Pendant with the Bust of an Empress

by ArtByzantine ArtByzantine JewelryByzantiumEarly Christian ArtJewelryStudent ActivitiesWorksheets
Chain and Pendant with the Bust of an Empress, 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/

St. Ambrose describes her, Aelia Flacilla, wife of emperor Theodosius I, as “a soul true to God” (Fidelis anima Deo. – “De obitu Theodosii”, n. 40, in P. L., XVI, 1462). In his panegyric, St. Gregory of Nyssa bestowed the highest praise on her virtuous life and pictured her as the helpmate of the emperor in all good works, an ornament of the empire, a leader of justice, an image of beneficence. He praises her as filled with zeal for the Faith, as a pillar of the Church, and as a mother of the indigent. Theodoret in particular exalts her charity and benevolence (Hist. Eccles., V, xix, ed. Valesius, III, 192 sq.). He tells us how she personally tended cripples and quotes a saying of hers: “To distribute money belongs to the imperial dignity, but I offer up for the imperial dignity itself personal service to the Giver.” Could the Pendant with the Bust of an Empress in the Getty Collection depict this extraordinary Early Christian Empress? https://www.ecatholic2000.com/cathopedia/vol6/volsix114.shtml

Let’s answer some questions.

When did the Getty Museum acquire the Pendant with the Bust of an Empress? Yes, we do… Barbara Deppert-Lippitz, a most reputable expert archaeologist in ancient gold, contributed an article, titled A Group o f Late Antique Jewelry in the Getty Museum (pages 107-140) in Studia Varia from the J. Paul Getty Museum: Volume 1 (OPA 8), 1993. Let me quote… The majority of Late Roman and Early Byzantine jewelry that we do have has no known provenance and is undated. Our knowledge of jewelry of the period is based mainly on a few larger hoards with recorded find spots but without any external evidence for dating. It is therefore fortunate that in 1983 the Getty Museum was able to acquire a group of fifteen pieces of jewelry buried around A.D . 400. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 107

Where were the Late Antique pieces of jewelry, including the Pendant with Empress, found? We do not exactly know… but according to Barbara Deppert-Lippitz… As all pieces had a similar patina, it need not be doubted that the group was, indeed, found together. They are all in very good condition, except for missing pearls on some items. Nothing is known about the previous history of this hoard, but no treasure corresponding to the present one is recorded as having been excavated anywhere during this century There are, however, certain indications that the hoard must have come from the eastern part of the Roman Empire. Further interesting observations point out that… The Getty hoard belongs among the well-known treasures from the Hill of Saint Louis in Carthage, Tunisia, and from Ténès in Algeria, both now generally agreed to belong to the period around A.D . 400, and the one from Thetford at Gallows Hill, near Thetfordin Norfolk, dated to the late fourth century A.D. All these hoards are dated on a purely stylistic basis, with no external evidence. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 107, and https://en.wikipedia.org/wiki/Carthage_Treasure and https://www.persee.fr/doc/rbph_0035-0818_1960_num_38_1_2309_t1_0098_0000_2 and https://en.wikipedia.org/wiki/Thetford_Hoard

How did the Getty Museum acquire the Late Antique pieces of Jewelry? In 1983, the J. Paul Getty Museum purchased the group of fifteen pieces of Late Antique pieces of jewelry from the Company of “Robin Symes, Limited,” founded in 1977 and dissolved in 2005. https://www.getty.edu/art/collection/object/103VE6#full-artwork-details

Chain and Pendant with the Bust of an Empress, 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/

How can you describe the Pendant with the Bust of an Empress? This is actually a necklace consisting of a chain and a circular medallion. The gold ropelike multiple loop-in-loop chain shows remarkable workmanship. It ends with a hook-and-eye clasp, decorated with openwork circlets as well as filigree and granulation. The medallion-shaped pendant displays a frontal female bust flanked by two Victory Goddesses holding wreaths. A circular outer band, with inset garnets, and blue and green glass beads, serving as a frame to the repoussé medallion, was a rather primitive later addition to the original jewel. Three chain pendants and two strong rings attached to either side of the medallion were also added later. Today, only one pendant chain remains attached to the outer frame, holds an emerald, and terminates in a decorative scroll ornament. https://www.getty.edu/publications/virtuallibrary/0892362030.html pages 109-111.

Chain and Pendant with the Bust of an Empress (Detail), 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA
http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/
 

Who is the depicted woman? It most probably is Aelia Flacilla, the first wife of Emperor Theodosius I. According to Barbara Deppert-Lippitz… a small but significant detail, the diadem, the Empress wears, offers valuable information. Based on numismatic evidence, similar diadems have been worn only by the empresses Aelia Flacilla, wife of Theodosius I, whose coinage commenced in A.D . 383 and who died in 386, and by her daughter-in-law Eudoxia, wife of Arcadius (A.D . 383-408). This narrows the chronological range of the medallion pendant to the last two decades of the fourth century A.D. The differences between the coin portraits of Flacilla and of Eudoxia are marginal. However, the oval face with a short straight nose, small mouth with thick lips, and energetic chin seem to be closer to the portrait on certain issues of Flacilla than to that of Eudoxia. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 110

For a Student Activity, please… Check HERE!

Murrhine Vases in the British Museum

by ArtRoman ArtStudent ActivitiesWorksheets
The Barber Cup, 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/9125/the-barber-cup
The Crawford Cup, 50-100 AD, Fluorite, Diameter: 10.70 cm, Height: 9.70 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1971-0419-1

Fluorite(or Fluorspar) crystals were among the most highly prized gemstones in ancient Greece and Rome. In numerous Latin works, the word ‘murrina’ (today, known as murrhine) is used elliptically to designate a certain category of costly vessels, known as ‘vasa murrina.’ Suetonius, for example, tells us that Augustus, of all the royal riches he was presented with in Alexandria… he set aside for himself, one object only, a murrhine vase… The two Murrhine Vases in the British Museum, rare and precious, are worth exploring.  https://www.jstor.org/stable/24191123?read-now=1#page_scan_tab_contents Alain Tressaud and Michael Vickers, Ancient Murrhine Ware and Its Glass Evocations, Journal of Glass Studies, Vol. 49 (2007), pp. 143-152 (10 pages), Published by: Corning Museum of Glass

The two Murrhine Vases in the British Museum were discovered by an Austro-Croat officer during the First World War near the then border between Turkey and Syria, in what was once ancient Cilicia. Apparently, he first discovered a marble cist which contained a lead casket containing some gold medallions, a two-handled stone ‘cup’, covered with ashes, and a slightly taller stone ‘jug’ with one carved handle, also covered in ashes. Shortly after World War I, the officer who discovered this amazing treasure, sold both of ‘his’ stone vases, but to two different buyers.

The Barber Cup, 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/9125/the-barber-cup

The ‘jug,’ today known as the Barber Cup, went to a Greek dealer of antiquities who sold it to Baron Adolphe Stoclet, the wealthy Belgian engineer, financier, and noted collector, from whose estate the British Museum acquired it in 2004, thanks in part to the British Museum Friends and it is now named in honour of their former Chairman, Nicholas Barber. The acquisition of the Barber Cup was generously funded by the Art Fund and the Caryatid Fund as well. https://artsandculture.google.com/asset/the-barber-cup/2wEO5TvohhMDUw

The Barber Cup (details), 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK
https://www.britishmuseum.org/collection/object/G_2003-1202-1
The Barber Cup (detail), 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK
https://www.britishmuseum.org/collection/object/G_2003-1202-1

According to Dyfri Williams, the shape of the Barber Cup has been carved from a single piece of a mineral known as fluorspar and is richly veined with purple, green, yellow, and white. The cup has been further decorated with a low-relief panel of vine leaves, grapes, and tendrils, with a bearded head presumably Dionysus or one of his companions, under the handle. The Barber Cup is unusual, and it is likely that the craftsman intended to create a two-handled ‘kantharos,’ but for some reason changed his mind during the carving. The decoration is very carefully cut and can be found in both in Roman silverware and in glass. The date is probably the 1st century AD, and the find-spot in Roman Cilicia and the high quality of the object suggests the rich and cosmopolitan city of Antioch as a place of manufacture. https://ocean.exacteditions.com/issues/92787/spread/49

The Crawford Cup, 50-100 AD, Fluorite, Diameter: 10.70 cm, Height: 9.70 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1971-0419-1

The two-handled ‘cup,’ today known as the Crawford Cup went to a private collector, who published the story of its discovery. In 1971, the ‘cup’ was presented to the British Museum, a gift by the Art Fund in honour of David Lindsay, 28th Earl of Crawford, chairman of the Fund between 1945-1970. The Crawford Cup was also carefully cut from a single piece of fluorspar, and is richly veined with purple, green, and yellow, but has no additional, like the Barber Cup, low-relief decoration.  It has the shape of a two-handled goblet, or to be more precise, the shape of the ancient Greek drinking cup known as Kantharos. The shape of the Crawford Cup has been compared to the Hellenistic agate Cup of the Ptolemies in the Cabinet des Médailles at the Bibliothèque Nationale de France in Paris. https://ocean.exacteditions.com/issues/92787/spread/49

For a Student Activity on the Barber Cup, please… Check HERE!

The Twelve Months of Flowers by Pieter Casteels III

by 18th century ArtArtBaroqueStudent ActivitiesWorksheets
Pieter Casteels III, 1684-1739
The Twelve Months of Flowers, 1730, Oil on Canvas, 76.2×63.5 cm, Private Collection
https://www.christies.com/lot/lot-pieter-casteels-iii-antwerp-1684-1749-richmond-4507868/

January brings the snow, / Makes our feet and fingers glow.     /     February brings the rain, / Thaws the frozen lake again.     /     March brings breezes, loud and shrill, / To stir the dancing daffodil.     /     April brings the primrose sweet, / Scatters daisies at our feet.     /     May brings flocks of pretty lambs / Skipping by their fleecy dams.     /     June brings tulips, lilies, roses, / Fills the children’s hands with posies.     /     Hot July brings cooling showers, / Apricots, and gillyflowers.     /     August brings the sheaves of corn, / Then the harvest home is borne.     /     Warm September brings the fruit; / Sportsmen then begin to shoot.     /     Fresh October brings the pheasant; / Then to gather nuts is pleasant.     /     Dull November brings the blast; / Then the leaves are whirling fast.     /     Chill December brings the sleet, / Blazing fire, and Christmas treat… writes Sara Coleridge (1802-1852), the English translator and author of children’s verse… and I think of The Twelve Months of Flowers by Pieter Casteels III! https://www.poetrybyheart.org.uk/poems/the-months/

Pieter Casteels III, painter, etcher, and designer, was a leading Flemish artist of lavish Still Life paintings. He was born in Antwerp, the son of Pieter Casteels II, a painter of landscapes and history paintings. He trained with his father, but soon, as early as 1708 he traveled to England where he established himself first as a copyist of Old Masters. While in England, Pieter became an active participant in London’s artistic community, subscribing to the Kneller Academy of Painting and Drawing in 1711 and becoming a member of the Rose and Crown Club. https://en.artsdot.com/@@/A2686B-Pieter-Casteels-Iii-Bouquet-of-flowers-in-an-urn-on-postamente

The artist returned to Antwerp in 1712 and stayed for the next five years. In 1717 he settled permanently in England becoming a successful painter of exotic Still Life paintings of flowers, game, and birds that chiefly served a decorative purpose, as over-door and over-chimney pieces of ornamentation.

During the 1730s Casteels became interested in the business of printing and came into partnership with leading professionals like the engraver Henry Fletcher, and the nurseryman Robert Furber. The three of them undertook the commercial venture of designing, producing, and selling sets of hand-coloured engravings to a group of subscribers. The Twelve Months of the Year is one such set, the most popular and ambitious of all sets, the team had created.

The Twelve Months of Flowers by Pieter Casteels III presented today, is a set of twelve flower arrangements, painted in oil on canvas, the artist created in 1730. The twelve extravagant compositions represent nearly 400 different species of flowers grouped according to the month in which they bloom. The compositions reflect the grand style of the Baroque period, with the flowers arranged in perfected bouquets, set in decorative and stylized urns resting on a plinth. This amazing set of flower bouquets served as the prototype for the colour engravings Casteels produced with Fletcher and Furber, his business partners. https://www.pricefineart.com/product/twelve-months-of-flowers/

For a  Student Activity, please… Check HERE!

Nativity scene from the Menologion of Basil II

by ArtByzantine ArtByzantine ManuscriptByzantiumStudent ActivitiesWorksheets
Menologion of Basil II, The Nativity of Christ, c. 1000, Illuminated Manuscript, Vatican Library  (Ms. Vat. gr. 1613)
https://en.wikipedia.org/wiki/Menologion_of_Basil_II

Η Γέννησίς Σου, Χριστέ ο Θεός ημών, ανέτειλε τω κόσμω το φως το της γνώσεως· εν αυτή γαρ οι τοις άστροις λατρεύοντες, υπό αστέρος εδιδάσκοντο, Σε προσκυνείν, τον Ήλιον της δικαιοσύνης, και Σε γινώσκειν εξ ύψους ανατολήν, Κύριε, δόξα Σοι. (Απολυτίκιο των Χριστουγέννων, ήχος δ΄). Your birth, O Christ our God, dawned the light of knowledge upon the earth. For by Your birth those who adored stars, were taught by a star, to worship You, the Sun of Justice, and to know You, Orient from on High. O Lord, glory to You. (Christmas Apolytikion: Fourth Tone)… Merry Christmas… Best Wishes for Peace, Health, and Happines! Enjoy the Day with the Byzantine Nativity scene from the Menologion of Basil II. https://www.pemptousia.gr/2021/12/i-gennisis-sou-christe-o-theos-imon/ and https://www.goarch.org/-/hymns-of-nativity

One of the most luxurious of all Byzantine manuscripts, the Menologion of Emperor Basil II (958 – 1025)in the Vatican Library (Ms. Vat. gr. 1613), contains 430 amazing miniatures in 272 folios! It is a treasure cove for Byzantine Art and a high point of the Macedonian Renaissance.

The Byzantine Menologio, a book arranged according to the months, is a liturgical book of the Greek Orthodox church. Simply put, it is a Book of Saints, presenting short information on the saint’s life and martyrion. It is read on the Saint’s feast day, during the morning matins, and serves as a Church Calendar.

The Menologion of Basil II has compiled ca. 1000 AD, under the auspices of the Byzantine Emperor Basil II of the Macedonian Dynasty. It is an unusually opulent manuscript, created at Constantinople for liturgical use, and in its present form, covers the first six months of the Byzantine liturgical year, from September through February. The portrait of Emperor Basil II, one of the most successful military leaders of the Byzantine Empire, shows him as a warrior defending Orthodoxy, standing on a low podium, clad in his military regalia, graciously accepting his enemies’ submission.

The manuscript contains around 430 miniature paintings executed by eight different artists. The artists identified by their name written at the edge of each miniature are: Pantoleon, who seems to have been in charge of the group, Georgios, Michael the Younger, Michael of Blachernai, Simeon, Simeon of Blachernai, Menas, and Nestor.

Menologion of Basil II, The Nativity of Christ, c. 1000, Illuminated Manuscript, Vatican Library  (Ms. Vat. gr. 1613)
https://en.wikipedia.org/wiki/Menologion_of_Basil_II

The Nativity scene, celebrating the Birth of Jesus and the Annunciation to the Shepherds, was painted by Symeon of Blachernae. It is a well-balanced composition achieved within a typical Byzantine ‘Nativity’ Landscape comprised of a mountain cave executed in the typical ‘broken terrace’ motif of the Greco-Roman tradition.

The central axis of the composition is dedicated to the presence of God, as exemplified by the Bethlehem Star at the very top, the newborn Child in a manger, and a midwife bathing Christ at the lower part of the scene… The Star of Bethlehem is heraldically flanked by two rejoicing angels, festively dressed in sky-blue and taupe-coloured garments. To the right, Simeon of Blachernai presented the Annunciation to a rather rugged-looking Shepherd. To the left, the depicted Virgin sits near Christ, but Joseph, in the lower left corner of the miniature from the Menologion of Basil II, seems distant and thoughtful. What an amazing Nativity scene this is!

Merry Christmas!!!

For a Student Activity inspired by the Menologion of Basil II – The Nativity of Christ Scene, please… Check HERE!

Αn Annotated Picture of the Nativity scene

Interesting to read… The Illuminators of the Menologium of Basil IIby Ihor Ševčenko, Dumbarton Oaks Papers, Vol. 16 (1962), pp. 243+245-276 (43 pages) https://www.jstor.org/stable/1291164?read-now=1#page_scan_tab_contents

Hartwell Memorial Window by Tiffany

by 20th century ArtAmerican ArtArtArt NouveauStudent ActivitiesWorksheets
Tiffany Studios (1902–32, American Manufacturer), Agnes F. Northrop (American Artist – 1857–1953, Designer), Louis Comfort Tiffany (American Artist – 1848-1933, Manufacturer)
Hartwell Memorial Window (Detail), 1917, Leaded glass, 798.7 × 554.7 × 42.5 cm, the Art Institute of Chicago, USA https://www.smithsonianmag.com/smart-news/after-100-years-obscurity-brilliant-tiffany-stained-glass-window-shine-chicago-180977850/

The stained glass artist for Tiffany Studios, Agnes Northrop, was at the height of her power in 1917 when she designed the dazzling Hartwell Memorial Window by Tiffany, dramatically backlit to mimic sunlight flooding through, creating a kaleidoscope of color. As head of a group called “The Tiffany Girls,” she created some of Tiffany’s most memorable windows and was the first at the preeminent studio to execute landscapes and gardens in stained glass. She was a true virtuoso in what was referred to at the time as painting in glass. https://classicchicagomagazine.com/tag/hartwell-memorial-window/

Agnes Northrop was one of Louis Comfort Tiffany’s most trusted designers and a member of the famous Tiffany Girls. The great Master did not work alone. “Tiffany” designed artworks that were high in demand, and he employed hundreds of artists and artisans. Amongst them are the Tiffany Girls, entrusted with some of the most complex design work in Tiffany’s studios, including window and lamp design, glass selection, and glass cutting. Interestingly, Tiffany thought a woman’s sense of color and the nimbleness of her fingers to be superior to a man’s and entrusted his female designers with this essential part of making his windows. https://driehausmuseum.org/blog/view/from-the-collection-landscape-by-agnes-northrop

Agnes Northrop, American Glass Artist, 1857-1953
https://www.wikidata.org/wiki/Q102156729

Agnes Northrop was born in Flushing, Queens, in 1857 and died in 1953 in the Gramercy Park Hotel in Manhattan at age 96. She was most likely introduced to Tiffany in the late 1880s and by the 1890s had, according to Alice Cooney Frelinghuysen (Curator of American Decorative Arts at the Metropolitan Museum of Art),  forged an independent role for herself within the studio. https://americanart.si.edu/blog/eye-level/2016/27/305/glass-gardens-agnes-northrop-designs-louis-c-tiffany

Among the first six designers hired by the company, as early as the 1880s, Northrop’s talent was recognized by Tiffany, who entrusted her to design the company’s famous stained glass windows. She was also one of the few women actually given credit for work in exhibitions and catalogs. She was known for her talent in composing floral scenes and was given the prestige of a private studio in Tiffany Studios’ Fourth Avenue building. https://driehausmuseum.org/blog/view/from-the-collection-landscape-by-agnes-northrop

Hartwell Memorial Window (Detail), 1917, Leaded glass, 798.7 × 554.7 × 42.5 cm, the Art Institute of Chicago, USA http://www.ravenswoodstudio.com/project/hartwell-memorial-window/

The Hartwell Memorial Window is one of the most extraordinary leaded glass windows ever made by Tiffany Studios, the leading glass firm of America’s Gilded Age. It was commissioned, over a century ago, by Mary Hartwell, to honor Frederick Hartwell, her late husband. It was originally gifted to the Community Church of Providence, Rhode Island, and remained in the church sanctuary until 2018 when a unanimous decision by the congregation saw it handed over to the Art Institute of Chicago. It was wisely thought that in the Art Institute the precious Tiffany Memorial Window would be well conserved, and appreciated by a wider public. The Art Institute of Chicago welcomed this extraordinary gift and installed the Hartwell Memorial Window in the Henry Crown Gallery at the top of the Women’s Board Grand Staircase in the Art Institute’s historic Michigan Avenue building.

For a Student Activity, inspired by Hartwell Memorial Window by Tiffany, please… Check HERE!

An Art Institute conservator works on the restoration of the Tiffany Studios’ Hartwell Memorial Window by Jonathan Mathias https://chicago.suntimes.com/2021/5/25/22453083/art-institute-chicago-tiffany-hartwell-window-stained-glass

Grave Stele of a Youth and a little Girl

by Ancient Greek ArtArtEducationGreek ArtSculptureStudent ActivitiesWorksheets
Marble stele (grave marker) of a youth and a little girl (and details), ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248501?&exhibitionId=0&oid=248501&pkgids=773 and https://www.metmuseum.org/art/collection/search/248500 and http://met-guide.blogspot.com/2011/01/grave-stele-of-youth-and-little-girl_28.html

Inscribed on the base of this extraordinary Funerary Stele, we read… To dear Me[gakles], on his death, his father with his dear mother set (me) up as a monument. The ancient Greek marble Grave Stele of a Youth and a little Girl in the Metropolitan Museum of Art, in New York city, is worth exploring…

What is a Stele (for the Ancient Greeks)? A Stele (from ancient Greek στήλη-arrange/stand) is a set upright stone slab used in the ancient world primarily as a grave marker but also for dedication, commemoration, and demarcation. Stelae could be inscribed, carved in relief, or painted. During Greek Antiquity, Grave Stelae (επιτύμβιες στήλες) were usually inscribed and decorated with scenes depicting the deceased, usually alone, but sometimes with a servant or relative. The Early Archaic period Grave Stele in the area of Attica, were often inscribed, decorated in relief, crowned by a capital, which extended upwards and supported a sphinx, a demonic being that protected the tomb, and finally painted! https://www.britannica.com/topic/stela

Is the MET Grave Stele of a Youth and a little Girl special? Yes, it is a very special and unique piece. According to the MET experts… This is the most complete grave monument of its type to have survived from the Archaic period. It is also of high artistic quality and a great source of information on how ancient Greek sculptural pieces were painted. In addition, if the name of the youth in the Stele’s inscription is Megakles, as some scholars believe, then the Stele was erected by the Athenian family of the Alkmeonidai, and it is an archaeological discovery of historical importance. The Alcmaeonidai were a wealthy and powerful noble family of ancient Athens. Cleisthenes, Pericles, and Alkeviades were prominent members of the family. https://www.metmuseum.org/art/collection/search/248500

Where was the Marble Stele found, and how did it reach the MET? According to the MET, the Stele is… said to have come from Kataphygi, Attica. The Museum acquired fragments of the Stele in 1911, 1922, 1936, 1938, and 1951. Two parts of the MET Stele are plaster copies. For example, the Girl’s head is in Berlin, and the youth’s right forearm is in the National Archaeological Museum of Athens. Interestingly, the capital and crowning sphinx, as exhibited in its entirety, are casts of the originals, displayed in a case nearby. https://www.metmuseum.org/art/collection/search/248500

In 1911 the MET acquired a fragmentary shaft, the base, and the acroterion of the Stele from John Marshall in England. A fragment of the youth’s shoulder and arm was acquired in 1922 from M.L. Kambanis in Athens or Paris. The Stele’s marble capital and finial in the form of a sphinx were purchased in 1936 and 1938 through Martin Birnbaum. Fragments of the Stele’s inscription were gifted to the MET in 1951 by Walter C. Baker. https://www.metmuseum.org/art/collection/search/248500 and https://www.metmuseum.org/art/collection/search/248501

First thoughts and impressions… A few ancient Attic Grave Stelae of the Archaic period survived in their entirety. The three-part Grave Stele of a Youth and a little Girl is probably the best example. Exhibited restored, with the help of plaster casts, the MET Stele, shows how imposing and impressive such a monument could be. With considerable height, 4,23 meters, brilliantly painted, the Stele, seen even from afar,  dominated the Athenian landscape where it originally stood. https://www.greek-language.gr/digitalResources/ancient_greek/history/art/page_063.html

Description… The MET Stele consists of three parts. The lowest part is the Stele’s rectangular base. Inscribed on the base, the unknown artist of the Stele wrote… to dear Me[gakles], on his death, his father with his dear mother set [me] up as a monument. https://www.metmuseum.org/art/collection/search/248500

Marble stele (grave marker) of a youth and a little girl (detail of the youth), ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://upload.wikimedia.org/wikipedia/commons/b/bf/Marble_stele_%28grave_marker%29_of_a_youth_and_a_little_girl_MET_GR46.jpg

The middle part of the Stele has a lot to narrate. The front part of the shaft depicts the full-length representation of the deceased, a young man, an athlete, and thee, a παλαιστρίτη (a wrestler or an athlete trained in a παλαίστρα). In heroic nudity, he holds with his left hand a pomegranate, the mythological fruit of death and fertility. Hanging from the left wrist, an aryballos (a small oil flask) reminds us that Megakles, if that was his name, was an active athlete. Little is known of the little, fully clothed, girl, standing before Megakles, holding, with her left hand, an unidentified flower in front of her face. It has been suggested that the girl in the composition might be a younger sister. http://met-guide.blogspot.com/2011/01/grave-stele-of-youth-and-little-girl_28.html

Marble stele (grave marker) of a youth and a little girl (Finial and detail of the Sphinx), ca. 530 BC, Marble, H. 423.4cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248501 and https://blog.myheritage.com/2022/08/marble-greek-and-roman-statues-were-actually-painted-in-brilliant-colors/

The third, and uppermost part of the Stele, the finial, consists of two members, the lower and the upper. The lower member, in the form of a double capital, was decorated wholly in color, its surface being entirely flat. It is fortunate that enough of the painted decoration survived time, so as to trace the original design… scrolls, making two pairs of volutes, and ‘palmettes’ placed between them. https://www.jstor.org/stable/3252802?seq=3#metadata_info_tab_contents and https://www.metmuseum.org/art/collection/search/248501

The upper member of the finial is a formidable,  three-dimensional Sphinx, a mythological creature with a lion’s body and a human head, known in various forms throughout the eastern Mediterranean region from the Bronze Age onward. The Greeks, as in the case of the MET Stele, represented it as a winged female and often placed its image on grave monuments as guardian of the dead. https://www.metmuseum.org/art/collection/search/248501

Reconstruction (2022) of a marble finial in the form of a Sphinx by Vinzenz Brinkmann and Ulrike Koch-Brinkmann
https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

How is the MET Stele related to the Met Chroma: Ancient Sculpture in Color Exhibition? For the decoration of the MET Stele, the unknown artist employed sculpture and painting as well. The original colour on the marble MET Stele is unusually well-preserved, especially the colours of the Sphinx. According to Ulrike Koch-Brinkmann and Vinzenz Brinkmann, scientific analyses, photographs with ultraviolet and infrared light, false-color photographs, and archaeological comparisons allowed an almost complete reconstruction of the elegant designs in luminous and precious natural colors. The new, painted reconstruction of the MET Sphinx is a key display in Chroma: Ancient Sculpture in Color (Through March 26, 2023) Exhibition. https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

For a Student Activity inspired by the Marble stele of a youth and a little girl in the MET, please… Check HERE!

If you are interested in visiting or browsing through the Metropolitan Museum of Art Exhibition Chroma: Ancient Sculpture in Color (Through March 26, 2023), please Check… https://www.metmuseum.org/exhibitions/listings/2022/chroma/visiting-guide and https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects For an Exhibition Video prepared by Art Trip (19:37 min), check… https://www.youtube.com/watch?v=7LFGtqslZAU

Byzantine Silver Bucket

by ArtByzantine ArtByzantine SilverByzantiumStudent ActivitiesWorksheets
The Vrap Treasure: Silver Bucket, 600s, Silver, 18.4×14.1 cm, 481g, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/464115?searchField=All&sortBy=Relevance&ao=on&showOnly=
openAccess&ft=Byzantine+art&offset=0&rpp=40&pos=15

Vrap (it means ‘running’ in Albanian) is a town located in Albania about 20 km south of Tirana, the country’s capital town. In 1901, in the Vrap area, near the ancient city of Durazzo and Via Egnatia, an exceptional hoard of silver and gold was discovered within a buried copper cauldron. This amazing treasure, known today as the Vrap Treasure is over twelve pounds of gold and three pounds of silver, including ten silver or gold vessels; thirty gold belt fittings; parts of a golden candlestick; and several gold bars and strips! My favourite amongst them is a Byzantine Silver Bucket! https://books.google.gr/books?id=6M7WCQAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&redir_esc=y#v=onepage&q&f=false p. 36

The Byzantine Silver Bucket from Albania is a deep, footed Bowl with geometric, beaded, diamond patterns around the exterior. Set within the diamonds are birds, flowers, and various other objects, like palmettes, baskets, urns, and edifices(?). The design executed in the repoussé technique is simple but well-finished by an accomplished Byzantine provincial silversmith. Was the Vrap Silver Bucket an incense censer or was it used for drawing water? There is no definite answer.

The Vrap Treasure: Silver Bucket (Detail of the Byzantine Seal), 600s, Silver, 18.4×14.1 cm, 481g, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464115 and https://archive.org/details/byzantin00dodd/page/246/mode/2up

Scholars have been debating for years over the owner of the Vrap Treasure, and the identity of the silversmiths who created its artifacts. One thing is certain, the Vrap Treasure includes only two objects that most scholars today would describe as Byzantine: the discussed Silver Bucket, and a silver pitcher, both with what appear to be imperial control stamps. The stamp on the Bucket looks hexagonal (?), possibly containing a monogram, but no inscription can be traced. It is also difficult to say whether the stamp was applied before or after the vessel was decorated. https://www.metmuseum.org/art/collection/search/464115?searchField=All&sortBy=Relevance&ao=on&showOnly=openAccess&ft=Byzantine+art&offset=0&rpp=40&pos=15 and https://archive.org/details/byzantin00dodd/page/246/mode/2up

The Vrap Treasure: Silver Bucket, 600s, Silver, 18.4×14.1 cm, 481g, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/464115?searchField=All&sortBy=Relevance&ao=on&showOnly=
openAccess&ft=Byzantine+art&offset=0&rpp=40&pos=15

The ”archaeology” of the Treasure’s discovery is best described by J. Strzygowski in 1917… An Albanian farmer near Vrap . . . uncovered in a field a copper kettle which he appropriated, and concerning himself little with the contents, he sold it, for a pair of medschidjes, to three Albanians, who brought it to their residence tower in the vicinity of Arbõna, a place to the north of Vrap . . . The subsequent attainment of individual pieces dragged on for about five years, in part under romantic circumstances. There would be no scholarly interest in going into more detail. The Vrap Treasure, including the Byzantine Silver Bucket, was bought by J. Pierpont Morgan on April 4, 1912. In 1917 the Vrap Treasure was donated to the Metropolitan Museum of Art in New York. Why these varied objects were brought together remains a mystery. Some scholars have suggested that the objects were part of a treasure belonging to an Avar chief; others have speculated that they were the property of an Avar craftsman. It will be interesting to know… https://www.academia.edu/7674370/Ugly_but_important_the_Albanian_Hoard_and_the_making_of_the_archaeological_treasure_in_the_early_twentieth_century_The_making_of_the_archaeological_treasure and file:///C:/Users/aspil/Downloads/The_Arts_of_Byzantium_The_Metropolitan_Museum_of_Art_Bulletin_v_58_no_4_Sp ring_2001.pdf page 32

For a Student Activity, please… Check, HERE!

The Vrap Treasure, 600s (bucket)–700s, Gold and Silver, the MET, NY, USA https://www.metmuseum.org/art/collection/search/700984

Breck, Joseph, and Meyric R. Rogers, The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 35, fig. 15, ill. p. 36. https://books.google.gr/books?id=6M7WCQAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&redir_esc=y#v=onepage&q&f=false

Melanie Holcomb, Ugly but . . . important’: the Albanian Hoard and the making of the archaeological treasure in the early twentieth century: The making of the archaeological treasure, page 11 https://www.academia.edu/7674370/Ugly_but_important_the_Albanian_Hoard_and_the_making_of_the_archaeological_treasure_in_the_early_twentieth_century_The_making_of_the_archaeological_treasure

Dodd, Erica Cruikshank. Byzantine Silver Stamps. Washington: J. J. Augustin, 1961. no. 88, pp. 246–247 https://archive.org/details/byzantin00dodd/page/246/mode/2up

Brown, Katharine R., Dafydd Kidd, and Charles T. Little, ed. From Attila to Charlemagne: Arts of the Early Medieval Period in the Metropolitan Museum of Art. New York and New Haven: The Metropolitan Museum of Art, 2000. p. 185, 343, fig. 18,16.7.https://books.google.gr/books?id=FYI8xsBHeSMC&printsec=frontcover&redir_esc=y#v=onepage&q&f=false

Simon Bening’s November

by 16th century ArtArtFlemish ArtManuscriptsNorthern RenaissancePowerpointsRenaissanceStudent ActivitiesWorksheets
Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book November (f. 28v), c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

I like spring, but it is too young. I like summer, but it is too proud. So I like best of all autumn, because its leaves are a little yellow, its tone mellower, its colours richer, and it is tinged a little with sorrow and a premonition of death. Its golden richness speaks not of the innocence of spring, nor of the power of summer, but of the mellowness and kindly wisdom of approaching age. It knows the limitations of life and is content. From a knowledge of those limitations and its richness of experience emerges a symphony of colours, richer than all, its green speaking of life and strength, its orange speaking of golden content and its purple of resignation and death… writes Lin Yutang (1895-1976) in  My Country and My People. Do we see sorrow and a premonition in Simon Bening’s November page? https://www.goodreads.com/quotes/123171-i-like-spring-but-it-is-too-young-i-like

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book November (f. 28v and f. 29r), c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

Simon Bening, combining autumnal tones of cool, greys and blues, and warm ochre and reds, organized a “busy” three parts composition. The background sets the tone! Outside a well-tended, fenced farm, the Flemish countryside turns to winter. The land has been harvested, and the tall (poplar?) trees are thinning out, dropping their leaves. The sky is clear, but the birds fly low, suggesting a change in the weather. The middle ground of folio 28verso is my favourite. The depicted Flemish farm is bustling with activity! Peasants, male and female, can be seen feeding their chickens and pigs, while laborers are busy preparing the farm’s buildings for winter!

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book November (f. 28v and f. 29r, Details), c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

While the farmers are shown busy with various activities, the scene in the foreground of folio 28verso, the return of the group of hunters, presents the aristocratic activity of hunting. The portrayed nobleman, in the center of the foreground area, dominates the composition. Riding his auburn mount, wearing gloves and carrying a fine javelin or thin whip in his left hand, he gallops next to a white horse, that carries the trophy of the day, a magnificently antlered stag. The two horses and their “riders” are flanked by the servants who must have hounded and attacked the “trophy” animal. The servant in front, the master of the hunt, with a spear leaning on his left shoulder and a large, sheathed knife hanging from one side of his belt and a hunting horn hanging from the other, holds the leashes of two whippets. The only visible part of the servant at the back of the group is the lance leaning on his right shoulder. They are followed by two pairs of dogs. The full-page miniature scene for November is dedicated to Hunting which takes center stage! https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/166

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, November (Detail, f. 28v), c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK https://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_24098_fs001r

The 16th-century Book of Hours, known as the Golf Book, is a very unique and special manuscript in the Collection of the British Library. Unfortunately, the Golf Book is not, in its present state, a complete manuscript as most of the text is now missing. Thirty parchment leaves, however, remain, twenty one pages of which, are full-page miniatures, in colours and gold, surrounded by a historiated border (12 pages are part of the Calendar section). The remaining forty pages feature historiated borders as well, that incorporate medallions, architectonic decoration, and cameos in grisaille and semi-grisaille. The text pages present large and small initials and line-fillers, in colours and gold. Simon Bening (d. 1561), with the assistance of his workshop, was the artist from Bruges responsible for this amazing manuscript. Bening’s accomplishments will feature in the Month of February Presentation.  http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS032-002031376&fn=permalink&vid=IAMS_VU2

For a PowerPoint on the  Golf Book, please… Check HERE!

For a Student Activity on Simon Bening’s November page, please… Check HERE!

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book November (f. 29r),  c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/
Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book November (f. 29r, Detail),  c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

Miniature Mosaic Icon of Saint Demetrios in Sassoferrato

by ArtByzantine ArtByzantine MosaicsByzantiumStudent ActivitiesWorksheets
Mosaic Icon of Saint Demetrios at Sassoferrato, Mosaic Icon: 14th or 15th century, Ampulla: 13th or 14th century, Silver Frame: mid-15th century, Mosaic set into wax on a poplar board, paint, silver-gilt (frame), lead (ampulla), 24.3 X 16 cm, Museo Civico, Sassoferrato, Italy https://www.johnsanidopoulos.com/2015/11/a-14th-century-byzantine-icon-of-st.html

One of the inscriptions in the Miniature Mosaic Icon of Saint Demetrios in Sassoferratoinforms us that… This ampulla (at the top of the Icon), bears holy oil drawn from the well in which the body of the divine Demetrios reposes, which gushes here and accomplishes miracles for the entire universe and for the faithful… What a remarkable way to remember Saint Demetrios and celebrate his feast day!

In 1472, Niccolò Perotti (1430-1480), secretary to Cardinal Bessarion and archbishop of Siponto, donated to Sassoferrato, the city of his birth, a collection of reliquaries, including the Mosaic Icon of Saint Demetrios. That was a notable donation considering Niccolò Perotti’s position. As Cardinal Bessarion’s secretary, he was able to travel as far as Trebizond in the East, and acquire a collection of valuable reliquaries, manuscripts, and icons. It has been suggested that the Mosaic Icon of Saint Demetrios was gifted to Perotti by no other than Bessarion himself, known to be the owner of a collection of Late Byzantine Mosaic Icons… but there is no proof for this.  https://www.academia.edu/39903340/Displaying_an_Icon_The_Mosaic_Icon_of_Saint_Demetrios_at_Sassoferrato_and_its_Frame

The Mosaic Icon of Saint Demetrios at Sassoferrato as displayed in the Museo Civico, Sassoferrato, Italy https://www.raffaelloresidence.it/2020/08/22/museo-civico-archeologico-di-sassoferrato/ and https://www.inspirock.com/italy/sassoferrato/museo-civico-archeologico-raccolta-perottiana-a8400217787

The Museu Civico in Sassoferrato is fortunate to hold such an important and rare relic of the Palaiologan Renaissance, the final period in the development of Byzantine art. On a poplar board, slightly excavated at its center, rendered in micromosaic, stands Saint Demetrios, patron Saint of Thessaloniki. He is placed against a gold background and a tiled ground. He is in military garb, holds a lance with his righthand, and, with the left, a blue shield decorated with a heraldic white lion against a ground strewn with gold stylized flowers. Based on stylistic analysis, according to Martin Donnert,  the mosaic icon at Sassoferrato was executed in the 14th century as a typical work of Palaiologan art. This date is further confirmed by the radiocarbon analysis dating of the wooden support of the icon to 1279 ± 26 years, which gives a terminus post quem. Byzantium: Faith and Power (1261–1557), Evans, Helen C., ed., with essays by… https://www.metmuseum.org/art/metpublications/Byzantium_Faith_and_Power_1261_1557 pp. 231-233 and https://www.academia.edu/39903340/Displaying_an_Icon_The_Mosaic_Icon_of_Saint_Demetrios_at_Sassoferrato_and_its_Frame

Mosaic Icon of Saint Demetrios at Sassoferrato (details), Mosaic Icon: 14th or 15th century, Ampulla: 13th or 14th century, Silver Frame: mid-15th century, Mosaic set into wax on a poplar board, paint, silver-gilt (frame), lead (ampulla), 24.3 X 16 cm, Museo Civico, Sassoferrato, Italy https://twitter.com/byzanzfreiburg/status/1151222386190180352

The ampulla at the top of the Icon’s frame is a wonderful rarity! It turns the Mosaic Icon into a precious reliquary of Saint Demetrios’s cult. The text, on the right side of the Icon’s frame, explains the reasons why the ampulla was added to the Icon’s composition. Prof. Martin Donnert clarifies that …Since the 12th century, the existence of miraculous oil (the Myron) connected with the cult of St Demetrios is well attested in the sources. He also adds that lead ampullae from the late 12th to the 14th centuries that contained the holy Myron for pilgrims to the saint’s tomb, called koutrouvia… were found at various places in northern Greece and the Balkans. One of these ampullae, a cherished relic in itself, is the one incorporated at the top of the icon frame… showing St Demetrios holding a cross on one side, and, on the opposite side, St Theodora, the second myron-giving saint of Thessaloniki. https://www.academia.edu/39903340/Displaying_an_Icon_The_Mosaic_Icon_of_Saint_Demetrios_at_Sassoferrato_and_its_Frame

The silver-gilt frame, dated during the mid-15th century is rich in information. A number of inscriptions within star-shaped cartouches, along with the imperial symbol of the double-headed eagle and the tetrabasileion, may indicate a distinguished member of the Palaiologan family, to be the original commissioner of the Icon. Furthermore, Prof Martin Donnert suggests Demetrios Palaiologos and the Palaiologoi of Montferrat! https://www.academia.edu/39903340/Displaying_an_Icon_The_Mosaic_Icon_of_Saint_Demetrios_at_Sassoferrato_and_its_Frame

For a Student Activity, please… Check HERE!

Interesting to read: The Historical Significance of the Mosaic of Saint Demetrius at Sassoferrato byA. A. Vasiliev, Dumbarton Oaks Papers, Vol. 5 (1950), pp. 29+31-39 (10 pages) https://www.jstor.org/stable/1291074

House of the Deer in Herculaneum

by Ancient Roman VillasArtRoman ArtRoman FrecoesStudent ActivitiesWorksheets
Still Life with Peaches and Water Jar, detail of a Fourth Style wall painting from the House of the Deer in Herculaneum, c. 62-69 C.E., fresco, 35.56 x 34.29 cm, Archaeological Museum, Naples, Italy https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

According to the Food and Agricultural Organization of the United Nations, a sustainable world is one where everyone counts. Governments, the private sector, academia, and civil society and individuals need to work together in solidarity to prioritize the right of all people to food, nutrition, peace and equality. Indeed, every one of us, including youth, can work towards an inclusive and sustainable future, showing greater empathy and kindness in our actions. On World Food Day, October 16, we need to build a sustainable world where everyone, everywhere has regular access to enough nutritious food. I would like to commemorate this important day by presenting a Still Life painting from the House of the Deer in Herculaneum. https://www.fao.org/world-food-day/en

Panoramic View of the House of the Deer in Herculaneum, Italy https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

The House of the Deer in Herculaneum, built during the reign of Emperor Claudius, is one of the most opulent houses in ancient Herculaneum. Its name comes from a set of statues depicting deer attacked by hounds. The marble sculptural decoration of the Villa, discovered in 1930, was part of its landscaped garden. Apart from the two statues of deer attacked by hounds, archaeologists discovered the statue of a Satyr carrying a Wineskin on his back, and a Drunken Hercules. https://brunelleschi.imss.fi.it/giardinoantico/egar.asp?c=24027&k=24013&rif=24021            

Discovered in 1930, in the House of the Deer, this loaf of sourdough bread was baked on the morning of the 24th of August, 79 CE. It carries the stamp of Celer, a former slave of Quintus Granius Verus. https://bitesizedancienthistory1.wordpress.com/2020/09/05/the-bread-loaf-from-herculaneum/

Interestingly, we know the name of the owner of this house. This was done after the discovery of a bread cake with the seal of a certain Seler, a former slave of Granius Veria. Shortly before the death of Herculaneum, Celer was released by his master with all the rights of a free citizen. https://ermakvagus.com/Europe/Italy/herculaneum/deer_house_herculaneum.html

House of the Deer in Herculaneum Plan
Garden area (32), looking north to the central doorway into Cryptoporticus (28)
Garden area (32), detail of the mosaic decoration of the Great Portal.
Photo courtesy of Robert Hanson
Statue of a deer attacked by four hounds, 1st century AD, white Luna marble. The original statues are exhibited in Soprintendenza Archeologica di Pompei, in Italy https://herculaneum.uk/Ins%204/Herculaneum%204%2021%20p9.htm and https://twitter.com/planetpompeii/status/1113189803204411399 and https://herculaneum.uk/Ins%204/Herculaneum%204%2021%20plan.htm

The House of the Deer, one of the most luxurious waterfront dwellings so far discovered in Herculaneum, has an interesting layout. It focuses on the axis that runs from the triclinium (5) through the peristyle/garden area (32), and the tablinum (15) to the gazebo (18) set in the center of the panoramic terrace overlooking the Bay of Naples to the south. https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

An important part of the House of the Deer was the Cryptoporticus (28-31), a corridor that enclosed the central peristyle/garden (32) area, and opened onto the atrium (24), the triclinium (5), and the tablinum (15). The Cryptoporticus was decorated in the 4th Pompeian Style, featuring more than sixty individual panels. These panels (partly removed in the 18th century) represent scenes with tiny cupids, still-lifes, and various architectural landscapes. https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

Still Life with Peaches and Water Jar (left), Still Life with a Silver Tray with Prunes, Dried figs, Dates, and Glass of Wine (center), and Still Life with Branch of Peaches (right)
Still Life with Hen (left), Still Life with Two Cuttlefish, a Silver Jug, Bird, Shells, Snails, and Lobster (center), and Still-life with a Hare and Grapes (right)
Still-Life with Chicken and Hare (left), Still Life with Partridge, Pomegranate, and Apple (second from left), Still Life with Thrushes and Mushrooms (third from left), Still-Life with Partridges and Eels (far right)
Fourth Style wall paintings from the House of Deer in Herculaneum, Italy, c. 62-69 C.E., fresco, 35.56 x 34.29 cm, Archaeological Museum, Naples, Italy
https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

My favorite panel presents Peaches and a transparent glass Water Jar. It was meant to be seen as a group of three Still Life paintings.  According to Dr. Lea Cline, all ten Still Life panels discovered in the Villa belong to a category of still life paintings known as xenia, that is as hospitality gifts. It is interesting to know that the ancient Greek and Roman hosts were expected to gift their guests with xenia, tokens of their hospitality, instead of receiving gifts as the tradition is today. https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

For a Student Activity inspired by the House of the Deer in Herculaneum, please… Check HERE!