Byzantine Engagement Ring in the Stathatos Collection

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

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

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

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

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

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

The Medici in Faenza

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Majolica Plate decorated with the coat of arms of the Medici of Florence, 16th century (1525 – 1530), Diameter: 12.3 cm, International Museum of Ceramics in Faenza, Italy – Photo Credit: Amalia Spiliakou, April 2025

Visiting the International Museum of Ceramics in Faenza was an unforgettable experience, an inspiring journey through centuries of ceramic artistry. As someone with a deep appreciation for both history and design, I was truly impressed by the museum’s extraordinary collection, which showcases the global and cultural significance of ceramics in such a thoughtfully curated way. Among the many treasures, one piece that especially captivated me was a modest yet elegant Majolica plate from the 16th century, skillfully adorned with the coat of arms of the Medici of Florence. Despite its small size, just 12.3 cm in diameter, its refined craftsmanship and understated beauty spoke volumes. It offered a glimpse into The Medici in Faenza, a subtle yet powerful reminder of how far their influence reached, and how even the simplest objects can carry the weight of history with quiet grace. https://www.micfaenza.org/en/

Let’s explore the ‘how’, ‘’, ‘why’, and ‘what’ of the amazing ‘Majolica Plate decorated with the coat of arms of the Medici of Florence’ in theInternational Museum of Ceramics in Faenzaby posing some questions!

What is Majolica, and why was it significant in Renaissance Italy? A Majolica plate is a type of tin-glazed earthenware that became highly popular in Renaissance Italy for its vibrant colors and intricate designs. Made from clay and coated with a white tin glaze, the surface served as a canvas for hand-painted decoration using metallic oxide pigments, which became brilliantly glossy after firing. These plates often featured historical, mythological, or heraldic imagery—like the Medici coat of arms—and were prized for both their beauty and craftsmanship. More than just functional objects, Majolica plates were symbols of wealth, status, and artistic refinement, reflecting the cultural and political identity of their time.

What is the origin of the term “Majolica,” and how has its meaning and use evolved over time? The term “Majolica” originates from the Spanish island of Mallorca (Majorca), which was a key trading hub for ceramics between the Islamic world and Italy during the Middle Ages. Italian potters believed that the brightly colored, tin-glazed pottery imported through Mallorca came from there, and the name “Maiolica” (the Italian form) became associated with this style of earthenware. Initially, it referred specifically to the luxurious, vividly painted ceramics produced in Renaissance Italy, especially in centers like Faenza, Deruta, and Urbino. Over time, particularly in the 19th century, the term “Majolica” began to be used more broadly—and sometimes confusingly—to describe other types of colorful ceramics, including English Victorian ware with entirely different techniques. Despite this evolution, in its original sense, Majolica remains a celebrated hallmark of Italian Renaissance artistry and innovation in ceramics.

What role did the city of Faenza play in the development and prominence of Majolica earthenware? Faenza played a central role in the development and prominence of Majolica earthenware during the Renaissance, becoming one of the most important ceramic production centers in Italy. The city’s artisans were renowned for their technical skill and artistic innovation, helping to refine the tin-glazing technique that gave Majolica its brilliant, glossy surface. Faenza’s strategic location along trade routes and its strong guild traditions fostered an environment where ceramic craftsmanship could flourish. So influential was its production that the French term for fine tin-glazed pottery—faïence—derives from the name of the city. Faenza’s legacy in ceramics continues today, celebrated through institutions like the International Museum of Ceramics, which honors its rich contribution to the art form.

Why is the International Museum of Ceramics in Faenza considered an important institution in the world of ceramic art and history? The International Museum of Ceramics in Faenza is considered one of the most important institutions in the world of ceramic art and history due to its vast and diverse collection, its historical significance, and its role in preserving and promoting ceramic heritage. Founded in 1908, the museum houses work from ancient civilizations to contemporary ceramic art, representing cultures from across the globe. It is especially renowned for its comprehensive display of Italian Majolica, with masterpieces from key production centers like Faenza, Deruta, and Urbino. The museum also serves as a vital center for research, education, and innovation in ceramics, hosting exhibitions, workshops, and scholarly initiatives. Its presence in Faenza—a city with centuries-old ceramic traditions—further cements its role as a guardian of both local craftsmanship and international ceramic excellence.

How would you describe the ‘Majolica Plate decorated with the coat of arms of the Medici of Florence,’ in the International Museum of Ceramics in Faenza, Italy? When I visited the International Museum of Ceramics in Faenza on the 1st of April 2025, one piece that left a lasting impression on me was the Majolica Plate decorated with the coat of arms of the Medici of Florence. Though modest in size—just 12.3 cm in diameter—it stood out as a refined and powerful example of Renaissance ceramic artistry. Created between 1525 and 1530, the plate features the iconic Medici heraldry, beautifully rendered in vibrant tin-glaze colors that still hold their brilliance centuries later. What struck me most was the balance between its elegant simplicity and the rich symbolism it carried. The clean lines and careful proportions reflect the technical mastery of the Renaissance ceramic tradition, while the Medici emblem speaks volumes about the political and cultural reach of this powerful Florentine family. Standing before it, I felt a quiet awe—this small object encapsulated so much history, beauty, and meaning in such a graceful form.

For a Student Activity, please… Check HERE!

Bibliography: https://www.metmuseum.org/met-publications/maiolica-italian-renaissance-ceramics-in-the-metropolitan-museum-of-art

Gian Lorenzo Bernini’s bust of Duke Francesco I d’Este

by 17th century ArtArtBaroqueSculptureStudent ActivitiesWorksheets
Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou April 2025

Upon entering the Galleria Estense in Modena, visitors are greeted by a masterpiece of Baroque sculpture that sets an immediate tone of grandeur and theatricality, Gian Lorenzo Bernini’s bust of Duke Francesco I d’Este. Commissioned in the 1650s, this dazzling marble portrait is more than a likeness; it is a triumph of artistic bravura that captures the duke in a moment of almost divine command, his chest proudly thrust forward, his locks swirling with motion, and his gaze lofty and enigmatic. Bernini’s extraordinary ability to fuse idealization with vitality makes the bust an unforgettable encounter at the heart of the gallery’s collection. Decades later and miles away, the bust’s spirit found a new interpretation through the brush of Giovanni Boldini. His painting Bust of Francesco I d’Este after Gian Lorenzo Bernini, now in the National Gallery of Art in Washington, D.C., revives the sculpture’s theatrical essence in painterly form—transforming cool marble into a vibrant, expressive study of light and form. Boldini, known for his flair and fluid technique, pays homage not only to Bernini’s virtuosity but also to the enduring legacy of Baroque splendor.

​In August 1650, Duke Francesco I d’Este of Modena commissioned Gian Lorenzo Bernini to sculpt his portrait in marble. Initially, Bernini was reluctant to undertake the project without meeting the Duke in person, considering it an “almost impossible” task. However, with the persistent intercession of Cardinal Rinaldo d’Este, the Duke’s brother, Bernini agreed, provided he received multiple portraits of the Duke and precise measurements of his height and shoulder width. Consequently, two profile portraits by Justus Sustermans were sent to Rome, while a frontal portrait by Jean Boulanger did not arrive in time. Bernini began sculpting in August 1651 and completed the bust by September. The sculpture arrived in Modena in November, and upon unveiling, the Duke was so impressed that he paid Bernini 3,000 scudi—the same amount Pope Innocent X had paid for the Fountain of the Four Rivers in Rome. This generous payment not only reflected the Duke’s satisfaction but also underscored his ambition to elevate the cultural stature of the Este court through patronage of renowned artists.

Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy https://ducatoestense.com/en/beni-storici-artistici/bust-of-duke-francesco-i-deste/

Bernini’s bust portrait of Francesco I d’Este stands as a quintessential example of Baroque art, embodying the movement’s defining traits of dynamism, theatricality, and grandeur. Far from being a static likeness, the sculpture radiates energy and authority: the Duke’s chest swells with pride, his elaborate curls cascade in dramatic motion, and his expression conveys both noble detachment and inner vitality. Bernini masterfully transforms marble into a living presence, infusing the work with psychological depth and an almost divine aura. This portrait doesn’t merely represent Francesco—it exalts him, turning the Duke into a timeless symbol of princely power and ambition. In doing so, Bernini demonstrates how sculpture in the Baroque era was not just about capturing appearances, but about commanding emotion and crafting an idealized image of rulership through the language of art.

Gian Lorenzo Bernini, 1598-1680
Bust of Francesco I d’Este, 1650–1652, Marble, 98 x 106 x 50 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou April 2025
Giovanni Boldini, 1842-1931
Bust of Francesco I d’Este after Gian Lorenzo Bernini, c. 1890/1900, brown and blue washes on ivory wove paper, 45.5 x 30.4 cm, National Gallery of Art, Washington DC, USA https://www.nga.gov/press/acquisitions/2022/boldini.html

In the late 19th century, Giovanni Boldini, celebrated for his dynamic and elegant portraits, created a wash drawing titled Bust of Francesco I d’Este, inspired by Gian Lorenzo Bernini’s renowned marble sculpture. Executed around 1890–1900, during Boldini’s flourishing career in Paris, the drawing captures the essence of Bernini’s Baroque masterpiece through expressive brown and blue washes on ivory wove paper. Boldini’s rendition emphasizes the dramatic curls and vigorous movement of the original bust, portraying the head in full profile while simplifying certain elements, such as omitting the lace collar and armor. This approach highlights Boldini’s theatrical style and his ability to convey vitality and motion, aligning with the gestural tendencies of contemporaries like John Singer Sargent. The drawing not only pays homage to Bernini’s work but also reflects Boldini’s exploration of abstract form, bridging 19th-century impressionism and the gestural styles that would influence 20th-century modernism. Acquired by the National Gallery of Art in 2021, this piece enriches the museum’s collection, illustrating the enduring impact of Baroque artistry on later generations

For art lovers, the Galleria Estense in Modena offers more than a collection, it offers a journey into the heart of artistic brilliance, where Bernini’s bust of Francesco I d’Este greets visitors with imperial flair and sculptural poetry. Its enduring legacy, later reimagined through the fluid hand of Giovanni Boldini, reminds us that true masterpieces do not merely survive the passage of time—they continue to speak, to inspire, and to live on in new and unexpected forms.

For a Student Activity on Gian Lorenzo Bernini’s Bust of Francesco I d’Este, and Giovanni Boldini painting of Francesco’s Bust, please… Check HERE!

Bibliography: https://ducatoestense.com/en/beni-storici-artistici/bust-of-duke-francesco-i-deste/ and https://www.nga.gov/press/acquisitions/2022/boldini.html

Mithraic Aion and Orphic Phanes

by ArchaeologyArtMythologyRoman ArtSculptureStudent ActivitiesWorksheets
Syncretistic deity Aion-Phanes, second quarter of 2nd century AD, Marble, 71×48,5 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou, April 2025

In the richly symbolic world of late antiquity, the Roman relief sculpture housed in the Galleria Estense in Modena, Italy, offers a captivating glimpse into the syncretic religious landscape of the 2nd century AD. This intricate relief brings together two enigmatic deities—Mithraic Aion and Orphic Phanes—whose fusion reflects a profound cosmological vision. Aion, central to Mithraic mystery cults, embodies boundless time and eternity, often depicted encircled by the zodiac, signifying the cyclical nature of existence. Phanes, a radiant, primordial god of light and creation in Orphic tradition, emerges from the cosmic egg, symbolizing the birth of order from chaos. The pairing of these figures on a single relief not only highlights the cross-pollination of Eastern and Hellenic religious ideas within the Roman Empire but also reveals a deep fascination with the mysteries of time, origin, and divine illumination.

Let’s explore the ‘what’, and the ‘how’ of this amazing Roman relief sculpture by posing some questions!

What does the figure of Aion represent in the context of Mithraic iconography, and how does his symbolism reflect the cosmological themes of Mithraism? Aion, in the context of Mithraism, is a mysterious and symbolic deity associated with eternal, cyclical time and the cosmos. While not a central figure in the Mithraic mysteries, he appears in some Mithraic iconography, most notably as a lion-headed figure entwined by a serpent, often standing on a globe and surrounded by zodiac symbols. This image represents cosmic time, the eternal cycle of the heavens, and possibly the control of celestial forces. Though not named explicitly in surviving texts, this figure is often identified as Aion, drawing parallels with the Greek personification of time, the Persian god Zurvan, and even with Gnostic aeons. Aion’s presence in Mithraism underscores the religion’s deep cosmological and esoteric focus, blending influences from Greco-Roman, Persian, and later philosophical traditions into a symbolic representation of the eternal and mysterious forces that govern the universe.

Syncretistic deity Aion-Phanes, second quarter of 2nd century AD, Marble, 71×48,5 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou, April 2025

What does the figure of Phanes represent in the context of Orphic iconography, and how does his symbolism reflect the cosmological themes of Orphism? In the context of Orphic iconography, Phanes represents the primordial god of creation, light, and life, embodying the emergence of the cosmos from a state of chaos. He is often depicted as a radiant, androgynous figure, sometimes with wings, surrounded by zodiac symbols, and entwined by a serpent, much like the later images of Aion. In Orphic cosmology, Phanes is the first-born deity who emerges from the cosmic egg, breaking it open to release the ordered universe. He is the source of all gods and beings, radiating divine intelligence and life into the cosmos. His symbolism reflects key Orphic themes such as rebirth, cosmic order, and divine light, and his role as a creator positions him at the center of a spiritual narrative in which the soul seeks to return to its divine origin. Phanes illustrates the Orphic belief in a hidden, mystical structure underlying the universe, one governed by divine reason and illuminated by sacred knowledge.

Syncretistic deity Aion-Phanes, second quarter of 2nd century AD, Marble, 71×48,5 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou, April 2025
Syncretistic deity Aion-Phanes, second quarter of 2nd century AD, Marble, 71×48,5 cm, Galleria Estense, Modena, Italy https://gallerie-estensi.beniculturali.it/blog/il-rilievo-marmoreo-con-il-dio-aion-phanes/

How does the Modena relief of Aion/Phanes visually represent the cosmological and theological concepts of time, creation, and divine order in Roman mystery religions? The Roman relief sculpture from the second quarter of the second century AD, housed in the Galleria Estense in Modena, presents a richly symbolic and cosmologically charged depiction of a deity identified with Aion, Phanes, Chronos, or Eros—various names for a single primordial figure associated with cosmic time, creation, and divine light. At the center stands a radiant, naked youth whose powerful presence merges multiple divine attributes. He holds a thunderbolt in his right hand and a long staff in his left, suggesting authority over both cosmic order and divine revelation. His hoof-shaped feet rest on an upturned cone, half of a cosmic egg, from which flames burst—symbolizing the act of creation. A matching, flame-emitting cone rises above his five-rayed, curly-haired head, reinforcing the theme of birth from chaos. Encircling his body in four spirals is a serpent, its head emerging above the flames—an ancient symbol of eternity, rebirth, and cosmic continuity. The figure’s wings, lion’s head chest mask, and emerging animal heads (a ram and a buck) further emphasize his fusion of natural, divine, and astrological forces. The crescent moon behind his shoulders adds a lunar dimension, balancing the solar imagery of fire and rays.

Syncretistic deity Aion-Phanes, second quarter of 2nd century AD, Marble, 71×48,5 cm, Galleria Estense, Modena, Italy – Photo Credit: Amalia Spiliakou, April 2025

This figure is enclosed within an elliptical zodiacal band, divided into twelve sections, each containing a zodiac sign, beginning with Aries above the deity’s head and continuing counterclockwise through the signs to Pisces. Each sign is carefully personified—for instance, Gemini are shown embracing, with one playing a lyre, while Aquarius is represented as a naked youth pouring water from an amphora. The full zodiac, surrounding the god, positions him at the center of cosmic time and astral influence, underscoring his identity as a divine force who governs the heavens and the passage of time. In each corner of the relief, the four winds are personified—Zephyrus, Notus, Boreas, and Eurus—contributing to the all-encompassing cosmological vision. An inscription dedicates the sculpture to Felix and Euphrosyne, though her name was later partially erased, likely due to the Mithraic ban on female initiates. This relief encapsulates the esoteric worldview of late Roman religious thought, where divine creation, astrological order, and mystery cult symbolism intertwine in a single, intricate visual theology.

From fire and serpent, time itself takes form—Aion-Phanes rises, eternal guardian of the stars and the spark of creation.

For Student Activities inspired by the amazing Roman relief sculpture of Aion-Phanes in Galleria Estense in Modena, please… Check HERE!

Bibliography: Aion by Doro Levi, Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 13, No. 4 (Oct. – Dec., 1944), pp. 269-314 (46 pages) https://www.jstor.org/stable/146699?read-now=1&seq=42#page_scan_tab_contents and https://gallerie-estensi.beniculturali.it/en/collections/works-of-art/#/dettaglio/821254_Aion/Phanes%20all’interno%20dello%20zodiaco and https://www.tertullian.org/rpearse/mithras/display.php?page=cimrm695

Daisies by Henri Matisse

by 20th century ArtArtFrench ArtStudent ActivitiesWorksheets
Henri Emile Benoît Matisse, French Artist, 1869-1954
Daisies, 1939, Oil on Canvas, 92 × 65 cm, The Art Institute of Chicago, USA https://www.artic.edu/artworks/100226/daisies

The painting Daisies by Henri Matisse, housed in The Art Institute of Chicago, captures the quiet radiance of nature with his signature bold colours and fluid brushwork. The daisy, the flower of April, symbolizes purity, resilience, and new beginnings—qualities that resonate deeply in Matisse’s luminous arrangement of white blossoms against a vibrant backdrop. His depiction calls to mind Emily Dickinson’s tender lines: “The daisy follows soft the sun, / And when his golden walk is done, / Sits shyly at his feet. / He, waking, finds the flower near. / ‘Wherefore, marauder, art thou here?’ / ‘Because, sir, love is sweet!’” Like Dickinson’s poetic daisy, Matisse’s flowers seem to bask in an unseen glow, embodying an intimate conversation between light and form, simplicity and devotion. https://discoverpoetry.com/poems/daisy-poems/

Matisse’s Daisies, is a joyful still-life that captures his fascination with colour, light, and organic forms. The painting presents a bouquet of white daisies arranged in a transparent glass vase, set against a stark black background and ‘accompanied’ by the artist’s model, seated on a bright red chair, outlined with thick, fluid, black lines, as well as a pink-and-blue drawing of another woman on the upper left side of the painting. The vase of Daisies is part of a Still Life arrangement organized on the right side of the painting. It consists of a green amphora, a vase of flowers, and lemons atop a tall light-blue table. Matisse employs bold brushstrokes, layering warm yellows, deep reds, and rich greens that contrast with the crisp white petals of the daisies. Though simply rendered, the flowers exude an unmistakable vibrancy, as if swaying gently in an unseen breeze. The composition balances structure and fluidity—while the vase anchors the scene, the blossoms extend outward, softly blending into the surrounding space.

Aesthetically, Daisies exemplifies what Matisse called “ballast,” a technique of adding and removing paint to achieve the desired effect of light. Rather than aiming for photographic realism, he distills the essence of the subject through bold contours and a dynamic interplay of warm and cool hues. The daisy—a flower often associated with innocence and renewal—becomes a vehicle for Matisse’s exploration of harmony, light, and movement. The painting’s flattened perspective and luminous palette reflect his belief in art’s ability to evoke joy and emotional depth rather than mere representation. The background, composed of dappled brushstrokes in yellow and red, creates a sense of warmth and intimacy, drawing the viewer into a world where nature and art converge in pure, expressive beauty.

Paris, 2nd December 1942
At the Jeu de Paume Museum, Reichsmarschall Hermann Göring, painting in his left hand and cigar in his right, sits gazing at two works by Henri Matisse being supported by Bruno Lohse. Standing to Göring’s left is his art advisor, Walter Andreas Hofer. Note the bottle of champagne on the table. Both paintings were stolen from the Paul Rosenberg collection by the Nazis and were recovered and returned after the war. The painting on the left, ‘Marguerites’, today hangs in the Art Institute of Chicago. The other, ‘Danseuse au Tambourin’, is at the Norton Simon Museum in Pasadena, California. mage credit: Archives des Musées Nationaux https://artuk.org/discover/stories/art-matters-podcast-the-monuments-men-and-preserving-art-during-war

Created during a pivotal period in Matisse’s career, Daisies was painted in 1939, just as the world teetered on the brink of World War II. Despite the looming global turmoil, Matisse continued to explore the themes of serenity and vitality that defined much of his work. Daisies was initially acquired by the renowned modern art dealer Paul Rosenberg (1881–1959). However, with the Nazi occupation of France, Rosenberg, like many other Jewish dealers, was forced to flee, and his extensive collection, including Daisies, was seized. After World War II, the painting was among the works recovered by the U.S. Army’s efforts to restitute looted art. Rosenberg reclaimed Daisies and brought it to his newly established gallery in New York. Eventually the painting became part of The Art Institute of Chicago’s collection, where it remains a cherished example of Matisse’s lifelong pursuit of beauty through simplified, evocative forms.

Henri Matisse (1869–1954) was a pioneering French artist whose bold use of color and fluid forms reshaped modern art. Initially trained in law, he discovered painting in his early twenties and soon became a leading figure in Fauvism, a movement defined by vibrant, expressive color. Throughout his career, Matisse continuously experimented with composition, perspective, and light, moving from the vivid hues of his Fauvist period to the refined, decorative harmony of his later works. Even as he faced illness in his later years, he adapted his creative process, embracing cut-outs and paper collages as a new medium for artistic expression. His 1939 painting Daisies reflects this lifelong pursuit of joy and balance, distilling nature into a symphony of colour and form. Like much of his work, it transcends simple representation, instead capturing the emotional essence of its subject—transforming an ordinary bouquet into an emblem of vitality and renewal.

Daisies are often associated with April because they symbolize purity, new beginnings, and resilience—qualities that align with the themes of springtime renewal. As one of the first flowers to bloom widely across fields and gardens when winter recedes, daisies represent the fresh start that April brings. Their name comes from the Old English “dæges ēage” (day’s eye), referring to their habit of opening with the sun and closing at night, further reinforcing their connection to the longer, sunlit days of early spring. In floral traditions, the daisy is often linked to innocence, love, and transformation, making it a fitting emblem for a month that bridges the transition from the softer, budding days of March to the full bloom of late spring.

For a Student Activity, inspired by Matisse’s Daisies, please… Check HERE!

Bibliography: https://publications.artic.edu/matisse/reader/works/section/87 and https://www.artic.edu/artworks/100226/daisies

Personification of Spring

by ArchaeologyArtByzantine ArtByzantiumEarly Christian ArtEgyptEgyptian ArtStudent ActivitiesWorksheets
Tunic Decoration: Tabula (Square) with the Head of Spring, 5th – 7th centuryAD, Tapestry in multicolored Wool and Linen, 23.5 x 25 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/444327

Christos Laskaris captures the essence of Spring in his evocative poem: ‘Διάβαζα ένα ποίημα για την άνοιξη / όταν την είδα / να έρχεται από μακριά: / μισή γυναίκα, / μισή όνειρο. / Κατέβαινε το μονοπάτι κάτω / στεφανωμένη / με άνθη κερασιάς. / Τότε κατάλαβα τι δύναμη έχουν τα ποιήματα. (I was reading a poem about Spring / when I saw her from afar: / half woman, / half dream. / She was going down the path / wreathed / with cherry blossoms. / That was when I understood the power poems hold.). These lines illustrate the transformative power of poetry, where words bloom into vivid imagery, evoking the ephemeral beauty and vitality of the season. As I reflected on Laskaris’s portrayal of Spring as ‘half woman, half dream,’ I was reminded of a small textile piece in the MET collection, a decorative artwork depicting the Personification of Spring. This intricate piece, adorned with motifs of blossoming flowers and a graceful figure, parallels the poem’s vision, embodying renewal and beauty in a tangible form. Together, the poem and the artwork highlight, I humbly believe, Spring’s timeless allure and its ability to inspire across art forms, reminding us of the season’s power to awaken imagination and connect us to the essence of life. https://e-keimena.gr/index.php?option=com_content&view=article&id=510:poihmata-gia-thn-anoiksh&catid=149:poihmata-anoiksh&Itemid=54

Searching for information on Early Christian Textiles, I came across two booklets  I would like to share… and acting more like a Curator rather than a Teacher, I present you Textiles of Late Antiquity, a 1995 Metropolitan Museum of Art Publication, and Woven Interiors: Furnishing Early Medieval Egypt, an Exhibition Catalogue of 2020, organized by the George Washington University Museum, The Textile Museum, and Dumbarton Oaks Research Library and Collection.  https://www.metmuseum.org/art/metpublications/Textiles_of_Late_Antiquity and https://museum.gwu.edu/woven-interiors-furnishing-early-medieval-egypt

This small tapestry panel from Egypt in the Metropolitan Museum in New York City, identified as: Tabula (Square) with the Head of Spring. is a remarkable example of Coptic textile art from the Early Christian period. It was originally an appliqué on a larger textile, likely part of a set adorning a garment. Woven from linen and wool, the piece measures just a few centimeters across but is rich in detail and vibrant in colour. The central figure is a personification of Spring, adorned with a wreath of pink blossoms that symbolize the season’s renewal and fertility. The figure is depicted in a frontal pose, dressed in flowing robes with intricate floral patterns that demonstrate Spring’s association with nature’s abundance, and the skill of the weaver. The panel’s relatively well-preserved state is a testament to Egypt’s hot, dry climate, which has safeguarded textiles that would have otherwise been lost to time.

Aesthetically, the panel is a harmonious blend of naturalistic detail and stylized design, characteristic of Coptic art. The vibrant colour palette, dominated by earthy tones and soft pinks, reflects the organic materials used in its creation and emphasizes the figure’s connection to nature. The composition is balanced, with the central figure drawing the viewer’s eye while the centrally placed floral elements create a sense of movement and vitality. The weaving technique, combining fine detail with bold forms, showcases the artistic and technical sophistication of the Coptic weavers. Symbolically, the personification of Spring embodies themes of renewal, prosperity, and the cycle of life, which held deep significance in both pagan and early Christian contexts. This small yet exquisite piece thus serves as both a functional decorative element and a meaningful cultural artifact, bridging artistic tradition and symbolic expression.

For a Student Activity inspired by the MET textile with the Personification of Spring, please… Check HERE!

David Hockney’s Daffodils

by ArtArt of the United KingdomStudent ActivitiesWorksheets
David Hockney, English,born 9 July 1937
The Arrival of Spring, Normandy, 2020, Do Remember They Can’t Cancel the Spring, iPad painting © David Hockney https://www.standard.co.uk/culture/david-hockney-daffodils-spring-coronavirus-lockdown-a4394636.html

As we step into March, we celebrate its arrival with the radiant Daffodil, beautifully captured in David Hockney’s Daffodils, 2020, a standout piece from his series The Arrival of Spring, Normandy, 2020. This artwork embodies the vitality and optimism of spring, as the bright yellow blooms emerge as harbingers of renewal and resilience. Hockney immortalizes the Daffodils with bold colours and a dynamic composition, reflecting his belief in the enduring power of nature, encapsulated in his poignant phrase, ‘Do remember they can’t cancel the Spring.’Together, we’ll explore the ‘who,’ ‘when,’ ‘what,’ ‘why’ and ‘how’ of this artwork, uncovering how it bridges the natural world and artistic expression, inviting us to pause and embrace the beauty of March in full bloom.

David Hockney’s The Arrival of Spring, Normandy, 2020 is a vibrant celebration of renewal and the beauty of the changing seasons, created during the global lockdown. Comprising 116 iPad paintings, the series captures the artist’s observations of the Normandy countryside, where he sought refuge during the pandemic. Hockney masterfully uses his iPad as a digital canvas, bringing a fresh perspective to landscapes with bright colours, bold lines, and a sense of immediacy. Echoing his poignant phrase… Do remember they can’t cancel the Spring, the collection reflects his enduring fascination with nature and the passage of time, offering viewers a sense of hope, resilience, and the simple joys of observing the world around them.

Who is David Hockney? David Hockney is one of the most influential and celebrated British artists of the 20th and 21st centuries, renowned for his innovative approach to art and his exploration of colour, perspective, and technology. Born in Bradford, England, in 1937, Hockney gained international acclaim in the 1960s as a key figure in the Pop Art movement, with works that often reflected his fascination with everyday life, portraiture, and landscapes. Over his prolific career, he has continually reinvented his style and medium, from his iconic California pool paintings to groundbreaking digital works created on iPads. Hockney’s art is deeply personal, yet universal, capturing the joy and beauty of the world around him with a distinctive blend of boldness and warmth, making him a beloved figure in contemporary art.

David Hockney, English, born 9 July 1937
The Arrival of Spring, Normandy, 2020, No. 258, 27th April 2020, No. 1, David Hockney. © David Hockney https://www.dreamideamachine.com/?p=81176

When did David Hockney create The Arrival of Spring, Normandy, 2020 series, and what inspired him during that time? David Hockney created The Arrival of Spring, Normandy, 2020 during the early months of the COVID-19 pandemic in 2020 while living in isolation at his farmhouse in Normandy, France. Inspired by the changing seasons and the resilience of nature amidst global uncertainty, the series reflects his deep observation of the renewal and vitality of spring, serving as both a personal meditation and a universal message of hope. Through 116 iPad paintings, Hockney captured the essence of the Normandy countryside, celebrating the enduring beauty of nature during a time of profound disruption. The artist produced all the works in the series en plein air, much like the Impressionists, whose work influenced Hockney both generally and specifically for this series. For example, Monet’s Stacks of Wheat, and Hockney’s The Arrival of Spring explore the interplay of light and color at different times of day and throughout the progression of the season, bringing a dynamic and transformative perspective to his landscapes.

David Hockney, English, born 9 July 1937
The Arrival of Spring, Normandy, 2020, No. 340, 21st May 2020, iPad painting © David Hockneyhttps://www.bozar.be/en/watch-read-listen/david-hockney-bozar

Why did Hockney turn to iPad painting for, instead of traditional mediums, and how was it received by audiences? David Hockney turned to iPad painting for The Arrival of Spring, Normandy, 2020 because it allowed him to work swiftly and spontaneously, capturing the fleeting beauty of nature with immediacy and precision. The portability and versatility of the medium enabled him to document the changing seasons in real-time, often completing a piece The Arrival of Spring, Normandy, 2020within hours. Hockney has long embraced new technologies in his art, viewing them as tools to expand creative possibilities. The use of iPad painting in this series was well-received by audiences, who appreciated its modernity and accessibility. Critics praised Hockney’s ability to translate traditional artistic techniques into a digital format while maintaining the vibrancy, detail, and emotional resonance that characterize his work, further solidifying his reputation as a forward-thinking artist.

David Hockney in his Normandy studio with his iPad landscapes © David Hockney
https://www.bozar.be/en/watch-read-listen/david-hockney-bozar

Why does Daffodils, 2020 stand out as a representation of March and how did Hockney incorporate Daffodils in his The Arrival of Spring, Normandy, 2020 series? Daffodils, 2020 stands out as a representation of March because they are often the first signs of spring. The Daffodil is a quintessential symbol of the season, celebrated for its vibrant yellow blooms that herald the end of winter and the renewal of life. In Hockney’s artwork, the Daffodils burst with energy and optimism, reflecting the vitality and hope associated with the transition into spring. Hockney’s use of bold colours and dynamic composition captures the essence of the flower’s cheerful and resilient nature, making it an ideal representation of March—a month characterized by growth, renewal, and the promise of brighter days ahead. Through this piece, Hockney invites viewers to pause and appreciate the simple, uplifting beauty of the natural world.

How is the Daffodil connected to the Greek myth of Narcissus? The Daffodil, botanically known as Narcissus, is intrinsically linked to the Greek myth of Narcissus, the son of the river god Cephissus and the nymph Liriope. According to legend, Narcissus was a youth of extraordinary beauty who became entranced by his own reflection in a pool of water, ultimately leading to his demise. In some versions of the myth, the gods transformed him into the Daffodil flower, which thereafter bore his name. This association imbues the Daffodil with themes of self-love and vanity, as well as the transient nature of beauty. The flower’s early spring bloom further symbolizes rebirth and new beginnings, adding layers of meaning that have been reflected in art and literature throughout history.

For Student Activities inspired by David Hockney’s Daffodils, please… Check HERE!

Bibliography: https://www.artic.edu/articles/1010/10-things-to-know-about-david-hockney-s-the-arrival-of-spring-normandy-2020 and

Amarna Canopic Jar

by ArchaeologyArtEgyptEgyptian ArtSocial StudiesStudent ActivitiesWorksheets
Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

The Amarna Canopic Jar presented here, created for a funerary purpose, bears a lid adorned with a face so exquisitely detailed that it showcases the skill of a master artist, as if it were a public portrait. The youthful features—marked by a long, slender nose, almond-shaped eyes, and a delicately sculpted mouth—reflect an idealized image intended to endure in the eternal afterlife, regardless of the owner’s true age at death. Stylistically, the jar aligns with the artistic innovations of Akhenaten’s later reign, a period defined by the relocation of the royal court to Amarna. Yet, the mystery lingers: alterations made to the jar and lid in antiquity obscure the identity of the original owner. Who is she? The question haunts this artifact, a silent testament to both artistic mastery and the enigmatic nature of its history.

The enigmatic Canopic Jar, discovered in 1907, offers a fascinating glimpse into the royal intrigues of Akhenaten’s court, its ownership shrouded in layers of mystery and historical debate. Was it created for Queen Tiye, the formidable matriarch of the Amarna dynasty? Or perhaps Queen Nefertiti, renowned for her beauty and influence? Some have speculated it belonged to Queen Kiya, Akhenaten’s favored secondary wife, whose identity is subtly suggested by faint traces of hieroglyphs and the distinctive Nubian wig. Others propose Princess Merytaten, Akhenaten’s eldest daughter and later consort. For a time, even Akhenaten himself was considered a possibility. This confusion underscores the complex dynamics of the royal family, whose intertwined stories continue to captivate and confound modern scholars.

Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

Whoever the original owner portrayed on the lid of the Canopic Jar in the MET was, she is undoubtedly a striking representation of one of the royal women of Amarna, embodying the elegance and refinement characteristic of this unique artistic period. Her features, including a long, slender nose, almond-shaped eyes, and a sensuous mouth, reflect the naturalistic yet idealized aesthetic that defined Amarna art. She wears the Nubian wig, a hairstyle of overlapping curls reserved for adults and favored by Akhenaten’s female relatives, emphasizing her status and maturity. At the center of her forehead, a hole marks the original placement of a separately carved rearing cobra, or uraeus, whose tail elegantly curves across the top of the wig. This royal insignia, exclusively worn by kings and queens, reinforces her elevated position within the court. The fusion of idealized beauty with symbolic details like the uraeus and the wig encapsulates the distinctive style and symbolic language of the Amarna period.

The Metropolitan Museum of Art Canopic Jar was discovered in 1907 within Tomb KV55 in the Valley of the Kings, one of Egypt’s most enigmatic burial sites. This tomb contained a mixture of funerary artifacts, including items inscribed for Queen Tiye, magical bricks bearing Akhenaten’s name, and four canopic jars, among them, the one in question, alongside a wooden coffin likely crafted for Kiya. It is believed that, to protect these items, Tutankhamun ordered their transfer from Akhenaten’s plundered Amarna tomb to Thebes. Subsequently, Kiya’s jars, and coffin may have been repurposed for another royal family member’s burial.

Canopic Jar with a Lid Depicting a Queen, New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1349–1330 BC, from Upper Egypt, Valley of the Kings, Tomb KV 55, Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone, Height of Jar and Lid: 53.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/544689

Tomb KV55’s entrance is cut into the floor of the main valley between the resthouse and the tomb of Rameses IX (KV 6). The tomb comprises an entryway followed by a single corridor leading directly into the burial chamber and its side chamber. Marks on the walls indicate that, after the entrance and stairs were cut, the entrance was enlarged, the ceiling raised, and the number of stairs increased.

The tomb’s discovery and the subsequent analysis of its contents have provided significant insights into the complex burial practices and political dynamics of the late 18th Dynasty, particularly concerning the Amarna period and its aftermath. The relocation and reuse of funerary equipment highlight the period’s turbulent transitions and the efforts to preserve royal legacies amid shifting religious and political landscapes.

For a Student Activity, titled ‘Guardians of the Afterlife – Understanding the Role and Use of Egyptian Canopic Jars’ inspired by the Amarna period Canopic Jar in the MET, please… Check HERE!

Bibliography: https://www.metmuseum.org/art/collection/search/544689 and https://thebanmappingproject.com/tombs/kv-55-tiye-or-akhenaten

The Tyche of Antioch

by ArchaeologyArtHellenistic ArtRoman ArtSculptureStudent ActivitiesWorksheets
Tyche of Antioch (Roman copy after a Greek bronze original by Eutychides of the 3rd century BC), 1st-2nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

§ 88 And he (Seleucus), riding with his gaze fixed upward, was guided to Emathia by the flight of the bird. The eagle, descending there, placed the offerings on the altar of Zeus Bottiaios, which had been founded by Alexander, when the spring refreshed him; and it seemed to all, even to those not skilled in augury, that Zeus was advising that a city be built on the place. Thus Alexander’s original desire for a settlement, and his beginning of the undertaking, moved toward completion; and the chief of the gods became our founder through his prophetic sign. § 89 Then Seleucus collected artisans representing every skill, all sources of labor for assistance, and all the finest possible stones. Forests were cut down for roofs, and wealth was poured into the work of building. § 90 Outlining the city, he stationed the elephants at intervals, at the places where the towers were to be, and to mark out the length and breadth of colonnades and side streets he used, for the dividing lines, wheat which had been brought by ships which stood in the river. § 91 And quickly the city rose; and quickly what was built was filled with those who came down to the city from Ione, Argives and Cretans and the descendants of Herakles – who were, I believe, related to Seleucus through Temenus of old – and with the soldiers who followed Seleucus, who chose this place for their home… Antioch, one of the great cities of the ancient world, owes its foundation to the vision and divine guidance of Seleucus I Nicator, as vividly recounted by Libanius in his Oration In Praise of Antioch. Does the Vatican’s statue of The Tyche of Antioch truly capture the grandeur and spirit of this legendary city? https://topostext.org/work/789

Antioch, founded in 300 BC by Seleucus I Nicator, one of Alexander the Great’s generals, quickly became one of the most important cities of the ancient world. Strategically located on the Orontes River near the Mediterranean, it served as a critical hub connecting the East and the West. Seleucus named the city after his father, Antiochus, and established it as the capital of the Seleucid Empire. Known for its diverse population, including Greeks, Jews, and Syrians, Antioch was a melting pot of cultures and religions, fostering a vibrant intellectual and artistic community. The city’s grand architecture, with colonnaded streets, aqueducts, and public baths, reflected its wealth and status. Its significance grew under Roman rule, becoming the empire’s third-largest city and earning the nickname Queen of the East due to its prosperity and cosmopolitan character.

Antioch was also a vital center of early Christianity. It is where followers of Jesus were first called “Christians” and where significant missionary activities, including those of Paul and Barnabas, were launched. The city played a crucial role in the spread of Christianity across the Roman Empire. Despite its cultural and spiritual prominence, Antioch faced numerous challenges, including devastating earthquakes and invasions. It declined after the Muslim conquest in the 7th century Ad but remained a key regional city. Today, Antioch’s legacy endures as a symbol of ancient urban innovation, religious significance, and cultural integration, echoing its storied past as one of antiquity’s greatest cities.

Tyche of Antioch (Roman copy after a Greek bronze original by Eutychides
of the 3rd century BC) detail, 1st-2nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani https://commons.wikimedia.org/wiki/File:The_Tyche_of_Antioch._Marble,_
Roman_copy_after_a_Greek_bronze_original_by_Eutychides_of_the_
3rd_century_BC,_Galleria_dei_Candelabri,_Vatican_Museums_02.jpg
Tyche of Antioch (Roman copy after a Greek bronze original by Eutychides
of the 3rd century BC) detail, 1st-2nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani https://commons.wikimedia.org/wiki/File:The_Tyche_of_Antioch._Marble,_
Roman_copy_after_a_Greek_bronze_original_by_Eutychides_of_the_
3rd_century_BC,_Galleria_dei_Candelabri,_Vatican_Museums_02.jpg

Slightly after 300 BC, the Greek sculptor Eutychides of Sicyon, famous student of Lysippos, crafted a monumental statue of the Tyche of Antioch. The statue presented a woman, the striking personification of the city, depicted seating on a rock with a turreted crown symbolizing her fortified walls and urban strength. At her feet flowed the river Orontes, represented as a youthful figure reclining, emphasizing the city’s strategic location and life-giving waters. The statue’s innovative design, blending allegory with urban identity, left a profound mark on ancient art. It became an enduring icon, inspiring countless replicas and adaptations in various scales and materials for over 500 years. These copies spread throughout the Hellenistic and Roman worlds, testifying to the statue’s artistic brilliance and Antioch’s cultural prestige. The original statue by Eutychides has been lost to history, but its legacy endures through Roman-era copies, the most famous of which is preserved in the Vatican Museums, ensuring that Eutychides’ vision continues to captivate modern audiences as a symbol of fortune, ingenuity, and the enduring legacy of a legendary city.

The Vatican statue of The Tyche of Antioch beautifully reflects Libanius’s account of the city’s foundation, highlighting themes of divine guidance, careful planning, and prosperity. Libanius describes how Seleucus, guided by Zeus through an eagle, built Antioch with divine approval, blending human effort with celestial will. This connection is seen in the statue, where Tyche wears a crown shaped like the city’s walls, symbolizing divine protection. Libanius’s mention of elephants marking towers and wheat outlining streets mirrors the precision and care seen in Eutychides’s design. The river Orontes at Tyche’s feet emphasizes the river’s importance to Antioch’s layout and economy. Together, the statue and Libanius’s story celebrate the union of nature, divine will, and human ingenuity that made Antioch a legendary city, embodying its historical and artistic significance.

For a Student Activity inspired by the Vatican Tyche of Antioch, please… Check HERE!

Tyche of Antioch (Roman copy after a Greek bronze original by Eutychides of the 3rd century BC), 1st-2nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

St John the Baptist and Four Saints

by ArtByzantine ArtByzantine IvoriesByzantiumEducationGreek ArtMedieval ArtSocial StudiesStudent ActivitiesWorksheets
St John the Baptist and Four Saints, c. 1000 AD, Elephant ivory with traces of gilding, 23.2×13.3cm, Victoria and Albert Museum, London, UK https://commons.wikimedia.org/wiki/File:St._John_
the_Baptist_and_saints,_c._1000_CE._
Ivory_with_traces_of_gilding._From_Constantinople,_Byzantine_
Empire_%28Istanbul,_Turkey%29._Victoria_and_Albert_Museum.jpg

On the 7th of January, the Feast Day of Saint John the Baptist, the Greek Orthodox Church celebrates a significant figure in Christian tradition. His Apolytikio is a testimony to his elevated status… ‘The memory of the just is celebrated with hymns of praise, but the Lord’s testimony is sufficient for thee, O Forerunner; for thou hast proved to be truly even more venerable than the Prophets, since thou was granted to baptize in the running waters Him Whom they proclaimed.’ The Ivory Plaque of St John the Baptist and Four Saints in the Victoria and Albert Museum in London is evidence of his importance in the arts.

This Byzantine ivory plaque, housed in the Victoria and Albert Museum, presents a commanding depiction of Saint John the Baptist surrounded by four saints in a beautifully carved composition. St. John, central to the piece, gazes solemnly outward, his right hand raised in a gesture of blessing reminiscent of the iconic Christ Pantocrator. He holds a scroll, in his left hand, a symbol of prophetic wisdom. Encircling him in a design formed by an elegant tubular vine are busts of Saints Philip and Stephen above and Saints Andrew and Thomas below, creating a balanced visual symmetry.

The surface between these circular frames is filled with intricate, pierced foliage, a testament to the Byzantine craftsman’s skill. Traces of gilding and remnants of red-tinted inscriptions hint at the plaque’s former vibrancy, once illuminated with a regal gold shine and rich colours highlighting each saint’s name. The eyes of the figures, enhanced with glass paste beads, lend a lifelike intensity, particularly in St. Philip, where the beading remains fully intact.

Despite a long crack running vertically on the left side and the loss of two leaves from the foliage, the plaque preserves its structural beauty. The back side reveals the ivory’s natural texture, with gentle wavy lines and the subtle trace of a nerve canal, adding to the piece’s authenticity and tactile connection to its organic origins. These characteristics all contribute to the plaque’s historical value, serving as a physical testament to devotion and masterful artistry from the Byzantine era.

The V&A’s ivory plaque of Saint John the Baptist, dating to around 1000 AD, emerges from a period in Byzantine history when art flourished under the Macedonian Dynasty. This era was marked by a “renaissance” of classical themes, blending ancient Greco-Roman styles with Christian iconography and meticulous, refined craftsmanship. The plaque exemplifies this revival through its carefully carved figures and balanced composition, presenting Saint John with an aura of reverence as a ‘bridge’ between the Old and New Testaments. Positioned in the center with a raised hand in benediction, Saint John echoes the imagery of Christ Pantocrator, highlighting his esteemed role as the Forerunner who baptizes Christ. His scroll symbolizes prophetic wisdom, while the saints around him—Philip, Stephen, Andrew, and Thomas—reflect the universal call to discipleship, with inscriptions and red accents further enhancing their significance. https://collections.vam.ac.uk/item/O92548/st-john-the-baptist-and-plaque-unknown/

The original purpose of the plaque remains somewhat uncertain, though the prominence afforded to Saint John the Baptist suggests a possible connection to a religious foundation dedicated to him, such as the renowned Studios Monastery and Basilica in Constantinople. This celebrated institution, a major center of Byzantine monastic life, may have housed objects of similar significance. Following the Crusaders’ sacking of Constantinople in 1204, treasured items from such sites often made their way westward, making it plausible that this plaque was preserved as a valued relic in Europe. Through its symbolism and fine craftsmanship, the plaque reflects both personal devotion and the era’s dedication to spiritual legacy in Byzantine Art.

According to experts at the Victoria and Albert Museum, the Byzantine plaque has been stylistically linked to ivory panels on a casket now housed in the Bargello Museum in Florence, which also features half-length depictions of Saints John the Baptist, Philip, Andrew, and Thomas. This connection suggests a shared artistic tradition, reflecting how Byzantine craftsmen used similar motifs and compositions to emphasize the saints’ roles. While my search for a photo and further information on the Bargello casket has been challenging, I hope to view this piece in person during my upcoming visit to the Bargello in the spring! Seeing it firsthand will be invaluable for understanding its stylistic parallels with the V&A plaque. https://www.theflorentine.net/2021/05/04/bargello-museum-reopens-with-refurbished-sala-degli-avori/

For a Student Activity, please… Check HERE!