Category Archives: DICTIONARY

Naiskos in the Funerary Architecture of Ancient Greeks

A type of tombstone in ancient Greece, mostly in the fourth and fifth centuries BC. It imitated the shape of templum in antis. It, namely, it looked like a small temple in classical order with antas, columns or pillars and a decorative pediment, also decorated with figures in the facade. The pediment (frontispiece) was usually filled with family scenes in high relief, where the dead appeared inside the house alongside the living. Also “[some] of the Hellenistic inscriptions found in the Bay of Grama, [in the Ionian Sea of Albania], are placed inside a naiskos, and in this case the religious context is an invocation of Castor and Pollux, [the] Dioskouroi [in Greek and Roman mythology], for a safe passage across the Adriatic, rather than funerary” (“Naiskos” 2020).

Funerary naiskos of a young soldier (Aristonautes, son of Archenautes, of the deme Halai). Pentelic marble, found in the Kerameikos necropolis in Athens, ca. 350–325 BC. Photo by Marsyas (2005). CC BY 2.5. Photo and caption source: “Naiskos” (2020). In: Wikipedia. Wolna Encyklopedia.

The naiskos form developed from an Attic tombstone stelae in the second half of the fourth century BC.; initially simple in shape, with time they had acquired a more complicated form referring to the facade of a Greek temple with a pediment supported by columns.

The facade of Naiksos also appears as a decorative motif  in the funerary “black-figure and red-figure pottery of Ancient Greece at the Loutrophoros and the Lekythos and the red-figure wares of Apulia in South Italy, [the fourth century BC.]” (“Naiskos” 2020).

A similar style of funerary tombstones can be also observed in the so-called aedicula, typical of Roman art.

Featured image: Naiskos-style funerary stele of Cyzicus (an ancient town of Mysia in Anatolia, in the current Balıkesir Province of Turkey), with high-relief decoration; epitaph inscribed on the plint: “Attalos, son of Asklepiodoros, greetings!” Made of marble, from the second quarter of the second century BC. Stele of funerary banquet represents, from left to right, a servant holding a round object, perhaps a model of the Arsinoeion in Samothrace, a seated woman, a half-reclining man holding a phiale in which a snake is drinking, a boy cupbearer. Department of Greek, Etruscan and Roman Antiquities, Denon, ground floor, room 11 (Musée du Louvre, Paris, France). Photo by Jastrow (2008). Credit given by W. H. Waddington, (1854). CC BY 3.0. Image cropped. Photo and caption source: Wikimedia Commons (2021).

BIBLIOGRAPHY:

“Naiskos” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3bQQvhL>. [Accessed on 28th February, 2021].

“Naiskos” (2020). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/2PkkoiN>. [Accessed on 28th February, 2021].

“Naiskos stele of Cyzicus” (2021). In: Wikimedia Commons. Available at <https://bit.ly/3bHRUaa>. [Accessed on 28th February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 274. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Matzevah – a Traditional Form of a Jewish tombstone

Jewish tombstone in the form of a vertically positioned rectangular stone or wooden slab, and from the nineteenth century also made of cast iron, topped with a straight line, triangle, semicircle or two segments of a circle, decorated with a bas-relief in the upper part and covered with an inscription (epitaph) at the bottom. The Hebrew epitaph was placed on the eastern side of the slab, as both, the tomb and the tombstone were oriented to the east. The stone slab was placed on the grave, on the headboard or in the legs of the deceased. It was often supported from the back by a stone block with a rectangular or semicircular cross-section, very rarely decorated.

Matzevot at the Cemetery in Warsaw at Okopowa Street. Photo by Grzegorz Petka (2008). Public domain. Image cropped. Colours intensified. Photo source: “Macewa” (2021). In: Wikipedia. Wolna Encyklopedia.

The reliefs in the upper part of the tombstone are not only decorative, but also symbolic; from the sixteenth century on, above the epitaph but under the top of the matzeva, there were usually sculpted symbols referring to the name of the deceased, their profession, character features, or sadness, mourning and death. Some of the decorative motifs on the matzevot are intended for representatives of traditional groups of the Jewish community, e.g. for a person from a priestly family (kohena) – those were hands folded in prayer, for a descendant of a Levite family, a cup, for a scholar or a rabbi – a Torah crown or a book for a woman, a lamp-stand, for the descendants of the tribe of Judah, a lion. Over time, the matzevot were given an increasingly complex architectural form, with cornices, columns, and recesses, and its height increased, sometimes reaching four meters.

Matzevah derived from the distant past, when it first meant sacred pillars in Canaanite sanctuaries, and then boulders, placed in memory of some important event; placed in cemeteries by Ashkenazi Jews.

Such a tombstone was adopted in Poland; the oldest one preserved there dates back to 1203 and is now at a Jewish cemetery in Wrocław (Poland), at Ślężna Street. The form of the matzevot is also recalled by erratic boulders placed on graves in Jewish cemeteries in north-eastern Poland. When in the early nineteenth century’s Poland, the administrative authorities of the partitioning powers ordered Jews to take surnames, Jewish traditionalists placed an appropriate entry containing this name on the reverse, unfinished side of the matzeva. In the areas associated with German culture, from the mid-nineteenth century, it was customary to place an epitaph in Hebrew on one side of the matzevah, and in German on the other. Similar records can also be found in Jewish cemeteries in large cities of central Poland, on the graves of assimilated Jews.

Featured image: Matzevot at the old Jewish cemetery in Wrocław. Photo by Barbara Maliszewska (2010). CC BY-SA 3.0 pl. Image cropped. Colours intensified. Photo source: “Macewa” (2021). In: Wikipedia. Wolna Encyklopedia.

BIBLIOGRAPHY:

“Macewa” (2021). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3tXyQwX>. [Accessed 14th February, 2021].

Jagielski J. (2021). “Mazewa”. In: Portal DELET. Available at <https://bit.ly/2ZeT6fx>. [Accessed 14th February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 244. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

The Labarum of Constantine the Great

From the time of the Roman Emperor, Constantine the Great (306-337), it was the imperial and military banner (a vexillum). The original standard was first used by Constantine during the Battle of the Milvian Bridge against Maxentius (312) but the same name also refers to similar standards produced in imitation of the original one in the Late Antique world and later on.

A follis of Constantine (c. 337) showing a depiction of his labarum spearing a serpent on the reverse; the inscription reads SPES PVBLICA. Struck 337 AD. Constantinople mint. CONSTANTI-NVS MAX AVG, laureate head right SPES PVBLICA across field, labarum, with three medallions on drapery and crowned by a christogram, spearing serpent. CONS in exergue. RIC VII 19. According to RIC, this famous reverse type represents the defeat of tyranny by the death of Licinius. Yet, the scene also has powerful Christian imagery in that it allegorically portrays the power of Christianity over evil. Coin from CNG coins, through Wildwinds. Used with permission. Follis 337 Constantine. Photo and caption by Classical Numismatic Group, Inc. (2005). CC BY-SA 3.0. Image enlarged; colours intensified. Photo source: “Labarum” (2020). In: Wikipedia. The Free Encyclopedia.

The origin of the word labarum is a matter of scientific debate. Some suggest it derived from the Latin word labarum. Others say it is a Gallic word because Gaul was the starting point for the war against Maxentius, and there were many Gauls in the army.

The emperor Honorius (393-423) holding a variant of the labarum – the Latin phrase on the cloth means “In the name of Christ [rendered by the Greek letters XPI] be ever victorious” and the Globus with the still pagan symbol the victory. Photo and caption by Marsyas (2006). Public domain. Colours intensified. Photo source: “Labarum” (2020). In: Wikipedia. The Free Encyclopedia.

After a Christian author and an advisor to Roman emperor, Constantine I, Lactantius (240-320), shortly before the battle, the emperor fell into ecstasy, during which he received an order from Christ to place on the shields of soldiers the sign of heaven, consisting of the first two Greek letters of the word ‘Christ’ (ΧΡΙΣΤΟΣ) — Chi (χ) and Rho (ρ). This monogram is indeed found on coins and writings from the time of Constantine. Eusebius of Caesarea (260-339), a biographer of the emperor’s life, adds that at the moment of the start of the fight, the pagan ruler called for the help of the Christian God, as a result of which he saw in the daylight a radiant cross with the Greek words: ‘Through this sign you will win!’ The next night, Constantine saw Christ with the cross and was advised to have a banner made with the image of the cross, displaying the christogram of the ‘Chi-Rho’ symbol ☧. This banner is, of course, a labarum, made in the shape of the letter T, standing for the cross, and attached to the upper bar. As such it was henceforth carried by Constantine’s troops.

The day after his victory, on October 29, 312, Constantine rode triumphantly into Rome. The city gave him a wonderful party. As for the vaccination of Christianity, it was still until the end of his reign, a transitional period. But although Constantine chose not to tease the Roman pagans with a new religion in one God, he nonetheless openly manifested the origins of Christianism in the heart of the Western world by minting coins with the christogram of the ‘Chi-Rho’ while the labarum in the form of the cross flew over the ranks of his army.

Constantine’s labarum, with a wreathed Chi Rho from an antique silver medal. The “medallions” which are said to have shown portraits of Constantine and his sons are sometimes replaced by the three circles or dots. Drawing by Nordisk familjebok (1911), vol.14, p.1088. Uploaded in 2006. Public domain. Photo and caption source: “Labarum” (2020). In: Wikipedia. The Free Encyclopedia.
Coin of Vetranio (350 AD.), a soldier is holding two labara. Notably, they differ from the labarum of Constantine in having the Chi-Rho depicted on the cloth rather than above it, and in having their staves decorated with phalerae as were earlier Roman military unit standards. Photo by Marsyas (2010). Public domain. Colours intensified. Photo and caption source: “Labarum” (2020). In: Wikipedia. The Free Encyclopedia.

Featured image: The emperor Constantine IX Monomachos (1042-1055) (centre panel of a Byzantine enamelled crown) holding a miniature labarum. Photo by Andrew massyn (2008). Public domain. Image cropped. Colours intensified. Photo source: “Labarum” (2020). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Labarum” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3tPYsM8>. [Accessed 12th February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, pp. 69, 224. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Rops D. (1968). Kościół pierwszych wieków. pp. 477-480. [L’église des apôtres et des martyrs]. Ostrowska K. trans. Warszawa: Instytut Wydawniczy PAX.

Kaá – a Hall inside Oriental Palaces and Houses

A large, high hall, a kind of living room in wealthy oriental houses. It used to be one of the harem rooms.

Featured image: Interiors of the Topkapi Seray in Istanbul, Turkey. Chambers and halls of the harem. Copyright©Archaeotravel.

BIBLIOGRAPHY: PWN (2007). Słownik terminologiczny sztuk pięknych, p. 168. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Idols – Cult Figures Lookalike Human Beings in the Ancient World

In ancient Greek literature, an idol means an eidolon plural: eidola or eidolons. Accordingly, it is an image, apparition, phantom, ghost. It stands either for a spirit-image of a living or dead person or a shade or phantom lookalike a human being. In art, idols are cult figurines with simplified or geometric shapes, mainly female representations made, among others, of wood, clay, ivory, marble or bronze. They appear across the ancient world, mostly from the Paleolithic to Late Antiquity. Nevertheless, the term ‘idols’ is usually applied in relation to the Cycladic culture (ca. 3200–ca. 1050 BC.).

Featured image: Clay model from Palaikastro, Crete, representing three female figures dancing with their arms stretched, in a circle, to the accompaniment of a lyre held by a woman in the middle. Preserved by the Archaeological Museum of Heraklion. Copyright©Archaeotravel.

BIBLIOGRAPHY:

“Eidolon” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2MzgPEb>. [Accessed on 4th February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 156. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.