hand raised in a gesture that speaks of determination and self-possession and may have been taken from an antique model. Furthermore, Andrea’s Shield of David, combining references of personal and civic valor, and painted by a highly esteemed artist of the period, would have underscored the owner’s readiness to do battle on both a metaphorical and an actual level, testifying to his civic and personal virtues. An amazing, unique, and rare work of Art, to say the least. http://www.italianrenaissanceresources.com/units/unit-5/essays/the-beautiful-chamber/

For information on the relationship between Andrea del Castagno and Domenico Veneziano… the fictional story of how Domenico Veneziano was murdered by his good friend Andrea del Castagno… a story masterfully said by Gorgio Vasari, but totally untrue… please go to my Teacher Curator Post: https://www.teachercurator.com/art/teaching-with-domenico-veneziano/

For a National Gallery Podcast on Andrea del Castagno’s David with the Head of Goliath, check… https://www.nga.gov/audio-video/audio/david-and-goliath-castagno-english.html

For a PowerPoint on Andrea del Castagno, please… Click HERE!

…a student interpretation of David’s story!

Five O’Clock Tea with Mary Stevenson Cassatt

December 14, 2021

by admin 19th century Art American Art Art Impressionism Student Activities Worksheets

**Mary Stevenson Cassatt,** 1844-1926
**Five O’Clock Tea,** 1880, Oil on Canvas, 64.7×92 cm, Museum of Fine Arts, Boston, USA https://commons.wikimedia.org/wiki/File:Mary_Cassatt_-_The_Tea_-_MFA_Boston_42.178.jpg

I believe it is customary in good society to take some slight refreshment at five o’clock… Oscar Wilde humorously wrote in Act 1 of his famous play The Importance of Being Earnest… Five O’Clock Tea with Mary Stevenson Cassatt is how an American painter portrayed, in all seriousness, the same customary ritual with paints. https://www.shmoop.com/importance-of-being-earnest/act-i-full-text-2.html

**Cassatt seated in a chair with an umbrella. Verso reads “The only photograph for which she ever posed. Courtesy of Durand-Ruel.”,** 1913
Source: http://digitalcollections.frick.org/digico/#/archive/Archives/Images%20of%20Artists%20
Images of Artists Collection. The Frick Collection/Frick Art Reference Library Archives.
https://commons.wikimedia.org/wiki/File:Mary_Cassatt_photograph_1913.jpg

Mary Stevenson Cassatt (1844 – 1926) was a fortunate lady! Born into a prosperous family in Pennsylvania who believed it was important for women to receive an education, she grew up attending school in Philadelphia and traveling to Europe where …Art kept changing. Reaching adulthood, she persuaded her parents that her life’s destination was to be in Europe, and painting professionally was to become her life’s pursuit! It was not easy for her father to accept Mary’s artistic ambition, but after serious deliberation, he came around and… in 1866, with her mother and family friends acting as chaperones, she settled in Paris and was accepted to study Art in the private studios of Jean-Léon Gérôme, Charles Joshua Chaplin and Thomas Couture. She expanded her training with daily copying in the Louvre and trips to the French countryside where she drew from life. Two years later, in 1868, her painting A Mandoline Player, was accepted for exhibition in the Paris Salon. She was noticed as a professional painter, but she was not fully content!

Everything changed in 1877 when she submitted paintings to enter the year’s Salon and was rejected by the committee. When she met Edgar Degas, an artist she greatly admired, Cassatt was disillusioned with academic painting and eager to experiment. The French artist invited her to collaborate with the Impressionists and exhibit with them in 1879, during the 4th Impressionist Exhibition… I accepted with joy, she later recalled as I hated conventional art. She was one of just a few women, and the only American, to exhibit with the group. She was finally happy in an artistic environment that suited her needs… Plein Air painting, vibrant, metallic in some cases, color, in short, dancing brushstrokes, flat space, the discovery of Japanism… and scenes of everyday modern life in Paris – her family, friends, and their children. https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-MaryCassatt.pdf and https://collections.mfa.org/objects/32829/the-tea;jsessionid=20E4DE2A8A06D4816FA7D20AFF171D7C?ctx=884b7166-374f-468a-8909-136f2658e914&idx=7

**Mary Stevenson Cassatt,** 1844-1926
**Five O’Clock Tea (Details – 2 women),** 1880, Oil on Canvas, 64.7×92 cm, Museum of Fine Arts, Boston, USA
https://atsunnyside.blog/2018/08/31/tea-by-mary-cassatt-1880/

In 1880 Mary Cassatt painted Five O’Clock Tea documenting the trendy social ritual of well-to-do women like herself. Paintings of women taking afternoon tea became a popular theme for Cassatt in the late 1870s and early 1880s, and in the collection of the Metropolitan Museum of Art in New York, Mary Cassatt aficionados can admire three fine examples of this trend, two paintings in oil and a print. https://www.metmuseum.org/toah/hd/cast/hd_cast.htm

**Mary Stevenson Cassatt,** 1844-1926
**The Cup of Tea,** ca. 1880–81, Oil on Canvas, 92.4 x 65.4 cm, the MET, NY, USA
**Afternoon Tea Party,** 1890–91, Drypoint and aquatint, printed in color from three plates, Plate: 34.6 x 26.7 cm, the MET, NY, USA
**Lady at the Tea Table,** 1883–85, Oil on Canvas, 73.7 x 61 cm, the MET, NY, USA
https://upload.wikimedia.org/wikipedia/commons/8/82/The_Cup_of_Tea_MET_DT88.jpg
https://commons.wikimedia.org/wiki/File:Afternoon_Tea_Party_MET_DP819587.jpg
https://upload.wikimedia.org/wikipedia/commons/b/b5/Lady_at_the_Tea_Table_MET_DT516.jpg

The MFA Five O’Clock Tea, modern, intimate, and informal, is my favourite. It displays a contemporary drawing room, sometimes described as Cassatt’s own. The fine striped wallpaper and carved marble fireplace, ornamented with an elaborately framed painting and a porcelain jar, are typical of an upper-middle class Parisian interior, and the antique Silver Tea Service on the foreground table implies a distinguished family history. The truth is that the depicted Tea Service was part of a family Tea Set made in Philadelphia about 1813, of which six pieces (but not the tray) are now in the MFA’s collection. https://collections.mfa.org/objects/32829/the-tea;jsessionid=20E4DE2A8A06D4816FA7D20AFF171D7C?ctx=884b7166-374f-468a-8909-136f2658e914&idx=7 and https://i.pinimg.com/originals/7f/ef/3d/7fef3d6daead8cc0cbed4636a232971f.jpg

**Mary Stevenson Cassatt,** 1844-1926
**Five O’Clock Tea (Detail Tea Set),** 1880, Oil on Canvas, 64.7×92 cm, Museum of Fine Arts, Boston, USA
https://atsunnyside.blog/2018/08/31/tea-by-mary-cassatt-1880/

Mary Cassatt’s Five O’Clock Tea is a testimony to modernity by rejecting several traditional artistic conventions. For example, the artist denies the human form its usual compositional primacy as the tea service seems larger in scale than the women themselves. Taking further steps towards novelty in art, Mary Cassattt renders the depicted guest in the transitory act of drinking. By selecting the only point in the action when her subject’s face is almost completely hidden by the teacup, Cassatt reiterates her modernist creed that her painting is not only about representing likeness, but also about design and color. Furthermore, she uses the oval shapes of cups and saucers, trays, hats, and faces as repetitive patterns, offsetting the strict graphic geometry of the gray and rose striped wallpaper. I am not surprised that J.-K. Huysmans wrote that the Five O’Clock Tea was an excellent canvas. https://collections.mfa.org/objects/32829/the-tea;jsessionid=20E4DE2A8A06D4816FA7D20AFF171D7C?ctx=884b7166-374f-468a-8909-136f2658e914&idx=7

For a Student Activity, please… Check HERE!

Theseus and Antiope

December 10, 2021

by admin Ancient Greek Art Art Exhibitions Mythology Powerpoints

**Theseus and Antiope,** sculpture from the West Pediment of the Temple of Apollo Daphnephorus in ancient Eretria, late 6^th century, Marble, 110 cm, Archaeological Museum of Eretria, Greece
https://www.esag.swiss/eretria/museum/

The multiple aspects of the concept of Kallos in the everyday life and the philosophical discourse of ancient Greece are presented in the major, emblematic, archaeological exhibition of the Museum of Cycladic Art, titled ΚΑLLOS. The Ultimate Beauty. Τhis exhibition displays three hundred emblematic antiquities from fifty-two museums, collections, and Ephorates of Antiquities throughout Greece, as well as from Italy, and the Vatican. The overwhelming majority appear for the first time outside of the museums of their provenance. They meet and mingle in the Museum of Cycladic Art, so as to give an integrated picture of the ideal of Kallos, inadequately translated into English as Beauty. On the 6^th of November I presented you one such exhibit… the Kore from Chios today, I will present you a favourite Archaic work of art… Theseus and Antiope! https://cycladic.gr/en/page/kallos-i-ipertati-omorfia

The story of Theseus and Antiope has it all… adventure, strife, love, and devotion! According to Pausanias and his Description of Greece… As one enters the city (of Athens) there is a monument to Antiope the Amazon. This Antiope, Pindar says, was carried off by Peirithous and Theseus, but Hegias of Troezen gives the following account of her. Heracles was besieging Themiscyra on the Thermodon, but could not take it, but Antiope, falling in love with Theseus, who was aiding Heracles in his campaign, surrendered the stronghold. Such is the account of Hegias. But the Athenians assert that when the Amazons came, Antiope was shot by Molpadia, while Molpadia was killed by Theseus. To Molpadia also there is a monument among the Athenians. https://www.perseus.tufts.edu/hopper/text?doc=Paus.%201.2.1&lang=original

***ΚΑLLOS. The Ultimate Beauty*** Exhibition Photo, Museum of Cycladic Art, Athens, Greece
Photo Credit: Paris Tativian, Museum of Cycladic Art, Athens, Greece
https://cycladic.gr/page/kallos-i-ipertati-omorfia?slide=1

The effigy of Theseus and Antiope, temporarily exhibited in the Museum of Cycladic Art in Athens, was originally created for the West Pediment of the Temple of Apollo Daphnephorus in Eretria. Information regarding the Temple of Apollo in Eretria is unfortunately scarce. Eretria, a town in Euboea facing the coast of Attica, was first mentioned in Homer’s Iliad as one of the cities that provided ships against the Trojans. During the 8^th century BC, the citizens of Eretria, a flourishing city during the Geometric and Archaic periods, built an impressive Temple to honour God Apollo, apsidal in architectural form. Soon after, a second, wooden Temple followed on the same site. Finally, around 520- 490 BC, a larger stone Temple was built, the remains of which are still visible today. Unfortunately, the Archaic Temple was badly destroyed during the Persian invasion of 490 BC. https://warwick.ac.uk/fac/arts/classics/intranets/students/modules/greekreligion/database/clunba/

The late Archaic period (510-500 BC) pediment sculpture depicting the abduction of Antiope by Theseus portrays the moment of Theseus stepping onto a chariot’s platform while tightly holding Antiope in his arms… a decisive moment in the development of the story, a key moment in the development of ancient Greek Art. Notice the depicted entwined torsos and think of the evolution accomplished as figural depiction moves from the frontal and immobile Kouros and Kore type of sculpture to the more naturalistic modeling of the classical era. Notice how the psychological drama unfolds, and consider the subtle ways the artist of Theseus and Antiope presents the understated surrender of the elegant Amazon, and the restrained triumph of the victorious hero. Notice how the heads of both figures slightly bend and observe the created interplay of light and shade, shapes and forms. What an accomplishment for the unknown artist. Could he be the famous Athenian sculptor Antenor? https://warwick.ac.uk/fac/arts/classics/intranets/students/modules/greekreligion/database/clunba/

For a PowerPoint on the Theseus and Antiope theme, please… Check HERE!