Funerary Stele of Alexibola

by Ancient Greek ArtArchaeologyArtEducationGreek ArtHellenistic ArtPowerpointsSculpture
Alexibola: Funerary Stele with Scene of Greeting, early 3rd century BC, Marble, Archaeological Museum of Thera, Greece
https://www.ias.edu/ideas/2017/chaniotis-world-of-emotions

Among the treasures of the Archaeological Museum of Thera, the Funerary Stele of Alexibola stands out as a moving testament to the emotional depth of Classical Greek art. Carved in marble in the early 3rd century BC, the relief depicts Alexibola, the deceased, standing before a seated older man, probably her father, as they exchange a final, tender farewell. The woman’s gesture, gently touching the man’s beard, is met by his reciprocal touch on her arm, creating a moment of quiet intimacy and profound affection. Their calm expressions and composed postures convey sorrow and love without excess, embodying the Greek ideal of dignity even in grief.

Displayed in the acclaimed 2017 exhibition “A World of Emotions: Greece, 700 BC–AD 200” (Onassis Cultural Center, New York; Acropolis Museum, Athens), this stele beautifully illustrates how emotion was central to Greek experience. As curator Angelos Chaniotis observed, emotions shaped Greek culture no less than reason. The stele of Alexibola reveals how artists of the Classical world captured not only the likeness of individuals but also the enduring human capacity for feeling, transforming private loss into timeless art.

Funerary stelae held a vital place in ancient Greek art, serving as both commemorations of the dead and reflections of deeply personal emotion within a public setting. These marble reliefs, often depicting the deceased in moments of quiet interaction with loved ones, reveal how the Greeks balanced restraint and feeling, translating private grief into graceful, idealized form. Rather than dramatic displays of sorrow, they communicate emotion through subtle gestures: a clasped hand, a downward gaze, or a tender touch. The Stele of Alexibola exemplifies this tradition perfectly, its depiction of a final farewell between a daughter and her father transforms the pain of parting into a timeless image of love, respect, and composure. Through such works, Greek artists gave emotional depth to stone, reminding viewers that even in death, the bonds of human affection endure.

The Funerary Stele of Alexibola was discovered on the Cycladic island of Thera, modern Santorini, an island that has long held a significant place in the history of Greek art and culture. Thera was a thriving center of Aegean civilization, strategically located between Crete and mainland Greece, and its artistic legacy reflects this blend of influences. From the vivid frescoes of the prehistoric settlement at Akrotiri, which reveal a sophisticated visual culture rivaling that of Minoan Crete, to later Classical and Hellenistic sculptures such as the stele of Alexibola, Thera demonstrates the island’s continuous engagement with the broader artistic currents of the Greek world. The stele itself embodies the island’s role as both participant in and preserver of Greek aesthetic value, melding technical mastery with emotional subtlety, and reminding us that even on this volcanic outpost, art served as a bridge between personal memory and collective tradition.

Alexibola: Funerary Stele with Scene of Greeting, early 3rd century BC, Marble, Archaeological Museum of Thera, Greece
https://www.greece-is.com/millennia-tour-santorini-ages/

Today, the Funerary Stele of Alexibola continues to speak across millennia, its message as clear and touching as when it was first carved. In its quiet grace, we recognize the timeless human emotions of love, loss, and remembrance, feelings that unite us with those who lived and grieved long ago. The simplicity of the figures, their tender gestures, and the dignified calm of their farewell remind us that art can express what words often cannot. Through Alexibola’s parting moment with her father, we are invited into an intimate world where ancient stone becomes a vessel for enduring emotion, proving that even in silence, the human heart has always sought connection, beauty, and meaning.

For a PowerPoint Presentation of important ancient Greek Funerary Stele, please… Check HERE!

Bibliography: https://www.ias.edu/ideas/2017/chaniotis-world-of-emotions

More Posts on ancient Greek Funerary Stele by Teacher Curator… https://www.teachercurator.com/art/hegeso-daughter-of-proxenos/ and https://www.teachercurator.com/ancient-greek-art/telling-us-goodbye/ and https://www.teachercurator.com/ancient-greek-art/grave-stele-of-a-youth-and-a-little-girl/

The Consular Diptych of Anicius Faustus Albinus Basilius

by ArchaeologyArtByzantine ArtByzantine IvoriesByzantiumEarly Christian ArtEducationMuseumsSocial StudiesStudent ActivitiesWorksheets
Consul Basilio with personification of Rome and chariot race, 541 – 541, Plaque of an Ivory Consular Diptych, 34.5×12.9 cm, National Museum of Bargello, Florence, Italy – Photo Credit: Amalia Spiliakou, April 2025
Ivory Angel fragment of a diptych valve, 6th Century, Ivory, Museum of Ancient Art in the Castello Sforzesco, Milan, Italy
https://www.alamy.com/ivory-angel-from-bottega-romana-fragment-of-a-diptych-valve-6th-century-museum-of-ancient-art-in-the-castello-sforzesco-sforza-castle-in-milan-italy-image223703517.html

The Bargello panel of The Consular Diptych of Anicius Faustus Albinus Basilius (consul in 541 AD) offers a vivid glimpse into the ceremonial splendor and political symbolism of late antiquity. Carved in fine ivory, the plaque depicts the Consul Basilio standing frontally beside the personification of Rome, who crowns him with a laurel wreath, a timeless emblem of civic and military virtue. Below unfolds a chariot race, a rare and dynamic motif symbolizing the public games that marked the consul’s inauguration. The consul holds both the scipio topped with a cross and the mappa circensis, the cloth used to signal the start of the races, fusing Christian and traditional Roman imagery in a moment of political theater.

Once hinged to a now-separated companion leaf, the Milan panel (Avori 10, Castello Sforzesco), the Bargello relief would have formed one side of a luxurious diptych presented to commemorate Basilius’s consulship. The Milan fragment, showing Victory presenting the consul’s portrait within a clipeus, completes the scene’s message of divine favor and public virtue. Together, these ivories capture the final flowering of the consular tradition, bridging Roman civic ideals and Byzantine court aesthetics, and reflecting a world where art served both as devotion and as declaration of power.

Consular diptychs were luxurious paired ivory panels created in the late Roman and early Byzantine periods to commemorate the inauguration of a consul, one of the highest offices in the empire. Traditionally carved on the inside to hold wax for writing, these diptychs evolved by the 4th and 5th centuries into richly decorated ceremonial gifts rather than practical objects. Newly appointed consuls commissioned them to celebrate their accession and distributed them to friends, allies, and dignitaries as tokens of prestige and gratitude. The front surfaces were elaborately carved with scenes of the consul’s investiture, imperial imagery, or allegorical figures such as Victory or Rome, while inscriptions proclaimed the consul’s name and titles. Their iconography—often showing the consul presiding over games, dispensing largesse, or associated with divine favor—served to reaffirm the continuity of Roman civic traditions even as imperial power shifted eastward to Constantinople.

Anicius Faustus Albinus Basilius, consul in 541 CE, was a distinguished member of the ancient and influential Anicii family, one of the last great senatorial lineages of Rome. His career unfolded during a turbulent period in the Gothic War and the final years of the Western Roman aristocracy. Before attaining the consulship, Basilius held prominent administrative posts, including comes domesticorum (commander of the imperial household guard) and patricius, titles that reflected both his rank and his proximity to the imperial court. Appointed consul by Emperor Justinian I, he was the last man to hold the title in the Western tradition. After his term, the consulship ceased to exist as an independent civic office and became an imperial prerogative. His consular games, commemorated by the magnificent ivory diptych now divided between Florence and Milan, symbolized both the enduring prestige of Rome’s senatorial elite and the transformation of Roman political culture under Byzantine rule. Basilius’s life thus marks a poignant historical threshold: he stood at the end of Rome’s ancient civic offices and the dawn of a new, imperial order dominated by Constantinople.

The Consular Diptych of Anicius Faustus Albinus Basilius, divided today between the Bargello Museum in Florence and the Museo delle Arti Decorative in Milan, stands as one of the most compelling survivals of sixth-century ivory art. Created in 541 CE to commemorate Basilius’s consulship—the last in the Western Roman tradition—the two panels once formed a hinged pair, uniting political ceremony, imperial iconography, and refined craftsmanship. The Bargello panel represents the consul’s public and civic identity, while the Milan plaque embodies the divine and honorific aspects of his role, creating a complete visual narrative of authority and virtue.

Consul Basilio with personification of Rome and chariot race, 541 – 541, Plaque of an Ivory Consular Diptych, 34.5×12.9 cm, National Museum of Bargello, Florence, Italy – Photo Credit: Amalia Spiliakou, April 2025

The Bargello panel presents Basilius standing frontally in full consular regalia beside the personification of Rome, who crowns him with a laurel wreath, a symbol of victory and civic honor. In his hands, the consul holds the scipio topped with a cross and the mappa circensis, signaling the opening of the chariot races carved below in vivid relief, where teams of four-horse chariots turn around the spina of the circus. This combination of Christian and traditional Roman imagery reflects the fusion of old civic ritual with new imperial faith. The Milan plaque, by contrast, depicts a winged Victory seated on a globe, her feet resting on an eagle’s outstretched wings as she presents a clipeus containing Basilius’s portrait. Around it runs the inscription BONO REI PVBLICAE ET ITERVM (For the good of the Republic, and again), proclaiming the consul’s service to the state. Together, these compositions balance earthly power and celestial sanction, merging public ceremony with divine endorsement.

Aesthetically, the two panels reveal both unity and distinction. The Bargello panel is dense and narrative, crowded with human figures and architectural motifs that emphasize movement and civic spectacle. The Milan panel, in contrast, is more restrained and idealized, its composition centered, symmetrical, and imbued with spiritual calm. The Milanese Victory, delicately modeled and classically poised, recalls earlier Roman traditions of divine personification, while the Bargello figures are more rigid, their proportions elongated, their gestures formalized in the emerging Byzantine style. The difference in tone, public versus celestial, active versus contemplative, suggests that the two leaves were designed as complementary expressions of the same ideology: the earthly authority of the consul validated by divine and imperial favor.

Viewed together, the two ivories encapsulate the final synthesis of Roman civic art and Byzantine symbolism. They celebrate the consulship not merely as an office but as a sacred performance of continuity between past and present, Rome and Constantinople, man and empire. Their divided survival, one in Florence, one in Milan, mirrors the historical fragmentation of the world that produced them, yet their shared message endures: that power, piety, and artistic excellence could still converge in the twilight of antiquity. As such, the diptych of Basilius stands not only as a testament to individual glory but as a poignant farewell to the visual language of Roman public life.

For a Student Activity, please… Check HERE!

Bibliography: Representing consulship: on the conception and meanings of the consular diptychs, by Cecilia Olovsdotter, OpAthRom 4, 2011, 99-124 https://www.academia.edu/11849854/Representing_consulship_on_the_conception_and_meanings_of_the_consular_diptychs_OpAthRom_4_2011_99_124?utm_source=chatgpt.com and https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900645430

Tomb of Hunting and Fishing

by ArchaeologyArtEducationEtruscan ArtSocial StudiesStudent ActivitiesUncategorizedWorksheets
Etruscan Tomb of Hunting and Fishing, 520-510 BC,Necropoli dei Monterozzi, near Tarquinia, Lazio, Italy Photo Credit: Amalia Spiliakou, April 2025

The Etruscans, a powerful and enigmatic civilization of central Italy, played a vital role in shaping the cultural foundations later adopted by the Romans. Renowned for their elaborate funerary customs, they believed in providing for the dead in ways that reflected both status and the joys of earthly life, leading to the creation of richly decorated tombs that serve as lasting testaments to their artistry and worldview. The Necropoli dei Monterozzi near Tarquinia exemplifies this tradition, as one of the most important burial grounds of the ancient Mediterranean, where hundreds of painted chambers offer a vivid glimpse into Etruscan society. Among these, the Tomb of Hunting and Fishing, dating to around 520–510 BC, stands out for its lively frescoes that celebrate nature, leisure, and the afterlife, making it a masterpiece of Etruscan funerary art.

The Necropoli of Monterozzi – Photo Credit: Xanthippi Glavopoulou

The Necropoli of Monterozzi holds immense archaeological significance as it preserves the largest collection of painted Etruscan tombs, offering unparalleled insight into the beliefs, daily life, and artistic achievements of this ancient culture. Discovered in the early nineteenth century, the site quickly became a focal point for antiquarian interest, with early excavations often driven more by the desire to uncover treasures than by scientific methods. Over time, however, more systematic archaeological approaches have revealed the necropolis’ historical depth, documenting over 6,000 tombs ranging from simple chamber burials to elaborately decorated family vaults. The frescoes, in particular, have transformed scholarly understanding of Etruscan society, as they preserve vibrant scenes of banquets, rituals, and natural landscapes that rarely survive in other contexts, making Monterozzi a cornerstone in the study of pre-Roman Italy.

Etruscan Tomb of Hunting and Fishing, 520-510 BC,Necropoli dei Monterozzi, near Tarquinia, Lazio, Italy – Photo Credit: Amalia Spiliakou, April 2025

The Tomb of Hunting and Fishing, discovered in 1873 during a period of intensive investigation at the Necropoli of Monterozzi, represents one of the most significant finds of late nineteenth-century Etruscan archaeology. Documentation from the time, however, provides only fragmentary information regarding the circumstances of its excavation, the personnel involved, and the precise condition of the monument upon opening. Despite these gaps, contemporary commentators consistently remarked upon the striking preservation of the painted decoration, noting with particular interest the unprecedented imagery of fishermen, hunters, and divers that expanded the known repertoire of Etruscan funerary art. Although anecdotal testimony concerning local responses or early interventions is scarce, the tomb rapidly entered scholarly discourse and has since been recognized as an essential source for understanding the interplay of ritual, daily life, and conceptions of the afterlife in Etruscan culture.

Crucial to the legacy of the Tomb of Hunting and Fishing are the watercolours produced by the artist Gregorio Mariani soon after its discovery. His meticulous reproductions, later published in chromolithograph form, captured the vibrant hues and delicate details of the frescoes at a moment when they were far fresher than today. These images not only provided scholars with reliable records of motifs that have since deteriorated, but also played a vital role in popularizing the tomb’s significance within the wider field of Etruscan studies. Original Mariani watercolours are preserved in the archives of the German Archaeological Institute in Rome, while facsimile reproductions can be found in the Ny Carlsberg Glyptotek in Copenhagen. In this way, Mariani’s work serves as both an artistic achievement and a scientific tool, bridging the gap between nineteenth-century discovery and modern scholarship.

The Tomb of Hunting and Fishing is a two-chambered burial space whose walls are adorned with some of the most dynamic and evocative frescoes in Etruscan art. The imagery vividly depicts scenes of everyday leisure and subsistence: Dionysian figures dancing in a sacred grove, hunters chasing game, fishermen casting nets, youths diving into clear waters, and birds in flight above lush landscapes.

Gregorio Mariani, Tomba della Caccia e Pesca, Facsimile olio su tela, Ny Carlsberg Glyptotek HIN 0091-3 -© Ny Carlsberg Glyptotek, Copenaghen; foto Ole Haupt https://journals.openedition.org/mefra/8455
Etruscan Tomb of Hunting and Fishing, 520-510 BC,Necropoli dei Monterozzi, near Tarquinia, Lazio, Italy – Photo Credit: Amalia Spiliakou, April 2025

In the antechamber, the frescoes depict nearly naked figures engaged in what appears to be a Dionysian ritual dance, set within a grove adorned with ribbons, wreaths, mirrors, and cistae. Reclining satyrs holding rhytoi occupy the gable of the entry wall, underscoring the influence of the cult of Dionysus on Etruscan religion and funerary practices. On the back wall, a hunting scene unfolds, with hunters and dogs returning with their quarry through a lush, almost tropical landscape filled with vibrant vegetation. This juxtaposition of ritual and daily activity illustrates both spiritual and worldly dimensions, highlighting the Etruscans’ belief in the continuation of life’s pleasures beyond death.

Gregorio Mariani, Tomba della Caccia e Pesca, Facsimile olio su tela, Ny Carlsberg Glyptotek HIN 0091-3 -© Ny Carlsberg Glyptotek, Copenaghen; foto Ole Haupt https://journals.openedition.org/mefra/8455

In the main burial chamber, the frescoes shift focus from activity to celebration, illustrating scenes that suggest both ritual and leisure. Youths are depicted diving and swimming in carefully delineated waters, while birds and aquatic creatures populate the surrounding environment, emphasizing a harmonious interaction between humans and nature. The figures are arranged in continuous sequences that convey narrative flow, as if time itself is unfolding across the walls. Here, the painter employs brighter pigments and more elaborate detailing, particularly in the depiction of musculature, drapery, and facial expressions, giving the scenes a remarkable sense of immediacy and life. Together, the two chambers combine to create a vision of an idealized Etruscan existence, where work, sport, and the pleasures of the natural world coexist with an underlying sense of spiritual continuity.

The composition is notable for its sense of movement and rhythm, as figures and animals are arranged in continuous, flowing sequences that suggest both narrative and ritual significance. Bright ochres, reds, and blues bring the scenes to life, while careful attention to proportion and perspective conveys depth and realism unusual for the period. Beyond their aesthetic appeal, the frescoes offer a profound insight into Etruscan conceptions of the afterlife, suggesting a vision in which the pleasures and activities of earthly existence continue beyond death, making the tomb not only a funerary monument but also a celebration of life itself.

For a Student Activity inspired by the frescoes in the Antechamber of the Tomb of Hunting and Fishing, please… Check HERE!

Bibliography: Abundance of Life: Etruscan Wall Painting, by Stephan Steingräber https://books.google.gr/books?id=K25ydBTGhbkC&pg=PA95&redir_esc=y#v=onepage&q&f=false and Anni 1880: Tomba della Caccia e Pesca e Tomba degli Auguri https://journals.openedition.org/mefra/8455

Poliochne on Lemnos

by Ancient Greek ArtArchaeologyArtBronze Age ArtEducationGreek ArtPowerpointsPrehistoric Art
Poliochne on Lemnos, one of the earliest European settlements (Early Bronze Age, c. 3200–2100 BCE), with its maze-like houses and public squares revealing the social organization and daily life of its inhabitants. – Photo Credit: Amalia Spiliakou, July 2025

Visiting the ancient settlement of Poliochne on Lemnos offered a rare opportunity to step directly into the early stages of European urban history. Walking among the remains of its carefully planned streets and multi-roomed houses, I was struck by how vividly the site conveys the ingenuity and social organization of its Bronze Age inhabitants. Poliochne, often regarded as one of Europe’s earliest towns, reveals a level of architectural and cultural sophistication that challenges modern assumptions about prehistoric life. Through the photographs I captured on-site, I hope to share both the tangible traces of this remarkable settlement and the sense of awe that comes from encountering a place where history feels immediately present.

Poliochne, on the eastern coast of Lemnos, flourished as a major urban center of the Early Bronze Age. Established around the mid-fifth millennium BC and occupied until the end of the second millennium BC, it prospered thanks to its strategic location between Asia Minor and the Aegean, with safe anchorage, fertile land, and abundant freshwater. Archaeological evidence reveals a sophisticated settlement with strong fortifications, public squares, paved streets with drains, wells, and both modest houses and large mansions, reflecting a complex social and civic structure. Its development unfolded through successive cultural phases, marked by advances in architecture, pottery, metallurgy, and trade, while its decline in the late third millennium was likely triggered by a devastating earthquake. Closely connected to Troy, Thermi on Lesbos, and other centers of the Northeast Aegean, Poliochne was a hub of commerce and innovation, leaving a lasting imprint on early urban life in the wider region.

Opened in the west side of the settlement at Poliochne is the main gate, terminus also of the central thoroughfare 102. Both the street and the gateway appear to have been part of the first urban plan of the settlement, which is dated to the Blue period, and were kept unchanged throughout almost its entire existence, with some additions and local interventions. 
Photo Credit: Amalia Spiliakou, July 2025

Poliochne, first established during the Final Neolithic period, developed through successive architectural phases that archaeologists have identified by color. In the earliest Black Period (3700–3200 BC), a modest cluster of oval huts built of wood and straw stood at the hill’s center. The following Blue Period (3200–2700 BC) saw dramatic growth: the settlement expanded, a fortification wall was erected on the mainland side, and the urban plan became more organized. Oval huts gave way to apsidal and oblong houses, and public buildings began to appear, including the so-called Bouleuterion, likely a meeting hall for civic leaders, and a large communal granary capable of storing vast quantities of food. By the Green Period (2700–2400 BC), the city expanded further northward with new retaining walls, extended defenses, redesigned gates, and a carefully laid-out road system with squares and wells, reflecting a thriving and increasingly complex urban society.

One of the most intriguing aspects of Poliochni is the evidence of democratic structures within its society. Central to this is the “Bouleuterion,” a communal meeting space that points to the practice of collective decision-making, It served as a gathering place for the city’s inhabitants to discuss and decide on matters of common interest, reflecting an early form of democratic governance.
https://www.thearchaeologist.org/blog/poliochni-of-lemnos-the-oldest-city-in-europe-and-a-cradle-of-democracy and Photo Credit: Amalia Spiliakou, July 2025

In the Red and Yellow Periods (2400–2100 BC), Poliochne contracted in size but reached a peak in monumental architecture. This was the era of the first megarons, rectangular halls that may have served as proto-palatial residences or civic buildings, such as Megaron 832 and Megaron 317. The city’s centerpiece in the Yellow Period was Megaron 605, a grand structure with storerooms situated on a central square, thought to have been the seat of a ruler or elite household. The discovery nearby of a golden hoard, comparable to treasures unearthed at Troy, underscores Poliochne’s wealth and regional importance. A well-preserved network of streets, including a main north–south thoroughfare, demonstrates advanced urban planning. Yet, around 2100 BC, a devastating earthquake destroyed much of the settlement, leading to its gradual decline. Later phases, the Brown and Purple Periods (2100–1200 BC), saw only sparse occupation without the monumental scale of earlier centuries, marking the fading of one of Europe’s earliest urban centers.

Archaeological excavations at Poliochne began in the 1930s under the direction of the Italian School of Archaeology at Athens, led by Alessandro Della Seta, who uncovered nearly two-thirds of the site between 1931 and 1936. These pioneering investigations revealed the multi-phased settlement and established Poliochne as one of the earliest urban centers in Europe. Further campaigns were carried out between 1951 and 1956 by Luigi Bernabò Brea, whose detailed publications systematized the site’s stratigraphy and architectural sequence. Renewed work in the late 20th century, under Sandro Tiné, combined excavation with architectural restoration and conservation, re-examining earlier findings with modern methods. Today, the site remains an exemplary case of early Aegean archaeology, where stratigraphic precision and long-term international collaboration have illuminated the development of urban life in the prehistoric Aegean.

For a PowerPoint Presentation of the Bronze Age Seplement of Poliochne, please… Check HERE!

Bibliography: http://odysseus.culture.gr/h/3/eh351.jsp?obj_id=2534 and https://www.greeknewsagenda.gr/poliochne-on-the-island-of-lemnos-the-earliest-evidence-of-social-and-civic-structure-in-europe/ and https://sites.dartmouth.edu/aegean-prehistory/lessons/lesson-7-narrative/

Head of Aphrodite of the Aspremont-Lynden/Arles type 

by Ancient Greek ArtArchaeologyArtByzantiumEarly Christian ArtEducationGreek ArtRoman ArtSculptureSocial StudiesStudent ActivitiesWorksheets
Head of Aphrodite of the Aspremont-Lynden/Arles type, 1st c. AD copy of an original 4th century BC work by Praxiteles, Marble, possibly Parian (Marathi), Height: 32 cm, National Archaeological Museum, Athens, Greece
https://blogs.getty.edu/iris/the-christian-empire-that-grew-from-classical-roots/

The Head of Aphrodite of the Aspremont-Lynden/Arles type, housed in the National Archaeological Museum in Athens, offers a compelling glimpse into the classical ideals of beauty and divinity shaped by the legacy of Praxiteles. As a copy of a lost 4th-century BC original, possibly the first known depiction of Aphrodite with a nude upper body, this sculptural type reflects the evolving representation of the goddess, bridging the serene sensuality of the Aphrodite of Knidos with the more voluptuous forms of later works like the Aphrodite of Melos. The surviving head, now divorced from its torso, carries echoes of a refined, yet idealized femininity that would influence Roman and Renaissance aesthetics alike. Its later restoration by François Girardon, under the patronage of Louis XIV, introduced symbolic elements like the mirror and apple, both deeply charged with mythological meaning, underscoring not just Aphrodite’s divine allure, but also the enduring power of classical art to adapt to new cultural narratives. An incised cross on her forehead, likely added in the early Christian era, marks a moment when pagan imagery was recontextualized within a new religious worldview.

Carved from Parian marble, the Head of Aphrodite once belonged to an over-life-size statue of a clothed Aphrodite, though some scholars have suggested it may instead portray the famed courtesan Phryne due to its individualized features. The face, turned slightly to the right, is serene and harmonious, with soft, fleshy contours and delicately incised features: a smooth triangular forehead framed by parted curls, a broad nose (now broken), full lips, and a rounded chin. A thick bun gathers the hair at the nape, secured by a wide band. The eyes, beneath gently curved brows, show signs of deliberate Christian-era defacement, likely part of an effort to “close” the eyes and “silence” the mouth. A small, incised cross on the forehead reinforces this reinterpretation of pagan art within a Christian context, suggesting the statue may have been reused as a sacred image. Despite the damage, most notably to the nose and facial extremities, the head remains in relatively good condition and serves as a compelling testament to both the endurance of classical ideals and their transformation in later religious and cultural landscapes.

Head of Aphrodite of the Aspremont-Lynden/Arles type, 1st c. AD copy of an original 4th century BC work by Praxiteles, Marble, possibly Parian (Marathi), Height: 32 cm, National Archaeological Museum, Athens, Greece
https://x.com/ArysPan/status/1513155769000247301/photo/1

The statue’s discovery near the Clock of Andronikos Kyrrhestes in the Roman Agora of Athens further grounds it in the layered urban fabric of ancient Athens, where temples, markets, and later churches coexisted and often repurposed one another’s remains. This setting, close to the sanctuary of Aphrodite and Eros on the north slope of the Acropolis, reinforces the likelihood that the statue originally served a votive or cultic function. The artistic style—marked by its naturalistic modeling, graceful asymmetry, and subtle anatomical details like the “Venus rings” on the neck—embodies the Praxitelian ideal of ethereal beauty softened by human warmth. In this way, the head is not only a remnant of a once-complete devotional image but also a rare survivor of artistic transitions: from Classical to Hellenistic, pagan to Christian, and ultimately, from sacred object to museum artifact.

For a Student Activity, please… Check HERE

Bibliography: https://blogs.getty.edu/iris/the-christian-empire-that-grew-from-classical-roots/ and https://collections.louvre.fr/en/ark:/53355/cl010277986

Hephaistia on the island of Lemnos

by Ancient Greek ArtArchaeologyArtEducationGreek ArtPowerpoints
Ancient Theater of Hephaistia, late 5th to early 4th century BC, Lemnos Island, Greece
One of the most important monuments of Lemnos, this theater reflects the transition from the Classical to the Hellenistic world, later remodeled during the Roman period.
Photo Credit: Amalia Spiliakou, July 2025

When I visited the ancient city of Hephaistia on the island of Lemnos in July 2025, the quiet hills and open sea breeze made it easy to imagine how myth and daily life once blended here. Named after Hephaestus, the god of fire and metallurgy who, according to legend, fell to Lemnos after being cast from Olympus, the city was the island’s principal center of power and worship. Today its ruins still speak volumes: the stone outlines of sanctuaries and houses, the tombs that reveal centuries of life, and the well-preserved theater that once echoed with civic gatherings and performances. To walk through Hephaistia is not only to step into a serene landscape but also to encounter a city that thrived from the Late Bronze Age through the Byzantine era, balancing myth, religion, and community in a way that remains profoundly compelling.

Hephaistia was once the most important city of Lemnos, rivaling the nearby settlement of Myrina. Its strategic position overlooking the northern Aegean not only provided natural protection but also allowed it to thrive as a gateway for trade, culture, and religious influence. It became both a political hub, where decisions shaping the island were made, and a sacred site intimately tied to the cult of Hephaestus, whose fiery craft was thought to resonate with the island’s volcanic landscape. Archaeological discoveries confirm continuous habitation for centuries, revealing a layered history of prosperity and resilience. The diversity of remains — from private homes and storerooms to public baths, temples, and meeting spaces — paints a picture of a bustling, interconnected community. Hephaistia was not merely a seat of power but also a place where religious rituals, artistic performances, and everyday exchanges intertwined, embodying the rhythms of civic life in antiquity.

The site’s most striking feature is its ancient theater, an elegant structure carefully restored and still able to convey the sense of grandeur it must have radiated in antiquity. Standing there today, it is easy to imagine the rows filled with citizens gathering for performances, debates, and rituals that reinforced the city’s identity. The theater’s semicircular form, perfectly attuned to the surrounding landscape, frames a view toward the sea, giving performances a backdrop as dramatic as the plays themselves. From its stone tiers, one can almost hear the echoes of voices that once rose into the open air, carrying words of tragedy, comedy, and civic discourse. Around this centerpiece lie the ruins of temples, altars, and burial sites, which together provide a vivid window into the spiritual and social fabric of the city. Excavations have also uncovered ceramics, inscriptions, and structural remains, each artifact adding detail to Hephaistia’s long history, from its Bronze Age foundations to its significance under Roman rule. For today’s visitors, these ruins are more than silent stones; they are a tangible bridge between myth and history, where ancient legend is grounded in the enduring presence of place.

What impressed me most was the atmosphere of the place: quiet, open, and touched by the Aegean winds. Unlike busier archaeological sites in Greece, Hephaistia retains a sense of tranquility that invites reflection. Standing in the theater, looking out toward the sea, I felt connected not just to the myths of Hephaestus but also to the generations of people who once called this city home. It is a site that combines scholarly richness with an emotional pull, offering both education and inspiration to those who walk its paths.

The ancient city of Hephaistia is more than a collection of ruins, it is a living reminder of how mythology, community, and history intertwine. For travelers interested in both the educational depth of archaeology and the personal resonance of travel, the city offers a unique and rewarding experience. My walk among its stones left me with a profound sense of connection, to myth, to history, and to the enduring spirit of Lemnos.

For a PowerPoint Presentation, please… Check HERE!

Bibliography: https://greekreporter.com/2025/08/01/hephaistia-ancient-greek-city-limnos/ and https://en.wikipedia.org/wiki/Hephaestia and https://efales-lem.gr/en/ancient_site/%CE%B7%CF%86%CE%B1%CE%B9%CF%83%CF%84%CE%AF%CE%B1/

Kylix with a School Boy

by Ancient Greek ArtArchaeologyArtGreek ArtPotterySocial StudiesStudent ActivitiesWorksheets
Terracotta kylix (drinking cup), Attributed to the Painter of Munich 2660, ca. 460 BC, Terracotta, Red Figure, 7×20 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/250548

On September 11, as Greek students step into classrooms to begin the 2025–26 academic year, it feels fitting to look back, far back, to what might have been another ‘first day of school’ in antiquity. The Kylix with a School Boy, attributed to the Painter of Munich 2660 and now housed at The Metropolitan Museum of Art in New York, portrays a young boy carrying his writing tablet. More than two millennia later, his composed walk to class still speaks to a timeless truth: the anticipation, curiosity, and quiet rituals of learning are as old as civilization itself.

The Terracotta Kylix with Schoolboys, attributed to the Painter of Munich 2660 by Beazley, an unknown Greek red-figure painter of the early Classical period, offers a vivid glimpse into the routines and playfulness of ancient education. On the interior, a single schoolboy walks purposefully, carrying a hinged writing tablet by its handle, the tying string carefully rendered by the artist. Dressed in a himation and crowned with a wreath, he embodies the dignity of the student role, yet also the ritualized formality of Athenian youth. The precision in depicting the tablet’s details reminds us of the centrality of writing and record-keeping in Greek learning, even in the mid-5th century BC.

The exterior scenes expand the narrative into small, lively vignettes. On one side, two boys, one holding a manuscript roll, the other a tablet, approach a seated “teacher” grasping a stick, who appears identical in age and attire to his pupils, hinting that this may be a game of role reversal. On the other, a standing ‘teacher’ offers a short branch, perhaps a symbolic prize, to the head of the class, while another boy waits patiently with his walking stick. Mantles and wreaths adorn all the figures, blurring distinctions between play and instruction. In both scenes, the kylix captures not only the tools and gestures of ancient schooling but also the social interplay, imitation, and camaraderie that have always been part of the learning experience.

The Metropolitan Museum Kylix with Schoolboys reflects an aesthetic of modest charm rather than meticulous precision. Its scenes, while simply composed, convey a quiet narrative warmth: the boys, neatly draped in their himatia and crowned with wreaths, are rendered as polite, attentive pupils, slightly awed by their teacher. The painter, a successor to the tradition of Douris, specialized in cups showing boys and youths in calm, restrained poses, pleasing works that may lack distinction but exude an approachable grace. Characteristic details mark his hand: the small dot of the iris that often touches neither eyelid, the gentle downward curve of the mouth, the short, rhythmic strokes shaping the hair around face and neck, the continuous line defining the fingertips, and the single sweeping curve for the ankle. Though not executed with the highest refinement, the kylix’s aesthetic lies in its unpretentious storytelling, making it a quietly endearing example of early Classical vase painting.

For a Student Activity inspired by the Metropolitan Museum of Art Kylix, please… Check HERE!

Bibliography: Red-Figured Athenian Vases in the Metropolitan Museum of Art, Vol. 1 and 2, by Gisela M. A. Richter, Pages: 136-137 https://books.google.gr/books?id=M85NBgAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&redir_esc=y#v=onepage&q&f=false and https://www.metmuseum.org/art/collection/search/250548

The Elderly Couple from Voltera

by ArchaeologyArtEtruscan ArtMuseumsSculptureSocial StudiesStudent ActivitiesWorksheets
Etruscan Urn of an Elderly Couple, 1st century BC, Terracotta, Museo Etrusco Guarnacci, Volterra, Italy – Photo Credit: Amalia Spiliakou, April 2025

Among the most evocative remnants of Etruscan funerary culture are the terracotta urns that once housed the ashes of the deceased, vessels not only of the body but of memory and identity. Urns featuring reclining couples engaged in a perpetual banquet scene offer a powerful glimpse into Etruscan beliefs about death and the afterlife. These intimate portrayals, often found in burial contexts, reflect a society that viewed death not as an end but as a continuation of life’s pleasures and social bonds. The Elderly Couple from Volterra, a remarkable terracotta lid housed in the Voltera Museo Etrusco Guarnacci, stands as a moving example of this tradition. Depicting a serene, aging pair side by side in eternal repose, the work speaks volumes about affection, legacy, and the Etruscan celebration of human connection beyond the grave.

I visited the Museo Etrusco Guarnacci in April 2025, drawn by its reputation as one of the oldest public museums in Europe, and I was not disappointed. The museum holds a quiet, contemplative atmosphere that feels perfectly suited to its long history and the ancient civilization it celebrates. Housed in the elegant Palazzo Desideri-Tangassi since 1877, the museum is the result of the extraordinary efforts of Mario Guarnacci, an 18th-century Volterran abbot and historian whose passion for antiquity helped preserve the city’s rich Etruscan heritage. Guarnacci’s vision was unusually forward-thinking: he not only amassed a remarkable collection but donated it to the public, ensuring that Volterra’s archaeological treasures remained in local hands and accessible to future generations.

Walking through the galleries, I was struck by the contrast between the museum’s two “souls.” Some rooms retain their 19th-century atmosphere, where rows of urns and shelves of artifacts sit densely arranged according to material or motif, reflecting a historical approach to display. Other sections have been redesigned to offer a modern, more interpretive experience, with carefully selected pieces presented along a chronological path that brings the Etruscan story into clearer focus. The upper floor, dedicated to Hellenistic Volterra, captures the artistic and cultural vitality of the city just before its integration into the Roman world, while the ground floor offers an elegant introduction to its earlier phases, from Villanovan to Classical.

What makes the Museo Guarnacci so special is how naturally it fits within the fabric of Volterra itself. This is a city where history isn’t hidden behind glass, it’s embedded in its walls, streets, and rhythm of life. The museum doesn’t just preserve Etruscan culture, it reinforces the living dialogue between past and present that defines Volterra’s character. Its locally sourced collection, displayed in a building that reflects layers of the city’s own evolution, makes the museum feel less like a separate institution and more like a thoughtful extension of the city’s identity. Visiting it was not just an exploration of ancient artifacts, but of the cultural values that continue to shape Volterra today.

The lid of the so-called Urn of the Elderly Spouses, now one of the most iconic pieces in the Museo Etrusco Guarnacci in Volterra, offers a rare and moving glimpse into Etruscan funerary art. Discovered in 1743 in a chamber tomb at the Ulimeto necropolis, the 41 cm in height terracotta piece, depicts an elderly married couple reclining together on a banquet couch, a klinai, a motif deeply rooted in Etruscan traditions of commemorating the dead as participants in eternal feasting. Intriguingly, both hollow figures feature large openings at the top of their heads, possibly designed for the insertion of ashes, raising the possibility that this piece served not merely as a lid but as the urn itself. The male figure rests in a semi-recumbent pose, while the woman, unusually, lies prone and raises her face toward him, her missing forearm suggesting she may once have been shown in a tender, caressing gesture. Both are dressed in tunics and cloaks, with the woman’s garment sleeveless, and the sculptor emphasized signs of age, wrinkles, sagging cheeks, thinning hair, imbuing the scene with poignant realism. Likely commissioned in the 1st century BC, the work draws on older iconography to evoke dignity, memory, and shared legacy.

Etruscan Urn of an Elderly Couple, 1st century BC, Terracotta, Museo Etrusco Guarnacci, Volterra, Italy – Photo Credit: Amalia Spiliakou, April 2025

Aesthetically, the urn stands apart for its expressive force and quiet originality. Unlike the more standardized examples of Etruscan cinerary sculpture, this piece refuses idealization in favor of a strikingly human portrayal of aging bodies and enduring companionship. The deeply etched facial features, furrowed brows, veined hands, softened flesh, reflect not only technical skill but also a sensitive awareness of the passage of time. Yet, scholars suggest that despite this vivid realism, the work was not intended as a literal portrait of a known Volterran couple. Instead, it follows a stylistic convention of the period: a generalized “type” marked by apparent naturalism, crafted to evoke emotional resonance rather than exact likeness. The result is a powerful blend of personal and symbolic, an image of love, memory, and the continuity of human bonds beyond death. Set within the museum’s broader collection, the Urn of the Elderly Spouses captures the spirit of Etruscan funerary belief while offering a universal meditation on age, intimacy, and the desire to be remembered together.

For a Student Activity, inspired by the Voltera Urn, please… Check HERE!

Bibliography: https://volterratur.it/en/poi/guarnacci-etruscan-museum/ and https://www.facebook.com/groups/archeologyandcivilizations/posts/9143041642455945/

The Spinario

by Ancient Greek ArtArchaeologyArtItalian Renaissance ArtRenaissanceRoman ArtSculptureStudent ActivitiesWorksheets
Spinario Estense, Roman Republican Art (attributed), 509 BC 509 BC / 27 BC, Marble, Height: 92 cm, Galleria Estense, Modena, Italy Photo Credit: Amalia Spiliakou, April 1, 2025

The Spinario, also known as Boy with Thorn, is a celebrated bronze statue that likely dates to the Hellenistic period (323–31 BC), though the most famous version is a Roman copy from the 1st century BC. The original Greek artist remains unknown, but the sculpture exemplifies the Hellenistic interest in naturalism and the depiction of everyday, intimate moments. It shows a young boy seated, intently pulling a thorn from his foot—a simple yet evocative scene that contrasts with the heroic or divine themes common in earlier classical art. The statue gained fame during the Renaissance, admired for its realistic portrayal of youth and emotion, and was among the first ancient sculptures to be displayed publicly in Rome, influencing artists for centuries.

Spinario, 1st century BC, Bronze, Height: 73 cm, Museii Capitolini, Rome, Italy
https://www.museicapitolini.org/en/opera/spinario

Its presence in Rome during the Renaissance elevated the Spinario to iconic status, as artists and scholars alike celebrated it as a paragon of classical antiquity, drawn to its technical mastery and expressive naturalism. Its prominent display made it a touchstone for artists seeking to reconnect with the aesthetics and values of antiquity. Housed in the Palazzo dei Conservatori on the Capitoline Hill, it was admired not just for its aesthetic beauty but also for its embodiment of classical ideals, such as contemplation and youthful grace. Renaissance humanists and artists saw the Spinario as a direct link to the artistic genius of antiquity, inspiring works that emphasized anatomical accuracy, emotional depth, and classical themes. Its presence helped revive a deep respect for Greco-Roman art and shaped the artistic ambitions of the period.

Severo Da Ravenna (workshop of),
The Spinario, 1510-1530, Bronze, Height: 18.8 cm, V&A Museum, London, UK https://collections.vam.ac.uk/item/O158405/the-spinario-statuette-severo-da-ravenna/
Antico (Pier Jacopo Alari Bonacolsi), ca. 1460–1528
Spinario, modeled ca. 1496, cast ca. 1501, Bronze, Height:19.7 cm, the MET, NY, USA https://www.metmuseum.org/perspectives/spinario-facing-pain

During the Renaissance, the Spinario captivated artists who sought to emulate classical antiquity’s grace and realism. Notably, it was copied by artists such as Severo da Ravenna and Jacopo Buonaccolsi (also known as “L’Antico”), both of whom created bronze replicas in the early 16th century. These Renaissance versions were often smaller in scale and displayed the same refined attention to anatomical detail and natural posture. Some of these copies were commissioned by powerful patrons and collectors across Europe, eager to possess echoes of classical antiquity. Today, examples of these Renaissance copies can be found in major collections such as the Louvre Museum in Paris, the Victoria and Albert Museum in London, and the Kunsthistorisches Museum in Vienna, reflecting the enduring influence of the Spinario on European art and collecting traditions.

Spinario Estense, Roman Republican Art (attributed), 509 BC 509 BC / 27 BC, Marble, Height: 92 cm, Galleria Estense, Modena, Italy Photo Credit: Amalia Spiliakou, April 1, 2025

The Spinario Estense, now housed in the Galleria Estense in Modena, is a sculpture that reflects deep admiration for classical antiquity. Its form is based on the celebrated ancient statue of a boy removing a thorn from his foot, which was once located in the Lateran area of Rome before being transferred to the Capitoline Hill in 1471 by Pope Sixtus IV. The Modena version was restored between 1598 and 1599 by the sculptor Francesco Casella, as noted in a letter to Giovan Battista Laderchi, secretary to Duke Cesare d’Este. It arrived in Modena between 1629 and 1630, becoming part of the Este collection, where it remains a key example of how Renaissance patrons sought to preserve and celebrate the artistic legacy of antiquity.

The statue in Modena is now widely regarded as an eclectic work that blends stylistic elements from different periods of antiquity. Scholars believe it was originally conceived in the Hellenistic period, with a naturalistic body inspired by Greek prototypes, while the head reflects the more rigid, idealized forms of the earlier Severe Style. This fusion suggests the statue, in its present form, was produced in the 1st century BC, during the proto-Augustan age. Recent interpretations propose that rather than representing a generic shepherd boy, the figure may embody a more significant character tied to Rome’s foundational mythology. In the cultural and political climate of the Augustan period, the shepherd par excellence of Greek origin was Ascanio, also known as Iulo—the mythological son of Aeneas and legendary ancestor of the gens Iulia—lending the statue a symbolic dimension connected to Roman identity and imperial lineage.

Spinario Estense, Roman Republican Art (attributed), 509 BC 509 BC / 27 BC, Marble, Height: 92 cm, Galleria Estense, Modena, Italy Photo Credit: Amalia Spiliakou, April 1, 2025

Seeing the Spinario Estense in person on April 1st, 2026, was a striking and memorable experience. Standing before it in the Galleria Estense, I was captivated by the quiet intensity of the boy’s gesture, so focused, so human. Knowing its long journey through time, from Hellenistic inspiration to Roman reinterpretation and Renaissance reverence, added a powerful sense of continuity to the moment. What struck me most was how this single figure holds within its layers of history, mythology, and artistic devotion. It reminded me that classical art isn’t just something we study, it’s something we feel, and seeing the Spinario in Modena made that connection deeply personal.

For a Sudent Activity, titled If the Spinario Could Speak…, please… Check HERE!

Bibliography: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800675924

Bust of a Lady

by ArchaeologyArtEarly Christian ArtGreek ArtMuseumsSculptureStudent ActivitiesWorksheets
Bust of a Lady, circa 410 AD, from an Asia Minor workshop, possibly in
Aphrodisias, circa 410, white Phrygian (Dokimion) Marble, Height: 56 cm, Archaeological Museum of Chania, Greece

In the Archaeological Museum of Chania on the island of Crete, the Bust of a Lady offers a rare window into the shifting artistic and cultural values of the Late Roman and Early Christian period through the medium of female portraiture. During this era, women’s portraits began to diverge from classical Roman realism and overt displays of status, embracing a more stylized, introspective aesthetic aligned with emerging Christian ideals. Features such as large, contemplative eyes and serene expressions came to symbolize inner virtue and spiritual depth. While hairstyles and clothing still hinted at social rank, they also reflected increasing modesty, mirroring broader societal transformations.

This particular bust depicts a woman of aristocratic beauty in the prime of her life, aged approximately 25 to 30. She is shown frontally, with her neck gently turned to the right, lending the portrait a poised and lifelike presence. Her oval face is framed by a tall forehead, almond-shaped eyes once inlaid with rose-colored glass, small full lips, and a strong chin—features that convey both grace and inner fortitude. A decorative band of twenty-two stylized curls runs across her forehead and temples, while four braids crown her head, testifying to her refined appearance.

She is draped in a heavy himation falling in deep, classical folds over a lighter chiton, a detail that evokes the sculptural traditions of earlier periods and enhances the portrait’s intellectual elegance. Although her left shoulder is only partially modeled, the form suggests the bust was designed for a niche setting, likely within a private villa, where such an omission would remain unseen. The combination of fine craftsmanship, classical references, and material opulence speaks to both her high status and the enduring artistry of late Roman Crete.

Although initially dated between the 2nd and 4th centuries, recent scholarship proposes a more precise date in the early 5th century, during the reign of Theodosios II (c. 410 AD). This dating is based on strong stylistic parallels with imperial portraits of Valentinian II and Theodosios II, and the bust is thought to have originated in an Asia Minor workshop, likely Aphrodisias. If correct, this attribution provides rare evidence of continued cultural and artistic exchange between Crete and Constantinople following the catastrophic earthquake of 365 AD.

This striking portrait, crafted from fine-grained marble was unearthed in 1982 in Nea Chora, a neighborhood of modern Chania that once formed the western sector of ancient Kydonia. Found in unstratified fill, it lacks a secure archaeological context. Nonetheless, the area was continuously inhabited from the Roman to early Byzantine periods, and the sculpture’s discovery in a historically wealthy district known for luxurious homes supports the notion that it belonged to an elite and culturally vibrant community.

While Crete is most famously celebrated for its Bronze Age Minoan civilization, the island also enjoyed a remarkable cultural resurgence under Roman rule, a period that produced refined works of art like the Bust of a Lady in the Archaeological Museum of Chania. In a region often viewed through the lens of its ancient past, the portrait from Kydonia invites us to appreciate the island’s lesser-known legacy: a vibrant late antique society that continued to engage with the broader currents of imperial art, identity, and belief.

For a Student Activity inspired by the Bust of a Lady in the Archaeological Museum of Chania, please… Check HERE!

Bibliography: Heaven & Earth, Edited by Anastasia Drandaki, Demetra Papanikola-Bakirtzi, Anastasia Tourta, Exhibition Catalogue, Athens 2013 https://www.academia.edu/3655015/Heaven_and_Earth_Art_of_Byzantium_from_Greek_Collections_edited_by_Anastasia_Drandaki_Demetra_Papanikola_Bakirtzi_and_Anastasia_Tourta_Exh_cat_Athens_2013_238_9_275 Pages: 56-57 and https://amch.gr/collection/eikonistiki-protomi-astis-l-3176/