A Piece from Between Greek Periods; from deep within the Acropolis

The Kritios Boy

The Kritios Boy, found in Athens, deep within the foundation of the Acropolis, proves to be a major find defining a change in the times in Ancient Greece.  The Κριτιος Κουρος, (or Kritios Kouros in Greek, Kouros meaning boy) demonstrates the shift between the Late Archaic and Early Classical periods in Greece. 

Finally found in 1865, this Kouros is believed to have been sculpted during the late 5th century (commonly agreed to have been finished around 480) BC.  From beautiful marble the teacher of Myron, Kritios, therefore the namesake, gave a new spin to the common Kouroi (Kouros plural, boys being a frequently sculpted image).  This particular Kouros is believed to be a depiction of an ephebe, or a young soldier in training, usually near the end of his teenage years.  While done many times before to demonstrate the greatness of man in youth, the Kritios Boy differs from others by its influence by a growing understanding human biology and especially natural balance.  The "shock factor" of this piece is due to its use of the revolutionary of controposto.  Controposto was a new technique of the time, which made a figure appear more lifelike through a sculpture's relaxed and seemingly natural imbalance in stance, shown on this piece by the boy's lean on a single foot.
However, please don't be confused, the missing leg is a flaw, not an intentional action, unrelated to controposto.  However, by the new style's mastery, the character looks more realistic, as even the Discobolus (another famous work to be mentioned) seems to be based off of this piece.  Smaller than life size, this figure, like many of the time, only measures to about 3 feet 10 inches, or 1.17 m (http://www.ancient-greece.org/images/museums/acropolis-mus/pages/110_1024b_jpg.htm).  The piece now rests near its location where discovered, inside the Acropolis Museum in Athens.

Works Cited:
http://proteus.brown.edu/greekpast/4714
http://www.ancient-greece.org/images/museums/acropolis-mus/pages/110_1024b_jpg.htm
http://www.jstor.org/discover/10.2307/505398?uid=3739616&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21101416187901

The François Tomb; a Discovery Like No Other

An introduction into the Tomb:

The massive and magnificent François Tomb was discovered by and then named after the great archaeologist Alessandro François in 1857.  Located in the ancient city of Vulci, upon looking into the tomb, it becomes clear that this was a tomb built for a very influential and wealthy family,  the Saties.  When discovered, François found a plethora of Etruscan pots, burial goods, and frescos lining the walls.  Believed to have been constructed around the end of the fourth century BCE, the works of art were a phenomenal find and were a basic looking glass for archaeologists worldwide, into the unknown culture of the Etruscans.  The finds also supply the public with an unsurpassed view into the hidden Etruscan/Roman culture during the earliest days of Rome.  Containing both Roman and Etruscan characters, this tomb helps demonstrate interrelation between the two peoples.

Works Cited:
http://www.mysteriousetruscans.com/francois.html (also used in following posts)
http://english.vulci.it/mediacenter/FE/articoli/the-discovery-of-franois-tomb.html

The Treasures:

Combat between Etruscans and Romans: Caelius Vibenna and Mastarna

Caelius Vibenna      Mastarna (Servius)

This fresco, covering one of the walls of the François Tomb, depicts the Etruscan war lord, Caelius Vibenna, and the Roman hero Mastarna.  "Mastarna" was believed to be a Etruscan cognomen for the great Servius Tullius, the sixth king of Rome, who may have actually fought under Vibenna in his early life.  This belief is solidified by Emperor Claudius, who referenced this event in his ancient Lugdunum tablet.  In the fresco, Mastarna, a comrade to Vibenna, is freeing the Etruscan from his bonds, captive in an enemy prison.  Having led a group of soldiers into the enemy camp, the combined Etruscan/Roman military attacked the enemy by surprise, and now Mastarna is shown cutting his fellow king's bonds with a dagger.  In fact, it is believed that the name Mastarna relates back to the Latin word magister, or master, of the Romans or maybe even to his prior position.  While under Caelius, Servius was most likely a magister equitum or magister populi, basically a general of the cavalry or the entire army.  The name seems to follow him when king, a sign of respect and reverence for the "master" of the Romans.  This fresco is important because it strengthens Claudius's historical claims and demonstrates a deep camaraderie between the two peoples, giving further insight into this cultural mystery.

Works Cited:
Rosenstein, Nathan S. and Morstein-Marx, Robert, A Companion to the Roman Republic, Blackwell                         Pub., Malden, MA, 2006

The François Vase

The François Vase

   This vase, besides the frescoes, is         undisputedly the greatest discovery in the tomb.  Imported from Athens to Etruria, the vase is a sort of biography for the Greek hero, Achilles.  Painted onto the vase are the names of the Athenian potter, Ergotimos, and the painter, Kletias.  It was not uncommon that Athenian art, the finest of the time, would be exported to areas with less expertise in the fields of art, like Etruria.  However, the particular type of vase, an Attic volute-crater, a large vase used to mix wine and water, who's handles look like a "volute" of a capital, are extremely rare.  A very important note on this piece is that it is in what we know as black figure.  A simple but vital term for comprehension of classical art, the name simply discribes the color of the characters, the alternative being red (but in modern days looking more like a hue of brown).
   Another fascinating note about this vase is the fine craftsmanship and themes put into the friezes, or horizontal lines which contain different depictions.  Each frieze has its own story, describing the life of Achilles.  For example, in the first frieze frieze, we see the Caledonian Boar hunt playing out.  In the scene, Achilles' father,

 Peleus, along with every other famous character of the time, like Atalanta, the Dioskouroi, and Meleager, and excluding Heracles, slay the fearsome beast.  The second frieze then depicts scene from the funeral games of Patroclus.  Patroclus was a close friend, sometimes thought to be the lover, to Achilles.  The frieze is pretty obvious, the game is a chariot race.  These friezes all continue with the same theme, and follow down showing the marriage scene of the hero's parents; Peleus and Thetis, a boat with Athenian dancers, and various other stories which relate directly to the life of this character.
    The fact that the François vase is still around today, considering that the vase was found in the tomb in pieces and underwent various dangers, is a miracle.  While several fragments were missing, the vase was soon reconstructed and remained in tact until the turn of the 20th century.  At this time, a frustrated museum worker threw a stool at the glass covering, and the vase was shattered once more.  Finally reconstructed in 1904, the vase remains a looking glass into the history of the Etruscans, who valued the great works of their Greek brothers.


Works Cited:
www.mlahanas.de/Greeks/Arts/Francois.htm
http://www.beazley.ox.ac.uk/tools/pottery/painters/keypieces/blackfigure/francois.htm

Temple of Jupiter Optimus Maximus

The Temple of Jupiter Optimus Maximus

Design of the temple in its prime

Current Condition

   This temple once was the heart of Roman culture.  Built to lie prominent in the center of Rome, the Temple of Jupiter Optimus Maximus once sat high on the Capitoline hill, said to be the "head" of the entire empire.  While this temple was obviously dedicated to the god, Jupiter, "the best and greatest", as the Latin tells us, this temple also celebrates the god's closest companions, his wife Juno and Minerva, his daughter who was born out of his head.  This "triad" was highly revered, and as a growing city, it was mandatory that they appease the most important gods.

       The structure is said by tradition to have been begun by Tarquinius Priscus.  When fighting against the Sabines and all was lost, he vowed that if Jupiter would save him, he would construct a temple in his honor.  However, so says tradition, the temple was ultimately completed by Tarquinius Superbus, his son and the last king of Rome.  Since it is believed that Superbus reigned from 535-510 BCE, one can estimate the approximate time for the construction of this primitive masterpiece. Jupiter Optimus Maximus was constructed from cappellaccio, or a grey tufa (pronounced toofah) rock. This material was famous in it's time as "a very primitive type of limestone containing a poor quality, typically soft and friable, quarried from the hills of Rome used heavily for the great projects of the huge networks of caverns that were mined under the Capitoline, Palatine, and Quirinal hills" (Claridge 37).   Unfortunately, this structure has taken a great deal of damage throughout the centuries and wasn't incredibly stable in the first place, through the use of such weak materials.  Ultimately reconstructed by Emperor Domitian, the temple now lies deep within a museum, still visible to the Roman public in the Conservator's Palace on the Capitoline HIll. 

     
Helpful Sources:
http://archive1.village.virginia.edu/spw4s/RomanForum/GoogleEarth/AK_GE/AK_HTML/TS-037.html  http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/_Texts/PLATOP*/Aedes_Jovis_Capitolini.html
http://books.google.com/books?id=RX_MPqbjOp0C&pg=PA37&lpg=PA37&dq=cappellaccio+grey+tufa+relatively+poor+quality&source=bl&ots=9N3ySsx0i4&sig=JQrx7lvLyGWkaaE7eNjT_N_u1D0&hl=en&sa=X&ei=zld3UJLCCYSo9gTg3oHACg&ved=0CB0Q6AEwAA#v=onepage&q=cappellaccio%20grey%20tufa%20relatively%20poor%20quality&f=false

Mission Statement

This website has been established for the purpose of learning and enjoying what classical art has to offer. Superficially, the goal of this blog is to construct a core group to perform well when at Latin State Convention, taking our Classical Art Test.  However, we have a more profound aspiration. Art has the ability to tell a story; it speaks in ways that the spoken word never can. Art not only illuminates an entire culture but allows for future generations to truly understand every detail. With this in mind, we create both the GJCL Classical Art blog and the GJCL Classical Art test which will allow those who love the classics to share and understand a new part of this marvelous world.