The Month of September

by ArtPowerpointsRenaissance
The Month of September, latest 1407, possibly by Maestro Venceslao, Fresco, Torre Aquila, Castello del Buonconsiglio in Trento, Italy

And in September, O what keen delight!  /  Falcons and astors astors, merlins, sparrow-hawks;  /  Decoy-birds that shall lure your game in flocks;  /  And hounds with bells: and gauntlets stout and tight;  /  Wide pouches; crossbows shooting out of sight;  /  Arblasts and javelins; balls and ball-cases;  /  All birds the best to fly at; moulting these,  /  Those reared by hand ; with finches mean and slight;  /  And for their chase, all birds the best to fly; /  And each to each of you be lavish still  /  In gifts; and robbery find no gainsaying;  /  And if you meet with travellers going by,  /  Their purses from your purse’s flow shall fill;  /  And Avarice be the only outcast thing. The Month of September is a Sonnet by Folgore Da San Geminiano (c. 1250-1317), is translated by Dante Gabriel Rossetti in his book “Dante and His Circle,” (Roberts Brothers, Boston, 1893).    http://www.sonnets.org/folgore.htm

There is no way for the visitor of the beautiful Italian town of Trento to miss Castello del Buonconsiglio, this imposing, impressive and unique example of secular architecture! It is equally impossible for the Trento visitor not to explore the Castello, where, since the 13th century, the prince bishops of Trento resided and embellished with two Palazzos, an Italianate Park, a Gothic-Venetian Loggia and massive Towers.

Castello del Buonconsiglio

In 1973 the Castello became an Italian regional Museum of Art, known as Castello del Buonconsiglio Museum. This is where the Trento visitor can admire numerous art collections, ranging from paintings and manuscripts to period furniture and local archaeological finds. La piece-de-resistance among the Museum’s treasures is the so-called “Ciclo dei Mesi” in Torre Aquila.     https://www.trentino.com/en/highlights/castles/castello-del-buonconsiglio/

“Ciclo dei Mesi” is a favourite theme in the arts of the Middle Ages and the Early Renaissance. Often linked to the signs of the Zodiac, the Cycle of the Months is often perceived as a link between the work of man, the seasons of the year and God’s ordering of the Universe. As a theme, it recurred in the sculptural decorations of cathedrals and churches across Europe, in illuminated manuscripts like the popular Book of Hours, palace frescoes and, rarely, panel paintings.

Trento’s September fresco panel in Torre Aquila is characteristic of Maestro Venceslao’s, the artist who painted the “Ciclo dei Mesi”, creative abilities. It is rich, colourful and informative. It tells us of how hard the Trentino farmers worked and how idle and pleasure-seeking its aristocrats were.

The upper half of September’s composition depicts the typical agricultural activities of the month: the preparation of the land and the harvest of seasonal products.  At the very top, a shepherd watches over his sheltered flock, while three farmers across a bridged river plough a well-tended piece of land. The two men are dressed in short light tunics and lead the plough, pulled by a pair of oxen and a horse. The woman, on the other hand, dressed in a white robe but with bare feet works with the hoe along the perfectly traced lines of the furrows. The middle composition presents another peasant woman busy in collecting turnips. The white turnip was very popular at the time. Peasants cultivated turnips in vegetable gardens or in open fields in abundance as, along with cabbages, turnips were the indispensable food for the long winters of northern European territories.

The Trentino aristocrats, however, in the lower half of the composition, are depicted still interested in their favourite entertainment: hunting with a hawk. The same red castle Maestro Venceslao painted in the August scene seems to be the residence of a group of three young aristocrats, galloping and ready to go hunting. A lady and two knights, surrounded by their dogs, are about to practice falconry with their well-trained hawks. They seem eager to join two more gentlemen, depicted higher up in the composition, who are already energetically hunting among the rocks and low bushes of the Trentino landscape. Who knows… they might of Folgore, the poet from San Gimignano, and his September poem on the pleasures of September hunting with birds of prey… 

A PowerPoint on Torre Aquila’s frescoes for the Months of August and September is… HERE!

Émile Zola by Édouard Manet

by with No Comment 19th century ArtArtImpressionismStudent Activities
Édouard Manet, 1832-1883
Portrait of Émile Zola, 1868, oil on canvas, 146,0 x 114,0 cm., Musée d’Orsay

“My dear Zola, – I am making up my mind to hold a private show. I have at least two score pictures to exhibit. I’ve already been offered a site in a very good location near the Champ de Mars. I am going to stake the lot and seconded by men like yourself, am hopeful of success. See you soon. Cordially, yours ever, All of us here are delighted with your article, and I am instructed to send you thanks.” This is a quote of Manet’s letter to Zola, Wednesday, 2 January 1867. My new POST Émile Zola by Édouard Manet further shows the relationship between the two men.     https://quotepark.com/quotes/1886775-edouard-manet-my-dear-zola-i-am-making-up-my-mind-to-hold-a-p/

It was 1866 and Émile Zola, disappointed with the way the French Academy and critics treated Édouard Manet’s work in the Salon of 1866 wrote an article on Manet in La Revue du XXe siècle and defended him. He did not stop, however, with this first article. The following year, 1867, when Manet organized a private exhibition on the fringes of the Universal Exhibition, Zola was once more present, supporting his friend, writing about Manet’s New Manner in Art, in the January La Revue du XXe siècle. Later in 1867, Zola republished the 1867 article in the form of a separate pamphlet. Zola wrote that he “instinctively loved” Manet’s Art replying to the critics who vilified the painter by saying  “I replied to them [to the crowd and to the art critics] that fate had undoubtedly already marked at the Louvre Museum the future place of the Olympia and of the Luncheon on the Grass.” This pamphlet was distributed on May 22, 1867, the opening day of the Private Exhibition of Edouard Manet, organized at his expense by the painter in a pavilion near the Pont de l’Alma.     https://www.librairie-faustroll.com/librairie-en-ligne/6684-zola-emile-edouard-manet-1867-dentu-edition-originale-de-cette-rare-plaquette-complet-de-l-eau-forte-d-apres-olympia.html     and     https://msu.edu/course/ha/446/zolamanet.htm

According to the Musée d’Orsay presentation “To thank him, Manet offered to paint Zola’s portrait. The sittings took place in Manet’s studio, rue Guyot. The setting was arranged for the occasion with items characteristic of Zola’s personality, tastes and occupation. On the wall is a reproduction of Manet’s Olympia, a painting which sparked a fierce scandal at the 1865 Salon but which Zola held to be Manet’s best work. Behind it is an engraving from Velazquez’s Bacchus indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor. The Far East, which revolutionised ideas on perspective and colour in European painting, played a central role in the advent of the new style of painting. A Japanese screen on the left of the picture recalls this. Zola is seated at his work table. He is holding a book, probably Charles Blanc’s L’Histoire des peintres frequently consulted by Manet. An inkwell and a quill on the desk symbolise the writer’s occupation. This portrait sealed the start of a loyal friendship between Manet and Zola, both eager for success.”     https://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/emile-zola-313.html

The symbolist artist Odilon Redon (1840-1916), known today for the “dreamlike” paintings, observed penetratingly Zola’s Portrait and in his Salon review (La Gironde, 9 June 1868), wrote… “It is rather a still life, so to speak, than the expression of a human being”. Apparently Zola himself was not entirely delighted with his portrait, which Manet presented to him, and Charles-Marie-Georges Huysmans (1848-1907) the French novelist and art critic noticed that he had relegated the painting to an antechamber of his home.     http://www.visual-arts-cork.com/paintings-analysis/portrait-of-emile-zola.htm

For a Student Activity, please… check HERE!

Albenga Baptistery

by with No Comment ArtEarly Christian ArtStudent Activities
Albenga Baptistery, interior view, early 6th century, Albenga, Italy

“Early Christian Baptisteries were more than simply convenient shelters for liturgical rites. They functioned as symbols in themselves; their shape and decoration reflected and reinforced the theological significance or meaning of the ritual. Whereas the shapes and their furnishings were specially built to accommodate a complex ceremony having regional and indigenous variations, certain details of their design were intended to express the meaning and purpose of the rite…” writes R. Jensen in his 2010 book Living Water. The Albenga Baptistery intends to briefly explore a magnificent example of Early Christian Baptistery Architecture.    https://brill.com/view/book/9789004189089/Bej.9789004188983.i-306_008.xml

Albenga is an old Italian city with a rich history. Built on the Gulf of Genoa, in the province of Savona in Liguria, Albenga is charmingly nicknamed, City of a Hundred Towers. During the Roman period, Albenga was a busy port town called Albium Ingaunum. Interestingly, the city’s ancient Roman structure survived time, and today, the two Roman main streets, the “Cardo” and “Decumanus” intersect at its modern centre. The city is also famous for the wreck of the Roman ship, exhibited in the Naval Museum. This  Marine Archaeology find is the “largest Roman transport vessel known to date in the Mediterranean, with a load exceeding 10,000 amphorae, and therefore with a net capacity of 450/500 tons. The amphorae contained wine from Campania destined for the markets of southern France and Spain. Along with wine, black-glazed ceramics…” and other types of export pottery were discovered as well.  https://www.scoprialbenga.it/en/roman-naval-museum.htm     In addition to Roman ruins, Albenga boasts splendid Early Christian and Medieval monuments like the city’s 12th-century Cathedral, the famous early 6th-century Baptistery we will further discuss, and “hundred” of Medieval Towers.  

The Albenga Baptistery was built during the early sixth century AD, when the city, following a perilous period of unrest, was reconstructed by Emperor Flavio Costanzo in his attempt to rebuild the Roman Empire. The Albenga Baptistery can be described as an octagonal room with a baptismal font in the middle and “inner walls articulated in two arcades, one above the other, and originally covered by a dome.” The lower arcade presents eight arches followed by niches, one of both on each of the eight walls. Each niche has a semicircular or rectangular ground plan and a small window for illumination. “Two of the niches, to the south-west and the south-east, have doors connecting the octagonal room with the outside.” The Baptistery’s upper arcade has sixteen arches, seven of which are large windows, one smaller in size, and the rest of the arches, in between windows, simply closed. Interestingly, “while the octagonal shape dominates the inside of the building and also the outside of the upper part, the thicker, lower part has an irregular, decagonal outer shape, probably in order to adapt to surrounding buildings of which little is known.” Bottom line, this is an ambitious Early Christian architectural project “realized through important economic and architectural efforts.”          https://www.academia.edu/14528427/Photomodelling_as_an_Instrument_for_Stratigraphic_Analysis_of_Standing_Buildings_the_Baptistery_of_Albenga_con_Cristian_Aiello_Federico_Caruso_Chiara_Cecalupo_Elie_Essa_Kas_Hanna_in_Rivista_di_Archeologia_Cristiana_90_2014_pp_259_293    

The Baptistery’s interior was, it is believed, decorated with a bold mosaic pictorial program that covered, most probably, the niches, the walls and the pavement surrounding the baptismal font of the Baptistery. Today, the only part covered with mosaics is the barrel vault over the northeastern interior niche. Reading Nathan S. Denis’s Visualizing Trinitarian space in the Albanga Baptistery, we learn that “the early sixth-century baptistery in Albenga, Italy, contains one of the earliest attempts to render the Christian Trinity in pictorial form.”

This mosaic is made of two parts. The bigger part of the two presents “a tripartite group of interlocking Chi-Rho monograms imprinted upon an equally tripartite gradient-blue nimbus” of golden-yellow and white marble tesserae for the Chi-Rho and a circular field of light-blue glass mosaic for the nimbus. “Surrounding the monogram are twelve white doves; immediately above the monogram is a small orb containing a golden cross; and… eighty-six eight-pointed white stars against a deep, lapis-coloured background…” The smaller of the two is on the lunette above the window and shows two lambs flanking a jewelled cross in a paradisiacal landscape of green and blue background.

Both compositions are framed by a thick rinceaux border on a striking white background. There is a second border, both geometric and floral, on the underside of the window arch flanking a white anchor, and again, over the entrance to the niche, flanking an inscription that reads “NOMINAMVS QVORVM HIC RELIQVIAE SVNT,” or “We call upon [them] whose relics are here.” The inscription is accompanied by the names of  “Sts. Stephen, John the Evangelist, Lawrence, Nabor, Protasius, Felix, and Gervasius, with the two missing names on the lowest register generally believed to have been St. Victor and Sixtus I.”    

On Albenga’s Baptistery, an article worth reading: https://www.academia.edu/37328427/Bodies_in_Motion_Visualizing_Trinitarian_Space_in_the_Albenga_Baptistery

For a Student Activity, please… check HERE!

Blue Glass Amphoriskos from Pompeii

by with No Comment ArtPowerpointsRoman Art
Blue Glass Amphoriskos with cupids gathering grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

“Ah, happy, happy boughs! that cannot shed  /   Your leaves, nor ever bid the Spring adieu;  /  And, happy melodist, unwearied,  /  For ever piping songs for ever new;  /  More happy love! more happy, happy love!  /  For ever warm and still to be enjoy’d,  /  For ever panting, and for ever young;  /  All breathing human passion far above,  /  That leaves a heart high-sorrowful and cloy’d,  /  A burning forehead, and a parching tongue.” Wrote John Keats in his famous Ode to a Grecian Urn… What about the Blue Glass Amphoriskos from Pompeii we will discuss today… who is going to do justice to it?     https://www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn

Portland Vase, between circa 1 and circa 25 AD, Cameo Glass, H. 24 cm, Diam. 17.7 cm, British Museum
Glass Amphoriskos with cupids gathering grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

The Portland Cameo Vase might be famous for its chic et simple design, but the Pompeiian Cameo Amphorisko is chic but definitely not simple!  It is luxuriously rich, elaborately designed, lavishly ornate, ostentatious, sumptuous… yet elegant in a “Baroque” way! The Classicist I admires the Portland Vase… my Hellenistic psyche, however, is all for the Pompeian Amphorisko!

It was the 29th of December 1837 and the archaeological site of Pompeii was visited by King Ferdinand II of Naples and Sicily. What a lucky day for the excavators and the visiting King… a rare Blue Glass Cameo Vase, regarded today as one of the most important treasures of the Naples National Archaeological Museum, was discovered in the area of the enclosed, small, funerary garden of the Villa of the Mosaic Columns. I do not know how true this story is… but the Romantic me likes it! https://www.interno16holidayhome.com/2019/02/22/discovering-the-blue-vase-of-pompeii/  The correct date for the discovery of the Blue Glass Amphorisko is probably 1834 as sited on the Naples Archaeological Museum site. However hard I searched Internet sources, I found little more…   https://www.museoarcheologiconapoli.it/en/room-and-sections-of-the-exhibition/metal-ivory-and-glass-objects/

The area where the Blue Glass Amphoriskos was discovered.

The Pompeian Blue Glass Amphoriskos is a very rare example of ancient cameo glass. This is a type of luxurious vessel inspired by intricate Hellenistic relief-cut gems, extremely popular during the period of the Augustan and Julio-Claudian periods, from 27 B.C. to 68 AD. Based on lengthy research by David Whitehouse of the Corning Museum of Glass, there are only 15 extant vessels and about 200 fragments of Cameo Glass in Museums and private collections today. The Romans created Cameo vessels, large wall plaques, and small jewellery items, using craftsmen of the finest technical skills, as highly expensive items of luxury for the Roman aristocracy.      https://www.bbc.com/culture/article/20130916-mystery-of-a-missing-masterpiece     and     https://www.metmuseum.org/toah/hd/rcam/hd_rcam.htm

The Corning Museum of Glass describes a Roman Cameo piece of Glass as “an object with two or more layers of different colours; the top layer is partly cut away to fashion decoration in low relief against a background of contrasting colour. Most Roman examples are made with two layers, usually white over blue. However, fragments of vessels exist with more than two layers, and sometimes as many as five.”     https://www.cmog.org/set/reflecting-antiquity-cameo?id=1376

The Pompeian Blue Glass Amphoriskos is luxuriously decorated with Dionysiac scenes, particularly scenes of grape harvest. “On one side, a cupid is pouring rich grapes into a vat, where another cupid is intent on wine-pressing. The scene is framed by two low wide columns, on which two cupids are sitting while they accompany the grape harvest playing the syringe and the double flute. On the opposite side stands a klinos (bed), where are lying two cupids, one of which is playing the lyre, while on the other two columns a cupid picks grapes, and the other is holding a bunch in the hand and a basket already full on the head.” Between these two scenes, depicted is a Dionysiac “mask” with grapes, tendrils and birds! At the very bottom of the Vase, the artist who created this amazing Blue Glass Amphorisko masterfully presents a series of animals feeding on grass and shrubs, in between white, thin, horizontal, lines. What an accomplishment on a small scale!   https://www.museoarcheologiconapoli.it/en/room-and-sections-of-the-exhibition/metal-ivory-and-glass-objects/

For a PowerPoint on the Villa of the Mosaic Columns, please… click HERE!

Villa of the Mosaic Columns

by with No Comment ArtPowerpointsRoman Art
Mosaic Columns from The Villa of the Mosaic Columns in Pompeii, 1st century AD, Naples National Archaeological Museum

“If you have a garden in your library, we will want for nothing” wrote Marcus Tullius Cicero to his illustrious new friend Marcus Terentius Varro… and he is so right! Gardening can be so gratifying and the Romans understood it and thus “In the middle of Roman buildings…a roofless square, often with Greek sculptures and temples, was where the Hortus, the garden, was planted and enjoyed. Common Romans might only have had a small courtyard or paved square with pots. Many grew basic foods as a thin bulwark against starvation. The rich enjoyed much larger, more fertile and refined gardens, often closer to parks than yards…Cicero’s correspondent, Varro, was not only well-off but also a scholar of gardening and farming. In light of this, it’s likely that Varro did offer Cicero a well-stocked library, and in it a luxurious garden.” Villa of the Mosaic Columns is about one such lovely Garden, very specially decorated…     https://www.commonsenseethics.com/blog/5-things-that-you-need-to-be-happy-according-to-cicero

The Villa of the Mosaic Columns’ Pompeiian address is on the northern side of Via delle Tombe, behind the bars and shops facing the busy street leading to Herculaneum. Either way, you choose to enter this interesting Villa… you enter a Garden. I like to choose Entrance A (see POST Villa Plan) because Garden C is bigger, it has a mosaic-decorated Nymphaeum and a pergola supported on four magnificent Mosaic Columns. It is thanks to these unique mosaic columns that the Villa, justifiably,  took its name.    https://sites.google.com/site/ad79eruption/pompeii/villas-outside-the-walls/villa-of-the-figured-capitals

The Villa’s Columns are magnificent! They are covered in colourful mosaic decorations with successive bands of geometric, floral and/or figurative designs. The Villa is unfortunately in a poor state of preservation and thus soon after their discovery, the columns were removed and taken to the National Archaeological Museum in Naples where can today be seen.

The second Garden G is accessed by a wide-open area on the north side of Garden C as well as a corridor leading to Via delle Tombe. Very little survives of its original decoration apart from a Lalarium on its south-west corner. The colonnade to the north marks the entrance to the main living quarters which are unfortunately in an almost ruinous condition. The Villa was probably the most ostentatious in the area. “The decoration in fine painting and mosaics, the grandeur of the architecture and the size of the servant quarters put the Villa delle Colonne a Mosaico on a par with or greater than its immediate neighbours, above which it literally towered. Finally, the row of shops that lie beneath the Villa, which was certainly built during a combined sequence of construction, implies that one source of the villa owner’s wealth was the trades practised by those who worked and lived in this complex. Therefore, the shops supported the Villa economically as well as physically, extending the metaphor into a clearly visible statement of the social hierarchy of the city – a statement that complemented the public display that the Villa itself represented.”     http://online.sfsu.edu/pompeii/research2006.html

An interesting discovery lays at the Villa’s south/east side where, within a gated enclosure, a Tomb and a unique Blue and White Glass Vase were discovered. According to Jashemski… “Since this was the only tomb that had a door leading from the tomb chamber into the garden, and since the only entrance to the garden was from the villa of the Mosaic Columns, it was obvious that the tomb and its garden belonged to this villa.” Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas, (p.256).

Today, the Blue Glass Vase, found in the Villa of the Mosaic Columns’ Tomb, is one of the most precious treasures of the Naples Archaeological Museum. We will discuss this amazing Vase in Villa of the Mosaic Columns, Part 2.

Glass Amphoriskos with cupids gather grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

I would like to finish this POST once again with Cicero, who, as he was growing older, he enjoyed more and more the calm and serenity of his gardens, either in his Tusculum Villa where he withdrew to his library and gardens to think and write, or his family Villa in Arpinum, where during his later years, he collected his scrolls and codices, away from Rome, for better protection. “By means of our hands, we struggle to create a second world within the world of nature,” Cicero wrote, thinking as a Stoic philosopher, for whom “the garden was a microcosm of the larger order of the cosmos.”     https://www.commonsenseethics.com/blog/5-things-that-you-need-to-be-happy-according-to-cicero

For a PowerPoint on the Villa of the Mosaic Columns, please… click HERE!

The Month of August

by with No Comment ArtPowerpointsRenaissance
The Month of August, latest 1407, possibly by Maestro Venceslao, Fresco, Torre Aquila, Castello del Buonconsiglio in Trento, Italy

“I am a reaper whose muscles set at sun-down. All my oats are cradled.  /  But I am too chilled, and too fatigued to bind them. And I hunger.  /  I crack a grain between my teeth. I do not taste it.  /  I have been in the fields all day. My throat is dry. I hunger  /  My eyes are caked with dust of oat-fields at harvest-time.  /  I am a blind man who stares across the hills, seeking stack’d fields of other harvesters. …” writes the African-American poet, Jean Toomer (1894—1967) and I think of The Month of August by Maestro Venceslao, in Torre Aquila, Castello del Buonconsiglio in Trento, Italy.     https://www.poetryfoundation.org/poems/53989/harvest-song

The Cycle of the Twelve Months is a favourite theme in the arts of the Middle Ages and the Early Renaissance. Often linked to the signs of the Zodiac, the Cycle of the Months is often perceived as a link between the work of man, the seasons of the year and God’s ordering of the Universe. As a theme, it recurred in the sculptural decorations of cathedrals and churches across Europe, in illuminated manuscripts like the popular Books of Hours, palace frescoes and, rarely, panel paintings.

The fresco panels in Torre Aquila are rare and special. They document life in the Trentino area, with references to aristocratic pastimes throughout the year, or the peasant activities and duties to their masters. They also depict a vivid landscape, romanticized even then, from bare and covered with snow, to rich and fertile, to autumnal, covered with fallen leaves.

August is a special month for Trentino residents and Maestro Venceslao painted it to remind us. We can easily imagine Prince Giorgio di Liechtenstein relaxing in this special room, away from his noisy Court… and among his books and curios enjoy the perfect world that Maestro Venceslao created for him! What a treat!

The Month of August fresco is horizontally divided into three zones, the lower of which is dedicated, once more, to falconry, the European sport par excellence, for the aristocracy. The fresco depicts two elegant ladies, one dressed in light blue, the other in blue-black and a gentleman holding a long stick, ready to start hunting! They just came out of the crenellated door of a castle and they walk towards a wooded area, their hawks in hand, trained for hunting. August is a summer month of leisure and moments of falconry show privilege, power and social status.

Defining Falconry, we would say that it is the “hunting of wild animals in their natural state and habitat by means of a trained bird of prey.” Falconry most probably began in Mesopotamia, or in western Mongolia. In Europe, and towards the latter part of his life, King Frederick II, a man of extraordinary culture, energy, and ability, wrote a decisive treatise on falconry titled De arte venandi cum avibus (“The Art of Hunting with Birds”) for the sport that “was probably introduced around AD 400, when the Huns and Alans invaded Europe from the east.” Apparently Falconry was an aristocratic sport enjoyed equally by men and women.     https://en.wikipedia.org/wiki/Falconry

Maestro Venceslao dedicates the biggest part of the August composition to the hard-working peasants of Trento. In the upper zone, the farmers have a lot to work on. It is harvest time, the landscape is turned to golden yellow and both men and women work hard, bending under the blazing sun, to scythe the crops, collect the ears, tie them in sheaves and arrange them in stacks. And this is not enough! Farmers still have to load their wagons with heavy grain, as depicted in the middle zone, and to transport their day’s hard work on the dirt road, to the neighbouring village, where they will store it in the local barn. The village is undoubtedly picturesque, with ocher-coloured houses, thatched roofs, and a small church, brightly coloured pink. My favourite vignette, the depiction of the village priest, standing on the rectory’s threshold intent on reading, oblivious to the commodity around him.     https://www.buonconsiglio.it/index.php/Castello-del-Buonconsiglio/monumento/Percorso-di-visita/Torri/Torre-Aquila

A PowerPoint on Torre Aquila’s frescoes for the Months of August and September is… HERE!

The Archangel Gabriel of Hagia Sophia

by with No Comment ArtByzantiumStudent ActivitiesWorksheets
Archangel Gabriel, 9th century, south side of the Bema of the Holy Apse, entire figure seen through scaffolds, photographed in 1938, MS.BZ.004-03-01-02-016-029, The Byzantine Institute, Dumbarton Oaks Fieldwork Records and Papers, ca. the late 1920s-2000s, Image Collections and Fieldwork Archives at Dumbarton Oaks, Trustees for Harvard University, Washington, D.C.

“Whittemore is now working on a huge archangel, on the S. face of the arch in front of the E. semi-dome. On the same scale as the Virgin, he was one of her two guards. Whether his colleague, on the N. face, is preserved or not Whittemore doesn’t yet know. But the one on the S. face is very well preserved indeed: enough tests have been made to establish that. And he may be of the early Macedonian period: X or even IX—after 842, when images were finally restored. You may imagine with what thirst I await the revelation.” This is an excerpt from a letter Royall Tyler wrote to Mildred Barnes Bliss, back on October 11, 1936 about the Uncovering of the Mosaics of Hagia Sophia and The Archangel Gabriel of Hagia Sophia in particular.     https://www.doaks.org/research/library-archives/dumbarton-oaks-archives/historical-records/bliss-tyler-correspondence-excerpts#uncovering-of-the-mosaics-of-hagia-sophia–constantinople–october-1936

Archangel Gabriel, Mosaic on the Southside of the Bema of the Holy Apse, 9th century, Hagia Sophia of Constantinople

The 1902 to 1953 correspondence between Mildred and Robert Woods Bliss, the founders of Dumbarton Oaks, and their close friend and art adviser, Royall Tyler, and his wife, Elisina, are important primary sources and document the formation of the Blisses’ art collection. They also discuss contemporary history, literature and poetry, music, politics, and expatriate life… https://www.doaks.org/research/library-archives/dumbarton-oaks-archives/historical-records/bliss-tyler-correspondence-excerpts

Two monumental mosaic Archangels, Michael and Gabriel, over 10 meters in height, stood guard flanking Mary with Christ Child on her lap at the Great Church of the Holy Wisdom of God in Constantinople. Dating from the 9th century, they were epic in size, towering over the Bema Soffit of the Holy Apse, massive and solid, yet… wherever you were standing and however you were looking at them, they seemed majestic, imposing and ethereal as they levitated on the golden mosaic bed of divine light. Archangels Michael and Gabriel stood regal and imposing, members of a celestial court of honour for Christ and his mother, splendidly dressed in white and gold just like the members of the Imperial Court stood next to the Emperor.

Today, the presentation of Archangel Michael on the north side of the Bema soffit is regretfully almost totally missing. Gabriel, however, is still well preserved, helping us understand the magnificence of Hagia Sophia’s Holy Apse composition. My fascination stands with Gabriel’s face and the amazing ability of the Byzantine mosaicist to use hundreds of different-size tesserae and countless different coloured stones or glass to create a face of spirituality and transcendentalism on such a grand scale, with facial contours and a sense of three-dimensionality that astounds the viewer.

To quote Bob Atchison “The flesh tones used in the face and neck are fine-grained white marble, Proconnesian white marble, Proconnesian grey, cream marble (used very sparingly), and two or three tones of pink marble. Extensive use is made, furthermore, of off-white milky glass which has sometimes a bluish, sometimes a purplish tinge; this forms the right outline of the face, the left outline of the forehead, the pockets under the eyes, the area of light shadow to the left of the nose, etc. Olive glass is used for strong shadows to the left of the nose, round the eyes, the dimple under the nose, and for the shadow under the mouth, where it is mixed with lighter shades of glass and with pink marble. The tip of the nose and parting of the mouth are in deep red glass. Vermilion glass is used in the lips (in the lower lip it is mixed with pink marble) and one line of it forms the end of the chin. The nostrils are in black glass. No green or yellow-green occurs in the archangel’s face.”     https://www.pallasweb.com/deesis/angel-bema-hagia-sophia.html

“It seems too good to be true that there is such a mass of the noblest mosaics ever created, waiting there to be revealed… And I needn’t say that in the whole field of art, there’s nothing that seems to me to touch this work, for importance, and for the unutterable joy these things give when they are uncovered.”     https://www.doaks.org/resources/bliss-tyler-correspondence/letters/11oct1936

For a Student Activity, please… check HERE!

Workers tracing the lower part of Archangel Gabriel, the south Angel, in the Bema soffit of Hagia Sophia, 1939. From the collection: The Byzantine Institute, Dumbarton Oaks Fieldwork Records and Papers, ca. the late 1920s-2000s. Image Collections and Fieldwork Archives.

Grant Wood and the Revolutionary Spirit

by with No Comment 20th century ArtAmerican ArtArtStudent Activities
Grant Wood, 1891-1942
Midnight Ride of Paul Revere, 1931, Oil on Masonite, 76.2 × 101.6 cm, The Metropolitan Museum of Art, Arthur Hoppock Hearn Fund, Photograph: © 1988 The Metropolitan Museum of Art. Art © Estate of Grant Wood / Licensed by VAGA, New York.

Listen, my children, and you shall hear  /  Of the midnight ride of Paul Revere,  /  On the eighteenth of April in Seventy-five;  /  Hardly a man is now alive  /  Who remembers that famous day and year…Wrote Henry Wadsworth Longfellow back in 1860. Grant Wood and the Revolutionary Spirit is my new POST on a 20th-century painting capturing the most important moment in the story of Paul Revere.    https://poets.org/poem/paul-reveres-ride

Eight years of Revolutionary War (1775–1783) and Art in America came to a halt. Some prominent Colonial artists were in England at the time, studying, and remained there, others, disagreeing with the violence, embraced neutrality. Yet some, although safe in Europe, returned to fight and take part in building a new nation. They all managed to give a view of the period with portraits, historical scenes and more. From architectural buildings to furniture, silverware, glass and porcelain, adorned with symbols of patriotism and national pride, people were proud of their new nation and showed it.

Grant Wood is an American artist who has never lost his “Revolutionary” vision and spirit. He was born in 1981, on a farm in rural Anamosa, Iowa, but unfortunate circumstances, his father’s unexpected early death, forced the family to move to Cedar Rapids where Wood, a High School student by then, was introduced to Art. As a school graduate, he first moved to Minnesota and Chicago later, where he took Art Classes with Ernest A. Batchelder and Charles Cumming until 1916 when he returned to Cedar Rapids to take care, financially, of his mother and sister, working as a home builder and decorator. The end of World War I changed Wood’s career as he began teaching Art at McKinley Middle School. In the 1920’ Wood travelled to Europe, and in 1925, he gave up teaching to focus on his art full-time encouraged by his friend David Turner, “the savvy and energetic mortician,” and the people of Cedar Rapids who “like a revelation… their clothes, their homes, the patterns on their table cloths and curtains, the tools they used” kindled his creativity as he “suddenly saw all this commonplace stuff as material for art. Wonderful material!”

If the 1920’ were Wood’s formative years, the 1930s saw Wood’s artistic maturity and recognition as a leading figure of the American Regionalist movement, a rather conservative and traditionalist style that appealed to popular American sensibilities and the need for an American cultural identity. His famous painting American Gothic won a medal at the Art Institute of Chicago’s annual exhibition in 1930, the Institute bought the painting, and Wood, thirty-nine years old, saw his reputation rise among his colleagues. Back in Cedar Rapids, he joined forces with Ed Rowen and created the quaint Stone City Art Colony, where they taught classes through Coe College. In 1934, his life changed dramatically when he accepted a position as professor of Art at the University of Iowa in Iowa City. His appointment to the University of Iowa was ill-fated as a series of unpleasant events professionally stressed him and personally harassed him…  https://www.theartstory.org/artist/wood-grant/life-and-legacy/

In 1931 Wood painted a charming, captivating and enchanting painting titled The Midnight Ride of Paul Revere. In Picturing America Teachers Resource Book we read “Wood was a self-consciously “primitive” painter who emulated the unpretentious, unschooled manner of American folk artists… The Midnight Ride of Paul Revere goes one step further to capture a child’s point of view. A bird’s-eye perspective (like the view from an airplane) allows us to survey a vast sweep of countryside and gives the New England village the ordered clarity of a town made of toys: the country church and surrounding houses are simple geometric shapes, as though constructed of building blocks; the trees are crowned with perfect green spheres, like those a child would try to draw… The rolling landscape beyond is left sleeping in a darkness that is broken only by tiny glimmers from faraway windows. To complete this evocation of a childhood dream, Wood whimsically portrays Paul Revere’s trusty steed—“flying fearless and fleet,” in Longfellow’s words—as a rocking horse.”     https://picturingamerica.neh.gov/downloads/pdfs/Resource_Guide/English/English_PA_TeachersGuide.pdf

Upper Elementary and Middle School students find the historic event of Paul Revere riding on the night of April 18, 1775, to alert the colonial militia to the approach of British forces exciting and fascinating. We discuss historic events, we read Henry Wadsworth Longfellow’s poem, explore and discuss Wood’s painting Using Picturing America Teachers Resource Book. Finally, for homework, I usually assign them to do an Activity you can access… HERE!

Pollaiuolo’s Apollo and Daphne

by with No Comment ArtMythologyPowerpointsRenaissanceStudent Activities
Piero del Pollaiuolo, about 1441 – before 1496Apollo and Daphne, 1470-1480, oil on wood, 29.5 x 20 cm, The National Gallery, London

Daphne, daughter of Peneus, was Apollo’s first love, which not blind chance, but Cupid’s savage anger, gave… One suddenly loves, the other flees the name of lover, rejoicing in the hiding-places of the woods and with the spoils of captured beasts (and) as an imitator of unmarried Diana: a ribbon was restraining hair placed without rule… Having barely finished the prayer, a heavy numbness seizes her limbs, her soft breasts are girded by thin bark, her hair grows into foliage, her arms into branches, her foot, just now so swift, clings by sluggish roots, her face has the top of a tree: a single splendor remains in her… since you can’t be my bride, at least you will certainly be my tree! Metamorphoses by Ovid, translated by Wikisource, Daphne and Apollo help us better understand the dynamics in Pollaiuolo’s Apollo and Daphne painting.     https://en.wikisource.org/wiki/Translation:Metamorphoses/Daphne_and_Apollo

A tiny picture in the National Gallery, inspired by Ovid’s Metamorphoses, tells us so many stories… “the rivalry of the gods, the power and danger of desire and the tragedy of unrequited love.”     https://www.nationalgallery.org.uk/paintings/piero-del-pollaiuolo-apollo-and-daphne

The literary source for this amazing panel painting comes from the Metamorphoses, a narrative poem, built upon the Hellenistic erudite tradition, written during the period of Augustus, c. 8 AD, by the Roman poet Ovid. The poem includes 11,995 lines and is divided between 15 books and presents 250 myths. It is a record of world history starting with the creation of the world and finishing with the deification of Julius Caesar. Ovid’s Metamorphoses is considered the poet’s magnum opus. It was popular among the Romans and later highly regarded among Renaissance artists, as, rich in myths… transformations, personifications, loves, rivalries, jealousies, happy ends and tragic ends, communicated the greatest of stories!

Piero del Pollaiuolo’s painting of Apollo and Daphne depicts the most crucial of moments… the rivalry between Apollo and Cupid is a fait accompli, as one (Apollo) suddenly loves, and the other (Daphne) flees the name of lover. Apollo’s desire frightens Daphne who cries for help Father bring help! Rivers, if you have divinity, destroy my shape by which I’ve pleased too much, by changing it. Apollo’s love is not returned, and Daphne is slowly turned into the beautiful Laurel Tree. The god is, however, still enamoured and he loves this one too (the Laurel Tree) and with a right hand placed on the trunk feels that her heart still trembles under the new bark… As Daphne is slowly metamorphosing, he softly talks to her since you can’t be my bride, at least you will certainly be my tree! My hair will always have you, my lyres (will have you), my quivers (will have you), O Laurel…

For Polaiuolo, the Greek Myth of Apollo and Daphne becomes a Florentine affair. Daphne like Petrarch’s Laura becomes the ideal, unattainable love of the Renaissance courtly circles, “fair-skinned, blonde and seemingly modest.” She “allows young men to nobly strive for an ideal beauty beyond their reach.” Apollo, fair, blonde and aristocratic as well, seems persistent but genteel. Is he symbolically representing an idealized “portrait” of Lorenzo de’ Medici? Let’s not forget that the leader of the Florentine privileged society saw himself as the forceful god Apollo and had adopted the laurel as part of his personal emblem. The background landscape scene is definitely presenting the Tuscan countryside with the Arno river valley and the distant vista of the city of Florence itself. The painting may be small in size, but Piero del Pollaiuolo realized a small treasure, to “be admired close up by an educated patron.”     https://www.nationalgallery.org.uk/paintings/piero-del-pollaiuolo-apollo-and-daphne

If you please… access a PowerPoint with artwork depicting the Myth of Apollo and Daphne HERE!

For a Student Activity on the Myth of Apollo and Daphne, please… check HERE!

A Bulletin Board with Elementary School level Activities on Plants and Myths, very popular among my students.

Parallel Stories of Byzantine Imperial Portraits

by with No Comment ArtByzantiumStudent ActivitiesWorksheets
Roundel with Emperor John II Komnenos, ca. 1110 – 1118, marble, 90 x 90 x 7.5 cm, Byzantine Collection, Dumbarton Oaks Museum
Angaran Roundel, marble, d. 100 cm,Campiello de Ca’Angaran, Dorsoduro in Venice

Parallel Stories of Byzantine Imperial Portraits is about our fascination with the ‘image’ of the Byzantine Emperor… “The Emperor had to conform to idealized standards of deportment. He had to be seen as fixed, stable, and unmovable, a ruler whose character and judgement were unswayed by emotional excess. Such a demeanor was described by the eleventh century courtier and orator Michael Psellos in a speech addressed to Isaac I Komnenos…  You are straight, true, stiff… steadfast, firmly fixed, lofty… an impartial judge, unwavering in justice… a secure counselor, noble, unshaken in stormy waves. Psellos stressed the ruler’s lack of emotions: Where is there any anger in you, where are there streams of laughter, where are there traces of rage, and where is the babbling of speech? Where is there boasting, or violence and a willing mind? Where is there a knitting of the brows or an angry expression? For there are no unseemly qualities in you, neither easily excited emotions… nor delight, nor any graces, nor much laughter.” Writes Henry Maguire on IMAGES OF THE COURT in The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843–1261, page 186     https://www.metmuseum.org/art/metpublications/The_Glory_of_Byzantium_Art_and_Culture_of_the_Middle_Byzantine_Era_AD_843_1261    

Two Byzantine Emperors – Two Parallel Lives

Roundel with Emperor John II Komnenos, ca. 1110 – 1118, marble, 90 x 90 x 7.5 cm, Byzantine Collection, Dumbarton Oaks Museum
Silver Aspron Trachy of John II Komnenos, 1118-1143 AD, Thessalonica mint, 3.69 grams, 29/27 mm, (Iω/ΔЄC/ΠΟT/Tω/ΠOP – ΦV/PO/ΓЄ/NH/T, the Emperor standing facing, wearing divitision and loros, holding labarum and akakia), private collection     Copyright © 1998-2020, VHobbies.com
John II Comnenos, 1118, Komnenos Mosaic (John II Komnenos, Virgin Mary and Jesus Christ, Irene of Hungary), mosaic, Hagia Sophia Museum

Standing on a decorated suppedion, the Emperor of Byzantium at Dumbarton Oaks faces us in all his glory! He wears his ceremonial attire with poise and distinction: “a sagion (cape), bound at the right shoulder with a simple fibula, over a divitesion (tunic) and a loros (the gemmed scarf wrapped around the emperor’s torso.” Crowned and bejewelled, the Emperor stands in front of a vividly decorated background of cloverleaf arranged in a radiant design, holding the imperial insignia: “in his right hand he holds a labarum, a staff with a square finial” and in his left hand “an ornate globus cruciger with, in this instance, a leaved patriarchal cross.”

Who is the impressive Emperor depicted in this Byzantine relief sculpture Roundel exhibited today at the Dumbarton Oaks Museum of Byzantine Art? Is this a unique example of Byzantine imperial portraiture? The answer is NO! There is a second, matching Roundel in Venice, known as the  Angaran Roundel, embedded on the exterior wall of a Venetian house in the Dorsoduro district, equally rare in Byzantine imperial representation. “It has been suggested that these two emperors are Alexios I and John II Komnenos, father and son, who reigned jointly between 1092 and 1118.”

Both Roundels, made of marble, date from the 12th century. For their creation, the unknown artist used a “marble piece of a horizontal slab that was cut from the top of a column shaft of unusually large diameter. The roundels therefore are reused architectural elements of an ancient monument of considerable size.”     http://museum.doaks.org/OBJ27169.htm

Angaran Roundel, marble, d. 100 cm,Campiello de Ca’Angaran, Dorsoduro in Venice

The Angaran Roundel is almost identical to the one exhibited at the Dumbarton Oaks. Both depict Byzantine Emperors looking straight, true, stiff… steadfast, firmly fixed, lofty… holding the symbols of their power, gazing at us with majestic authority… but detached. Created by a great Constantinopolitan artist as an Imperial Ensemble, we can imagine, if this is a correct supposition,  a third roundel with Christ in the middle. The Imperial Portraits somehow ended up in the Veneto area, most probably as the 4th Crusade loot. They were still in the Veneto until 1937 when Robert Woods Bliss acquired the one depicting Emperor John II, through Royall Tyler, who writes to Bliss “I went to Lugano yesterday, & saw the Emperor, who is magnificent… There’s no change in the amount (33,000). H.F. prefers to receive it direct… Volbach was wrong about the material of the Emperor. He is marble (not limestone): I should say he was of exactly the same light grey marble, not shiny, as the Campiello Angaran roundel, & he’s exactly the same in style & in every respect except a few details of costume (the loros is different), & details of the footstool… The chances are they came from Constantinople, as one doesn’t see why the Venetians should have representations of the Byz. Emperor made, when they had not long before shaken off his overlordship… I’m simply delighted that you’ve got this superb carving, the like of which is most unlikely to turn up again…”     https://www.doaks.org/resources/bliss-tyler-correspondence/letters/25jul1937

On the 3rd of July, Ismail Safa Yalbaz, member of the Late Antique and Byzantine Studies Group, shared a POST on the Angaran Roundel that got me thinking… how many times have I been to Venice and missed visiting the Campiello de Ca’Angaran in Venice’s Dorsoduro district? I promised myself… next time in Venice, my respects to the Emperor will be the first thing to do!

For a Student Activity on the two Roundels, please… check HERE!