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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 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/

Constantine the Great

May 20, 2024

by admin Art Byzantine Art Byzantine Manuscript Byzantium Medieval Art Student Activities Worksheets

**Homilies of Gregory of Nazianzus, Constantine and the Battle of the Milvian Bridge**, **folio 440r,** (detail), 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://commons.wikimedia.org/wiki/File:BnF_MS_Gr510_folio_440_recto_-_detail_-_Constantine%27s_Vision_and_the_Battle_of_the_Milvian_Bridge.jpg

And while he was thus praying with fervent entreaty, a most marvelous sign appeared to him from heaven, the account of which it might have been hard to believe had it been related by any other person. But since the victorious emperor himself long afterwards declared it to the writer of this history, (1) when he was honored with his acquaintance and society, and confirmed his statement by an oath, who could hesitate to accredit the relation, especially since the testimony of after- time has established its truth? He said that about noon, when the day was already beginning to decline, he saw with his own eyes the trophy of a cross of light in the heavens, above the sun, and bearing the inscription, IN HOC SIGNO VINCES (Conquer by this) … This phrase is traditionally associated with Constantine the Great and his vision before the Battle of the Milvian Bridge in 312. According to early Christian historian Eusebius, Constantine saw this sign in the sky urging him to adopt the Christian cross as his standard. https://www.u.arizona.edu/~afutrell/404b/euseb%20life%20c.htm

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervor, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

Created in the late 9th century, this fine manuscript stands as a testament to the teachings of Gregory of Nazianzus, a significant theological figure from the fourth century. It was meticulously produced as an elaborate gift for Emperor Basil I, the progenitor of the Macedonian dynasty, courtesy of Patriarch Photios, a renowned scholar of Byzantium. This manuscript is distinguished by its forty-six full-page miniatures; however, less than half of these are directly reflective of the sermons it contains. Most of the artwork instead offers a visual exploration of the Byzantine court during the ninth century. These miniatures are more than mere decorations; they are profound visual essays that provide insights not captured in other contemporary records. Through careful examination, they reveal the unique capabilities of visual art to communicate complex themes and narratives distinctively different from written texts.

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected Homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervour, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

**Homilies of Gregory of Nazianzus, Constantine’s vision and the Battle of the Milvian Bridge**, **folio 440r,** 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://el.wikipedia.org/wiki/%CE%9F%CE%BC%CE%B9%CE%BB%CE%AF%CE%B5%CF%82_%CF%84%CE%BF%CF%85_%CE%93%CF%81%CE%B7%CE%B3%CE%BF%CF%81%CE%AF%CE%BF%CF%85_%CE%9D%CE%B1%CE%B6%CE%B9%CE%B1%CE%BD%CE%B6%CE%B7%CE%BD%CE%BF%CF%8D

Folio 440r of the Homilies of Gregory of Nazianzus presents a captivating artistic depiction of a pivotal historical moment: Emperor Constantine the Great at the Battle of the Milvian Bridge. This illustration is not just a simple portrayal; it is imbued with historical and symbolic significance. The scene vividly captures the dramatic and miraculous nature of the battle, which occurred in 312 AD near Rome. According to historical accounts, Constantine, on the eve of the conflict, experienced a vision that led him to adopt the Christian symbol of the Cross and the Chi-Rho on his soldiers’ shields, a decisive factor attributed to his victory. This moment is often considered a turning point for Christianity, marking its transition from persecution to imperial endorsement.

The artistry of the miniature depicting Constantine’s victory at the Battle of the Milvian Bridge transcends simple historical documentation, embodying the theological and political ideals of the Byzantine Empire at the time of the manuscript’s creation. This illustration is set against a two-tone green ground beneath a blue backdrop, where the background features are minimalist, confined only to essential narrative elements such as the Milvian Bridge itself or a monochromatic landscape. The figures, stocky with disproportionately large heads, are rendered in a style that favours either a frontal gaze or a pure profile, even as more complex poses are attempted.

Through its detailed iconography and thoughtful composition, the miniature communicates both the earthly and heavenly endorsement of Constantine’s rule and victory, providing viewers with a layered interpretation of history that is infused with divine significance. This approach creates a visual narrative that not only highlights the pivotal moment but also emphasizes themes interwoven with the broader religious and imperial ethos of the era. The strategic simplification of background elements and the stylized depiction of figures enhance the focus on the central themes, effectively marrying form with content in a portrayal rich with symbolic meaning.

For a Student Activity inspired by folio 440r of the Homilies of Gregory of Nazianzus, which depicts Constantine the Great and the Battle of the Milvian Bridge, please… Check HERE!

Bibliography: Vision and Meaning in 9th-Century Byzantium, Image as Exegesis in the Homilies of Gregory of Nazianzus by Leslie Brubaker https://www.academia.edu/49490426/Vision_and_Meaning_in_9th_Century_Byzantium_Image_as_Exegesis_in_the_Homilies_of_Gregory_of_Nazianzus and https://gallica.bnf.fr/ark:/12148/btv1b84522082/f891

The Lilies of the Valley Fabergé Egg

April 30, 2024

by admin 19th century Art Art Art Nouveau Jewelry Student Activities Worksheets

**House of Fabergé,** Saint-Petersburg, Workmaster: Mikhail Perkhin, Miniaturist: Johannes Zeingraph, Icon painter: Mikhail Dikarev
**The Lilies of the Valley Fabergé Egg,** 1898, Gold, Ruby, Rose-cut diamonds, Pearls, Ivory, Glass, Technics Casting, Embossing, Engraving, Guilloche enamel, Watercolor, Gilding, Height: 15,1 cm (opened: 19,9 cm), Fabergé Museum, Shuvalov Palace of Saint-Petersburg, Russia https://fabergemuseum.ru/en/collections/collection-highlights/lilies-of-the-valley-easter-egg

In the realm of art and beauty, William Blake, with his evocative poetry, reminds us on the one hand that… The modest Rose puts forth a thorn, / The humble sheep a threat’ning horn: / While the Lily white shall in love delight, / Nor a thorn nor a threat stain her beauty bright. Echoing this celebration of beauty and purity, on the other hand, Peter Carl Fabergé brings to life the unparalleled elegance of the lily in one of his most celebrated creations: The Lilies of the Valley Fabergé Easter Egg. https://en.wikipedia.org/wiki/The_Lilly_(poem)

Peter Carl Fabergé was a master jeweller and goldsmith of the Russian Empire, renowned for his exquisite and intricate craftsmanship, particularly in the creation of the famed Fabergé eggs. Born in Saint Petersburg in 1846 into a family of French Huguenot descent, Fabergé inherited his father’s jewelry business and elevated it to extraordinary heights of artistic and commercial success. He became most famous for the series of elaborately decorated Easter eggs he created for the Russian imperial family from 1885 to 1917. These eggs, crafted from precious metals and gemstones, were feats of engineering and artistry, containing surprises such as miniatures, clockwork birds, or ships. Fabergé’s work extended beyond these eggs to include a vast range of jewelry and luxury objects, admired for their beauty and precision. Despite the turmoil of the Russian Revolution, which eventually led him into exile, Fabergé’s legacy endures, symbolizing the pinnacle of craftsmanship and the opulence of pre-revolutionary Russia.

The Imperial Easter Eggs by Fabergé represent a highpoint in the world of art and craftsmanship, a series of 50 opulent, jewelled Eggs created for the Russian imperial family from 1885 to 1917. Commissioned initially by Tsar Alexander III as an Easter gift for his wife, Tsarina Maria Feodorovna, the tradition continued under his son, Nicholas II, who gifted them to his mother and wife. Each Egg, meticulously crafted from gold, enamel, and precious gems, concealed a unique surprise, ranging from miniature replicas of the imperial regalia to intricate mechanical objects, showcasing the unparalleled skill of Fabergé and his craftsmen. Beyond their artistic merit, these eggs held personal significance for the imperial family, commemorating events and anniversaries, and have become symbols of the extravagance of the Romanov dynasty and the lost opulence of Imperial Russia. Today, the surviving eggs are treasured as masterpieces of decorative art, housed in museums and private collections around the world, embodying the legacy of Fabergé’s genius and the enduring fascination with the Romanovs.

**House of Fabergé Easter Eggs** in the Fabergé Museum, Shuvalov Palace of Saint-Petersburg, Russia https://russiable.com/faberge-museum-st-petersburg/

The Lilies of the Valley Fabergé Easter Egg, crafted in 1898, is the opulent gift given to Empress Alexandra Fyodorovna by Russia’s last Tsar, Nicholas II. This exquisite piece, designed by the renowned jeweler Peter Carl Fabergé, is adorned with translucent pink guilloché enamel on a gold base, vertical strips of rose-cut diamonds and pearl lilies of the valley elegantly accented with diamonds among green enamelled leaves. The Easter Egg is topped with a diamond and ruby-set Imperial crown, that hides a surprise, three miniature watercolour portraits, framed in diamonds, of Nicholas II and the two daughters of the royal family, Olga and Tatiana, in the form of a trefoil that opens when a pearl button is pushed. The Easter Egg is supported by cabriolet legs of graceful gold leaves adorned with pearls and sinuous lines of rose-cut diamonds.

Lilies of the valley, symbols of purity, youth, and innocence, were the favourite flowers of Alexandra Feodorovna, who avoided “any kind of pomp” and dedicated almost all her time to her husband and children. They were also a favourite ‘motif’ of the Art Nouveau style, a movement that flourished in the late 19th and early 20th centuries, characterized by its focus on organic forms, intricate designs, and a harmonious integration of art with everyday objects. This Easter Egg exhibits several key characteristics of Art Nouveau, such as its graceful and asymmetrical form, which mimics the natural curves of the lilies of the valley. The use of enamel, a hallmark of Art Nouveau craftsmanship, adds vibrant colour and depth to the piece, while the incorporation of pearls and diamonds accentuates its luxurious appeal. Furthermore, the attention to detail, from the delicate placement of each gemstone to the subtle nuances in the design, reflects the meticulous craftsmanship synonymous with the Art Nouveau movement.

Renowned for its elegance and the intricacy of its design, the Lilies of the Valley Fabergé Easter Egg, encapsulates not just the unmatched skill of its creators but also the rich historical and emotional depth of the era it represents, making it a timeless testament to both the artistic innovations of its time and the enduring legacy of the Romanov dynasty. It epitomizes the Art Nouveau movement through its embodiment of organic beauty, exquisite craftsmanship, and the seamless fusion of art with functionality, while simultaneously serving as a symbol of imperial opulence, intricate artistry, and the poignant narrative of a bygone era.

As we welcome the 1st of May and with the Greek Orthodox Easter upon our threshold, I extend heartfelt Wishes to all for Health, Happiness, and the Warmth of shared moments with loved ones. Let the Lilies of the Valley Fabergé Easter Egg, an exquisite artefact that captures the essence of beauty and tradition, stand as a poignant reminder of the enduring spirit of rejuvenation, hope, and rebirth that Easter brings to many around the world.

For suggested Student Activities, please, Check… HERE!

The Dolphin Frieze from the Mycenaean Acropolis of Gla

April 23, 2024

by admin Ancient Greek Art Archaeology Art Bronze Age Art Greek Art Mycenaean Art Student Activities Worksheets

**Dolphin Frieze,** Second half of the 13^th century BC, Fresco, from the Mycenaean Acropolis of Gla in Boeotia, Archaeological Museum of Thebes, Greece – Photo Credit: Amalia Spiliakou, February 19, 2024

On February 19, 2024, I fulfilled a long-awaited wish by visiting the Archaeological Museum of Thebes, one of Greece’s most significant archaeological museums. The collections, some of which are rare or unique, have been on my bucket list for quite some time. These artefacts, originating from excavations across Boeotia, span from the Paleolithic era to post-Byzantine times, providing a comprehensive view of the region’s cultural history. The Dolphin Frieze from the Mycenaean Acropolis of Gla was at the top of my list; seeing it in person was a moment of sheer delight and fulfilment.

The Mycenaean period is of profound significance in both art and history, acting as a vital cultural link between the Bronze Age civilizations of the Aegean and the classical world of ancient Greece. Artefacts from this era, ranging from architecture to fresco painting and pottery, illuminate the emergence of distinct artistic styles and techniques that greatly influenced classical Greek artistry. Mycenaean builders demonstrated their prowess through the construction of grand palaces, robust fortifications, and imposing tombs, showcasing advanced architectural and engineering capabilities. Their vibrant fresco paintings, characterized by bold depictions of figures, animals, and geometric patterns, stand as a testament to their artistic abilities. Moreover, the Mycenaean civilization played a pivotal role in shaping the socio-political landscape of ancient Greece, laying the groundwork for the development of Greek culture and identity.

**The Acropolis of Gla,** Boeotia, Greece https://www.mthv.gr/en/beyond-the-museum/tour-in-boeotia/the-mycenaean-acropolis-at-glas/

**Model of the Archaeological site of Gla,** Archaeological Museum of Thebes, Greece
https://commons.wikimedia.org/wiki/File:Gla_-_Modell_of_archaeological_site.JPG

The least known of all Mycenaean Palaces is probably that of Gla in Central Greece. Perched atop a rugged hill, the Mycenaean Acropolis of Gla is a site of historical and archaeological significance dating back to the Late Bronze Age. This fortified settlement, strategically positioned on the Boeotian plain jutted into Lake Kopais (now drained) or formed an island within it. It served as a vital center of the Mycenaean civilization, showcasing the architectural prowess and strategic foresight of its ancient inhabitants. With its imposing Cyclopean Walls, about 3 m thick, and 2.8 km long, enclosing about 235,000 square meters of land, and commanding views, the Acropolis of Gla stands as a testament to the military and cultural achievements of the Mycenaeans, offering invaluable insights into their society, economy, and interactions within the broader Aegean world.

The Acropolis of Gla is famously associated with the ambitious endeavour to drain Lake Kopais, a feat considered unparalleled in Bronze Age antiquity, highlighting the advanced technical knowledge possessed by Mycenaean engineers. It is also known for its sheer magnitude and complexity. Encircled by robust Cyclopean Walls featuring four gates constructed from imposing stone blocks, Gla reigns as the largest fortified Mycenaean Acropolis within Greek territory. Less known, but equally important is the site’s residential area, a sprawling L-shaped edifice, often hailed as a ‘Palace’, and situated in the site’s northern expanse. Built atop an engineered plateau, this ‘Palace’ or, Melathron’, unfolds into three distinct sections, featuring a layout reminiscent of the renowned Megaron structures found in ancient centers like Tiryns, Mycenae, and Pylos. However, the absence of hallmark Mycenaean Palace elements, specifically a “throne room”, a circular hearth, and a “bathroom”, raises questions about its classification as a fully-fledged Mycenaean Megaron.

Among the buildings’ debris, archaeologists discovered as early as 1893, evidence of a wastewater system, unique clay roof tiles suggesting pitched roofs, and evidence of decorative wall frescoes, damaged and fragmentary, but extremely precious. Today, these fragments, discovered in the elongated East Wing of the South Enclosure, during excavations conducted by S. Iakovidis, in the early 1980s and 1990s are exhibited in the Archaeological Museum of Thebes. The most remarkable of these fragments show diving Dolphins and parts of other maritime scenes, including large Argonauts. These fresco fragments were expertly reconstructed by Christos Boulotis. (See Bibliography)

The Dolphin Fresco from the Mycenaean Acropolis of Gla is a remarkable artefact that showcases an unusual naturalism and a sophisticated understanding of marine life, captured through the depiction of Dolphins with an astonishing level of detail and realism. These elegant creatures, spanning 75 to 80 cm in height, are painted against a vivid blue background, highlighting their dynamic forms and graceful postures. The Dolphins, numbering between six and seven, are depicted in a uniform size and posture, their bodies elegantly curved into open arches or crescents, embodying the fluidity and grace of living dolphins. Their upper bodies are painted black, featuring a triangular dorsal fin, while their bellies are a contrasting white, delineated from the black with yellow stripes. Their eyes are almond-shaped, set against a yellow background, adding a striking detail to their overall appearance.

The use of colours in the Gla Dolphins fresco draws closer to the real hues of these marine creatures, with the black, white, and yellow providing a stark contrast to the deep blue sea they inhabit. This colour choice not only enhances the naturalism of the scene but also demonstrates the Mycenaeans’ advanced skills in pigment selection and application. Indeed, recent analyses have revealed the use of rare, imported lapis lazuli mixed with hematite and possibly an organic colour derived from murex, underscoring the significant effort and resources devoted to achieving the fresco’s vibrant colours.

This fresco, along with other Dolphin Paintings of the Aegean Bronze Age period demonstrates a persistence of themes drawn from nature within Mycenaean art, suggesting a deep-rooted appreciation for the natural world. The Gla Dolphins, with their lifelike appearance and intricate detailing, stand as a testament to the Mycenaean civilization’s artistic prowess and their enduring fascination with the sea and its inhabitants.

For a Student Activity, inspired by the Dolphin Freeze, please… Check HERE!

Bibliography: Christos Boulotis, Reconstructing a Dolphin Frieze and Argonauts from the Mycenaean Citadel of Gla, ΜΕΛΕΤΗΜΑΤΑ 72, Mycenaean Wall Painting in Context, National Hellenic Research Foundation, Athens, 2015, pp. 371… https://www.academia.edu/39148590/RECONSTRUCTING_A_DOLPHIN_FRIEZE_AND_ARGONAUTS_FROM_THE_MYCENAEAN_CITADEL_OF_GLA_In_MYCENAEAN_WALL_PAINTING_IN_CONTEXT_ATHENS_2015_371_403

The Allegory of Calumny

April 19, 2024

by admin 16th century Art Art Italian Renaissance Art Renaissance Renaissance Art Student Activities Worksheets

**‘Botticelli’ Workshop**
**Allegory of Calumny,** c. 1530, Oil on Canvas, Galleria Colonna, Rome Italy https://www.galleriacolonna.it/en/botticelli-and-his-workshop-allegory-of-the-calumny-on-temporary-loan-from-12-01-2023-to-04-14-2024-acropolis-museum-athens-exhibition-personifications-and-allegories/

In a world where misinformation can spread with the click of a button, the echoes of truth and deceit battle in the court of public opinion. This timeless struggle was vividly captured in the brushstrokes of The Allegory of Calumny, an intriguing 16th-century painting attributed to ‘Botticelli’s’ Workshop. Displayed as part of the exhibition titled ‘ΝοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today at the Acropolis Museum, this Renaissance masterwork travelled from the Galleria Colonna in Rome to Greece, offering a unique opportunity to explore the multifaceted world of allegorical art.

Rising above the primary notion of the image, an allegorical painting seeks to uncover hidden, deeper meanings, visualizing abstract concepts with the aspiration of yielding educational outcomes. In this context, allegory emerges as a powerful form of expression that succeeds in cloaking the true meaning, engaging both written words and visual arts in a delicate dance of revelation and concealment. The Allegory of Calumny painting stands out as one of the most instructive examples from antiquity and the Renaissance, embodying the intricate layers of meaning that such symbolic representation can convey. To understand the painting, we first need to travel back to the 4^th century BC and seek information on a lost painting by Apelles, then explore the Renaissance painting Calumny of Apelles by Sandro Botticelli, and finally discuss the painting in the Collection of Galleria Colonna in Rome.

The story of the painting Calumny by the legendary 4^th century BC ancient Greek artist Apelles, as recounted by the writer Lucian (Luciano di Samosata, 2nd century BC), is a fascinating narrative that has inspired artists and thinkers through the ages. In Lucian’s telling, the celebrated Greek painter Apelles crafted the painting Calumny after becoming the victim of slander himself. The allegorical painting illustrated a tale of injustice and deception, where a blameless man was falsely accused by Calumny (Slander), personified as a beautiful but deceitful woman. Flanked by Malice, and Deceit, and led by Evil, Slander was depicted taking the innocent man before a judge, who was depicted with donkey’s ears, symbolizing his foolishness and inability to discern the truth. Beside the judge stood his advisors, Ignorance and Assumption. Apelles’ work served not only as a personal reflection on his experiences with slander but also as a universal commentary on the nature of truth, justice, and the destructive power of false accusations. Through this allegory, Apelles conveyed a poignant message about the ease with which innocence can be marred by malevolence, a theme that resonates as deeply today as it did in antiquity. http://lucianofsamosata.info/wiki/doku.php?id=home:texts_and_library:essays:slander

**Alessandro Filipepi known as Sandro Botticelli**, 1445-1510
**Calumny of Apelles,** c. 1495, Tempera on Wood, 62×91 cm, The Uffizi, Florence, Italy https://www.uffizi.it/en/artworks/calumny-botticelli

Next, the journey through the Allegory of Calumny takes us into the heart of the Renaissance. It is here that Sandro Botticelli, drawing inspiration from ancient texts that describe Apelles’ work, reimagines this timeless theme through the lens of 15th-century Florence. Botticelli’s Calumny of Apelles not only pays homage to the original masterpiece but also enriches it with the nuanced intricacies of Renaissance artistry and thought, inviting us to explore how the allegorical message has been transformed and recontextualized for a new era. Crafted around 1495, this painting emerges at a pivotal moment, marking the transition from the flourishing Laurentian era to the dawn of a Republic under the influence of Girolamo Savonarola. This piece stands as Botticelli’s final foray into the realm of allegorical and mythological themes, showcasing his unparalleled ability to weave intricate narratives and interpret complex ideas through his art.

According to Giorgio Vasari, Botticelli’s painting was a gift to the artist’s friend Antonio Segni, with the following lines of his own composition beneath it: Indicio quemquam ne falso laedere tentent Terrarum reges, parva tabella monet. Huic similem Aegypti regi donavit Apelles Rex fuit et dignus munere, munus eo… Let any kings of the earth beware of attempting to harm anyone falsely; a small tablet warns them. Apelles, the painter, gave a similar one to the king of Egypt; he was both a king deserving of the gift, and the gift was deserving of him. http://www.artist-biography.info/artist/sandro_botticelli/ and https://www.uffizi.it/en/artworks/calumny-botticelli

Having traversed the historical and artistic landscapes shaped by Apelles’ ancient masterpiece and Botticelli’s Renaissance reinterpretation, our exploration leads us to a final piece: The Allegory of Calumny, created by ‘Botticelli’s’ Workshop and residing in the prestigious Galleria Colonna in Rome. This rendition, exhibited, currently, in the Acropolis Museum in Athens and crafted by an artist whose name has eluded history, embodies the aesthetic values of harmony, proportion, and beauty that defined the period. With a delicate and polished use of line and colour, the unknown artist skillfully captures the viewer’s attention, guiding it across an intricate narrative tableau. The painting, lucking Botticelli’s extravagant architectural ‘fantasy’, depicts the allegorical figures with grace and emotional depth, weaving a rich tapestry of human drama that invites the observer to delve into its complex layers. Furthermore, reaffirms the themes and aesthetic principles of its predecessors, serving as a vivid testament to the enduring legacy of the Calumny motif. It invites us to appreciate the nuanced layers of interpretation and craftsmanship that span centuries, from classical antiquity, through the Renaissance, and into the heart of Italy’s artistic heritage.

For a Student Activity, inspired by the Allegory of Columny painting, please… Check HERE!

The so-called ‘Rubens Vase’

April 14, 2024

by admin Art Byzantine Art Byzantium Early Christian Art Student Activities Worksheets

**The so-called ‘Rubens Vase’,** c. 400 AD, Agate and Gold, 18.1 x 18.3 x 12.1 cm, The Walters Art Gallery, Baltimore, USA https://art.thewalters.org/detail/10284/the-rubens-vase/

‘…nothing has ever delighted me more than gems…’ Rubens wrote to his friend and antiquarian Nicolas-Claude Fabri de Peiresc, and I think of The so-called ‘Rubens Vase’ in the Walters Art Gallery, in Baltimore. https://www.jstor.org/stable/879678 The Burlington Magazine, Vol. 121, No. 916 (Jul. 1979), pp. 424+426-432 (8 pages)

Peter Paul Rubens (1577–1640) was a renowned Flemish Baroque painter, known for his masterful use of colour, dynamic compositions, and his contributions to the Counter-Reformation. What is lesser known is his passion for collecting ‘gems’ and antique ‘curiosities’. Known as a man of wide interests, the artist, described by Pierre Cassendi as a most experienced connoisseur of all antiquities, but most of all of cameos… was known to exchange his artworks for precious gems, and in his own words, never miss the opportunity to become familiar with antiquities and buy rarities that he paid cash. https://www.jstor.org/stable/879678

Rubens’s diverse collection encompassed classical sculptures, coins, medals, manuscripts, and paintings, reflecting a deep fascination with the world of art. Rubens’ interest in antiquities extended beyond mere aesthetics, as he sought to surround himself with artefacts that not only inspired his artistic endeavours but also fueled his scholarly curiosity about ancient history and civilization. His “cabinet of curiosities” served as a testament to his intellectual pursuits, creating a space where the convergence of art, literature, and science fostered learning and reflection. Rubens’ collaborations with other collectors, such as Archduke Leopold Wilhelm of Austria, and his active engagement in the cultural and intellectual circles of his time further solidified his legacy as a multifaceted figure in the rich tapestry of the Baroque period.

Among the artist’s many treasures is The so-called ‘Rubens Vase’, currently in the Walters Art Gallery. According to the Museum experts, this amazing piece was most probably created in high relief from a single piece of agate, in the imperial workshops of Constantinople for an unknown Byzantine Emperor. It made its way to France, probably carried off as treasure after the sack of Constantinople in 1204 during the Fourth Crusade, where it passed through the hands of some of the most renowned collectors of western Europe, including the Dukes of Anjou and King Charles V of France. In 1619, the vase was purchased by the great Flemish painter Peter Paul Rubens in Paris, at the Saint-Germaine Fair for the considerable price of 2,000 scudi. Rubens was so excited about his purchase, that he created a drawing of his agate vase, which is currently in the collection of the Hermitage Museum, in Saint Petersburg. https://art.thewalters.org/detail/10284/the-rubens-vase/

**Peter Paul Rubens**, 1577-1640
**The Rubens Vase,** before 1626, Paper, pen and brush and brown wash-over sketch in black chalk, 201×148 cm, The State Hermitage Museum, Russia https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/02.+drawings/248654

**Paulus Pontius,** Flemish Artist, 1603 – 1658
**The Rubens Vase,** about 1630, Etching, sheet: 39.5 × 53.3 cm, Birmingham Museum of Art, UK https://www.artsbma.org/collection/the-rubens-vase/

The Rubens Vase is an amazing work of art, an exquisite testament to craftsmanship — almost in perfect condition, ovoid in shape, with a finely turned rim veiled in a gold mount, flattened yet tapered to a flanged base. The vase’s handles, resembling knobs, bear the characteristics of Pan, his coarse features, drooping goat-like ears, moustache, and free-cut horns adding an intriguing dimension. As the heads of Pan rest on large acanthus leaves, and lively grapevines, with leaves, tendrils, and small fruit in high relief, playfully embrace the wider sides, the ‘Rubens Vase’ unfolds a captivating narrative in its design. The bottom, adorned with a low relief carving of a rosette, completes this masterpiece, leaving an indelible mark on the connoisseur’s imagination! https://www.jstor.org/stable/20168774?read-now=1&seq=2

For a Student Activity, please… Check HERE!