Poliochne on Lemnos

by Ancient Greek ArtArchaeologyArtBronze Age ArtEducationGreek ArtPowerpointsPrehistoric Art
Poliochne on Lemnos, one of the earliest European settlements (Early Bronze Age, c. 3200–2100 BCE), with its maze-like houses and public squares revealing the social organization and daily life of its inhabitants. – Photo Credit: Amalia Spiliakou, July 2025

Visiting the ancient settlement of Poliochne on Lemnos offered a rare opportunity to step directly into the early stages of European urban history. Walking among the remains of its carefully planned streets and multi-roomed houses, I was struck by how vividly the site conveys the ingenuity and social organization of its Bronze Age inhabitants. Poliochne, often regarded as one of Europe’s earliest towns, reveals a level of architectural and cultural sophistication that challenges modern assumptions about prehistoric life. Through the photographs I captured on-site, I hope to share both the tangible traces of this remarkable settlement and the sense of awe that comes from encountering a place where history feels immediately present.

Poliochne, on the eastern coast of Lemnos, flourished as a major urban center of the Early Bronze Age. Established around the mid-fifth millennium BC and occupied until the end of the second millennium BC, it prospered thanks to its strategic location between Asia Minor and the Aegean, with safe anchorage, fertile land, and abundant freshwater. Archaeological evidence reveals a sophisticated settlement with strong fortifications, public squares, paved streets with drains, wells, and both modest houses and large mansions, reflecting a complex social and civic structure. Its development unfolded through successive cultural phases, marked by advances in architecture, pottery, metallurgy, and trade, while its decline in the late third millennium was likely triggered by a devastating earthquake. Closely connected to Troy, Thermi on Lesbos, and other centers of the Northeast Aegean, Poliochne was a hub of commerce and innovation, leaving a lasting imprint on early urban life in the wider region.

Opened in the west side of the settlement at Poliochne is the main gate, terminus also of the central thoroughfare 102. Both the street and the gateway appear to have been part of the first urban plan of the settlement, which is dated to the Blue period, and were kept unchanged throughout almost its entire existence, with some additions and local interventions. 
Photo Credit: Amalia Spiliakou, July 2025

Poliochne, first established during the Final Neolithic period, developed through successive architectural phases that archaeologists have identified by color. In the earliest Black Period (3700–3200 BC), a modest cluster of oval huts built of wood and straw stood at the hill’s center. The following Blue Period (3200–2700 BC) saw dramatic growth: the settlement expanded, a fortification wall was erected on the mainland side, and the urban plan became more organized. Oval huts gave way to apsidal and oblong houses, and public buildings began to appear, including the so-called Bouleuterion, likely a meeting hall for civic leaders, and a large communal granary capable of storing vast quantities of food. By the Green Period (2700–2400 BC), the city expanded further northward with new retaining walls, extended defenses, redesigned gates, and a carefully laid-out road system with squares and wells, reflecting a thriving and increasingly complex urban society.

One of the most intriguing aspects of Poliochni is the evidence of democratic structures within its society. Central to this is the “Bouleuterion,” a communal meeting space that points to the practice of collective decision-making, It served as a gathering place for the city’s inhabitants to discuss and decide on matters of common interest, reflecting an early form of democratic governance.
https://www.thearchaeologist.org/blog/poliochni-of-lemnos-the-oldest-city-in-europe-and-a-cradle-of-democracy and Photo Credit: Amalia Spiliakou, July 2025

In the Red and Yellow Periods (2400–2100 BC), Poliochne contracted in size but reached a peak in monumental architecture. This was the era of the first megarons, rectangular halls that may have served as proto-palatial residences or civic buildings, such as Megaron 832 and Megaron 317. The city’s centerpiece in the Yellow Period was Megaron 605, a grand structure with storerooms situated on a central square, thought to have been the seat of a ruler or elite household. The discovery nearby of a golden hoard, comparable to treasures unearthed at Troy, underscores Poliochne’s wealth and regional importance. A well-preserved network of streets, including a main north–south thoroughfare, demonstrates advanced urban planning. Yet, around 2100 BC, a devastating earthquake destroyed much of the settlement, leading to its gradual decline. Later phases, the Brown and Purple Periods (2100–1200 BC), saw only sparse occupation without the monumental scale of earlier centuries, marking the fading of one of Europe’s earliest urban centers.

Archaeological excavations at Poliochne began in the 1930s under the direction of the Italian School of Archaeology at Athens, led by Alessandro Della Seta, who uncovered nearly two-thirds of the site between 1931 and 1936. These pioneering investigations revealed the multi-phased settlement and established Poliochne as one of the earliest urban centers in Europe. Further campaigns were carried out between 1951 and 1956 by Luigi Bernabò Brea, whose detailed publications systematized the site’s stratigraphy and architectural sequence. Renewed work in the late 20th century, under Sandro Tiné, combined excavation with architectural restoration and conservation, re-examining earlier findings with modern methods. Today, the site remains an exemplary case of early Aegean archaeology, where stratigraphic precision and long-term international collaboration have illuminated the development of urban life in the prehistoric Aegean.

For a PowerPoint Presentation of the Bronze Age Seplement of Poliochne, please… Check HERE!

Bibliography: http://odysseus.culture.gr/h/3/eh351.jsp?obj_id=2534 and https://www.greeknewsagenda.gr/poliochne-on-the-island-of-lemnos-the-earliest-evidence-of-social-and-civic-structure-in-europe/ and https://sites.dartmouth.edu/aegean-prehistory/lessons/lesson-7-narrative/

Head of Aphrodite of the Aspremont-Lynden/Arles type 

by Ancient Greek ArtArchaeologyArtByzantiumEarly Christian ArtEducationGreek ArtRoman ArtSculptureSocial StudiesStudent ActivitiesWorksheets
Head of Aphrodite of the Aspremont-Lynden/Arles type, 1st c. AD copy of an original 4th century BC work by Praxiteles, Marble, possibly Parian (Marathi), Height: 32 cm, National Archaeological Museum, Athens, Greece
https://blogs.getty.edu/iris/the-christian-empire-that-grew-from-classical-roots/

The Head of Aphrodite of the Aspremont-Lynden/Arles type, housed in the National Archaeological Museum in Athens, offers a compelling glimpse into the classical ideals of beauty and divinity shaped by the legacy of Praxiteles. As a copy of a lost 4th-century BC original, possibly the first known depiction of Aphrodite with a nude upper body, this sculptural type reflects the evolving representation of the goddess, bridging the serene sensuality of the Aphrodite of Knidos with the more voluptuous forms of later works like the Aphrodite of Melos. The surviving head, now divorced from its torso, carries echoes of a refined, yet idealized femininity that would influence Roman and Renaissance aesthetics alike. Its later restoration by François Girardon, under the patronage of Louis XIV, introduced symbolic elements like the mirror and apple, both deeply charged with mythological meaning, underscoring not just Aphrodite’s divine allure, but also the enduring power of classical art to adapt to new cultural narratives. An incised cross on her forehead, likely added in the early Christian era, marks a moment when pagan imagery was recontextualized within a new religious worldview.

Carved from Parian marble, the Head of Aphrodite once belonged to an over-life-size statue of a clothed Aphrodite, though some scholars have suggested it may instead portray the famed courtesan Phryne due to its individualized features. The face, turned slightly to the right, is serene and harmonious, with soft, fleshy contours and delicately incised features: a smooth triangular forehead framed by parted curls, a broad nose (now broken), full lips, and a rounded chin. A thick bun gathers the hair at the nape, secured by a wide band. The eyes, beneath gently curved brows, show signs of deliberate Christian-era defacement, likely part of an effort to “close” the eyes and “silence” the mouth. A small, incised cross on the forehead reinforces this reinterpretation of pagan art within a Christian context, suggesting the statue may have been reused as a sacred image. Despite the damage, most notably to the nose and facial extremities, the head remains in relatively good condition and serves as a compelling testament to both the endurance of classical ideals and their transformation in later religious and cultural landscapes.

Head of Aphrodite of the Aspremont-Lynden/Arles type, 1st c. AD copy of an original 4th century BC work by Praxiteles, Marble, possibly Parian (Marathi), Height: 32 cm, National Archaeological Museum, Athens, Greece
https://x.com/ArysPan/status/1513155769000247301/photo/1

The statue’s discovery near the Clock of Andronikos Kyrrhestes in the Roman Agora of Athens further grounds it in the layered urban fabric of ancient Athens, where temples, markets, and later churches coexisted and often repurposed one another’s remains. This setting, close to the sanctuary of Aphrodite and Eros on the north slope of the Acropolis, reinforces the likelihood that the statue originally served a votive or cultic function. The artistic style—marked by its naturalistic modeling, graceful asymmetry, and subtle anatomical details like the “Venus rings” on the neck—embodies the Praxitelian ideal of ethereal beauty softened by human warmth. In this way, the head is not only a remnant of a once-complete devotional image but also a rare survivor of artistic transitions: from Classical to Hellenistic, pagan to Christian, and ultimately, from sacred object to museum artifact.

For a Student Activity, please… Check HERE

Bibliography: https://blogs.getty.edu/iris/the-christian-empire-that-grew-from-classical-roots/ and https://collections.louvre.fr/en/ark:/53355/cl010277986

Hephaistia on the island of Lemnos

by Ancient Greek ArtArchaeologyArtEducationGreek ArtPowerpoints
Ancient Theater of Hephaistia, late 5th to early 4th century BC, Lemnos Island, Greece
One of the most important monuments of Lemnos, this theater reflects the transition from the Classical to the Hellenistic world, later remodeled during the Roman period.
Photo Credit: Amalia Spiliakou, July 2025

When I visited the ancient city of Hephaistia on the island of Lemnos in July 2025, the quiet hills and open sea breeze made it easy to imagine how myth and daily life once blended here. Named after Hephaestus, the god of fire and metallurgy who, according to legend, fell to Lemnos after being cast from Olympus, the city was the island’s principal center of power and worship. Today its ruins still speak volumes: the stone outlines of sanctuaries and houses, the tombs that reveal centuries of life, and the well-preserved theater that once echoed with civic gatherings and performances. To walk through Hephaistia is not only to step into a serene landscape but also to encounter a city that thrived from the Late Bronze Age through the Byzantine era, balancing myth, religion, and community in a way that remains profoundly compelling.

Hephaistia was once the most important city of Lemnos, rivaling the nearby settlement of Myrina. Its strategic position overlooking the northern Aegean not only provided natural protection but also allowed it to thrive as a gateway for trade, culture, and religious influence. It became both a political hub, where decisions shaping the island were made, and a sacred site intimately tied to the cult of Hephaestus, whose fiery craft was thought to resonate with the island’s volcanic landscape. Archaeological discoveries confirm continuous habitation for centuries, revealing a layered history of prosperity and resilience. The diversity of remains — from private homes and storerooms to public baths, temples, and meeting spaces — paints a picture of a bustling, interconnected community. Hephaistia was not merely a seat of power but also a place where religious rituals, artistic performances, and everyday exchanges intertwined, embodying the rhythms of civic life in antiquity.

The site’s most striking feature is its ancient theater, an elegant structure carefully restored and still able to convey the sense of grandeur it must have radiated in antiquity. Standing there today, it is easy to imagine the rows filled with citizens gathering for performances, debates, and rituals that reinforced the city’s identity. The theater’s semicircular form, perfectly attuned to the surrounding landscape, frames a view toward the sea, giving performances a backdrop as dramatic as the plays themselves. From its stone tiers, one can almost hear the echoes of voices that once rose into the open air, carrying words of tragedy, comedy, and civic discourse. Around this centerpiece lie the ruins of temples, altars, and burial sites, which together provide a vivid window into the spiritual and social fabric of the city. Excavations have also uncovered ceramics, inscriptions, and structural remains, each artifact adding detail to Hephaistia’s long history, from its Bronze Age foundations to its significance under Roman rule. For today’s visitors, these ruins are more than silent stones; they are a tangible bridge between myth and history, where ancient legend is grounded in the enduring presence of place.

What impressed me most was the atmosphere of the place: quiet, open, and touched by the Aegean winds. Unlike busier archaeological sites in Greece, Hephaistia retains a sense of tranquility that invites reflection. Standing in the theater, looking out toward the sea, I felt connected not just to the myths of Hephaestus but also to the generations of people who once called this city home. It is a site that combines scholarly richness with an emotional pull, offering both education and inspiration to those who walk its paths.

The ancient city of Hephaistia is more than a collection of ruins, it is a living reminder of how mythology, community, and history intertwine. For travelers interested in both the educational depth of archaeology and the personal resonance of travel, the city offers a unique and rewarding experience. My walk among its stones left me with a profound sense of connection, to myth, to history, and to the enduring spirit of Lemnos.

For a PowerPoint Presentation, please… Check HERE!

Bibliography: https://greekreporter.com/2025/08/01/hephaistia-ancient-greek-city-limnos/ and https://en.wikipedia.org/wiki/Hephaestia and https://efales-lem.gr/en/ancient_site/%CE%B7%CF%86%CE%B1%CE%B9%CF%83%CF%84%CE%AF%CE%B1/

Kylix with a School Boy

by Ancient Greek ArtArchaeologyArtGreek ArtPotterySocial StudiesStudent ActivitiesWorksheets
Terracotta kylix (drinking cup), Attributed to the Painter of Munich 2660, ca. 460 BC, Terracotta, Red Figure, 7×20 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/250548

On September 11, as Greek students step into classrooms to begin the 2025–26 academic year, it feels fitting to look back, far back, to what might have been another ‘first day of school’ in antiquity. The Kylix with a School Boy, attributed to the Painter of Munich 2660 and now housed at The Metropolitan Museum of Art in New York, portrays a young boy carrying his writing tablet. More than two millennia later, his composed walk to class still speaks to a timeless truth: the anticipation, curiosity, and quiet rituals of learning are as old as civilization itself.

The Terracotta Kylix with Schoolboys, attributed to the Painter of Munich 2660 by Beazley, an unknown Greek red-figure painter of the early Classical period, offers a vivid glimpse into the routines and playfulness of ancient education. On the interior, a single schoolboy walks purposefully, carrying a hinged writing tablet by its handle, the tying string carefully rendered by the artist. Dressed in a himation and crowned with a wreath, he embodies the dignity of the student role, yet also the ritualized formality of Athenian youth. The precision in depicting the tablet’s details reminds us of the centrality of writing and record-keeping in Greek learning, even in the mid-5th century BC.

The exterior scenes expand the narrative into small, lively vignettes. On one side, two boys, one holding a manuscript roll, the other a tablet, approach a seated “teacher” grasping a stick, who appears identical in age and attire to his pupils, hinting that this may be a game of role reversal. On the other, a standing ‘teacher’ offers a short branch, perhaps a symbolic prize, to the head of the class, while another boy waits patiently with his walking stick. Mantles and wreaths adorn all the figures, blurring distinctions between play and instruction. In both scenes, the kylix captures not only the tools and gestures of ancient schooling but also the social interplay, imitation, and camaraderie that have always been part of the learning experience.

The Metropolitan Museum Kylix with Schoolboys reflects an aesthetic of modest charm rather than meticulous precision. Its scenes, while simply composed, convey a quiet narrative warmth: the boys, neatly draped in their himatia and crowned with wreaths, are rendered as polite, attentive pupils, slightly awed by their teacher. The painter, a successor to the tradition of Douris, specialized in cups showing boys and youths in calm, restrained poses, pleasing works that may lack distinction but exude an approachable grace. Characteristic details mark his hand: the small dot of the iris that often touches neither eyelid, the gentle downward curve of the mouth, the short, rhythmic strokes shaping the hair around face and neck, the continuous line defining the fingertips, and the single sweeping curve for the ankle. Though not executed with the highest refinement, the kylix’s aesthetic lies in its unpretentious storytelling, making it a quietly endearing example of early Classical vase painting.

For a Student Activity inspired by the Metropolitan Museum of Art Kylix, please… Check HERE!

Bibliography: Red-Figured Athenian Vases in the Metropolitan Museum of Art, Vol. 1 and 2, by Gisela M. A. Richter, Pages: 136-137 https://books.google.gr/books?id=M85NBgAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&redir_esc=y#v=onepage&q&f=false and https://www.metmuseum.org/art/collection/search/250548

Bust of a Lady

by ArchaeologyArtEarly Christian ArtGreek ArtMuseumsSculptureStudent ActivitiesWorksheets
Bust of a Lady, circa 410 AD, from an Asia Minor workshop, possibly in
Aphrodisias, circa 410, white Phrygian (Dokimion) Marble, Height: 56 cm, Archaeological Museum of Chania, Greece

In the Archaeological Museum of Chania on the island of Crete, the Bust of a Lady offers a rare window into the shifting artistic and cultural values of the Late Roman and Early Christian period through the medium of female portraiture. During this era, women’s portraits began to diverge from classical Roman realism and overt displays of status, embracing a more stylized, introspective aesthetic aligned with emerging Christian ideals. Features such as large, contemplative eyes and serene expressions came to symbolize inner virtue and spiritual depth. While hairstyles and clothing still hinted at social rank, they also reflected increasing modesty, mirroring broader societal transformations.

This particular bust depicts a woman of aristocratic beauty in the prime of her life, aged approximately 25 to 30. She is shown frontally, with her neck gently turned to the right, lending the portrait a poised and lifelike presence. Her oval face is framed by a tall forehead, almond-shaped eyes once inlaid with rose-colored glass, small full lips, and a strong chin—features that convey both grace and inner fortitude. A decorative band of twenty-two stylized curls runs across her forehead and temples, while four braids crown her head, testifying to her refined appearance.

She is draped in a heavy himation falling in deep, classical folds over a lighter chiton, a detail that evokes the sculptural traditions of earlier periods and enhances the portrait’s intellectual elegance. Although her left shoulder is only partially modeled, the form suggests the bust was designed for a niche setting, likely within a private villa, where such an omission would remain unseen. The combination of fine craftsmanship, classical references, and material opulence speaks to both her high status and the enduring artistry of late Roman Crete.

Although initially dated between the 2nd and 4th centuries, recent scholarship proposes a more precise date in the early 5th century, during the reign of Theodosios II (c. 410 AD). This dating is based on strong stylistic parallels with imperial portraits of Valentinian II and Theodosios II, and the bust is thought to have originated in an Asia Minor workshop, likely Aphrodisias. If correct, this attribution provides rare evidence of continued cultural and artistic exchange between Crete and Constantinople following the catastrophic earthquake of 365 AD.

This striking portrait, crafted from fine-grained marble was unearthed in 1982 in Nea Chora, a neighborhood of modern Chania that once formed the western sector of ancient Kydonia. Found in unstratified fill, it lacks a secure archaeological context. Nonetheless, the area was continuously inhabited from the Roman to early Byzantine periods, and the sculpture’s discovery in a historically wealthy district known for luxurious homes supports the notion that it belonged to an elite and culturally vibrant community.

While Crete is most famously celebrated for its Bronze Age Minoan civilization, the island also enjoyed a remarkable cultural resurgence under Roman rule, a period that produced refined works of art like the Bust of a Lady in the Archaeological Museum of Chania. In a region often viewed through the lens of its ancient past, the portrait from Kydonia invites us to appreciate the island’s lesser-known legacy: a vibrant late antique society that continued to engage with the broader currents of imperial art, identity, and belief.

For a Student Activity inspired by the Bust of a Lady in the Archaeological Museum of Chania, please… Check HERE!

Bibliography: Heaven & Earth, Edited by Anastasia Drandaki, Demetra Papanikola-Bakirtzi, Anastasia Tourta, Exhibition Catalogue, Athens 2013 https://www.academia.edu/3655015/Heaven_and_Earth_Art_of_Byzantium_from_Greek_Collections_edited_by_Anastasia_Drandaki_Demetra_Papanikola_Bakirtzi_and_Anastasia_Tourta_Exh_cat_Athens_2013_238_9_275 Pages: 56-57 and https://amch.gr/collection/eikonistiki-protomi-astis-l-3176/

Angelos Giallinas

by 19th century Art20th century ArtArtGreek ArtNeohellenic ArtStudent ActivitiesUncategorizedWorksheets
Angelos Giallina, Greek Artist, 1857 – 1939
The Parthenon, Watercolour over Pencil, 273 by 455 mm, Private Collection
https://www.sothebys.com/en/buy/auction/2024/royal-noble/the-parthenon?locale=en

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

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

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

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

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

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

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

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

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

Byzantine Engagement Ring in the Stathatos Collection

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

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

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

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

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

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

Ancient Greek Gold Phiale

by Ancient Greek ArtArchaeologyArtGreek ArtPowerpoints
Libation Bowl (phiale mesomphalos), Greek, Late Orientalizing Period, about 625 BC, Gold, Diameter: 15 cm, MFA Boston, USA https://collections.mfa.org/objects/238352/libation-bowl-phiale-mesomphalos?ctx=7a1910d2-cc14-430a-99b9-d503c1d5b7f3&idx=6

Radiant and evocative, the Ancient Greek Gold Phiale housed at MFA Boston stands as a striking emblem of ancient ritual and artistry. Crafted for sacred libations, this exquisite artifact invites us to step into a world where art and myth intertwine, much like the stirring verse of Homer: ‘Thither, prince, do thou draw nigh, as I bid thee, and dig a pit of a cubit’s length this way and that, and around it pour a libation to all the dead, first with milk and honey, thereafter with sweet wine, and in the third place with water, and sprinkle thereon white barley meal’ (Homer 10.520). This resonant call to ceremony not only reflects the spiritual significance of ritual offerings in ancient Greece but also enhances our understanding of the Phiale’s role as both a functional vessel and a work of art. Discover more about this captivating piece in MFA Boston’s collection by posing questions beginning with ‘who,’ ‘what,’ ‘when,” and “where” and uncover the artwork’s historical background, artistic significance, and the narrative behind its creation.  https://anastrophe.uchicago.edu/cgi-bin/perseus/citequery3.pl?dbname=GreekNov21&query=Hom.%20Od.%2010.496&getid=2

The gold Libation Bowl, known as ‘Mesomphalos Phiale’ at MFA Boston, is an exquisite example of ancient Greek ritual art. Crafted entirely in gold, this libation bowl boasts a gracefully curved form and simple decorative details that highlight both its functional and ceremonial roles. According to MFA experts, this is ‘one of the earliest surviving vessels of precious metal in this form and a rare example in gold this phiale is simply decorated, segmented into nine lobes and embellished with bands of beading on parts of the interior. The surface has been left mostly plain, highlighting the intrinsic splendor of the lustrous material. On the exterior, just below the rim, an incised inscription in archaic Corinthian dialect reveals the donors. Its refined design and meticulous craftsmanship not only reflect the technical prowess of Archaic Greek metalworkers but also serve as a tangible reminder of the spiritual and cultural traditions that once permeated everyday life. https://collections.mfa.org/objects/238352/libation-bowl-phiale-mesomphalos?ctx=7a1910d2-cc14-430a-99b9-d503c1d5b7f3&idx=6

Who were the sponsors of the Greek MFA Phiale, and What can we infer about their historical and social significance? Based on an inscription, just below the rim of the phiale, the sponsors of the Gold ancient Greek bowl, are the sons of Kypselos, a prominent figure in ancient Greece, known for his role as the first tyrant of Corinth during the 7th century BC. He took control of the city-state from its king by a coup in 657 BC and was succeeded thirty years later by his son, Periander, who was considered one of the Seven Sages of Greece. His second son, Gorgus became the first tyrant of the Corinthian colony Ambracia on the Ionian Sea coast. The patronage of Kypselos and his sons emphasizes  their social and political influence in Corinthian society, underscoring their prominence and role in religious and civic Greek life during the time. Their sponsorship not only highlights their influential status in ancient Greek society but also reflects the importance of religious and civic dedications during that period.

What is the significance of the inscription on the exterior side of the MFA Gold Phiale? On the exterior side of the phiale, just below the rim, an incised inscription in Archaic Corinthian dialect reads: ‘Ϙυψελίδαι ἀνέθεν ἐξ Ἐρακλείας’ in translation to English, ‘The sons of Kypselos dedicated [this bowl] from Heraklea.’ The inscription noting that it was dedicated by the sons of Kypselos from Heraklea links the artifact to a historically significant family, thereby providing further insight into the social and political context of its time. It was probably made at Corinth, and was financed, according to the inscription, by the spoils of a battle fought at a place called Heraklea. This combination of artistic excellence and cultural symbolism makes the phiale a compelling object of study within the MFA Boston collection.

What is an ancient Greek Mesomphalos Phiale? In ancient Greece, pouring libations of wine or oil onto hallowed ground was a profound act of offering to the gods, a ritual that spurred the development of specialized ceremonial vessels. One notable example is the Mesomphalos Phiale—a handless, footless bowl defined by a central, swollen “navel-like” feature that not only enhances its aesthetic appeal but also imbues the vessel with symbolic significance. Its design, echoing the sacred centrality of the Omphalos at Delphi, underscores themes of cosmic balance and serves as a focal point in religious ceremonies. Adorned with intricate decorative motifs, the phiale was both a functional tool for the libation ritual and an embodiment of the ancient Greek ideals of harmony and proportion.

How does the design and craftsmanship of the ancient Greek Gold Mesomphalos Phiale at the MFA Boston embody the ancient Greek ideals of harmony and balance? The ancient Greek Gold Mesomphalos Phiale at the MFA Boston is a remarkable fusion of artistry and craftsmanship, showcasing the high level of skill achieved by ancient artisans. Made from finely hammered gold, this shallow, wide bowl is simply decorated, segmented into nine lobes and embellished with delicate beading adorning some sections of its interior. The smooth, flat surface accentuates its clean lines and symmetrical form. Its well-preserved condition allows viewers to appreciate the intricate detailing, which reflects both the technical expertise and the aesthetic sensibilities of the time, epitomizing the elegance and sophistication of ancient Greek art. The object’s simplicity and symmetrical form also convey a sense of harmony and balance, hallmarks of Greek artistic ideals.

How was the Mesomphalos Phiale handled and used during ancient Greek libation rituals? During ancient Greek ceremonies, the Mesomphalos Phiale was treated with great reverence and care, reflecting its dual role as both a functional libation bowl and a sacred symbol. For a more detailed exploration of its ritual use and embodied significance, please refer to “The Greek Libation Bowl as Embodied Object” by Milette Gaifman. chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://classics.osu.edu/sites/default/files/2022-09/Gaifman_Libation%20Bowl%20as%20Embodied%20Object.pdf

Where was the discussed MFA Gold Phiale discovered, and how did it come to be acquired by the MFA Boston? The Gold Phiale at the MFA Boston is believed to have originated in 1010Olympia, discovered around 1916 near the ancient sanctuary. Records indicate it was found east of the Altis—between the stadium and the river Alpheios—in an area where winter rains had formed a small torrent. The artifact came into the possession of Mr. D. K. Tseklenis and Mr. Stratos of 34 Bromfield Street, Boston, and was subsequently purchased by the MFA on September 1, 1921, for $8,000. While additional details on its complete provenance remain limited, its discovery in Olympia underscores its importance as a significant piece of ancient Greek art and religious practice.

For a PowerPoint Presentation of the Mesompalos Phiale in Ancient Greece, please… Check HERE!

Flight after the Massacre of Psara

by 1821-Greek Independence Day19th century ArtArtGreek ArtNeohellenic ArtPowerpoints
Nikolaos Gyzis, Greek Artist, 1842-1901
Fuite après le massacre de Psara (Flight after the Massacre of Psara), c. 1896, Oil on Canvas, 37,5 x 30,5 cm, Private Collection https://www.bonhams.com/auction/29818/lot/4/nicholaos-gysis-1842-1901-fuite-apres-le-massacre-de-psara/

Nikolaos Gyzis’ poignant painting Fuite après le massacre de Psara (Flight after the Massacre of Psara) captures the haunting aftermath of one of the most devastating events of the Greek War of Independence. The destruction of Psara in 1824 by Ottoman forces marked a tragic moment in Greek history, leaving the island in ruins and its people displaced. Gyzis, deeply inspired by his homeland’s struggles, translates this historical trauma into an evocative visual narrative of despair and resilience. His painting resonates with Dionysios Solomos’ immortal lines: Στῶν Ψαρῶν τὴν ὁλόμαυρη ράχη / Περπατῶντας ἡ Δόξα μονάχη. / Μελετᾷ τὰ λαμπρὰ παλληκάρια, / Καὶ ‘ς τὴν κόμη στεφάνι φορεῖ / Γινομένο ἀπὸ λίγα χορτάρια / Ποῦ εἰχαν μείνῃ ‘ς τὴν ἔρημη γῆ. (On the all-black ridge of Psara / Glory walks by herself taking in / the bright young men on the war field / the crown of her hair wound / from the last few grasses left / on the desolate earth. https://en.wikipedia.org/wiki/Destruction_of_Psara)

One of the most renowned Greek painters of the 19th century, Nikolaos Gyzis was born on the Cycladic island of Tinos, known for its rich artistic tradition. Coming from humble beginnings, Gyzis pursued art education at the School of Arts in Athens before continuing his studies at the prestigious Academy of Fine Arts in Munich, where he later became a professor. Settling in Munich, Gyzis emerged as a prominent figure in the Munich School, a movement characterized by its academic rigor and emphasis on naturalism and realism. Throughout his illustrious career, he received numerous awards and honors, cementing his reputation both in Greece and abroad. Despite his strong ties to Germany, Gyzis maintained a deep connection to his Greek heritage, often incorporating national themes into his work. His artistic journey reflects not only technical mastery but also a continuous quest for innovation and transcendence of academic traditions.

The artist’s oeuvre is a testament to his technical brilliance and profound spirituality. While his early works focused on detailed genre scenes, captivating portraits, and luminous still lifes, his later creations reveal a shift toward idealism and symbolism. Gyzis masterfully blended his solid academic foundation with a deep sense of imagination, allowing his works to transcend mere realistic depiction. His paintings often explored themes of human emotion, faith, and metaphysical ideas, with works such as Eros and the Painter and The Secret School exemplifying this evolution. The vibrant interplay of light and shadow in his compositions enhances the emotional depth of his pieces, while his careful attention to detail showcases his skill as a draftsman. In his final years, Gyzis embraced symbolic elements, imbuing his art with a spiritual and allegorical quality that left a lasting impact on Greek art and established him as a pioneer of modern Greek painting.

Nikolaos Gyzis’ Fuite après le massacre de Psara (Flight after the Massacre of Psara), c. 1896, is a powerful tribute to the resilience of the human spirit amid devastation. The painting portrays a young mother fleeing the ruins of Psara with her infant, embodying both personal and collective grief after the island’s brutal destruction by Ottoman forces in 1824. The composition showcases Gyzis’ mastery in balancing emotional depth with painterly elegance. The tall, sculptural figure of the mother, with her dark silhouette rooted in Byzantine “Mother and Child” iconography, radiates solemnity and strength. Her infant, rendered in a luminous patch of white against the earthy palette, symbolizes hope and purity amidst the despair. Through warm, dynamic brushstrokes and restrained detail, Gyzis achieves a composition of timeless grandeur, blending intimate storytelling with a symbolic meditation on survival, motherhood, and the enduring connection to homeland.

This painting draws thematic and stylistic parallels with Gyzis’ renowned works, such as Tama (Offering) and After the Destruction of Psara (1896). Like these masterpieces, Fuite après le massacre de Psara transcends its historical context to evoke universal ideals of nationhood and freedom. The absence of idealization lends the work an authenticity that heightens its emotional impact, while the romantic disposition and economy of detail reflect Gyzis’ concern with purely pictorial issues. The work’s dramatic contrasts—between light and shadow, motion and stillness—further enhance its poetic quality. By elevating the plight of a single mother to a symbol of collective suffering and resilience, Gyzis transforms the painting into a poignant ode to sacrifice and the enduring human spirit, resonating deeply with themes of national pride and cultural identity.

For a PowerPoint Presentation on Nikolaos Gyzis’s oeuvre, please… Check HERE!

Bibliography: https://www.bonhams.com/auction/29818/lot/4/nicholaos-gysis-1842-1901-fuite-apres-le-massacre-de-psara/

Tomb of the Philosophers

by Ancient Greek ArtArchaeologyArtGreek ArtHellenistic ArtPowerpoints
Tomb of Philosophers, c. 300 BC, Fresco Paintings, Pella, Greece
West Wall: Main figural frieze showing a man in a red himation with a wooden rod, pointing at a blue globe. North Wall: On the right side of the photo, a bearded man is depicted, absorbed in reading a papyrus roll. South Wall: On the left side of the photo, another wreathed, bearded ‘philosopher’ is vividly presented.
https://www.palaceofpella.gr/ancient-pella-the-areas-and-the-monuments/?lang=en

Nestled in the heart of ancient Pella, the Tomb of Philosophers stands as one of the most remarkable and enigmatic funerary monuments in Greece, dating back to circa 300 BC. As one of the largest cist-graves ever discovered, its unique decoration sets it apart from any other known ancient tomb. The six figures depicted on its walls, reminiscent of later Roman gatherings of philosophers, provide the earliest known portrayal of an intellectual tradition that links Pella’s vibrant cultural life to the Late Classical period. Among these depictions, a celestial globe suggests the deceased may have been a philosopher with an interest in astronomy or a patron of intellectual pursuits. Above them, scenes of horsemen and grave steles evoke Homeric funeral games, connecting the tomb to the epic, heroic past. The tomb’s intricate design and profound symbolism reflect the high level of cultural and intellectual development that defined ancient Pella, where philosophy and the sciences were integral to a humanist education.

Let’s explore the ‘who’, ‘where”, ‘when’ and ‘what’ of this amazing Hellenistic tomb by posing some questions!

Where is the Tomb of Philosophers located in ancient Pella? The Tomb of Philosophers is located in the ancient city of Pella, which was once the capital of the Macedonian Kingdom in northern Greece. Pella is situated in the region of Central Macedonia, approximately 40 kilometers west of modern-day Thessaloniki. Located in the region of the so-called Eastern Cemetery of Pella, the Tomb is situated just outside the city’s eastern walls. This area, used for burials from the mid-4th century BC until the early 1st century BC, became a principal necropolis following Pella’s major expansion in the late 4th century BC. The Eastern Cemetery is notable for its diverse funerary architecture, with cist graves being a predominant feature. These graves, often arranged in clusters and surrounded by enclosures with sculpted monuments, reflect the wealth and social complexity of the era. The Tomb of Philosophers (the burial chamber is 4.40 m long, 1.95 m wide and 3.00 m high) stands out among these for its exceptional decoration and significance, providing insight into the intellectual and cultural achievements of ancient Pella during its peak.

What is a Cist Tomb? A Cist Tomb is a type of ancient burial structure characterized by its box-like design, typically made of large stone slabs forming the walls, floor, and roof, or sometimes constructed with wood. These tombs were often hewn directly into rock or built within shallow pits and were commonly used for single or multiple burials. Frequently found in ancient cemeteries, cist tombs often contained grave goods such as pottery, jewelry, or personal items meant to accompany the deceased into the afterlife. In Pella’s Eastern Cemetery, Cist Tombs were a prominent feature, reflecting the wealth, social status, and cultural sophistication of the individuals buried within them.

Who was the owner of the Tomb of Philosophers located in ancient Pella? The owner of the Tomb of Philosophers in ancient Pella remains unknown, but the burial context offers intriguing insights. The tomb contained the remains of three individuals: a man in his forties, a woman in her thirties, and an infant. These findings suggest it was a family grave, likely serving as a resting place for multiple generations. The assumption that the family members died at different times aligns with the practice of reusing cist tombs over years, a common custom in ancient burial traditions. The artistic and intellectual significance of the tomb, combined with the presence of elaborate frescoes and symbolic elements such as a celestial globe, suggests the family belonged to the intellectual or social elite of Pella. The man, given the philosophical themes of the tomb, may have been a scholar, astronomer, or patron of knowledge, while the woman and infant reflect the familial connections integral to the tomb’s purpose.

What is depicted in the frescoes decorating the Tomb of Philosophers? The frescoes decorating the Tomb of Philosophers in ancient Pella are a testament to the intellectual and artistic sophistication of Macedonian society during the late Classical and early Hellenistic periods. The walls of the tomb feature a combination of architectural elements, ornamental motifs, and elaborate figurative compositions. These decorations reflect the philosophical and cosmological interests of the time, with the main iconographic theme centered around figures of literati or philosophers. The most striking element is a deep blue sphere depicted on the west wall, symbolizing celestial and cosmological themes, likely influenced by Aristotelian teachings and works like Aratus’s Phaenomena, written in Macedonia during the poet’s time at the court of Antigonus II Gonatas.

Tomb of Philosophers, South Wall, c. 300 BC, Fresco Paintings, Pella, Greece
https://x.com/ancientorigins/status/1585557691497418753

It is interesting to note that the Tomb frescoes illustrate the blending of symbolic and decorative elements to convey both personal identity and cultural values. The use of deep blue tones, floral patterns, and heroic imagery like galloping horsemen suggests a connection to both intellectual and heroic ideals. These visual elements not only commemorate the deceased but also serve as a testament to the vibrant intellectual and artistic achievements of ancient Pella, offering valuable insights into the social, philosophical, and aesthetic priorities of the Macedonian kingdom.

When was the Tomb of Philosophers discovered? The Tomb was unearthed in 2001 by the 17th Ephorate of Prehistoric and Classical Antiquities of Greece, under the leadership of its then-Director, Maria Lilimpaki-Akamati, alongside her team of collaborators.

For a PowerPoint of frescoes preserved in the Tomb of Philosophers in ancient Pella, please… Check HERE!

Bibliography: https://www.palaceofpella.gr/ancient-pella-the-areas-and-the-monuments/?lang=en and https://ejournals.epublishing.ekt.gr/index.php/tekmiria/article/view/36631/27647 and https://www.latsis-foundation.org/content/elib/book_18/pella_gr.pdf pp 185-186