The Meidias Painter: Art amidst the Peloponnesian War

The Meidias Painter was an Athenian red-figure vase painter active in the last quarter of the 5th century BCE (fl. c. 420 to c. 400 BCE). He is named after the potter whose signature was found on a large hydria, depicting the rape of the daughters of Leucippus (Leukippos), prince of Messenia, by the Dioscuri, excavated from an Etruscan tomb.  John D. Beazley, renowned connoisseur of Greek vases, said of Meidias' work, "Here there is beauty: The gleam of gold, loves and ladies with soft limbs, in soft raiment, and all that is shining, easeful and luxurious: perfume, honey and roses." 

The Meidias Painter was known for combining his theatrical “florid” style with his “flying drapery.”  He worked during the period of the Peloponnesian War and his depiction of many Attic legends, particularly those involving Erichtonios, son of Hephaistos, points to "a clear assertion of local pride prompted by the Athenians' decisive role in the fight against the barbarian" according to Jenifer Neils, Assistant Curator of Ancient Art at Case Western Reserve University.

He ranged his scenes across the entire background of most vessels, especially kraters.  This reflects the influence of monumental wall painting during this period. The Meidias Painter is thought to be one of the best pupils of the Eretria Painter, who initially popularized non-mythical scenes of Aphrodite with four to five of her richly dressed attendants, Eudaimonia (Happiness or Prosperity), Eukleia (Good Repute), Eunomia (Good Order), Eutychia (Good Luck), Harmonia (Harmony) , Hygieia (Health), Paidia (Play), and Peitho (Persuasion).   Sadly, the personification of Eirene (Peace) did not make an appearance in Greek art until the early fourth century BCE.  Instead, the Meidias Painter focused on themes of love and music instead of heroes and the battlefield, possibly as an escape from the brutality of the war engulfing his world at the time.

Read more about it: https://www.academia.edu/12707446/A_Greek_Nativity_by_the_Meidias_Painter

Attic red-figure hydria of the Leucippides depicting the Dioskuroi, Kastor and Polydeukes, in their chariots raping the Leukippides Elera and Eriphyle by the Meidias Painter, 420-400 BCE, now in the British Museum courtesy of Wikimedia contributor ArchaiOptix.

Another scene on the Attic red-figure hydria of the Leucippides by the Meidias Painter, 420-400 BCE, now in the British Museum courtesy of Wikimedia contributor ArchaiOptix.

Red-Figure Squat Lekythos (Oil Vessel) depicting the Birth of Erichthonios attributed to the Meidias Painter, 420-410 BCE, now in the collections of the Cleveland Museum of Art, image courtesy of the museum.

Attic red figure loutrophoros depicting a draped woman standing beside a groom in a wedding scene with Eros between the bride and groom painted in the "manner" of the Meidias Painter.

Attic red figure squat lekythos depicting Oedipus killing a sphinx with his spear while a seated Apollo looks on painted in the "manner of the Meidias Painter, now at the British Museum, courtesy of Wikimedia contributor ArchaiOptix.

Agamemnon seated on a rock and holding his sceptre, identified from an inscription. Fragment of the lid of an Attic red-figure lekanis by the circle of the Meidias Painter, 410–400 BCE. From the contrada Santa Lucia in Taranto. Stored in the Museo Nazionale Archeologico in Taranto (Italy), courtesy of Wikimedia Commons contributor Marie-Lan Nguyen.

Phaon and Aphrodite on an Attic red-figure clayx-krater dated from 420-400 BCE now in the collections of the Regional Archaeological Museum of Antonino Salinas courtesy of Wikimedia Commons contributor Marie-Lan Nguyen.

Attic Red-figured kylix depicting Peitho, the goddess of Persuasion, who stands addressing a woman named Demonassa, sitting in a rocky landscape looking rather dejected , 410 BCE attributed to the Meidias Painter, now in the collections of the J. Paul Getty Museum, image courtesy of the museum. 

Red-figured squat lekythos depicting female allegories with Eros in a garden, Hygieia, Pandasia with wreath and phiale, flying Eros, Eudaimonia seated, standing youth (Polyeidos or Polykles) in chlamys with 2 spears, plants. Said to be a "poor" attempt (I still thought it was beautiful) to copy the Meidias Painter by Greek ceramic expert John D. Beazley, now at the British Museum, courtesy of Wikimedia contributor ArchaiOptix.

Closeup of red-figured hydria painting depicting Phaon and women from Lesbos, 410 BCE, now in the collections of the Archaeological Museum in Florence, courtesy of Wikimedia Commons contributor Shakko.

Small hydria with Eros, carrying a tambourine, flying towards a woman, in a flowered chiton and long mantle, whose right foot is on a foot stool. Behind her a girl in a Doric chiton, seated, playing with a panther. Before the Eros an acanthus ornament. Painted in the "manner" of the Meidias Painter, end of the 5th century BCE now in the collections of the Museum of Fine Arts Boston, image courtesy of the museum.

 

If you enjoyed this post, never miss out on future posts by following me by email!

Philoctetes and Compassion for Hercules on the Pyre

According to the most common legend of Hercules' death, no one but Hercules' friend Philoctetes,  son of King Poeas of the city of Meliboea in Thessaly, would light his funeral pyre. For his compassion, Philoctetes  received Hercules' bow and arrows.

Later, Philoctetes as one of the many eligible Greeks who competed for the hand of Helen, the Spartan princess, was required to participate in the Trojan War to reclaim Helen for Menelaus when she was stolen away by Paris.  On his way to the Trojan War, Philoctetes was bitten by a snake that Hera sent to molest him as punishment for his service to Hercules. The wound festered and began to smell so his Greek companions stranded Philoctetes on the island of Lemnos. 

When the Greeks reached Troy, Helenus, the prophetic son of King Priam, revealed under torture that one of the conditions for the Greeks to win the war was that they needed the bow and arrows of Hercules as some of the arrows were those dipped in the poison blood of the hydra. So Odysseus led a group back to Lemnos to retrieve Hercules' weapons and discovered Philoctetes was still alive. Odysseus tricked the weaponry away from Philoctetes, but Diomedes refused to take the weapons without the man. A deified Hercules came down from Olympus and told Philoctetes to go with them and he would be healed by the son of Asclepius and win great honor as a hero of the Achaean army. In some versions of the legend, Philoctetes is the archer, using Hercules bow and poisoned arrows, that ultimately killed Paris.

Image: Hercules on the Pyre by Guillaume Coustou the Elder, 1704, The Louvre, courtesy of Wikimedia Commons contributor Marie-Lan Nguyen (2006)

If you enjoyed this post, never miss out on future posts by following me by email!

Rape of the Sabine Women in Art

The ancient legend of the abduction of the Sabine women by the men of Rome has inspired artists for centuries. Upon finding the city bereft of women, Rome’s founder, Romulus, invited the neighboring peoples to a festival as a pretense to the abduction. Each Roman youth carried off an unmarried woman from the Sabine contingent as his bride. When the Sabines later attacked Rome to reclaim their females, the women ran onto the battlefield and secured peace between their fathers and husbands.

Here we see two dramatic treatments of the subject by Italian artists Andrea Andreani and Giambologna.  Andreani, an Italian engraver, revived the technique of the chiaroscuro print, the use of light and shadow to define three-dimensional objects, at the end of the sixteenth century and created a number of ambitious works including a reproduction of Andrea Mantegna's "Triumph of Caesar".  Some evidence exists that ancient Greek and Roman artists used chiaroscuro effects but the technique was first brought to its full potential by Leonardo da Vinci in the late 15th century.  Andreani's 1585 woodcut, Rape of the Sabines,  reproduces, to scale but with slight adjustments, the plaque that was intended to clarify the subject of Giambologna's celebrated marble group in the Loggia dei Lanzi in Florence which had been unveiled in Florence in 1583 to public acclaim.

The original woodcut is printed in three sections on six sheets of paper. To make a chiaroscuro woodcut, the key block was inked with the darkest tone and printed first. Subsequent blocks were inked with progressively lighter tones and carefully measured to print in register with the key block. Chiaroscuro woodcuts are usually printed in only one color, brown, gray, green, or sepia being preferred. The process attempted to imitate wash and watercolor drawings and also became popular as an inexpensive method of reproducing paintings. The print in the collection of the Metropolitan Museum of Art is a rather harsh orange.  Whether this was intended to be brown or sepia I'm not sure.  I thought the color obscures the details, though, so I have converted it to black and white and adjusted the saturation and contrast to showcase the intricacies of Andreani's work. 

The sculpture is the original work of Gaimbologna's "Kidnapping of the Sabine Women" on display in the Loggia dei Lanzi in Florence that the woodcut is based upon. The full length image is courtesy of Wikimedia Commons contributor Thermos.  The detailed closeups are my own images taken in Florence in 2005.

Rape of the Sabines chiaroscuro woodcut by Andrea Andreani, 1585

Kidnapping of the Sabines by Giambologna, 1574-1582

Detail of Kidnapping of the Sabines by Giambologna, 1574-1582

Kidnapping of the Sabines by Giambologna, 1574-1582

Kidnapping of the Sabines by Giambologna, 1574-1582

If you enjoyed this post, never miss out on future posts by following me by email!

Romans believed drinking from amethyst kept you sober

I found this interesting reference in an article in the American Chronicle. There was no source quoted but it sounds like a typical Roman legend:

The name [of amethyst] is Greek for "sober." Now, this makes sense once you hear the story of Bacchus. He was the Roman god of wine and revelry. One day, he was in a foul mood and set his tigers on the next person to cross his path. This unlucky person happened to be a maiden named Amethyst who was on her way to the Goddess Diana's temple. Diana turned her into a pillar of quartz to stop the tiger attack. Bacchus was so remorseful; he poured wine over the pillar as an apology and stained the pillar purple.

As a result, the stone was believed to have the power to stave off drunkenness. In fact, the ancient Greeks and Romans would carve drinking goblets from the violet quartz rather than wear them as amethyst and diamond rings, in an attempt to remain sober as they drank their wine.

I found a reference to amethyst cups, though, in the book "Roman Life In The Days of Cicero" by Alfred John Church. Apparently, the corrupt governor of Sicily, Verres, ripped off the amethyst cups of good king Antiochus:

The dining-room and table were richly furnished, the silver plate being particularly
splendid. Antiochus was highly delighted with the entertainment, and lost no time in returning
the compliment. The dinner to which he invited the governor was set out with a splendour
to which Verres had nothing to compare. There was silver plate in abundance, and there
were also cups of gold, these last adorned with magnificent gems.

Conspicuous among the ornaments of the table was a drinking vessel, all in one piece,
probably of amethyst, and with a handle of gold. Verres expressed himself delighted with
what he saw. He handled every vessel and was loud in its praises. The simple-minded
King, on the other hand, heard the compliment with pride. Next day came a message. Would
the King lend some of the more beautiful cups to his excellency ? He wished to show them
to his own artists. A special request was made for the amethyst cup. All was sent without a
suspicion of danger.

But the King had still in his possession something that especially excited the Roman's cupidity. This was a candelabrum of gold richly adorned with jewels. It had been intended for
an offering to the tutelary deity of Rome, Jupiter of the Capitol. But the temple, which had
been burnt to the ground in the civil wars, had not yet been rebuilt, and the princes, anxious
that their gift should not be seen before it was publicly presented, resolved to carry it back with
them to Syria. Verres, however, had got, no one knew how, some inkling of the matter, and
he begged Antiochus to let him have a sight of it. The young prince, who, so far from being
suspicious, was hardly sufficiently cautious, had it carefully wrapped up, and sent it to the
governor's palace. When he had minutely inspected it, the messengers prepared to carry
it back. Verres, however, had not seen enough of it. It clearly deserved more than one
examination. Would they leave it with him for a time ? They left it, suspecting nothing.

Antiochus, on his part, had no apprehensions. When some days had passed and the candelabrum
was not returned, he sent to ask for it. The governor begged the messenger to come
again the next day. It seemed a strange request; still the man came again and was
again unsuccessful.

The King himself then waited on the governor and begged him to return it. Verres hinted, or rather said plainly, that he should very much like it as a present.

"This is impossible," replied the prince, " the honour due to Jupiter and public opinion forbid it. All the world knows that the offering is to be made, and I cannot go back from my word."

Verres perceived that soft words would be useless, and took at once another line. The King,
he said, must leave Sicily before nightfall. The public safety demanded it. He had heard of a
piratical expedition which was on its way from Syria to the province, and that his departure
was necessary. Antiochus had no choice but to obey ; but before he went he publicly protested
in the market-place of Syracuse against the wrong that had been done. His other
valuables, the gold and the jewels, he did not so much regret ; but it was monstrous that he
should be robbed of the gift that he destined for the altar of the tutelary god of Rome. -

Roman Life in the Days of Cicero: Sketches Drawn from His Letters & Speeches,By Alfred John Church,Published by Macmillan, 1895.

If you enjoyed this post, never miss out on future posts by following me by email!

No newborns found in Spartan Pit

"The Greek myth that ancient Spartans threw their stunted and sickly newborns off a cliff was not corroborated by archaeological digs in the area, researchers said Monday.

After more than five years of analysis of human remains culled from the pit, also called an apothetes, researchers found only the remains of adolescents and adults between the ages of 18 and 35, Athens Faculty of Medicine Anthropologist Theodoros Pitsios said.

"There were still bones in the area, but none from newborns, according to the samples we took from the bottom of the pit" of the foothills of Mount Taygete near present-day Sparta.

"It is probably a myth, the ancient sources of this so-called practice were rare, late and imprecise," he added.

Meant to attest to the militaristic character of the ancient Spartan people, moralistic historian Plutarch in particular spread the legend during first century AD.

According to Pitsios, the bones studied to date came from the fifth and sixth centuries BC and come from 46 men, confirming the assertion from ancient sources that the Spartans threw prisoners, traitors or criminals into the pit.

The discoveries shine light on an episode during the second war between Sparta and Messene, a fortified city state independent of Sparta, when Spartans defeated the Messenian hero Aristomenes and his 50 warriors, who were all thrown into the pit, he added." If you enjoyed this post, never miss out on future posts by following me by email!