Ancient Greek Art Archives - Teacher Curator

The Dolphin Frieze from the Mycenaean Acropolis of Gla

April 23, 2024

by admin Ancient Greek Art Archaeology Art Bronze Age Art Greek Art Mycenaean Art Student Activities Worksheets

**Dolphin Frieze,** Second half of the 13^th century BC, Fresco, from the Mycenaean Acropolis of Gla in Boeotia, Archaeological Museum of Thebes, Greece – Photo Credit: Amalia Spiliakou, February 19, 2024

On February 19, 2024, I fulfilled a long-awaited wish by visiting the Archaeological Museum of Thebes, one of Greece’s most significant archaeological museums. The collections, some of which are rare or unique, have been on my bucket list for quite some time. These artefacts, originating from excavations across Boeotia, span from the Paleolithic era to post-Byzantine times, providing a comprehensive view of the region’s cultural history. The Dolphin Frieze from the Mycenaean Acropolis of Gla was at the top of my list; seeing it in person was a moment of sheer delight and fulfilment.

The Mycenaean period is of profound significance in both art and history, acting as a vital cultural link between the Bronze Age civilizations of the Aegean and the classical world of ancient Greece. Artefacts from this era, ranging from architecture to fresco painting and pottery, illuminate the emergence of distinct artistic styles and techniques that greatly influenced classical Greek artistry. Mycenaean builders demonstrated their prowess through the construction of grand palaces, robust fortifications, and imposing tombs, showcasing advanced architectural and engineering capabilities. Their vibrant fresco paintings, characterized by bold depictions of figures, animals, and geometric patterns, stand as a testament to their artistic abilities. Moreover, the Mycenaean civilization played a pivotal role in shaping the socio-political landscape of ancient Greece, laying the groundwork for the development of Greek culture and identity.

**The Acropolis of Gla,** Boeotia, Greece https://www.mthv.gr/en/beyond-the-museum/tour-in-boeotia/the-mycenaean-acropolis-at-glas/

**Model of the Archaeological site of Gla,** Archaeological Museum of Thebes, Greece
https://commons.wikimedia.org/wiki/File:Gla_-_Modell_of_archaeological_site.JPG

The least known of all Mycenaean Palaces is probably that of Gla in Central Greece. Perched atop a rugged hill, the Mycenaean Acropolis of Gla is a site of historical and archaeological significance dating back to the Late Bronze Age. This fortified settlement, strategically positioned on the Boeotian plain jutted into Lake Kopais (now drained) or formed an island within it. It served as a vital center of the Mycenaean civilization, showcasing the architectural prowess and strategic foresight of its ancient inhabitants. With its imposing Cyclopean Walls, about 3 m thick, and 2.8 km long, enclosing about 235,000 square meters of land, and commanding views, the Acropolis of Gla stands as a testament to the military and cultural achievements of the Mycenaeans, offering invaluable insights into their society, economy, and interactions within the broader Aegean world.

The Acropolis of Gla is famously associated with the ambitious endeavour to drain Lake Kopais, a feat considered unparalleled in Bronze Age antiquity, highlighting the advanced technical knowledge possessed by Mycenaean engineers. It is also known for its sheer magnitude and complexity. Encircled by robust Cyclopean Walls featuring four gates constructed from imposing stone blocks, Gla reigns as the largest fortified Mycenaean Acropolis within Greek territory. Less known, but equally important is the site’s residential area, a sprawling L-shaped edifice, often hailed as a ‘Palace’, and situated in the site’s northern expanse. Built atop an engineered plateau, this ‘Palace’ or, Melathron’, unfolds into three distinct sections, featuring a layout reminiscent of the renowned Megaron structures found in ancient centers like Tiryns, Mycenae, and Pylos. However, the absence of hallmark Mycenaean Palace elements, specifically a “throne room”, a circular hearth, and a “bathroom”, raises questions about its classification as a fully-fledged Mycenaean Megaron.

Among the buildings’ debris, archaeologists discovered as early as 1893, evidence of a wastewater system, unique clay roof tiles suggesting pitched roofs, and evidence of decorative wall frescoes, damaged and fragmentary, but extremely precious. Today, these fragments, discovered in the elongated East Wing of the South Enclosure, during excavations conducted by S. Iakovidis, in the early 1980s and 1990s are exhibited in the Archaeological Museum of Thebes. The most remarkable of these fragments show diving Dolphins and parts of other maritime scenes, including large Argonauts. These fresco fragments were expertly reconstructed by Christos Boulotis. (See Bibliography)

The Dolphin Fresco from the Mycenaean Acropolis of Gla is a remarkable artefact that showcases an unusual naturalism and a sophisticated understanding of marine life, captured through the depiction of Dolphins with an astonishing level of detail and realism. These elegant creatures, spanning 75 to 80 cm in height, are painted against a vivid blue background, highlighting their dynamic forms and graceful postures. The Dolphins, numbering between six and seven, are depicted in a uniform size and posture, their bodies elegantly curved into open arches or crescents, embodying the fluidity and grace of living dolphins. Their upper bodies are painted black, featuring a triangular dorsal fin, while their bellies are a contrasting white, delineated from the black with yellow stripes. Their eyes are almond-shaped, set against a yellow background, adding a striking detail to their overall appearance.

The use of colours in the Gla Dolphins fresco draws closer to the real hues of these marine creatures, with the black, white, and yellow providing a stark contrast to the deep blue sea they inhabit. This colour choice not only enhances the naturalism of the scene but also demonstrates the Mycenaeans’ advanced skills in pigment selection and application. Indeed, recent analyses have revealed the use of rare, imported lapis lazuli mixed with hematite and possibly an organic colour derived from murex, underscoring the significant effort and resources devoted to achieving the fresco’s vibrant colours.

This fresco, along with other Dolphin Paintings of the Aegean Bronze Age period demonstrates a persistence of themes drawn from nature within Mycenaean art, suggesting a deep-rooted appreciation for the natural world. The Gla Dolphins, with their lifelike appearance and intricate detailing, stand as a testament to the Mycenaean civilization’s artistic prowess and their enduring fascination with the sea and its inhabitants.

For a Student Activity, inspired by the Dolphin Freeze, please… Check HERE!

Bibliography: Christos Boulotis, Reconstructing a Dolphin Frieze and Argonauts from the Mycenaean Citadel of Gla, ΜΕΛΕΤΗΜΑΤΑ 72, Mycenaean Wall Painting in Context, National Hellenic Research Foundation, Athens, 2015, pp. 371… https://www.academia.edu/39148590/RECONSTRUCTING_A_DOLPHIN_FRIEZE_AND_ARGONAUTS_FROM_THE_MYCENAEAN_CITADEL_OF_GLA_In_MYCENAEAN_WALL_PAINTING_IN_CONTEXT_ATHENS_2015_371_403

Darius Vase

March 19, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Pottery Powerpoints

**Anonymous Apulian Vase Painter**, commonly called the Darius Painter, worked between 340 and 320 BC
**Darius Vase,** 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending an exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition forms a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transforms into a ‘ΝΗΜΑ’ (a ‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. It marks a groundbreaking moment by uniting antiquity with Byzantium, Renaissance, and Modern Art for the first time. Among the Exhibition artworks that impressed me most was Darius Vase, a large Apulian Volute Krater from the Museo Archaeologico Nazionale di Napoli!

View of the Exhibition *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece
https://hellasjournal.com/2023/12/christougenna-sto-mousio-akropolis-eortastikes-ekdilosis-dora-ke-giortina-piata-sto-estiatorio-ke-to-archeo-gouri-tou-mousiou/

The Darius Vase is one such example of Apulian pottery. It dates back to the late 4th century BC, 330 to 300 BC to be specific. It was created by the so-called Darius Painter in Magna Graecia, standing as a testament to the mastery of Greek pottery during this period. This amazing Volute Krater, measuring approximately 1.15 meters in height and 1.93 meters in circumference, features intricate red-figure decoration with additional white and red paint. Its provenance traces back to the city of Taranto (ancient city of Taras), an area known for its production of fine ceramics. With its distinctive style and historical subject matter, the Darius Vase remains a vital piece for understanding both Greek artistry and the cultural exchanges between Greece and Magna Graecia during antiquity. The Darius Vase was discovered in 1851 near Canosa di Puglia and is now on display at the Museo Archaeologico Nazionale, in Naples.

Standing as a testament to the artistic finesse of ancient Greek Apulian pottery, the vase features a rich and complex iconography divided into four main zones or registers:

Top Register (Neck): The iconography of the Neck of the Darius Vase is subject to diverse interpretations. While some scholars argue that the combat scene depicted signifies the conflicts between Alexander the Great and Darius III, others propose that the scene may represent an earlier battle between Greeks and Persians or even an incident related to the Amazonomachy. Thus, the iconography of the Neck of the Darius Vase invites exploration into both historical narratives and mythological symbolism, providing a rich tapestry of cultural significance.

**Anonymous Apulian Vase Painter**, commonly called the Darius Painter, worked between 340 and 320 BC
**Darius Vase (Detail with Hellas, Zeus and Athena),** 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy
https://twitter.com/greece_heritage/status/1688905660803805184

The Second Register (from the top): A procession of Greek deities adds depth to the iconography, rich symbolism and mythological significance, as it portrays a visual narrative that intertwines Persian and Greek cultures. Artemis, the huntress, is depicted riding a stag, symbolizing her connection to the wilderness and fertility. Seated beside her is Apollo, God of light and music, cradling a swan, representing his multifaceted domains. Zeus, the king of the gods, is presented sitting in the middle, with a sceptre in his hand, the thunderbolt beside him and a winged Victory in front of him. He turns towards a woman who, as the inscription above her head states, is Hellas personified, accompanied by Athena, goddess of wisdom and warfare, fully armoured, ready for battle. Apate, the goddess of deceit, holds aloft two torches, perhaps suggesting the duality of truth and deception. Lastly, Asia, personified as a seated figure on an altar, is depicted in front of a Hermaic Stele. The arrangement of these figures on the vase not only showcases the artistic prowess of the era but also reflects the intricate interplay between Greek and Persian mythologies, offering insights into the complexities of ancient cultural exchange.

**Anonymous Apulian Vase Painter**, commonly called the Darius Painter, worked between 340 and 320 BC
**Darius Vase (Detail with Darius and the Messenger),** 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy
https://en.wikipedia.org/wiki/Darius_Vase

The Third Register: The protagonist of the third register, is Darius, the King of Persia. He is depicted in the center of the composition, seated on a luxurious throne with a footstool, holding a scepter in his right hand and a sword in his left hand, and is identified, like other figures, by an inscription. Standing before him, on a two-tiered circular plinth that bears the inscription PERSAI, is a bearded man, arm raised with three fingers extended, clearly delivering a message to the monarch. The messenger’s countenance betrays the gravity of his news, suggesting its unwelcome nature. The remaining figures represent members of Darius’s entourage, his bodyguard for example, and his officials, Greek and Persians alike.

**Anonymous Apulian Vase Painter**, commonly called the Darius Painter, worked between 340 and 320 BC
**Darius Vase (Tax Collecting scene),** 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy
https://en.wikipedia.org/wiki/Darius_Vase

The Bottom Fourth Register: In the Bottom Register, a robed, bearded man takes center stage, seated before a table. In his left hand, he holds a diptych tablet inscribed with numbers, indicating his role in calculation. Ψῆφοι, that is white stones utilized by ancient mathematicians for arithmetic, are scattered across the table, emphasizing his pursuits. Flanking him, two ‘Persians’ approach, one bearing a bag of currency, the other presenting golden vessels, symbolic of their tribute. Meanwhile, additional ‘Persians’ kneel in deference, extending their hands in a gesture of submission. The scene vividly illustrates the dynamics of taxation and submission, with the Greek figure diligently calculating and recording the total, while the ‘Persians’ acknowledge their obligation to pay taxes and recognize Greek authority.

Is the composition of the Darius Vase inspired by an ancient Greek theatrical Drama? One interpretation suggests that the depicted events on the Darius Vase likely correspond to Alexander the Great’s campaign in Persia. Therefore, it is inferred that the Persian king portrayed on the vase is Darius III, depicted listening to the news of the defeat of the Persian army, as conveyed by a messenger after the battle of Granicus in 334 BC. Following this battle, Alexander asserted his dominance over Asia Minor up to the Taurus Mountains. Consequently, many regions either submitted willingly or were compelled to acknowledge Alexander’s authority, leading to the imposition of tribute and the consequent enrichment of his treasury.

The iconography of the Darius Vase, like many other Apulian vases, is a treasury of symbolism and storytelling, offering profound insights into ancient Greek mythology, history, and culture through its intricate imagery and narrative compositions. It appears that the news of Alexander’s initial triumph over Darius swiftly spread across Greece, igniting fervor, and inspiring the creation of masterpieces, in the visual as well as the performing arts, that captivated audiences from Greece to Lower Italy.

Could it be that the Darius Vase itself is a product of this inspirational fervour? Crafted by one of Taranto’s most esteemed vase painters, it stands as a potential testament to the enduring influence of Alexander’s victory on the artistic landscape of Magna Graecia. As we marvel at its intricate details and ponder its narrative significance, we’re drawn into a world where history, myth, and art intertwine, inviting us to contemplate the profound impact of past events on the creative expressions of ancient civilizations.

For a PowerPoint Presentation on Apulian Pottery, please… Check HERE!

Bibliography: https://www.greek-language.gr/digitalResources/ancient_greek/history/art/page_122.html (in Greek)

The Bronze Hellenistic Dancer at the MET

February 25, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Hellenistic Art Sculpture Student Activities Worksheets

**Bronze statuette of a veiled and masked dancer,** 3rd–2nd century BC, Bronze, 20.5 × 8.9 × 11.4 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

Dance is an ephemeral art. Is it about sentiment, imagination, and expression? Is The Bronze Hellenistic Dancer at the MET the quintessence of a Hellenistic Dancer’s soul?

The MET Dancer emerges, as if from the shadows, draped in layers of gleaming veils that conceal and reveal her movements. With each step, she gracefully twists and turns to the left, casting a downward gaze. As she dances, her left hand lifts a veil over her left hip, while her right arm, holding folds of fabric, shields the lower part of her veiled head, which arches backward. The ethereal dance causes her dress to swirl around her body, and the edges of her enveloping cloak flare out at her sides.

The complex motion of this dancer, the MET experts tell us, is conveyed exclusively through the interaction of the body with several layers of dress… This Hellenistic Bronze statuette of a Dancer not only provides insights into the cultural context of its creation but also invites speculation about the statue’s original owner. Questions arise: Where was this captivating figure displayed? What thoughts and emotions did she elicit? How much joy did she bring to those who beheld her? https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

Quoting the MET experts… The bronze Dancer performs a private dance for the viewer—a kind of dance of the seven veils—that is both alluring and surprisingly contemporary in appearance, having been rendered in a realistic style. Nonetheless, it is undoubtedly very much a product of the ethos of the Hellenistic Age, the work of a master sculptor perhaps from Alexandria, Egypt… This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity… https://www.metmuseum.org/blogs/now-at-the-met/2016/pergamon and https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

She is, luckily, not alone. In addition to the captivating Hellenistic Bronze statue showcased at the MET, the collection also features a charming array of clay statuettes portraying dancers.

**Terracotta statuette of a Dancing Woman,** 3rd century BC, Terracotta, 24.1 × 10.2 × 8.3 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248712
**Terracotta statuette of a Dancing Woman,** 3rd century BC, Terracotta, 15.2 × 6.2 × 8.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248601
**Terracotta statuette of a Veiled Dancer,** 3rd century BC, Terracotta, H. 20.0 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/251216

Sculptures of dancers from this era often captured the dynamic and graceful movements of the human body, showcasing the Hellenistic fascination with naturalism and the portrayal of emotion. These sculpted dancers, whether in bronze or clay, reflected the cultural significance of dance as a form of entertainment, religious ritual, and social expression. The intricate detailing of their poses and flowing garments not only celebrated the physical prowess of the human form but also conveyed a sense of vitality and joy, providing a testament to the Hellenistic commitment to aesthetic excellence and the embodiment of life in art.

For a Student Activity on Hellenistic Dancing, please… Check HERE!

Sleeping Eros

December 5, 2023

by admin Ancient Greek Art Art Greek Art Hellenistic Art Mythology Sculpture Student Activities Worksheets

**Bronze statue of Eros sleeping,** 3rd–2nd century BC, Bronze, 41.9 × 35.6 × 85.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/254502

Attributed possibly to the archaic Greek poet Sappho, the following fragment of Greek lyric poetry is preserved by the Alexandrian Grammarian Hephaestion. It reminds me of Sleeping Eros, the beloved Hellenistic bronze statue displayed in the Metropolitan Museum of Art. The verses paint a vivid scene… The moon and the Pleiades have set, / it is midnight, / time is passing, / but I sleep alone. https://en.wikipedia.org/wiki/Midnight_poem

In Greek mythology, Eros, portrayed as the son of Aphrodite and Ares, is the god of love, desire, and attraction. Various myths and stories are associated with Eros, in which he played a prominent role in matters of love and relationships. Well-known stories involving Eros include the myths of Rhodopis and Euthynicus, Apollo and Daphne, and his own love story, the myth of Psyche—a mortal princess who became the object of his affection. All these stories explore themes of love, trust, and the trials involved in achieving fulfillment with Eros projected as a significant figure in Greek mythology.

Eros is often depicted in various poses and contexts in ancient art, usually as a mischievous and playful winged youth armed with a bow and arrows. The arrows are said to have the power to incite love or desire in those they pierce. The Sleeping Eros statue in the MET depicts, on the other hand, a young, winged infant Cupid in a relaxed, reclining position, emphasizing the peaceful and gentle aspects of the god of love.

In the realm of Hellenistic sculpture, the motif of the Sleeping Eros emerged as a captivating and symbolic representation, offering a glimpse into the nuanced artistic expressions of love and vulnerability during this period. The Hellenistic era, spanning from the death of Alexander the Great in 323 BCE to the establishment of the Roman Empire in 31 BCE, witnessed a remarkable evolution in art, marked by a departure from the rigid idealism of Classical Greece. Hellenistic period statues were known for their attention to detail, realistic anatomy, dynamic poses, naturalism in the composition, and the expression of strong emotionalism along with the introduction of the ‘genre’ and a shift in artistic sensibilities.

In the realm of Hellenistic art, ‘genre’ refers to the inclusion of everyday life scenes and common people as subjects in sculptures, paintings, and other artistic expressions. This departure from the rigid canons of Classical Greek art allowed artists to explore a wider range of emotions, experiences, and individual characteristics. The Sleeping Eros serves as a poignant manifestation of these transformations, capturing the subtleties of emotion and narrative in sculpture.

Eros is portrayed in a state of repose, inviting viewers into an intimate exploration of the deity’s more tender and human aspects. As we delve into the intricacies of the Sleeping Eros sculpture in the MET, we untangle not only the technical abilities of the Hellenistic artist who created it, but also the deeper cultural and philosophical underpinnings that inform this artistic motif. Through a lens of mythology, symbolism, and craftsmanship, the Sleeping Eros sculpture offer a captivating window into the Hellenistic worldview, where the divine and the mortal meet in a harmonious dance of form and emotion.

According to the MET experts, during the Hellenistic period… Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. The MET Eros, the god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in a relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation! https://www.metmuseum.org/art/collection/search/254502

For a Student Activity inspired by the MET Sleeping Eros, please… Check HERE!

Another aspect of Eros’s character and artistic representation is offered in Eros and the Bee, a February 2023 BLOG POST by Teacher Curator… https://www.teachercurator.com/art/eros-and-the-bee/

Corinthian Alabastron

October 5, 2023

by admin Ancient Greek Art Art Greek Art Pottery Student Activities Worksheets

**Corinthian Alabastron,** 600 BC, Orientalizing Period, Terracotta, black-figure, Height: 28,5 cm, Canellopoulos Museum, Athens, Greece https://camu.gr/item/korinthiako-alavastro/

The Paul and Alexandra Canellopoulos Museum in Athens, Greece, is a small treasure trove of outstanding antiquities, showcasing the Museum’s Ancient Art collection spanning from Prehistory to the Roman Era. The collection boasts objects dating back to the Neolithic period (6000-3200 BC), followed by representative examples from civilizations that thrived in the region during the Bronze Age (3000-1100 BC), the Early Iron Age (1100-88 BC), and the Archaic period (7th-6th century BC). Notably, the Archaic period exhibits Corinthian vases adorned with decorative motifs inspired by imaginary beings from the East, such as the Corinthian Arybalos, which I would like to present to you today!

So… Let’s explore the How of an amazing small masterpiece in the Canellopoulos Museum, in Athens… by answering some questions!

How can we best describe the characteristics of the Orientalizing period in ancient Greek Art?

The Orientalizing period in ancient Greek art refers to a significant phase that occurred during the 7th century BCE. It is characterized by a notable influence of artistic motifs and elements from the Near East and Egypt, which were collectively known as the “Orient” to the ancient Greeks. During this period, Greek city-states began to engage in increased trade and cultural contact with the civilizations of the Near East, such as Phoenicia, Assyria, and Egypt. As a result, Greek artists and craftsmen were exposed to new artistic styles, techniques, and iconography, which they integrated into their own artistic expressions.

A key characteristic of the Orientalizing period in ancient Greek art is the adoption of Eastern motifs that included animals like lions and sphinxes, as well as mythical creatures and floral patterns. Greeks, however, were always fond of expressing narrative in their vase painting and they appropriated Near Eastern creatures like the sphinx, for example, or the siren and altered their basic function by making them a part of a larger story. Orientalizing art may look Oriental on the surface but is still recognizably Greek below.

It is important to note that the Orientalizing period was not a homogenous style but rather a phase of artistic transition that laid the groundwork for the subsequent Archaic period. The influence of the Orient on Greek art gradually declined during the 6th century BCE as the Greek city-states developed their own distinctive artistic styles, leading to the flourishing of the Classical period of ancient Greek art. https://www.colorado.edu/classics/2018/06/15/orientalizing-period-ancient-greece

How can we best describe the characteristics of Pottery during the Orientalizing period in ancient Greek art?

During the Orientalizing period in ancient Greek art, pottery underwent significant changes in terms of style, decoration, and iconography. Vessels became more varied and sophisticated, with influences from Eastern pottery shapes and forms. For example, the aryballos (a small, globular-shaped container) and the alabastron (a slender, often pointed bottle) were popular shapes during this time. The period, which occurred from approximately the late 8th century BC to the early 6th century BC, was marked by the influence of Eastern motifs, like lions, sphinxes, and griffins, as well as floral and geometric patterns which became popular, along with the representation of human figures in a more lifelike manner.

How can we best describe the characteristics of Corinthian Pottery during the Orientalizing period in ancient Greek Art?

During the Orientalizing period in ancient Greek art, Corinthian pottery underwent a transformative shift from its earlier geometric style to a more figurative and narrative-focused approach. Influenced by artistic traditions from the Near East and Egypt, Corinthian potters embraced animal motifs, mythical creatures, and composite beings in dynamic poses. Corinthian vessels were adorned with intricate designs, covering the entire surface, exemplifying the abundance and opulence of this period. Utilizing the black-figure technique, they painted dark silhouettes against a yellowish-orange background, embellishing the scenes with incised lines to add detail. To fill empty spaces on these vases, palmettes and lotus blossoms were utilized in place of traditional geometric patterns, and in some cases, negative space gained more prominence.

How can we best describe the Corinthian Alabastron in the Canellopoulos Museum, in Athens?

The Canellopoulos Museum Alabastron from Corinth is typical of the Orientalizing period. This type of pottery, used for holding precious perfumed oils, originated around the 11th century BC in ancient Egypt, and spread via ancient Greece, to many parts of the Mediterranean world. Most Alabastra vases of the Orientalizing period have a narrow body with a rounded end, a narrow neck, and a broad mouth. Alabastra vases were often left without handles, but, for easy mobility, some types were equipped with one, or two, small projections into which holes were punched for strings to pass through, just like the Corinthian Alabastron in Athens.

According to Dr. Moschonesioti… The horizontal rim of the Canellopoulos Museum Alabastro is decorated with a tongue pattern and the vertical side of the rim with broken lines. The neck of the vase is decorated with a tongue pattern and the uppermost part of the vase with three parallel lines. Below them, two wide bands separate three decorative zones with (dancing?) komasts (mythological figures associated with God Dionysus) holding horns. Around the figures, which are presented dressed in purple, floral ornaments, such as large and small rosettes, heart-shaped leaves, and lotus flowers, densely cover the remaining surface of the vase. https://camu.gr/item/korinthiako-alavastro/

The Canellopoulos Museum Alabastro vase boasts an exquisite display of intricate decorations. From the tongue patterns adorning the horizontal and neck rims to the graceful lines and mythological figures of komasts, the artistry captivates the viewer’s eye, standing as a testament to the creativity and craftsmanship of its time.

For a Student Activity inspired by the Corinthian Alabastron in the Canellopoulos Museum, please… Check HERE!

Agias Son of Aknonios

September 12, 2023

by admin Ancient Greek Art Art Powerpoints Sculpture

**Agias, Son of Aknonios, Daochos Monument (detail2),** c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/3

The family offering of Daochos II, or of the House of the Thessalians was initially erected on the prominent terrace northeast of the temple. It comprises a group of marble statues dedicated to Apollo by Daochos II, a Thessalian dignitary from Pharsalus, who represented his people in the Amphictyonic League of Delphi (336-332 BC) where he served the interests of the Macedonians. Nine statues stood on a narrow space: Apollo (lost) and eight representatives of the dedicator’s powerful family (Agias Son of Aknonios is one of them) who were famous for their political, military and athletic exploits. We know the names and glorious deeds of the men represented from the inscriptions carved on the front of the base. Although the figures are deployed in a line and differ from one another in pose and dress, they nevertheless interact through the symmetrical or contrasting movement of their bodies, gestures, and turns of the head. Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece, page 321 https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf

**Agias, Son of Aknonios, Daochos Monument,** c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/1

The monument of Daoxhos II at Delphi, a family portrait gallery of eight statues, showcases six successive generations within the direct family lineage of Daochos II, stretching back to the late 6th century. It starts on the right side of the Monument, with the statue of Apollo (the statue is lost), the deity to whom the monument was dedicated. Based on the size and shallow nature of the carving, it is likely that the statue depicted Apollo in a seated position.

**Daochos Monument,** c. 336- 332 BC, Marble, Delphi Archaeological Museum, Greece https://en.wikipedia.org/wiki/Ex_voto_of_Daochos

On the right side of Apollo, the unknown artist of the Monument placed the statue of Aknonios, great-great-grandfather of Daochos II, who lived during the Persian Wars and served as Tetrarch of Thessaly. Aknonios is followed by his three sons, all of them distinguished athletes. First comes the oldest son, Agias, the great-grandfather of Daochos II. Placed next to his father following a generational sequence, Agias was a distinguished athlete of Pankration, an Olympian, and the winner of many Panhellenic Games during the 5th century. His brother Telemachos, a 440 BC Olympic Games Wrestling Winner comes next, followed by the younger of the three brothers, Agelaos, a champion Runner. Daochos I, son of Agias, grandfather of the monument’s donor, and Tetrarch of Thessaly for twenty-seven peaceful years are placed next to Agelaos. He is followed by Sisyphus I, his son, a military man, his grandson, and donor, Daochos II, and finally Sisyphus II, the youngest member of the Thessalian family.

The statue of each depicted member of the Thessalian family is differentiated, by pose, anatomy, and dress. Each statue stands alone, yet, their body postures, hand gestures, and the way their heads turn unite them, creating a tight composition. The represented statesmen, for example, Aknonios and Daochos I, depicted wearing the short chlamys favoured by Macedonian and Thessalian men, look sturdy and solemn. Sisyphus I, the only military representative in the Daochos II group, is presented as if he is giving military orders. As for the rest, Agias, Telemachos, Agelaos, and young Sisyphus II, presented in the nude, are perfect examples of youth and athletic prowess.

The statue of Agias son of Aknonios, and great-grandfather of Daochos II, is the Monument’s most preserved and most significant artwork. The Monument’s epigram, beneath his statue, identifies him as a distinguished athlete… Πρῶτος Ὀλύμπια παγκράτιον, Φαρσάλιε, νίκαις | Ἀγία Ἀκνονίου, γῆς ἀπὸ Θεσσαλίας, | πεντάκις ἐν Νεμέαι, τρις Πύθια, πεντάκις Ἰσθμοῖ · | καὶ σῶν οὐδεὶς πω στῆσε τρόπαια χερῶν… Man from Pharsalos (a town in Thessaly), having won the pankration first in Olympia, Agias, the son of Aknonios, from the land of Thessaly, (you won) five times in Nemea, three times the Pythian Games and five times on the Isthmos; no one has ever erected a victory monument at the expense of your poor.

As an athlete, Agias is depicted in a state of nudity, showcasing his athletic prowess as a victorious competitor. He is depicted standing upright, facing the viewer… but he appears restless! The weight distribution between his legs is not sharply differentiated. There is a lack of pronounced contrast between the weight-bearing, straight, right leg and the free, slightly bent, left leg. The statue appears to shift back and forth between the two stances, rather than standing at ease.

Equally restless seems to be the remaining body posture. The right hip, for example, juts out slightly, yet the overall impression is one of verticality. To the same extent, the arms are not ‘hanging’ down relaxed, but rather held slightly away from the athlete’s body, adding to their dynamic quality. The head, smaller in size compared to the statue’s size, rests on a muscular neck, slightly turning to the left. The facial details convey a sense of distinctive personality with a firmly set, sensual mouth, a rather large nose, and small eyes deeply set into the head. The gaze carried by Agias seems directed into space, imparting a certain detachment from the world. Overall, Agias’s torso, arms, legs, neck, and head, are powerfully built, but the body does not appear heavy. The son of Aknonios is a powerful Pankreatist, yet a tall, slender, elegant, thoughtful man.

Is the statue of Agias at Delphi the artistic creation of Lysippos, the great 5th-century sculptor from Sicyon?

According to modern scholars, Lysippos, the favourite sculptor of Alexander the Great, developed a particular artistic canon aimed at achieving specific effects. The statue of Agias, an idealized 4^th century portrait, made long after the athlete’s death as part of the Monument of Daochos II, seems to ‘match’ Lysippos’ distinct artistic ‘effects’. It is characterized by a dynamic, yet ‘restless’ posture, a lean physique, individualized facial features, and a sense of detachment conveyed through the statue’s gaze.

The statue’s connection to Lysippos is further enhanced by an archaeological find at Pharsalos, the birthplace of Agias. A few years back, archaeologists unearthed the base of yet another statue of Agias (the actual statue is lost), which carried an inscription in part nearly identical to the Agias epigram at Delphi. It appears that the Delphi inscription was excerpted from that at Pharsalos, where, at its end, the name of Lysippos, the sculptor, was clearly written.

In conclusion…

The statue of Agias, part of the Monument of Daochos II at Delphi, was erected between the years 337/6 and 333/2 and embodies many artistic characteristics of the Lysippian style. The statue is identified as Agias, son of Aknonios, from an epigram inscribed on its base. This epigram is a copy of the inscription carved on the base of a chronologically older ‘statue’ of Agias discovered in the ancient city of Pharsalos, the birthplace of the athlete. The Pharsalos ‘statue’, commissioned, most probably, by Daochos II as well, believed to be an original creation of the sculptor Lysippos, done in bronze, and dated before 337/6 BC, has sparked many discussions about the creator of the statue of Agias at Delphi. Is it an original work by Lysippos or a copy of his bronze original statue at Pharsalos? Today, it is believed that the Delphic Agias, even if not a faithful replica of Lysippus’ original statue at Pharsalos, belongs to his workshop and, as a work from the 4th century BC, sheds light on the artistic trends of that era.

For a PowerPoint Presentation of the Monument of Daochos II in the Archaeological Museum at Delphi, please… Check HERE!

Bibliography: Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece (for the Statue of Agias and the Monument of Daochosin Delphi, go to pages 321-324) https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and https://www.perseus.tufts.edu/hopper/artifact?name=Delphi%2C+Daochos+Monument%2C+Agias&object=Sculpture

Persephone as Isis and Hades as Sarapis

June 18, 2023

by admin Ancient Greek Art Art Education Greek Art Mythology Roman Art Student Activities Worksheets

**Statue Group of Persephone as Isis and Hades as Sarapis,** 180-190 AD, Marble, from Gortyn, the island of Grete, Greece

Persephone, Daughter of Zeus, blessed / Only begotten, gracious Goddess, receive this good offering, / Much honoured, you, overpowered by Hades, / you are beloved and lifegiving, / You hold the doors of Hades under the depths of the earth; / Transactor of Justice, your beloved hair the sacred olive branch of the enemy / Mother of the Eumenides, Queen of the Underworld, / You, maiden from Zeus through secret begetting… / … Listen, blessed Goddess and send up fruits from the earth / In peace, flourishing in health from your soothing hand; / And, in life abundance, leading to richness of old age / Then to your realm O Sovereign, and to powerful Hades… and I am reminded of The Statue Group of Persephone as Isis and Hades as Sarapis in the Heraklion Archaeological Museum in Crete… some questions and answers! https://godofthemonth.livejournal.com/2759.html

Where were the statues of Persephone as Isis and Hades as Sarapis found? The statues were discovered on the Island of Crete, in the Temple of the Egyptian Gods in the ancient city of Gortyn.

Few words about the Temple of the Egyptian Gods in Gortyn… It is a significant monument from the ancient world that provides insight into the religious and cultural life of the city. The temple was built during the Roman period and was dedicated to the worship of Egyptian gods, including Isis, Serapis, and Anubis. The temple was likely constructed as a result of the influence of Egyptian culture in Gortyn, as well as the growing popularity of the Egyptian gods in the Roman world. It is a symbol of the cultural diversity of the city and its cosmopolitan nature. The Temple was first excavated by G. Oliverio, in 1914.

Few words about the ancient city of Gortyn… an ancient city located in Crete, Greece, and the capital of the Roman province of Crete and Cyrenaica. It was one of the most important cities in ancient Crete and was a center of politics, culture, and commerce. In its heyday, Gortyn was a thriving city with a diverse population. The city was known for its impressive architecture, including temples, like that of the Egyptian Gods, public buildings like the Roman Odeon, and impressive fortifications. The city was home to the Gortyn Code, a set of laws and regulations that governed the lives of the people of Crete and regulated everything from trade and commerce to marriage and family life.

Few words about the statues of Persephone as Isis and Hades as Sarapis… The statues from the Temple of the Egyptian Gods at Gortyn combine iconographic elements and symbols of Hellenic and Egyptian deities alike. The figure of Persephone as Isis is depicted frontally holding a sistrum and wearing a mantle crowned with a disk, the symbol of the sun, between two horns. Hades as Sarapis stands frontally as well. He is crowned with the modius, or grain measure, and holds the scepter of his divine authority in his left hand. On his right is Cerverus, facing the viewer, ferocious-looking and fierce. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

Who were the Greek Gods Persephone and Hades? Persephone and Hades are divine figures from ancient Greek mythology. Persephone was the daughter of Zeus and Demeter, the goddess of agriculture and harvest. Hades was the god of the underworld and the dead.

The myth of Persephone and Hades begins with the kidnapping of Persephone by Hades. According to the story, Hades was so enamored with Persephone that he abducted her and took her to the underworld to be his bride. This caused great distress for Demeter, who searched the earth for her daughter and caused the crops to wither and die. To resolve the situation, Zeus intervened and arranged for Persephone to spend half of the year with her mother and half of the year with her husband in the underworld. During the time that Persephone was with Demeter, the crops would grow and the earth would be fertile, but during the time she was with Hades, the earth would become barren.

This is why the ancient Greeks associated the myth with the changing of the seasons and the cycle of death and rebirth. In addition to being a story about the changing of the seasons, the myth of Persephone and Hades also symbolizes the journey of the soul and the transition from life to death. Hades represents the dark, mysterious, and unknown aspects of the afterlife, while Persephone represents the soul that must journey through this realm. The myth of Persephone and Hades is undoubtedly an important and enduring tale in Greek mythology that continues to captivate audiences to this day.

Why and How did the Greek Gods, Persephone, and Hades, connect with the Egyptian Gods Isis and Sarapis? The cult of the Egyptian Gods is attested at many sites of the ancient Greek world and became quite popular during the Hellenistic period. The amalgamation of the attributes of the Egyptian deities Isis and Sarapis with those of the Greek Persephone and Hades is a syncretic phenomenon observed during the Hellenistic and Roman periods. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

One of the key similarities between Persephone and Isis is their association with the afterlife and the underworld. Persephone was abducted by Hades and became the queen of the underworld, while Isis was often depicted as the “Lady of the Tomb” and was associated with the afterlife and the dead. Both figures were also associated with the idea of rebirth and renewal and were revered as powerful, nurturing goddesses who could bring life and fertility to the earth. In both myths, the goddess was seen as a powerful figure who could help guide the souls of the dead through the afterlife and ensure that they reached their final resting place.

The Egyptian God Sarapis is thought to be a creation of Ptolemaic Egypt, an amalgama of Osiris, husband of Isis, Apis, and Hades. Sarapis was widely worshipped in the Hellenistic world and was particularly popular in the city of Alexandria in Egypt. He was depicted as a powerful and benevolent ruler of the underworld and was seen as a savior figure who could grant salvation to those who worshipped him. Despite their different origins, both Hades and Sarapis were seen as gods of the underworld who held sway over the fate of the dead. In this sense, they both represented the powers of death and the afterlife in the ancient world. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

For a Student Activity, please… Check HERE!

Photo Credit: https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

Lekythos in the Canellopoulos Museum

April 25, 2023

by admin Ancient Greek Art Art Greek Art Museums Pottery Student Activities Worksheets

**White-Ground Lekythos,** 440-430 BC, Terracotta, H. 25,5 cm, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/likythos/

Intended as a grave gift, this beautiful, white-ground Lekythos in the Canellopoulos Museum is a distinctive 5^th century type of Athenian vessel. According to Maria S. Brouscari… the composition presented on the pot’s body, features, a tall, narrow stele with three steps, decorated with fillets, one at the top of the stele and one with its ends hanging over the top step, from which hang also two thin cords. To the left of the stele, a kneeling woman mourns. With her left hand she strikes her head, while her right is outstretched in a gesture of despair. To the right of the stele the dead stands motionless: a young man, fully clad in a deep purple garment, leaving only the head uncovered. His hair is rendered with a dilute black paint. The decoration of the Canellopoulos Museum Lekythos is typical of scenes connected with funerary rituals and can give us some insight into ancient Athenian funerary practices and ideas about death. https://camu.gr/en/item/likythos/

The Athenian, white-ground Lekythos, developed during the Classical period (5th-4th centuries BC), when Athenian potters began to cover the natural reddish color of their pottery with clay that turned white when fired. These small in size oil containers were used in funerary rituals in a number of different ways. They were, for example, burned with the body in cremations, used for pouring oil libations on the body or the grave site, and as offerings, were left at or in a burial. The great majority of these vessels have been found in and around graves, in Attica. https://www.getty.edu/art/collection/object/103VMY

When I look at the Lekythos in the Canellopoulos Museum, I think of Simonides of Ceos. His poetry, widely admired for its beauty, precision, and emotional depth, befits the funerary composition of the white-ground Lekythos in the Athenian Museum…

Fragment 520: ἀνθρώπων ὀλίγον μὲν / κάρτος, ἄπρακτοι δὲ μεληδόνες, / αἰῶνι δ᾽ ἐν παύρωι πόνος ἀμφὶ πόνωι· / ὁ δ᾽ ἄφυκτος ὁμῶς ἐπικρέμαται θάνατος· / είνου γὰρ ἴσον λάχον μέρος οἵ τ᾽ ἀγαθοὶ / ὅστις τε κακός. – Των ανθρώπων λιγοστή η δύναμη κι άκαρπο ό,τι φροντίζουν πιο πολύ· στη σύντομη ζωή τους η μια στεναχώρια ακολουθεί την άλλη. Αναπόδραστος ο θάνατος ζυγιάζεται από πάνω τους χωρίς διάκριση· ευγενείς και ταπεινοί, όλοι έχουν μπροστά τους την ίδια μοίρα. (Translated by I. N. Kazazis) – Little is the strength of men and fruitless what they care most for; in their short life one sorrow follows another. Death, inescapable, weighs upon them without distinction; noble and humble, all face the same fate. https://www.greek-lan guage.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=431

Fragment 521: ἄνθρωπος ἐὼν μή ποτε φάσηις ὅ τι γίνεται αὔριον, / μηδ᾽ ἄνδρα ἰδὼν ὄλβιον ὅσσον χρόνον ἔσσεται· / ὠκεῖα γὰρ οὐδὲ τανυπτερύγου μυίας / οὕτως ἁ μετάστασις. – Είσαι άνθρωπος, και γι᾽ αυτό ποτέ μην πεις τί μέλλει αύριο να συμβεί, μήτε να προβλέψεις, σαν δεις κανέναν να ευτυχεί, πόσον καιρό θα κρατήσει αυτό. Γιατί τόσο γοργό σαν την αλλαγή της μοίρας δεν είναι ούτε το φτερούγισμα της μακρόφτερης μύγας. (Translated by I. N. Kazazis) – You are only human, so, never tell what will happen tomorrow, do not predict, if you see someone happy, how long his happiness will last. Because fate changes faster and swifter than the fluttering of the long-flying fly. https://www.greek-language.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=432

Fragment 522: πάντα γὰρ μίαν ἱκνεῖται δασπλῆτα Χάρυβδιν, αἱ μεγάλαι τ᾽ ἀρεταὶ καὶ ὁ πλοῦτος. – Γιατί όλα τα πράγματα καταλήγουν στην ίδια φριχτή Χάρυβδη, κι οι μεγάλες επιτυχίες και ο πλούτος. (Translated by I. N. Kazazis) – For all things come down to the same horrible Charybdis; people’s virtues and success. https://www.greek-language.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=433

For a Student Activity, please… Check HERE!

The Apotheosis of Herakles

December 14, 2022

by admin Ancient Greek Art Art Education Exhibitions Greek Art Heracles Mythology Powerpoints Sculpture

**Apotheosis (Deification) of Herakles Pediment,** c. 570 BC, Actite, a type of porous limestone, painted, H. 0.94 m, L. 1.74 m, Acropolis Museum, Athens, Greece
https://www.theacropolismuseum.gr/en/apotheosis-deification-herakles-pediment

I will sing of Herakles, the son of Zeus and much the mightiest of men on earth. Alcmena bare him in Thebes, the city of lovely dances, when the dark-clouded Son of Cronos had lain with her. Once he used to wander over unmeasured tracts of land and sea [5] at the bidding of King Eurystheus, and himself did many deeds of violence and endured many; but now he lives happily in the glorious home of snowy Olympus, and has neat-ankled Hebe for his wife. Hail, lord, son of Zeus’ Give me success and prosperity… writes the anonymous poet of Homeric Hymn 15… and The Apotheosis of Herakles in the Acropolis Museum comes to my mind. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0138%3Ahymn%3D15

Let’s answer some questions about The Apotheosis of Herakles in the Acropolis Museum…

What is a Pediment and how important Pediments were they for Greek Temple Architecture? According to the Encyclopedia Britannica… Pediment, in architecture, is a triangular gable forming the end of the roof slope over a portico (the area, with a roof supported by columns, leading to the entrance of a building). For ancient Greek architecture, the two pediments featured on the two narrow sides of their temples were very important. They served as the ‘crowning feature’ of the whole structure. The triangular wall surface of the pediment, called the tympanum, was often decorated with sculptural compositions. Last but not least, Pediments were always crowned by a raking, or slanted, cornice. https://www.britannica.com/technology/pediment-architecture

Where, and When, did the Apotheosis of Herakles Pediment was discovered? The Apotheosis of Herakles pediment was discovered, during the 1888 excavation period, buried, east and southeast of the Parthenon, in the Acropolis of Athens.

Was the Apotheosis of Herakles Pediment part of the Acropolis Perserschutt? Yes! The Perserschutt consists of numerous remains of statues vandalized by the Achaemenids during the terrible years of the second Persian invasion… Ten years after the Battle of Marathon (490 BC), the Persians returned to Greece and after their victory at the Battle of Thermopylae, in September of 480 BC, they entered Athens. The small number of Athenians who had barricaded themselves on the Acropolis, hoping that the Wooden Walls of the Delphic Oracle would protect them, were eventually defeated, and Xerxes ordered Athens to be torched. Those Persians who had come up first betook themselves to the gates, which they opened, and slew the suppliants; and when they had laid all the Athenians low, they plundered the temple and burnt the whole of the Acropolis. (Herodotus VIII.53). Months later, after the victory at Salamis, and the Battle of Plateae in 479 BC, the Athenians returned to their city… they respectfully buried the mutilated sacred statues of the Archaic period on the Acropolis (these remains are called Perserschutt) and proceeded with reorganizing their civic and private lives… waiting for the right time to rebuild their Acropolis. https://www.khanacademy.org/humanities/special-topics-art-history/arches-at-risk-cultural-heritage-education-series/xa0148fd6a60f2ff6:ruins-reconstruction-and-renewal/a/destruction-memory-and-monuments-the-many-lives-of-the-parthenon

Which Acropolis building did the Apotheosis architectural sculptures decorate? Archaeologists are not categorically certain. According to the Acropolis Museum experts, the pediment probably decorated one of the small buildings, referred to as “oikemata”, on the Archaic Acropolis. Some scholars, however, suggest these remains were once part of the pediment of the Hekatompedon, a building that stood on the site now occupied by the Parthenon. https://www.theacropolismuseum.gr/en/apotheosis-deification-herakles-pediment

**Apotheosis (Deification) of Herakles Pediment (details),** c. 570 BC, Actite, a type of porous limestone, painted, H. 0.94 m, L. 1.74 m, Acropolis Museum, Athens, Greece
https://www.theacropolismuseum.gr/en/apotheosis-deification-herakles-pediment

**Apotheosis (Deification) of Herakles Pediment (detail),** c. 570 BC, Actite, a type of porous limestone, painted, H. 0.94 m, L. 1.74 m, Acropolis Museum, Athens, Greece
https://www.theacropolismuseum.gr/en/apotheosis-deification-herakles-pediment

How important, artistically, is the Apotheosis Pediment? These pedimental sculptures are of high quality. Of particular interest are the heads that have been preserved, that of Zeus and especially that of Heracles with finely worked details of his facial features and hair. The garments worn by the figures are equally attractively rendered, as is Zeus’s throne with palmettes on the legs, and the skin of the lion, whose head, with incised curls on the mane, covers Heracles’ head like a hood. https://www.latsis-foundation.org/content/elib/book_8/acropolis_en.pdf page 30-31

**Louis Émile Emmanuel Gilliéron (known as Émile Gilliéron père),** Suisse Artist, 1851-1924
**Apotheosis (Deification) of Herakles Pediment,** 1919, Watercolor and graphite on paper, L. 110.5 cm, H. 85.1 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/625053?&exhibitionId=0&oid=625053&pkgids=773

How is Émile Gilliéron père related to The Apotheosis of Herakles Pediment? In a letter addressed to Gisela M. A. Richter, curator of the Metropolitan Museum in New York, dated October 29, 1918, Emile Gilliéron père informs the noted archaeologist and art historian, that he has executed, at the Acropolis of Athens, four watercolors that may interest the Museum. One of these watercolours is the Apotheosis of Herakles. Gilliéron, recognized as a skilled archaeological draftsman, worked for the Deutsches Archäologisches Institut (DAI) in the Acropolis, Heinrich Schliemann at Mycenae, and Sir Arthur Evans at Knossos, where Gilliéron father and son served for thirty years as draftsmen, restorers, and advisers. The watercolour of the Apotheosis Pediment is of the utmost importance. It documents the vibrant colours the Archaic artist used, red, blue, black, green, and yellow, at the time of their discovery, before they were altered by prolonged exposure to the elements. The Gilliéron watercolour is exhibited at the MET, NY Exhibition Chroma: Ancient Sculpture in Color (Through 26, 2023). https://www.metmuseum.org/art/metpublications/Watercolors_of_the_Acropolis_Emile_Gillieron_in_Athens

For a PowerPoint on Gilliéron’s Watercolours of the Acropolis architectural sculptures, please… Check HERE!

Grave Stele of a Youth and a little Girl

November 27, 2022

by admin Ancient Greek Art Art Education Greek Art Sculpture Student Activities Worksheets

**Marble stele (grave marker) of a youth and a little girl (and details),** ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248501?&exhibitionId=0&oid=248501&pkgids=773 and https://www.metmuseum.org/art/collection/search/248500 and http://met-guide.blogspot.com/2011/01/grave-stele-of-youth-and-little-girl_28.html

Inscribed on the base of this extraordinary Funerary Stele, we read… To dear Me[gakles], on his death, his father with his dear mother set (me) up as a monument. The ancient Greek marble Grave Stele of a Youth and a little Girl in the Metropolitan Museum of Art, in New York city, is worth exploring…

What is a Stele (for the Ancient Greeks)? A Stele (from ancient Greek στήλη-arrange/stand) is a set upright stone slab used in the ancient world primarily as a grave marker but also for dedication, commemoration, and demarcation. Stelae could be inscribed, carved in relief, or painted. During Greek Antiquity, Grave Stelae (επιτύμβιες στήλες) were usually inscribed and decorated with scenes depicting the deceased, usually alone, but sometimes with a servant or relative. The Early Archaic period Grave Stele in the area of Attica, were often inscribed, decorated in relief, crowned by a capital, which extended upwards and supported a sphinx, a demonic being that protected the tomb, and finally painted! https://www.britannica.com/topic/stela

Is the MET Grave Stele of a Youth and a little Girl special? Yes, it is a very special and unique piece. According to the MET experts… This is the most complete grave monument of its type to have survived from the Archaic period. It is also of high artistic quality and a great source of information on how ancient Greek sculptural pieces were painted. In addition, if the name of the youth in the Stele’s inscription is Megakles, as some scholars believe, then the Stele was erected by the Athenian family of the Alkmeonidai, and it is an archaeological discovery of historical importance. The Alcmaeonidai were a wealthy and powerful noble family of ancient Athens. Cleisthenes, Pericles, and Alkeviades were prominent members of the family. https://www.metmuseum.org/art/collection/search/248500

Where was the Marble Stele found, and how did it reach the MET? According to the MET, the Stele is… said to have come from Kataphygi, Attica. The Museum acquired fragments of the Stele in 1911, 1922, 1936, 1938, and 1951. Two parts of the MET Stele are plaster copies. For example, the Girl’s head is in Berlin, and the youth’s right forearm is in the National Archaeological Museum of Athens. Interestingly, the capital and crowning sphinx, as exhibited in its entirety, are casts of the originals, displayed in a case nearby. https://www.metmuseum.org/art/collection/search/248500

In 1911 the MET acquired a fragmentary shaft, the base, and the acroterion of the Stele from John Marshall in England. A fragment of the youth’s shoulder and arm was acquired in 1922 from M.L. Kambanis in Athens or Paris. The Stele’s marble capital and finial in the form of a sphinx were purchased in 1936 and 1938 through Martin Birnbaum. Fragments of the Stele’s inscription were gifted to the MET in 1951 by Walter C. Baker. https://www.metmuseum.org/art/collection/search/248500 and https://www.metmuseum.org/art/collection/search/248501

First thoughts and impressions… A few ancient Attic Grave Stelae of the Archaic period survived in their entirety. The three-part Grave Stele of a Youth and a little Girl is probably the best example. Exhibited restored, with the help of plaster casts, the MET Stele, shows how imposing and impressive such a monument could be. With considerable height, 4,23 meters, brilliantly painted, the Stele, seen even from afar, dominated the Athenian landscape where it originally stood. https://www.greek-language.gr/digitalResources/ancient_greek/history/art/page_063.html

Description… The MET Stele consists of three parts. The lowest part is the Stele’s rectangular base. Inscribed on the base, the unknown artist of the Stele wrote… to dear Me[gakles], on his death, his father with his dear mother set [me] up as a monument. https://www.metmuseum.org/art/collection/search/248500

**Marble stele (grave marker) of a youth and a little girl (detail of the youth),** ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://upload.wikimedia.org/wikipedia/commons/b/bf/Marble_stele_%28grave_marker%29_of_a_youth_and_a_little_girl_MET_GR46.jpg

The middle part of the Stele has a lot to narrate. The front part of the shaft depicts the full-length representation of the deceased, a young man, an athlete, and thee, a παλαιστρίτη (a wrestler or an athlete trained in a παλαίστρα). In heroic nudity, he holds with his left hand a pomegranate, the mythological fruit of death and fertility. Hanging from the left wrist, an aryballos (a small oil flask) reminds us that Megakles, if that was his name, was an active athlete. Little is known of the little, fully clothed, girl, standing before Megakles, holding, with her left hand, an unidentified flower in front of her face. It has been suggested that the girl in the composition might be a younger sister. http://met-guide.blogspot.com/2011/01/grave-stele-of-youth-and-little-girl_28.html

**Marble stele (grave marker) of a youth and a little girl (Finial and detail of the Sphinx),** ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248501 and https://blog.myheritage.com/2022/08/marble-greek-and-roman-statues-were-actually-painted-in-brilliant-colors/

The third, and uppermost part of the Stele, the finial, consists of two members, the lower and the upper. The lower member, in the form of a double capital, was decorated wholly in color, its surface being entirely flat. It is fortunate that enough of the painted decoration survived time, so as to trace the original design… scrolls, making two pairs of volutes, and ‘palmettes’ placed between them. https://www.jstor.org/stable/3252802?seq=3#metadata_info_tab_contents and https://www.metmuseum.org/art/collection/search/248501

The upper member of the finial is a formidable, three-dimensional Sphinx, a mythological creature with a lion’s body and a human head, known in various forms throughout the eastern Mediterranean region from the Bronze Age onward. The Greeks, as in the case of the MET Stele, represented it as a winged female and often placed its image on grave monuments as guardian of the dead. https://www.metmuseum.org/art/collection/search/248501

**Reconstruction** (2022) **of a marble finial in the form of a Sphinx** by Vinzenz Brinkmann and Ulrike Koch-Brinkmann
https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

How is the MET Stele related to the Met Chroma: Ancient Sculpture in Color Exhibition? For the decoration of the MET Stele, the unknown artist employed sculpture and painting as well. The original colour on the marble MET Stele is unusually well-preserved, especially the colours of the Sphinx. According to Ulrike Koch-Brinkmann and Vinzenz Brinkmann, scientific analyses, photographs with ultraviolet and infrared light, false-color photographs, and archaeological comparisons allowed an almost complete reconstruction of the elegant designs in luminous and precious natural colors. The new, painted reconstruction of the MET Sphinx is a key display in Chroma: Ancient Sculpture in Color (Through March 26, 2023) Exhibition. https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

For a Student Activity inspired by the Marble stele of a youth and a little girl in the MET, please… Check HERE!

If you are interested in visiting or browsing through the Metropolitan Museum of Art Exhibition Chroma: Ancient Sculpture in Color (Through March 26, 2023), please Check… https://www.metmuseum.org/exhibitions/listings/2022/chroma/visiting-guide and https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects For an Exhibition Video prepared by Art Trip (19:37 min), check… https://www.youtube.com/watch?v=7LFGtqslZAU