Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

potere

         

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Head of Apollo, First century BCE–first century CE, bronze, 51 x 40 x 38 cm. Salerno, Museo Archeologico Provinciale.

By Alain.R.Truong

FLORENCE.- From 14 March to 21 June 2015, Palazzo Strozzi in Florence will be the first venue to host the major exhibition entitled Power and Pathos. Bronze Sculpture of the Hellenistic World organised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza Archeologica della Toscana, Tuscany’s directorate general for archaeology. After Florence, the exhibition will travel to the J. Paul Getty Museum in Los Angeles from 28 July to 1 November 2015 and then to the National Gallery of Art in Washington, DC, from 6 December 2015 to 20 March 2016.

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Statue Base signed by Lysippos, End of fourth–beginning of third century BCE, blue-grey limestone, 30 x 70.5 x 70,5 cm. Corinth, 37th Ephorate of Prehistoric and Classical Antiquities.

This important joint venture reinforces Palazzo Strozzi’s international reputation for excellence. The exhibition will showcase – for the first time in Florence – some of the greatest masterpieces of the ancient world from such leading Italian and international museums as the Museo Archeologico Nazionale in Florence, the Museo Nacional del Prado in Madrid, the Museo Archeologico Nazionale in Naples, the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi in Florence, the National Archaeological Museum of Athens, the Archaeological Museum of Heraklion (Crete), the Kunsthistorisches Museum in Vienna, the Archaeological Museum of Thessaloniki, the Musée du Louvre in Paris, the Vatican Museums and the Musei Capitolini in Rome.

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Portrait Statue of Aule Meteli (Arringatore), Late second century BCE, bronze, 179 cm. Florence, Museo Archeologico Nazionale.

Power and Pathos features about 50 extraordinary sculptures in bronze and tells the story of the artistic achievements of the Hellenistic era (4th to 1st centuries BC), when new bronze-working techniques were developed, new forms of expression were explored, and a first globalized language of art emerged in the Mediterranean and beyond. In this cosmopolitan climate, Greek art, in effect, became an international phenomenon.

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Statuette of Alexander the Great on Horseback, First century BCE, bronze, with silver inlays, 49 x 47 x 29 cm. Naples, Museo Archeologico Nazionale.

The vast Hellenistic empire founded by Alexander the Great stretched from Greece and the borders of Ethiopia to the Indus Valley, embracing Egypt, Persia, and Mesopotamia. Thus its astonishing output in the fields of art, history and philosophy enjoyed extensive dissemination. While the Classical Greek world was based essentially on the polis, or citystate, now art served more than the cities and their citizens and focused instead on the courts of Alexander’s successors. Artists devoted their skills to celebrating the rulers and their achievements, adopting and adapting Classical modes of expression to suit new needs.

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Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale.

The exhibition owes its unique character to bronze, an alloy of copper, tin, and often lead, so significant in ancient technology and art that Pliny the Elder dedicated an entire book to this medium. Bronze works are extremely rare today, and the vast majority of large bronzes from the ancient world are lost because they have been melted down over the centuries so that the metal could be used to mint coins and to manufacture arms. Immediately after casting, bronze was so dazzling that it resembled gold.

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Head of a Man with Kausia, Third century BCE, bronze, faïence or alabaster, 32 x 27.9 cm. Pothia, Archaeological Museum of Kalymnos.

One of the reasons this show is an unprecedented, once-in-a-lifetime event is that it will allow visitors to admire works never before seen together: the bronze Apoxyomenos from Vienna alongside the Uffizi’s marble version used in its restoration; the two archaising Apollo-Kouroi from the Louvre and from Pompeii. Although all of these “pairs” have frequently been shown together in photographs, this is the very first time that any of them have been displayed side by side. A large number of the bronzes surviving to this day were found in the sea rather than on dry land. Spectacular underwater finds include the figure of a General (Lucius Aemilius Paullus?) found in the sea off Brindisi in 1992, and the Head of a Man with Kausia (discovered in the Aegean off the island of Kalymnos in 1997).

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Portrait of a Diadoch (Demetrios Poliorketes?), 310–290 BCE, bronze, 45 x 35 x 39 cm. Madrid, Museo Nacional del Prado.

The discovery of the head of Apollo in the sea off Salerno in December 1930 was poetically described by Nobel Prize laureate Giuseppe Ungaretti: “Night had almost fallen and the anchovy fishermen were returning to port in single file. Gathering up their nets, one of the fishermen found […] a head of Apollo in his net. Holding it up in the palm of his lined hand and seeing it now imbued with new life in the light and appearing to bleed – where it had been severed at the neck – in the fire of the setting sun, the fisherman thought he was looking at St. John the Baptist. I myself have seen it at the Museum in Salerno; it may be by Praxiteles or possibly Hellenistic […] its indulgent and quivering smile hinting at an ineffable song of youth restored to life!”

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Portrait of Arsinoë III, Late third century–early second century BCE, bronze, 30 x 20 x 30 cm. Mantua, Museo Civico di Palazzo Te.

Unlike Classical artists, who sought to convey a sense of balance and serenity, Hellenistic sculptors aimed to capture the full range of human feelings, from anger and passion to joy and anguish. They typically emphasised pathos, or lived experience, in the figures they depicted, and we find this also in the portraits of the men who rose to power in Alexander’s wake. Such portraits were designed to bolster the sitters’ legitimacy and dynastic connections through a combination of individual features both dramatic and idealised. Statues of athletes such as the so-called Apoxyomenos—a figure shown after the competition, holding a small curved instrument called a strigil used to scrape off sweat and dirt from the body— focus on the nude male body in its various forms. Artists no longer represent wholly idealised forms, as in the Classical era, but depict momentary details that vividly express physical and emotional states.

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Statue of a Man, Second century BCE, bronze, 127 x 75 x 49 cm h. 30 cm (head). Brindisi, Museo Archeologico Provinciale “F. Ribezzo”.

Curated by Jens Daehner and Kenneth Lapatin of the J. Paul Getty Museum in Los Angeles, the exhibition offers a comprehensive overview of the Hellenistic bronze sculpture in its larger archaeological, cultural and geographical environments.

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Portrait of a Man, First century BCE, bronze, 29.5 x 21.5 x 21.5 cm. Malibu, J. Paul Getty Museum.

Monumental statues of gods, athletes, and heroes will be displayed alongside portraits of historical figures—including select sculptures in marble and stone—in a journey allowing visitors to explore the fascinating stories of these masterpieces’ discovery, often at sea (Mediterranean, Black Sea) but also in the course of archaeological digs, thus setting the finds in their ancient contexts. Those contexts could be a sanctuary where they were used for votive purposes, a public space where they celebrated personalities or events, a home where they fulfilled a decorative function, or a cemetery where they commemorated the deceased. A unique feature of the Palazzo Strozzi exhibition is that it sets the works in context by also probing and exploring the production and casting processes and the finishing techniques adopted.

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Statuette of a Ruler as Hermes or Perseus, First century BCE–first century CE, bronze, with base 80 x 30 x 25.4 cm. Naples, Museo Archeologico Nazionale.

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Statue of a Young Man, Third–fourth century BCE, bronze, 152 x 52 x 68 cm. Athens, Ephorate of Underwater Antiquities.

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Statuette of Hermes, c. 150 BCE, bronze, 49 x 20 x 15 cm. London, The British Museum.

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Statuette of the Weary Herakles, Third century BCE or first century CE (?); copy of a fourth-century BCE bronze by Lysippos, bronze, silver, 35.9 x 17.5 x 14 cm h. 39 cm with base. Chieti, Museo Archeologico Nazionale d’Abruzzo.

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Statuette of an Artisan, Mid-first century BCE, bronze, silver, 40.03 x 13 x 10.8 cm. New York, The Metropolitan Museum of Art.

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Statuette of Herakles Epitrapezios (Herakles seated), First century BCE–first century CE, bronze, limestone, 75 x 67 x 54 cm h. 95 cm with base. Naples, Museo Archeologico Nazionale.

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Statue of Eros Sleeping, Third–second century BCE, bronze, 41.9 x 85.2 x 35.6 cm. New York, The Metropolitan Museum of Art.

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Portrait of a Man, End of second–beginning of first century BCE, bronze, glass paste, black stone, 32.5 x 22 x 22 cm. Athens, National Archaeological Museum.

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Portrait of a Bearded Man, c. 150 BCE, marble, 40.7 x 25 x 31.7 cm. Malibu, J. Paul Getty Museum.

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Head of a Votive Statue, 375–350 BCE, bronze, 24.3 x 15.5 x 15.5 cm.London, The British Museum.

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Portrait of a Man, Late fourth–third century BCE, bronze, copper, glass paste, 26.8 x 21.8 x 23.5 cm. Paris, Bibliothèque nationale de France.

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Portrait Statue of a Young Ephebe, First half of the first century BCE, bronze, with base 140 x 57.2 x 45.1 cm. Heraklion, Archaeological Museum.

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Portrait Statue of an Aristocratic Boy, Augustan period (27 BCE–14 CE), bronze, 132.4 x 50.8 x 41.9 cm. New York, The Metropolitan Museum of Art.

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Portrait of a Man, First century BCE, bronze, 43 x 26 x 25 cm. Naples, Museo Archeologico Nazionale.

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Bust of a Man (Lucius Calpurnius Piso Caesoninus Pontifex), Late first century BCE–early first century CE, 46 x 28 x 23 cm. Naples, Museo Archeologico Nazionale.

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Portrait of a Man, 50–25 BCE, bronze, copper, marble, 32 x 22 x 22 cm h. 22.5 cm (head). Copenaghen, Ny Carlsberg Glyptotek.

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Statue of an Athlete (Apoxyomenos from Ephesos), 1–50 CE, bronze, 205.4 x 78.7 x 77.5 cm. Vienna, Kunsthistorisches Museum.

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Head of an Athlete (Ephesos Apoxyomenos type), Second century BCE–first century CE, bronze, 29.2 x 21 x 27.3 cm h. 51.4 cm with base. Fort Worth, Kimbell Art Museum.

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Statue of an Athlete (Ephesos Apoxyomenos type), Second century CE, marble, h. 193 cm. Florence, Galleria degli Uffizi.

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Torso of an Athlete (Ephesos Apoxyomenos type), First century CE, basanite, h. 110 cm. Castelgandolfo, Musei Vaticani, Villa Pontificia, Antiquarium.

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Herm of Dionysos (Getty Herm), Workshop of Boëthos of Kalchedon (attributed), Second century BCE, bronze, copper, calcitic stone, 103.5 x 23.5 x 19.5 cm. Malibu, J. Paul Getty Museum.

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Athena (Minerva of Arezzo), 300–270 BCE, bronze, copper, 155 x 50 x 50 cm. Florence, Museo Archeologico Nazionale.

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Medallion with the Bust of Athena, c. 150 BCE, bronze, white glass paste, 27.2 x 27.1 x 19 cm. Thessaloniki, Archaeological Museum.

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Head of Aphrodite (?), First century BCE, bronze, 37x 30.5 x 29 cm. London, The British Museum.

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Statue of Apollo (Piombino Apollo), 120–100 BCE, bronze, copper, silver, 117 x 42 x 42 cm. Paris, Musée du Louvre.

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Statue of Apollo (Kouros), First century BCE–first century CE, bronze, copper, bone, dark stone, glass, 128 x 33 x 38 cm. Pompeii, Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia.

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Torso of a Youth (The Vani Torso), Second century BCE, bronze, 105 x 45 x 25 cm. Tbilisi, Georgian National Museum.

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Herm Bust of the Doryphoros, Apollonios (active late first century BCE), Late first century BCE, bronze, 58 x 66 x 27 cm. Naples, Museo Archeologico Nazionale.

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Ephebe (Idolino from Pesaro), c. 30 BCE, bronze, copper, lead, h. 148 cm h. 300 cm with base. Florence, Museo Archeologico Nazionale.

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Bust of an Ephebe (Beneventum Head), c. 50 BCE, bronze, copper, 33 x 23 x 20 cm. Paris, Musée du Louvre.

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Spinario (Spinario Castellani), c. 25–50 CE, marble, cm 69 x 40,5 x 35. London, The British Museum.

https://francescarachelvalle.wordpress.com/2015/03/15/firenze-potere-e-pathos-bronzi/

http://alaintruong.canalblog.com/archives/2015/03/14/31700771.html

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Found statue of Minerva, the mythical goddess described in the Aeneid’

Giacobbe Giusti, ‘Found  statue of Minerva, the mythical goddess described in the Aeneid’

 

 

 

An extraordinary discovery to these days in Salento. Researchers may have found the statue of Minerva, the goddess told by Virgil in the Aeneid. The statue was found in the historic center of the city of Castro, at a depth of three meters under the ground, the archaeological team led by Amedeo Galati, who for six years working on the site. History and myth intertwine again. Below is the image gallery.

The work dates back presumably to the fourth century BC and may represent the goddess Minerva, thus confirming the hypothesis of the discoverers of the find, although the format for short kilt that would assume that this is un’Artemide. In this connection it will be useful the investigations carried out in the near future, in collaboration with the Superintendence of Archaeological Heritage, the University of Salento and the City of Castro. Kept three meters from the ground to the center of Castro, the statue is devoid of the head and other anatomical details, but shows exceptional traces of purple. The continuing discoveries: archaeologists have discovered also the phalanx of a finger and arm, and we hope to find out in time the other elements missing. The measurements of the statue in its original and not damaged had to be impressive, it is estimated about 4 meters.

Crediti Fotografie: Pasquale Rizzo

Il punto esatto dove è stata rinvenuta la statuaThe exact spot where it was found the statue

 

In addition to the historical side of the story the discovery reopens an old debate about taste location of the place that was home to the myth of Aeneas. As informs leccenews24, who is constantly following the developments on the discovery, excavation, financed by the European Union, will continue under the supervision of the University of Salento and the Superintendence for Cultural Heritage.

If that Aeneas is a legend or not does not matter, the discovery now allows us to date and circumscribe a place really existed and described more than two thousand years ago, linked to the most fascinating episodes narrated in the Aeneid: the return of the Trojan hero in Italy .

http://www.ufoonline.it/2015/07/05/statua-di-minerva-eneide/

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

Giacobbe Giusti,  ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

Salento, la dea di 4 metri sul luogo dello sbarco di Enea

The “fortress with the temple of Minerva”, where according to Virgil Aeneas landed after the fall of Troy, could be in Salento. In recent days in Castro a group of archaeologists led by Amedeo Galati has found a mutilated statue female large. The work dates back presumably to the fourth century BC and may represent the goddess Minerva, thus confirming the hypothesis of the discoverers of the find, although the format for short kilt that would assume that this is un’Artemide. In this connection it will be useful the investigations carried out in the near future, in collaboration with the Superintendence of Archaeological Heritage, the University of Salento and the City of Castro. Kept three meters from the ground to the center of Castro, the statue is devoid of the head and other anatomical details, but shows exceptional traces of purple. The continuing discoveries: archaeologists have discovered also the phalanx of a finger and arm, and we hope to find out in time the other elements missing. If it were possible to reassemble the statue would be at least four meters high (text by Lorenzo Madaro, photos of Pasquale Rizzo)

http://bari.repubblica.it/cronaca/2015/07/04/foto/salento_scoperto_il_busto_di_minerva_cantato_nell_eneide-118334961/1/#1

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Minerva

This article is about the Roman goddess. For other uses, see Minerva .
Minerva
Goddess of poetry, medicine, wisdom, commerce, weaving, crafts and magic.
Member of the Capitoline Triad
Minerva-Vedder-Highsmith-detail-1.jpeg

Mosaic of the Minerva of Peace
Animals Owl of Minerva
Parents Jupiter and Metis
Greek equivalent Athena
Etruscan equivalent Menrva

Minerva (/mɪˈnɜr.və/; Latin: [mɪˈnɛr.wa]; Etruscan: Menrva) was the Roman goddess of wisdom and sponsor of arts, trade, and strategy. She was born with weapons from the head of Jupiter.[1] After impregnating the titaness Metis Jupiter recalled a prophecy that his own child would overthrow him. Fearing that their child would grow stronger than him and rule the Heavens in his place, Jupiter swallowed Metis whole. The titaness forged weapons and armor for her child while within the father-god, and the constant pounding and ringing gave him a headache. To relieve the pain, Vulcan used a hammer to split Jupiter’s head and, from the cleft, Minerva emerged, whole, adult, and bearing her mother’s weapons and armor. From the 2nd century BC onwards, the Romans equated her with the Greek goddessAthena.[2] She was the virgin goddess of music, poetry, medicine, wisdom, commerce, weaving, crafts, and magic.[3] She is often depicted with her sacred creature, an owl usually named as the “owl of Minerva“,[4] which symbolizes that she is connected to wisdom.

Etruscan Menrva

Main article: Menrva

Stemming from an Italic moon goddess *Meneswā (‘She who measures’), the Etruscans adopted the inherited Old Latin name, *Menerwā, thereby calling her Menrva. It is assumed that her Roman name, Minerva, is based on this Etruscan mythology, Minerva was the goddess of wisdom, war, art, schools and commerce. She was the Etruscan counterpart to Greek Athena. Like Athena, Minerva was born from the head of her father, Jupiter (Greek Zeus).

By a process of folk etymology, the Romans could have linked her foreign name to the rootmen- in Latinwords such as mens meaning “mind”, perhaps because one of her aspects as goddess pertained to the intellectual. The word mens is built from the Proto-Indo-European root *men- ‘mind’ (linked with memory as in Greek Mnemosyne/μνημοσύνη and mnestis/μνῆστις: memory, remembrance, recollection, manush in Sanskrit meaning mind).

Worship in Rome

Raised-relief image of Minerva on a Roman gilt silver bowl, 1st century BC
Temple of Minerva in Sbeitla, Tunisia

Minerva was part of a holy triad with Tinia and Uni, equivalent to the Roman Capitoline Triad of Jupiter-Juno-Minerva. Minerva was the daughter of Jupiter.

As Minerva Medica, she was the goddess of medicine and doctors. As Minerva Achaea, she was worshipped at Lucera in Apulia where votive gifts and arms said to be those of Diomedes were preserved in her temple.[5][6]

A head of “Sulis-Minerva” found in the ruins of the Roman baths in Bath

In Fasti III, Ovid called her the “goddess of a thousand works”. Minerva was worshiped throughout Italy, and when she eventually became equated with the Greek goddess Athena, she also became a goddess of war, although in Rome her warlike nature was less emphasized.[7] Her worship was also taken out to the empire — in Britain, for example, she was conflated with the local wisdom goddess Sulis.

The Romans celebrated her festival from March 19 to March 23 during the day which is called, in the neuter plural, Quinquatria, the fifth after the Ides of March, the nineteenth, an artisans‘ holiday . A lesser version, the Minusculae Quinquatria, was held on the Ides of June, June 13, by the flute-players, who were particularly useful to religion. In 207 BC, a guild of poets and actors was formed to meet and make votive offerings at the temple of Minerva on the Aventine Hill. Among others, its members included Livius Andronicus. The Aventine sanctuary of Minerva continued to be an important center of the arts for much of the middle Roman Republic.

Minerva was worshipped on the Capitoline Hill as one of the Capitoline Triad along with Jupiter and Juno, at the Temple of Minerva Medica, and at the “Delubrum Minervae” a temple founded around 50 BC by Pompey on the site now occupied by the church of Santa Maria sopra Minerva facing the present-day Piazza della Minerva. When it was founded the emperor himself was present and was applauded and seen to be a god for this act.

Universities and educational establishments

As patron goddess of wisdom, Minerva frequently features in statuary, as an image on seals, and in other forms, at educational establishments.

https://en.wikipedia.org/wiki/Minerva

http://www.giacobbegiusti.com

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Di: Palazzo Strozzi (Firenze)

Florence – Heureux les tempêtes et les naufrages qui ont conservé ces quelques unes des merveilles de l’art de la sculpture en bronze. La mer nous a donné non seulement le Bronzes de Riace, chefs-d’œuvre de grec classique, mais aussi de nombreuses autres œuvres plus ou moins intactes les siècles qui ont vu le grand projet impérial d’Alexandre le Grand. Nous sommes dans une période de grandes contaminations créatifs entre l’Occident et l’Orient grec mésopotamienne et perse, un vaste territoire qui a fait jusqu’à l’Indus pour limiter la force expansive du Macédonien. Des siècles d’expérimentation artistique nouvelle, séries de Périclès classique, que l’exposition “Puissance et Pathos, bronzes du monde hellénistique “, ouvert au public depuis hier 14 Mars au Palazzo Strozzi, documents avec 50 parmi les mieux conservés de bronze fonctionne dans les grands musées du monde: par Archéologique de Florence, Naples, Athènes, Thessalonique, Crète, al British Museum, Prado, la Galerie des Offices, il Metropolitan di New York, Louvre, le Kunsthistorisches Museum de Vienne et le Vatican.

 

 

L’impact de la rencontre avec ces pièces en grande partie retournés de la mer est vaste intellectuel et émotionnel. Jusqu’à présent, il ne était pas possible de les voir tous ensemble, comme à Florence, triés dans une exposition cohérente et bien illustré par les légendes (sept sections thématiques, divisé par sujet, changements de style et de sensibilité artistique et le potentiel de la technique de bronze) sous le chiffre conceptuelle exprimées droit: puissance et pathos. Décédé à la force d’innovation des cités grecques, commence L’impact de la rencontre avec ces pièces en grande partie retournés de la mer est vaste intellectuel et émotionnel. Jusqu’à présent, il ne était pas possible de les voir tous ensemble, comme à Florence, triés dans une exposition cohérente et bien illustré par les légendes (sept sections thématiques, divisé par sujet, changements de style et de sensibilité artistique et le potentiel de la technique de bronze) sous le chiffre conceptuelle exprimées droit: puissance et pathos. Décédé à la force d’innovation des cités grecques, commence l’ère des rois, ouverte Alexandrie aventure exceptionnelle. L’art abandonne le pouvoir archaïque de l’humanité qui a pris possession de son existence et de l’équilibre, en harmonie avec la divinité et de la nature, pour représenter l’image de la puissance héroïque et dramatique et, à la fois, les multiples facettes de la beauté qui devient de plus en plus une expression des émotions et des sentiments. Sentiments qui sont lus sur les visages de beaucoup de charme que celui de Diadoque, générale et héritier d’Alexandre (peut-être Démétrius Poliorcète) zone à cheval sur la quatrième et troisième siècles avant JC. têtes S portrait du premier siècle ou même le buste de Lucius Calpurnius Piso, le Pontife. Du point de vue de la compréhension technique et artistique, la pièce la plus intéressante est celle de ‘Apoxyomenos, l’athlète strigile, l’outil pour nettoyer le corps par la sueur, pas pris dans une fixité parfaite, mais le débit instantané de l’action. La statue complete conservé à Vienne est comparé à plusieurs répliques dans différents matériaux, comme la version en marbre Uffizi, ou pierre sombre. –

 

                                        Apoxyomenos (frontale)

La troisième section, dédiée à «corps idéaux, organismes extrêmes “, illustre les changements de style et la recherche de nouveaux sujets tirés de la vie quotidienne. La dynamique du corps est étudiée avec une grande précision de détails dans les personnages très différents de Kouroi classique puissante mais essentiellement immobiles, le modèle de qui retourne dans le goût fin de l’hellénisme. Reproduction peau parfaite, le mal rasé, Ride, la conception des muscles et les veines sont quelques-unes des possibilités que les subventions de bronze artiste

Organisée par Jens Daehner et le J. Paul Getty Museum de Los Angeles Kenneth Lapatin, L’exposition sera ouverte au Palazzo Strozzi jusqu’au 21 Juin. Ensuite, il déménager à Los Angeles (28 Juillet – 1 Novembre) de mettre fin à son voyage à la National Gallery of Art de Washington (6 Décembre – 20 Mars 2016).

– See more at: http://www.stamptoscana.it/articolo/cultura/bronzi-ellenistici-in-mostra-il-volto-del-potere-il-potere-dei-volti?lang=fr#sthash.VaEmpwzE.dpuf

 

Allestimento di Potere e pathos

http://www.giacobbegiusti.com

Giacobbe Giusti, Croatian Apoxyomenos

Giacobbe Giusti, Croatian Apoxyomenos

 

 File:Croatian Apoxyomenos Louvre n11.jpg
 

Statue of an athlete scraping himself or scraping his strigil.

Statue d’un athlète se raclant la peau ou raclant son strigile.

l’Apoxyomène de Croatie a été découvert en 1996 en mer Adriatique, remonté en 1999 et restauré jusqu’en 2005[19]. Son apparence est proche de l’Apoxyomène d’Éphèse et de la tête se trouvant au musée d’art Kimbell de Fort Worth (Texas). La particularité de l’Apoxyomène de Croatie est d’être pratiquement complet (il lui manque l’auriculaire de la main gauche), dans un état de conservation exceptionnel et d’avoir encore sa plinthe antique[20].

http://fr.wikipedia.org/wiki/Apoxyom%C3%A8ne

http://www.giacobbegiusti.com

Giacobbe Giusti, The Celts

Giacobbe Giusti, The Celts

Celts

This article is about the ancient and medieval peoples of Europe. For Celts of the present day, see Celts (modern). For other uses, see Celt (disambiguation).

Diachronic distribution of Celtic peoples:

  core Hallstatt territory, by the 6th century BC
  maximal Celtic expansion, by 275 BC
 Lusitanian area of Iberia where Celtic presence is uncertain
  the six Celtic nations which retained significant numbers of Celtic speakers into the Early Modern period
  areas where Celtic languages remain widely spoken today

The Wandsworth Shield-boss, in the plastic style, found in London

The Celts (/ˈkɛlts/, occasionally /ˈsɛlts/, see pronunciation of Celtic) were people in Iron Age and Medieval Europe who spoke Celtic languages and had cultural similarites,[1] although the relationship between ethnic, linguistic and cultural factors in the Celtic world remains uncertain and controversial.[2] The exact geographic spread of the ancient Celts is also disputed; in particular, the ways in which the Iron Age inhabitants of Great Britain and Ireland should be regarded as Celts has become a subject of controversy.[1][2][3][4]

The history of pre-Celtic Europe remains very uncertain. According to one theory, the common root of the Celtic languages, a language known as Proto-Celtic, arose in the Late Bronze Age Urnfield culture of Central Europe, which flourished from around 1200 BC.[5] In addition, according to a theory proposed in the 19th century, the first people to adopt cultural characteristics regarded as Celtic were the people of the Iron Age Hallstatt culture in central Europe (c. 800–450 BC), named for the rich grave finds in Hallstatt, Austria.[5][6] Thus this area is sometimes called the ‘Celtic homeland’. By or during the later La Tène period (c. 450 BC up to the Roman conquest), this Celtic culture was supposed to have expanded by diffusion or migration to the British Isles (Insular Celts), France and The Low Countries (Gauls), Bohemia, Poland and much of Central Europe, the Iberian Peninsula (Celtiberians, Celtici, Lusitanians and Gallaeci) and Italy (Canegrate, Golaseccans and Cisalpine Gauls)[7] and, following the Gallic invasion of the Balkans in 279 BC, as far east as central Anatolia (Galatians).[8]

The earliest undisputed direct examples of a Celtic language are the Lepontic inscriptions, beginning in the 6th century BC.[9] Continental Celtic languages are attested almost exclusively through inscriptions and place-names. Insular Celtic is attested beginning around the 4th century AD through Ogham inscriptions, although it was clearly being spoken much earlier. Celtic literary tradition begins with Old Irish texts around the 8th century. Coherent texts of Early Irish literature, such as the Táin Bó Cúailnge (The Cattle Raid of Cooley), survive in 12th-century recensions.

By the mid 1st millennium AD, with the expansion of the Roman Empire and the Great Migrations (Migration Period) of Germanic peoples, Celtic culture and Insular Celtic had become restricted to Ireland, the western and northern parts of Great Britain (Wales, Scotland, and Cornwall), the Isle of Man, and Brittany. Between the 5th and 8th centuries, the Celtic-speaking communities in these Atlantic regions emerged as a reasonably cohesive cultural entity. They had a common linguistic, religious, and artistic heritage that distinguished them from the culture of the surrounding polities.[10] By the 6th century, however, the Continental Celtic languages were no longer in wide use.

Insular Celtic culture diversified into that of the Gaels (Irish, Scottish and Manx) and the Brythonic Celts (Welsh, Cornish, and Bretons) of the medieval and modern periods. A modern “Celtic identity” was constructed as part of the Romanticist Celtic Revival in Great Britain, Ireland, and other European territories, such as Portugal and Spanish Galicia.[11] Today, Irish, Scottish Gaelic, Welsh, and Breton are still spoken in parts of their historical territories, and Cornish and Manx are undergoing a revival.

Names and terminology

Celtic stele from Galicia, 2nd century AD: “APANA·AMBO / LLI·
F(ilia)·CELTICA / SUPERTAM(arica)· /
(j) MIOBRI· / AN(norum
XXV·H(ic)·S(ita)·E(st)· / APANUS·FR(ater
F(aciendum)·C(uravit)”

Main article: Names of the Celts

The first recorded use of the name of Celts – as Κελτοί – to refer to an ethnic group was by Hecataeus of Miletus, the Greek geographer, in 517 BC,[12] when writing about a people living near Massilia (modern Marseille).[13] According to the testimony of Julius Caesar and Strabo, the Latin name Celtus (pl. Celti or Celtae) and the Greek Κέλτης (pl. Κέλται) or Κελτός (pl. Κελτοί) were borrowed from a native Celtic tribal name.[14][15] Pliny the Elder cited its use in Lusitania as a tribal surname,[16] which epigraphic findings have confirmed.[17][18]

Latin Gallus (pl. Galli) might also stem from a Celtic ethnic or tribal name originally, perhaps one borrowed into Latin during the Celtic expansions into Italy during the early 5th century BC. Its root may be the Common Celtic *galno, meaning “power, strength”, hence Old Irish gal “boldness, ferocity” and Welsh gallu “to be able, power”. The tribal names of Gallaeci and the Greek Γαλάται (Galatai, Latinized Galatae; see the region Galatia in Anatolia) most probably go with the same origin.[19] The suffix -atai might be an Ancient Greek inflection.[20] Classical writers did not apply the terms Κελτοί or “Celtae” to the inhabitants of Britain or Ireland,[1][2][3] which has led to some scholars preferring not to use the term for the Iron Age inhabitants of those islands.[1][2][3][4]

Celt is a modern English word, first attested in 1707, in the writing of Edward Lhuyd, whose work, along with that of other late 17th-century scholars, brought academic attention to the languages and history of the early Celtic inhabitants of Great Britain.[21] The English form Gaul (first recorded in the 17th century) and Gaulish come from the French Gaule and Gaulois, a borrowing from Frankish *Walholant, “Land of foreigners or Romans” (see Gaul: Name), the root of which is Proto-Germanic *walha-, “foreigner”’, or “Celt”, whence the English word Welsh (Anglo-Saxon wælisċ < *walhiska-), South German welsch, meaning “Celtic speaker”, “French speaker” or “Italian speaker” in different contexts, and Old Norse valskr, pl. valir, “Gaulish, French”). Proto-Germanic *walha is derived ultimately from the name of the Volcae,[22] a Celtic tribe who lived first in the South of Germany and emigrated then to Gaul.[23] This means that English Gaul, despite its superficial similarity, is not actually derived from Latin Gallia (which should have produced **Jaille in French), though it does refer to the same ancient region.

Celtic refers to a family of languages and, more generally, means “of the Celts” or “in the style of the Celts”. Several archaeological cultures are considered Celtic in nature, based on unique sets of artefacts. The link between language and artefact is aided by the presence of inscriptions.[24] (See Celtic (disambiguation) for other applications of the term.) The relatively modern idea of an identifiable Celtic cultural identity or “Celticity” generally focuses on similarities among languages, works of art, and classical texts,[25] and sometimes also among material artefacts, social organisation, homeland and mythology.[26] Earlier theories held that these similarities suggest a common racial origin for the various Celtic peoples, but more recent theories hold that they reflect a common cultural and language heritage more than a genetic one. Celtic cultures seem to have been widely diverse, with the use of a Celtic language being the main thing they have in common.[1]

Today, the term Celtic generally refers to the languages and respective cultures of Ireland, Scotland, Wales, Cornwall, the Isle of Man, and Brittany, also known as the Celtic nations. These are the regions where four Celtic languages are still spoken to some extent as mother tongues. The four are Irish Gaelic, Scottish Gaelic, Welsh, and Breton; plus two recent revivals, Cornish (one of the Brythonic languages) and Manx (one of the Goidelic languages). There are also attempts to reconstruct the Cumbric language (a Brythonic language from North West England and South West Scotland). Celtic regions of Continental Europe are those whose residents claim a Celtic heritage, but where no Celtic language has survived; these areas include the western Iberian Peninsula, i.e. Portugal, and north-central Spain (Galicia, Asturias, Cantabria, Castile and León, Extremadura).[27] (See also: Modern Celts.)

Continental Celts are the Celtic-speaking people of mainland Europe and Insular Celts are the Celtic-speaking peoples of the British and Irish islands and their descendants. The Celts of Brittany derive their language from migrating insular Celts, mainly from Wales and Cornwall, and so are grouped accordingly.[28]

Origins

Overview of the Hallstatt and La Tène cultures:

  The core Hallstatt territory (HaC, 800 BC) is shown in solid yellow,
  the eventual area of Hallstatt influence (by 500 BC, HaD) in light yellow.
  The core territory of the La Tène culture (450 BC) is shown in solid green,
  the eventual area of La Tène influence (by 250 BC) in light green.
Main articles: Pre-Celtic and Celticization

The territories of some major Celtic tribes of the late La Tène period are labelled.

Reconstruction of a late La Tène period settlement in Altburg near Bundenbach (1st century BC).
Reconstruction of a late La Tène period settlement in Havranok, Slovakia (2nd–1st century BC).

The Celtic languages form a branch of the larger Indo-European family. By the time speakers of Celtic languages enter history around 400 BC, they were already split into several language groups, and spread over much of Western continental Europe, the Iberian Peninsula, Ireland and Britain.

Some scholars think that the Urnfield culture of Western Middle Europe represents an origin for the Celts as a distinct cultural branch of the Indo-European family.[5] This culture was preeminent in central Europe during the late Bronze Age, from c. 1200 BC until 700 BC, itself following the Unetice and Tumulus cultures. The Urnfield period saw a dramatic increase in population in the region, probably due to innovations in technology and agricultural practices. The Greek historian Ephoros of Cyme in Asia Minor, writing in the 4th century BC, believed that the Celts came from the islands off the mouth of the Rhine and were “driven from their homes by the frequency of wars and the violent rising of the sea”.

The spread of iron-working led to the development of the Hallstatt culture directly from the Urnfield (c. 700 to 500 BC). Proto-Celtic, the latest common ancestor of all known Celtic languages, is considered by this school of thought to have been spoken at the time of the late Urnfield or early Hallstatt cultures, in the early 1st millennium BC. The spread of the Celtic languages to Iberia, Ireland and Britain would have occurred during the first half of the 1st millennium BC, the earliest chariot burials in Britain dating to c. 500 BC. Other scholars see Celtic languages as covering Britain and Ireland, and parts of the Continent, long before any evidence of “Celtic” culture is found in archaeology. Over the centuries the language(s) developed into the separate Celtiberian, Goidelic and Brythonic languages.

The Hallstatt culture was succeeded by the La Tène culture of central Europe, which was overrun by the Roman Empire, though traces of La Tène style are still to be seen in Gallo-Roman artefacts. In Britain and Ireland La Tène style in art survived precariously to re-emerge in Insular art. Early Irish literature casts light on the flavour and tradition of the heroic warrior elites who dominated Celtic societies. Celtic river-names are found in great numbers around the upper reaches of the Danube and Rhine, which led many Celtic scholars to place the ethnogenesis of the Celts in this area. A recent book about an ancient site in northern Germany, concludes that it was the most significant Celtic sacred site in Europe. It is called the “Externsteine”, the strange carvings and astronomical orientation of the chambers of this site are presented as solid evidence for a Celtic origin. In view of the large number of sites excavated in recent years in Germany, and formally defined as ‘Celtic”, Pryor’s research appears to be on solid ground. (Damien Pryor, The Externsteine, 2011, Threshold Publishing, ISBN 978-0-9581341-7-0 )

Diodorus Siculus and Strabo both suggest that the heartland of the people they called Celts was in southern France. The former says that the Gauls were to the north of the Celts, but that the Romans referred to both as Gauls (in linguistic terms the Gauls were certainly Celts). Before the discoveries at Hallstatt and La Tène, it was generally considered that the Celtic heartland was southern France, see Encyclopædia Britannica for 1813.

Linguistic evidence

Main article: Proto-Celtic language
Further information: Celtic toponymy

The Proto-Celtic language is usually dated to the Late Bronze Age.[5] The earliest records of a Celtic language are the Lepontic inscriptions of Cisalpine Gaul (Northern Italy), the oldest of which still predate the La Tène period. Other early inscriptions, appearing from the early La Tène period in the area of Massilia, are in Gaulish, which was written in the Greek alphabet until the Roman conquest. Celtiberian inscriptions, using their own Iberian script, appear later, after about 200 BC. Evidence of Insular Celtic is available only from about 400 AD, in the form of Primitive Irish Ogham inscriptions.

Besides epigraphical evidence, an important source of information on early Celtic is toponymy.[29]

Archaeological evidence

Map of the Hallstatt Culture

Further information: Iron Age Europe

Before the 19th century, scholars[who?] assumed that the original land of the Celts was west of the Rhine, more precisely in Gaul, because it was where Greek and Roman ancient sources, namely Caesar, located the Celts. This view was challenged by the 19th-century historian Marie Henri d’Arbois de Jubainville[citation needed] who placed the land of origin of the Celts east of the Rhine. Jubainville based his arguments on a phrase of Herodotus’ that placed the Celts at the source of the Danube, and argued that Herodotus had meant to place the Celtic homeland in southern Germany. The finding of the prehistoric cemetery of Hallstat in 1846 by Johan Ramsauer and the finding of the archaeological site of La Tène by Hansli Kopp in 1857 drew attention to this area.

The concept that the Hallstatt and La Tène cultures could be seen not just as chronological periods but as “Culture Groups”, entities composed of people of the same ethnicity and language, started to grow by the end of the 19th century. In the beginning of the 20th century the belief that those “Culture Groups” could be thought in racial or ethnic terms was strongly held by Gordon Childe whose theory was influenced by the writings of Gustaf Kossinna.[30] Along the 20th century the racial ethnic interpretation of La Tène culture rooted much stronger, and any findings of “La Tène culture” and “flat inhumation cemeteries” were directly associated with the celts and the Celtic language.[31] The Iron Age Hallstatt (c. 800–475 BC) and La Tène (c. 500–50 BC) cultures are typically associated with Proto-Celtic and Celtic culture.[32]

In various[clarification needed] academic disciplines the Celts were considered a Central European Iron Age phenomenon, through the cultures of Hallstatt and La Tène. However, archaeological finds from the Halstatt and La Tène culture were rare in the Iberian Peninsula, in southwestern France, northern and western Britain, southern Ireland and Galatia[33][34] and did not provide enough evidence for a cultural scenario comparable to that of Central Europe. It is considered equally difficult to maintain that the origin of the Peninsular Celts can be linked to the preceding Urnfield culture, leading to a more recent approach that introduces a ‘proto-Celtic’ substratum and a process of Celticisation having its initial roots in the Bronze Age Bell Beaker culture.[35]

Expansion of the Celtic culture in the 3rd century BC according to Francisco Villar[36]

The La Tène culture developed and flourished during the late Iron Age (from 450 BC to the Roman conquest in the 1st century BC) in eastern France, Switzerland, Austria, southwest Germany, the Czech Republic, Slovakia and Hungary. It developed out of the Hallstatt culture without any definite cultural break, under the impetus of considerable Mediterranean influence from Greek, and later Etruscan civilisations. A shift of settlement centres took place in the 4th century.

The western La Tène culture corresponds to historical Celtic Gaul. Whether this means that the whole of La Tène culture can be attributed to a unified Celtic people is difficult to assess; archaeologists have repeatedly concluded that language, material culture, and political affiliation do not necessarily run parallel. Frey notes that in the 5th century, “burial customs in the Celtic world were not uniform; rather, localised groups had their own beliefs, which, in consequence, also gave rise to distinct artistic expressions”.[37] Thus, while the La Tène culture is certainly associated with the Gauls, the presence of La Tène artefacts may be due to cultural contact and does not imply the permanent presence of Celtic speakers.

Historical evidence

Polybius published a history of Rome about 150 BC in which he describes the Gauls of Italy and their conflict with Rome. Pausanias in the 2nd century AD says that the Gauls “originally called Celts”, “live on the remotest region of Europe on the coast of an enormous tidal sea”. Posidonius described the southern Gauls about 100 BC. Though his original work is lost it was used by later writers such as Strabo. The latter, writing in the early 1st century AD, deals with Britain and Gaul as well as Hispania, Italy and Galatia. Caesar wrote extensively about his Gallic Wars in 58–51 BC. Diodorus Siculus wrote about the Celts of Gaul and Britain in his 1st-century history.

The world according to Herodotus

Borders of the region known as Celtica at time of the Roman conquest c. 54 BC; they soon renamed it Gallia Lugdunensis.

Minority views

Myles Dillon and Nora Kershaw Chadwick accepted that “the Celtic settlement of the British Isles” might have to be dated to the Beaker period concluding that “There is no reason why so early a date for the coming of the Celts should be impossible”.[38][39] Martín Almagro Gorbea[40] proposed the origins of the Celts could be traced back to the 3rd millennium BC, seeking the initial roots in the Bell Beaker culture, thus offering the wide dispersion of the Celts throughout western Europe, as well as the variability of the different Celtic peoples, and the existence of ancestral traditions an ancient perspective. Using a multidisciplinary approach Alberto J. Lorrio and Gonzalo Ruiz Zapatero reviewed and built on Almagro Gorbea’s work to present a model for the origin of the Celtic archaeological groups in the Iberian Peninsula (Celtiberian, Vetton, Vaccean, the Castro Culture of the northwest, Asturian-Cantabrian and Celtic of the southwest) and proposing a rethinking the meaning of “Celtic” from a European perspective.[41] More recently, John Koch[42] and Barry Cunliffe[43] have suggested that Celtic origins lie with the Atlantic Bronze Age, roughly contemporaneous with the Hallstatt culture but positioned considerably to the West, extending along the Atlantic coast of Europe.

Stephen Oppenheimer[44] points out that the only written evidence that locates the Keltoi near the source of the Danube (i.e. in the Hallstatt region) is in the Histories of Herodotus. However, Oppenheimer shows that Herodotus seemed to believe the Danube rose near the Pyrenees, which would place the Ancient Celts in a region which is more in agreement with later Classical writers and historians (i.e. in Gaul and the Iberian peninsula).

Distribution

Continental Celts

Gaul

Main article: Gauls

The Romans knew the Celts then living in what became present-day France as Gauls. The territory of these peoples probably included the Low Countries, the Alps and present-day northern Italy. Julius Caesar in his Gallic Wars described the 1st-century BC descendants of those Gauls.

Eastern Gaul became the centre of the western La Tène culture. In later Iron Age Gaul, the social organisation resembled that of the Romans, with large towns. From the 3rd century BC the Gauls adopted coinage, and texts with Greek characters from southern Gaul have survived from the 2nd century BC.

Greek traders founded Massalia about 600 BC, with some objects (mostly drinking ceramics) being traded up the Rhone valley. But trade became disrupted soon after 500 BC and re-oriented over the Alps to the Po valley in the Italian peninsula. The Romans arrived in the Rhone valley in the 2nd century BC and encountered a mostly Celtic-speaking Gaul. Rome wanted land communications with its Iberian provinces and fought a major battle with the Saluvii at Entremont in 124–123 BC. Gradually Roman control extended, and the Roman Province of Gallia Transalpina developed along the Mediterranean coast.[45][46] The Romans knew the remainder of Gaul as Gallia Comata – “Hairy Gaul”.

In 58 BC the Helvetii planned to migrate westward but Julius Caesar forced them back. He then became involved in fighting the various tribes in Gaul, and by 55 BC had overrun most of Gaul. In 52 BC Vercingetorix led a revolt against the Roman occupation but was defeated at the siege of Alesia and surrendered.

Following the Gallic Wars of 58–51 BC, Caesar’s Celtica formed the main part of Roman Gaul, becoming the province of Gallia Lugdunensis. This territory of the Celtic tribes was bounded on the south by the Garonne and on the north by the Seine and the Marne.[47] The Romans attached large swathes of this region to neighboring provinces Belgica and Aquitania, particularly under Augustus.

Place- and personal-name analysis and inscriptions suggest that the Gaulish Celtic language was spoken over most of what is now France.[48][49]

Main language areas in Iberia, showing Celtic languages in beige, c. 300 BC.

Iberia

Main articles: Celtiberians and Gallaeci

Until the end of the 19th century, traditional scholarship dealing with the Celts did acknowledge their presence in the Iberian Peninsula[50][51] as a material culture relatable to the Hallstatt and La Tène cultures. However, since according to the definition of the Iron Age in the 19th century Celtic populations were supposedly rare in Iberia and did not provide a cultural scenario that could easily be linked to that of Central Europe, the presence of Celtic culture in that region was generally not fully recognised. Three divisions of the Celts of the Iberian Peninsula were assumed to have existed: the Celtiberians in the mountains near the centre of the peninsula, the Celtici in the southwest, and the Celts in the northwest (in Gallaecia and Asturias).[52]

Modern scholarship, however, has clearly proven that Celtic presence and influences were most substantial in what is today Spain and Portugal (with perhaps the highest settlement saturation in Western Europe), particularly in the central, western and northern regions.[53][54] The Celts in Iberia were divided into two main archaeological and cultural groups,[55] even though that division is not very clear:

Triskelion and spirals on a Galician torc terminal (Museu do castro de Santa Tegra).

The origins of the Celtiberians might provide a key to understanding the Celticisation process in the rest of the Peninsula. The process of Celticisation of the southwestern area of the peninsula by the Keltoi and of the northwestern area is, however, not a simple Celtiberian question. Recent investigations about the Callaici[62] and Bracari[63] in northwestern Portugal are providing new approaches to understanding Celtic culture (language, art and religion) in western Iberia.[64]

John T. Koch of Aberystwyth University suggested that Tartessian inscriptions of the 8th century BC might be classified as Celtic. This would mean that Tartessian is the earliest attested trace of Celtic by a margin of more than a century.[65]

Alps and Italy

Peoples of northern Italy during the 4th to 3rd centuries BC.

Further information: History of the Alps

The Canegrate culture (13th century BC) represents the first migratory wave of the proto-Celtic[66] population from the northwest part of the Alps that, through the Alpine passes, had already penetrated and settled in the western Po valley between Lake Maggiore and Lake Como (Scamozzina culture). They brought a new funerary practice—cremation—which supplanted inhumation.

It had been known for some time that there was an early, Celtic (Lepontic, sometimes called Cisalpine Celtic) presence in Northern Italy since inscriptions dated to the 6th century BC have been found there.

The site of Golasecca, where the Ticino exits from Lake Maggiore, was particularly suitable for long-distance exchanges, in which Golaseccans acted as intermediaries between Etruscans and the Halstatt culture of Austria, supported on the all-important trade in salt.

Ligures lived in Northern Mediterranean Coast straddling South-east French and North-west Italian coasts, including parts of Tuscany, Elba island and Corsica. Xavier Delamarre argues that Ligurian was a Celtic language, similar to, but not the same as Gaulish.[67][68] The Ligurian-Celtic question is also discussed by Barruol (1999). Ancient Ligurian is either listed as Celtic (epigraphic),[69] or Para-Celtic (onomastic).[70]

In 391 BC Celts “who had their homes beyond the Alps streamed through the passes in great strength and seized the territory that lay between the Apennine mountains and the Alps” according to Diodorus Siculus. The Po Valley and the rest of northern Italy (known to the Romans as Cisalpine Gaul) was inhabited by Celtic-speakers who founded cities such as Milan.[71] Later the Roman army was routed at the battle of Allia and Rome was sacked in 390 BC by the Senones.

 

The oldest known Lepontic inscription (from Castelletto sopra Ticino), dated ca. 575 BC.

Clear La Tène Celtic presence in Italy was found as far south as among the Umbri, who were thought to be descended from an ancient Gaulish tribe by many Roman writers, and related to the Insubres and the Ambrones.[72][73]

At the battle of Telamon in 225 BC a large Celtic army was trapped between two Roman forces and crushed.

The defeat of the combined Samnite, Celtic and Etruscan alliance by the Romans in the Third Samnite War sounded the beginning of the end of the Celtic domination in mainland Europe, but it was not until 192 BC that the Roman armies conquered the last remaining independent Celtic kingdoms in Italy.

Eastward expansion

Celtic tribes in S.E.Europe, c. 1st century BC (in purple)

The Celts also expanded down the Danube river and its tributaries. One of the most influential tribes, the Scordisci, had established their capital at Singidunum in 3rd century BC, which is present-day Belgrade, Serbia. The concentration of hill-forts and cemeteries shows a density of population in the Tisza valley of modern-day Vojvodina, Serbia, Hungary and into Ukraine. Expansion into Romania was however blocked by the Dacians.

Further south, Celts settled in Thrace (Bulgaria), which they ruled for over a century, and Anatolia, where they settled as the Galatians (see also: Gallic Invasion of Greece). Despite their geographical isolation from the rest of the Celtic world, the Galatians maintained their Celtic language for at least 700 years. St Jerome, who visited Ancyra (modern-day Ankara) in 373 AD, likened their language to that of the Treveri of northern Gaul.

For Venceslas Kruta, Galatia in central Turkey was an area of dense Celtic settlement.

The Boii tribe gave their name to Bohemia, Bologna and possibly Bavaria, and Celtic artefacts and cemeteries have been discovered further east in what is now Poland and Slovakia. A Celtic coin (Biatec) from Bratislava‘s mint was displayed on the old Slovak 5-crown coin.

As there is no archaeological evidence for large-scale invasions in some of the other areas, one current school of thought holds that Celtic language and culture spread to those areas by contact rather than invasion.[74] However, the Celtic invasions of Italy and the expedition in Greece and western Anatolia, are well documented in Greek and Latin history.

There are records of Celtic mercenaries in Egypt serving the Ptolemies. Thousands were employed in 283–246 BC and they were also in service around 186 BC. They attempted to overthrow Ptolemy II.

Insular Celts

Principal sites in Roman Britain, with indication of tribal territories.

Main article: Insular Celts

All Celtic languages extant today belong to the Insular Celtic languages, derived from the Celtic languages spoken in Iron Age Britain and Ireland.[75] They were separated into a Goidelic and a Brythonic branch from an early period.

Linguists have been arguing for many years whether a Celtic language came to Britain and Ireland and then split or whether there were two separate “invasions”. The older view of prehistorians was that the Celtic influence in the British Isles was the result of successive invasions from the European continent by diverse Celtic-speaking peoples over the course of several centuries, accounting for the P-Celtic vs. Q-Celtic isogloss. This view has fallen into disfavour,[dubious ] to be replaced by the model of a phylogenetic Insular Celtic dialect group.

In the 19th and 20th centuries, scholars commonly dated the “arrival” of Celtic culture in Britain (via an invasion model) to the 6th century BC, corresponding to archaeological evidence of Hallstatt influence and the appearance of chariot burials in what is now England. Some Iron Age migration does seem to have occurred but the nature of the interactions with the indigenous populations of the isles is unknown. In the late Iron Age. According to this model, by about the 6th century (Sub-Roman Britain), most of the inhabitants of the Isles were speaking Celtic languages of either the Goidelic or the Brythonic branch. Since the late 20th century, a new model has emerged (championed by archaeologists such as Barry Cunliffe and Celtic historians such as John T. Koch) which places the emergence of Celtic culture in Britain much earlier, in the Bronze Age, and credits its spread not to invasion, but due to a gradual emergence in situ out of Proto-Indo-European culture (perhaps introduced to the region by the Bell Beaker People, and enabled by an extensive network of contacts that existed between the peoples of Britain and Ireland and those of the Atlantic seaboard.[76][77]

It should be noted, however, that Classical writers did not apply the terms Κελτοί or “Celtae” to the inhabitants of Britain or Ireland,[1][2][3] leading a number of scholars to question the use of the term Celt to describe the Iron Age inhabitants of those islands.[1][2][3][4] The first historical account of the islands of Britain and Ireland was by Pytheas, a Greek from the city of Massalia, who around 310-306 BC, sailed around what he called the “Pretannikai nesoi”, which can be translated as the “Pretannic Isles”.[78] In general, classical writers referred to the inhabitants of Britain as Pretannoi or Britanni.[79] Strabo, writing in the Roman era, clearly distinguished between the Celts and Britons.[80]

Romanisation

Main article: Gallo-Roman culture

The Roman republic and its neighbours in 58 BC.

Under Caesar the Romans conquered Celtic Gaul, and from Claudius onward the Roman empire absorbed parts of Britain. Roman local government of these regions closely mirrored pre-Roman tribal boundaries, and archaeological finds suggest native involvement in local government.

The native peoples under Roman rule became Romanised and keen to adopt Roman ways. Celtic art had already incorporated classical influences, and surviving Gallo-Roman pieces interpret classical subjects or keep faith with old traditions despite a Roman overlay.

The Roman occupation of Gaul, and to a lesser extent of Britain, led to Roman-Celtic syncretism. In the case of the continental Celts, this eventually resulted in a language shift to Vulgar Latin, while the Insular Celts retained their language.

There was also considerable cultural influence exerted by Gaul on Rome, particularly in military matters and horsemanship, as the Gauls often served in the Roman cavalry. The Romans adopted the Celtic cavalry sword, the spatha, and Epona, the Celtic horse goddess.[81][82]

Society

To the extent that sources are available, they depict a pre-Christian Iron Age Celtic social structure based formally on class and kingship, although this may only have been a particular late phase of organization in Celtic societies. Patron-client relationships similar to those of Roman society are also described by Caesar and others in the Gaul of the 1st century BC.

In the main, the evidence is of tribes being led by kings, although some argue that there is also evidence of oligarchical republican forms of government eventually emerging in areas which had close contact with Rome. Most descriptions of Celtic societies portray them as being divided into three groups: a warrior aristocracy; an intellectual class including professions such as druid, poet, and jurist; and everyone else. In historical times, the offices of high and low kings in Ireland and Scotland were filled by election under the system of tanistry, which eventually came into conflict with the feudal principle of primogeniture in which succession goes to the first-born son.

Stone head from Mšecké Žehrovice, Czech Republic, wearing a torc, late La Tène culture.

The Dying Gaul, a Roman marble copy of a Hellenistic work of the late 3rd century BC Capitoline Museums, Rome

Little is known of family structure among the Celts. Patterns of settlement varied from decentralised to urban. The popular stereotype of non-urbanised societies settled in hillforts and duns,[83] drawn from Britain and Ireland (there are about 3,000 hill forts known in Britain)[84] contrasts with the urban settlements present in the core Hallstatt and La Tène areas, with the many significant oppida of Gaul late in the first millennium BC, and with the towns of Gallia Cisalpina.

Slavery, as practised by the Celts, was very likely similar to the better documented practice in ancient Greece and Rome.[85] Slaves were acquired from war, raids, and penal and debt servitude.[85] Slavery was hereditary[citation needed], though manumission was possible. The Old Irish word for slave, cacht, and the Welsh term caeth are likely derived from the Latin captus, captive, suggesting that slave trade was an early venue of contact between Latin and Celtic societies.[85] In the Middle Ages, slavery was especially prevalent in the Celtic countries.[86] Manumissions were discouraged by law and the word for “female slave”, cumal, was used as a general unit of value in Ireland.[87]

Archaeological evidence suggests that the pre-Roman Celtic societies were linked to the network of overland trade routes that spanned Eurasia. Archaeologists have discovered large prehistoric trackways crossing bogs in Ireland and Germany. Due to their substantial nature, these are believed to have been created for wheeled transport as part of an extensive roadway system that facilitated trade.[88] The territory held by the Celts contained tin, lead, iron, silver and gold.[89] Celtic smiths and metalworkers created weapons and jewellery for international trade, particularly with the Romans.

The myth that the Celtic monetary system consisted of wholly barter is a common one, but is in part false. The monetary system was complex and is still not understood (much like the late Roman coinages), and due to the absence of large numbers of coin items, it is assumed that “proto-money” was used. This included bronze items made from the early La Tène period and onwards, which were often in the shape of axeheads, rings, or bells. Due to the large number of these present in some burials, it is thought they had a relatively high monetary value, and could be used for “day to day” purchases. Low-value coinages of potin, a bronze alloy with high tin content, were minted in most Celtic areas of the continent and in South-East Britain prior to the Roman conquest of these lands. Higher-value coinages, suitable for use in trade, were minted in gold, silver, and high-quality bronze. Gold coinage was much more common than silver coinage, despite being worth substantially more, as while there were around 100 mines in Southern Britain and Central France, silver was more rarely mined. This was due partly to the relative sparcity of mines and the amount of effort needed for extraction compared to the profit gained. As the Roman civilisation grew in importance and expanded its trade with the Celtic world, silver and bronze coinage became more common. This coincided with a major increase in gold production in Celtic areas to meet the Roman demand, due to the high value Romans put on the metal. The large number of gold mines in France is thought to be a major reason why Caesar invaded.

There are only very limited records from pre-Christian times written in Celtic languages. These are mostly inscriptions in the Roman and sometimes Greek alphabets. The Ogham script, an Early Medieval alphabet, was mostly used in early Christian times in Ireland and Scotland (but also in Wales and England), and was only used for ceremonial purposes such as inscriptions on gravestones. The available evidence is of a strong oral tradition, such as that preserved by bards in Ireland, and eventually recorded by monasteries. Celtic art also produced a great deal of intricate and beautiful metalwork, examples of which have been preserved by their distinctive burial rites.

In some regards the Atlantic Celts were conservative: for example, they still used chariots in combat long after they had been reduced to ceremonial roles by the Greeks and Romans. However, despite being outdated, Celtic chariot tactics were able to repel the invasion of Britain attempted by Julius Caesar.

According to Diodorus Siculus:

The Gauls are tall of body with rippling muscles and white of skin and their hair is blond, and not only naturally so for they also make it their practice by artificial means to increase the distinguishing colour which nature has given it. For they are always washing their hair in limewater and they pull it back from the forehead to the nape of the neck, with the result that their appearance is like that of Satyrs and Pans since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of horses. Some of them shave the beard but others let it grow a little; and the nobles shave their cheeks but they let the moustache grow until it covers the mouth.

Clothing

Celtic costumes par in Przeworsk culture (3rd century BC, La Tène period), Archaeological Museum of Kraków.

During the later Iron Age the Gauls generally wore long-sleeved shirts or tunics and long trousers (called braccae by the Romans).[90] Clothes were made of wool or linen, with some silk being used by the rich. Cloaks were worn in the winter. Brooches and armlets were used, but the most famous item of jewellery was the torc, a neck collar of metal, sometimes gold. The horned Waterloo Helmet in the British Museum, which long set the standard for modern images of Celtic warriors, is in fact a unique survival, and may have been a piece for ceremonial rather than military wear.

Gender and sexual norms

Reconstruction of a German Iron Age Celtic warrior’s garments

According to Aristotle, most “belligerent nations” were strongly influenced by their women, but the Celts were unusual because their men openly preferred male lovers (Politics II 1269b).[91] H. D. Rankin in Celts and the Classical World notes that “Athenaeus echoes this comment (603a) and so does Ammianus (30.9). It seems to be the general opinion of antiquity.”[92] In book XIII of his Deipnosophists, the Roman Greek rhetorician and grammarian Athenaeus, repeating assertions made by Diodorus Siculus in the 1st century BC (Bibliotheca historica 5:32), wrote that Celtic women were beautiful but that the men preferred to sleep together. Diodorus went further, stating that “the young men will offer themselves to strangers and are insulted if the offer is refused”. Rankin argues that the ultimate source of these assertions is likely to be Poseidonius and speculates that these authors may be recording male “bonding rituals”.[93]

The sexual freedom of women in Britain was noted by Cassius Dio:

… a very witty remark is reported to have been made by the wife of Argentocoxus, a Caledonian, to Julia Augusta. When the empress was jesting with her, after the treaty, about the free intercourse of her sex with men in Britain, she replied: “We fulfill the demands of nature in a much better way than do you Roman women; for we consort openly with the best men, whereas you let yourselves be debauched in secret by the vilest.” Such was the retort of the British woman.[94]

There are instances recorded where women participated both in warfare and in kingship, although they were in the minority in these areas. Plutarch reports that Celtic women acted as ambassadors to avoid a war among Celts chiefdoms in the Po valley during the 4th century BC.[95]

Very few reliable sources exist regarding Celtic views towards gender divisions and societal status, though some archaeological evidence does suggest that their views towards gender roles may differ from contemporary and less egalitarian classical counterparts of the Roman era.[96][97]

There are some general indications from Iron Age burial sites in the Champagne and Bourgogne regions of Northeastern France suggesting that women may have had roles in combat during the earlier La Tène period. However, the evidence is far from conclusive.[98] Examples of individuals buried with both female jewellery and weaponry have been identified, such as the Vix Grave, and there are questions about the gender of some skeletons that were buried with warrior assemblages. However, it has been suggested that “the weapons may indicate rank instead of masculinity”.[99]

Among the insular Celts, there is a greater amount of historic documentation to suggest warrior roles for women. In addition to commentary by Tacitus about Boudica, there are indications from later period histories that also suggest a more substantial role for “women as warriors”, in symbolic if not actual roles. Posidonius and Strabo described an island of women where men could not venture for fear of death, and where the women ripped each other apart.[100] Other writers, such as Ammianus Marcellinus and Tacitus, mentioned Celtic women inciting, participating in, and leading battles.[101] Poseidonius’ anthropological comments on the Celts had common themes, primarily primitivism, extreme ferocity, cruel sacrificial practices, and the strength and courage of their women.[102]

Under Brehon Law, which was written down in early Medieval Ireland after conversion to Christianity, a woman had the right to divorce her husband and gain his property if he was unable to perform his marital duties due to impotence, obesity, homosexual inclination or preference for other women.[103]

Celtic art

The reverse side of a British bronze mirror, with spiral and trumpet motifs typical of La Tène Celtic art in Britain

Main article: Celtic art

Celtic art is generally used by art historians to refer to art of the La Tène period across Europe, while the Early Medieval art of Britain and Ireland, that is what “Celtic art” evokes for much of the general public, is called Insular art in art history. Both styles absorbed considerable influences from non-Celtic sources, but retained a preference for geometrical decoration over figurative subjects, which are often extremely stylised when they do appear; narrative scenes only appear under outside influence. Energetic circular forms, triskeles and spirals are characteristic. Much of the surviving material is in precious metal, which no doubt gives a very unrepresentative picture, but apart from Pictish stones and the Insular high crosses, large monumental sculpture, even with decorative carving, is very rare; possibly it was originally common in wood.

The interlace patterns that are often regarded as typical of “Celtic art” were in fact introduced to Insular art from the animal Style II of Germanic Migration Period art, though taken up with great skill and enthusiasm by Celtic artists in metalwork and illuminated manuscripts. Equally, the forms used for the finest Insular art were all adopted from the Roman world: Gospel books like the Book of Kells and Book of Lindisfarne, chalices like the Ardagh Chalice and Derrynaflan Chalice, and penannular brooches like the Tara Brooch. These works are from the period of peak achievement of Insular art, which lasted from the 7th to the 9th centuries, before the Viking attacks sharply set back cultural life.

In contrast the less well known but often spectacular art of the richest earlier Continental Celts, before they were conquered by the Romans, often adopted elements of Roman, Greek and other “foreign” styles (and possibly used imported craftsmen) to decorate objects that were distinctively Celtic. After the Roman conquests, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian styles, but also producing work in local taste, including figurines of deities and wares painted with animals and other subjects in highly formalised styles. Roman Britain also took more interest in enamel than most of the Empire, and its development of champlevé technique was probably important to the later Medieval art of the whole of Europe, of which the energy and freedom of Insular decoration was an important element. Rising nationalism brought Celtic revivals from the 19th century.

Warfare and weapons

Parade Helmet, Agris, France. 350 BC, with stylistic borrowings from around the Mediterranean.

Main articles: Celtic warfare and Celtic sword

Tribal warfare appears to have been a regular feature of Celtic societies. While epic literature depicts this as more of a sport focused on raids and hunting rather than organised territorial conquest, the historical record is more of tribes using warfare to exert political control and harass rivals, for economic advantage, and in some instances to conquer territory.[citation needed]

The Celts were described by classical writers such as Strabo, Livy, Pausanias, and Florus as fighting like “wild beasts”, and as hordes. Dionysius said that their “manner of fighting, being in large measure that of wild beasts and frenzied, was an erratic procedure, quite lacking in military science. Thus, at one moment they would raise their swords aloft and smite after the manner of wild boars, throwing the whole weight of their bodies into the blow like hewers of wood or men digging with mattocks, and again they would deliver crosswise blows aimed at no target, as if they intended to cut to pieces the entire bodies of their adversaries, protective armour and all”.[104] Such descriptions have been challenged by contemporary historians.[105]

Polybius (2.33) indicates that the principal Celtic weapon was a long bladed sword which was used for hacking edgewise rather than stabbing. Celtic warriors are described by Polybius and Plutarch as frequently having to cease fighting in order to straighten their sword blades. This claim has been questioned by some archaeologists, who note that Noric steel, steel produced in Celtic Noricum, was famous in the Roman Empire period and was used to equip the Roman military.[106][107] However, Radomir Pleiner, in The Celtic Sword (1993) argues that “the metallographic evidence shows that Polybius was right up to a point”, as around one third of surviving swords from the period might well have behaved as he describes.[108]

Polybius also asserts that certain of the Celts fought naked, “The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.”[109] According to Livy this was also true of the Celts of Asia Minor.[110]

A Gallic statue of a Celtic warrior, in the Museum of Brittany

Head hunting

Celts had a reputation as head hunters. According to Paul Jacobsthal, “Amongst the Celts the human head was venerated above all else, since the head was to the Celt the soul, centre of the emotions as well as of life itself, a symbol of divinity and of the powers of the other-world.”[111] Arguments for a Celtic cult of the severed head include the many sculptured representations of severed heads in La Tène carvings, and the surviving Celtic mythology, which is full of stories of the severed heads of heroes and the saints who carry their own severed heads, right down to Sir Gawain and the Green Knight, where the Green Knight picks up his own severed head after Gawain has struck it off, just as St. Denis carried his head to the top of Montmartre.

A further example of this regeneration after beheading lies in the tales of Connemara‘s St. Feichin, who after being beheaded by Viking pirates carried his head to the Holy Well on Omey Island and on dipping the head into the well placed it back upon his neck and was restored to full health.

Diodorus Siculus, in his 1st-century History had this to say about Celtic head-hunting:

They cut off the heads of enemies slain in battle and attach them to the necks of their horses. The blood-stained spoils they hand over to their attendants and striking up a paean and singing a song of victory; and they nail up these first fruits upon their houses, just as do those who lay low wild animals in certain kinds of hunting. They embalm in cedar oil the heads of the most distinguished enemies, and preserve them carefully in a chest, and display them with pride to strangers, saying that for this head one of their ancestors, or his father, or the man himself, refused the offer of a large sum of money. They say that some of them boast that they refused the weight of the head in gold

In Gods and Fighting Men, Lady Gregory‘s Celtic Revival translation of Irish mythology, heads of men killed in battle are described in the beginning of the story The Fight with the Fir Bolgs as pleasing to Macha, one aspect of the war goddess Morrigu.

Religion

A statuette in the Museum of Brittany, Rennes, probably depicting Brigantia/Brigid: c. 1st century AD, with iconography derived from Roman statues of Minerva.

Polytheism

Like other European Iron Age tribal societies, the Celts practised a polytheistic religion.[112] Many Celtic gods are known from texts and inscriptions from the Roman period. Rites and sacrifices were carried out by priests known as druids. The Celts did not see their gods as having human shapes until late in the Iron Age. Celtic shrines were situated in remote areas such as hilltops, groves, and lakes.

Celtic religious patterns were regionally variable; however, some patterns of deity forms, and ways of worshipping these deities, appeared over a wide geographical and temporal range. The Celts worshipped both gods and goddesses. In general, Celtic gods were deities of particular skills, such as the many-skilled Lugh and Dagda, while goddesses were associated with natural features, particularly rivers (such as Boann, goddess of the River Boyne). This was not universal, however, as goddesses such as Brighid and The Morrígan were associated with both natural features (holy wells and the River Unius) and skills such as blacksmithing and healing.[113]

Triplicity is a common theme in Celtic cosmology, and a number of deities were seen as threefold.[114] This trait is exhibited by The Three Mothers, a group of goddesses worshipped by many Celtic tribes (with regional variations).[115]

The Celts had literally hundreds of deities, some of which were unknown outside a single family or tribe, while others were popular enough to have a following that crossed lingual and cultural barriers. For instance, the Irish god Lugh, associated with storms, lightning, and culture, is seen in similar forms as Lugos in Gaul and Lleu in Wales. Similar patterns are also seen with the continental Celtic horse goddess Epona and what may well be her Irish and Welsh counterparts, Macha and Rhiannon, respectively.[116]

Roman reports of the druids mention ceremonies being held in sacred groves. La Tène Celts built temples of varying size and shape, though they also maintained shrines at sacred trees and votive pools.[112]

Druids fulfilled a variety of roles in Celtic religion, serving as priests and religious officiants, but also as judges, sacrificers, teachers, and lore-keepers. Druids organised and ran religious ceremonies, and they memorised and taught the calendar. Other classes of druids performed ceremonial sacrifices of crops and animals for the perceived benefit of the community.[117]

Gallic calendar

The Coligny calendar, which was found in 1897 in Coligny, Ain, was engraved on a bronze tablet, preserved in 73 fragments, that originally was 1.48 m wide and 0.9 m high (Lambert p. 111). Based on the style of lettering and the accompanying objects, it probably dates to the end of the 2nd century.[118] It is written in Latin inscriptional capitals, and is in the Gallic language. The restored tablet contains 16 vertical columns, with 62 months distributed over 5 years.

The French archaeologist J. Monard speculated that it was recorded by druids wishing to preserve their tradition of timekeeping in a time when the Julian calendar was imposed throughout the Roman Empire. However, the general form of the calendar suggests the public peg calendars (or parapegmata) found throughout the Greek and Roman world.[119]

Roman influence

Further information: Gallo-Roman culture

The Roman invasion of Gaul brought a great deal of Celtic peoples into the Roman Empire. Roman culture had a profound effect on the Celtic tribes which came under the empire’s control. Roman influence led to many changes in Celtic religion, the most noticeable of which was the weakening of the druid class, especially religiously; the druids were to eventually disappear altogether. Romano-Celtic deities also began to appear: these deities often had both Roman and Celtic attributes and combined the names of Roman and Celtic deities. Other changes included the adaptation of the Jupiter Pole, a sacred pole which was used throughout Celtic regions of the empire, primarily in the north. Another major change in religious practice was the use of stone monuments to represent gods and goddesses. The Celts had only created wooden idols (including monuments carved into trees, which were known as sacred poles) previously to Roman conquest.[115]

Celtic Christianity

Main article: Celtic Christianity

While the regions under Roman rule adopted Christianity along with the rest of the Roman empire, unconquered areas of Ireland and Scotland began to move from Celtic polytheism to Christianity in the 5th century. Ireland was converted by missionaries from Britain, such as Saint Patrick. Later missionaries from Ireland were a major source of missionary work in Scotland, Anglo-Saxon parts of Britain, and central Europe (see Hiberno-Scottish mission). Celtic Christianity, the forms of Christianity that took hold in Britain and Ireland at this time, had for some centuries only limited and intermittent contact with Rome and continental Christianity, as well as some contacts with Coptic Christianity. Some elements of Celtic Christianity developed, or retained, features that made them distinct from the rest of Western Christianity, most famously their conservative method of calculating the date of Easter. In 664 the Synod of Whitby began to resolve these differences, mostly by adopting the current Roman practices, which the Gregorian Mission from Rome had introduced to Anglo-Saxon England.

http://en.wikipedia.org/wiki/Celts

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Giacobbe Giusti, Puissance et Pathos

Giacobbe Giusti, Puissance et Pathos

Le Palazzo Strozzi accueille une exposition majeure intitulée majeure “Puissance et Pathos. Sculptures en bronze du monde hellénistique”, conçue et produite en collaboration avec le J. Paul Getty Museum de Los Angeles, la National Gallery of Art de Washington et de la Surintendance aux Biens Archéologiques de Toscane, la direction générale de Toscane pour l’archéologie. L’exposition présente une foule d’ exemples remarquables de la sculpture en bronze pour raconter l’histoire des développements artistiques spectaculaires de l’époque hellénistique (4ème-1er siècles av.J.-C.), lorsque de nouvelles formes d’expression ont commencé à prévaloir dans tout le bassin méditerranéen et au-delà, à cheval d’un bond extraordinaire dans l’évolution technologique pour former la première instance de la mondialisation de la langue de l’art dans le monde connu. L’utilisation de bronze, avec ses caractéristiques uniques, a permis aux artistes pour conférer un niveau de dynamisme à leurs statues en chiffre et le naturalisme sans précédent pour leurs portraits dans laquelle l’expression psychologique devenue une caractéristique du style.
L’exposition accueille certains des plus importants chefs-d’œuvre du monde antique de beaucoup de musées archéologiques leaders mondiaux

Palazzo Strozzi in Florence is hosting a major exhibition entitled Power and Pathos. Bronze Sculpture of the Hellenistic World, devised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza per i Beni Archeologici della Toscana, Tuscany’s directorate general for archaeology. The exhibition showcases a host of outstanding examples of bronze sculpture to tell the story of the spectacular artistic developments of the Hellenistic era (4th to 1st centuries BCE), when new forms of expression began to prevail throughout the Mediterranean basin and beyond, riding on the back of an extraordinary leap forward in technological development to form the first instance of globalisation of the language of art in the known world. The use of bronze, with its unique characteristics, allowed artists to impart an unprecedented level of dynamism to their full-figure statues and naturalism to their portraits in which psychological expression become a hallmark of the style.
The exhibition hosts some of the most important masterpieces of the ancient world from many of the world’s leading archaeological museums including the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi and the Museo Archeologico Nazionale in Florence, the Museo Archeologico Nazionale in Naples, the National Archaeological Museum in Athens, the Georgian National Museum, the Musée du Louvre in Paris and the Vatican Museums. Monumental statues of gods, athletes, and heroes stand alongside portraits of historical figures to take visitors on a breathtaking journey exploring the fascinating stories of these masterpieces’ discovery, often at sea but also in the course of archaeological digs, thus setting the findings in their ancient contexts like sanctuaries, private houses, cemeteries, or public spaces.

Palazzo Strozzi
Piazza Strozzi
Florence – Italie

De 9h à 20h
Jusqu’à 23h le jeudi

-Palazzo Strozzi, Florence, Italy
March 14 – June 21, 2015

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July 28 – November 1, 2015
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-National Gallery of Art, Washington, D.C.
December 6, 2015 – March 20, 2016
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Giacobbe Giusti, ‘Apoxyomenos from Ephesos’

Giacobbe Giusti, ‘Apoxyomenos from Ephesos’

Bronze Statue of an Athlete

This Roman statue from the first century AD, copied from a Greek original from the fourth century BC, has been recreated from 234 fragments; it shows a young athlete cleaning his strigil, an implement used to wash the body after a contest. This motif was well-known and widely popular in the ancient world, and the statue cannot be attributed to any specific Greek artist.
Bronzestatue eines Athleten
Eine aus Bruchstücken zusammengesetzte römische Kopie eines griechischen Originals aus dem letzten Viertel des 4. Jahrhunderts v. Chr., das einen jungen Athleten beim Reinigen seines Schabeisens zeigt, das nach einem Wettkampf verwendet wurde um den Körper zu reinigen (Apoxyomenos). Die Statue kann keinem spezifischen griechischen Künstler zugeschrieben werden, war aber in der Antike ein allgemein bekanntes und beliebtes Motiv.[2]

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Apoxyomenos (athlete scraping his body with a strigil).  Bronze. Roman copy of the bronze original by Polykleitos ca. 320 B.C.

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Apoxyomenos

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Apoxyomenos von Ephesos

Apoxyomenos (altgriechisch Ἀποξυόμενος) bezeichnet die Statue eines Athleten, der sich Staub und Schweiß mit Hilfe einer Strigilis von der Haut abstreift. Bekannt sind unter anderem:

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Giacobbe Giusti. ‘Power and Pathos’

Giacobbe Giusti. ‘Power and Pathos’

Apollonius, Boxer at Rest, c. 100 B.C.E., bronze, Hellenistic Period (Palazzo Massimo, Museo Nazionale Romano, Rome).

http://willyorwonthe.blogspot.it/2008/08/favorite-boxer.html

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Apollonius, Boxer at Rest, c. 100 B.C.E., bronze, Hellenistic Period (Palazzo Massimo, Museo Nazionale Romano, Rome).

http://willyorwonthe.blogspot.it/2008/08/favorite-boxer.html

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Apollonius, Boxer at Rest, c. 100 B.C.E., bronze, Hellenistic Period (Palazzo Massimo, Museo Nazionale Romano, Rome).

http://willyorwonthe.blogspot.it/2008/08/favorite-boxer.html

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The statue is a masterpiece of Hellenistic athletic professionalism, with a top-heavy over-muscled torso and scarred and bruised face, cauliflower ears, broken nose, and a mouth suggesting broken teeth. R.R.R. Smith believes that the statue does not show a true portrait: this is genre realism, individuality removed in favour of a generic character of “boxer”.[2]

In 1989 both bronzes were meticulously conserved by Nikolaus Himmelmann, in preparation for their exhibition at the Akademisches Kunstmuseum in Bonn.[3] The sculpture is soldered together from eight segments, separately cast through the lost-wax process; the joins have been filed and finished to be virtually invisible. The lips and wounds and scars about the face were originally inlaid with copper, and further copper inlays on the right shoulder, forearm, caestus and thigh represented drops and trickles of blood. The fingers and toes were worn from being rubbed by passers-by in ancient times, which has suggested that the Boxer was carefully buried to preserve its talismanic value, when the Baths were abandoned after the Goths cut the aqueducts that fed them.[4]

The statue was displayed in the United States for the first time from June to July 2013 at the Metropolitan Museum of Art in New York City as part of the “Year of Italian Culture in the United States”.[5]

http://en.wikipedia.org/wiki/Boxer_at_Rest

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Giacobbe Giusti, ‘Power and Pathos’

Giacobbe Giusti, ‘Power and Pathos’

POWER PP

Archaeologists, art historians, conservators, curators, scientists, and students will convene at both the Getty Villa in Malibu and the Getty Center in Brentwood to investigate the artistry, craftsmanship, production, conservation, and science of ancient bronzes.

The Congress is organized to coincide with, and be energized by, the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World on view at the Getty Center July 28 through November 1, 2015. The exhibition will provide an extraordinary opportunity to see important new finds and many of the best-known ancient bronzes displayed side-by-side for the first time.

THEME
Artistry in Bronze: The Greeks and their Legacy
The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work regarding casting cores, alloys, joins, and patinas has significantly advanced our understanding of materials, processes, and techniques involved in this medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material bronze affected ancient and modern perceptions of form, value, and status of works of art?

CALL FOR PAPERS (CLOSED)
The 2015 Congress, held in conjunction with an unprecedented exhibition of Hellenistic bronze statuary, invites presentations of new research with an emphasis on art-historical, aesthetic, and chronological issues regarding Greek bronze sculptures, as well as questions of their reception in later periods and cultural contexts, beginning with the Hellenistic and its disparate centers of bronze working. Presentations addressing other topics are also welcome.
Submission process and guidelines for paper and poster presentations »

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Please send inquiries to BronzeCongress2015@getty.edu.

The Getty Villa
The Getty Villa is located at 17985 Pacific Coast Highway in Malibu, California, approximately 25 miles west of downtown Los Angeles. Plan your visit.The Getty Center
The Getty Center is located at 1200 Getty Center Drive in Los Angeles, California, approximately 12 miles northwest of downtown Los Angeles. Plan your visit.

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