Student Activities Archives - Page 2 of 25

Bust of Prince Ankhhaf

September 21, 2024

by admin Ancient Egypt Archaeology Art Egypt Egyptian Art Sculpture Student Activities Worksheets

**Bust of Prince Ankhhaf,** reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

In the world of ancient Egyptian art, true portraits were a rarity, making the Bust of Prince Ankhhaf a remarkable exception. Housed in the Museum of Fine Arts, in Boston, this limestone bust, coated with a delicate layer of plaster, showcases the masterful hand that sculpted its intricate details. Unlike the stylized depictions typical of the era, Ankhhaf’s visage is that of a real individual, imbued with personality and character. Historical inscriptions from his tomb reveal Ankhhaf’s royal lineage as the son of King Sneferu, brother to Pharaoh Khufu, and a high-ranking official who served as vizier and overseer of works for his nephew, Pharaoh Khafre. In these roles, Ankhhaf may have played a pivotal part in overseeing the construction of the second pyramid and the carving of the iconic Sphinx, cementing his legacy in the annals of ancient Egypt. https://collections.mfa.org/objects/45982

Prince Ankhhaf, a distinguished figure of Egypt’s Old Kingdom during the Fourth Dynasty (circa 2600 BCE), is believed to have been the son of Sneferu, though his mother’s identity remains unknown. Despite holding the prestigious title of “eldest king’s son of his body,” it was his half-brother Khufu who ascended to the throne after Sneferu. Alternatively, there is a possibility that Ankhhaf was the son of Huni, which would make him Sneferu’s half-brother.

The Prince served as Vizier to his half-brother Pharaoh Khufu and possibly his nephew Pharaoh Khafre. Renowned for his architectural prowess, Ankhhaf played a crucial role in the later stages of the construction of the Great Pyramid at Giza, overseeing the delivery of Tura White Limestone from quarry to port and ensuring its placement atop the pyramid’s limestone base. Egyptologists speculate that he also contributed architecturally to the Great Sphinx, another iconic structure in Giza. Ankhhaf’s familial ties were equally noteworthy; he married his half-sister Princess Hetepheres, with whom he had a daughter, also named Princess Hetepheres. His own tomb, Mastaba G7510 in the Eastern Cemetery of Giza, is one of the largest discovered at the site, reflecting his high status and enduring legacy in ancient Egyptian history.

**Maps of the Giza Necropolis** where Prince Ankhhaf’s Mastaba Tomb G7510, the largest in the East Field Cemetery, was discovered https://historyofegypt.net/?page_id=4760

Ankhhaf’s mastaba had a mudbrick chapel attached to its east side, oriented in such a way that it faced the chapel’s entryway. The chapel walls were covered in exquisitely modelled low relief sculptures, exemplary representations of Old Kingdom artistry, and characterized by their detailed and realistic depictions. These reliefs primarily adorn the walls of the chapel within the mastaba and depict various scenes that illustrate both daily life and ceremonial activities. The scenes feature intricate details, such as the rendering of human figures, animals, and hieroglyphic inscriptions, providing a fragmentary narrative of Ankhhaf’s life and his contributions. These reliefs also serve a symbolic function, intended to ensure the deceased’s safe passage to the afterlife and to perpetuate his memory and legacy. The craftsmanship of these sculptures demonstrates the high level of skill possessed by the artisans of the time and offers valuable insights into the aesthetic and cultural values of ancient Egypt during the 4th Dynasty.

The Bust of Prince Ankhhaf was discovered in 1925 during an excavation by the Harvard University–Museum of Fine Arts Expedition in the eastern cemetery at Giza. The excavation revealed the bust in the tomb’s chapel, an area rich with artefacts and inscriptions that shed light on the life and status of Ankhhaf. This significant find was awarded to Boston by the Egyptian Antiquities Service in gratitude for the Harvard-Boston Expedition’s painstaking work to excavate and restore objects from the tomb of Queen Hetepheres. It was transported to the Museum of Fine Arts in Boston, where it remains one of the museum’s prized pieces, offering a tangible connection to Egypt’s ancient past. https://collections.mfa.org/objects/45982

The bust of the Egyptian Prince Ankhhaf is renowned for its striking realism, a characteristic that sets it apart from other contemporary Egyptian art. Carved from limestone and originally coated with a thin layer of plaster, the bust portrays Ankhhaf with a remarkable level of detail and individuality. His features, those of a mature man, are solemn and introspective, with a prominent nose, fleshy lips, and slight furrows on his forehead and the sides of his lips, suggesting a thoughtful and possibly authoritative demeanour. The eyes, which were once painted white with brown pupils and carried puffy pouches underneath, add to the lifelike quality of the sculpture. This bust not only exemplifies the artistic skills of the time but also provides a rare glimpse into the personal appearance of an individual from ancient Egypt’s elite class.

For a Student Activity inspired by the Bust of Prince Ankhhaf, please… Check HERE!

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 Rampin Rider

September 5, 2024

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

**The Rampin Rider,** Archaic Period, around 550 BC, Marble from Paros, Height: 1.08 m, Length: 0.77 m, Width: 0.38 m, Acropolis Museum, Athens, Greece https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

…Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts, [20] when that horse ran swiftly beside the Alpheus, not needing to be spurred on in the race, and brought victory to his master, the king of Syracuse who delights in horses… writes Pindar in his Olympian Ode 1, and I think of The Rampin Rider in the Acropolis Museum!

The Rampin Rider is an ancient Greek marble Archaic statue dating back to around 550 BC. It depicts a young horseman in a dynamic pose and is believed to represent a victorious athlete or a noble youth. The statue is renowned for its detailed craftsmanship and is a prime example of early Greek sculpture, combining Archaic stylization with emerging naturalism. https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

Today, the Rampin Rider statue is unfortunately divided between two major museums. The larger portion, including the torso and horse, is housed in the Acropolis Museum in Athens, Greece, where it is displayed alongside a plaster cast of the missing head. Meanwhile, the head of the rider, known for its distinctive Archaic smile, is displayed at the Louvre Museum in Paris, France, accompanied by a cast of the rest of the statue. This arrangement highlights the division of this significant artefact between the two institutions. https://collections.louvre.fr/ark:/53355/cl010276879

**The Head of the Rampin Rider,** Archaic Period, around 550 BC, Marble from Paros, Height: 27 cm, Louvre Museum, Paris, France
https://www.neo-mfg.com/products/history-roman-rampin-rider-60671

The Rampin Rider statue, the oldest and most renowned equestrian statue dedicated to the Acropolis, depicts a naked youth seated forward on his horse, almost on its neck. Once holding a metal bridle and reins attached through drilled holes in the horse’s mane, the rider is portrayed with keen attention to anatomical detail, especially in the physique and abdomen. Adorning his head is a wreath made of wild celery or oak leaves, signifying his victory in an equestrian event, possibly at the Nemean or Olympic Games. The rider’s face, characteristic of the Archaic period, features large almond-shaped eyes, thin eyebrows, and the distinct “archaic smile.” Remarkably, traces of original colour still remain on the rider’s face and hair, as well as on the horse’s mane, offering a glimpse into its original vibrant appearance.

During the Archaic period of ancient Greece, statues depicting riders held significant importance as symbols of wealth, status, and military prowess. These expensive dedications were commissioned by members of the upper socio-economic classes, specifically the pentacosiomedimnoi and triacosiomedimnoi, who were responsible for maintaining war horses. Participation in equestrian events was exclusive to affluent nobles, either as athletes or horse owners, reflecting their elite status. The rider statues, such as the Rampin Rider, were often dedicated on the Acropolis as commemorative monuments to celebrate victories in prestigious games, underscoring the social and political influence of the aristocracy in ancient Greek society.

The larger portion of the Rampin Rider statue, including the rider’s torso and the horse, was unearthed in a Perserschutt ditch, a significant archaeological context filled with statues and other artefacts deliberately buried after the 480 BC Persian sack of Athens. These ditches were created by the Athenians to dispose of the destroyed remnants of their sacred and civic monuments after the Persians razed the city. The Perserschutt deposits are invaluable to archaeology because they provide a well-preserved snapshot of Athenian art and culture before the Persian invasion, capturing details of early Greek sculpture, architecture, and religious practices. The discovery of the Rampin Rider in this context highlights the cultural loss and resilience of Athens, as these broken yet revered artworks were buried with care and later played a crucial role in reconstructing the history of Archaic Greece.

For a Student Activity, please Check… HERE!

Plaque with Eros as a Sleeping Child

August 26, 2024

by admin Archaeology Art Exhibitions Mythology Roman Art Student Activities Worksheets

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

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

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

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

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

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

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

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

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

Santa María la Real de las Huelgas

August 22, 2024

by admin Art Medieval Art Spanish Art Student Activities Worksheets

**View of the Cloister of Santa María la Real de las Huelgas,** 13^th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

I love cloisters’ peace / soft words of silence within / harmony and calm… This is exactly how I felt in the Cloister of the Monastery of Santa María la Real de las Huelgas, in Burgos, Spain.

The Monastery of Santa María la Real de las Huelgas in Burgos, Spain, was founded in 1187 by King Alfonso VIII of Castile and his wife Queen Eleanor of England. Originally established as a royal Pantheon and Cistercian convent, the monastery played a significant role in Spanish religious and political life throughout the Middle Ages. It served as a spiritual and cultural center, with close ties to the Castilian monarchy. The monastery’s royal patronage allowed it to amass considerable wealth and influence, making it one of the most important monastic institutions in medieval Spain. Over the centuries, it has witnessed numerous historical events, including royal ceremonies and the burial of several Castilian monarchs. https://www.patrimonionacional.es/visita/monasterio-de-sta-maria-la-real-de-las-huelgas

An essential stop on the Camino de Santiago, the Monastery holds the distinction of being the premier female Cistercian monastery in Spain and serves as the head of all Cistercian Convents within the Crown of Castile. The first abbess of Las Huelgas was a testament to the wealth and privileges bestowed upon the monastery; she wielded ecclesiastical, civil, and criminal authority over more than 50 nearby towns, answering only to the pope. Her high rank was symbolized by a unique headdress similar to a mitre, and she carried a crosier, reflecting a status akin to that of a female bishop.

The Monastery showcases a fascinating blend of architectural styles. The original construction included a Mudejar church, part of which is still preserved in the current Chapel of the Assumption, characterized by its Almohad style. This early structure contrasts with the later Romanesque elements, particularly visible in the arches and columns adorned with plant motifs and castle designs. In the early 13th century, the definitive Gothic monastery was constructed, embodying the austere architectural style of the Cistercian order. This phase included the large church with reinforced walls and various rooms, among which the chapter house stands out for its significance and design.

Santa María la Real de las Huelgas is famous for its Romanesque Cloister known as las Claustrillas. Architecturally, the Cloister consists of 12 arches on each side supported by double columns, with capitals decorated with plant and castle motifs. Serving as the heart of monastic life, Cloisters were designed as a serene and contemplative space, often enclosing a garden or courtyard. They provided a sheltered pathway for monks to move between the different parts of the monastery while maintaining a meditative atmosphere conducive to prayer and reflection. The architectural significance of Cloisters lies in their ability to blend functionality with spiritual symbolism, representing the monastic ideals of seclusion and introspection. The Cloister at Las Huelgas, with its intricate arches and harmonious proportions, is a testament to the importance of these spaces in fostering the religious and communal life of the monastery. https://www.monasteriodelashuelgas.org/

The Cloister of the Monastery, constructed in the 13th century, is a remarkable example of Romanesque architecture infused with Cistercian austerity. Its history is intertwined with the monastery’s development as a Royal Pantheon and spiritual center. The Cloister features a series of arches supported by slender columns, creating a rhythmic and harmonious passageway around a tranquil courtyard. The simplicity of the design reflects the Cistercian emphasis on modesty and contemplation, while the delicate tracery and occasional ornamental details showcase the Romanesque influence. Over the centuries, the Cloister of Santa María la Real de las Huelgas has been a silent witness to the daily rituals of the nuns, royal ceremonies, and the ebb and flow of historical events, making it a significant architectural and historical element of the monastery.

For a Student Activity, please… Check HERE!

The Torcello Hodegetria

August 14, 2024

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

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

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

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

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

Madonna with Child in a Landscape

July 22, 2024

by admin 15th century Art Art Northern Renaissance Student Activities Worksheets

**Attributed to the Master of the Madonna Grog, a member of the group of artists formerly known as the Master of the Embroidered Foliage**
**Madonna with Child in a Landscape**, c. 1492-1498, Oil on Panel, Burgos Cathedral, Chapel of the Constables, Burgos, Spain – Photo Credit: Amalia Spiliakou, May 14, 2024

On the 14^th of May 2024, while visiting the Burgos Cathedral, the Chapel of the Constables to be specific, a beautiful triptych caught my attention. Attributed to the Master of the Madonna Grog, a member of the group of artists formerly associated with the Master of the Embroidered Foliage, the painting of the Madonna with Child in a Landscape stands as a testament to the artistic and spiritual grandeur of the Northern Renaissance period. This exquisite triptych, with its intricate detailing and profound iconography, seamlessly merges the divine serenity of the Madonna and Child theme with the rich, naturalistic backdrop of the landscape. The artwork not only highlights the tender bond between mother and child but also reflects the Renaissance’s burgeoning appreciation for nature and humanism. As a focal point of the Chapel of the Constables, this triptych not only enhances the chapel’s ornate beauty but underscores Burgos Cathedral’s significance as a repository of sacred art and a beacon of devotional artistry.

The Maestro de la Madonna Grog, an enigmatic figure in the annals of art history, is believed to be the artist who created Madonna with Child in a Landscape at the Burgos Cathedral. This serene garden scene presents the Madonna sitting outside with the Child nestled on her lap, surrounded by vibrantly blooming flowers in a verdant, lush landscape. In the background, a river view provides a glimpse of the distinctive architectural style of 15th-century Northern Europe, where the artist likely resided. Clad in a majestic red robe, the Madonna’s face glows with a tender smile as she gently turns to her Child, who holds a small purple flower.

This is no ordinary scene, as the real-world details in the artwork hold deeper religious significance. The ‘gladiolus’ or blue iris, for example, symbolizes the sorrow that pierced Mary’s heart when her son died. This specimen gets its name from the Latin word “gladius,” which means “sword.” The blue violets that Christ holds, on the other hand, symbolize humility, His suffering and sacrifice, spiritual transformation, and the journey towards holiness and grace.

The painting of the Madonna with Child in a Landscape is presented in the Chapel of the Purification, also known as the Constables, in Burgos Cathedral. This chapel, a stunning example of Gothic architecture, is adorned with intricate stone carvings and vibrant stained-glass windows that bathe the space in a kaleidoscope of colours. Constructed in the late 15th century, it serves as a mausoleum for the noble Don Pedro Fernandez de Velasco and his wife, Doña Mencía de Mendoza, whose effigies lie in peaceful repose beneath the soaring vaulted ceiling. The chapel’s grandeur and serene atmosphere provide a fitting backdrop for the Maestro de la Madonna Grog’s masterpiece, enhancing its spiritual and artistic significance within this sacred space.

For a Student Activity, inspired by the Madonna with Child in a Landscape in the Burgos Cathedral, please… Check HERE!

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 Knossos Veil

June 20, 2024

by admin 20th century Art Art Art Nouveau Student Activities Worksheets

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

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

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

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

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

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

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

**Model for the Knossos Veil,** 1910, **Photo by Mariano Fortuny y Madrazo**,Archivio Museo Fortuny, Venice, Italy
https://artsandculture.google.com/asset/model-for-the-knossos-scarf-mariano-fortuny/_AFs03WjdU506A

**Print Samples for** **Knossos Veil,** 1905, Archivio Museo Fortuny, Venice, Italy https://artsandculture.google.com/story/JgWBsAjx7KyuJg?hl=en and https://www.palaisgalliera.paris.fr/sites/galliera/files/cp_dp_visuels/dossiers_de_presse/dp_fortuny_eng_bdef.pdf

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

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

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

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

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

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

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

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

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/