Movements that Mattered

Based on the period in which it has been made (520 to 510 BCE) this pitcher is from the Archaic period. It depicts the struggle between Heracles and Triton. Although the shapes are difficult to decipher you can see both bodies intertwined and recognise some the key symbols associated with both characters. Heracles has the lion skin and possibly a club held in his hand. Triton has his characteristic fish or mermaid like lower body, a wide mouth filled with many teeth. While this pitcher is a typical black picture painting not particularly gracefully executed, I find it interesting because it seems to borrow some elements of older periods from ancient Greek art and some from the Cycladic Islands. Above the register and on the circumference of the pitcher the pattern is reminiscent of the geometric style that was seen between 900 and 700 BCE. Also, although it is clearly a mythological scene, the fact that you have a marine like character in Triton and the use of graceful curves reminds me of the early Minoans Ceramic.

This particular statue of Pepy I has all the key element you would expect to find according to the Old kingdom artistic convention. It has the usual depiction of the throne in its cubic appearance. Pepy is seated and wears the crown typical of the Kingdom of Upper Egypt and if you zoom in on the picture one will find the representation of the lotus, on the base of the throne, which is another symbol for Upper Egypt. In terms of style the shins are carved in a very rectilinear fashion with the typical elongated feet, not following the naturalism of some other parts of the body. Another sign of the status of Pepy is the representation of Horus as the falcon perched on the back of the throne. Where it differs from some of the monumental statues and representations we have studied previously this one is quite small (about 26.5cm tall), made of Alabaster which a delicate white stone typically used for ornament and canopic jars and Pepy holds the crooks and flail which are normally associated with Osiris who presides over the judgments the deceased have to undergo before they can enter the afterlife. All these details make me think that this statue was part of Pepy’s tomb and was one of the many items put there in offering and to assist him in his ultimate voyage.

Amenemhat III was a pharaoh of the twelfth Dynasty of Egypt and ruled from c.1860 to c.1814 BC. The statue is a typical Egyptian pharaoh statute represented in a blocky formal way. This is a half statue showing only the upper body from the waist. The face has smooth skin and perfect features. There is no emotion or expression in the idealized face. The ears are bent out and seem unnaturally large. He is wearing the typical headdress, but does not have the typical false beard. The pharaoh is not wearing any clothes on the upper body, but there is minimal attempt at showing muscular detail. There is no space between the arms and the body. The body appears, however, strong and perfect. The idealization and formal representation of the pharaoh reflects the fact that the Egyptians worshiped Pharaohs as their gods with the statues being an important symbol of divinity.

This beautiful example of greek funerary pottery was used for carrying water for nuptial baths and worshipped Aphrodite. Traditionally hydrias had three handles, hard to see in this picture, and is decorated with swans and dolphins which is typical greek aquatic art. This is a fine example of black figure technique/style with stylised figures in a geometric pattern. It is elegant and in proportion and is joyful to the eye of the beholder.

This sunken relief, depicting a man of some importance, is a typical example of early egyptian art. Highly stylised and formal, the figure is shown in profile with parted legs, 'blocky' hair, elongated torso and square knees. Showing very little knowledge of human anatomy this figure is out of proportion and shows no muscular definition. It is however, easily identified as egyptian with the wonderful 'triangle skirt' on the figure with a headdress and would have been wonderful in its original painted state.

Scarabs were amulets in ancient Egypt. The ancient Egyptian saw the larva's birth from dung or dead animals, they considered as "rebirth". the dung beetle rolled its dung balls like Chepri ( the Egyptian sun god Chepri (or Khepera), rolled the sun across the sky. So, they put it together with dead for protection in after-death. And, they made it not only blue color, as I have chosen, which implies the sky and Nile river ,but also with other strong colors that we can see them on the wall papers from pyramids as well: Red for sun, green for new life etc.. This object is a commemorative one for queen Tiye from Amunhotep 3. It is a beautiful color with kind of simple relief carving.

This is a geek ceramic vase from ca. 500-490 BC. It is 62.4cm high and in Archaic style. It is a typical black figure decoration where as the name indicates, the figures are painted in black. The black figures painted are in sharp contrast to the orange background and the human figures are looking very human like. On the front side of the vase, we see a man driving two horses in a chariot. He has two sets of reins and a whip. At the first glance, it looks like there are two horses, but looking closer and counting four tales, eight back, and eight front legs, it is more likely to be four horses. As there is some perspective to the horses, the chariot is painted in single dimension showing only one wheel. On the backside of the vase, we see a different motive. We see the goddess Athena with a shield. Two columns are placed at each side of Athena, creating symmetry to the image. The capitals of the columns contain a volute, which is a characteristic of the Ionic order.

This is a very typical Egyptian slate carved iconic pose. Isis, was the Godess of Love, wife and aide of the ruling monarch Osiris and the mother of the future king Horus. Isis is potrayed with the ordinary head-dress of a woman, but with the uraeus over her forehead. She is depicted here with her young child, Horus (the pharaoh). The facial features are verging on naturalistic but with tube like hair and their bodies are typically blocky and do not have great muscle definition. At the bottom of the sculpture are the Egyptian symbols.

This doll represents the Greek's progressive understanding of the anatomy with the moveable limbs and non static naturalism. Although the feet are blocky? He would have served as a dedicatory offering, grave gifts or a private possession (toy) which a child could dress.

The relief of the Pensive Athena c. 460 BCE places it within the same time period as the Riace Warrior, (c. 460-450 BCE). Both showcase a more naturalistic depiction of human form, though the Riace Warrior is more fully anatomically realized. The two share a contrapposto pose; there is one weight-bearing leg, while the other leg is more free-swinging, creating a sense of movement with repose. The expression of Athena is serene, reflecting the Classical period of Greek art, where the Greeks placed importance on reason over passion. Though Athena is naturalistic, she is also idealized, which was another hallmark of the Classical period. In comparing the Pensive Athena to my first pick, The Wilbour Plaque, the Greeks show a more naturalistic application of human anatomy than the Egyptians.

For much of its 3000 year history Egyptian art conformed to formal artistic canons with only subtle variations and innovations. We can see this clearly in the Late Period bronze Statuette of Hathor. Symbol of feminine love, fertility and motherhood, this Goddess was commonly depicted as a cow with the sun disk and uraeus placed between her horns. The formal, rigid and highly conventionalized pose, the representation of the hair showing little to no naturalistic details, the cylindrical limbs whose arms are attached to the torso and the leg stance were all typical of Old Kingdom artistic conventions. What moves this piece away from a strictly conformist work of art and perhaps shows how the artist was influenced by the short-lived Amarna period are the generous curves to the breasts, waist and belly and the exaggerated and distended belly button. Representations that not only show the sculptors observations of the human form but also emphasize the Goddess’ symbolism. These naturalistic traits are also visible in how the artist has imbued the facial features of the cow with human emotions. For example the raised right eyebrow, different height of the eyes and straight line of the mouth give Hathor a formidable and stern look. Interestingly the difference of position of the iris gives the impression that the Goddess can see both ahead and to the side. Perhaps a desire on the artist’s part to show the Goddess as all seeing and all powerful.

This statue group is from the Old Kingdom period of Egyptian civilization and was found in a rock cut tomb. These statues would have been created to house the life-spirit or “ka” after death of Nen-kehft-ka (a mayor) and his wife Nefer-shemes. The statue group is made of limestone with traces of paint remaining on the skin of the male statue’s body and hair. The two statues were clearly carved separately and then later fitted into a common base. The two statues exemplify several of the artistic conventions for Egyptian sculpture including hieratic scale, their clothing (he nude to the waist and she in a tight fitting dress revealing her curves) and the frontal poses, forward striding or feet side- by- side. Although the two were carved separately, thought was clearly given to the relative height of the male versus female figure once they were to be placed side-by- side. Both are portrayed with their arms stiffly posed alongside their trunks with no separation from the body. The facial features of both the male and female are not particularly detailed and differ only slightly perhaps in the shape of the lips and eyes. From their attire, we can ascertain something of their societal position-i.e. they were not royalty as they do not wear crowns or hold other symbols of royalty. According to inscriptions that are at the base of the statues Nen-kheft-ka and Nefer-shemes were “royal acquaintances”. The two statues seem to be a fairly literal and simple representation-this is a non-royal man and his “less important” wife. Beyond this, there are few other details that the viewer can ascertain about their life or relationship together. In comparing the Greek Cycladic figurine with the Egyptian statue group, one similarity is that both are good representations of the characteristic traits or artistic conventions employed by their respective civilizations. One important difference is that the Cycladic figurine is much less of a literal representation of the life and societal position of the deceased person(s). For me personally, the more ambiguous meaning of the Cycladic female figurine, the shape and smooth white marble material makes it a much more interesting artistic object that still appeals to modern sensibilities and tastes

This figure in hardly carved on a stone, we can dramatically see the background of the stone, and the surface. The figure is stiff, rigid and blocky: Arms are not disengaged from the body and are connected to the background. Details are emphasized on the head, chest and arms whereas legs are more uniform and toes do not exist. As a general aspect, we can determine that this figure is not a King because he does not wear the false beard, and he does not wear any pharaonic headdress. Instead, he wears a sort of detailed braid. These two symbols are the distinctive characteristics among others from kings to other people. He is hierarchically under the king, a less important and relevant character of the society. This sculpture follows the pre Amarna period Art conventions.

Having looked through many artworks of Egyptian origin, I noticed one interesting common feature: while we can immediately recognize differences in the way artists depicted male and female bodies, gender is not that clear when you look at their idealized faces. And only special attributes like royal beard, headdress and wigs help to identify who is in front of us. Many gods and younger kings have clear feminine features. Having said that, I was attracted to the statue of goddess Mut, because it is quite the opposite: It is obviously a female body with strong maternity features: round full breasts, curved lines and heavy hips, but at the same time - there is something very brutal in the body - look at her strong developed shoulders. The posture is conventionally stiff, the lower body literally carved into the stone behind. And the face, without a wig - you can not really say if this is more male or female face. Looking front, calm and emotionless. The headdress is the symbol of unlimited power over both Lower and Upper Egypt. The power also often a male attribute. And the headdress itself quite a remarkable: it looks like a weapon, sharp and aggressive. And this is Mut, the Mother Goddess, "Mut, who giveth birth, but was herself not born of any." I would anticipate to see stronger female features and lines in the statuette ( similar to ones at Armana period or Greek ones), a woman with a baby on her arms. But She is different. I have a strong feeling towards the nature of this goddess. It looks like the artists conveyed the parthenogenesis concept through this combination of male and female, maybe...

I chose this piece not because of the obvious artistic conventions used that represent Egyptian sculpture, but because of the conventions used that I am unfamiliar with in Egyptian sculpture. I was dying to read the details, but have not done so in an attempt to try and decipher what I can. The artistic conventions we see here that are so clearly Egyptian include the figures staid, stiff posture. We also see the typical posture with the hands in fists and the staggered stance. I do wonder why so many of the statues (or all that I have seen) have their left foot forward. Is there any significance in that? The use of material (to balance the subject and/or perhaps not test the material) and the pose are very similar to the statue of “Menkaure and a Queen” and are also very typical in Egyptian art. However, unlike Menkaure who has identifying headdress, beard and is clothed, Snefru-nofer is naked. Certainly in Greek sculpture and art, nudity is common place, but in Egyptian art, the artistic convention is to have individuals clothed. The only time I recall seeing unclothed individuals in the pieces we have studied is the relief of Akhenamen and his family, where his 3 daughters are not clothed. I don’t know who Snefru-nofer is, and am wondering how it is that we came to know this was a statue of him. The only things that come to mind are that perhaps the figure was painted (as it appears to have been) and there were identifying markers on it that led to an understanding of who this was. Perhaps where the statue was found or what was found with it would have signified who it was.

It's made from fine marble in early bronze age. The gender can not be recognized. It is a little similar to the "play with harp" we 've seen on the video. This figure with a cup shows us same things as "play with harp"; a basic human form, not enough details and not realistic form with geometric figure. The cycladic people ca. 4000 or 5000 years ago wants to show humaneness. Because, this figure holds a cup in its right hand and the other hand lies on its chest and its face with pronounced nose looks at the upside like "play with harp", maybe think something, but we don't know if it is happy or sad.. no eyes , no mouth. Can we say it is very simple? I would say it is a moderated aesthetic sense.

This amphora made of terracotta from the Archaic period is a prime example of the Greek's excelling in their art of ceramics. It is painted in the black figure style upon red background. It depicts a foot race of five nude runners. The runners are of an abstract human form, with elongated bodies, bulging and exaggerated thigh muscles. The angles of the arms and legs give the feeling of movement, and of the runners pushing themselves. The white pigmentation upon the black figures, outlines the anatomical features of the men, as well as the muscles strenuating under the pressure of the race. The red background is completely plain and unadorned, drawing the focus of the viewer on the runners and their movement and form. Interestingly all five runners are within the same stride, that is, left leg leaping forward, the right leg pushing off the ground, the corresponding left arm pushing upward for momentum, while the right arm pulls back. This uniformity creates a feeling of balance and harmony within the painting. And finally, the lovely but simple patterning around the base and neck of the amphora used as a decorative relief as well as to frame the painting.

With “Man is the measure of all things” being the principle, guiding tenet of Ancient Greek art, the shift from black to red figure painting heralded a further step towards naturalistic humanism as we will see in Meidia’s elegantly painted Red Figure Lekythos, now housed at the J.P. Getty Museum. The technique employed by the artist of broadening the central register, thereby moving away from the narrower bands seen in the Geometric Period, and depicting the central figures of the Nymphs in the Garden of the Hesperides in red, focuses our attention more emphatically on them. His detailed use of lines for the fabric of the dresses, coupled with the cinching of the waists in black, gives shape, texture and form to the young girls’ bodies. This is particularly true of the side profiled figure of the girl picking apples. It is interesting to see his juxtaposing of the simple, flat tree with the highly stylized details of the girls’ dresses. It has the effect of making the nymphs appear more three dimensional. Artists of the Archaic period found that this technique allowed for greater artistic freedom to create more animated shapes and postures. For instance look at how the young nymph picking the apples uses the front of the dress as a means of collection or the how the nymph in the foreground is leaning her arms on her leg. While the uncontoured black background of the red figure painting has created certain problems of perspective the artist has certainly revealed his sharp eye for the human form.

When I was browsing through the sites of Egyptian Art this particular piece immediately caught my eye. As I mentioned above, I immediately connected the image of the Lotus (without even knowing for sure that it was indeed lotus) to the first Egyptian Art lecture given by Jonathan. Egyptian Art is full of symbols and this Tale Frieze already holds two very important to Egyptian culture. First is Lotus flower, which is the symbol of Upper Egypt, also the symbol of sun and creation and the symbol of rebirth. The flower closes at night and sinks underwater. Following morning it emerges from water and blossoms again. The image holds two blue and two white flowers. The blue "sacred" Lotus is the one that most commonly used in the Egyptian Art symbolism. Second is the Grape (which I did not guess but to me it looked like a tear drop!!!). Well, I knew that grapes were cultivated in Egypt in the old period. However, what a surprise was when I found out that grapes were called wine "tears". The cosmic grapevine was considered the tree of life. Overall, wine in Egypt played very important role in ancient ceremonial life and, as matter of respect for gods, was widely used in their funeral rites. This lovely tile used to decorate a palace of Ramesses. The artist who created this beautiful piece of work, which combines two very important to Egyptian culture life symbols, Lotus and Grape, transmitted his message very precisely. I am honestly stunned by the reality of Egyptian artistic work and the meaning behind it...

The Antenor Kore is a larger than life statue, with a height of 2.51m . The son of Eumares, Antenor is the artist. The statue is made completely of marble. The Antenor Kore, belongs to a group of statues of young woman, in the Acropolis. The young woman in the statue is draped in a robe and cloak, which seem to be constructed in tube like shapes. If we are to look at the statue in a little bit of detail, we can see a slight contrapposto position. One leg seems to be slightly more forward than the other. Parts of the Antenor Kore are missing, for example part of the face. But if we were to see what the original would have looked like, it is said that the woman had an "archaic smile". In this period of time, which would be the last quarter of the 6th century, statues carried this expression. Greeks seemed to have shown less emotion and more rationality which we can see in the expression of the statue. There is a sense of idealization, there is no emotionality and the figure's body has ideal physique (besides the larger than life proportions). There is also a sense of naturalism, we can see that the body is reacting the way it should in its position.This is an important part of Greek art, they were concerned with portraying anatomy correctly. Though the statue carries these traits the statue seems stiff and blocky, also very powerfull, which may remind us of Egyptian art in the sense that their statues were blocky and stiff. Her hair is tube like, as well as the drapery around her body, which also may remind us a little of Egyptian art, as we know that Greek artists were also influenced by Egyptian work. The woman has a masculine shape, with quite broad shoulders, though her ankles seem to be thin. Her eyes seem to be indented, and it is said that they would have been filled with glass. Though this technique is more commonly used in bronze sculpture. Antenor was known to create bronze sculpture as well, maybe he wanted to incorporate that technique into this marble statue

What initially caught my eye on this ceramic vessel was the black-figure technique detailing very gracefully the patron goddess of Athens. This piece appears to be part of the geometric period based on the two colour decoration, however, this piece was created in 340-339BCE which had long surpassed this technique. This techniques gives the impression of sunken relief. This vessel is a decorative yet functional piece and as it is given as a prize in the Panathenaic Games and therefore has an important function. It reminds me of a trophy in shape, with a slender neck and a chunkier body that tapers out into a narrow stand. It has a lid to keep the contents from spilling and two handles for pouring yet it is questionable whether the oil with the vessel was used or was it merely displayed as a trophy and something of honour? The vessel depicts within a single register the goddess of war who is the only decoration on this side and takes up the whole space indicating her importance. But what struck me was the regression to the Egyptian conventional posture detailing an idealized human figure with the feet and head in profile and the torso faces forward, she has large almond eye and instead of a the Pheronic headdress she has a warrior’s helmet and she is clothed. Is this a result of the artists’ choice purposely making a distinction between man and god attributing human traits to them?

This piece is a high relief carving of a goddess whose body is half suspended between the inside and outside of the stone carving. For a Greek artwork she is unusually clothed and adorned in a very fluid and dynamic piece of clothing which aptly mirrors the dynamic changing of the seasons which she represents. Though she is the goddess she is titled humanistic ally as a female dancer. Her facial features are smooth and perfect, her eyes cast upward, a neutral expression on her face, ears facing forward and though we are unable to view the feet as that detail has been damaged her fingers are elongated not unlike the Egyptian statues. She does not appear to be in a typical contrapposto stance she has a much exaggerated head tilt which in turn accentuates the movement in her body. Though this statue utilises some elements from Egyptian artwork it is by far executed with more advanced techniques compared to its counter parts.

This female figurine is from 2800-2300 B.C.E, the height of Cycladic culture, and the period of greatest longevity for Cycladic figurines. This figurine is the Spedos type, named after the location where it was found. Spedos was a cemetery on the Greek island of Naxos and almost all the Cycladic figurines of the Spedos variety were female. It is made of undecorated white marble (although according to Stokstad may have originally been partially painted with vibrant colours) and displays many of the characteristics traits of female Cycladic figurines. The figurine is nude and the body parts are composed from simple representative shapes with minimal detail in the anatomical modelling. The arms are portrayed with incisions and no separation from the trunk and folded over the abdomen. Simple incisions are also used to portray other joints of the body such as the hips, knees, ankles and the toes and would likely have been made with simple bronze tools available at that time period of Cycladic civilization. The head is “lyre” shaped with the only facial feature being a prominent nose. This particular figurine appears to have been created for display only in a reclining position with the weight of the figurine born through the back of the head and buttocks. One final interesting feature of this female figurine is the rounded or swollen abdomen which has been suggested could possibly represent pregnancy or fertility, which if correct, poses an interesting juxtaposition of life and death given its’ finding in a cemetery.

This particular piece was part of the East frieze of the Parthenon. It was composed of two parts. We may observe part of the procession of the birthday of the goddess Athena. These are the three Gods: Poseidon, Apollo and Aphrodite. They are seated and their bodies have different positions. We can see independent figures with more naturalistic styles. Faces and gestures are more real and their bodies have more weight. Their draperies has more details and the way they cover their bodies, make a differentiation between man and woman. My two pieces selected for this assignment have some similitudes: both are telling us some kind of story about a particular event. Both have people standing or seating in rows and they all venerating a god, pharaoh or ruling monarch.

The Egyptian bas reliefs are used basically to represent the gods and pharaohs. They can be depicted in their domestic life, agricultural work or other scenes like battles or adoring their pharaohs. In this particular piece I think the scene is commemorating the victory of the Pharaoh. We observe a group of soldiers venerating their ruling monarch or general. All of them with their arms raised and resting their staves. The description of this piece say that it was an egyptian military composed of a wide range of ethnic types. As we know the Frontalism is a characteristic of Egyptian art and this is a great example. Head, pelvis and legs are presented in profile. Upper torsos are flat. A repetitive pattern of figures, all very similar in their bodies shapes and sizes. This piece is showing us the power and strength of the pharaoh.

This plaque represents certain artistic conventions of the Amarna period. The figural features, such as the elongated chin and ears, fuller lips, and long necks, illustrate the curvilinear style that defined the Amarna period. Though the Amarna period represented the only break in traditional Egyptian art, there are traditional artistic conventions used, such as the hieratic scale that represents Akhenaton and Nefertiti. Akhenaton is depicted with a larger head than Nefertiti’s. During the Amarna period, there was more of a sense of intimacy and informality, which is seen through their proximity and their face-to-face representation. There is a gracefulness in the curving lines, which was another hallmark of the Amarna period. In other depictions of kings and queens, such as in the statue of Menkaure and Queen, there is more of a rigidity and formality displayed.

Since my first selection from Egyptian art was a decorative frieze, I decided to search for something more or less similar. Tomorrow or later today I'll be writing about. What attracts me in this image is its softness, lightness of lines, overall pale array of colors. The doe and her fawns are painted on the yellow background.... the animals' figures, images of birds and flowers are only slightly darker, just to better visualize them. Overall, there is no much dark color in this tablet (unless it just faded with time) however, there are still mostly very soft red and brown arrays of colors with some addition of white, that are mainly applied to paint doe, her fawns, and surrounding wild life ... birds, flowers... What I also find very interesting, is the level of elegance in this piece of work. I do not see or fell any rigidity or formalism when compared to Ancient Egypt artistic work. This is a very peaceful, cheerful and happy image which represents a joy of motherhood and a union of family. This lovely clay tablet which is dated back to the 600 BCE (approximately) was dedicated to Nymphe protectress of marriage. It actually, in my opinion, would be a work dedicated to Artemis goddess of hunt, wild animals, virginity and childbirth, and one of the most extensively venerated among numerous Ancient Greek deities. Deer and cypress were sacred to her. She was often presented in paintings and statues in a forest setting, carrying a bow and arrows, and accompanied by a deer

This grave stele dates from the Classical period and is an example of relief carving. The figure of the little girl is in a contraposto position, showing the curvature of her spine. The sculptor has also used his skill to show off the draped fabric of her peplos, creating the illusion of a weightless, sheer fabric from the marble. By having the peplos cling to her legs, the sculptor is also able to show his skill and knowledge of anatomy and the muscle structure of the legs. The girl is depicted holding two doves in her hands, close to her face. This could be a representation of her saying goodbye to her beloved pets; however, it could also be argued that it is a comment on her unmarried status as doves were commonly associated with the goddess Aphrodite. The girl could be mourning the fact that she has never been able to experience sexual love and therefore perform her natural duty – bearing children. The calm and graceful expression on the girl's face adds to the overall beauty of the piece.

I deliberately chose the statue of Prokne and her son to compare this outstanding Greek art with previously described Egyptian Goddess Mut. These two women are completely different figures. Although The Greek statue's head did not survive, the way Alkamenes depicted her body, tells the whole story. It is gracious, natural and alive unlike calm, emotionless and stiff Egyptian statuette. Prokne, a minor Mythological character, is a perfect woman with the ideal body and unquestionably feminine lines in the contrast to the Egyptian Mut goddess. Prokne's fabric richly covers her breasts, knees, waist and legs. The artist scrupulously sculptured numerous folders on a skirt. He obviously was interested in this garment to complete the image. Prokne's son is at woman's feet. But there is something tragic in their figures. Not a caring warm mother-and-son moment. You do not feel any love here, she is rather distant and angry. And he is scared. Her shoulders are down in obvious sorrow, and remaining part of her marble arm implies sharp dynamic, an intention for a heavy movement. The story of Prokne is a tragedy: Her husband raped her sister and, in revenge, Prokne killed her son by him. The statue catches the moment of killing intention. At the time it was created, another similar story of Medea was written by Euripides. The Greek statue in contrast to the Egyptian artistic convention depicts the feelings and shows the inner life of a person. It is remarkable, that Euripides also was the first writer of his time who managed to show the inner life of Medea, rather than just telling her tragic story. Terrible life drama and beautiful pieces of art.

This bluish-green stone carved happy Hippopotamus sculpture appears quite animated, which was very surprising to me. He carries a happy carved smile, which is exaggerated as compared to natural anatomic features of a living hippotamus. Perhaps he was originally meant to be as a gift for a child, such as a special birthday present or a celebratory offering as a present for a children's event. The eyes are very lively, adding an additional feature of animation, and appear to actually be looking at something. There appear to be inlaid stone in the eye sockets, which provide an additional feature of animation to the sculpture. Drawings adorn the body of the hippo, appearing to be lotus leaves, or very similar in shape to lotus leaves. In their natural habitat, hippos are known to often forage amongst heavy river foliage and greenery.

This statue depicts a small family group, dating from the Old Kingdom period in the 23rd/24th century BCE. There are three figures in the grouping, the central being the male head of the family, with a standing male to the right and a kneeling female to the left. There is a clear use of the hieratic scale in this piece with the central figure measuring more than twice the height of the others. The female figure, while not the smallest in scale, is the lowest figure, a comment perhaps on the social status of women in Egyptian society. The position of her hand on the leg of the central figure is reminiscent of the statue of King Mankaure and his Queen, suggesting that she is his wife. The central male is standing in a strong front facing pose and while his torso is depicted in a naturalistic style, his legs and, in particular, his feet are square and blocky.

This traditionally carved cat contains gorgeous inlaid eyes of gold. Regal in stature, this bronzed statuette is instantly recognizable as a classic textbook Egyptian feline. Lovely to behold, graceful in form, bold in design, a mere glance in viewing this artistic marvel verily transports one back in time. There exists a close symbolization between the cat and the sun-god. Many images such as the exist from the Late Period or Ptolemaic times. The graceful artistry may have been an actual depictment of Eqyptian felines. The great care in artistic expression such as seen in this hollow and extremely regal bronzed carving leads us to believe the Egyptians enjoyed a true closeness and admiration for their feline friends.

We can differentiate two riders and their horses. The four figures have a natural pose and horses seem they were galloping in a very determined attitude. Their muscles are exaggerated in order to express movement, strength and rapidity. Their hoof and legs movements are sharp to show the violence of the scene. I have a feeling that horses were suddenly stopped in their run, and surprised about what they just discovered in front of them. The front and back left legs of the first horse show a sharp slowdown. They didn’t expect to see an obstacle in front of them. This frieze is extremely detailed: we can see the facial veins of the horses, the slight outfit of the riders and the detailed muscle shapes of their legs. The riders however, don’t seem to react yet to this violent slowdown as their posture is calm and composed. Riders have a peaceful expression in their bodies and faces. The naturalism, exaggeration and movement of this frieze prove us that it belongs to the Classical Period.

This ceramic piece is interesting to me because it is so different from the typical Greek pictoral ceramic pieces that depict life, history and often tell a story or fable. It is a typical Greek piece with it’s reddish/brown background with black accent, however it reminds me more of ceramics you would see later and even today where the artist is simply being creative with design and pattern. The description of the piece identifies the teardrop shapes as being lotus leaves, but is that really what they are? Perhaps they are simply designs and have no symbolic meaning. I like the idea of the artist stepping back from the typical pictoral designs to create something more free flowing and creative. The patterns are beautiful and imperfect as something hand done would be, yet the horizontal lines that encircle the vase are perfectly straight.

I was struck by this wonderful wooden statue initially due to the preservation of its decoration, and also because of its materiality, wood, instead of stone. I think it is a wonderful sample of a painted statue with motifs and techniques that we might have seen on some of the more grand and monumental stone pieces, had their pigments survived. The piece is true to the conventions we have observed in the Egyptian pieces. Metjetji, from what I understand was a "high ranking official" not a Pharoah, therefore he is not wearing the Pharonic headdress and beard we have seen previously. He is however idealized in the facial features, his stance is one foot forward and serious, the stylization feet and elongated toes are consistent with what we have seen in the stone works. His body is representative of the human form but not naturally so in that it is just an indication of the human form, not a natural representation of anatomy. Typical of Egyptian works Metjetji is shown clothed and his form is quite boxy. What is unique to this piece is that the arms have been disengaged from the body as wood is easier to manipulate without breakage than stone. It is possible that the statue may have been carved as individual pieces and put together with dowels, thereby making that separation much easier.

The Attic Geometric Amphora c. 720-700 BCE is a stunning example of Greek pottery, religion and the Geometric style. This particular example is highly layered and detailed, many registers of varying geometric patterns and finely detailed, storied scenes express a real commitment on behalf of the artist. The figures in the scenes appear to be warriors with weapons and shields, however they have been attributed to the deities of the underworld, an expression of the Greek polytheistic beliefs. Unlike the black and red figure painting of the Archaic period, this Geometric piece appears to have a green/blue pigment to it. As it is painted on a pale coloured vase, it has a similar effect as the black figure painting that came later, in the silhouette-like appearance of the figures. Perhaps this piece exhibits a precursor to the black-figure painting?

This mastaba (early Egyptian burial structure) was built, not for a King, but for a nobleman called Perneb. It was constructed out of limestone that was quarried locally. One wall of the mastaba has the traditional sloping sides, however one side is straight. This may have been due that it was built against an existing larger tomb (most likely Perneb's father). Some of the inner walls of the tomb are highly decorated with relief carving and paintings depicting the various activities of Perneb's life. Within these relief carvings and paintings the Egyptian artistic conventions are represented. Like the hieratic scale; there is one wall depicting a seated man (which I assume to Perneb, as there aren't any pharaonic representations here like the headdress or beard) where he is almost three times the size of the other men in the image. The other strong Egyptian convention of the head and legs are in profile and the torso and eye face forward are also observed. As well as the use of registers to depict different stories/scenes. I found it interesting to learn that tombs were not just limited to Kings and their family, but are also extended to dignitaries. I also found it interesting that the courtyard or entrance chamber was used by family and others to leave offerings (for example food) and perform rituals for the dead.

It's a Roman marble statue head, dated circa 295-305 CE, and has those Diocletian Tetrarch or Constantine-esque eyes. Diocletian established the Tetrarchy in 284 CE, and Emperor Constantine ruled 307-337 CE, so the bust fits within that time frame. The carved head is not in good condition, but upon closer inspection, another aspect that fits within its stylistic time frame is the hair, which shows a lack of fine drillwork and deep chiseling that defined the previous periods, seen through the statue of Commodus as Hercules, which was dated c. 191-192 CE. I find it fascinating how stylistic clues can help place an object within its time period.

“Women cannot partake of magistracies, priesthoods, triumphs, badges of office, gifts, or spoils of war; elegance, finery, and beautiful clothes are women's badges, in these they find joy and take pride, this our forebears called the women's world.” (Livy, History of Rome 34.5) The position of Noblewomen in Imperial Rome had not changed much in the 200 intervening years. But even in their clothing they were not allowed the same distinctions of dress as their male counterparts. They therefore turned their attention to elaborate hairstyles and jewellery to alter their appearance. This fine pair of earrings, crafted between 1-100AD, would certainly have drawn admiring glances, with its deep, warm red garnets, lustrous gold and lively design. The stones have been polished and shaped to form cabochons with 6 on each earring firmly clasped in geometric and petal-like settings. The remaining three stones have been left dangling free on looped gold thread. We can see the influence of Etruscan craftsmen through the use of granulation, a skill that was first discovered as early as 3000BC in Sumeria and Minoa but made famous in Etruria. And this technique juxtaposed with the 3 pendants shows the artists skill in creating a beautiful piece of art.

This sculpture is of the Roman emperor Trajan. He ruled from 98 to 117 AD. This sculpture is made of marble and is 680 cm tall. This is a simple portrait, we do not see any clothing, due to the fact that is from his bust upwards. We can see the sense of naturalism and classicism, influenced from both Roman and Greek art. When looking at the portrait we can get a feel of the Empreror. We see a calm and strong look in his face. The movement away from idealistic art is clear here. The portrait is naturalistic, the features of his face are highly realistic. We see the style of his hair, a clear hairline and detailed facial features. These are all Roman influences though there is a Greek classicism as we can see specific features and a sense of "Greek calm".

My second choice is the piece of ancient jewelry, a brooch (diameter 5 cm, gold and ruby, decorated with multiple rosettes). This piece of art is dated back to 500-400 BCE, which corresponds to Etruscan art period dated 700-509 BCE. What attracted me to this piece of luxury is its geometric design, precise disposition of decorative rosettes and astonishing craftsmanship, which after all these hundreds of years did not lose its value and still continues to marvel and amaze art and jewelry lowers around the world. Jewelry during this period represented wealth and prosperity and was, as it is now, a status symbol. Special skills and techniques needed to create numerous pieces of jewelry. There were two special techniques applied to create this beautiful object, namely: granulation-application of small grains of gold and filigree-application of a thin gold thread as it shown on the selected object. Based on skillful use of these two techniques beautiful objects of the art were born. Sadly these two techniques do not exist anymore. It should be noted that Etruscan art was very much influenced by and borrowed from Greek and Eastern arts.

I was struck with the beautiful manuscript work from the Medieval age, and this piece represented a similar attention to detail, if less complicated tracery than an earlier work, the Book of Kells. The materials are tempera, gold and silver, on parchment, and it's dated c. 1120-1140. Though it has a somewhat "cleaner" design than earlier manuscripts, the Q still shows an earlier Medieval influence through the intertwining decorative forms encircling it. The background is patterned and rhythmically repeated, in keeping with the decorated pages of Medieval manuscripts.

This delicate Etruscan statue demonstrates the refined bronze practice that the Etruscans are renowned for. According to the artwork detail it is suggested that this sculpture portrays Maris (the Etruscan warrior god) or Hercle (the Greek Hercules) or he could be a mortal. This figure is **** and his body is treated in a naturalistic way with a sight realistic definition in the abdomen and legs. The only form of clothing is a cloak, simply detailed with spots and cross hatching, which is draped around his shoulders and wrapped around his arms. His head is detailed with wavy hair and beard and his face is relatively expressionless but his eyes seem to be focused on something in the distance. His body is animated - the figure is posed based on the earlier Greek sculptures as he is standing in a typical contrapposto stance with his font leg taking his full weight and the back leg hanging freely as if he has just taken a step. His front arm is clutching a sheathed dagger and his other arm above his head is holding a lance and he is posed as if he is about to throw it. His clothing and the items he is holding suggest that perhaps he is not a warrior as his dagger would be unsheathed and ready for action but maybe a man who is hunting an animal in the distance and will need the dagger to prepare the kill.

This is an ivory carving of the Virgin Mary and Christ and is from Christian Egypt from the 7th-8th century (Early Byzantine Medieval). The shape of the statue corresponds to the convex surface of an ivory tusk and is about 26 cm (10 in) tall. The Virgin and the Christ Child are posed in a tender embrace, cheek to cheek, with Christ carved in relief relative to Mary and interestingly Christ is supported in the palm of Mary’s hand rather than her lap. This pose of the Virgin Mary later became the typical depiction in Byzantine art and was known as the Eleousa or “Virgin of Tenderness or Mercy”. On the right side of Mary a tall thin male, possibly an angel, saint or protector, can be observed and may have had a matching counterpoint on the left side of the statue. This statue was most likely used as an icon for private prayer or meditation. The large head and sad looking expressive eyes of Mary are typical of icons in Christian art and would also have provided a strong focal point for the worshiper to focus on during prayer or meditation.

Emperor Caracalla ( ruled 198-217 AD). The eldest son of Severus. Caracalla is one of the unpleasant of emperors because of his persecution and massacres. He murdered his brother,Geta. This medallion is depicted very detailed his curry hair and wrinkles on his face and his Toga in drapery. So, we can say a sense of naturalism at this time whereas Greek had a idealized naturalism. And also it was represented that he was a strong military leader through a shield and a spear which he holds.

While Greek art developed the idea of humanism to a highly idealized platform the Etruscans’ keen observations of the human form took on a more earthy naturalism. This is particularly striking in this splendid sarcophagus of a nobleman, dated 198BCE and currently found at the Ny Carlsberg Glyptotek. His naked, fleshy torso and waist, his lined and wrinkled face, are a far cry from the youthful perfection so venerated by the Greeks. Gone are the stylized facial features, or the emphasis on a perfect naked body, instead we see the relaxed and dignified figure of a reclining old man. Even the context is different. No longer is the protagonist living out some scene from a heroic past. Rather the artist has seen fit to depict him in a very domestic sense, lying as he is on a day bed, bolstered by cushions. This was an everyday setting that was not uncommon in Etruscan funerary art. The individuality and character of his face, the verisimilitude of his ageing body, move this piece away from the purely conceptual to something that more closely resembles portraiture. His natural posture and gaze into the distance brings life and personality and renders the sculpture that much more human. It was a convention that was to be adopted by the Romans and used to full benefit.

When I was browsing Google gallery this particular object immediately caught my attention. From the beginning I thought that this little (15 cm high, bronze) sculpture just ended up in the Roman art era by mistake… so contemporary and modern it appeared to me. This hollow bronze statuette dated 0-100 CE, and corresponds to Imperial Art period, which lasted from 27 BCE to 330 CE and again being more precise the Age of Augustus. Although both arms and head of this female dancer have been lost, the elegance and grace of a dancer figure are flagrant. Romans made dressed sculptures and the beautiful bronze tunic of a dancer resembles in this image to the light silky one. Her dancing bronze shoes are very dexterously crafted. Romans were very skillful at spreading propaganda through art and this marvelous artistic piece communicates in my opinion “la joie de vivire” through the dance. It is also the expression of official affiliation of Romans as well as their lifestyle during this time. According to additional information (from the Google gallery) this statuette is the representation of the Romans’ household gods Lares who in Roman religion are guardian deities, the goods of household, centre of family. Protector deities were venerated in any Roman household. During the reign of emperor Augustus the Lares cult was motivated. However, it may be debatable yet, if this bronze statuette portrays a Lar, since Lares are represented as male youths.

Fayum Portraits were painted in Egypt during the time when Imperial Rome ruled Egypt. These portraits would be placed on the head area of a mummy tomb. They would cover the faces that were mummified for burial. As we can see, these portraits are quite naturalistic. If you look at this portrait you can see that there is no sense of idealization in the portrait. They were concerned with portraying the details of the specific person. You can see in this portrait the male had curly hair, there is a clear hairline, wrinkles in the forehead and the clear distinctive shape of eye's and eyelids as well as the nose. Even though these portraits were created in Egypt, you can clearly see the Greek and Roman influence. They are not idealized or abstract as we would see in Egyptian art. The sense of realism was important for the artist. If you look at the collection of Fayum portraits that exist today you would see that they were interested in depicting individuality. Nearly 1000 of these portraits exist today. The people in the portraits would be clothed, and women would also be shown with jewelry which also is a Roman influence. The sense of naturalism and reality of the portrait shows the influence of Roman art during the beginning of the Roman empire. An Encaustic painting technique was used to create this portrait. This means they would use hot beeswax and mix in the colored pigments. It would form a liquid paste and would then be applied to wood panels. they would use metal tools or special brushes to mold the liquid before it would dry.

What first struck me about this sculpture is that it exudes an air of frivolity, fun and movement. The raised front right leg and the swishing tail combine to give the impression that this centaur is wild and untamed. It is interesting to note that it was found in the gardens of the emperor Hadrian’s house at Tivoli, as this suggests that it was not designed for public consumption and therefore may have little propagandistic function. This does not mean, however, that it does not have a symbolic function. Centaurs were deemed to be hedonistic creatures, prone to excessive drunkenness, violence and lust. The presence of the Young Centaur could either be seen as a reminder of the joy of the free spirited or as a subtle reminder of the dangers of excess (‘Don’t drink too much or you’ll behave like a centaur’). One final clue as to the purpose of this piece is that it is one of a pair, having originally been coupled with a statue of an old centaur which is clearly racked with pain. Perhaps the artist is commenting on perceptions of age? Perhaps he is trying to make a philosophical point on the psychology of man? Regardless, this is a striking piece of sculpture that continues to catch the eye

This golden armband appears to be designed nearly like one of those "endless circle" rings. It is simple, yet stunning, plain, yet precious. It appears a delicate intertwining of two identical bands of gold or bronze; the information is missing, thus leaving the imagination to decipher and decode the beauty of the piece. A dating of 200 is given, and no other additional information exists. Two identical bands are set upon each other, as well as knotted and intertwined together, with the knot overlay being as the main focal piece of the armband. This piece belongs to a private collection, and there is no English information available. I enjoyed it very much, as I also collect vintage jewelry.

In this statue Trajan is represented as a general wearing a cuirass (breast plate) with a cloak. The cuirassed statue was a vehicle for imperial propaganda and the “prototype” would be considered to be the Augustus of Prima Porta statue. The highly decorative images carved in relief on the face of the breastplate were deliberately chosen to convey an imperial message of power and with the intent that the viewer would be more easily able to see the breastplate than a similar message portrayed on arches or columns. This curiass worn by Trajan has the head of Medusa, a guardian or protector from Greek mythology, at the collar bone. A pair of griffins, winged lions with heads of eagles and considered powerful and majestic creatures decorate the torso portion of the cuirass. The griffins each hold onto a thunderbolt, a symbol of Jupiter the Roman king of the gods. The symbols in the circular pieces (lappets) at the bottom of the cuirass portray the founding of Rome through the images of Mars with Romulus and Remus. The pleats below the cuirass and the fabric folds on his shoulder are quite natural looking. The body and head of Trajan recall Classical Greek statues with dignified facial features and a fit athletic body. The furrowed brow of Trajan adds a touch of naturalism and conveys that he is a serious and thoughtful emperor.

This large sculpture of the head of who could be considered as Rome’s greatest emperor, Augustus, ‘stands’ at 360cm high and it is made from marble. It is naturalistic example of Augustan classicism where his head is turned slightly to the right, that I would like to think is a result of him being in the traditional contrapposto position. The look of calm and confidence within his facial expression and a slight smile exudes the appearance of emperor under control. Perhaps the purpose of this piece was to celebrate and send a message of what a powerful emperor he his. Considering this was created late his life (he died at age 75 in 14 CE), this this is obviously representative of him as a younger man maybe at the height of his power. Though there is character reflected in his face which gives the impression this a true representation of the man, apparently isn’t as he had bad teeth, numerous moles, a hooked nose and unkempt hair. But within saying that it is in keeping with the other sculptures depicting him, for example ‘Augustus of Primaporta’.

This is a very well preserved roman sarcophagus. There are 40 human and animal figures carved in high relief. High relief was typical for Roman carving at the time. The scene we are seeing is very crowded and one gets the impression that there is a lot going on. We can see how the piece relates to Greek precedence, but as only common in Roman art, we can identify precisely who the main characters are. The central figure is the god Dionysos sitting on a panther. There are four other important figures, two on each side of Dionysos. These four figures represent the four seasons. Around the five central figures are placed other figures and objects carved at a smaller scale. These are less important reflecting the use of hieratic scale.

The image is shaped as a cross and shows Christ on the cross. The image of Christ is not completely naturalistic. It seems that the story told is more important. Christ’s hands and ****, and especially the toes are proportionally too large compared to the rest of the body. This makes the nails very visible and enforces the moral significance of crucifixion. There are four other characters representing four virtues. Hope is shown at the top, faith on the right arm, obedience at the base and innocence on the left arm. As typical of the medieval period, we can see the use of bright colors. The cross is bright green, and other bright colors such as red and blue are used in addition to a lot of gold. All figures have a sort of border around them, making the form very clear.

This defiant and powerful image of an elderly Roman gentleman is a fine example of the ‘warts and all’ ideology of Roman portraiture. The sculptor has made no effort to hide the gentleman’s receding hairline, nor his lined face and sagging neck. The level of realism in this bust even goes so far as to suggest that at some point this man has suffered from a stroke or some form of palsy, causing the sagging around the mouth. However, despite the obvious signs of old age, the character of the man is able to shine through. The rigidly set line of his jaw indicates a steely determination. This may be a far cry from the idealism of the Greek period; however, this form of portraiture allows the viewer to get a sense of who the subject really is. It is the unashamed honesty of this portrait that makes it easy to engage with.

Initially when I saw this statue though it was a Roman carving I thought it was strange that it was uncharacteristically nude and perhaps it was a copy. After some research I found out that this indeed was a roman marble copy of the lost Hellenistic statue inspired by the conquest of Galatia, an area in modern Turkey. It was also interesting to note that, this statue which depicts a Gallic warrior, ‘was known as the Dying Gladiator until the twentieth century, on the assumption that it depicted a wounded gladiator in the Roman amphitheatre (Accessed from the website: http://en.wikipedia.org/wiki/Dying_Gaul). Detailed on an oval plinth it is simply illustrated: He lies on his fallen shield, his sword and other implements lye scattered around him and the only item he wears is a torque around his neck. His body is in proportion and anatomically accurate and he is nude which is a typical feature of a Greek sculpture. My initial thoughts on the sculpture were that you would not expect a warrior to be nude on the battle field so this might suggest his vulnerability in his current predicament, however, further research revealed that, "The statue may also provide evidence to corroborate ancient accounts of the Gallic fighting style – Diodorus Siculus reported that, Some [Gauls] use iron breast-plates in battle, while others fight naked, trusting only in the protection which nature gives’. Polybius wrote an evocative account of Gaulish tactics against a Roman army at the Battle of Telamon of 225 BCE: "The Insubres and the Boii wore trousers and light cloaks, but the Gaesatae, in their love of glory and defiant spirit, had thrown off their garments and taken up their position in front of the whole army naked and wearing nothing but their arms... The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life”." (Accessed from the website: http://en.wikipedia.org/wiki/Dying_Gaul) The simplicity of the sculpture draws the viewer’s eye to his expressive face which is focused at the wound on his leg, which you cannot see from this angle, and it is the ‘sculptor's intention to depict the warrior in the last moment of resistance to his pain’. This sculpture serves as a monument to the Celts defeat their bravery as worth adversaries and to the people that defeated them.

According to Greek Myth, Ariadne, the daughter of the Cretan king Minos, fell in love with Theseus, when he arrived from Athens to beat Minotaurs. The hero killed Minotauros in Labyrinth with the help of Ariadne. In the top: Theseus and Ariadne aboard ship to Athens, In the right: grieving Ariadne on Naxos, In the left: Theseus comes out the Labyrinth, In the center: Theseus kills the bull-headed Minotaurs. The scene of the center was surrounded by some geometric patterns, probably a symbol of Labyrinth. We can see geometric and abstracted form everywhere on it. And,it filled totally with mosaics in the surface without any empty place and also can see the sense of the facial expressiveness

The image is shaped as a cross and shows Christ on the cross. The image of Christ is not completely naturalistic. It seems that the story told is more important. Christ’s hands and feet, and especially the toes are proportionally too large compared to the rest of the body. This makes the nails very visible and enforces the moral significance of crucifixion. There are four other characters representing four virtues. Hope is shown at the top, faith on the right arm, obedience at the base and innocence on the left arm. As typical of the medieval period, we can see the use of bright colors. The cross is bright green, and other bright colors such as red and blue are used in addition to a lot of gold. All figures have a sort of border around them, making the form very clear.

This, a elaborately decorated and intricately carved sculpture made of ivory in the early Byzantine tradition, is a depiction of who is thought to be Empress Ariadne who was the wife of two Byzantine emperors, Zeno and Anastasius. She is seated on a throne with two corinthian columns on either side of her with a dome (or shell shaped canopy) above her head which is flanked by two protective eagles framing the scene beautifully. She is holding a cross-bearing orb in her left hand and her right is raised slightly in the gesture of blessing. These representations are a display of her importance and power. This abstract piece, though carved in high relief, has made her look rather flat. Only her bent knees that protrude slightly give a vague feeling of depth to her seated body. Her face is carved rather simply and almost child-like, where her expression is, oddly, one of concern or worry with furrowed brows and a tight-lipped mouth. And if examined closely enough one can pick out wrinkles and dark lines under and around her eyes and mouth, which indicates this was probably a close representation of her age at the time of the production of the piece (she died in 515 CE approximately 65 years of age). To me this piece is telling a story of a powerful wealthy woman who lived a full and long life and wants to be remembered for her importance and place in the world.

The Relief of a “Fallen Warrior from the Shield” is currently exposed at the Art Institute of Chicago and is dated of the 2nd century A.D. It is a Roman copy of the original statue created by the famous sculpture Phidias which stood inside the Parthenon on Athens’ Acropolis. The scene depicts a wounded warrior sinking to the ground after being struck from behind. Although no original works in existence can be attributed to Phidias with certainty, numerous Roman copies in varying degrees of supposed fidelity are known to exist, as we can observe with the Fallen Warrior from the Shield. This is not uncommon. Almost all classical Greek sculptures have been destroyed, and only Roman copies or notes of them exist.The ancient Romans frequently copied and further developed Greek art : The still remaining sign of Greek influence is shown by the yet strongly idealized expressions of its body and his almost nudity. The white marble Warrior shows a high relief carving which is new in the roman technique of sculpting, as well as the warrior’s face showing naturalistic and strongly individualized signs of a distinct roman sculpture attitude which clearly differs from the Greek one. The face is a portrait with distinct attributes. Even though the Warrior is falling, the strength and the power of the warrior can be interpreted as propaganda, sign of the Roman Military Force of these days. The most highly valued traits included a devotion to public service and military prowess. The divine attitude his body and face are showing strengthen and underline this characteristic.

Pompey, was born in 106 B.C. and died 48 B.C. At the early age of 17 he began to learn the military art under his father by service in the field against the Italians in the Social war. He became a Roman general and political leader and was a member of the first Triumvirate with Julius Caesar and Marcus Crassus, but later became Caesar's enemy. Pompey's severed head becomes an emblematic representation of civil war. He was murdered and beheaded in Egypt by the brother of the sworn enemy Cleopatra VII. This head is a marble version of a bronze portrait statue. It's dimensions are h250mm. This is a great example of the Roman's use of visual means to demonstrate political power rather than an entirely idealistic figure. His face is natural with heavy lines on the forehead and around the eyes and mouth. Pompey's head became for Romans in general one of those moments which stand for a whole era. The humiliation of Pompey, the most successful soldier and politician of his day (hence the nickname 'Great').

This bucket is exquisitely decorated. The technic used is cloisonné as one can see when looking at the far side of the picture. Interestingly though is that although this is realised during the period of Heraclius, Emperor of Byzantine from 610 to 641, and a fervent Christian – he is remembered as the driving force in converting the peoples migrating to the Balkan Peninsula requesting Pope John IV (640–642) to send Christian teachers and missionaries to Dalmatia – the scene it depicts go back to old Roman beliefs predating the time of Christianity. I could not see all sides but taking it from the commentary the visible part shows Mars, the god of war, with shield and spear standing naked and Venus, the goddess of love, handing him an apple. Maybe this was a way for the artist to recall times when the Roman empire was unified and ruling the world mostly unchallenged whereas in the 7th century, the empire had already broken down so did the religion unity with the early schism between East and West and the byzantine empire was threaten in turn by the Persian and the Muslims.

A low relief cameo thought to be created by the Dioscurides or one of his disciples in the 1st century AD. Dioscurides was Ceasar Augusts’ favourite gem cutter. The piece is about the glorification of the deeds of the emperor Augusts and his successor, Tiberius. Perhaps specifically it depicts Tiberius’ victory over the Dalmatians. In keeping with the Roman conventions, the upper register is carved of distinctly recognizable figures, both actual and allegorical, including Ceasar Augustus (Octavius) , his wife Livia and many identifiable gods and goddesses. The figures are carved in a more naturalistic or less idealized than a Greek figure would have been. In staying true to Augustan classicism, the figures have a facial similarity to the Greek ideal, however the figures are clothed, which is almost always an indicator that it is Roman. The messages are most certainly political and propagandistic in that the carving is thought to depict actual events but also supported by, or rather, witnessed in the presence of the gods.

The character is related to the Christian religion due to the gold around him, which makes him someone valuable. Also, the halo around his head shows that he is recognized by the Christian religion. He is not represented naturally, this is an exaggeration image of him: Foots are burned, he holds a sword and there is another behind his neck. Despite all the suffering that this may cause, his face keeps peaceful and relaxed. The image is clear and very legible: this person is a saint because despite all the pain they’ve done to him, he is still alive. The emphasis is on the story by exaggerating details and symbols around the figure. Contrasts between red and blue is a characteristic of the medieval time. He is surrounded by abstract twisted columns, maybe wood? All these details make me think that this figure is clearly representative of the Medieval period.

This fine jewel is made of gold. It is a diadem or a spindle 3.2 cm long. This diadem is dated 325-300 BCE and is from the roman art period. Herakles (son of Zeus and mortal Alcmene) was in ancient Greece one of the most adulated heroes and was known for his strenght and for many great adventures across the mediterranean sea. Herakles corresponds to Hercules in the roman mythology and the romans adapted Herakles myths for their litterature. Being from the roman art period, this jewel should perhaps be named the Hercules knot instead of Herakles knot. I suppose Herakles fits better because many of his adventures took place on the mediterranean sea whilst Hercules adventures took place mostly on land in Italy. The diadem has the shape of probably one of the most ancient knots: the reef knot (or square knot), which is several thousand years old. The shape of the reef knot was therefore widely known and popular. This shape was used for diadems, collars, rings and bracelets. The reef knot was also used by the romans during their wedding ceremonies whereas the bride would wear a belt made of whool fastened with the said knot. Only the husband could unlace his wife‘s belt and by this gesture secure the fertilty of the couple (Hercules left 70 children). The reef knot is most important as it carries a lot of symbolism: like Hercules, it represents at the same time the strenght, power, fertility and love. Else, the diadem is beautifully chiseled in gold which shows the great expertise from the artists to handle metals. A very realistic flower lays in the center of the diadem and i believe this is not a feminine trait but rather the representation of healing powers. This piece is also interesting because it shows the link between the greek culture and the roman culture. It also shows that a shape or a symbol could be used by different categories of people. Finally, it shows great metallurgical abilities and in fact as evolved as in the centuries to come.

This is a little over life sized and portrays immense strength and athleticism in the body. He is real and an interesting example of the Greeks progressiveness. The muscle definition is tremendous. The figure supports himself lightly as he stands in the typical contrapposto manner. The figure of Hercules bears his club at the ready, and in his left hand holds the three apples of the Hesperides. The apples identify him specifically as a Hercules of the West, where he was the victor over Geryon.

I continue comparing female figures in Egyptian, Greek and now, Etruscan art. Statuette of Priestess is a beautiful example of late Etruscan period. The figurine in bronze is elegant, but her features and lines are not idealized. Her portrait seems realistic. Her body, too: Her breasts are too small for a perfect female body, but, probably, quite appropriate for a religious figure, not distracting attention from her face and eyes. Her expression is as if reflecting something or, even, dreaming. It is calm, yet not emotionless. Her smile is not an archaic one. Her lips are full and passionate. Her hair is wavy and looks more frivolous than one can expect from a priestess. The bracelet and necklace she wears, also contrast with modesty of clothing. Her body is not static, her hand suggests she is going to make a step forward, a purposeful movement.

The head of Aristotle is not a stylised or idealized image of the philosopher, but rather a portrait of him. It is believed to be a Roman copy of a Greek bronze from the time of the emperor Claudius in the middle of the 1st century AD. The piece is thought to be the “most faithful rendition of the lost Greek original.” The face of Aristotle is somewhat reminiscent of the Aulus Metellus c. 80 we saw in the lectures. In keeping with the standards of the time, the sculptor places an emphasis on the portrait and the characteristics of the individual and not the idealization of the human form or face. For example, Aristotle’s “thinking brow” is deeply carved to represent thoughtfulness and his position as a philosopher in society. His expression is stoic and confident, yet individual. His hair has been carved accurately to show thinning, the signs of age and the imperfections of a true human.

This portrait is an exaggeration of the woman represented. Her face is natural, and her head is the one of an antelop or similar animal. The contrast and exaggeration is enhanced by tree main opposite colors used: yellow, red and black. Her eyes are also highlighted due to the thick black line around her eyes. She is very lively and smiles; there is a lively expression and animation in the face. The viewer is completely engaged in this portrait, as she is transmitting curiosity and entertainment. Her smile welcome the viewer to watch her and be curious about it. I personally feel attached to this representation. This portrait is part of the Etruscan period as she is an exaggerated representation of woman mid animal, mid human and because her face is animated and alive.

This Roman art bracelet also has a similar dating given as the above piece, being 100-200. It has only slightly more information available, which incudes the dimensions of 7 cm, and the material is listed as being silver. It appears to have two ornamental snake heads as the main design element. as well, the silver bands appear to have marked striations, in order to create a repeating design element. The striations, which create a repeating design element, appear perhaps a bit crude, but perhaps this piece was created and designed by a beginner jewelry crafts person. Again, although this piece is very simple, I see an elemental beauty in the simplicity. The shaping is delicate, ethereal and beautiful, and it is wonderful it has survived throughout the centuries of time so we may continue to appreciate the creativity and artistic expression of the Romans.

I find this bronze portrait striking. Although the individual depicted is unknown, you can tell that this is a realistic portrait of a person in its most intricate details. From the hairs of the beard to the lines around the mouth and on the forehead and the neck, everything shouts of naturalism and a desire to reproduce person and objects as faithfully as possible. Even the toga is rendered in a way that makes you want to touch and feel the fabric. To cap it off the artist has used some ivory or enamel for the white of the eyes making the gaze penetrating and so realistic. This must be the portrait of a powerful man as evidence by his posture and the fact that he wears the toga and although it is **** to say that anything other than it being a realistic depiction of the person there may be some propaganda at work in this portrait as Romans have been known to do. The strength emanating from this portrait must/should have a deeper meaning… who knows.

This sculpture in marble 29.5 cm high is described as the portrait or the bust of Queen Cleopatra VII. The sculpture is under life size and is dated 40-30 BCE, so produced after her death. There is no precise description or representation of Cleopatra so everyone is free to imagine she perhaps looked like Liz Taylor or Sofia Essaidi or Lyndsey Marshal. From some coins and descritions of the period, Cleopatra had a protruding nose, a self-assured mouth and lively chins. Cleopatra was also described as highly seductive, almost divine. Cleopatra got married to Ptolemee XIII (her 1st brother), Ptolemee XIV (her 2nd brother) and later to Julius Caesar and Mark Antony, two roman men of considerable political influence. From all indications, this marble portrait is therefore an idealisation in the greek-roman style of Cleopatra features as seen on her coins. The fine chiseled portrait corresponds to the general tastes of men of the time and the sculpture shows a ptolemaic royal band. Cleopatra was the daughter of Ptolemee VII and was from the Lagides or Ptolemaic dynasty. The Ptolemaic dynasty is considered as the continuation of the rule of Alexander the Great who had himself proclaimed pharaon in 331 BCE. This sculpture therefore links the Macedonians, the Egyptians, the Romans and perhaps represents, although idealized, quite accuratly one of the most powerful woman of all times. Cleopatra was charming, smart and had received an extremely high level of education in comparison to the women in those days. Cleopatra who had seen and was fully aware of the decline and decadence of her father’s empire made use of her intelligence, charm and political abilities to protect the dynasty’s dominium based in Alexandria. Her unique mistake was certainly her vision or her ambition to restore and expand the macedonian empire through out the mediterranean and known roman worlds. This did not work as planned and Cleopatra got ultimately defeated by the very viril and powerful Rome, thus becoming the contreversial historical icon we know.

Gold coins from the Byzantine period. ( 835-842 ) Coins were an ideal way for Byzantine emperors to circulate their images throughout the empire and even beyond, since they were used to pay for imported merchandise and to remunerate foreign mercenaries. As powerful vehicles for propaganda, Byzantine coins also emphasized the close relationship between earthly monarchs and the heavenly realm. We can see a bust length portrait of the emperor wearing a crown and garbed in the imperial loros. In his hands are a globe and a scepter, both of which are surmounted by crosses. The patriarchal cross above three steps that appears on the reverse is meant to represent a large cross that was erected in the fourth century on the site of Christ's crucifixion in Jerusalem.

Although this is a painting that is from the high Renaissance displays many of the same elements of the early renaissance painting. It dating from 1472-1475 and is painted in oil and tempera on a panel of wood. This is a painting is of the traditional subject of the Annunciation. The painting features both Mary and the angel Gabriel and is depicting the part of the story from the life of Christ in which Mary finds out from the angel Gabriel that she will become miraculously pregnant. Mary is featured on the right of the painting is placed on a veranda in a very structured space. Whilst on the left the angel kneels before her in a rich flowing garment, raised wings and bearing a lily, on the lawn which has a delicate Gothic patterning. The image has a very delicate, quiet and clean quality about it. The scene is naturalistic and the figures are sensitively modeled. They both have a sense of volume about them and their drapery responds to their bodies in soft folds. There is a three dimensionality in Mary’s halo and her face through shading. Her hair is delicately detailed and falls softly around her shoulders. This scene utilizes the technique of linear perspective through the bricks in the wall and the orthogonal tiles on the floor all pointing to the single point of Mary who is leafing through the bible on an ornate stand decorated with a translucent material. Her gaze directs you to Gabriel. The back ground is typical of the Renaissance style with a line of trees detailed behind Gabriel but as you move further into the background the landscape becomes subdued and muted diminishing into grey. There is a sense of harmony and balance. Perhaps the main difference between the early and the high renaissance apart from naturalism is the fact that whilst other paintings of this sort symbolize submission to god, this painting doesn’t, “The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God not with resignation but with confidence. In this painting the young Leonardo presents the humanist face of the Virgin Mary, recognizing humanity's role in God's incarnation” (Leonardo Di Vinci n.d.)

This painting is an oil on canvas and is one of a series of mythological paintings painted for the Duke of Ferrara. Titian was one of the most important members of the Venetian School in the 16'th Century and he was born in Venice. This painting shows a scene from Mythology, you can see Bacchus, the God of wine,emerging from the landscape.Ariadne has been abandoned on the island by her lover, Theseus. Ariadne is on the left side of the painting. Bacchus and Adriadne see one another and fall in love instantly. Bacchus takes off her crown and throws it into the sky causing the constellation which you can see in the upper left corner. The sky is blue in this painting, and his important because it shows the movement of the Italian Renaissance towards naturalism and great observation. The Italian Renaissance painters were known for showing emphasis and concern towards the human figure which we so clearly see in this painting. The figures are anatomically correct, and the garments flow on the figure as they should in their particular movements. You can see the soft curves of the garments giving a 3 dimensional effect to the figures. There is a sense of emotion in this painting, the figures faces show this, and their bodies are reacting to what they are feeling. We can also notice the use of atmospheric perspective, far in the distance the colors are less vibrant and are painted with blue tones to give the idea that they are far away. The colors in the foreground are warm colors whereas the background is blue, a colder color, this helps for the foreground to stand out and for the viewer to focus on what is happening in the painting. An important factor of the Italian Renaissance in the balance created in their paintings. We see this in this painting,the clouds to the upper left help to compliment the tall trees to the right.Bacchus’s hand is placed at the very middle of the painting creating a focal point. The left side of the painting is about love, you see Ariadne, and Bacchus’s head and heart, as well as the 2 cheetahs in a calm state. The right side of the painting consists of Bacchus’s revelers. The women standing directly behind Bacchus mimics the pose of Ariadne, as well as her garments, giving a sense of parallel and balance. Titian was one of the first Renaissance painters to sign his artwork. In this painting we see his signature written in Latin on the urn, at the bottom left side of the painting. It translates to “ Titian made this picture”

Sandro Botticelli was trained in Florence, the center of the Early Renaissance in the south. He was known for dancer-like figures that emphasized grace and fluidity. He departed with the style that he was known for in c. 1490, and his popularity sharply declined. Botticelli’s, “Portrait of a Lady,” is still in keeping with his earlier sense of gracefulness and balance. The portrait is tempera on panel, which was a favored medium for Italian artists. The amount of fine detail is more limited in tempera than it would be in oil, though Botticelli’s skill demonstrates careful rendering of the lady’s necklace and dress trim. The Italian artists excelled in the use of mathematical perspective to give the illusion of three-dimensional space. Botticelli has given depth to the background with his use of single-point perspective, and a doorway that accentuates the strong receding orthogonal lines. Botticelli’s depiction of a three-dimensional illusion is further enhanced with the woman’s pose; her hand lingers on the edge of the painting, as if she could reach her hand beyond the two-dimensional space she inhabits and step into our three-dimensional world.

The renewed interest amongst Italian Renaissance artists for Classical Greek and Roman art coupled with key developments in mathematics lead to some profound advancements in painting. Although not the best known of the 15th Century Florentine painters, Filippino Lippi’s Annunciation reveals how far painting had come since Cimabue and Giotto’s time over a century earlier. It was painted circa 1483-84 as two tondos for the Sala d’Udienza in Florence. The Classical influences of humanism, idealization of beauty, solidity of form are all visible in this work. In both paintings the figures of the Angel Gabriel and the Virgin Mary respectively, inhabit their space very naturally; their gestures, though elegant and refined, appear authentic; their beauty unquestioned. Through the modulation of light and shadow Lippi brings the illusion of mass and volume not only to the body of each protagonist but also to the objects and rooms. For instance, the light catching the folds of Mary’s deep blue skirt and the leaves of the open book to her right add substance and texture or the shadow the sun casts onto the floor to her left brings a sense of depth to the room. Equally the textural complexity of the Angel’s plumage is beautifully rendered by subtle paintwork and use of light. It is interesting to note his depictions of the halos that seem to hover as 3D holographic visions above Mary and Gabriel’s heads, a clear departure from the 2D representations of the Gothic period. Experimentations with perspective had preoccupied earlier painters such as Giotto and Massacio and in both tondos we see the advancements that had been made through the dual use of linear and atmospheric perspectives. A sense of linear progression from fore, through middle to back ground is achieved through the symmetry of the floor design and the fact that objects and architectural details diminish in size as they recede from view. Lippi’s subtle fading of colour in the outdoor scenes and horizons shows his understanding of atmospheric perspective. The overall effect of the painting is one of order, symmetry and balance in perspective and a clear understanding by the artist of how the human body works in nature.

The original name of the painting is maesta, the Italian word for majesty. Duccio's Madonna enthroned with a child surrounded by angels is majesty indeed. She is beatiful in her quitness and piece. She looks quite natural, but without any hint of sensuality – thin lips, no hair seen, no eye lashes, clothes covers all body. It looks like Duccio strated drawing a portrait of a real woman and spiritualized her, elevated. Her hands, for example, look unproportionally long . That immediately tells us she is not usual woman. She is eminent like on Byzantine icons, but not emotionless. She looks at us in divine serenity, kindness knowledge and understading. The figure of Madonna has usual attributes of divinity such as halo over her and young Christ, golden welt of her clothes, throne. She is far the largest figure in hieratic scale of the painting. Angels' figures are mush smaller and their faces look similar to each other, as they are less important to be painted with individual features, but important enough to create the atmosphere and symbolism. Gothic art is narrative, and this mastrepiece is no exception. The stars on Madonna's clothes symbolize Trinity. On this painting, the figure of Christ is blotting out the third star. That aims to symbolizes his hominization. He points out to the 2nd star which symbolizes virginity before birth. In the end, I would like to say few words about the colors. I paid attention that other Gothic works have more intense colours: blue, red. Duccio's colours are different: calm, slightly deluted. He uses much of gold that creates illumination and glory.

In Botticelli’s Primavera, Venus, the Roman goddess of love and beauty, reigns over the celebration of spring. The Italian Renaissance painter, Sandro Botticelli, created this probably for a member of the Medici family in Florence around 1477-1478 and it first hung in their villa at Castello. From 1919 to the present time, the Primavera hangs in the Uffizi Gallery in Florence. Most analysts agree that the central theme of Primavera is one of love and marriage and a message that when these two occur in the 'correct' order they bring sensuality and fertility. There are nine creatures in the painting that seem to float in a garden of flowers and orange trees during spring. We can see on the right, covered all in flowers, Flora. The story about how Flora came into existence begins with her former self, Chloris. Chloris was in the woods when Zephyr, the wind god on the far right of the painting, found and raped her. To prove to Chloris that he was sorry for his violence, he married her and declared her Flora, the goddess of flowers. Botticelli depicted Chloris turning into Flora by literally painting flowers coming out of Chloris' mouth. In this small detail, Botticelli follows the mythology stories very closely and his return to classicism.The story of Chloris alone shows that this painting was meant to celebrate a marriage. The celebration of marriage is also demonstrated by the garden bursting with fruit and flowers which symbolize the fertility expected in marriage. In the center of the art work, stands Venus standing in front of the dark leaves of a myrtle bush. Venus is the goddess who protects and cares for the institution of marriage. The myrtle plant surrounding her is traditionally thought of as the plant that represents sexual desire, marriage and child bearing. Venus supports the fact that marriage is where sexuality is experienced, not before, and the Three Graces also represent this. The 3 Graces stand for the female virtues chastity, beauty and love and their long, flowing coverings are characteristic of Botticelli's painting style.

This painting is by Rogier Van Der Weyden, an artist from the Netherlands. This is a North Renaissance painting which we instantly notice through the intricate details. This is a portrait of the Duchess of Burgundy, Isabella of Portugal. Northern Renaissance painters were known for their keen observation towards details. You can see this detail in her clothing, and her jewelry, the artist really conveyed the look of richness in the garment. It is woven with Gold silk and we can even feel a velvety texture of the Duchesses' robe. We notice intricate details in her hair, and her head piece is executed so finely, we really can see the sheerness of it as part of it touches her left shoulder. The expression on her face is confident, she has a slight smirk to her expression as well. She is sitting in a poised position which shows her aristocratic status. Some believe that the wooden background was painted later onto the painting. Technique wise the brushstrokes are very tight, we notice every single detail of the women's face and her garments.

The Annunciation Diptych was painted between 1433 and 1435. It depicts the moment when the archangel Gabriel tells Mary that she will give birth to the son of God. We can see that a dove is descending upon Mary’s head, symbolizing the moment when God bestowed his blessing upon Mary. What is particularly stunning about this piece is that, by maintaining a monochrome palette, van Eyck uses his skill as an artist to trick the eye into believing that it is looking at a pair of stone statues rather than a painting. We can see that the figures each look as though they are standing within a stone niche, on engraved pedestals. They both seem to protrude from their frame – particularly the wings of the angel Gabriel. The folds of the gowns that both figures wear show a naturalistic style with the hem of Gabriel’s robes showing the angular style associated with the Northern Renaissance. What helps to make the illusion even more profound is the inclusion of shadow and reflection. This can be seen more easily behind the figure of Mary. All in all, this painting allows van Eyck to showcase his talents both as an artist and as an observer of the human form and sculpture.

For my second choice I selected The “Madonna in the Church” painted around 1438 by Jan van Eyck. There are more than 100 years that separate my two choices. However, the subject of this painting is unchanged – The Madonna in the Church” (Mary in the church holding child Christ). I decided to be “faithful to Madonna” for this period of artistic work. Secondly, I really wanted to look at the Northern Renaissance art that I indeed appreciate very much. The Flemish painter Jon van Eyck was one of the greatest Northern European early Renaissance period painters, whose brilliant oil painting technique made his work very unique and outstanding. I find this linear three-dimensional and atmospheric perspective painting very rich… detailed portrayal of Gothic cathedral, lots of light coming through the windows , richness and brightness of the colors, beautiful sparkling jewels in the Mary’s crown, lots of different objects associated with the interior decor of the cathedral: altar and adjacent sculptures, columns, stained glass windows are just a few of many to name. The figures of Mary and Christ are very realistic from dimensional perspective. And, as in my previous selection for this week assignment, there are numerous religious symbols, such as architecture, light and the altar, which emphasize that the Madonna in the church is indeed Mary with her child Christ. Despite different geographical locations, periods of time and applied painting techniques those two artists were able through their artistic expressions faithfully communicate their messages and familiarize viewers with existing trends and tendencies of their time and made humanity to remember and admire them

Rogier van der Weyden was part of the Northern Renaissance, in Brussels, where he was the official city painter. His work tends to have much larger figures in proportion to the scene, pushed forward towards the viewer to accentuate emotionality. The rendering of his figure’s heads have a slight ovoid exaggeration, hearkening back to Medieval traditions. In his, “Portrait of a Woman with a Winged Bonnet,” these qualities can be seen. As a Northern artist, he excelled in portraying textural details, seen in the careful detailing of the woman’s rings and bonnet pins, in the portrait. The woman’s drapery is slightly angular at the folds, as is common for Northern artistic depictions, but it is softened in Van der Weyden’s style. The portrait is oil on wood. Northern artists of the Renaissance used oil as a medium, earlier than the Italians, which allowed them to layer in details and achieve a more saturated color. Van der Weyden’s portrait bears a real individuality; this woman is not a type, but an individual. This Renaissance interest in convincing portraiture was encouraged by a return to Humanistic thought which placed new importance on the individual. In Rogier van der Weyden’s, “Portrait of a Woman with a Winged Bonnet,” the artist displays both the style of his time, and his own artistic concerns.

This small (~ 32x 32 cm) square marble sculpture of the Madonna is carved by Donatello, one of the most important Italian Renaissance sculptors, using a technique he invented called “rilievo schiacciato” or flattened relief. This technique used a method of carving that was very shallow (a depth of 10-20 mm)-almost like drawing or painting-such that the forms of the body merge into the plane of the background in contrast to the Roman or medieval relief techniques where the forms stood out in front of the flat background. When one considers Donatello’s Madonna of the Clouds sculpture along with his David or his Gattamelata equestrian, it is clear that while Donatello drew inspiration from the classical past he was a true master of innovation. In this sculpture, the Madonna is seated with the Christ child tenderly embraced and drawn into her lap-a pose reminiscent of the Eleousa or “Virgin of Tenderness or Mercy” from the Byzantine period. She is carved in profile, typical of much of Italian Renaissance art. The subtle shallow carving of the Madonna’s body suggests heaviness and volume but also conveys a sense of shading and illumination. One can literally sense her legs supporting the Christ child underneath the folds and draping of her robe and her right hand draws her robe in towards her body. The Madonna is seated completely naturally as if her weight is supported by the ground, but Donatello has chosen to pose her in the clouds connecting her to the heavens. Her face seems to be carved with the highest relief on the entire piece as evident by the well-defined shadow behind her nose to chin. Her eyes, also slightly in shadow, are serious and sad as if sensing Christ’s future. The Madonna is surrounded on all sides by cherubs and angels and Donatello has managed to convey a sense of perspective by carving the cherub in the foreground by her left knee in slightly higher relief versus the ones farthest in the background at the top corners that have wings that are barely carved out of the background.

allas and the Centaur is an excellent example of the use of mythology in Renaissance painting. Painted in around 1482 at a time of unrest in Florence, this painting can be seen as a comment on war. Pallas, also known as Athena in the Greek tradition, is the goddess of wisdom and battle strategy. Centaurs, on the other hand, are associated with wild, unruly behaviour and violence. In this painting, the centaur has been made to look contrite and submissive, with Pallas not only taking a more central position, but also holding the centaur by the hair, as if to control him. This could be read as the benefit of logic and strategy in war over reactions based on passionate impulse. Looking at the composition of the painting, we can also see evidence of linear perspective – the line of the overhanging rocks, as well as the centaur’s hind legs. This is coupled with the use of atmospheric perspective – the hills in the background becoming muted both in colour and in clarity. One other interesting point to mention is the way in which Botticelli has used his skill to painting both the light, transparent material of Pallas’ dress and the weightier, more rigid material of her sash.

During the 13th, 14th and early 15th century France was at the forefront of artistic developments with many foreign artists flocking to her cities to enjoy the munificence of her wealthy patrons. The de Limbourg Brothers, sent from The Netherlands to Paris as apprentices, became the leading miniature painters of the prolific art collector, Jean Duc de Berry, who commissioned this private, devotional prayer book called Les Belles Heures. Highly decorative, devotional prayer manuscripts were popular items at the time and this is one of its finest and best-preserved examples. What is interesting about the inclusion of this particular page is that it does not show any religious subject matter. Rather it depicts the Duke and his courtiers out riding in the grounds of his fortress castle of Mehun-sur-Yevres. By the early 1410s, through private patronage, there was increasing relaxation of artistic conventions away from the purely religious to more secular activities. The evolution in style and form, away from early Gothic, can also be seen in the representation of the figures. No longer do they appear attenuated and flat. Instead the artists have painted them with more substance and animation. The removal of the black outline, a style commonly found in the early to mid Gothic period, and the increased use of shading to the faces, the pleats and folds of the garments imbues the nobles with a greater sense of volume and naturalism. This sense of dimension also comes through in the treatment of the castle. The use of light, shadow and shading on the cylindrical towers and on the partially hidden gate adds a sense of depth and materiality. While there is a greater attempt at naturalism there is very little individualization and detailing to the faces and the perspective of the miniature does not conform to any regularized mathematical or geometric norms. For instance the size of the figures is unnaturally large in relation to the fortress and the depiction of the crowd of attendants does not take into account the presence of horses. At the same time as the artists were moving away from stylistic norms of the Gothic Period, the decorative elements: lively borders of floral and leafy curlicues surrounding the miniature and the gold fern motif to the sky, are very much of their time.

The Madonna and Child with Two Angels is a famous and much admired painting by Fra. Fillipo Lippi, painted in about 1460 to 1465, near to the end of his life (1469). It is a beautiful example of a painting by a fully mature artist who was a master of the Italian Renaissance style. Lippi has skillfully utilized perspective-both linear and atmospheric in this painting. He has positioned his four subjects, with the Madonna seated in an ornate chair, in front of a window frame with a magnificent receding landscape view in the background so that the group actually seems to project outwards from the painting almost like a relief style sculpture. The colour palette used is quite restrained-mainly blue, brown, white, flesh and gold-resulting in an elegant and naturalistic painting. The Madonna is presented in the typical Italian Renaissance profile style and her facial expression is so soft and natural that she appears to be in a meditative state. Her hair is delicately decorated with pearls and her robe falls in delicate folds, gathers and pleats conveying a tactile sense of the velvet-like fabric. The trio of the Christ child and the two angels is posed almost sculpture-like with the child elevated to the Madonna’s height by the shoulder lift of the foreground angel. It has been suggested that the pose of the playful foreground angel is derived from a putto (boy child) on a classical sarcophagus-a style revived by Italian Renaissance sculptors such as Donatello from the classical past. The hair, facial features and clothing of the Christ child and the foreground angel are also delicately rendered. This painting seems more like an intimate, spontaneous and humanistic portrait than a religious or sacred one. The underlying story behind this painting supports this viewpoint. Fra Fillipo Lippi was an ordained priest in the Carmelite order. According to Giorgio Vasari, Lippi was known as a man with a strong amorous and lustful nature and he fell in love with the young beautiful Lucrezia Buti, a novice of the Carmelite order. Lucrezia Buti lived with Lippi and bore him a (illegitimate) son Fillipino Lippi in 1458 who also became a well-known painter. The model for the Madonna portrayed in the painting is believed to be Lucrezia Buti and it is not entirely inconceivable that either the Christ child could have been modeled on Lippi and Buti’s infant son or perhaps more likely the playful angel modeled on a slightly older toddler son.

A painting with a sacred subject but at the same time a collective celebration of a politically and culturally powerful group. All the most illustrated members of the household are portrayed, beginning with Old Cosimo, his sons Piero and Giovanni, Lorenzo il Magnifico and his brother Giuliano. The patron, Gaspare Zanobi del Lama was the older man in the middle group who turns towards the viewer. And finally, the artist in a yellow cloak on the far right of the scene. Especially during the 15th and the early 16th centuries, it was not unusual for patrons to be portrayed in the work. Generally they are off to the side as contemplating or praying. Sometimes they are even participating in the action of the scene. This painting was a celebration of the Medici family

In this painting we observe The Lamentation of Christ under the cross with John the Evangelist, the Virgin Mary and Mary Magdalen. An intense scene fills of emotional expressions. The Mother of God suffers the equivalent emotional agony from his son. Symbolism: the skull in the foreground which refers to the location of Golgotha and at the same is representing Adam. The strong accent of the bright red color of St. John's robe is a visual reinforcement of Christ's wounds. The jar of ointment is the attribute of St.Mary Magdalene.

This small (~ 32x 32 cm) square marble sculpture of the Madonna is carved by Donatello, one of the most important Italian Renaissance sculptors, using a technique he invented called “rilievo schiacciato” or flattened relief. This technique used a method of carving that was very shallow (a depth of 10-20 mm)-almost like drawing or painting-such that the forms of the body merge into the plane of the background in contrast to the Roman or medieval relief techniques where the forms stood out in front of the flat background. When one considers Donatello’s Madonna of the Clouds sculpture along with his David or his Gattamelata equestrian, it is clear that while Donatello drew inspiration from the classical past he was a true master of innovation. In this sculpture, the Madonna is seated with the Christ child tenderly embraced and drawn into her lap-a pose reminiscent of the Eleousa or “Virgin of Tenderness or Mercy” from the Byzantine period. She is carved in profile, typical of much of Italian Renaissance art. The subtle shallow carving of the Madonna’s body suggests heaviness and volume but also conveys a sense of shading and illumination. One can literally sense her legs supporting the Christ child underneath the folds and draping of her robe and her right hand draws her robe in towards her body. The Madonna is seated completely naturally as if her weight is supported by the ground, but Donatello has chosen to pose her in the clouds connecting her to the heavens. Her face seems to be carved with the highest relief on the entire piece as evident by the well-defined shadow behind her nose to chin. Her eyes, also slightly in shadow, are serious and sad as if sensing Christ’s future. The Madonna is surrounded on all sides by cherubs and angels and Donatello has managed to convey a sense of perspective by carving the cherub in the foreground by her left knee in slightly higher relief versus the ones farthest in the background at the top corners that have wings that are barely carved out of the background.

The Badia Polyptych created by Giotto is a gothic alter piece, on a tempera panel, dating 1301-1302. It is a large altarpiece, 3340mm wide by 910mm high and as a result it is to be viewed from a distance. It features 5 framed gold coloured panels. Each frame has a triangular cusp and a smaller pointed arch within it which details a religious figure. In the center there is the bust of the Virgin holding Christ who is grasping at his mother’s neckline. According to the paintings detail, “…the gaze exchanged between the Virgin and Child he transmits a strong, affectionate bond.” From the left, we see other notable figures: St. Nicholas of Bari, John the Evangelist, Pieter and Benedict. Though not Giotto’s intention, the Badia Polytych is like Cimabue’s, Virgin and Child Enthroned which refers to Byzantine tradition. It is detailed by the fine detail of a tooled and impressed halo; there is a rich gold background, a slight tilting of the head, an elongation of Christ’s body and of the figures. Despite this idealization, each figure represents a particular person which suggests a naturalistic style. On top of the iconography each figure is also identified with their names written above their halos. At the very top of each frame there is another small detail of a portrait inside a circle. I can tell that the image is of a bust, perhaps a miniature of the figure below but I cannot tell exactly as the quality of the image becomes distorted when I zoom in on the detail. If this were the case, however, it seems rather strange as this is quite a large altarpiece and it would be hard to view something so small. The expression on the half figures is varied in an attempt to individualize the subject. Depth is created using a transition from light to dark or chiaroscuro that can be seen in the rich drapery and the figures have a sense of mass.

This portrait is painted by Flemish artist Robert Campin also known as the Master of Flemalle. It is a portrait of ‘fat’ unknown man which is very naturalistic and humanistic in style. The subject has an expression on his face where it looks like he is listening intently or perhaps deep in thought. Either way his expression is one of calm intensity where he stares out from the painting with his eye brows raised. As is common in the Northern style there is evidence of intricate detailing within the wrinkles of his brow and the stubble on his face. Fine detailing is also seen on his fur collar and hair with the use of fine brush strokes which introduces further elements of texture. The muted palette used by the artist as well as the plain background draws the focus of the viewer to the intensity in the face of this unknown man and to perhaps wonder who he is and what has prompted such an expression on his face.

This beautiful example of Gothic painting that is produced using tempera on panel has an undeniable Byzantine influence with the elongated figuring especially seen in Mary’s face and in her hands that she uses to tenderly embrace her child. There is a real sense of tenderness and love that is expressed in both Mary and Christ by the expressions on their faces but also how they tenderly respond to each other. The use of bright strong colours is striking which is beautifully enhanced by the surrounding (apparent) gold overlay in the background and on the haloes. Though the painting appears quite flat the artist has attempted to bring a sense of depth by providing shading on Christ’s back, as well as the side of Mary’s face. There is some evidence of detailing in the hemming of Mary’s robe and Christ’s ‘dress’ and if examined closely you can see intricate fringing on the bottom of Christ’s clothes. Detailing can also be seen in the haloes where the artist has created a ring of flowers, which to me look like roses, which I believe reinforce the love between Mary and her child.

I fell in love with all works of Jan van Eyck and chose the Triptych Mary and Child, St Michael and the Catherine, Jan van Eyck, 1447, for the essay. On the left pannel of the Triptych we see St Michael and a donor who purchased the painting. The Archangel is heavily armed as if he is preparing Mary for a difficlult life. But his wings are glorious with rainbow colours, that we saw on other van Eyck's masterpieces. As if he says, your life is hard, but is is lightened. On the right panel we see a woman. At first glance she looks somewhat similar to Mary, who is represented in the middle. And I originally though that this triptych shows three scenes from Mary's life: Annunciation, Carrying a Baby and Enthroned. But I was wrong. This young lady is Catherine, who is considered to be myteriously married to Christ. She also wears a sword. She has a belly that makes her look pregnant – an attribute of beauty of that time. But although figures of St Michael and Catherine are beautifully painted and derve a close look, I want to focus on Mary. She and child, enthroned, is represented in the middle of the painting - typical location of a central figure painted with linear perspective, again, typical for Northen Renaissance. The throne is located in a church. High columns are often used to construct linear perspective, but marble columns on this painting are not only an instrument for mathematic illusion. Van Eyck managed to convey rich ornament of natural marble. Glass windows reflect shimmering lights. Behind the throne we see richly decorated wall with woofed, almost Gothic, ornaments. The throne stands on colourful carpets with asian? decorations. Certainly , Madonna is the most interesting subject on this painting. She looks at the same time innocent and wise. She is beautiful and her beauty is contemporary for that time. I feel like the artist was creating his Madonna from a real woman. She shows love for her baby, whom she holds in unusual for alatrpiece way . Her head is not covered as in Gothic and Vizantine works. And her natural rediah wavy hair is faling naturally down her shoulders. Feminism is back even in the image of Virgin Mary.

This subject is mouring over the dead body of Mary. According to art expert Vasari, Michelangelo commented on this panel by Giotto, saying that the scene could not have been portrayed more naturally or truthfully. This is dubious. After all, few historical facts are known about the life of Mary. The Bible does not mention her death or funeral. Other texts tell of Mary's desire to see her son again, and that by some miracle all apostles were present at her death. The angels and people are surrouned more naturally unlike Byzantine. The figures have full of drapery and sense of volume and massiveness. We can see the sense of dimention from the gentle shading in garments he treated and also can see single point perspective and linear perspective.

This is an oil on wood panel painting meant to serve as an altarpiece in a chapel. In the upper part, we see a depiction of the Holy Trinity, with the Father God holding a crucifix with a still alive Jesus. Above them, in a cloud of light is the Dove of the Holy Ghost. Around, he has painted saints of Heaven, led, respectively, by St. John the Baptist and the Virgin Mary. We can see how the Italian renaissance painters influenced his style greatly. Most lines point to a single point below Christ’s ****, f.eks there is like a V-shape around Christ. The painting is also very symmetrical, with one similar sized crowd of saints on both sides of Christ. We can see the remarkable detail as typical for Northern renaissance painting. We can see the detailed pattern on the clothes worn by many of the figures in the painting as well as Durer’s impressive ability to paint hair in such a way that it looked incredibly real.

This is a portrait of a man holding a letter in his hands. He is wearing a black hat and black clothes. Hans Memling, born in Germany, worked in the tradition of Northern renaissance. In the background, we can see landscape views including a river. We can recognize the atmospheric perspective as the colors of the landscape fades as we go further away. The portrait appears to be “truthful,” hence reflecting the real features of the person painted. The atmosphere is very calm. When looking closer we can see the high level of perfection in detail as eyebrows and hair are perfectly painted. As the title indicates, the identity of the man in the picture is unknown. There was at the time an increasing market for commissioned work because of the economic changes and bourgeois market economy. Speculation is, however, that this may be a member of the Florentine colony, perhaps a member of the Portinary family.

What surprises me is the contrast between the round shapes of nature, the people’s movements and the symmetrical and mathematic floor. We have a clear contract between movement and rigidity, maybe some influences of the Greek period regarding the floor? The sense of perspective is clear and visible on three different levels. The white barrier creates depth and the first plan. The second plan would be the natural and wild background where people are surrounded by; And the third level of perspective is clearly the house and the blue sky. All the elements are voluminous and balanced: the three levels we mentioned are all very visible, and give depth to the painting. The contrast between symmetry and nature gives a sense of calmness. The peaceful river gives a sense of quietness and infinity. The light has a crucial role here as it comes from the middle top, like if the sun was on their head. Clouds surround the light and focus it in a pyramidal ray in the middle of the main area. The sun light provides balance and harmony between all the contrasted elements mentioned earlier. It is a calm and composed place. This painting is the reflection of Southern Renaissance period.

Two men are on the ground, the one on the left is praying, and the one on the right is in a sad mood, his head is in his hands. He is probably thinking about a mistake? We can feel calmness and silence as both figures are isolated from people. They are just surrounded by nature, nothing else. Light is contrasted by the darkness of their clothes, the darkness of the tight piece of grass they are sitting in and the far light village or town. There is a contrast with darkness and lightness between the fore background and the far background. If we have a closer look at these two persons we can say that they look real, and one of the Northern Renaissance characteristics is that their clothes are shaped in angles. The background is very detailed too: we distinguish the village, the sky and river, and all the natural elements. There is a feeling of infinite perspective in this painting. The construction of the painting is pyramidal: on the top of the pyramid we have the village, and on both sides, we have two men. The one on the left is more elevated than the one on the right, and he gives the shape of the right side of the imaginary pyramid. The character on the left will provide weight and balance on the painting. There is no doubt that the painting is part of the Northern Renaissance period.

The picture is knows as the Pelican Portrait because of the brooch Elizabeth wears. Elizabeth was 41 years old when the picture was painted. It is difficult to tell her age as there are no facial lines. Elizabeth preferred to avoid shadows on her face in portraits because they obscured the face and would not be flattering to aging features. Her skin is very pale, a fashion for the wealthy at this time. The painting appears flat with the emphasis on decorative effect in the use of pattern, colour and elegant line. The background is plain blue with a shadow cast behind the Queen to give some suggestion of solidity. The rounded pearls are painted three-dimensionally with glistening highlights. On her right arm, Elizabeth wears a wide jewelled armlet, while round her left arm, she wears a narrow, red velvet hanging sleeve. This has no practical function - it is purely decorative. On her curled hair she wears a coronet decorated with pearls and jewels, and round her neck a chain or "carcanet" of gold enamel links set with diamonds and pearls. The Queen was treated as a formal, stylised image, almost like a religious icon. Signs and symbols were the most important method of communication used in this portrait for example the pelican was a sign of Christ's sacrifice and Resurrection. In this picture, it meant that Elizabeth is the mother of the Church of England and would sacrifice her life for her people. Her power is communicated by immense wealth - Jewels seem to cover every inch of her costume and on her head she is wearing an elaborate jewelled coronet.

Holbein uses the frontal pose of the regal model and the position of his hands to convey the sitter’s powerful personality and majestic bearing.. The head, with its distant gaze, has an almost architectural solidity and strength. Immense power is being portrayed though the picture. In this case the frontality, sense of distance and hieratic presentation reflect the monarch’s personality and role, combining that of the head of State and Church. The painting may have been in Henry VIII’s collection but it is not mentioned in any royal inventory. It was owned by the Earl of Sutherland and later, around 1933, by his descendent, Earl Spencer. In 1934 the painting was with the Mercuria gallery in Lucerne from where it was acquired for the Rohoncz collection that year, appearing in the Collection’s catalogues from that date.

I selected this piece because I am drawn to its ‘regression” of sorts from some of the pieces we have seen that preceded it. I find a lot of visual tension in this painting, particularly with the fact that the perspective is off and space seems rather flat. I find these “imperfections” and lack of precision give the piece character. Some of the Northern Renaissance painting, in particular, the work of Jan van Eyck, is so realistic that there is an element of disbelief that it could have been done by hand. This painting is a departure from that. There is most certainly a single point perspective happening in this painting however the bed and the carved trunk beneath it fail to convince. The drapery on the left of the picture plane is most un-convincing as fabric does not fold naturally at all. The treatment of the fabric is more in scale with the rippling of water than the fall of drapery. The clothing is slightly more convincing in its realism though it is still not the angular folds we are used to seeing in this style of painting. While the artist has shown a propensity for painting reflective surfaces, metals, human eyes, etc, there is a skimming over of detail. The faces of the women in the painting are rendered well but not naturally or convincingly like some of the earlier works we have studied. The brushstrokes for hair, are more representative than they are natural and the fingernails on Elizabeth’s hands are quite stylized. While the patterning on the bedding is quite intricate and detailed, the wood carving on the trunk appears to look more two-dimensional than three.

What I find striking about this piece initially is the seeming approachability of the Virgin and Child. The domestic interior certainly helps to create this effect. As does the placement of the two central figures immediately in the foreground of the piece, as if we, the viewer, are sitting across from them in the room, observing them in the moment. There is a solitude or "Renaissance calmness" to the piece that also draws the viewer closer to the figures represented. There are elements to Virgin and Child in a Domestic Interior that are immediately indicative of Northern Renaissance painting, for example the angular drapery evident in both the Virgin’s draping and in the draping of the canopy and bedding. The rich patterning and detail in the collar of the Virgin’s robe and most notably, in the distance (atmospheric perspective is employed here) we identify vernacular Flemish architecture which helps to solidify this as work as a Northern Renaissance piece. Single point linear perspective has been used successfully giving the space a highly realistic 3 dimensional quality. What I am most fascinated by in viewing this painting by Christus is that it seems to be in dialogue with the painting previously entitled “Arnolfini Wedding Portrait,” by Jan van Eyck. There are many similarities, and one that’s most obvious is the choice of colour palette. Rich red and green on a neutral backdrop is so reminiscent of the earlier Jan van Eyck painting of 1434. The chandelier, the figures carved on the armchair, the canopy bed and a tiny piece of fruit on the windowsills of both pieces. In both paintings the figures are at once both fleshy, and elongated, their proportions are not quite natural. InVirgin and Child, while there is no mirror to reflect the figures or to exhibit the painter’s skill at representing reflection, there is an open doorway in a similar position to that of the convex mirror placed in the Arnolfini portrait, perhaps this additional background figure is suggestive of a connection to Van Eyck’s Arnolfini portrait. This figure performs in the same way that the mirror does in Van Eyck’s piece as it draws your eye into the background giving a sense of scale to the depth of the perspective.

“The Toilet of Venus” is a copy of an original by Titian which is now lost. This provenance is s**ported by two significant details: the pearl bracelet and the ring on Venus’ left little finger, both of which appeared in Titian’s painting. The painting shows Venus watching herself in a mirror held by C**id. C**id is portrayed as a child; however, his muscles seem over proportional. Venus is portrayed vol**tuous, which was Rembrandts trademark. Both the muscularity and vol**tuousness were typical of baroque style. We can also see the typical theatrical effect of the period in both characters, and even though they are standing still, it is a dynamic picture. The use of light is very efficiently making us focus on Venus, who is not fully dressed; however, her clothes are beautifully painted, convincingly showing the texture of various luxurious materials in great detail. A diagonal line can be seen starting at the bottom left by Venus’s knees going ** to above C**id’s head.

Diego Velazquez was part of the Spanish Baroque period, and became the official painter of Philip the IV. He was known for exceptional rendering of materials, a very precise early brushwork, which would change to a more looser style later in his career, and a naturalistic depiction. He was also influenced by Caravaggio’s tenebrism, and used that strong light and dark contrast to create recession of space. “The Three Musicians,” c. 1616, displays the earlier tendencies of Velazquez; his precise and masterful ability to render life-like qualities, seen especially in the liquid in the clear glass, and the arrangement of food, as well as in the texture of the clothing. There is a Baroque vividness in colors; the harvest gold and black, which are heightened by Velazquez’s use of tenebrism in contrasting the vividness with the muted background. The figures portrayed are rendered with a naturalistic display of emotion; the young boy is seen smiling, while the two older men are playing their instruments, and singing. There is a lack of serene, stillness of the Renaissance period, which has given way to a more lively Baroque sensibility.

Raphael was one of the four “giants” of the High Renaissance. The other three were, Leonardo, Michelangelo, and Titian. The High Renaissance in Italy lasted from about 1495 to the death of Raphael in 1520. Raphael’s style incorporated harmonious composition, delicacy of color, and a sensitive, serene figural expression. His portrait of, “Bindo Altoviti,” c. 1515, expresses the artist’s sensitivity in portraiture. The work is oil on panel, which allowed for greater detailing, especially seen in the fine rendering of the hair. The artist’s focus is not primarily on depicting textural details, unlike artists of the Northern Renaissance. The ring on the man’s finger is not as carefully detailed as one might see in a Northern work; here, the emphasis is on presenting a graceful, idealized likeness, with an absence of any extraneous detail that might disrupt the calm, ordered canvas.

This red chalk drawing by Raphael from the Italian High Renaissance time period is a study for a portion of the fresco Fire in the Borgo located in the Raphael Rooms (Stanze di Rafaello) in the Vatican. The drawing is of an old man, perhaps weakened by exposure to fire or smoke being carried on the back of a younger man. According to Vasari in his Lives of Artists, this scene may take inspiration from ancient Greek mythology when after the burning of Troy in the Trojan war, an elderly Anchises (mortal lover of Aphrodite) was carried from the flames by Aeneas (son of Aphrodite and Anchises). The drawing gives a realistic and naturalistic impression of the strength and strain present in the younger man’s body and facial expression as he carries the older more frail looking elderly man on his back. The bulky musculature and anatomy of the younger man is an idealized human form intended to contrast with the older man whose upper back muscles and arms have less bulk and even have some impression of bones beneath skin. The contrast between youth and age is further emphasized by the full head of hair on the younger man and the baldness and wispy hair of the elderly man. This drawing depicts the type of complex poses of humans that Raphael was known for. It may have involved a study of actual human beings in this pose to determine the correct positioning of both men. The old man’s right arm is draped across the younger man’s chest where his wrist is captured by the younger man’s left hand which has reached beneath the older man’s right leg. Interestingly the pose seems almost like a version of the modern day “firemans carry” which is an efficient means for carrying body weight for an extended time period. Shading and shadow are achieved effectively by hatching on different parts of the bodies to emphasize muscle tone and shape. The bodies have strong clear outlines that create a bit of a sculptural feeling in the drawing and may reflect some influence of Michelangelo’s style on Raphael as Michelangelo was working in the Sistine Chapel around the same time as Raphael was working in the Vatican rooms.