Student Activities Archives

Martial Reportage and Archaeological Revelation

October 25, 2025

by admin 20th century Art Art Social Studies Student Activities Worksheets

**Photographer: Ariel Lowe Varges,** American, 1890–1972
**Discovery of the ancient marble memorial plaque praising the virtues of Manius Salarius Sabinus for his benefactions** by the 8th Battalion, Royal Scots Fusiliers whilst digging trenches on part of the Birdcage Line defences between the villages of Aivatli and Laina (ancient Lete),April 1916, (in the Collection of the Archaeological Museum of Thessaloniki), Photo date: 1916– Photo Credit: Imperial War Museums, UK https://www.iwm.org.uk/collections/item/object/205297459
**The ancient marble memorial plaque praising the virtues of Manius Salarius Sabinus for his benefactions** (in the Collection of the Archaeological Museum of Thessaloniki), Photo date: 1916– Photo Credit: Imperial War Museums, UK https://www.iwm.org.uk/collections/item/object/205297460
**Photographer: Ariel Lowe Varges,** American, 1890–1972
**Lieutenant Commander Ernest Gardiner R.N.V.R. working on the ancient marble memorial plaque praising the virtues of Manius Salarius Sabinus for his benefactions,** Photo date: 1916 – Photo Credit: Imperial War Museums, UK https://www.iwm.org.uk/collections/item/object/205265524

In the context of the WWI Salonika campaign (1915–1918), Ariel Lowe Varges’s lens captured more than just Allied operations, it also glimpsed the buried threads of the classical past emerging within the conflict zone. This dual resonance is movingly preserved in three photographs now held by the Imperial War Museums: one records the 1916 discovery of an ancient marble memorial plaque praising the virtues of Manius Salarius Sabinus for his benefactions, another depicts the plaque itself, and a third shows Lieutenant Commander Ernest Gardiner, R.N.V.R., carefully examining its inscription. Together, these images form a unique bridge between Martial Reportage and Archaeological Revelation, testifying to how the upheaval of war could uncover, preserve, and even reframe fragments of history long concealed beneath the surface.

The photographs gain further significance when placed against the wider backdrop of the British Salonica Force’s archaeological work. Under the supervision of Gardiner, a professor at the University of London, systematic excavations were carried out at Karabournaki in Thessaloniki and at Tsaousitsa in Kilkis, revealing tombs and ancient artifacts. Initially stored in the White Tower, where one floor was converted into a “Museum of the British Force”, these finds were later transferred in 1918 to the army headquarters housed in the Papafio Orphanage. In 1919, the collection was shipped to the British Museum, where much of it remains today, though part of it was retained in Thessaloniki and is now held by the Archaeological Museum. Through Varges’s camera, the entanglement of military occupation, archaeological discovery, and cultural heritage are given rare visual form.

Among the finds made during this extraordinary phase of wartime archaeology was the marble memorial plaque of Manius Salarius Sabinus (Μάνιος Σαλάριος Σαβεῖνος), unearthed by the Royal Scottish Fusiliers near Liti in April 1916 while digging defensive trenches of the Birdcage Line. The inscription, dated to AD 121/122 under Hadrian, honors Sabinus, a wealthy landowner of Lete, possibly also a citizen of Thessaloniki, for his repeated generosity during times of famine, when he sold grain to both the local populace and the emperor’s troops at exceptionally low prices. The text itself preserves this civic gratitude in clear terms:

ἡ πόλις Μάνιον Σαλάριον Σαβεῖνον τὸν γυμνασίαρχον καὶ εὐεργέτην
ἐν [σι]-τηνδείαις πλειστάκις παραπεπρακότα τὰ σιτία
τοῖς στρατοῖς τοῦ κυρίου Καίσαρος ἐπ’ εὐτελεστάτοις τιμαῖς …

“The city [honors] Manius Salarius Sabinus, gymnasiarch and benefactor, who many times in times of grain-shortage sold grain to the armies of our lord Caesar at the very lowest prices …”

Praised as gymnasiarch and benefactor, he emerges from the inscription as a civic leader whose actions linked local welfare with imperial military needs. Initially stored in the improvised wartime museum of the White Tower, the plaque was fortunately retained in Greece after the dispersal of the British Salonica Force collection. Today it resides in the Archaeological Museum of Thessaloniki, illustrating how wartime excavations brought to light evidence of past shortages and civic benefaction, resonant with the conditions of Macedonia in the First World War.

The temporary exhibition “**ARCHAEOLOGY BEHIND BATTLE LINES. In Thessaloniki during the turbulent years 1912-1922″** took place during the celebrations for the centenary of the city’s liberation and was incorporated into the A.M.Th. actions under the “Thessaloniki, Crossroads of cultures” programme of the Ministry of Culture, Thessaloniki Archaeological Museum, 24 November 2012 – 30 June 2014 https://www.amth.gr/en/exhibitions/temporary/archaeology-behind-battle-lines-thessaloniki-during-turbulent-years-1912-1922?utm_source=chatgpt.com

Ariel Lowe Varges (1890–1972) was a pioneering American photographer and newsreel cameraman whose career spanned some of the most turbulent events of the early 20th century. Born in Chicago on June 11, 1890, he began as a photographer for the Chicago Examiner before joining William Randolph Hearst’s newspaper empire in New York around 1911. Among the first American still photographers to embrace motion picture cameras, Varges made his mark in 1914 when he filmed the Mexican War and soon after became the first foreign cameraman permitted to cover the war in Serbia, thanks to a connection with Sir Thomas Lipton.

During World War I, Varges served as an official cinematographer with the British Army, documenting campaigns in Salonika, the Middle East, and Mesopotamia. His vivid depictions of frontline conditions were instrumental in shaping how the war was seen by the public. For his contributions, he was made an honorary Member of the Order of the British Empire. After the war, he continued his globe-spanning career, becoming the first foreign cameraman to film Leon Trotsky and later covering conflicts in China and Ethiopia for Hearst newsreels. His adventurous assignments even included aerial cinematography over the pyramids with the Cairo–Baghdad Squadron.

By the 1950s, Varges had transitioned into a leadership role as head of the photographic laboratory for Hearst’s News of the Day newsreel program, retiring in 1952. He died on December 27, 1972, in Norwich, Connecticut, and was buried in Preston Cemetery. Remembered as a trailblazer in war cinematography and newsreel journalism, Varges helped shape modern visual reporting by bringing audiences closer than ever before to world events.

For a Student Activity, inspired by Ariel Lowe Varges’s photographs of the ancient marble memorial plaque praising the virtues of Manius Salarius Sabinus for his benefactions, please… check HERE!

Bibliography: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://ikee.lib.auth.gr/record/286234/files/Xydopoulos%20Euergetes%20AWE.pdf?utm_source=chatgpt.com and https://shootingthegreatwar.blogspot.com/search?q=Ariel+Varges&fbclid=IwY2xjawL7xP1leHRuA2FlbQIxMABicmlkETEyS2dKa2lvV0dTbGFITmc4AR7QWbi9QnOpTIhSeUIPyCnh1r83OdC4VnOGI-z6re858Ge4s2B6A71idjyk1g_aem_z-xs-iAmzHAZK5lxukZcjw

Empress Ariadne

October 22, 2025

by admin Art Byzantine Art Byzantine Ivories Byzantium Early Christian Art Student Activities Worksheets

**Empress Ariadne (detail),** around 500 AD, Ivory, Height: 36,5 cm,The Bargello Museum, Florence, Italy – Photo Credit: Marya Stamatiadi April 2025

In the heart of Late Antique Constantinople, luxury art served not only as decoration but as a statement of power and identity. Among these treasures are two exquisite ivory plaques, generally attributed to portray Empress Ariadne (r. 474–515), now housed in the Bargello Museum in Florence and the Kunsthistorisches Museum in Vienna. While scholars debate their exact identification, these delicate carvings offer a rare glimpse into the artistry and political symbolism of the early Christian Byzantine court.

**Empress Ariadne,** around 500 AD, Ivory, Height: 36,5 cm,The Bargello Museum, Florence, Italy – Photo Credit: Marya Stamatiadi April 2025
**Empress Ariadne,** around 500 AD, Ivory, Height: 26,5 cm,Kunsthistorisches Museum, Vienna, Austria
https://www.khm.at/en/artworks/kaiserin-ariadne-71782-1

The late 5th and early 6th centuries were a period of significant political and religious transformation. Ariadne, the daughter of Emperor Leo I and Empress Verina, became central to dynastic succession at a time when no male heir was available. Married first to Emperor Zeno, she played a mediating role during his often turbulent reign. After his death, Ariadne married Anastasios, a palace official (silentiarius) whom she helped elevate to the throne, securing imperial stability. If the ivory plaques do depict her, they present not only an image of an empress consort but also of a figure who embodied dynastic continuity and wielded real political influence in Constantinople.

The Bargello plaque, cataloged as part of a larger pentittico (five-panel composition), presents a standing female figure dressed in imperial robes and facing frontally. Executed in carved and incised ivory with traces of paint, it has been compared to major works such as the Barberini Ivory, and scholars have proposed that it may once have formed part of the same ensemble as the Vienna plaque. Stylistic affinities with consular diptychs, such as those of Aerobindus and Anastasius, suggest a date around 500 AD. While rival identifications have been proposed, the attribution to Ariadne remains the most recurrent. The ivory entered the Bargello in the 19th century through an exchange, further adding to its layered history as both a Byzantine and a modern collectible.

By contrast, the Vienna plaque shows the empress enthroned beneath a shell-shaped baldachin, flanked by eagles, symbols of imperial authority. Dated to around 500 AD, the ivory portrays the ruler richly adorned, holding a sphaira topped with a cross in her left hand while raising her right in a gesture of blessing. The throne, the globe and cross, and the orant-like pose emphasize divine sanction and ceremonial majesty over individual portraiture. Classified as Early Byzantine, the plaque passed from the Riccardi collection in Florence into the Kunsthistorisches Museum, where it remains a centerpiece of the Antikensammlung.

Taken together, the two plaques, one depicting the empress standing in ceremonial presence, the other enthroned in majesty, illustrate complementary aspects of imperial power. They exemplify the Constantinopolitan fusion of classical forms with emerging Christian symbolism, and, if indeed they represent Ariadne, they also illuminate the ways in which an empress could embody both dynastic continuity and divine legitimacy during a pivotal moment in Byzantine history.

**Early Christian Ivory Treasures in The Bargello Museum**, Florence, Italy – Photo Credit: Marya Stamatiadi April 2025

Today, the Bargello and Vienna ivory plaques continue to captivate scholars and visitors alike, not only for their exquisite craftsmanship but also for the historical questions they raise. Whether or not they truly portray Ariadne, they stand as rare survivals of Constantinopolitan ivory carving, embodying the fusion of imperial image-making and Christian symbolism. Through them, we glimpse both the artistry of a vibrant court and the enduring allure of an empress whose legacy shaped the transition of power at a crucial moment in Byzantine history.

For a Student Activity, please… Check HERE!

Bibliography: https://link.springer.com/chapter/10.1007/978-1-137-04469-3_4 and https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0901395336 and https://www.khm.at/en/artworks/kaiserin-ariadne-71782-1

Tomb of Hunting and Fishing

October 18, 2025

by admin Archaeology Art Education Etruscan Art Social Studies Student Activities Uncategorized Worksheets

**Etruscan Tomb of Hunting and Fishing,** 520-510 BC,Necropoli dei Monterozzi, near Tarquinia, Lazio, Italy Photo Credit: Amalia Spiliakou, April 2025

The Etruscans, a powerful and enigmatic civilization of central Italy, played a vital role in shaping the cultural foundations later adopted by the Romans. Renowned for their elaborate funerary customs, they believed in providing for the dead in ways that reflected both status and the joys of earthly life, leading to the creation of richly decorated tombs that serve as lasting testaments to their artistry and worldview. The Necropoli dei Monterozzi near Tarquinia exemplifies this tradition, as one of the most important burial grounds of the ancient Mediterranean, where hundreds of painted chambers offer a vivid glimpse into Etruscan society. Among these, the Tomb of Hunting and Fishing, dating to around 520–510 BC, stands out for its lively frescoes that celebrate nature, leisure, and the afterlife, making it a masterpiece of Etruscan funerary art.

**The Necropoli of Monterozzi** – Photo Credit: Xanthippi Glavopoulou

The Necropoli of Monterozzi holds immense archaeological significance as it preserves the largest collection of painted Etruscan tombs, offering unparalleled insight into the beliefs, daily life, and artistic achievements of this ancient culture. Discovered in the early nineteenth century, the site quickly became a focal point for antiquarian interest, with early excavations often driven more by the desire to uncover treasures than by scientific methods. Over time, however, more systematic archaeological approaches have revealed the necropolis’ historical depth, documenting over 6,000 tombs ranging from simple chamber burials to elaborately decorated family vaults. The frescoes, in particular, have transformed scholarly understanding of Etruscan society, as they preserve vibrant scenes of banquets, rituals, and natural landscapes that rarely survive in other contexts, making Monterozzi a cornerstone in the study of pre-Roman Italy.

The Tomb of Hunting and Fishing, discovered in 1873 during a period of intensive investigation at the Necropoli of Monterozzi, represents one of the most significant finds of late nineteenth-century Etruscan archaeology. Documentation from the time, however, provides only fragmentary information regarding the circumstances of its excavation, the personnel involved, and the precise condition of the monument upon opening. Despite these gaps, contemporary commentators consistently remarked upon the striking preservation of the painted decoration, noting with particular interest the unprecedented imagery of fishermen, hunters, and divers that expanded the known repertoire of Etruscan funerary art. Although anecdotal testimony concerning local responses or early interventions is scarce, the tomb rapidly entered scholarly discourse and has since been recognized as an essential source for understanding the interplay of ritual, daily life, and conceptions of the afterlife in Etruscan culture.

Crucial to the legacy of the Tomb of Hunting and Fishing are the watercolours produced by the artist Gregorio Mariani soon after its discovery. His meticulous reproductions, later published in chromolithograph form, captured the vibrant hues and delicate details of the frescoes at a moment when they were far fresher than today. These images not only provided scholars with reliable records of motifs that have since deteriorated, but also played a vital role in popularizing the tomb’s significance within the wider field of Etruscan studies. Original Mariani watercolours are preserved in the archives of the German Archaeological Institute in Rome, while facsimile reproductions can be found in the Ny Carlsberg Glyptotek in Copenhagen. In this way, Mariani’s work serves as both an artistic achievement and a scientific tool, bridging the gap between nineteenth-century discovery and modern scholarship.

The Tomb of Hunting and Fishing is a two-chambered burial space whose walls are adorned with some of the most dynamic and evocative frescoes in Etruscan art. The imagery vividly depicts scenes of everyday leisure and subsistence: Dionysian figures dancing in a sacred grove, hunters chasing game, fishermen casting nets, youths diving into clear waters, and birds in flight above lush landscapes.

**Gregorio Mariani, Tomba della Caccia e Pesca,** Facsimile olio su tela, Ny Carlsberg Glyptotek HIN 0091-3 -© Ny Carlsberg Glyptotek, Copenaghen; foto Ole Haupt https://journals.openedition.org/mefra/8455
**Etruscan Tomb of Hunting and Fishing,** 520-510 BC,Necropoli dei Monterozzi, near Tarquinia, Lazio, Italy – Photo Credit: Amalia Spiliakou, April 2025

In the antechamber, the frescoes depict nearly naked figures engaged in what appears to be a Dionysian ritual dance, set within a grove adorned with ribbons, wreaths, mirrors, and cistae. Reclining satyrs holding rhytoi occupy the gable of the entry wall, underscoring the influence of the cult of Dionysus on Etruscan religion and funerary practices. On the back wall, a hunting scene unfolds, with hunters and dogs returning with their quarry through a lush, almost tropical landscape filled with vibrant vegetation. This juxtaposition of ritual and daily activity illustrates both spiritual and worldly dimensions, highlighting the Etruscans’ belief in the continuation of life’s pleasures beyond death.

In the main burial chamber, the frescoes shift focus from activity to celebration, illustrating scenes that suggest both ritual and leisure. Youths are depicted diving and swimming in carefully delineated waters, while birds and aquatic creatures populate the surrounding environment, emphasizing a harmonious interaction between humans and nature. The figures are arranged in continuous sequences that convey narrative flow, as if time itself is unfolding across the walls. Here, the painter employs brighter pigments and more elaborate detailing, particularly in the depiction of musculature, drapery, and facial expressions, giving the scenes a remarkable sense of immediacy and life. Together, the two chambers combine to create a vision of an idealized Etruscan existence, where work, sport, and the pleasures of the natural world coexist with an underlying sense of spiritual continuity.

The composition is notable for its sense of movement and rhythm, as figures and animals are arranged in continuous, flowing sequences that suggest both narrative and ritual significance. Bright ochres, reds, and blues bring the scenes to life, while careful attention to proportion and perspective conveys depth and realism unusual for the period. Beyond their aesthetic appeal, the frescoes offer a profound insight into Etruscan conceptions of the afterlife, suggesting a vision in which the pleasures and activities of earthly existence continue beyond death, making the tomb not only a funerary monument but also a celebration of life itself.

For a Student Activity inspired by the frescoes in the Antechamber of the Tomb of Hunting and Fishing, please… Check HERE!

Bibliography: Abundance of Life: Etruscan Wall Painting, by Stephan Steingräber https://books.google.gr/books?id=K25ydBTGhbkC&pg=PA95&redir_esc=y#v=onepage&q&f=false and Anni 1880: Tomba della Caccia e Pesca e Tomba degli Auguri https://journals.openedition.org/mefra/8455

Morning Glories by Suzuki Kiitsu

September 30, 2025

by admin 19th century Art Art Japanese Art Student Activities Uncategorized Worksheets

**Morning Glories** by **Suzuki Kiitsu**, Japanese Edo period artist (1796–1858), six-panel folding screens with ink, color, and gold leaf on paper, The Met Museum, New York, USA
https://www.metmuseum.org/art/collection/search/48982

Morning Glories by Suzuki Kiitsu, a stunning pair of early 19th-century six-panel folding screens housed in The Met, exemplifies the lyrical elegance of the Rinpa school. Against a backdrop of luminous gold leaf, the Morning Glory vines unfurl in rhythmic cascades, their delicate blooms appearing both vibrant and contemplative. Kiitsu’s masterful use of space, color, and pattern invites a meditative gaze, blurring the boundary between nature and design. The screens evoke a quiet moment suspended in time, one that inspired the haiku: Bound in gilded calm, / the morning glories whisper / secrets to the sun. Through this intricate dialogue between natural form and artistic restraint, Kiitsu offers more than decorative beauty, he captures the ephemeral grace of a single September morning made eternal.

Suzuki Kiitsu was a prominent Japanese painter of the Edo period and a leading figure of the Rinpa school of painting. Born in Edo, modern-day Tokyo, Kiitsu was a devoted student of Sakai Hōitsu, who revived and expanded the decorative Rinpa tradition established by artists like Ogata Kōrin and Tawaraya Sōtatsu. After Hōitsu’s death, Kiitsu continued his teacher’s legacy while developing a distinct personal style. He became known for his screen paintings and nature studies that combined bold design with subtle naturalism. Despite being less internationally known than his predecessors, Kiitsu is celebrated in Japan for refining the Rinpa aesthetic with a fresh sensitivity and technical finesse.

Kiitsu’s work is characterized by luminous color, rhythmic composition, and a heightened attention to seasonal motifs such as flowers, birds, and flowing water. His celebrated screen paintings, including Morning Glories, demonstrate his skill in transforming natural subjects into elegant, almost abstract patterns while maintaining a sense of stillness and harmony. He often employed gold or silver leaf backgrounds, setting ephemeral flora against timeless, radiant fields, a hallmark of Rinpa visual poetry. Kiitsu’s legacy rests in his ability to balance reverence for tradition with individual innovation, securing his place as a master of Japanese decorative painting.

The Rinpa school of art, sometimes spelled Rimpa, originated in early 17th-century Kyoto and is one of the most influential styles in traditional Japanese painting. It began with Tawaraya Sōtatsu, who was known for his elegant, stylized depictions of classical literature and nature, often painted on folding screens and fans. A century later, Ogata Kōrin revitalized the style, blending Sōtatsu’s decorative sensibility with a more dramatic use of color, form, and rhythm. Rinpa artists were not part of a formal lineage but were connected by shared aesthetic values, including the use of gold or silver leaf backgrounds, flattened perspective, and an emphasis on seasonal or poetic themes drawn from classical Japanese literature and waka poetry.

The term “Rinpa” itself combines “Rin” from Kōrin and “pa”, meaning “school”, coined much later to describe this loosely associated group of artists. Rinpa works often merge painting, calligraphy, and design, revealing a sophisticated balance between abstraction and representation. While the style was deeply rooted in Japanese tradition, it also showed openness to Chinese and Korean influences in brushwork and composition. Suzuki Kiitsu, working two centuries later, was part of a later Edo-period revival of Rinpa led by Sakai Hōitsu. Though removed in time, Kiitsu embraced and expanded Rinpa’s visual language, ensuring its continued vitality and influence into the modern era.

Morning Glories is a monumental pair of six‑panel folding screens, a byōbu, crafted with ink, color, and gold leaf on paper. The work creates a vivid, expansive field in which rich blues and greens of Morning Glory blossoms emerge from a radiant gold-leaf ground. Kiitsu omits any spatial context or background elements, concentrating instead on the lush proliferation of flowers and leaves. The blossoms on the right screen rise upward from the ground, while those on the left cascade down, as if held by an invisible trellis, a composition that balances exuberance with careful orchestration.

This screen set reflects Kiitsu’s dual influences: trained as a textile dyer and a pupil of Sakai Hōitsu, he skillfully merges decorative pattern sensibility with naturalistic rendering. The thick, mineral pigments against the gold leaf evoke the luxurious surface of textiles, while subtle attention to botanical form ensures each petal and vine feels believable and dynamic. The tension between decorative abstraction and natural realism is characteristic of Rinpa aesthetics, yet in this work Kiitsu brings a fresh vision, his Morning Glories are botanical yet stylized, rhythmic yet alive. As a signature masterpiece of the Edo‑period Rinpa revival, these screens embody both opulent décor and quiet botanical poetry.

As a fitting close to this meditation on Suzuki Kiitsu’s Morning Glories, it is worth noting that the morning glory is the traditional birth flower of October, a symbol of fleeting beauty, affection, and renewal. In Kiitsu’s masterful screens, this humble bloom becomes a grand subject, elevated through shimmering gold and rhythmic composition into something timeless. The flower’s delicate form and brief bloom are captured in suspended motion, embodying both the transience of nature and the elegance of Edo-period design. In this radiant work, Kiitsu not only honors the spirit of the Rinpa school but also transforms a seasonal motif into a lasting celebration of life’s quiet, impermanent grace.

For a Student Activity, inspired by the MET folding screen titled Morning Glories by Suzuki Kiitsu, please… Check HERE!

Bibliography: https://www.metmuseum.org/art/collection/search/48982

Head of Aphrodite of the Aspremont-Lynden/Arles type

September 22, 2025

by admin Ancient Greek Art Archaeology Art Byzantium Early Christian Art Education Greek Art Roman Art Sculpture Social Studies Student Activities Worksheets

**Head of Aphrodite of the Aspremont-Lynden/Arles type**, 1st c. AD copy of an original 4^th 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.

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

Kylix with a School Boy

September 10, 2025

by admin Ancient Greek Art Archaeology Art Greek Art Pottery Social Studies Student Activities Worksheets

**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

Michelangelo’s Bacchus with Satyr

September 6, 2025

by admin 15th century Art Art High Renaissance Italian Renaissance Art Mythology Renaissance Renaissance Art Student Activities Worksheets

**Michelangelo Buonarroti,** 1475-1564
**Bacchus and Satyr,** 1496 – 1497, Marble, Height: 207 cm, National Museum of Bargello, Florence, Italy – Photo Credit: Amalia Spiliakou, April, 2025

In the hushed halls of the Bargello Museum, Michelangelo’s Bacchus with Satyr stands as a marble echo of divine intoxication and poetic frenzy, capturing in stone what Horace once saw in vision. ‘Bacchus I saw in mountain glades…’ begins Ode 2.19, recounting a revelation of the god surrounded by Dryads and attentive satyrs, wild, divine, and terrifying in their ecstasy. Michelangelo’s youthful, staggering Bacchus, crowned with ivy and offering wine, evokes the very madness Horace feared and welcomed, ‘Tis madness! Evoe! spare, O spare….’ The small satyr peering mischievously behind Bacchus completes this ancient tableau, embodying both the allure and danger of surrendering to the god’s revels. In this sculpture, poetry and sculpture converge, and the terror and joy of divine inspiration become chillingly real.

The story of Michelangelo’s Bacchus is as complex and fascinating as the figure it depicts. In 1496, at just 21 years old, Michelangelo sculpted a sleeping cupid that he deliberately aged to resemble an ancient artifact. This work was sold through an intermediary to Cardinal Raffaele Riario of San Giorgio. Though the Cardinal quickly uncovered the ruse, he was deeply impressed by Michelangelo’s extraordinary skill, and this forged sculpture unexpectedly launched the young artist’s career. It led to a commission for Bacchus, intended for Riario’s Roman residence, the Palazzo di Riario, now the Palazzo della Cancelleria. The choice of a sensuous, inebriated pagan god, complete with a mischievous satyr, for a high-ranking churchman was surprising, and perhaps predictably, Riario ultimately rejected the piece. It was instead acquired by the banker Jacopo Galli, who installed it in his garden among other antiquities. The sculpture changed hands again when the Medici family purchased it around 1571, eventually bringing it to Florence. After a period in the Uffizi Gallery, Bacchus found a permanent home in 1871 at the Bargello National Museum, where it remains a provocative masterpiece of youthful daring and sculptural brilliance.

**Maarten van Heemskerck,** 1498-1574
**Casa Galli, with Michelangelo’s Statue of Bacchus**, ca. 1532–36, Pen and brown Ink, brown Wash, 13×20.5 cm, Staatliche Museen, Berlin, Germany
https://commons.wikimedia.org/wiki/File:Maarten_van_Heemskerck_Garden.png

Michelangelo’s Bacchus (1496–1497), carved in Carrara marble and over life-size at about 203 cm tall, depicts the Roman god of wine in a startling state of inebriation. The figure staggers forward, goblet raised in his right hand as if offering wine to the viewer, while his left holds a tiger or leopard skin and a cluster of grapes. A mischievous young satyr sits behind him, reaching for the fruit, and supports the main figure with a tree trunk for balance. The god’s body sways precariously, his head is tilted, eyes half-closed, and mouth slightly agape signs of intoxication vividly captured in stone.

Michelangelo embeds rich symbolic imagery into the sculpture. The ivy wreath, or more accurately, grape leaves, crowning Bacchus’s head alludes to his vine‑born identity and his role as the inventor of wine. The goblet in his right hand, teetering in drunken imbalance, suggests the god himself is overtaken by the effects of his creation. In his left, the animal skin, often interpreted as tiger or leopard, symbolizes both death and Bacchus’s intoxicating influence, while the satyr feeding on grapes underscores themes of natural indulgence and playful profaneness.

Aesthetically, Bacchus marks a radical departure from traditional classical portrayals. While it adheres to contrapposto, the classical balance between opposing limbs, the effect here is dynamic instability rather than poised repose: Bacchus seems on the brink of collapse yet remains unexpectedly graceful. Michelangelo’s skill shines in the subtle illusion of drunken motion and emotional spontaneity. Detailed carving gives tactile realism to the flesh, foliage, and textures, while deliberate anatomical irregularities, such as the androgynous softness of his torso, convey both sensuality and human vulnerability. Critics like Ralph Lieberman have noted how the sculpture transforms in appearance depending on the viewer’s angle, alternating between unstable stupor and regained poise, creating a temporal, immersive experience.

For a Student Activity inspired by Michelangelo’s statue of Bacchus, please… Check HERE!

Bibliography: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900286601 and https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0025%3Abook%3D2%3Apoem%3D19

Cimabue’s Maestà di Assisi

August 14, 2025

by admin Art Italian Renaissance Art Proto Renaissance Art Renaissance Renaissance Art Student Activities Uncategorized Worksheets

**Cimabue,** 1240-1302
**Maestà** **di Assisi,** 1285-1288, fresco, 320×340 cm, Basilica of San Francesco in Assisi, Italy – Photo Credit: Amalia Spiliakou, April 2025

When I visited the Lower Church of San Francesco in Assisi in April 2025, I was struck by the quiet majesty of Cimabue’s Maestà di Assisi. Tucked into the dimly lit transept, this fresco radiates a sense of reverence and timelessness that photographs simply can’t capture. Seeing the Virgin Mary enthroned with the Christ Child, surrounded by a chorus of angels, I was moved by how Cimabue bridged the distance between the divine and the human. Painted around 1285, this work marks a crucial shift from the rigid, symbolic forms of Byzantine tradition toward a more naturalistic and emotionally resonant style. The delicate modeling of faces, the subtle sense of depth, and the quiet dignity of the figures all hinted at the artistic revolution that would soon follow. In this post, I’ll reflect on how Cimabue’s Maestà not only embodies the spiritual vision of its time but also left a lasting impression on me as a viewer, and on the course of Western art.

Cimabue’s Maestà di Assisi is in the south transept of the Lower Church of the Basilica of San Francesco in Assisi, a site of profound spiritual and artistic significance. The Basilica, constructed in the 13th century to honor Saint Francis, consists of two levels: the soaring Gothic Upper Church and the more intimate, Romanesque Lower Church. Within this dim, contemplative space, the Maestà forms part of a rich fresco program that includes scenes from the lives of the Virgin and Saint Francis, as well as works by other major artists of the period, including Giotto, Pietro Cavallini, and Simone Martini. Together, these masterpieces transform the Lower Church into a visual pilgrimage through the early stages of Italian art, where Cimabue’s contributions mark a critical bridge between the Byzantine tradition and the emerging naturalism of the Renaissance.

**Cimabue,** ca. 1240-ca. 1302
The Madonna in Majesty, 1285-86, tempera on panel, 385 x 223 cm, Uffizi Gallery, Florence, Italy
**Maestà di Assisi,** 1285-1288, fresco, 320×340 cm, Basilica of San Francesco in Assisi, Italy – Photo Credit: Amalia Spiliakou, April 2025

Cimabue, born Cenni di Pepo around 1240 in Florence, is widely regarded as one of the pivotal figures in the evolution of Western art. He was trained in the Byzantine tradition, which dominated Italian painting in the 13th century with its stylized forms and gold backgrounds, but Cimabue began to break from these conventions in subtle yet significant ways. Active mainly in Florence and later in Assisi, he worked on both panel paintings and large-scale fresco cycles. His most famous surviving works include the Santa Trinita Maestà (Uffizi Gallery), the Crucifix at Santa Croce, and his contributions to the decoration of the Basilica of San Francesco in Assisi. Cimabue was also the teacher of Giotto, whose revolutionary approach to realism would carry forward and amplify the artistic shift that Cimabue had initiated. Although his style remained rooted in medieval spirituality, Cimabue laid the groundwork for the expressive potential and spatial complexity that would define early Renaissance art.

Cimabue’s work is characterized by a remarkable tension between Byzantine rigidity and the early stirrings of naturalism. In his Assisi frescoes, particularly the Maestà in the Lower Church, he introduces a greater sense of depth and volume through delicate shading and a more thoughtful use of space. The figures, while still hieratic and front-facing, possess a dignity and gravitas that suggest a growing concern with human presence and emotional resonance. The Maestà di Assisi exemplifies this transition: the Virgin sits enthroned in a symmetrical, richly colored composition that respects traditional iconography, but the softened contours of her face and the more varied, overlapping arrangement of the angels begin to imply a spatial realism that was new for its time. Cimabue’s aesthetic choices reflect both reverence for sacred themes and a quiet but revolutionary move toward a more lifelike visual language—one that would deeply influence the course of Italian art.

**Cimabue,** ca. 1240-ca. 1302
Maestà di Assisi, 1285-1288, fresco, 320×340 cm, Basilica of San Francesco in Assisi, Italy – Photo Credit: Amalia Spiliakou, April 2025

In Cimabue’s Maestà di Assisi, Saint Francis is represented standing to the right of the throne, distinguishable by his simple friar’s habit, bare feet, and the visible stigmata on his hands, feet, and chest—a gesture of his deep union with Christ’s suffering. According to tradition the image of the saint is based on eyewitness descriptions by those who knew him personally and is considered one of the earliest and most authentic portrayals of Francis. The fresco originally included other figures, possibly Saint Anthony of Padua, on the left side, but that section is now lost, suggesting that the original composition once conveyed a broader devotional context. The contrast between the elevated, richly dressed figures of the Virgin and Child and the humble, sober figure of Francis reinforces the spiritual ideals of Franciscan humility and poverty. The recent restoration, completed in early 2024, which removed centuries of overpainting and yellowed protective layers, has revived the sharpness of Francis’s face and refined features, attributes described in medieval sources, allowing viewers today to reconnect more directly with Cimabue’s original vision and the powerful symbolism of the Poverello himself.

For a Student Activity titled Compare and Contrast Activity: Cimabue’s Two Maestà, please… Check HERE!

Bibliography: https://www.lavoce.it/assisi-presentato-il-restauro-che-svela-il-vero-volto-di-san-francesco/?utm_source=chatgpt.com and https://en.wikipedia.org/wiki/Cimabue?utm_source=chatgpt.com and https://www.assisinews.it/speciali/svelata-la-maesta-di-assisi-restituita-allaffresco-la-vera-materia-del-cimabue-foto/?utm_source=chatgpt.com and https://www.lanazione.it/cosa-fare/il-capolavoro-di-cimabue-gloria-alla-maesta-di-assisi-sublime-luce-al-restauro-8aaee18e?utm_source=chatgpt.com

The Elderly Couple from Voltera

August 11, 2025

by admin Archaeology Art Etruscan Art Museums Sculpture Social Studies Student Activities Worksheets

**Etruscan Urn of an Elderly Couple,** 1^st century BC, Terracotta, Museo Etrusco Guarnacci, Volterra, Italy – Photo Credit: Amalia Spiliakou, April 2025

Among the most evocative remnants of Etruscan funerary culture are the terracotta urns that once housed the ashes of the deceased, vessels not only of the body but of memory and identity. Urns featuring reclining couples engaged in a perpetual banquet scene offer a powerful glimpse into Etruscan beliefs about death and the afterlife. These intimate portrayals, often found in burial contexts, reflect a society that viewed death not as an end but as a continuation of life’s pleasures and social bonds. The Elderly Couple from Volterra, a remarkable terracotta lid housed in the Voltera Museo Etrusco Guarnacci, stands as a moving example of this tradition. Depicting a serene, aging pair side by side in eternal repose, the work speaks volumes about affection, legacy, and the Etruscan celebration of human connection beyond the grave.

I visited the Museo Etrusco Guarnacci in April 2025, drawn by its reputation as one of the oldest public museums in Europe, and I was not disappointed. The museum holds a quiet, contemplative atmosphere that feels perfectly suited to its long history and the ancient civilization it celebrates. Housed in the elegant Palazzo Desideri-Tangassi since 1877, the museum is the result of the extraordinary efforts of Mario Guarnacci, an 18th-century Volterran abbot and historian whose passion for antiquity helped preserve the city’s rich Etruscan heritage. Guarnacci’s vision was unusually forward-thinking: he not only amassed a remarkable collection but donated it to the public, ensuring that Volterra’s archaeological treasures remained in local hands and accessible to future generations.

Walking through the galleries, I was struck by the contrast between the museum’s two “souls.” Some rooms retain their 19th-century atmosphere, where rows of urns and shelves of artifacts sit densely arranged according to material or motif, reflecting a historical approach to display. Other sections have been redesigned to offer a modern, more interpretive experience, with carefully selected pieces presented along a chronological path that brings the Etruscan story into clearer focus. The upper floor, dedicated to Hellenistic Volterra, captures the artistic and cultural vitality of the city just before its integration into the Roman world, while the ground floor offers an elegant introduction to its earlier phases, from Villanovan to Classical.

What makes the Museo Guarnacci so special is how naturally it fits within the fabric of Volterra itself. This is a city where history isn’t hidden behind glass, it’s embedded in its walls, streets, and rhythm of life. The museum doesn’t just preserve Etruscan culture, it reinforces the living dialogue between past and present that defines Volterra’s character. Its locally sourced collection, displayed in a building that reflects layers of the city’s own evolution, makes the museum feel less like a separate institution and more like a thoughtful extension of the city’s identity. Visiting it was not just an exploration of ancient artifacts, but of the cultural values that continue to shape Volterra today.

The lid of the so-called Urn of the Elderly Spouses, now one of the most iconic pieces in the Museo Etrusco Guarnacci in Volterra, offers a rare and moving glimpse into Etruscan funerary art. Discovered in 1743 in a chamber tomb at the Ulimeto necropolis, the 41 cm in height terracotta piece, depicts an elderly married couple reclining together on a banquet couch, a klinai, a motif deeply rooted in Etruscan traditions of commemorating the dead as participants in eternal feasting. Intriguingly, both hollow figures feature large openings at the top of their heads, possibly designed for the insertion of ashes, raising the possibility that this piece served not merely as a lid but as the urn itself. The male figure rests in a semi-recumbent pose, while the woman, unusually, lies prone and raises her face toward him, her missing forearm suggesting she may once have been shown in a tender, caressing gesture. Both are dressed in tunics and cloaks, with the woman’s garment sleeveless, and the sculptor emphasized signs of age, wrinkles, sagging cheeks, thinning hair, imbuing the scene with poignant realism. Likely commissioned in the 1st century BC, the work draws on older iconography to evoke dignity, memory, and shared legacy.

Aesthetically, the urn stands apart for its expressive force and quiet originality. Unlike the more standardized examples of Etruscan cinerary sculpture, this piece refuses idealization in favor of a strikingly human portrayal of aging bodies and enduring companionship. The deeply etched facial features, furrowed brows, veined hands, softened flesh, reflect not only technical skill but also a sensitive awareness of the passage of time. Yet, scholars suggest that despite this vivid realism, the work was not intended as a literal portrait of a known Volterran couple. Instead, it follows a stylistic convention of the period: a generalized “type” marked by apparent naturalism, crafted to evoke emotional resonance rather than exact likeness. The result is a powerful blend of personal and symbolic, an image of love, memory, and the continuity of human bonds beyond death. Set within the museum’s broader collection, the Urn of the Elderly Spouses captures the spirit of Etruscan funerary belief while offering a universal meditation on age, intimacy, and the desire to be remembered together.

For a Student Activity, inspired by the Voltera Urn, please… Check HERE!

Bibliography: https://volterratur.it/en/poi/guarnacci-etruscan-museum/ and https://www.facebook.com/groups/archeologyandcivilizations/posts/9143041642455945/

Patriarch Joseph II of Constantinople

July 20, 2025

by admin 15th century Art Art Byzantium Italian Renaissance Art Renaissance Renaissance Art Social Studies Student Activities Worksheets

**Tomb of Joseph II Patriarch of Constantinople**, Florentine sculptor, 1440, Santa Maria Novella, Florence
**Painted Portrait of Patriarch Joseph II of Constantinople**, 1590-92, Santa Maria Novella, Florence, Italy
Photo credit: Amalia Spiliakou, April 2025

Patriarch Joseph II of Constantinople was a pivotal figure in the history of the Eastern Orthodox Church, most notably for his participation in the Council of Ferrara-Florence (1438–1439), a major attempt to reconcile the long-standing schism between the Eastern and Western Christian churches. As the spiritual leader of the Eastern delegation, he played a crucial role in the theological dialogues aimed at achieving ecclesiastical unity. Though the union was short-lived, his involvement marked a significant moment of engagement between East and West. Patriarch Joseph II passed away during the council in Florence in 1439, and fittingly, his tomb remains in the Dominican church of Santa Maria Novella, an enduring symbol of his commitment to bridging divided faiths.

Born around 1360, likely in Constantinople, he was of noble origin and possibly related, on his father’s side, to the Bulgarian royal family. Before rising to the patriarchate, Joseph became a monk on Mount Athos and later served as the Metropolitan of Ephesus. In 1416, he was elected Ecumenical Patriarch of Constantinople, leading the Orthodox Church during a time of both spiritual and geopolitical crisis as the Byzantine Empire faced increasing pressure from the advancing Ottoman Turks.

A staunch supporter of church unity, Joseph II was a central participant in the Council of Ferrara-Florence (1438–1445), convened to heal the East-West Schism between the Orthodox and Roman Catholic Churches. His delegation sought Western military aid in exchange for theological concessions, a strategy driven by the empire’s desperate political situation. Despite his ill health, Joseph played a vital role in the negotiations, advocating dialogue and reconciliation. He died in Florence on June 10, 1439, before the council concluded, and was buried with honor in the church of Santa Maria Novella. His tomb remains there today, a rare and poignant symbol of his commitment to Christian unity and the enduring legacy of his leadership in a time of upheaval.

Although no literary or theological works by Patriarch Joseph II of Constantinople are known to have survived, his contemporaries spoke highly of his intellect and character. Ambrogio Traversari, in a letter dated February 20, 1438, praised him as venerable, so refined, with common sense, experience in life, and added, in my judgment, I think that today one could not find his like in all of Greece [Byzantium], noting that their conversation and the patriarch’s demeanor arouses respect. In Personalities of the Council of Florence, and Other Essays, Joseph Gill echoes this view, portraying Joseph II as a spiritually and intellectually vibrant leader despite his old age and deteriorating health. Nearly eight years old and suffering from heart disease, the Patriarch nonetheless demonstrated keen insight, prudent judgment, and steadfast dedication to the cause of church union until his death in Florence, shortly before the council concluded.

The Tomb of Patriarch Joseph II of Constantinople in the church of Santa Maria Novella, Florence, is a striking monument that reflects both historical reverence and artistic devotion. Created by a Florentine sculptor around 1440, the tomb commemorates the Eastern Patriarch who died in Florence during the Council of Florence, a major attempt at reunifying the Eastern and Western Churches. A later painted portrait (1590–92) complements the sculptural work, offering a vivid image of the patriarch. Ambrogio Traversari, a key figure in the council and admirer of Joseph II, described him with deep respect… The father is old, and, like his age, his grey hair, long beard and face make him a venerable figure to all who see him. This description is poignantly echoed in both the tomb and the painting, which together convey the spiritual dignity and serene wisdom of a man who symbolized unity and holiness at a crucial moment in church history. https://www.scribd.com/document/688389117/GILL-J-Personalities-of-the-Council-of-Florence-Joseph-II

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