Royal Pantheon of San Isidoro

by ArtMedieval ArtSpanish Art
Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings
July, Calendar of San Isidoro de León, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain https://conocerelmundo.blog/2021/04/25/san-isidoro-de-leon/ and https://viajarconelarte.blogspot.com/2015/06/el-panteon-real-los-claustros-y-el.html

On the 12th of May 2024, I was in León, Spain, and the Royal Pantheon of San Isidoro was the first cultural monument I visited. Nestled within the Royal Collegiate of San Isidoro, this remarkable Pantheon is often referred to as the “Sistine Chapel of Romanesque Art” due to its stunningly preserved frescoes that date back to the 12th century. As I stepped inside, I was immediately captivated by the vibrant murals that depict biblical scenes and medieval life, their rich colours, and intricate details astonishingly intact after centuries. The Pantheon serves as the final resting place for many of León’s kings and queens, adding a profound historical significance to its artistic splendour. The serene ambience, coupled with the sense of walking through a living piece of history, made my visit an unforgettable introduction to the cultural and historical treasures of León.

Colegiata de San Isidoro, León, Spain
https://basilicasanisidoro.com/

The Royal Collegiate of San Isidore in León holds a pivotal place in Spanish history and culture, renowned for its religious, architectural, and historical significance. Established in the 10th century and later dedicated to Saint Isidore of Seville, this monastery has long been a center of spiritual and intellectual life. Architecturally, it is a stunning example of Romanesque design, featuring intricate carvings, soaring arches, and the remarkable Royal Pantheon with its breathtaking frescoes. Historically, it served as a royal collegiate church and a burial site for Leonese monarchs, symbolizing the political and religious power of the Kingdom of León. The monastery also played a crucial role in the cultural revival of the medieval period, housing a vast scriptorium where scholars produced and preserved numerous manuscripts, thus contributing significantly to the preservation and dissemination of knowledge throughout Europe.

The architecture of the Royal Pantheon in San Isidoro in León is a quintessential example of the Romanesque style, characterized by its solid and austere construction, yet adorned with remarkable artistic details. The structure features robust stone walls and semi-circular arches that exude a sense of permanence and strength. Inside, the Pantheon is renowned for its barrel-vaulted ceilings, which are covered with some of the most exquisite and well-preserved frescoes from the 12th century. These vibrant murals, which depict biblical scenes and daily life, are framed by intricately carved capitals atop sturdy columns, adding to the grandeur of the space. The use of natural light, filtering through small, strategically placed windows, enhances the ethereal quality of the interior, creating a sacred atmosphere that complements its function as the resting place for León’s royalty. This harmonious blend of architectural solidity and artistic finesse makes the Royal Pantheon a masterpiece of medieval art and architecture.

Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain
https://www.museosanisidorodeleon.com/en/the-royal-panteon/ and https://www.wga.hu/html_m/zgothic/mural/12c2/05catala.html

The fresco decoration of the Royal Pantheon is an equally stunning example of Romanesque art, revered for its vibrant colours and intricate detail. These 12th-century murals cover the ceilings and upper walls, vividly depicting an array of biblical scenes, including the Annunciation to the Shepherds, Christ in Majesty, and various saints and angels. The frescoes are notable for their expressive figures and dynamic compositions, capturing the spiritual and cultural essence of the medieval period. Rich hues of reds, blues, and ochres dominate the palette, creating a visually striking contrast against the stone architecture. These frescoes not only serve as a religious and educational tool, illustrating key narratives of Christian doctrine but also stand as a testament to the artistic skill and devotional intensity of the period. Their exceptional preservation allows visitors to experience the same awe and reverence as medieval worshippers, making the Royal Pantheon a remarkable fusion of art, faith, and history.

Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings
Calendar of San Isidoro de León, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain https://viajarconelarte.blogspot.com/2015/06/el-panteon-real-los-claustros-y-el.html

I was pleasantly surprised by the twelve roundels presenting the agricultural calendar, developed in the intrados (the inner curve of an arch or vault) of an arch, where the daily and real life of the people of León in the 12th century are portrayed. These frescoes depicting the 12 months are a fascinating blend of Roman tradition and medieval life. Each month is personified with a vivid scene that captures the essence of seasonal activities and agricultural cycles. January, (Genuarius), echoes the ancient Roman deity Janus, with a double-faced figure symbolizing the transition between the old and new year. February, (Februarius), shows a man warming himself by the fire, indicating the harshness of winter and the retreat from outdoor labour. March, (Marcius), portrays a man pruning vines, a task essential for the forthcoming growth. April, (Aprilis), celebrates the onset of planting with a figure holding tender sprouts, ready for sowing. May, (Magius), diverges from agricultural labour, depicting a knight with a shield, representing the pursuits of hunting and warfare. June, (Iunius), and July, (Iulii), are illustrated with scenes of harvesting, emphasizing the peak of agricultural activity. August, (Agustus), focuses on the separation of grain from chaff, a crucial step in the agricultural process. September, (September), captures the grape harvest, a vital part of the winemaking tradition. October, (October), shows a man shaking acorns from a tree to feed pigs, linking to the preparation for winter. November, (November), is marked by the depiction of pig slaughter, a significant event for food preservation. Finally, December, (December), closes the cycle with a man resting by the fire, reflecting on the year’s labours, and enjoying the respite of winter. These frescoes not only highlight the agricultural calendar but also offer a glimpse into the daily lives and seasonal rhythms of medieval society.

Best Wishes for a Healthy and Happy Month of July

For Student Activities, please…Check HERE!

The Yellow Sail

by 20th century ArtArtBasil and Elise Goulandris Foundation AthensExhibitionsFrench ArtPost-ImpressionismPowerpoints
Paul Signac, French Artist, 1863-1935
Venice, the Yellow Sail, 1904, Oil on Canvas, 73×92 cm, Centre Pompidou, Paris, France (In deposit to the Museum of Fine Arts and Archeology of Besançon since 1972) – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

The Exhibition Neo-Impressionism in the Colours of the Mediterranean (1891-1914) was held in Athens at the Basil & Elise Goulandris Foundation. This event was organized in collaboration with several prominent European museums and institutions, including the Musée d’Orsay, the National Gallery in London, the Centre Pompidou, the Musée des Beaux-Arts de Besançon, the Musée de l’Annonciade, the Musée de Grenoble, the Musée national d’archéologie, d’histoire et d’art – Luxembourg, and the Musée des Arts Décoratifs, as well as various European private collectors. The exhibition showcased works by renowned artists such as Paul Signac, Henri-Edmond Cross, Maximilien Luce, Théo van Rysselberghe, Henri Matisse, Henri Manguin, and Louis Valtat, many of which were being displayed in Greece for the first time. One piece that particularly, captivated me was Paul Signac’s 1904 painting, Venice, the Yellow Sail.

Let’s explore the Exhibition ‘Neo-Impressionism in the Colours of the Mediterranean’ through Paul Signac’s painting, Venice, the Yellow Sail, by posing questions about When, How, What, and Who…

How would you define Neo-Impressionism? Neo-Impressionism is an art movement that emerged in the late 19th century as a reaction to the spontaneity and subjectivity of Impressionism. It is characterized by a systematic and scientific approach to painting, primarily focusing on the use of colour and light. Neo-Impressionists employed techniques such as Pointillism or Divisionism, where small dots or strokes of pure colour are applied to the canvas. When viewed from a distance, these dots visually blend to create vibrant, luminous compositions. The movement was led by artists like Georges Seurat and Paul Signac, who sought to bring a greater sense of order and structure to their works through meticulous planning and an emphasis on colour theory.

What is Pointillism or Divisionism? Divisionism or Pointillism is a painting technique developed by Neo-Impressionist artists like Georges Seurat and Paul Signac in the late 19th century. This method, which sought to establish a scientific foundation for the Impressionist exploration of light and colour, involves applying small, distinct dots of pure colour to a canvas, which blend visually in the viewer’s eye to create a cohesive image with enhanced vibrancy and luminosity. Inspired by M-E Chevreul’s 1839 colour theory on simultaneous contrast, aimed to enhance luminosity, as optically mixed colours tend toward white, the technique significantly influenced French painters, especially among the Impressionists, Post-Impressionists, and Neo-Impressionists.

Théo van Rysselberghe, Belgian Artist, 1862-1926
Portrait of Paul Signac at the helm of the Olympia (detail), 1896, Oil on Canvas, 93×114 cm, Private Collection – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

Who is Paul Signac? Paul Signac was a French Neo-Impressionist painter renowned for pioneering the Pointillist technique alongside Georges Seurat. Born in Paris, Signac initially trained as an architect before dedicating himself to painting. Influenced by Impressionism, he soon embraced a more scientific approach to colour and light, leading to his collaboration with Seurat to develop Divisionism. Signac travelled extensively, drawing inspiration from the Mediterranean and its vivid landscapes. His works often depicted harbours and coastal scenes, capturing the interplay of light and water. In addition to his artistic contributions, Signac authored several important texts on art theory, including From Eugène Delacroix to Neo-Impressionism, which articulated the principles of Neo-Impressionism. His legacy endures through his innovative techniques and his role in shaping modern art.

How would Signac’s painting Venice, the Yellow Sail be described? Paul Signac’s painting Venice, the Yellow Sail, housed in the Centre Pompidou, in Paris, is a vibrant and luminous depiction of Venice’s iconic waterways. The focal point is a sailboat with a striking yellow sail, which stands out against the intricate interplay of blues and greens in the water and sky. Signac captures the essence of Venice with a keen eye for the effects of light and colour, imbuing the scene with a sense of movement and radiance. The painting reflects Signac’s love for sailing, his fascination with maritime subjects and his mastery of Divisionism, resulting in a visually captivating representation of Venice’s beauty.

When did Paul Signac visit Venice? The artist visited Venice for the first time in the spring of 1904. Initially planning to visit in the summer of 1903, Signac’s fascination with the city, partly influenced by John Ruskin’s “The Stones of Venice,” led him to postpone his travels until the following year. Arriving at the end of March 1904, he stayed until late May, producing a significant number of watercolours during his visit. The oils he created were exhibited at the 1905 Salon des Indépendants, where they garnered praise from both the public and critics. Louis Vauxcelles, for example, remarked… nothing is more vibrant, more atmospheric, than the shimmering Venice of M. Signac.

Paul Signac, French Artist, 1863-1935
Venice, the Yellow Sail (detail), 1904, Oil on Canvas, 73×92 cm, Centre Pompidou, Paris, France (In deposit to the Museum of Fine Arts and Archeology of Besançon since 1972) – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

How is Louis Vauxcelles’s remark nothing is more vibrant, more atmospheric, than the shimmering Venice of M. Signac applied to Signac’s painting Venice, the Yellow Sail? In Signac’s painting Venice, the Yellow Sail, Signac captures the essence of Venice’s shimmering beauty with remarkable vibrancy and atmosphere. The painting radiates with the luminous colours of the city’s water canals and buildings, soft and hazy pinks, lilacs, and greens, evoking the play of light and shadow characteristic of Venice. The focal point of the yellow sail adds a dynamic burst of colour against the serene backdrop, further enhancing the painting’s vibrancy. Signac’s meticulous use of Divisionism infuses the scene with an ethereal quality, as the carefully placed dots of colour blend harmoniously to create a captivating and immersive depiction of Venice’s unique atmosphere.

For a PowerPoint on Paul Signac, please… Check HERE!

The Knossos Veil

by 20th century ArtArtArt NouveauStudent ActivitiesWorksheets
Mariano Fortuny y Madrazo, Spanish Artist, 1871-1949
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo del Traje CIPE, Madrid, Spain https://twitter.com/MuseodelTraje/status/1528695788771201024/photo/1
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo Fortuny, Venice, Italy https://fortuny.visitmuve.it/it/il-museo/sede/la-sede-e-la-storia/
https://commons.wikimedia.org/wiki/File:Tenture_et_robe_de_Mariano_Fortuny_(Mus%C3%A9e_Fortuny,_Venise).jpg
Portrait of Henriette Nigrin wearing a Delphos gown and a Knossos Veil, 1935, Tempera on Wood, Palazzo Pesaro degli Orfei, Fortuny Museum, Venice, Italy
https://en.m.wikipedia.org/wiki/File:Henriette_Fortuny_par_Mariano_Fortuny_%28mus%C3%A9e_Fortuny,_Venise%29.jpg

Mariano Fortuny y Madrazo’s influence on fashion, reflected in his innovative approach to textile design and garment creation during the late 19th and early 20th centuries, lies in his belief that art should be personally meaningful… I do not want to waste my time, he used to say, with art that has no need of me… Renowned for his luxurious fabrics and intricate patterns, Fortuny revolutionized the fashion world with his signature pleating technique, which allowed the fabric to drape elegantly and maintain its shape without the need for heavy understructures. His iconic Delphos Gown along with The Knossos Veil, both inspired by ancient Greek attire, became symbols of haute couture, coveted by aristocrats and artists alike for their timeless beauty and unparalleled craftsmanship.

A portrait of the legendary couturier as exhibited alongside his work (Credit: Archivio Fotografico Fondazione Musei Civici di Venezia/ Marcello Venturini) https://www.arabalears.cat/misc/colleccio-fortuny-venecia_1_3247710.html

Fortuny, as he is popularly known, was a Spanish painter, set designer, photographer, inventor, and technology aficionado. He was born in Granada, Spain, into an artistic and intellectual family, on May 11, 1871. His father, Mariano Fortuny y Marsal, was a successful genre painter and an avid collector of antiquities and artefacts. His mother, Cecilia de Madrazo y Garreta, was a noted collector of textiles. Fortuny was only three years old when his father died and his mother decided to move to Paris so that her family would be close to her relative Federico ‘Cocò’ de Madrazo, an artist in the circle of Serge Diaghilev’s Ballets Russes.

Growing up in a very artistic and theatrical environment, Fortuny early developed one of his two passions, that of how to apply the latest lighting technology to establishments of the performing arts and galleries of art. Amidst an era dominated by gas illumination, his keen interest in electricity and its applications, particularly within the realm of stage design, led him to develop a revolutionary indirect lighting system known as the “Fortuny Dome,” which he patented in 1901. His innovation of an indirect electric lighting system, capable of emulating the nuances of natural daylight, reshaped the theatrical experience for audiences. This system became widely used in theatrical productions and is still appreciated for its ability to create atmospheric lighting effects.

Mariano Fortuny y Madrazo, Spanish Artist, 1871-1949
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo del Traje CIPE, Madrid, Spain https://twitter.com/MuseodelTraje/status/1528695788771201024/photo/1

In 1888 Mariano Fortuny moved to Venice, where the family interest in antique textiles reignited. His wife Henriette Nigrin, a young woman who he had met in Paris, and who shared his aesthetics, and the family collection of ancient textiles inspired him to explore his second passion, the world of fashion. In 1906 he opened his textile/fashion workshop at the Palacio Pesaro degli Orfei creating original fabrics and costumes using modern techniques, with his own patents, and secrets, impossible to solve even today.

His wife, Henriette Negrin, was a talented and influential figure in her own right. Born in Paris to a family of Sephardic Jewish descent, she married Fortuny in 1902, becoming his lifelong partner and collaborator. Henriette was renowned for her skills in textile design and fashion, contributing significantly to the success of Fortuny’s textile workshop in Venice, Italy. Together, they perfected the intricate techniques behind the iconic Fortuny fabrics, known for their rich colours, luxurious textures, and timeless elegance. Henriette’s creative vision and business acumen played a pivotal role in expanding the reach of Fortuny’s designs, garnering acclaim from royalty, celebrities, and discerning patrons worldwide. Her enduring partnership with Mariano Fortuny y Madrazo underscored their shared commitment to artistic excellence and innovation in the realms of fashion and design.

Model for the Knossos Veil, 1910, Photo by Mariano Fortuny y Madrazo,Archivio Museo Fortuny, Venice, Italy
https://artsandculture.google.com/asset/model-for-the-knossos-scarf-mariano-fortuny/_AFs03WjdU506A
Print Samples for Knossos Veil, 1905, Archivio Museo Fortuny, Venice, Italy https://artsandculture.google.com/story/JgWBsAjx7KyuJg?hl=en and https://www.palaisgalliera.paris.fr/sites/galliera/files/cp_dp_visuels/dossiers_de_presse/dp_fortuny_eng_bdef.pdf

The Knossos Veil emerged as Mariano and Henriette Fortuny’s inaugural foray into the world of textile and clothing design, marking a pivotal moment in their career, and establishing their reputation as masters of their craft. This creation, inspired by the ancient Greek himation, was a substantial piece of printed silk taffeta, measuring an impressive 450 cm in length and 110 cm in width. Its design showcased an extraordinary commitment to craftsmanship, experimentation, and innovation, featuring motifs that spanned early-Corinthian, Minoan, and Archaic Greek influences, including papyrus flowers, heart-shaped palms, stylized flora, octapus and argonaut designs. These patterns, indicative of Fortuny’s fascination with ancient civilizations, were meticulously derived from Minoan fresco and vase painting, encapsulating a blend of historical reverence and artistic ingenuity.

The unveiling of the first prototypes of the Knossos Veil during the ballet for the opening of the Countess of Béarn’s private theater in Paris on March 29, 1906, marked the beginning of its storied history. However, it was the presentation in Berlin on November 24, 1907, that truly showcased the scarf’s allure and versatility, with the legendary American dancer Ruth St. Denis demonstrating the myriad ways it could be adorned, from headdresses to gowns, epitomizing the scarf’s fluid beauty and elegance. The Knossos models were whimsically named… “Alblan,” “Aldou,” “Algan,” “Alro,” “Gandou,” and “Tilleul”… each evoking an air of mystique and otherworldliness, as if conjured from a spellbook.

Display of Knossos Veils, 1910 Photograph, Archivio Museo Fortuny, Venice, Italy https://artsandculture.google.com/asset/display-of-knossos-scarves-mariano-fortuny/cgFuZN5ijI5FBQ

Henriette Negrin, Fortuny’s wife and muse played a critical role in the scarf’s development and was famously immortalized wearing it in a large painting by Fortuny, titled Portrait in Pompeian Costume. This collaboration between Mariano and Henriette not only underscored the depth of their partnership but also highlighted the Knossos Veil’s significance as a versatile and innovative piece that bridged the gap between historical inspiration and contemporary fashion.

The Knossos Veil remains a symbol of Fortuny’s legacy in the fusion of art, history, and fashion, a testament to his and Henriette’s extraordinary vision and creativity.

For a Student Activity, inspired by Fortuny’s Knossos Veil, please… Check HERE!

For a former, July 17, 2020, Teacher Curator Presentation on Fortuny’s Delphos Dress, titled When Fashion becomes Art, please Check… https://www.teachercurator.com/20th-century-art/when-fashion-becomes-art/?fbclid=IwAR338hgUJsJtyH8g3Jz3FY94sxVQFrYhG6S-NQhaW2rKFhwbqNQG9wdRA8w_aem_AZylhUe8XI9z7o2vFhteSLotU8lONi8gw48QfZxF2KaChzmSgMuEUCRast8kH0_zgk4UDd-TkYSDjA_CD2A3SyA2

Bibliography: https://www.palaisgalliera.paris.fr/sites/galliera/files/cp_dp_visuels/dossiers_de_presse/dp_fortuny_eng_bdef.pdf and https://artsandculture.google.com/story/JgWBsAjx7KyuJg?hl=en and https://www.fortuny.shop/blog/mariano-fortuny/the-fortuny-dome-a-revolution-in-the-theatre/ and https://artsandculture.google.com/story/ZQVxXe7qWmpwKg?hl=en and https://www.academia.edu/5421220/%CE%9C%CE%B9%CE%BD%CF%89%CE%B9%CE%BA%CF%8C%CF%82_%CE%BD%CE%B5%CF%89%CF%84%CE%B5%CF%81%CE%B9%CF%83%CE%BC%CF%8C%CF%82_%CE%97_%CE%B1%CE%B9%CE%B3%CE%B1%CE%B9%CE%B1%CE%BA%CE%AE_%CF%84%CE%AD%CF%87%CE%BD%CE%B7_%CE%BA%CE%B1%CE%B9_%CE%B7_art_nouveau_%CE%B7_%CF%80%CE%B5%CF%81%CE%AF%CF%80%CF%84%CF%89%CF%83%CE%B7_%CF%84%CE%BF%CF%85_Mariano_Fortuny_y_Madrazo (in Greek)

Count Issepo da Porto and his son Adriano

by 16th century ArtArtHigh RenaissanceItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtVenetian Art
Paolo Veronese, 1528–1588 
Portrait of Iseppo da Porto and his son Adriano, circa 1555, Oil on Canvas, 247×133 cm, Uffizi Gallery, Florence, Italy https://commons.wikimedia.org/wiki/File:Paolo_Veronese_041.jpg

On Father’s Day consider the majestic, full-length portraits by Veronese, which celebrated the da Porto family, showcasing Count Issepo da Porto and his son Adriano alongside Countess Livia da Porto Thiene and her Daughter Deidamia. These paintings, originally placed in their Vicenza palace designed by Andrea Palladio, symbolize a family’s enduring connection and heritage. Just as Veronese’s art captures the richness of family life and the protection and care provided by fathers, Father’s Day allows us to honour and appreciate the fathers and father figures who have shaped our lives with their love and guidance.

Paolo Veronese, 1528–1588 
Portrait of Countess Livia da Porto Thiene and her Daughter Deidamia, 1552, Oil on Canvas, 208.40×121 mm, Walters Art Museum, Baltimore, USA https://commons.wikimedia.org/wiki/File:Paolo_Veronese_-_Portrait_of_Countess_Livia_da_Porto_Thiene_and_her_Daughter_Deidamia_-_Google_Art_Project.jpg
Portrait of Iseppo da Porto and his son Adriano, circa 1555, Oil on Canvas, 247×133 cm, Uffizi Gallery, Florence, Italy https://commons.wikimedia.org/wiki/File:Paolo_Veronese_041.jpg

The artist who created the double portraits, Father and Son, Mother and Daughter, of the da Porta family is Paolo Veronese, born Paolo Caliari in 1528 in Verona, Italy, one of the most prominent painters of the Venetian Renaissance. Trained in the workshop of local master Antonio Badile, Veronese’s early work reflects the influence of his native city’s art and architecture. Moving to Venice in the early 1550s marked a significant turning point in his career, allowing him to immerse himself in the city’s vibrant artistic community. Known for his vivid use of colour, dynamic compositions, and grandiose themes, Veronese quickly established himself as a master of large-scale paintings, creating works that adorned palaces, churches, and public buildings. His integration of classical themes with contemporary Venetian culture, coupled with his skilful rendering of fabrics, textures, and architectural elements, distinguished him from his contemporaries and earned him widespread acclaim.

Among Veronese’s most notable achievements are his grand frescoes and altarpieces, such as the Feast in the House of Levi and the Wedding at Cana, which showcase his ability to blend narrative complexity with a sense of opulence and theatricality. His portraits, on the other hand, like those of the da Porta family, demonstrate his keen ability to capture individual character and status, further cementing his reputation as a master portraitist. Veronese’s work not only exemplified the ideals of the High Renaissance but also laid the groundwork for the Baroque movement that followed. His legacy endures through his contributions to the development of Venetian art, influencing generations of artists and securing his place in the pantheon of great Renaissance painters.

Count Issepo da Porto, a nobleman from Vicenza, and his young son Adriano, painted by Paolo Veronese around 1555, make a masterful representation of Renaissance portraiture. Veronese’s skilful use of colour, light, and composition creates a striking and intimate portrayal of the father and son duo. In the portrait, Count Issepo da Porto is depicted standing, exuding an air of authority and elegance. He is dressed in luxurious Renaissance attire, characterized by rich, very dark fabrics and elaborate details, which signify his high social status. The count’s pose is dignified, with one hand resting on his hip and the other gently placed over his son’s shoulder, establishing a sense of connection and paternal care. His facial expression is composed and confident, reflecting his stature and the responsibilities that come with his position.

Adriano, the count’s first-born son, stands beside him, dressed in similarly fine clothing, lighter in tone, that mirrors his father’s, suggesting both the boy’s noble lineage and the care taken in his upbringing. Adriano’s pose is more relaxed, illustrating a sense of affection and dependence. The interaction between the two figures conveys a tender familial bond, enhanced by Veronese’s attention to the details of their postures, expressions, clothing, and the subtle interplay of light and shadow.

The background of the painting is relatively subdued, focusing the viewer’s attention on the figures and their relationship. Veronese’s use of colour, particularly the rich, dark, and warm tones, and the meticulous rendering of textures, such as the fabrics and the skin tones, demonstrate his mastery in creating lifelike and engaging portraits. The Portrait of Count Issepo da Porto and his son Adriano not only captures the likeness of the subjects but also conveys a narrative of lineage, status, and the deep familial connection between father and son.

For a PowerPoint, titled 10 Masterpieces by Paolo Veronese, please… Check HERE!

Byzantine Ivory Caskets

by ArtByzantine ArtByzantine IvoriesByzantiumGreek ArtMedieval ArtPowerpoints
Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France (Photo Credit: Amalia Spiliakou, May 2023)

Byzantine Ivory Caskets, also known as covered boxes, represent exquisite examples of medieval artistry and craftsmanship. These small, intricately carved containers were crafted in the Byzantine Empire during the early medieval period, primarily between the 6th and 12th centuries. Made from luxurious materials such as ivory, these Caskets served a variety of purposes, ranging from holding religious relics to storing precious items like jewelry or cosmetics. Adorned with elaborate motifs, often depicting religious scenes, mythological figures, or intricate geometric patterns, Byzantine Ivory Caskets not only served functional roles but also conveyed the wealth, power, and artistic sophistication of the Byzantine civilization. These objects provide valuable insights into the social, cultural, and religious contexts of the Byzantine Empire.

In the present day, around 125 ivory Caskets endure, each bearing its unique journey through time and wear, with approximately 50 adorned in secular motifs. These elegant Caskets stand as a testament to Byzantine artistry, representing a remarkable legacy of secular expression preserved amidst the sands of time. Their survival marks them as the paramount example of Byzantine secular art, offering a glimpse into the aesthetic tastes and cultural nuances of an empire steeped in opulence and sophistication.

Intricately carved and made of transverse sections of elephant tusks, the Byzantine Caskets were more than mere receptacles; they were vessels of cultural significance and practical utility. Their intricate reliefs, often depicting a blend of pagan mythology and Christian iconography, hint at their multifaceted functions. Those adorned with scenes of Christ’s miraculous healings likely served as vessels for safeguarding the sacred elements of the Eucharist, underscoring their role in religious rituals and devotion. Conversely, Caskets embellished with pagan motifs might have been employed for storing personal effects like valuable documents, cosmetics or jewelry, reflecting the interplay between secular and religious spheres in Byzantine society. Though their precise origins remain elusive, scholars speculate that these Caskets were crafted in Constantinople or the Byzantine provinces of North Africa or Syria-Palestine, regions renowned for their ivory craftsmanship. Despite the enigma surrounding their provenance, Byzantine Ivory Caskets endure as tangible manifestations of the empire’s artistic prowess and spiritual fervour.

During the Byzantine period, ivory held a revered status as a symbol of luxury, prestige, and religious devotion. The Byzantines prized ivory for its exceptional beauty and workability, utilizing it in a myriad of contexts ranging from religious artefacts to secular luxury items. Ivory was extensively employed in the creation of intricate carvings, including religious icons, diptychs, and triptychs, which adorned churches, palaces, and private collections and Caskets as containers of precious secular or religious treasures. These exquisite ivory artworks served not only as expressions of faith but also as tangible manifestations of wealth and power. Furthermore, ivory was utilized in the production of practical items such as furniture inlays, game pieces, and personal accessories, reflecting its versatility and widespread appeal across various aspects of Byzantine society. The use of ivory persisted throughout the Byzantine period, leaving an indelible mark on the art, culture, and material wealth of the empire.

Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France https://www.facebook.com/photo/?fbid=747127510777426&set=a.547320410758138
Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France
https://www.facebook.com/photo/?fbid=3555251714542348&set=a.547320410758138

Among these remarkable artefacts, the Byzantine ivory Casket of the Musée de Cluny in Paris stands as one of my favourites. Crafted in Constantinople around the turn of the millennium, this Casket is a testament to the refined tastes of the secular elites within the court of the Macedonian dynasty. Delicately adorned with finely carved ivory panels, it depicts intricate scenes drawn from the legendary exploits of Heracles and various other tales of Greek mythology to epic battles and chariot races. Each panel is a masterpiece of craftsmanship, capturing the essence of both ancient lore and medieval life. Undoubtedly intended for domestic use within the opulent confines of aristocratic households, this Casket serves as a tangible link between the classical past and the burgeoning cultural landscape of Byzantium.

As one marvels at this masterpiece within the halls of the Cluny Museum, one cannot help but be transported back in time, envisioning the opulence and splendour of the Byzantine era.

For a PowerPoint Presentation, please… Check HERE!

Lion from a Grave Monument in the Canellopoulos Museum

by Ancient Greek ArtArchaeologyArtGreek ArtMuseumsSculptureSocial StudiesStudent ActivitiesWorksheets
Lion from a grave monument, 4th century BC, White Marble, Height: 41.5 cm, Paul and Alexandra Canellopoulos Museum, Athens, Greece – Photo Credit: Amalia Spiliakou, Museum of Cycladic Art, Chaeronea, 2 August 338 BC: A day that changed the world Exhibition, February 2024

The lion sits on his haunches and looks straight ahead, with his mouth half open, evidently portrayed as growling. Anatomical details of the head have been realistically rendered. The eyes are small and fairly deeply set, the nose flat and wide. The slender, supple body and the swelling of the chest and leg muscles suggest tension. The rich mane has dense, thick, unruly curls, that were divided from each other by means of a drill. They cover the head, the upper part of the spine, the neck and the upper part of the chest. A crest of curls runs down the spinal ridge. The curls are rendered without the sharp tips that are usual on the Attic lions of the 4th century B.C. The long tail runs under the right hind leg and in snake-like curves ends in a tuft over the right haunch. This is how the Lion from a Grave Monument in the Canellopoulos Museum is described by the Museum experts, and I couldn’t agree more… https://camu.gr/en/item/epitymvio-liontari/

On the 17th of February, while visiting the Chaeronea, 2 August 338 BC: A Day That Changed the World Exhibition at the Cycladic Museum, I was captivated by the Lion from the Canellopoulos Museum. The statue’s imposing presence immediately drew my thoughts to grave monuments of lions in ancient Greek art, which are emblematic of power, courage, and enduring legacy. These sculptures, often placed atop graves, served as guardians and symbols of honour for the deceased. The lion’s fierce yet dignified expression evoked the valour of fallen warriors and the deep respect afforded to them in Greek culture. This connection underscored the lion’s role as a potent symbol across various contexts, from battlefield commemorations to funerary art, illustrating the profound layers of meaning that these majestic creatures held in ancient Greek society.

Lion from a grave monument, 4th century BC, White Marble, Height: 41.5 cm, Paul and Alexandra Canellopoulos Museum, Athens, Greece – Photo Credit: Amalia Spiliakou, Museum of Cycladic Art, Chaeronea, 2 August 338 BC: A day that changed the world Exhibition, February 2024

At the Chaeronea Exhibition, the Canellopoulos Lion is placed facing a sketch showing how the deceased were positioned in the Polyandrion of the Theban Sacred Band. This arrangement piques my eagerness to examine the monumental Lion of Chaeronea as well. This iconic grave monument, erected to honour the fallen Theban warriors of the Battle of Chaeronea, embodies the valour and enduring legacy of those who perished. Both sculptures’ powerful presence and dignified expression serve as a testament to the ancient Greeks’ deep reverence for their heroes, making them a compelling subject for exploration.

Lion of Chaeronea, 4th century BC, grey local stone, Height: 5.50 m, Chaeronea, Greece https://www.tripadvisor.com/Attraction_Review-g13326468-d13225685-Reviews-Lion_of_Chaeronea-Chaeronea_Boeotia_Region_Central_Greece.html#/media-atf/13225685/293530509:p/?albumid=-160&type=0&category=-160

The Lion of Chaeronea stands as a significant symbol of ancient Greek history, commemorating the Battle of Chaeronea in 338 BCE, where Philip II of Macedon and his son, Alexander the Great, decisively defeated the combined forces of Athens and Thebes. This battle marked the end of Greek city-states’ independence and the rise of Macedonian dominance, setting the stage for Alexander’s future conquests and the spread of Hellenistic culture. The monument is believed to honour the Sacred Band of Thebes, an elite military unit renowned for its bravery and cohesion, which was annihilated during the battle. The Lion of Chaeronea thus serves as both a memorial to the fallen soldiers and a pivotal marker of the power shift that shaped the course of Western civilization.

According to the Chaeronea Museum experts… At the entrance of Chaeronea, at a distance of 13 kilometres from the city of Livadia, stands a marble pedestal with a large lion. The tomb monument was erected in honour of the Theban soldiers of the ‘sacred band’ who fell in the Battle of Chaeronea in 338 BC, in which the Macedonians emerged victorious. When after his victory Philip II allowed the burial of the dead, the Lion of Chaeronea was erected to mark their burial place. Indeed, excavations at the site brought to light the skeletons of 254 men and some of their weapons.

The statue of the Lion is 5.30 meters tall and is depicted sitting on his hind legs. The lion is considered to symbolize the heroism of the soldiers of Thebes, which Philip II himself had recognized. The Lion was revealed after excavations in 1818, broken into five pieces. It was restored standing on a 3-meter-high pedestal. Today it is located next to the Archaeological Museum of Chaeronea, in front of a row of cypress trees.

For a Student Activity, please… Check HERE!

Bibliography: https://www.mthv.gr/el/pera-apo-to-mouseio/peripatos-sti-boiotia/arhaiologiko-mouseio-haironeias-leon-tis-haironeias/#image-2 and https://camu.gr/en/item/epitymvio-liontari/

The Cathedral of Santiago de Compostela and the Goya Tapestries

by 18th century ArtArtPowerpointsRomanticismSpanish Art
Francisco de Goya y Lucientes, 1746-1828
An Avenue in Andalusia or The Maja and the Cloaked Men (detail), 1777, Royal Tapestry Factory, from a Goya Cartoon, Tapestry – Wool and silk, 337×217 cm, Santiago de Compostela Cathedral Collection, Spain https://artsandculture.google.com/asset/an-avenue-in-andalusia-or-the-maja-and-the-cloaked-men-royal-tapestry-factory-from-a-goya-cartoon/mAFzZaxpTqLttA

On the 10th of May, I visited The Cathedral of Santiago de Compostela and the Goya Tapestries, among the masterpieces I was anxious to see intrigued by their unbelievable charm and allure …

Francisco Goya, renowned for his masterful paintings and prints, also delved into the realm of tapestry cartoons, creating a series of remarkable works that showcased his artistic versatility. Commissioned by the Spanish royal family, Goya produced a collection of tapestry cartoons between 1775 and 1792, intended to be transformed into large-scale tapestries to adorn the royal residences. These cartoons, characterized by their intricate detail, dynamic compositions, and vibrant storytelling, demonstrated Goya’s adeptness in translating his painterly vision into the medium of woven textiles. The tapestries created from his designs adorned the grand interiors of palaces, reflecting the royal court’s opulence and Goya’s unique ability to capture the essence of human experience through his art.

Francisco de Goya y Lucientes, 1746-1828
An Avenue in Andalusia, or The Maja and the Cloaked Men, 1777, Oil on Canvas, 275×190 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/an-avenue-in-andalusia-or-the-maja-and-the/a4af7051-a0c2-4a63-8aef-5fa080890873
An Avenue in Andalusia or The Maja and the Cloaked Men, 1777, Royal Tapestry Factory, from a Goya Cartoon, Tapestry – Wool and silk, 337×217 cm, Santiago de Compostela Cathedral Collection, Spain https://artsandculture.google.com/asset/an-avenue-in-andalusia-or-the-maja-and-the-cloaked-men-royal-tapestry-factory-from-a-goya-cartoon/mAFzZaxpTqLttA

The Cathedral Museum of Santiago de Compostela houses an exceptional collection of tapestries, originally woven at the Royal Tapestry Factory of Santa Bárbara from designs by the celebrated Francisco Goya. These tapestries, based on cartoons mostly preserved at the Prado Museum, were part of a commission by King Charles III between 1777 and 1780 intended to adorn the Royal Palace of El Pardo. The illustrious Pedro Acuña y Malvar, a canon who served as Secretary of State for Justice under King Charles IV, bequeathed these artworks to the museum upon his death in 1814. Acuña, noted for his significant art collection in Madrid, thus ensured that the Cathedral Museum became the custodian of these invaluable cultural treasures, enriching its offerings and preserving a vital piece of Spain’s artistic heritage within the sacred walls of Santiago Cathedral.

Francisco de Goya y Lucientes (1746-1828)Tapestries including An Avenue in Andalusia or The Maja and the Cloaked Men, Wool and silk, 337×217 cm, Santiago de Compostela Cathedral Collection, Spain – Photo Credit: Amalia Spiliakou, May 10, 2024

Francisco Goya’s artistic legacy is marked by his masterful exploration of costumbrista themes and his adept use of colour and light. His tapestries, such as The Maja and the Cloaked Men, eschew religious motifs in favour of depicting local customs and traditions. Through these works, Goya invites viewers into the vibrant world of 18th-century Andalusia, capturing the essence of everyday life with keen observation and wit. His cartoons, serving as blueprints for the tapestries, reveal his meticulous attention to detail and his ability to convey emotion through the interplay of light and shadow. Goya’s use of wool for darker hues and fine silk burlap for lighter tones further accentuates the richness of his palette, showcasing his unparalleled skill as both a painter and a storyteller.

Boys Playing Soldiers, 1777, Royal Tapestry Factory, from a Francisco de Goya y Lucientes (1746-1828) Cartoon, Tapestry – Wool and silk, 337×217 cm, Santiago de Compostela Cathedral Collection, Spain – Photo Credit: Amalia Spiliakou, May 10, 2024

The exhibition of Goya’s tapestries at the Cathedral Museum provides a captivating glimpse into the artist’s oeuvre and the cultural milieu of his time. Originally housed in the cathedral’s tailor’s workshop, these remarkable works were later unveiled to the public during the Corpus Christi festivities. Now, as part of the museum’s permanent collection, these tapestries are prominently displayed in dedicated rooms, offering visitors a comprehensive overview of Goya’s contributions to the art of tapestry-making. The legacy of Pedro Acuña y Malvar, who bequeathed these treasures to the cathedral, ensures that Goya’s legacy survives, providing a testament to the enduring significance of his work in shaping the artistic landscape of Spain.

For a Student Activity, please… Check HERE!

For a PowerPoint of Goya’s Tapestries in the Museum of the Cathedral de Santiago de Compostela, please… Check HERE!

Bibliography: https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/39568a17-81b5-4d6f-84fa-12db60780812 and https://artsandculture.google.com/story/BQXxc6wiofP4Lw

The Labours of the Months by Luca della Robbia

by 15th century Art15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Luca della Robbia, 1399/1400–1482
Labours of the Months: June, 1450s, Glazed terracotta, Diameter: 57 cm, Victoria and Albert Museum, London, UK https://www.wga.hu/frames-e.html?/bio/r/robbia/luca/biograph.html

…Which gives into the triumphant and lovely / study, / that has such talent and order and measure / that it represents angelic exultation, / With complete art in inlays and painting, / in perspective and carvings sublime, / and in great mastery of architecture. / There are great numbers of highly ornate books / and vases of alabaster and chalcedony / that are decorated with gold and silver. / And all things there are beautiful and good, / some by nature and others with human talent / made thus with whole perfection… This is how, in Terze Rime, the anonymous Italian 15th-century poet describes the famous studietto, created for Piero de’ Medici in the 1450s. It is the room for which the terracotta roundels of The Labours of the Months by Luca della Robbia were created to adorn the ceiling. https://www.jstor.org/stable/3048729?read-now=1&seq=5#page_scan_tab_contents

In the context of the Renaissance, a studietto or studiolo was a personal space, often elaborately decorated with paintings, sculptures, and frescoes that reflected its owner’s intellectual pursuits and tastes. These rooms were not just private retreats but also places to store and exhibit collections that demonstrated the owner’s wealth, power, and intellectual interests. The decoration and objects within often had symbolic meanings related to virtues, wisdom, and learning. The Medici Palace, a museum since 1974, reflects the grandeur and influence of the Medici family throughout its architecture and the art it houses. Within its walls, in the early 1450s, a studietto was created for Piero de’ Medici, unfortunately destroyed, when the Medici Palace was remodelled in the 17th century. According to Paula Nuttall… the studietto was a small, intimate room intended for study, contemplation, and display.  Here were kept the most precious objects in the Medici’s collection: costly illuminated books, classical coins, cameos and vases, medieval ivories and goldsmiths’ work, and a tiny painting by the great Netherlandish master Jan van Eyck.  Piero, who suffered from gout and was often confined indoors, is said to have taken great delight in being carried to his studietto, whiling away the hours in contemplating all these objects. https://www.vam.ac.uk/blog/museum-life/twenty-objects-twenty-years-labours-months-florence-c1450

The Luca della Robbia roundels of the Labours of the Months as displayed in the Victoria and Albert Museum, London, UK
https://umbriaandtuscanyunravelled.blogspot.com/2015/06/object-in-focus-june-2015-june-one-of.html
The Luca della Robbia roundels of the Labours of the Months as displayed in the Victoria and Albert Museum, London, UK https://commons.wikimedia.org/wiki/File:Luca_della_robbia,_volta_dello_studiolo_di_piero_de%27_medici.JPG

Piero de Medici’s studietto ceiling, crafted by Luca della Robbia, stands as a testament to the innovative spirit of the Renaissance. Employing the much-admired tin-glazed terracotta technique that della Robbia perfected in the early 15th century, the ceiling featured twelve intricately designed roundels, each representing a different Labour of the Month. Unlike popular della Robbia relief sculptures, these roundels boast naturalistic paintings in shades of white and blue, colours achieved through an experimental method seldom replicated. The edges of each roundel are adorned with sculpted leaf patterns, subtly detailed in low relief, offering a textural contrast to the smooth, painted centers. This ceiling, decidedly ornate and uncharacteristically detailed for its time, reflected not only the artistic ambition of della Robbia but also the grandeur of the room it overseed, a fitting canopy for the collection of curiosities and treasures it sheltered.

Luca della Robbia, 1399/1400–1482
Labours of the Months, 1450s, Glazed terracotta, Diameter: 57 cm, Victoria and Albert Museum, London, UK
https://umbriaandtuscanyunravelled.blogspot.com/2015/06/object-in-focus-june-2015-june-one-of.html

In the mid-15th century, the studietto in the Medici Palace was a marvel of Florentine artistry. These resplendent with the most worthy figures inspired awe in all who entered, as noted by the architect Filarete. This intimate chamber, adorned to stir curiosity and admiration, met an untimely demise during the palace’s 17th-century remodelling. The surviving roundels, treasures of Renaissance art, found their way into a private Italian collection before being acquired by the Victoria and Albert Museum in 1861. Today, these pieces form the heart of a reconstructed space at the V&A, meticulously designed to evoke the original studietto’s ambience!

For a PowerPoint Presentation of the 12 Labours of the Months by Luca della Robbia in the Victoria and Albert Museum in London, please… Check HERE!

Bibliography: https://www.jstor.org/stable/3048729?read-now=1&seq=5#page_scan_tab_contents Some Unknown Descriptions of the Medici Palace in 1459 by Rab Hatfield, The Art Bulletin, Vol. 52, No. 3 (Sep. 1970), pp. 232-249 (18 pages)

The Cave of Altamira

by ArchaeologyArtPowerpointsPrehistoric ArtSpanish Art
Cave of Altamira, Paleolithic Cave Art, Santillana del Mar, Cantabria, SpainScientists believe the paintings date from c. 14,820 to 13,130 years ago
The original Cave of Altamira is closed to the public, but a Replica Cave and Museum were built nearby in 2001 by Manuel Franquelo and Sven Nebel, faithfully reproducing the Cave and its Art.
Photo Credit: Mariola Salceda

Nestled in the verdant landscapes of northern Spain, The Cave of Altamira stands as a testament to the artistic prowess and ingenuity of our prehistoric ancestors. This remarkable archaeological site often hailed as the “Sistine Chapel of Prehistoric Art,” offers a captivating glimpse into the lives and minds of the people who roamed the Earth over 20,000 years ago.

Discovered in the late 19th century, the cave’s walls are adorned with stunning depictions of bison, deer, horses, and other animals, rendered in vivid hues of red, black, and ochre. These paintings are not merely decorative, they are believed to hold significant cultural and possibly spiritual meaning for the Upper Paleolithic societies that created them.

The Cave of Altamira’s discovery is a tale of serendipity, curiosity, and a bit of luck, intertwining the lives of a local landowner and his inquisitive daughter. In 1868, Modesto Cubillas, a hunter from the Cantabrian region of Spain, stumbled upon the entrance to a cave on the estate of Marcelino Sanz de Sautuola. Though Cubillas mentioned the cave to Sautuola, it wasn’t until a decade later that its true significance was unveiled. Marcelino Sanz de Sautuola, an amateur archaeologist and nobleman with a keen interest in natural history, began exploring the cave in 1875. Initially, he found nothing more than a few animal bones and flint tools, which piqued his interest but did not hint at the artistic treasure that lay within.

The breakthrough came in 1879 when Sautuola returned to the cave with his eight-year-old daughter, María. As the story goes, while her father was busy examining the cave floor, young María wandered off and looked up at the ceiling. She was the first to notice the vivid paintings of bison, which she excitedly called to her father’s attention, describing them as “painted bulls.” Sautuola was astounded by the discovery and immediately recognized the importance of the paintings. He published his findings in 1880, suggesting that the artwork was prehistoric. However, his claims were met with scepticism and ridicule by the scientific community, which doubted the authenticity of such sophisticated art being so ancient. It wasn’t until the early 20th century when other similar cave paintings were discovered across Europe, that the significance of Altamira was universally acknowledged, and the cave received the recognition it deserved.

The art discovered in the Cave of Altamira is a breathtaking collection of Paleolithic paintings and engravings, primarily featuring vivid depictions of animals such as bison, deer, horses, and wild boars. These images, rendered in red, black, and ochre pigments, showcase a remarkable understanding of perspective, movement, and naturalism, with many of the figures appearing lifelike and dynamic. The cave’s ceiling is particularly famous for its polychrome bison, which seem to leap off the rock surface, demonstrating the prehistoric artists’ advanced skill and creativity. This extraordinary art provides a profound insight into the lives, beliefs, and artistic achievements of our ancient ancestors.

In addition to its iconic animal depictions, the Cave of Altamira features non-iconic art that includes abstract shapes and handprints, adding to the cave’s enigmatic and culturally rich tapestry, and offering a different perspective on prehistoric expression. The handprints, created by placing hands against the cave wall and blowing pigment around them, result in striking negative images that convey a direct human presence from millennia ago. These stencilled hands, along with various geometric patterns and symbolic marks, suggest a complex cultural and possibly ritualistic significance. This non-iconic art complements the more detailed animal figures, highlighting the multifaceted nature of the early human artistic endeavour and providing deeper insights into the cognitive and social practices of the Upper Paleolithic inhabitants.

Today, the Cave of Altamira is celebrated as a cornerstone in the study of prehistoric art, offering invaluable insights into the creativity and cultural practices of our distant ancestors. The tale of its discovery remains a fascinating chapter in the annals of archaeology, underscoring the importance of open-mindedness and the unexpected contributions of youthful curiosity.

On the 15th of May, I was fortunate to visit The Replica Cave and Museum of Altamira with my ‘Art Group’ friends and my colleague and dear friend Mariola Salceda from the University of Saragoza… It was truly a once-in-a-lifetime experience, a convergence of history, art, and friendship that left me utterly speechless. It was a journey through time, a profound encounter with humanity’s earliest expressions of creativity, and a moment I shall cherish forever.

For the PowerPoint on Paleolithic Cave Art in Spain, please… Check HERE!

Bibliography: https://www.cultura.gob.es/mnaltamira/en/home.html and https://www.bradshawfoundation.com/spain/altamira/index.php and https://artsandculture.google.com/story/ZAVhI3eo6sPyJA

Constantine the Great

by ArtByzantine ArtByzantine ManuscriptByzantiumMedieval ArtStudent ActivitiesWorksheets
Homilies of Gregory of Nazianzus, Constantine and the Battle of the Milvian Bridge, folio 440r, (detail), 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://commons.wikimedia.org/wiki/File:BnF_MS_Gr510_folio_440_recto_-_detail_-_Constantine%27s_Vision_and_the_Battle_of_the_Milvian_Bridge.jpg

And while he was thus praying with fervent entreaty, a most marvelous sign appeared to him from heaven, the account of which it might have been hard to believe had it been related by any other person. But since the victorious emperor himself long afterwards declared it to the writer of this history, (1) when he was honored with his acquaintance and society, and confirmed his statement by an oath, who could hesitate to accredit the relation, especially since the testimony of after- time has established its truth? He said that about noon, when the day was already beginning to decline, he saw with his own eyes the trophy of a cross of light in the heavens, above the sun, and bearing the inscription, IN HOC SIGNO VINCES (Conquer by this) …  This phrase is traditionally associated with Constantine the Great and his vision before the Battle of the Milvian Bridge in 312. According to early Christian historian Eusebius, Constantine saw this sign in the sky urging him to adopt the Christian cross as his standard. https://www.u.arizona.edu/~afutrell/404b/euseb%20life%20c.htm

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervor, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

Created in the late 9th century, this fine manuscript stands as a testament to the teachings of Gregory of Nazianzus, a significant theological figure from the fourth century. It was meticulously produced as an elaborate gift for Emperor Basil I, the progenitor of the Macedonian dynasty, courtesy of Patriarch Photios, a renowned scholar of Byzantium. This manuscript is distinguished by its forty-six full-page miniatures; however, less than half of these are directly reflective of the sermons it contains. Most of the artwork instead offers a visual exploration of the Byzantine court during the ninth century. These miniatures are more than mere decorations; they are profound visual essays that provide insights not captured in other contemporary records. Through careful examination, they reveal the unique capabilities of visual art to communicate complex themes and narratives distinctively different from written texts.

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected Homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervour, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

Created in the late 9th century, this fine manuscript stands as a testament to the teachings of Gregory of Nazianzus, a significant theological figure from the fourth century. It was meticulously produced as an elaborate gift for Emperor Basil I, the progenitor of the Macedonian dynasty, courtesy of Patriarch Photios, a renowned scholar of Byzantium. This manuscript is distinguished by its forty-six full-page miniatures; however, less than half of these are directly reflective of the sermons it contains. Most of the artwork instead offers a visual exploration of the Byzantine court during the ninth century. These miniatures are more than mere decorations; they are profound visual essays that provide insights not captured in other contemporary records. Through careful examination, they reveal the unique capabilities of visual art to communicate complex themes and narratives distinctively different from written texts.

Homilies of Gregory of Nazianzus, Constantine’s vision and the Battle of the Milvian Bridge, folio 440r, 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://el.wikipedia.org/wiki/%CE%9F%CE%BC%CE%B9%CE%BB%CE%AF%CE%B5%CF%82_%CF%84%CE%BF%CF%85_%CE%93%CF%81%CE%B7%CE%B3%CE%BF%CF%81%CE%AF%CE%BF%CF%85_%CE%9D%CE%B1%CE%B6%CE%B9%CE%B1%CE%BD%CE%B6%CE%B7%CE%BD%CE%BF%CF%8D

Folio 440r of the Homilies of Gregory of Nazianzus presents a captivating artistic depiction of a pivotal historical moment: Emperor Constantine the Great at the Battle of the Milvian Bridge. This illustration is not just a simple portrayal; it is imbued with historical and symbolic significance. The scene vividly captures the dramatic and miraculous nature of the battle, which occurred in 312 AD near Rome. According to historical accounts, Constantine, on the eve of the conflict, experienced a vision that led him to adopt the Christian symbol of the Cross and the Chi-Rho on his soldiers’ shields, a decisive factor attributed to his victory. This moment is often considered a turning point for Christianity, marking its transition from persecution to imperial endorsement.

The artistry of the miniature depicting Constantine’s victory at the Battle of the Milvian Bridge transcends simple historical documentation, embodying the theological and political ideals of the Byzantine Empire at the time of the manuscript’s creation. This illustration is set against a two-tone green ground beneath a blue backdrop, where the background features are minimalist, confined only to essential narrative elements such as the Milvian Bridge itself or a monochromatic landscape. The figures, stocky with disproportionately large heads, are rendered in a style that favours either a frontal gaze or a pure profile, even as more complex poses are attempted.

Through its detailed iconography and thoughtful composition, the miniature communicates both the earthly and heavenly endorsement of Constantine’s rule and victory, providing viewers with a layered interpretation of history that is infused with divine significance. This approach creates a visual narrative that not only highlights the pivotal moment but also emphasizes themes interwoven with the broader religious and imperial ethos of the era. The strategic simplification of background elements and the stylized depiction of figures enhance the focus on the central themes, effectively marrying form with content in a portrayal rich with symbolic meaning.

For a Student Activity inspired by folio 440r of the Homilies of Gregory of Nazianzus, which depicts Constantine the Great and the Battle of the Milvian Bridge, please… Check HERE!

Bibliography: Vision and Meaning in 9th-Century Byzantium, Image as Exegesis in the Homilies of Gregory of Nazianzus by Leslie Brubaker https://www.academia.edu/49490426/Vision_and_Meaning_in_9th_Century_Byzantium_Image_as_Exegesis_in_the_Homilies_of_Gregory_of_Nazianzus and https://gallica.bnf.fr/ark:/12148/btv1b84522082/f891