Roman Art Archives - Teacher Curator

Eros and Psyche

February 17, 2025

by admin Archaeology Art Greek Art Hellenistic Art Powerpoints Roman Art Sculpture

**Eros and Psyche**, Roman marble sculpture, 300 AD, after a Hellenistic, 2nd century BC original statue, Marble, Height: 1.25 m, Capitoline Museums, Rome, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

Nestled within the Musei Capitolini in Rome, the charming marble statue of Eros and Psyche captures a tender moment of love and longing from ancient mythology. About a year ago, on February 17, 2024, while attending ΝοΗΜΑΤΑ: Personifications and Allegories from Antiquity to Today, an exceptional exhibition at the Acropolis Museum in Athens, I came face to face with this adorable work of art. I was enchanted, as it beautifully portrays the intimate bond between the god of love and the mortal maiden, offering visitors a glimpse into the artistry and emotion of classical antiquity.

When I ask questions, starting with ‘who,’ ‘how,’ ‘where,’ ‘why,’ and ‘what,’ about the statue of Eros and Psyche in Rome, I find myself uncovering its historical context, artistic significance, and the captivating story behind its creation. Let’s do it!

Who are ‘Eros and Psyche’ in classical mythology, and How do their roles and stories shape the meaning and emotional resonance of the statue? Eros (Cupid in Roman mythology) is the god of love and desire, often depicted as a youthful figure with wings, symbolizing the fleeting and unpredictable nature of love. Psyche, whose name means “soul” in Greek, is a mortal woman of extraordinary beauty. Their story, immortalized in Apuleius’ The Golden Ass (also known as Metamorphoses), narrates the trials and ultimate union of love (Eros) and the soul (Psyche), symbolizing the transformative power of love and its ability to overcome challenges.

Who was the sculptor of ‘Eros and Psyche’ in the Musei Capitolini? The sculptor of the ‘Eros and Psyche’ statue in the Musei Capitolini is unknown. This marble work is a Roman copy (1st or 2nd century AD) of a Hellenistic original, typical of the 2nd century BC. Roman sculptors frequently replicated Greek masterpieces, adapting them to suit Roman tastes while preserving the essence of the original composition. The anonymity of the artist adds an air of mystery to the statue, leaving its artistry to speak for itself.

How does the statue of ‘Eros and Psyche’ convey the universal themes of love, perseverance, and redemption through its composition and emotional resonance? In the statue, their tender embrace embodies the culmination of their myth: the union of love and soul after overcoming trials. This intimate moment resonates emotionally, as it speaks to universal themes of love, perseverance, and redemption. The depiction elevates their myth from a simple narrative to an allegory of human experience, giving the statue profound meaning and aesthetic significance.

What techniques did the artist employ to achieve the statue’s graceful balance and sentimental appearance? The artist of the ‘Eros and Psyche’ statue employed classical techniques to achieve its graceful balance and sentimental appearance. The use of a contrapposto stance gives the figures a dynamic yet harmonious pose, while the smooth textures and finely carved drapery add a sensual softness that enhances their tender connection. Subtle facial expressions and intertwined gestures evoke emotional depth, while meticulous attention to proportion and symmetry underscores their unity as counterparts—love and soul. The dynamic composition, with its circular flow, draws the viewer’s eye and reinforces the theme of eternal unity, making the statue both aesthetically captivating and emotionally resonant.

How does the Roman statue of ‘Eros and Psyche’ reflect the artistic trends or cultural values of its time? The statue reflects the artistic trends and cultural values of its time by embodying the Roman fascination with Greek mythology and the idealized human form. Created during the Roman Imperial period, it demonstrates the Roman practice of replicating and adapting Hellenistic art, emphasizing naturalism, emotional expression, and harmonious proportions. The statue’s tender depiction of love and the soul aligns with the Roman cultural appreciation for storytelling, allegory, and themes of morality and virtue. Additionally, it reflects the Roman value placed on intimate and domestic scenes, which were often used to adorn villas and gardens, symbolizing love, beauty, and emotional depth in everyday life.

Where was the statue discovered, and what does its provenance reveal about its historical journey before becoming part of the Capitoline collection? The Eros and Psyche statue was discovered on the Aventine Hill in Rome during the 18th century, in the garden of the vigna of Panicale in February 1749, to be specific. Its provenance highlights its origins as a Roman Imperial copy of a Hellenistic Greek original, crafted to adorn an elite Roman residence or garden. The discovery on the Aventine Hill, an area historically associated with wealthy Roman villas, suggests the statue was a decorative piece intended to evoke classical ideals of love and beauty in a private, refined setting. Its acquisition by the Capitoline Museums, through a Pope Benedict XIV donation shortly after the statue’s discovery, underscores the Enlightenment-era fascination with antiquity and the desire to preserve and showcase classical art as a cultural and historical treasure.

Why has this statue inspired numerous artists to create their own interpretations of the Cupid and Psyche myth? The Eros and Psyche statue has inspired numerous artists, including Antonio Canova, because it captures the timeless themes of love, desire, and the union of the human soul with divine affection. Its tender composition and emotional resonance offer a perfect balance of aesthetic beauty and narrative depth, making it an ideal subject for reinterpretation. For artists like Canova, who sought to revive classical ideals during the Neoclassical period, the statue’s portrayal of mythological characters in a moment of intimacy provided a rich source of inspiration to explore human emotions and the universal power of love through their own artistic lens.

For a PowerPoint Presentation of the Eros and Psyche theme, please… Check HERE!

Bibliography: https://en.wikipedia.org/wiki/Cupid_and_Psyche_(Capitoline_Museums) and https://www.museicapitolini.org/en/opera/statua-di-amore-e-psiche and https://human.libretexts.org/Courses/Saint_Mary’s_College_(Notre_Dame_IN)/Humanistic_Studies/HUST_292%3A_Reclaiming_the_Classical_Past_for_a_Diverse_and_Global_World/01%3A_Apuleius-_Cupid_and_Psyche

The Tyche of Antioch

January 26, 2025

by admin Archaeology Art Hellenistic Art Roman Art Sculpture Student Activities Worksheets

**Tyche of Antioch** (Roman copy after a Greek bronze original by Eutychides of the 3rd century BC), 1^st-2^nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

§ 88 And he (Seleucus), riding with his gaze fixed upward, was guided to Emathia by the flight of the bird. The eagle, descending there, placed the offerings on the altar of Zeus Bottiaios, which had been founded by Alexander, when the spring refreshed him; and it seemed to all, even to those not skilled in augury, that Zeus was advising that a city be built on the place. Thus Alexander’s original desire for a settlement, and his beginning of the undertaking, moved toward completion; and the chief of the gods became our founder through his prophetic sign. § 89 Then Seleucus collected artisans representing every skill, all sources of labor for assistance, and all the finest possible stones. Forests were cut down for roofs, and wealth was poured into the work of building. § 90 Outlining the city, he stationed the elephants at intervals, at the places where the towers were to be, and to mark out the length and breadth of colonnades and side streets he used, for the dividing lines, wheat which had been brought by ships which stood in the river. § 91 And quickly the city rose; and quickly what was built was filled with those who came down to the city from Ione, Argives and Cretans and the descendants of Herakles – who were, I believe, related to Seleucus through Temenus of old – and with the soldiers who followed Seleucus, who chose this place for their home… Antioch, one of the great cities of the ancient world, owes its foundation to the vision and divine guidance of Seleucus I Nicator, as vividly recounted by Libanius in his Oration In Praise of Antioch. Does the Vatican’s statue of The Tyche of Antioch truly capture the grandeur and spirit of this legendary city? https://topostext.org/work/789

Antioch, founded in 300 BC by Seleucus I Nicator, one of Alexander the Great’s generals, quickly became one of the most important cities of the ancient world. Strategically located on the Orontes River near the Mediterranean, it served as a critical hub connecting the East and the West. Seleucus named the city after his father, Antiochus, and established it as the capital of the Seleucid Empire. Known for its diverse population, including Greeks, Jews, and Syrians, Antioch was a melting pot of cultures and religions, fostering a vibrant intellectual and artistic community. The city’s grand architecture, with colonnaded streets, aqueducts, and public baths, reflected its wealth and status. Its significance grew under Roman rule, becoming the empire’s third-largest city and earning the nickname Queen of the East due to its prosperity and cosmopolitan character.

Antioch was also a vital center of early Christianity. It is where followers of Jesus were first called “Christians” and where significant missionary activities, including those of Paul and Barnabas, were launched. The city played a crucial role in the spread of Christianity across the Roman Empire. Despite its cultural and spiritual prominence, Antioch faced numerous challenges, including devastating earthquakes and invasions. It declined after the Muslim conquest in the 7th century Ad but remained a key regional city. Today, Antioch’s legacy endures as a symbol of ancient urban innovation, religious significance, and cultural integration, echoing its storied past as one of antiquity’s greatest cities.

**Tyche of Antioch** (Roman copy after a Greek bronze original by Eutychides
of the 3rd century BC) detail, 1^st-2^nd cent AD, Marble, Height: 0.89 m, Galleria dei Candelabri, Musei Vaticani https://commons.wikimedia.org/wiki/File:The_Tyche_of_Antioch._Marble,_
Roman_copy_after_a_Greek_bronze_original_by_Eutychides_of_the_
3rd_century_BC,_Galleria_dei_Candelabri,_Vatican_Museums_02.jpg

Slightly after 300 BC, the Greek sculptor Eutychides of Sicyon, famous student of Lysippos, crafted a monumental statue of the Tyche of Antioch. The statue presented a woman, the striking personification of the city, depicted seating on a rock with a turreted crown symbolizing her fortified walls and urban strength. At her feet flowed the river Orontes, represented as a youthful figure reclining, emphasizing the city’s strategic location and life-giving waters. The statue’s innovative design, blending allegory with urban identity, left a profound mark on ancient art. It became an enduring icon, inspiring countless replicas and adaptations in various scales and materials for over 500 years. These copies spread throughout the Hellenistic and Roman worlds, testifying to the statue’s artistic brilliance and Antioch’s cultural prestige. The original statue by Eutychides has been lost to history, but its legacy endures through Roman-era copies, the most famous of which is preserved in the Vatican Museums, ensuring that Eutychides’ vision continues to captivate modern audiences as a symbol of fortune, ingenuity, and the enduring legacy of a legendary city.

The Vatican statue of The Tyche of Antioch beautifully reflects Libanius’s account of the city’s foundation, highlighting themes of divine guidance, careful planning, and prosperity. Libanius describes how Seleucus, guided by Zeus through an eagle, built Antioch with divine approval, blending human effort with celestial will. This connection is seen in the statue, where Tyche wears a crown shaped like the city’s walls, symbolizing divine protection. Libanius’s mention of elephants marking towers and wheat outlining streets mirrors the precision and care seen in Eutychides’s design. The river Orontes at Tyche’s feet emphasizes the river’s importance to Antioch’s layout and economy. Together, the statue and Libanius’s story celebrate the union of nature, divine will, and human ingenuity that made Antioch a legendary city, embodying its historical and artistic significance.

For a Student Activity inspired by the Vatican Tyche of Antioch, please… Check HERE!

House of the Large Fountain

December 5, 2024

by admin Ancient Roman Villas Archaeology Art Mosaics Powerpoints Roman Art

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

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

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

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

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

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

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

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

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

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

Head of Nemesis

November 14, 2024

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

**Head of Nemesis, the personification of attribution of Justice,** 2^nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

Of Nemesis we sing, undying goddess, stern Victory with spreading wings, infallible, seated by the throne of Justice; of thee that resentest man’s arrogance and sweepest it down to Tartarus… wrote Mesomedes of Crete, the Greek lyric poet and musician of the 2nd century AD, who served at the court of Emperor Hadrian. Standing before the Head of Nemesis from the Museum of ancient Agora in Athens I can almost feel the weight of divine retribution she carries, much like in Mesomedes’ Hymn to Nemesis, where she is invoked as the ever-watchful enforcer of balance, striking down human arrogance. https://laudatortemporisacti.blogspot.com/2008/07/mesomedes-hymn-to-nemesis.html

Goddess Nemesis in ancient Greek mythology was the personification of divine retribution and justice, often associated with the punishment of hubris (excessive pride or arrogance, in Greek Ύβρις). She was believed to maintain balance by ensuring that no individual, mortal or divine, grew too proud or overstepped moral boundaries. Nemesis was depicted as a stern and impartial force who imposed punishment on those who defied the natural order, often by bringing misfortune to those who had gained undeserved success or wealth.

Nemesis was traditionally viewed as a daughter of Nyx (Night), though her parentage varies in different accounts. She was also sometimes seen as an agent of fate, aligning her with themes of destiny and the unavoidable consequences of one’s actions. The goddess was often portrayed as a winged figure holding a sword, scales, or a wheel, symbolizing the cyclical nature of fortune and justice. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D207

Worship of Nemesis was widespread, and she had a notable cult center at Rhamnous in Attica, where she was honored as a protector of justice. The temple at Rhamnous housed a large statue of the goddess, created by the sculptor Agorakritos, a student of Phidias, and was considered one of the finest representations of the goddess. Located near the fortress of Rhamnous, the temple symbolized her role as a guardian of law and order, watching over the region and its people, ensuring that justice was upheld in both mortal and divine realms.

**Roman Copy of the statue of Nemesis of Agorakritos** in the Ny Carisberg Glyptothek, Copenhagen https://www.worldtravelimages.net/Copenhagen_Glyptotek.php
**Agorakritos of Paros,** 5^th century BC
**Head of Nemesis, the personification of attribution of Justice,** 430-420 BC, Marble, Height: 41.91 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1820-0513-2
**Head of Nemesis, the personification of attribution of Justice,** 2^nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

The Statue of Nemesis by Agorakritos, a celebrated pupil of the renowned sculptor Phidias, was a masterpiece of classical Greek art housed in the temple of Rhamnous in Attica. Crafted in the 5th century BC, this statue depicted Nemesis as a stern, majestic figure embodying divine retribution and justice. Made from Parian marble, the statue was renowned for its exquisite detail and symbolic attributes, including a wreath, rein, and a branch, symbolizing punishment, control, and the restoration of balance.

After three years of meticulous research, Professor of Archaeology at Thessaloniki University, George Despinis, has made a significant breakthrough by assembling around 340 fragments of the Nemesis statue, supplementing the previously known head fragment held at the British Museum. While about one-fifth of the statue has been recovered, Despinis’ work goes beyond merely reconstructing this admired masterpiece. His analysis of the fragments has, for the first time, precisely revealed the unique style of Agorakritos, allowing him to identify parts of the Parthenon pediments and friezes created under the direction of Pheidias. https://www.penn.museum/sites/expedition/nemesis/

According to Pausanias and other sources, the Nemesis statue originated from a large marble slab that Datis, the Persian general under Darius, intended to use for a victory monument after defeating the Athenians during his campaign. However, following the Persian defeat at the Battle of Marathon, the Athenians discovered the massive slab abandoned on the battlefield. Based on Professor George Despinis’ calculations, the stone must have been nearly half the height of a Stonehenge monolith. Though the exact method of transporting the stone from Marathon to the Rhamnous sanctuary remains a mystery, it is widely believed that Agorakritos, a pupil of Pheidias, sculpted the statue, completing it by the onset of the Peloponnesian War, with its intricate pedestal and frieze finalized during the Peace of Nikias. https://www.the-athenian.com/site/1989/04/01/the-temples-of-rhamnous/

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending the exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition formed a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transformed into ‘ΝΗΜΑ’ (‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. Among the exhibition artworks that impressed me most was the 2nd-century AD marble Head of Nemesis, the personification of justice, displayed, currently, at the Museum of Ancient Agora in Athens, Greece. According to museum experts, this Head is one of many Roman copies of the original 5th-century statue by Agorakritos from Rhamnous, whose masterful work combined idealized beauty with the imposing presence of a goddess who embodied the consequences of human arrogance and excess.

For a Student Activity, please… Check HERE!

Plaque with Eros as a Sleeping Child

August 26, 2024

by admin Archaeology Art Exhibitions Mythology Roman Art Student Activities Worksheets

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

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

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

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

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

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

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

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

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

The Emperor Julian

July 18, 2024

by admin Archaeology Art Early Christian Art Roman Art Social Studies Student Activities

**Statue of a Priest of Serapis or Julian the Apostate,** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France
https://www.facebook.com/photo/?fbid=3606532259414293&set=a.547320410758138

…However the song that I now sing has been composed in prose, and it contains much violent abuse, directed not, by Zeus, against others – how could it be, since the law forbids? – but against the poet and author himself. For there is no law to prevent one’s writing either praise or criticism of oneself. Now as for praising myself, though I should be delighted to do so, I have no reason for that; but for criticising myself I have countless reasons, and first I will begin with my face. For though nature did not make this any too handsome or well-favoured or give it the bloom of youth, I myself out of sheer perversity and ill-temper have added to it this long beard of mine, to punish it, as it would seem, for this very crime of not being handsome by nature… The Emperor Julian as described in his book Misopogon (or “Beard-Hater”) https://sourcebooks.fordham.edu/ancient/julian-mispogon.asp

Emperor Julian, often referred to as Julian the Apostate, is a compelling figure in Late Roman/Early Christian history, renowned for his military acumen and his controversial efforts to revive paganism. His life and reign were marked by dramatic events and significant attempts to reform the Late Roman Empire.

Born in 331 or 332 AD in Constantinople, Julian’s full name was Flavius Claudius Julianus. He was the nephew of Emperor Constantine the Great. After Constantine’s death, a violent power struggle ensued, resulting in the deaths of many of Julian’s relatives. Julian and his half-brother Gallus were among the few survivors. Julian received an extensive education, studying in places like Nicomedia and Athens, where he was deeply influenced by philosophy, rhetoric, and classical studies.

Julian’s rise to power began in 355 AD when his cousin, Emperor Constantius II, appointed him as Caesar, assigning him the defence of the Western Roman Empire, particularly the region of Gaul (modern-day France). Julian quickly demonstrated his military prowess, winning several critical battles against Germanic tribes, including the notable Battle of Strasbourg in 357 AD.

**Statue of a Priest of Serapis or Emperor Julian the Apostate?** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France – Photo Credit: Amalia Spiliakou, May 2023

In 361 AD, following the death of Constantius II, Julian became the sole emperor. Constantius had named Julian as his successor on his deathbed. As emperor, Julian focused on reforming the administration and curbing corruption. Known for his personal austerity and philosophical inclinations, Julian’s governance aimed at restoring the moral and ethical standards of the Roman administration.

Julian’s reign is particularly remembered for his efforts to revive paganism, earning him the moniker ‘the Apostate’ for his rejection of Christianity, which had been embraced by his predecessor Constantine. Julian sought to reinvigorate traditional Roman religious practices and restore pagan temples. Although he favoured paganism, he did not persecute Christians outright but rather aimed to diminish their influence by withdrawing state support and promoting religious pluralism. He even attempted to establish a pagan church structure to rival the Christian hierarchy.

In 363 AD, Julian embarked on an ambitious military campaign against the Persian Empire. Initially successful, the campaign eventually encountered severe logistical challenges. During a retreat, Julian was mortally wounded and died on June 26, 363 AD. The circumstances of his death remain unclear, with some accounts suggesting he was killed by a Persian soldier, while others imply he was assassinated by a Christian within his ranks.

Julian’s reign, though brief, left a lasting impact. His efforts to restore paganism were largely reversed by his successors, but his writings and philosophical contributions continued to influence subsequent generations. An accomplished writer, Julian authored works such as “Misopogon” (Beard-Hater), a satirical critique of the citizens of Antioch, along with numerous letters and treatises on philosophy and religion. Julian the Apostate remains a complex and intriguing figure, known both for his military successes and his controversial religious policies. His attempt to halt the Christianization of the Roman Empire ultimately failed, yet his reign illustrates the dynamic and often contentious nature of the late Roman Empire.

On the 10^th of May 2023, I came face to face with Emperor Julian in Paris, at the Musée de Cluny, the Musée National du Moyen Âge. Or so I thought… as Museum scholars now believe that the impressive statue of the bearded man in their Collection is probably the portrait of a 2^nd century AD priest, not the Emperor. Whoever the man is… he is striking and imposing, gracious and dignified… a noble man of distinction!

For a Student Activity on The Emperor Julian, please… Check HERE!

Eros Punished

April 9, 2024

by admin Ancient Roman Villas Archaeology Art Exhibitions Mythology Powerpoints Roman Art Roman Frecoes

**Eros Punished,** 1st century AD, Fresco, 126×162.3 cm, from the House of Punished Eros in Pompeii, National Archaeological Museum of Naples, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

On February 17, 2024, in Athens, attending an exceptional exhibition, titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum, I came face to face with an adorable Pompeiian fresco titled Eros Punished. It is now part of the Museo Archaeologico Nazionale di Napoli, but back in the 1^st century AD, adorned the wall of a triclinium in the House of Love Punished in Pompeii.

The fresco’s narrative unfolds amidst the timeless strokes of fine ancient artistry. Peithò, (Persuasion Personified), leads Eros to his mother Aphrodite, terribly crossed with him, for an impending punishment. Eros used his arrows to kindle Ares’s passion for another woman, and Aphrodite is unwilling to forgive such mischief. Peithò, Persuasion personified, affectionately holds Eros’s hand, who bearing the weight of his misdeed, seems like crying, hesitant to proceed. Aphrodite, seated regally upon a rugged perch, emanates an aura of solemnity. She holds Eros’s bow and cuirass and looks at him sadly, but firmly. Anteros, the younger sibling of Eros, lurks behind her, poised to witness the unfolding consequence with a mixture of anticipation and childish delight. This tableau, frozen in time, capturing the intricate interplay of familial bonds, divine intervention, and the immutable consequences of love’s transgressions, delights me!

**Eros Punished (detail),** 1st century AD, Fresco, 126×162.3 cm, from the House of Punished Eros in Pompeii, National Archaeological Museum of Naples, Italy
https://www.planetpompeii.com/en/blog/eros-and-anteros-the-love-needs-to-be-reciprocated-to-grow.html

In exploring this scene, I cannot overlook the intriguing presence of God Eros and his younger brother Anteros within the same composition. The relationship between Eros and Anteros, symbolizing the two counterparts of reciprocal love, finds its vivid portrayal in a fanciful myth recounted by the fourth-century rhetorician Themistius. Through Themistius’s narrative, we glimpse into the depths of brotherly affection and the profound consequences it entails…

When Aphrodite gave birth to Eros, the child was beautiful and befitted his mother in any respect but one: he did not grow to a size appropriate to his beauty… The baby’s mother and the Graces, his nurses, did not know what to do when confronted with this situation. They went to Themis… and asked her to find some means by which they might be delivered from their strange and astonishing misfortune. Themis said: “I shall put an end to your predicament. The problem is that you do not yet know the true nature of the baby. Eros, your genuine offspring, may perhaps have been born alone but he cannot grow up in any part of the body: you need Anteros if you want Eros to grow. These brothers will have the same nature; each will be responsible for the other’s growth. For when they see each other, they will both shoot up equally; but if one of them is deprived of the other, they will both shrink in size.” And so Aphrodite conceived Anteros, and Eros immediately had a spurt of growth and sprouted wings and was tall. Since this is Eros’s fortune, he often endures strange transformations, now sprouting up, now shrinking, then growing again. He always needs his brother’s presence. If he sees that his brother is of sizable stature, he is eager to appear bigger himself; but he often shrinks in size, against his own will, once he has discovered that his brother is shrunken and small.

For a PowerPoint on Eros and Anteros in Art, please… Check HERE!

Bibliography on Eros and Anteros: Eros and Anteros or Reciprocal Love in Ancient and Renaissance Art by Guy de Tervarent, Journal of the Warburg and Courtauld Institutes, Vol. 28 (1965), pp. 205-208 p.272 https://www.jstor.org/stable/2853330?read-now=1&seq=8#page_scan_tab_contents and Grecian and Roman mythology by Dwight, M. A. (Mary Ann), 1806-1858, p. 266 https://archive.org/details/cu31924029135651/page/n269/mode/1up and Anteros: On Friendship Between Rivals and Rivalry Between Friends p. 9 file:///C:/Users/aspil/Downloads/Post_columbia_0054D_11776.pdf

The House of the Bicentenary in Herculaneum

March 27, 2024

by admin Ancient Roman Villas Archaeology Art Mythology Powerpoints Roman Art Roman Frecoes

**The Bicentenary House, the fresco of Aphrodite and Aris,** 1^st century AD, Tablinum, Herculaneum, Italy https://minervamagazine.com/grand-designs-at-herculaneum.html

The House of the Bicentenary in Herculaneum is one of the site’s jewels. Back in the 1930s, archaeologist Amedeo Maiuri described it as a sumptuous noble house of elegant proportions. It is one of Herculaneum’s largest townhouses, as would be expected for a property with such a prominent location on the main street of the town, close to the theatre, the law courts, and the forum. The stately 1st-century BC house was built on two storeys and its façade was decorated with a brightly coloured green-and-red chequerboard pattern, with a balcony looking over the street. Inside, a large atrium with a central marble pool led to an elegant room for receiving guests. Both were covered with lavish mosaic pavements and wall paintings, all indicating that this was a noble house that belonged at some point to prosperous owners… https://minervamagazine.com/grand-designs-at-herculaneum.html

The **House of the Bicentenary** is one of the best preserved noble houses at Herculaneum, with highly refined wall paintings and mosaic pavements, 1^st century AD, Herculaneum, Italy https://www.getty.edu/conservation/our_projects/field_projects/herculaneum/overview.html

History of the Archaeological Site

The House of the Bicentenary was unearthed under the direction of archaeologist Amedeo Maiuri, in 1938, amidst the bicentennial celebrations of the excavations at Herculaneum. Concurrently, efforts were made to stabilize, restore, and exhibit the site, with artefacts showcased in the atrium’s left hall and a preserved wood screen displayed in the right hall. By 1983, however, the house faced severe deterioration, worsened by exposure to the elements and heavy tourist traffic. Structural instability, deteriorating wall paintings, crumbling tuffa walls, flaking paint layers, and lifting mosaics plagued the once-grand villa, necessitating urgent restoration efforts.

In a decisive move, the House underwent closure to visitors, heralding a transformative period in 2011. A collaborative effort ensued, with the participation of the Getty Conservation Institute (GCI), the Archaeological Park of Herculaneum, and the Herculaneum Conservation Project, united in a mission to comprehensively research, analyze, document, and stabilize the edifice’s architectural framework, wall surfaces, frescoes, and mosaic pavements. Particular focus was directed towards the restoration of the remarkable Tablinum area. The outcome of this concerted effort has been nothing short of remarkable. Such was the extent of the achievement that Domenico Camardo, the chief archaeologist at the Herculaneum Conservation Project, expressed the endeavour as not only a pivotal moment in the house’s preservation but also an opportunity for pioneering advancements in conservation methodologies and materials, with implications reaching far beyond the site itself. https://www.thehistoryblog.com/archives/56824

An Overview of the House of the Bicentenary…

Nestled along Herculaneum’s bustling main thoroughfare, the city’s Decumanus Maximus, the Bicentenary House once hosted Gaius Petronius Stephanus and his wife Calantonia Themis within its exquisite confines. Renowned as one of the city’s most opulent residences, sprawling across over 600 square meters and boasting an upper floor, its halls were adorned with meticulously preserved mosaic floors and frescoes breathing life into mythological narratives and intricate architectural and animal motifs. Particularly noteworthy is the Tablinum (Room 10 on the Plan), adorned with a collection of 4th Pompeian Style paintings renowned for their beauty and craftsmanship, offering visitors a glimpse into the peak of artistic expression within the site.

**The Bicentenary House,** 1^st century AD, Tablinum, Herculaneum, Italy https://minervamagazine.com/grand-designs-at-herculaneum.html

On the Tablinum Frescoes…

The decoration of the Tablinum is superb. The room’s ensemble of wall paintings exhibits artistic and archaeological importance portraying mythological scenes, cupids in a variety of activities, and portraits of Dionysiac figures of the utmost elegance and sophistication. Finally, the unique mosaic pavement in opus sectile and opus tessellatum, creates a unique mosaic floor, blending opulent reds, yellows, and blacks in a sophisticated scheme.

**The Bicentenary House, the fresco of Aphrodite and Aris with medallions of Dionysiac portraits,** 1^st century AD, Tablinum, fresco, Herculaneum, Italy https://minervamagazine.com/grand-designs-at-herculaneum.html

According to Amedeo Maiuri… The tablinum preserves a rich, sparkling marble pavement, like a polychrome carpet, and on the walls, paintings, medallions, and a frieze; in the panels are represented the myths of Daedalus and Pasiphae and of Venus and Mars; in the medallions are busts of Satyrs, Sileni and Maenads. On the upper part of the walls runs a frieze with cupids. From the tablinum, we reach the little portico with the garden and the rustic rooms on the ground floor. https://herculaneum.uk/Ins%205/Herculaneum%205%2015%20p3.htm

For a PowerPoint on the House of the Bicentenary, please… Check HERE!

Europa on the Bull in the House of Jason in Pompeii

January 14, 2024

by admin Ancient Roman Villas Art Mythology Powerpoints Roman Art Roman Frecoes

**Europe on the Bull**, 20-25 AD, Fresco Painting,125×95 cm, from Pompeii, Room ‘f’ in the House of Jason, today, in the National Archaeological Museum, Naples, Italy https://ancientrome.ru/art/artworken/img.htm?id=2092

In 1878 archaeologists discovered a most wonderful fresco of the Myth of Europa on the Bull in the House of Jason in Pompeii! Let’s explore the ‘where’, ‘which’, ‘how’, and ‘what’ of this amazing fresco by posing some questions!

What is the Myth of Europa and Zeus? In the myth of the Abduction of Europa, Zeus, the king of the gods, is captivated by the beauty of Europa, a Phoenician princess and daughter of King Agenor. Seized by desire, Zeus transforms into a magnificent bull and approaches Europa with an air of gentleness. Europa, charmed by the bull’s allure, climbs onto its back, only for Zeus to swiftly take off, and carry her across the sea to the island of Crete. Upon reaching Crete, Zeus discloses his identity, and Europa becomes his queen. This myth of love and adventure, steeped in symbolism and divine intrigue, has left a lasting legacy, not only in the naming of the continent of Europe but also in its enduring influence on art, literature, and the understanding of ancient cultural values.

How does Ovis describe the Myth of the Abduction described in his Metamorphoses? So the father and ruler of the gods, who is armed with the three-forked lightning in his right hand, whose nod shakes the world, setting aside his royal sceptre, took on the shape of a bull, lowed among the other cattle, and, beautiful to look at, wandered in the tender grass. / In colour he was white as the snow that rough feet have not trampled, and the rain-filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down in front, the horns were twisted, but one might argue they were made by hand, purer and brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his expression was peaceful. Agenor’s daughter marvelled at how beautiful he was and how unthreatening. But though he seemed so gentle she was afraid at first to touch him. Soon she drew close and held flowers out to his glistening mouth. The lover was joyful and while he waited for his hoped-for pleasure he kissed her hands. He could scarcely separate then from now. At one moment he frolics and runs riot in the grass, at another he lies down, white as snow on the yellow sands. When her fear has gradually lessened he offers his chest now for virgin hands to pat and now his horns to twine with fresh wreaths of flowers. The royal virgin even dares to sit on the bull’s back, not realising whom she presses on, while the god, first from dry land and then from the shoreline, gradually slips his deceitful hooves into the waves. Then he goes further out and carries his prize over the mid-surface of the sea. She is terrified and looks back at the abandoned shore she has been stolen from and her right hand grips a horn, the other his back, her clothes fluttering, winding, behind her in the breeze. This is how Ovid describes in Bk II:833-875 Zeus’s abduction of Europa. https://ovid.lib.virginia.edu/trans/Metamorph2.htm#476707521

**House of Jason in Pompeii,** Ground Plan, Photo of the entrance hall ‘a’ of Jason’s House looking towards the Atrium ‘b’, central living room and Photo of the internal garden/Atrium ‘b’, looking west towards room ‘f’, where three amazing fresco panels, including the Abduction of Europa, were discovered https://ermakvagus.com/Europe/Italy/Pompeii/jason.html and https://www.pompeiiinpictures.com/pompeiiinpictures/R9/9%2005%2018%20p1.htm and https://www.pompeiiinpictures.com/pompeiiinpictures/R9/9%2005%2018%20p9.htm

Where did archaeologists discover the Roman fresco of Europa’s Abduction? The fresco was discovered in the House of Jason, in 1878, in Pompeii, in Region IX, Insula 5, Entrance 18. Today, the building is in a fairly sad dilapidated condition due to weather erosion. It is a relatively small residence compared to other Pompeiian Houses, but rich in exceptional frescoes which, taken to the National Archaeological Museum in Naples, are currently exhibited.

Which famous fresco panels, exhibited in the National Archaeological Museum in Naples, were discovered in the House of Jason? In Room ‘d’, one of the House’s cubicula (bedrooms), archaeologists discovered three large mythological scenes (they have long been removed to the National Museum in Naples) depicting Paris waiting for Aphrodite, Medea, and Phaedra. Two more frescoes, Phoenix and Polyxena, and Jason and Pelias were discovered in the triclinium marked as ‘e’. Finally, Room ‘f’ provides us with three more fresco panels presenting the Abduction of Europa, Pan and the Nymphs, and Hercules, Deianira, and Nessus. https://ermakvagus.com/Europe/Italy/Pompeii/jason.html

What do we know about the discovery of the Pompeiian fresco of the Abduction of Europa? The House of Jason was originally discovered in 1878 in Pompeii, Italy. On the western side of the House, in a small Room, marked ‘f’ in the Plan, archaeologists discovered three frescoes, exhibited today in the National Archaeological Museum in Naples, the Abduction of Europa being one of them.

**Europe on the Bull (detail)**, 20-25 AD, Fresco Painting,125×95 cm, from Pompeii, Room ‘f’ in the House of Jason, today, in the National Archaeological Museum, Naples, Italy https://www.sciencesource.com/1719661-europa-fresco-pompeii.html

How can the Abduction fresco be described? The Abduction fresco captures the poignant opening of the famous Myth of Europa, where the Phoenician king Agenor’s young daughter finds herself captivated by the bull’s gentle demeanor and striking beauty. Overwhelmed by the creature’s tranquil presence, her initial fear gradually dissipates, encouraging her to daringly mount its back. Positioned on the right side of the fresco are three of Europa’s companions, with one leaning forward to tenderly caress the bull’s face. The entire composition unfolds against a backdrop of breathtaking ‘Hellenistic’ scenery, characterized by intricate rock formations, architectural motifs such as the central column, and lush greenery.

For a PowerPoint of all frescoes discovered in the House of Jason and exhibited in the National Archaeological Museum in Naples, 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/