The Tyche of Antioch

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

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

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

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

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

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

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

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

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

The Figure of Eight Shield

by Ancient Greek ArtArchaeologyArtBronze Age ArtEducationGreek ArtMycenaean ArtPowerpointsSocial Studies
Wall painting depicting the Figure of Eight Shield,
Fresco from the Cult Center of the Acropolis
of Mycenae, 1250-1180 BC, National Archaeological Museum
of Athens, Greece https://commons.wikimedia.org/wiki/File:Mycenaean_mural_
depicting_a_shield_at_the_National_Archaeological_Museum_of_Athens_on_October_26,_2021.jpg

The Figure of Eight Shield is a distinctive type of shield originating in the Aegean region, particularly prominent during the Late Bronze Age. Its unique design, resembling the number ‘8’, featured a curving outline that provided comprehensive protection while allowing for ease of movement. Typically constructed from a wooden frame, it was reinforced with layers of leather or metal to enhance durability and resistance in combat. This shield is closely associated with the warrior culture of Mycenaean Greece and is frequently depicted in frescoes and artifacts from that period, symbolizing both practicality and status in the martial practices of the time.

Let me present you with ’10 Facts’ about the amazing Figure of Eight Mycenaean Shields!

Unique Shape: The ‘Figure of Eight’ shield was shaped like two large, connected ovals, creating a narrow waist-like middle. This design not only made it visually distinctive but also allowed for a balance between size and ease of handling.

Large Size: These shields were massive, often covering a soldier from head to toe, providing extensive body protection. Their size was advantageous in phalanx formations or defensive stances but made them cumbersome in fast, mobile combat.

Construction Materials: The construction of the ‘Figure of Eight’ shields reflects the technological ingenuity of the Mycenaeans. The core of the shield was typically a wooden frame, chosen for its balance of strength and lightness, allowing the shield to remain functional despite its large size. The wooden frame was then covered with multiple layers of tightly stretched cowhide, often up to several layers thick, which added durability and the ability to absorb impact from weapons like spears and arrows. To further enhance their strength, some shields were reinforced with bronze fittings or edging. These metal elements made the shields more resistant to slashing or piercing blows, ensuring they could withstand the demands of battle. Additionally, the cowhide was sometimes treated with oils or other substances to make it more durable and less susceptible to wear from environmental factors like moisture. These materials worked in harmony to produce a shield that was both protective and flexible, suited for the needs of Mycenaean warriors in close combat or defensive formations.

Mycenaean warrior, complete with Boar’s Tusk Helmet and the Figure of Eight Shield, ca. 13th Century BC, Ivory, Archaeological Museum, Delos, Greece https://twitter.com/DocCrom/status/1264518112386396160
Mycenaean Dagger Blade with Hunters attacking Lions, c. 1,600-1,500 BC, inlaid in gold, silver and niello, National Archaeological Museum of Athens, Greece https://archeology.dalatcamping.net/the-bronze-legacy-unveiling-the-artistry-of-mycenaean-daggers/

Artistic Depictions: Artistic depictions of the ‘Figure of Eight’ shields are found in various media, including frescoes, pottery, and engraved seals, offering valuable insights into their role in Mycenaean and Minoan societies. Frescoes from palatial sites like Knossos and Tiryns often show warriors wielding these shields, emphasizing their importance in both warfare and ceremonial contexts. Seal engravings, frequently detailed and symbolic, also depict the shields, suggesting their association with elite status or divine protection. Such representations indicate that the shields were not just practical tools for defense but also symbols of power, prestige, and cultural identity in the Late Bronze Age.

Use in Warfare: The shield was designed for full-body protection, particularly in close combat or during sieges. Its large size made it especially effective against projectile weapons, though it required significant strength to wield.

Ceremonial and Symbolic Roles: These shields were likely used in rituals or as symbols of power, as seen in artistic representations. Their association with elite warriors or deities underscores their importance beyond mere battlefield use.

Origins and Chronology: The ‘Figure of Eight’ shield originated in the Late Bronze Age, around 1600 BCE, and was likely influenced by earlier Minoan designs. It fell out of use by the end of the Bronze Age as combat tactics evolved.

Flexibility and Mobility: The narrow middle of the shield allowed soldiers to maneuver it more easily despite its large size. This feature improved mobility in combat, making it versatile for both offense and defense.

Decline in Use: By the 12th century BCE, the ‘Figure of Eight’ shield was replaced by smaller, lighter designs like circular or tower shields. This change reflected the increasing importance of agility and individual mobility in warfare.

Connection to Homeric Epics: Homer’s descriptions of large shields, though generally round, may have been inspired by earlier designs like the ‘Figure of Eight.’ These shields serve as a link between Mycenaean warfare and later Greek military traditions.

For a PowerPoint on Student Activities inspired by the Mycenaean Shields, please… Check HERE!

Luigi Bazzani’s Watercolours of Pompeii

by 19th century ArtArchaeologyArtPowerpoints
Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

I’m not sure if you enjoy Japanese Haiku, those three-line, 17-syllable poems, but as I gaze at Luigi Bazzani’s Watercolours of Pompeii in the Victoria and Albert Museum, I’m reminded of the Haiku games I once shared with my students. And with that, a new Haiku unfolds… Ancient stones speak soft, / Bazzani’s brush finds their voice, / Pompeii breathes anew.

Luigi Bazzani (1836–1927) was an Italian painter and architect born in Bologna. A master of both watercolors and detailed architectural renderings, Bazzani initially trained in the fine arts at the Accademia di Belle Arti in Bologna. His early works were primarily focused on landscapes and genre scenes, but he soon became captivated by ancient Roman architecture and archaeological subjects, which shaped his career. By the mid-19th century, he had joined a circle of artists, archaeologists, and scholars based in Rome, where he further refined his skills in portraying architectural details with exceptional precision. This passion led Bazzani to work extensively in archaeological illustration, making him a key figure in documenting Italy’s historical sites.

Bazzani’s work took on new significance when he became actively involved in the excavation and study of Pompeii. At the time, the archaeological site was undergoing one of its most intensive periods of excavation, and Bazzani’s watercolors played a vital role in visually recording the ruins before further deterioration. His paintings, known for their remarkable detail, accuracy, and fidelity to the textures of ancient stonework, served both scientific and artistic purposes. His ability to evoke the atmosphere of ancient Pompeii made him a celebrated artist among scholars and art lovers alike, particularly as his work bridged the realms of historical documentation and creative expression. Through his paintings, Bazzani preserved not just the structures of Pompeii but also conveyed a sense of the city’s former life and vibrancy.

Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details
House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

His artistic approach combined meticulous attention to detail with a romantic sensibility that brought depth and emotion to his portrayals of Pompeii. His use of watercolor allowed him to capture the luminous quality of Mediterranean light, which he skillfully balanced with shadow and contrast to convey the depth and scale of ancient architecture. Bazzani’s works are characterized by an almost photographic realism, yet they go beyond mere documentation, subtly imbuing his subjects with a sense of nostalgia for a lost world. His brushwork reveals an intimate knowledge of architectural form and materials, while his ability to evoke atmospheric conditions gives his scenes a timeless, almost haunting beauty. Through Bazzani’s artistry, the viewer not only sees Pompeii’s ruins but also senses the city’s enduring spirit.

The Victoria and Albert Museum houses a notable collection of Luigi Bazzani’s watercolors depicting the ancient site of Pompeii, showcasing his unparalleled skill in capturing the ruins with both accuracy and artistic flair. These works offer a vivid glimpse into the archaeological site during the late 19th and early 20th centuries, a period of intense excavation and exploration. Bazzani’s watercolors at the V&A highlight his meticulous attention to architectural detail and his ability to evoke the atmosphere of the ancient city, from crumbling walls to the intricate textures of stone and frescoes. Through these works, the museum preserves not only a historical record of Pompeii’s ruins but also an artistic interpretation of the past, allowing viewers to experience the city as it once stood—alive with the vibrancy of Roman life, even as it faced the inexorable passage of time.

The Louigi Bazzani watercolour painting of a Pompeiian Fountain within a highly decorated alcove, is a wonderful reconstruction of the Mosaic Fountain discovered in the Pompeiian House of the Large Fountain. The Pompeiian Houseis discussed… https://www.teachercurator.com/ancient-roman-villas/house-of-the-large-fountain/

For a PowerPoint on Luigi Bazzani’s Pompeian oeuvre, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?id_person=AUTH347957&page=1&page_size=15

Tomb of the Leopards

by ArchaeologyArtEtruscan ArtPowerpoints
Etruscan Tomb of the Leopards, 473 BC, Tomb is decorated with fresco paintings, and measures: 3.52 x 3.3 x 2.16 in height, Monterozzi Necropolis, Tarquinia, Italy https://en.wikipedia.org/wiki/Tomb_of_the_Leopards#/media/File:Danseurs_et_musiciens,_
tombe_des_l%C3%A9opards.jpg

The walls of this little tomb, the Tomb of the Leopards, are a dance of real delight. The room seems inhabited still by Etruscans of the sixth century before Christ, a vivid, life-accepting people, who must have lived with real fullness. On come the dancers and the music-players, moving in a broad frieze towards the front wall of the tomb, the wall facing us as we enter from the dark stairs, and where the banquet is going on in all its glory…all is colour,‘ wrote D.H. Lawrence in the 1920s in his travel essays Sketches of Etruscan Places, and we do not seem to be underground at all, but in some gay chamber of the past. https://en.wikipedia.org/wiki/Tomb_of_the_Leopards  and https://creatureandcreator.ca/?tag=tomb-of-the-leopards&print=print-search

Let’s explore the ‘where’, ‘when”, ‘how’, and ‘what’ of this amazing Etruscan Tomb by posing some questions!

Where is the Tomb of the Leopards located? It is located in the Necropolis of Monterozzi, near the ancient city of Tarquinia in central Italy, about 90 kilometers northwest of Rome. The Necropolis, a UNESCO World Heritage site, contains more than 6,000 tombs, with over 200 of them featuring elaborate wall paintings. The Tomb is one of the most famous tombs in this burial complex. Situated on a hill, the site offers a panoramic view of the surrounding area, reflecting the importance of Tarquinia as a major center of Etruscan civilization.

When was the Etruscan Tomb created, and what does its time period reveal about Etruscan culture? The Tomb of the Leopards was created around 473 BC, during the height of Etruscan civilization. This time period reveals a society that was deeply influenced by Greek culture, evident in the style of the tomb’s frescoes, which feature lively banqueting scenes and depict an appreciation for luxury, social gatherings, and the afterlife. The artwork reflects the Etruscans’ belief in a joyous afterlife, where the deceased would continue to enjoy the pleasures of life. It also shows the importance of social status, as banquets were a symbol of wealth and power within Etruscan society.

How was it discovered? The tomb was discovered in 1875 during archaeological excavations. Its well-preserved wall paintings, depicting banqueting scenes and festive gatherings, provide valuable insight into Etruscan culture and funerary practices. The discovery of the tomb helped shed light on the artistic achievements and social customs of the Etruscans during the 5th century BC.

What are the architectural features of the Tomb of the Leopards, and how do they reflect Etruscan funerary practices? The Tomb of the Leopards features a rectangular plan with a vaulted ceiling supported by a double-pitched roof, which is a distinctive element of Etruscan tomb architecture. The walls are adorned with elaborate frescoes, while the overall layout is designed to resemble a domestic space, suggesting a connection between the afterlife and the living world. The use of a central burial chamber emphasizes the importance of the deceased, and the incorporation of benches along the walls for reclining figures mirrors the practice of banqueting, highlighting the Etruscans’ belief in the continuation of social customs beyond death. This architectural design reflects Etruscan funerary practices that celebrated life and the afterlife, creating a space that honours the deceased and facilitates their ongoing social interactions.

What is the interior decoration of the Tomb of the Leopards? The frescoes in the Tomb of the Leopards vividly depict Etruscan social life within a beautifully adorned interior featuring a double-pitched roof decorated with parallel rows of white, red, and green checkers, complemented by a central beam bordered with the same colors and adorned with red and green circles. On the right wall, a dancer clad in the traditional tebenna holds a cup while accompanied by two musicians, known as ‘The Three Musicians’; the central figure, in a yellow and blue dress, plays the aulòs, and the musician to his right, dressed in a red robe edged with green and yellow, strums a zither. This scene captures the cultural significance of music and dance in Etruscan society. The central wall, the tomb’s focal point, showcases a lavish banquet with three married couples reclining on twin beds, sipping wine, their heads adorned with myrtle wreaths. The men, with dark complexions and bare chests, contrast with the lighter-skinned women, two blondes and a brunette, elegantly dressed. Notably, the man on the far right holds an egg, symbolizing rebirth. Above this lively banquet, two imposing leopards with jaws wide open flank the scene, while olive trees enhance the naturalistic setting, reflecting Etruscan beliefs about life, social customs, and the joyous continuance of such gatherings in the afterlife.

How do the Tomb’s frescoes represent Etruscan beliefs about the afterlife and social customs? The frescoes in the Tomb represent Etruscan beliefs about the afterlife as a continuation of earthly pleasures, particularly social gatherings and banquets. The scenes of feasting, drinking, and music suggest that the afterlife was imagined as a joyful, celebratory experience where the deceased would partake in these activities alongside their peers. The presence of both men and women at the banquet reflects Etruscan social customs, where women had a more prominent role in public and social life compared to other ancient cultures. The inclusion of these vibrant scenes also indicates the importance of status, as banquets were reserved for the elite, underscoring the Etruscans’ emphasis on wealth and social standing in life and death.

What aesthetic values, such as the depiction of movement, symmetry, or colour, can be seen in the Tomb’s frescoes, and how do they reflect Etruscan attitudes toward life and death? The frescoes display key aesthetic values such as vibrant colour, fluid movement, and a balance of symmetry, all of which reflect Etruscan attitudes toward life and death. The figures are shown in dynamic poses, with expressive gestures that convey a sense of liveliness and celebration, suggesting a joyful approach to both life and the afterlife. The use of bright, bold colours, particularly reds, blues, and yellows, enhances the festive atmosphere and reflects the Etruscan belief in a vivid, pleasurable afterlife. Symmetry is also present in the composition, especially with the positioning of figures and the leopards flanking the scene, which creates a sense of harmony and order. Together, these aesthetic choices symbolize a continuity between the pleasures of earthly life and the joys of the afterlife, reflecting the Etruscan view that death was not an end, but a transition to another phase of existence.

For a PowerPoint on Etruscan Tombs and their fresco decoration, please… Check HERE!

Bibliography: https://tarquiniaturismo.com/tomb-of-the-leopards/?lang=en and https://tarquinia-cerveteri.it/en/tarquinia/necropolis-of-tarquinia/tomb-of-the-leopards/ and https://www.facebook.com/watch/?v=259193665622286 (video)

House of the Large Fountain

by Ancient Roman VillasArchaeologyArtMosaicsPowerpointsRoman Art
House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://pompeiisites.org/en/comunicati/the-house-of-the-large-fountain-the-house-of-the-anchor-and-the-temple-of-isis-all-reopen-to-the-public/#&gid=1&pid=8

Pompeii is an ancient Roman city located near modern-day Naples, Italy, that was buried under volcanic ash and pumice after the eruption of Mount Vesuvius in AD 79. The eruption preserved much of the city in remarkable detail, offering a unique glimpse into Roman life. Excavations have revealed homes, streets, public baths, markets, and temples, as well as vibrant frescoes and mosaics. One of the notable residences is the House of the Large Fountain, famous for its elaborate garden fountain adorned with mosaics, showcasing the wealth and artistic tastes of its owners. Pompeii is renowned for its archaeological significance, as the site provides valuable insight into the daily routines, social structures, and art of Roman civilization over 2,000 years ago.

The House of the Large Fountain is one of Pompeii’s most distinctive and luxurious residences, celebrated for its remarkable garden and ornamental water features. Located on Via di Mercurio, the house’s layout dates back to the early 2nd century BC, though it underwent various modifications over time. Originally, the two atria were connected, but later alterations separated them, with the smaller atrium marked by six Doric columns. A portico supported by brick columns was added behind the tablinum, enhancing the house’s architectural complexity. In the final years before Pompeii’s destruction, the large fountain that gives the house its name was erected against the back wall of the small garden, set against a backdrop of vibrant mosaics and decorative stucco that showcases a sense of elegance and refinement.  https://pompeiisites.org/en/archaeological-site/house-of-the-large-fountain/

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

This Pompeiian example of domestic architecture is a stunning blend of artistry and antiquity, rooted in the elegance of the 2nd century BC. The fountain, the house’s most striking feature, dominates the garden space with its intricate design of wall mosaic and sculpture. In front of a colonnaded façade, the fountain consists of a niche which is completely covered with polychrome tesserae and embellished with two marble sculpture theatrical masks, a rare example of non-floor mosaic nympheum made of glass paste and stone. The mosaics, adorned with delicate seashells, and two marble theater masks, reflect the artistic tastes of the Roman aristocracy, offering a glimpse into the luxury and aesthetic values of the time. This lavish display of art and water highlights the owners’ wealth and status in Pompeian society.

The fountain’s centerpiece, a cylindrical base with a central hole, stood bare when first uncovered in the early 19th century. It wasn’t until the late 19th century that a bronze copy of a cherub riding a dolphin, originally discovered in the nearby House of the Arches, was placed at the fountain’s heart. This artistic choice mirrored the style of the House of the Small Fountain, where a similar cherubic figure with a goose serves as the focal point. The display we see today faithfully recreates this historical arrangement, echoing the fountain’s transformation and its lasting legacy over the centuries.

The fountain, positioned at the end of the garden, would have provided a soothing ambiance with its flowing water, contributing to the overall tranquility of the space, offering valuable insight into how water, art, and nature were integrated into daily life. This feature, combined with the house’s other luxuries, points to the social status of its owners, who likely used the space for both private leisure and hosting social gatherings.

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html and Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

Today, the house is a key example of Roman domestic art and garden design, offering valuable insight into how water, art, and nature were integrated into daily life. The lavish decorations and grand layout reflect the wealth and aspirations of the Pompeian elite, while the preservation of the site allows modern visitors to step into a world of ancient luxury. The House of the Large Fountain continues to fascinate both archaeologists and visitors for its artistic and architectural significance.

For a PowerPoint Presentation of the House of the Large Fountain in Pompeii, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Luigi+Bazzani

Head of Nemesis

by Ancient Greek ArtArchaeologyArtGreek ArtRoman ArtSculptureStudent ActivitiesWorksheets
Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

Of Nemesis we sing, undying goddess, stern Victory with spreading wings, infallible, seated by the throne of Justice; of thee that resentest man’s arrogance and sweepest it down to Tartarus… wrote Mesomedes of Crete, the Greek lyric poet and musician of the 2nd century AD, who served at the court of Emperor Hadrian. Standing before the Head of Nemesis from the Museum of ancient Agora in Athens I can almost feel the weight of divine retribution she carries, much like in Mesomedes’ Hymn to Nemesis, where she is invoked as the ever-watchful enforcer of balance, striking down human arrogance. https://laudatortemporisacti.blogspot.com/2008/07/mesomedes-hymn-to-nemesis.html

Goddess Nemesis in ancient Greek mythology was the personification of divine retribution and justice, often associated with the punishment of hubris (excessive pride or arrogance, in Greek Ύβρις). She was believed to maintain balance by ensuring that no individual, mortal or divine, grew too proud or overstepped moral boundaries. Nemesis was depicted as a stern and impartial force who imposed punishment on those who defied the natural order, often by bringing misfortune to those who had gained undeserved success or wealth.

Nemesis was traditionally viewed as a daughter of Nyx (Night), though her parentage varies in different accounts. She was also sometimes seen as an agent of fate, aligning her with themes of destiny and the unavoidable consequences of one’s actions. The goddess was often portrayed as a winged figure holding a sword, scales, or a wheel, symbolizing the cyclical nature of fortune and justice. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D207

Worship of Nemesis was widespread, and she had a notable cult center at Rhamnous in Attica, where she was honored as a protector of justice. The temple at Rhamnous housed a large statue of the goddess, created by the sculptor Agorakritos, a student of Phidias, and was considered one of the finest representations of the goddess. Located near the fortress of Rhamnous, the temple symbolized her role as a guardian of law and order, watching over the region and its people, ensuring that justice was upheld in both mortal and divine realms.

Roman Copy of the statue of Nemesis of Agorakritos in the Ny Carisberg Glyptothek, Copenhagen https://www.worldtravelimages.net/Copenhagen_Glyptotek.php
Agorakritos of Paros, 5th century BC
Head of Nemesis, the personification of attribution of Justice, 430-420 BC, Marble, Height: 41.91 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1820-0513-2
Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

The Statue of Nemesis by Agorakritos, a celebrated pupil of the renowned sculptor Phidias, was a masterpiece of classical Greek art housed in the temple of Rhamnous in Attica. Crafted in the 5th century BC, this statue depicted Nemesis as a stern, majestic figure embodying divine retribution and justice. Made from Parian marble, the statue was renowned for its exquisite detail and symbolic attributes, including a wreath, rein, and a branch, symbolizing punishment, control, and the restoration of balance.

After three years of meticulous research, Professor of Archaeology at Thessaloniki University, George Despinis, has made a significant breakthrough by assembling around 340 fragments of the Nemesis statue, supplementing the previously known head fragment held at the British Museum. While about one-fifth of the statue has been recovered, Despinis’ work goes beyond merely reconstructing this admired masterpiece. His analysis of the fragments has, for the first time, precisely revealed the unique style of Agorakritos, allowing him to identify parts of the Parthenon pediments and friezes created under the direction of Pheidias. https://www.penn.museum/sites/expedition/nemesis/

According to Pausanias and other sources, the Nemesis statue originated from a large marble slab that Datis, the Persian general under Darius, intended to use for a victory monument after defeating the Athenians during his campaign. However, following the Persian defeat at the Battle of Marathon, the Athenians discovered the massive slab abandoned on the battlefield. Based on Professor George Despinis’ calculations, the stone must have been nearly half the height of a Stonehenge monolith. Though the exact method of transporting the stone from Marathon to the Rhamnous sanctuary remains a mystery, it is widely believed that Agorakritos, a pupil of Pheidias, sculpted the statue, completing it by the onset of the Peloponnesian War, with its intricate pedestal and frieze finalized during the Peace of Nikias. https://www.the-athenian.com/site/1989/04/01/the-temples-of-rhamnous/

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 the 2nd-century AD marble Head of Nemesis, the personification of justice, displayed, currently, at the Museum of Ancient Agora in Athens, Greece. According to museum experts, this Head is one of many Roman copies of the original 5th-century statue by Agorakritos from Rhamnous, whose masterful work combined idealized beauty with the imposing presence of a goddess who embodied the consequences of human arrogance and excess.

For a Student Activity, please… Check HERE!

Pair of Byzantine Gold Perikarpia from Thessaloniki

by ArchaeologyArtByzantine ArtByzantine JewelryByzantiumJewelryMedieval ArtPowerpoints
Pair of Wristbands with Birds and Palmettes, made in Constantinople, 800s–900s. Gold with granulated decoration and enamel, Height 7 cm and Diameter 8.6×6.6 cm, Museum of Byzantine Culture, Thessaloniki, Greece
http://vizantinaistorika.blogspot.com/2014/03/blog-post_19.html

In Byzantine culture, bejewelled perikarpia (wristbands) played a dual role, both as functional accessories and symbols of status and protection. They were often worn by emperors, officials, and high-ranking clergy, and were intricately designed with luxurious materials such as precious metals, silk, gold thread, and precious stones. Their aesthetic value lay in the detailed craftsmanship, often reflecting religious and imperial motifs, serving as a visual display of wealth, piety, and power. Additionally, the ornate patterns and vibrant colours used in perikarpia added to the elegance of Byzantine attire, contributing to the overall grandeur of the empire’s visual culture. Today we will focus on a Pair of Byzantine Gold Perikarpia from Thessaloniki that exhibits exceptional beauty!

By asking questions starting with ‘who,’ ‘why,’ ‘when,’ and ‘where’ about the Byzantine Perikarpia from Thessaloniki at the city’s Museum of Byzantine Culture, we can explore the artworks’ historical context, artistic significance, and the story behind their creation.

Where exactly were the perikarpia found, and what does this location tell us about their significance? The perikarpia were discovered under Dodecanesou Street in Thessaloniki, buried about three feet underground. This area was once a busy urban center in Byzantine times, indicating that the wristbands may have belonged to a wealthy or high-status individual living in the city. The location suggests a strong connection to Thessaloniki’s past as a significant cultural and economic hub of the Byzantine Empire. The hiding of these treasure points to periods of conflict and invasion, particularly during the Saracen attack on the city in 904.

When were they crafted, and how does this fit into Byzantine history? The Byzantine perikarpia were likely crafted during the height of the Byzantine Empire, possibly between the 9th and 10th centuries, based on their artistic style and the period of the Saracen attack on Thessaloniki in 904. This timeframe fits into a period of Byzantine wealth, artistic flourishing, and political challenges, marked by external threats and invasions. The use of gold and enamel on these wristbands reflects the luxurious craftsmanship typical of the empire’s elite, illustrating the fusion of religious symbolism and imperial power in Byzantine art.

Who might have owned or worn these wristbands, and what social or religious role did they play? The perikarpia were likely owned by a wealthy individual or someone of high status, possibly an aristocrat or merchant in Thessaloniki. Given their luxurious design and use of precious materials like gold and enamel, they may have also been worn by someone with religious or imperial connections. In Byzantine society, such items were not only decorative but also served as symbols of wealth, piety, and social rank, possibly even offering spiritual protection. Their burial suggests the owner sought to protect valuable possessions during times of conflict or instability.

Why were they buried twice, and what does their discovery reveal about the history of Thessaloniki during these periods? The perikarpia were buried twice—first during the Saracen attack on Thessaloniki in 904 to protect them from being looted, and then later, possibly in the 1600s, by a wealthy merchant. The double burial reflects the repeated cycles of instability in Thessaloniki’s history, as it faced invasions and upheavals over centuries. Their discovery highlights the city’s historical significance as a center of wealth, commerce, and strategic importance, while also showcasing the lengths individuals went to safeguard valuable possessions during turbulent times.

For a PowerPoint on Byzantine Perikarpia, please… Check HERE!

Bibliography: https://media.ems.gr/ekdoseis/makedonika/makedonika_07/ekd_pemk_07_petsas_2.pdf https://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4427/4203 σελ 59 Στυλιανός Πελεκανίδης, Τα χρυσά βυζαντινά νομίσματα της Θεσσαλονίκης, Δελτίον XAE 1 (1959), Περίοδος Δ’. Στη μνήμη του ΝίκουΒέη (1883-1958), ΑΘΗΝΑ  1960, Σελ. 55-71, https://www.mbp.gr/sites/default/files/styles/object_images/public/4mikrotexnia.jpg?itok=9xIJgEtP, Dr. Alicia Walker, “Wearable art in Byzantium,” in Smarthistory, July 30, 2021, accessed September 12, 2024, https://smarthistory.org/wearable-art-byzantium/ and https://blogs.getty.edu/iris/uncovering-the-history-of-a-long-buried-byzantine-treasure/

Saint Demetrios in prayer position with Patrons

by ArchaeologyArtByzantine ArtByzantine MosaicsByzantiumEarly Christian ArtGreek ArtStudent ActivitiesWorksheets
Wall mosaic with Saint Demetrios in prayer position and patrons, 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

On the 26th of October, the Feast Day of Saint Demetrios… Let us honor with hymns the great soldier and athlete, the crowned victor, and the one who is marvelous among the martyrs, who was pierced by a spear in his side like the Master, the divine Demetrios… On the same day, let us remember a magnificent Wall Μosaic from the North Inner Aisle of his great Basilica in Thessaloniki, depicting Saint Demetrios in prayer position with Patrons, exhibited today in the city’s Museum of Byzantine Culture! https://www.imlagada.gr/default.aspx?catid=185

The year 1907 marked a pivotal moment for both Thessaloniki and Byzantine art. On August 1st, while the city was still under Ottoman rule, authorities began extensive renovations on Casimir Camii, originally the city’s Byzantine Church of Saint Demetrios. During the repairs, a remarkable and unexpected discovery was made: magnificent, well-preserved mosaics were uncovered on the wall of the North Inner Aisle of the nearly dilapidated church. The quality and preservation of these mosaics astounded scholars and Byzantinologists worldwide, prompting many to rush to Thessaloniki to study and document these extraordinary artworks.

Then, disaster struck on the 5th of August 1917… a great fire swept through the thriving city of Thessaloniki destroying two-thirds of the city’s center and leaving more than 70,000 homeless. The Great Fire of 1917 was a devastating event that ravaged many of the city’s historic and religious landmarks. Among the most significant losses was the Church of Saint Demetrios, the revered basilica dedicated to the city’s patron saint. The beautiful Mosaics of the Church’s North Inner Aisle discovered in 1907 were gone forever! Few photographs and even fewer paintings, created with care and sensitivity by artists, is all that remains… except a fragment of the mosaic over spandrel H depicting Saint Demetrios in prayer position with Patrons.

Originally built in the 5th century, this iconic structure was a center of worship and pilgrimage for centuries. The fire, which spread rapidly through the city’s wooden buildings, engulfed the church, causing extensive damage to its structure and the destruction of many of its priceless mosaics and artefacts. The loss of the church was deeply felt by the residents of Thessaloniki, as it symbolized not just a religious focal point, but also a vital part of the city’s cultural and spiritual heritage. The basilica was later meticulously restored, but the destruction marked a significant chapter in the history of Thessaloniki, highlighting the vulnerability of its treasured monuments to such catastrophes.

Wall mosaic with Saint Demetrios in prayer position and patrons (details), 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://helenmilesmosaics.org/ancient-mosaics/st-dimitrios-of-thessaloniki/

The mosaics in the North Inner Aisle of the Church of Saint Demetrios in Thessaloniki were among the most exquisite examples of Byzantine art. Their discovery, after having been concealed for centuries, was hailed as a major archaeological find, offering insight into the religious and artistic heritage of the city. These mosaics, dating back to various periods, depicted a range of sacred themes, including scenes of his miracles, and figures of saints and angels in prayerful poses. They were celebrated for their vibrant colours, detailed craftsmanship, and the way they illuminated the spiritual atmosphere of the basilica. The loss of these mosaics, in the Great Fire of 1917, represented a significant cultural and artistic tragedy, as they were irreplaceable treasures that connected the faithful to the early Christian and Byzantine heritage of the city. The destruction of the North Inner Aisle mosaics not only diminished the church’s aesthetic splendour but also erased a vital link to the city’s rich historical and religious narrative.

Museum of Byzantine Culture, Room 1 (where the Mosaic is exhibited), Thessaloniki, Greece
https://pierrekosmidis.blogspot.com/2015/11/1941-nazi-invasion-of-greece-through.html

According to the Thessaloniki Museum of Byzantine Culture experts, the mosaic of Saint Demetrios in prayer position with Patrons depicts the Saint… standing, in front of a golden niche of a building or kiborium decorated with a blue clam. He is in a posture of supplication, prayer, with his hands raised to the sky. He wears the uniform of an official official with a luxurious gold-embroidered cloak and tunic, which closes at the neck with embroidery of precious stones. To the left, at the height of the saint’s waist, is depicted a child with rich clothes and with his hands in a prayer position. Next to the left palm of the saint, a male head can be seen, possibly of the donor. The composition was probably a thanksgiving or a plea for help to the saint, by a wealthy believer. https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

If interested in the North Inner Aisle Mosaics of Hagios Demetrios in Thessaloniki… check The Mosaic Decoration of S. Demetrios, Thessaloniki: A Re-Examination in the Light of the Drawings of W. S. George by Robin S. Cormack in The Annual of the British School at Athens,
Vol. 64 (1969), pp. 17-52 (51 pages), Published by: British School at Athens https://www.jstor.org/stable/30103330?read-now=1&refreqid=excelsior%3A63a6e304a6bc30610613803b3f259b31&seq=1#page_scan_tab_contents

For a Student Activity, please… Check HERE!

Talos the ancient Greek automaton

by Ancient Greek ArtArchaeologyArtGreek ArtMythologyPotteryStudent ActivitiesWorksheets
The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

[1638] And Talos, the man of bronze, as he broke off rocks from the hard cliff, stayed them from fastening hawsers to the shore, when they came to the roadstead of Dicte’s haven. He was of the stock of bronze, of the men sprung from ash-trees, the last left among the sons of the gods; and the son of Cronos gave him to Europa to be the warder of Crete and to stride round the island thrice a day with his feet of bronze. Now in all the rest of his body and limbs was he fashioned of bronze and invulnerable; but beneath the sinew by his ankle was a blood-red vein; and this, with its issues of life and death, was covered by a thin skin… This is how Apollonius of Rhodes, the 3rd century BC Greek poet and scholar known for his epic poem Argonauticα‘—which recounts Jason and the Argonauts’ quest for the Golden Fleece—describes Talos, the ancient Greek automaton. https://www.theoi.com/Text/ApolloniusRhodius4.html

The myth of Talos, the man of bronze, is effectively depicted in the Talos Vase, a notable ancient Greek Volute Krater renowned for its intricate portrayal of the mythical Minoan giant. Dating back to the late fifth century B.C., and created by the so-called Talos Painter, this remarkable artefact was discovered in the necropolis of Ruvo in Apulia, Italy. Today, this significant piece is housed in the Museo Jatta in Ruvo di Puglia, where it remains an important work for the study of ancient Greek art and mythology.

The Talos Painter, a prominent figure of the ‘Rich Style’ in ancient Greek vase painting, was active during the late fifth century BC and early fourth century BC. His conventional name was assigned by J.D. Beazley due to his depiction of the mythical bronze giant Talos on the main side of the volute krater found in the necropolis of Ruvo in Apulia. Scholars suggest that he may have been a pupil of the Meidias Painter and worked, for a while, alongside the Modica Painter in the same workshop. The artist preferred decorating large vases, particularly craters and loutrophoroi, as well as Panathenaic amphorae, nuptial lebes, hydriae, and pelikes. His artistic identity is distinguished by his extensive use of shading, bold contour lines,  and white colour, which successfully conveyed, for example, the bronze body of Talos in the Ruvo Krater. The grandeur of his designs, the richly decorated garments of depicted figures, and the indication of landscape in his compositions are elements that demonstrate the artist’s awareness of the achievements of large-scale painting, and his enthusiasm to incorporate them in his own dynamic compositions.

The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

What is the specific decoration of the Talos Vase?

The Krater is adorned with intricate mythological scenes across its entire surface. On its main side, the central focus is the death of Talos, the mythical bronze giant. Talos stands at the center in a dynamic pose, arms outstretched, and legs crossed, as he powerlessly collapses. Rendered in white and yellowish hues, Talos, his muscular, bronze body beautifully rendered, is the striking protagonist of the scene. Behind Talos stands a tree trunk with sparse leaves, likely the sacred plane tree of Crete associated with Zeus and Europa’s myth. Flanking Talos are the Tyndaridae, Castor and Pollux, identifiable by inscriptions. Castor is mounted on horseback, while Pollux stands nearby, both depicted as youthful, beardless, wreathed, and beautifully dressed figures.

The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy
https://www.ancientworldmagazine.com/articles/talos-bronze-guardian/

At the rear of Pollux, the Greek painter presents a woman richly dressed in an oriental garment. She stands in a contrapposto stance, holding a sack, wreathed with ivy and wearing the Phrygian cap. She is identified as Medea, the sorceress, and she is placed in front of Argo, the boat of the Argonauts, out of which come Kalais and Zetes. At the far right, by Castor, Poseidon and his queen, Amphitrite, are presented observing the event, while on the lower right side of the composition a young girl, frightened and running away, is believed to be the personification of the island of Crete.

The Death of Talos by the Talos Painter (Side B), 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy https://www.mediastorehouse.com/fine-art-finder/artists/andrea-pisano/death-talos-greek-mythology-giant-back-38174716.html

Side B of the Talos Vase, not as well preserved as that of Side A (the Death of Talos), presents an unidentified scene of 7 figures, with the winged goddess Nike, two male figures believed to be the Dioscuri, a second, smaller in size representation of Nike,  goddess Athena, and a badly preserved, identified by name couple. Finally, the neck of the Krater, on both sides, is decorated with the God Dionysos and his lifeful companions.

For a Student Activity, inspired by the Myth of Talos, the ancient Greek automaton, please… Check HERE!

Bibliography: https://ikee.lib.auth.gr/record/124395/files/than.pdf (in Greek)

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/