Showing posts with label Symbolism. Show all posts
Showing posts with label Symbolism. Show all posts

Friday, 19 September 2014

Roman Britain

Following the defeat of rebellious local tribes, such as Boadicea, Queen of the Iceni Tribe, Britain was ruled as a Roman colony for 350 years.  Our Roman legacy includes military and civil construction: forts, walls, towns, and public buildings. The many long straight roads, built for easy movement of troops, are still a feature of the landscape today.
Viroconium in Shropshire, now Wroxeter, was the fourth largest city in Roman Britain. It began as a legionary fortress and later developed into a thriving civilian city. Though much still remains below ground the most impressive visible feature is the huge wall that divided the municipal baths from the exercise hall (Basilica) in the heart of the city.
The Basilica - an artists impression of how the exercise hall would have looked
It is likely that the inhabitants of Wroxeter were able to maintain an urban way of life long after the Romans' formally abandoned control of Britain in the early fifth century. However, by the mid-seventh century everybody had left, perhaps moving to small communities developing nearby. Gradually the deserted buildings of Wroxeter were mostly dismantled and reused. Roman stone can be seen in nearby churches and houses.
This country road running between the ruins was the principal city street separating the Basilica from the Forum. Today this road is part of Watling Street, which runs all of the way from what was Viroconium (Wroxeter) to Londinium (London) onwards to Portus Dubris (Dover) - the sea crossing point back to Rome. 
These are the only visible remains of the Forums once impressive colonnade to the right of which there was a large market square and town hall
Remains of the hypocaust - underfloor heating system
Heading across Watling Street to the area where the Forum stood is a Roman Town House constructed about 4 years ago. Built using only materials that would have been available locally to the Romans and without the aid of any modern day machinery, the builders were aided in their quest by a manual on Roman building written by engineer Vitruvius 2,000 years ago. The building process helped shed new light on how the incredible feats of ancient engineering were achieved. This replica house stands as testament to the energy and ingenuity that defined so much of the Roman era.
The house was inspired by buildings excavated at Wroxeter. It stands on a platform to protect the important archaeological remains of the Forum which lie beneath it. The house reveals just how comfortable life could be in Roman Britain around 320 AD.
I think that this symbol on the outside wall of the house represents Sol Invictus "unconquered Sun" the official sun god of the later Roman Empire and a patron of soldiers. It seems to fit in with the fact that Viroconium was originally a legionary fortress. I would be happy to learn any other thoughts that you might have as this is pure guess work on my part.
House owners often rented out parts of their property to tenants, who used the space to sell goods. Shops occupied the front portion of many houses that faced out onto the street. They sold pottery, vegetables, furs - even fast food such as ready cooked meats.
The Triclinium where guests were entertained
The painted walls are decidedly amateurish
in contrast to the luxurious Roman villa at Boscoreale near Pompeii, which has beautifully detailed wall paintings designed to make the room appear more open and spacious.
Having bathed in the frigidarium (cold room) the Romans would then move on to the tepidarium (warm room) and finally the caldarium (hot room)
All of the terracotta tiles used in the project were handmade using moulds and the slate tiles split and shaped using Roman tools.
Our hotel was literally 2 mins walk away and stood on ground that was once Viroconium.  Alongside the hotel was the Church of St. Andrew, Wroxeter
but what do we see here?
 ....entrance gates and wall using Roman columns and Roman stone 
and the principal church walls and tower were built with substantial amounts of Roman stone
the enormous font is the base of a Roman column
A Morris & Co (1902) window depicting St. Andrew and St. George
Having just visited Derbyshire and shown a post with very fine Chellaston alabaster tombs, I was very excited to discover this equally outstanding alabaster tomb thought to have been made by Richard Parker of Burton-on-Trent, and still retaining most of its original colouring!
 Sir Thomas Bromley (d.1555) and his wife Mabel Lyster - Sir Thomas was Chief Justice of the Queen's Bench. 
On the left the Arms of Thomas Bromley and
on the right his Arms impaled with those of his wife 
In the centre their daughter, Margaret
 dressed in his judicial robes
On the south side of the chancel lies their daughter Margaret. The tomb is not quite such fine quality but is still made in alabaster and thought to have been done by the Royley workshop, Burton-on-Trent
Margaret died 1578 and lies with her husband Sir Richard Newport who died 1570
Their eight children are depicted as 'weepers' around the tomb - here you can see four daughters and two sons. Three daughters appear to have married as their arms have all been impaled onto those of their husband but the daughter on the right must have been unmarried as she carries arms the same as her brothers
Completing the eight children - the end of the tomb shows a son and a baby girl who most likely died shortly after birth as she is depicted in swaddling clothes
St. Andrew's is a large church and the parish was unable to maintain it. Consequently it closed in 1980, being placed in the care of The Churches Conservation Trust in 1987 following repairs by English Heritage and excavations by Birmingham University Field Archaeology Unit

Wednesday, 7 August 2013

Samuel van Hoogstraten 1627 - 1678 - Dutch painter from the Golden Age

Dyrham Park and its fine 17th century mansion is a short car journey from my home - I posted the grounds and house previously here.  
Inside the mansion is a famous trompe l'oeil painting by Samuel Van Hoogstraten. The painting is displayed in a doorway across a hallway in order to create an illusion and literally 'fool the eye' of the observer. The artist draws us through an archway and into a Dutch interior.
The image depicts the possible loss of innocence as indicated by the birdcage dominating the top of the painting. A birdcage with the door open is a symbol of virginity lost. However, in this painting the door is open but the green parrot has not flown. It waits in the entrance - will it fly or will it stay within the cage? 
It is not easy to see in this photo but through the doorway beyond the staircase there is a pale faced young man looking through the window at a scene which shows an anxious looking girl. She faces towards her father who is wearing typical Dutch clothing of the period. There is another figure, perhaps her mother, sitting at the table.
A small scrap of paper lies on the staircase - is it a love note accidentally dropped? Fidelity holds a key that signifies her absolute trustworthiness, a key hangs on the pillar to the righthand side of the painting.
There is tension within the painting revealed by the arched back of the cat, and the young King Charles spaniel looks wary and apprehensive. 
The broom leaning beside the wall though considered primarily a female icon due to its domestic use, is also a fertility symbol of both sexes.
The putti angels depicted on the archway can be symbolic of either God's protection or punishment.
The outcome of the painting will never be known and will always remain a mystery.

Monday, 15 April 2013

Spain's capital city - Madrid

Palace and cathedral in the last image
It is impossible to do justice to Madrid with only two days in the city. Should we concentrate on the architecture or see the art?  In the end we had an overview of the city via a bus, and spent our time catching as much art as we could within the time available. Madrid is a beautiful city with wide tree lined boulevards, beautiful sculptural fountains, parks, a royal palace, Neo-Gothic cathedral, three internationally famous art galleries, and adjacent to the Prado an oasis of calm in the beautiful botanical gardens.
The Prado
Botanical Gardens
We saw most of the great masterpieces in the Prado - from Rubens to Goya, Velázquez  to Caravaggio, Dürer to Bosch, Mantegna to Fra Angelico, but in the end the image I have selected is Picasso's Guernica which we saw in the Museo Nacional Centro de Arte Reina Sofia. A 20th century icon of the Spanish Civil war, of worldwide anit-war sentiment and of the fight for freedom. Guernica is one of the most emblematic images of the contemporary world.
via
The ruins of Guernica
When seeing this painting for the first time many people are surprised at how immense it is, measuring 11 feet high and 25 feet long.
On the 26th April 1937 the population of Guernica were going about their business. It was market day when they suddenly became the target for the world's first saturation bombing raid carried out by Nazi aircraft at the request of General Franco. This is Picasso's powerful painting of outrage at the deaths inflicted on the innocent men, women and children on that black day. Interpretations of the painting vary widely and contradict one another.
Picasso said that the wounded and dying horse represents the people of Guernica, the face on the right holding a lamp represents witnesses to the massacre staring in horror and disbelief, a lamp held aloft being a symbol of hope. The figure on the right with arms held up in terror looks as if he is being swallowed up by the fires of hell rather like the medieval wall paintings showing the Last Judgement. On the left side a mother who was breast feeding her child cries out in anguish as her child lies dead in her arms. The small daisy flower in the centre of the painting at the bottom is a symbol of innocence in the midst of despair. A light bulb shaped liked the evil eye blazes in the upper centre. Picasso said the bull represented brutality and darkness. When I look at the painting I feel that it symbolises the aggressor, who though a witness, totally dissociates himself from the act.
Picasso refused to allow his painting to be displayed in Spain until after the end of the Franco regime.  Initially it was in the Prado but behind a bullet proof glass screen. Now it is unprotected and has a whole room to itself in the Reina Sofia along with many photographs made by Dora Maar who documented the progress of the painting. Dora Maar was one of Picasso's many lovers. A number of groups in Spain, particularly Basque Nationalists, object strongly to the painting being permanently exhibited in Madrid. Since the opening in 1997 of the Guggenheim Bilbao Museo, they have been calling for its transfer there.

Monday, 1 April 2013

Easter processions in Spain

Procession of the Flagellants - 1812 by Goya
Easter is Spain's main fiesta period. Almost every community observes it in some form with pomp and solemnity. The week is heralded by the Palm Sunday procession and continues every night until Easter weekend. 
Brotherhoods of robed men and women carry 'pasos' - huge sculptures, depicting religious scenes showing the entry into Jerusalem on Palm Sunday, and on following evenings the Virgin, Christ with crown of thorns, scenes from the Passion, the Last supper, and the Crucifixion are carried through the streets from the main church or Cathedral. Sometimes several churches in the town have their own 'pasos' which are carried to the main church where they then await the principal 'pasos' to exit the church and where they all then process together. The 'pasos' are accompanied by penitents wearing tall conical hats or hoods which hide their faces. In some towns passion plays are acted out, and in others people carry heavy crosses. Sometimes the centuries old ritual of self-flagellation can be witnessed as in the Goya painting above. The tall conical hats worn by the penitents originally were worn by inquisitors of heretics tried during the Spanish Inquisition.
When we visited Toledo Cathedral we saw this 'pasos' being prepared for the coming evening. The flowers were being arranged and the silver highly polished. Some of the 'pasos' weigh 3500 kgs and require 100 people to carry. Many of the penitents carrying the 'pasos' walk with bare feet over difficult cobblestones on the arduous journey. Our first encounter with one of the processions was one of solemnity with columns of people carrying candles, accompanied by loud rhythmic beating of drums, and then a wind band would strike up with slow, mournful and very haunting music. All of the community take part in the sombre processions from the very old to babes held in arms.
The procession passing through the square where we stayed - at this stage we gave up and retired, but the 'pasos' still had a long journey to cover until it was back at the cathedral.
Another procession in the old town of Cuenca famed for its hanging houses. This 'pasos' is waiting in the old square for the principal 'pasos' to emerge from the cathedral. This one shows Judas betraying Jesus when he led a mob of temple guards and high priests into the garden of Gethsemane to capture Jesus. Judas greeted Jesus and the high priests then had him arrested. 
A further 'pasos' showed the disciples trying to stay awake and keep watch but not suceeding.
'Pasos" showing the Last Supper
My photos are not very sharp - the crowds and the darkness making it difficult for my little camera.