Archaeology Archives - Teacher Curator

Tomb of the Leopards

December 15, 2024

by admin Archaeology Art Etruscan Art Powerpoints

**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

December 5, 2024

by admin Ancient Roman Villas Archaeology Art Mosaics Powerpoints Roman Art

**House of the Large Fountain,** 2^nd century BC to 1^st 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,** 2^nd century BC to 1^st 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.

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

November 14, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Roman Art Sculpture Student Activities Worksheets

**Head of Nemesis, the personification of attribution of Justice,** 2^nd 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,** 5^th 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,** 2^nd 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

November 5, 2024

by admin Archaeology Art Byzantine Art Byzantine Jewelry Byzantium Jewelry Medieval Art Powerpoints

**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

October 25, 2024

by admin Archaeology Art Byzantine Art Byzantine Mosaics Byzantium Early Christian Art Greek Art Student Activities Worksheets

**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 26^th 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

October 3, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Mythology Pottery Student Activities Worksheets

**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.

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.

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

September 25, 2024

by admin Archaeology Art Powerpoints Social Studies Spanish 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

September 21, 2024

by admin Ancient Egypt Archaeology Art Egypt Egyptian Art Sculpture Student Activities Worksheets

**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

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!

The Rampin Rider

September 5, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Museums Sculpture Student Activities Worksheets

**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!

Plaque with Eros as a Sleeping Child

August 26, 2024

by admin Archaeology Art Exhibitions Mythology Roman Art Student Activities Worksheets

**Plaque with Eros as a Sleeping Child and a poppy capsule, symbol of sleep,** 1^st/2^nd 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 6^th 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.

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!