Mosaics Archives - Teacher Curator

House of the Large Fountain

December 5, 2024

by admin Ancient Roman Villas Archaeology Art Mosaics Powerpoints Roman Art

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

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

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

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

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

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

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

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

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

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

The Torcello Hodegetria

August 14, 2024

by admin Archaeology Art Byzantine Art Byzantine Church Architecture Byzantine Mosaics Byzantium Mosaics Student Activities Worksheets

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

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

**Torcello Island,** Italy https://religiana.com/torcello-cathedral

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

House of the Doves in Pompeii

December 28, 2023

by admin Ancient Roman Villas Art Mosaics Roman Art Student Activities Worksheets

**Mosaic Emblema with Doves on a Water Basin**, 1^st century BC, Room ‘n’ House of Doves in Pompeii (Region VIII, 2-34), now in Naples Archaeological Museum, Italy https://commons.wikimedia.org/wiki/Category:Doves_drinking_at_a_golden_basin,_mosaic_(from_Pompeii)#/media/File:Doves_at_a_Basin,_Mosaic.jpg

The dove, revered across cultures and religions, stands as a powerful symbol of Peace, Purity, and Hope. With its gentle demeanor and graceful flight, the dove has been a timeless emblem of tranquility and reconciliation. In various ancient mythologies, the dove has been linked to goddesses of love and fertility, like Inanna/Ishtar in Mesopotamia, or Aphrodite in Greece, adding a dimension of divine love to its symbolism. The dove’s appearance in the biblical story of Noah’s Ark further solidified its association with peace and new beginnings, as it returned to Noah carrying an olive branch, signaling the end of the flood. In Christianity, it gained prominence as a symbol of the Holy Spirit, often depicted during significant moments like the baptism of Jesus. Beyond religious contexts, the dove has become a universal icon for peace movements and humanitarian causes, transcending borders and languages to convey a shared aspiration for harmony in the world. As we usher in the New Year, let the beautiful mosaic of Doves in the House of the Doves in Pompeii serve as a heartfelt message for peace and prosperity in the coming year! May the spirit of these doves inspire moments of serenity and abundance in your life as we embark on this fresh journey together.

The House of the Doves (Casa delle Colombe or Casa di V. Popidius) is a captivating ancient Roman residence located in the archaeological site of Pompeii. Situated in the southwestern part of the city (Regio VIII, 2-34), this well-preserved house offers a glimpse into the lifestyle of the Pompeian elite during the first century AD. The house derives its name from a stunning mosaic that adorns one of its rooms (Room ‘n’ in Plan), featuring six Doves in various poses, around a water basin. Its layout is typical of Roman homes, with a central atrium surrounded by rooms adorned with frescoes, mosaics, and other ornate decorations. The architectural and artistic elements found within the house provide valuable insights into the aesthetics and daily life of Pompeii’s ancient inhabitants, making it a fascinating destination for archaeologists, historians, and visitors alike.

The intricate Mosaic Emblema featuring three doves perched on the rim of a golden water basin supported by lion’s feet, with a fourth dove gracefully descending and two more resting on the shelf below, is just one among the numerous exquisite details that distinguish this particular residence. Unearthed during the March 1885 excavation season in Room ‘n,’ an oecus or triclinium located in the southeast corner of the house’s atrium, the impressive mosaic is currently on display at the Naples Archaeological Museum. https://mann-napoli.it/en/mosaici-2/

The room’s floor, hardly preserved today, was made of a white mosaic with small tesserae without any border. In the center, the Emblema with the Doves is believed to derive from a model by the famed mosaicist Sosus of Pergamon (εκ Περγάμου ψηφιδογράφος Σώσος), an artist discussed and much admired by Pliny the Elder.

Sosus of Pergamon, a renowned Hellenistic mosaicist, left an indelible mark on the ancient world with his extraordinary mosaic artworks. Pliny describes Hellenistic mosaic making and Sosus’s accomplishments as …Paved floors originated among the Greeks and were skilfully embellished with a kind of paintwork until this was superseded by mosaics. In this latter field the most famous exponent was Sosus, who at Pergamum created a greatly admired mosaic of a Dove… in the act of drinking, and throwing the shadow of its head upon the water; while other birds are to be seen sunning and pluming themselves, on the margin of a drinking-bowl. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D36%3Achapter%3D60

While none of Sosus’s original works have withstood the test of time, his renown persists through the admiration of later artists and historians. His impact on the art of mosaic has created a lasting legacy, inspiring subsequent generations and enriching the intricate tapestry of Hellenistic artistic achievement. The question arises: is the Pompeiian Mosaic of Doves a reproduction of Sosus’s renowned Hellenistic mosaic? An affirmative response is quite likely.

Wishing you a joyous and fulfilling New Year filled with Harmony and Happiness!

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves (Matthew 10:16)… https://www.biblegateway.com/passage/?search=Matthew%2010%3A16&version=NIV

For a Student Activity, inspired by the beautiful mosaic of Doves in the House of the Doves in Pompeii, please… Check HERE!

A reference to the legendary Hellenistic Mosaicist Sosus (εκ Περγάμου ψηφιδογράφος Σώσος), can be accessed in a former Teacher Curator BLOG POST titled Heraklitos and the Asarotos Oikos Mosaic… https://www.teachercurator.com/art/heraklitos-and-the-asarotos-oikos-mosaic/

House of the Faun

September 3, 2023

by admin Ancient Roman Villas Art Mosaics Powerpoints Roman Art

The Latin inscription **HAVE**, translated as Welcome in English, salutes visitors to the largest and most luxurious residence in Pompeii, **The House of the Faun**, 2^nd century BC to 79 AD, Pompeii, Italy
http://pompeiisites.org/en/archaeological-site/house-of-the-faun /

The House of the Faun is the grandest and most lavishly decorated private residence in ancient Pompeii. Originally serving as the home of a privileged family, this remarkable house, constructed in the latter part of the second century BC, circa 180 BC to be specific, occupied an entire city block and boasted an expansive interior spanning approximately 3,000 square meters. Home to many spectacular pieces of art, the House of the Faun stands out for its opulent floor mosaics, some of which remain in their original positions, while others are exhibited at the National Museum of Naples.

**House of the Faun,** the large Tuscan Atrium of the House of the Faun in Pompeii with a central impluvium (rainwater basin) and the bronze statue of the **Dancing Faun**, a Roman copy of a Hellenistic original bronze statue, 0.64 cm, National Museum of Naples, Italy https://www.worldhistory.org/image/11263/the-atrium-of-the-house-of-the-faun-in-pompeii/

The title, House of the Faun, derived from an original bronze figurine portraying a dancing Faun situated at the heart of a white limestone Impluvium (Plan No. 27), a basin for collecting water. Fauns, ethereal beings associated with untamed forests, were frequently linked by Romans to Pan and Greek satyrs, who were followers of Dionysus, the Greek deity associated with wine and agriculture. The original bronze statuette of the Dancing Faun is in the National Museum of Naples, thus the statue seen in the house’s ruins today is a copy.

The elaborate and sophisticated architectural plan of the House of the Faun reflects the wealth and social status of its occupants and follows the standard Roman architectural style of a Domus (private family house) but on an exceptionally grand scale. The House had, for example, two main Entrances, (Plan No 2bold and No 5bold). The principal Entrance (Plan No. 2bold) led to the Tuscan Atrium (Plan No. 27), while a secondary Entrance (Plan No. 5bold) led directly to the Tetrastyle Atrium (Plan No. 7) and the service areas. The Tuscan Atrium, with a large open hall, the heart of the house, had the impluvium in the center, a basin that collected rainwater, with a small bronze statue of a Dancing Faun, giving the house its name.

Around the Tuscan Atrium were various rooms including cubicula (bedrooms), a tablinum (office or study), and triclinia (dining rooms). A special room, the Exedra (Plan No. 37), was off the smaller Peristyle (Plan No. 36) and contained the famous Alexander Mosaic.

**Mosaic of Alexander and Darius,** 2^nd century BC, Naples Archaeological Museum, Italy https://mann-napoli.it/en/mosaici-2/#gallery-4

The house had two Peristyles (Plan No. 36 and No. 39) or colonnaded courtyards. The larger one (Plan No. 39), was essentially a garden surrounded by a colonnade. The second smaller Peristyle (Plan No. 36) was more private and was linked to the private living areas. Separate service quarters were attached to the secondary entrance and the Tetrastyle Atrium (Plan No. 5bold and No. 7). These included the kitchen, a small bathing complex, slave quarters, and storerooms. On the exterior, the house had tabernae or shops (Plan No. 1, No 2, No 3, and No 4). These were leased out to generate additional income.

The House of the Faun represents a clear example of how the Romans valued both private and social aspects of life, and how they incorporated this into their architecture.

This residence is most famous for its intricate and beautifully preserved mosaics, which not only demonstrate the wealth and status of its inhabitants but also provide an insight into the aesthetic tastes of the Roman elite during this period. The mosaics serve as invaluable examples of the ancient Roman mosaic tradition, each one unique in design and execution.

The most famous mosaic found in the House of the Faun is the Alexander Mosaic, which covered the floor of the Exedra (Plan No. 37). The mosaic, dated during the 2^nd century BC, is believed to depict the Battle of Issus (333 BC) between Alexander the Great and Darius III of Persia. The mosaic is lauded for its attention to detail, dramatic energy, and sophisticated use of perspective, showcasing a high degree of artistic skill.

The mosaic I find particularly touching presents one word only. It was placed in front of the main entrance to the House (Plan No. 2bold), reading HAVE, a Latin word meaning ‘Greetings’ or ‘Welcome’. Isn’t it a particularly welcoming touch to the grandeur of this spectacular Pompeiian house?

The PowerPoint I prepared for my new BLOG POST the House of the Faun has two Parts. The first consists of photos of the House itself. The second part of the PowerPoint presents photos of its famous Mosaics. For the PowerPoint, please… Check HERE!

This Video dedicated to the House of Faun is worth seeing… https://www.youtube.com/watch?v=-X4i0psJ2p0

The Epiphany of Dionysus Mosaic in Delos

October 9, 2022

by admin Ancient Greek Art Art Greek Art Hellenistic Art Mosaics Mythology Powerpoints

**House of Dionysus, Epiphany of Dionysus**, 2^nd century BC, Mosaic, Delos Island, Greece https://en.wikipedia.org/wiki/Mosaics_of_Delos#/media/File:Delos_Museum_Mosaik_Dionysos_05.jpg

In Euripides’s Bacchae, it is Teiresia’s role, addressing Pentheus, to introduce Dionysus to the audience, just like the Epiphany of Dionysus Mosaic in Delos does… visually! …You have a rapid tongue as though you were sensible, but there is no sense in your words… [270] This new god, whom you ridicule, I am unable to express how great he will be throughout Hellas. For two things, young man, [275] are first among men: the goddess Demeter—she is the earth, but call her whatever name you wish; she nourishes mortals with dry food; but he who came afterward, the offspring of Semele, discovered a match to it, the liquid drink of the grape, and introduced it [280] to mortals. It releases wretched mortals from grief, whenever they are filled with the stream of the vine, and gives them sleep, a means of forgetting their daily troubles, nor is there another cure for hardships. He who is a god is poured out in offerings to the gods, [285] so that by his means men may have good things! http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0092%3Acard%3D266

**House of Dionysus, Epiphany of Dionysus (Detail)**, 2^nd century BC, Mosaic, Delos Island, Greece https://www.greece-is.com/why-mykonos-became-a-muse-for-the-worlds-most-discerning-travelers/

There is no easy way to describe God Dionysus. The Homeric Hymns 26 on Dionysus is, I believe, a wonderful introduction… [1] I begin to sing of ivy-crowned Dionysus, the loud-crying god, splendid son of Zeus and glorious Semele. The rich-haired Nymphs received him in their bosoms from the lord his father and fostered and nurtured him carefully [5] in the dells of Nysa, where by the will of his father he grew up in a sweet-smelling cave, being reckoned among the immortals. But when the goddesses had brought him up, a god oft hymned, then began he to wander continually through the woody coombes, thickly wreathed with ivy and laurel. And the Nymphs followed in his train [10] with him for their leader; and the boundless forest was filled with their outcry. / And so hail to you, Dionysus, god of abundant clusters! Grant that we may come again rejoicing to this season, and from that season onwards for many a year. The Homeric Hymns 26 on Dionysus is, I believe, a wonderful introduction! https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0138%3Ahymn%3D26

**House of Dionysus, Epiphany of Dionysus (Face Close Up)**, 2^nd century BC, Mosaic, Delos Island, Greece https://en.wikipedia.org/wiki/Mosaics_of_Delos#/media/File:Face_of_Dionysos_(detail),_mosaic_of_the_House_of_Dionysos,_Delos,_Greece,_2nd_century_BC.jpg

The Epiphany of Dionysus Mosaic in Delos shows the God exactly as Homer describes him… splendid, thickly wreathed with ivy and laurel, a god of abundant clusters of grapes! An anonymous 2^nd century BC mosaicist, created on the island of Delos, at the House of Dionysus to be exact, a stunning mosaic emblema depicting Dionysus in all his glory. Against a black background, the God of wine and theater, ivy-crowned, wings outstretched, holding with his right hand a ribboned thyrsus like he is holding a spear, is shown on the back of a tiger that wears a necklace wreath of vines and grapes around its neck. They seem to ride within the boundaries of a landscape mosaic composition of plants, a beetle, and a kantharos-type cup. Is Dionysus depicted coming back from India, magnificently winged like a daemon? It would be nice if we were certain.

The mosaic in the House of Dionysus is one of the finest examples of Opus Vermiculatum. The tesserae used for carrying it out, measuring about one-millimeter square, were made of glass, faience, terracotta, and natural stones. Their small size made it easier for the mosaicist to produce a realistic figured scene, shading, known to the Greeks as skiagraphia, for three-dimensionality, and a sense of illusionism. The name and origin of the mosaicist are a mystery. The name and origin of the owners of the so-called ‘House of Dionysus’ in Delos is a mystery as well. Today, the House of Dionysus stands out from afar thanks to its huge marble columns that surround the courtyard where the Epiphany of Dionysus Mosaic, one of the most exquisite creations of the Hellenistic art of mosaic-making was placed, for all visitors, to admire.

For a PowerPoint on God Dionysus, please… Check HERE!