Palacio de Santa María del Naranco and San Miguel de Lillo

by ArchaeologyArtPowerpointsSocial StudiesSpanish Art
Palacio de Santa María del Naranco, consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024
St. Michael of Lillo, completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Nestled in the heart of Asturias, Spain, Mount Naranco stands as a majestic sentinel overlooking the vibrant city of Oviedo. This iconic mountain is not only a natural wonder but also a treasure trove of history and culture, boasting breathtaking views and ancient pre-Romanesque architecture. From the enchanting Palacio de Santa María del Naranco and San Miguel de Lillo churches to the lush, green trails that invite hikers and nature enthusiasts, Mount Naranco offers a unique blend of serenity and historical significance. This is a place where the past and present beautifully converge, offering a glimpse into the rich heritage and stunning landscapes of the Oviedo area.

Mount Naranco’s historical significance extends beyond its architectural marvels, which are deeply intertwined with the broader history of Asturias and Spain. This mountain has been a strategic vantage point and a symbol of resilience throughout the centuries. During the early medieval period, the area around Mount Naranco played a crucial role in the Christian Reconquista, serving as a stronghold for the Asturian Kingdom against Moorish invasions. The region witnessed numerous battles and skirmishes that were pivotal in the eventual reconquest of the Iberian Peninsula. Additionally, the mountain has long been a cultural and spiritual landmark, with its slopes and surrounding areas being integral to local folklore and traditions. Over the centuries, Mount Naranco has remained a symbol of the enduring spirit and historical legacy of the Asturian people, reflecting their role in the broader narrative of Spanish history.

The churches of Santa María del Naranco and San Miguel de Lillo on Mount Naranco near Oviedo, Spain, are remarkable examples of pre-Romanesque Asturian architecture, dating back to the 9th century. These historical structures, originally built within the Asturian Royal Complex, reflect the artistic and cultural achievements of the Asturian Kingdom.


Palacio de Santa María del Naranco, consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Santa María del Naranco, completed in 848 AD, was part of the palace complex of King Ramiro I of Asturias. Initially serving as a royal hall and recreational pavilion, it was later consecrated as a church dedicated to the Virgin Mary. Located on the southern slopes of Mount Naranco, and facing Oviedo, this edifice exemplifies the sophisticated architectural and engineering skills of the Asturian Kingdom during the early medieval period. Over the centuries, the building has undergone various modifications and restorations, but it has retained its historical and cultural significance as a symbol of Asturian heritage.

The artistic qualities and characteristics of Santa María del Naranco are a testament to the ingenuity and aesthetic sensibilities of pre-Romanesque Asturian architecture. The building features a rectangular plan with a two-story design, incorporating intricate barrel vaults and ribbed arches that highlight its structural sophistication. The exterior is adorned with elegantly carved stone reliefs and decorative elements, including animal motifs and geometric patterns. Inside, the refined use of space and light, coupled with the exquisite craftsmanship of the columns and capitals, creates a serene and harmonious atmosphere. The building’s elegant proportions and detailed ornamentation reflect a unique blend of Visigothic, Mozarabic, and Carolingian influences, making Santa María del Naranco a remarkable example of early medieval art and architecture.

St. Michael of Lillo, completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

San Miguel de Lillo, also constructed during the reign of King Ramiro I in the mid-9th century, was originally part of the same royal palace complex as Santa María del Naranco. This church, dedicated to Saint Michael, was intended to serve as a place of worship for the royal court. Though only about a third of the original structure has survived due to partial collapse, what remains continues to offer valuable insights into the architectural innovations and religious practices of the Asturian Kingdom. The church’s historical significance is underscored by its designation as a UNESCO World Heritage Site, reflecting its enduring importance in the region’s cultural and historical landscape.

The artistic qualities and characteristics of San Miguel de Lillo are distinct and noteworthy within the context of pre-Romanesque Asturian architecture. The church features a basilica plan with a central nave and two side aisles, separated by robust columns and arches. The remnants of the original structure reveal intricate stone carvings and reliefs, particularly around the doorways and capitals, depicting biblical scenes and symbolic motifs. Inside, the decorative use of stucco and frescoes, though largely faded, once added vibrant colour and spiritual narrative to the space. The craftsmanship evident in the surviving portions, such as the lattice windows and sculpted figures, showcases a blend of Visigothic and Mozarabic artistic influences, underscoring the church’s role as both a religious and cultural monument of its time.

For a PowerPoint on Pre-Romanesque Church Architecture in Asturias including Palacio de Santa María del Naranco and San Miguel de Lillo, please… Check HERE!

Bibliography: https://en.asturias.com/the-Asturian-preromanic-from-oviedo/ and https://www.packing-up-the-pieces.com/churches-monte-naranco-oviedo/

Bust of Prince Ankhhaf

by Ancient EgyptArchaeologyArtEgyptEgyptian ArtSculptureStudent ActivitiesWorksheets
Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

In the world of ancient Egyptian art, true portraits were a rarity, making the Bust of Prince Ankhhaf a remarkable exception. Housed in the Museum of Fine Arts, in Boston, this limestone bust, coated with a delicate layer of plaster, showcases the masterful hand that sculpted its intricate details. Unlike the stylized depictions typical of the era, Ankhhaf’s visage is that of a real individual, imbued with personality and character. Historical inscriptions from his tomb reveal Ankhhaf’s royal lineage as the son of King Sneferu, brother to Pharaoh Khufu, and a high-ranking official who served as vizier and overseer of works for his nephew, Pharaoh Khafre. In these roles, Ankhhaf may have played a pivotal part in overseeing the construction of the second pyramid and the carving of the iconic Sphinx, cementing his legacy in the annals of ancient Egypt. https://collections.mfa.org/objects/45982

Prince Ankhhaf, a distinguished figure of Egypt’s Old Kingdom during the Fourth Dynasty (circa 2600 BCE), is believed to have been the son of Sneferu, though his mother’s identity remains unknown. Despite holding the prestigious title of “eldest king’s son of his body,” it was his half-brother Khufu who ascended to the throne after Sneferu. Alternatively, there is a possibility that Ankhhaf was the son of Huni, which would make him Sneferu’s half-brother.

The Prince served as Vizier to his half-brother Pharaoh Khufu and possibly his nephew Pharaoh Khafre. Renowned for his architectural prowess, Ankhhaf played a crucial role in the later stages of the construction of the Great Pyramid at Giza, overseeing the delivery of Tura White Limestone from quarry to port and ensuring its placement atop the pyramid’s limestone base. Egyptologists speculate that he also contributed architecturally to the Great Sphinx, another iconic structure in Giza. Ankhhaf’s familial ties were equally noteworthy; he married his half-sister Princess Hetepheres, with whom he had a daughter, also named Princess Hetepheres. His own tomb, Mastaba G7510 in the Eastern Cemetery of Giza, is one of the largest discovered at the site, reflecting his high status and enduring legacy in ancient Egyptian history.

Maps of the Giza Necropolis where Prince Ankhhaf’s Mastaba Tomb G7510, the largest in the East Field Cemetery, was discovered https://historyofegypt.net/?page_id=4760

Ankhhaf’s mastaba had a mudbrick chapel attached to its east side, oriented in such a way that it faced the chapel’s entryway. The chapel walls were covered in exquisitely modelled low relief sculptures, exemplary representations of Old Kingdom artistry, and characterized by their detailed and realistic depictions. These reliefs primarily adorn the walls of the chapel within the mastaba and depict various scenes that illustrate both daily life and ceremonial activities. The scenes feature intricate details, such as the rendering of human figures, animals, and hieroglyphic inscriptions, providing a fragmentary narrative of Ankhhaf’s life and his contributions. These reliefs also serve a symbolic function, intended to ensure the deceased’s safe passage to the afterlife and to perpetuate his memory and legacy. The craftsmanship of these sculptures demonstrates the high level of skill possessed by the artisans of the time and offers valuable insights into the aesthetic and cultural values of ancient Egypt during the 4th Dynasty.

The Bust of Prince Ankhhaf was discovered in 1925 during an excavation by the Harvard University–Museum of Fine Arts Expedition in the eastern cemetery at Giza. The excavation revealed the bust in the tomb’s chapel, an area rich with artefacts and inscriptions that shed light on the life and status of Ankhhaf. This significant find was awarded to Boston by the Egyptian Antiquities Service in gratitude for the Harvard-Boston Expedition’s painstaking work to excavate and restore objects from the tomb of Queen Hetepheres. It was transported to the Museum of Fine Arts in Boston, where it remains one of the museum’s prized pieces, offering a tangible connection to Egypt’s ancient past. https://collections.mfa.org/objects/45982

Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

The bust of the Egyptian Prince Ankhhaf is renowned for its striking realism, a characteristic that sets it apart from other contemporary Egyptian art. Carved from limestone and originally coated with a thin layer of plaster, the bust portrays Ankhhaf with a remarkable level of detail and individuality. His features, those of a mature man, are solemn and introspective, with a prominent nose, fleshy lips, and slight furrows on his forehead and the sides of his lips, suggesting a thoughtful and possibly authoritative demeanour. The eyes, which were once painted white with brown pupils and carried puffy pouches underneath, add to the lifelike quality of the sculpture. This bust not only exemplifies the artistic skills of the time but also provides a rare glimpse into the personal appearance of an individual from ancient Egypt’s elite class.

For a Student Activity inspired by the Bust of Prince Ankhhaf, please… Check HERE!

Painter Lorenzo Lotto and Collector Andrea Odoni

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtVenetian Art
Lorenzo Lotto, ca. 1480-1556
Portrait of Andrea Odoni, 1527, Oil on Canvas, 104 x 117 cm, Royal Collection, Hampton Court, UK https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Lorenzo_Lotto_-_Andrea_Odoni_%281488-1545%29_-_Google_Art_Project.jpg

In the rich tapestry of Renaissance art, few relationships are as intriguing as that between Painter Lorenzo Lotto and collector Andrea Odoni. Lotto, a masterful Venetian painter known for his emotive portraits and religious works, found a patron and admirer in Odoni, a wealthy merchant and avid art collector. This post delves into their lives, their contributions to the art world, and the fascinating intersection of their paths.

Lorenzo Lotto was born around 1480 in Venice, Italy, and was a prominent painter of the High Renaissance. He trained in the vibrant Venetian art scene, which greatly influenced his early works. Despite his Venetian roots, Lotto spent much of his career working in other regions such as Treviso, Bergamo, and the Marches, seeking patronage and commissions. This itinerant lifestyle led to diverse influences and experiences that shaped his unique style. He remained relatively obscure compared to his contemporaries, partly due to his preference for working in smaller, less cosmopolitan cities.

Lotto’s artistic achievements are notable for their emotional depth and psychological insight, distinguishing him from many of his peers. His portraits are celebrated for their reflective quality, often capturing the sitter’s personality and mood with remarkable sensitivity. He also produced a significant body of religious works, characterized by their vivid colour, dynamic compositions, and intricate detail. Despite not achieving the same level of fame as some of his contemporaries during his lifetime, Lotto’s work has gained considerable recognition and appreciation in modern times for its originality and emotional intensity.

Andrea Odoni, born in 1488 in Venice, was a prominent merchant who became renowned for his extensive art collection during the Italian Renaissance. Coming from a wealthy family, Odoni had the means to indulge in his passion for art, which he cultivated alongside his successful mercantile career. His home in Venice became a treasure trove of artistic works, attracting artists, intellectuals, and fellow collectors. Odoni’s refined taste and discerning eye made him one of the most respected collectors of his time, and he played a significant role in promoting the arts and supporting contemporary artists.

Odoni’s achievements as an art collector are highlighted by his ability to amass a diverse and high-quality collection that included works from both renowned and emerging artists. His collection featured pieces by masters such as Titian, Giorgione, and Lorenzo Lotto, the latter of whom painted a famous portrait of Odoni himself. This portrait, known as “Portrait of Andrea Odoni,” is celebrated for its detailed depiction of Odoni surrounded by classical artefacts, symbolizing his deep appreciation for art and culture. Odoni’s contributions to the art world extended beyond his collection, as he was instrumental in fostering a culture of art appreciation and intellectual exchange in Venice. His legacy endures as a testament to the vital role that collectors play in the preservation and promotion of artistic heritage.

Lorenzo Lotto’s Portrait of Andrea Odoni painted in 1527 and housed in the Royal Collection at Hampton Court, UK, is a masterful representation of the distinguished Venetian merchant and art collector. The painting captures Odoni seated in an opulent setting, surrounded by classical artefacts, sculptures, and a rich array of objects that reflect his status and intellectual pursuits. Odoni’s expressive face, with keen eyes and a thoughtful gaze, is the focal point of the composition. He holds in one hand a statuette of Diana of Ephesus, symbol of nature and idolatry, and with the other he clasps a cross to his chest. https://www.rct.uk/collection/405776/andrea-odoni

From an artistic standpoint, the portrait is a testament to Lotto’s skill in capturing not just the physical likeness of his subjects but also their character and social standing. The use of light and shadow, particularly on Odoni’s face, enhances the three-dimensionality of the figure and imbues the painting with a sense of realism. The meticulous detail of the artefacts surrounding Odoni reflects the Renaissance fascination with antiquity and the humanist values of the period. The composition’s richness and complexity suggest a narrative of intellectual curiosity and cultural engagement. The painting not only serves as a personal homage to Odoni’s love for art but also as a broader statement on the importance of collectors in preserving and celebrating cultural heritage. Through this portrait, Lotto provides insight into the sophisticated world of Renaissance collectors and their pivotal role in the art world.

One more note… Lorenzo Lotto’s Portrait of Andrea Odoni is imbued with a complexity that transcends a mere depiction of a collector, inviting viewers to contemplate a deeper narrative. The painting’s juxtaposition of Odoni’s right hand holding the pagan statuette of Diana with his left hand clutching a cross to his heart suggests a profound choice between the enduring power of nature and the transitory nature of human achievement. This contrast emphasizes Odoni’s prioritization of Christian faith over pagan antiquity, highlighting a tension between the values of the time.

For a PowerPoint inspired by the Painter Lorenzo Lotto and collector Andrea Odoni presentation, please… Check HERE!

A Gorge in the Mountains (Kauterskill Clove)

by 19th century ArtAmerican ArtArtPowerpoints
Sanford Robinson Gifford, American Artist, 1823–1880
A Gorge in the Mountains (Kauterskill Clove), 1862, Oil on Canvas, 121.9 x 101.3 cm, the ET, NY, USA
https://www.metmuseum.org/art/collection/search/10946?searchField=All&sortBy=Relevance&high=on&ao=
on&showOnly=openAccess&ft=*&offset=80&rpp=80&pos=139

When I look at Sanford Robinson Gifford’s painting A Gorge in the Mountains (Kauterskill Clove), I think of J. Hector St. John de Crevecœur and how he described, back in 1778, the character of Autumn… Great rains at last replenish the springs, the brooks, the swamp and impregnate the earth. Then a severe frost succeeds which prepares it to receive the voluminous coat of snow which is soon to follow; though it is often preceded by a short interval of smoke and mildness, called the Indian Summer. This is in general the invariable rule: winter is not said properly to begin until those few moderate days & the rising of the water has announced it to Man… https://books.google.gr/books?id=Z0zTH_qFXiAC&pg=PA14&redir_esc=y#v=onepage&q&f=false page 14

Sanford Robinson Gifford was a prominent American landscape painter associated with the Hudson River School, a mid-19th-century American art movement known for its romantic depiction of the American landscape. Born in Greenfield, New York, Gifford grew up in Hudson, New York, and initially studied at Brown University. However, he left college to pursue a career in the arts, studying at the New York City studio of John Rubens Smith and later at the National Academy of Design. Gifford’s extensive travels throughout the United States and Europe greatly influenced his work, allowing him to capture a wide variety of landscapes with a distinctive atmospheric quality.

Gifford’s artistic style is characterized by his masterful use of light and atmospheric effects, which he achieved through a technique known as “luminism.” This approach emphasized the precise rendering of light and tranquil scenes, often depicting the subtle interplay of light and shadow in landscapes. His paintings typically feature serene and expansive vistas, with meticulous attention to detail and a harmonious balance of composition. Works such as The Wilderness and A Gorge in the Mountains exemplify his ability to create a sense of depth and tranquillity, capturing the sublime beauty of the natural world. Gifford’s contribution to American art is his ability to evoke emotion and contemplation through his serene and luminous landscapes, making him a pivotal figure in the Hudson River School.

The artist’s connections to the Hudson River School were deeply rooted in his relationships with fellow artists and his shared vision of capturing the sublime beauty of the American landscape. He was closely associated with prominent figures such as Thomas Cole and Frederic Edwin Church, who were pivotal in defining the movement’s aesthetic. Gifford’s work was heavily influenced by Cole’s romanticism and Church’s dramatic use of light and detail, yet he developed his distinct style characterized by luminism, which focused on the tranquil and ethereal qualities of light. Gifford’s dedication to plein air painting, where he often sketched and painted outdoors to accurately capture natural light and atmosphere, aligned with the movement’s emphasis on realism and the meticulous observation of nature. Through his exhibitions and collaborations, Gifford contributed to the dissemination of the Hudson River School’s ideals, making him an integral part of this influential artistic movement.

A Gorge in the Mountains (Kauterskill Clove) by Sanford Robinson Gifford is a masterful landscape painting that exemplifies his luminist technique. Created in 1862, this work captures the majestic beauty of Kaaterskill Clove, a dramatic mountain gorge in the Catskills of New York. The painting showcases Gifford’s exceptional ability to render light and atmosphere, with soft, golden sunlight filtering through the mist and illuminating the lush, verdant foliage and rugged rock formations. The composition draws the viewer’s eye into the depths of the gorge, evoking a sense of tranquillity and awe at nature’s grandeur. Gifford’s meticulous attention to detail and his skilful use of light and shadow create a harmonious and immersive scene, making this painting a quintessential example of the Hudson River School’s celebration of the American wilderness.

Gifford, the only major Hudson River School painter to have grown up in the Catskills region of New York, made famous by Thomas Cole, the school’s founding figure, diverged from the tradition of focusing on central mountains or waterfalls in his depictions of the landscape. Instead, he emphasized the interplay of light and atmosphere, particularly as seen from Kauterskill Clove in the eastern Catskill Mountains. This approach marked a shift from the sublime to the meditative, with compositions that invited contemplation rather than awe. In his painting A Gorge in the Mountains (Kauterskill Clove), a hunter and his dog are subtly integrated into the rugged terrain, progressing towards a viewpoint overlooking the hazy ravine. https://www.metmuseum.org/art/collection/search/10946?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=80&rpp=80&pos=139

For a PowerPoint Presentation, titled 10 Paintings by Sanford Robinson Gifford, please… Check HERE!

Education in Byzantium

by ArtByzantine ArtByzantine ManuscriptByzantiumEducationMedieval ArtSocial StudiesStudent ActivitiesWorksheets
Teaching scene with teachers and students during the reign of the scholarly Emperor Constantine VII Porphyrogennetos (944-959) by a Sicilian Illuminator identified as B1, 12th century, Illuminated Manuscript version of the Synopsis of Histories, or Σύνοψις Ἱστοριῶν (in Greek) by John Skylitzes, which covers the reigns of the Byzantine emperors from the death of Nicephorus I in 811 to the deposition of Michael VI in 1057, Biblioteca Nacional de España, Madrid, Spain https://www.loc.gov/resource/gdcwdl.wdl_10625/?sp=277

Education in Byzantium was a complex system deeply rooted in the traditions of the Greco-Roman world and the Christian Church, evolving over the centuries to reflect the socio-political and religious changes within the empire. This system spanned from the establishment of Constantinople in 330 AD to the fall of the Byzantine Empire in 1453 AD. It was significantly influenced by classical Greek education, Roman administrative needs, and Christian teachings, creating a unique blend of classical and ecclesiastical learning.

Miniature 134r in the illuminated manuscript Madrid Skylitzes presents a Byzantine classroom. Using the illumination as an example, let’s explore… school reality 1.000 years ago!  

The Madrid Skylitzes is a richly illustrated manuscript, the only known illuminated manuscript of a Byzantine Greek Chronicle, that serves as a vital historical record of the Byzantine Empire from the reign of Emperor Nikephoros I in 811 AD to the death of Emperor Michael IV in 1057 AD. Named after the Spanish city where it is currently housed, the manuscript is based on the work of John Skylitzes, a late 11th century historian. The Madrid Skylitzes is notable for its detailed and vivid miniatures, 575 of which combine Byzantine, Western and Islamic elements of unparalleled significance for art historians. These miniatures depict the period’s significant events, battles, and personalities, providing a unique visual accompaniment to the textual narrative. This manuscript is one of the few surviving examples of Byzantine historical illustration and is invaluable for its insights into Byzantine art, culture, and historical scholarship.

Teaching scene with teachers and students during the reign of the scholarly Emperor Constantine VII Porphyrogennetos (944-959) by a Sicilian Illuminator identified as B1, 12th century, Illuminated Manuscript version of the Synopsis of Histories, or Σύνοψις Ἱστοριῶν(in Greek) by John Skylitzes, which covers the reigns of the Byzantine emperors from the death of Nicephorus I in 811 to the deposition of Michael VI in 1057, Biblioteca Nacional de España, Madrid, Spain https://www.loc.gov/resource/gdcwdl.wdl_10625/?sp=277

Miniature 134r of the Madrid Skylitzes manuscript vividly illustrates the essence of education during the Byzantine era, particularly the progress of letters during the reign of Constantine Porphyrogenitus (913-959). On the left side of the miniature, a group of eight male students is shown seated at a desk with open notebooks, highlighting their active participation in learning, presided over by their teacher, who expounds and explains with an upraised hand. Further to the right, four (possibly six) more students with notebooks in hand are depicted standing before two professors of philosophy. The scene takes place in a well-constructed, rectangular building that is collonaded, spacious, and well-furnished. The students appear young and attentively engaged. Their expressions, postures, and gestures suggest concentration and eagerness to absorb the teachings. The three teachers, two of whom are bearded, are shown with upraised pointer fingers, clearly in the process of delivering a lesson. Overall, the scene conveys a sense of disciplined yet dynamic learning, reflecting the structured and vibrant nature of Byzantine scholarly life. The attention to detail in the students’ attentive postures and the teachers’ engaged gestures underscores the era’s commitment to education and intellectual growth. https://www.academia.edu/31545633

John Skylitzes, emphasizing Emperor Constantine’s praiseworthy and wondrous qualities, highlights his interest in education and explains that …On his own initiative, the Emperor brought about a restoration of the sciences of arithmetic, music, astronomy, geometry in two and three dimensions and, superior to them all, philosophy, all sciences which had for a long time been neglected on account of a lack of care and learning in those [238] who held the reins of government. He sought out the most excellent and proven scholars in each discipline and, when he found them, appointed them teachers, approving of and applauding those who studied diligently. Hence he put ignorance and vulgarity to flight in short order and aligned the state on a more intellectual course.

Education in the Byzantine Empire was generally accessible to the upper and middle classes, while the lower classes had limited access due to economic constraints. The system was predominantly male-oriented, but there are records of women receiving education, particularly within monastic settings or among wealthy families. Notable figures in Byzantine education included Photius, a leading intellectual and Patriarch of Constantinople in the 9th century, and Michael Psellos, an 11th-century scholar who contributed significantly to philosophy, history, and rhetoric.

The legacy of Byzantine education is significant, particularly in its role in preserving and transmitting classical Greek and Roman knowledge to the Islamic world and later to Western Europe during the Renaissance. This educational system influenced Islamic education during the Abbasid Caliphate and contributed to the revival of learning in Western Europe. Through its sophisticated blend of classical and Christian teachings, Byzantine education formed a crucial bridge between the ancient world and medieval Europe, shaping intellectual traditions in both the Eastern and Western worlds.

For a Student Activity, please… Check HERE!

Bibliography: https://www.academia.edu/31545633 and https://www.persee.fr/doc/scrip_0036-9772_2007_num_61_2_4229 and https://www.bne.es/sites/default/files/redBNE/Actividades/Exposiciones/2024/skylitzes-matritensis-bne-en.pdf

The Rampin Rider

by Ancient Greek ArtArchaeologyArtGreek ArtMuseumsSculptureStudent ActivitiesWorksheets
The Rampin Rider, Archaic Period, around 550 BC, Marble from Paros, Height: 1.08 m, Length: 0.77 m, Width: 0.38 m, Acropolis Museum, Athens, Greece https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

…Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts, [20] when that horse ran swiftly beside the Alpheus, not needing to be spurred on in the race, and brought victory to his master, the king of Syracuse who delights in horses… writes Pindar in his Olympian Ode 1, and I think of The Rampin Rider in the Acropolis Museum!

The Rampin Rider is an ancient Greek marble Archaic statue dating back to around 550 BC. It depicts a young horseman in a dynamic pose and is believed to represent a victorious athlete or a noble youth. The statue is renowned for its detailed craftsmanship and is a prime example of early Greek sculpture, combining Archaic stylization with emerging naturalism. https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

Today, the Rampin Rider statue is unfortunately divided between two major museums. The larger portion, including the torso and horse, is housed in the Acropolis Museum in Athens, Greece, where it is displayed alongside a plaster cast of the missing head. Meanwhile, the head of the rider, known for its distinctive Archaic smile, is displayed at the Louvre Museum in Paris, France, accompanied by a cast of the rest of the statue. This arrangement highlights the division of this significant artefact between the two institutions. https://collections.louvre.fr/ark:/53355/cl010276879

The Head of the Rampin Rider, Archaic Period, around 550 BC, Marble from Paros, Height: 27 cm, Louvre Museum, Paris, France
https://www.neo-mfg.com/products/history-roman-rampin-rider-60671

The Rampin Rider statue, the oldest and most renowned equestrian statue dedicated to the Acropolis, depicts a naked youth seated forward on his horse, almost on its neck. Once holding a metal bridle and reins attached through drilled holes in the horse’s mane, the rider is portrayed with keen attention to anatomical detail, especially in the physique and abdomen. Adorning his head is a wreath made of wild celery or oak leaves, signifying his victory in an equestrian event, possibly at the Nemean or Olympic Games. The rider’s face, characteristic of the Archaic period, features large almond-shaped eyes, thin eyebrows, and the distinct “archaic smile.” Remarkably, traces of original colour still remain on the rider’s face and hair, as well as on the horse’s mane, offering a glimpse into its original vibrant appearance.

During the Archaic period of ancient Greece, statues depicting riders held significant importance as symbols of wealth, status, and military prowess. These expensive dedications were commissioned by members of the upper socio-economic classes, specifically the pentacosiomedimnoi and triacosiomedimnoi, who were responsible for maintaining war horses. Participation in equestrian events was exclusive to affluent nobles, either as athletes or horse owners, reflecting their elite status. The rider statues, such as the Rampin Rider, were often dedicated on the Acropolis as commemorative monuments to celebrate victories in prestigious games, underscoring the social and political influence of the aristocracy in ancient Greek society.

The larger portion of the Rampin Rider statue, including the rider’s torso and the horse, was unearthed in a Perserschutt ditch, a significant archaeological context filled with statues and other artefacts deliberately buried after the 480 BC Persian sack of Athens. These ditches were created by the Athenians to dispose of the destroyed remnants of their sacred and civic monuments after the Persians razed the city. The Perserschutt deposits are invaluable to archaeology because they provide a well-preserved snapshot of Athenian art and culture before the Persian invasion, capturing details of early Greek sculpture, architecture, and religious practices. The discovery of the Rampin Rider in this context highlights the cultural loss and resilience of Athens, as these broken yet revered artworks were buried with care and later played a crucial role in reconstructing the history of Archaic Greece.

For a Student Activity, please Check… HERE!

September Sunlight

by 19th century ArtAmerican ArtArtPowerpoints
Childe Hassam, American Artist,1859–1935
September Sunlight, circa 1887, Oil on Canvas, 45.8 x 55.8 cm, Private Collection https://www.facebook.com/photo.php?fbid=710256554473763&set=a.559870122845741&type=3&locale=it_IT&paipv=
0&eav=AfaH9KHKOLoFA2Q2dpyw10i8ycH0KFTFgQ3GXNBBtewHGh34TvI_l-T1UjHORJ-rVCw&_rdr

The golden-rod is yellow; / The corn is turning brown; / The trees in apple orchards / With fruit are bending down.    /    The gentian’s bluest fringes / Are curling in the sun; / In dusty pods the milkweed / Its hidden silk has spun.    /    The sedges flaunt their harvest, / In every meadow nook; / And asters by the brook-side / Make asters in the brook    /    From dewy lanes at morning / The grapes’ sweet odors rise; / At noon the roads all flutter / With yellow butterflies.    /    By all these lovely tokens / September days are here, / With summer’s best of weather, / And autumn’s best of cheer.    /    But none of all this beauty / Which floods the earth and air / Is unto me the secret / Which makes September fair.    /    ‘T is a thing which I remember; / To name it thrills me yet: / One day of one September / I never can forget. Could Helen Hunt Jackson’s secret be the September Sunlight? https://www.poemhunter.com/poem/september-2/

Childe Hassam, born Frederick Childe Hassam on October 17, 1859, in Dorchester, Massachusetts, was a prominent American Impressionist painter. Growing up in Boston, Hassam initially worked as an illustrator and watercolourist before travelling to Paris in 1886 to study at the prestigious Académie Julian. It was in Paris that he was deeply influenced by the Impressionist movement, which shaped his distinctive style characterized by loose brushwork, vibrant colours, and the play of light. Upon returning to the United States, Hassam settled in New York City and became a key figure in promoting Impressionism in America. He co-founded the Ten American Painters, a group that broke away from the conservative Society of American Artists to embrace modern artistic trends.

Throughout his career, Hassam produced an extensive body of work, including urban and rural scenes, coastal landscapes, and his famous series of flag paintings created during World War I. His art often depicted the bustling life of New York City, serene New England landscapes, and the charm of French villages, capturing the essence of American and European scenes with a keen eye for detail and atmosphere. Hassam’s works are celebrated for their ability to convey the transient effects of light and mood, making him a pivotal figure in American art history. He continued to paint until his death on August 27, 1935, leaving a lasting legacy as one of America’s foremost Impressionist painters.

Hassam’s depictions of Parisian boulevards are celebrated as some of the most significant works in his artistic portfolio, with September Sunlight standing out as a quintessential example of his Parisian Impressionist pieces. In these paintings, Hassam captures the elegance of finely dressed Parisians in carriages and on strolls, offering a glimpse into the sophisticated lives of the city’s upper class. This particular scene encapsulates the vibrant energy of Paris that captivated Hassam. He once remarked… There is nothing so interesting to me as people. I am never tired of observing them in everyday life, as they hurry through the streets on business or saunter down the promenade on pleasure. Humanity in motion is a continual study to me. This fascination with the dynamic interplay of daily life is vividly brought to life in his art, reflecting his enduring interest in the bustling activity of the city. https://www.smithsonianmag.com/arts-culture/impressionisms-american-childe-2220574/

For a PowerPoint Presentation on Childe Hassam’s oeuvre, please… Check HERE!

Plaque with Eros as a Sleeping Child

by ArchaeologyArtExhibitionsMythologyRoman ArtStudent ActivitiesWorksheets
Plaque with Eros as a Sleeping Child and a poppy capsule, symbol of sleep, 1st/2nd century AD, Amber, Museo d’ Antiquita, ‘J. J. Winckelmann’, Trieste, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

Unfortunately  /  for me  /  Eros never rests  /  but like a Thracian tempest  /  ablaze with lightning  /  emanates from Aphrodite;  /  the results are frightening―  /  black,  /  bleak,  /  astonishing,  /  violently jolting me from my soles  /  to my soul… writes the unknown 6th century BC ancient Greek poet in ‘Ibykos Fragment 286’. In Plaque with Eros as a Sleeping Child, the enchanting small carving from Trieste, the unruly God of Love… is resting!

The Museo d’Antichità ‘J. J. Winckelmann’ in Trieste, Italy, is a distinguished institution dedicated to preserving and exhibiting ancient artifacts. Named after the renowned German art historian Johann Joachim Winckelmann, often considered the father of modern archaeology and art history, the museum boasts an impressive collection of antiquities. These include Greek, Roman, and Etruscan artefacts, reflecting the rich historical tapestry of the region. The museum is not only a treasure trove of classical art but also a center for scholarly research, offering insights into the ancient civilizations that shaped the Mediterranean world. Its exhibits provide visitors with a profound understanding of historical continuity and cultural heritage, making it a pivotal cultural landmark in Trieste.

The Archaeological Museum in Trieste houses a remarkable collection of Roman antiquities crafted from Amber, showcasing the material’s significance and allure in ancient times. Amber, a term referring to various fossil resins that range in colour from yellow to orange, red to brown, and exhibit varying degrees of transparency, has been prized and crafted since prehistoric times. Admired for its qualities and believed to possess protective properties, Amber was extensively used by the Romans for decorative and ceremonial objects.

Collected primarily along the coasts of the Baltic Sea, Amber made its significant appearance in the Roman world around the mid-1st century AD. This timing coincides with the pacification of the Empire’s Danube border, suggesting that Germanic peoples likely traded Amber from this region. The precious resin reached Italy via the ‘Amber Route,’ an intricate network of transalpine paths linking the eastern Adriatic to the Danube. Aquileia considered the terminal of this route, saw the rise of a vibrant Amber carving industry renowned for its intricate and refined designs, some inspired by Egyptian motifs.

Plaque with Eros as a Sleeping Child and a poppy capsule, symbol of sleep, 1st/2nd century AD, Amber, Museo d’ Antiquita, ‘J. J. Winckelmann’, Trieste, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

The ‘J. J. Winckelmann’s Museum showcases exquisite amber artefacts from Aquileia, dating from the mid-1st to the 2nd century AD. Its collection includes intricately carved jewelry, amulets, and small statuettes, reflecting the high level of craftsmanship and artistic expression of the period. These pieces offer a glimpse into the luxury and sophistication of Roman society, illustrating how amber was not only a symbol of wealth and status but also played a role in daily life and spiritual practices. This fine collection at the Museo d’Antichità provides invaluable insights into the cultural and historical context of amber in the ancient world, making it a highlight for visitors and scholars alike.

Among the finest Roman Amber artefacts in the Museo d’Antichità ‘J. J. Winckelmann’ in Trieste, is the Plaque with Eros as a Sleeping Child and a Poppy Capsule, symbol of sleep. This exquisite small artefact, dating from the mid-1st to the 2nd century AD, showcases the exceptional craftsmanship of ancient Roman artisans. The serene image of the slumbering Eros, with delicate features and a peaceful expression, embodies the intricate artistic expression and symbolic richness of the period. The poppy capsule held by Eros underscores the connection to sleep and dreams, offering a poignant glimpse into Roman mythology and the cultural significance of Amber. This plaque not only highlights the luxurious use of Amber in art but also provides profound insight into the spiritual and daily life of Roman society, making it a treasured piece within the museum’s collection.

For a Student Activity, inspired by the Amber Plaque with Eros as a Sleeping Child, please… Check HERE!

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending the exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition formed a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transformed into ‘ΝΗΜΑ’ (‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. Among the Exhibition artworks that impressed me most was Plaque with Eros as a Sleeping Child, a small Amber carving from the Museo d’ Antiquita, ‘J. J. Winckelmann’ in Trieste, Italy!

Santa María la Real de las Huelgas

by ArtMedieval ArtSpanish ArtStudent ActivitiesWorksheets
View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

I love cloisters’ peace / soft words of silence within / harmony and calm… This is exactly how I felt in the Cloister of the Monastery of Santa María la Real de las Huelgas, in Burgos, Spain.

The Monastery of Santa María la Real de las Huelgas in Burgos, Spain, was founded in 1187 by King Alfonso VIII of Castile and his wife Queen Eleanor of England. Originally established as a royal Pantheon and Cistercian convent, the monastery played a significant role in Spanish religious and political life throughout the Middle Ages. It served as a spiritual and cultural center, with close ties to the Castilian monarchy. The monastery’s royal patronage allowed it to amass considerable wealth and influence, making it one of the most important monastic institutions in medieval Spain. Over the centuries, it has witnessed numerous historical events, including royal ceremonies and the burial of several Castilian monarchs. https://www.patrimonionacional.es/visita/monasterio-de-sta-maria-la-real-de-las-huelgas

An essential stop on the Camino de Santiago, the Monastery holds the distinction of being the premier female Cistercian monastery in Spain and serves as the head of all Cistercian Convents within the Crown of Castile. The first abbess of Las Huelgas was a testament to the wealth and privileges bestowed upon the monastery; she wielded ecclesiastical, civil, and criminal authority over more than 50 nearby towns, answering only to the pope. Her high rank was symbolized by a unique headdress similar to a mitre, and she carried a crosier, reflecting a status akin to that of a female bishop.

View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

The Monastery showcases a fascinating blend of architectural styles. The original construction included a Mudejar church, part of which is still preserved in the current Chapel of the Assumption, characterized by its Almohad style. This early structure contrasts with the later Romanesque elements, particularly visible in the arches and columns adorned with plant motifs and castle designs. In the early 13th century, the definitive Gothic monastery was constructed, embodying the austere architectural style of the Cistercian order. This phase included the large church with reinforced walls and various rooms, among which the chapter house stands out for its significance and design.

Santa María la Real de las Huelgas is famous for its Romanesque Cloister known as las Claustrillas. Architecturally, the Cloister consists of 12 arches on each side supported by double columns, with capitals decorated with plant and castle motifs. Serving as the heart of monastic life, Cloisters were designed as a serene and contemplative space, often enclosing a garden or courtyard. They provided a sheltered pathway for monks to move between the different parts of the monastery while maintaining a meditative atmosphere conducive to prayer and reflection. The architectural significance of Cloisters lies in their ability to blend functionality with spiritual symbolism, representing the monastic ideals of seclusion and introspection. The Cloister at Las Huelgas, with its intricate arches and harmonious proportions, is a testament to the importance of these spaces in fostering the religious and communal life of the monastery. https://www.monasteriodelashuelgas.org/

View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

The Cloister of the Monastery, constructed in the 13th century, is a remarkable example of Romanesque architecture infused with Cistercian austerity. Its history is intertwined with the monastery’s development as a Royal Pantheon and spiritual center. The Cloister features a series of arches supported by slender columns, creating a rhythmic and harmonious passageway around a tranquil courtyard. The simplicity of the design reflects the Cistercian emphasis on modesty and contemplation, while the delicate tracery and occasional ornamental details showcase the Romanesque influence. Over the centuries, the Cloister of Santa María la Real de las Huelgas has been a silent witness to the daily rituals of the nuns, royal ceremonies, and the ebb and flow of historical events, making it a significant architectural and historical element of the monastery.

For a Student Activity, please… Check HERE!

Jo Sketching at Good Harbor Beach by Edward Hopper

by 20th century ArtAmerican ArtArtPowerpoints
Edward Hopper, American Artist, 1882–1967
Jo Sketching at Good Harbor Beach, 1923–1924, Watercolor and fabricated chalk on paper, 35.2 × 50.6 cm, Whitney Museum of American Art, NY, USA https://whitney.org/collection/works/6864

Gull patrol / paranoiac survey / is it “I want to have a lot of sex” / or “I want to have sex a lot” / Paddle ball / wave swell / submerging the fabrics of the ’20s / at the only decent thrift shop / the TV shows still under the spell / of 9/11      and there / the little dictator / gassing his people / and here the handcuffed dead / and now the lifeguard slides / with expert force his tall red chair / backward along the sand to the ridge / the high tide makes at the edge / of the dunes. / Tide coming in / The profit and the loss / A surfboard for rescue /  and few in the water/ but remote seals and rumored sharks… writes Maureen N. McLane for Good Harbor Beach, and I think of the painting Jo Sketching at Good Harbor Beach by Edward Hopper! https://yalereview.org/author/maureen-n-mclane

Good Harbor Beach, located in Gloucester, Massachusetts, is a picturesque stretch of coastline renowned for its stunning natural beauty. The beach features fine, white sand and clear, calm waters, making it an ideal destination for swimming and sunbathing. At low tide, a sandbar emerges, allowing visitors to walk to Salt Island and explore its rocky terrain. The surrounding dunes and beach grasses add to the scenic charm, while the panoramic views of the Atlantic Ocean create a tranquil and inviting atmosphere. Popular with families, the beach offers amenities such as lifeguards, restrooms, and a concession stand, ensuring a comfortable and enjoyable experience for all who visit.

Edward Hopper, the renowned American realist painter, and his wife, Josephine (Jo) Nivison Hopper, had a significant connection with Good Harbor Beach. The couple spent many summers in Gloucester, where the serene and picturesque landscapes greatly influenced Hopper’s work. With its distinct light and tranquil ambience, Good Harbour Beach served as a frequent subject and inspiration for Hopper’s paintings. Jo, also an artist, often accompanied Edward on his painting excursions, providing support and sometimes posing for his works. Their time at Good Harbor Beach not only enriched Hopper’s artistic output but also solidified their personal and professional partnership, as they shared a mutual appreciation for the natural beauty and peaceful environment of the area. This relationship is reflected in the contemplative and evocative qualities of Hopper’s beach scenes, capturing the essence of their experiences together.

Edward Hopper’s watercolour painting Jo Sketching at Good Harbor Beach housed in the Whitney Museum of American Art, beautifully captures a moment of serene artistic engagement. The painting features Hopper’s wife, Jo, seated on a sandy expanse with her sketchpad, intently focused on her work. The beach’s natural elements, rolling dunes, sparse vegetation, and the gentle contours of the shoreline, are rendered with Hopper’s distinctive use of light and shadow, imbuing the scene with a luminous quality. The composition highlights the harmony between the figure and the landscape, reflecting the couple’s shared artistic endeavours and their deep appreciation for the tranquil beauty of Good Harbor Beach. Hopper’s masterful technique in watercolour brings a sense of immediacy and intimacy to this quiet, reflective moment, emphasizing both the personal and artistic dimensions of their relationship.

Good Harbor Beach is artistically presented in Edward Hopper’s work through his evocative use of light, shadow, and composition, capturing the serene and contemplative essence of the landscape. His paintings often depict the beach’s expansive, sunlit sands, the calm waters, and the surrounding dunes with a sense of quiet introspection. Hopper’s characteristic style of realism, combined with his ability to portray the subtleties of natural light, brings the tranquil beauty and solitude of Good Harbor Beach to life. These works reflect Hopper’s deep connection to the area and his skill in transforming everyday scenes into profound visual poetry, highlighting the unique atmosphere of this coastal haven.

For a PowerPoint Presentation of Edward Hopper’s oeuvre, please… Check HERE!