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/

Bust of Prince Ankhhaf

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

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

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

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

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

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

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

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

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

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

The Rampin Rider

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

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

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

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

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

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

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

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

For a Student Activity, please Check… HERE!

Plaque with Eros as a Sleeping Child

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

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

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

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

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

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

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

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

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

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

The Torcello Hodegetria

by ArchaeologyArtByzantine ArtByzantine Church ArchitectureByzantine MosaicsByzantiumMosaicsStudent ActivitiesWorksheets
Cathedral of Santa Maria Assunta in Torcello, View of the Apse with the Mosaics of the Annunciation at the very top, the Hodegetria, and the Apostles, 11th century, Torcello, Italy http://www.thehistoryblog.com/archives/date/2020/10/06 and https://gr.pinterest.com/pin/642677809300738057/

Torcello was the mother-city of Venice, and she lies there now, a mere mouldering vestige, like a group of weather-bleached parental bones left impiously unburied. […] The church, admirably primitive and curious… is rich in grimly mystical mosaics of the twelfth century and the patchwork of precious fragments in the pavement not inferior to that of St. Mark’s… Torcello, like the Lido, has been improved; the deeply interesting little cathedral of the eighth century, which stood there on the edge of the sea, as touching in its ruin, with its grassy threshold and its primitive mosaics, as the bleached bones of a human skeleton washed ashore by the tide, has now been restored and made cheerful, and the charm of the place, its strange and suggestive desolation, has well-nigh departed… wrote Henry James in Italian Hours. Fifteen years back when I first visited Torcello, the deeply interesting little cathedra was restored and cheerful and the mosaic of The Torcello Hodegetria… a sight I will never forget! https://www.online-literature.com/henry_james/italian-hours/1/ and https://www.museodelcamminare.org/progetti/re_iter/james/james_en.html

Torcello Island, Italy https://religiana.com/torcello-cathedral
Torcello Island, View of the Cathedral of Santa Maria Assunta, the Church of Santa Fosca, and the Torcello Museum, Italy https://events.veneziaunica.it/content/basilica-santa-maria-assunta

The island of Torcello, situated in the northern part of the Venetian Lagoon, holds a significant place in the history of Venice. Established around the 5th century, Torcello is one of the earliest lagoon islands to be populated, serving as a refuge for people fleeing barbarian invasions on the mainland. During its peak in the early Middle Ages, it was a thriving center of commerce and culture, surpassing Venice in both size and influence. The island is renowned for its historic landmarks, particularly the Cathedral of Santa Maria Assunta, which dates back to 639 AD and houses some of the finest Byzantine mosaics in Italy. Despite its decline in later centuries due to malaria and the silting up of its canals, Torcello remains a captivating testament to the early development and artistic heritage of the Venetian Lagoon.

The island boasts several remarkable monuments that reflect its rich history and cultural heritage. The centerpiece is the Cathedral of Santa Maria Assunta, founded in 639 AD, and renowned for its stunning Byzantine mosaics. Adjacent to the Cathedral is the Church of Santa Fosca, a beautiful example of Byzantine-Romanesque architecture, built in the 11th century. Another notable structure is the Torcello Museum, housed in two historic buildings, the Palazzo dell’Archivio and the Palazzo del Consiglio, which display a fascinating collection of archaeological finds and medieval artefacts. The iconic Attila’s Throne, a stone chair of uncertain origin traditionally linked to the legendary Hun leader, and the ancient Devil’s Bridge, known for its distinctive shape and mysterious legends, further enrich Torcello’s historical landscape, making the island a captivating destination for history enthusiasts and travellers alike.

The Cathedral of Santa Maria Assunta, founded in 639 AD, and renovated in 1008 by its bishop, Orseolo, whose father was the Doge of Venice, stands as a magnificent testament to early Venetian history and Byzantine artistry. As the oldest cathedral in the Venetian Lagoon, it embodies a rich blend of architectural and cultural influences. The cathedral is particularly renowned for its exquisite mosaics, which date back to the 11th century. These mosaics include an imposing depiction of the Last Judgment and a majestic image of the Virgin Hodegetria. The cathedral’s ancient structure, with its elegant apse, Iconostasis, marble columns, incredible mosaic floor, and serene ambience, offers a glimpse into the early Christian art and architecture that once flourished in the region. Over the centuries, the Cathedral of Santa Maria Assunta has remained a vital link to the past, drawing visitors who seek to experience its historical and spiritual significance.

Virgin holding the Christ-Child with eleven of the apostles and St Paul, 11th century, Mosaic, Cathedral of Santa Maria Assunta, Cathedral of Santa Maria Assunta, Torcello, Italy https://www.walksinrome.com/italy-venice-torcello-santa-maria-assunta.html

The apse mosaic in the Cathedral of Santa Maria Assunta on Torcello island is a stunning masterpiece of Byzantine art, featuring the Hodegetria and the Apostles. The central figure of the Virgin Mary, depicted as the Hodegetria, stands with the Christ Child on her arm against a shimmering gold background, guiding the faithful with her serene yet commanding presence. The Hodegetria, wrapped in precious garments, and labelled in Greek, emphasises both the universal and local significance of the imagery. Below this scene, are the twelve Apostles including Saint Paul, each rendered with distinctive expressions and postures, symbolizing the foundation of the Christian Church. The Triumphal arch above showcases the Annunciation, with Gabriel and Mary on opposite sides.

Virgin holding the Christ-Child with eleven of the apostles and St Paul, 11th century, Mosaic, Cathedral of Santa Maria Assunta, Cathedral of Santa Maria Assunta, Torcello, Italy https://gr.pinterest.com/pin/305822630944977788/

The mosaic, with its intricate gold background and detailed iconography, radiates a profound sense of divine authority and spiritual tranquillity. Created in the 11th century, this artwork exemplifies the exquisite craftsmanship and deep religious devotion characteristic of Byzantine mosaics, making it one of the most revered and admired features of the Cathedral.

For a Student Activity, please… Check HERE!

Apulian Pottery Style

by Ancient Greek ArtArchaeologyArtEducationGreek ArtPotteryPowerpoints
An Apulian Red-Figured Knob-Handled Patera in the manner of the Lycurgus Painter, circa 2nd half of the 4th century BC, Diameter: 43.2 cm, Private Collection https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

The ancient Apulian Pottery Style, originating in southeastern Italy during the 4th to 3rd centuries BCE, is renowned for its distinctive and ornate red-figure technique. Characterized by elaborate scenes and mythological narratives, Apulian pottery often featured detailed depictions of figures in dynamic poses, showcasing a high level of artistic skill and storytelling. The vessels, ranging from amphorae to kraters to paterae, served both functional and decorative purposes, with intricate designs adorning their surfaces. Artists employed a rich colour palette, including red, white, and yellow, creating a visually striking contrast. The subjects depicted in Apulian pottery varied widely, encompassing mythology, daily life, and religious themes. This unique pottery style not only reflects the artistic achievements of ancient Apulia but also provides valuable insights into the cultural and social context of the time.

In July 2023, at Christie’s, an Apulian Red-Figured Knob-Handled Patera, dating back to the second half of the 4th century BC and executed in the style of the Lycurgus Painter, was auctioned with exceptional results. The patera’s interior features an Amazon on horseback, adorned in an intricate costume and panther skin, wielding a long spear while attacking a panther amidst a complex freeform foliate setting. Conversely, the exterior is decorated with a central figure of winged Eros, flanked by draped females on one side, and a centrally seated draped female, accompanied by winged Eros and another draped female, on the opposite side. This exquisite piece of pottery provides us with the opportunity to raise questions about Apulian Pottery and its significance… https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

What was the cultural and historical context of ancient Apulia during the production of the so-called, Apulian Pottery? Apulia, a region in Southern Italy colonized by the Greeks, played a significant role in the production of pottery during the 4th century BC. Over half of the recovered pottery vases from Southern Italy, particularly in modern Puglia, were crafted in Tarentum, a major Greek polis in the area. This flourishing pottery production was part of the broader phenomenon of Greek colonization in the western Mediterranean, occurring from the 8th to the 5th century BC, leading to the establishment of colonies in Southern Italy and Sicily, collectively known as Magna Graecia or ‘Great Greece.’ The influx of Greek artisans and pottery makers to these colonies facilitated the development of a unique artistic style that blended local Italic traditions with Attic aesthetics.

What is an ‘Apulian Patera’… The term ‘Apulian Patera’ typically refers to a specific shape of ancient Apulian pottery rather than a separate style. A patera is a shallow, often bowl-like vessel with a flat, wide rim. In the context of Apulian pottery, the Apulian Patera shape is commonly associated with the red-figure pottery produced in Apulia during the 4th to 3rd centuries BC. These vessels were characterized by their distinctive form, featuring a broad, flat rim with a slightly concave interior. The exterior of the bowl often displayed intricate red-figure decorations, showcasing scenes from mythology, daily life, or religious motifs. The Apulian Patera shape was popular for various functions, including serving food and libations during rituals or symposia. The artistic embellishments on these vessels, coupled with their functional design, make Apulian Patera potter an intriguing aspect of ancient Apulian artistic and cultural heritage.

How would Apulian Pottery aesthetics be described… Apulian pottery vessels exhibit distinctive aesthetic characteristics that contribute to their enduring appeal. Renowned for their red-figure technique, these vessels typically feature a lustrous black background adorned with intricate, finely drawn details in red, white, and occasionally yellow pigments. The scenes depicted on Apulian pottery often showcase a remarkable level of artistry, with figures engaged in dynamic poses and elaborate narratives drawn from mythology, daily life, or religious themes. The artists displayed keen attention to anatomical accuracy and fine details, emphasizing the expressive facial features and fluid movement of the depicted figures. The wide range of vessel shapes, including kraters, amphorae, and the characteristic Apulian Patera, further highlight the versatility of this pottery tradition. The overall effect is one of visual richness and storytelling, where each vessel becomes a canvas for the skilled artisans to convey both aesthetic beauty and cultural narratives from ancient Apulia.

For a PowerPoint of 10 Masterpieces of Apulian Pottery, please… Check HERE!