ancient art Archives - Tales of Times Forgotten

Why Were Elaborate Floor Mosaics More Common in Antiquity Than Today?

Ancient Greek and Roman wealthy homes often bore elaborate and beautiful floor mosaics, many of which depicted gods, heroes, and mythic and historical scenes in exquisite detail. Many such mosaics have survived to the present day, are displayed in museums and art collections all over the world, and are justly admired as great works of art.

Some people have recently wondered why floor mosaics were so popular in antiquity and why they are no longer as popular today as they were back then. In this post, I will attempt to answer this question. Along the way, we will take a deep dive into the ancient and modern economics of art and artistic labor.

What Do Angels Really Look Like According to the Bible?

There is a popular meme that has been going around on the internet for several years now claiming that “Biblically accurate angels” are actually terrifying, Lovecraftian, otherworldly beings who have all kinds of body parts from different animals and are covered all over in eyes. It’s a fun meme. Unfortunately, as an ancient historian, I’m the sort of person who ruins everything fun, so I’m here to tell you that the “Biblically accurate angel” meme isn’t really “Biblically accurate.”

In both the Hebrew Bible and the New Testament, beings who are described as angels are always either expressly described as looking like male humans or assumed to look like male humans. Although some texts of the Hebrew Bible and the New Testament do indeed describe a variety of heavenly beings with bizarre and frightening appearances, these beings are only described in a few places, were not originally viewed as angels, and are never described as angels in any canonical Biblical text.

Why Is Justice Personified as a Woman Holding a Set of Scales?

Chances are at some point you’ve seen a statue or painting depicting the personification of the concept of justice as a woman holding a set of scales in one hand (usually her left) and an unsheathed sword in her other hand (usually her right), often wearing a blindfold over her eyes. Statues depicting Justice in this manner often stand outside courthouses across Europe and the Americas. Many people have wondered why she is personified as a woman and some have tried to attribute great allegorical or symbolic significance to her gender. Some have imagined, for instance, that maybe men find women desirable and men created the personification of Justice, so they made her a woman to show that Justice is desirable. This may sound like a compelling and common-sense answer, but it is still wrong.

In reality, Justice is personified as a woman not for any profound allegorical or symbolic reason, but rather simply because the respective nouns denoting the concept of “justice” in the Ancient Greek and Latin languages happen to be grammatically feminine. In this post, I will discuss the origin of the personification Justice and the history of how she came to have the standard iconography that she has today.

Why Is the Parthenon So Famous?

The most famous building in Greece today is almost certainly the Parthenon, a spectacular temple to the Greek goddess Athena that towers atop the Athenian Akropolis and is almost universally admired for being supposedly the most “perfect” and “timeless” work of ancient Greek architecture. Some people may be surprised to learn, though, that this was not always the case.

The Parthenon did not immediately become the most famous and admired Greek temple as soon as it was built. It was certainly seen as an important temple in antiquity—one especially notable for its size, its prominent location, and its extraordinary chryselephantine cult statue of Athena, crafted by the master sculptor Pheidias. Its present-day status as the most famous of all Greek buildings, though, is the result of the events and ideological movements of the past 2,400 years of history. If post-classical history had gone differently, the Parthenon’s status might have gone to a different temple.

Why That Fresco from Pompeii Isn’t Sappho

It is extremely common for modern people to misidentify ancient portraits of random people as portraits of famous people. This is partly because many famous authors and historical figures who lived in the ancient world have no surviving portraits and people are eager to find images to represent them. This is especially often the case for ancient women. I will confess that I am partly guilty of this myself; I couldn’t find any decent images to represent Pamphile of Epidauros in my article I wrote about her back in July, so I used a photo of a bust of an unidentified woman in the National Archaeological Museum in Athens, paired with a photo of the Ancient Theatre of Epidauros, in an effort to the represent the idea of an ancient Greek woman from Epidauros.

In this article, there is one particular ancient portrait that is especially widely misidentified as a portrait of a famous woman that I want to discuss. The portrait in question is a fresco. It depicts a woman with short, curly brown hair, a gold hairnet, gold earrings, and clothes that are dyed purple and green. She gazes directly at the viewer, holding a set of wax tablets bound with ribbons in her left hand and pressing a writing stylus to her lips with her right hand as though she were in thoughtful contemplation. It dates to between c. 50 and 79 CE and was discovered on 24 May 1760 in the Insula VI region of the ancient Roman city of Pompeii.

Classical scholars immediately began to speculate that the fresco might be a portrait of the ancient Greek lyric poet Sappho of Lesbos (lived c. 630 – c. 570 BCE), who is best known today for her poems about love and attraction between women and whose home island is the source for the contemporary word lesbian. (Whether Sappho herself was actually a lesbian is a subject I address in depth in this article I published in August 2021.) The fresco is currently held in the Naples National Archaeological Museum on the first floor in room seventy-six. It is still widely admired as a remarkable portrait of a literate ancient woman. Although the fresco is still widely circulated online as a supposed portrait of Sappho, art historians now generally agree that it actually depicts an unknown upper-class Pompeiian woman.

How Accurate Are “Photorealistic” Portraits of Roman Emperors?

In 2020, the digital artist Daniel Voshart used a neural net called Artbreeder to create a series of “photorealistic” portraits of fifty-four Roman emperors spanning from Augustus (ruled 27 BCE – 14 CE) to Carinus (who died in 285 CE). As the term “photorealistic” suggests, his portraits look almost like photographs. Unfortunately, a lot of people do not realize that these portraits are modern artistic impressions, not scientific recreations of what the Roman emperors really historically looked like.

I’ve seen many people over the past year cite Voshart’s portraits and others like them as though they were authoritative, scientific recreations of what the Roman emperors really looked like. In particular, I’ve noticed a worrying number of white supremacists trying to cite these kinds of portraits as “evidence” that the ancient Romans were all white. In this article I would like to discuss why Voshart’s portraits—and others like them—should be taken with several grains of salt.

Ancient Greek Men Were Not All Buff

One of the most common misconceptions I have encountered about the ancient Greeks is the notion that ancient Greek men were all incredibly buff, muscle-bound bodybuilders. This misconception seems to arise from the naïve assumption that ancient Greek statues depict how average ancient Greek men really looked, perhaps also influenced by the similarly naïve assumption that the 2007 epic fantasy action film 300, written and directed by Zack Snyder, is a historically accurate depiction of ancient Greece.

The reality is that there was never a time when the majority of Greek men really looked like the physical specimens portrayed in Archaic and Classical Greek sculptures. These sculptures represent what upper-class Greek people regarded as physically ideal, not what the average Greek person actually looked like.

Was the “Green Man” Really an Ancient Pagan Deity?

If you’ve read anything about paganism, you’ve probably heard of a figure known as the “Green Man.” This is a name that is commonly applied to an artistic motif that often appears in decorative carvings in churches in western Europe, depicting a male face surrounded by leaves and foliage. In many depictions, the man is shown with his mouth open, disgorging foliage from it.

In modern popular culture, the Green Man is widely portrayed as an extremely ancient and extremely powerful “pagan” nature deity who was supposedly of immense importance to pre-Christian cultures throughout Europe and the Middle East. In reality, the Green Man is nothing of the sort and the whole notion of him as any kind of deity is actually less than a century old.

Why Does Donald Trump Like Neoclassical Architecture So Much?

On 21 December 2020, President Donald J. Trump signed an executive order titled “Promoting Beautiful Federal Civic Architecture,” which officially establishes the Neoclassical architectural style as the “preferred” style for all United States federal buildings. The same executive order disparages Modernist architecture as “ugly and inconsistent.”

In practical terms, Trump’s executive order doesn’t mean much, since it only establishes the Neoclassical style as a “preferred” style and does not outright ban other styles. Moreover, the executive order is almost certainly going to go in the paper shredder as soon as President-Elect Joe Biden assumes office on 20 January 2021.

Nonetheless, the fact that Trump apparently felt strongly enough about Neoclassical architecture to issue an executive order on the subject right before he leaves office raises all sorts of interesting questions about what Neoclassical architecture represents in a modern political context and why a man like Donald Trump would devote time to enshrine it as a “preferred style” for anything.

Stolen Artworks in Museums

When most people today think of stolen artworks, they usually tend to think of artifacts being stolen from museums. There are many famous cases of this, such as the notorious theft of the Mona Lisa from the Louvre Museum in 1911, which generated international headlines. Unfortunately, most people are not aware of the fact that many of the artifacts that are currently on display in museums in western Europe and North America were themselves stolen from the peoples of other countries all around the world.

In the nineteenth and twentieth centuries, western Europeans and people of western European descent pillaged countries all over the world, taking their cultural artifacts and putting them in museums back in their home countries, where they could admire them, but the peoples of the countries to whom the artifacts rightfully belonged could not. There are so many stolen artworks on display in museums that it would be impossible for me to cover them all, but today I want to talk about just a few of the more famous examples.