Social Studies Archives - Teacher Curator

Palacio de Santa María del Naranco and San Miguel de Lillo

September 25, 2024

by admin Archaeology Art Powerpoints Social Studies Spanish Art

**Palacio de Santa María del Naranco,** consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024
**St. Michael of Lillo,** completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Nestled in the heart of Asturias, Spain, Mount Naranco stands as a majestic sentinel overlooking the vibrant city of Oviedo. This iconic mountain is not only a natural wonder but also a treasure trove of history and culture, boasting breathtaking views and ancient pre-Romanesque architecture. From the enchanting Palacio de Santa María del Naranco and San Miguel de Lillo churches to the lush, green trails that invite hikers and nature enthusiasts, Mount Naranco offers a unique blend of serenity and historical significance. This is a place where the past and present beautifully converge, offering a glimpse into the rich heritage and stunning landscapes of the Oviedo area.

Mount Naranco’s historical significance extends beyond its architectural marvels, which are deeply intertwined with the broader history of Asturias and Spain. This mountain has been a strategic vantage point and a symbol of resilience throughout the centuries. During the early medieval period, the area around Mount Naranco played a crucial role in the Christian Reconquista, serving as a stronghold for the Asturian Kingdom against Moorish invasions. The region witnessed numerous battles and skirmishes that were pivotal in the eventual reconquest of the Iberian Peninsula. Additionally, the mountain has long been a cultural and spiritual landmark, with its slopes and surrounding areas being integral to local folklore and traditions. Over the centuries, Mount Naranco has remained a symbol of the enduring spirit and historical legacy of the Asturian people, reflecting their role in the broader narrative of Spanish history.

The churches of Santa María del Naranco and San Miguel de Lillo on Mount Naranco near Oviedo, Spain, are remarkable examples of pre-Romanesque Asturian architecture, dating back to the 9th century. These historical structures, originally built within the Asturian Royal Complex, reflect the artistic and cultural achievements of the Asturian Kingdom.

**Palacio de Santa María del Naranco,** consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Santa María del Naranco, completed in 848 AD, was part of the palace complex of King Ramiro I of Asturias. Initially serving as a royal hall and recreational pavilion, it was later consecrated as a church dedicated to the Virgin Mary. Located on the southern slopes of Mount Naranco, and facing Oviedo, this edifice exemplifies the sophisticated architectural and engineering skills of the Asturian Kingdom during the early medieval period. Over the centuries, the building has undergone various modifications and restorations, but it has retained its historical and cultural significance as a symbol of Asturian heritage.

The artistic qualities and characteristics of Santa María del Naranco are a testament to the ingenuity and aesthetic sensibilities of pre-Romanesque Asturian architecture. The building features a rectangular plan with a two-story design, incorporating intricate barrel vaults and ribbed arches that highlight its structural sophistication. The exterior is adorned with elegantly carved stone reliefs and decorative elements, including animal motifs and geometric patterns. Inside, the refined use of space and light, coupled with the exquisite craftsmanship of the columns and capitals, creates a serene and harmonious atmosphere. The building’s elegant proportions and detailed ornamentation reflect a unique blend of Visigothic, Mozarabic, and Carolingian influences, making Santa María del Naranco a remarkable example of early medieval art and architecture.

**St. Michael of Lillo,** completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

San Miguel de Lillo, also constructed during the reign of King Ramiro I in the mid-9th century, was originally part of the same royal palace complex as Santa María del Naranco. This church, dedicated to Saint Michael, was intended to serve as a place of worship for the royal court. Though only about a third of the original structure has survived due to partial collapse, what remains continues to offer valuable insights into the architectural innovations and religious practices of the Asturian Kingdom. The church’s historical significance is underscored by its designation as a UNESCO World Heritage Site, reflecting its enduring importance in the region’s cultural and historical landscape.

The artistic qualities and characteristics of San Miguel de Lillo are distinct and noteworthy within the context of pre-Romanesque Asturian architecture. The church features a basilica plan with a central nave and two side aisles, separated by robust columns and arches. The remnants of the original structure reveal intricate stone carvings and reliefs, particularly around the doorways and capitals, depicting biblical scenes and symbolic motifs. Inside, the decorative use of stucco and frescoes, though largely faded, once added vibrant colour and spiritual narrative to the space. The craftsmanship evident in the surviving portions, such as the lattice windows and sculpted figures, showcases a blend of Visigothic and Mozarabic artistic influences, underscoring the church’s role as both a religious and cultural monument of its time.

For a PowerPoint on Pre-Romanesque Church Architecture in Asturias including Palacio de Santa María del Naranco and San Miguel de Lillo, please… Check HERE!

Bibliography: https://en.asturias.com/the-Asturian-preromanic-from-oviedo/ and https://www.packing-up-the-pieces.com/churches-monte-naranco-oviedo/

Education in Byzantium

September 10, 2024

by admin Art Byzantine Art Byzantine Manuscript Byzantium Education Medieval Art Social Studies Student Activities Worksheets

**Teaching scene with teachers and students during the reign of the scholarly Emperor Constantine VII Porphyrogennetos** (944-959) by a Sicilian Illuminator identified as B1, 12^th century, Illuminated Manuscript version of the ***Synopsis of Histories*, or *Σύνοψις Ἱστοριῶν*** (in Greek) by **John Skylitzes**, which covers the reigns of the Byzantine emperors from the death of Nicephorus I in 811 to the deposition of Michael VI in 1057, Biblioteca Nacional de España, Madrid, Spain https://www.loc.gov/resource/gdcwdl.wdl_10625/?sp=277

Education in Byzantium was a complex system deeply rooted in the traditions of the Greco-Roman world and the Christian Church, evolving over the centuries to reflect the socio-political and religious changes within the empire. This system spanned from the establishment of Constantinople in 330 AD to the fall of the Byzantine Empire in 1453 AD. It was significantly influenced by classical Greek education, Roman administrative needs, and Christian teachings, creating a unique blend of classical and ecclesiastical learning.

Miniature 134r in the illuminated manuscript Madrid Skylitzes presents a Byzantine classroom. Using the illumination as an example, let’s explore… school reality 1.000 years ago!

The Madrid Skylitzes is a richly illustrated manuscript, the only known illuminated manuscript of a Byzantine Greek Chronicle, that serves as a vital historical record of the Byzantine Empire from the reign of Emperor Nikephoros I in 811 AD to the death of Emperor Michael IV in 1057 AD. Named after the Spanish city where it is currently housed, the manuscript is based on the work of John Skylitzes, a late 11^th century historian. The Madrid Skylitzes is notable for its detailed and vivid miniatures, 575 of which combine Byzantine, Western and Islamic elements of unparalleled significance for art historians. These miniatures depict the period’s significant events, battles, and personalities, providing a unique visual accompaniment to the textual narrative. This manuscript is one of the few surviving examples of Byzantine historical illustration and is invaluable for its insights into Byzantine art, culture, and historical scholarship.

Miniature 134r of the Madrid Skylitzes manuscript vividly illustrates the essence of education during the Byzantine era, particularly the progress of letters during the reign of Constantine Porphyrogenitus (913-959). On the left side of the miniature, a group of eight male students is shown seated at a desk with open notebooks, highlighting their active participation in learning, presided over by their teacher, who expounds and explains with an upraised hand. Further to the right, four (possibly six) more students with notebooks in hand are depicted standing before two professors of philosophy. The scene takes place in a well-constructed, rectangular building that is collonaded, spacious, and well-furnished. The students appear young and attentively engaged. Their expressions, postures, and gestures suggest concentration and eagerness to absorb the teachings. The three teachers, two of whom are bearded, are shown with upraised pointer fingers, clearly in the process of delivering a lesson. Overall, the scene conveys a sense of disciplined yet dynamic learning, reflecting the structured and vibrant nature of Byzantine scholarly life. The attention to detail in the students’ attentive postures and the teachers’ engaged gestures underscores the era’s commitment to education and intellectual growth. https://www.academia.edu/31545633

John Skylitzes, emphasizing Emperor Constantine’s praiseworthy and wondrous qualities, highlights his interest in education and explains that …On his own initiative, the Emperor brought about a restoration of the sciences of arithmetic, music, astronomy, geometry in two and three dimensions and, superior to them all, philosophy, all sciences which had for a long time been neglected on account of a lack of care and learning in those [238] who held the reins of government. He sought out the most excellent and proven scholars in each discipline and, when he found them, appointed them teachers, approving of and applauding those who studied diligently. Hence he put ignorance and vulgarity to flight in short order and aligned the state on a more intellectual course.

Education in the Byzantine Empire was generally accessible to the upper and middle classes, while the lower classes had limited access due to economic constraints. The system was predominantly male-oriented, but there are records of women receiving education, particularly within monastic settings or among wealthy families. Notable figures in Byzantine education included Photius, a leading intellectual and Patriarch of Constantinople in the 9th century, and Michael Psellos, an 11th-century scholar who contributed significantly to philosophy, history, and rhetoric.

The legacy of Byzantine education is significant, particularly in its role in preserving and transmitting classical Greek and Roman knowledge to the Islamic world and later to Western Europe during the Renaissance. This educational system influenced Islamic education during the Abbasid Caliphate and contributed to the revival of learning in Western Europe. Through its sophisticated blend of classical and Christian teachings, Byzantine education formed a crucial bridge between the ancient world and medieval Europe, shaping intellectual traditions in both the Eastern and Western worlds.

For a Student Activity, please… Check HERE!

Bibliography: https://www.academia.edu/31545633 and https://www.persee.fr/doc/scrip_0036-9772_2007_num_61_2_4229 and https://www.bne.es/sites/default/files/redBNE/Actividades/Exposiciones/2024/skylitzes-matritensis-bne-en.pdf

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!

The Treasure of Childeric I

July 13, 2024

by admin Archaeology Art Early Christian Art French Art Jewelry Medieval Art Powerpoints Social Studies

**Golden Bees**, Treasure of Childeric I, 5^th century AD, Gold, Garnet, Bibliothèque nationale de France, Paris, France https://www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-childeric-i-symbols-empire/

. The 14^th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Let’s celebrate this important historical event with a story… that of The Treasure of Childeric I, its beautiful Bee-Shaped Jewels and… Napoleon!

The Treasure of Childeric I, discovered on May 27th, 1653, in Tournai, Belgium, by Adrien Quinquin, a mason working on the reconstruction of the Church of Saint-Brice, is an extraordinary archaeological find that offers a unique glimpse into the early medieval period of European history. Attributed to Childeric I, a prominent king of the Salian Franks and father of Clovis I, the founder of the Merovingian dynasty, the hoard included a remarkable array of artefacts, such as jewelry, coins, and ceremonial weapons, reflecting the wealth and craftsmanship of the time.

Childeric I reigned during a pivotal era marked by the transition from Roman rule to establishing Frankish kingdoms. Therefore, his treasure highlights the personal wealth and power of a Frankish king and serves as a cultural bridge between the late Roman Empire and the early medieval Frankish state. Each item within the treasure provides invaluable insights into the art, culture, and political dynamics of the 5th century.

The discovery of Childeric’s treasure was a landmark event in the field of archaeology and has since played a crucial role in shaping our understanding of Merovingian art and society. The Treasure included a variety of fascinating items: a throwing axe, a spear, a long sword known as a spatha, and a short scramasax, both adorned with gold and garnet cloisonné. There was also a solid gold torc bracelet, part of an iron horseshoe with nails still intact, and belt and shoe buckles as well as horse harness fittings, all elaborately decorated with cloisonné gold and garnets. Additionally, the collection contained a leather purse with over a hundred gold and silver coins, the latest of which featured the Byzantine Emperor Zeno (474-491 A.D.). Among the treasures were also a gold bull’s head with a solar disc on its forehead, a crystal ball, and a gold signet ring.

Among the most notable items were the gold and enamel bees, over 300 of them, which were likely used as decorations for Childeric’s cloak or other regalia. These bees were later adopted by Napoleon Bonaparte, who, preparing for his coronation as Emperor of the French, sought a link to ancient French royalty. He deliberately avoided the still-despised Bourbon fleur-de-lys symbol, espousing Childeric’s heraldic bees as his emblem. Consequently, Napoleon’s coronation robe was embroidered with 300 gold bees, establishing them as the symbol of the new French Empire, and associating himself with the continuity and authority of the ancient Frankish kings. The bees thus became emblematic of the Napoleonic regime, symbolizing immortality and resurrection. In modern times, the bee has also contributed to the commemoration of the 14th of July national holiday, symbolizing the unity and enduring spirit of the French nation.

The Treasure’s discovery

When Childeric’s treasure was discovered in 1653 in Tournai, then part of the Spanish Netherlands, it was sent to Archduke Leopold Wilhelm of Austria. Recognizing its importance, the Archduke commissioned his physician, Jean-Jacques Chifflet, to document the artefacts meticulously. Chifflet’s detailed study, including precise engravings, was published in 1655 as “Anastasis Childerici I,” marking the first scientific archaeological publication. Although Chifflet made some errors in his analysis, his work laid the groundwork for modern archaeological documentation, preserving invaluable information about the Merovingian dynasty. Archduke Leopold brought Childeric’s treasure to Vienna in 1656 and, upon his death in 1662, bequeathed it to his nephew, Holy Roman Emperor Leopold I, who gifted the treasure to King Louis XIV. Louis, unimpressed by the 5th-century artefacts, stored them in the Louvre’s Cabinet of Medals. After the French Revolution, the treasure became part of the Cabinet of Medals at the Imperial Library, later known as the National Library of France.

On the night of November 5th, 1831, thieves broke into the Cabinet of Medals at the Bibliothèque Nationale de France, stealing over 2,000 gold objects, including Childeric’s treasure. The exact sequence of events is unclear due to record losses during the Paris Commune of 1871. The theft was a major scandal, prompting the reappointment of Eugène-François Vidocq, founder of the Sûreté, to lead the investigation and recover the treasure. With Vidocq in charge (Vidoq was a former criminal and convict turned policeman, believed to be Victor Hugo’s inspiration for Javert and Valjean of Les Misérables) a portion of the stolen treasure was retrieved from the Seine River where it was hidden in leather bags. Unfortunately, the treasure’s theft led to a dramatic loss of French cultural heritage, as only a portion of the treasure was recovered with many pieces lost forever. Today, the Treasure of Childeric I remains a testament to the historical significance and enduring legacy of the early Frankish rulers.

For a PowerPoint on The Treasure of Childeric I, please… Check HERE!

Lion from a Grave Monument in the Canellopoulos Museum

June 8, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Museums Sculpture Social Studies Student Activities Worksheets

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

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

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

Maid of Athens

March 24, 2024

by admin 1821-Greek Independence Day 19th century Art Art Greek Art Neohellenic Art Social Studies Student Activities Worksheets

**Theodoros Vryzakis**, Greek Artist, 1814–1878
**The Maid of Athens**, 1860, oil on canvas, 97,5 x 71 cm, Anthony E. Comninos Foundation, Greece https://www.facebook.com/teloglion/photos/pcb.5776572499028058/5776566092362032

Maid of Athens, ere we part, / Give, oh give me back my heart! / Or, since that has left my breast, / Keep it now, and take the rest! / Hear my vow before I go, / Ζωή μου, σᾶς ἀγαπῶ. / By those tresses unconfined, / Wood by each Ægean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Ζωή μου, σᾶς ἀγαπῶ. / By that lip I long to taste; / By that zone encircled waist; / By all the token-flowers that tell / What words can never speak so well; / By love’s alternate joy and woe. / Ζωή μου, σᾶς ἀγαπῶ. / Maid of Athens! I am gone: / Think of me, sweet! when alone. / Though I fly to Istambol, / Athens holds my heart and soul: / Can I cease to love thee? No! / Ζωή μου, σᾶς ἀγαπῶ. (Zoë mou, sas agapo – My Life, I love you)… wrote Lord Byron in 1810 while visiting Athens… https://allpoetry.com/Maid-Of-Athens,-Ere-We-Part

Lord Byron, the famous British poet, visited Greece in 1809-1810 as part of his Grand Tour of Europe and the Near East. He was motivated by a desire to explore the classical world and to see the ruins of antiquity. He was also interested in the politics of the region and was particularly intrigued by the ongoing struggles of the Greek people against Ottoman rule. Byron became a strong advocate of the Greek Struggle for Independence, donating money and resources to support the cause. His actions helped to raise awareness of the Greek cause and inspired other Europeans to support Greek independence as well. He is remembered as one of the most prominent philhellenes of the 19th century, the man whose influence on British public opinion helped the recognition of Greek independence by the British government.

Fascinated by the ancient Greek culture and history, Byron spent during 1810, several months in Athens, immersing himself in the local culture. Athens had a profound impact on his poetry, particularly in the creation of his epic poem Childe Harold’s Pilgrimage, which was published in 1812 and became a literary sensation. The poem is a reflection on the ruins of ancient Greece and the contemporary state of the country, which was still under Ottoman rule. Greece inspired him to write several other poems, such as The Curse of Minerva, The Isles of Greece, and The Siege of Corinth, all of which reflect his admiration for ancient Greece and its culture.

The Maid of Athens is a poem by Lord Byron, published in 1810. It is a tribute to a Greek girl named Teresa Makri, whom the poet met during his first, 1810, stay in Athens. The poem expresses the speaker’s admiration for Teresa’s beauty and spirit, and his regret at not being able to spend more time with her. The poem is known for its romantic and exotic imagery and its evocation of the beauty and mystery of Greece.

In 1860, Theodoros Vryzakis, a 19th-century Greek painter, known for his historical and patriotic canvases depicting scenes from the Greek War of Independence, painted The Maid of Athens, inspired by Byron’s famous poem.

According to the National Gallery of Greece citation… After his father was hanged by the Turks in 1821, Theodoros Vryzakis and his brother Euthymios were sent to the Capodistrias Orphanage on Aegina. In 1832, probably with the help of Ludwig Thiersch, a progressive educator in the Court of King Otto of Greece, he went to Munich where he studied at the Panhellenion, the Greek school founded by Ludwig I for the orphans of the veterans of the Greek War of Independence. In 1844, he was accepted by the Munich Academy of Fine Arts, and until 1855 continued on a scholarship financed by the Greek community in Munich. https://www.nationalgallery.gr/en/artist/vryzakis-theodoros/

From 1848 to 1851, still financed by the Greek community in Munich, Vryzakis returned to Greece for an extended visit. He aimed to study the landscape and the people of Greece so he could accurately depict them in his history paintings. Could the Maid of Athens be the result of such a study? I wish I could accurately say Yes or No!

Vryzakis’s painting of the Maid of Athens, a tribute to the famous Philhellene, Lord Byron, is characteristically executed in the artist’s classical romantic spirit. His style, clearly influenced by Neoclassicism, idealizes the girl’s features, emphasizing her dark hair and eyes. If the Maid of Athens is indeed Theresa Macri, the eldest daughter of Theodora Macri, the widow of a former English vice-consul, she is depicted as described by the artist, Hugh W. Williams, who visited Athens in May 1817… Theresa, the Maid of Athens, …has black, or dark hair and eyes; her visage is oval, and her complexion somewhat pale, with teeth of pearly whiteness. Her cheeks are rounded, her nose straight, rather inclined to aquiline. Her countenance, except when the conversation has something of mirth in it, may be said to be rather pensive. She is elegant, and her manners pleasing and lady-like, such as would be fascinating in any country… https://genius.com/Lord-byron-maid-of-athens-ere-we-part-annotated – Travels in Italy, Greece, etc., ii. 291, 292.

Celebrating the Greek Revolution of 1821 and remembering… people and events!

For a Student Activity, please… Check HERE! Lord Byron’s famous Poem Maid of Athens… is also the source of inspiration for a Melody by Charles Gounod… https://www.google.com/search?q=Maid+of+Athens+music+by+Gounod&rlz=1C1GGRV_enGR751GR751&oq=Maid+of+Athens+music+by+Gounod&aqs=chrome..69i57j33i160l3.20210j0j15&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:10334ca8,vid:FEwgmMo0l5c

Cardinal Bessarion in prayer before his Byzantine Reliquary

March 5, 2024

by admin 15th century Italian Renaissance Art Art Byzantine Art Byzantium Italian Renaissance Art Powerpoints Renaissance Renaissance Art Social Studies

**Gentile Bellini,** active about 1460-1507
**Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary,** about 1472/3, Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
**The Byzantine Reliquary of Cardinal Bessarion,** late 14^th-early 15^th cent., Wood, silver, gilt filigree, enamel, glass, and precious stones, Galleria dell’Accademia, Venice, Italy https://www.gallerieaccademia.it/en/reliquary-cardinal-bessarion

The painting by Gentile Bellini depicting Cardinal Bessarion in prayer before his Byzantine Reliquary, accompanied by two Members of the Scuola della Carità, housed in the National Gallery in London, captivates my fascination. Bellini’s masterpiece not only offers a tangible link to the historical context it portrays but also illuminates the cultural milieu of its time. Functioning as both an artistic treasure and a captivating historical document, this work by Bellini is a testament to the rich tapestry of the past. https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Born Basilios Bessarion in 1403 in Trebizond, on the Black Sea, Bessarion emerged as a distinguished Humanist and a significant figure of the Renaissance. Initially devoted to a monastic life within the Eastern Orthodox Church, his trajectory took a pivotal turn during the Council of Ferrara-Florence. Here, he fervently advocated for the union of the Eastern and Western Churches, leading to his relocation to Italy. Immersing himself in the Renaissance’s revival of classical learning, Bessarion’s scholarly contributions and diplomatic acumen were acknowledged by Pope Eugene IV in 1439, culminating in his appointment as a Cardinal of the Catholic Church.

Beyond his ecclesiastical responsibilities, Cardinal Bessarion carried influence as a significant Arts Patron, amassing an extensive collection of Greek and Latin manuscripts including ecclesiastical and classical texts. His library considered a beacon of erudition, played a pivotal role in disseminating Greek knowledge to Latin-speaking scholars, thus nurturing the flourishing Humanist movement. This rich repository, comprising rare manuscripts and ancient texts, reflected Bessarion’s fervent commitment to preserving and transmitting the cultural heritage of both Eastern and Western traditions. This passion left a lasting mark on the intellectual landscape of the Renaissance. On May 31, 1468, Cardinal Bessarion bestowed his precious library upon the Serenissima Republic of Venice, endowing hundreds of rare manuscripts to shape the nucleus of the renowned library of St Mark’s, the Biblioteca Marciana.

While Cardinal Bessarion is primarily celebrated for his scholarly contributions, efforts in reuniting the Eastern and Western Churches, and the establishment of his extensive library, he is also associated with a remarkable religious artifact known as Bessarion’s Reliquary or Staurotheke in Greek. This magnificent example of Late Byzantine craftsmanship, donated by Bessarion himself to the Scuola Grande della Carità in 1463, now forms part of the Collection of the Accademia in Venice. The Reliquary features a movable, gilded central Cross with origins traced back to the Byzantine princess Irene Paleologina. Encased within a wooden frame/box adorned with painted scenes depicting the Passion, intricate goldsmithing featuring blue-colored enameling, and flanked by the figures of Emperor Constantine and his mother Helena, the Cross also incorporates four chambers made of rock crystal. These chambers, situated on either side of the Cross, house the precious Relics of the True Cross and Christ’s robe.

Moving from the exploration of Cardinal Bessarion’s Reliquary to Gentile Bellini’s depiction of it, one can discern the symbiotic relationship between the historical artifact and the artist’s creative interpretation. Executed in 1972/73, precisely when Bessarion’s Reliquary made its way to Venice, Bellini was commissioned to craft a painted door panel. This panel was an integral component of a tabernacle designed to encase and safeguard the precious reliquary.

**Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary (detail),** Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK
https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Gentile Bellini’s artistic pursuit not only captures the religious significance of the Reliquary but also breathes life into the personalities linked to its donation. The painting prominently features the generous donor, Cardinal Bessarion, portrayed in profile and modestly attired in black. Accompanying him are two distinguished members of the Scuola della Carità, adorned in their characteristic white robes. One of them is depicted holding an instrument for self-flagellation, projecting a sense of distinction and prominence. Despite the varied depictions, the central focus remains on Bessarion’s Reliquary, commanding attention in the composition. It serves as both a symbolic and visual anchor, connecting the historical artifact to the narrative brushstrokes of Bellini’s portrayal. Consequently, Bellini’s canvas emerges as a bridge between the tangible beauty of the relic and the nuanced storytelling of the individuals tied to it.

The Reliquary’s connection to Venice is beautifully narrated by Holgera A. Klein… In July 1463, ten years after the conquest of Constantinople (1453), Pope Pius II had sent Bessarion to Venice in an attempt to rekindle and promote the idea of a Crusade against the Ottoman Turks. Befitting his role as a Catholic Cardinal traveling as papal legate, the Doge and Senate went out to meet Bessarion in the lagoon on the Bucintoro, the doge’s great ceremonial barge, with chants, acclamations, and church bells resounding from all parts of the city. It was not the only honor bestowed on Bessarion in Venice, for on August 29, a few weeks after his arrival in Venice, Marco della Costa, the Guardian Grande of the Scuola della Carità, and a delegation of its most prominent members went to visit the Cardinal on the island of San Giorgio Maggiore and solemnly invited him to join their confraternity as a member. Touched by the city’s exhibit of respect, Bessarion, accepted the honor, accompanied the Scuola’s delegation back to the Rialto in festive procession, and vowed in gratitude to bestow a special gift on the Confraternity, namely his precious Stavrotheke, that previously belonged to Gregory III Melissenos, the Patriarch of Constantinople, with the sole provision that he would like to hold on to it during his lifetime. https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

In the spring of 1472, in Bolognia, on his way to France on yet another Papal mission, the ailing Bessarion decided to hand over the promised gift, which he had meanwhile ‘further adorned with silver, and fitted with a pole so that it could suitably be displayed in the context of pious devotion’. Three trusted men from the Cardinal’s familia were sent as couriers to hand over the precious panel, which, according to the confraternity’s reply, arrived in Venice in early June. At the request of the Venetian Senate the reliquary was first displayed on the high altar of San Marco on Trinity Sunday, and then carried in solemn procession through the city and across the Grand Canal into the Scuola della Carità accompanied by the entire populace chanting hymns…https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

What a magnificent story!

For a PowerPoint Presentation on Gentile Bellini’s oeuvre, please… Check HERE!

Information on the Conference ‘La Stauroteca di Bessarione: Restauro, Provenienza, Ambito Culturale tra Constantinopoli e Venezia’ (The Stauroteca of Bessarion: restoration, provenance, cultural context between Constantinople and Venice), organized by: Gallerie dell’Accademia, Istituto Hellenico, Veneto Institute of Sciences, Letters and Arts, in collaboration with the German Center of Venetian Studies, 17 – 18 October 2013 https://www.istitutoveneto.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/862

For Photographs of the Staurotheke’s restoration… https://leipsanothiki.blogspot.com/2014/10/359.html

Two Early Christian Tunics in Thessaloniki

February 8, 2024

by admin Byzantine Art Byzantium Early Christian Art Education Egypt Medieval Art Social Studies Student Activities Textiles Worksheets

**Early Christian Tunic,** 5th-7th cent., Wool, 117×100 cm, from Egypt (permanent loan of the Benaki Museum), Museum of Byzantine Culture, Thessaloniki, Greece
https://vizantinaistorika.blogspot.com/2016/06/blog-post_30.html

The Early Christian Tunic refers to a garment style worn during the Late Roman/Early Christian period which generally spans from the 4th to the 7th century AD. This era is characterized by the transition from the classical Roman Empire to the Μedieval period, and it includes the later part of the Roman Empire and the Εarly Byzantine Empire. Tunics of that era evolved from the earlier Roman Τunics but had distinct features that reflected the changing cultural, social, and political landscape. My BLOG intends to present information on Two Early Christian Tunics in Thessaloniki, exhibited in the city’s amazing Museum of Byzantine Culture.

What exactly is an Early Christian Tunic? It is a simple, loose-fitting garment, worn by both women and men and often made from linen or wool. Tunics were generally loose-fitting garments, providing comfort and ease of movement. They had no sewing and were worn with the help of belts, buckles, and pins. Cutting and sewing are practices that experienced wider spread in the Mediterranean area after the 7th century. They had a T-shape or a tubular design, with a hole for the head and sometimes sleeves. The shape could vary, and some tunics were more form-fitting than others. The length of the Τunic could also vary. Some reached the knees, while others were longer, extending to the ankles. https://www.mbp.gr/exhibit/chitonas-2/

While some Τunics were plain, others were embellished with plain coloured bands or ‘ornaments’ of textile bands, roundels, or square panels. These bands (called clavi) were of different lengths and adorned the front and back parts of the garment at shoulder level, but sometimes the lower edge was also trimmed with a horizontal band that turned vertically upwards at right angles at each side. Tunics were also adorned with square panels or roundels (called orbiculi) on the shoulders and near their lower edge. Many times, clavi and orbiculi were garment ornaments, tapestry-woven separately, and then applied to the linen or woolen Tunic. https://www.jstor.org/stable/1522750?read-now=1#page_scan_tab_contents page 239

The clothing of the Early Christian period is often studied through archaeological findings, artistic representations, and references in historical texts. For the history of Early Christian garments and their decoration, Egypt is a treasure trove, due to its hot and dry climate. Egyptian textiles that have survived from this period are referred to as Coptic Textiles, an Arabic corruption of the Greek word ‘Aigyptos’, used to describe the Christianised Egyptians.

In the Museum of Byzantine Culture, in Thessaloniki, Greece, there are two Coptic Tunics (on permanent loan from the Benaki Museum) beautifully decorated with clavi and orbiculi.

One of the two Tunics has the natural color of linen and is adorned with purple-colored woven bands (clavi). Wide bands, for instance, embellish the upper part of the chest on both the front and back of the garment. These bands feature depictions of soldiers carrying shields under colonnades. A narrower band extends across the shoulders, displaying roundels with depictions of hares inside woven squares. Prominent features of the Tunic include two long vertical bands that start from the chest and extend to the hem. These bands are adorned alternately with running lions and hares, creating the impression of a hunt.

The second Tunic, multicoloured, and lively, is equally impressive. Made of linen, coloured a vibrant red, it is adorned with woven vertical white bands, thinner than usually fashionable, down to the waist. The rest of the Tunic’s ornamentation consists of bands for the neck area and the hem of each wrist, adorned with white geometric shapes against a black background for the neck, and white lozenge motifs against a black background for the cuffs. Finally, two discs (orbiculi) with stylized plant motifs in the same colour palette, are placed in the lower part of the Tunic. Noteworthy is the fact that at the height of the waist, there is a seam that covers a belt.

Both Tunics are displayed in the Museum’s 2^nd Gallery, where aspects of Early Christian period city life are presented. This Exhibition, inaugurated on July 10th, 1998, is organized around the triclinium, that is the reception hall of a rich house in Thessaloniki. It presents issues that emphasize the role of the city as a fortified residential complex, its private and public life, professional activities, economic life, commerce, workshops, houses and their equipment (pottery and glass vessels), domestic activities (weaving, cooking) and objects for personal adornment. https://www.mbp.gr/en/permanentexhibitions/room-2-early-christian-city-and-dwelling/

For a Student Activity, inspired by the Coptic Tunics in Thessaloniki, please… Check HERE!

Puabi’s Tomb and Magnificent Jewels

January 27, 2024

by admin Archaeology Art Jewelry Mesopotamia Powerpoints Social Studies

**Puabi’s Jewelry,** 2600-2450 BC, Gold and semi-precious stones, Penn Museum, Philadelphia, PA, USA https://www.penn.museum/collections/object_images.php?irn=1138

Back on the 4^th of January 1928, Sir Leonard Wooley wrote about Puabi’s Tomb and magnificent Jewels … I found the intact tomb, stone built and vaulted over with bricks of Queen Shubad (Puabi) adorned with a dress in which gems, flowers, crowns and animal figures are woven. Tomb magnificent with jewels and golden cups…

Queen Puabi, a name that has endured over millennia, lived during the peak of Ur’s dominance around 2600 BC. This is the Early Dynastic Period of Mesopotamia, which is often referred to as the Early Bronze Age. During her era, the ancient city-state of Ur wielded considerable influence over the Sumer region, which was situated between the southern territories of the Tigris and Euphrates rivers. This period witnessed a flourishing trade environment in Ur, with trade routes extending from present-day India to Sudan.

Puabi was apparently one of Ur’s most powerful Ladies… Her name and title are known from the short inscription on one of three cylinder seals found on her person. Although most women’s cylinder seals at the time would have read “wife of ___,” this seal made no mention of her husband. Instead, it gave her name and title as queen. The two cuneiform signs that compose her name were initially read as “Shub-ad” in Sumerian. Today, however, we think they should be read in Akkadian as “Pu-abi” (or, more correctly, “Pu-album,” meaning “word of the Father”). Her title “eresh” (sometimes mistakenly read as “nin”) means “queen.” https://www.penn.museum/collections/highlights/neareast/puabi.php

This amazing Lady was immortalized through the discovery of her undisturbed Tomb in the ancient city of Ur, in present-day Iraq. Designated as PG 800, Puabi’s Tomb was excavated by British archaeologist Sir Leonard Woolley in the 1920s as part of his extensive work at the Ur archaeological site. The tomb, located in the Royal Cemetery of Ur, is one of the most famous archaeological discoveries in Mesopotamia. In the years following the discovery of Puabi’s tomb, her legacy has continued to captivate researchers and the public alike, shedding light on the fascinating history of ancient Mesopotamia.

Inside Puabi’s tomb, archaeologists found a rich collection of artifacts, including jewelry, elaborate headdresses, musical instruments, and pottery that reflect the advanced craftsmanship and culture of ancient Sumer. She was buried with great ceremony and luxury, suggesting that she held a high status in Sumerian society, possibly as a queen or priestess.

I am particularly fascinated by her ‘formal’ attire… golden, carnelian red, and lapis-lazuli blue! I can imagine her, resplendent in her jewels attending official banquets, shining under the golden light of oil lamps. What a powerful impression she must have been!

According to the Penn Museum experts, where a significant part of her treasure is housed… Puabi’s ornate headdress and pair of earrings were found with her body in the Royal Cemetery at Ur. The headdress is made up of 20 gold leaves, two strings of lapis and carnelian, and a large gold comb. In addition, the queen wore chokers, necklaces, and large lunate-shaped earrings. Her upper body was covered by strands of beads made of precious metals and semiprecious stones that stretched from her shoulders to her belt. Ten rings decorated her fingers. A diadem or fillet made up of thousands of small lapis lazuli beads with gold pendants depicting plants and animals was apparently on a table near her head. https://www.penn.museum/collections/highlights/neareast/puabi.php

What an indelible and commanding presence she has left!

For a PowerPoint titled Puabi’s Tomb and Magnificent Jewels, please… Check HERE!

For the Penn Museum Video, titled Dressing Queen Puabi, please Check… https://www.youtube.com/watch?v=kZngHY1nriA

Interesting articles on The Royal Tombs of Ur, Mesopotamia, New Investigations, New Results from the Examination of Metal Artifacts and other Archaeological Finds… https://www.bergbaumuseum.de/fileadmin/forschung/zeitschriften/metalla/22.1/metalla-22-1-royal-tombs-of-ur-mesopotamia-klein-hauptmann.pdf

Michael Attaleiates’s Ring at Dumbarton Oaks

December 19, 2023

by admin Art Byzantine Art Byzantine Jewelry Byzantium Jewelry Medieval Art Social Studies Student Activities Worksheets

**Ring of Michael Attaleiates**, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Michael Attaleiates’s Ring at Dumbarton Oaks has an inscription on its hoop that reads… Bearer of God, help thy servant Michael Attaleiates… while the bezel of the ring displays the bust of the Virgin flanked by the abbreviation ‘Mother of God.’ Byzantine rings with the owner’s name are scarce, and a ring associated with such a distinguished citizen is exceptionally rare. It stands as an extraordinary treasure! http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

In confronting this historical artifact, the initial question that arises relates to its owner, Michael Attaleiates. The key questions are: Who was he, and what attributes contributed to his recognition as a significant figure?

Michael Attaleiates was a Byzantine historian and government official who lived in the 11th century. He was likely born in Attaleia and relocated to Constantinople between 1030 and 1040 for legal studies. Upon his ‘graduation’ he entered the empire’s administration serving in the judiciary sector. Recognized for his judicial prowess, he received prestigious honors from the Byzantine Emperors and amassed substantial wealth through services in the empire’s administration.

In 1072, he compiled the Ponema Nomikon, a legal synopsis for Emperor Michael VII, based on the 9th-century Basilika. Around 1079/80, he penned The History, chronicling the Byzantine Empire from 1034 to 1079, showcasing valuable insights into the events and characters of his time, as well as the political, military, and social developments. His writings contribute significantly to our understanding of the political and cultural context of the Byzantine Empire during a critical period of its history. https://alexandria-publ.gr/shop/vios-ke-politia-enos-vizantinou-mandarinou/

**Ring of Michael Attaleiates**, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA https://twitter.com/Varangian_Tagma/status/1598350774496817152/photo/1

Back to Attaleiates’s ring, and according to Stephen Zwirn, retired Assistant Curator in the Byzantine Collection of Dumbarton Oaks as of 2012… the ring stands out for deviating from the typical cloisonné technique used in Byzantium, instead adopting the champlevé technique associated with medieval Western European production. This method involves carving a cavity into the background, filling it with enamel, and leaving raised lines to define the image, allowing for intricate details in the drapery folds and inscriptions. The ring is so well crafted, that there is no doubt that this technique had been fully mastered by a Byzantine artist. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

The second inquiry that arises concerns the acquisition history of the ring. According to Dumbarton Oaks records, on the 15th of August – a day Christians commemorate the feast of the Assumption of the Blessed Virgin Mary – the Dumbarton Oaks Research Library and Collection in Washington, DC, acquired Michael Attaleiates’s Ring from the Art Dealer Joseph Brummer. This prompts a dual question: Who was Joseph Brummer, and what distinguishes him as a noteworthy figure in the realm of art dealers?

**Henri Rousseau,** 1844 – 1910
**Portrait of Joseph Brummer,** 1909, Oil on Canvas, 115.9 × 88.3 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/henri-rousseau-portrait-of-joseph-brummer

Joseph Brummer was a prominent art dealer in the early to mid-20th century, known for his significant contributions to the art world. Born in 1883 in Hungary, Brummer, along with his brothers, Ernest and Imre, established the Brummer Gallery in Paris in 1905, later moving it to New York in 1914. The Brummer Gallery played a pivotal role in recognizing the artistic importance of Medieval Arts and unusually introducing them as if they were modernist artifacts. The Brummer Gallery was also famous for introducing European modern art to the United States, showcasing works by renowned artists such as Picasso, Modigliani, and Brancusi. Joseph Brummer was renowned for his discerning eye and deep knowledge of art, building a reputation as a tastemaker and a key figure in the art market during his time. His legacy lives on not only through the artworks he handled but also in the influence he had on shaping the appreciation of art in America. https://medievalartus.ace.fordham.edu/exhibits/show/josephbrummer/josephbrummer-essay

**P4125 recto:** Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29918/rec/17

**P4125 verso:** Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29917/rec/17

On the 15^th of August 1947, Dumbarton Oaks Research Library and Collection purchased Attaleiates’s Gold Ring from Joseph Brummer. Searching MET’s Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, I present you with both sides of the Ring’s Inventory Card, Numbered P4125!

For a Student Activity, titled Comparative Analysis of Champlevé and Cloisonné Enamel Techniques in Byzantine Art, please… Check HERE!