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Introduction to the Humanities I: Greece through the Renaissance11 April 2023

Museum ProjectMuseum of Fine Arts, Boston Massachusetts

Introduction:

To begin my journey, I visited the Museum of Fine Arts (MFA) in Boston, Massachusetts

on July 22, 2010. My last visit to the MFA was about 35 years ago making this an exciting field

trip for me. I arrived at the steps of the museum; I knew that this was going to be a monumental

task to select 4 pieces of work to discuss in this term paper. I spent the whole day at the

museum and walked through many collections multiple times trying to select meaningful pieces

to write about. I was please to discover that you can take photos as long as you do not use a

flash and took advantage of that. I have included my photos, which are not as good as those

provided online, however my photos make my visit more real and personal. Taking the photos

saved me from a lot of writing, although cell phone pictures are not as steady as the camera.

The photos also help demonstrate the art form that I am discussing and will give the reader a

visual of the particular piece I selected. The works of art that I chose and discuss in this paper

are the following:

1. Roman Sarcophagus – Italic, Etruscan, Late Classical or Hellenistic Period, Late 4th-

early 3rd century B.C

2. Roman Sculpture – The child Dionysus – 140-170 A.D.

3. Roman Frescoes – Villa Fondo Bottaro – First Century A.D.

4. Italian Renaissance Painting - Presentation of the Virgin in the Temple – 1467

The choices I made were not based on beauty or substance but for the empowering

effect they had on me as I studied these pieces in the museum.

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Roman Sarcophagi

A sarcophagus is a burial container which is carved from stone; traditionally, many

sarcophagi were made from limestone, although a wide variety of types of stone may be used,

including granite and marble. Many people associate the sarcophagus with classical antiquity,

since these burial containers were extensively used during this period, although such burial

containers continue to be used in some regions today1.

The origin of the word “sarcophagus” is derived from the Greek sarx, or “flesh” and phagein,

which means “to eat.” The Greeks believed that sarcophagi literally ate the bodies stored

inside, dissolving the bones within a very short period of time, especially when they were carved

from limestone2. The word was borrowed by the Romans, and possibly the reason we see

these in Etruria, Italy in the late 4th or early 3rd century B.C.

The concept of using sarcophagi during burial dates back to Egyptian times. Although

the Egyptians used sarcophagi as a means of preserving and protecting the body, Egyptian

sarcophagi were concealed from the public and were never meant to be displayed. It was more

of a religious rite to keep away intruders from viewing the burial chamber and to allow safe

passage for the deceased to the underworld3. The Romans were practicing cremation prior to

the second Century and would place ashes in ossuaries. Eventually, the Romans adopted

inhumation (burying the dead) as their primary funerary practice which created a demand for

sarcophagi during the second and third centuries. Unlike the Egyptians, the Romans

1 Smith, S. E. "What Is a Sarcophagus?" WiseGEEK: Clear Answers for Common Questions. Google.

Web. 07 Aug. 2010. <http://www.wisegeek.com/what-is-a-sarcophagus.htm>.

2 Smith, S. E. "What Is a Sarcophagus?" WiseGEEK: Clear Answers for Common Questions. Google.

Web. 07 Aug. 2010. <http://www.wisegeek.com/what-is-a-sarcophagus.htm>.

3 Fadl, Ayman. "Comparison Between Egyptian and Roman Coffins." ALDOKKAN Ancient Egypt. Web.

07 Aug. 2010. <http://www.aldokkan.com/art/sarcophagus.htm>.

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sarcophagi were displayed in a wide variety of ways. Many were viewed in open-air settings, on

pedestals or placed on the roofs of tombs. The most common shape for Roman sarcophagi

was a low rectangular box with a lid4.

Etruria is often referred to in Greek and Latin sources as Tyrrhenia and was the area

that is now the Regions of Tuscany, Latium and Umbria. Etruria was one of the most important

cities on the Italian peninsula before it fell to the Roman Republic in 3 BC5. Etruria was

prosperous with mining, trade and was also thought to be the first democracy moving away from

tribal monarchy system6. In my research on Etruria I found that the people may have migrated

from Greece to this northern region of Italy.

The sarcophagus I selected at the MFA was titled Sarcophagus and lid with portraits of

husband and wife. According to the MFA it is dated Italic, Etruscan, Late Classical or Hellenistic

Period, Late 4th-early 3rd century B.C.7

I selected this piece because of the husband and wife on the lid (Figure 1). They are

lying close to one another and embracing each other in a loving way. They are looking at each

other and have a cover over them exposing their feet. When I studied this piece I saw eternal

4 Fadl, Ayman. "Comparison Between Egyptian and Roman Coffins." ALDOKKAN Ancient Egypt. Web. 07 Aug. 2010. <http://www.aldokkan.com/art/sarcophagus.htm>.

5 Marcus, Glenn, and Karen Marcus. "A Bit of Roman History - My Travels in Italy." My Travels in Italy -

Glenn & Karen Marcus. Marcustravel.com. Web. 07 Aug. 2010.

<http://www.mytravelsinitaly.com/history.htm>.

6 Brown, Mark, and Farsheed Khosmood. "Roma - Albans/Etruscans." Oracle ThinkQuest Library.

ORACLE Education Foundation. Web. 07 Aug. 2010. <http://library.thinkquest.org/26907/alban.htm>.

7 "Etruscan Art: Accession Number: 1975.799." Museum of Fine Arts, Boston, MA. Museum of Fine Arts.

Web. 06 Aug. 2010. <www.mfa.org>.

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life together. You could also see both Roman and Greek influences in the design of this

sarcophagus which would explain the Etruscan influences.

The information provided by the MFA pointed out that the portrait of the man is of

particular interest to the study of Etruscan (and Early Roman) portraiture, foreshadowing in

many respects the Roman Republican portraiture which would, in considerable degree, develop

from the Etruscan form.

The woman wears a double fillet or braids around her hair, a heart-shaped earring, and

a long chiton with sleeves. The pediments at each end of the lid

(Figure 2) have three ideal, female heads in relief in rosettes.

The front of the sarcophagus (Figure 3) shows a ceremony,

presumably the couple’s marriage. They clasp hands in the

center, or (more precisely) he places his hand around her wrist,

while he also holds a knotted staff in the left hand. Four

attendants follow on either side. Those on the left comprise

(from center to corner) a man with a tall staff, a lantern or jar

suspended from it; a women with a tray on her head and a

pitcher in her lowered right hand; a women with a large fan and a situla (bucket) in her lowered

right hand; and a women with a lyre and

Figure 1:

Sarcophagus husband and wife

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Figure 2: Front pediment Figure 3: The front of the body

plectron. On the right appear a young man with a chair; another with a small stick or scepter; a

third with a curved horn; and a woman with a wreath and double flutes8.

On the left end, two women, parasol over their heads, ride in a cart drawn by two mules

driven by a male attendant. A winged spirit of death waves two snakes at them. On the right

end, a bearded magistrate mounts a two-horse chariot, attended by a man with the pastoral

staff or lituus. Since the man on the major front panel wears the Greek himation, it has been

suggested that he is the heroized deceased, leading his wife to the underworld. If such be the

case, she may have survived him to have her own separate procession on the left end, and the

scene on the front thus may be taken as a symbolic “marriage” ceremony, the union with death

and life in the underworld rather than merely in life on earth9

This particular sarcophagus was made from nenfro, a volcanic stone that contains

fragments of basalt and limestone and other minerals. Nenfro was native to Etruria and was

8 "Etruscan Art: Accession Number: 1975.799." Museum of Fine Arts, Boston, MA. Museum of Fine Arts.

Web. 06 Aug. 2010. <www.mfa.org>.

9 "Etruscan Art: Accession Number: 1975.799." Museum of Fine Arts, Boston, MA. Museum of Fine Arts.

Web. 06 Aug. 2010. <www.mfa.org>.

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used in many Classical period sculptures10. In my general research for the paper I discovered

that this area of Italy has several volcanic calderas that most likely provided an abundance of

volcanic stone.

Roman Sculpture

The child Dionysus (Figure 4) is a marble piece which was created during the Imperial

period about 140-170 A.D. The god Dionysus (also

known as Bacchus), the only child of Zeus and Semele, is

shown portrayed as a young child carrying pomegranates,

grapes, and other fruits in a fold of his mantle. Dionysus

was the god of drama, wine, and fertility and was

associated with the harvest and seasons as a bringer of

fruitfulness. Dionysus is the only major Greco-Roman

deity who was portrayed at all stages of his life; as an

infant, child, youth, and mature man. The god wears a

wreath of ivy leaves and grapes over his wavy hair and

grape-clusters over his ears. He also wears a fillet across

his forehead that ends in tresses on his neck. His cloak is

draped over his left arm and contains pomegranates and

fruit, indicating abundance; the cloak is buttoned on his

right shoulder and partially covers his protruding stomach.

10 "British Museum - Sarcophagus Lid with the Portrait of a Woman." British Museum - Welcome to the

British Museum. British Museum. Web. 06 Aug. 2010.

<http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/s/sarcophagus_lid.aspx>.

Figure 4: The child Dionysus

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The right arm is broken from the shoulder; and the drapery-covered left arm supports

pomegranates and fruit, although the left hand is missing. The right leg is advanced; but his

feet and part of the pedestal are missing11.

During the Roman Imperial age, most art focused on the Romans military successes.

What I found interesting about this piece was the Greek influence of mythology. This piece may

have been considered “public art” as I found it entertaining. Although this piece is missing its

feet it looks like the child is walking. It reminded me of my daughter walking around the house

dragging one of her favorite dolls. Some of the other things I liked about this piece were how

realistic sculpture was becoming by this time. You see the details in the cloak, the hair and the

solemn expression that was familiar in most Roman sculpture of this period.

Roman Frescoes

The Roman Frescoes in the MFA were incredible to see in person. To think that these

frescoes were once covered under tons of volcanic ash and hidden for centuries until they

began to be excavated around 1592 is amazing.

Frescoes illustrate an important art form that was widely used to decorate the interiors of

Roman buildings. In the first century B.C., wall painting became fashionable and quickly

attracted the most talented painters. Most of the surviving examples of this art are from

Campania, the region around Naples, but these represent only a tiny fraction of what existed in

the Roman world12.

Craftsmen used a technique known as fresco painting in which they applied strong

primary colors directly onto fresh (fresco) plaster while it was still damp. Ancient writers such as

the architect Vitruvius, describe the techniques used by wall painters. For the best frescoes,

11 "The Child Dionysus: Accession Number: 1994.229." Museum of Fine Arts. Museum of Fine Arts. Web.

07 Aug. 2010. <http://www.mfa.org>.

12 "Roman Frescoes." Museum of Fine Arts. Second Floor, Roman Art Gallery. 22 July 2010.

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there could be as many as seven layers of increasingly fine plaster applied to the wall. Marble

powder was mixed into the final layer and polished to create a glossy surface. For some

frescoes, archaeologists have found preparatory drawings in red ochre, indicating that Roman

artists, like those of the Renaissance, mapped out their designs on the plaster undercoat before

they began painting.

Romans favored colors such as rich reds made from Spanish cinnabar, yellows from

ochre extracted from mines, and black from carbon created by burning brushwood or pine chips.

The red pigment was particularly expensive and reserved for the best rooms because it needed

to be treated with heated wax and oil to maintain its color and sheen. The murals from Fondo

Bottaro are in a style popular during the first

century A.D. in which painters would place

delicate, even fanciful, architectural elements as

well as floral and figural details against

monochromatic backgrounds13.

The first fresco panel (Figure 5) is this

ornate style found near Pompeii, Campania,

Italy and is dated about A.D. 14-62. The panel

shows fantastic architecture on black

background. Beneath the coffered ceiling is a

hexastyle circular building stands on a low

pediment. Two peacocks perch on scrolls emerging from the roof of circular building14. On the

roof of the building is an object that almost looks like it has a face when I zoom in closely on the

photo that is available on the MFA web site15

13 "Roman Frescoes." Museum of Fine Arts. Second Floor, Roman Art Gallery. 22 July 2010.14 "Roman Frescoes." Museum of Fine Arts. Second Floor, Roman Art Gallery. 22 July 2010.

15 "Fresco Panel: Accession Number: 25.44." Fresco Panel. Museum of Fine Arts. Web. 06 Aug. 2010.

<www.mfa.org>.

Figure 5: Frescoe panel on black

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The second panel I selected (Figure 6) is also from

the Roman, Imperial Period about 14-62 A.D. and

was also found near Pompeii, Campania, Italy. This

panel is an excellent example of architectural

decoration and ground ornaments in yellow and

creamy white set upon a red background. This is a

two-tiered Ionic structure, with twisted reeds

supporting a projection at right. The window at the

center of the upper field frames what appears to be a

flying eagle. The fragile, uppermost architrave is

crowned by three lyres, which turn into floral scrolls, and by two birds, perhaps falcons. The

lower central field is framed by an ornamental band attached to a pediment by palmettos. At the

center of the field are unclear figures, perhaps a ram beside a round basket with raised lid and

snakes and a thyrsus16.

Italian Renaissance Painting

Renaissance means “rebirth.” In Italy during the Renaissance, people believed that they

were living in a period of revival one that was often inspired by the ancient past. Objects made

during this period frequently reflect ancient artistic forms, architecture or texts, many of which

survived in Italy. The period was also marked by a sense of individual creative accomplishment,

expressed by artists working in all materials. This creativity was supported and embraced by

16 "Fresco Panel: Accession Number: 33.503." Museum of Fine Arts, Boston, MA. Museum of Fine Arts.

Web. 06 Aug. 2010. <www.mfa.org>.

Figure 6: Frescoe panel on red

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patrons, who commissioned artworks both for public display in civic and religious settings and

for private use in the home. Commissioning works of art could express ideals of civic life,

religious beliefs and devotions, as well as the wealth, status and good taste of the individual17.

The art work chosen from the Renaissance

period is Fra Carnevale (Bartolomeo di Giovanni

Corradini) who was active by 1445 and died in

1484. His Presentation of the Virgin in the Temple

(Figure 7) was completed about 1467. This

painting is Oil and tempera on panel. This work

was part of an altarpiece painted for a church in

Urbino, and the repainted area along the top

reveals the shape of the original frame. The young

Virgin is in the foreground, dressed in blue. The

exact subject matter remains in doubt, since the

Virgin neither climbs the steps of the temple nor is

welcomed by the high priest, features generally

included in depictions of the Presentation. Fra

Carnevale, a Dominican friar, was inspired by ancient Roman architecture and sculpture as well

as the new science of linear perspective, which allowed an artist to create the illusion of deep

space on a flat surface18. This painting is an excellent example of linear perspective and is the

reason I selected the piece to include in my museum project.

Conclusion

17 "Renaissance Masters." Museum of Fine Arts. Second Floor, Renaissance Gallery. 22 July 2010.

18 "Presentation of the Virgin in the Temple: Accession Number: 37.108." Museum of Fine Arts. Web. 07

Aug. 2010. <www.mfa.org>.

Figure 7: Presentation of the Virgin in the Temple

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The works of art chosen for this project had special meaning to me. I found the

sarcophagi to be religious and meaningful in the beliefs of the people from Etrucia. The way the

couple lovingly embrace each other spoke volumes to devotion and commitment. I spent a little

more time on the sarcophagi as it was an area I had not spent time on in this class. I have

learned a great deal in this class in such a short time. The changes in art form over the

centuries are remarkable. As tools and technology has changed, so has our art form. To view

the wall frescoes on flat wall panels and know how they were discovered allows you to look into

the lives of those that have lived for centuries. When I got to the Renaissance period I could

feel the change and how different the art had become from previous periods such as Roman,

Greek and Egyptian. You could feel the cause of celebration. Taking notice for the first time

and seeing an example of the introduction of linear perspective is a wonderful glimpse into how

painting has transformed over centuries.

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Works Cited

"British Museum - Sarcophagus Lid with the Portrait of a Woman." British Museum - Welcome to the British Museum. British Museum. Web. 06 Aug. 2010. <http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/s/sarcophagus_lid.aspx>.

Brown, Mark, and Farsheed Khosmood. "Roma - Albans/Etruscans." Oracle ThinkQuest Library. ORACLE Education Foundation. Web. 07 Aug. 2010. <http://library.thinkquest.org/26907/alban.htm>.

"The Child Dionysus: Accession Number: 1994.229." Museum of Fine Arts. Museum of Fine Arts. Web. 07 Aug. 2010. <http://www.mfa.org>.

"Etruscan Art: Accession Number: 1975.799." Museum of Fine Arts, Boston, MA. Museum of Fine Arts. Web. 06 Aug. 2010. <www.mfa.org>.

Fadl, Ayman. "Comparison Between Egyptian and Roman Coffins." ALDOKKAN Ancient Egypt. Web. 07 Aug. 2010. <http://www.aldokkan.com/art/sarcophagus.htm>.

"Fresco Panel: Accession Number: 25.44." Fresco Panel. Museum of Fine Arts. Web. 06 Aug. 2010. <www.mfa.org>.

"Fresco Panel: Accession Number: 33.503." Museum of Fine Arts, Boston, MA. Museum of Fine Arts. Web. 06 Aug. 2010. <www.mfa.org>.

Marcus, Glenn, and Karen Marcus. "A Bit of Roman History - My Travels in Italy." My Travels in Italy - Glenn & Karen Marcus. Marcustravel.com. Web. 07 Aug. 2010. <http://www.mytravelsinitaly.com/history.htm>.

"Presentation of the Virgin in the Temple: Accession Number: 37.108." Museum of Fine Arts. Web. 07 Aug. 2010. <www.mfa.org>.

"Renaissance Masters." Museum of Fine Arts. Second Floor, Renaissance Gallery. 22 July 2010.

"Roman Frescoes." Museum of Fine Arts. Second Floor, Roman Art Gallery. 22 July 2010.

"Roman Wall Painting." The Alamo Colleges - Homepage. Hoover and San Antonio College, 03 Aug. 2009. Web. 24 July 2010. <http://www.alamo.edu/sac/vat/arthistory/arts1303/rome4.htm>.

Smith, S. E. "What Is a Sarcophagus?" WiseGEEK: Clear Answers for Common Questions. Google. Web. 07 Aug. 2010. <http://www.wisegeek.com/what-is-a-sarcophagus.htm>.

List of Photographs

Note: Photographs taken by Deb Minassian during MFA visit.

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Figure 1: Sarcophagus husband and wife

Figure 2: Front pediment

Figure 3: The front of the body

Figure 4: The child Dionysus

Figure 5: Frescoe panel on black

Figure 6: Frescoe panel on red

Figure 7: Presentation of the Virgin in the Temple