Peter McIntyre’s Paintings of the Battle of Crete

by 20th century ArtArtPowerpointsSocial Studies
Peter McIntyre, Artist from New Zealand, 1910-1885
The Barge from Crete, 1941, Oils on Canvas, 746 x 635mm, New Zealand Archives.
https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

It began just after dawn on 20 May 1941. Many of the 7700 New Zealand soldiers stationed on Crete were finishing breakfast when hundreds of German transport aircraft – some towing gliders – rumbled in over the Mediterranean island. The air above was suddenly filled with parachutes as thousands of elite German paratroops began to descend from the sky. This was the start of what is known as the Battle for Crete. For 12 dramatic days New Zealanders, British, Australian, and Greek troops, assisted by Cretan civilians, tried to repel a huge airborne assault by the Germans. They almost succeeded. Peter McIntyre’s Paintings of the Battle of Crete provide a visual record of the events and scenes during the Battle of Crete. As an official war artist, McIntyre had the unique opportunity to witness the battle firsthand and capture its moments on canvas. These paintings serve as a historical document that helps us better understand the conditions, landscapes, and experiences of those involved in the battle. https://nzhistory.govt.nz/war/the-battle-for-crete/overview

Peter McIntyre (1910–1995) was a notable New Zealand artist known for his landscapes and depictions of rural scenes. He gained recognition for his ability to capture the natural beauty of New Zealand’s landscapes and the unique qualities of its light. McIntyre was born in Dunedin, New Zealand, and he displayed artistic talent from a young age. He attended the Dunedin School of Art and later studied at the Elam School of Fine Arts in Auckland. His early works were influenced by the Regionalist movement, which aimed to capture the essence of New Zealand’s unique landscapes and culture.

Self-portrait of Peter McIntyre
https://www.ww2wrecks.com/portfolio/1941-the-battle-for-mainland-greece-and-crete-through-the-paintings-of-peter-mcintyre-from-new-zealand

One of McIntyre’s significant accomplishments was his role as an official war artist during World War II. He was attached to the New Zealand Expeditionary Force and documented the experiences of New Zealand forces in various theaters of war, including Crete, North Africa, and Italy. McIntyre’s artistic contributions during this time were significant and provided a visual record of the war and its impact on the troops.

In Crete, McIntyre accompanied New Zealand forces during the Battle of Crete in 1941. He witnessed the intense fighting and documented the events through his paintings. McIntyre’s artwork from Crete captured the rugged terrain, the chaos of battle, and the resilience of the soldiers involved. His paintings conveyed the human side of war and reflected the courage, determination, and sacrifices made by the New Zealand forces.

The Blitz, Canea Crete area defended by New Zealanders, May 1941, Oils, 625 x 740mm, Archives New Zealand https://www.archives.govt.nz/images/the-blitz-canea-crete-area-defended-by-nz-ers-new-zealanders-may-1941

 McIntyre’s artistic interpretation of the battle brings a unique perspective to the historical narrative. His choices in composition, lighting, and focal points add an artistic layer to the historical record, encouraging viewers to engage with the events on both an intellectual and emotional level.
 
My favorite McIntyre painting of the Battle for Crete is titled The Barge from Crete! It illustrates, according to the New Zealand History Archives experts, the epic journey of a group of escapees who sailed an abandoned landing barge from Crete to Egypt. The 137-strong party, mostly Royal Marines, set out on 1 June. Nine New Zealanders were thought to be among this party, although the only one known by name was Private W.A. Hancox. He had been picked up 3 km offshore, paddling along on a plank of wood. https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

After the barge’s fuel ran out blankets were rigged as sails. To make sure these caught the breeze the men often had to jump into the water and push the nose of the barge in the right direction. Conditions on board were tough. Food supplies were rationed to half a tobacco tin of water and a teaspoon of bully beef per day. During the voyage, one soldier died of exhaustion, and another committed suicide. On 9 June, eight days after leaving Crete, the barge drifted ashore 24 km west of Sidi Barrani in Egypt. https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

Peter McIntyre’s paintings of the Battle of Crete are important as they combine historical documentation, personal perspective, emotional impact, artistic interpretation, and cultural memory. They help us remember, learn from, and emotionally engage with this significant moment in history.

For a PowerPoint of Peter McIntyre’s Paintings of the Battle of Crete, please… Check HERE!

Olympe de Gouges

by 18th century ArtArtFrench ArtRococoSocial StudiesStudent ActivitiesWorksheets
Alexander Kucharsky, 1741–1819
Portrait of Olympe de Gouges, 18th century, pastel on canvas, Private Collection https://commons.wikimedia.org/wiki/File:Olympe_de_Gouges.png

Yesterday, at seven o’clock in the evening, a most extraordinary person called Olympe de Gouges who held the imposing title of woman of letters, was taken to the scaffold, while all of Paris, while admiring her beauty, knew that she didn’t even know her alphabet… She approached the scaffold with a calm and serene expression on her face and forced the guillotine’s furies, which had driven her to this place of torture, to admit that such courage and beauty had never been seen before… That woman… had thrown herself in the Revolution, body, and soul. But having quickly perceived how atrocious the system adopted by the Jacobins was, she chose to retrace her steps. She attempted to unmask the villains through the literary productions which she had printed and put up. They never forgave her, and she paid for her carelessness with her head… wrote an anonymous Parisian who kept a chronicle of the 1793 events. https://en.wikipedia.org/wiki/Olympe_de_Gouges

Olympe de Gouges was a French playwright, novelist, and political activist who is best known for her writings on women’s rights and social justice. She was born Marie Gouze on May 7, 1748, in Montauban, France. Her mother, Anne Olympe Mouisset Gouze, was the daughter of a bourgeois family, but the identity of her father is ambiguous. Marie Gouze encouraged rumors that Jean-Jacques Lefranc, Marquis de Pompignan was her father, and their relationship is considered plausible but historically unverifiable.

In 1765, Olympe de Gouges married Louis-Yves Aubry, a man much older than her. The marriage was an unhappy one. In 1766 her husband died, and Olympe, funded by her wealthy friend, Jacques Biétrix de Rozières, moved to Paris in 1770 to pursue a career in writing. Described as one of the prettiest women in Paris, de Gouges socialized in fashionable society, attending the most artistic and philosophical salons of Paris. She wrote plays, novels, and pamphlets on a variety of topics, including women’s rights, slavery, and political reform. Her most famous work is the Declaration of the Rights of Woman and the Female Citizen, which she wrote in response to the Declaration of the Rights of Man and Citizen during the French Revolution.

She was an advocate for women’s suffrage and believed that women should have the same rights as men. She also spoke out against the slave trade and called for the abolition of slavery. De Gouges was an active participant in the French Revolution and supported the Girondists, a moderate political group. However, her views were unpopular with the radical Jacobin faction, and she was arrested and executed by the guillotine on November 3, 1793, during the Reign of Terror. De Gouges’ legacy as a feminist and social justice advocate has been recognized in recent years. Her name is now engraved on the Pantheon in Paris, a mausoleum that honors distinguished French citizens.

Declaration of the Rights of Woman and the Female Citizen, 1791
https://upload.wikimedia.org/wikipedia/commons/3/34/DDFC.jpg

Olympe de Gouges wrote The Declaration of the Rights of Woman and the Female Citizen in 1791, during the French Revolution. The revolution brought about a lot of discussion about individual rights and freedoms, and Gouges saw this as an opportunity to advocate for women’s rights as well. As a feminist writer and activist, who believed in the equality of men and women, Gouges was particularly concerned with the ways in which women were excluded from political and legal rights, and the ways in which they were treated as inferior to men in society. She believed that women were capable of reason and should be granted the same rights and opportunities as men.

The Declaration of the Rights of Woman and the Female Citizen was Gouges’ response to the Declaration of the Rights of Man and of the Citizen, which was passed by the National Assembly in 1789 and proclaimed the equality of all men. Gouges argued that this declaration did not go far enough and that women were also entitled to the same rights and freedoms. In her declaration, Gouges called for women to have the right to vote, to hold public office, and to receive education. She also argued that marriage should be based on mutual consent and that women should have the right to divorce if they wished. Her declaration was a radical and controversial document at the time, and it was not widely accepted by the French government or society.

Hoping to expose the failures of the French Revolution in the recognition of gender equality.. Houges’ The Declaration of the Rights of Woman starts…

Mothers, daughters, sisters, female representatives of the nation ask to be constituted as a national assembly. Considering that ignorance, neglect, or contempt for the rights of woman are the sole causes of public misfortunes and governmental corruption, they have resolved to set forth in a solemn declaration the natural, inalienable, and sacred rights of woman: so that by being constantly present to all the members of the social body this declaration may always remind them of their rights and duties; so that by being liable at every moment to comparison with the aim of any and all political institutions the acts of women’s and men’s powers may be the more fully respected; and so that by being founded henceforward on simple and incontestable principles the demands of the citizenesses may always tend toward maintaining the constitution, good morals, and the general welfare.

In consequence, the sex that is superior in beauty as in courage, needed in maternal sufferings, recognizes and declares, in the presence and under the auspices of the Supreme Being, the following rights of woman and the citizeness… https://revolution.chnm.org/d/293

For a Student Activity, please… Check HERE!

Consul Areobindus Dagalaifus Areobindus

by ArtByzantine ArtByzantine IvoriesByzantiumEarly Christian ArtPowerpointsSocial Studies
Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France (my amateurish attempt at Photography)

Devant une tribune, write the Cluny Museum Experts, paré de ses insignes, Areobindus est entouré d’assesseurs. La main droite levée, il lance les jeux avec la “mappa”, sorte de linge qui servait à signaler le début des jeux du cirque. En dessous sont représentés ces jeux : des gladiateurs combattent des animaux sauvages. On the 10th of May, 2023, I was in Paris, at the Cluny Museum, paying my respects to Consul Areobindus Dagalaifus Areobindus. It was a moment I will always cherish! https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

Let’s answer some questions starting with Who, What, Where, When, Why, and How…

What do we know about Late Roman / Early Byzantine Consular Diptychs? They were a form of ceremonial and commemorative artwork that originated in the late Roman Empire. They were created in the form of hinged wooden panels, often covered in ivory or other valuable materials. Consular diptychs typically consisted of two panels, known as leaves, which were decorated with relief carvings and inscriptions. These diptychs were presented as gifts to friends and supporters, by newly appointed consuls, who were the highest-ranking officials in the Roman Empire. They served as a record and celebration of their consulship. The inscriptions on the diptychs included the consul’s name, the names of the emperor or emperors in office during their consulship, and sometimes additional details such as the consul’s accomplishments or notable events from their term.

What do Consular Diptychs usually feature as their decoration? They often featured intricate and detailed relief carvings depicting various scenes, including mythological figures, military victories, and allegorical representations of virtues. These carvings were highly symbolic and conveyed messages of power, prestige, and legitimacy. Many consular diptychs have been lost or damaged. However, a number of surviving examples provide valuable insights into the art, culture, and political context of the late Roman / Early Byzantine Empire. They are significant historical artifacts that shed light on the individuals who held the highest offices in the Roman / Byzantine state.

Leaf of a Diptych with Consul Areobindus (detail upper part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Who was Consul Areobindus? Areobindus Dagalaifus Areobindus was a high-ranking Byzantine official and military leader during the reign of Emperor Anastasius I Dicorus (c. 431 – 518) in the 6th century AD. Areobindus was a scion of an extremely distinguished family of Roman and  Alanic-Gothic heritage. He was married to Anicia Juliana, the daughter of Olybrius, briefly the western Roman Emperor in 472, and his wife Placidia, thus, connecting Areobindus to the Theodosian dynasty. Along with his wife, considered to be the most aristocratic and the wealthiest inhabitant of Constantinople, Aerobindus spent a life of military and administrative distinction. In 506 AD, he served as consul of the Byzantine Empire. The consular office, though it had lost its administrative functions by this time, was still an important honorific title. The period of Areobindus’s consulship corresponded with the early period of Byzantine history, which was characterized by frequent wars with Sassanid Persia, the Germanic tribes, and other neighbors, as well as a flowering of Greek and Roman art and culture.

Leaf of a Diptych with Consul Areobindus (detail – faces), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

When was the Consular Diptych of Areobindus created? It was created in 506 AD, in Constantinople, when Areobindus was elected Consul of the Eastern Roman / Byzantine Empire.

How can the composition of Areobindus’s Diptych be described? Areobindus’s Consular Diptych is one of the best preserved and most intricately designed examples of Byzantine Consular Diptychs. Under the inscription C[omite] SAC[ri] STA[buli] ET M[agister] M[ilitum] P[er] OR[ientum] EX C[onsule] C[onsul] OR[dinarius] the artist of the Diptych presents Areobindus, in strict frontality, dressed in consular robes and holding the traditional symbols of the consul’s office, including a mappa circensis (a handkerchief with which the Consul gave the signal for the games to commence) and an elaborate scepter. Flanked by two of his assistants, the Consul is depicted presiding over the circus games sitting on a luxurious chair with curved legs and no back. The quality of the carving and the level of detail in this scene attest to the skill of the artist and the luxury of the object.

Leaf of a Diptych with Consul Areobindus (detail lower part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France
Leaf of a Diptych with Consul Areobindus (detail lower part with spectators), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

The lower part of the described Diptych depicts scenes of circus games, typically referred to as the venationes. These were staged hunts or fights involving wild animals, a popular form of public entertainment, at the time, alongside chariot races and gladiatorial combats. The venationes depicted in the Areobindus Diptych, showcase a range of exotic and dangerous animals, symbolizing both the consul’s power and the grand spectacle of the games themselves. It is a surprising, delightful scene. The artist exhibits originality, energy, and an unexpected variety of poses and gestures.

Why is the Consular Diptych of Areobindus significant? Simply put, it serves as an exceptional example of Early Byzantine artistry and craftsmanship. Its intricate relief carving depicts an important historical figure of the time, providing valuable insights into the iconography and symbolism of the era. It also serves as a tangible connection to the tradition of Consular Diptychs, which were presented as gifts to high-ranking officials or distributed during official ceremonies. It exemplifies the use of art and objects as a means of political communication and the display of status and authority during the Early Byzantine period.

Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Where is the Consular Diptych of Areobindus currently located? The Consular Diptych of Areobindus is an invaluable resource for historians studying the Byzantine Empire and the broader late antique period. It is an artifact that connects us directly with the people, events, and cultures of the past. It is part of the Louvre Museum Collection, but it is exhibited in the Cluny Museum, also known as the Musée National du Moyen Age, in Paris.

How can the Cluny Museum best be described? The Musée de Cluny, also known as the Musée National du Moyen Age, or the National Museum of the Middle Ages, is located in Paris, France. It is housed in two significant historic buildings: the 15th-century Hôtel de Cluny and the Gallo-Roman thermal baths dating back to the 3rd century. The museum is renowned for its extensive collection of medieval artifacts, including tapestries, sculptures, manuscripts, and metalwork. Its most famous work is arguably the “The Lady and the Unicorn” series of tapestries, a masterpiece of the late Middle Ages.

The architecture of the museum itself is notable. The Hôtel de Cluny is a fine example of late medieval secular architecture, with its Gothic-style features and well-preserved rooms. The adjacent thermal baths showcase the grandeur of Roman architecture and provide an interesting contrast. The museum is also known for its medieval-inspired gardens. These gardens are designed based on medieval texts and archaeological research and serve as a quiet oasis in the bustling city of Paris. As a whole, the museum provides a unique experience for visitors to immerse themselves in the rich history and culture of the Middle Ages, serving as a testament to the creativity, skill, and artistry of the period.

For a PowerPoint inspired by the Consul Areobindus Dagalaifus Areobindus BLOG POST, please… Check, HERE!

Photo Credits

https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n02.jpg

https://fr.m.wikipedia.org/wiki/Fichier:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n03.jpg

https://www.facebook.com/photo?fbid=600976638725848&set=pcb.600976745392504

https://www.facebook.com/photo/?fbid=3193819524018904&set=comment-f%C3%AAter-son-%C3%A9lection-en-remerciant-ses-plus-fid%C3%A8les-partisans-la-tradition

A Unique Tapestry in Bayeux

by 11th century ArtArtMedieval ArtPowerpointsSocial Studies
Bayeux Tapestry, c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France
https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/

Auspiciously a comet hangs / in the tabby linen / above King Harold    /    the way the Hale-Bopp / once in 1997 / blipped above the funeral parlor    /    the night before we buried / my cousin / You’ll never live to see this again    /    the aunties sighed the air thick / with peepers / while thirty-nine of    /    Heaven’s Gate Away Team / attempted to reach / the spaceship trailing    /    the comet’s wake / by swallowing / phenobarbital    /    mixed with applesauce— / that star-smear / across the sky no doubt    /    scrawling some sentence / from some holy book / no doubt signaling    /    another turn toward war / & further down / the tapestry ghost ships    /    cross a corrugated sea / horses midgallop / trample the woven acres    /    between king & king— / because all art once / was about conquest    /    history will remember / those horses  / even as time robs    /    the yarn of its dye / even as I place /  my hand to the glass… writes Jacques J. Rancourt, and I question…Is a Unique Tapestry in Bayeux true to Rancourt’s phrase… all art once / was about conquest…https://www.cincinnatireview.com/samples/a-detail-from-the-bayeux-tapestry-11th-c-by-jacques-j-rancourt/

Let’s answer some questions starting with Who, Where, When, What and Why…

What is the Bayeux Tapestry? The Bayeux Tapestry is in fact an embroidered linen cloth that is nearly 70 meters long and about 50 centimeters tall. It is embroidered with woolen yarns in various colors and depicts the events leading up to the Norman Conquest of England in 1066, as well as the Battle of Hastings itself. The Bayeux Tapestry is remarkable for its size, the detail of its embroidery, and its historical significance, and it has been studied and admired by scholars, historians, and art enthusiasts for centuries.

When was the Bayeux Tapestry created? The exact date of the creation of the Bayeux Tapestry is not known, but it is believed to have been created in the 1070s or 1080s, within a few years of the Norman Conquest of England in 1066.

Who created the Bayeux Tapestry? The creator of the Bayeux Tapestry is not definitively known, and the identity of the artist or artists who created it remains a mystery. However, it is believed that the tapestry was commissioned by Bishop Odo, the half-brother of William the Conqueror, and was probably created by skilled embroiderers and weavers in England or in the Normandy region of France, where Odo held significant power. The style of the embroidery and the subjects depicted in the tapestry suggest that it was likely created by artists who were familiar with the Anglo-Saxon and Norman artistic traditions of the time.

Bayeux Tapestry (detail with Odo, Bishop of Bayeux), c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France
https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/the-characters/

Why was the Bayeux Tapestry created? The exact reason for the creation of the Bayeux Tapestry is not known, but it is believed to have been created as a commemoration of the Norman Conquest of England in 1066. The tapestry tells the story of the events leading up to the Battle of Hastings and the Norman victory over the Anglo-Saxon army led by King Harold Godwinson. The tapestry may have also been created as a form of propaganda, to promote the legitimacy of William’s claim to the English throne and to portray the Anglo-Saxons in a negative light. Additionally, the tapestry may have served as a historical record of the events depicted, providing a visual account of the Norman Conquest for future generations.

Who are the main characters depicted in the Bayeux Tapestry? The Bayeux Tapestry depicts several main characters who played important roles in the events leading up to the Norman Conquest and the Battle of Hastings. Some of the main characters depicted in the tapestry include 1. Harold Godwinson, the Anglo-Saxon king, who was defeated by William the Conqueror at the Battle of Hastings. 2. William the Conqueror, the Norman leader who invaded England and defeated Harold Godwinson. 2. Edward the Confessor, the Anglo-Saxon king who died in 1066, triggering the succession crisis that led to the Norman Conquest. 3. Duke William’s Norman army, including his knights and soldiers. Anglo-Saxon soldiers, including Harold’s army. 4. Odo, Bishop of Bayeux, who is believed to have commissioned the tapestry and is depicted leading troops into battle. Other important figures, such as King Harold’s brothers, Earl Tostig and Earl Gyrth, and William’s half-brother, Bishop Odo. The tapestry also depicts various animals, scenes of battle and everyday life, and several Latin inscriptions that provide additional information about the events depicted.

Bayeux Tapestry (detail with William the Conqueror), c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/

Where did the events depicted in the Bayeux Tapestry take place? The events depicted in the Bayeux Tapestry primarily took place in England and Normandy, which are located in present-day France and England. The tapestry depicts the events leading up to the Norman Conquest of England in 1066, including the death of King Edward the Confessor, the coronation of Harold Godwinson as king, and the invasion of England by William the Conqueror and his Norman army. The tapestry also depicts the Battle of Hastings, which took place on October 14, 1066, in a location that is now known as Battle, East Sussex, England. Some scenes in the tapestry also show everyday life in England and Normandy, including scenes of hunting, feasting, and other activities.

Which events from the Norman Conquest are depicted in the Bayeux Tapestry? The Bayeux Tapestry depicts the events leading up to the Norman Conquest of England in 1066, as well as the Battle of Hastings itself. Some of the specific events and scenes depicted in the tapestry include: 1. The death of Edward the Confessor, the king of England, and the subsequent succession crisis that led to the Norman Conquest. 2. The journey of Harold Godwinson, the Anglo-Saxon king of England, to Normandy to meet with Duke William of Normandy and the subsequent oath of allegiance that Harold took to William. 3. The Norman invasion of England, including the landing of the Norman fleet at Pevensey and the building of a castle at Hastings. 4. The Battle of Hastings, including the preparations of the Norman and Anglo-Saxon armies, the events leading up to the battle, and the battle itself, including the death of Harold and the Norman victory. 5. The coronation of William the Conqueror as the king of England and his subsequent reign, including the building of castles and the suppression of rebellions. Overall, the Bayeux Tapestry provides a detailed visual record of the Norman Conquest, including the key players, events, and battles of the period, and has served as an important historical and cultural artifact for over 900 years.

Bayeux Tapestry, Harold’s, the Anglo-Saxon Earl of Wessex and King of England, Death at the Battle of Hastings, c. 1070, Εmbroidered Wool on Linen, about 68.3 meters long and about 70cm wide, Bayeux Tapestry Museum, France https://commons.wikimedia.org/wiki/File:Bayeux_Tapestry_scene57_Harold_death.jpg

Why is the Bayeux Tapestry considered an important work of art? The Bayeux Tapestry is considered an important art historical artifact for several reasons. Firstly, the tapestry is an outstanding example of the art of embroidery and was created using a combination of techniques, including stem stitch, outline stitch, laid work, and couching. The embroidery is executed in a range of colors, including various shades of red, blue, green, yellow, and brown, and uses different types of thread, including silk, wool, and linen. Secondly, the Bayeux Tapestry is a unique example of the fusion of Anglo-Saxon and Norman artistic traditions, which were combined to create a distinctive style. The tapestry features both Anglo-Saxon and Norman figures and incorporates elements of Anglo-Saxon and Norman art, such as the interlacing patterns and spirals of Anglo-Saxon art, and the use of naturalistic forms in Norman art. Thirdly, the Tapestry is an important example of narrative art, as it tells a coherent story through a series of scenes and images that captures the viewer’s imagination. Finally, this is an important cultural artifact that has had a significant influence on the development of art and design over the centuries

Where did the Bayeux Tapestry get its name from? / Who owns the Bayeux Tapestry today? The Bayeux Tapestry is named after the town of Bayeux in Normandy, France, where it has been kept for most of its history. The tapestry is believed to have been commissioned by Bishop Odo of Bayeux, who was the half-brother of William the Conqueror and a powerful figure in Normandy. It is thought that the tapestry was probably displayed in Bayeux Cathedral in the 11th century. The Bayeux Tapestry is currently owned by the Centre Guillaume le Conquérant in Bayeux, France, where it is on display in a museum called the Musée de la Tapisserie de Bayeux. This is considered a treasured cultural and historical artifact. The tapestry is protected by French law and is considered a national treasure of France. The tapestry is sometimes also referred to as the Bayeux Embroidery, as it is embroidered rather than woven like a traditional tapestry.

For a PowerPoint, on a unique Tapestry in Bayeux, please… Check HERE!

New Kingdom Temple Architecture

by ArtEgyptEgyptian ArchitectureEgyptian ArtLesson PlansPowerpointsSocial Studies
The Cult Temple of Amun-Ra, Hypostyle Hall, was begun by Ramesses I (19th Dynasty, 1292-1290), continued by his son, Seti I (19th Dynasty, 1306-1290 BC), and completed by Ramesses II (19th Dynasty, 1303-1213), Karnak, Egypt
https://www.worldhistory.org/image/12797/great-hypostyle-hall-columns-karnak/

Late in the Second Intermediate Period (ca. 1650–1550 B.C.), the Theban rulers (Dynasty 17) began to drive the Hyksos kings (Dynasty 15) from the Delta. This was finally accomplished by Ahmose I, who reunited Egypt, ushering in the New Kingdom—the third great era of Egyptian culture. Ahmose’s successors in Dynasty 18 conducted military campaigns that extended Egypt’s influence in the Near East and established Egyptian control of Nubia to the fourth cataract. As a result, the New Kingdom pharaohs commanded unimaginable wealth, much of which they lavished on their gods, especially Amun-Re of Thebes, whose cult temple at Karnak was augmented by succeeding generations of rulers and filled with votive statues commissioned by kings and courtiers alike. New Kingdom Temple Architecture is the next step in exploring the Art of Pharaonic Egypt!

Thebes became the cultural and religious capital of New Kingdom Egypt. The Pharaohs lavished their gods with luxurious Cult Temples and built their Mortuary Temples on Thebe’s west bank, where they were also buried in huge rock-cut tombs decorated with finely executed paintings or painted reliefs illustrating their everyday life, and religious texts concerned with the afterlife. For the talented artists working diligently for the Pharaohs, a town was established in western Thebes, where archaeologists discovered a wealth of information about life in an ancient Egyptian community of artisans and craftsmen. https://www.metmuseum.org/toah/hd/nking/hd_nking.htm

Known especially for monumental architecture, Cult and Mortuary Temples dedicated to Gods and Pharaohs, the New Kingdom, a period of nearly 500 years of political stability and economic prosperity, produced an abundance of architectural masterpieces we must explore… starting with our 4-Steps to Success… and an Essential Question… What did ancient Egyptian Temples represent?

Egyptian Temples were holy centers where priests served the gods (Cult Temples) and the memory of the diseased Pharaoh (Mortuary Temple). Cult Temples were the earthly houses of one or more deities. Egyptians believed that the worshiped God or Goddess lived within the statues kept in the Temple’s Sanctuary. Temples were also the centers where cultural knowledge was stored and curated in libraries and scriptoria.

Each Temple represents the universe as the ancient Egyptians understood it. To exemplify their point of view, Temple walls and Columns were divided into three zones. The lower zone, the closest to the ground, is decorated with “physical” images of the Egyptian land like plant motifs. The middle zone represents the world of the living. It is dedicated to the Pharaoh and presents scenes like the king conducting rituals and worshipping the gods. Finally, the third zone, the ceiling of the Temple, is covered in stars and constellations representing the world of their deities.

It is important to remember that ancient Egyptian Temples shared structural similarities, but they were also singular and distinctive. The beauty of their Architecture is that they evolved over Egyptian history like living organisms. They started as small edifices built of organic materials like river reeds, into large stone monuments. In places like Karnak, Luxor, and even Abu Simbel, they dazzle the viewer with their grandeur and splendor.

During a class period dedicated to New Kingdom Temple Architecture, we will discuss the specific characteristics each Cult Temple shared… the Pylon, the open Court, the Hypostyle Hall, and the Sanctuary. Two very unique Cult Temples, that of Amun-Ra at Karnak, and the Ramesside Temple of Abu Simbel will be presented and further investigated.

Mortuary Temples, equally important to Cult Temples, were places of worship dedicated to the Pharaoh and his cult under whom they were constructed. During the New Kingdom period (1539–1075 BC) the kings were buried in rock-cut tombs, in the Valley of the Kings in the area of western Thebes. Their Mortuary Temples, constructed in the vicinity of the royal tombs, served as depositories for gifts and food to the dead monarch. They were economically independent through endowments of estates and lands to ensure religious services and offerings in perpetuity and fully staffed with priests, to perform the necessary rituals. The finest example of a New Kingdom Mortuary Temple was commissioned by Hatshepsut (18th Dynasty, r. 1507-1458 BC) at Deir el-Bahri.

For the PowerPoint ‘The Art of the 2nd Intermediate Period’, please… Check HERE!

For the PowerPoint ‘New Kingdom Temple Architecture’, please… Check HERE!

For the New Kingdom Timeline, please… Check HERE!

Enjoy a Travel Video by Rick Steve titled Luxor, Egypt: The Karnak Temple Complex… https://www.youtube.com/watch?v=CqO4PE4uZhc  

Another Video about New Kingdom Architecture and the Karnak Cult Temple Complex by Manuel Bravo… https://www.youtube.com/watch?v=9_6inr3KLx0

A Khan Academy Video on the Mortuary Temple of Hatshepsut and Large Kneeling Statue, New Kingdom, Egypt, very informative and educational… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/mortuary-temple-of-hatshepsut-and-large-kneeling-statue-new-kingdom-egypt

The dynamic Middle Kingdom

by Ancient EgyptArtEducationLesson PlansPowerpointsSocial Studies
Model of a Boat from the Tomb of Meketre  12th Dynasty, ca. 1981–1975 BC, Wood, paint, plaster, linen twine, linen fabric, Length: 132.5 cm, the MET, NY, USA
https://en.wikipedia.org/wiki/Wooden_tomb_model#/media/File:Model_Paddling_Boat_MET_20.3.5_EGDP011930.jpg

The dynamic reunification of the Two Lands in ancient Egypt, in the period we call the Middle Kingdom, created new requirements for the Egyptian Pharaohs. No longer an aloof divine representative of the gods on earth, the king in the Middle Kingdom was expected to be more available to the people. This period also saw increased interactions with the outside world, the re-establishment of connections with Syria to the north and the establishment of forts reaching south deep into Nubia. Rich in literature (often of great knowledge and wit), this era also produced exquisite works of art. The cult of Osiris grew as did the number of Egyptians who could equip themselves for the afterlife, what we might recognize as a “middle class.” The dynamic Middle Kingdom represents an amazing period in Egyptian history worth exploring… https://smarthistory.org/middle-kingdom-and-second-intermediate-period-introduction/

During the Middle Kingdom, a period stretching from about 2040 to 1650 BC, Egyptian cultural principles were reimagined. We will start with my Steps to Success Lesson Plan Outline… our Goal is to “travel” through the Middle Kingdom timeline and discuss aspects of cultural and social developments, changes in religious perspectives, and new artistic viewpoints. Let’s not forget that the Middle Kingdom is considered by some scholars the ‘classical’ period of the ancient Egyptian era.

Credited with reuniting Egypt, Mentuhotep II of the 11th Dynasty, brought back peace and prosperity to Egypt and became the first Pharaoh of the Middle Kingdom. During the extended period of his reign, a unique burial complex in Deir el-Bahri was constructed, and a fresh style in Pharaonic representation took shape. By the end of the 12th Dynasty art production reached new heights in architecture, sculpture, painting, relief decoration, and jewelry.

Statues of Senusret or Sesostris or Senworset III, 12th Dynasty, c. 1878-1839 BC, Granodiorite, Height: 122 cents, British Museum, London, UK
https://en.wikipedia.org/wiki/Senusret_III  

If the art of the Old Kingdom appears majestic and confident, let’s not forget the solid stone pyramids, and the youthful, serene, self-assured statues of the pharaohs, the new Middle Kingdom era captivates us with its sense of maturity, and realism. The key development in art is the invention of the Portrait. The transition towards a humanizing tendency in portraiture is captivating. The Portrait of Senwosret III is a good example, as the ruler seems to have consciously chosen to represent his humanity rather than an idealized image of eternal kingship.

Fascinating is the Middle Kingdom’s penchant for symbolic jewelry. The cloisonné pectoral of Princess Sithathoryunet, for example, is astounding. Inlaid with 372 carefully cut pieces of semiprecious stones the pectoral presents us with high-quality craftsmanship and a new  Egyptian love for rendering detail… even on the back part of a jewelry piece, the part visible solely to the Egyptian who wore it!

Finally, the increase in the number of private monuments, like the rock-cut tombs in Beni Hasan, the lavish fresco decoration on the walls of these monuments, and the vast production of simple, yet enchanting, funerary gifts like the wood models of workshops, food-production facilities, and domestic structures, is compelling. It shows that a group of talented workmen served the provincial ‘aristocracy’ with fine quality work in every medium, suggesting that during the Middle Kingdom afterlife was ‘democratized’ to allow nonroyal individuals access to a different type of afterlife, and a wider range of ‘available’ symbols to use.

For the PowerPoint ‘The Art of the Middle Kingdom’, please… Check HERE!

For the Middle Kingdom Timeline, please… please Check HERE!

Learn about Pharaoh Mentuhotep II and his achievements through a DW World History Video… https://www.youtube.com/watch?v=KNArI5Y8MOg

Watch a Video about the small MET Model of an Offering Lady  Bearer from the Tomb of Meketre… https://www.youtube.com/watch?v=B4k9JklNrTk

The Art of Ancient Egypt: A Resource for Educators is very informative and easy to download… https://www.metmuseum.org/art/metpublications/The_Art_of_Ancient_Egypt_A_Resource_for_Educators

The Art of the Old Kingdom Period

by Ancient EgyptArtEducationLesson PlansPowerpointsSculptureSocial Studies
Statue of Ka Aper from Saqqara (detail), c.2450-2350 BC, 5th Dynasty, Wood, Eyes: Eyes: Rock crystal, calcite, copper, black stone, Height: 112 cm, The Egyptian Museum, Cairo, Egypt https://www.reddit.com/r/OutoftheTombs/comments/vi7q9q/the_4500_years_old_wooden_statue_of_kaaper_the/

Ancient Egyptian art must be viewed from the standpoint of the ancient Egyptians to understand it. The somewhat static, usually formal, strangely abstract, and often blocky nature of much Egyptian imagery has, at times, led to unfavorable comparisons with later, and much more ‘naturalistic,’ Greek or Renaissance art. However, the art of the Egyptians served a vastly different purpose than that of these later cultures. The Art of the Old Kingdom Period is rich in masterpieces… awaiting us to explore them! https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/beginners-guide-egypt/a/egyptian-art?modal=1

Let’s start with my Steps to Success Lesson Plan Outline… Today, our Goal is to “travel” through the Old Kingdom timeline and identify important artworks that reflect aesthetic values, fascinating funerary traditions, or daily life.

Let’s focus on Old Kingdom three-dimensional, and two-dimensional Sculpture

Statue of Ka Aper from Saqqara, c.2450-2350 BC, 5th Dynasty, Wood, Eyes: Eyes: Rock crystal, calcite, copper, black stone, Height: 112 cm, The Egyptian Museum, Cairo, Egypt https://www.reddit.com/r/OutoftheTombs/comments/vi7q9q/the_4500_years_old_wooden_statue_of_kaaper_the/

Sculpture played an important part in the lives of ancient Egyptians. They used sculpture to appease their gods, honor their kings and queens, and satisfy the needs of the afterlife. Old Kingdom three-dimensional art sets the tone. Always facing forward, towards eternity, Egyptian statues in the round, appear powerful, motionless, firm, serene, and self-possessed. The represented Egyptians look formal and idealized. They either sit regally, as if expecting to be served, or stand upright, one foot forward, firmly placed on the ground, as if they are about to walk. The form is closed, the arms are held close to the sides, and stone fills spaces between limbs for extra security and support.

Old Kingdom two-dimensional art was equally important, particularly ‘relief’ sculpture. Two-dimensional art was for the Egyptians a way to present, but not replicate, aspects of the ‘real world.’ What they did is interesting… each object or element in a scene was rendered from its most recognizable angle and these were then grouped together to create the whole.  This is why images of people show their face, waist, and limbs in profile, but eyes and shoulders frontally. The finished scenes are complex composite images that provide complete information about the various represented elements as if designed from different viewpoints. https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/beginners-guide-egypt/a/egyptian-art?modal=1

Ancient Egyptians used two kinds of ‘relief’ sculpture. Very popular is the so-called ‘bas-relief’ where the design stands out from the surrounding surface and the background of the composition is cut away and smooth. Equally popular is the ‘sunk relief’ where the outlines of designed forms are carved within a flat surface beyond which the forms do not project.

The Old Kingdom was an incredibly dynamic period of Egyptian history. The Old Kingdom was equally dynamic in Art. It astonishes us with the serene beauty exhibited in its statues, the displayed Pharaonic, or not, power and confidence, and the amazing dexterity of craftsmanship. Simply put…Amazing!

Follow The Art of the Old Kingdom Period PowerPoint and examine more than forty-five Old Kingdom works of art…  statues, jewelry, furniture, frescoes, and relief carvings. The presented Old Kingdom ‘highlights’ range in date from about 2600 BC to 2400 BC. Please… Check HERE!

For an Old Kingdom Timeline, please… Check HERE!

Learn about the Pyramids at Giza, Egypt’s Ancient Wonders  through a Rick Steves Video… https://classroom.ricksteves.com/videos/pyramids-at-giza-egypt-s-ancient-wonders

Watch a Video about the Mastaba of Mereruka… https://www.youtube.com/watch?v=4wQJ9AH2so0

Watch a National Geographic Video (6:13min) on how Ancient Egypt contributed to society with its many cultural developments, particularly in language and mathematics… https://www.youtube.com/watch?v=hO1tzmi1V5g&t=303s

The Bastille in the first days of its Demolition

by 18th century ArtArtFrench Neoclassical ArtSocial StudiesStudent ActivitiesWorksheets
Hubert Robert,  French Artist, 1733-808
The Bastille in the first days of its Demolition, 1789, oil on canvas, 96×135 cm, Musée Carnavalet, Paris, France https://en.wikipedia.org/wiki/Hubert_Robert#/media/File:The_Bastille_in_the_first_days_of_its_demolition,_by_Hubert_Robert_(cropped).jpg

More than any other event of the eighteenth century writes Prof. Mircea Platon, the French Revolution, which began in 1789, changed the face of modern politics across Europe and the world. And it all began one July day when the people of Paris captured a fourteenth-century gothic prison known as the Bastille. The 14th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Hubert Robert’s,  painting of The Bastille in the first days of its Demolition shows us how important and hated Bastille was by the French Revolutionaries. https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

In the summer of 1789, Paris was at a boil. In May, the Estates-General, France’s Parliament, met for the first time in more than one hundred years, but it was a failure. Members of the Third Estate broke ranks and declared themselves to be the National Assembly of the country. On the 20th of June 1789, they gathered in a tennis court near the royal palace and solemnly swore not to separate before having established a Constitution. There was more… heavy taxation, food shortage, army mobilization around Paris, and the dismissal of the popular minister Jacques Necker on the 11th of July. The political situation in Paris was explosive! https://www.carnavalet.paris.fr/collections/serment-du-jeu-de-paume-le-20-juin-1789 and https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

Early on the 14th of July, the angry Parisian crowd besieged the Hôtel des Invalides where they looted approximately 3,000 firearms and five canons. The weapons, however, required gunpowder, which was stored in the Bastille. After arriving at the prison and negotiating with its governor, marchers burst into an outer courtyard and a pitch battle erupted. By the time it was over, the people of Paris had freed the prisoners held in the Bastille and taken Governor de Launay captive. All of this happened on July 14, which has been known in France and all over the world as “Bastille Day” ever since. Hearing that the Bastille had fallen, Louis XVI asked the duke de La Rochefoucauld: “So, is there a rebellion?” To which the duke retorted: “No, Sire, a revolution!” https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

On July 15, 1789, the day after Bastille was captured by the angry Parisian crowd, its demolition was decided and entrusted to the contractor Pierre-François Palloy. It was an important decision the citizens of Paris wanted to remember! As workmen tore down the spires on the roof, ordinary people ripped stones off the base. These stones soon became collectors’ items, souvenirs of the people’s role in the outbreak of the Revolution. https://www.carnavalet.paris.fr/en/collections/bastille-early-days-its-demolition and https://revolution.chnm.org/d/17

One of the many artists who painted Bastille’s Demolition was Hubert Robert. Known for his capricci paintings, real or fictional compositions of contemporary buildings, and/or archaeological ruins, the artist was famous, popular, and prolific. His painting of Bastille’s Demolition presents a historic event. The medieval fortification is depicted as monumental in size, strong, and commanding. The dramatic use of chiaroscuro acquires a symbolic and meditative dimension. According to the Musée Carnavalet experts, the Bastille state prison symbolized absolutism and the monarchy. Hubert Robert’s painting of  The Bastille in the first days of its Demolition encourages us to remember the stormy, and bumpy road toward representative democracy, and the noble ideas of liberty, equality, and fraternity. https://www.carnavalet.paris.fr/en/collections/bastille-early-days-its-demolition

Joyeux Quatorze Juillet à tous!

For a Student Activity, please… Check HERE!

John Singleton Copley’s Portrait of Paul Revere

by 18th century ArtAmerican ArtArtSocial StudiesStudent ActivitiesWorksheets
John Singleton Copley, 1738 – 1815
Portrait of Paul Revere, 1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://collections.mfa.org/objects/32401  

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. / He said to his friend, –“If the British march / By land or sea from the town to-night, / Hang a lantern aloft in the belfry-arch / Of the North-Church-tower, as a signal-light— / One if by land and two if by sea; / And I on the opposite shore will be, / Ready to ride and spread the alarm / Through every Middlesex village and farm, / For the country-folk to be up and to arm…     /     So through the night rode Paul Revere; / And so through the night went his cry of alarm / To every Middlesex village and farm,— / A cry of defiance, and not of fear, / A voice in the darkness, a knock at the door, / And a word that shall echo forevermore! / For, borne on the night-wind of the Past, / Through all our history, to the last, / In the hour of darkness and peril and need, / The people will waken and listen to hear / The hurrying hoof-beats of that steed, / And the midnight message of Paul Revere. Thus, begins and ends Henry Wadsworth Longfellow’s famous poem “Paul Revere’s Ride.” On the 4th of July 2022, I want to remember and honour the man, the brave Massachusetts Minuteman, and the talented silversmith… by looking at John Singleton Copley’s Portrait of Paul Revere! https://poets.org/poem/paul-reveres-ride

By 1867 Paul Revere was a member of the Massachusetts Minutemen, a group of patriots ready to act against the British army at a moment’s notice, had joined the Sons of Liberty group and was an active political figure. He was also famous for his considerable talents as a silversmith. Today his fame springs from Longfellow’s poem “Paul Revere’s Ride.”, a work that was first published in the January 1861 issue of The Atlantic Monthly, his remarkable portrait of 1768 by John Singleton Copley, and a select group of silverware like the “Sons of Liberty Bowl,” commissioned by 15 members of the Sons of Liberty in 1768, and made by the artist.

John Singleton Copley, 1738 – 1815
Portrait of Paul Revere (details), 1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://smarthistory.org/john-singleton-copley-paul-revere/

It is interesting how John Singleton Coplay portrayed Paul Revere in his traditional job as a silversmith, and not as the important revolutionary figure he was. He stands behind his highly polished table, holding a silver tea-pot, tools of his trade in front of him, modestly dressed… showing an industrious and humble character. It is no surprise that Revere was portrayed this way, for the revolutionary Americans, especially those of the north, were very proud of their industrial nature. https://gschmittleinushistory.weebly.com/mfa-project.html

Copley’s portrait of Paul Revere is, according to Dr. Bryant Zygmont, striking in many ways. The way he is dressed is one of them… Revere, shown by Copley in half-length, wigless, holding his chin with his right hand and regarding the viewer as if he has just looked up, is not portrayed wearing his “Sunday’s Best” clothing, as was the custom of the time. Revere wears, for example, no Jacket or Coat, as every Colonial American man would have worn if they could afford to do so. Instead, he wears simple working attire, a decision that underscores his artisan, middle-class status. Details not to be missed are… the open-collared shirt, made from plain white linen, the lack of cravat, a kind of formal neckwear, the open undershirt peeking from underneath his linen shirt, and a wool (or perhaps a dull silk) waistcoat, unbuttoned as well, yet featuring two gold buttons. https://smarthistory.org/john-singleton-copley-paul-revere/

There are more details to notice. Revere’s, for example, open white shirt and the blue-green waistcoat is worn without a jacket are associated with work clothes. Yet, the cleanliness of his attire, the golden buttons of his vest, the nearly completed silver tea-pot in his left hand, and the polished, pristine table in front of him, do not reflect the garments Revere actually wore to ply his trade, nor the craftsman’s workbench. Is John Singleton Copley’s Portrait of Paul Revere an idealized image of the American artisan at work? One can only wonder! https://collections.mfa.org/objects/32401

Happy 4th of July

Information for my short presentation was sourced in https://smarthistory.org/john-singleton-copley-paul-revere/ and https://collections.mfa.org/objects/32401

For a Student Activity, please… Check HERE!

For a Student Activity on Copley’s Portrait of Paul Revere, Check the Teachers Resource Book of Picturing America by the National Endowment for the Humanities, pp. 10-11 https://web-archive-2017.ait.org.tw/zhtw/PUBS/PicturingAm/PA_TeachersResource_Book_en.pdf

Photo of the 2019 Exhibition Becoming a Painter in 18th-Century Boston: Copley and Others. Copley’s Portrait of Paul Revere and the “Sons of Liberty Bowl,” created by Paul Revere Jr. and commissioned by 15 members of the Sons of Liberty in 1768.
https://www.mfa.org/programs/gallery-activities-and-tours/becoming-a-painter-in-18th-century-boston-copley-and-others

The Sarcophagus of the Muses in the Louvre

by ArtEducationMythologyPowerpointsRoman ArtSculptureSocial Studies
Sarcophagus of the Muses, c. 150-160 AD, Pentelic Marble, 0.92×2.06 m, the Louvre Museum, Paris, France
https://twitter.com/MuseeLouvre/status/1254455247449317379/photo/1

[36] Come thou, let us begin with the Muses who gladden the great spirit of their father Zeus in Olympus with their songs, telling of things that are and that shall be and that were aforetime with consenting voice. Unwearying flows the sweet sound from their lips, and the house of their father Zeus the loud-thunderer is glad at the lily-like voice of the goddesses as it spread abroad, and the peaks of snowy Olympus resound, and the homes of the immortals. And they uttering their immortal voice, celebrate in song first of all the reverend race of the gods from the beginning, those whom Earth and wide Heaven begot, and the gods sprung of these, givers of good things. Then, next, the goddesses sing of Zeus, the father of gods and men, as they begin and end their strain, how much he is the most excellent among the gods and supreme in power. And again, they chant the race of men and strong giants, and gladden the heart of Zeus within Olympus, — the Olympian Muses, daughters of Zeus the aegis-holder… Writes Hesiod in his Theogony, describing the Muses… the lovely goddesses who dance and sing and inspire poets like Homer, Virgil, Dante, John Milton, and William Blake… Can The Sarcophagus of the Muses in the Louvre help us learn more about them? https://www.theoi.com/Text/HesiodTheogony.html

It does, indeed! According to the Louvre experts… Created around the mid-second century BC, this sarcophagus was probably made for a cultivated Roman anxious to demonstrate his attachment to Greek culture, with models drawn from Greek art. The composition of the frieze, the neutral background and the retrained attitude of the Muses all evoke the classical art of the fifth and fourth centuries BCE. This impression is sustained by the very discreet employment of the drill and the rounded forms of the carefully polished surfaces. The elongated figures of the young women and their almost statuesque appearance, suggested by the depth of the relief, also recall Hellenistic art. Furthermore, each Muse is clearly identified by her attributes and demeanour… https://collections.louvre.fr/en/ark:/53355/cl010278285

Sarcophagus of the Muses, c. 150-160 AD, Pentelic Marble, 0.92×2.06 m, the Louvre Museum, Paris, France
https://commons.wikimedia.org/wiki/File:Muses_sarcophagus_Louvre_MR880.jpg

Let’s Identify them, starting from left to right…

Kalliope… According to Hesiod, Kalliope was the oldest of the nine Muses, the wisest, and the most assertive. As for the Roman poet Ovid, she was the Chief of all Muses! Orpheus was her son and poets since antiquity called upon her for inspiration! Kalliope is the Muse of Epic Poetry, Music, Song, Dance, and Eloquence. Her attribute is the Wax Tablet or the Scroll. Her name means beautiful-voiced.

Thalia… like all nine Muses, was the daughter of Zeus and Mnemosyne (Goddess of Memory) and the mother of the Corybantes, the warrior dancers who worshipped goddess Cybele with drumming and dancing. Thalia is the Muse of Comedy and Bucolic Poetry. Among her attributes are the Comic mask, an ivy wreath, and the shepherd’s staff. She is the joyous, flourishing Muse.

Terpsichore… whose name means Delight in Dancing, is fittingly considered the Muse of Dance. Interestingly she is usually, not in the case of the Louvre Sarcophagus, depicted sitting down, holding a lyre, accompanying the dancers’ choirs with her music. Terpsichore was the mother of the dangerous Sirens, who lured sailors with their music and singing voices to shipwreck and death! Her attribute is the lyre.


Euterpe… the Giver of Delight, was, according to ancient Greek poets, the Goddess of Lyric Poetry. Along with her sisters, she entertained the Gods and Goddesses at Mount Olympus, but she also loved to wander around Mount Helicon and Mount Parnassus. Euterpe is credited as the inventor of the Aulos, an ancient Greek wind instrument, often translated as Flute or Double-Flute. The Aulos is her attribute.

  Polyhymnia… Muse of the sacred Poetry, is the most serious looking of all Muses. Often depicted pensive, and meditative, like in the case of the Louvre Sarcophagus, Polyhymnia, whose name means Praise, is often covered in a veil which is her attribute as well. Diodorus Siculus wrote that Polyhymnia, because by her great (polle) praises (humnesis) she brings distinction to writers whose works have won for them immortal fame…

Clio… whose name derives from the Greek root κλέω/κλείω, meaning to make famous or to celebrate. is the Muse of History. She is often presented holding an open scroll or seated beside a chest of books, which are her attributes as well.

Erato… is the Muse of erotic poetry, and mimic imitation. Her name, etymologically, shares the same root as Eros, the god of love! Erato is usually depicted holding her attribute, the Lyre or a Kithara, and she is adorned with a wreath of myrtle and roses!

Sarcophagus of the Muses (Urania and Melpomene), c. 150-160 AD, Pentelic Marble, 0.92×2.06 m, the Louvre Museum, Paris, France
https://mobile.twitter.com/archaeologyart/status/1448317781582172165/photo/1

Urania… the heavenly Muse of Astronomy, is often depicted wearing a cloak covered in stars, looking upwards toward the sky. In the case of the Louvre Sarcophagus, Urania is portrayed as pensive, looking downwards, pointing to the celestial Globe with a staff. In Orphic Hymn 76 to the Muses Urania is beautifully described as heavenly bright.

Melpomene… is the Melodious Muse of Tragic Poetry, the Muse who celebrates with dance and song. Melpomene is often depicted with her attributes… carrying a sword or a dagger, holding the tragic mask, and wearing cothurnus boots which were worn by tragic actors.

For a PowerPoint on The Sarcophagus of the Muses in the Louvre, please… Click HERE!

Interesting information on the 9 Muses can be found… https://www.theoi.com/Ouranios/Mousai.html and https://www.thoughtco.com/the-greek-muses-119788 and https://www.greekmythology.com/Other_Gods/The_Muses/the_muses.html and https://pantheon.org/articles/m/muse.html