Oedipus Rex and Jocasta by Renoir

by 19th century ArtArtFrench ArtImpressionismMythologyStudent ActivitiesWorksheets
Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels: circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Citizens of my beloved Thebes!  See now your great Oedipus!
That famous man who knew the answers of great riddles.  That man whose good fortune every man in Thebes envied!  See now in what monstrous storm of misfortune he has fallen… Let’s not praise a man for his good Fate unless he has arrived at his final day, having escaped bad Fate… The last Chorus lines of Sophocles’ tragedy Oedipus Rex convey a sense of profound realization and acceptance of the futility of human efforts against fate and destiny. Do the paintings of Oedipus Rex and Jocasta by Renoir reflect Sophocles’ point of view? How did the great Impressionist artist decide to explore such a subject matter? https://bacchicstage.wordpress.com/sophocles/oedipus-rex/

The myth of Oedipus revolves around a tragic prophecy that foretells Oedipus, the son of King Laius and Queen Jocasta of Thebes, would kill his father and marry his mother. In an attempt to avoid this fate, Oedipus is abandoned as a baby but is later adopted and raised by another royal family. Unaware of his true parentage, Oedipus grows up and, through a series of unfortunate events, unwittingly fulfills the prophecy by killing his father, King Laius, in a chance encounter on the road and subsequently marrying his mother, Queen Jocasta. When the truth is revealed, Jocasta tragically takes her own life, and Oedipus blinds himself in horror and shame. The Oedipus myth explores themes of fate, free will, and the inevitability of destiny, serving as a classic example of Greek tragedy.

Sophocles’ Oedipus Rex stands as a timeless masterpiece of Greek tragedy, skillfully weaving a narrative that delves into the complexities of fate and the human condition. The play’s exploration of the inevitable clash between individual free will and the predetermined course of destiny is masterfully executed. The intricate use of dramatic irony, the relentless pursuit of truth, and the psychological unraveling of Oedipus and that of his mother Jocasta, contribute to the play’s enduring impact, making it a powerful and thought-provoking work that continues to captivate audiences and provoke contemplation on the intricacies of human existence.

These characteristics of drama seem to have inspired none other than the famous Impressionist artist Pierre-Auguste Renoir, who, in 1895, created two panels moved by Sophocles’ tragedy, depicting the protagonists of the play, Oedipus Rex, and Jocasta.

When viewed side-by-side, Christie’s experts tell us, Renoir’s two panels depicting Jocasta and Oedipus illustrate the full tension of the tragedy, their bodies seeming to push away from one another, whilst an unseen magnetic connection– an allegory for the inescapable strength of the prophecy– pulls them together. Renoir skillfully employs dynamic poses to enhance the drama of the narrative, and his vibrant choice of red alludes to the bloodshed in the tale. The artist embellishes the central figures on both panels with grisaille bas-reliefs and trompe l’oeil imitation of columns and stone, a rare example of Antique-inspired decoration within the artist’s oeuvre. https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels:circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1
https://www.mutualart.com/Artwork/Panneau-pour-Odipe–Odipe-roi/676741683B0A87196FE13FBA024B87C8

Both paintings are indicative of Pierre-Auguste Renoir’s interest in the world of Antiquity, and particularly his reaction to the Pompeiian wall paintings he saw, and deeply admired, when he visited Italy in the fall of 1881 to mid-January 1882. In an 1882 letter to Mme George Charpentiere, he wrote… J’ai beaucoup étudié le Musée de Naples, les peintures de Pompéi sont extrêmement intéressantes à tous points de vue… https://chat.openai.com/c/c667ff6c-ca07-41ec-a3b0-29c824c174c3 Renoir’s Trip to Italy by Barbara Ehrlich White, The Art Bulletin, Vol. 51, No. 4 (Dec., 1969), pp. 333-351 (29 pages) p.350

Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/
Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/

The paintings of Oedipus and Jocasta were part of a commission by Paul Sébastien Gallimard, one of the artist’s most important patrons, and a close friend. They were meant to decorate a room in Gallimard’s country house, dedicated to Greek theatre. Once more quoting Christie’s experts Renoir’s panels reveal a combination of influences, from Ancient wall painting, to Louis XVI panelling and the Directoire style of furniture and ornament. A related study depicting mythological figures that Renoir worked on for this commission is now in the collection of the Musée Picasso in Paris and was previously owned by Pablo Picasso himself. For reasons that remain unknown, the room was never completed and the panels remained in Renoir’s studio until the artist’s death. https://www.christies.com/en/auction/ancient-to-modern-art-from-the-mougins-museum-of-classical-art-part-i-29973/

Both paintings were auctioned by Christie’s on the 7th of December 2023 (Ancient to Modern Art from the Mougins Museum of Classical Art).

For a Student Activity inspired by Oedipus Rex and Jocasta by Renoir, please… Check HERE!

Europa on the Bull in the House of Jason in Pompeii

by Ancient Roman VillasArtMythologyPowerpointsRoman ArtRoman Frecoes
Europe on the Bull, 20-25 AD, Fresco Painting,125×95 cm, from Pompeii, Room ‘f’ in the House of Jason, today, in the National Archaeological Museum, Naples, Italy https://ancientrome.ru/art/artworken/img.htm?id=2092

In 1878 archaeologists discovered a most wonderful fresco of the Myth of Europa on the Bull in the House of Jason in Pompeii! Let’s explore the ‘where’, ‘which’, ‘how’, and ‘what’ of this amazing fresco by posing some questions!

What is the Myth of Europa and Zeus? In the myth of the Abduction of Europa, Zeus, the king of the gods, is captivated by the beauty of Europa, a Phoenician princess and daughter of King Agenor. Seized by desire, Zeus transforms into a magnificent bull and approaches Europa with an air of gentleness. Europa, charmed by the bull’s allure, climbs onto its back, only for Zeus to swiftly take off, and carry her across the sea to the island of Crete. Upon reaching Crete, Zeus discloses his identity, and Europa becomes his queen. This myth of love and adventure, steeped in symbolism and divine intrigue, has left a lasting legacy, not only in the naming of the continent of Europe but also in its enduring influence on art, literature, and the understanding of ancient cultural values.

How does Ovis describe the Myth of the Abduction described in his Metamorphoses? So the father and ruler of the gods, who is armed with the three-forked lightning in his right hand, whose nod shakes the world, setting aside his royal sceptre, took on the shape of a bull, lowed among the other cattle, and, beautiful to look at, wandered in the tender grass.  /   In colour he was white as the snow that rough feet have not trampled, and the rain-filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down in front, the horns were twisted, but one might argue they were made by hand, purer and brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his expression was peaceful. Agenor’s daughter marvelled at how beautiful he was and how unthreatening. But though he seemed so gentle she was afraid at first to touch him. Soon she drew close and held flowers out to his glistening mouth. The lover was joyful and while he waited for his hoped-for pleasure he kissed her hands. He could scarcely separate then from now. At one moment he frolics and runs riot in the grass, at another he lies down, white as snow on the yellow sands. When her fear has gradually lessened he offers his chest now for virgin hands to pat and now his horns to twine with fresh wreaths of flowers. The royal virgin even dares to sit on the bull’s back, not realising whom she presses on, while the god, first from dry land and then from the shoreline, gradually slips his deceitful hooves into the waves. Then he goes further out and carries his prize over the mid-surface of the sea. She is terrified and looks back at the abandoned shore she has been stolen from and her right hand grips a horn, the other his back, her clothes fluttering, winding, behind her in the breeze. This is how Ovid describes in Bk II:833-875 Zeus’s abduction of Europa. https://ovid.lib.virginia.edu/trans/Metamorph2.htm#476707521

House of Jason in Pompeii, Ground Plan, Photo of the entrance hall ‘a’ of Jason’s House looking towards the Atrium ‘b’, central living room and Photo of the internal garden/Atrium ‘b’, looking west towards room ‘f’, where three amazing fresco panels, including the Abduction of Europa, were discovered https://ermakvagus.com/Europe/Italy/Pompeii/jason.html and https://www.pompeiiinpictures.com/pompeiiinpictures/R9/9%2005%2018%20p1.htm    and https://www.pompeiiinpictures.com/pompeiiinpictures/R9/9%2005%2018%20p9.htm

Where did archaeologists discover the Roman fresco of Europa’s Abduction? The fresco was discovered in the House of Jason, in 1878, in Pompeii, in Region IX, Insula 5, Entrance 18. Today, the building is in a fairly sad dilapidated condition due to weather erosion. It is a relatively small residence compared to other Pompeiian Houses, but rich in exceptional frescoes which, taken to the National Archaeological Museum in Naples, are currently exhibited.

Which famous fresco panels, exhibited in the National Archaeological Museum in Naples, were discovered in the House of Jason? In Room ‘d’, one of the House’s cubicula (bedrooms), archaeologists discovered three large mythological scenes (they have long been removed to the National Museum in Naples) depicting Paris waiting for Aphrodite, Medea, and Phaedra. Two more frescoes, Phoenix and Polyxena, and Jason and Pelias were discovered in the triclinium marked as ‘e’. Finally, Room ‘f’ provides us with three more fresco panels presenting the Abduction of Europa, Pan and the Nymphs, and Hercules, Deianira, and Nessus. https://ermakvagus.com/Europe/Italy/Pompeii/jason.html

What do we know about the discovery of the Pompeiian fresco of the Abduction of Europa? The House of Jason was originally discovered in 1878 in Pompeii, Italy. On the western side of the House, in a small Room, marked ‘f’ in the Plan, archaeologists discovered three frescoes, exhibited today in the National Archaeological Museum in Naples, the Abduction of Europa being one of them.

Europe on the Bull (detail), 20-25 AD, Fresco Painting,125×95 cm, from Pompeii, Room ‘f’ in the House of Jason, today, in the National Archaeological Museum, Naples, Italy https://www.sciencesource.com/1719661-europa-fresco-pompeii.html

How can the Abduction fresco be described? The Abduction fresco captures the poignant opening of the famous Myth of Europa, where the Phoenician king Agenor’s young daughter finds herself captivated by the bull’s gentle demeanor and striking beauty. Overwhelmed by the creature’s tranquil presence, her initial fear gradually dissipates, encouraging her to daringly mount its back. Positioned on the right side of the fresco are three of Europa’s companions, with one leaning forward to tenderly caress the bull’s face. The entire composition unfolds against a backdrop of breathtaking ‘Hellenistic’ scenery, characterized by intricate rock formations, architectural motifs such as the central column, and lush greenery.

For a PowerPoint of all frescoes discovered in the House of Jason and exhibited in the National Archaeological Museum in Naples, please… Check HERE!

The Temple of Segesta by Thomas Cole

by 19th century ArtAmerican ArtArtStudent ActivitiesWorksheets
Thomas Cole, American Artist, 1801-1848
The Temple of Segesta with the Artist Sketching, circa 1842, oil on canvas, 49.8×76.5 cm, Museum of Fine Arts, Boston, USA https://en.m.wikipedia.org/wiki/File:Cole_Thomas_The_Temple_of_Segesta_with_the_Artist_Sketching_1843.jpg

O that I was there again, and in the same spirit! wrote Thomas Cole in 1834, in the letter he sent to William Dunlap, for publication in the latter’s book, the ‘History of the Rise and Progress of the Arts of Design in the United States’. The artist was fortunate to revisit Italy in 1841/42, from November 1841 through May 1842. These seven months in Italy marked one of the artist’s most productive periods, during which dozens of canvases were created, most of them showcasing the architectural glory of Italy’s antiquity. My new BLOG POST, The Temple of Segesta by Thomas Cole, features one of these paintings, presenting an intriguing example of a combined landscape and self-portrait scene! https://www.kemperartmuseum.wustl.edu/node/11262

The Temple of Segesta stands as an iconic testament to ancient Greek architecture, nestled amidst the picturesque landscapes of northwestern Sicily, in Italy. Believed to have been constructed around the 5th century BC by the Elymians, an indigenous Sicilian people, the Temple is a magnificent Doric structure that has endured centuries, maintaining its grandeur and allure. The temple’s majestic columns, characterized by their timeless simplicity, rise proudly against the backdrop of rolling hills, creating a scene of remarkable historical resonance. Surrounded by an aura of mystery, the Temple of Segesta invites visitors to embark on a journey through the remnants of classical antiquity, offering a glimpse into the rich cultural tapestry of the region. Its enduring presence and architectural splendor make the Temple of Segesta a captivating destination for history enthusiasts and admirers, like Thomas Cole, of ancient civilizations alike.

Temple of Segesta Seen from the site of the ancient town, built in the 420s BC, Sicily, Italy https://commons.wikimedia.org/wiki/File:Segesta-bjs-1.jpg

The Temple of Segesta by Thomas Cole, housed in the Metropolitan Museum of Art in New York City, is a captivating artistic rendition that brings the ancient structure to life on canvas. Executed during the artist’s visit to Italy in 1841/42, the painting reflects Cole’s mastery in capturing the essence of historical and architectural marvels. The Temple of Segesta, with its majestic silhouette, becomes a focal point within the artwork, surrounded by the lush landscapes that often characterize Cole’s romanticized depictions. The meticulous attention to detail and the play of light and shadow in the painting evoke a sense of timelessness, transporting viewers to the ancient realm of Segesta.

A fascinating element unfolds as the artist ingeniously incorporates a self-portrait within the scene. The composition subtly reveals Cole in the act of sketching, positioned within the broader landscape of the ancient temple. Through skillful brushstrokes and nuanced details, Cole captures himself engaged in the artistic process, seamlessly blending the realms of creation and observation. The inclusion of the self-portrait adds a layer of narrative depth, inviting viewers to contemplate the intersection of the artist’s presence with the historical and architectural subject matter. This deliberate inclusion not only showcases Cole’s technical prowess but also provides a unique perspective into the artist’s connection with the Temple of Segesta, creating a dynamic interplay between the observer, the artist, and the timeless beauty of the depicted scene.

As a part of the Metropolitan Museum’s collection, this painting not only preserves the beauty of the Temple of Segesta but also serves as a testament to Thomas Cole’s enduring legacy of capturing the spirit of both nature and history through his art.

Thomas Cole, born on February 1, 1801, in Bolton-le-Moors, Lancashire, England, emerged as a prominent figure in 19th-century American art, particularly as the founder of the Hudson River School. Emigrating to the United States with his family in 1818, Cole’s early artistic endeavors unfolded in Philadelphia before he gained recognition for his landscape paintings that depicted the American wilderness in its sublime beauty. His career took a significant turn when he traveled to Europe in the 1820s, absorbing the influences of European art and cultivating a deep appreciation for classical and historical subjects. Returning to the U.S., Cole’s panoramic landscapes, marked by meticulous detail and romanticism, established him as a leading artist of his time. Notable works like “The Course of Empire” series and his depictions of the Catskill Mountains solidified his reputation. Thomas Cole’s untimely death in 1848 marked the conclusion of a prolific career that left an indelible mark on American landscape painting, inspiring generations of artists to come.

For a Student Activity inspired by Thomas Cole’s landscape paintings, please… Check HERE!

Interesting to read: History of the Rise and Progress of the Arts of Design in the United States, by William Dunlop, in 2 Volumes, George P. Scott and Company, Printers, 1834 https://books.google.gr/books?id=tJNAAAAAYAAJ&pg=PA364&lpg=PA364&dq=%E2%80%9CO+that+I+was+there+again,+and+in+the+same+spirit!%E2%80%9D&source=bl&ots=F_JtbUxzrG&sig=ACfU3U0zijol2CsenuZbywUHWpAkvYNP0w&hl=el&sa=X&ved=2ahUKEwi6xKiZyfeCAxXoR_EDHejjAKgQ6AF6BAgJEAM#v=onepage&q=%E2%80%9CO%20that%20I%20was%20there%20again%2C%20and%20in%20the%20same%20spirit!%E2%80%9D&f=false

Gold Medallion of Saint John the Forerunner

by ArtByzantine ArtByzantiumMedieval ArtStudent ActivitiesWorksheets
Medallion with Saint John the Baptist from an Icon Frame, ca. 1100, Gold, silver, and enamel worked in cloisonné, Diam: 8.3 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/464550

On the 7th of January, the Feast Day of Saint John the Baptist, the Greek Orthodox Church celebrates a significant figure in the 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 Gold Medallion of Saint John the Forerunner in the MET is evidence of his importance in the arts. https://www.oramaworld.com/en/p/210255/Saint_John_the_Baptist_-_Aged_Byzantine_Icon

Saint John the Forerunner holds a prominent place in Christian iconography, his imagery rich with symbolic significance. The Icon of John baptizing Jesus in the Jordan River is a powerful representation of his pivotal role in preparing the way for the Savior. The lamb, a common element in depictions of John, symbolizes Christ as the “Lamb of God” who takes away the sins of the world. This type of artwork not only emphasizes John’s humility in recognizing Christ’s divine nature but also underscores the transformative nature of baptism. In Christian art, Saint John the Baptist serves as a bridge between the Old and New Testaments, symbolizing the transition from the era of prophets to the advent of the Messiah. His portrayal in religious art continues to inspire contemplation on themes of repentance, humility, and the heralding of spiritual renewal.

Today’s BLOG POST presents a MET treasure, a small Gold Medallion with Saint John the Forerunner in the Cloisonné technique, a traditional practice in art and metalwork, often associated with Byzantine art.

The MET Medallion of Saint John, along with eight more, was part of the decoration of a precious Frame for an Icon dedicated to the Archangel Gabriel, possibly a gift from the Byzantine court to the neighboring Christian state of Georgia. These types of medallions are valued not only for their aesthetic beauty but also for their historical and cultural significance, offering insights into the artistic achievements of the Byzantine Empire. https://www.metmuseum.org/art/collection/search/464550

Medallions from an Icon Frame, made in Constantinople ca. 1100, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464550

The Precious Frames of Icons serve to underscore the icon’s significance, imparting both aesthetic appeal and worldly value to its religious status. Positioned at the upper narrow side of the frame, MET experts have identified three Roundels featuring Christ at the center. He is unmistakably distinguished by His cross-nimbus, extending a blessing with His right hand while cradling a Gospel book in His left. Flanking Him are the Medallions of the Mother of God (recognized by the Orthodox abbreviation ‘ΜΗΤΗΡ ΘΕΟΥ’) to His right and that of John the Forerunner (the standard Orthodox title for John the Baptist) to His left. These three figures, adopting a posture of intercession, collectively constitute the ‘Deesis,’ a term translating to ‘prayer’ or ‘supplication’ in Greek. For Byzantine iconography, ‘Deesis’ scenes, portray Christ as the divine judge and mediator between humanity and God, with Mary and John serving as the most effective intercessors for humankind alongside Christ. In essence, the ‘Deesis’ scene stands as a potent visual representation of the Byzantine Christian understanding of divine mercy, intercession, and the final judgment, positioning Christ at the epicenter of authority and mediation.

The remaining MET Medallions on the discussed Icon Frame depict the hierarchical arrangement of the Church. Positioned just beneath the ‘Deesis’ scene are the Apostles Saints Peter and Paul. Below the Medallion of Saint Paul, one finds the two Evangelists, Saints Matthew and Luke. Saint John the Theologian is situated beneath Saint Peter, and at the bottom narrow side of the Frame, we encounter the depiction of the military Saint, George.

For a Student Activity inspired by the Gold Medallion of Saint John the Forerunner in the MET, please… Check HERE!

Cloisonné is a decorative technique that involves the use of enamel, gemstones, or glass to fill compartments (cloisons) created by metal wires or strips on a metal surface. The word “cloisonné” comes from the French word for compartment. This technique was widely used in the Byzantine Empire, particularly in creating intricate designs on metal objects like jewelry, religious artifacts, and decorative items. The spaces, or cloisons, are filled with colorful enamel, creating a vibrant and detailed surface.

Fireplace Artistry and Overmantel Splendor at Queens’ College

by 19th century ArtArtArt of the United KingdomPowerpointsPre-Raphaelite movementVictorian Art
Old Hall, Queen’s College, The Hall’s Fireplace, Cambridge, UK https://www.flickr.com/photos/costi-londra/2670523596
January, designed possibly by Edward Burne-Jones (1833-1898), or possibly by William Morris (1834 – 3 October 1896) https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

Step into the enchanting world of this English Medieval Ballad, where each stanza unfolds the rhythm of the passing months, offering a vivid glimpse into the seasonal activities of a bygone era. The verses paint a pastoral tableau, capturing the essence of daily life through the lens of nature’s cycles… Januar By thys fyre I warme my handys; / Februar And with my spade I delfe my landys. / Marche Here I sette my thynge to sprynge; / Aprile And here I here the fowlis synge. / Maij I am as lyght as byrde in bowe; / Junij And I wede my corne well I-now. / Julij With my sythe my mede I mawe; / Auguste And here I shere my corne full lowe. / September With my flayll I erne my brede; / October And here I sawe my whete so rede. / November At Martynesmasse I kylle my swyne; / December And at Cristesmasse I drynke redde wyne… next, step into the pictorial world of the Arts and Crafts Movement and the splendid Fireplace Artistry and Overmantel Splendor at Queens’ College, in Cambridge.

Morris, Marshall, Faulkner & Co. was a notable design and decorative arts firm that operated in England during the second half of the 19th century. The company was founded in 1861 by a group of artists and designers, including William Morris, Edward Burne-Jones, Ford Madox Brown, Dante Gabriel Rossetti, Philip Webb, Charles Faulkner, and Peter Paul Marshall. The firm played a crucial role in the Arts and Crafts Movement, which emerged as a reaction to the Industrial Revolution and mass production. The firm’s influence extended beyond its immediate time, and its principles had a lasting impact on design and the decorative arts. The emphasis on quality craftsmanship and the use of natural materials became enduring themes in subsequent design movements.

Artists collaborating with Morris, Marshall, Faulkner & Co., UK Company, 1861–1875
Overmantel Panel decorated with ceramic Tiles depicting the two Queens’ College foundress queens, the two patron saints, the Angel of Night, the Angel of Day, and a Labour of the Month for each of the twelve months, Installed in 1864, modified in 1873, in 1875, Old Hall, Queen’s College, Cambridge, UK https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

Queens College is one of the constituent colleges of the University of Cambridge in England. The college was founded in 1448 by Margaret of Anjou, the Queen of Henry VI. The Old Hall is one of the oldest, most notable buildings within the college. It is located on the college’s main site, known as the Old Court. The Hall was originally constructed in the late 15th century and has undergone various modifications and renovations over the centuries. It serves various functions, including dining, events, and ceremonies. https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/old-hall-chronology

In 1861–4, the Hall’s classical fireplace was removed, and a new fireplace was erected, designed by the architect G.F. Bodley, of alabaster and tiles… the decoration of which includes a red rose (House of Lancaster: Henry VI and Margaret of Anjou), a white rose (House of York: Edward IV and Elizabeth Woodville), and the college’s motto: Floreat Domus. Painted above the fireplace, Philip Webb designed the eleven coats of arms of the college’s founders, foundresses, and benefactors. Further up, in 1864, a composition of painted tiles created by the artists of Morris, Marshall, Faulkner & Co. were installed as an overmantel decorative piece which by 1873 depicted the two foundress queens, the two patron saints, the Angel of Night, the Angel of Day, and a Labour of the Month for each of the twelve months of the year. The spaces between the represented figures are filled by tiles decorated with a swan design in blue. The tiles of this design, which appear for the first time around 1863-64, are divided by a linear grid into squares, in which a stylized swan alternates with a diagonally-placed twig. The entire tile panel is framed by a border with a foliate pattern in blue. https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/old-hall-chronology and https://www.queens.cam.ac.uk/files/downloads/tile_decoration_by_morris_and_co_0.pdf

https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles
https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

According to Dr. Michaela Braesel, the popular representations of the Labours of the Months, with their lettered scrolls, were inspired by 15th-century Calendars found in Books of Hours at the University Library. The tiles produced by Morris, Marshall, Faulkner & Co. were created by various artists collaborating with the company. While some tiles can be confidently attributed to specific Company artists, the exact attribution for others, such as January, remains uncertain.

Today, on January 1, 2024, we turn our attention to the January scene, the most surprising of all the tiles featured in the Queens’ College fireplace panel. Designed either by Edward Burne-Jones or William Morris, it presents an unusual depiction within a calendar context—the ancient Roman god Janus holding a key and a wheel. Janus is associated with doorways, gates, transitions, and beginnings. Depicted with two faces, one looking forward and the other backward, this duality symbolizes his role as a god of both beginnings and endings, as well as his ability to perceive both the past and the future.

January, designed possibly by Edward Burne-Jones (1833-1898), or possibly by William Morris (1834 – 3 October 1896) https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

One of Janus’s two heads is turned towards the old year and is characterized as an old bearded king, while the other, which looks to the future, shows a young king in profile. In his right hand, correctly depicted by either Morris or Burne Jones, Janus holds his traditional attribute, a key, while his left hand is shown resting on a wheel. The key signifies the end of the previous year, while the wheel might possibly hint at the wheel of Fortune, since what the coming year will bring remains unknown. https://www.queens.cam.ac.uk/files/downloads/tile_decoration_by_morris_and_co_0.pdf

As a guardian of entrances and exits, Janus was invoked at the commencement of significant events and ceremonies. The first month of the year, January, is named after him. In addition to his association with time and transitions, Janus was also regarded as a god of diplomacy and peace, as he could oversee and facilitate communication between different phases or states.

Janus was perfectly chosen, in my humble opinion, to mark the beginning of the New Year. Allow me to use his attributes and wish you all… Peace, a bright Future, and a Happy New Beginning!

For a PowerPoint on all Morris, Marshall, Faulkner & Co. Tiles for the Old Hall, Queens’ College, Overmantel Fireplace Panel, fully identified and explained, please… Check Here!

House of the Doves in Pompeii

by Ancient Roman VillasArtMosaicsRoman ArtStudent ActivitiesWorksheets
Mosaic Emblema with Doves on a Water Basin, 1st century BC, Room ‘n’ House of Doves in Pompeii (Region VIII, 2-34), now in Naples Archaeological Museum, Italy https://commons.wikimedia.org/wiki/Category:Doves_drinking_at_a_golden_basin,_mosaic_(from_Pompeii)#/media/File:Doves_at_a_Basin,_Mosaic.jpg

The dove, revered across cultures and religions, stands as a powerful symbol of Peace, Purity, and Hope. With its gentle demeanor and graceful flight, the dove has been a timeless emblem of tranquility and reconciliation. In various ancient mythologies, the dove has been linked to goddesses of love and fertility, like Inanna/Ishtar in Mesopotamia, or Aphrodite in Greece, adding a dimension of divine love to its symbolism. The dove’s appearance in the biblical story of Noah’s Ark further solidified its association with peace and new beginnings, as it returned to Noah carrying an olive branch, signaling the end of the flood. In Christianity, it gained prominence as a symbol of the Holy Spirit, often depicted during significant moments like the baptism of Jesus. Beyond religious contexts, the dove has become a universal icon for peace movements and humanitarian causes, transcending borders and languages to convey a shared aspiration for harmony in the world. As we usher in the New Year, let the beautiful mosaic of Doves in the House of the Doves in Pompeii serve as a heartfelt message for peace and prosperity in the coming year! May the spirit of these doves inspire moments of serenity and abundance in your life as we embark on this fresh journey together.

The House of the Doves (Casa delle Colombe or Casa di V. Popidius) is a captivating ancient Roman residence located in the archaeological site of Pompeii. Situated in the southwestern part of the city (Regio VIII, 2-34), this well-preserved house offers a glimpse into the lifestyle of the Pompeian elite during the first century AD. The house derives its name from a stunning mosaic that adorns one of its rooms (Room ‘n’ in Plan), featuring six Doves in various poses, around a water basin. Its layout is typical of Roman homes, with a central atrium surrounded by rooms adorned with frescoes, mosaics, and other ornate decorations. The architectural and artistic elements found within the house provide valuable insights into the aesthetics and daily life of Pompeii’s ancient inhabitants, making it a fascinating destination for archaeologists, historians, and visitors alike.

The intricate Mosaic Emblema featuring three doves perched on the rim of a golden water basin supported by lion’s feet, with a fourth dove gracefully descending and two more resting on the shelf below, is just one among the numerous exquisite details that distinguish this particular residence. Unearthed during the March 1885 excavation season in Room ‘n,’ an oecus or triclinium located in the southeast corner of the house’s atrium, the impressive mosaic is currently on display at the Naples Archaeological Museum. https://mann-napoli.it/en/mosaici-2/

The room’s floor, hardly preserved today, was made of a white mosaic with small tesserae without any border. In the center, the Emblema with the Doves is believed to derive from a model by the famed mosaicist Sosus of Pergamon (εκ Περγάμου ψηφιδογράφος Σώσος), an artist discussed and much admired by Pliny the Elder.

Sosus of Pergamon, a renowned Hellenistic mosaicist, left an indelible mark on the ancient world with his extraordinary mosaic artworks. Pliny describes Hellenistic mosaic making and Sosus’s accomplishments as …Paved floors originated among the Greeks and were skilfully embellished with a kind of paintwork until this was superseded by mosaics. In this latter field the most famous exponent was Sosus, who at Pergamum created a greatly admired mosaic of a Dove… in the act of drinking, and throwing the shadow of its head upon the water; while other birds are to be seen sunning and pluming themselves, on the margin of a drinking-bowl. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D36%3Achapter%3D60

While none of Sosus’s original works have withstood the test of time, his renown persists through the admiration of later artists and historians. His impact on the art of mosaic has created a lasting legacy, inspiring subsequent generations and enriching the intricate tapestry of Hellenistic artistic achievement. The question arises: is the Pompeiian Mosaic of Doves a reproduction of Sosus’s renowned Hellenistic mosaic? An affirmative response is quite likely.

Wishing you a joyous and fulfilling New Year filled with Harmony and Happiness!

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves (Matthew 10:16)… https://www.biblegateway.com/passage/?search=Matthew%2010%3A16&version=NIV

For a Student Activity, inspired by the beautiful mosaic of Doves in the House of the Doves in Pompeii, please… Check HERE!

A reference to the legendary Hellenistic Mosaicist Sosus (εκ Περγάμου ψηφιδογράφος Σώσος), can be accessed in a former Teacher Curator BLOG POST titled Heraklitos and the Asarotos Oikos Mosaic… https://www.teachercurator.com/art/heraklitos-and-the-asarotos-oikos-mosaic/

Study for Ta Kalanta by Nikephoros Lytras

by 19th century ArtArtGreek ArtNeohellenic ArtPowerpoints
Nikephoros Lytras, Greek Artist, 1832 – 1904
Study for Τα Κάλαντα (Carols), 1870s, Oil on Cardboard, 17,3 x 22,5 cm, National Gallery – Alexandros Soutsos Museum, Corfu Annex, Greece
https://www.nationalgallery.gr/en/artwork/study-for-carols/

Good Evening Kings, / if it’s your will / the divine birth of Christ / I’ll sing in your mansion. / Christ is born today, / in the city of Bethlehem, / the heavens are rejoicing, / all the nature rejoices. / Inside the cave is being born, / in a manger of horses, / The King of heavens / The Creator of all. / In this house, we’ve come / may no stone ever crack, / and the master of the house / may live for many years! Carols, known as Kalanta in Greek, are a beloved tradition for children worldwide. In Greece, during the Christmas season and New Year, Kalanta is joyously sung by children with great enthusiasm and gusto. This festive scene is precisely captured in our Christmas Eve BLOG POST titled… Study for Ta Kalanta by Nikephoros Lytras. https://hcc.edu.gr/greek-christmas-carols-meaning-and-translations/

This is an iconic work in Greek art, created in the 1870s while Lytras was Professor of Painting at the National Technical University in Athens. The painting, a genre scene inspired by Greek culture, is characteristic of Lytras’ style, which reflects the influence of the School of Munich. It combines academic principles, a realistic and detailed representation of what is presented, and a romanticized approach to the genre subject matter, a group of children singing Kalanta, the festive tradition during the Holidays Season.

The painting I am presenting, Study for Ta Kalanta by Nikephoros Lytras, is exhibited in the Corfu Annex of the National Gallery – Alexandros Soutsos Museum of Greece. It is, as the title connotates, a ‘Study” of the iconic larger oil on canvas painting by Lytras, Ta Kalanta, held in a private collection. Both paintings, apart from capturing a festive moment in Greek tradition, reflect the broader artistic and cultural movements of their time.

Nikephoros Lytras, Greek Artist, 1832 – 1904
Τα Κάλαντα (Carols), 1872, Oil on Canvas, 59×90 cm, Private collection https://commons.wikimedia.org/wiki/File:Lytras_Nikiforos_Carols.jpeg

Both paintings depict a group of five children in traditional attire, singing Kalanta in the rhythm of the drum and the flute. They are not alone. In front of the open door of a humble household, the five protagonists are watched by a young mother, cradling a baby in her arms. Interestingly, a sixth boy is added in the final version of Ta Kalanta. He emerges from behind the high fence wall, next to the courtyard’s leafless tree, gazing with curiosity at the unfolding scene of merriment.

Nikephoros Lytras masterfully crafted a scene of fading light, with the moon ascending in the sky and a small lantern flickering in the firm grip of one of the performers. This comes as no surprise, given that during Lytras’s era, children would sing carols after sunset, a tradition that continues to thrive in numerous rural regions of Greece to this day.

The artist intends to convey more than what I have already presented. In both of his paintings, a rich tapestry of symbolism unfolds. The mother’s offering of pomegranate fruits symbolizes not only rebirth but also abundance. The presence of a straw broom by the door and a leafless tree in the courtyard serves as a poignant representation of hardships and poverty, yet it carries an underlying message of hope for brighter days ahead. Adjacent to the other side of the door, an ancient Greek sculpture of a Nike figure hints at the enduring strength of the Greek people, serving as the foundation for future growth and fortune.

Both paintings of Τα Κάλαντα are regarded as masterpieces within Lytras’ body of work, exemplifying his capacity to seamlessly integrate technical expertise with a profound comprehension of Greek culture. By skillfully depicting children as the bearers and preservers of Greek cultural legacies Lytras connects the past with the present and sends the joyful message of camaraderie of all people, defying limitations, and discrimination. Celebrated for their emotional resonance, these artworks highlight the artist’s dedication to encapsulating the essence of Life.

Χρόνια Πολλά και πάντα ΚΑΛΑ!!!

For a PowerPoint titled 14 Masterpieces by Nikephoros Lytras, please… Check HERE!

Michael Attaleiates’s Ring at Dumbarton Oaks

by ArtByzantine ArtByzantine JewelryByzantiumJewelryMedieval ArtSocial StudiesStudent ActivitiesWorksheets
Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Michael Attaleiates’s Ring at Dumbarton Oaks has an inscription on its hoop that reads… Bearer of God, help thy servant Michael Attaleiates… while the bezel of the ring displays the bust of the Virgin flanked by the abbreviation ‘Mother of God.’ Byzantine rings with the owner’s name are scarce, and a ring associated with such a distinguished citizen is exceptionally rare. It stands as an extraordinary treasure! http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

In confronting this historical artifact, the initial question that arises relates to its owner, Michael Attaleiates. The key questions are: Who was he, and what attributes contributed to his recognition as a significant figure?

Michael Attaleiates was a Byzantine historian and government official who lived in the 11th century. He was likely born in Attaleia and relocated to Constantinople between 1030 and 1040 for legal studies. Upon his ‘graduation’ he entered the empire’s administration serving in the judiciary sector. Recognized for his judicial prowess, he received prestigious honors from the Byzantine Emperors and amassed substantial wealth through services in the empire’s administration.

In 1072, he compiled the Ponema Nomikon, a legal synopsis for Emperor Michael VII, based on the 9th-century Basilika. Around 1079/80, he penned The History, chronicling the Byzantine Empire from 1034 to 1079, showcasing valuable insights into the events and characters of his time, as well as the political, military, and social developments. His writings contribute significantly to our understanding of the political and cultural context of the Byzantine Empire during a critical period of its history. https://alexandria-publ.gr/shop/vios-ke-politia-enos-vizantinou-mandarinou/

Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA https://twitter.com/Varangian_Tagma/status/1598350774496817152/photo/1
Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Back to Attaleiates’s ring, and according to Stephen Zwirn, retired Assistant Curator in the Byzantine Collection of Dumbarton Oaks as of 2012… the ring stands out for deviating from the typical cloisonné technique used in Byzantium, instead adopting the champlevé technique associated with medieval Western European production. This method involves carving a cavity into the background, filling it with enamel, and leaving raised lines to define the image, allowing for intricate details in the drapery folds and inscriptions. The ring is so well crafted, that there is no doubt that this technique had been fully mastered by a Byzantine artist. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

The second inquiry that arises concerns the acquisition history of the ring. According to Dumbarton Oaks records, on the 15th of August – a day Christians commemorate the feast of the Assumption of the Blessed Virgin Mary – the Dumbarton Oaks Research Library and Collection in Washington, DC, acquired Michael Attaleiates’s Ring from the Art Dealer Joseph Brummer. This prompts a dual question: Who was Joseph Brummer, and what distinguishes him as a noteworthy figure in the realm of art dealers?

Henri Rousseau, 1844 – 1910
Portrait of Joseph Brummer, 1909, Oil on Canvas, 115.9 × 88.3 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/henri-rousseau-portrait-of-joseph-brummer

Joseph Brummer was a prominent art dealer in the early to mid-20th century, known for his significant contributions to the art world. Born in 1883 in Hungary, Brummer, along with his brothers, Ernest and Imre, established the Brummer Gallery in Paris in 1905, later moving it to New York in 1914. The Brummer Gallery played a pivotal role in recognizing the artistic importance of Medieval Arts and unusually introducing them as if they were modernist artifacts. The Brummer Gallery was also famous for introducing European modern art to the United States, showcasing works by renowned artists such as Picasso, Modigliani, and Brancusi. Joseph Brummer was renowned for his discerning eye and deep knowledge of art, building a reputation as a tastemaker and a key figure in the art market during his time. His legacy lives on not only through the artworks he handled but also in the influence he had on shaping the appreciation of art in America. https://medievalartus.ace.fordham.edu/exhibits/show/josephbrummer/josephbrummer-essay

P4125 recto: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29918/rec/17
P4125 verso: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29917/rec/17

On the 15th of August 1947, Dumbarton Oaks Research Library and Collection purchased Attaleiates’s Gold Ring from Joseph Brummer. Searching MET’s Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, I present you with both sides of the Ring’s Inventory Card, Numbered P4125!

For a Student Activity, titled Comparative Analysis of Champlevé and Cloisonné Enamel Techniques in Byzantine Art, please… Check HERE!

The Arts of the Gothic Period

by ArtEducationFrench ArtMedieval ArtPowerpoints
Basilica of Saint Denis, completed in 1144, Paris, France
https://dianadarke.com/tag/saint-denis/

The Gothic period, spanning roughly from the 12th to the 16th century, was a transformative era in the history of art and architecture in Europe. Characterized by a departure from the preceding Romanesque style, the Arts of the Gothic Period sought to reach new heights—both literally and figuratively. One of the defining features of Gothic architecture is the Pointed Arch, allowing for taller and more graceful structures, exemplified in the soaring cathedrals that stand as iconic symbols of the period. Ribbed vaults and flying buttresses became integral elements, enabling the construction of large, light-filled interiors. Intricately detailed Stained Glass Windows played a crucial role in illuminating these spaces, with vibrant scenes from biblical narratives or depictions of saints. Sculpture, too, flourished during this period, with an emphasis on naturalistic forms and intricate detailing. The Gothic arts, including illuminated manuscripts and panel paintings, often reflected the religious fervor of the time, showcasing a blend of piety and artistic innovation. The Gothic period remains a testament to the creative and spiritual aspirations of medieval Europe, leaving an enduring legacy in its architectural masterpieces and finely crafted artworks.

Architecture

Gothic architecture, prevalent in Europe from the 12th to the 16th century, is characterized by its soaring verticality, pointed arches, ribbed vaults, and flying buttresses. In contrast to the massive and solid structures of Romanesque architecture, Gothic buildings exhibit a sense of upward movement and lightness. The pointed arches, a departure from the round arches of the Romanesque style, allowed for greater height and grace in the design. Ribbed vaults and pointed arches not only added aesthetic elegance but also distributed the weight of the roof more efficiently. The flying buttresses, external supports resembling arched piers, played a crucial role in supporting the walls and allowed for expansive windows, often featuring intricate tracery. These large stained glass windows, a hallmark of Gothic cathedrals, flooded the interiors with colored light, creating an ethereal and transcendent atmosphere. Overall, Gothic architecture represents a departure from the solid and fortress-like structures of the Romanesque period, embracing a vertical and ornate style that reflected a spiritual aspiration toward the divine.

Sculpture

Gothic sculpture is characterized by its intricate detailing, expressive figures, and a heightened sense of naturalism. Gothic sculptors moved away from the stylized forms of the preceding Romanesque period, instead focusing on capturing the human form with greater realism and emotion. Figures in Gothic sculptures are often elongated, with graceful, flowing lines that impart a sense of movement. Sculptures adorning cathedrals and other Gothic structures often depict biblical scenes, saints, and grotesque gargoyles. The use of drapery became more elaborate, creating dynamic and lifelike folds. Moreover, Gothic sculptors employed deep relief and innovative techniques, such as “stiff leaf” carving and elaborate tracery, contributing to the overall sense of delicacy and intricacy in their work. These sculptures not only served a decorative purpose but also played a didactic role, conveying religious narratives and moral lessons to a largely illiterate medieval audience.

The Stained Glass Rose Window of the North Transept of the Basilica of Saint Denis, completed in 1144, Paris, France https://commons.wikimedia.org/wiki/File:Basilica-of-Saint-Denis-Rayonnant-Rose-Window.jpg

Stained Glass Windows

Gothic Stained Glass Windows, a defining feature of medieval cathedrals and churches from the 12th to the 16th century, are characterized by their vibrant colors, intricate tracery, and narrative depictions. These windows played a crucial role in Gothic architecture, allowing the infusion of light into the sacred space while serving as a visual storytelling medium. Unlike the smaller and simpler windows of earlier periods, Gothic Stained Glass Windows became expansive, featuring elaborate tracery patterns that divided the glass into intricate segments. The use of intense, jewel-like colors, achieved through the inclusion of metallic oxides in the glass, created a breathtaking visual effect when illuminated by sunlight. Scenes from the Bible, the lives of saints, and other religious narratives were vividly portrayed, often covering entire walls and transforming the interior of the church into a luminous and ethereal space. The intricate craftsmanship of these windows, combined with their symbolic and narrative richness, reflects the Gothic era’s emphasis on transcending earthly confines and conveying spiritual narratives through the play of light and color.

For a PowerPoint on French Gothic Art, please… Check HERE!

Bibliography: https://smarthistory.org/gothic-architecture-an-introduction/ and https://smarthistory.org/gothic-architecture-explained/ and http://www.visual-arts-cork.com/sculpture/gothic-sculpture.htm#characteristics and https://www.khanacademy.org/humanities/medieval-world/gothic-art/beginners-guide-gothic-art/a/stained-glass-history-and-technique and https://buffaloah.com/a/DCTNRY/stained/gothic/gothic.html

Lo Scheggia’s Reclining Youth

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Giovanni di ser Giovanni Guidi (called Lo Scheggia), 1406–1486
The Inner lid of a wedding chest with the image of a Reclining Youth, first half of the 15th century, wood, Musée du Petit Palais, Avignon, France
http://www.travelingintuscany.com/art/loscheggia.htm

The father, more than anyone, must labor with hands and feet, with every nerve, with zeal and wisdom, for he must attempt to make his children moral and upright. That they may serve the advantage of the family—moral character being no less precious in a young man than wealth—and be an ornament and credit to their family, their country, and themselves… It is generally thought better for a country, if I am not mistaken, to have virtuous and upright citizens rather than many rich and powerful ones. And surely children whose character is poor must be a terrible sorrow to any father who is not insensible and utterly foolish… writes Leon Battista Alberti and I think of Lo Scheggia’s Reclining Youth!

Giovanni di Ser Giovanni Guidi, known as Lo Scheggia, was an Italian Renaissance artist. He was born in 1406 in San Giovanni Valdarno, Italy, and was the brother of the famous artist Masaccio (Tommaso di Ser Giovanni di Mone Cassai). Lo Scheggia is primarily known for his work as a painter, but he also engaged in the decoration of domestic furnishings, such as wedding chests, birth trays, spalliera panels, strongboxes, and headrests. http://www.travelingintuscany.com/art/loscheggia.htm

The artist received his nickname “Lo Scheggia,” which means “the splinter” in Italian, due to his slender build, but also probably because of his specialization as a painter of wooden artifacts. A decisive influence on Giovanni’s training, what probably set him on the path to his artistic career as a decorator of furnishings, was his grandfather Mone, who was a cassaio, that is a craftsman who specialized in the construction of chests. He was also influenced by his brother, Masaccio’s, innovative approach to perspective, anatomy, and realism, which were revolutionary during the early Renaissance. Lo Scheggia worked along with his brother, on Masaccio’s workshop, with whom he lived in Via de’ Servi along with their mother. http://www.travelingintuscany.com/art/loscheggia.htm

Although not as celebrated as his brother, and his career not as extensively documented as some of his contemporaries, Lo Scheggia made important contributions to the art scene of his time. He worked on various projects alongside other renowned artists of the Renaissance. His masterpiece, painted around 1449, is considered to be the Birth Tray for Lorenzo il Magnifico portraying the Triumph of Fame.

I find equally interesting his painting of a Reclining Youth created to decorate the Inner lid of a Wedding Chest or Cassone in Italian. A Renaissance Cassone was a large and ornate piece of furniture made on the occasion of an important wedding and contained the bride’s trousseau. As described by Gorgio Vasari, Italian Cassoni were created for… citizens of those times (16th century) who used to have in their apartments great wooden chests in the form of a sarcophagus, with the covers shaped in various fashions…and besides the stories that were wrought on the front and on the ends, they used to have the arms, or rather, insignia, of their houses painted on the corners, and sometimes elsewhere. And the stories that were wrought on the front were for the most part fables taken from Ovid and from other poets, or rather stories related by the Greek and Latin historians, and likewise chases, jousts, tales of love, and other similar subjects. https://collections.vam.ac.uk/item/O132970/cassone-unknown/

A common theme for the inner lid of a Cassone was the presentation of a male or female nude reclining in the entire length of the lid. These images of a private nature promoted, in most probability, fertility. The rest of the Chest’s inside was often decorated with textile patterns. Lo Scheggia’s painted panel is today exhibited in Avignon, in the Musée du Petit Palais. https://www.academia.edu/3091564/Botticelli_to_Titian_Two_Centuries_of_Italian_Masterpieces_Exhibition_catalogue_edited_by_D%C3%B3ra_Sallay_Vilmos_T%C3%A1trai_and_Axel_V%C3%A9csey_Budapest_Sz%C3%A9pm%C5%B1v%C3%A9szeti_M%C3%BAzeum_28_October_2009_14_February_2010_Budapest_Sz%C3%A9pm%C5%B1v%C3%A9szeti_M%C3%BAzeum_2009?email_work_card=view-paper page 101

For a PowerPoint on Lo Scheggia, please… Check HERE!