Aelia Galla Placidia

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

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

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

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

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

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

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

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

The Joshua Roll

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The Joshua Roll, 10th century, Tempera and gold on vellum, Biblioteca Apostolica Vaticana, MS Pal. gr. 431, Vatican City

When I think of Byzantine Manuscripts, the first one that comes to my mind is the Joshua Roll… unique, luxurious and remarkable in every aspect… Hellenistic in spirit!

Dated in the 10th century, this Macedonian Renaissance illuminated manuscript comes to us in a very rare format, a Roll… 31 cm high and about 10 meters long, one of the most priceless treasures in the Biblioteca Apostolica Vaticana. The master artist of the Joshua Roll is unknown, but he definitely belonged to a selected group of Constantinopolitan painters trained in a style much influenced by the classicizing tradition prevailing in the Imperial Court of the time.

The Joshua Roll is dedicated to the Old Testament Book of Joshua. Although incomplete, as it starts with Chapter II and ends with Chapter X, it presents the most important adventures and military accomplishments of the great Israelite figurehead. Joshua was originally Moses’ assistant and after his death, the leader of the Israelite tribes, leading them in conquering the promised land of Canaan. When the Joshua Roll was created, the Byzantines were, after a long period of defence, able to successfully campaign in the Holy Land, enjoying decisive victories. Scholars believe that the illuminated manuscript was meant to glorify the military success of the Byzantine army, and exalt their Emperor.

The Joshua Roll is a very unique Codex, unparalleled and unrivalled in the whole world… yet enigmatic! The Bibliography of the Joshua Roll is extensive and challenging. In 2012 another volume was added – Wander, Steven H. The Joshua Roll. Wiesbaden: Reichert Verlag, 2012. pp. 224. ISBN: 978-389-5008-542 – where information of interest and controversy was added to the already extensive arguments. Wander “dates the manuscript to 961 and connects it to the patronage of the powerful middle Byzantine eunuch, courtier, and illegitimate son of Emperor Romanos I Lekapenos (r. 920-944), Basil the Parakoimomenos (chamberlain) (c. 925-c. 985).” Wander takes his controversial interpretation one step further, he “proposes that the Joshua Roll was the study for a small-scale triumphal column that would have commemorated Basil’s military success in the East during the reign of Emperor Constantine VII Porphyrogennetos (r. 945-959).” His arguments, important and novel, challenge long-standing assumptions. (Wander, Steven H. The Joshua Roll. Wiesbaden: Reichert Verlag, 2012. pp. 224. ISBN: 978-389-5008-542 (hardback) and an interesting review https://scholarworks.iu.edu/journals/index.php/tmr/article/view/20003

…and the Joshua fresco from the Hosios Loukas Monastery
https://contentdm.lib.byu.edu/digital/collection/CivilizationHamblin/id/1892/

My favourite assumption is the Roll’s connection to monumental art, and more specifically the art of wall painting. There is a striking connection to a recently discovered fresco in the church of Hosios Loukas in Phocis, and the extraordinary fresco Marian Cycle of the church of Santa Maria Foris Portas a Castelseprio, dazzling its viewers today as it did in 1944 when they were discovered! The similarities between the Joshua Roll illuminations and the Castelseprio frescoes are long-standing, as they are both considered the products of a common artistic tradition. (On Hosios Loukas and the Joshua Roll: Carolyn L. Connor, “Hosios Loukas as a Victory Church,” Greek, Roman, and Byzantine Studies 33, no. 3 (1992): 293-308, esp. 304-305 and on Castelseprio: Kurt Weitzmann, The Fresco Cycle of S. Maria di Castelseprio, Princeton: Princeton University Press, 1951)

Santa Maria Di Castelseprio Photos
https://cartesensibili.wordpress.com/2014/05/29/mete-di-viaggio-raffaella-terribile-un-piccolo-scrigno-riscoperto-santa-maria-foris-portas-a-castelseprio/

Coming back to my original statement, the Joshua Roll is… unique, luxurious and remarkable in every aspect and so much so Hellenistic in spirit! The Byzantium I love!

For a Full Digital Fascimile of the Manuscript, please check the site of the Vatican Library: https://digi.vatlib.it/view/MSS_Pal.gr.431.pt.B

For a Joshua Roll Student Activity… check HERE!

The Month of January

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The Month of January, late 14thcentury-latest 1407, possibly by Maestro Venceslao, Fresco, Torre Aquila, Castello del Buonconsiglio in Trento, Italy
https://www.cultura.trentino.it/eng/Cultural-venues/All-cultural-venues/Documentation-centres2/Torre-Aquila-Aquila-Tower

The Month of January is a fresco, and it comes from the Torre Aquila in the Castello del Buonconsiglio, in Trento, Italy. It is part of an amazing fresco Cycle of the Twelve Months painted on the walls of the tower’s 2nd-floor main room. Today, only eleven of the original 12 panels survive as a 16th-century wooden spiral staircase, connecting the tower floors, destroyed the painted panel of March. The famous painted Cycle of the Months is divided into twelve panels, one for each month. Each one of the twelve panels is separated by a slender column, distinctive yet subtle, so as not to disturb the natural continuity between months and the seasons.

This exceptional room, 6 x 5,8 x 3 m in size, was commissioned by Prince-Bishop George of Liechtenstein, as a quiet, atmospheric retreat, away from the rest of the Castello’s busy and noisy state quarters. It has been suggested and widely accepted that the painter of this extraordinary fresco Cycle of the Months was Maestro Venceslao, a Czech painter, popular in the Tyrol area of the time.

The Cycle of the Twelve Months is a favourite theme in the arts of the Middle Ages and the Early Renaissance. Often linked to the signs of the Zodiac, the Cycle of the Months is often perceived as a link between the work of man, the seasons of the year and God’s ordering of the Universe. As a theme, it recurred in the sculptural decoration of cathedrals and churches across Europe, in illuminated manuscripts like the popular Books of Hours, palace frescoes and rarely, panel painting.

The fresco panels in Torre Aquila are rare and special. They document life in the Trentino area, with references to the aristocratic pastimes throughout the year, or the peasant activities and duties to their masters. They also depict a vivid landscape, romanticized even then, from bare and covered with snow, to rich and fertile, to autumnal, covered with fallen leaves.

The Trentino frescoes love presenting anecdotal details. The depiction of fashionable outfits for the rich, multicoloured and extravagant in style, or shabby for the farmers and artisans, is only one such striking example. The January panel is “a case in point: nowhere else in art do aristocrats come to play in the snow, men and women alike, chuckling snowballs about with determined, impish delight, their long sleeves dragging in the drifts. Oddly – but surely intentionally – the castle’s roof is snow-free, and its garden is full of summer growth. It’s an image of the warmth of their protected life. Maestro Venceslao was painting a dream, but he wanted to make it as real as possible…”

The Best Art You’ve Never Seen: 101 Hidden Treasures From Around the World by Julian Spalding, Rough Guides Reference, 2010 https://books.google.gr/books?id=L3e0BgAAQBAJ&pg=PA11&lpg=PA11&dq=cycle+of+the+months+paintings&source=bl&ots=PDmmhZPn37&sig=ACfU3U0ZvpPwd-ZSa8dnhL4AUn2uBLt26g&hl=el&sa=X&ved=2ahUKEwjVxcGIzNzmAhWRGewKHQiuD5g4ChDoATAGegQIBxAB#v=onepage&q=cycle%20of%20the%20months%20paintings&f=false

For a PowerPoint, please… check HERE!

For a Student Activity on the discussed Fresco Panel depicting the Month of January, please… check HERE!

Cimabue – Giotto – Duccio

by with No Comment RenaissanceStudent ActivitiesWorksheets

Cimabue – Giotto – Duccio, how important are they? You simply have to visit the Uffizi Gallery in Florence, Hall 2 to be more specific, stand in front of these three monumental panels and allow their masters to take you on a trip to the late 13th, early 14th century revolutionary Italian Painting.

According to Giorgio Vasari,“…instead of paying attention to his literary studies, Cimabue, as if inspired by his nature, spent the whole day drawing men, horses, houses and various other fantasies in his books and papers.” Cenni di Pepo, known as Cimabue, is recognized as the last painter of the Italo-Byzantine style. Yet. he is credited to step forward in moving his art towards achieving the first hint of naturalism, paving the way for the next generation of great Italian masters.

O vanity of human powers, how briefly lasts the crowning green of glory, unless an age of darkness follows! In painting Cimabue thought he held the field but now it’s Giotto has the cry, so that the other’s fame is dimmed. Writes about Giotto, the poet Dante in Canto XI of his Purgatorio, and he is so right. Giotto creates “a new kind of pictorial space with an almost measurable depth” and figures that are “volumetric rather than linear” expressing “varied and convincingly human rather than stylized” emotions. Justifiably, Giotto is considered the father of modern European painting. https://www.metmuseum.org/toah/hd/iptg/hd_iptg.htm

“Duccio, painter of Siena and much esteemed, deserved to carry off the palm (of an inventor in the Arts) from those who came many years after him…” writes Giorgio Vasari in his book The Lives of the Most Excellent Painters, Sculptors, and Architects. Today, Duccio Duccio is considered to bring through his art elegance, lyricism, and spirituality along with spatial complexity and refined use of colours.

There are two Uffizi Gallery sites you simply need to visit: https://www.visituffizi.org/halls/hall-2-of-giotto-and-the-13th-century/ and https://www.virtualuffizi.com/13th-century-and-giotto-room.html

For a student Activity, my Grade 9 Art History students enjoy… click HERE!

A PowerPoint on the three Madonnas is… HERE!

Reverence for Nature and Tiffany

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Tiffany’s Incredible Hair Pin

Reverence for Nature and Tiffany is my latest BLOG Post. It is about an extraordinary Hair Ornament in the MET Collection portraying two Dragonflies and Dandelions. Created in 1904 for Louisine Havemeyer, a great collector of Impressionist Art and one of Tiffany’s most ardent patrons, the Metropolitan Museum Hair Pin is my favourite Art Nouveau piece of Jewelry. https://www.metmuseum.org/art/collection/search/2046

When I think of Louis Comfort Tiffany, I think of nature’s power, its brittleness, yet joy. I think of radiance, luminosity and brilliance in colour. I think of superb craftsmanship… as exemplified in the MET’s Dragonfly and Dandelion Hair Ornament. According to Alice Cooney Frelinghuyse in the MET, the Hair Ornament “epitomizes his earliest jewelry designs, which were based directly on modest forms in nature, such as field flowers and wild fruit, as well as his affinity for enamelling and semiprecious stones with unusual colors. The dragonflies rest on dandelion seedballs, one of which is shown partially blown away, underscoring the fragility of nature. Highly skilled artisans conveyed the transparency of the insects’ wings through delicate metalwork filigree. The temporal quality is revealed in the subject: dragonflies rest in one place for mere seconds before flitting away; dandelions disperse into thousands of airborne seeds with the gentlest of breezes.” file:///C:/Users/aspil/Downloads/Recent_Acquisitions_A_Selection_2002_2003_The_Metropolitan_Museum_of_Art_Bulletin_v_61_no_2_Fall_2003%20(1).pdf

For a short PowerPoint on Louis Comfort Tiffany… click HERE!

A Grade 4 or 5 student Activity on Reverence for Nature and Tiffany is HERE!

https://www.metmuseum.org/toah/works-of-art/2002.620/

The Jasper Cup from Vatopedi

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The Jasper Cup from Vatopedi is one of the most famous Late Byzantine works of art. It is a Chalice of silver-work and stone-carving, a rare example of refined craftsmanship, one of the finest pieces of the Palaeologan period. It belonged to Manuel Cantacuzenos Palaeologos (1349-80), Despot of Mystra, son of Emperor John VI Cantacuzenos (1347-54) and grandson of Theodore Palaeologus, Despot of Mystra.

The Cup, carved out of a piece of jasper, was created in a Byzantine workshop, in the shape of an antique broad-lipped wine-cup. The inscription on its rim reads “and he gave it to his disciples and apostles saying, drink of this, all of you …”. As this is the prayer from the Eucharist, as given in the Liturgy of St Basil, the Vatopedi Chalice was used as an ecclesiastical vessel.

The base is octagonal, its eight sections decorated with medallions containing, alternately, cruciform monograms and half-length hierarchs holding open scrolls. The monograms identify the owner of the vessel: M (Manuel), Δ (Despot), Κ (Cantacuzenos), Π (Palaeologus). For a more detailed presentation of the Chalice, please check: https://www.elpenor.org/athos/en/e218ci14.asp

The metalwork decoration, following byzantine models, intriguing techniques, and borrowed Gothic motifs, proves that a “Byzantine-Gothic” marriage of styles can create exquisite results.

For a PowerPoint on Byzantine Chalices, please… Check HERE!

For the Student Activity, I was inspired by Sarah Stone’s Work on “Byzantine Chalices”. I showed the students her work http://www.sarah-stone.net/byzantine-paintings.html and HERE! is what my Grade 4 students created!!!

Byzantine Chalices, inspired by The Jasper Cup of Vatopedi and Sarah Stone’s Byzantine Paintings

Hercules at the Crossroads

by with No Comment Ancient Greek ArtHeraclesMythologyNewsPowerpointsStudent ActivitiesWorksheets
Hercules at the Crossroads Bulletin Board Display

Hercules at the Crossroads is an ancient Greek parable. It came down to us through Xenophone but is attributed to Prodicus of Ceos, a 5th-century philosopher. According to Prodicus, young Hercules, at the threshold of adulthood, meets two women, personifications of Virtue and Vice, and faces a choice. One of the women is beautiful but dignified, dressed modestly, looking genuine and pure. The other is equally beautiful but voluptuous in form, richly dressed, looking superficial. They represent the two paths of life, that of Virtue and that of Vice, and Hercules chooses Virtue, the road of honour, hard work but noble deeds.

Created thousands of years ago, the  Greek Myths of Hercules tell us epic stories, adventures of demigods, heroes and monsters, tales of love, loyalty, betrayal, friendship, bravery…  They show that gods and heroes, very much like ordinary humans, men and women alike, can be right or wrong, fail or succeed, love or hate. Hercules and his extraordinary deeds offer our students a glimpse into the lives of the Ancient Greek people, their culture and art.

The parable of Hercules at the Crossroads became a popular motif in Western art, just like the lovely hand-fan from the Smithsonian American Art Museum.

https://americanart.si.edu/artwork/hercules-crossroads-30805

For my Grade 1 Host Country Studies class, I decided to do a HAND-FAN Activity. We created simple, paper HAND-FANS and we decorated them with WORDS representing the concepts of VIRTUE and VICE. We added a beautiful coloured ribbon and… Voila!!!

Words of Virtue or Vice HAND-FAN Activity

For the Worksheet on the Activity, please… Check HERE!

For the PowerPoint, please… Check HERE!

Renaissance Student Revisited

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Vincenzo Foppa, 1427- 1515
The Young Cicero Reading, c.1464, fresco, 101.6×143.7 cm, Wallace Collection, London
https://artuk.org/discover/artworks/the-young-cicero-reading-209572

Renaissance Student Revisited is my new post. It is inspired by the 15th century Italian Renaissance painting of The Young Cicero Reading, a wonderful example of a Renaissance Student engrossed in his studies!

BEST WISHES to all students, parents and teachers who are about to start a new and exciting academic adventure! May their trip be fruitful, productive and successful!

Some suggestions for Renaissance Student Revisited Activities

Discuss with students where and how Young Cicero is presented READING. Ask students to write a paragraph describing WHERE and HOW they like to READ a book.

This next Activity is for younger students. Use the provided Worksheet, and ask students to answer the recommended questions.

Ask students to pick up a favourite BOOK and then POSE like CICERO. Take their pictures and create a Renaissance Student Revisited Bulletin Board Presentation with your students READING!

This is a Grade 6 Social Studies Activity. Ask students to create an A3 size poster on CICERO. The Poster should include a well-thought title, pictures of artworks depicting CICERO, and information about his life and work.

For the teachercurator Worksheets… Click HERE!

My precious Grade 2 students

Learning from Ancient Greek Pottery

by with No Comment Ancient Greek ArtArtPowerpointsStudent ActivitiesWorksheets

Learning from Ancient Greek Pottery Activity will introduce you to the 5 STEPS involved in exploring a work of art: Careful Observation, Analysis, Research, Interpretation, and Critique.

This project was inspired by the Learning to Look method created by the Hood Museum of Art, as seen in https://hoodmuseum.dartmouth.edu/learn/k-12-educators/educator-resources/learning-to-look/european-art

Step 1. Careful Observation – Students are asked to focus on the work of art projected on the screen. They are asked to look carefully and describe everything they see. The process should start with broad, open-ended questions like

What do you notice when you first look at the Minoan Pot? What else do you notice?

Questions should become more and more specific, such as:

Describe the pot’s shape. Where are its handles? Where is the wider part of the pot? Where is the narrower part? Is it symmetrical or asymmetrical? How is the pot decorated? What colours do you see? What patterns?

Step 2. Analysis – Students are asked to answer simple analytic questions that will deepen their understanding of the Ancient Greek Geometric Style Pot on view.

What might the figures on the top register of the pot be doing? How are the figures represented? Who might the figure on the top register and the centre of the vase be? Is it male or female? How is this figure different from the figures on the other side? What does the information the artist provided suggest about the identity of this figure? What might this pot have been used for? What clues can you get from its decoration? After each response, students are advised to always ask, “How do I know?” or “How can I tell?” so that they will look to the work of art for visual evidence to support their answers.

Step 3. Research – The teacher is asked to provide information on all discussed Ancient Greek Pots. Students should be given time to read and further research each pot. At the end of the research period, the teacher should be available to answer questions and further enhance student query.

Kamares is a favourite Minoan Pottery style for many Greek Bronze Age lovers. Done on the potter’s wheel and decorated with colourful abstract patterns, Kamares Ware is probably the most famous and admired Minoan pots. https://www.khanacademy.org/humanities/ancient-art-civilizations/aegean-art1/minoan/a/kamares-ware-jug

The Ancient Greek Geometric Period (1100-800 BC) is characterized by monumental grave markers in the form of large vases decorated with geometricized patterns and motifs, funerary representations and burial rituals. These Geometric period vases are among the finest examples of ancient Greek pottery. https://www.metmuseum.org/toah/works-of-art/14.130.14/

The François Vase is a unique example of ancient Greek pottery. An Attic Volute Krater, decorated in the black-figure style, dated about 570/560 BC, the François Vase was signed by its makers, “Ergotimos mepoiesen” and “Kleitias megraphsen”, meaning “Ergotimos made me” and “Kleitias painted me”. The vase presents over 200 mythological figures, many identified by inscriptions, representing a number of mythological stories. https://www.florenceinferno.com/the-francois-vase/

Made in Athens around 515 BC, the Euphronios Krater is a unique work of art. Signed by both the potter and the painter, the Krater is decorated with a Trojan War scene: the death of Sarpedon, son of Zeus. https://smarthistory.org/euphronios-krater/

Step 4. Interpretation – How to put together the Research, Analysis, and Observation students have done so far and reach a better understanding of the art object in focus. The truth is that there are no outright or wrong answers. The work students have done so far helps them better understand, and thus interpret the meaning of a work of art.

Some basic interpretation questions for this object might be: What does the size and elaborate decoration with 200 figures, many with identifying inscriptions, representing a number of mythological themes, tell us about the ways in which the ancient Greeks valued mythology? The Vase bears the inscriptions “Ergotimos mepoiesen” and “Kleitias megraphsen”, meaning “Ergotimos made me” and “Kleitias painted me”. What do the inscriptions tell us about the role of artists/craftsmen during antiquity?

Step 5. Critical Assessment and Response – It’s time to JUDGE how successful the work of art in focus is! This is an important part of the Learning Process and students are asked to answer the provided questions supporting their opinions based on their work is done so far. “Critical assessment involves questions of value.” For example:

Do you think this amphora is successful and well done? Why or why not? Do you like this work of art? How does it relate to your life and your culture?

For a PowerPoint on Learning from Ancient Greek Pottery… Click HERE!

For a student-friendly Activity Worksheet on Learning from Ancient Greek Pottery... Click HERE!

Nebamun

by with No Comment Ancient EgyptArtPowerpointsStudent ActivitiesWorksheets
Hunting Scene, c 1350 BC, Wall Painting from the Tomb of Nebamun, British Museum
https://commons.wikimedia.org/wiki/File:Tomb_of_Nebamun.jpg

Among the many treasures exhibited in the British Museum is a set of 11 frescoes from the tomb of an Egyptian official called Nebamun who lived in the ancient city of Thebes during the 18th Dynasty circa 1325 BC. He was an educated man, a scribe, and an administrator in charge of grain collection for the Temple of Amun at Thebes. His Tomb, discovered in the Theban Necropolis, on the west bank of the Nile, present-day Luxor, was richly decorated with high-quality frescoes depicting scenes of Nebamun and his family engaging in everyday life activities like hunting, attending a banquet and overseeing a count of geese and cattle.

The British Museum frescoes of Nebamun’s Tomb were discovered back in 1820 by a young man called Yanni d’Athanasi, who was at the time working for Henry Salt, the British Consul-General and collector of Antiquities. The Tomb, its location unknown today, was probably badly destroyed by d’Athanasi’s team of tomb robbers. The frescoes, however, were sold to Henry Salt and then, in 1821, by Salt, to the British Museum. Since 2009, beautifully restored, the frescoes have been displayed in a new gallery at the British Museum.

https://www.britishmuseum.org/visiting/galleries/ancient_egypt/room_61_tomb-chapel_nebamun.aspx and https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun and http://www.artinsociety.com/lost-masterpieces-of-ancient-egyptian-art-from-the-nebamun-tomb-chapel.html

For an interesting 3D interactive animation of the tomb-chapel of Nebamun check… https://www.britishmuseum.org/visiting/galleries/ancient_egypt/room_61_tomb-chapel_nebamun/nebamun_animation.aspx

Please check the PowerPoint on Nebamun’s frescoes “teachercurator” prepared… Here!

Student Activity on the Tomb of Nebamun frescoes can be found if you… Click HERE!