Blue Glass Amphoriskos from Pompeii

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Blue Glass Amphoriskos with cupids gathering grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

“Ah, happy, happy boughs! that cannot shed  /   Your leaves, nor ever bid the Spring adieu;  /  And, happy melodist, unwearied,  /  For ever piping songs for ever new;  /  More happy love! more happy, happy love!  /  For ever warm and still to be enjoy’d,  /  For ever panting, and for ever young;  /  All breathing human passion far above,  /  That leaves a heart high-sorrowful and cloy’d,  /  A burning forehead, and a parching tongue.” Wrote John Keats in his famous Ode to a Grecian Urn… What about the Blue Glass Amphoriskos from Pompeii we will discuss today… who is going to do justice to it?     https://www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn

Portland Vase, between circa 1 and circa 25 AD, Cameo Glass, H. 24 cm, Diam. 17.7 cm, British Museum
Glass Amphoriskos with cupids gathering grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

The Portland Cameo Vase might be famous for its chic et simple design, but the Pompeiian Cameo Amphorisko is chic but definitely not simple!  It is luxuriously rich, elaborately designed, lavishly ornate, ostentatious, sumptuous… yet elegant in a “Baroque” way! The Classicist I admires the Portland Vase… my Hellenistic psyche, however, is all for the Pompeian Amphorisko!

It was the 29th of December 1837 and the archaeological site of Pompeii was visited by King Ferdinand II of Naples and Sicily. What a lucky day for the excavators and the visiting King… a rare Blue Glass Cameo Vase, regarded today as one of the most important treasures of the Naples National Archaeological Museum, was discovered in the area of the enclosed, small, funerary garden of the Villa of the Mosaic Columns. I do not know how true this story is… but the Romantic me likes it! https://www.interno16holidayhome.com/2019/02/22/discovering-the-blue-vase-of-pompeii/  The correct date for the discovery of the Blue Glass Amphorisko is probably 1834 as sited on the Naples Archaeological Museum site. However hard I searched Internet sources, I found little more…   https://www.museoarcheologiconapoli.it/en/room-and-sections-of-the-exhibition/metal-ivory-and-glass-objects/

The area where the Blue Glass Amphoriskos was discovered.

The Pompeian Blue Glass Amphoriskos is a very rare example of ancient cameo glass. This is a type of luxurious vessel inspired by intricate Hellenistic relief-cut gems, extremely popular during the period of the Augustan and Julio-Claudian periods, from 27 B.C. to 68 AD. Based on lengthy research by David Whitehouse of the Corning Museum of Glass, there are only 15 extant vessels and about 200 fragments of Cameo Glass in Museums and private collections today. The Romans created Cameo vessels, large wall plaques, and small jewellery items, using craftsmen of the finest technical skills, as highly expensive items of luxury for the Roman aristocracy.      https://www.bbc.com/culture/article/20130916-mystery-of-a-missing-masterpiece     and     https://www.metmuseum.org/toah/hd/rcam/hd_rcam.htm

The Corning Museum of Glass describes a Roman Cameo piece of Glass as “an object with two or more layers of different colours; the top layer is partly cut away to fashion decoration in low relief against a background of contrasting colour. Most Roman examples are made with two layers, usually white over blue. However, fragments of vessels exist with more than two layers, and sometimes as many as five.”     https://www.cmog.org/set/reflecting-antiquity-cameo?id=1376

The Pompeian Blue Glass Amphoriskos is luxuriously decorated with Dionysiac scenes, particularly scenes of grape harvest. “On one side, a cupid is pouring rich grapes into a vat, where another cupid is intent on wine-pressing. The scene is framed by two low wide columns, on which two cupids are sitting while they accompany the grape harvest playing the syringe and the double flute. On the opposite side stands a klinos (bed), where are lying two cupids, one of which is playing the lyre, while on the other two columns a cupid picks grapes, and the other is holding a bunch in the hand and a basket already full on the head.” Between these two scenes, depicted is a Dionysiac “mask” with grapes, tendrils and birds! At the very bottom of the Vase, the artist who created this amazing Blue Glass Amphorisko masterfully presents a series of animals feeding on grass and shrubs, in between white, thin, horizontal, lines. What an accomplishment on a small scale!   https://www.museoarcheologiconapoli.it/en/room-and-sections-of-the-exhibition/metal-ivory-and-glass-objects/

For a PowerPoint on the Villa of the Mosaic Columns, please… click HERE!

Villa of the Mosaic Columns

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Mosaic Columns from The Villa of the Mosaic Columns in Pompeii, 1st century AD, Naples National Archaeological Museum

“If you have a garden in your library, we will want for nothing” wrote Marcus Tullius Cicero to his illustrious new friend Marcus Terentius Varro… and he is so right! Gardening can be so gratifying and the Romans understood it and thus “In the middle of Roman buildings…a roofless square, often with Greek sculptures and temples, was where the Hortus, the garden, was planted and enjoyed. Common Romans might only have had a small courtyard or paved square with pots. Many grew basic foods as a thin bulwark against starvation. The rich enjoyed much larger, more fertile and refined gardens, often closer to parks than yards…Cicero’s correspondent, Varro, was not only well-off but also a scholar of gardening and farming. In light of this, it’s likely that Varro did offer Cicero a well-stocked library, and in it a luxurious garden.” Villa of the Mosaic Columns is about one such lovely Garden, very specially decorated…     https://www.commonsenseethics.com/blog/5-things-that-you-need-to-be-happy-according-to-cicero

The Villa of the Mosaic Columns’ Pompeiian address is on the northern side of Via delle Tombe, behind the bars and shops facing the busy street leading to Herculaneum. Either way, you choose to enter this interesting Villa… you enter a Garden. I like to choose Entrance A (see POST Villa Plan) because Garden C is bigger, it has a mosaic-decorated Nymphaeum and a pergola supported on four magnificent Mosaic Columns. It is thanks to these unique mosaic columns that the Villa, justifiably,  took its name.    https://sites.google.com/site/ad79eruption/pompeii/villas-outside-the-walls/villa-of-the-figured-capitals

The Villa’s Columns are magnificent! They are covered in colourful mosaic decorations with successive bands of geometric, floral and/or figurative designs. The Villa is unfortunately in a poor state of preservation and thus soon after their discovery, the columns were removed and taken to the National Archaeological Museum in Naples where can today be seen.

The second Garden G is accessed by a wide-open area on the north side of Garden C as well as a corridor leading to Via delle Tombe. Very little survives of its original decoration apart from a Lalarium on its south-west corner. The colonnade to the north marks the entrance to the main living quarters which are unfortunately in an almost ruinous condition. The Villa was probably the most ostentatious in the area. “The decoration in fine painting and mosaics, the grandeur of the architecture and the size of the servant quarters put the Villa delle Colonne a Mosaico on a par with or greater than its immediate neighbours, above which it literally towered. Finally, the row of shops that lie beneath the Villa, which was certainly built during a combined sequence of construction, implies that one source of the villa owner’s wealth was the trades practised by those who worked and lived in this complex. Therefore, the shops supported the Villa economically as well as physically, extending the metaphor into a clearly visible statement of the social hierarchy of the city – a statement that complemented the public display that the Villa itself represented.”     http://online.sfsu.edu/pompeii/research2006.html

An interesting discovery lays at the Villa’s south/east side where, within a gated enclosure, a Tomb and a unique Blue and White Glass Vase were discovered. According to Jashemski… “Since this was the only tomb that had a door leading from the tomb chamber into the garden, and since the only entrance to the garden was from the villa of the Mosaic Columns, it was obvious that the tomb and its garden belonged to this villa.” Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas, (p.256).

Today, the Blue Glass Vase, found in the Villa of the Mosaic Columns’ Tomb, is one of the most precious treasures of the Naples Archaeological Museum. We will discuss this amazing Vase in Villa of the Mosaic Columns, Part 2.

Glass Amphoriskos with cupids gather grapes from the Villa of the Mosaic Columns in Pompeii, between circa 1 and circa 79 AD, Cameo Glass, Naples Archaeological Museum

I would like to finish this POST once again with Cicero, who, as he was growing older, he enjoyed more and more the calm and serenity of his gardens, either in his Tusculum Villa where he withdrew to his library and gardens to think and write, or his family Villa in Arpinum, where during his later years, he collected his scrolls and codices, away from Rome, for better protection. “By means of our hands, we struggle to create a second world within the world of nature,” Cicero wrote, thinking as a Stoic philosopher, for whom “the garden was a microcosm of the larger order of the cosmos.”     https://www.commonsenseethics.com/blog/5-things-that-you-need-to-be-happy-according-to-cicero

For a PowerPoint on the Villa of the Mosaic Columns, please… click HERE!

Ariadne on Naxos

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Dionysos and Ariadne, 1st century AD, Pompeii, from the House of Capitelli Colorati, now in the National Archaeological Museum of Naples

Ariadne on Naxos… what an inspiration… “Eros  /  The archipelago  /  And the prow of his seafoam  /  And the seagulls of his dreams  /  In his highest mast, the sailor flutters  /  A song” the Archipelago Song by Odysseas Elytis, 1979, Nobel Prize in Literature.     https://www.nobelprize.org/prizes/literature/1979/elytis/biographical/     and     https://www.greeklyrics.gr/stixoi/to-tragoudi-tou-arxipelagous/

The Islet of Palatia in Naxos, where today, since the 6th century BC, stands “Portatra,” the entrance to the Temple of Apollo, Naxos’s most recognized monument.

Naxos is one of the most interesting destinations in Greece! In the center of the Aegean Sea, the biggest and greenest Cycladic island, with a glorious ancient Greek past and the strong influences of the Venetians and the Franks, Naxos is not simply beautiful… it breathes history …and Mythology I would like to add! Naxos was the playground of the Olympian gods, the place where virtuous or naughty, entangled with beautiful women and brave men, gods created a scenery of love and adventure, reality and imagination. The story I like most involves the god Dionysus, the Minoan princess Ariadne and the Islet of Palatia, where today, since the 6th century BC, stands “Portara,” the entrance to the Temple of Apollo, Naxos’s most recognized monument. https://www.greeka.com/cyclades/naxos/

Imagine the scene… Theseus and Ariadne flee Crete in a hurry. With the help of Ariadne, Theseus had just killed the horrible Minotaur in the depths of Knossos’s palace maze. Their first stop to rest on their way to Athens is the island of Naxos… where the story unfolds dramatically and excitingly. God Dionysus, in love with Ariadne, appears to Theseus in his sleep and convinces him to abandon Ariadne at Naxos and continue his trip alone. Ariadne, unaware of divine intervention, disembarks at Naxos, enchanted by the beauty of the island, happily explores it, and tired falls asleep on the beautiful islet of Palatia. When she wakes up… god Dionysus, the son of Zeus and Dione, looks at her adoringly and a new love-affair is in the making. A glorious wedding follows and an eternal gift is still with us to admire… the constellation known as Corona Borealis is said to be Dionysus’s wedding gift to Ariadne, a special ornament to adorn her beautiful head.

In Pompeii, the House of the Coloured Capitals is one of the oldest excavated, back in 1822, again in 1832/33 and 1846. It is one of the largest houses in Pompeii as well, with more than 40 rooms on the ground floor alone, beautifully decorated with frescoes and floor mosaics, combining architecturally, Samnite and Roman features.  The name of the house comes from the brightly coloured capitals of the columns of the central peristyle.

You enter the House through a rectangular Atrium (area marked b) with a central Impluvium and proceed to a porticoed Peristyle (area marked f). One of the bigger rooms opening to the peristyle (area marked h), the oecus, is beautifully decorated with frescoes in the 4th Pompeiian Style on a yellow ground. Dilapidated today and neglected since it was initially excavated in 1822, the house’ oecus featured central panels on each wall with a mythological scene. The single panel, faded yet still holding its original charm, character portrays Dionysus and the sleeping Ariadne on the island of Naxos. Dionysus, holding a thyrsus, standing tall in the center of the composition, gazes in wonderment at Ariadne, still sleeping at the knees of god Hypnos. A naughty cupid reveals Ariadne’s covered beauty to Dionysus while an old Silenus, in need of support, and an entourage of satyrs and maenads seem to follow the young god of revelry. https://sites.google.com/site/ad79eruption/pompeii/regio-vii/reg-vii-ins-4/house-of-the-coloured-capitals

The fresco depicting Dionysus discovering the sleeping Ariadne was luckily removed and can now be seen in the National Archaeological Museum in Naples. The scenes left in situ, however, have all but faded away…

For a student RWAP (RWAP stands for Research-Writing-Art-Project), please… check HERE!

Oecus is the Latinized form of Greek Oikos (House), used by Vitruvius for the principal hall or salon in a Roman house, which was used occasionally as a triclinium for banquets.     https://en.wikipedia.org/wiki/Oecus

Eάλω η Πόλις

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Tabula Peutingeriana, 4th to 5th century Itinerarium, is one of the Austrian National Library’s greatest treasures. The top picture presents the whole length of the Itinerarium, the bottom picture is a detail of the Itinerarium presenting the city of Constantinople.

Eάλω η Πόλις remembers the Fall of Constantinople to the Ottomans on the 29th of May 1453. Tabula Peutingeriana, one of the most important Late Roman Itineraries, presents the city of Constantinople in an interesting way.

Tabula Peutingeriana

Modern English dictionaries define the word Itinerary as “a detailed plan for a journey, especially a list of places to visit.” Did you know that an Itinerarium (plural: Itineraria) was an Ancient Roman road map where cities, villages, Mansiones and Mutationes were listed, with the intervening distances marked?

What we know today about Rome’s road system comes from one such Itinerarium, the famous Tabula Peutingeriana, named for its former owner, Conrad Peutinger, a German humanist. Tabula Peutingeriana is a 13th-century copy of an antique world Itinerarium of Roman roads from the British Isles up to India and Central Asia, created sometime around the 4th century A.D. The entire map was originally a long, narrow parchment roll and in its present state measures 6.75 meters long but only 34 centimetres wide. https://www.euratlas.net/cartogra/peutinger/

Tabula Peutingeriana and the city of Constantinople

At first sight, the Tabula Peutingeriana looks very unlike any modern map. It shows the entire Roman world in full colour, including cities, the locations of lighthouses, bridges, inns, tunnels, and most importantly, all the major Roman roads are listed. The distances between various cities and landmarks are marked. But, the landmass and the seas have been stretched and flattened. The Mediterranean has been reduced to a thin strip of water, more like a river than a sea. Instead of being oriented from north to south, the map, which is only 34 cm wide, works from west to east. https://digitalmapsoftheancientworld.com/ancient-maps/tabula-peutingeriana/

The director of the Department of Manuscripts, Autographs and Closed Collections at the Austrian National Library, Andreas Fingernagel, says it is an intensely practical document. “The red lines are the main roads. Every so often there is a little hook along the red lines which represents a rest stop – and the distance between hooks was one day’s travel… Every so often there is a pictogram of a building to show you that there was a hotel or a spa where you could stay, some of the buildings have large courtyards – a sign of more luxurious accommodation,” he said.

For a PowerPoint on Tabula Peutingeriana, please… Click HERE!

Small Arch of Galerius

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Small Arch of Galerius, early 4th century AD, carved from a single block of marble, Archaeological Museum of Thessaloniki

“The Galerian Complex, the most important monumental group in Thessaloniki, was built at the turning-point of two worlds, the Roman and Byzantine. Its erection began in the late 3rd century-early 4th century AD when the Caesar Galerius Valerianus Maximianus (293-311 AD) chose Thessaloniki as the seat of the eastern part of the Roman Empire.”  The Small Arch of Galerius found in the Octagon area of the Complex, valued and cherished, is exhibited today in the Archaeological Museum of Thessaloniki. http://galeriuspalace.culture.gr/en/

One of the most important buildings within the Galerian Complex, the Octagon is a significant and luxurious structure worth exploring. It was the first important building that visitors arriving at the Palace by sea would enter and be dazzled. Facing the glorious Thermaic Golf of Thessaloniki, the Octagon is massive and opulent. All Palace buildings were meant to impress the visitor and set the tone… the Octagon area did an excellent job!

Excavation of this amazing structure started in 1950 and continued up until 1981, bringing to light all that survives today.  A splendid conservation and restoration program continued and in 2008, the archaeological site of the Palace of Galerius in Thessaloniki was awarded a EUROPA NOSTRA medal by the European Union. Today, the Galerian Complex, right in the heart of the city, is one of the most popular archaeological sites in Thessaloniki.

The Galerian Complex and the Octagon Area

… Agathoniki was on an official visit to the Court of Emperor Galerius in Thessaloniki… powerful and rich, she was treated with respect for her age and the loyal services extended to the Emperor…  She was modestly dressed but her gifts to the Emperor were valuable and exotic, coming all the way from Seres, the mythical lands of the East. She was guided to enter the Palace Complex through the grand, South Peristyle Court, its Porticos adorned with magnificent floor mosaics and a beautiful garden in the center. It was her first visit to Thessaloniki and she enjoyed every single thing she saw… she was, however, on a mission, so she briskly walked through a triple arch, a Tribelon with two columns, to enter an impressive Vestibule with two semi-circular niches on its narrow ends. She stopped for a minute to compose herself, reflect on her mission, and confidently entered the grandest room of the Palace… the domed Octagon! The room was magnificent! Its walls were covered with multicoloured marble revetments and square panels intricately worked in the opus sectile technique. The floor, featuring marble geometric motifs, created simple yet elegant chromatic oppositions… and there were four different Emblemata, right where she was standing, worthy of a great master! What a wonderful Audience Hall this is, she thought, as the entrance of the Emperor brought her to her knees…

Agathoniki, the imaginary visitor of our story, saw many more wonderful rooms and artefacts in the Palace of Galerius… My favourite artefact, still surviving today, is a small, marble Arch. Discovered at the north end of the eastern portico of the South Peristyle Court, the Small Marble Arch crowned a horseshoe-shaped niche framed by pilasters. This Arch, known by the conventional name “The Small Arch of Galerius”, is on display in the Archaeological Museum of Thessaloniki. Could this small, luxuriously adorned, niche be a Palace Temple?

This Arch, known today as “The Small Arch of Galerius”, is on display in the Archaeological Museum of Thessaloniki. According to Thessaloniki Museum experts, “The arch, a work of high artistic quality, is the product of a local workshop in Thessaloniki. The rich relief decorations occupy three sides of the arch. The main side depicts two men from the East, possibly Persians, raising two circular medallions with their hands. The right medallion depicts Gaius Galerius Valerius Maximianus, while the left one initially depicted his wife, Galeria Valeria. During a later intervention, after Galerius’ death, a mural crown was added to the female portrait. This alteration transformed the female bust into the depiction of a deity, most probably the “Tyche (fortune) of Thessaloniki”, who accompanied Galerius, the deified ruler of the city. Two winged Eros figures holding a garland fill the space between the medallions. Another medallion with a bust of Dionysos is located at the inner part of the arch, surrounded by vine branches. The right side of the arch depicts the hooved god Pan playing a pipe and holding a lagobolon (stick for hunting hares). The left side depicts a maenad.”    http://galeriuspalace.culture.gr/en/monuments/oktagono/    and    https://www.amth.gr/en/exhibitions/highlights

Along with my Grade 6 students, we study the history of Thessaloniki, visit the Archaeological Site of the Galerian Complex and prepare a RWAP (Research-Writing-Art-Project) that they thoroughly enjoy…

For a PowerPoint on the Galerian Complex Octagon Hall, please click HERE!

For a student RWAP on the Small Arch of Galerius, please click HERE!

For examples of Student RWAP Work, please click HERE!

Grade 6 student RWAP
RWAP stands for Research – Writing – Art – Project

Aelia Galla Placidia

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Velp treasure Medallion of Galla Placidia, c. 425, gold, 5 cm in diameter, Département des Monnaies, Médailles et Antiques de la Bibliothèque Nationale de France
http://medaillesetantiques.bnf.fr/ws/catalogue/app/collection/record/ark:/12148/c33gbq95f

Known as the “most noble girl, the nobilissima puella” Aelia Galla Placidia is still today, revered for her family lineage, her astonishing life and her magnificent Mausoleum in Ravenna!

The Gold Medallion depicting Galla Placidia, splendidly framed and mounted as a pendant, in the Bibliothèque Nationale de France, made me think. She is presented to us in profile, her hair tightly braided, wearing a tiara with three rows of pearls. She is heavily adorned with jewelry. She wears ear pendants and a necklace with more precious pearls. She is depicted as a modest, yet fashionable lady. Her peplum, fastened by a fibula adorned with yet more pearls, covers her embroidered tunic, adorned with a Chi-Rho ornament on her shoulder. What a life she had! Imperial daughter, wife, and mother…

Aelia Galla Placidia was born in Constantinople, between 388 and 392, to Emperor Theodosius I (ruled 379–395) and his second wife Flavia Galla. She grew up in Constantinople under the care of her cousin Serena, her mother died in childbirth in 394, wife of magister militum Stilicho. Serena, an educated woman and a patroness of the arts, is probably responsible for the classical education Galla Placidia received, as well as her skills in weaving and the art of embroidery. The Roman princess, summoned by her father, was in Milan, in 395, where Theodosius I died.

It seems that Placidia remained in Italy, and was in Rome, in 408, when the Visigoths of Alaric I attacked. During these turbulent years, Placidia agreed to the execution of her cousin Serena. The following years were not easy for the “nobilissima puella.” By 410, she was a captive of the Goths and taken to Gaul, where, in 414 at Narbonne, with extravagance and pomp, she was married to the Visigoth chieftain Athaulf, King of the Visigoths from 414 to 415. When Athaulf was murdered in 415, she was once more taken captive by her husband’s enemies, “treated with cruel and wanton insult.” She was apparently forced to walk more than twelve miles along with the crowd of captives, suffering with such dignity that raised opposition to her enemies, leading to the assassination of their ruler, Sigeric. The new Visigoth leader was Wallia, Ataulf’s relative, and her supporter.

Ιn 416, Galla Placidia was finally returned to the Romans and soon after, her half-brother Honorius, Emperor of the West, forced her to marry the powerful Roman general Constantius. In 421, as Constantius III, Placidia’s husband became co-emperor in the West and she was proclaimed Augusta (Empress). Constantius’s death in the same year started a new set of unpleasant events for Galla Placidia. Emperor Honorius behaved towards her with “indecent familiarity,” they quarreled openly, and Placidia had no other choice than flee Ravenna with her children, seeking refuge in Constantinople with her nephew, the Eastern Emperor Theodosius II (402-450).

During the final years of her life, Galla Placidia enjoyed the political power she was familiar with. On August 15, 423, Honorius died and on October 23, 425, her son, Valentinian III, was proclaimed Emperor of the Western Roman Empire. For twelve years Placidia served as Valentinian’s regent seeking to balance the power of rival, ambitious generals and thus, protect the well-being of the Empire. Galla Placidia died in Rome on the 27th of November, 450. Her final resting place is unknown. It seems unclear whether the famous Mausoleum in Ravenna was intended for Galla Placidia’s resting place. http://www.roman-emperors.org/galla.htm

Honorius and Galla Placidia are the Protagonists in a “Poem for two Voices” student Activity inspired by the Velp Medallions. The Student Activity Worksheet is… HERE!

Pompeiian Portraits of Distinction

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Woman with wax tablets and stylus, 55-79 AD, IV Pompeian style, fresco, 37 x 38 cm, discovered in Pompeii VI – Insula Occidentalis, Museo Archeologico Nazionale di Napoli
Portrait of a man holding a papyrus roll, 55-79 AD, IV Pompeian style, fresco, discovered in Pompeii VI – Insula Occidentalis, Museo Archeologico Nazionale di Napoli

The Pompeiian Portraits of Distinction shows a young couple, stylish, bold and educated at the prime of their life. They are both adorable in the way she brings her stylus to her lips, he holds his papyrus under his chin. They are both pensive… contemplative. They make you wonder… are they thinking of something they have just read or are they pondering on what they are about to write?

According to the experts at the Museo Archeologico Nazionale di Napoli, the two portraits are amazing examples of the IV Pompeian style, discovered in Pompeii on May 24th, 1760. They were among the first discoveries made and dazzled the world! The small painting of “Sappho” holding a stylus and wax tablets, is the companion of the male portrait, depicting a young man holding a Papyrus Roll just under his chin, quite romantic looking, with blondish hair and wearing a lush laurel wreath.

What an elegant couple! Both rendered in pastel colours, they pose for eternity dressed in their… everyday finest. She has a dainty face with big brown eyes, rosy cheeks, full lips and a crest of curly auburn hair. She is richly adorned, but just so… a golden hairnet and a pair of thick golden ear loops are all she needs to look elegant. Her color scheme is on the cooler side, aubergine purple, forest green, and chestnut brown. The young man facing her is rendered in colours of mustard ochre and celery green. He has a pointed, elongated face and slightly slanted eyes. His adornment is a lush green wreath resting on blondish hair with thick curls. She boldly looks at us, he looks at her… both lost in thought! https://www.museoarcheologiconapoli.it/en/room-and-sections-of-the-exhibition/frescoes/ and https://commons.wikimedia.org/wiki/File:A_fresco_portrait_of_a_man_holding_a_papyrus_roll,_Pompeii,_Italy,_1st_century_AD.jpg

For a PowerPoint, please… click HERE!

Heraklitos and the Asarotos Oikos Mosaic

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Heraklitos, Asarotos Oikos (Unswept Floor), 2nd century AD, Mosaic, 4.05 x 4.05 meters, Musei Vaticani, Museo Gregoriano Profano, Rome

Heraklitos and the Asarotos Oikos Mosaic is one of the many reasons why you should visit the Gregoriano Profano Museum in the Vatican!  It’s an exhibit I dearly love, a mosaic that amuses me, tests my observation… a work of art of the highest quality!

The story of the Asarotos Oikos theme in mosaic-work takes us back to the Hellenistic Period, to the great city of Pergamon on the coast of Asia Minor, and to a legendary mosaicist, called Sosus (εκ Περγάμου ψηφιδογράφος Σώσος). Pliny the Elder 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 laid the floor of what is known in Greek as ‘the Unswept Room’ because, by means of small cubes tinted in various shades, he represented on the floor refuse from the dinner table and other sweepings, malting them appear as if they had been left there…” Pliny, Natural History, 36.60.25 https://www.loebclassics.com/view/pliny_elder-natural_history/1938/pb_LCL419.145.xml?readMode=reader

The Gregoriano Profano Museum in the Vatican has one of the finest Asarotos Oikos mosaics, carefully executed and brightly colored. It was discovered in 1833, on the Aventine Hill in Rome, and as the archaeologists established, it decorated the dining room floor of a Hadrian period villa. This is a unique mosaic, the masterpiece of Heraklitos, the mosaicist, proud to sign his name.  

Heraklitos created a complex floor mosaic composition. The threshold of the triclinium (the Roman dining-room) greeted guests with a design of theatrical masks, ritual objects, and the mosaicist’s signature! The central mosaic decoration presented a complex Nilotic scene, now mostly destroyed. The Assarotos Oikos themed mosaic, boarder-like, covered the four sides of the room depicting, on a white background, “…the debris of a banquet, the remains that would normally be swept away.” It is amusing for me to try to identify what Heraklitos depicted on this amazing floor… fruit, leafy vegetables, lobster and crab claws, clams and oysters, sea urchins, chicken bones, and nutshells, even a tiny mouse, gnawing on a walnut shell. I am equally amazed at the artist’s skill to demonstrate an understanding of three-dimentionality by using contrasting colors and casting shadows against the white floor background. http://www.museivaticani.va/content/museivaticani/en/collezioni/musei/museo-gregoriano-profano/Mosaico-dell-asarotos-oikos.html

An interesting article titled “The asàrotos òikos mosaic as an elite status symbol” by Ehud Fathy of the Tel Aviv University provides an interesting explanation of how we should read this mosaic theme. “The asàrotos òikos mosaics have all been discovered exclusively in the domestic spaces of the Roman elite. The manufacturing of such detailed mosaics must have demanded great financial investment, and while the mosaics must have amused the guests with their Trompe-l’œil qualities, it is hard to believe that such an expenditure was made with this sole purpose in mind. The aim of this article is to explore the asàrotos òikos mosaics as a Roman status symbol of elitist erudition… ” file:///C:/Users/aspil/Downloads/Dialnet-TheAsarotosOikosMosaicAsAnEliteStatusSymbol-6037238%20(1).pdf

For a PowerPoint on the Vatican Asarotos Oikos Mosaic, please… click HERE!

Last Supper in Pompeii

by with No Comment ExhibitionsPowerpointsRoman ArtStudent ActivitiesTravel

If your Christmas “walking shoes” take you to Oxford, England, go the Ashmolean Museum of Art and Archaeology to see Last Supper in Pompeii, a wonderful Exhibition on the Roman love affair with food and wine! Inspiration for this Exhibition comes from Pompeii, this amazing time capsule of 79 AD Roman life. Dr Paul Roberts, Head of the Ashmolean Department of Antiquities and exhibition curator, says: ‘The evocative names given to the excavations (the Villa of the Mysteries; the House of the Tragic Poet) have inspired everything from Victorian exhibitions, swords-and-sandals romances to countless scholarly works. Our fascination with the doomed people of Pompeii and their everyday lives has never waned. What better connection can we make with them as ordinary people than through their food and drink?’

Last Supper in Pompeii displays 300 objects related to the culinary arts and the role they played in Roman history and culture. Exquisite floor mosaics from the villas of the affluent Pompeiians, frescoes depicting banquets, and statues, fountains or furnishings that decorated famous triclinia, are all present. Precious or humble dining sets and utensils, simple cooking pots and carbonised food that was on the Pompeiian tables when the volcano erupted tell us interesting stories or Roman culinary voyages and cultural connections.

Useful sources: https://www.ashmolean.org/pompeii and https://www.ashmolean.org/article/last-supper-in-pompeii and https://www.smithsonianmag.com/smart-news/exhibit-spotlights-roman-delicacies-baked-dormouse-carbonized-bread-180972731/

My favourite Exhibition fresco is titled Distribution of Bread (AD 40–79) and comes from the House of the Baker in Pompeii.  It shows a man behind a wooden counter handing a loaf of bread to a man, while a young boy reaches up eagerly. The shelves are heaped with loaves of the typical round Pompeiian bread, archaeologists even found carbonized one in its entirety. Scholars today believe that the fresco represents a politician’s free distribution of bread (annona) rather than a baker selling his loaves from a food stall.

The Distribution of Bread is a fascinating Pompeian fresco. I like the artist’s ability to create a sense of depth and space through a diagonal composition, his choice of earthy colours with touches of white and aubergine purple to accentuate the depicted figures. I also like the anecdotal details… the well-crafted wooden stall, the herringbone woven basket painted on the left side of the fresco, the abundance of displayed bread loaves… most of all, I like the human touch, the boy, impatient and eager to get his part of the Distributed Bread!

Bibliography of the House of  Baker and the Distribution of Bread fresco: https://www.pompeiiinpictures.com/pompeiiinpictures/R6/6%2003%2003.htm and http://www.bbc.co.uk/history/ancient/romans/daily_life_gallery_02.shtml and https://www.ancient.eu/image/10622/sale-of-bread-fresco-pompeii/

An Activity students will enjoy is… HERE!

For a powerpoint prepared for the Exhibition, please… click HERE!

Augustus of Primaporta VS Aulus Matellus

by with No Comment PowerpointsRoman ArtSocial StudiesStudent ActivitiesWorksheets
Grade 6, Social Studies Unit Project on Roman Government

How two great Roman statues can be used to discuss the Roman Government.  “Augustus of Primaporta VS Aulus Matellus” is a Project my spirited Grade 6 students enjoy doing for their Social Studies Roman Unit.

Aulus Metellus, 1st century BC, bronze, National Archaeological Museum, Florence
Augustus of Primaporta, 1st century AD, marble, Vatican Museums

A lot of my Projects, I call them RWAP (Research Writing Art Project), ask students to focus on 4 parts: 1. Title 2. Provide colored copies of at least 2 artworks related to their Project, correctly identified. For the correct identification, I expect them to write the name of the artist (if known), the title of the work, date, medium, and current location, 3. Writing Assignment as required, 4. Art Assignment is open to student imagination and creativity.

For the Augustus vs Matellus Project students are asked to study their Social Studies Textbook Unit on Roman Government, and the following Khan Academy articles:

https://www.khanacademy.org/humanities/ancient-art-civilizations/etruscan/a/larringatore

https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early-empire/a/augustus-of-primaporta

Their Writing Assignment is to 1. Create a Ven Diagram comparing Matellus to Augustus. They are asked to use their RWAP Book and write in Bullet Points their Comments. 2. Write a paragraph presenting which of the two statues they prefer, explaining why by giving at least 3 reasons.

Their Art Assignment is to “study” the two statues and…  Be imaginative! Be creative! Be original!

For a PP on student Work… Click HERE!

For Student Project Worksheet… Click HERE!