Pictorial Representations of Monkeys and Simianesque

Total Page:16

File Type:pdf, Size:1020Kb

Pictorial Representations of Monkeys and Simianesque PICTORIAL REPRESENTATIONS OF MONKEYS AND SIMIANESQUE CREATURES IN GREEK ART A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by ELIZABETH GRAFF WOLFSON Dr. Susan Langdon, Dissertation Supervisor MAY 2018 © Copyright by Elizabeth Graff Wolfson 2018 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled PICTORIAL REPRESENTATIONS OF MONKEYS AND SIMIANESQUE CREATURES IN GREEK ART presented by Elizabeth Graff Wolfson a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Susan Langdon Professor Kathleen Slane Professor Marcus Rautman Professor David Schenker To my family, for all their love and support, and in loving memory of Gigi ACKNOWLEDGEMENTS I would like to thank my advisor, Susan Langdon, for providing me with crucial feedback throughout the researching and writing processes and providing me with a much-needed ear. I am also thankful for the funding resources that made this dissertation possible, including the John Pickard Fellowship in Art History and Classical Archaeology and the Charles D. Folse Memorial Fellowship in Classical Archaeology, which were generously provided by the University of Missouri’s Department of Art History and Archaeology, and my WI position at the University of Missouri’s Writing Center. ii TABLE OF CONTENTS Acknowledgements ............................................................................................................. ii List of Illustrations 1. Categories ................................................................................................................ iv 2. Figures ................................................................................................................... viii Chapter 1. Introduction ...............................................................................................................1 2. Survey of Monkeys and Simianesque Creatures in Greek Art ...............................42 Category 1: Bronze Age Simians .....................................................................44 Category 2: Geometric Minor Arts (ca. 8th century BCE) ...............................48 Category 3: Early and Middle Archaic Vases and Gems (700-530 BCE) .......50 Category 4: Late Archaic and Classical Vases (530-400 BCE) ......................63 Category 5: Monkeys in Hellenistic Art ..........................................................70 Category 6: Simianesque Creatures on Geometric Vases ................................72 Category 7: Simianesque Creatures on Archaic Vases ....................................74 Category 8: Simianesque Creatures on Classical Vases ..................................78 3. Comparative Images of Simians and Simianesque Creatures in Egyptian and Near Eastern Art .................................................................................................88 4. Interpretation of the Greek Monkey and Simianesque Material ...........................130 5. Conclusion ............................................................................................................185 Appendix 1. Tables ....................................................................................................................197 Works Cited .....................................................................................................................200 Illustrations 1. Categories ..............................................................................................................222 2. Figures ...................................................................................................................248 Vita ...................................................................................................................................261 iii LIST OF ILLUSTRATIONS Category Page Cat. 1.1. Round Sealing, ca. LM 1A. From Knossos. (http://arachne.uni- koeln.de/browser/index.php?view[layout]=siegel_item&objektsiegel[item]=261&objektsi egel[thumb_item]=0) .......................................................................................................222 Cat. 1.2. Gold Ring Seal, ca. LM I-II. From the Tombe dei Nobili at Kalyvia near Phaistos. (Crowley 2013, E143) ......................................................................................222 Cat. 1.3. Offering to the Seated Goddess, fresco, ca. LM 1A. From Room 3a of Xeste 3 at Akrotiri. (Pareja 2015, fig. 1.2A) .....................................................................................223 Cat. 1.4. Gold Earrings, ca. 17th century BCE. From the Aegina Treasure. British Museum 1892,0520.13. (Fitton et al. 2009, fig. 21) ........................................................223 Cat. 2.1. Argive Steatite Disc, ca. 8th century BCE. From the Heraion at Megara. Athens National Archaeological Museum 11750. (Langdon 2008, fig. 3.31) .............................224 Cat. 3.1. Villanovan Clay Ossuary, ca. 700-575 BCE. From the Arnoaldi-Veli Necropolis, Bologna. Bologna Museo Civico. (Gozzadini 1877, pl. 1.1) .......................225 Cat. 3.2. Terracotta House Model, ca. 6th century BCE. From Sellada, Thera. Thera Archaeological Museum. (Schattner 1990, pl.24.3) ........................................................225 Cat. 3.3. Ithacan Long-Necked Object, ca. 7th century BCE. From Aetos, Ithaca. (Heurtley 1933, Fig. 10)...................................................................................................226 Cat. 3.4. Proto-Corinthian Aryballos, ca. 640 BCE. Attributed to the Chigi Painter. British Museum 1889,0418.1. (http://www.britishmuseum.org/research/collection_ online/collection_object_details.aspx?objectId=399476&partId=1&searchText=1889,041 8.1&page=1) ....................................................................................................................226 Cat. 3.6. Apulian Geometric Amphora, ca. 5th century BCE. Berlin Antiquarium, Castellani Collection F3912. (Agnes Schwarzmaier, via email) .....................................227 Cat. 3.7. Tragliatella Oinochoe, ca. mid-7th century BCE. From a necropolis near Tragliatella in Caere. (http://capitolini.net/object.xql?urn=urn:collectio:0001:foto: F:00889) ...........................................................................................................................227 Cat. 3.8. Proto-Corinthian Aryballos. From the Delion at Paros. Paros Museum 0158. (https://arachne.dainst.org/entity/1166699?q=affe&resultIndex=42) .............................228 Cat. 3.9. Ithacan Fragments of a Building Model, ca. 8th-7th c. BCE. From Aetos. (Heurtley et al. 1948, pl. 45 no. 600e [photo] and Morgan 2006, fig. 8 [drawing])........228 iv Cat. 3.10. Athenian Black-Figure Kylix, ca. 6th century BCE. From Kerameikos. Athens National Archaeological Museum 1054. (McDermott 1938, pl. 3 no. 316) ....................229 Cat. 3.11. Etruscan Hematite Scarab, ca. 6th century BCE. State Hermitage Museum ГР- 20753. (https://www.hermitagemuseum.org/wps/portal/hermitage/digital- collection/18.+Carved+Stones/1068247/?lng=en) ..........................................................229 Cat. 3.12. Green Jasper Gem, ca Archaic Period. From Tomb 3 at Tharros. (Barnett et al. 1987, pl. 55h no. 583) ......................................................................................................230 Cat. 3.13. Greco-Egyptian Engraved Carnelian. Louvre 2162. (Imhoof-Blumer and Keller 1889, pl. VXII no. 17) ......................................................................................................230 Cat. 3.14. Terracotta Gem. From Cyprus. New York, Cesnola Collection. (Imhoof- Blumer and Keller 1889, pl. XIV no. 58) ........................................................................230 Cat. 3.15. Relief Vase Fragment, ca. 7th century BCE. From Tenos (Kontoleon 1970, pl. XVIII.1) ...........................................................................................................................231 Cat. 3.16. Laconian Black-Figure Kylix, ca. 565-550 BCE. Cabinet des Médailles 189. (Simon 1976, pl. 38/XV) .................................................................................................231 Cat. 3.17. Attic Black-Figure Neck Amphora, ca. 550-500 BCE. Attributed to the Painter of the Vatican 365. Orvieto 2711, Faina Collection 84. (Wojcik 1989, fig. 93.1 [photo] and Von Bothmer 1986, fig. 112 [detail])........................................................................232 Cat. 3.18. Caeretan Black-Figure Hydria, ca. 530-530 BCE. Vienna 3577. (Robertson 1958, 34 [photo] and Bonaudo 2004, fig. 39 [detail]) .....................................................232 Cat. 3.19. Proto-Attic Black-Figure Fragments, from Aegina. Aegina Museum 484. (Morris 1984, pl. 22 [photo] and Pallat 1897, fig. 31 [drawing]) ....................................233 Cat. 3.20. Laconian Black-Figure Kylix, ca. 7th century BCE. From the Sanctuary of Artemis Orthia. Sparta Archaeological Museum. (Droop 1929, pl. 9) ............................233 Cat. 3.21. Attic Black-Figure Kylix, ca. 540 BCE. Attributed to the Amasis Painter. Metropolitan Museum 1989.281.62. (https://www.metmuseum.org/art/collection/ search/255939) .................................................................................................................234 Cat. 3.22. Archaizing Cypriot Gem, ca. 5th century BCE. Private Collection.
Recommended publications
  • University of Groningen Greek Pottery on the Timpone Della Motta and in the Sibaritide from C. 780 to 620 BC Kindberg Jacobsen
    University of Groningen Greek pottery on the Timpone della Motta and in the Sibaritide from c. 780 to 620 BC Kindberg Jacobsen, Jan IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Kindberg Jacobsen, J. (2007). Greek pottery on the Timpone della Motta and in the Sibaritide from c. 780 to 620 BC: reception, distribution and an evaluation of Greek pottery as a source material for the study of Greek influence before and after the founding of ancient Sybaris. [s.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal.
    [Show full text]
  • List of Canceled Ryanair Flights
    Monday: 25th Sept & 2nd, 9th, 16th & 23rd Oct Flt No From To Flt No From To FR6341 Barcelona - Rome F FR6342 Rome F - Barcelona FR9045 Barcelona - London S FR9044 London S - Barcelona FR4545 Barcelona - Porto FR4546 Porto - Barcelona FR8495 Milan B - Brindisi FR8496 Brindisi - Milan B FR5392 Milan B - Lamezia FR5393 Lamezia - Milan B FR4113 Milan B - Naples FR4114 Naples - Milan B FR4197 Milan B - London S FR4198 London S - Milan B FR4522 Brussels C - Milan B FR4523 Milan B - Brussels C FR1055 Brussels C - Warsaw M FR1056 Warsaw M - Brussels C FR3239 Brussels C - Manchester FR3238 Manchester - Brussels C FR201 Brussels C - Copenhagen FR200 Copenhagen - Brussels C FR672 Dublin - Birmingham FR673 Birmingham - Dublin FR26 Dublin - Paris B FR29 Paris B - Dublin FR9428 Dublin - Milan B FR9429 Milan B - Dublin FR7000 Rome F - Brussels FR7010 Brussels - Rome F FR4891 Rome F - Catania FR4892 Catania - Rome F FR7060 Rome F - Barcelona FR7070 Barcelona - Rome F FR1885 Lisbon - London S FR1884 London S - Lisbon FR2096 Lisbon - Porto FR2095 Porto - Lisbon FR5993 Madrid - London S FR5994 London S - Madrid FR8344 Porto - London S FR8343 London S - Porto FR8542 London S - Berlin FR8543 Berlin - London S FR2498 London S - Bratislava FR2499 Bratislava - London S FR2283 London S - Warsaw M FR2284 Warsaw M - London S FR2672 London S - Rome C FR2673 Rome C - London S Tuesday: 26th Sept & 3rd, 10th, 17th & 24th Oct Flt No From To Flt No From To FR6341 Barcelona - Rome F FR6342 Rome F - Barcelona FR9045 Barcelona London S FR9044 London S - Barcelona FR8495
    [Show full text]
  • Medcruise Newsletter Issue 52 Nov 2016.Qxp 22/11/2016 14:48 Page 1
    MedCruise Newsletter Issue 52 Nov 2016.qxp 22/11/2016 14:48 Page 1 MedCruise News MedCruise members discuss November 2016 “Guidelines for Cruise Terminals” Issue 52 MedCruise News pg. 1-7 Barcelona), Chairman of the Port facilities & PIANC International Destinations pg. 8-22 Working Group that developed this major project over the course of the last Meet the MedCruise four years, revealed members pg. 23 to the MedCruise membership the just completed study List of MedCruise that embodies a Members pg. 24 flexible design approach so that terminals can be adapted to the various current and and ground transportation area. future needs of In view of the importance to the cruise n Friday, September 23rd, MedCruise cruise companies. industry of port security and operational and members had an excellent opportunity Following the presentation, MedCruise financial aspects, special emphasis has been to discuss best strategies to invest in members had the opportunity to engage in an laid on these two topics. O extended Q&A session, while each member This report has been drafted by an cruise terminals, during a special session held in Santa Cruz de Tenerife on the occasion of also received a copy of the study that provides international working group (WG 152) set up Seatrade Cruise Med 2016. technical guidelines for assisting the by PIANC in 2012. The main objective of the During the session, MedCruise members also development of cruise port facilities. Based on work was to provide a guideline for the discussed in detail the results of the most the newest trends in cruise ships and the functional design of cruise terminals, by recent PIANC study on cruise terminals industry in general, the document covers all reviewing the needs of modern cruise ships investment, planning & design.
    [Show full text]
  • Athenians and Eleusinians in the West Pediment of the Parthenon
    ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article.
    [Show full text]
  • Trapani Palermo Agrigento Caltanissetta Messina Enna
    4 A Sicilian Journey 22 TRAPANI 54 PALERMO 86 AGRIGENTO 108 CALTANISSETTA 122 MESSINA 158 ENNA 186 CATANIA 224 RAGUSA 246 SIRACUSA 270 Directory 271 Index III PALERMO Panelle 62 Panelle Involtini di spaghettini 64 Spaghetti rolls Maltagliati con l'aggrassatu 68 Maltagliati with aggrassatu sauce Pasta cone le sarde 74 Pasta with sardines Cannoli 76 Cannoli A quarter of the Sicilian population reside in the Opposite page: province of Palermo, along the northwest coast of Palermo's diverse landscape comprises dramatic Sicily. The capital city is Palermo, with over 800,000 coastlines and craggy inhabitants, and other notable townships include mountains, both of which contribute to the abundant Monreale, Cefalù, and Bagheria. It is also home to the range of produce that can Parco Naturale delle Madonie, the regional natural be found in the area. park of the Madonie Mountains, with some of Sicily’s highest peaks. The park is the source of many wonderful food products, such as a cheese called the Madonie Provola, a unique bean called the fasola badda (badda bean), and manna, a natural sweetener that is extracted from ash trees. The diversity from the sea to the mountains and the culture of a unique city, Palermo, contribute to a synthesis of the products and the history, of sweet and savoury, of noble and peasant. The skyline of Palermo is outlined with memories of the Saracen presence. Even though the churches were converted by the conquering Normans, many of the Arab domes and arches remain. Beyond architecture, the table of today is still very much influenced by its early inhabitants.
    [Show full text]
  • Kernos Revue Internationale Et Pluridisciplinaire De Religion Grecque Antique
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 20 | 2007 Varia Pherekydes’ Daktyloi Ritual, technology, and the Presocratic perspective Sandra Blakely Electronic version URL: http://journals.openedition.org/kernos/161 DOI: 10.4000/kernos.161 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2007 ISSN: 0776-3824 Electronic reference Sandra Blakely, “Pherekydes’ Daktyloi”, Kernos [Online], 20 | 2007, Online since 15 March 2011, connection on 26 February 2021. URL: http://journals.openedition.org/kernos/161 ; DOI: https:// doi.org/10.4000/kernos.161 This text was automatically generated on 26 February 2021. Kernos Pherekydes’ Daktyloi 1 Pherekydes’ Daktyloi Ritual, technology, and the Presocratic perspective Sandra Blakely Introduction: Classics and the Evolutionary paradigm 1 Western culture is traditionally ill equipped to understand the intersection of ritual and technology. Pfaffenberger, Killick, and Lansing have observed the causes, and what is lost by failing to shake these off.1 Because these activities occupy different categories in the industrialized world, attempts to interpret their coincidence in other cultures lean to the dismissive. They are regarded as a reflection of the earliest stages of invention, compensatory appeals to the divine that reflect incomplete mastery of technological processes. The combination is often called magic by both practitioners and academics. Magic has been traditionally synonymous with primitivism; an evolutionary model suggests that such superstitions evaporate as technology is mastered, and linger only in folk tales and half-remembered superstitions.2 The cost of this paradigm is substantial. Emphasizing the movement into subsequent intellectual paradigms, it reduces attention to symbols in context.
    [Show full text]
  • The Lameness of King Philip II and Royal Tomb I at Vergina, Macedonia
    The lameness of King Philip II and Royal Tomb I at Vergina, Macedonia Antonis Bartsiokasa,1, Juan-Luis Arsuagab,c,1, Elena Santosb, Milagros Algabab, and Asier Gómez-Olivenciad,e,f,b aLaboratory of Anthropology, Department of History and Ethnology, Democritus University of Thrace, 69100 Komotini, Greece; bCentro Mixto Universidad Complutense de Madrid-Instituto de Salud Carlos III de Evolución y Comportamiento Humanos, 28029 Madrid, Spain; cDepartmento de Paleontología, Universidad Complutense de Madrid, Madrid, Spain; dDepartmento de Estratigrafía y Paleontología, Universidad del País Vasco-Euskal Herriko Unibertsitatea, 48080 Bilbao, Spain; eIKERBASQUE, the Basque Foundation for Science, 48013 Bilbao, Spain; and fÉquipe de Paléontologie Humaine, UMR 7194, CNRS, Département de Préhistoire, Muséum National d’Histoire Naturelle, Musée de l’Homme, 75016 Paris, France Contributed by Juan-Luis Arsuaga, June 9, 2015 (sent for review March 30, 2015) King Philip II was the father of Alexander the Great. He suffered been presented before. Only a brief mention was made of few of a notorious penetrating wound by a lance through his leg that was them in a couple of lines (4, 7), and certainly nothing was reported nearly fatal and left him lame in 339 B.C.E. (i.e., 3 y before his on their lesions. assassination in 336 B.C.E.). In 1977 and 1978 two male skeletons were excavated in the Royal Tombs II and I of Vergina, Greece, Methods respectively. Tomb I also contained another adult (likely a female) We have established the presence of three individuals: two adults (Individuals and a newborn skeleton. The current view is that Philip II was 1 and 2) and one newborn (Individual 3).
    [Show full text]
  • Heroes of the Bronze Age
    ARCH 0412 From Gilgamesh to Hektor: Heroes of the Bronze Age April 20, 2016: The Hero of Lefkandi Creating and Negotiating Boundaries Timeline of Ancient Greece HOMERIC EPICS Composed Written Modified Early Bronze Age Middle Bronze Age Late Bronze Age Proto-Geometric Geometric Archaic Classic (3000-2000 BCE) (2000-1700 BCE) (1700-1100 BCE) (1100-900 BCE) (900-700 BCE) (700-480 BCE) (480-323 BCE) LEFKANDI HEROON Placing offerings in Mycenaean tombs start in late 8th century BCE Euboea and Lefkandi Lefkandi Cemeteries Toumba Cemetery ‘The Apsidal Building’ aka ‘Heroon’ • c. 1000 BCE • Short-lived • Built over Mycenaean tombs • Stratigraphic relationship between the burials and the structure unknown • Partly demolished after a short period of use Protogeometric and Geometric period houses in Greece Lefkandi: Apsidal house at Nichoria, Messenia, The largest of the apsidal 800-750 BC. houses known from this time period ‘Pesistris’ (Colonnade) Main (Eastern) Entrance ‘Pesistris’ (Colonnade) Reconstruction of Temple of Apsidal building of Lefkandi Zeus at Olympia Lefkandi: Female Inhumation Lefkandi: Male Cremation Funeral? ‘When we removed the clay floor to the east of the burial pit, we found an area of rock scorched by a fierce fire and containing a circle of postholes, each filled with charred wood, presumably the remains of the supporting timbers of the pyre on which our hero had been cremated.’ (Popham, Touloupa, Sackett 1982: 173) Lefkandi: Horse Burials The Afterlife of the Heroon The tumulus of Marathon Lefkandi and Homeric Funeral The people hitched up mules and oxen to their wagons and then gathered before the city with all speed.
    [Show full text]
  • The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
    BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27.
    [Show full text]
  • The Grottesche Part 1. Fragment to Field
    CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed.
    [Show full text]
  • The Transformation of Arachne Into a Spider.Pdf
    Name: Class: The Transformation of Arachne into a Spider By Ovid From Metamorphoses (Book Vi) 8 A.D. Ovid (43 B.C.-17 A.D.) was a Roman poet well-known for his elaborate prose and fantastical imagery. Ovid was similar to his literary contemporary, Virgil, in that both authors played a part in reinventing classical poetry and mythology for Roman culture. Metamorphoses, one of Ovid’s most-read works, consists of a series of short stories and epic poems whose mythological characters undergo transformation in some way or another. As you read, take notes on Ovid’s choice of figurative language and imagery. [1] Pallas,1 attending to the Muse's2 song, Approv'd the just resentment of their wrong; And thus reflects: While tamely3 I commend Those who their injur'd deities4 defend, [5] My own divinity affronted stands, And calls aloud for justice at my hands; Then takes the hint, asham'd to lag behind, And on Arachne' bends her vengeful mind; One at the loom5 so excellently skill'd, [10] That to the Goddess6 she refus'd to yield. Low was her birth, and small her native town, She from her art alone obtain'd renown. Idmon, her father, made it his employ, "Linen Weaving" is licensed under CC BY-ND 2.0. To give the spungy fleece7 a purple dye: [15] Of vulgar strain her mother, lately dead, With her own rank had been content to wed; Yet she their daughter, tho' her time was spent In a small hamlet,8 and of mean descent, Thro' the great towns of Lydia gain'd a name, [20] And fill'd the neighb'ring countries with her fame.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]